Sentences with phrase «chase film genre»

Unfortunately, even taken as a semi-satire of the chase film genre, the delivery is still mystifyingly off, never content to settle into a discernible groove for very long, while the gags lack humor, bite, or moments of intrigue.

This film gave birth to the car - chase film genre and stars Eleanor, the only Ford Mustang in history to receive starring credit in a movie!

Not exact matches

His revelations verge on going too far but by the end you realise that you've witnessed a film that crosses all sorts of genres; it's an introspective drama, a restrained chase movie and an imaginative Sci - Fi and it tackles all the tropes with a deftness and skill.

As for the film itself, though Waititi includes aspects that play like genre parody — a montage scored to Leonard Cohen's interpretation of the «Song of the French Partisan» unexpectedly recalling McCabe & Mrs. Miller; a Mad Max - like chase climax; Lukasz Buda, Samuel Scott and Conrad Wedde's 1980s - style synthesizer - laden score — Hunt for the Wilderpeople is ultimately disarming in its innocent sincerity.

His latest movie, Baby Driver, is the writer / director's love letter to the great car chase films from the likes of Walter Hill (The Driver), William Friedkin (The French Connection) and George Miller (Mad Max), all driven by a non-stop soundtrack that features both popular and obscure tracks of such diverse genres as rock»n' roll, punk, soul and hip hop.

Soderbergh inverts the typical action movie genre score by ratcheting up the score during the non-fight sequences, applying that retro - 1970s jazzy horn and percussion score by David Holmes (Code 46, Analyze That) during the dialogue and chases, while turning the music completely off when the film gets explosive for the highly brutal moments of close - quarter, melee combat.

The music helped make the car - chasing, bullet - flying action even more exhilarating, and the structure took the film beyond genre.

Heist film: Watching the trailer closely and you can begin to see the elements come together (a painting, a jailbreak, a mad chase) that it appears Anderson (however loosely) is returning to the genre he made his debut with 18 years prior: the heist film.

Coming off a decade where the American genre film devolved into lowest - common - denominator investments and blockbusters ballooned skyward on the backs of sequels and franchises, Refn's modest exercise in crime pastiche and car - chase nostalgia parlayed both the exhaustion of Hollywood's narrative resources and — perhaps more importantly — the gathering mainstream curiosity in independent music's preoccupation with the sound and feel of the 1980s (the film's soundtrack has become one of the most popular word - of - mouth successes of the decade).

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.

Hill's film effectively shaped the genre where noir meets car, and turned the cinematic car - chase into the ultimate art form.

Hot - head police captains, torturous and talky bad guys, drug busts, loose cannon cops, some domestic drama, and car chases represent the bases you'd have to touch in order to make a decent rehash, but outside of a couple of scenes of Paul regurgitating famous film lines from cop flicks of the 80s (which isn't exactly true, as he mysteriously quotes from movies of other genres and eras as well), there isn't much to Cop Out one could call a loving spoof.

This subtle blend of fact and fiction is part and parcel of Larrain and screenwriter Guillermo Calderón's playful approach to the material, which shifts in and out of various genres, including chase thriller, film noir, road movie and even western.

Director Anne Fletcher has helped turn the male buddy cop genre on its head, mixing period jokes with the usual car chases and shootouts associated with such films.

The action, heist and chase scenes in The Town are top - notch in their execution; Affleck's clearly been a good student of the action genre and of heist films in general.

The work mines the genre of the chase film, popular during the early part of the twentieth century.