Sentences with phrase «at chase sequences»

Writer / director mastermind George Miller demonstrates breakneck prowess at chase sequences and a shock value story.

Hackneyed at exposition, Miller demonstrates breakneck prowess at chase sequences and terrifying shock effects.

«High Speed Crash Course» (2:47) offers a behind - the - scenes look at the chase sequence with set footage and cast and crew comments.

Not exact matches

A basic pursuit theorem states that if several objects chase each other in sequence (so that A chases B chases C chases D chases A, say) then eventually they will all meet at the same point.

The second hour for the most part is breathtaking, an oxygen - sapping diving sequence is followed by an at times hilarious car chase — and that's just the beginning.

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.

It leads to threats at gunpoint; the slowest outboard motorboat in cinematic history; breaking and entering; the most peculiar chase sequence I've seen in a very long time, and a couple of key sequences in and above a strip club.

Fincher's excellent at whatever the film needs — Freeman sulking around because he's a lonely old cop and it's what lonely old cops do, Pitt doing a chase sequence, even John C. McGinley's glorified cameo as the SWAT commander has some good procedural sequences — but he doesn't actually have a real vision for it.

At first, The Evil Within 2 feels like it will follow a similar path, with an emphasis on exciting set pieces and chase sequences outrunning buzzsaw - wielding foes.

During our sneak peek of footage of Incredibles 2 at Pixar, there's a thrilling chase sequence involving Elastigirl trying to catch up with a runaway levitating monorail that appears to have malfunctioned during its grand unveiling.

There is a car chase sequence where Davis is firing a gun at the following car, and it reminded me how far off course the film travels from a musical biopic.

While the latter pair offer some laughs at the extent of their creepiness (If a style of dancing could be classified as that of a serial, it would be Donny's), it's unfortunate that the whole subplot brings the whole film to a standard, extended, and poorly paced chase sequence.

Bird's proven hand at creating spectacular and imaginative set pieces (a chase in a raging sandstorm; an insane parking garage fight that's Pixar - ready) is in full effect here as well as a heretofore unseen skill at nailbiting suspense (a sequence of Cruise — not a double — scaling the side of the world's tallest building is by far the best non-documentary use of large format IMAX photography to date).

Like Popeye Doyle's daredevil car chase in The French Connection, Chazelle has dreamt up frenzied, dizzying sequences where Andrew's pursuit of perfection, seated at the drum kit, either grabs the audience by the throat or throws them for a loop, addled and always in awe.

At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new cinematic tools for keeping the audience guessing, his directing style, what he was looking for in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.

The city's languid portrayal is at odds with the frenetic, pell - mell nature of the film's signature car chases, where POV shots and quick - cuts make for some of cinema's finest chase sequences.

The film begins with horses aiding in a bank robbery (and I don't just mean the vault, but the entire fucking building in a stupendously fun chase sequence filled with catastrophic destruction) and ends with a massive battle at the bottom of the ocean.

There's less slickness in a car chase scene, however, a messy moment of CGI and studio work — this sequence should have at least rolled over and played full phony, instead of looking like an unnatural piece of botched reality.

Optional races or time trials in Twilight are the same kind of exercise in frustration as in prior Disney Infinity games, but at least the mandatory vehicular sections aren't bad, and the core vehicle sections are actually fun in the cases of the Tatooine pod race and Cad Bane chase sequences.

Nolan seems to think the Wally Pfister photography can sell any scene, whether it's one of the most boring chase sequences in a big budget film (but it's at twilight and Pfister makes it look great) or if it's ostensible lead Christian Bale and his romantic interest, Marion Cotillard, letting the rainy afternoon bring out their passions.

He also replicates a single unbroken shot from the original film's sequence at a soccer stadium; this time, it's set at Dodgers Stadium and impressively shot by cinematographer Daniel Moder (Roberts» husband), as Ray and fellow detective «Bumpy» (Dean Norris) pick out the suspect out of the crowded stands and give him a chase.

That's not to say there are no chuckles at all to be had in Gun Shy — a chase sequence involving a rolling suitcase and a bit about Turk's pronunciation of the word «tortoise» come to mind — but there are far too many scenes that are bound to leave viewers wondering if they somehow missed the punchline (don't fret, hypothetical viewers — you didn't).

We get the requisite actions sequences, too — laser - blaster fights (Caine's gun, amusingly, sounds like a barking dog), gravity - defying chases with the help of Caine's gravity boots (He had wings at one time, but considering that his boots make him fly, that seems a tad showy), ship battles through Chicago and in space, and plenty of climbing up and jumping across collapsing edifices.

Proximity Mines are usually stationary or moving on set paths, as it can be seen at the beginning of the stage and in the second Squiddicus chase sequence.

Another interesting tidbit she offered up was a hint at what kind of action we could expect, referencing that it would be similar in ways to the free - running chase sequence that kicked off Casino Royale but with swords.

It is not all bad; director Francis Lawrence has the technical know - how to at least shoot the miasma with grace and elan (though after nearly four hours of Mockingjays, the drab gray color palette and landscapes of smoking destroyed highrises becomes rather tiresome and repetitive), and there are a few high points, including one stand - out sequence, a highly tense, at times often terrifying underground chase sequence that often recalls the pressure cooker atmosphere of The Descent.

The highlight of the film by far is an elaborate car chase sequence that begins on the hilly streets of Frisco, progresses at slow speed through a Chinatown parade, and ends at the harbor.

For all the mayhem, music and dialogue are in perfect harmony with the effects, and even at home the soundstage is breathtakingly transparent, with many dazzling examples of sidewall imaging throughout the chase sequences.

To support their case, they roll home - movie footage of the same gatherings glimpsed in the credit sequence, the free - spirited good times now chased with injuries, panicked screams, and at least one explosion.

The film contains the seemingly prerequisite chase and shootout sequences as Joe tracks his older self and Old Joe hunts the leader of the syndicate that will betray him (at the time, still a child, played by Pierce Gagnon, and living with his mother, played by Emily Blunt, on a farm), but Johnson holds the disparate elements together with his insistence that we actively consider the film's moral conundrums.

Action sequences are brilliantly orchestrated including an outrageous set piece at Miami airport and a chase through a building site.

With this comes moments of, at the worst, questionable motivation or, at the least, questionable execution, but either way, there's something disquieting about watching innocent men, women, and children indiscriminately gunned down when the focus of the sequence is, at its core, a simple chase.

EXTRAS: There's a making - of featurette, alternate line readings / outtakes, a brief look at filming the high speed chase sequence and some silly infomercials.

There are at least a half - dozen lengthy chase sequences.

David Koepp's script is also repetitive in a way the other two films weren't; while the comparative paring down of the plot into a largely straightforward chase narrative is admirable, the non-stop sequence of «Leads run from bad guys to place > find next clue and explain it to each other > bad guys come back and shoot at them, so leads run while continuing to explain» becomes incredibly tiresome as the film goes on.

Their almost silent hunting sequence has been described as: «detect, flush, chase at 40 mph (64 kg), kill with a neck - break, and then retrieve to owner.»

While the first half of the demo focused on the car chase that everyone saw at Sony's presentation on Monday, what followed immediately after showed Naughty Dog's dedication to never taking the control out of the player's hands if it doesn't have to, as well as giving the action sequences of Uncharted 4 a level of flair that even the previous games never quite reached.

The Crash Bandicoot comparisons feels especially apt because Super Lucky's Tale riffs on the same four approaches to level design: exploratory stages, where players can explore at their leisure; side - scrolling stages meant to test finger dexterity; «chase» sequences where you're constantly propelled forward; and boss battles where you're confined to tight arenas, having to dodge tons of deadly obstacles.

The space combat sequences play out like a lighter, streamlined version of Wing Commander or other classic space sims, with players having access to two main weapons and a subweapon, and a lock - on system that takes out the difficulty of chasing and shooting at the same as it puts the Jackal on autopilot so that players can concentrate on shooting.

Anyway, the gameplay does get a little tedious, and the devs acknowledge that by tossing an occasional «chase sequence» at us.

This will most likely especially come in handy during the car chase sequence shown at last year's E3, where Nathan Drake and his brother were chased through the streets of a city by a truck armed with a machine gun.

In this mission, Mitchell enters the city on a kickass hoverbike, but the game doesn't allow the player to control it until a very small chase sequence at the end of the mission.