Sentences with phrase «much time viewers»

They have clocked how much time viewers spend in front of an object and how much time they spend reading a label, and noted whether they look back at an object after reading about it.

Not exact matches

The antenna is only used by one subscriber at a time, and Aereo says that's much like the situation at home, where a viewer uses a personal antenna to watch over-the-air broadcasts for free.

The New York Times notes other Fox hosts don't get as much leeway, but Hannity has the network's best ratings: «On Monday, his first show since the revelations about Mr. Cohen, Mr. Hannity pulled in 3.7 million viewers, topping his MSNBC rival, Rachel Maddow, and two N.B.A. playoff games,» The Times writes.

In a video programming business that will be increasingly dominated by over-the-top distribution and skinnier bundles, «reach» — the actual percentage of viewers that watch a channel over a set time period — will have a much greater role in defining consumer pricing.

Clark no doubt surprised his viewers by then veering off in a different direction, with an encomium to a chivalric figure of a quite different sort, the spiritual knight errant who, by the time of his death, had captured the imagination of much of Europe: St. Francis of Assisi.

Because of motion, lapse of time, mobility of the angle of vision, and the intimacy of the close - up, the viewer has a sense of presence that is much more tense than in any other art form.

Even allowing for that time difference between Japan and the U.S., CBS bears much of the blame for the viewers» dissatisfaction.

The movie's all - too - deliberate pace holds the viewer at arms length for much of its overlong running time, however, as Foley's rough - cut sensibilities result in a surfeit of palpably padded - out and entirely needless sequences - with the ensuing lack of momentum ensuring that certain moments aren't able to pack the visceral punch that Foley has intended.

The directorial team of Hall and Williams has brought us a real feast for the eyes; the animation really is spectacular at times, pushing the boundaries of just how much detail you can control, while not making it overwhelming on the viewer.

The run time is a bit too much and the film would have been better or at least more bare - able for some viewers if it were shorter but I didn't mind it.

At a time when much studio animation is skewing older and hipper, «Shaun the Sheep Movie» (that missing «the» is itself a sly nod to the pic's lack of verbiage) is thoroughly preschooler - friendly, though older viewers can appreciate its droll asides and dashes of silly satire.

The double - episode premiere drags like it has all the time in the world, leaving a viewer time to wonder if he or she has much room left for another show with swords, beheadings and rapey pillagings.

At times, the film approaches gallows comedy... perhaps a little too much so; at others, it's a tense, chilling look at a seemingly unbearable choice — refreshingly, without telling its viewers what to think.

Inspired by Sean Baker's Tangerine, Soderbergh also shot this motion picture on an iPhone and purposely gave it a squalid, lo - fi look in order to help magnify Sawyer's psychologically induced paranoia as much as possible, and while this visual aesthetic suits the material perfectly, it will just as likely turn off a small subset of potential viewers sight unseen at the same time.

For almost an hour of screen time, viewers are never quite told what is going on and, more to the point, they're not made to care much either way.

Despite only a few minutes of screen time together, the clear pairing of Broadbent and Alexander's characters acts as a subtle reminder to the, ahem, younger viewers that this film is just as much a foreshadowing of your mildly depressing future as it is a meditation on the mildly depressing present of the baby boomer generation.

There are worse things to say about a documentary than «It leaves viewers wanting to spend much, much more time in its world.»

Much has been said about the way in which the drug - induced hallucinations made good use of the 3D technology, but for the rest of the time the effect is classy but unobtrusive, never getting carried away by jabbing things in the viewer's face.

Ramsay doesn't offer the viewer much for free, and at times the film feels as if it's been cut too close to the bone, leaving you to unpick what you can from the brief clues that flash past intermittently.

It may be a bit predictable to older viewers, but the film's third act twist stings every time, and Csupó's refusal to ease the pain only makes the rest of the movie feel that much sweeter.

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.

In fact, much of what this review describes is not readily apparent for much of the running time, leaving the unprepared viewer at a near - total loss as to what might be going on.

Much of the film is shot from a high - rise office building in Manhattan, and as the ramifications of the firms malfeasance are revealed, the feeling of vertigo the viewer gets makes jumping out the window seem like the best option at times.

He stoically remains a bedrock while all about him seems to be madness and while viewers wish he wasn't as immovable at times, he plays the servant with as much pride and dignity as possible.

Perhaps he put in too much, as the downfall of Basic comes from being too ambitious, contorting itself until it becomes too difficult to follow for first time viewers, and not really entertaining enough to merit a second viewing.

It's a well - crafted good time that doesn't ask much of the viewer but also doesn't leave them feeling like an idiot the way that lesser popcorn movies do.

It's a recipe that provides an entertaining experience, but the dramatic moments depend perhaps too much on character and plot from previous films, so that they lose a great deal of punch if viewers haven't seen The Maze Runner or The Scorch Trials in some time - or at all.

At virtually all times, discrete audio engulfed the viewer and makes the experience much more exciting than it otherwise would be.

Many viewers will feel too much patience is required and not enough clarity provided for this to be an enjoyable time.

At times, the film approaches gallows comedy (as the decision - makers in the room try to refer the ultimate order elsewhere), perhaps a little too much so; at others, it's a tense, chilling look at a seemingly unbearable choice — refreshingly, without telling its viewers what to think.

The super-grainy textures of the night time driving scene in which the principles happen upon a grisly auto accident might give some viewers pause, but the fact is that this is an upgrade over the previously available foreign - region high - def versions overall and hence pretty much a must.

The disc opens with previews for Lady and the Tramp (which has been opening Disney discs for quite some time now, much to the frequent viewer's annoyance), The Wild and The Shaggy Dog, Kronk's New Groove, «That's So Raven»: Raven's House Party, and this very movie.

Jack Ryan: Shadow Recruit, while falling short of the transcendence of the Bourne films, does leave viewers on the edge of their seat for much of its 105 minute run time.

Perhaps in the film's laid - back inquisitive pace there is too much time to allow the viewer's mind to wander.

This back - and - forth structure doesn't hurt the momentum this time so much as give the viewer some relief.

Perhaps that's intentional, but regardless, the film spends too much time in flashback mode, and although there is a twist to the story at some point, most viewers will be well aware of what's going on long before all the cards are revealed.

Sabrina is a bit of an overlooked film that will likely age well, and while it won't achieve the classic status of the original, it probably will be seen in a much better light by today's viewers than at the time of it's release.

It seems that the movies are measured by many only by how much viewers were fooled at the time of the revelation, or how plausible they find it, instead of the usual benchmarks of the acting, directing, music, sets, costumes, etc..

At times, the film is just too much for young viewers.

But the iBooks app is now my favorite PDF viewer of all time, it's super and much smoother than the web - based variety of book viewers.

The leap forward in time is a daring move, especially since the kids that watched the first movie haven't grown up anywhere near as much as Hiccup and his friends have, yet everything is kept relatable for the younger viewers while the change gives older fans even more to enjoy.

I was kinda reaching out for a fighting game at this time as I wasn't enjoying Street Fighter 4 so much anymore and I got hooked on Tekken Tag Tournament 2 and I started streaming along with picking up Tekken Tag Tournament 2 so I am very grateful to my viewers for helping me on my journey, it would have been tortuous otherwise.

By making the narrative personally relevant, you'll have a much easier time eliciting an emotional response from your viewer.

We intentionally designed our app so the viewer would see once piece of art at a time (iPad its primarily on your wall, and iPhone its in a card view), so that we could measure engagement in a much more meaningful way than most platforms.

This work can be interpreted in the simplest, most direct manner — as a stereotyped image of China's food culture and painting traditions, but at the same time, its multiple references to various Chinese social and historical backgrounds make interpretation much more difficult: the use of objects to express morality in Chinese landscaping, satirical poetry mocking ostentatious refinement, and the imitation of handwritten menus to capture a scene of civil life... Viewers unfamiliar with the specific context can easily find themselves lost in the smokescreen of mysterious Oriental poetic calligraphy and bonsai art.

The stroke-less, «flat» surface look of his poured paint invites the viewer to consider the place and time that the paint dried and found its way from the vessel to the end composition, a dimension that feels — much like love itself — at once spontaneous and inevitable.

Beavers is unashamed of the decadent application of paint at a time when many artists are doing as much as possible to negate evidence of the hand and keep the viewer pinned to the surface of their work.

No matter how many times the viewer is looking at the artworks of Louise Bourgeois is always surprised at how great and multifarious artist she is, but also how much her childhood and her experiences stigmatized her.

At a time when art is full of protest (and rightfully so), Owens gave the viewer a much needed oasis.

He writes that the exhibition «presents the artist and his work partly in the context of his time and place and partly as artefacts present - day viewers respond to literally, without much explanation, as images that will strike them as strange or alien, either because of a cultural disconnect or because of the uniqueness of Dürer's imagination.»