Sentences with phrase «viewers feel at»

One of Jackson's gifts that made him so, so good at college football games was to make the viewer feel at home wherever the game might be.

Not exact matches

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.»

They point to other destructive aspects of television that have been stressed by television researchers and theorists; the privatization of experience at the expense of family and social interaction and rela - tionships; (33) the promotion of fear as the appropriate attitude to life: (34) television's cultural levelling effects which blur local, regional, and national differences and impose a distorted and primarily free - enterprise, competitive and capitalistic picture of events and their significance; (35) television's suppression of social dialogue; (36) its distorted and exploitative presentation of certain social groups: (37) the increasing alienation felt by most viewers in relation to this central means of social communication; (38) and its negative effects on the development of the full range of human potential.

The protracted battle between CART and Champ Car cost both series sponsors, spectators and television viewers in the following years, but a sellout this year at Indy has the feeling of a renaissance for IndyCar racing.

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.

The post-birth euphoria that the new moms experience in the film is palpable through the screen and allows viewers to see some of what they might be missing should they feel pressured to undergo a cascade of medical interventions at the hands of their doctors.

For whatever reason, he's unable to mask his distrust of journalists, and for people watching at home that hostility can feel like its directed at the viewer themselves.

A journalist at CBS News, reporting a school of blue whales putting on a show off Southern California, felt the need to give inland readers and viewers a feel for just how large a blue whale is.

Hadid's continuing attempts at imbuing the proceedings with a lyrical, poetic feel fall hopelessly flat, to be sure, with the viewer eventually wishing that the filmmaker would just cut to the chase already.

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.

Avengers: Infinity War leaves viewers up in the air, feeling exhilarated and cheated at the same time, aching for a closure that never comes... at least not yet.

It can feel, at times, both overlong and oversimplified, but the story propels itself along while awakening in viewers some profound emotions.

At first you might be inclined to feel annoyed at her, but understanding that she is autistic will hopefully shed some light as to why she acts the way she does for all viewerAt first you might be inclined to feel annoyed at her, but understanding that she is autistic will hopefully shed some light as to why she acts the way she does for all viewerat her, but understanding that she is autistic will hopefully shed some light as to why she acts the way she does for all viewers.

Depressing, cliche, and quite unwatchable at times, Dear John really doesn't have an interesting story to tell, and despite it being in the romantic genre, the film makes the viewer feel nothing more than annoyance.

Pic's structure and last - minute disclosures entirely betray any personal investment the viewer has made in this low - key yarn, which will cause audiences to feel ambushed and sullied at fadeout.

Then, as it turns out, most viewers will guess the Big Twist, and be annoyed at how ludicrously it plays out in an endless scene that again feels more out of «Hedda Gabler» by high schoolers on speed than anything, as Penn and the assassin shriek at each other as the assassin pushes a gun against the dictator's head.

Some viewers will require an adjustment period, as Tangerine involves so much shouting, and moves at such a breakneck pace, that it can feel a little assaultive.

Maybe you should take blood from every man around, she says, every man in the country if need be; babies should have their DNA registered at birth and kept on record... at which point the viewer starts to feel his / her sympathies shift from Mildred, who is perhaps slightly mad, to Willoughby, who is charged not only with keeping order, but meting out that elusive thing called justice.

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.

Ramsay doesn't offer the viewer much for free, and at times the film feels as if it's been cut too close to the bone, leaving you to unpick what you can from the brief clues that flash past intermittently.

These criticisms may not be entirely fair, but ignoring them makes the film feel something like a Hallmark channel movie, meant to make the viewers feel good, even at the risk of over-sensationalizing a topic.

The best of them haven't just made familial themes a focus, but have developed their onscreen relatives well enough to make viewers feel like they're part of the extended clan — or at least invited to the dysfunctional reunion.

It induces a genuine, shivery thrill at the prospect of a horrific event imagined three times over — the hero's appreciation of his predicament is eclipsed only by his horror at his lover's ordeal, and both of those theoretical atrocities are overshadowed in the mind of the viewer, who is surely imagining how it would feel to actually live through what's depicted on screen.

But at nearly three hours long, this bloated sea tale drags on and on, leaving some viewers feeling like they've been to the end of the earth and back.

The posthumously released projects of recently departed actors can make for discomfiting viewing, not least when the tone of the film is at odds with the viewer's still - tender feelings regarding their absence.

British Oscar - winner Emma Thompson, also appearing as a guest on the programme, appeared to glare at Sandler, while some viewers said they «felt very uncomfortable» watching the footage.

Following the lead of films like Fly Away Home and My Dog Skip, Director Peter Markle combines a teenaged girl and a spirited horse in Virginia's Run to give viewers a feel - good movie aimed at young teens and tweens.

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.

For first time viewers, the feeling of being lost in the narrative, of swags of information being rapidly spewed out in dialogue and an at times bewildering parade of characters and shadowy entities, may be disconcerting.

Some viewers will shake their heads in disbelief at the film's last part, or feel robbed by the ending, but I would argue that you're so invested by that point that any scripting implausibilities are rendered moot, and, no, that ending is perfect given the movie's themes.

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 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.

Director Hugh Wilson also attempts to add some seriousness to the proceedings, throwing in moments where the music grows more somber and the audience is cued to «feel» for the lead characters; these moments are at odds with the majority of the film, which often asks the viewer to not just laugh with, but at, the over-the-top heroines.

The Vietnam War is never truly over (and at times it will feel to a viewer like «The Vietnam War» is never over, either), but, as Bao Ninh, a writer who fought for the communist North Vietnamese army, thoughtfully observes in the film's opening moments: «It has been 40 years. . . .

The decision to double down on the film's already latent tension between authenticity and delusion doesn't feel conceptually off, but may prove divisive to viewers, as it comes across as facile, or at least too simple, a final refuge for characters already given no past or future.

Gary Ross borrowed from the Paul Greengrass school of direction when filming the original — lots of shakycam and quick - cutting — but Chasing Fire director Francis Lawrence takes a different approach, allowing his camera to glide smoothly around the action so that the viewer can take it all in, and while the violence still feels overly - sanitized, at least it's comprehensible.

A disclaimer at the end of the movie reassures viewers that no worms were harmed during the making of this production, however the visuals are realistic enough to make at least some audience members feel a little queasy.

As for the mysteries of the plot, it feels as though Jonathan Nolan and Lisa Joy winked at us viewers during the descent into that bunker.

Longtime viewers of the television series are likely to be familiar and comfortable with this format, but it feels unwieldy and mismanaged at five times normal SATC episode length, particularly when Nixon's story tearily wraps up a solid half - hour before the movie ends.

The Texas Chainsaw Massacre 2 is prime example how a sequel can feel like a continuation of its predecessor, at the same time offer the viewer a completely fresh experience.

The verisimility with which McGann shoots the derby matches — ones in which players collide constantly at high speeds, often using their heads to block — leaves the viewer feeling every hit.

Sadly, the only thing most viewers will yearn for is a hasty conclusion, which thankfully comes at under two hours (I suspect, based on how «gutted» the film feels, it was intended to be quite a bit longer).

Their relationship does at least feel genuine but the director insists on forcing it down the viewer's throats.

With the specific expressiveness of his acrobatic brows, wide - eyes and rubbery cheeks, Krasinski was able to define the show's inclusive comedy through his reactions to uncomfortable moments, his ballooning face and weary glances instilling different themes into the comedic atmosphere: anxiety, discomfort, disbelief, whatever you as a viewer felt when he looks back at you.

Even when a character's status as a writer feels incidental to the plot at hand — such as in 2016's Hush, wherein the heroine's writerly profession comes into play mainly as justification for her later resourcefulness — the fact that such a vocation was chosen at all tends to shift the viewer's dynamic with the film in fascinating ways.

Although I loved the original film overall, I was definitely one of the viewers (or «bloody feminists,» to quote director Michael Vaughn) who felt that the now - infamous «joke» at the very end of the film was a letdown after the movies» otherwise awesome representation; and although that scene alone wouldn't have been enough for me to dismiss a sequel outright, Vaughn's mansplaining response to criticism was.

At two hours, it will test the patience of some of its youngest audience members, but the editing feels rushed in many places — cutting away from a punch line, for example, before the viewer has had a chance to fully process it.

Elaborating their story feels somehow redundant: On Chesil Beach is surely one of those films which most viewers approach knowing at least the outline of the story.

The movie is painfully unfunny, and the plot turns and relationship pieces feel so incredibly heavy handed that I would assume it may be borderline offensive at times for female viewers.

Director James McTeigue («V for Vendetta») at least allows viewers to feel superior to the characters; he has fashioned a film where seemingly anything yelled by the audience has more thought behind it than what is happening on screen.