Sentences with phrase «over viewers like»

The commanding photograph Loos, 2013, by Linda Lindroth, towers over viewers like a modernist building.

Kawase shows how deeply intelligent she is with a slow, assured, flow that washes over the viewer like a wave.

Not exact matches

«Content is so competitive right now that losing viewers over a simple issue like buffering could be a death sentence.

I Merely the look of it, buttercup at the edge of the «Lawn Falls» where the water seeps, sweeps down to the seaside is enough to carry the viewer in awe over the edge of reason to a logic beyond the modest mundane: the rocks being pitted are jointed by torrents of balm - like uproar.

Yep, it's like playing a trick on yourself, and for it all to work right, it has to start with the players believing that the outcome really matters, then spread out over the crowd and the viewers at home and cover them too, get them screaming and jumping and throwing pillows at the screen.

Ask 1000 Fox viewers if they can tell the difference between a piece like Milloy's and what you consider journalism, and knock me over with a feather if as many as a half of them can.

Within a couple days, the clip asking viewers whether they hear the word «Laurel» or the word «Yanny» has garnered over 100,000 likes on Twitter — and sparked intense debate.

The flared trousers or micro minis, kicky box - pleated skirts, splashy painterly floral over silk, sometimes layered over black trousers and mosaic cocktail dresses made up of rectangular pewter plastic tables, arranged like bricks that echoed back to the architecture of the show's surroundings left an impression of countless interpretations on viewers.

Between them, these fashion bloggers / vloggers / budding fashion designers / creators of scintillating #sponcon have amassed over 23,227,025 Instagram followers, 1,971,954 Twitter followers, 4,013,710 Facebook likes and 2,305,111 YouTube subscribers, bringing their total reach to (approximately) 31,750,000 viewers like you.

Some of the voice actors, like Justin Timberlake's prominent turn, strike the viewer as being cast for name recognition over value - adding performances.

Whether you have a film like Ex Machina winning the Oscar for best visual effects over films like Mad Max: Fury Road or The Hurt Locker taking precedence over behemoth's like Avatar for best picture, independent films have always had a way of winning over the hearts of many viewers.

I really liked Strange Circus, but this and Suicide Club are convincing me that Sion Sono just likes to masturbate all over his film reels and see if what he produces is worth anything to his viewers.

Like Brent in The Loved Ones and Joshua in Animal Kingdom, he's a depressed and sullen teenager who speaks only in monosyllables — hardly a characterisation to easily win over viewers — yet Pittaway is perhaps the most successful of the three.

In the end, Get Over It may have some «punch» for the most undiscriminating of teen viewers, but most others will find the strange flavor not to their liking.

Dark City (New Line): Like «Blade Runner,» this nightmarish bit of science fiction debuted in theaters with a studio - mandated voice - over intended to help viewers make sense of the film.

It doesn't ask much of the viewer, is less than two hours (which is a godsend after a season of 150 + minute monsters like Zero Dark Thirty, Django and The Hobbit; even This is 40 was over two hours long), and provides a ton of entertainment for its value.

In a world where we can access all of these shows on multiple formats and on multiple devices, viewers are much better off watching series like «The Sopranos,» «Breaking Bad,» «The Wire,» etc. over the latest movies.

The Vietnam War is never truly over (and at times it will feel to a viewer like «The Vietnam War» is never over, either), but, as Bao Ninh, a writer who fought for the communist North Vietnamese army, thoughtfully observes in the film's opening moments: «It has been 40 years. . . .

It's poorly paced, the narrative is inadequately layered, it drowns the viewer in nonsensical exposition and, over all, winds up feeling like a silly excuse to make yet another movie about pretty people, werewolves, vampires, and teenage murderers.

While I wouldn't put it past the filmmaker to put one over on all of us like this, I also have no reason to assume the production notes or quotes from any of the actors who worked on the film are part of the plan to playfully deceive viewers like this is some strange marketing strategy I honestly can't make heads or tails of.

The ads for this eight - episode miniseries make it seem like HBO's idea of a place holder — perhaps a substitute for the third installment of «True Detective,» which was given a pass (good riddance), or something passably dramatic to tide viewers over between the «Game of Thrones» season finale and whatever the network is cooking up for fall.

The constant focus on minutiae over bigger issues keeps the talk from being the most satisfying, but it's the type of thing that will give you plenty of tidbits with which to wow a first - time viewer, like the fact that uncredited Jerry Zucker (Airplane!

While Lanthimos appears intent on growing only more alienating over time, as if in defiant response to his harshest critics, viewers with a healthy funny bone and a sadistic side will tear this open like a Christmas present.

Moments that might strike childless viewers as schmaltzy — like the audience's last glimpse of Richard Kind's Bing Bong, a character who seems to have grated on David but whom I regard as one of the great fictional creations of the year — provided my 9 - year - old and me with our first - ever experience of weeping together over a work of art.

Super Bowl ads give Lexus, Kia models a boost; Viewers like Toyota, Hyundai commercials; FCA faces backlash over MLK ad; GM slashes sales bonuses; Chicago auto show preview.

«I'm watching this on my iPad,» joked one viewer in the comments — while another comment offered a different perspective: «thank god they did nt over price like Apple!»

While the overall experience with the viewers rating was positive I didn't really liked the fact that it was game over when it reached 0 %, it would have made more sense to have some sort of rewards - systeem.

I feel like she's on the right track there, emphasizing how Olympic events only appear every four years, yet the Olympic viewer never feels like the action is going over his or her head.

Like before, the angry voice of SEGA takes over the television, this time directly addressing the viewer with six words: «Just stick it in your Genesis.»

Opening: Stefan Tcherepnin at Real Fine Arts Stefan Tcherepnin's last show at Real Fine Arts, in 2014, included large stuffed monster - like sculptures that were originally made for use in an abstract film and towered over viewers there to commune with them.

Her politics changed from being subtle — the way a rough, concrete shell with rosy insides hints at a heartbroken landscape — to hitting the viewer over the head with dripping red paint, photos of lower Manhattan covered in dust, and titles like «Oil XI.»

David Medalla (for Venus over Manhattan) spews out soap bubbles like giant wisps of cotton candy, a video by Joan Jonas (for Gavin Brown) lurks beyond a graveyard of white cones, and Haroon Mirza (for Lisson) has a sound studio of driving beats and flashing window frames, driven by the presence of viewers.

Circles and circular clusters radiate like third eyes, tracking viewers across a series of arresting paintings in ink, acrylic, fabric, and collage on canvas over wood panels.

Arranged in display cases like specimens in a science laboratory or medical museum, the artist hopes that these fantastical, yet lifelike, body parts will change the way the viewer considers the significance of plant life, and how we value certain life forms over others.

So while a video like Mathieu Kleyebe Abonnenc's An Italian Film (Africa Addio)(2012), in which a Yorkshire foundry reenacts the nineteenth - century colonial - era melting and recasting of looted Congolese copper treasures, is perhaps an obvious one to include, it nonetheless keeps the curators» narrative ticking over without, for better or worse, too many tangents for the viewer to get lost among.

A child - like puppy - face motif also summons a primitive female form, and a white wall emerges as a textured surface only when the light renders shadows upon it — Black is interested in the alteration of the viewer's orientation and relationship to his works over time.

The large size of his canvases requires a viewer to consider the relationships and rhythms of color over time, more like a musical composition than the pop art images that emerged at the same time.

Inspired by Giorgio de Chirico, Andre Breton and other 20th century surrealist painters, Weldon's dream - like and fantastical narratives playfully coax the viewer to consider the role of social media in our everyday lives - the absurdity of time spent scrolling through photographs and feeds, as well as the the withdrawn insularity of choosing social media over genuine social interactions.

Delicacy of touch is the order of the day, especially in Chrystie (Pink), where the toile effect of whites over oranges and pink, thinned so they run and bleed like watercolors, glimpsed in apertures to allow chromaticism to emerge, is so inviting the viewer just has to step close.

The work she has contributed to group shows over the past couple of years have offered a tantalizing glimpse into what she has been up to, but have left me, like most viewers, hungry for more.

Shot over the course of two years, each artist — in varied stages of their careers — encounter challenges and triumphs and give the viewer an inside glimpse into what it's like for women artists to find their ways in the big city.

Soon after graduating from Princeton, where he found common cause with the painter Frank Stella and the critic Michael Fried, he experimented with swirling, turbulent paintings, using new materials like alkyd resin, before arriving at a refined minimalism that confronted viewers with an isolated, luminous geometric form — usually a disc or a square — hovering over a single - color ground.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

So often the inherent contradictions in her work stay with you, like her Mamans, those enormous spiders that loom over the viewer with legs like bundles of angry nerves, these were «portraits of my mother... I want to walk around and be underneath her and feel her protection.»

Working with our artist in residence, Charlotte Young, over such a long period, helped the students to have a very open dialogue and they were very clear what they wanted their art work to look like and say to the viewer.

The voice - over hereby functioning as the referential frame, wherein the diary - like poems structure the exhibition space, addressing the viewer and embedding him and her into the narrative.

This color is itself cut with beeswax, at a low enough level not to conjure up associations with well known purveyors of the encaustic technique, like Jasper Johns and Brice Marden; it instead increases the sensation of the paint as dense and saturated, and gives it a subtle, changing play of light over the surface as the viewer moves around the work.

Like another partially nude figure with his face covered by the T - shirt he's raising over his shoulders, this reclining figure implicates the viewer in a voyeuristic role complicated by the figures» mysterious sense of psychological distance and removal.

Crafted largely from costumes and props left over from his past performances, the sculpture abstract his dancers» bodies down to their arms and legs, encased sausage - like in unitards, with disembodied hands reaching out to the viewer, all lit by a series of programmed lights that are liable to shift in the blink of an eye.

Unfortunately, a lack of signage led to viewer frustration over the WC - like queues.