Sentences with phrase «cinema audiences with»

He next comes before judging panels and cinema audiences with a project he is not planning to shoot until 2013.

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».

Not exact matches

Star Wars: The Last Jedi has been pulled from cinemas in parts of China after tanking with audiences.

But such specialization meant that it would reach its core audience, but not connect with newer fans that represented the future of cinema.

Beginning in the late 1980s, Iran's postrevolutionary cinema captivated festival juries and Western audiences with its idyllic imagery and contemplative themes, its poetry and simplicity.

Can a womanising imperialist ever sit comfortably with a 21st Century cinema audience?

Bond's central problem is that the tropes of the franchise are out of step with what a modern cinema audience expects from its protagonist.

Comfortably sitting in the Sundance Kabuki Cinemas in Japantown in San Francisco, I was watching The Theory of Everything with an audience of hundreds.

«The festival is closely linked to new technologies, interactivity and cinema, and as it addresses a young audience, it can effectively showcase the works of the selected young talents to the world,» Armani himself explained in an interview with BoF.

Metacinema, also meta - cinema, analogous to metafiction in literature, is a mode of filmmaking in which the film informs the audience that they are watching At a Delhi market Guy buys a Royal Enfield bike with a traditional Hindu blessing.

Departing only incidentally from E.L. James's trashy tome, and making up for any short cuts with extra set dressing, this is brochure cinema of the most profuse order, selling its audience more on a lifestyle than on any of the lives inside it.

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).

After «Reservoir Dogs» in 1991 and «Pulp Fiction» in 1994, Quentin Tarantino was hailed as the new wunderkind of contemporary American cinema with his triumphant originality and seemingly effortless ability to excite audiences.

One of these flashbacks confronts the audience with one of the most disturbing image in cinema, a repressed Karin cutting her vagina with glass to avoid sex with her husband.

Indeed, Senna is a must - see feature for consumers of cinema, lovers of action and aficionados of ambitious entertainment, with the flawless, fascinating and thrilling feature causing audiences to laugh and cry, and be moved and amazed, regardless of their prior ambivalence for or appreciation of the man at the centre or his chosen sport.

He got rave reviews for his dual performance (and directing duties) on the HBO drama The Deuce and is set to wow audiences with The Disaster Artist, which opens in U.S. cinemas this weekend as well as on selected UK screens (it opens wide here next week).

While some debate as to whether Sunset Blvd. or Baby J incited Grande Dame Guignol cinema (or, more fondly known as hag horror), audiences should enjoy seeing glamorous actresses of yesteryear get down - and - dirty with Mean Girls - level spiteful digs that feel uncomfortably horrific and humorous.

Best filmmaker turnout (at screenings I attended): Venice Best fest venue: Sundance Cinemas (Wisconsin) Worst fest venue: Pala Biennale (a tent with port - a-potties)(Venice) Best program notes: Bologna Best fest promo reels: Bologna, TCM, Todos Santos Most charming festival director: Sylvia Perel (Todos Santos) Most beautiful surroundings: Venice, Savannah Most enthusiastic audiences: Todos Santos Best festival volunteers: Sundance, TCM Longest lines: Sundance

As the film progresses, Lanthimos tortures the audience further with cold, composed Kubrickian camera moves, but he remembers to alleviate the tension with humour — you won't forget the saddest, funniest handjob in recent cinema memory.

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.

2017's festival also reinforced its status as the home of politically charged cinema with a line - up that addressed the refugee crisis (and a bold new step into the world of virtual reality cinema), dystopian social experiments, mental health, and AIDS activists: there were more than enough fine caliber films to chew on for this year's audiences.

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.

Although the technical skill of Pixar's work is undeniable, much of their success stems from the ability to craft stories that engage audiences young and old.Whether telling tales of animated insects (A Bug's Life), superhero families (The Incredibles), talking automobiles (Cars) or lonely robots (WALL - E), their features connect with both children and adults, making for a cinema experience the whole family can enjoy.

Dedicated to showcasing the finest American and international cinema the world has to offer, its mission is to bridge the gap between independent film audiences and filmmakers, as well as to connect emerging filmmakers with established industry professionals.

King Arthur may have drawn the sword from the stone, but it's doubtful whether he'll be able to draw audiences to the cinema with this film.

«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.

Director Ben Wheatley (of Sightseers, Kill List) certainly knows how to make weird and wonderful cinema that will divide audiences and he's gone on to make another one with this adaptation, based on the JG Ballard novel from the 70s.

«I think the overall sense that I'm trying to give to the audience and what I want the audience to leave the cinema carrying with them is a sense of joy really,» he told the AV Club.

With just two weeks to go until the James Gunn - scripted The Belko Experiment arrives in cinemas, four new posters have arrived online for the upcoming horror - thriller encouraging audiences to «Choose Your Weapon» from a range of potentially deadly office supplies; take a look below... SEE ALSO: Watch the latest trailer for The Belko Experiment here On -LSB-...]

She only got into L.A. the day before yesterday, so I gave her a day to recuperate from the jet lag and we're gonna go to the cinema tonight to go see it with a real audience.

«There's no more meaningful place or audience with which to share our film that is a tribute both to the history of New York City and to cinema,» said Haynes in a press release announcing the selection.

The Hollywood suits rake in the cash and audiences make off with boundary - pushing cinema.

Moviemaker Sam Raimi is aiming to scare a whole new generation of cinema audiences - he's remaking 1982 horror classic Poltergeist with director Tobe...

Broadcast live from the National Gallery on Monday 9 October, audiences in cinemas across the country are invited to experience the film premiere and the following Q&A with special guests.

Unlike a theme park ride which often directs your attention through sound cues placed in a 360 degree fashion around a room (think of the Hall of Presidents in Walt Disney World), cinema sound must contend with a two - dimensional screen on which audiences must stayed focused, even with 3 - D presentations where your eyes remain fixed on a general axis, where any movement outside that axis might reveal the images to be cardboard cutouts — a phenomenon all too familiar to me.

There's no better time of year for fans of classic cinema, no better place to watch classic films than movie palaces like the Chinese and Egyptian Theatres in the heart of Hollywood, and no better audiences to watch films with hundreds of people who love the classics as much as you do.

Criterion presents a contemporary treasure on Blu - ray that's likely to endure with future audiences as a staple of European cult cinema.

Each with a remarkable body of work that continues to challenge, thrill, and inspire audiences, we are proud to celebrate their numerous artistic achievements and honor their contributions to the landscape of cinema with these Tributes.?

At the film's recent press day, McKay, Lewis, Bale, Carell, Gosling, Hamish Linklater, Jeremy Strong, producer Jeremy Kleiner, and screenwriter Charles Randolph talked about turning the book into a movie and adapting it to the screen, why McKay was the right person to direct, what drew them to the project, how the actors met their real - life counterparts in preparation for their roles, the decision to combine a cinema verite documentary approach with other stylized elements, breaking the fourth wall, and using celebrities and pop culture figures as an entertaining storytelling device to explain complex financial concepts to the audience.

From his second feature, 2008's Tony Manero, about a Saturday Night Fever - obsessed killer in»70s Chile, up to his forthcoming film, the poetic Neruda (out in the UK in April), Larraín has made character studies that trust audiences to search the sweep of a film for meaning, using the formal potential of cinema to explore what people are like, rather than saddling an actor with revelatory baggage.

The dead of winter combined with the overload of Oscar bait flicks have a one - two punch on the cinema audience.

I believe that many cinema audiences would agree with me.

Especially with a big audience at night at your local art house cinema.

And make no mistake: The Exorcist is most definitely a horror film: though it may be filled with rigorously examined ideas and wonderfully observed character moments, its primary concern is with shocking, scaring and, yes, horrifying its audience out of their wits — does mainstream cinema contain a more upsetting image than the crucifix scene?

Ten years ago, Joe Wright took audiences to Dunkirk in a five - minute tracking shot that ranks with the best of cinema's long takes.

Our goal was to have a cinema vérité film where an audience [not familiar with the story] would [not necessarily] realize they're watching a non-fiction film.»

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 movie won accolades from critics and has performed well with audiences, and its big win tonight ensures its place in cinema history.

Through his leadership roles in film distribution and exhibition over the last 15 years, John Vanco has strived to connect great works of cinema with appreciative audiences.

Best of all, Brother Bear manages to thrill and amuse audiences with an effectiveness that surpasses most of today's cinema.