Sentences with phrase «viewers feel much»

Not exact matches

It's a pretty cool and more unusual way of showing off racing gameplay, making it feel so much more immersive for us viewers!

Snowfall will feel like too much work for some viewers.

It's clear that Killer's Kiss requires a great deal of patience from the viewer, as much of the movie's first half suffers from the feel of a rather unimpressive student film - with director Stanley Kubrick exacerbating this feeling by suffusing the proceedings with needlessly ostentatious visual choices.

Viewers should feel much more comfortable on this saucier side of Shondaland, where workplace sex and relationships continue unabated by either human - resources departments or social - awareness movements.

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.

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.

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.

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.

It may be a bit predictable to older viewers, but the film's third act twist stings every time, and Csupó's refusal to ease the pain only makes the rest of the movie feel that much sweeter.

Larraín's filmmaking style is so calm and unsensational — shabby even, much like the grizzled protagonist and his troupe — that moments of sexual explicitness, homicidal violence and transgressive outrage barely register, leaving viewers feeling as numb to it all as the characters themselves.

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.

Watching Homeland sometimes feels like trying to crack the Enigma code: Viewers are left very much in the dark to the overall plot, and Clare Danes's performance as Carrie Mathison remains the single unshifting cipher from which to get one's bearings.

««Climax» shares much in common with the levitating camerawork of his divisive «Enter the Void,» but unlike that sprawling endeavor, this 96 - minute odyssey feels like just the right length to encapsulate his talent for disorienting viewers while inviting them into his madcap intentions of overtaking their senses,» Kohn wrote in his A - review out of Cannes.

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.

Many viewers will feel too much patience is required and not enough clarity provided for this to be an enjoyable time.

Utilizing some of the modern shaky camera work, much of the action has a frenetic feel, and the look of actually being there, witnessing the events as they unfold, although some viewers may find it a bit queasy or annoying to take.

Viewers will know how they feel, especially when the movie decides, too frequently, that it's got too much heart to pursue its comedy with any zest.

Though not lacking in talent or feeling, the film suffers from an uneven distribution of focus and relies too much on its central romance to wrangle the viewer's emotions.

Carrey is still a marvel, and Oedekerk often quite inventive, but in the end, the film feels much more like a series of 5 - minute «Ace Ventura in Africa» skits than as a unified project, leaving the momentum hit and miss throughout for most viewers.

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.

So although American viewers will reflexively relate the streaming brushstrokes in her paintings to New York School painting, or to the work of an American closer to her in age, such as David Reed, she may feel just as much affinity for European practitioners of improvisational painting such as Pierre Soulages, Howard Hodgkin or even Gerhard Richter.

The stroke-less, «flat» surface look of his poured paint invites the viewer to consider the place and time that the paint dried and found its way from the vessel to the end composition, a dimension that feels — much like love itself — at once spontaneous and inevitable.

Her project, however, is much larger: to offer the viewer an experience that evokes the original, sublime, oceanic feelings of union with the strange and mysterious «other,» of self with universe.

Their bright and synthetic - feeling palette is similar to Grant's, while their ambiguity allows viewers to see what they want in the twisted colorful forms, projecting themselves into the work — much like what Grant asks from her paintings, only with greater success.

After a while, viewers felt like they knew what to expect, and they were pretty much right.

It's not so much about «feelings» as it is about firmly believing that prescribing a precise content for viewers to receive and digest is not productive, or interesting.

Several more such signs reminding viewers to be gentle with this or that would be encountered as one wandered between the walls and under the ceilings constructed using Neto's signature stretchy translucent nylon that made up much of this show, which felt more like a multipart installation than a grouping of separate works.

Taking the storm of feelings that a family goes through when fighting with cancer as an inspiration for the show title, Lowery suggests the (much diluted) unpredictable blend of sinking and uplifting emotions viewers may experience whilst achieving the catharsis through the exhibited art.

Instead he made a work that invites the viewer to contemplate (and contemplation of art always involves feeling at least as much as intellection) human spatiality, which is the only spatiality there is, phenomenologically speaking.

Shear's two instances of larger canvases feel massive in this company, and while the titular painting's hail of aerosol'd black headlights lunges at the viewer with overt aggression (which, to me, would feel far less pronounced if rendered in a smaller scale), Autocorrect in the back gallery works sublimely... but precisely because much of that canvas is untouched by any media.

He turns against abstraction because he felt that it asked too much of the viewer.