Sentences with phrase «real audience for movies»

, attempting a Quebecois accent — a little like Keanu Reeves trying not to do a baked accent) are so gay that it's almost possible to see the film as a comment that the real audience for movies like this are pre-sexual little boys and homosexual big boys.

Not exact matches

Though Vanity Fair's Richard Lawson admitted that the voice initally sounds «too synthetic and effortful for a movie that's about some very dire real - world things,» he suggests that the actor's performance will win audiences over.

If audiences still exist for movies like this and debate them afterward — if, that is, not every single moviegoer in America is lost to mindless narcissistic self - indulgence — the arguments afterward will be the real show.

The real - life Harding's reputation precedes her in the court of public opinion, which could be a sticking point for certain audience members, but for those willing, the movie is a treat.

Although Nixon's starring role on the hugely popular series may have brought her to the attention of a new audience, observers of the New York theater had been watching the actor on and off Broadway since 1980, where she had performed in productions that included David Rabe's Hurlyburly, Tom Stoppard's The Real Thing, Angels in America, and Indiscretions, for which she earned a Tony nomination.Born in New York City on April 9, 1966, Nixon made her film debut in the 1980 movie Little Darlings.

for all its flaws, Born on the Fourth of July provides the final proof that Tom Cruise is the real thing - a movie star with all the natural, unforced ability to connect with an audience that the title implies.

This movie is a fun filled movie that bases itself around a real world person who had visions for captivating audiences.

The Room turned the real Wiseau into a cult icon, as he continues to show up at screenings for his movie as it still plays in theaters with a fair amount of audience participation.

Kids today, perhaps the prime audience for «Max,» could be troubled by some aspects of the movie, but ultimately they will acquire a real - life, vicarious experience involving the death of a 14 - year - old boy's brother (shown graphically in a scene from Afghanistan) and the violence involving gun smugglers, one of whom violates the Marine code of behavior by being involved in the theft and sale of AK - 47's and a bazooka.

Mickey's immense popularity is also touched on, as he describes how often times, a Mickey short playing in front of a movie would be the real drawing point for audiences to go to the cinema.

Of course, the real reason for the delay was some not - so - secret reshoots with Channing Tatum, whose reported death in the beginning of the movie didn't go down well with test audiences.

Full disclosure: I never followed the real - life events that inspired this movie, so I am a perfect audience for...

Full disclosure: I never followed the real - life events that inspired this movie, so I am a perfect audience for it.

And then commercially, a movie like this or «Heaven Is for Real,» if these movies work commercially, and I benefit from that, I benefit from it because creatively we got to where we wanted to be, and it connects to an audience.

As director Paul Greengrass explains in his brief introduction to the new edition (the «special» part), he wanted to make a movie that would expose the huge audience for the Bourne thrillers to the real - world skulduggery by which the Bush administration sold the Iraq invasion as a hunt for weapons of mass destruction.

It kicks off with some genius mock movie advertisements for each of the lead actors, shown before even the production logos, to trick the audience into thinking they are real for a small moment in time.

At the film's recent press day, McKay, Lewis, Bale, Carell, Gosling, Hamish Linklater, Jeremy Strong, producer Jeremy Kleiner, and screenwriter Charles Randolph talked about turning the book into a movie and adapting it to the screen, why McKay was the right person to direct, what drew them to the project, how the actors met their real - life counterparts in preparation for their roles, the decision to combine a cinema verite documentary approach with other stylized elements, breaking the fourth wall, and using celebrities and pop culture figures as an entertaining storytelling device to explain complex financial concepts to the audience.

The movie manages to end on a quasi-hopeful note for two of the characters, but there's no real sense of happiness other than the audience simply having survived the ordeal and being able to go on with life.

It may be for those involved in the real - world basis for the story (who, of course, turn up cheering and clapping in the stands of a football field during the movie's coda, because, again, it's that kind of movie), but that's a pretty narrow audience that is already a bit biased in the movie's favor.

That film reportedly was a valuable lesson in the type of movie he didn't want to make, and Greengrass returned to real - life drama in 2002 with «Bloody Sunday,» a film which, while financed by Granada TV, premiered in Sundance where it won the audience award, and played Berlin, tying with «Spirited Away» for the Golden Bear.

Hopes for real substance are pretty much deflated as well, as the plotting shifts from something's - rotten - in - Denmark to libertarian - Alex - Jones - Illuminati - conspiracy - territory, and while the film's ballsiness in its twists, and their impact on the movies going forward, is admirable, it smacks of being afraid to have a real viewpoint for fear of alienating some of their audience.

If you've been following the series closely you'll notice that Dehn's script doesn't sweat continuity with the previous movies too much, but that is no real problem since Escape moves at too brisk a pace for audiences to really pick holes in the plot.