Sentences with phrase «plays upon an audience»

Unlike many of the horror films of the time that relied heavily on gore and torture for cheap scares, «The Strangers» reverted back to authentic dread and played upon the audience's comfort levels — there's nothing more terrifying than being unsafe in your own home.

The basis for the film obviously plays upon an audience's fundamental fear of clowns.

Not exact matches

When audiences and critics use such diverse words to describe one man's work, you know they are talking about an actor who completely transforms himself into whatever character he is called upon to play.

What's worse, the fact that the film plays upon long - held notions of devious behavior amongst trans people only deepens the divide between audience and subject.

One of the biggest surprise smash - hits of the last decade, the first Deadpool had no real right to be as entertaining and amusing as it was and benefited greatly from an audience across the globe that didn't expect it to be nearly as proficient as it was, so in many ways Deadpool 2 has a lot more weight thrust upon its shoulders in today's climate, with many eager fans awaiting more of Ryan Reynolds playing Ryan Reynolds under the guise of a tight red gimp suit.

The film opens majestically, with great wit, as the director himself plays a man magically transported from a hotel room to a cinema hall, where he gazes down upon an audience enraptured by moving images from the 1890s.

But it also plays upon those thriller conventions to force the audience to think about violence and revenge and terrorism and war.

Much will be said about the gender mechanics Garland is playing with here and the way in which he implicates his presumably largely male audience for indulging in a genre that has long relegated women to secondary roles as sexual objects, good only insofar as they can be acted upon.

A lot rides on the tone and how it plays upon the drama central to the premise and how it's ultimately received by audiences.

No other film on the list inspired such low expectations from me before viewing it, but celebrated Irish playwright Martin McDonagh has kick - started the played - out Brit gangster genre with a dose of existential neurosis, refreshingly languid pacing and ream upon ream of rapid - fire, ferociously literary dialogue that credits its audience with as much intelligence as its audience.

It follows this learning journey: Defining and exemplifying each of the features of tragedies; Inspecting the play, identifying and analysing Russell's use of the features of tragedies throughout; Understanding the writer's intentions and the anticipated audience reactions through some of the features of tragedies; Creating a mind map demonstrating the effectiveness of the features of tragedy upon the audience; Applying their understanding of the features of tragedy in the play to a storyboarding activity; Self - evaluating their learning in the lesson.

The characters are delightfully typecast - there's the tragic figure of our much put - upon anti-hero who is driven to commit violence for what he believes is a justified cause; a truly dastardly old - Etonian poetry - spouting villain (who, if this was a play, would receive hisses from the audience every time he came on stage); the exceedingly wealthy and influential Lord Tansor, living off the gains of his brighter ancestors; a dead - ringer for Uriah Heap; plus a massive supporting cast representing every strata of society, both urban and country; and last but not least, Evenwood House itself and its great library - the representation of everything that Edward yearns for but that remains tantalizingly out of reach.

Being able to play the game in your image for the first time (for Western audiences anyway), expanding upon relationships, as well as providing a ton of post-game content showed how much love was put into this.

It has been set high upon high, as if on a throne, with other chairs down below, a captive audience playing the role of disciples.