Sentences with phrase «film than audiences»

There's more going on in Bert Williams» 1965 film than audiences at the time had any right to expect from a cheap exploitation movie.

Not exact matches

While Bay's films are hits with audiences grossing more than $ 4.6 billion dollars worldwide, they're not always loved by critics.

Suddenly, the freshness rating of a film became more important than audience interest in terms of success — even though data scientists have found that the score doesn't affect the box office.

«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.

While a film may need to hold the audience's attention for two hours or so, games often have to go much longer than that.

As an industry content leader, Participant annually produces up to six narrative feature films, five documentary films, three episodic television series, and more than 40 hours of digital short form programming, through its digital subsidiary SoulPancake — all aimed at entertainment that inspires social awareness and engaging audiences to participate in positive social change.

Thus males, whose performance is unpredictable and who are in any case secondary attractions for the heterosexual audience of the films, earn far less money than female porn stars, whose appeal is largely visual and whose standard of performance can be counted on.

About Condé Nast Entertainment: Condé Nast Entertainment (CNE) is a division of Condé Nast that focuses on the development, production, and distribution of original television, feature film, and digital video offerings based on the company's iconic media brands, which for more than one hundred years have created the world's greatest content for the world's most influential audiences.

The film's being debuted across the country in a steady roll rather than all at once, so the producers (working with Democratic consultant Chris Lehane) are hoping to build a national audience incrementally without having to resort to expensive mass - market tv ads (though I've seen some targeted cable ads).

In this respect, the «psychic» who regularly liven up the press in the New Year — at least in the US — with predictions that California will fall into the sea, the president will be abducted by aliens and some film star will give birth at the age of 65, evidently understand their audience better than the astrologers.

Producers hope that the audience will pay to see the film more than once.

I wanted a product that looked better than what I could film on my own and I felt like my audience deserved a truly kick - ass workout video.

Portrayals of smoking in kid - oriented movies tend to be less than realistic and are probably a weaker influence on tween and teen behavior than smoking in films geared toward older audiences, Sargent says.

An art film is typically a serious, independent film, aimed at a niche market rather than a mass market audience.

The relatively grounded film goes into full pixels - and - dynamite mode in these final minutes, beating the audience into submission rather than highlighting the spectacular trio of Batman, Superman and Wonder Woman.

For apart from ensuring the film an audience on both sides of the Atlantic, it enables Himelstein to import a theme more usually associated with Henry James than Wilde — the corruption of the New World by the Old — and also to introduce some amusing cross-cultural digs (like Darlington's mock approval of America as a society «that's gone from barbarism to depravity without bothering to develop civilisation in between»).

The Missing marks a definite return to form for Ron Howard, whose last two films - the overwhelming How the Grinch Stole Christmas and the sappy A Beautiful Mind - felt more like products geared towards a large audience than anything else.

The film is there to enjoy itself on its own terms, the only catch is that unlike the prostitute who is paid for her time, the audience is forced to do the paying in more ways than one.

Enter Tom Hooper fresh off his 2010 Oscar winning biopic The King's Speech, who, knowing he would need to do more than simply put the stage show on film to find an audience, teamed up with two - time Academy Award nominated screenwriter William Nicholson (Gladiator).

In Harry Potter and the Deathly Hallows: Part 2, the final bow of the boy wizard, his boon friends, and his formidable enemies, director David Yates (who helmed films five through eight) chooses to touch audiences rather than wow them.

It fascinates me that the tendency of Hollywood is to use the locked - in audience of a franchise like cattle to a slaughter, spiting patrons with no more than they'll merely settle for because studio executives know they'll see the film anyway.

Knaggs» character, a mute seaman, narrates the film's key sections with an internal voice - over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs» seaman ultimately rescues the hero from near - certain death.

The film's director of photography, Matthew Libatique, makes «Pelé» more than an eye - moistening anthem for a built - in global audience.

Much ballyhooed for its on - location filming in and around the United Nations building in Manhattan «The Interpreter» works better as a captivating drama than it does as an espionage thriller due to some sticking plot points that prevent the audience from

And I'm not saying that that's the type of audience they wanted to get, but they were clearly shooting for lower than their demographic should've been, so it's a film that's somewhat stuck in a limbo as it comes to that.

The first film was a huge hit, taking more than eight times its budget at the box office and winning over critics and audiences alike with its intelligent storytelling and witty script.

The sheer goofiness of the concept makes Michael Sucsy's film more enjoyable than most young - adult movies, but I can imagine members of its target audience responding to its dreamy, kind - hearted emotionalism too.

It's just that the film feels so unusually empty; even if he has subtly snuck his usual hallmarks into the mechanics of the narrative itself, he's populated the foreground with characters who never come alive as anything more than archetypes, who trade in so much exposition it's hard to see how any audience member could be overwhelmed with confusion at the story being told.

The original film turned suspense levels to 11 by playing with dramatic irony, showing the audience the location of the three strangers far more often than the characters are aware of it.

Unlike many of the horror films of the time that relied heavily on gore and torture for cheap scares, «The Strangers» reverted back to authentic dread and played upon the audience's comfort levels — there's nothing more terrifying than being unsafe in your own home.

It's a film so well paced with a message so relevant that it deserves an audience bigger than what it got and it deserves more of an emotional impact than will resonant throughout.

Schrader, whose strict, Calvinist parents did not allow him to see films until he was eighteen, unwraps the story as though a reflection on his own upbringing, entertains a view that actors should not over-emote, that more naturalistic performances would evoke passion in the audience more than a display of firecracker exhibitionism.

Probably more than any other filmmaker, his name evokes instant expectations on the part of audiences: at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in every one of the director's movies.Originally trained at a technical school, Hitchcock gravitated to movies through art courses and advertising, and by the mid -»20s he was making his first films.

Consequently the film ends up more like a workshop for actors than a satisfying drama for audiences.

While the incident that has caused this change in him is strategically hidden until towards the end, it is slowly made apparent rather than suddenly revealed, giving the film a significant degree of restraint and credibility for treating the audience with intelligence.

Then, as told partly in flashback as Arthur (Harrelson) is being interviewed by a court - appointed psychiatrist (the underrated Sandra Oh), the safe distance that gives the audience derails the pace and the film becomes more serious than it ought to, no matter the subject matter and this results in it becoming every «realistic» work that looks down on the idea of either a superhero or the genre.

It's the right film at the right time, a cathartic moment in which audiences will shed tears for a little machine made of silicon and aluminium, wrapped in tin foil and running on less computing power than our smartphones, yet which will outlive us all — perhaps by billions of years.

Otherwise, we have to accept that Transformers: Dark of the Moon is little more than a «leave your brain at the door» film for audiences with the dubious ability to stop themselves from thinking.

On the one hand, his recent films deliver a compelling intellectual experience to a wider audience than most «intellectual» filmmakers could dream of, and that's an admirable agenda for an artist with the resources of all Hollywood at his beck and call.

Two films came out this year that had brilliant cinematography and very little dialogue, the difference is mad max didn't put me to sleep and it had action scenes that pushed the story forward rather than happen in the background and force the audience to squint to even make out what's happening.

The preview audience I saw the film with spent a lot more time laughing than shrieking.

I spent a lot of my review (in all versions of it) addressing audience expectations of the film rather than reviewing the film itself, at least not as directly as perhaps I would normally.

This is a film conceived of solely to introduce Bruce to an American audience as something more than Kato from «The Green Hornet» fame.

The act of audience deception here is brilliant — especially as the film shifts gears from a traditional but warm storytelling approach to a subversive and dramatically vibrant narrative as it deconstructs the family and allows room for far more questions than what it seemingly starts with.

It may be surprising for you to learn that in a country with more than one billion people, the fastest growing film industry in the world, and a 10 billion rmb (1.5 billion usd) box office gross in 2010 alone, there is hardly any professional film criticism accessible to its public.When I say hardly any, I mean that there is an absence of professional film critics who work for major, national publications and media outlets, and thus a lack of regular film reviews of new Chinese movies, at least for the mass audiences.

However, the film isn't completely a winner as it snobbishly attempts to be wiser than the audience.

I won't give away much more plot other than it's a dark comedy because this film would suffer in my eyes if the audience knew too much about it.

Having built up to what promises to be a dramatic, fitting finale, the film's final scenes seem to be more interested in shocking the audience and subsequently leaving them freewheeling rather than providing catharsis.

One of several truly genius ideas behind Blair Witch is that filmmakers Daniel Myrick and Eduardo Sanchez made the audience believe that the film they were watching was nothing more than the unearthed footage left behind by three disappeared young people.

But feel - bad films reigned supreme for the fest's first week: By the time Cannes hit the halfway point, audiences had been subjected to beaucoup examples of horrific violence, human - rights violations, pedophilia and more exploitation of women than you could shake a rape whistle at.