Sentences with phrase «action scenes seem»

They all use the same tired formula and even all the humour and action scenes seem exactly the same in every film.

However, if the comedy is too broad or too often relied on, serious unevenness may occur if the the action scenes seem too dark to be juxtaposed with such zany antics.

In this, the action scenes seem secondary to what the characters are going through, and what's going on in their world.

Not exact matches

There's a struggle (with an observatory door), the element of surprise (an unexpected burst on a photographic plate), disbelief (by our protagonist and a collaborator), a scramble (to figure out how to report the discovery of the supernova), and an action scene that seems impossibly quaint: A driver races to the nearest town 100 kilometers away to send a telegram and alert the world that 166,000 light - years away, a star has exploded.

Some of the fight scenes seemed to go on too long, but this is an action movie so maybe I'm off base.

And by giving away so many details about the ending up front, writer - director Alex Garland (Ex Machina) seems to be emphasizing that Annihilation isn't about who - will - live dynamics, or the fast mechanics of action scenes.

Another forgettable prequel to The Avengers that doesn't seem to be something of its own, with a plot that is mostly dull, action scenes that are unimpressive for a superhero movie, and a poorly developed villain with uninspired plans of destroying the world.

The action scenes do not outstay their welcome, and they actually seem somewhat relevant to the story.

First off, it seems someone paid attention to the complaints regarding the disorienting action scenes of the first two instalments.

The budget doesn't seem able to match the increasing magnitude of the action scenes, so that by the end the special effects are truly awful.

Even with long scenes of action utilizing modern effects, the approach doesn't seem gratuitous, which is an impressive accomplishment after having seen so many action films already this year.

Cannavale (Danny Collins) is wasted in a role that doubles both as the hapless husband to Lang's ex father to the daughter Lang is trying to reconnect more with, and the face of the cops who get involved in the mix of things (and, conveniently, seems to be the first cop on the scene no matter where the action takes place).

A veteran action director, McTeigue shoots individual fight scenes well enough, but never provides any modulation or sense of escalating terror — at no point is anyone allowed to crack a smile, and even when the children are threatened with imminent death, the film's pace never seems to quicken.

Dylan suffers at the hands of funny fat - kid bully Kevin (Julian Dennison), whose actions seem particularly callous given the recent tragic past; Grandpa (Terry Norris) is a randy old codger (wink - wink scenes with Dylan as he skips between bedrooms at the local nursing home are off - putting), who encourages his grandkid's imagination but seems ignorant of the financial strife his grief - stricken family is in.

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.

Initially the shaky - cam, Cloverfield approach to an alien invasion seems to work... until an action scene kicks in.

The shakycam that some complained about last time seems all but absent, however there are a couple of action scenes that occur in the dark, which makes it a little hard to follow.

The action is set throughout in a cramped 1970s committee room, complete with spider plants and electric typewriters, a mise - en - scène that seems particularly absurd in the battle scenes.

Specifically, reviewers seem to love the MCU debuts of Black Panther (Chadwick Boesman) and Spider - Man (Tom Holland), as well as a culminating action scene in an airport:

Disney seems to be lying heavily on nostalgia and fandom to sell its live action adaptation of the 1991 Oscar - winning animated film, highlighting an array of familiar scenes and characters that at first glance doesn't really bring anything altering to the table.

Despite the more refreshing scenes (it has its share) it still falters from typical action plot points that seem to infest every film he's in.

Children is less impressive, in part because more of its action takes place in shadow; elements appear a touch mismatched in the key tunnel - truck - mother scene and the source doesn't, on the whole, seem as sharp as Village — but that may have more to do with respective budgets and studio facilities.

The action scenes do nt seem to have progressed past The Longest Yard from 30 years earlier.

If its many action scenes weren't so exciting or its characters less charming, it might seem businesslike, just another part of Marvel's continuing attempts to build the film equivalent of its comic - book universe.

Without question Pt. 1 is the weakest in the franchise but it seems that it drained into Pt. 2 because despite moments of complete peril and action there are scenes that drag unbelievably slow killing any momentum built up by some fantastical action sequence.

One particular chase is thrilling until making some rather glaring mistakes towards the end, and it seems that director Nikolaj Arcel has a bit to learn when it comes to shooting an action scene.

The best setpiece in «Winter Soldier,» Cap taking out a bunch of would - be assassins in an elevator, had a frenzied smallness that was much more exciting than watching helicarriers crash and monuments crumble; it seems to have inspired the better action scenes here — not just a stairwell punch-fest that finds Bucky swinging from a torn - up stretch of railing like Tarzan on a vine, but in a bigger, louder, wilder clash between Avengers (including emergency ringers Spider - Man, Ant - Man and Black Panther) on an airport runway.

There's a passion for the action scenes, but he doesn't seem to enjoy grinding out the plot or adding shading to his adult characters.

«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 sScene 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 sscene, 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 sscene, 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 scenescene.

This is formulaic storytelling, to be sure, but all the actors seem to be having a good time and the action scenes will definitely satisfy fans of the genre.

Early indications seem to point to more of a comedy than the true action epic that fans were hoping for, but with Li and Chan together onscreen, there's bound to be at least one great fight scene, right?

The fault does nt seem to lie in Abrams hands, because the action scenes are competently shot.

While some movies feature action that seems to happen for no reason, Zack Snyder has designed each scene to correlate with something happening in the real world.

And when a substance of hers, that Buchannon describes as stronger than «bath salts on meth,» washes up on shore, the gang goes into action to solve the crime, but also for additional phallic jokes (more than just Oscar's member is sacrificed on the alter of cheap laughs), near drownings, shootings, various vomiting scenes (a body function that seems to have totally replaced farting in the screenwriter's lowest denomination guidebook), shipboard fires, shark attacks, Mitch getting fired and replaced by Brody, and slow - motion shots of well - endowed women running up and down the beach.

These chaotic scenes ring incredibly true, as the actors all seem to speak at once, but the action never gets out of hand.

You'll come across many scenes that seem like they're ripped straight from an action movie such as boats crashing into ramps and a fleet of warships firing their artillery into the air.

But the naval battles don't seem to fare as well as the land battles, action scenes are choppy and hard to follow, and really, a horse?

«Child caps his steadily building narrative with a gonzo action scene that seems a little heavy for Indiana.»

Art Director Matt Omernick was quick to point out that the game now supports over 100 lights in a scene, which really makes the action seem more visceral.

The graphics in LA Cops have a unique,»70s, psychedelic - cartoon style that is very interesting and seems to work well in both cut - scenes and in - game action.

From the intense violence (which still has the ability to shock) to the marriage of narrative within the action (instead of the old - fashioned cut - scene / action division of the «90s and «00s), God of War III seems to become more essential to the history of gaming every year.

It remains to be seen how the competitive scene for this game will shake out, but it seems like this will be a strong option for Switch owners looking for some online action.

Also, its open - world setting seemed at odds with the naturally enclosed nature of a scripted action scene; what kind of game did Rise of the Tomb Raider want to be?

The characters and action scenes may seem familiar but they get a new look (and attitude) from the artist who's known for his text - based works as Baron Von Fancy.

When turned on, the visitor becomes a witness of the robbery that is taking place right in front of his eyes: all birds have multi-coloured little pills in their beaks which they are about to steal — they are all feathered thieves caught in the act: there is a parade of six seemingly dancing smaller birds that appear to be surprised by their discovery and that seem to run away from the crime scene; a big blue pelican strides away gingerly with his loot in his beak whereas a dark brownish owl seems to pause and reconsider her deed; a bright red and orange bird on one leg almost falls off the table while trying to escape the crime scene... Their facial expressions are manifold but their actions are always the same: to flee their discovery and the nosy glance of the beholder and to leave their sites of crime behind.