Sentences with phrase «battle scenes from»

It was the cinematic feel of battle that impressed me the most; the feeling that I was taking part in one of the epic battle scenes from the films.

Wakanda, again, would be the best bet — big battle scenes from the trailer would indicate as much — but there was nary a clue, nor a tease at that being the case in Black Panther.

I hope they somehow fix the battle scenes from being frame locked at 15 Fps on IOS.

Not exact matches

To further complicate things, a new character has now been added to the drama: The rich benefactor who has been bankrolling and possibly also controlling the heavyweight battle from behind the scenes.

The data from each squad were sent to a single command post, where officers could put together a coherent picture of the entire battle scene.

In addition to reinventing himself multiple times, from the long - forgotten battles with the FCC in the 90s to giving Charlie Rose a run for his money over the past decade as «greatest interviewer alive,» Howard's savviest role is behind the scenes as a platform rainmaker.

The battle scene continues from there, but Wallace and his men are victorious, because they stood their ground.

The emergency services rushed to the scene and battled the blaze on the train, which had been travelling from the coastal city of Port Elizabeth to the commercial capital, Johannesburg.

From the moment he burst on the scene proclaiming himself as «the greatest of all time» to the silent, dignified figure who battles Parkinson Disease today, Ali was and is an enigma.

Bluntly edited, with no hand - holding transitional scenes, the film is an intimate portrait of an idealistic, understaffed, sometimes wrongheaded team battling youth prostitution, thievery rings and adult predators from every class of society.

The battle scenes are appropriately spectacular, with Hogwarts under attack from an army of Death Eaters, Dementors, giants and beasties and defended by a small and dwindling number of students and teachers.

In a scene calculated to evoke long, loud cheers from the audience, Donlevy, weary and battle - stained, relays to the American mainland the legendary (if offensive) challenge «Send us more Japs!»

As soon as you enter the newsroom (after an opening Vietnam battle scene that feels slightly perfunctory from the man who made Saving Private Ryan) you're hooked, assisted by Hanks who has a peerless ability to make his characters instantly feel like an old friend and mentor.

From the opening space arrival scene to the final battle, this film has it all in terms of a video feast for the eyes and excitement for the ears.

Clooney proves again that he knows how to direct intelligent films that rely on a great dialogue, and this intriguing character study is gripping from the first scene to the last, centered on a brilliant political battle and with an intense performance by the always fantastic Ryan Gosling.

From then on, it's all battle scenes, taking up, at a modest estimate, about 80 percent of screen time.

These scenes suffer from a lack of focus and general chaos, which I suppose one can argue reflects a real battle, but it is neither effective nor impressive here.

The outdoor sounds and the falling rain of the middle sections are also impressive, but the final battle scene sucks us right in, from the rumble of the tanks approaching and then passing on all sides to the non-stop barrage of whizzing bullets, jangling shell casings, jostling ricochets, and bass - heavy explosions.

These scenes (the initial attack on young Conan's village, the final battle, and several others) should have a choral section during Basil Poledouris» «Riders of Doom», but it had been mistakenly omitted from the new audio mix.

Special kudos must be given to film editor Michael Kahn, whose facility with these completely unhinged battle sequences should shame anybody who's ever worked on a Michael Bay movie; to cinematographer Janusz Kaminski, who has given these scenes a dull grey cast evocative of nightmares torn from America's sleeping subconscious brain; and to sound designer Gary Rydstrom, who has crafted a World War II soundscape that rattles and unnerves you even when your eyes are closed.

Sensational sequences abound, from a runaway rickshaw chase to a black, white and red hand - painted - looking «flashback», hyperrealistic water scenes and 3D» ed - to - the - max aerial views of the Battle Of Gongmen City, the solitary silhouette of Po poised (as iconically as Dirty Harry on the bridge) on a pagoda rooftop above Shen's dragonship.

The animated set pieces are technically flawless, with Yuh staging eye - busting battle scenes that employ rousing feats of flight and fist from the animal heroes, but also smuggles in plenty of physical comedy, again tracking Po as he bounces all over China, leaving a trail of destruction behind him.

The battle scenes between the military's exosuit army and the mimic aliens are the absolute highlights of the film, delivering what feels like a technologically upgraded battle from World War II.

FILE - This image released by Fox Searchlight Pictures shows Emma Stone, left, and Steve Carell in a scene from Battle of the Sexes.

The game's trailers play like scenes from a crossover action game, showcasing MvC3's wide array of characters tussling in setpiece - style battles.

From bare - knuckle brawls to climactic battles, fight scenes are a key component of the action genre.

You won't need your arm twisted to see the movie, artfully shot by Tom Stern (Mystic River) as the scene shifts from the perverse lushness of the Capitol to the stark landscape of the battle zone.

The final battle scene differs from the first, not only because it never really happened, but because in this battle the combat is much more personal.

Bob is six - foot - four and built like an action figure, which comes in handy in scenes that require him to do battle with a nunchacku - wielding assassin on a motorbike, or pirouette through a battle zone tossing tiny explosives from his fanny pack like Bugs Bunny as Brünnhilde strewing flower petals in her wake.

This image released by Fox Searchlight Pictures shows Emma Stone, left, and Steve Carell in a scene from «Battle of the Sexes.»

From a darkly - lit battle in Berlin to a climactic one featuring a well - placed submarine, these scenes can be a bit messy and lack the cohesiveness of some of the chases from earlier installmeFrom a darkly - lit battle in Berlin to a climactic one featuring a well - placed submarine, these scenes can be a bit messy and lack the cohesiveness of some of the chases from earlier installmefrom earlier installments.

The clip showcases the cast of the game, from the classic series to Dragon Ball Super, alongside some really spiffy animation and battle scenes, all topped by heavy - metal music.

Armies swoop towards one another across a vast plain, each group displaying their own intricate maneuvers and battle strategies, wielding their own specific weaponry, making one think it could be a deleted scene from John Woo's «Red Cliff,» or that a fussy Middle Earth equivalent of John Keegan had been a consultant on the film, providing information on how the dwarf infantry worked, and how the elves moved in formation.

Other than the looks of the stars, the only other strength comes from the well - choreographed battle scenes, which are too stylized to believe, but they're still exhilarating to watch nonetheless.

Christopher Lee and Cate Blanchett return, briefly, for a psychedelic scene of mortal combat with the ring wraiths that doesn't seem to have much to do with anything (although it is clearly supposed to be important), and Gandalf (Ian McKellan) returns from imprisonment to the field of battle.

From March's battle with a bathroom stall door to the pair's ill - thought - out disposal of a corpse, there are some truly fun and memorable scenes that border on slapstick, and I suppose they're the reason why The Nice Guys is being billed as a comedy.

As expected from a Ridley Scott - directed sword / sandals epic based on the story of Moses leading 600,000 slaves out of Egypt, the trailer and footage teased killer action sequences and battle scenes, a cast of thousands which includes Sigourney Weaver, Ben Kingley, Joel Edgerton, Aaron Paul, John Turturro and some of history's earliest family drama between Moses and Rhamses (Edgerton).

While co-directors Jonathan Dayton and Valerie Faris (Ruby Sparks, Little Miss Sunshine) wring tension and suspense from the same - day build - up to the match, the match itself — captured by grainy, fuzzy TV cameras with the occasional, ground - level insert — and the immediate aftermath (symbolic and figurative, more than real or long - lasting), it's in the months - long lead - up to the match, following Billie Jean King (Emma Stone, never better) and Bobby Riggs (Steve Carell) where Battle of the Sexes steps up its game to offer a sympathetic, insightful, poignant, behind - the - scenes look at the private lives of the public personas who stepped onto the tennis court of the Houston Astrodome on September 20th, 1973, as Americans on both sides of the political divide watched in rapt attention.

Extras: «Road to Justice» journeys alongside DC comic creators as they explore over 50 years of the Justice League, from comic books to animated adventures to their cinematic debut; «Heart of Justice» in which the cast and filmmakers share their admiration for DC's iconic Trinity: Superman, Wonder Woman and Batman; «Technology of the Justice League»: From Batman's arsenal to Cyborg's alien tech, interface with the Justice League database to learn their most advanced secrets; «Justice League: The New Heroes»; «Steppenwolf the Conqueror»; «Scene Studies: Revisiting the Amazons»; «Scene Studies: Wonder Woman's Rescue»; «Scene Studies: Heroes Park»; «Scene Studies: The Tunnel Battle»; «Suit Up: The Look of the League.&rafrom comic books to animated adventures to their cinematic debut; «Heart of Justice» in which the cast and filmmakers share their admiration for DC's iconic Trinity: Superman, Wonder Woman and Batman; «Technology of the Justice League»: From Batman's arsenal to Cyborg's alien tech, interface with the Justice League database to learn their most advanced secrets; «Justice League: The New Heroes»; «Steppenwolf the Conqueror»; «Scene Studies: Revisiting the Amazons»; «Scene Studies: Wonder Woman's Rescue»; «Scene Studies: Heroes Park»; «Scene Studies: The Tunnel Battle»; «Suit Up: The Look of the League.&raFrom Batman's arsenal to Cyborg's alien tech, interface with the Justice League database to learn their most advanced secrets; «Justice League: The New Heroes»; «Steppenwolf the Conqueror»; «Scene Studies: Revisiting the Amazons»; «Scene Studies: Wonder Woman's Rescue»; «Scene Studies: Heroes Park»; «Scene Studies: The Tunnel Battle»; «Suit Up: The Look of the League.»

His character comes to fruition in the second act and apart from being present during pivotal battle scenes, his character is not given enough time to establish, and so comes off rather bland and underwhelming.

Schaffner came from TV, and while he has few of the obnoxious visual affectations of the TV - trained director, he tends to restrict the most significant actions and relationships in his films to spatial arenas that could be served very adequately by the tube rather than the Panavision screen: the real convention hustle in The Best Man takes place in hotel rooms, hallways, and basements; the tensest moments in his strange and (to me) very sympathetic medieval mini-epic The War Lord are confined to a small soundstage clearing or that besieged tower; the battle scenes in Patton are hardly clumsy, but the real show is George C. Scott; and Nicholas and Alexandra comes alive only after the royal family has been penned up under the watchful eyes of Ian Holm and then Alan Webb, far from the splendor of St. Petersburg or the shambles of the Great War.

While the battle scenes can only be viewed as impressive from a visual standpoint, where the film finally shows its fatal flaw is in the utter lack of emotional grip, as characters live, love and die, and yet no tears are shed among a viewing audience despite following these hearty heroes for over eight total hours of film time.

While the trailer footage focuses largely on a battle at Theed (probably because it was the centerpiece of EA's live stream today), it also takes time to explore brief combat scenes from the other eras.

Transforming into a swarm of bats proves to be the film's «cool» parlour trick, but Gary Shore, a first - time director of no discernible identity nor flair, has nowhere to go from there, delivering what seems like one monotonous, agonisingly prolonged climax of impossible - to - follow battle scenes and swirling bat - nadoes.

From the opening battle scene, when the Ancient One knocks buildings over with a wave of her hand, it's clear that Doctor Strange is going to be the trippiest of the Marvel movies.

The worst moments are ported complete from the Tolkien source material (and the theatrical version of The Two Towers): the convenience of a fortuitous in - battle as little Sam storms an enemy keep by himself, the deus ex machina of giant eagles arriving at moments of crisis (in fairness, it seems as though the scene establishing their summoning has been jettisoned), the curiously limp money shot of Aragorn's grasping of his legacy, and a general narrative choppiness that defeats pacing and deadens interest for all but the most invested.

Director / Screenwriter (and part - time comic book writer) Joss Whedon's love for comics is apparent right from the start with an opening act that would be the climax in many action films and carries through to one of the more spectacular final battle scenes you're likely to see for years to come.

Coogler plucks from the small and silver screen alike, rallying Emmy and Golden Globe - winner Angela Basset, Oscar - winner Lupita Nyong» o (12 Years a Slave), a scene - stealing Letitia Wright (Black Mirror «s «Black Museum») and the battle - tested Danai Gurira (The Walking Dead) for what is almost certainly the most kick - ass quartet of female empowerment seen in any MCU flick.

Guy Pearce engages in a zero - gravity battle with a prisoner in this latest scene from the EuropaCorp action - thriller.

Episode nine, «The Watchers on the Wall,» takes place entirely at The Wall with the Night's Watch hopelessly outnumbered as they attempt to defend Castle Black from the Wildings and features one the fiercest and most intense battle scenes ever filmed for television.