Not exact matches
It makes the viewer willing to excuse the film's flights of fancy,
like a fiery action
sequence in a hidden room where
escape follows a familiar movie formula, or a denouement that feels a bit padded.
Without much footage of Lemkin during this period of unrest, Belzberg instead uses an animated forest
sequence (created in part by the animation team of Molly Schwartz, Dana Schechter, Garry Waller and Eyal Ohana) to illustrate the displaced feeling of those
like him
escaping danger.
There is also some great fight choreography on - hand throughout the movie, especially during the
escape and final showdown, granted much of it looks
like a video game, but the character animation is all motion - captured, and Liebesman stages these
sequence well.
Like Josh points out, on the design side, as well, we can really get the player into a mood: so yeah, there's still times we'll push the player into a very intimate combat space — if we want to layer on extra pressure for an
escape sequence or something — it just gives us a wider variety of trees, density, variety, foliage, background environments and how vivid and detailed they are... it gives us all that to play with.»
Gameplay Added checkpoint melody, spawning a checkpoint wherever you
like Completely overhauled the checkpoints system, they're more intuitive and fair now, and faster too Added HD Rumble to a lot of instances that didn't have rumble in other versions, including ambient rumble in the crystal room and
escape bubble
sequence in Tower Town Flying Toki (spoiler!)
The traversing aspects definitely pan out during the movie -
like action
sequences that require the player to quickly react to narrowly
escape death.
Even the
sequences that feel
like they were intended to be swaggering highlights — the noisy prison bus
escape, the screwball skyscraper freefall — are perilously tame and unexciting.