Sentences with phrase «for cinema audiences»

There is also a laboured attempt to explain some of the financial jargon for cinema audiences.

dies at the end, this is supposed to be emotionally devastating for the cinema audience.

The current cycle of comic - book - superhero films could be credited to, or blamed on, the success of Bryan Singer's X-Men in 2000, which removed some of the taint and anxiety surrounding the idea of translating the cheesiness of comic - book storytelling for a cinema audience.

Not exact matches

@Gamble... «We» the audience, my whole position has been from the perspective of non-industry types, cinema as a product for a particular audience, buying tickets.

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.

This was something like a miracle: Haneke's gracious affability aside, his has always been, openly and decisively (he's quite literally said as much) an oppositional cinema — often abrasive (his one noble failure, 1997's Funny Games, and its shot - for - shot English - language remake from 2008, being the prime specimens), always painstakingly conscientious and morally committed to disturb (all of his films from The Seventh Continent through The White Ribbon) art films that mean to engage and provoke the audience, not please or reassure in a way that could ever be mistaken for award - grubbing.

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.

Sure, it could be said The Death of Stalin is niche cinema and not really meant for the wider, ordinary movie - going audience.

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.

The predictability of cinema seems to be at the heart of the matter for the critics who signed the Pamphlet for Activist Film Criticism at last year's Oberhausen International Film Festival, in which they caution against the threat of filmmaking being submitted to «market logic, target audience orientation and political agendas.»

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).

Do you think there is a growing appetite for indie cinema among Indian audiences?

2006 Time Out New York Best Documentary The Radio Times Best Documentary 2007 Rose d'Or Festival, Best of 2007 and Best Arts Documentary (Switzerland) Los Angeles Film, Festival Best International Feature (USA) 2008 Atlanta Film Festival, Audience Award (USA) Bergen International Film Festival, Audience Award (Norway) Warsaw International Film Festival Best Documentary (Poland) Paris Cinema International Film Festival, Jury Prize and Audience Award (France) Nashville Independent Film Festival Impact of Music Award (USA) Sydney Film Festival, Audience Award for Best Documentary (Australia) Los Angeles Film Festival, Humanitas Award for Best Documentary (USA) Ghent Film Festival, Audience Award (Belgium) The International Documentary Awards, Alan Ett Best Music Award (USA) The Festival D'Automne, Audience Award (France) Les Rencontres Cinématographiques de Dijon, Audience Award (France) 2009 Christopher Awards, Christopher Award for Film (USA) The Keswick Film Festival, Audience Award (England) DVD Critics, Best Non-Fiction Title (USA) AG Kino - Gilde German Art House Cinemas, Best Documentary (Germany)

The movie in a way reflects the notion of cinema itself, and begs to be seen in theatres on the biggest screen, urging for audiences to experience an event rather than passively «Netflix and chill».

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.

The mission of the society is to further the growth of an informed film audience, to promote awareness of the Internet as a source of news and commentary, to provide a forum for the OFCS members to communicate and discuss ideas about journalism and cinema, and to encourage a high standard of journalism across the online media.

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.

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.

As always, Busan works as a showcase for Korean cinema, debuting many new works while also offering audiences a recap of the year's major critical successes.

Audiences love this brand of cinema du bad behavior precisely because we get to live vicariously through it, going along for the ride while crooks try to pull off their daring plan and ride off into some metaphorical sunset.

The very fact that Criterion, the stamp of quality for classic cinema, chose to spotlight the film should bring audiences back to this overlooked masterpiece.

Wised - up, cinema - savvy audiences across the country knew to seek out his movies for their scruffy wit and showmanship and aesthe...

For 20 years, audiences in Hollywood and in other cities have thrilled to Noir City, the premier cinema festival devoted to what we call film noir — the movie genre that introduced us to a lot of the images above, and many more.

«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.

Mickey's immense popularity is also touched on, as he describes how often times, a Mickey short playing in front of a movie would be the real drawing point for audiences to go to the cinema.

As previously announced, the inaugural LFF Connects will feature British filmmaker Christopher Nolan, internationally acclaimed for some of the most original, compelling and successful films in contemporary cinema (Interstellar, Inception, The Dark Knight, Memento), and Tacita Dean, lauded for her art work in film (and whose grand - scale Tate Modern exhibition FILM transfixed audiences).

Screened for a primary school audience as part of the Film Education in Cinemas conference, Kinodvor, Ljubljana, 8 May.

Though technically not the first animated feature, the elaborately painted images and graceful execution of the Technicolor feature redefined the idea of what animation could do, pushed the possibility of color cinema into a new realm, convinced the audiences that animation could tell a story for adults and kids alike and launched the Disney legacy.

Earlier Wong Kar - wai led Tony Leung, Zhang Ziyi, Chang Chen and the script consultant Chang Ta Chun to a Beijing cinema for an audience appreciation.

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-...]

On the other hand, The Bad Education Movie did not want for currency — it wasn't a powerful enough comedy brand to deliver a big cinema audience.

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.

Lastly, Leonard Maltin introduces a collection of shorts in the «Warner Night at the Movies» section, that recreate the kind of pre-television programming that audiences enjoyed for less than 25 cents in cinemas.

In focusing on the audience, the fest capitalizes on the fact that we're all here and there's not much else to do than just sit in theaters all day long, arguing about the merits of cinema and drinking beer while waiting for the next screening to start.

Via year - round programming and discussions; its annual New York Film Festival; and its publications, including Film Comment, the U.S.'s premier magazine about films and film culture, the Film Society endeavors to make the discussion and appreciation of cinema accessible to a broader audience, as well as to ensure that it will remain an essential art form for years to come.

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.

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.

The Sundance winning documentary that wowed cinema audiences last November and December is also up for another IFTA as Crowded House musician Nick Seymour has been nominated in the Best Original Score category for his work on the film.

Portabella is knocking cinema about, forcing the audience to be accountable for what it is watching.

A Special Citation will be given to TURNER CLASSIC MOVIES for preserving historic cinema and bringing it to a wider audience via FilmStruck.

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.

Returning to the capital's cinemas this November for the 6th year, the Irish Film Festival London (IFFL) will bring an exciting line - up of the very best in contemporary Irish cinema to London audiences.

Just in time for Christmas comes the latest and possibly final act of audience antagonism from the reigning scold of European art cinema, Michael Haneke.

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.

American audiences take the Tarantino - ization of genre cinema for granted, but not so the French, who adore the director (who won the Palme d'Or for «Pulp Fiction») but never went so far as to imitate him outright, until now.

The script is well paced, offering its audience precious little opportunity to relent from the action and the performances (even though they're dubbed, as was the norm for Italian cinema back then) are naturalistic and believable.

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.

I wish it was more, and I hope that, having spent most of this year defending it, Von Trier will return to cinema feeling scrappy and newly energized for his next salvo aimed at the arthouse audience.

Quite apart from its arrival at a genuine watershed moment for LGBT cinema, it's the sort of film that connects robustly and unambiguously with the audience on an emotional level — a virtue that has been known to win over juries over the past.