Sentences with phrase «viewers feel good»

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?

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.

Not exact matches

Based on the feedback, they chose the highest rated film, which left viewers feeling really good, and used it as a stand - in for an extraordinary experience.

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.

The beauty of having a variety of speakers enables the viewer to feel comforted that there is not a particular way to pray that is best, or that you must always follow set prayers.

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.

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.

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!

Viewers may relate to the feeling of being trapped during this strained and tedious throwback, which the writer - director Mickey Keating has framed as a hat tip to the 1970s work of Sam Peckinpah and Peter Watkins, but which lands well south of John Waters in its try - anything - for - a-reaction pretensions.

Holland has said that she wanted her harrowing and rewarding epic to run long so it would make viewers feel that they're in the sewers as well.

It's fairly tedious stuff that's compounded by a lack of narrative momentum and an almost aggressively deliberate pace, with, in terms of the latter, the movie's slowness ultimately preventing the viewer from working up any interest in (or enthusiasm for) the protagonist's feel - good antics.

Review I have seen this movie twice, probably the third romantic movie that compelled me to do that, and the reasons are quite simple: It's probably impossible that anyone can't relate to young Josh Hutcherson's character, an 11 year old with a normal middle class life and problems (parents initiating divorce); that its surprise by the rediscovery of a young classmate (Charley Ray) initially as an unexpected friend and later as something else... The well crafted work of director Mark Levin is based on the mutual discovery of all these feelings (mostly new and uncontrolled) that evolved in Josh's character and in another particular viewer: you.

This truly intimate film invites viewers to commune as well and feel a profound living connection with fellow humans of 30,000 years ago.

He reportedly auditioned for a small part, and though the show's producers did not deem him right for the characterization, they felt so impressed by Eigenberg's presence that they created the character of Steve Brady especially for him, as an extension of his own personality; the plan, again, was to create a sincere, committed, down - to - earth male paramour to offset Miranda's (Cynthia Nixon) cynicism.Though initially intended as a temporary part, the popularity of the character among viewers (and Eigenberg's onscreen chemistry with Nixon) led to Eigenberg's permanent inclusion on the show, as well as subsuquent movies.Circa 2002, Eigenberg expanded into film roles by playing the business partner of Richard Gere in Mark Pellington's underrated supernatural thriller The Mothman Prophecies.

I feel overall, the film should be rated a bit higher (3/4 stars), because it is a superb horror film and even if it was an experiment to show how simply the viewer can be manipulated through horror if done right - it deserves recognition for breaking that ground as well as for its technical mastery.

The film is too standard for its own good, and there are viewers who will definitely feel uncomfortable with its depiction of gun violence given current events in the country.

A cheeky line from the film «the comic is so much better than the film», puts in a pre-emptive strike against viewers who will feel the film doesn't live up to its graphic novel origins.

As viewers, we ask the same questions Kate asks, consistently wonder alongside her if she's even on something even close to being considered a good side, and feel every bit of strenuous moral pain and paranoia radiating across her superbly articulated facial expressions and mannerisms.

This feeling, along with the slow pace of the film leaves the viewer feeling a bit detached as well.

The «Masterpiece» adaptation manages to do what previous versions didn't execute nearly as well: transport the viewer back to that time and yet still feel fresh and modern with the clarity of its message.

Very well - made and solidly acted, this nonetheless has such a grim and despairing view of human nature that it will make viewers feeling more miserable than entertained.

Afterwards, viewers emerged, in the best way, feeling like they needed a shower to shake off director Alexandros Avranas «wallow in the darkest possible side of Greek family life.

There's no interest in shielding the viewer from the many indignities and outrages of America's greatest disgrace, from the monstrous — that unforgettable flogging sequence, which made me feel physically sick, something that I'm probably not alone in — to the, well, more quietly monstrous — Benedict Cumberbatch «s character, who's as kind to Solomon as he could be, given that he doesn't consider him to be a human being.

Oscar - winner Morgan Neville already proved he can tug on heartstrings with his rousing 2013 film 20 Feet from Stardom, and in recounting the life, carer and philosophies of Presbyterian minister - turned - Pittsburgh puppeteer Fred Rogers, the director could have viewers singing «It's Such a Good Feeling» through convulsive sobs.

And like the best heist movies, Logan Lucky keeps wowing us with its inventiveness — and then it makes sure the ending doesn't leave viewers feeling robbed.

Unsurprisingly, «Fantastic Beasts» amplifies both the strengths and weaknesses of Rowling's storytelling approach, which unfolds in the episodic style of vintage serials — a cliff - hanger - oriented tactic that works well in novels, where readers might otherwise be tempted to put the book down after each chapter, but feels less elegant on screen, since viewers invariably commit to taking in the entire story in one sitting.

Whether your protagonist is a good or bad person, a hero or villain, viewers connect to stories by being able to feel what the character is feeling or relating to it in some form or another.

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.

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.

And there's a sequence near the end that feels like the seed of a far richer, stranger sequel: a sendup of the corny «inspirational» TV movies that viewers of a certain age will remember all too well, in which a character overcomes a handicap after years of feeling sorry for himself.

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.

The performances are decent and Stone offers up a few stunning visuals as well as a rather raw tone, but all of that amounts to nothing when the film is incapable of making the viewer feel anything.

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.

It's a well - crafted good time that doesn't ask much of the viewer but also doesn't leave them feeling like an idiot the way that lesser popcorn movies do.

If the sturdy Jason Bourne films often feel like the spy game reconfigured for the kiddies, then the screen versions of John le Carré's various bestsellers are catnip for more seasoned viewers, those best able to appreciate the complexities that define both the characters and the plotlines.

Achingly familiar in its plotting, and evincing little ambition to stretch beyond its comfortably prescribed parameters of feel - good fortification, the film mainly serves as a nice showcase for Carla Gugino, as well as a piece of Title IX boosterism to remind viewers that sports aren't some exclusive, birthright domain of just men.

But a fantastic cast doing fine work can't make this feel - good hokum believable, and most viewers who walk away satisfied are those who'd happily watch any new Plummer vehicle, just to celebrate the actor's enduring vitality and charm.

It's only as the movie charges into its comparatively disastrous midsection that the viewer's interest begins to wane, with the pervasive emphasis on Valentin's downfall (ie the character loses his career, his house, his wife, etc, etc) lending the proceedings a palpably stagnant feel that persists right up until around the one - hour mark - after which point The Artist slowly - but - surely recovers in the build - up to its admittedly engaging (and appropriately feel - good) finale.

Pegg is so good, in fact, that viewers may start to feel as trapped and anxious as the other members of the gang, and long for last call to come early.

We aren't sure what that something is, but we know something is out there, In The Sixth Sense that «something» revealed made it a great film in the eyes of many viewers, earning it an Academy Award nomination for Best Picture, but I feel that it is only because people who saw the film had no idea there was a «something», and were genuinely unprepared for the bottom dropping out of the story in the end.

There's a very good chance that a majority of drivers would agree with his assessment, but it's unlikely that any viewers will feel confident enough to buy the Jaguar without at least taking a look at the BMW first.

A well - done book trailer will elicit feelings from the viewer, which can range from an adrenaline rush, nostalgia, or perhaps feelings of love or adoration.

That's a city we Australian Open tennis viewers feel we know very well after two weeks at the Rod Laver Arena (and two... Read More

Sound in the game was done pretty well and I felt that the characters came across as pretty believable when dishing out and receiving damage, however I thought that some of the voice overs during the cutscenes were pretty bland and did nothing to make the story feel more impactful to the viewer.

These earliest attempts at mixing real - life video footage with virtual reality are the best way to show people what it truly feels like to be inside of a virtual space so we're letting streamers and content creators easily share VR footage that's clear, understandable, and ready for mainstream viewers.

Within those parameters I felt I had the best chance of giving the work, the painter and the viewer the kind of experience they deserved.

«Under the Skin» — the overarching theme for the exhibition and also the title of Tracey Emin's selection of works — was a bold attempt at inviting viewers to look deeply into, as well as examine, their feelings, fears and emotions.

The title of Deborah Kass's exhibition at Paul Kasmin Gallery, MORE Feel Good Paintings for Feel Bad Times, is enough to clue the viewer into her glib brand of post-everything art.