Here's the punchline:
audiences hated the film, anyway.
Not exact matches
When Pixar screened a computer - animated short
film called «Tin Toy» in 1988, test
audiences hated the sight of the pseudo-realistic baby named «Billy» who terrorized the toys.
I wouldn't even say I enjoyed it, but I couldn't find a reason to really
hate the
film when looking at it from its target
audience's perspective.
It's also a testament to the characters themselves that the
film ends without
audiences hating either Steve Rogers or Tony Stark, despite their divide being the cause of this entire conflict.
Possibly it was
hated for offering little in the way of hope (and in places explicitly denying the
audience hope), or because at times you get the feeling the director is judging the
audience for watching his
film.
Copying the model of many of his previous vehicles with Seth Rogen — who has the supporting role of a baffled script supervisor — Franco plays up the odd - couple bromance between Wiseau and Sestero, which gives him the like -
hate - love trajectory an
audience can find reassuring, and equips the
film with a ready - made happy ending.
Refn nearly ensures that ticket buying
audiences unfamiliar with his style will
hate this
film.
While standing in line for Una, the
film adaptation of David Harrower's play Blackbird, earlier this week, one of the PR reps for the
film told me she had already noticed an
audience divide forming around it — men almost uniformly
hated it, but women were moved by it.
It could be said that that's the point, but it's a point that only goes to highlight the difference between a
film that
hates only its
audience and one that
hates itself too.
It seems like
audiences are in two different camps on this
film: they either love it or they
hate it, and I think a lot of that has to do with the Tonya Harding type lead character.
Ultimately,
audiences are going to love or
hate the
film as they will, and some did enjoy it.