Sentences with phrase «long as viewers»

Which is fine, as long as viewers don't expect it.

So it can be quirky, interesting, beautiful, tragic — as long as viewers have some reaction to it.

And there's nothing wrong with that, as long as viewers are prepared to open their minds and engage their brains.

They don't care if they bring value to their viewers as long as their viewers continue to watch.

Not exact matches

Not Business As Usual (the entire hour - long doc is below if you want to give it a view) asks viewers to consider not just a long - term view of how to build a business, but also a holistic — or «conscious» — consideration of how one's business affects the people involved in it, and the planet it relies on to run.

The opening ceremony is no different, as the event will air on a one - hour delay for viewers on the east coast of the U.S., with even longer delays in the western U.S.

As long as your video tells an authentic story, captivates viewers, and isn't junk, then you're probably cleared to give it a trAs long as your video tells an authentic story, captivates viewers, and isn't junk, then you're probably cleared to give it a tras your video tells an authentic story, captivates viewers, and isn't junk, then you're probably cleared to give it a try.

Woods opened in August 2017 as a 100/1 long - shot to take the green jacket at the Masters, but after a month of solid play during which viewers have seen flashes of the Tiger of old, Woods» odds have fallen all the way down to 16/1, the seventh best odds in the field.

Whether or not the critical acclaim already experienced by O.J.: Made in America means that television viewers can expect more long - form, multi-part films from ESPN remains to be seen, as Schell said the longer format is difficult to sustain without the right subject matter.

And if this strategy crosses enough items off the list, it might also convince Fox News» most powerful viewer that Mr. Mueller's services as special counsel are no longer needed.

The image is no longer conceived platonically as a copy, nor does it intervene between viewers and object.

It is closer to liturgy, as the pages flash, and praise is almost demanded of the viewer, who sees long - loved words shining anew.

Last week, Pat Robertson told his viewers that he believes Alzheimer's disease to be a «kind of death,» a basis for the un-afflicted spouse to seek divorce and move on with their life — so long as they act mercifully and provide a means for care of that spouse.

As an aside, the Blue Pants story is sort of a long one, but I imagine if any first - time NXT viewers tuned in and got to the reveal of Blue Pants, that likely made no sense at all.

His prowess for City will come as no surprise for long - term viewers of the magical Belgian playmaker, as he has produced consistent great performances at every club he has ever played for.

The rationale is that viewers spend longer looking at those which defy their expectations, presumably as they try to work out what's going on.

Bluster of this kind will be with us as long as it attracts newspaper readers and TV viewers.

Viewers in any one location may experience the total eclipse for as long as two minutes and 40 seconds.

The male brain, conversely, is adapted for «systemizing,» which is all to do with the making of lists, the recognition of categories, and (as regular viewers of the Learning Channel's Property Ladder can testify) a genderwide delusion that we can single - handedly replace the plumbing and wiring in a 1940s Long Beach bungalow over the course of a long weekend without a lick of prior experieLong Beach bungalow over the course of a long weekend without a lick of prior experielong weekend without a lick of prior experience.

Still, for some viewers, you can't go completely awry with this kind of superficially engaging nonsense, so long as the plot is reasonably clever and the cast seems to be having a good time.

past work as a photographer explains the stunning picturesque landscapes (the snowy fields of Sweden and the winding roads of hilly Italy), which keeps the viewer's interest from lagging during the down times when the story stagnates and when there are too many long closeups of a brooding Clooney instead of any action.

Holland has said that she wanted her harrowing and rewarding epic to run long so it would make viewers feel that they're in the sewers as well.

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).

After the film, the solitary viewer enters a long dark hallway that features short video installations introducing the real - life Latinos who inspired the story and depicting the struggles they face as immigrants today.

When put together (as here), they are overextended and too long by half, with many a dull stretch before the famous wirework action sequences finally kick in — although perhaps this will not prove too much of a challenge for the modern viewer who is a fan of, say, 2015's The Hateful Eight (with its similarly protracted pace and duration).

Mark (Ewan McGregor) is asked by Sick Boy (Jonny Lee Miller) as it opens, a self - reflexive acknowledgement of how long viewers have been waiting for this.

These fears haven't gone away, making The Andromeda Strain a worthwhile story for today's viewers, so long as you can overlook the dated aspects of the technology of the time it was made.

«All this doesn't mean that I am not open or celebrate new technologies and opportunities, but [as long as] I'm alive I'll be fighting for the capacity of hypnosis of the large screen for the viewer.»

In spite of being almost as long as Episode II, The Revenge of the Sith felt taut and paid off the patience of the viewers who had been waiting to see how Anakin Skywalker actually turned to the dark side and became Darth Vader.

It is one of the conventions of the classic crime film to lay out false trails as long as possible for the viewer.

Writer / Director Rian Johnson (Brick) delivers a very entertaining, creative, thrilling and clever sci - fi film that features time travel, dark comedy, romance, metaphysics, and enough action to keep just about any viewer engaged... as long as you enjoy using your brain a bit.

Though her career spans an extraordinary sixty years, Doris Roberts seems certain to forever be identified solely as Marie Barone or «the mother from «Everybody Loves Raymond»» for less than devout viewers of that highly - rated, long - running CBS sitcom.

Pickens, for instance, frequently stumbles his frontiersman's way through films as an amiable stereotype, an oddity with nothing of long - lasting value to offer either protagonists or viewers.

«All this doesn't mean that I am not open or [don't] celebrate new technologies and opportunities, but [as long as] I'm alive I'll be fighting for the capacity of hypnosis of the large screen for the viewer.»

You're Next might be one of the most audience - gratifying horror films I've seen in quite a long time, rewarding the viewers as much as it likes to screw with them.

Handheld and unstructured, for all intents and purposes, the hour - long X-Men: Production Scrapbook is an endurance test from which the patient viewer cherry - picks items of interest, such as the occasionally prickly Singer thinking through the design of Xavier's wheelchair.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

Carpenter carefully constructed so many adrenaline pouring long takes, often at an agonizing lick as we, the imperiled viewer, must see Michael shirking in the shadows time and again.

The content isn't really all that important to Renn as long as it will lure in viewers.

The longer it takes for certain events to develop, the less the payoff is, with an especially tedious concert performance where the jokes fizzle, not only for the Indian audience, but also for us as viewers.

Braff, best known to TV viewers for his lead role on the long - running, much - syndicated hospital comedy «Scrubs», graduated to auteur status as writer - director - star of the acclaimed, hit 2004 indie Garden State.

St Aubyn's books about that time are infused with his biting humor, and the creators allow Cumberbatch free rein to explore that range of emotions, and he's absolutely essential casting to not only pull off the role but to let viewers know it's OK to enjoy the often hilarious, drugged - out debauchery, so long as they can stomach the telling of the whole story (told in flashbacks, with Sebastian Maltz as a young Patrick, plus voice overs from grown - up Patrick and a separate, archly British narrator) and to understand his bad behavior is a bandage covering an awful wound.

While the film is deliberately paced, Charlotte Rampling and Tom Courtenay deliver absolutely transcendent performances that pierce even the most hardened of hearts as viewers witness the potential dissolution of a decades - long union.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

Director Gerardo Naranjo admittedly does a superb job of initially drawing the viewer into the proceedings, as the filmmaker has infused Miss Bala with an engrossing and consistently inventive visual style that proves impossible to resist - with the movie's striking appearance heightened by Mátyás Erdély's often jaw - dropping camerawork (ie fans of widescreen cinematography and / or long takes will be especially captivated).

Director Jaco Van Dormael has infused Mr. Nobody with an unapologetically arty and downright pretentious sensibility that's reflected in virtually every frame, as the far - from - linear storyline tracks the important events in Mr. Nobody's life - yet it's the emphasis on events that may never have even happened that's sure to infuriate certain viewers (ie if you're not willing to go with the premise almost immediately, Mr. Nobody will undoubtedly come off as a long slog indeed).

Infused with an ultra low - rent visual sensibility and a distinctly free - wheeling sort of vibe, Déficit is one of those movies that takes an awfully long time to get going - as the viewer is initially confronted with a series of characters that are far from likeable.

It's clear immediately that Mr. Mom benefits substantially from Keaton's almost unreasonably charismatic turn as the title character, and there's little doubt that Keaton's top - notch work goes a long way towards initially drawing the viewer into the admittedly familiar proceedings.

The title, as you would guess, is how long Ralston spent fighting for his life and although that time is condensed for us to a reasonable 94 minutes with credits, viewers still come away understanding that harrowing struggle and empathizing with the man who endured it in April of 2003.

Many impatient viewers will be turned off by the editing style, as the movie basically dares you to watch it long enough to learn the story.