Sentences with phrase «viewers wondering what»

Wes Anderson, of RUSHMORE and THE ROYAL TENNENBAUMS fame, again works in a rarified atmosphere with his unique auteur's voice that will leave some viewers wondering what all the fuss is about and other flinging hosannas to heaven.

Emma Watson and Miles Teller were originally primed for the film's leads, Mia and Seb, eventually played by Stone and her co-star Ryan Gosling; inevitably, their departure from the project and its subsequent success left viewers wondering what went wrong for the pair.

«Full of charm and wit, with a little mystery thrown in for good measure, APPLESAUCE is a rare and very original take on the relationship drama and mystery genres, excelling quite well in both... It's a film that keeps its viewer wondering what will happen next, from the very opening of the film, to the moment the credits roll, and is by far Tukel's best work yet.»

There's not much of a story at all, as Jim and his family just keep getting bounced from one situation to another, some of which leave the viewer wondering what the point was.

Not exact matches

Given the enduring popularity of television medical dramas, other researchers have wondered about the accuracy of depictions of medical care and illness in these programs, and what key messages viewers might take away from watching them.

The viewer may well wonder at this point: So what's baptism?

In its current state, it's somehow both too little and too much, and only eagle - eyed audiences will likely pick up on the implications, while plenty of viewers will wonder just what Cooke and McEwan were trying to telegraph through three hazy, undercooked scenes.

The bad - taste brinksmanship continues right through to the closing credits with a montage of photos aimed to make viewers walk out of the theatre wondering if they saw what they thought they saw.

is one of the best series on TV right now, i must say that the writers make the viewers stay tuned, intriguing and wondering during all of the episode, making the viewer want to watch the show week after week, making the series is successful as it is, is brilliant than the writers decide to put at the end of each episode a clip about what «A» plan to do, leaving you more intrigued that you were at the beginning of the episode.

is one of the best series on TV right now, i must say that the writers make the viewers stay tuned, intriguing and wondering during all of the episode, making the viewer want to watch the show week after week, making the series is successful as it is, is brilliant than the writers decide to put at the end of each episode a clip about what «A» plan to do, leaving you more intrigued that

It also leaves viewers wondering who or what they can trust on screen.

And lucky for fans, she revealed what so many viewers have wondered over the years.

But while Barry Jenkins and his team jumped around on the Dolby Theatre stage, many viewers were left wondering what exactly Moonlight was.

What benefits Marshland greatly, are the two excellent central performances from Javier Gutiérrez and Raúl Alévaro whose very different ideologies lead to a suspicion of each other which lends the film another level of intrigue where, as a viewer, you're left constantly wondering what the next piece of the puzzle will revWhat benefits Marshland greatly, are the two excellent central performances from Javier Gutiérrez and Raúl Alévaro whose very different ideologies lead to a suspicion of each other which lends the film another level of intrigue where, as a viewer, you're left constantly wondering what the next piece of the puzzle will revwhat the next piece of the puzzle will reveal.

It's untidy, it's unusual, and it may leave many viewers, especially those unversed in foreign cinema, wondering what they just watched.

Older viewers may wonder what the fuss is about and much older viewers may start thinking of Maurice Chevalier singing, «I'm Glad I'm Not Young Anymore.»

No doubt, Anderson groupies will swoon all the same and strain to see congruence with themes explored elsewhere in his oeuvre, but the average viewer watching in her living room or on her tablet on the train will wonder what all the fuss is about.

That prompts the viewer to wonder what happens in The Leisure Seeker when the old man finally reaches the sea.

The isolation that the protagonists are quickly thrust into gives rise to an uneasiness that keeps the viewer tuned in, wondering what will happen next.

The viewer is taken deep into their imagination wondering «What's about to unfold?»

While waiting in anticipation for the arrival of spring cubs, some viewers and visitors may have been wondering, «what's taking so long?»

The mirrors featured reflect a small aspect of their seller's life; the mystery of what each mirror holds entices the viewer to wonder what type of secrets might lay hidden beyond the reflection.According to a description of Oglander's selection of images, «they are glances that teem with a sense of further exploration if we could just direct our view behind us.»

One wonders if Weber and Stritzler - Levine realised just how far off the map they would go when independent institutional curator José Roca, a native of Colombia who now lives in Bogotá, agreed to take on the project.1 Inspired by a show of Andean chuspas — bags made from coca leaves — that would run simultaneously in the BGC Focus Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery spaces.

The central character in his work could be a bored housewife or an over-protected daughter, but each protagonist appears caught in an existential moment, a moment of realization, anxiety or boredom, which prompts the viewer to wonder what brought them to this point.

By contrast, the labels at the New Museum accord with my experience by allowing whatever referential features may be there to remain at the level of suggestion by focusing on form and process («Composed along a central axis, each work is charged with a magnetic asymmetry; delineations between colors are blurred in the process of melting the powdered enamel pigment into glass») and by relying on Müller's biography (her work with a genderqueer collective) to prompt viewers to wonder what exactly gender might have to do with what we see in her paintings — if anything at all.

The transparency indicates that both positive and negative should be seen as a whole, yet viewers might end up wondering: is what you see what you see?

Each artwork invites the viewer to wonder what could happen next and how the «scene» managed to become set as we see it.

I hope that each painting conveys this affection and tells a different story, perhaps even making the viewer wonder exactly what may be going on in the cattle's heads.

You can see the meticulous planning that obviously goes on behind the scenes, ensuring that you - the viewer - are left scratching your head and wondering what their meaning is all about.

I like the idea that the viewer might be frozen by wonder, trying to understand what they are looking at, or how the painting was made, or even what materials I am using.

Having learned from the publicity flyer that the seven artists, Dominic Kennedy, Mali Morris, Bridget Riley, Julian Wild, James Alec Hardy, Selma Parlour and Martin Maloney, work with colour in «radically different ways» each one presenting «a unique vision of how to liberate colour to stimulate and energise the viewer» I wonder if I can discover in my short visit what it is that they are doing differently with colour.

Varejão's Mimbres are made with a plaster - and - paint mix that is poured onto the canvas and when dry breaks on its own creating cracks and having a similar intent as the Mimbres had: to surround the piece with certain mysticism, as if inviting the viewer to wonder what kind of energy is behind that thick interface.

His idea is that viewers focus on the art itself, leaving no room for wondering what the subject is really like.

As a result, the viewer is left wondering what role the internet had in creating these art works.

With the spontaneity of a screen grab, each work captures and freezes just a fragment of what one instinctively senses is an infinitely greater whole, allowing the viewer a brief glimpse of the endless complexity of our existence, bringing us up short and forcing us to question and wonder who we are, where we fit in and where we are going.

Bengston's art, for the most part, is indescribable and after five decades maybe that has been his grand plan, to keep us guessing and wondering, what is the point — maybe there is no point other than challenging viewers and critics alike to just LOOK, ask a question, but decide for themselves what the message might be.