Sentences with phrase «viewers feel about»

Common sense knowledge will play a factor in how viewers feel about the ending.

Not exact matches

Another reason Dr. Oz has experienced such widespread success is that he talks to viewers about things they might not feel comfortable discussing with their doctors.

Speaking as a cartoonish version of himself, Zuckerberg showed viewers some of the damage caused by the recent powerful storms, mentioning, «One of the things that's really magical about virtual reality is you can get the feeling that you're really in a place.»

If that's being the host of a TV show, if that's being a chef, if that's being an expert, if that's being a musician or if you're an expert at whatever it is that you feel passionate about, the only way the people will trust you, identify with you and connect with you as an audience and as a viewer is if they believe what you're selling.»

Some of the good theological quotes did make it into the closing scene but no sooner had the credits started to roll than viewers were assaulted by «There's A Place For Us» by Carrie Underwood about «faith» and «love» and the line «we can be the kings and queens of anything if we believe» to make sure viewers walked out feeling good about themselves.

In the most recent episode of his CBN show, The 700 Club, Pat Robertson gave this advice to a viewer who wrote in that he felt conflicted about continuing his engagement to a Muslim woman.

Mixed Reality gives video viewers a feel of what Virtual Reality is all about and this Assetto Corsa race at old - school Monza is a great example of it.

As these very special kids open up about their heartaches and lessons learned, young viewers are offered the chance to better understand the different issues and feelings that come up when parent part.

While I still feel that «Food Revolution» fell short when it came to showing viewers the hard realities of school food reform, the show was invaluable for its vivid depiction of serious problems in our society, problems which we hear about so often in the media that it's easy to tune them out.

In a 1990 HBO educational special about the environment called Earth to Kids, a 6 - year - old Weinberg can be seen delivering an earnest message to viewers: «How would you feel if your house was on top of garbage,» she asks the audience intently.

You never ever showed off your beautiful home in a way that made it seem like you were bragging about everything you and Brian were fortunate enough to get, you never push the products you're loving on your viewers and you never make us feel any less for not having the things you have.

The best part about this is that because everyone's in their own car, you can feel free to have a little chat with yourselves during the film without having a theatre of angry viewers pester you!

About me: Dear Viewer I'm Adrian and really I'm new to myspace, so I would appreciate a friend request to build up my list, but meanwhile feel free to browse around, and of course you can leave a comment.

Without a discernible plot or goal in mind, some viewers may feel like this is a film about nobodies who do nothing for the duration.

The film has about five sets and they never feel like they connect together, but this is less an attempt at disorienting the viewer than simply cutting corners; the grisly, overdone lighting, meanwhile, makes you want to hide behind your fingers for all the wrong reasons.

Any irritation viewers might feel about the absurd accent Franco adopted when playing Tommy dissipates as we realise this is exactly what the real Tommy sounded like.

Torres and Blasi wrap up the movie's central conflict so rapidly and so carelessly that it feels like an afterthought — as if they're eager to give the audience its happy ending, hoping against hope that viewers won't stop to think about what that ending really means.

Wile I'd like to see another few episodes to make sure, there's something comfortably gooey right away about This Is Us, reminding us once more that amid all the high - functioning detectives, emergency - rescue personnel and secret - agent superheroes covered in cryptic tattoos, there are very few network dramas aimed at viewers who are simply interested in everyday people and how they feel.

Humans does have that pleasingly antiseptic feeling of euro - cool about it (think of how the Benedict Cumberbatch «Sherlock» series looks, or BBC America's «Orphan Black»), which can sometimes lure viewers into the belief that they're watching something classy and sophisticated, when really they're just snacking on the TV equivalent of rice cakes.

Of course, we, the viewer, don't know if this is actually happening or if it's simply Tricia feeling guilty about trying to put her past behind her.

However, without learning much about the supporting characters and knowing they aren't going to make it, it's hard to feel much for them outside of the basic connection between viewer and talented performer.

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.

They care greatly about these characters and in pleasing viewers who feel the same.

The film is good to excellent in every way except morally, and there it's questionable more often than it should be, not because it's an evil film, or because the filmmaker or actors are bad people, but because the interplay of means and ends has been under - thought or misjudged, to the point where the film becomes a catalog of obscenities: a horror thrill - ride drawn from life, a thing for viewers to test themselves against while feeling just awful about Agu and his country, whatever its name is.

Frying chicken may indeed «make you feel better about life,» as one of Skeeter's maid - informants tells her, but The Help doesn't make the viewer feel anything.

It's a good thing Can Evrenol's Baskin is smart about it, using its Tarantino-esque aesthetic of guys talking in an ominous restaurant as a chance to establish character detail and backstory, giving the viewer a feeling of familiarity and camaraderie before these blue - collar policemen descend into a literal hell that would do Clive Barker proud.

This group of viewers might also relate to the protagonist's struggle to face his feelings about relationships with his siblings and the purpose family holds in his life.

Ultimately, the irony here is that «Fear, Inc.» is about a horror fan wanting to feel something, anything, yet doesn't offer this courtesy to its viewers.

The second half of the film focuses its attention on the whodunit story, but since most of the characters lack anything interesting about them for the viewer to connect with, the stakes never feel particularly high.

The film feels it was made specifically for Greek viewers, as all of the allegorical elements feel poignant and intentional, but not knowing anything about contemporary Greek society leaves you with the feeling of «this means something; I just don't know what it is.»

It's also a buddy movie that uses visual phallic puns to hint wickedly at what might have only crossed the minds of viewers of previous buddy movies, spelling out the ambiguity of their relationship with a funny routine involving an overheard conversation about feeling each other's breasts.

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.

It's clear immediately that there's just something a little off about Killing Gunther, as filmmaker Killam proves unable to even partially capture the viewer's interest right from the get - go - with the writer / director's choice to employ a mockumentary format exacerbating the movie's arms - length feel (ie the fake documentary structure virtually demands a far more competent approach).

Both of the presumed frontrunners feel like challengers: The Shape of Water, with its offbeat fantasy, sudden violence, and, um, interspecies sex; and Three Billboards Outside Ebbing, Missouri, which delights in confounding viewer expectations and has endured controversies about an ill - conceived racial subplot.

Perhaps your reaction to Thor will come down to how you feel about Chris Hemsworth, who struck me as a generically pleasant slab of beefcake (am I the only viewer who's more attracted to Stellan Skarsgard?)

In the inconclusive ending, the viewer is still left wondering about his feelings for his wife, preventing the message the movie is trying to make from coming across clearly.

It tends to frustrate more than make viewers feel good about the current job market (s), but then, does it really have an obligation to make one feel good?

As we observe Kate and Alex getting to know each by sharing their deepest feelings about love, work, and life, the film reminds the viewer of the lost art of taking the time to know and understand another individual.

These two entities are, obviously, not binary opposites, but one could argue that the feeling of a film — brought about with careful attention to cinematography, score and character development (all handled here with unique style and aplomb)-- sits with the viewer long after the credits roll.

Your book teasers are designed to incorporate the look and feel of your book — to borrow from its content and visuals to intrigue the viewer about your book and take them a step closer towards buying your book.

As it stands his demise was supposed to make the viewers feel like the stakes were real, but this failed because firstly we all know the big names make it due to Marvel announcing their slate of films, and second because we don't know very much about him.

I tell my viewers honestly how I feel and what I like and dislike about the games.

Someone is always relegated as the viewer, and not a fellow player, and to me that feels about as exclusionary an experience as you can get.

my intention in art is less about what a finished piece makes the viewer see and more about what it makes one feel.

«As a film director, I feel it is my job to always be telling the viewer what to think about an image or moment,» says photographer and director John Jencks.

Writing about your feelings of the art will enhance the experience for yourself and the viewer.

AMCDIs there anything unique about your installation that you feel responds to, or heightens, the viewer's experience of the paintings?

Marian Goodman Gallery had queues of people lining up to see a performance art of when an anime girl questions and interacts with viewers about the real feelings of an art object in the age of technology and commodity.

But what is strangest about them is how surprisingly natural it feels to a viewer to see both a car door and lipstick in the same object.

«I don't like to title my acrylic paintings because I feel strongly about not influencing the viewers» freedom to develop their own thoughts, interpretations, enjoyment of the piece.