Sentences with phrase «movie than the audience»

Not exact matches

«The Interview,» the Sony Pictures film about a fictional plot to assassinate North Korean leader Kim Jong Un, opened in more than 300 movie theaters across the United States on Christmas Day, drawing many sell - out audiences and statements by patrons that they were championing freedom of expression.

The story behind Noah is threatening to become more interesting than the movie itself, as Darren Aronofksy's $ 125 million epic seems to be baffling test audiences.

There is consolation in the fact that the Times is bought by less than one out of twenty people in the New York area, and the audience for television networks and movies has been declining for years.

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.

Portrayals of smoking in kid - oriented movies tend to be less than realistic and are probably a weaker influence on tween and teen behavior than smoking in films geared toward older audiences, Sargent says.

It may not be your conventional Valentine's Day date movie, but it looks set to give audiences more pleasure than pain.

Fans of cheap thrills can enjoy FD3 for what it is: A ridiculous teen horror movie that piles on more than enough dry humor and freshly moistened gore to satisfy its lowbrow audience.

Composer Mica Levi and sound designer Johnnie Burn put in overtime on this one; it's a valid complaint that most mainstream movies are wall - to - wall music and explosions, but here's an example of using sound to challenge and disconcert an audience rather than lulling and entertaining them.

I enjoyed it quite a bit more than Minority Report and Children of Men, and while I doubt it will usher in a new age of sci - fi movies (the audience reaction at my showing was fairly tepid), at the very least it's a minor milestone for the genre.

Perhaps no studio is better at managing tone than Marvel, and watching any one of its movies is a master class in guiding the audience through the intended series of emotional responses.

Whatever tactic the distributor takes — and you can see them not opting to expand much further than the three - digit theater count at which Young Adult topped off — is more of a reflection of what audiences are capable of warming to and enjoying and less a reflection of this admirable and intelligent movie.

In its convincing portrayal of a situation where a rusty nail is as lethal as an unexploded bomb, and the few remaining inhabitants seem — much like the audience — more likely to die of stress than anything else, the movie rocks.

The sheer goofiness of the concept makes Michael Sucsy's film more enjoyable than most young - adult movies, but I can imagine members of its target audience responding to its dreamy, kind - hearted emotionalism too.

Probably more than any other filmmaker, his name evokes instant expectations on the part of audiences: at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in every one of the director's movies.Originally trained at a technical school, Hitchcock gravitated to movies through art courses and advertising, and by the mid -»20s he was making his first films.

Another standout sequence in Public Enemies is more effective for comedy than suspense, and involves Dillinger's reaction in a movie theater to an on - screen announcement warning the audience to be on the lookout for him, America's «Public Enemy # 1.»

Even as characters are tweaked and actors bring a slightly different energy than his other movies, The Best of Me is still the same mushy Nicholas Sparks adaptation with drama so overwrought audience members can't help but laugh — at least until they're sniffling during the closing credits.

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.

To the enormous credit of these preternaturally clever writer - directors, the above paragraph contains more low - hanging Lego puns than the movie itself, which relies on ingenuity and genuinely inspired twists on what audiences expect from such an experience to deliver a constant stream of engagement and laughs.

The world of 2016 movie soundtracks likely had no catchier tune than «Drive It Like You Stole It,» but each track found within Sing Street is another example of this filmmaker's gifted ability to move his audience with audio as well as visual ingenuity.

Few shows have had such a spellbinding effect on its audience like HBO's «True Detective,» the gritty crime drama that feels more like an eight - hour movie than a limited TV series.

In 2010, Pixar joined those ranks, with a third adventure for Buzz and Woody that matched the movies before, with a greater emotional punch than ever before, but with everything that made audiences young and old fall in love with the characters before.

L.A. - based Everything Is Terrible inflicts on its audience a melange of some of the best (OK, «worst» is probably the better adjective) video clips from more than 2,000 awful horror movies («horror, satanic panic, and singing Christian duck VHS tapes» is how the group puts it), presented live at the Niarchos Foundation Parkway, 5 W. North Ave. 8 p.m. Wednesday.

It may be surprising for you to learn that in a country with more than one billion people, the fastest growing film industry in the world, and a 10 billion rmb (1.5 billion usd) box office gross in 2010 alone, there is hardly any professional film criticism accessible to its public.When I say hardly any, I mean that there is an absence of professional film critics who work for major, national publications and media outlets, and thus a lack of regular film reviews of new Chinese movies, at least for the mass audiences.

The message that getting the valuable video is more important than protecting oneself and others is not a good one to be putting out to audiences, especially in a disaster movie.

Deadpool 2 is laden with jokes, in context to the story, to comic book movies in general, and in subtle hints directed toward the audience, all coming at the viewers faster than they can be processed.

Although the film didn't connect as strongly with mass audiences (although it's considered a «sleeper hit,» you have to wonder what it could have done if it had been released after Whedon's little art house film «The Avengers «-RRB- and more than a few critics found it befuddling and arch (it's neither), «The Cabin in the Woods» is the kind of movie that will ultimately live on as a deserved cult classic, perfect for drunken film studies students and bored kids at slumber parties alike.

Audiences looking for wham bang action may find Logan a little downbeat but there's more heart here than you'll find in almost any other superhero movie.»

Thunderbirds owes more to films like Spy Kids and the movie version of Lost in Space than it does to the original television series, so if you like slickly - made family sci - fi schlock targeted at the youngest of the audience members, you may not mind this mostly inferior knock - off.

The trailer itself sells a movie that looks far more approachable than most of Wheatley's work so far — his penchant for combining grisly violence with black comedy is on full display, but it's wrapped in a package that could be appealing to audiences who found the psychedelic A Field in England too weird or Kill List too oblique.

Instead, the more «out - there» character work is given to Kate McKinnon in a role so daffy that she will likely be seen as stealing the movie for a sizeable percentage of the viewing audience, as well as for Leslie Jones, who isn't as hilarious in a more earthy character, but I do think she offers more to the comedy than Ernie Hudson had been afforded in his stint as the non-scientist member of the quartet, Winston, in the first two original movies.

Although the novel The Hobbit reads younger than the LOTR epics, this tale (actually the first of three movies based on the slim book) of the hobbit Bilbo Baggins (Martin Freeman) and his adventures with a clutch of dwarfs fighting to regain their kingdom isn't one for junior audiences.

The movie in a way reflects the notion of cinema itself, and begs to be seen in theatres on the biggest screen, urging for audiences to experience an event rather than passively «Netflix and chill».

There are, after all, aimed at young audiences plenty of movies more mean - spirited, indiscriminate and obnoxious than The Last Legion.

Audiences deserve much better than its final reel, no matter the name of the movie.

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.

While this may please book and movie enthusiasts, parents should be aware the content might be maturing faster than the audiences lined up to see these spell - casting heroes.

Soderbergh's most enjoyable movie since the original Ocean's Eleven, this high - spirited caper deserves a bigger audience than it got in theaters.

But home video audiences helped rescue an often clunky but enjoyably unusual B - movie, which in its new 2K transfer looks more than ever like a dime - store paperback cover come to live.

Less a fully realised thriller than a series of rampaging set pieces, this rollicking movie at least provides some goofy good fun for audiences, plus one terrific performance.

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.

There's more going on in Bert Williams» 1965 film than audiences at the time had any right to expect from a cheap exploitation movie.

While it's entirely possible that «Demon» will appeal more to U.S. audiences after its June 24 release than it did to critics who saw the film at Cannes, at the festival, Refn said his intention was to make a «primal» movie that featured heightened reality in a way that could provoke drastically different reactions from viewers.

Such references more often than not feel like awkward pop culture plugs, in hopes of reaching out to a contemporary audience, or firmly dating this movie in 2013.

If it doesn't get swallowed up by other family fare like another Jumanji, another Star Wars, another Pixar toon and even Fox's own Ferdinand, audiences will discover than true rarity: an original movie musical.

Few movies in 1983 inspired as much heated debate or produced a more visceral reaction in audiences than this two - hour, made - for - TV movie.

Ant - Man, on the other hand, was more than just a comedy movie, it was a heist film that managed to surprise audiences with its unique action scenes (thanks to the shrinking capabilities of the film's main hero and villain).

It seems to be appealing to a younger audience than most superhero movies.

As for a Cloverfield 2, success wouldn't be a sure thing, even with a small budget, as the original film's reception was far loss positive amongst audiences than a similarly Internet - buzzing and viral marketed movie like Saw.

What makes «Funny Games» different than any other campy - scary horror movie that gets off on tormenting its characters and teasing its audience?

While women in the audience may find resonance in the comical prickliness, this film remains more of a stage play than an actual movie.