Boasting aliens, state - of - the - art special effects, a marquee star, and the greatest
director of action the cinema has produced, War of the Worlds superficially fits the mold of the cinematic thrill ride.
Not exact matches
A decent piece
of do - good
cinema...
Director Norman Jewison stages their confrontations for effectively flashy, immediate effects, though he unnecessarily neglects the
action - movie underpinning.
While none
of the films beyond Craven's ever really stand out
of the usual grind
of horror sequels, it did give a number
of up and coming
directors a chance to flex their creative muscles: Chuck Russell (A Nightmare on Elm Street 3: Dream Warriors), Renny Harlin (A Nightmare on Elm Street 4: The Dream Master) and Stephen Hopkins (A Nightmare on Elm Street 5: The Dream Child) all leapt from this series directly into big budget
action cinema.
Commentary — God bless
director Chris Gorak, who spends the entire track convinced that The Darkest Hour is a deep, well - crafted piece
of cinema, and not a throwaway
action movie with good special effects and nothing else.
Directed with the equal energy by British
director John Hough, whose lean, high - powered
action scenes are energized by the dynamic, almost child - like performances
of his thrill - addicted characters, it's a classic
of seventies speed
cinema, where car chase and stunt films were really about rubber hitting — and leaving — the road.
Sham Kaushal, one
of the most sought - after
action directors in Bollywood, talks about his struggle, and painting
cinema with
action
Acclaimed TV
director Yann Demange delivers a notable debut feature, an exhilarating
action movie that has more in common with the work
of Walter Hill or John Carpenter than it does with other depictions
of The Troubles in recent British
cinema.
When
director Roland Emmerich flexes the irrational muscle
of White House Down it works extremely well and it's dripping with nods to
action cinema of yesteryear.
Firestorm This 2013 Hong Kong feature was nominated for a slew
of native film awards including Best
Action Choreography, Best Editing, Best Visual Effects and Best New
Director and with my penchant for violent Asian
cinema, I have trouble believing that this won't be a surprise victory for SIFF.
This 2013 Hong Kong feature was nominated for a slew
of native film awards including Best
Action Choreography, Best Editing, Best Visual Effects and Best New
Director and with my penchant for violent Asian
cinema, I have trouble believing that this won't be a surprise victory for SIFF.
For one, there's his casting
of action cinema's favorite intense sadsack, Jean - Claude Van Damme, as Hong's seen - only - in - flashback mentor (Hyams, by the way, is the son
of Timecop and Sudden Death
director Peter Hyams, making him a second - generation Van Damme wrangler).
People may have liked, to varying degrees, Zemeckis» mocap films, but they weren't as crazy about the technology as he was and many longed for him to return to good old - fashioned live -
action cinema, where the
director had dazzled with some
of the century's most iconic works.
The clip features Deadpool
director Tim Miller talking about what it means to have his movie play in the biggest version
of action cinema imaginable across the country, and Miller even took a few passive aggressive jabs at the venerated Marvel Cinematic Universe.
Director Scott Derrickson, best known for the derivative yet chilling Sinister, works in a robust old - school style that owes more to American swashbuckler films, Asian
action cinema, and the Indiana Jones series than to the frenetic, cut - and - paste aesthetic
of contemporary blockbusters such as Captain America: Civil War.
In this case
action director Robert Rodriguez
of Sin City and Desperado fame and Quentin Tarantino (Pulp Fiction) sought to replicate the whole «grindhouse»
cinema effect with a movie called Grindhouse.