Sentences with phrase «audiences out of the movie»

Ultimately the surreal concept is half - baked and poorly executed, which will take audiences out of the movie all leading to an unsatisfying conclusion.

I think the full frontal nudity would have taken audiences out of the movie because one of the actors was playing a 17 year old.

Not exact matches

It's too soon to tell (and Netflix never releases viewership statistics), but the 62 % of the movie's audience reviews on Rotten Tomatoes are positive, while the film currently has a rating of 7.0 (out of 10) from users on Metacritic.

As some pointed out, this usually isn't how audiences react at the end of a Marvel movie.

«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.

Having to replace Michael Keaton after he dropped out of making a third Batman movie, Kilmer came in with a smoother style, and audiences enjoyed it.

There is consolation in the fact that the Times is bought by less than one out of twenty people in the New York area, and the audience for television networks and movies has been declining for years.

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.

A great movie - and I'm not saying this is a great movie - but the great movies set up, somewhere along the line, a moment for the audience to go: «Oh shit, we have a filmmaker who is out of control and we don't quite know where this is going to go».»

Italian actress Asia Argento, who has accused movie mogul Harvey Weinstein of sexual assault, told the closing ceremony of the Cannes Film Festival there were abusers in the audience who had yet to be outed.

... A movie that doesn't make the cut automatically loses out on the billions of renminbi China's audiences have to offer.

«To have a movie like that where you pretty much take women out of the storyline would not resonate with modern audiences,» she says.

During the movie, the audience is asked to decide what will happen: should the villain be pushed out of a window?

The 3D conversion for DH2 is superb — even though there are few instances of stuff coming out of the screen at the audience, it adds depth and solidity to the proceedings, and puts us squarely in the middle of things during the movie's first action sequence of note, a ride through Gringotts vaults.

Schindler leaves it to Stern, and Spielberg leaves it to us; the movie is a rare case of a man doing the opposite of what he seems to be doing, and a director letting the audience figure it out itself.

And here, as in last year's I Now Pronounce You Chuck and Larry, Sandler interestingly attempts to blend genuine social commentary with copious gross - out humor in much the same way that Mel Brooks did in Blazing Saddles (a movie that, beyond the beans - around - the - campfire gags, wore its heart so firmly on its sleeve in favor of racial brotherhood that it stopped just short of singing «Kumbaya» to its audience); Sandler, who's admirably never been shy about proudly proclaiming his Jewishness, takes on xenophobia, suggests that Israelis and Palestinians CAN get along and — most controversially of all, perhaps — makes a case that disco music CAN be enjoyable in the right time and place.

Challenging viewers this way — denying clean resolutions, chucking out the urgent drama of the first hour of movie — is bound to alienate some audiences.

Tommy Wiseau in 2003 directed, produced, wrote and stars in «The Room,» amid the howls of audiences, a movie that evoked all - out belly - laughing tremors.

That «2001: A Space Odyssey» has blown many audience members» minds to the point of causing them to walk out of the movie, is a testament to Kubrick's singular if stoically cold vision of a future that was never to be.

The movie goes unusually far out of its way to justify its far - fetched conceit while showing complete disregard for natural laws at every turn — not that popcorn audiences will mind.

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 drama.

And if that makes them «boutique films,» let's be clear: Only one of those four movies ever connected, in a major way, with a popular audience, and that was «Get Out.»

There's this bizarre concern by Hollywood that audiences will rebel if they don't fully understand what's going on at every given moment, and so characters talk to themselves, motivations are spelled out in voiceover, and everyone, especially in action movies, speaks of what they have to do and why they have to do it.

The CinemaScore F has become a perverse badge of pride for some films, though, a reflection of a movie that goes out of its way to artfully alienate or confuse audiences.

When a franchise descends to having its own characters wink at the audience with jokes about how it's run out of ideas, and resorts to just (literally) setting things on fire, not once but twice in it's 90ish minute runtime, it's one movie past time to stop.

Chow's popping out gag is used once again, and is just one example of many where the movie isn't just winking at its audience, but continuing to reveal how limited the joke palette is here.

Instead, the more «out - there» character work is given to Kate McKinnon in a role so daffy that she will likely be seen as stealing the movie for a sizeable percentage of the viewing audience, as well as for Leslie Jones, who isn't as hilarious in a more earthy character, but I do think she offers more to the comedy than Ernie Hudson had been afforded in his stint as the non-scientist member of the quartet, Winston, in the first two original movies.

Instead of showing us action and letting the audience figure things out for ourselves, he stops the movie to explain every major plot point had in long monologues.

Audiences who go to see The American expecting a conventional Hollywood spy thriller will no doubt be disappointed to find out they've stumbled into an art - house film — and an unrelentingly grim one at that — but those seeking relief from the inanity and bombast of the summer movie season will be pleasantly surprised.

From its eye - opening teaser, which brilliantly reintroduces audiences to Donovan's 1966 psychedelic rock classic, «Season Of The Witch», to its incredible visual style and haunting stop - motion animation imagery, ParaNorman immediately stands out as something distinctive, different, and to movie fans — dare we say important.

Now well into his 80s, the man consistently brings high quality movies to a new audience year in and year out, with a great deal of conviction and grace.

In terms of crafting this story with its own desired maturity, Reitman's latest way of bidding for the audience's attention initially comes from his jarring tone, which vamps on the audience straight - out - the-gate with a brooding atmosphere unusual to his movies.

The hilariously dumb and ridiculously convenient reveal that could only be considered surprising by taking into account the fact that the audience would surely never think that this movie would pull something so random and silly out of its ass, and then they double down by immediately trying to milk it for maximum sentimental value (it doesn't work).

If you can be in a movie where it gets the audience laughing, crying and at times, jumping out of their seats and yelling, well, that's as good as it gets.

Suggesting that it maybe hasn't talked to (or judged the overall judgment of) the average American movie - goer of late, Fox sounds very excited to announce today that it's moving forward with plans for films that allow the audience to control how they ultimately play out.

But then a funny thing happened: Ever so gradually, word got out about just how awful the movie was — how this near - tragic waste of an estimated $ 6 million budget might be appreciated as an accidental comedy — and audiences started coming to see for themselves.

Such references more often than not feel like awkward pop culture plugs, in hopes of reaching out to a contemporary audience, or firmly dating this movie in 2013.

Now, when Alan and I were working together, his version of how it should play out — and as you'll recall it playing actually in the movie — is that we, the audience, should glimpse a shadowy figure scampering away and that Klute should go rampaging after him unsuccessfully.

The same holds for other recent Landmark selections, including Amelie, Y tu mama tambien, and The Fast Runner (Atanarjuat)-- movies whose ability to hold an audience is so great the fact that their characters aren't speaking English scarcely matters, though it will still keep such movies out of most other American multiplexes.

It marked the beginning of an early - 1990's era where movies based on video games would be slung out at audiences, who'd just sling them right on back.

Save for the incredible success of Marvel movies, it's become nearly impossible to figure out what audiences are interested in watching.

The Actual Plan Needs to Be Laid Out in the Coolest Way Possible Among the biggest challenges of the heist movie: making the plan understandable without bogging the audience down in exposition and minutiae.

I should point out that, whilst fairly pedestrian, the film never comes close to the woeful Pirates of the Caribbean movies, which somehow continue to attract audiences despite being, on just about every conceivable front, shit films.

When a movie's title and trailers constantly reference a period of time when people were afraid of witchcraft and constantly used religion as an excuse to seek out scapegoats for their problems, audiences will come to expect a magic - filled, action - packed thriller.

This a score out of 100 that takes into account a movie's IMDb rating, Rotten Tomatoes Tomatometer and Audience Score, Gracenote rating, Metacritic Metascore and the inflation - adjusted U.S. box office gross.

This literary allusion is spelt out for audiences by one of the characters in the movie: Virgil accompanied Dante into the various circles of hell.

Before the movie came out, an interviewer asked him about the criticism, and Boseman said that not only did he agree with it, it was why he took the part — so audiences would see at least one god of African descent.

It's rare that a movie jumps straight into a wedding scene and lets most of it play out on the actors» faces, without any cheesy audience reaction shots or contextual scene - setting.

Likewise, few will be shocked to hear that the film is in many ways an uncreative retread of the first movie, one that tries to give the audiences the same stuff they enjoyed the last time out.

There are glimpses and small segments of the movie that actually do let go and give into their darker nature, but for the most part, it feels as though the movie is playing it safe — making sure the audience only feels a bit uncomfortable but knowing it'll all work out somehow.