Sentences with phrase «fight sequence where»

Each installment is just one more fight sequence where everyone comes out fine in the end, ready to fight another day.

Part of me thinks it'd be a fun gag for the movie to end with a Bruce Lee style fight sequence where all this build up ends in a one two punch kick combo that just brings the losing party to his feet and the curtain falls and we're all sitting there with our jaws in our laps, doubt it though.

There are a few moments here and there in fight sequences where the camera shakes a bit but it's much more toned down allowing you to see all the action happening.

A practical effect], or the fight sequences where we actually see Batman beat down hordes of the ungodly with surprising ease — and savagery; while we could talk about superb performances [Christian Bale, Aaron Eckhart, Gary Oldman and the rest cast are all in top form] or debate the questions raised by the film for hours, and / or the film's achievement purely on an entertainment level, what makes it a masterpiece is that it is all of these things and more.

Not exact matches

Plus, it definitely helps to be familiar with King T'Challa's (Chadwick Boseman) home of Wakanda, where one of the movie's biggest fight sequences takes place.

(Check out the sequence in the opening credits where Elena beats a bandit in a sword fight on top of a moving carriage then leaps onto a leopard with wings and flies away.)

This next sequence for my money is where the fight was won and lost, Johnson after hurting DC goes in for the kill but his approach cost him the fight.

The sequences where Aykroyd gets his teeth capped and the fight against the «Rancor» type monster in the finale are fantastic examples of bad / good effects.

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.

Blu - ray Highlight: In addition to the old commentary with director John Carpenter and star Roddy Piper, there's also a new interview with Carpenter where he discusses the idea behind the film, casting his leads, and filming the infamous alley fight sequence.

What follows are some terrific action and fight sequences, a wonderful segment where Hanna hangs out with a traveling British family led by Olivia Williams and Jason Flemyng... and their daughter Sophie, played exceptionally well by Jessica Barden.

There are also a few sequences with bare breasts, including a baffling topless pillow fight, the exact context of which is still a bit unclear, and a moment where Vaughn has to enter a coed nude sauna to lock down one of the details of the master plan to save his company.

The motorcycle chase sequence in Istanbul, the train top fist fight, and the underwater scuffle are all fantastic, but it's the scene where Bond goes head - to - head with an enemy in a Shanghai glass skyscraper that's easily the most mesmerizing of all.

The highlight of the film is an extended fight sequence on an airport tarmac, where all the different characters use their individual abilities to square off.

Approximately 25 minutes of 3 - D footage screened yesterday, showing off an unparalleled marriage between CG and motion capture technology including an action sequence where Sam Worthington and Zoe Saldana fight a group of alien creatures in a jungle.

Instead the gags about gambling quickly set up an unfunny sequence where arguments between patrons turn into the foundations of a suburban fight club.

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.

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

To give credit where it's due, the inevitable fight between the hero and the generic villain, who has found a way to match the hero's powers, is the movie's best sequence.

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.

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.

There's also the matter of the Demon Hand being able to permanently destroy these phantom replacements, so there are now new phases where Oni have to deal with their bits going missing — seeing them dragging themselves along with one arm and such is pretty neat, and the fact that most bosses naturally have smaller health pools than the first game makes extended fight sequences less of a drag.

In the opening sequences, Jimmy loses his coal mining job in West Virginia on a technicality, then promptly goes to Clyde's bar where he gets into a fight with an obnoxious racing team owner named Max Chilblain (an unrecognizable Seth MacFarlane, complete with long curly locks and a British accent).

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.

The game is partially about exploring and solving puzzles, but the bulk of the gameplay is within the battle sequences where you must fight enemy Rabbids.

As it is, every major fight sequence takes place either at night in the pouring rain, or underwater where it's just as murky, and that makes it really difficult to see things clearly, especially when del Toro relies so heavily on extreme close - ups and quick cuts.

The biggest thing that carries across all the fights is the close - combat sequences where guns and ranged weapons are put aside, bringing everything down to quick parries and area of effect attacks.

Take the recent Risen 3; at the very start of the game there's a sequence where two ships are side by side, cannons blazing and men fighting with swords to the death.

The camera angles appear to be constantly fighting against you and the ineptitude of Noodle Boy to carry out simple commands can be incredibly frustrating, particularly in sequences where time is of the essence and you're trying to tend to your chimera friend.

Then, in between fights when you've successfully performed a kombo, you get QTE sequences where you're supposed to swipe the screen and perform the pre-judged move.

From there the plot will take gamers on a globe - trotting adventure, including a particularly harrowing sequence in Tokyo where Phoenix has to fight amidst total anarchy while trying to convince his allies to accept an uncomfortable secret.

We player through the opening sequence of the game, where Vincent goes through prison intake, and then her and Leo get in a fight in the yard.

In execution, story mode strives for variety, mixing animated cut - scenes with static stills, more conventional fights with at least a dozen epic boss battles - and even the unexpected on - rails shooting sequence where players can take control of characters like Susanoo.

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.

The Earth also makes an appearance in the background of the Moon Kingdom, where it is seen rising from the horizon, while its southern hemisphere is seen during the escape sequence after the final boss fight, where Mario (controlling a captured Bowser), Cappy and Peach must try to find a giant Spark Pylon in order to escape the collapsing Wedding Hall.

Other sections take place at The Wall (featuring the best fight of the series so far — albeit a quick time event, like pretty much every action sequence in Telltale's games), the Forrester home of Ironrath and, far away to the east, Meereen, where a certain would - be queen puts in an appearance — along with her unruly pet.

Since, unlike Blaster Master, Meta Fight lacks an intro sequence, the only indication of the story difference in game is from the Area 1 beginning animation, where the tank takes off from a base - like structure rather than from a cave.

More than a few bosses feature the same section in their fights where they shoot projectiles that can freeze the player, initiating an impossibly timed button - mashing sequence that, when failed, results in losing an entire half of a health bar.