Sentences with phrase «at action sequences»

Spielberg has always been an expert at action sequences, and this qualifies, a cathartic moment for the characters (and the audience) after their hours of worry about the legal, economic and ethical consequences of printing the material.

Uninspired visually and thematically as the attempts at action sequences just look silly and the emotional element is ruined by poor performance.

Not exact matches

While a sales pipeline is the sequence of actions that a sales rep executes to convert a lead into a customer, a sales funnel is the visual representation of the success rate at each step of the sales pipeline.

Vestigial features, study of ebryonic development, biogeography, DNA sequencing, examining pseudogenes, study of endogenous retroviruses, labratory direct examination of natural selection in action in E-Coli bacteria, lactose intolerance in humans, the peppered moth's colour change in reaction to industrial pollution, radiotrophic fungi at Chernobyl all add to the modern evolutionary synthesis.

It is therefore very probable — and at least demonstrable for the single sections by electrophysiological methods — that a human brain - guided action, which is released by a sensation, is a gapless sequence.

Tangible proof can be found by studying vestigial features, ebryonic development, biogeography, DNA sequencing, pseudogenes, endogenous retroviruses, labratory direct examination of natural selection in action in E-Coli bacteria, lactose intolerance in humans, the peppered moth's colour change in reaction to industrial pollution, radiotrophic fungi at Chernobyl... all of these things add to the modern evolutionary synthesis.

One of the difficulties in answering such questions is that God is timeless and unchangeable, whereas we are immersed in time and so picture His actions as a temporal sequence: «His creation is not one timeless act or one act at the beginning of time; it is a series of acts which continually bring into being new states of the universe by His positive or permissive willing».

An exciting sequence at the Wizarding Bank Gringotts soon kicks off the action, with the inclusion of an extremely impressive looking CGI dragon.

The 3D conversion for DH2 is superb — even though there are few instances of stuff coming out of the screen at the audience, it adds depth and solidity to the proceedings, and puts us squarely in the middle of things during the movie's first action sequence of note, a ride through Gringotts vaults.

(This scaffolding is large enough to accommodate a sequence in which Darwin spends time with Jenny the orangutan at the London Zoo in 1838, three years before Annie's birth: she mimics his actions, shows human - like emotions, and provides apparent evidence for his then emerging theory — as well as a charming interlude where Darwin is young and curious and not tormented.)

The HFR version is great in detailed action sequences involving visual effects — the prologue and Goblin Town look particularly good — and is otherwise so haphazardly hit and miss from shot to shot to shot that I don't think I was «in» the movie for more than eight seconds at a time for the entire two hours and forty - five minutes.

But though it sustains itself at a remarkably high pitch, there are botched sequences and patches where the action is unintelligible or inelegant.

Spy Kids 3 - D: Game Over viewed at a semipublic screening with an audience of critics and ordinary moviegoers rated PG for action sequences and peril official site IMDB

Their first big punchup, at a secret casino nightclub in Busan, South Korea, is, well, a marvel of thrillingly dynamic action, a stunningly choreographed, seemingly uncut sequence that ranges all over a big space on multiple physical levels.

Well, as sure as sunshine, if Jesse Hibbs succeeds at nothing else, it's sustaining a certain entertainment value through directorial pacing that is tighter than structural pacing, highlighted by some tensely well - staged action sequences that also mark heights in dramatic resonance, which is lacking, but there at times in which it's most needed to establish some sense of conflict and human weight.

There are signs of Bond bloat within many of the action sequences - it must be hard to trim such extravagant footage - but they are at least partly overcome by an increase in levity.

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).

I was gleeful at the superior Mr. Stark meeting his egomaniacal match in Stephen Strange; the battle of snark vs. snark was almost as good as watching any of the action sequences.

The action is explosive, the direction of the story sequences is intense at times, but still I can't really feel at home on these islands.

And it is exactly how these big, thick destruction films should be done: the script is boisterously funny, the action sequences have real flair and sweep, and the central human - primate friendship is even quite moving at points.

We expect a superhero film to be an action packed adventure but Thor: Ragnarok is primarily a comedy with some great action sequences sprinkled in at just the right moments.

What Bay is good at, though, is staging action sequences.

The action sequences are cut in a frantic, incoherent fashion (which is a shame, since Daniel Pearl's steel - gray cinematography is actually quite lovely at times).

While these portrayals are hardly based on reality, the action sequences may leave younger viewers excited about replicating kung fu moves at home.

These action scenes and dream / sim sequences can be thrilling at times, propelled by largely solid special effects.

Director Robert Hossein manages to keep the action moving at a crisp pace while staying relatively faithful to Hugo's elaborate storyline, and the sequence involving the storming of the barricades is imaginatively staged.

Wiseman is still too flashy a director for this franchise, but his love for the character comes through, and some of the action set pieces — especially the tunnel sequence that ends with a vehicle basically being thrown at a helicopter — are phenomenally staged.

Cameron is a master at pacing and shooting action sequences.

Although they help set the tone at the outset of the film, we don't need more of these scenes after her first action sequence as her character's MO is very clear.

The final outing in the series for Shia LaBeouf and co (though Megan Fox was replaced here already, after falling out with Bay), with John Malkovich and Frances McDormand among those paying for new houses with a few weeks work, the film does at least have a striking moon - landing themed opening, and an enormous extended climax that marks a high watermark for the franchise's action (particularly an impressive Halo jump sequence done for real).

It has some decent action sequences, including an extended multi-sequence that begins at a funeral and ends on a bullet train (part of which looks much better on the Blu - ray than in RealD in theaters).

Yet Desplechin's wildly discursive style calls so much attention to itself that even his heroes are overwhelmed by the aesthetic gamesmanship, left to flounder as the director skips from Leda And The Swan to breakdancing to a Hong Kong - style action sequence at a convenience store.

The miraculous result is that something feels at stake amid the disorienting spectacle of the film's action sequences.

The action sequences in Olympus Has Fallen are even bigger than Die Hard, and it's certainly clear there is much more at stake.

The action set pieces, barring some uneven attempts at slo - mo stylisation, are diverting, particularly an amusing prison breakout sequence.

Big on special effects, though small on bonus features, the disc offers you a behind the scenes look at the creation of the film's «incredible action sequences and spectacular stunts,» plus an audio commentary by Director Michael Bay.

The accompanying Dolby Digital 5.1 EX audio is dynamite; despite some controversy about it being encoded at 384kbps instead of the now - standard 448kbps (to accommodate an additional pair of EX-encoded dubs, methinks), this is a crystalline and phenomenally - immersive track that gives off an IMAX vibe during both the musical numbers and the Rube Goldberg - style action sequences.

Put it this way: the first action sequence in «Ant - Man'takes place in a bathtub, and while ultimately this film is too bland to leave much of an impression, at least it's still a much - needed reminder that there are people underneath all that spandex.

Every person who has a favorite Marvel movie has experienced the feeling of smiling uncontrollably at a particularly stunning action scene or sequence.

Almost every chase scene and action sequence is underscored by a recognizable music cue from the classic Elton John / Bernie Taupin songbook, including «Crocodile Rock,» «I'm Still Standing,» and other super-obvious pop selections you never want to hear at a karaoke night.

But before anyone gets the idea that Black Panther is an «agenda» movie — yes, it has something to say, but it says it so perfectly, giving us pure entertainment, a rousing, thrilling action - adventure film that spans the globe, full of characters to cheer for, bad guys to hiss at, and action sequences galore.

These misses narratively combined with other elements of Deadpool 2 make it feel like a backwards step or at the very least of a stalling of the series from the first, there's a sense here that everything's a little auto - pilot, the action too taking a backwards step from the imaginative sequences of the first film and while perfectly entertaining, this is an experience filled with nothing that would suggest Deadpool 2 is going to be a film you'll be going back to anytime soon.

Also, to Ms. Taymor's credit, she intelligently provides at times inspired touches such as — stop motion action shots, color tinting in brightly exotic desert shades, finely textured black - and - white sequences, shots of Diego in New York to do the Rockefeller commissioned mural against a lively Dadaist collage of the New York setting, Frida's dream of her hubby as King Kong, a puppet show in the hospital (with the help of the gifted Quay brothers animations of skeletons in the post-accident emergency room — the skeletons were copied from one of Frida's paintings).

The man - on - a-mission story is basic, and the script is at times laughable, yet both of these negatives are muted somewhat by the very impressive action sequences.

The show looks at the film's origins and story, attempts at realism, cast and performances, actor training, locations and set design, action sequences, camerawork, and a few character notes.

That, at least, seems like a reasonable conclusion to draw from The Dark Knight, an explosively provocative Batman installment in which exhilaratingly straightforward action sequences are matched by moral complexity of a sort not usually associated with comic - book movie franchises.

The action sequences are riveting, if a little numbing at times, and their evolving mission is engaging throughout.

Indeed, Hoytema and Mendes are great at framing and sequencing stiller moments, but once the action ramps up to the expected Bond levels, the seams quickly begin to show in the filmmakers» technique.

It makes for a pleasing metaphysical subtext to a film with spectacular action sequences, pointed references to the political economics of the class struggle, and a character in Benicio Del Toro whose nihilism carries with it a whiff of Zen philosophy at its purest.

The action sequences, however, are pretty hit and miss, which is a shame considering Wright's outstanding work in «Scott Pilgrim vs. the World,» and the sci - fi setting seems to be working against the story at times.