Sentences with phrase «movie audiences need»

No matter what the central story throws the viewer, it is hard to deny that Tom Ford's eye for both cinematography and art is something that movie audiences need.

Sure, maybe the German accent is a bit distracting at first, but it was necessary because movie audiences needed a constant reminder that he is not playing an American!

Not exact matches

Just as a screen writer with a movie, you need to know your plan well, even if your audience sees only a well - crafted summary.

Help make an opening weekend for this movie even a reality as the director and producer need to show Hollywood that there is an audience for this film which has already been filmed and stars the talented Minnie Driver.

It was the first movie to really push the superhero genre onto an altogether more adult and sophisticated level, but it failed to find the audience it needed.

This movie's been a big hit across the ocean, possibly because British audiences needed to be reassured that their nation, too, could produce semi-lovable, profoundly misguided misfits who've spent too much time reading «Catcher in the Rye.»

The immaturity of ostensibly grown - up American men is an inexhaustible subject, or at least one that has yet to exhaust American movie audiences and the well - paid guys who cater to their entertainment needs.

Had Ferrell and his collaborators Adam McKay and Judd Apatow (who has never believed a movie could be too long) and their studio, Paramount, been thinking of their audience above all, they would have needed only one version of their film; given how great the first Anchorman was, that version may even have been good.

While DC's live - action movies have suffered from the need to appeal to a broad audience, the animated features have less pressure, and can please the hard - core fans without leaving newcomers in the dark.

This film is actually terrible — I mean, yeah — it is scary in the sense that its creepy, but I think, really, the film is just the byproduct of global DVD residuals from the directors father — allowing Panatos to string together a series of overproduced, overgrained interior sequences, cheap synth score and a slasher movie ending, and trying to pass it off as a «cult movie», when really we, the audience, need to know who, what or where the protagonist is coming from, what her dramatic need is, who she interacts with, and so on.

Yes, this movie, about a group of struggling singles in their 60s and 70s may not appeal to the superhero crowd, but for audiences who might need this kind of story or relate to it, these late blooming dancers become another kind of superhero, inspiring those who might be giving up to give it one last shot.

And the movie needs him even more to cut through the exposition that keeps denying audiences what they came to see: The Rock rampaging while mutant critters fuck shit up.

Still — this is a movie that needs to be seen, even if it will not be seen or appreciated by the audience most in need of its message and theme.

Every decent survivalist movie needs to feature a worthy adversary, or a monumental threat that makes the audience fear for the characters.

I hope that Insidious convinces audiences that a real horror movie doesn't need to be gruesome and that, sometimes, there's more to be scared of in the shadows of your own house than in some fictional faraway torture chamber.

The Actual Plan Needs to Be Laid Out in the Coolest Way Possible Among the biggest challenges of the heist movie: making the plan understandable without bogging the audience down in exposition and minutiae.

The ending, however, is too abrupt and leaves the audience without the catharsis that such an emotionally charged movie needs.

Does Collateral Beauty feature an out - of - nowhere monologue in which a side character explains the invented concept of «collateral beauty,» but not well enough for the audience to understand why the movie needs a term for it?

I think there could be an interesting joker movie, but the DCEU needs to play for a wide audience, and I think a lot of ambiguities would be scrapped.

Most importantly, without Cuarón, it's hard to imagine Yates would have the freedom to make the Potter movies his own: to make the Ministry of Magic an automated nightmare straight out of Brazil; to shoot action sequences as loud and surprising as gunfights; to let Harry and Hermione dance to Nick Cave, even though it's not in the books, because it turns out that's just what the audience needs to see.

Despite the constant need to remind audiences that this is still a Bourne movie in lieu of Matt Damon's absence, the footage actually looks pretty good.

... Superhero movies have long needed this kind of representation in terms of men and women of color, and for black audiences, «Black Panther» will undoubtedly be as culturally significant in the way it addresses subjects of identity, race and gender as «Wonder Woman» was to female fans.»

Because this movie was, for the first time, introducing a new actor (George Lazenby) playing Bond, much of Binder's work here consists of a montage of clips from the previous films, as the need was felt to stress to audiences that they were still following the adventures of the same man.

As it stands, the movie is neither good nor bad, but rather a perfectly mediocre comedy with enough laughs to remind audiences what they loved about the original while failing to justify the need for a sequel.

That's why a lot of superhero movies feel the need to insultingly wink at the audience and make a joke about someone looking goofy.

The movie begins with a comedian Kumail, played by Kumail Nanjiani (Mike and Dave Need Wedding Dates, 2016) describing to audience what it was like growing up in Pakistan through a series of funny jokes.

While it's too difficult to go into detail about all that has transpired in the previous 18 movies to get to this point, the audience just needs to know that the unifying thread is the rise of a powerful and evil being named Thanos (Josh Brolin, Only the Brave, 2017).

Although Mike and Dave Need Wedding Dates will have the audience laughing particularly at certain scenes, the movie falls a few laughs short of being a must - see comedy.

It's not the perfect movie, for sure, but its got everything needed to entertain an audience — adults felt like kids again and kids just laughed (at their parents.)

There is a surprising and unusual cameo near the end, and the movie is well executed to satisfy its built - in audience, while also capitalizing on those who enjoy (and / or need) a good, clean comedy at Christmas time.

Atrocities are followed by jokey riffs and sight gags, and what links them is not a creative sensibility (as would be the case in a Quentin Tarantino movie) but a carnival barker's desperate need to hold on to a distracted audience's attention.»

Of course, Iannucci also provides a few middle - term characters — notably the sweetheart of the movie, Stalin's daughter Svetlana (Andrea Riseborough), whose sincerity and intelligence somehow have not been poisoned by the general indecency, and the movie's hero, Field Marshal Georgy Zhukov, who is ahistorically trim and chisel - featured as embodied by Jason Isaacs, an actor who always seems to have one lock of hair dangling dashingly over an eyebrow, and so provides just the wish fulfillment the audience needs.6

Visually, that felt quite strong, and also we needed to remind the audience of where we left the last movie.

A mystery movie doesn't always need to have its mysteries hidden away, obliging itself to constantly stringing along the audience with questions and twists...

«At DreamWorks Animation, our creative ambition has never been greater and the release schedule we're unveiling today is designed to give our movies the time and resources they need to realize their full potential so each one can become a true event for our audiences,» said Jeffrey Katzenberg, Chief Executive Officer of DreamWorks Animation.

It's an undeniably powerful movie occasionally undone by its need to walk straight audiences through a fight for LGBT rights

Because there's so little time with them together as a couple, I needed to have some bedrock that's incredibly strong and could support the love story side of the movie, and support Rooney's emotional arc, and also that would in a way define for the audience the way in which the movie was going to function.

We don't have enough movies right now for a younger audience to see that you don't need to be half (or fully) naked in order to be a hit.

Once again, it's debatable whether a movie like this needs a remake at all, especially if it's not necessarily going to bring the original to a wider audience.

Sightseers (C)-- «Before Sightseers began director Ben Wheatley addressed the audience, pronouncing all you need to make a movie — at least in the context of this film — is «sex, a dog, and a pencil.»

Ehrenreich and Englert, immediately in need of being placed in a movie like The Perks of Being A Wallflower, prove to their audience that romance does not require storytelling witchcraft in order to achieve images of true love.

Flipping back and forth through time as Walls (Larson), a popular New York gossip columnist working in a posh Manhattan office circa 1989, ruminates about her and her family's nomadic life thanks to the wandering needs of her gypsy - like father Rex (Woody Harrelson), the movie is shaggy - eared melodrama that never earns the emotional connection with the audience it so clearly is aiming for.

Tim and Eric's Billion Dollar Movie is an exercise in comic nihilism that needs to prompt the audience to laugh, and, if there were indeed a laugh track accompanying the movie, at least someone would be laughing — even if only on a recorMovie is an exercise in comic nihilism that needs to prompt the audience to laugh, and, if there were indeed a laugh track accompanying the movie, at least someone would be laughing — even if only on a recormovie, at least someone would be laughing — even if only on a recording.

Still, it feels like movies like Darkest Hour and The Post, both well - made films about big, important political concerns being dealt with on a granular level, would be competing for the same votes, and neither one of them appears to have captivated wide enough segments of the audience to accumulate the votes they'll need.

Of course maybe the audience that moves digital will be big enough for this to not be an issue, but even so book publishers and authors will need to compete with movies, games and music much more directly and immediately than they have in the past.

Here's where things start to go awry, though; you then need to look at the color of the drawn tokens, and assign them to the movie by matching them to the colored stars on the script's audience rating and the cast's stats.

It is most probable that players would generally find LEGO Ninjago: The Movie Videogame relatively easy to progress through, although achieving 100 % completion is hard given the scale of the environments that need to be explored to find character tokens, ancient scrolls, gold bricks and much more besides; which is rather appropriate given the appeal of LEGO to a wide audience and age range from young children to adults.

When Logan was originally released in theaters this March, my colleague Kwame Opam wrote about what Hugh Jackman's departure meant not just for X-Men but for superhero movies as a genre: «Superhero movies aren't going anywhere, but they need to evolve to hold the interest of critics and audiences.

With the lid open and both screens upright, TAICHI can share a presentation or movie to an audience on both sides, removing the need for a bulky projector or clumsy external display.