Sentences with phrase «filming fight sequences»

While filming «The Phantom Menace,» Ewan McGregor kept making the iconic lightsaber sound while filming fight sequences, despite the fact that George Lucas explained to him that the sounds would be added in during post-production.

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.

Later he stages four simultaneous, forgettable battles in the film's biggest fight sequence — and even that moment is deflated by Deadpool himself, who interrupts the action to announce the movie's big VFX clash between entirely computer - generated characters.

Even the film's scarce fight sequences come off as disappointing, thanks to a surfeit of quick cuts and Stone's reliance on handheld cameras.

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.

Not only that but the creators make the crucial mistake in any film by having faceless characters just for death sequences, in the finale when the Decepticons begin their assault numerous robots touch down and fight resulting in many deaths of unknown Decepticons.

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.

Webb demonstrates an unexpected fluency for action cinema, effortlessly integrating the real and the computer - rendered, giving Spidey a definite style and muscularity in the film's fight sequences.

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.

There is very little fighting in this horribly long film, and in fact I think the only sequences worth keeping amount to about 45 minutes.

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...

With all three elements in place, the film unravels as the expected CGI - laden mess the trailer promises, rendering dialogue, story and mis - cast star Worthington secondary to fight sequences.

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.

The DTS - HD Master Audio 5.1 mix complements the film's realistic depiction of NYC with good directional effects, though those sensitive to variations in volume may be a bit annoyed by the pumped - up, percussive music and full - throttle fight sequences.

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.

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.

«Rhino Fight» is a sequence that was planned but never filmed; we see storyboards and a CGI rhino test.

They fit in a lot, be it cameos, fight sequences or 35 mm shot dream sequences (the majority of the film is shot digitally).

What lifts the film is not just its high - kicking fight sequences, but the sharpness of the writing (by Jonathan Aibel and Glenn Berger), the vibrant animation and the sheer, good - natured relish and gusto with which the film - makers attack their material.

After years working as a stunt man, stunt coordinator, and fight choreographer, David Leitch made his directorial debut with Chad Stahelski in John Wick and has become well known for the amazing stunt choreography and action sequences he brings to his films.

There had always been great action sequences in his earlier films, and Boyle's work continued to show a great feel for building up tension and then letting it erupt into a well - choreographed chase or fight.

However, if you want sizzle and action that's even more violent than what we've seen in previous films, you've come to the right place, as «Smaug» is more aggressive with its fight sequences and battles.

Director Tsui Hark and fight director Sammo Hung provide some great wire - fu action sequences among the convoluted plot that is typical of these kinds of Chinese epic modern films.

You can easily see right away that the film has the right look and as you'd expect, it has some pretty awesome fighting sequences, but unless the translation was incorrect, it also has a horrible, awful script.

But without money for good fight sequences or explosions, the action film will turn into a slow, boring 90 minutes.

The film turns out to be a continual fight sequence, broken up by a change of location and this, for my tastes, is not exciting for such a prolonged period of screen time.

The film's strength lies in its engaging visuals, namely the impressive opening sequence and the clever editing during certain fight scenes which lends them a greater feel of urgency and excitement.

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.

I can, however, safely say that Wright's attempts to mend cinema, video games, and comic books work — it is the first film in which enemies turn into coins when defeated, health bars are displayed, and towering «thuds» invade the screen during fight sequences, and honestly, it was all awe - inspiring.

Finalists: It was a great year for action, largely thanks to George Miller's new action masterwork but even in less perfect films there were inarguable standout sequences like the choreographed unbroken take on the Johnson vs. Sporino fight in CREED or the Hulkbuster Suit vs. Hulk in AVENGERS: AGE OF ULTRON both of which were so strong it's unfortunate to leave them out of the top five.

Marginalized in the initial sequences was Reeves, the lone actor well - known in the U.S. Universal opted to reshoot a major fight scene near the end of the film, as well as a few other scenes to sharpen the focus on Reeves» character Kai.

Carla not only has some of the only entertaining solo scenes in the film, but she's also instrumental in some of its best comedic moments - including a slow - motion dodgeball fight between all the film's parental and kid characters that comes at the end of an already entertaining sequence set within a SkyZone trampoline park.

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.

The film seems to contain a lot of martial arts and fight sequences.

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.

And the scene of Wahlberg fighting a stuffed bear could go down in history as one of the most bizarre fight sequences ever on film.

Rounding out the set are deleted scenes, a profile on the film's director («The Incredible Ang Lee»), and an interesting making - of on the dog fight sequence.

Fans can relive one of Avengers: Infinity War's biggest moments, thanks to a LEGO recreation of one of the film's most exciting fight sequences.

Naturally, in a film of this scale, there's going to be some carnage in the form of some intense fight sequences, and it turns out the final fight scene in the film, which will take place in Wakanda, was 25 pages long.

The film is dialogue driven and surround opportunities are limited to mainly the fight sequence, plus the occasional foray through the brothel when we get some nice immersive experiences.

The only time Hackford is able to generate any real interest, given what he had to take out of the film, is in a well - staged fight sequence in the latter part of the film.

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.

It simply is a continuation, and escalation of the cartoonish conclusion of the first film: exhibit A being the car chase - fight sequence that begins mere moments following the film's opening title on the Kingsman's tailor shop window.

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

There are some incredible sans - CGI fight sequences early on in the film featuring Parkour - style movements that will absolutely blow your mind.

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.

Oscar hopefuls turned Oscar disappointments are the other big new releases, with Angelina Jolie's inspirational chain - letter on film «Unbroken» making its way to Blu - Ray; stirring in its action sequences (aerial fights, men stranded on the ocean), it becomes lugubrious as soon as it focuses on Louis Zamperini's torture in concentration camps.

There is one great 360 - degree fight sequence, but those scenes are supposed to be the gravy, rather than the meat of the film.