It also has issues with character development and making
the audience feel for characters that aren't likable.
In order to make
audiences feel for its characters, a connection needs to be made that can only be formed through good storytelling.
Additionally, Wright uses flash - back and - forward as well as fantasy sequences to build a not entirely linear narrative that enhances the emotion
the audience feels for the characters and their plight.
Not exact matches
By taking a supporting
character that might have otherwise been two - dimensional and turning him into an ever - evolving
character that the
audience could actually
feel for, the rising star rightfully earned the Best New Actor Goya that was subsequently bestowed upon him.
Where those previous films
felt compelled to lunge
for edginess (read: sneering raunch) as chaos dutifully descended on
characters they didn't like very much — and weren't particularly interested in getting
audiences to like, either — Game Night takes care to locate our sympathies with Bateman, and McAdams, and its cast of charming ringers.
Foley also doesn't allow much room
for the
audience to get inside of the
characters» heads, to
feel what they
feel — the most intimate filmmaking a director could accomplish.
For Mana, showing up for practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax audiences might anticipate from this otherwise Disney - appropriate inspirational dra
For Mana, showing up
for practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax audiences might anticipate from this otherwise Disney - appropriate inspirational dra
for practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of
character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that
feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax
audiences might anticipate from this otherwise Disney - appropriate inspirational drama.
, and loud noises rarely
feels grating if only because of how loving it
feels toward its
characters and soundtrack, and how respectful it is toward the limits of its
audience's appetite
for superheroic universe - building.
It's like a get - out - jail - free card
for any filmmaker with a nasty streak, as they can proceed to punish the lead
characters in unfathomable ways without asking the
audience to
feel too guilty
for relishing in their suffering.
Whereas the other untested Marvel property, Guardians of the Galaxy, won over
audiences with irreverent charm, funny and likeable
characters, and a toe - tapping soundtrack, Ant - Man is more content to deliver a broadly goofy and blatantly corny sensibility that makes it
feel like it is aiming
for a younger set than the other MCU releases, even though it does still garner a PG - 13 rating
for its violence.
On one hand, the speech tests the
audience's patience
for legalese; on the other, it is a tour - de-force, a brilliant meditation on the fundamental tension between moral right and democratic law, delivered by an actor so thoroughly in command of the
character that it
feels almost effortlessly tossed off — one can only imagine that Lincoln, the lawyer and the president, spent many sleepless nights playing this debate out in his mind.
While sequels like Iron Man 3 and Captain America: The Winter Soldier have overcome
feeling like prequels to a different story
audiences haven't seen yet, other entries into this super-powered universe, efforts like Thor: The Dark World, Avengers: Age of Ultron and Captain America: Civil War, struggled to come across as anything other than vehicles conceived and designed to get all of these
characters into one place at the right time
for this May's massive Avengers: Infinity War, none of them working outside of the larger story being told and as such aren't very entertaining or worth watching more than once.
In the Heart of the Sea is an old school movie that
feels too sluggish, too underdeveloped, and too free of
characters for the
audience to invest in.
And yet...
Audiences by this point have so much
feeling for these
characters that the Russos get by with a lot of undistinguished work.
For the first and third acts, World War Z focuses on that dynamic and lets the shock
felt by both the
characters and
audience at seeing civilization crumble before their very eyes work on a psychological level.
Perhaps the hyper - stylized and conceptual Hooper is just a poor fit
for a story as nuanced as this —
for a movie about such a charged human issue and where
characters spend the majority in some tearful state, shouldn't the
audience actually
feel something?
So in the future it seems that emotion has been outlawed — a strange thing,
for though the
characters in the film appear to experience jealousy, anger, pride, and sadness, the
audience is imbued with a majestic
feeling of sleepy unconcern.
The script occasionally
feels a bit too witty or ironic
for its own good, once again showing the movie's
audience - pleasing tendencies, and the soundtrack underscoring most of the film, comprised of multiple pop songs, just emphasizes the simplistic development of
character and theme.
For this film I wanted the
audience to
feel like they've spent the summer with these
characters.
This same story and idea could have been structured in a different way with better
character development and more heart to have the
audience feel a bit more sympathy
for David or the children.
What The Conjuring did do properly was give the
audience characters you could relate to and
feel sorry
for.
As
for the land locked conflict which pits Peaches between the cool mammoth crowd and her best friend Louis (voiced by Josh Gad), it
feels like an afterthought to try and keep the
audience engaged on the other
characters.
However, the main
characters feel a bit too bland
for the
audience to fully engage with them.
Still, even the talented cast and skilled computer animators can't compensate
for the lack of connection the
audience feels for this coop of
characters — leaving this production a couple of eggs short of a full dozen
That it often
feels to be moving rather slowly should not dissuade its
audience from enjoying the quietly developing drama, and the eventual outcome
for the major
characters feels authentic and never gaudy.
Director Hugh Wilson also attempts to add some seriousness to the proceedings, throwing in moments where the music grows more somber and the
audience is cued to «
feel»
for the lead
characters; these moments are at odds with the majority of the film, which often asks the viewer to not just laugh with, but at, the over-the-top heroines.
Working in a genre that can use visual and verbal density as a crutch, Curran creates room
for his
characters to think and
feel and an environment that encourages his
audience to do the same.
The main reason to include a romantic conflict is so the
audience can
feel compelled right until the end where we can
feel good
for the
characters, and that
feeling wasn't strong enough in the film.
Director James McTeigue («V
for Vendetta») at least allows viewers to
feel superior to the
characters; he has fashioned a film where seemingly anything yelled by the
audience has more thought behind it than what is happening on screen.
As deserved as Shanté's inevitable comeuppance is, Fox is able to connect with the
audience so strongly that one can not help but
feel for the
character when her strategy starts to backfire.
The direction I
felt Capcom was going into with this game was to quickly reintroduce the
characters to the
audience and then really drive an emphasis on the professional gaming demographic and try to hammer it as a viable option
for professional competitions.
It
felt like the ending only made sense
for the
audience, who are familiar enough with the multiple versions of the Joker, not the
characters, who should only be familiar with a particular version.
What Eddie the Eagle does share with Cool Runnings and so many other compelling underdog stories, though, is a compelling evolution
for its main
characters — both the athletes and their mentors — that makes both their journeys and the one the
audience takes with them
feel worthwhile.