Sentences with phrase «by cinema audiences»

They may have done well by the novelist but they didn't do well by the cinema audience.

Not exact matches

Indeed, The Man in Grey opened a new, highly exploitable sub-genre of period bodice - ripper melodramas that war - weary audiences whole - heartedly embraced, and not just in England; it also did respectable business on the far side of the Atlantic.It was also Crabtree's permanent ticket out of low - budget cinema and to work with some of the more prestigious filmmakers of the period, most notably Anthony Asquith on Fanny By Gaslight (1944).

While not containing any nudity, Bonnie and Clyde jumps out of the gates by showing audiences that a new era was about to kick off in American cinema.

In 2005, Lindhardt took Danish cinema audience and critics by storm in the lead role of ANGELS IN FAST MOTION, for which he received the Danish Robert / Academy Award, Best Lead Role.

Originally set for a worldwide release in cinemas this week, the film was picked up by Netflix when producers feared it was too cerebral for a mass audience.

This does not end with the credits, as Wallace continues keeping a balance — albeit a skewed one, this is a movie meant mainly for American audiences — by showing the mental mêlée played between the leaders of the two armies and the fact that the dead Vietnamese soldiers were just as unfortunate losses as the Americans, just that they are on the side that normally gets the shaft in Hollywood cinema.

(p. 37) Yet, whereas Daire sees Mauprat as a dynamic, complex, and ostensibly queer studio film (the gender play he notes in the biography), Keller sees the film as a «costume drama [that] lacks almost entirely the vigour described by Epstein about the effects of cinema on an audience.»

The film opens majestically, with great wit, as the director himself plays a man magically transported from a hotel room to a cinema hall, where he gazes down upon an audience enraptured by moving images from the 1890s.

Aaron Gerow lays out a history of film criticism in Japan to the present day, underscoring a narrative about cinema negotiated by professionals who gradually lose the ability to make a substantial impact on either audiences or the industry.

Virtually indescribable to modern audiences despite its familiar elements, Dead & Buried is a Darwinian fossil of the horror cinema, whose DNA has been perverted by the progressive commercialization of the culture and weakening of the intellectual position.

«We are looking forward to sharing Lover For a Day with arthouse crowds, fans of Garrel and French cinema, as well as younger audiences / students who can relate to the two protagonists — especially Esther Garrel's growing fan base given the break - out year she has had, with an impressive performance in Luca Guadagnino's Call Me By Your Name in addition to her leading role in Lover For a Day,» commented Kasman.

Audiences around the UK will have the chance to enjoy a live cinecast from the Opening Night red carpet via satellite to cinemas across the UK, followed by an exclusive preview screening of SUFFRAGETTE.

While both stars of the big and small screen were present, our focus was zeroed in on those who made a splash in cinema and of course, the skewering of stars by host and comedian Ricky Gervais who was just as bored as audiences and attendees.

Salvation for cinema bookers is not immediately at hand, since new releases for the coming weekend are led by 1940s - set romance The Guernsey Literary and Potato Peel Pie Society, which should play nicely to its audience but doesn't scream four - quadrant box - office juggernaut.

Riggan Thomson (Michael Keaton), a man who once delighted cinema audiences with his crime fighting escapades as the iconic feathered superhero; Birdman, now tries to reboot his failing career by directing and staring in the ambitious Broadway play; «What We Talk About When We Talk About Love».

While Gnomeo and Juliet (2011) proved there was an audience for a gnome - themed animated comedy powered by Elton John hits (it grossed # 16m at UK cinemas), the specificity of the concept made commentators wonder whether a sequel was required.

While TV shows such as «Westworld» and «The Handmaid's Tale» were dragging audiences kicking and screaming through the muck of abject misery and hopelessness, cinema was taking people by the hand, reacquainting them with joy, warmth and especially the importance of family.

The film's been written and directed by Lukas Moodysson, who throws virtually every rule of cinema out the window for the sole purpose of shocking the audience.

Insightful Screen Talks were given by celebrated directors, actors and industry professionals: Annette Bening, Guillermo Del Toro, Jake Gyllenhaal, Lucrecia Martel and Takashi Miike, offering festival audiences the opportunity to learn more about these leaders of contemporary cinema.

By the time of Camelot's release, the once - surefire Broadway - to - film musical conduit had frayed to the point of snapping, as the hip youth market soaked up new flavours from Europe and older audiences turned away from cinema altogether.

A History of Violence had most of the audience in my cinema laughing uncomfortably, squirming at the gore, and generally sounded disappointed by the time the credits rolled.

It's the Star Wars movie we deserve, not because it's some perfect piece of cinema, but because it's as good as a movie could possibly be with this many obligations — to fans and newcomers, old markets and new ones, with every variety of expectation laid at its feet by eager audiences worldwide — and then some.

Striped of its international cinema release by Paramount Studios due to worries that it was too cerebral for audiences, Annihilation (based on the novel by Jeff VanderMeer) comes to Netflix on more of a positive wave of critical reaction than the two sci - fi streaming flicks before it, two films which have done a great detriment to Netflix's standing as a major film studio competitor, only enforcing the notion that the streaming service is becoming a dumping ground for doomed movies.

Meanwhile, Todd McCarthy of the Hollywood Reporter wrote of the film, «Intense emotional currents and the jagged feelings of volatile actors are turned loose to raucous dramatic and darkly comedic effect in one of the most sustained examples of visually fluid tour de force cinema anyone's ever seen... An exemplary cast, led by Michael Keaton... fully meets the considerable demands placed upon it by director Alejandro G. Inarritu... The film's exhilarating originality, black comedy and tone that is at once empathetic and acidic will surely strike a strong chord with audiences looking for something fresh.»

If Andrew Haigh, the director of Weekend, the earnest, prosaic, and mostly unsurprising British drama that won an Emerging Visions Audience Award at South by Southwest last night, is considered a fresh new voice in cinema, then what about Matt D'Elia, who shows more breathtaking audacity in his debut feature, American Animal, than Haigh shows in his Richard Linklater - ish romantic talkfest?

It's telling that the post-credits sequence is a direct entreaty to an audience raised on»80s cinema; Deadpool is the culmination of the complete takeover of popular culture by guys my age.

Rather than the passive lethargy that political cinema often inculcates in viewers by providing them with deceptively simple answers to often extremely nuanced questions, The Party forces its audience to continue grappling with these vital issues long after they've left the theater.

The DVD, by the way, goes one step further: you can select an audio track that replicates the cinema experience — you can hear an audience jeering and a guy eating pop corn in the seat next to you.

Villeneuve underscores that point by using the language of cinema against his audience, hiding a secret in plain sight.

Cannily incorporating a wide range of visual vocabularies drawn from the realms of cinema, advertising, communications, and the history of art alike, and strategically structuring both architectural environments and the editing of images and sounds in order to take in the viewer and overwhelm the senses, Aitken exposes audiences to ideas — and to each other, in communal spaces — by means of a nearly hypnotic aesthetic.

By creating a «theater of cinema» in which the audience can be immersed, Marcin brings awareness through a hyperbolic interpretation of relatable scenarios, enacting symbolic actions, catalyzing the visibility of hidden codes, and mirrors the ambiguities of human behavior and psychological mechanism.

Artprojx represents the artworks at the appropriate level demanded by artists and their galleries, whilst promoting the work not only to a knowing artworld audience, but also to the widest possible cinema going audience.