Sentences with phrase «audiences with its violence»

While those who have seen the final act know what's going to happen, this remake is still able to grab audiences with its violence.

The film deviates from other Marvel films in that it is clearly aimed at an adult audience with the violence and swearing.

Not exact matches

The model for other studios to follow here would seem to be to, first, test your potential audience with more than just a vague idea and then deliver a product that is both true to its source material while also offering something beyond what viewers have already come to expect from typical superheroes (in this case, that would be the comedy, sex, and violence).

Increase an appetite and tolerance for entertainment with a violent content, since the more violence an audience sees, the more violence it will want.

It also could provide a means whereby other influential factors could be investigated and addressed, such as differences in the social and economic purposes of broadcasting, the social sources of violence and how media portrayals interact with those causes, how the restraints and traditions of media production cause the media to pick up particular cultural images while ignoring others, and how particular audiences respond to and use media images.

Looking primarily to models based on quantitative research methodologies to provide a clear direction for policy in regulating media and violence can also distract policy makers from coming to grips with other difficult but more important value questions that impinge on the issue of media and violence, such as the purpose of broadcasting, issues of ownership and control of media, the international context of Australian media, the dominant economic nature of most of Australia's social communications, the distinctive ways in which the media reproduce and reconstruct myths and symbols of violence from within the culture, and how audiences use and respond to media myths and symbols.

In a bid to assess the amount of violence young children might be exposed to, they analysed the length of time it takes for key characters to die in the 45 top - grossing children's cartoons, released between 1937 (Snow White) and 2013 (Frozen), and rated either as suitable for a general audience (G) or with parental guidance suggested (PG).

Lara Croft Tomb Raider: The Cradle of Life viewed at a semipublic screening with an audience of critics and ordinary moviegoers rated PG - 13 for action violence and some sensuality official site IMDB

He often accomplishes this with an astringency of technique, keeping much of the violence off - screen, shooting in extended, maddening long takes, and denying the audience's pleasure.

Even the violence lacks creativity, and simply revolves around disposable soldiers getting whacked with traumatic force simply so buckets of CGI blood can distract the audience into thinking that this movie is awesome

Though it has far less outright violence than Gomorrah, whose oppressive criminal atmosphere it shares, Matteo Garrone's Dogman is just as intense a viewing experience, one that will have audiences gripping their armrests with its frighteningly real portrayal of a good man tempted by the devil.

Iliadis is more visually sophisticated than Craven was in 1972 and works hard to sustain the mood and tension while still hitting the audience with blunt scenes of wincing violence.

Continuing the tradition of brutal Australian horror films like «Wolf Creek,» «Killing Ground» is an effective indie creeper that unnerves the audience with its all - too - realistic violence.

I also love the fact that they put the WWF into a more mature audience - like show that fills with more violence, bloodshed, bras and panties, and hardcore weapons legal in the ring.

There are some particularly provocative scenes in the film, juxtaposing the speed with which shocking violence can occur, arising out of seemingly ordinary and familiar situations which will undoubtedly stay with the audience.

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.

The trailer itself sells a movie that looks far more approachable than most of Wheatley's work so far — his penchant for combining grisly violence with black comedy is on full display, but it's wrapped in a package that could be appealing to audiences who found the psychedelic A Field in England too weird or Kill List too oblique.

John Hillcoat, who has distinguished himself with gritty, typically criminal - infested features that tend to smother audiences with the hopelessness of the situation, isn't exactly out of his element here, turning Atlanta into a bubbling cauldron of deception, corruption and a whole lot of violence.

Also, while the extreme amount of violence and nudity stick with the theme, it removes the audience from the story.

Dramatic close - ups of the audience are intercut with the violence, blurring the line between pleasure and pain.

Conventional narrative building blocks are ignored, while the audience is purely engaged by sensory elements, throwing more brutal violence and profane language at them with increasing intensity.

Perhaps it was the audience I was watching with but there was a lot of sniggering laughter at the scenes of early violence against Tonya by LaVona followed by a lot of gasps when husband Jeff — played very well by Sebastian Stan — took over the beating.

As the only character with any hint of depth, Doyle is the audience's vessel from one chase to another — or, rather: throughout the giant chase that is the whole movie — a man as relentless as the filth and violence of the City that he struggles to defend, one drug bust at a time.

Certainly, his latest film exhibits many of his most characteristic features: an early static shot of a concert audience once again emphasises spectatorship as a primary concern; we meet, as so often, a bourgeois family about to experience severe suffering; Emmanuelle Riva follows Isabelle Huppert, Juliette Binoche and Naomi Watts in giving an extraordinary performance in response to psychological terror; and violence, with its attendant guilt, comes as a shocking intrusion into this world.

It's jam - packed with violence and masterfully crafted choreographed fight scenes that are brutally creative and promise to leave audiences picking their jaws up off the sticky theater floor.

The MPAA has given the blockbuster the latter grade, citing that parents should attend screenings with audience members younger than 13 because of «sequences of sci - fi action and violence.»

Thankfully Knight and Day gets the kernels of fluffy moviemaking just right, with enough heat to keep things interesting while not burning its audience with copious amounts of sex and graphic violence.

It's been a long time since I've felt as uncomfortable watching a comedy as I did with The Death of Stalin, where master political satirist Armando Iannucci savagely ridicules the Soviet regime while constantly reminding the audience that it was built on torture, sexual violence and murder.

The film is stuffed with in - jokes, vulgar comedy, outrageous violence, and Deadpool speaking directly to the movie audience pulling us even further into Deadpool's twisted mind.

Jurrassic Fight Club: The Complete Season One Unrated but viewer discretion advised due to graphic violence Available on DVD Last year the History Channel jumped into the dinosaur game with this high - octane documentary that attempts to both educate and enterain by teaching the audience about dinosaurs, and then watching how they fight.

The film's R rating comes exclusively through language, for he doesn't allow himself the easy out of titillating or distracting the audience with gratuitous violence or sex.

Despite being best friends with Quentin Tarantino though, Rodriguez is yet to challenge his audience with anything more than hyper - stylised cartoon violence.

Action films then expanded in the 80s and 90s, with the growth of special effects techniques and in response to jaded audiences who demanded faster plots (coherent or not), greater violence, and stimulation.

With Teutonic ponderousness, Haneke claims the movie is a statement about violence, specifically the voyeurism and complicity of audiences in movies and media.

At the same time, there is an odd lack of excitement much of the way; given the sex and violence that fills the bulk of the film's run time, one wonders why there wasn't more effort to engage audiences with some style and flair.

There were also films meant to thrill audiences outside of the Oscar race, including «No Escape» starring Owen Wilson as a dad who moves his family to Malaysia only to be caught in the middle of political violence with his wife and two young children.

Cold, calculating, and over-the-top with both its romantic entanglements and formulations of violence, it's a strangely masochistic film absent of any kind of audience investment, with a femme fatale who strangely lives up to her choice surname.

For the women of Baise - Moi, as for Michèle, it is not just a question of responding to violence in ways deemed socially «appropriate», but rather about finding a way to live with ongoing trauma any way they can, regardless of whether it makes sense to other characters (and the audience).

Most Americans will go see a movie with their families over the holidays and I seriously doubt that audiences will choose a film about sexual violence over typical holiday fare like action and comedy.

Final Destination 3 viewed at a semipublic screening with an audience of critics and ordinary moviegoe rated R for strong horror violence / gore, language and some nudity official site IMDB

By situating the audience perspective at the borders of grotesque violence, both at a remove in the case of the CCTV cameras and in decontextualizing, arresting close - ups with the help of cinematographer Tom Townend, Ramsay conveys a more ruminative position on the effects of violence.

Cultural critics were busying themselves with lily - livered debates over the moral quandaries of Violence as Stylish Accessory in the wake of Pulp Fiction, fretting that good American audiences couldn't take a little gun - brandishing.

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.

In front of a cheering audience, they end with powerful slams from Donté and D'Neise expressing how they want out of the violence, out of the war zone.

I wanted the audience to really think about their ability to empathize or not empathize with him, to give themselves a fictional scenario to be able to explore their own personal feelings and views on domestic violence.

«Seinen,» however, has a lot of different connotations; while ostensibly denoting a comic For Mature (male) Readers, the banner can encompass basically anything from borderline porn to stories aimed at 40 - year old salarymen, or — in the case of some of the material in Weekly Young Jump — shonen manga with just a little too much sex or violence, or even just plain vanilla shonen manga the editors figure will have a better shot with a slightly older audience.

The cultural cues the designer puts into the game can have a huge effect — designing a testosterone - drenched game with scads of violence and / or women as sex objects (say, a Bulletstorm or a Duke Nukem Forever) is going to attract a very different audience, and have very different griefing thresholds, than online components for, say, the Settlers of Catan Xbox Live game or a more casual MMO like Maple Story or Free Realms.

Kingdom Battle appears to be a game that is family friendly, with as much probable animated violence as Splatoon and Breath of the Wild, while tapping into a branch of gaming that was previously difficult to show young adult audiences.

In addition to this, there's an extreme amount of violence, as blood flies and stains itself on the screen — which, combined with the English voice acting, makes it seem like Project Altered Beast was intended for a Western audience.

Many questions from the audience came from very young fans who asked very detailed questions — an interesting juxtaposition from a game filled with so much death and violence.