Sentences with phrase «most of the action scenes»

Most of the action scenes, including an early covert operation aboard a tanker and a messy brawl in a crowded elevator, have been staged with a clarity uncommon to this studio.

Most of the action scenes with the robots are tedious, although the showdown between two humans, Cade and black ops leader James Savoy (Titus Welliver), actually shows some spark.

Not exact matches

In his new series Action and Ambition, your host Andrew Medal goes behind the scenes to learn the backstories, mindsets, and actions of the world's most ambitious people.

Like most of the more notable critics have pointed out; no personality is to be found among the Decepticons (the least they could've done is to synthesize StarScream's rasp to throw the fans a bone for God's sake), an overly active camera and «busy» robot models make some action scenes little more than a confusing blur, and goofy, unfunny dialogue permeates the story.

The action is mental as is customary in Michael Bay's films with almost all of Chicago massacred by the end of the film and most of the scenes where someone dies being kinda crap.

Uprising is long, has yawn - inducing action scenes, terrible dialogue, a contrived plot that makes ZERO sense, and commits that most hated crime of horror movie sequels - returning beloved characters from the original only to kill them or turn them into forgettable villains.

The simple, hand - drawn animation contrasts beautifully with the slick digital work that comprises most of the movie, inserting realistic - looking talking rabbits into live - action scenes with Byrne and Gleeson.

Solid action sequences and the most poignant scenes of emotion of any Mission movie.

The best film in the star wars saga because it's filled with action and has one of the most shocking scenes ever when you know happens.

Despite a monotonously fashionable mise - en - scene, Lyne generates some genuine erotic tension between his two stars; you believe in their obsessive relationship, even as most of the action and staging registers as ridiculous.

And while some scenes do portray a gratuitous amount of almost Tarantino - level violence that comes out of nowhere, most of Gangster Squad's violence feels justified, and redemptive, echoing a theme of the film that makes it more fun than your average action fare: heroism.

Fortunately, with the exception of this scene, most of the other action is not particularly explicit.

The fight scenes, many that there are, become works of action - packed art, most of them seemingly single shots loaded with right - and - left excitement.

Director Jodie Foster also reveals some behind - the - scenes action, including how Julia Roberts had to act for most of the movie opposite no one.

The battle scenes use the same film technique as Saving Private Ryan's harrowing introduction, resulting in some of the most intense action sequences in years.

Performances are uniformly not great; the whole thing takes place at night and even scenes inside the house are lit too dark; a PG - 13 rating holds back the violence, most of the action features a weird reliance on cheesy slow motion, and - perhaps the film's greatest misstep - the tech house angle is barely utilized.

Focusing on the leaders of two groups — one in charge of a citizens» anti-cartel organization known as the Autodefensas, another the head of a self - appointed border patrol in Arizona — the pic finds most of its best moments in the action - packed scenes south of the Rio Grande.

The film starts off with some awkward, painfully lame flashback scenes of Kyle's childhood and transitions into an opening act that is loaded with full - on patriotism that sees him go to war to get back at the people who brought suffering to our doorstep in the events of 9/11 (he was already enlisted, but if we believe the film that decision was also motivated by seeing news footage of American lives being taken), but one of the most interesting surprises is how balanced it eventually becomes and how we see the way that Kyle's actions negatively impact others and how even he begins to question his commitment to the cause, despite the fact that he would never vocalize it.

Early scenes seem to establish this as the most action - packed half - hour holiday special ever and while it may still earn that title by lack of competition, the short offers an appropriate mix of tones and pacing.

Its action sequences are quite CGI heavy but the fact that most of them — besides a stunningly lit shipwreck scene — take place in the daytime is a relief.

There are a few cool action beats, and one particularly amazing death scene, but at times, it doesn't even feel like a Riddick movie, with the title character gone missing for most of the second act.

It's a film about what is not said; filled with painfully reserved people unable to express their feelings about life, love, right and wrong until it's too late; the sort of movie where the most action - packed scene is a maid asking to borrow a book.

The centerpiece of Renoir's intricate structure, the pivot on which the action turns, the symbolic core of his critique of French society, is the hunt, the scene that most clearly reveals the volcano that seethes beneath the dancers.

Skyfall doesn't reach the emotional depths of 2006's Casino Royale — Daniel Craig's first outing as MI6 secret agent James Bond — but it features jaw - dropping cinematography and set design, and some of the most exciting action scenes of the entire series.

Boogie Nights contains more great characters and scenes than most movies deliver nowadays, and definitely is worth watching for no other reason than to view one of Hollywood's major filmmaking talents in action.

An indictment of tribalist maxims, a simple and heartfelt portrayal of how we cling to the things that we love most in the dark even after they've long gone, a warning about how the absence of those things can metastasize into hostility at what (or whom) we assume is responsible for their loss - even by association, and of course a thrilling sci - fi blockbuster with kick - ass action scenes enriched by thematic and symbolic meaning.

The stranger and more corrosive subtexts it locates in the Kennedy circle's actions in the aftermath of the crash are undermined by its classy restraint, which saps the most conceptually outrageous moments — like a scene that cuts between Kopechne's dying breaths and Ted Kennedy bathing at his hotel after the accident — of any sense of shock.

Much of the action in the celebrated miniseries «Fargo» pivots on a first episode scene in which Gus Grimly, Colin Hanks» single - dad deputy, pulls over Billy Bob Thornton's mysterious Malvo and then, after some major intimidation, lets him go, a decision that results in numerous people (most of...

Schaffner came from TV, and while he has few of the obnoxious visual affectations of the TV - trained director, he tends to restrict the most significant actions and relationships in his films to spatial arenas that could be served very adequately by the tube rather than the Panavision screen: the real convention hustle in The Best Man takes place in hotel rooms, hallways, and basements; the tensest moments in his strange and (to me) very sympathetic medieval mini-epic The War Lord are confined to a small soundstage clearing or that besieged tower; the battle scenes in Patton are hardly clumsy, but the real show is George C. Scott; and Nicholas and Alexandra comes alive only after the royal family has been penned up under the watchful eyes of Ian Holm and then Alan Webb, far from the splendor of St. Petersburg or the shambles of the Great War.

He never overplays his action scenes, leaving the most intense sequences stripped of Frères Lumières» score, or completely silent.

The plot here is entirely predictable but as with Ozu's family dramas the real meat is in the film's visual aesthetic and cultural context, at once captured most intensely during a scene where Teresa witnesses a financial crisis - related suicide with all the suddenness of an Alfonso Cuaron action sequence and Chen captures her jaded shock by shooting her from low angles through light - heavy filters.

Rossi wrote a script exploring the most gruesome depths of repressed grief, Morano certainly pulled it out of the actors and added further intensity with her blurry focus and pore - revealing intimacy in almost every scene, throw in the ear - assault and too - serious actions of the characters and it stops being insightful and starts being a bit scary.

The film has clearly been made on a tighter budget than your average Hollywood shoot -»em - up, but Travis makes the most of limited resources: the industrial backdrops are stunning, the action scenes sizzle and the eye - of - the - addict Slo - Mo sequences are sickeningly beautiful.

When the film opens, for the first half an hour we're given some of the most visual stimulating scenes as we're not bogged down with exposition as much as we're allowed to feast on the actions, clearly shown by our director.

Most frustrating of all, the action scenes in «Predators» are just not that exciting.

For a film that is packed with action, there are also moments of pure poetry; the most memorable scene for me is the first, wordless encounter between Maurice and the young girl, Nova, played by Amiah Miller.

This is most definitely a Michael Bay movie, with action reminiscent of Bad Boys in some scenes.

Wong's violent interludes are most often brief riots of slurred or slow - motion action alternating unexpectedly with freeze - frames; these sequences, delivered so rapidly one can often barely perceive what's happening, are obviously abstract versions of the action scenes in conventional martial - arts films (The Eagle Shooting Heroes included).

But, of course, Wright stands out most of all for his extended action scenes.

Stepping into the role of the pursued Aaron Cross is Jeremy Renner, who'll be everywhere next summer, though this is the role meant to make him a household name; presumably he won't be sitting out the action scenes as he did in «Mission: Impossible — Ghost Protocol ``... Gilroy's a director with chops, and this franchise has thus far remained visceral and exciting, so count this as one of our most anticipated blockbusters.

Mr. Pickles and Mr. Trout (voiced by Nick Frost and Richard Ayoade) spend most of their scenes attempting to convince themselves that they are the good guys as the actions of Snatcher and their other cohort, the gleefully psychopathic Mr. Gristle (Tracey Morgan), become more baldly evil.

Most of the Indy - style action scenes — directed by Jake Kasdan, son of «Raiders of the Lost Ark» screenwriter Lawrence — engage.

There are the expected scenes of actors riffing all over each that populate most modern comedies, but also hints at a bigger budget and attention to aesthetics like nifty camera work, tilt - shift photography, and some decent action set pieces.

The film's biggest standout is Melissa Leo, who shows that she can still communicate pain even in a simple action movie, her beatdown in the film one of its most intense scenes.

In many ways the film is, and should be, almost anti-dramatic — the occasional riot or threat scene aside, most of the action takes place in meeting rooms, living rooms or small TV studios as Bernal pitches his ideas to the willfully uncomprehending «suits.»

The impressive special effects, exceptional fight choreography, and explosions of the Korean casino scene would be at home in most big - budget action movies.

For instance, one of the most electric scenes of the movie year occurs late in the action, when Rockwell's hapless deputy drowns his sorrows in a bar.

Most everything else is just an excuse to hustle the audience along from one action scene to the next — or to show one variety of stylized, outlandish violence after another.

The situations are realistic for the most part, and one gets the sense that even director Michael Caton - Jones (Memphis Belle, Basic Instinct 2) thought the film drags too much, as there are a few attempts at action that break the rhythm of the film, providing the worst scenes.

The movie pours on the action and miraculously allows us to suspend disbelief even as it offers some of the most moronic scenes ever filmed.