Apart from the newbies, these are all heroes at the very top of their game with
fight scenes almost hard to follow with so many people all doing what they're best at.
Not exact matches
This approach would call foul on all sorts of things: Moses wielding a sword but not a staff; Moses being chatty but Aaron having
almost no lines; Moses killing lots of people and
fighting in the Egyptian army; no «staff - to - snake»
scene; no repeated utterances of «let my people go»; no «baby Moses in the Nile»
scene; and every other deviation the film takes from the narrative in Exodus 1 - 14.
The
scene in the diner
almost looked like an homage to «
Fight Club».
Over in the past segment of the movie, Evan Peters has a single
fight scene, but he
almost steals the show with it.
There's a
fight scene in a men's room that
almost feels like Wright is showing off as he captures the action in what appears to be one take.
The fact that the military is
fighting aliens is
almost a gimmick, as the intensely noisy and destructive
scenes of military operations on the ground are nearly identical to other films without a science fiction premise to drive up the special effects quotient.
Director Gary Ross» coverage can get a little manic during a
fight scene or two, but generally, his camerawork is notably fresh offering up all sorts of appealing camera angles,
almost all of which serves the material in a deliberate fashion, enhancing emotion and, at times, making you feel as though you're in Katniss» shoes.
The Russos handle the action with growing assurance and impressive range, shooting the early
fight scenes with an
almost «Bourne» - style handheld intensity, in contrast with the more classically framed skirmishes that follow.
The
scenes in the inn just aren't all that great, which is a problem when so much of the film is set there (whereas at least half of the original was
fight scenes,
almost none of this remake is).
Did you know the airport
fight scene in Civil War was
almost all CGI?
Lin has even brought in «Haywire» star Gina Carano (as Hobbs» right - hand man) to serve as the perfect adversary for Letty, leading to a pair of
fight scenes that are
almost as good as the Diesel / Johnson brawl from the last film.
Every single one of us should be praising the complexity with which Dee
fights against and humanizes Scott's movin» - on - up reductivism (that slapping
scene, a scorching evocation of a mother marking her territory and asserting her right to be heard, is of a volatile emotional tenor only Tilda Swinton comes close to achieving), but the
almost racist rumblings echoing from certain circles suggest that Dee's miniscule screen time is not just a point of contention but a point of active resentment (must be all those size queens rallying behind Blanchett), and may work against her and the traction she picked up since her SAG victory.
«We can't become the criminals we're
fighting against...» Matthew Heineman's
almost accidentally fearless exposé of Mexico's terrifying cross-border drug cartels opens with what looks like an outtake from Breaking Bad: an atmospherically torchlit
scene of masked men cooking crystal meth, talking of American chemistry and local poverty, and how they will keep doing this «as long as God allows», whatever the consequences.
They then examine key
scenes, including the
fight among malfunctioning holograms and how K's walk in the desert evolved from full score to playing in
almost silence.
Like I said before, watching two skilled players
fight is like that
scene from «The Seventh Seal,» but my
fights, somehow, looked
almost as intense, a testament to the game's accessibility.