Sentences with phrase «modern audiences not»

Not exact matches

The best modern marketers don't rely on just one or two approaches to reach and engage their audiences.

In modern retailing, potential customers receive so much information so quickly that products simply don't get the opportunity to find an audience the way they once did.

It isn't surprising that as the audiences who first became fans of characters like The Avengers, X-Men and Deadpool get older, that their modern movie adaptations will be marketed more toward adults.

For Genesis, that audience is an ancient near - eastern culture, not our modern scientific one.

Kings wasn't a perfect show — and was polarizing among TV critics — but the attempt to bring the story of David and Saul to modern audiences through a compelling drama makes it one of the most unique (though largely forgotten) Old Testament adaptations ever to come out of Hollywood.

Humanity Made for Christ When speaking to modern audiences, especially young adults, about what distinguishes us from the animals, it is not always a good idea to start with negative distinctions - pointing out, for example, that animals can not do such and such, but we can.

Again, Bruce, the issue is not Pascal and his intended audience, though I still fail to see how Pascal can be said to have given any good grounds for wagering on the Christian god in light of modern discussion.

Hence the trial scene in Act IV, which so unsettles modern audiences, manifests not the failure of Shakespeare's art, but rather its triumph.

That could be why so many politicians have drawn on it, even in modern Britain where it is not wise to rely on your audience's biblical literacy.

«To have a movie like that where you pretty much take women out of the storyline would not resonate with modern audiences,» she says.

He took the opportunity to remind the audience that not only is he a Buddhist monk but that he is also an enthusiastic proponent of modern technology.

It was the underlying arguments and conclusions used by Shapley and Curtis that are held up to modern scientific scrutiny - not a hypothetical straw pole of an audience that consisted of mostly non-astronomers.

It's not that good movies for a modern audience can't be made from much older material.

I think he thinks he did a good job presenting Will Eisner's character to modern audiences, but what he's created is this amalgam fans won't like and new audiences can't connect with.

The makers of The American clearly decided not to burden the audience with the defining elements of modern movies.

Yet despite what every flag - waving drama focused on the Greatest Generation might want audiences to believe, Nazis are not just a nightmare of the past; they remain an all - too - real source of evil in modern society.

It's smart, pro-artistic comedy masquerading as insipid farce, a wolf in clown's clothing, and rigorously Dadaistic in ways modern audiences aren't likely to note.

De Bont is one of those in - your - face directors who doesn't trust modern, jaded audiences to sit through a ghost story without giving up the ghost.

The latter remains a special film not just for a lot of viewers, but its maker too; speaking with Collider, Proyas gave his thoughts on the idea of remaking it for modern audiences when questioned on the current efforts.

Tarantino's frequent use of the N - word will no doubt inspire both challenges and defenses — I'd argue that, as it was in «Django Unchained,» the term allows modern audiences to experience period racism that much more vividly — and there's also the matter of Jennifer Jason Leigh, who spends much of the movie getting punched in the face by various characters.

Don't Breathe and Evil Dead helmer Fede Alvarez is reportedly looking to reboot the classic Jim Henson's 1986 movie Labyrinth for modern audiences.

The truth is that we found ourselves missing the old cast, but most audiences won't care: Star Trek works fine when taken on its own terms as a modern special effects - driven action flick.

I'm not entirely sure where all the criticism came from - not enough explosions, perhaps, to satisfy the modern - day audience - but for my money it was excellent.

While Zack and Miri definitely gives viewers not averse to perpetual sexual references and scatological humor its share of solid belly laughs, there is a feeling of Kevin Smith finally beginning to appear a little long in the tooth in terms of his ability to connect with the modern day audience for R - rated romantic comedies.

Guadalcanal Diary and Wing and a Prayer are interesting from a historical standpoint but probably not enjoyable for modern audiences in any non-intellectualized sense.

Forbidden Planet is one of the few «historically important» movies which are not deathly dull for modern audiences today and rather enjoyable on its own terms and not as a film school lecture.

While this was also the case with many of the big films from those glory days (and perhaps is part of this production's mocking of that era), I'm not sure modern audiences will be bamboozled enough to overlook that deficiency.

But even so, it's not a film that plays particularly well to a modern audience.

Modern audiences won't be impressed by the special effects, even «Gladiator» from 1999 looks better than what we see here.

Blame Softley, too, for a negro - spiritual - cum - Moby style that doesn't so much make a few of the classic blues tunes on the soundtrack immediate for a modern audience as squeeze them through the pastry horn of adolescence, weightlessly depositing every potentially atmospheric moment like a sweet little decorative nothing.

It will certainly be a most demanding test of a modern audience to not make a peep while watching a horror film.

Lee helps keep things off - kilter all the way through, too, even though he's not trying to constantly jangle the audience's nerves in the tiresome way of the modern blockbuster, with gun - in - face showdowns and pounding music.

But it speaks to this still nascent anti-spoiler culture of cinema - going that is part of the modern undermining of film criticism, which, when done right, opens the minds of the audience to films that don't necessarily fit audience expectations.

No matter how good the movie looks, it doesn't quite wallpaper over the inherently icky white savior aspects of Tarzan himself (his mission is literally to free helpless African slaves), making it a strange movie to half - heartedly update for modern audiences.

Though modern audiences might notice that The Texas Chain Saw Massacre isn't as polished as its later imitators, that low - budget aesthetic adds to the film's grindhouse appeal and is part of why it's considered one of the most influential horror films ever made.

But for all of those problems with translating the film to a modern, and presumably newer, audience, not much else would actually need to change to retain the impact of the humor and what pathos the film tries to create.

You could argue that this represents a real cross-section of Southern attitudes and how they evolved through the Civil Rights movement and into the modern day, or you could see it as simpering, middlebrow - pleasing pabulum meant to assure its middle - class elderly white audience that it's not racist and appreciates good, Oscar - feted movies about black folk (written / directed / produced by white folks) based on Pulitzer Prize - winning plays (by white folks).

For lovers of ancient literature, it doesn't come close to supplanting the baser pleasures of the original text, but from a modern standpoint, it does make for an interesting contrast in narrative elements to show how times have changed in terms of what audiences find appealing.

A recent trend in screenwriting has been to take the plot of a time - honored work, usually a literary classic, set it in modern times, and inject a sense of hipness to attract an audience that may not be as familiar to the story to care how unoriginal it all is.

Realising that the whole «dogs are programmed to hate cats», is a little bigoted for a modern day audience, the writers begin to add in hints that just because a character is a cat, doesn't mean they are inherently evil.

Some genre purists would certainly take issue with such an obvious effort to create new material by fusing the icons of literary classics, but Sommers» adrenalized upgrading for modern audiences isn't that different from Siodmak's first venture; the former's just over-cranked and way louder (aided by Alan Silvestri's outrageously bombastic score) in a 5.1 mix guaranteed to work out your home's subwoofer.

If the Pathfinder is a decathlete, a modern - day Bruce Jenner in sheetmetal, as Nissan calls it (note to Nissan: Jenner won Olympic gold in 1976, before many in this target audience were born), then we were Braveheart and retreat was not an option.

It's just not reflective of the modern audience anymore.

Yet, modern Playa del Carmen things to do appeal to a wide audience of travelers looking for fun in the sun, enjoyment of the arts, and unique festivals that can't be found anywhere else in the world.

It's like modern horror films where the audience complain if they don't get to see the monster clearly, whereas a oldschool fan still holds that more often than not it's what you don't see that's more effective.

«Building a movement» Said Mr. Jakeman: «The strategic objective is not to just run advertising on day one and say «Go to a retailer and buy the game,» but it is to really start building a movement and start broadening the audience for [Modern Warfare 2] beyond a core gamer audience.»

The aesthetic is a good baseline, but isn't all that attractive to a modern audience.

But when Capcom makes the effort to actually recreate a beloved classic for modern audiences, it doesn't just phone it in.

During the cast, we came to the realization of the problem with modern horror games: They're not about the player, but the audience.

I hope that games such as Human Revolution will give modern audiences a kick that hasn't existed for a while - games with a high degree of agency that are visually arresting.