Sentences with phrase «viewers feel something»

Dramatic tonal shifts, she's bound to make viewers feel something before the credits roll.

Not exact matches

I especially like this when it is not just something to observe, but when it includes interaction between the art and the viewer — «something we can eat, drink, watch, touch, feel, smell».

The advertisement, shown on ITV, starts with an attractive young woman running her hand over her tight black dress as she tells viewers: «You know that feeling you get when something's great.

Mosaic is an interesting mystery that, as a series, unfolds a little more awkwardly than expected, giving viewers the feeling that it was something else previously and was repurposed.

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.

It is almost like they were trying to hold something back, but then we as the viewer never feels the full measure of the proceedings.

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.

These dizzying moments assault the viewer with its unnatural trigger finger to move from one shot to the next — something that made the rest of the movie feel technically uncertain.

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.

To call a movie «stupid» feels like a childish way to criticize something, but I suppose that fits a movie as insulting to the viewer's intelligence as this.

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.

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.

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.

As with all Paul Schrader movies, Dog Eat Dog is a down and dirty bit of nastiness that leaves viewers feeling like they need to scrape something off of the bottom of their shoes by the time the credits roll.

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 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).

But his words feel like a warning for the viewer, too, as the quiet drama of Andrew Haigh's new film promises to build into something more grueling.

Doctor Strange's first cinematic debut, however, gives viewers a quickly paced origin story that feels as familiar as most contemporary superhero stories, where the viewer tags along to see how a man adapts to become something extraordinary, but in every other aspect the film provides relentless spectacle and levity.

From the moment that Sam and Henry meet, the viewer gets the feeling that something isn't quite right with the movie.

I just hope there's a narrative that feels conclusive as I'm growing tired of these zombie movies that end with either a cure or an ambivalent and vague segue as characters continue down a path unknown to the viewer (Romero did this enough, it's time to get creative and do something different).

«We knew this was something special that our viewers will without a doubt connect to and feel compelled to explore with us.

Viewers should not feel guilty for enjoying something.»

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.

And as viewers, watching between the tree trunks, it almost feels like we're peeking at something we're not supposed to be.

The problem for the hard - core figurative painter is how to stand out from the herd — how to give the viewer something more than the feeling of, «Wow, that looks so real.»

But some viewers did feel something when they looked at this painting.

Given the current social context, in which everyone constantly sees and shares images of themselves on different networks, Carvalhosa's installation triggers a strange feeling within the viewer, who instantly pauses and enters something of a «non-place,» where the lack of narrative can be disconcerting.

My intention is never to make the viewer experience the same kind of feelings I'm feeling; more that I just want the viewer to see something in the work that they can openly connect with and relate to.»

Furthermore, the artist often makes sure that the viewer is aware of the voyeuristic nature of photography, something that establishes an uneasy feeling of intruding upon a potentially private moment.

He frequently shoots the most simple scenes, yet each image tells a deeper story and moves the viewer to feel something.

Through working in this firstperson tense, Stuckey's archetypal images touch something universal — feelings that transcend both artist and viewer to reach the innately human.

In Urbano's universe, the camouflaged materiality takes on a fictional existence and the viewer hovers somewhere between the representation of a space and the evasive idea that makes something feel real.

The result is a multisensual bombardment, synthesising the natural and manmade — far more than just an abstract work, but something that viewers can «feel» and respond to.

It makes them visually unstable, the viewer's eye feels like sliding off and grabbing for something bold and sharp again, like the text.

Speaking to BlockchainNewsKorea, Hoskinson had a message to all viewers and according to him whenever there is great new technology emerging the feeling is of doing something right away.

Seeing and hearing a young child say,» It's something that you love breaks and you want to put it back together» but can't or «I feel it was my fault cause I was hard on my mother» takes the viewer into the child's head for a moment to empathize with the curiosity, fears, helplessness, dependence and confusion.