Sentences with phrase «viewer at arms length»

The less - than - enthralling vibe is compounded by a narrative that is, to put it mildly, rather disjointed, with the almost total lack of an entry point holding the viewer at arms length for much of the movie's opening 45 minutes.

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.

A Most Wanted Man, like such other le Carré adaptations as The Tailor of Panama and Tinker Tailor Soldier Spy, has been hard - wired with an impenetrable narrative that holds the viewer at arms length from start to finish, with the convoluted, confusing atmosphere compounded by a total absence of interesting or sympathetic characters.

It's immediately clear that Berg's penchant for incoherent, relentlessly shaky camerawork is in full effect here, with the filmmaker's aggressively unpleasant visual sensibilities holding the viewer at arms length right from the get - go - although, unlike most of Berg's previous endeavors, Patriots Day at least benefits from an interesting storyline that generally compensates for its inept cinematography.

Not exact matches

It's a strong (albeit familiar) premise that's immediately threatened by a surprisingly (and distractingly) low - rent visual sensibility, as filmmaker Craig Gillespie, along with cinematographer Javier Aguirresarobe, has infused Fright Night with a hackneyed artificial darkness - ie it's almost as if the pair were trying to emulate the appearance of David Fincher's movies - that both holds the viewer at arm's length and highlights the laughably unconvincing computer - generated special effects.

Keeping the viewer at arm's length throughout, this stone - faced mediation on life, death, and the surreal registers as nothi...

There's little doubt that Jimmy and Judy's central visual conceit - the entire film has been shot entirely from the perspective of the two central characters - proves effective at holding the viewer at arm's length at the outset, with Furlong's almost aggressively obnoxious work as Jimmy initially exacerbating the movie's low - rent sensibilities.

It's a ridiculous and flat - out dumb premise that's employed to terminally underwhelming effect by Cronenberg, as the first - time filmmaker, working from his own screenplay, has infused the proceedings with a cold, sterile atmosphere that holds the viewer at arm's length right from the word go.

It's clear right from the get - go that Joe Johnston is looking to emulate the feel of an old - school horror flick, and although the filmmaker does succeed to a certain extent (ie the movie boasts a decidedly atmospheric sense of style), The Wolfman suffers from an egregiously deliberate pace that slowly but surely renders its overtly positive attributes moot - with the pervasively stuffy vibe holding the viewer at arm's length for the majority of the running time.

«Park's work has an accessibility which Still's does not, It does not keep the viewer at arm's length or make itself hard to understand.»

At the entrance four arm - length panels suggesting door handles and necessitate physical human contact as the viewer passes into the gallery.

Prince keeps the viewer at arm's length by removing the image from its source, and by doing so, he undermines the entire narrative function of painting, creating instead an utterly new work that's all the more alluring because of its evasive presence.

After the more formal portraits which always keep the viewer at arm's length, the video really hits home emotionally.