Sentences with phrase «action filmmaking»

«A territory under double enchantment» is emphasized in Nashashibi's use of live action filmmaking alongside animation, as well as unexpected dualisms that reflect Gazan life under siege — a society sealed from the outside while dominated by layers of social protocol from within.

Thanks to its utter disregard for following trends, the flick is a welcome throwback to the kind of mid-to-late 90s action filmmaking that was heralded as absurd at the time, but now evokes pangs of nostalgia for its simpler, less CGI - heavy methods.

We have entered a brave new world of Disney live - action filmmaking, which you can choose to take literally or ironically depending on your point of view.

«Both films showcase the wide range of creative talent working in Ireland across animation and live action filmmaking.

Only when the script and visuals stray too far from the source does the film lose its way, getting bogged down in the mechanics of big - budget action filmmaking and ponderous dialogue as it works toward a way - too - tidy, sentimental finale.

What elevates this film above most of its predecessors is the dynamic action filmmaking and, above all, its wit.

It's the camera - in - a blender - school of action filmmaking: There's so little understanding of spatial relationships that the whole thing plays like that Naked Gun gag where the gunfight is taking place between two people within arm's reach of one another.

That Coogler manages to work genuine racial issues into the film's narrative without turning it into a didactic ideological crusade is a mark of his dexterity as a storyteller and his commitment to a sense of humanism that is all too often lacking in the world of big action filmmaking.

Under the competent hands of America's most consistently mediocre director (Ron Howard, subbing in for the LEGO guys), Solo is a perfectly fine bit of blockbuster action filmmaking, with a capable cast and some neat special effects upholding a wholly conventional screenplay with nary a hint of the idiosyncrasy that has marked every other Star Wars film, for good or for ill.

It's action filmmaking as controlled demolition — and the best train potboiler since Steven Seagal's Under Siege 2: Dark Territory.

In that time, the superhero genre has exploded and the Marvel Cinematic Universe has reshaped the movie business, but don't expect Bird, who returns from the world of live - action filmmaking to write and direct, to change up his tactics too much.

For a director known for his ability to bring a frenetic urgency to action filmmaking, yet do so in a way that the viewer remains oriented and aware of the stakes, Captain Phillips must rate as one of Paul Greengrass» most accomplished achievements.

Director Chris Wedge (Ice Age, Robots) makes the leap to live - action filmmaking here, and he is actually mostly successful.

It lacks the subversive politics of Brian DePalma's film (which corrupts the source TV franchise as much as it reboots the thing), but Bird's deft action filmmaking make it among the more visually appetizing American blockbusters released in years.

And while his ongoing explorations of his obsessions have led to disappointments like «The Darjeeling Limited,» his return to live action filmmaking following the charming «The Fantastic Mr. Fox» looks to find the director once again at the height of his powers.

Bay is best known as the director of the «Transformers» movies for Paramount and for a kinetic style of action filmmaking known as «Bayhem.»

In addition, directors Phil Lord and Chris Miller hadn't yet taken a dive into live - action filmmaking or R - rated humor.

The narrative trips itself up somewhat with a messy third act that falls into predictable realms of police corruption and overly convoluted, poorly explained schemes to benefit the hierarchy while threatening the lives of our main characters (for some reason) but the lack of coherency can't get in the way of Creevy's skill for adrenaline - fueled action filmmaking and that is where Punch really delivers.

I just watched TERMINATOR 2 again - it was for the 3D rerelease, but the 3D is almost nonexistent so it felt just like watching the original again on a big screen, which is great because it's absolutely brilliant action filmmaking and it boggles my mind that people could watch for (just as a for instance) and claim the action filmmaking in any Marvel / post-Nolan DC movie was of similar quality.

I'm reminded of the degree to which John Carpenter, another able genre craftsman, lost some creative control on his remake of The Thing to the makeup and effects specialists, though in the case of Broken Arrow the loss may be salutary: by and large this picture represents collaborative Hollywood action filmmaking at its best.

Splitting the difference between Michael Mann and Brian De Palma, it's a sequence that could teach any number of big - budget Hollywood movies a thing or four about action filmmaking.

Casting is a big topic, as is, predictably, Stanton's (and Collins's) transition to live - action filmmaking.

Tashlin, an animator before he turned to live action filmmaking, was all about the gag and helped define Lewis as a walking cartoon, the rubberface spastic adolescent in a grown - up body.

It's the approach to action filmmaking, the way the fight scenes are fast and real and nasty.

The commentary soars when Harlin zeroes in on the minutiae of action filmmaking in difficult situations and the challenges of visualizing effects still just a silicon dream in a mainframe microchip, falling flat when he tries to narrate the impenetrable plot or futilely justifies non-existent motivations.

Although prior to 2003, the Disney brand had been limited to family films rated G and PG, the hugely profitable Pirates of the Caribbean series had opened the studio's eyes both to PG - 13 fare and tentpole live - action filmmaking.

Many argue that Ryuhei's vision of action filmmaking is truly unique and this upcoming film will be filled with high octane, and will be a smart action picture.

This is action filmmaking at its finest, filled to the brim with genuine characters with conflicts that are emotionally and viscerally exciting.

Additionally, Telotte also draws attention to the ways in which computer technology, namely CGI special effects, has impacted on Disney's live - action filmmaking, citing Pirates of the Caribbean: The Curse of the Black Pearl (Gore Verbinski, 2003) as an example of this.

On a technical level, multi-Oscar nominated Skyfall cinematographer Roger Deakins has been replaced by Hoyte Van Hoytema - but despite having some acclaimed films on his resume (Let the Right One In, Her, Interstellar), it's clear that Van Hoytema is taking on a new action filmmaking challenge with Spectre, and he doesn't exactly rise to that challenge.

Whether Wright perfectly edits and paces the opening chase sequences to match they rhythm of The Jon Spencer Blues Explosion's «Bellbottoms,» or he choreographs gunfire to stay on tempo with Focus's «Hocus Pocus,» «Baby Driver» is an innovative piece of action filmmaking.

Kawachi's presence hearkens viewers back to the golden age of Nikkatsu Action filmmaking, having starred in titles like The Warped Ones (1960) and Tokyo Drifter (1966), and Sugata is a familiar character actor from Kill Bill: Vol.

I understand that low - budget action filmmaking has its...

Anyone remotely familiar with Verhoeven's «RoboCop» will know where this is all headed and even those that somehow missed out on that highlight of 80s action filmmaking shouldn't have any difficulty figuring it out, but as is befitting the drop from the original's R rating to this version's PG - 13 classification, Murphy's arc is met with considerably less grisliness this time around.

The film's well - blended genre mixture with visual landmarks and audacious effects illustrates its impact and evolution in sci - fi / action filmmaking.

Features enough in the way of charismatic performances and larger than life action filmmaking to make for an entertaining watch of the popcorn munching variety.

Unlike many in the business of live - action filmmaking, Armes does not fear for the B.C. industry's future amid competition from Ontario and Quebec with ever more generous tax credits.

Not exact matches

Cameron's digital filmmaking process encompassed more than 1,600 live - action and photorealistic computer - generated images.

Blomkamp uses extensive use of the faux documentary new - media style of filmmaking where mock footage from security tapes and news reports are seamlessly integrated into the action.

The stretched - out action set piece that takes up a majority of the middle section is a work of fine filmmaking craft and design, and it is seen mostly through the eyes of the central characters.

With this true crime drama set in late 1940s Los Angeles, director Ruben Fleischer looks to make the jump from modestly budgeted action - comedy (Zombieland 73, 30 Minutes or Less 49) to serious dramatic filmmaking.

In the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

After his superior action - drama hit Heat, writer - director - producer Michael Mann came back with 1999's The Insider, a movie about serious issues that scores high marks in every regard — quality, entertainment value, awards and just plain good filmmaking.

The Roache - Turners prove to have the right mix of micro-budget filmmaking ingenuity, action sass and undead splatter to make «Wyrmwood» a tastier than usual exploitation nosh.

But I usually do not love director Guy Ritchie's signature filmmaking style — one infamous for quick cuts, stylized slo - mo scenes, and brutal, fast action sequences heavy on hand - to - hand combat.

But, so long as you can follow the story well enough, and don't mind the rather lengthy takes that Soderbergh enjoys during scenes of running or driving, Haywire is worth seeking out for a smart, stylish, and off - speed action film that blends traditional thrills with Soderbergh's independent experimentation with the process of genre filmmaking.

But in the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

This was before the era of shaky bungee cam filmmaking, and, in retrospect, it seems like a bonus that you can actually tell what is going on during all of the action.

An ugly exercise in genre filmmaking and religion bashing, Priest marks a new low in the action / horror hybrid, and once again proves why Paul Bettany is the worst action star working today.

Where Spielberg sees 3D as a ubiquitous element in modern animation (he is shooting The Aventures of Tintin in 3D), Cameron intends to be the first to introduce a new filmmaking vocabulary with his live - action hybrid, Avatar, which blends performance capture (what he calls e-motion capture) with live action elements and actors.