Sentences with phrase «film with the viewer»

Fortunately the action is handled in a much more controlled way than the second film with the viewer actually being able to walk out of the cinema without a coma.

Not exact matches

«It will be an experience similar to entering a documentary film, one in which you will be able to look around, one you will be able to interact with and, moreover, encounter the surprises we have prepared for our viewers,» said Pazdur.

Signing the Potter deal makes sense in part because NBCUniversal already has a Potter - themed attraction at its parks (it now gets access to more material from the films), and because the movies are also a huge draw with younger TV viewers.

«Nobody in the business world can argue with 18 million viewers,» said Post, referencing the record numbers for Jenner's sitdown with ABC's Diane Sawyer that was filmed in February and aired late April.

Combining with Disney are 21st Century Fox's critically acclaimed film production businesses, including Twentieth Century Fox, Fox Searchlight Pictures and Fox 2000, which together offer diverse and compelling storytelling businesses and are the homes of Avatar, X-Men, Fantastic Four and Deadpool, as well as The Grand Budapest Hotel, Hidden Figures, Gone Girl, The Shape of Water and The Martian — and its storied television creative units, Twentieth Century Fox Television, FX Productions and Fox21, which have brought The Americans, This Is Us, Modern Family, The Simpsons and so many more hit TV series to viewers across the globe.

With or without the gay - straight «flip,» I think the film helps viewers understand better what it's like to be in the minority, to be different.

Unsurprisingly, movies about journalism can often strike a dishonest chord with some viewers, mainly ones who have a natural distaste in films that almost deify the media, even when there's a fair share of evenhandedness.

But its greatest strength is also its biggest weakness: Luhrmann is so intent on dazzling viewers with his frenetic, over-the-top directing style that the film constantly threatens to overshadow, if not injure, the delicacy and profundity of Fitzgerald's exquisite novel....

In order to do so in a way that might, ahem, resonate more effectively with its viewers, it films a meeting between a few college athletes and Dr. Aaron Spitz, the lead delegate of urology for the American Medical Association.

The end of the film made an appeal for viewers to care about the ocean, citing the accidental release of the lion fish coinciding with overfishing in the Caribbean for how we humans can cause great problems with what we see as minor mistakes.

Africa Magic in association with MultiChoice, are proud to announce the call to entry for the 2018 edition of the Africa Magic Viewers» Choice Awards (AMVCAs), the prestigious initiative that honours film and TV talent across the continent.

To see if entertainment could offer a solution to this challenge, Ingber teamed up with Charles Reilly, Ph.D., a molecular biophysicist, professional animator, and Staff Scientist at the Wyss Institute who previously worked at movie director Peter Jackson's Park Road Post film studio, to create a film that would capture viewers» imaginations by telling the story of a biological process that was accurate down to the atomic level.

We have made a couple of short films to offer the viewer an opportunity to see for themselves whether Paolo's articles corresponds with reality or not?

While there are amazing advances being made with stem cell technology, the film rightly cautions viewers about the dangers of going to a stem cell clinic abroad.

To find out what someone who treats patients for eating disorders thinks of the film — and suggestions that it glamorizes anorexia, or could be triggering for vulnerable viewers — Health spoke with Bonnie Brennan, a licensed professional counselor and senior clinical director of adult services at Eating Recovery Center in Denver.

He's a writer with a background in film, and he often laments the industry's sequels and reboots that sacrifice the original film's creative power for a guaranteed (but unsatisfying to the viewer) box - office bump.

The best part about this is that because everyone's in their own car, you can feel free to have a little chat with yourselves during the film without having a theatre of angry viewers pester you!

Critics Consensus: It's sentimental, and some viewers may feel manipulated by the melodramatic final act, but The Man in the Moon offers a finely drawn coming - of - age story with an excellent cast — including Reese Witherspoon in her film debut.

A buddy - cop thriller recast as Dante's sojourn in Hell, this graphic, allusion - littered film stands the conventions of the genre on end — along with the viewer's hair.

Critic Consensus: It's sentimental, and some viewers may feel manipulated by the melodramatic final act, but The Man in the Moon offers a finely drawn coming - of - age story with an excellent cast — including Reese Witherspoon in her film debut.

Fans may not like the CGI zombies, but unlike the video game creatures in I am Legend (2007), these are more filmed actor - CGI tweaked hybrids; their believability is really dependent on how much viewers will accept the virus as a fast - moving bug which immediately transforms a host into a rabid sprinter with super-strength (not unlike 28 Days Later).

It was just an ordinary crime drama full with safe clichés for an ordinary viewer, and nothing which will be remembered for any longer than the duration time of the film.

Unlike the first films, this is probably too intense for younger viewers, and will definitely be a source of frustration to anyone not familiar with the previous films or the source material.

A perversely disturbing and highly uncomfortable film that bursts with overwhelming sexual intensity as the characters engage in a compulsive fetishistic psychopathology that is strangely telling, even if it will probably leave most viewers repelled and make them never want to see it again.

Denis's films often end with a reveal, a character learning something previously withheld, or the viewer learning that a character knew more than we expected.

The movie, which follows four marines (Mark Wahlberg's Marcus, Taylor Kitsch's Michael, Emile Hirsch's Danny, and Ben Foster's Matt) as they get trapped behind enemy lines during a risky mission, certainly opens with a fair amount of promise, as Berg does a nice job of initially drawing the viewer into the familiar proceedings - although, by that same token, it's clear that the film would've benefited from a more in - depth look at the individual protagonists (ie the four men are, to an increasingly distressing degree, basically interchangeable).

Some jokes will only resonate with English viewers — a «shut that door» quote from camp Brit comedian Larry Grayson, for instance — but generally the humor's more American than in the Wallace & Gromit films.

With the rattling of passing trains, rain falling on the car and the hum of city life going on around you, this dvd is a perfect example of how enveloping the viewer in the ambience of the world the character inhabit can take you out of your lounge room and into the world of the film.

Reflecting Ferrara's obsession with guilt and redemption, the film acknowledges the capacity for evil, urging viewers to take responsibility for their actions, or else there won't be a way to arrest evil's diffusion from one generation to the next.

Many viewers will be turned off by the film altogether, as it is surreal and stylized, with even ordinary conversations about ordinary things getting the Wes Anderson treatment.

I'd be curious to find out how many of those viewers felt satisfied with the film.

To see Maggie Smith deliver these words with the wonderment of a child fittingly captures the sentiments many viewers will have about seeing this long film journey reach its end.

Yet while those comic book references, along with plenty of well - written quips aimed at older audiences, will engage the parents in the theater, the film's introspective second act may fail to hold the attention of younger viewers.

With a giant god like hand, Whedon destroys viewer expectation by carefully crafting the perfect satire film with a wit, intelligence and depth that is often lacking in the films it makes funWith a giant god like hand, Whedon destroys viewer expectation by carefully crafting the perfect satire film with a wit, intelligence and depth that is often lacking in the films it makes funwith a wit, intelligence and depth that is often lacking in the films it makes fun of.

When it premiered in Toronto last year, viewers experienced the dual perspectives as two separate films, subtitled «Him» and «Her,» each 90 minutes long and played back to back (with the order of the films switched for a second screening).

We need more films like this: family - friendly efforts that challenge viewers with ideas rather than regurgitating tired tropes in the name of placating toy companies.

Unimaginative viewers were tickled by the film's futuristic hardware — all shiny and clean, with many video status readouts — but wondered when the outer - space thrills would show up.

It's nothing like a safely commercial film: like Ex Machina, it asks viewers to be patient with its mysteries, and with the relatively subtle emotional responses of a group of characters who are all clearly repressing their fear and frustration, right up until the moments where they explode.

It's clear that Killer's Kiss requires a great deal of patience from the viewer, as much of the movie's first half suffers from the feel of a rather unimpressive student film - with director Stanley Kubrick exacerbating this feeling by suffusing the proceedings with needlessly ostentatious visual choices.

The trick of heist films is getting the viewers to side with the criminals, and thusly enjoy outsmarting the cops, the fuzz, the heat, 5 - 0, and this film supplies that high.

Or with his 2011 action film «In Time,» he asked viewers «what if time actually WAS money?»

From literally watching open heart surgery, to seeing children with bleeding eyes, to see cheating wives and husbands, to even relating to today's sexual abuse scandals in many more ways than one, this is a film that will probably scar some viewers in many more ways than one.

And while the movie's obvious highlight comes with Roma's brutal dressing - down of Kevin Spacey's officious manager, Mamet's screenplay affords virtually all of the actors their moment in the sun - with Lemmon's sad - sack of a character ultimately standing as the film's emotional center (ie despite his exceedingly slimy actions, Levene becomes a figure worthy of the viewer's sympathy).

Through Ro's searingly honest and courageous voice this film connects all those touched by and fearful of breast cancer, arming viewers with insights into the experience that will dispel fears and help women face the reality of breast cancer and its impact.

The film's humor hits with absolute accuracy, and the twists and turns throughout keep the viewer guessing about which direction the next threat (or next comedic beat) is going to come from.

And the jokes, respectful of the culture the film embraces, rely on the average viewer's familiarity with all - things - Mexican to come off.

Midnight Special is a film about fatherhood and faith, with sci - fi elements that are engrossing, mysterious, and will linger with viewers for a long time.

The film's three - part structure ends with a twist that will raise at least two questions in most viewers.

Of Game Night's deficiencies, the most glaring is its failure to multitask: The film exhausts itself — and the viewer — with a busy, uninteresting caper storyline, while neglecting to nurture the humor, or the characters, beyond the most basic level.

Moulder and Scully are back one the trail of the paranormal, and this film succeeds in providing the viewer with head scratching questions.