Sentences with phrase «chasing long shots»

When asked about the best investment he ever made, he recommended against chasing long shots.

Not exact matches

David Ospina chases after Shane Long and is way out of his goal, but Pierre - Emile Højbjerg's shot flashes over the bar.

After the thrill of the chase, the lookalike's escape, and the disappointment of missing the reward, the film ends optimistically with a long shot, lasting over half a minute, of all the boys and other people in the background.

A six - minute - long shot featuring a barbaric fist fight, shootout, and car chase has to be worthy, right?

He brings the pacing of Creed's boxing matches to the longer action scenes, producing a fabulously entertaining sequence in which a shoot - out in a South Korean underground casino — presented in part as an uninterrupted long take — breaks out into a rollicking car chase through city streets.

Busting features one of the finest cinematic foot chases ever shot — a long tracking shot through a supermarket complete with a gun battle in the produce aisle.

Director Greg Mottola displays a good sense of balancing action and comedy during a chase through and around an abandoned warehouse, as Jeff becomes a frantic heap in the backseat, Karen worries about not having a seatbelt and tries to calm an argument between her sons over the phone, Natalie shows off her shooting skills, and Tim responds to it all like a frustrated father on a road trip that has gone on for too long.

Paycheck is Woo ripping off the best of Woo: all his standard signatures (doves, slow - motion, long dissolves, meticulous matching shots, Mexican stand - offs, sliding - while - shooting, starfucking), plus stuff about switching faces (Face / Off), bird cages with hidden compartments (Hard - Boiled), motorcycle chases (Hard Target), and Lazy Susan meet - cutes (A Better Tomorrow II, Mission: Impossible II).

The new M (Ralph Fiennes) may not approve of Bond's epic shoot - out / blow - up / chopper chase in the middle of Mexico City's Dia de la Muerta (Day of the Dead), one of the most heavily populated set pieces (with a doozy of a long - take tracking shot) in Bond history.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

The film lives and thrives on these whiplash moments; it seems as if Wong hadn't yet perfected the languor that I love so much about his films, and so there is no small thrill in the chases, or the extended scenes of almost sadomasochistic violence inflicted on and by Wah (often shot in extremely long slow motion shots), or of course the unspoken flirtations.

But while Creevy struggles with the basics of suspense — often indulging in the same hacky, buzz - killing slow motion shots as he did in Welcome To The Punch — his direction of the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahn.

In a frenzied chase sequence he controls his mise - en - scà ¨ ne well enough to keep the pursuit both interesting and funny, making a car slip on a spilled truckload of bananas, and shooting an impending head - on between our heroes» car and a bus from behind and above the bus, with a lens just long enough that the car disappears completely before hitting the bus, there's a breathless moment, and the car emerges, swerving, around a side of the bus.

While the majority of the game relies on the split screen sequence, A Way Out's finest moment actually comes during a brilliantly choreographed climactic foot chase through a hospital via a four - minute long, unbroken «camera shot».

It's a long shot, but possibly worth chasing down.