Sentences with phrase «gives viewers an interesting»

The footage, which includes actors Michael Keaton, Zach Galifianakis, Amy Ryan, and Edward Norton as well as Iñárritu & the film's cinematographer Emmanuel Lubezki, gives viewers an interesting glimpse at the production process on Birdman both in rehearsal and in production.

Not exact matches

Furthermore, the degree or intensity of viewer interest in a given program is irrelevant, since advertising dollars depend almost completely upon the number of viewers, not the viewers «interest in the message or program.

Though various models are seen donning into such apparels, to give the viewers a great treat to sight and interest, Pakistan's finest fashion and television stars are invited to adorn the ramp with their presence.

Though Hide and Seek starts off good enough to keep you interested, the director doesn't know where to take this story and give us, the viewer an exciting climax.

Mosaic is an interesting mystery that, as a series, unfolds a little more awkwardly than expected, giving viewers the feeling that it was something else previously and was repurposed.

It's fairly disappointing, too, given that Knock Knock does open with a certain degree of potential, with Reeves» typically affable turn as the sympathetic protagonist certainly playing an integral role in initially capturing the viewer's interest.

Hudlin and his filmmaking team are giving viewers a superhero origin story which is a truly interesting concept and worth applauding, but the film falters its own potential by not being the best story it could be.

Peppered with a near - constant barrage of footnotes on the lower third of the frame identifying whatever varietal of crop viewers happen to be observing at a given moment, the film is insistent in its efforts to stoke interest in gardening and pruning, yet it stops short of bridging the gap for those less inherently spellbound by soil, roots, and branches.

Park also understands the importance of giving the viewer rooting interest and provides it for us — you can't help but love these characters.

Writer Ramis's first collaboration with director Ivan Reitman takes the wearied tale of a wacky summer camp and gives it some fresh hijinks and interesting characters, while reminding modern viewers that things were just different in the Seventies.

There's no interest in shielding the viewer from the many indignities and outrages of America's greatest disgrace, from the monstrous — that unforgettable flogging sequence, which made me feel physically sick, something that I'm probably not alone in — to the, well, more quietly monstrous — Benedict Cumberbatch «s character, who's as kind to Solomon as he could be, given that he doesn't consider him to be a human being.

Still, given that sequels generally do drop off in quality, the goods are still delivered for those that enjoyed the first film, enough to make this interesting and exciting enough for most viewers looking to see more of the Rocky Balboa saga.

A solid supporting cast lends credibility and enough distinction to give their relatively small roles some memorability, which is especially important given the amount of Vanger family that viewers will have to keep track of (the novel had a genealogical table to supply readers a ready reference), as well as their interests and loyalties.

It's gotten a new generation of young viewers interested in horror and helped give vampirism back it's bite after the neutering effect Twilight had on the subgenre.

The film strikes a smart, low - key tone that respects viewer intelligence while giving us characters who, though amusingly odd, are interesting and developed enough to invest in.

It's a shame, really, given the potential here for a fun horror - movie ride, with Johnson's ongoing difficulties in sustaining viewer's interest ultimately ensuring that The Wolfman comes off as a sporadically intriguing but mostly underwhelming piece of work.

Though there is no question in any viewer's mind as to which parent figure is preferable, the script makes the interesting choice of giving each side its due.

The very last scene ends on an interesting note, giving the viewer much to chew on once those credit roll.

First, the novelty of seeing Marvel's heroes come together on the big screen has worn off now that we've already seen the first Avengers film, and given that this sequel couldn't replicate the critical reception of The Avengers, the interest amongst casual viewers may have been diminished slightly.

This will better keep the viewer's interest and give distinction to each of your takeaways.

It gives viewers a close - up look at an exciting program that may be of interest to their children in the future.

On the other hand, give too much detail and you extend the length of your video in a way that may cause the viewers to lose interest.

That is why it is very important for an author to have a website that will not only give his viewers all the information they are looking for, but at the same time will capture their interest and will encourage them to share the site link with their friends, generating even more potential buyers of the author's works.

These programs encourage viewers to vote for their favorite contestants, making the viewers part of the elimination process and giving them a vested interest in watching the next show to see how their favorites did.

Even early practitioners are again very much front page of what is held happening — though it gave pause to overhear decor referenced by two viewers interested in the vivid Tom Wesselmann at Galerie Hans Mayer and the pulsing Sean Scully at Kewenig, as in «great with our colour scheme», and «would work as a neutral background for all that's going on in the carpet».

Austrian artist Peter Kogler is interested in spatial illusion, projections, brains, ants and creating projections of graphic environments that give the illusion of changing a fixed environment to generate an emotional response from the viewer.

Inviting the viewer to enter a space charged with symbolic elements, from the more obvious to the more covert, that configure the multiple realities and readings which give life to the artist's personal universe, «Something old, something new, something borrowed» essentially speaks of personal records and comforts, of the past and the present, of what was and what is — a series of reflections that convey a repertoire of emotions, interests, and stories particularly important to the author: distant family recollections, but also recent intimate memories; pleasant re-connections with domesticity after long periods of travel in the real world, but also disconnections and ironic provocations with the virtual world of social media; a long relationship with the universe of animation and video games, but also another with themes of classical representation from the history of art.

I'm more interested in making connections with the real world than with art history, except when I'm using it as a given, a readymade in the viewer's mind in a way.

Hofmann holds a special interest for Bay Area viewers because he gave the University of California, Berkeley, 45 paintings — some of which are always on view — partly in remembrance of his time teaching there in the early 1930s and partly to spur the university to build its own museum, as it did not long after his death.

I am in particular very interested in what she has to say about the relationship between the painting and its viewer given that we see paintings as beings rather than things.

If it is a useful goal to give the interested viewer a comfortable understanding that the physical model is logical, sensible, and correct / reliable, rather than to convey a firm everyday grasp of the precise details to most, then it seems to me that animating the mathematics could help toward that end.