Sentences with phrase «fight sequence from»

Yesterday we shared the final fight sequence from Warner Bros. and Legendary Pictures» Godzilla (review) reboot from director Gareth Edwards.

A look at a fight sequence from Drunken Master 2, including a brief comparison of the original Hong Kong audio and the dubbed, re-scored, and re-foleyed U.S. release version.

Official Premise: Witness jaw - dropping fight sequences from «Chocolate's» kick - ass Jeeja Yanin, who also stars in the sequel to the martial arts hit, «The Protector».

Not exact matches

The hosts have been formidable at home all season, the sort of side who always give travelling opponents a vigorous encounter in Lancashire, and so the Spurs chief desperately needs to see some character, some fighting spirit from his team much like when his side went to places like Stoke and Fulham earlier in the season and grounded out priceless away wins, as this morale - battering sequence of results is threatening to ruin what had been, up until the end of 2010, a fantastic campaign which promised endless possibilities.

In nature, bacteria use DNA snippets from viruses to form CRISPR sequences to fight viral infections.

The fight sequences with Wakanda's women warriors are breathtaking; a car chase featuring T'Challa and his sister (remotely controlling the car from her Wakanda headquarters, no less) is thrilling.

Directors Anthony and Joe Russo, returning from two of the three Captain America movies, treat the many fight sequences with clarity and originality.

Director Hood (Tsotsi) opens strong, with a wickedly crafted opening - credits sequence that shows young mutant Logan and his more feral half - brother, Victor, aka Sabretooth (Schreiber), emerging from Canada's Northwest Territories, circa 1845, to fight side by side in the Civil War, both World Wars, and Vietnam (what, Korea wasn't badass enough?).

After a few hilariously gory fight scenes and another Bond - movie parody title sequence, it's explained how it came to this: Deadpool has become tragically separated from his true love Vanessa (Morena Baccarin).

The sequence on the train is essentially a more stereoidal take on the train fight in From Russia with Love, and Swann's appearance particularly in the dining car is strongly influenced by Tatiana Romanova.

All the voice talent from the first film — including Jack Black and Angelina Jolie — are back to lend persona to the lovable heroes, but in the sequel they serve more as background to the repetitive chase and fight sequences.

The action sequences and fight scenes in the first two acts of the movie are equally impressive in their staging, taking visual cues from sources that include Coogler's own grounded boxing scenes in Creed, as well as many a James Bond film during a nightclub sequence right out of something like Skyfall.

Bottom line apart from extra fight bits and various other odd small scenes the main crux of the director's cut are a few flashback sequences where Riddick sees a spirit - like entity of one of his people.

The movie stop - starts between fight - chase sequences played out against pop tunes from Quill's beloved mix - tape; there's something a little alienating about the repeated use of dissonance between the cheery songs («Come a Little Bit Closer» by Jay & The Americans) and the slomo violence meted out by the Guardians.

From the staging to the style to specific sequences, Ratner has clearly modelled his vision of swords and sandals in the Game of Thrones fashion — the heightened narrative of tragic backstories and double crossing, the repetitive imagery of montages of training and fighting, and the multiple instances of royal infighting among them.

The first fifteen minutes of the sequel was shown, in addition to two other sequences from the film: an early Times Square fight between Spider - Man...

On top of some of the most exquisite character design, facial expressions and body language you'll see in an animated film, several jaw - dropping flight and fight sequences and John Powell's majestic score are the grace notes that take it from great to wondrous.

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.

Most of its delights come from the visual components, from the editing, to the cinematography, and, of course, the fantastic choreography and execution of the fight and chase sequences.

The biggest problem in Taken isn't its join - the - dots plot, however, but once again the choice of using handheld cameras and rapid - fire editing for the fight and chase sequences detracts from the experience rather than enhancing it.

The fight sequences, during Moments of Truth especially, go from medium shots to the kind of close - ups that make it impossible to tell what's happening.

Spider - Man fights bad guys; jumps around as an amazingly - poor - at - times CGI puppet; climbs the Washington Monument in a scene that reminds me of a dream Miles had on «Murphy Brown» about being a dolphin erupting from the tip; and tries to hold the Staten Island Ferry together in a scene that recalls - without - surpassing the runaway - train sequence from Spider - Man 2.

Tarantino also mentioned «stuff» that «never made it into the movie,» and there are some deleted scenes from the Kill Bill saga, such as a fight sequence between Bill (David Carradine) and a character played by Michael Jai White.

The new material includes never - before - seen subplots, extended fight sequences and even the deletion of a few scenes from the theatrical release.

While nowhere near complex as the Helm's Deep by Peter Jackson, this massive set piece has captivating sequences and a proper buildup — from preparations to the big assault and strategic efforts, then back to smaller fights where characters continue to show raw power, solidarity, and conviction.

Sure, the ballet at the barn - raising is arguably the greatest group dance in Hollywood history (the only other real contenders are probably from West Side Story), building a traditional minuet ever faster into a gymnastic competition, but it's immediately followed by a very well - choreographed (for Hollywood at the time) fight sequence.

Johnson reprises his villain role from «The Mummy Returns,» but in this prequel he's a dashing and whimsical sword - and - sandal hero in ancient Egypt, fighting super-powered despots, teaming up with sorceresses and saving the day in a big battle sequence.

Though most of the action is set in and around a Los Angeles skyscraper, the film manages to wring many convincing sequences out of such a claustrophobic setting, from one - on - one fights to an explosive last - act rooftop setpiece.

There are a few action sequences of shocking coherence in «Transformers: The Last Knight,» the fifth of Michael Bay's clang - clang - clang - went - the - robot adventures, but fear not, fans of the franchise: if you're here for the director's trademark chaos editing (where fights go from points A to D to Q), toxic masculinity (and female objectification), comedy scenes rendered tragic (and vice versa), and general full - volume confusion, you'll get all those things in abundance.

You won't soon forget the sequence when she drives away from an airport, fighting a pitched battle on her face between point - proving rancour and regret.

From start to finish, the film is full of well - choreographed fight sequences.

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.

From the famous hallway scene to the climactic Kingpin showdown, count down the best of the Marvel's Daredevil fight sequences.

The magic is limited to one impressive sequence where Conan is fighting warriors who rise and fall from the sand, and to her ability to find the «pure one» Zym seeks by tasting their blood.

We see Rogers having to fight off his own people in the infamous elevator sequence that played well at Comic - Con, a S.H.I.E.L.D. Quinjet attacking Rogers and Falcon (Anthony Mackie) and the most shocking of all - a shot of the S.H.I.E.L.D. Helicarrier (or at least one of them) from The Avengers crashing and burning.

Part of the time, Ritchie, who shares screenplay credit with Harry Potter executive producer / Man from U.N.C.L.E scribe Lionel Wigram and lapsed filmmaker Joby Harold (the 2007 thriller Awake), applies the Sherlock Holmes treatment: the cloudy gray visuals, the slow - motion fight sequences, the irony - heavy anachronistic sense of humor.

DVD Review by Kam Williams Headline: Three Times a Charm for Jackie Chan and Chris Tucker Finally, after a six - year hiatus, Chris Tucker and Jackie Chan are back with a madcap adventure which measures up to the prior pictures in every way, from the laff - a-minute hijinks to the genuine chemistry among the characters to the carefully - orchestrated fight sequences.

Other production sections include «Sequence Breakdowns,» covering 6 key fight scenes and locations, and offers viewers the chance to read the scene in Goyer's screenplay, compare it with the final shooting script, view the scene through storyboards, jump to the scene in the finished film, and view video footage from the set.

She had, angry feminists claimed, been domesticated, excluded from most of the fight sequences and reduced to Bruce Banner's simpering romantic foil.

Outside of the trademark Jackie Chan fight sequences, The Myth is clearly a derivative movie that tries to emulate elements from films that have garnered critical and commercial success.

Writer - director Coogler (who directed Jordan in the excellent «Fruitvale Station» in 2013) takes a chance in revisiting so many familiar and beloved touchstones from previous «Rocky» films, from the training sequences to another journey up the stone steps at the entrance of the Philadelphia Museum of Art to the introduction of yet another colorful, seemingly indestructible champion — this time one «Pretty» Ricky Conlan (Anthony Bellew), an undefeated, undisputed light - heavyweight from Great Britain who is getting one last fight before he's off to prison.

Captain America actor Chris Evans posted a few training videos from 2013 in honor of the release of Avengers: Infinity War next week, showing his prep work for the elevator fight sequence in 2014's Captain America: The Winter Soldier, and the videos are intense, to say the least.

George Marshall («Destry Rides Again» / «You Can't Cheat an Honest Man» / «The Sad Sack») ably directs this modest amiable western comedy, that has a few good fight sequences and a splendid screenplay from William Bowers and the story's writer Jamest Edward Grant.

The action sequences and fights are briskly shot and edited, the supporting cast is acerbically great, Michael McElhatton from «Game of Thrones» and Michelle Yeoh are excellent as a reasonably formidable foes, and Dustin Clare pops up all too briefly as a mercenary who gets in the way of the Section 20 special - ops team.

They are: «Director James Wan», «Transforming Nick Hume», «The Cars», «Creating the Character Billy Darley», «James Wan: From Horror to Action», «Making the Garage Sequence», «Fight Choreography and Stunts», «Shooting the Chase», «Designing the Look», and «The Car Drop».

These brief pieces depict the actors» work with stunt coordinator George Marshall Ruge in choreographing and rehearsing sequences from Bloom's fiery sword to Davenport's drunken fighting.

Other topics arising: costumes (which included CGI armor), linguistics, fighting styles, production design, visual effects (from the unsettling depiction of X-ray vision), set pieces (the tornado sequence, Lois Lane's complicated single shot work escape), underwater filming, and filming locations.

From the great fight sequences outdoors to the intense thrills inside an Imperial fortress, this act shows this prequel embracing the world - building that this series is well known for.

The final battle between Marks and Tiger isn't quite as memorable from a technical standpoint, but just seeing how much Reeves towers over his pint - sized co-star makes for a visually interesting sequence that evokes the Bruce Lee / Kareem Abdul Jabbar fight in «Game of Death.»

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 coloFrom 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 colofrom fighting or gun shots; but overall the transfer is very reserved in terms of colours.