Sentences with phrase «movie audiences want»

Face it, runners want Nike, club - goers want Grey Goose, movie audiences want Bradley Cooper.

Movie moguls see a hit movie and decide that what movie audiences want is more of the same.

The director knows how these movies work, has a knack for set pieces and delivers what movie audiences want — lots of laughs, wisecracks and action.

Visually, Ridley Scott is a genius but movie audiences want a story and characters they can relate to — Prometheus is such a huge disappointment in this respect.

Not exact matches

This Christmas 2005 release definitely underperformed at the box office, perhaps because audiences didn't want to spend their holidays watching a movie with so many gruesome deaths.

To compete, other studios could also merge — giving us essentially a movie version of the NBA's super-team syndrome — or they could amp up efforts to infiltrate streaming, leaving their movie studios as an output for major blockbusters that audiences still want to watch in theaters.

According to a 2015 Entertainment Weekly article, trailers give away so much because audiences want to see and know more about a movie before release.

It's not just disappointing that we don't get to tell the story and have that experience, but more so for that audience that has been so vocal in wanting another movie.»

LAS VEGAS — The summer movie going season roared to life with the record - breaking opening weekend for «Avengers: Infinity War,» but industry leaders want audiences and theater owners to know that a healthy movie business is not just about the superheroes.

The audience for the kind of movies he wants to do just isn't there in the traditional theatrical space anymore.

Some of these are bound to work better than others (The Book of Exodus doesn't really lend itself to the sort of story Scott clearly wanted to tell), but the lesson to audiences is clear: Just because a movie is about the Bible doesn't mean you can know what to expect when you sit down to watch it.

He adds that when he presents the movies at meetings, «I can hear people [in the audience] say, «wow» — they're fascinated,» and they want to know how to get in touch with Betzig.

«The purpose is to whet the audience's appetite, create interest and perhaps some intrigue and mystique, and then let those wanting more opt to buy a ticket to see the full movie.

While Campbell Scott plays a hugely unlikeable character (which wouldn't be a problem if the script didn't want audiences to sympathize with him), Jesse Eisenberg is as good as always in his first - ever movie.

If the movie scores at the box office, it will be for reasons that are both disquieting and understandable: Gladiator is pitched to an audience that wants, more and more, to be spoon - fed (it's movies like this that help create that audience), but it accomplishes the task with pace, visual grit, and a roster of appealing actors.

But, when the character Alec (Kelly Reno) meet Henry (Mickey Rooney), the movie begin stay boring, and make some members of the audience don't want to see more The Black Stallion.

In some ways, this movie is the antidote to the sort of «Star Wars» movie that viewers who despised the prankishly irreverent and oddly introspective «The Last Jedi» seem to have wanted: one where the payoffs to setups are italicized so that nobody can miss them, artistic license is subordinated to brand management, and every reference, no matter how small, that was so lovingly memorized by devotees of the franchise is placed under a spotlight for the audience's recognition and self - congratulation.

Reuniting disaster - resistant star Dwayne Johnson with his «San Andreas» director, this brainless big - screen monster - smash movie assumes that audiences want to see the Rock stop three enormous mutant creatures from destroying American metropolises, when in fact, it's the gleeful prospect of witnessing just that kind of spectacular CG devastation that gave the game its name — and presumably got the movie made.

There's an all - American tragedy of belonging buried deep within «The Disaster Artist,» but I'm betting the movie's core audience wants none of it — and Franco's too much of a showman to give it to them.

In their heart of hearts, isn't that what movie audiences really want?

For Mana, showing up for practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax audiences might anticipate from this otherwise Disney - appropriate inspirational drama.

After watching it, I really think that this one will divide the audience and any time could go both ways - some would love figuring it out what the writer and director wanted to say while others could simply walk away, deciding that their life is too precious to be wasted on such movies.

the movie knows what the target audience wants and delivers it.

Not to be confused with the more - renowned Graham Greene novel seven years later, the movie failed to find an audience, and Sturges went back to writing what the studios wanted until he could resurrect his career.

And even if Cuaron had wanted to, Columbus had installed himself as a producer on «Azkaban» with a particular goal in mind: «I wanted to make sure that the film didn't stray too far from the world the audience and the fans have sort of fallen in love with over the course of the first two movies,» he told The Times» John Horn last year.

Regardless of his screen time, Gunter is just one example of the movie excelling at presenting likeable, compelling characters that audiences want to see succeed.

I haven't sworn off the Cruise yet, but I do want him to find another successful movie that will bring back the audience.

Guillermo del Toro loves monster movies, and wants his audience to love monster movies, crafting the ultimate tribute - cum - modernisation of the too - often - appropriated genre.

From the moment the movie starts, you want the audience to be invested in the story completely.

«I wanted the screenplay to mirror that, so I wanted to include all the stuff that people say you can't have: a split screen, breaking the fourth wall, directly addressing the audience, commenting on the movie itself,» he says.

Screenwriters writing movies about writers is one of Hollywood's ultimate conceits and more often than not it goes off in strange directions of meta storytelling ultimately lost on the broader audience most studios want to address.

It is the kind of «date» movie that the women in the audience wanted to see, and which offers the guys the prospect of a view of the now - legal Liv Tyler's naked body.

Occasionally, movies work for audiences simply because they want them to — which may have been the case with «Revenge of the Nerds,» an erratically funny 1984 college comedy — full of raw, predictable gags — that became a surprise smash hit.

«[Matt] really wanted to put the audience into the head of being a chimpanzee because that's what these movies are about, they are a great metaphor for being able to see ourselves,» Andy told ABC7.

Leonard Maltin — a hell of a historian, if only a mediocre critic — gives background to the standard «Night at the Movies» simulation that includes in this instance the trailer for Bogart and Huston's Key Largo, a newsreel, the comedy short So You Want to Be a Detective, and the Looney Tunes cartoon Hot Cross Bunny (featuring an ape on Lionel Barrymore, whom audiences would have just seen in the Key Largo trailer).

Maybe this will work, but at the same time, the movie could try and give Courtney an equal amount of the fighting, when the audiences just want to see Bruce Willis as the legendary John McClane.

Who wouldn't want to see a character like Terence Fletcher, played by J.K. Simmons (Juno, Upcoming Justice League movie as Commissioner Gordon) in front of a live audience, using funny profanity, hollering, and acting like a maniac at a lovable character like Andrew Neiman, played by Miles Teller (War Dogs, Bleed for This)?

The director and writers seem to want to elicit the same wonder and amazement that blockbusters from the «70s that made audiences run to the movie theater to see.

We get all of these jokes about the characters in the story working with a dreadful script, audience members being chastised for talking during proceedings and the fact that everyone acting here seems to just want the movie to end, so they can go home.

[Audiences] often see him in action - packed movies, but I wanted to do something very subtle with him — a guy next door who is working class.

The audience want to watch a copycat Die Hard, yes, but they don't want to be continuously reminded that this movie has been done before.

On her target audience: «I don't want to make movies for kids, and I don't want to make movies for adults either.»

The three leads are all superb, with Sushant Singh Rajput managing to make a potentially difficult character, with all his indecision and passivity, sympathetic: the movie hinges on the audience wanting Raghu to eventually grow up and find true love.

Sena, who is known for making contemporary films that appeal to today's audiences, wanted to incorporate a modern twist into the historical backdrop of the movie.

For example, in most genre movies, the audience wants the hero to get together with the girl.

For the last few films, there's been the feeling that Tarantino has finally made the movie that he and no - one else would actually want to watch, but audiences have turned up in droves.

I had begun to worry that this movie was going to peak too soon, but Wan wisely shifts from wanting to scare the audience into focusing on the families.

What makes movies like this work — what audiences want to see — are remarkable people doing remarkable things.

Although the decision to reshoot sometimes gets seen as a last - ditch effort to «save» a film that tested poorly, more often than not, these days, it's all about specifically tuning the movie to give test audiences more of what they want.

Audiences seem to want disaster movies, and Twister delivers the typical formula: Tiny plot — big action.