Sentences with phrase «audiences of movie theaters»

This year continues the trend of sci - fi films that are sure to dazzle audiences of movie theaters all around the globe.

Not exact matches

«The Interview,» the Sony Pictures film about a fictional plot to assassinate North Korean leader Kim Jong Un, opened in more than 300 movie theaters across the United States on Christmas Day, drawing many sell - out audiences and statements by patrons that they were championing freedom of expression.

To compete, other studios could also merge — giving us essentially a movie version of the NBA's super-team syndrome — or they could amp up efforts to infiltrate streaming, leaving their movie studios as an output for major blockbusters that audiences still want to watch in theaters.

On June 21 at 7.30 pm, hundreds of movie theaters across the country are going to host a Parents Night Out during which Harvey Karp will explain his slick parenting moves to the audience.

The Short Version: In the dimmed lights of a movie theater, moments of wonder and excitement capture the hearts of audiences... (read more)

Whatever tactic the distributor takes — and you can see them not opting to expand much further than the three - digit theater count at which Young Adult topped off — is more of a reflection of what audiences are capable of warming to and enjoying and less a reflection of this admirable and intelligent movie.

Although Nixon's starring role on the hugely popular series may have brought her to the attention of a new audience, observers of the New York theater had been watching the actor on and off Broadway since 1980, where she had performed in productions that included David Rabe's Hurlyburly, Tom Stoppard's The Real Thing, Angels in America, and Indiscretions, for which she earned a Tony nomination.Born in New York City on April 9, 1966, Nixon made her film debut in the 1980 movie Little Darlings.

Audiences most definitely will squirm and wish they were anywhere but in the theater, despite the fact that it features some of Clive Owen's best work and a startling movie debut by the 15 - year - old Liana Liberato.

From the very beginning, the movie establishes that it's a musical, as the audience of a Broadway show exits the theater singing a number extolling just how terrible Max Bialystock's (Nathan Lane) shows are... and that got me thinking about «Robin Hood: Men in Tights.»

The cyberhacking of Sony Pictures, the release of reams of private information, the terrorist threats against theaters, the back - and - forth on whether to show the movie to audiences at all — what a waste of time and energy.

By the time the movie finally arrived for its single Cannes press screening — in the Salle Bazin, one of the festival's smaller theaters — some of us in the audience found ourselves torn between tempered excitement and mounting dread.

This is a movie so bad that it might someday get The Room treatment, with audiences collectively responding to the trash they're witnessing, but in first - run theaters, it's closer to the endurance test of sitting through a Transformers movie.

The Room turned the real Wiseau into a cult icon, as he continues to show up at screenings for his movie as it still plays in theaters with a fair amount of audience participation.

But right now, in 2016, this movie is absolutely terrible, and on top of everything else, it's too boring and confusing to enjoy in a public movie theater with other paying audience members.

Captain Underpants: The Epic First Movie Rated PG for mild rude humor throughout Rotten Tomatoes Score: 87 % In spite of great reviews from both critics and audiences, as well as a large base of fans of their kids graphic novels, this animated superhero flick landed with a relative thud in theaters.

The festival controversy dividing audiences this year was between Netflix (which produced both Okja and The Meyerowitz Stories this year) and the professional association for movie theater owners, arguing over Netflix's refusal to open the two films in theaters as part of their «exclusive content» strategy.

The result is great, as it features the two perfectly in character as seen in the Before films, but also because it plays with the fourth wall and expresses some of the vitriol that many audience members feel when someone else is being inconsiderate in a movie theater.

Along with the trade show floor that featured the latest technological advances, concession goodies, comfort seating and more to enhance the theater audience movie going experience, each of the movie studios presented a sneak peak of their upcoming films slated for release in 2012 and beyond, many which were being seen for the very first time.

Audiences gets to come to a decision for themselves what sort of film Deadpool 2 is when the movie hits theaters subsequent week on May 18.

With the movie business evolving at a record pace, and studios struggling to lure audiences into theaters, buyers are much more reluctant to plop down massive amounts of cash for high - risk projects — Assassination Nation's price tag notwithstanding.

While there were a handful of audience members who weren't quite sure what to make of «Demolition,» which defies easy categorization, most viewers seemed to leave the theater on a movie contact high.

Early on in the development process for this year's Logan, Hugh Jackman's swansong as everybody's favorite claw - wielding mutant, a much different version of the movie existed compared to the one audiences saw in theaters roughly two months ago.

The movie was screened before an «invited audience» in a Michigan Avenue theater, where two small groups of audience members laughed loudly at almost everything, and just about everybody else waited politely until it was over and they could leave.

Most movie audiences head to the theater to see a story exactly as its told, without looking too closely at the plots, characters, or lines of dialogue.

But while the studio's marketing for the film must continually remind audiences that, yes, the movie is due in theaters in less than two months, they're fast approaching the limit of revealing things too much or too often.

With It Comes at Night — the latest film from Krisha director Trey Edward Shults — in theaters and jangling the nerves of audiences nationwide, we thought this would be the perfect time to check in on the great horror movies of the current decade.

The movie played in the commercial theaters of the back streets, where audiences vibrated with pleasure.

There aren't many films made for adults these days, let alone one that features some of the best British talent in the business, so when a good movie does come along, audiences are going to flock to theaters to see it.

A confused and uninspired rehash of a number of movies (EVENT HORIZON, GRAVITY, LIFE), it reconnects most strongly with its source (and, for those with longer memories, Paramount's PROPHECY, 1979) in an absolute groaner of an ending, which would have had theater audiences heaving with laughter.

It's just that a movie like Mission Impossible really can't get away from that kind of description because no matter what, that seems to be its singular goal: Keep audiences in the theater entertained with set piece action sequence after set piece action sequence (many of them practical), strung like beads on a necklace.

Unfortunately, not many of them did — the movie barely grossed a quarter of its budget on opening weekend — but still, more audiences saw «Annihilation» in North American theaters than the number who will see it elsewhere: zero.

Paramount has a plan in place to make literally thousands of these movies, including the upcoming Bumblebee spinoff, and it's going to be tough to convince audiences they should care about future movies if they don't even care about the movie that's in theaters now.

When two characters at a café talk about Bazin's «holy moment» on a virtual movie screen, with the eternally unnamed protagonist mirroring our reactions in a darkened theater, Linklater audaciously crumbles the space separating the audience and the film even as the picture attacks the malaise of the day - to - day.

Between the ascension of Marvel Studios and it's competitors filling the movie theaters with comic book adaptations, audiences have been beaten over the head with origin stories and heroes who question the point of their existence.

However, the makers of the movies must be mindful of how much time they take, not only because people will grow restless in the audience the longer you go, but also that, for the studio, the more showings that theaters can have in a given day, the more money they can make by striking while the iron is hot when the film opens.

So any kind of movie that combines the things that appeal to the target audiences of these pop culture trends is going to be held to a much higher standard by Vince than some whimsical kitchy Wes Anderson slog about daddy issues, with adults dressed as children in amateur theater in monotone.

Thankfully, audiences also seemed to have enough of Jason Friedman and Aaron Seltzer (Vampires Suck, Disaster Movie, Meet the Spartans, Epic Movie) notoriously lazy brand of comedy as when The Starving Games opened last month (November 8) it made less than $ 10,000 and barely saw ten theaters.

Most odiously, the movie gave rise to the prolific shit machine of co-screenwriters Jason Friedberg and Aaron Seltzer, which for many years polluted movie theaters with its audience - insulting, pop - culture - reference - as - punchline brand of dispiritingly popular spoofery, as seen in such abominations as Date Movie, Epic Movie and The Starving Games, whose title, I would imagine, is some manner of humorous allusion to the popular book and movie franchise The Hunger Gmovie gave rise to the prolific shit machine of co-screenwriters Jason Friedberg and Aaron Seltzer, which for many years polluted movie theaters with its audience - insulting, pop - culture - reference - as - punchline brand of dispiritingly popular spoofery, as seen in such abominations as Date Movie, Epic Movie and The Starving Games, whose title, I would imagine, is some manner of humorous allusion to the popular book and movie franchise The Hunger Gmovie theaters with its audience - insulting, pop - culture - reference - as - punchline brand of dispiritingly popular spoofery, as seen in such abominations as Date Movie, Epic Movie and The Starving Games, whose title, I would imagine, is some manner of humorous allusion to the popular book and movie franchise The Hunger GMovie, Epic Movie and The Starving Games, whose title, I would imagine, is some manner of humorous allusion to the popular book and movie franchise The Hunger GMovie and The Starving Games, whose title, I would imagine, is some manner of humorous allusion to the popular book and movie franchise The Hunger Gmovie franchise The Hunger Games.

Not to help the spies on screen, but for audience members to propel themselves out of the theater before the uneven, nearly 2 1/2 - hour movie called it a day.

Some of the recurring jokes, I didn't personally care for, such as Michael Cera (Scott Pilgrim vs. the World, Year One) playing against public image as a coke - snorting whoremonger in a performance that seems to be channeling Neal Patrick Harris from the Harold and Kumar movies, or Danny McBride and inability to control his impulses, but there were certainly some audience members in the theater viewing I attended that found these things especially hilarious; comedy truly is in the funny bone of the beholder.

As I saw it — and still do — movie theaters are modern day classrooms where audiences — youngsters of all ages — learn how to behave in arenas ranging from the bedroom to the battlefield, and where they form their standards for and expectations about life.

The secrets of Rings will be revealed when the oft - delayed film finally hits theaters, but in the meantime audiences can get a nice healthy taste of the horror to come via an extended look at the movie's pulse - pounding opening scene.

This kind of semi-autobiographical telescoping is amplified by Brooks's more effective reuse of an idea from Blazing Saddles: climaxing the movie with a screening of the movie, showing the audience the audience - reaction, and then romping out of the theater into the world itself, ripping the curtain between real world and reel world apart at the seams.

One can only suppose the purpose of the movie is to put off the audience, much in the same way the intrusive movie theater seat that Jeff Goldblum (referred to as «Chef») introduces at the very start of the movie within the movie.

The opening scene is chilling, where the residents experiencing a mysterious plague in an African village get a fire bomb instead, but nothing had moviegoers on edge like the scene of the infected guy in the movie theater, with the CGI germs floating maliciously through the audience.

Coogler concluded his letter by thanking Black Panther everyone who contributed to the movie's thunderous debut:» For the people who bought out theaters, who posted on social [media] about how lit the film would be, bragged about our awesome cast, picked out outfits to wear, and who stood in line in theaters all over the world before even seeing the film... To the press who wrote about the film for folks who hadn't yet seen it, and encourage audiences to come out... And to the young ones, who came out with their parents, with their mentors, and with their friends... Thank you for giving our team of filmmakers the greatest gift: The opportunity to share this film, that we poured our hearts and souls into, with you.»

As if there weren't enough doomsday - themed films released last year, 2013 will see no less than five different movies on the topic — that is, if you include «World War Z.» But before audiences flock to theaters to watch stars like Brad Pitt and James Franco try to survive the end of days, writer / director Todd Berger's «It's a Disaster» offers a darkly comic tale about a group of friends (and one stranger) who are forced into an impromptu therapy session following a biological attack on the city.

Audiences have seen quite a few big movies may their way into theaters over the past two months, but the onslaught of summer tentpole films isn't even close to over.

Over the past decade, the MCU has made audiences stay in theaters long after the movies have ended — and some of the payoffs have been more worth the wait than others

I happen to agree with a lot of the critics who contend that the film's story of a pacifist doesn't quite mesh with its filmmaker's festishization of violence, but this is a solid war movie, a flick that will play very well at home to audiences who may have skipped it in theaters.