Sentences with phrase «feel of the film franchise»

Recreating the look and feel of the film franchise while offering up a heavy slice of gun play and plenty of moving targets, the game can be an exciting trip into the John Wick universe at times, but ultimately ends before it even begins.

Not exact matches

In fact the feel of the film is not dissimilar to Abrams» work on the Star Trek reboot, where familiar characters went through familiar stories to reboot a franchise in need of a kickstart.

Perhaps the reason then, that elements of the film feel so familiar is that it not only retraces the franchise's lineage, but our own.

In truth, there are times when the film feels less like an addition to the franchise than it does a remake of the original movie.

The film was once talked about as the beginning of a possible trilogy, and the finished product feels desperate to start a franchise instead of doing the thing that would actually make such a series compelling: telling an interesting story with skill.

The film doesn't feel like the usual corporate franchise contact high but, rather, the work of a singular sensibility, that of director / co-writer Ryan Coogler.

A Bond film that feels caught between its roots as a mindlessly enjoyable action - franchise and its new mandate to deliver the operatic emotions and sudsy plot lines of today's superhero properties.

Yet all of Marvel's phase three films and their tentative questioning of the underlying political ethos of the franchise feel like buildup for Black Panther, which in its second act comes very close to completely tearing down the Marvel Cinematic Universe en totale — and making viewers long for such a thing to happen.

Indeed, the non-Marvel films in these franchises that have done best more recently are the ones that stood out from the crowd, like Wonder Woman (which rejected the dark tone of other DC movies), Logan (which felt like a grown - up standalone film), and Deadpool (which loudly razzed the idea of being linked to X-Men movies).

Even most of the death scenes feel rushed, highlighting the PG - 13 rating that the film has secured, and one does miss the Grand Guignol extravagance of the Final Destination franchise.

New director David Leitch sticks to the formula of raunchy humor and low blows to other superhero movies for a film that succeeds in feeling new and hilarious enough to keep this franchise going.

This felt like a conclusion to the series, I can't see another film coming to this franchise without ruining a lot of the good work here.

Chapters of a long - running film franchise that exist in temporal limbo, like the one - generation - too - late prequels to the Star Wars series, often feel static and irrelevant.

As far as the style and sense of humor goes, it does still feel unique among the rest of the pack of franchises out here, even if it can't achieve the level of success in either of those departments that the first film did, particularly in the case of the comedy as a lot of the jokes in this one fall very flat.

The return of Bryan Singer to the franchise and the very genre he helped popularise 14 years ago showed promise, but I had this niggling feeling that the film would be nothing more than an excuse to start afresh, à la Star Trek 2009.

Enter the The Green Hornet, a big - budget superhero film that doesn't obsess about reverence to its roots, nor in making a movie that feels it has to respect the requirements of hero drama, or the moodiness that overwhelms some franchises (Spider - Man 3 overdosed on it).

It falls short of the original film, but clearly improves upon its immediate predecessor and ends on a strong note to restore luster to a franchise that previously felt like it should be just a single film.

Pettyfer is pretty and easygoing but lacks the sort of charisma that comes with a more focused sense of interior purpose, and the film basically feels, at its core, like a mash - up of carefully cross-tabbed teen movie trends, which is probably what happens when you set out in pre-production with the chief intent of manufacturing the next big «Twilight» - type cinematic franchise.

Despite a passable grade, given the stretched - out feel to the movie, with, for a film about a nationwide revolution, the feeling that it's a bit small in terms of scope, this is a clear example of why splitting the final book into two films, while financially smart, is quite a bad choice for fans, who deserve to feel fired up when going into the fourth and final film in the franchise.

However, as the film's impact continued to be felt in the weeks that followed, it became clear that this kitty has lives to spare and the eyes of fans are now looking forward to the future of the franchise.

The film feels very much like a low - budget version of another big screen Star Wars - tinged film based on existing franchises, Flash Gordon, with its cheesy sets and costumes, and juvenile presentation.

Five films into the «Ice Age» series, the franchise feels like the last 45 minutes of a house party that has gotten out of control.

This depth of development comes as a surprise both for a character of his relatively early age, and for an extension of the Rocky film franchise that many diehard fans felt needn't exist.

Awards Speculation: The season will surely start to feel more crowded as it goes along and this might go hand in hand with The Walk as a stimulating film that struggles to find the balance between art and commerce — simply for lack of being a franchise in this day and age.

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).

But where the first Shrek film feels horribly dated when you try to watch it now, this third entry in the franchise feels like a lukewarm effort, done just for the box office take, instead of having a truly good and solid story to tell.

As we've seen in prior DVD wrap - ups, there's often a sequel among the classic and not - so - classic movies, and Blade: Trinity tries hard to recapture the kinetic energy of the first Blade film, yet manages to feel more like the tenth entry in a tired franchise.

Star Trek VI: The Undiscovered Country is a well - plotted and efficiently developed entry in the series, very reminiscent in the feel of «Star Trek: The Next Generation», which would be directly taking over the franchise in films after this one concluded.

All of these criticisms were entirely speculative however, as director Paul Feig and the hilarious female cast deliver a comical and unique spin on a beloved franchise, yet still manage to pay the appropriate respect to the original films without it feeling like a copy.

If that franchise film represented a safe bet, the partners» other offering, Ant - Man, always felt more like a roll of the dice.

Test audiences didn't enjoy the direction the franchise went with the cult mythology so huge chunks of the film were re-shot to make the film feel like your average slasher, which is what the result felt like.

The Cloverfield Paradox is an unholy mess... The characters here never feel like they could exist in a world outside of this space station, all of them barking in tech - speak at each other, rarely acting in what could be classified as recognizably human behavior... As the film bumbles from one confusingly mounted scene to the next, disappointment turns to boredom... The Cloverfield franchise is rumored to grow even more later this year with a second world war - set thriller potentially unspooling in October.

Avengers: Age of Ultron was bogged down by the weight of the franchises it had to support and launch, but this film feels remarkably less self - serious, even with a larger cast and more personal stakes.

The Harry Potter star has been part of one of the biggest film franchises from a young age and she feels her life has been affected differently...

Singer returns here to nab producer and story credits, and his influence is felt all through the production, which welcomes a restart of the franchise by dialing back the clock to 1962, infusing the film with a Cold War feel and a retro vibe, illustrating the mutant reveal while world politics head to the brink of global destruction.

High stakes duly established, Villeneuve, production designer Dennis Gassner and genius cinematographer Roger Deakins (if he doesn't finally win an Oscar for this, the film industry is truly blind) take full advantage of the mega-budget that franchise filmmaking provides to craft some of the most striking visuals ever put on film, building on Scott's ruined future in ways that — ironically given the themes of the movie — feel absolutely real and lived in, even as that world is occasionally revealed to be less than authentic.

I feel a little guilty about those movies not making my top ten, but they would have definitely been bumped down the list by Star Wars: The Force Awakens, a film that managed to balance nostalgia with the excitement and quality of a new film franchise, and gave me that ultimate feeling of why we all go to the movies.

With excellent acting across the board, beautiful cinematography and a pace that makes The Two Towers (minus the painfully boring Ents) feel slow, this film is a must - watch film, especially so for anyone who remembers the Lord of the Rings franchise fondly.

Since Silent Hill is stunningly beautiful with its Innsmouth - style of fog and moisture texture, will you render the film (if post-production isn't already completed) with a more «amateur / gritty» texture, or will the film break from tradition, and although be visually appealing, have a feel that centers more around character rather than franchise norms?

Ryan Freimann, SVP of Compass, adds: «We are excited to team up with Creative Licensing and Microgaming to bring Michael Myers and Halloween home to all of our loyal fans in the best possible ways through top licensees who create products we feel honour the character, film, and franchise.»

He kicked off the Bourne franchise with «The Bourne Identity» (while Paul Greengrass gets much of the credit for the overall look and feel of the series, a lot of credit should be dished out to Liman, who planted the seeds in the first film) and then directed the Angelina Jolie / Brad Pitt spy romp «Mr. and Mrs. Smith,» before transition to the real - life world of espionage with the bristling Valerie Plame drama «Fair Game.»

There's an element of «seeing it to believe it» built into the presentation: Expectations based on the history of a mostly direct - to - video franchise, an aging action - hero cast, and a patently absurd premise so conspicuously contradict the art - house sensibility of the film itself that you can hardly blame the first wave of audiences for feeling wowed by the shock.

The whole thing looks and feels like an extended episode of some Starz series, and you almost get the sense that first - time feature film director Aleksander Bach is attempting to ape the Resident Evil movies, another franchise with bad writing, silly action and only the most tenuous connection to the video games that inspired it.

Arriving to Komodo National Park feels like you're on the set of a dinosaur film franchise.

Yes, part of this love for Abrams rebirth of the franchise is nostalgia, but I do also believe that The Force Awakens is a great movie in its own right that succeeds in feeling like a Star Wars film while still retaining a tonal style all of its own, even when its a little too busy trying to replicate A New Hope.

«I love the wonderful world that Bethesda created with the Fallout franchise, not too bleak but very post apocalypse with a very kitsch»50s feel from the time of duck and cover educational films, but I wish it were multiplayer.

He said that Aliens: Colonial Marines must feel «authentic,» and wants it to appeal to longtime fans of the Alien film franchise, as well as to everybody else

The environment design is stunning as it rivals the blockbuster film franchises Lord of the Rings and The Hobbit in encapsulating how an enthusiast of their respective novels would anticipate Mordor to look and feel as well as successfully showcasing the vast scale of such grand fantasy environments, alongside the stylistically presented Wraith World.

For example: far from providing a satisfying conclusion to the franchise's third installment, you get the feeling that Nate and Sully's desperate escape from the crumbling ruins of Iram in Drake's Deception would come across as rather hackneyed in a blockbuster movie — something ripped straight from the Michael Bay school of film direction.

Why To Get It: Alicia Vikander steals the show as Lara Croft; Gorgeous set pieces; Genre cliches feel right at home; Lots of references to the previous franchise entries, both game and film