Sentences with phrase «action film of all time»

Its existence provoked strange thoughts in our heads — just what are the most violent action films of all time?

Considered as one of the greatest Carpenter sci - fi action films of all time, Escape From New York was released in 1981 and is now known as a true cult classic.

It may seem too soon to declare «Wonder Woman» the best female - led action film of all time.

«[It's] one of the best action films of all time,» he adds of the film also hitting theaters March 28 via Sony Classics.

We, as did many other gamers out there, quickly realised that, unlike many of the other first - person shooters on the market and most action films of the time, going it alone was a foolhardy mistake.

Not exact matches

The film, which will be released on Dec. 15 of this year, will pick up after the action of Star Wars: The Force Awakens, the franchise's huge 2015 release that shattered box office records and marked the space opera's return to theaters for the first time in a decade.

There's enough action, intrigue and drama to convince adults that it's «a serious movie well worth your time» but in reality, it's a film for the whole family, and for many, watching it together has become something of a rite of passage.

WATCH: Some of the best romantic movies are set in London (think Notting Hill, Love Actually, and About Time), but popular feature films such as Skyfall or Sherlock Holmes offer action - packed alternatives.

It's Spielberg's best and truest action film since Jaws, relentlessly paced, pitch - perfectly acted (the young Fanning is almost certain to get a Best Supporting Actress nod come Oscar time), and rife with moments of such horrifically poetic imagery that it's all you can do not to stop thinking about them long after the film has ended.

The film is so contrived that a key element of Atom is that he has a «shadow» function — he can mimic another's actions in real time — which we're told is «rare» and yet turns out to be crucial to the film's climax.

As schematic as a popular entertainment needs to be yet refreshingly devoid of significant lulls in the action — for exposition, weapon reloading, lovemaking and the like — the film is fast, smart and single - minded, providing not only a satisfying bang for the ever - beleaguered moviegoing buck but memorable debuts for first - time feature director Mimi Leder and fledgling film studio DreamWorks SKG (Steven Spielberg, Jeffrey Katzenberg and David Geffen)-- as well as ringing confirmation that George Clooney is indeed a movie star.

This enables it to avoid the tiresome teen angst that hampered Part 1 and devote almost all its time to action and confrontation, starting with the film's initial image of the dread Voldemort -LRB-

The film keeps Renner's Brandt out of the action for a long time, and when he does finally join Hunt in the field there's a real sense of distrust; is Brandt truly part of the Impossible Mission Force family or is he planning on betraying Ethan?

The plot is the worst part of the film, which packs way too much action into the sparse 86 - minute running time.

For a student film (Parker worked on this during his time at the University of Colorado) it's really professionally cast, the effects aren't altogether sloppy, and the plot, though sporadic near the end, actually has a resounding action, and is historically accurate though stretched to involve dark comedy.

PANDA 2 is just about as much fun as the first film, with lots of laughs and action peppered into the brisk ninety minute run time.

Compared to other silent films of the 1920s, with the undercranked action, overly emotive acting, fantastic plots and theatrical make - up and costumes, «Napoleon» is years ahead of its time.

The opening sequences are among the best ever filmed treating the sheer terror and adrenaline rush of an out - and - out chase, and are nearly silent the whole time, such is the high action quotient.

Video: With an aspect ratio of 2.40:1 Anamorphic Widescreen, the video quality of the film is higher than the time period of the action allows it to appear.

The second half of the film is pretty much pure action as the remaining members of the group try to evade their hunters and, at the same time, take the hunt to them.

First, by focusing on Graham and her Post rather than the actions of Daniel Ellsberg (played here by Matthew Rhys), who leaked the Pentagon Papers, or the New York Times, which initially published them, the film opens itself up to dissect gender roles in the power structures of that time.

Throw in Myrna Loy and you have a very fun movie with 3 actors at the top of their game.The film is about a test pilot (Gable) and his trusty mechanic (Tracy) who meet a girl (Loy) and how the strain of a test pilot's life affects them all.The film is a little long, but the action is well done.The acting is the main reason to watch this film, and if your are a fan of the big three, then you will have a good time.

Directors John Francis Daley and Jonathan Goldstein have taken the time to actually direct the film, which has a considered aesthetic and a solid grasp of its own physics — not something you can say for a lot of action comedies.

So yeah, we all know that Black Panther, a.k.a. Prince T'Challa, is going to triumph over adversity in his bid to bring harmony to the kingdom of Wakanda, that there will be the obligatory action sequences where actual danger is a distant possibility for both hero and bystander, and that the plot will pivot on a mysterious object of unknown origin («Vibranium,» in this case — don't worry if it sounds unfamiliar; the film's characters will mention it at least three - dozen times over the course of the movie).

Yes, he's fine with the big action mayhem that is par for the course with these films, but he understands that the thing that makes any of it interesting is making sure the audience really enjoys spending time with these characters.

Possibly the greatest science fiction film of all time, The Empire Strikes Back put the spirit of adventure and drama back into action movies.

Next to James Cameron's ALIENS, John McTiernan «s 1987 classic action - horror combo PREDATOR is one of my all - time favorite films.

It's a frustrating experience at times, but the script from Ben Ketai and «The Strangers» filmmaker Bryan Bertino eventually allows the family to take some satisfying actions in the second half of the film.

Hong Kong superstar Chow Yun - Fat is so charismatic in his second Hollywood outing, The Corruptor, that he almost makes us forget that the movie itself is one of the more pretentious, muddled and incompetent action films to come along in some time.

The action is a horrible muddle of skating, blood, fighting and stupid bike stunts all crammed within this tiny arena, at the same time you have other players skating down from higher levels or platforms for no apparent reason other than to look cool in the film.

After lambasting him for his disaster of an action film 12 Rounds, I now see that as a director he was hideously robbed of the fame CutThroat Island should have brought him when the box office of its time failed to recognize the greatness inherent in pirate epics.

The original sci - fi, horror, macho action bonanza PREDATOR is one of my top films of all time, its gory as f*ck sequel PREDATOR 2 has grown on me with age (maybe because today's movies are more often than none sub par and castrated hence it glows in comparison).

In my review of the first film, I argued that Woodley seemed out - of - sorts in an action - adventure film, but a year and a different haircut really made a world of difference this time, with Woodley coming into her own here.

Venturing to Hollywood for the first time, Refn won Best Director at this year's Cannes Film Festival for Drive, a retro action thriller that evokes the minimalist force of classic Walter Hill or William Friedkin films while giving Los Angeles a distinct»80s ambience.

Comedy, sci - fi, horror, romance, adventure, action, drama, and thriller, it covers quite a lot of territory in a short amount of time, and does so with its own sense of style that makes it different from any other film, even if it is an homage film at its core.

It's the combination of character development, action and pure emotion that drives the film, where even secondary characters have motivations; a wonderful moment a lesser film would have cut for time finds the shapeshifting Mystique (Rebecca Romijn) propositioning Wolverine, at first disguising herself as Wolvie's crush, Jean Grey (Famke Janssen), then purring, «No one has left scars like you.»

His final film for Shaw, Come Drink With Me (66) revolutionized the industry, and gave Hong Kong not only one of its first period swordplay films shot in a new, modern style (inspired by Japanese swordplay films of the time), but also its first female action lead.

Normally the science fiction concept of time travel is reserved for big budget action films, but the idea itself can be much more interesting within the confines of an indie scale film.

Parts of F6 are fun, but a convoluted plot, with terrible, frenetically chopped up action set pieces, and an overextended run time, make this film cumbersome and dull by the end.

There's so much to appreciate in that film — from its portrayal of a kickass female lead character who just so happens to have a physical disability (though is never depicted as being a person who matters less because of it) to its impressive number of real - time stunts and action sequences to its feminist message.

The three «acts» that occupy the real - time action of Boyle's film see Jobs as he successfully launches Macintosh, then outside of Apple with the disastrous NeXTCube and as the prodigal son returning with 1998's iMac.

The chatter of this strange assortment of upper - middle class Brits might work better in the theater, since the action takes place in real time set wholly in an extensively furnished London home (actually filmed in a West London studio), with the women doing most of the talk and much of the witty liftings.

Reduced by Refn almost to the point of abstraction — it could have been called Notes on a Rehearsal for an Action Movie — Drive may do little to win over multiplex crowds who prefer the fast and furious to the moody and languorous, but it reconfirms Refn as one of the most exciting young directors around, and Albert Brooks (stealing the film as a small - time Jewish gangster with an aversion to loose ends) as a national treasure.

What's refreshing is the emphasis the film places on Bale's character's conception of masculinity that doesn't fall under either of the usual tropes; he's neither idealistic at the cost of lacking the will to take affirmative action (as Whitaker's character is) nor is he a time bomb of self - destructive aggression (as Affleck's character is).

Even while spending quality time with John, Emily, President Sawyer, Finnerty, and the head of White House security, Martin Walker (James Woods), you still know what's coming, but Emmerich doesn't just hand over the action as quickly as most films, giving «White House Down» an impressively effective build before unleashing the ultimate display of DC destruction.

As the title implies, the focus of this hour - long live - action series is not on the larger than life costumed superheroes who turned The Avengers into the third highest - grossing film of all time, but the employees of the Strategic Homeland Intervention, Enforcement and Logistics Division, the government agency of espionage and law enforcement that has worked with and sometimes against the likes of Captain America, Iron Man, Thor, and the Hulk.

At the same time, the film does present a President who is able to lead because he is not beholden to his aides, political action committees, or corporations that got him elected — a common man who knows what it's like to be one of the people who needs someone at the top looking out for the little guys, like himself.

A satisfyingly tense desert - island thriller — just without the desert island — the action this time around is set at a Norwegian outpost (the one referenced by the guys at the U.S. - run Antarctic outpost at the beginning of Carpenter's film).

He tries to keep the film engaging with his running commentary tied to the dog's actions, but most of the time his improv falls flat.

The movie doesn't just feature quirky characters, which could have been found in any film of the time, but flat - out weird characters whose actions don't serve the narrative — they are simply weird for weird's sake.