Sentences with phrase «viewer out of the film»

Not exact matches

To find out what someone who treats patients for eating disorders thinks of the film — and suggestions that it glamorizes anorexia, or could be triggering for vulnerable viewers — Health spoke with Bonnie Brennan, a licensed professional counselor and senior clinical director of adult services at Eating Recovery Center in Denver.

Moreover, Mallick also instills the sense of paranoia of the time, as the viewer sporadically hears the sound of whispers, primarily from Jack, who speaks out to the various themes of the film: spirituality, compassion, regret, fear, anger, sadness, and wonder — all elements of everyday life.

With the rattling of passing trains, rain falling on the car and the hum of city life going on around you, this dvd is a perfect example of how enveloping the viewer in the ambience of the world the character inhabit can take you out of your lounge room and into the world of the film.

As for the other arguments, I am just as capable of having fun as the next viewer - and I seek out fun in films more often than you might presume.

The inclusion of a handful of compelling moments within the film's second half - ie one of the soldiers moves higher and higher on the mountain to hopefully get a radio signal - are rendered moot by the otherwise uninvolving, bland atmosphere, while the needlessly padded - out final stretch, which just seems to go on forever, is sure to test the resolve of even the most patient viewer (and this is to say nothing of the seemingly endless closing credits).

Considering the age of the child protagonist and his appeal to young viewers, it's too bad film editors couldn't have punched out of few of the profanities in favor of a more family friendly bout.

I'd be curious to find out how many of those viewers felt satisfied with the film.

In a welcome new edition of Transcendental Style, he writes of creating «an alternate film reality — a transcendent one,» in which, «The filmmaker, rather than creating a world in which the viewer need only surrender... creates a world in which the spectator must contemplate — or reject out of hand.»

Fortunately the action is handled in a much more controlled way than the second film with the viewer actually being able to walk out of the cinema without a coma.

However, when we examine 2 of his latest films (white ribbon and cache), it seems to me what stands out is his ability to use the concept of mystery and show the viewer that in cinema, as in life, there are things beyond our understanding, and nihilism isn't so bad if you can accept that.

If Sono's intention was to get his viewers to examine the subtleties of the film, perhaps he could have kept the voiceover out of it, one of the most overbearing narrations in any recent film.

The viewer subsequently can't help but walk out of the film with a much higher opinion of the notoriously incompetent commander - in - chief, as Bush is ultimately portrayed as a likeable good ol' boy whose presidency seems to stem primarily from his desire to please his father.

Still, it aims low for a film that seeks to make superstars out of its performers, and doesn't succeed even in its limited aspirations, such that perhaps From Justin to Kelly actually benefits from its perpetual critical derision, as only the very lowest of expectations can have viewers feeling pleasantly surprised by the miniscule returns in entertainment the film provides.

As asshole stepfather Trent, Carell opens the film by rating Duncan as 3 out of 10, and if this isn't enough to turn the viewer against him, there's plenty more to come.

The metaphorical sentiment of the film is clear: Director Reginald Hudlin, who splashed on the scene with «House Party» in 1990, wants viewers to see Thurgood Marshall as «The Black Superman,» ready to rip out a giant letter «M» on his chest whenever injustice is near.

After I saw it at the Toronto film festival last September — where Rudolph and Willis said they were proud of having made it even if nobody saw it — it received nominal runs in New York and Los Angeles, cities where viewers and critics are regarded by distributors as being more demographically significant than those in Chicago, and then early this year it came out on video.

While the eventual outcome is seemingly obvious, it isn't the destination that matters; it is the journey, and Niki Caro «s film manages to reach out and grab the viewer and provoke emotion in all of the right places.

It's consequently not difficult to see why Election is now considered a classic high school comedy, although the presence of several decidedly adult themes (ie lesbianism, adultery, etc) ensures that viewers over a certain age will probably get a whole lot more out of the film than teens.

I respect his artistic decision to go in that direction, but that makes it difficult for the casual viewer and even for the serious film buff to recognize all of the out - of - sight artistic talking heads from novelist Italo Calvino to screenwriter Tullio Pinelli.

In an era where so many films are merely stealing elements from each other, The Mack emerges as one of the most unique, and even if it lacks the focus and jointed structure to call it a great film for mainstream viewers, it is well worth seeking out for fans of not only Blaxploitation films, but gritty crime dramas in general.

Still, I think the majority of open - minded viewers who scout out this film should come away satisfied and with their horizons broadened.

And here it is, the most significant movie of the 1980s, a film that turned its viewers into secret detectives sniffing out the seedy underbelly of American suburbia.

The film brings viewers into the then - present day with Fanny singing about «20th Century blues», Jane not feeling the Jazz age, and Aunt Margaret (Irene Browne) wowing her relatives with talk of flying in and out of Paris.

Viewers will discover how the film is more about depth with its 3D, instead of jumping out at you.

This little shocker will most likely have viewers going for a while, from the first sight of the snuff film tapes to about the time that the couple finds a secret passage out of their room that may or may not be a legitimate means of escape.

It is one of the conventions of the classic crime film to lay out false trails as long as possible for the viewer.

Peter Jackson's (The Desolation of Smaug, An Unexpected Journey) version should have the secondary title, «Been There, Done That», as he's not only revisiting many of the same tropes that made his original Lord of the Rings trilogy a gargantuan success among films, but also viewers will likely watch these movies once and are content to close out the chapter without giving them any second thought.

Misan Sagay's script does drag in places, which is a shame, as ten - fifteen minutes could have easily been cut out to deliver a much tighter film, but there is enough going on to keep the viewer interested throughout, especially if one is a fan of this hugely popular genre.

In anticipation of the release of Harry Potter and the Deathly Hallows: Part II, I watched all eight of the films in a 48 - hour stretch to figure out: Why did this series succeed, for fans and for casual viewers?

Nevertheless, considering how many people walked out of the screening within the first hour, I suspect that this film will successfully alienate or confuse most of its viewers, earning more appreciation in the years to come, long after most of us have expired.

A film that'll be a lot more interesting from an auteur perspective if Franklin ever gets his career back on track, Out of Time is inoffensive now for the casual viewer and tantalizing for the student.

Overall, the film, which was produced by Tim & Eric themselves along with Will Ferrell, Adam McKay and Dave Kneebone, is a true celebration of an off - brand style of niche cult humor that so many viewers still look for in shows like The Eric Andre Show, Check It Out!

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

When: January 6th Why: At this point entering the fifth installment in the «Underworld» series, viewers pretty much know what they're going to get out of these films.

A consultant for the film, Hill also directed and appeared in a series of instructionals, and viewers will notice some stock «Robin Hood» shots not used in the finished film, and get a kick out of the narrator's homespun humour regarding «three little girls from archery school.»

Three years ago, it started out as an experiment to provide a singular festival experience exciting enough to draw new viewers to independent film and to showcase the renegade spirit of independent artists.

These words of wisdom are especially true for the film Get Out, a film that's trailers mislead viewers on the type of movie and the quality of it.

This film takes the viewer out of their comfort zone and makes them feel like an uncomfortable bystander in this strange world.

Much of the film is shot from a high - rise office building in Manhattan, and as the ramifications of the firms malfeasance are revealed, the feeling of vertigo the viewer gets makes jumping out the window seem like the best option at times.

There probably is an audience out there for a movie like The Covenant, and that audience probably consists of younger viewers that enjoy campy teen horror films like The Lost Boys and The Craft, both films from which The Covenant seems to crib without much effort to hide.

That film worked, however, as viewers were still caught up in WCKD's motivation and worried that Thomas and his friends wouldn't make it out of the scorch.

But it does its job of scaring the bejesus out of its victims and viewers, adding an interesting and gripping angle to horror films.

«The narrative of Linklater's flawed film, despite its flashy rotoscoping style, is overshadowed by the director's uncanny ability to write dialogue that breathes with so much life that it often transcends the images on the screen and almost leads the viewer to believe he can reach out and touch the words coming out of the characters» mouths.»

Jordan Peele's «Get Out» is, again, a work of savvy craft that pulls an unsuspecting (white) viewer into a Sunken Place that other moviegoers know all too well; the movie works as a horror film, as a goof on horror films, as a working street - map of African - American anxieties, and, for a white liberal audience, as an endlessly reflective hall of mirrors that urges a hard, necessary look at oneself.

Eagle - eyed viewers lucky enough to have seen Black Panther already — we're still waiting for a preview screening here in Chicago — may have noticed a shout - out to Atlanta multi-hyphenates Donald and Stephen Glover in the end credits of Ryan Coogler's soon - to - be-blockbuster film.

Many early viewers even called it the best film to come out of Cannes yet this year (so far).

The jokes are mostly of the simple - minded nature, focusing on sex and crude language simply for the sake of «earning» its R. Again, the film starts out with enough momentum to almost fool the viewer into thinking that they're watching a high quality R - rated flick, but then quickly the film nosedives into a slow death of flat jokes.

The film is almost certainly too much for very young audiences, but viewers who revel in slightly darker fare and those with fond»80s childhood memories of the film will enjoy and should be pleased with this fine DVD release, which rises above the out - of - print previous Anchor Bay release.

This is not to say that the film as a whole is a failure by any means — however, it will be up to the individual viewer to figure out for themselves whether it is an okay movie containing a few too many hiccups to keep it from completely pulling together or a not - so - good movie with enough strong individual elements to hold one's interest for at least most of its running time.

It does start strong, but as more information comes out as to the whos and whys of what's going on, the film's weaknesses begin to show, and it is nearly all undone by two epilogue scenes that feel tacked - on in order to give the viewers the semblance of a happy ending.