Sentences with phrase «action film credit»

Romano impresses as the moral compass, revealing evident dramatic talent in a rare live - action film credit.

Jemaine Clement has quickly racked up an impressive number of prominent animated and live - action film credits.

Not exact matches

Spielberg — along with the screenwriter Zak Penn («X-Men: The Last Stand,» «Last Action Hero») and Cline (who is also a credited screenwriter)-- creates an event film that has to be seen on a big screen to be fully appreciated.

His IMDB bio credits him for designing and staging football action sequences including the well - known films «Any Given Sunday,» «The Replacements,» «The Program,» «The Waterboy,» «Jerry Maguire» and «The Express,» to name a few.

Thrillers and action films are this Chinese - American actress Lucy Liu can now add proud mother to her list of credits.

Though Tony Gilroy, who shared writing credit on all three previous Bourne films and directed the excellent Michael Clayton 82 (and much less excellent Duplicity 69), handles both writing and directing duties here, critics found that Legacy added little in the way of originality, while Renner proved a less captivating action star than Damon.

The trick for a movie of this type, at least one that is aspiring to be more than just a simple - minded exploitation film (such as the original Charles Bronson «Death Wish,» a far more complicated work than usually given credit for, especially in comparison to its tacky sequels), is to create a narrative that somehow justifies such actions without completely overdoing it.

Credits began following the trademarked opening of a close - up view of a match - head igniting, and the lighting of a sparking fuse, accompanied by a blindingly - fast montage of action scenes from the film - and of course, Lalo Schifrin's memorable theme music.

The campy opening credits montage depicts murderous women in film, as if Harris were continuing a long - honored tradition of lovers who were wronged taking action against former lovers when they try to get out of the relationship.

As announced in the end credits for the first film, the sequel will see Cable make his first live - action appearance.

Alice Braga is no stranger to sci - fi action films as her credits include I Am Legend, Repo Men,...

The opening credits feature the unsettling musical strains of «Deutschland Uber Alles,» and a title card after that informs us «The action of this film takes place during the year preceding the war, and on the night of September 3rd, 1939.»

After his first film, the seminal science fiction comedy Dark Star (1974) and his second, the legendary action thriller Assault On Precinct 13 (1976), Carpenter cemented his place in pop culture with the terrifying Halloween (1978), the film widely credited with bringing the slasher sub-genre into the mainstream.

squanders an interesting opening on a generic action finale there's nothing offensively terrible about it.This is a low - budget (8 million dollars) original sci - fi concept starring two women and multiple people of color, there's credit to be given to Scott Free Productions, 20th Century Fox, and Scott for producing a movie that seemed to approach film - making exactly the way it should be done with diversity.

To its credit, the film manages to find the right balance between sympathising with the antagonists and letting us see the horrendous results of their actions, and the performances are all pretty much perfect.

That new perspective is the way the film looks like an action movie, filled with car chases and fights and shoot - outs, while behaving in a way more akin to a musical (For further evidence of the musical's influence, one need only look to the opening credits, which has the hero dancing around the city, as an assortment of visual gags highlight certain lyrics).

Although Morgan squanders an interesting opening on a generic action finale there's nothing offensively terrible about it.This is a low - budget (8 million dollars) original sci - fi concept starring two women and multiple people of color, there's credit to be given to Scott Free Productions, 20th Century Fox, and Scott for producing a movie that seemed to approach film - making exactly the way it should be done with diversity.

Paul Thomas Anderson for teaching me that it's ALL about the script and if you have the right actors directors don't have to do anything on set but be a fan, Lumet for his films and his book, a young directors» must read, Coppola for his courage in filmmaking, Steven Soderberg for refusing to ever be put in a box and pushing the form as far as he can, Kathryn Bigelow for giving masterclasses in action, James Cameron for Terminator 2 and prove big budget cinema can still be perfect cinema, Sean Penn for bringing his acting chops to directing, David Mamet for his scripts and his dialogue, Nolan for having more heart than most people seem to give him credit for (Memento, Rises, Inception and Interstellar all made me cry.)

Credited as action director on the film (there's an impressively designed fencing match as the movie begins) is Ching Siu - tung, who served in the same capacity on All About Ah - long.

Straight - forward where the first movie was convoluted, action - packed where Hulk dithered, The Incredible Hulk dispenses with whatever back - story and exposition there is over the film's opening credit sequence.

To Campbell's credit, the film has some impressive action sequences, but it's ultimately the flimsy and derivative story by Robert King, screenwriter for such flops as CUTTHROAT ISLAND and RED CORNER, that handcuffs Campbell with material that could never get off the ground in the first place.

A vast array of action films ranging from Blade, The Matrix trilogy, and Speed Racer are only a few whose stunts the two men can take credit for.

Each of those flashy action stretches seems to contribute to the feel that the film slightly overstays its welcome even at a reasonably modest two hours plus credits.

First time feature film director Tim Miller also deserves credit for his handling of the films action scenes and with a budget that would barely cover costs of catering on an Avengers film, Miller gives Deadpool a unique feel when it comes to dispatching of the cookie cutter bad guys.

* A dozen producer credits on the Warner Bros. sword - and - sandal action film 300: Rise of an Empire opening tomorrow.

Unfortunately, the film does succumb to some formulaic action material but it's credit to Carpenter's pacing and Russell's wisecracks for keeping the films head above ground.

By ROBERT W. WELKOS When you ask indie producer Luillo Ruiz how his recent low - budget action - comedy film Welcome to the Jungle featuring veteran martial arts star Jean - Claude Van Damme could come with 31 producer credits, his answer is simple and straightforward.

Woolverton is currently at work on a «Maleficent» sequel for Jolie, and — as the original's writer — has a screenwriting credit on the live - action «Beauty and the Beast,» due from Disney next year, though she said she is not creatively involved in the film.

Variety reports that «Anonymous» actor Sam Reid is set to make the move from deciphering the truth of Shakespeare's writing credits in disaster driven director Roland Emmerich's film, to an action - heavy take on John Milton's poem «Paradise Lost.»

Ultimately, the film looks a little bit like a Boris Vallejo print come to life & #Array; muscled supermen springing to action to save their oil - painted landscape & #Array; and full credit must go to Snyder.

There are a few good action sequences to keep things interesting, including a nifty bit in which Lara finds herself dangling from the decaying remains of a crashed bomber straddling a raging waterfall, but by the time the film is deep into its second hour, the overall lack of intrigue and charm makes it feel like a long, heavy slog to the end credits.

Perhaps that's giving the film too much credit, as it does provide the muscular lead shirtless and wounded, an attractive female who's conveniently found in a bra, and the obligatory sequence of Good Guy defying logic and overcoming opposition that so kindly follows the One - Bad - Guy - at - a-Time rules outlined in the Action Movie Convention.

Alice Braga is no stranger to sci - fi action films as her credits include I Am Legend, Repo Men, and Fox's own Predators.

«Drive» — The Elevator Scene For a film filled with many memorable moments — the opening action scene, the credits, Ron Perlman's huge frickin'teeth, the masked slasher stalking scene, Christina Hendricks meeting a shotgun, Albert Brooks getting all knifey, the hammer and the bullet — the one that seemed to have the most lasting effect on audiences was that elevator scene.

Credit Mann for making another sleek and often beautiful film, engaging his actors to deliver their very best in roles you're not accustomed to seeing them in, and allowing his characters the complexity they rarely get in action - driven vehicles anymore.

Quick cuts of different times, locations and actions are thus contrasted with an extended shot in continuous space and time, whilst images of artificial immobility (such as Birkut's statue and photograph, and him posing beside them) are succeeded by a forceful presentation of dynamic movement as Agnieszka storms through a corridor and, afterwards, drives in a van through the city under the film's credits.

The film was funny as hell and I laughed from beginning to end, but what stood out the most was the end - credits scene that had a very catchy song and comedicly foreshadowed upcoming sequels, merchandise, action figures, contract disputes, and video games.

A successful Wahlberg action programmer from yesteryear, F. Gary Gray's hit 2003 take on The Italian Job, gets a Bollywood makeover (completely authorized and official at that; that earlier film and its screenplay gets its due screen credit here) with Players, and famed «director duo» Abbas - Mustan do deserve some due for attempting a balance between faithfulness to the source film (hello, Mini Coopers!)

If you think about it Russo Brothers and James Gunn didn't have huge credits to their names when they were hired by Marvel Studios, and even Deadpool «s Tim Miller has yet to direct a live - action feature film.

The end - credits sequence shows up the rest of the film as the broad and incoherent live - action cartoon that it is.

Some of the dialogue I'd always credited to 80s action movie tropes in Mann's film are actually in this one («Someday you and I are going to have a serious disagreement.»)

Julian Clarke and Lee Smith's editing and Trent Opaloch's cinematography also deserve credit for helping to add to the grittiness and swiftness of the exciting action scenes in the film.

Any film credited with its own «mustache wrangler» really should have been much more fun than Johnny Depp's latest misfiring action - comedy.

Having established the «Ninjago» universe, however — a pan-Asian chop suey of Chinese, Japanese and Korean influences, lent semi-legitimacy by the presence of Jackie Chan in both a Gremlins - style live - action prologue and as the voice of beard - stroking sensei Master Wu — the film quickly runs out of both ideas and steam, despite having three directors and no fewer than six credited scriptwriters calling its shots.

The eccentrics extolled in the opening scene include Michael Burry (Christian Bale), a Northern California — based MD and money manager who invents the credit default swap in the mid-Aughts, when the film's central action kicks off; Mark Baum (Steve Carell, also hideously coiffed), an obnoxious hedge fund manager whose backstory involving a dead - by - suicide brother somehow positions him as the film's most steadfast moral compass; and Ben Rickert (Brad Pitt), a onetime trader for Chase turned secular eschatologist who advises two young, aspiring operators, Jamie Shipley (Finn Wittrock) and Charlie Geller (John Magaro), how to bet against Wall Street.

Sam Raimi is the one to credit with finally delivering a live - action Spider - Man worth watching, and with making superhero films for all ages that are not at the same time infantile.

The film and the images around it have been credited with giving rise to Process Art, where the physical actions around artistic creation are documented and foregrounded as integral to the finished piece.

Generated a need and desire for almost every film to include aerial images (establishing, action, VFX and credit shots) through creative marketing efforts.

He should know — besides being a real estate sales representative, he's an independent filmmaker with many projects to his credit, including The Big Thing, which won awards south of the border and was nominated for a Genie here in 2005 for best live action short film.