Sentences with phrase «fight sequence does»

Of course, every Statham movie is contractually obligated to contain at least some action, and though «Wild Card» has its share, the first fight sequence doesn't occur until the 40 - minute mark, and even then, it's short and sweet.

A confused actioner where even the fight sequences don't always make sense - it has little to recommend it.

Not exact matches

Now, at the time, Disney made safe films for kids to not have to think too hard about, and while «The Jungle Book» (1967) does play it safe in some regards, the harsh fight sequences and undertones of race really does come through for older viewers and may have kids hiding their eyes every once in a while.

Yes, the final act does have some cool fight sequences, but I'm more just commending the filmmakers on a few cool action scenes rather than saying that I actually enjoyed them while watching.

The fight with Elle Driver is a virtuoso celebration of fight choreography; although we are aware that all is not as it seems in movie action sequences, Thurman and Hannah must have trained long and hard to even seem to do what they do.

Marvel's struggle to make fight scenes more than the cinematic equivalent of a child bashing their action figures together does tend to prevail, though a few sequences are well - choreographed enough to ensure boredom isn't ever a real threat.

And the hand - to - hand fighting and battle sequences are now so formulaic and predictable in Marvel films that the adrenaline just doesn't kick in.

The best movie of the year by far, it's creative, it's imaginative and downright epic, it combines the N64 with 1970's Jackie Chan fight sequences, what it does is it turns the amp of epicness up to 11 and completely blows you away 11/10, it is truly and epic of epic epicness

Once you've got To's cliché - ridden plot figured out, all that's left for you to do is sit back and relish the ballet - like bloodsport unabashedly served up by this flick's stylized fight sequences, reminiscent of the eye - pleasing, if gratuitous, gore of such over-stimulation mavens as John Woo and Sam Peckinpah.

We see the destruction of Metropolis from his ground - level viewpoint in a genuinely tense and engaging opening sequence (after the contractually obligated retelling of Bats» origins during the credits), that does far more to convey the true horror and damage of that fight than the previous film.

«For me physically it was the most demanding thing I've done to date, I trained a lot, we had huge fight sequences that took months to learn.

The combat zone is a pretty limited size as well, so don't expect any Battlefield 1 caliber of aerial fighting, but I still enjoyed the flying sequence for what it was.

Once you've got To's plot figured out, all that's left for you to do is sit back and relish the ballet - like bloodsport unabashedly served up by this flick's stylized fight sequences, reminiscent of the eye - pleasing, if gratuitous, gore of such over-stimulation mavens as John Woo and Sam Peckinpah.

It's all very thinly held together by first - time director Paul Hunter, who does the best he can with the poor plot, but can't even manage to raise the pulse for the duration, even during what should be some incredible fight sequences.

And so the movie has a lot of dingy, grungy battle sequences, with modern - day martial arts fighting techniques, featuring enemy warriors we don't know and care little about.

When it doesn't, it feels as if he's overcompensating for the weak, routine material that comes with his character — a scared guy who's desperate to get out of the fight, keep his job, and maintain his family obligations (His daughter, played by Alexa Nisenson, has a talent show later in the day, and his pregnant wife, played by JoAnna Garcia Swisher, is three day past her due date — one guess as to how the movie's climax plays out in between the fight sequence).

All the hallmarks to compare Atomic Blonde to John Wick are there: one - half of the John Dick directorial team, the stunt - choreographer - cum - filmmaker David Leitch is directing this film; the protagonist is an efficient, reputable, and skilful killer; the fight sequences are visually incredible, with Atomic Blonde offering one sequence that many will talk about long after seeing it (more shall be discussed later); it has the retro - aesthetic reminiscent of action years from the 80s and 90s, which in Atomic Blonde «s instance the film is set in the late 80s; Charlize Theron signed - up to do Atomic Blonde because she greatly appreciated John Wick.

After creating a hyper - stylized art deco backdrop and playing with a bit of straightforward character development that makes Rogers something resembling a human being before pumping him full of mysterious chemicals that transform him into a super version thereof (The irony of using genetic experimentation to create a race of supermen to fight the Nazis is lost on just about everyone here), the movie gradually loses its design flair and human element for hastily assembled sequences of derring - do.

The fight opens with a still image of the carnage, played over with a power ballad and a credits sequence that doesn't take itself seriously in the slightest, and then reverses, so we see just how that confusing image came to be.

Marshall knows how to work with a star studded casts, and his handle on action cinema is impressive, opting for choreography over shaky cam theatrics or CGI heavy fight sequences (as many first time action directors tend to do).

Mackie's comments do seem to suggest that Falcon will only appear in the final fight sequence in the film.

Soderbergh shot the major dance sequences in long takes, using only a few camera setups, just as he did the fight scenes of his recent action movie Haywire.

At the film's Los Angeles press day, Woodley talked about how Jennifer Lawrence encouraged her to take the role, what she shares in common with her character and how they differ, what inspired her to take a course in urban survival skills, what the experience was like doing many of her own stunts, her most memorable sweaty palm moments, zip - lining over the streets of Chicago and climbing the Navy Pier Ferris Wheel, her challenging fight sequence finale with Theo James, working again with Miles Teller, and what she learned about herself in the process of making her first large scale studio movie.

My one major complaint about the movie is that I do not care for the way they filmed and edited the fight sequences.

The MMA - style fight scenes and her more adventurous action sequences do give Alicia Vikander a great chance to show off her physical prowess, but without a convincing motive, Lara comes across as shallow.

The one sequence in which Marina does fight back comes too late, and while it gives you some satisfaction, you yearn for more.

The DVD contains 8 extended and deleted scenes (shown as one continuous 13 - minute reel) which don't really contain anything new, save for a deleted fight sequence and an extended version of the last scene.

Caleb Deschanel's cinematography is sharp and focused and best of all Kevitt Stitt as editor does not have to work overtime to make the fight sequences seem artificial.

«Abandoned Sequences & Deleted Scenes» offers five scenes that didn't make it into the theatrical version, some of which were abandoned at the conceptual stage: Alternate Title Design, Blood Vision, Rhino Fight, Choose Your Weapon, and Treasure Chest.

This ups the ante on all of Deadpool's action and fight sequences (Leitch also did Atomic Blonde), to the point where the film's entire second act is basically one long action set piece that involves sky diving, stunt driving, fights on and around high - speed trucks, and the introduction of a classic comic villain.

Mixed martial artist Gina Carano (Haywire) plays a prominent role, which means there will be some good close combat fight sequences, but in the acting department, there's little for her to do.

Here Jordan plays Erik Killmonger, the chief antagonist in the film who tangles with the Black Panther in a couple of perfectly choreographed fight sequences that, unlike most films of this genre, do not drag on too long.

But if you do get lost in the labyrinth every now and again, don't worry — the next world - class fight sequence will be along in a minute, further confirming our theory that the Welsh ex-pat is the finest action director working today.

The very few sequences of fighting are well - done enough but could be more.

But the supernatural element of the storyline means the introduction of computer - generated images for some of the fighting sequences — a first for Chan, who is renowned for doing his own stunt work (see http://jc-news.net/news.php?id=70).

From time to time we do get a few glimpses of colours popping off the screen, such as some lush greenery or during the subway sequence, but especially when blood starts to flow from fighting or gun shots; but overall the transfer is very reserved in terms of colours.

There is one astral projection fight sequence that has absolutely no business working, but it does.

The involvement of former boxing champ Barry McGuigan also must have helped massively when it comes to the hugely engrossing final fight sequence which does, quite literally manage to position you right on the very edge of your seat.

The sword fighting sequence, staged by William Hobbs, is the best of its sort ever done.

Tried the new controls at the Beta Rooms and have to say i was very impressed:) The fight scene at the beginning was actually really awesome, and it's very telling that i did the whole sequence without missing a single prompt — something i have never managed with the DS3 controller!

This may sound good, but it can make the game repetitive for some people, since you're basically doing the same in each area: complete a platforming sequence not any more challenging than the last one, fight the boss, heal the land, start again.

And during platforming, scripted sequences and cutscenes Lara Croft did indeed come across as scared and fighting every second for her life, but during the gameplay she was anything but these things.

I du n no, outside of the forced walking sequences and the ten minutes of build - up before fighting Monsoon, I think Revengeance is pretty consistently intense on the higher difficulties.

Telltale Games have a set formula with their releases and that doesn't change much here, though thanks to Batman's fighting skills and some slick presentation, the action sequences certainly stand out as thrilling encounters.

It really feels like something is missing as Nano Assault doesn't invest much at all in its story or the character the player is playing as that's involved in the fight against the contagion as it isn't really brought up once you pass through the opening sequence.

Each fight sequence in Ruiner is given a letter grade based on how well the player does, and it can be surprisingly enjoyable to go back to early chapters and attempt to earn a better grade after having unlocked better abilities.

I took away a good amount of amusement from the game's nutty, gloriously over-the-top interludes; the larger than life fight sequences and lively camerawork were very entertaining, engaging me and inspiring me to root for the good guys like the best overblown action films do.

Batman: Arkham Knight does a wonderful job in capturing the quintessential Batman experience with its incredible voice acting (Kevin Conroy reprises his role), compelling storytelling, visuals and action - packed fighting sequences.

Whilst there's a whole lot to do in the game, you can actually approach it all at your own pace — you're never necessarily forced into taking care of your Kingdom or fighting these tactical battles unless they're one of the few instances where they're part of a story sequence.

Choose single player mode, select Nathan Drake and as you fight through different levels you end up fighting in a plane from Uncharted 3 with the Uncharted theme aka Nate's Theme track playing in the background which does take you back to when you were playing the sequence on Uncharted.