Sentences with phrase «of cinema audiences»

Moviemaker Sam Raimi is aiming to scare a whole new generation of cinema audiences - he's remaking 1982 horror classic Poltergeist with director Tobe...

Not exact matches

Star Wars: The Last Jedi has been pulled from cinemas in parts of China after tanking with audiences.

But such specialization meant that it would reach its core audience, but not connect with newer fans that represented the future of cinema.

The campaign, labelled simply «I want a referendum», will be rolled out across the country over the next two months and will feature cinema adverts designed to reach an audience of one million people.

Bond's central problem is that the tropes of the franchise are out of step with what a modern cinema audience expects from its protagonist.

There is also a laboured attempt to explain some of the financial jargon for cinema audiences.

Comfortably sitting in the Sundance Kabuki Cinemas in Japantown in San Francisco, I was watching The Theory of Everything with an audience of hundreds.

The audience agrees: Last year's extravaganza garnered hundreds of submissions from scientists and non-scientists alike, and drew 5,000 spectators to screenings at area bars, universities, museums, and cinemas.

«The festival is closely linked to new technologies, interactivity and cinema, and as it addresses a young audience, it can effectively showcase the works of the selected young talents to the world,» Armani himself explained in an interview with BoF.

In addition to this, the cinema is over 18's only so you can guarantee no distractions from younger members of the audience.

Metacinema, also meta - cinema, analogous to metafiction in literature, is a mode of filmmaking in which the film informs the audience that they are watching At a Delhi market Guy buys a Royal Enfield bike with a traditional Hindu blessing.

@Gamble... «We» the audience, my whole position has been from the perspective of non-industry types, cinema as a product for a particular audience, buying tickets.

Departing only incidentally from E.L. James's trashy tome, and making up for any short cuts with extra set dressing, this is brochure cinema of the most profuse order, selling its audience more on a lifestyle than on any of the lives inside it.

Indeed, The Man in Grey opened a new, highly exploitable sub-genre of period bodice - ripper melodramas that war - weary audiences whole - heartedly embraced, and not just in England; it also did respectable business on the far side of the Atlantic.It was also Crabtree's permanent ticket out of low - budget cinema and to work with some of the more prestigious filmmakers of the period, most notably Anthony Asquith on Fanny By Gaslight (1944).

Revenge clears the air of the hedging and insecurity that are common of prestige cinema and of pop culture at large, tapping the prurient desires that drive most audiences to see genre films in the first place.

After «Reservoir Dogs» in 1991 and «Pulp Fiction» in 1994, Quentin Tarantino was hailed as the new wunderkind of contemporary American cinema with his triumphant originality and seemingly effortless ability to excite audiences.

While not containing any nudity, Bonnie and Clyde jumps out of the gates by showing audiences that a new era was about to kick off in American cinema.

One of these flashbacks confronts the audience with one of the most disturbing image in cinema, a repressed Karin cutting her vagina with glass to avoid sex with her husband.

This was something like a miracle: Haneke's gracious affability aside, his has always been, openly and decisively (he's quite literally said as much) an oppositional cinema — often abrasive (his one noble failure, 1997's Funny Games, and its shot - for - shot English - language remake from 2008, being the prime specimens), always painstakingly conscientious and morally committed to disturb (all of his films from The Seventh Continent through The White Ribbon) art films that mean to engage and provoke the audience, not please or reassure in a way that could ever be mistaken for award - grubbing.

In 2005, Lindhardt took Danish cinema audience and critics by storm in the lead role of ANGELS IN FAST MOTION, for which he received the Danish Robert / Academy Award, Best Lead Role.

Sure, it could be said The Death of Stalin is niche cinema and not really meant for the wider, ordinary movie - going audience.

Indeed, Senna is a must - see feature for consumers of cinema, lovers of action and aficionados of ambitious entertainment, with the flawless, fascinating and thrilling feature causing audiences to laugh and cry, and be moved and amazed, regardless of their prior ambivalence for or appreciation of the man at the centre or his chosen sport.

The predictability of cinema seems to be at the heart of the matter for the critics who signed the Pamphlet for Activist Film Criticism at last year's Oberhausen International Film Festival, in which they caution against the threat of filmmaking being submitted to «market logic, target audience orientation and political agendas.»

Indeed, a key aspect of smart cinema is that it asks to be «read», its nomenclature referring as much to its intended audience as its characters.

«Nearly 25 years after Howards End won the hearts of audiences across the country, it returned to New York this weekend and proved classic cinema is alive and well,» said Charles Cohen, chairman and CEO of Cohen Media Group.

While some debate as to whether Sunset Blvd. or Baby J incited Grande Dame Guignol cinema (or, more fondly known as hag horror), audiences should enjoy seeing glamorous actresses of yesteryear get down - and - dirty with Mean Girls - level spiteful digs that feel uncomfortably horrific and humorous.

The current cycle of comic - book - superhero films could be credited to, or blamed on, the success of Bryan Singer's X-Men in 2000, which removed some of the taint and anxiety surrounding the idea of translating the cheesiness of comic - book storytelling for a cinema audience.

It's a loose adaptation of British novelist Sarah Waters» Fingersmith; it's a milestone of LGBT cinema in conservative South Korea; it's an unapologetically kinky slice of erotica Tinto Brass at his most florid would be proud of; it's a Byzantinely structured tale of con and counter-con that makes real demands of its audience to keep up; it's a stirring narrative of women escaping from bastard men; it's a vividly sketched chamber piece; and — most importantly — it's a damn good yarn.

2006 Time Out New York Best Documentary The Radio Times Best Documentary 2007 Rose d'Or Festival, Best of 2007 and Best Arts Documentary (Switzerland) Los Angeles Film, Festival Best International Feature (USA) 2008 Atlanta Film Festival, Audience Award (USA) Bergen International Film Festival, Audience Award (Norway) Warsaw International Film Festival Best Documentary (Poland) Paris Cinema International Film Festival, Jury Prize and Audience Award (France) Nashville Independent Film Festival Impact of Music Award (USA) Sydney Film Festival, Audience Award for Best Documentary (Australia) Los Angeles Film Festival, Humanitas Award for Best Documentary (USA) Ghent Film Festival, Audience Award (Belgium) The International Documentary Awards, Alan Ett Best Music Award (USA) The Festival D'Automne, Audience Award (France) Les Rencontres Cinématographiques de Dijon, Audience Award (France) 2009 Christopher Awards, Christopher Award for Film (USA) The Keswick Film Festival, Audience Award (England) DVD Critics, Best Non-Fiction Title (USA) AG Kino - Gilde German Art House Cinemas, Best Documentary (Germany)

These sorts of films will always have a place, but it's unfortunate that most of the intended adult audience won't go see it at the cinema.

The combined success of the record - breaking, critical acclaim - nabbing and audience - thrilling success of Marvel Studios» Black Panther, introducing a black superhero and boasting a largely black cast, and the recent record - breaking, critical acclaim - nabbing and audience - thrilling successWonder Woman, whixh gave female filmgoers a superhero in their own image, should prove to Hollywood that inclusion sells in cinema, but will it bring real change in the making of movies?

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».

The mission of the society is to further the growth of an informed film audience, to promote awareness of the Internet as a source of news and commentary, to provide a forum for the OFCS members to communicate and discuss ideas about journalism and cinema, and to encourage a high standard of journalism across the online media.

This does not end with the credits, as Wallace continues keeping a balance — albeit a skewed one, this is a movie meant mainly for American audiences — by showing the mental mêlée played between the leaders of the two armies and the fact that the dead Vietnamese soldiers were just as unfortunate losses as the Americans, just that they are on the side that normally gets the shaft in Hollywood cinema.

2017's festival also reinforced its status as the home of politically charged cinema with a line - up that addressed the refugee crisis (and a bold new step into the world of virtual reality cinema), dystopian social experiments, mental health, and AIDS activists: there were more than enough fine caliber films to chew on for this year's audiences.

(p. 37) Yet, whereas Daire sees Mauprat as a dynamic, complex, and ostensibly queer studio film (the gender play he notes in the biography), Keller sees the film as a «costume drama [that] lacks almost entirely the vigour described by Epstein about the effects of cinema on an audience.»

Since his debut film Pi in 1998, director Darren Aronofsky has cultivated a unique brand of esoteric cinema that implants itself into audiences» brains and refuses to nudge, and that's probably the best way to explain his latest film, mother!

The early 1970s to the late 1980s was a unique moment in Australian cinema history; a time when censorship was reigned in and home - grown production flourished, resulting in a flurry of exploitation films — sex comedies, horror movies and action thrillers — that pushed buttons and boundaries, trampled over taste and decency, but also offered artistry within their escapism, giving audiences sights and sounds unlike anything they had seen in Australia before.

Medium jumps are never an easy thing to do, whether it's today's commonplace practice of remaking an old television series as a film residing between homage and parody, or as in the case of The Muppet Movie, simply bringing characters who found popularity on TV to a cinema audience.

Although the technical skill of Pixar's work is undeniable, much of their success stems from the ability to craft stories that engage audiences young and old.Whether telling tales of animated insects (A Bug's Life), superhero families (The Incredibles), talking automobiles (Cars) or lonely robots (WALL - E), their features connect with both children and adults, making for a cinema experience the whole family can enjoy.

As always, Busan works as a showcase for Korean cinema, debuting many new works while also offering audiences a recap of the year's major critical successes.

Audiences love this brand of cinema du bad behavior precisely because we get to live vicariously through it, going along for the ride while crooks try to pull off their daring plan and ride off into some metaphorical sunset.

The very fact that Criterion, the stamp of quality for classic cinema, chose to spotlight the film should bring audiences back to this overlooked masterpiece.

European cinema seems to be reaching a bigger audience these days and this is another worthy of attention.

Aaron Gerow lays out a history of film criticism in Japan to the present day, underscoring a narrative about cinema negotiated by professionals who gradually lose the ability to make a substantial impact on either audiences or the industry.

Virtually indescribable to modern audiences despite its familiar elements, Dead & Buried is a Darwinian fossil of the horror cinema, whose DNA has been perverted by the progressive commercialization of the culture and weakening of the intellectual position.

For 20 years, audiences in Hollywood and in other cities have thrilled to Noir City, the premier cinema festival devoted to what we call film noir — the movie genre that introduced us to a lot of the images above, and many more.

Last night I interviewed Boston's own Ben Affleck in person before a live audience at the AMC BOSTON COMMON CINEMAS immediately following a 7PM special screening of his latest film, ARGO!

As Joon - ho Bong's (The Host, Mother) first English language film (and comic book adaptation), Snowpiercer brought the visual language of Korean cinema to a wider American audience before becoming a global hit.

His ambition has sometimes exceeded his grasp on the material, but his best films (Atonement, Hanna) and most interesting efforts (Anna Karenina) have had more than enough going on to project his take of cinema out to an audience.