Sentences with phrase «focus on the action scenes»

Young kids will likely overlook this storyline flaw and focus on the action scenes and the big battle between the super heroes does deliver.

Not exact matches

Workout Plan The already slender actress «didn't need to make any drastic changes,» Hood says «She did a lot of her own action scenes so we focused on movement, strength and general stamina.»

For all of the gonzo flourishes, Waititi is a fairly conventional plotter and stager of action scenes, and so eventually we must move on to a denouement we don't quite care about, as well as a potentially weighty theme — Hela might represent the ugly origins that all prosperous societies bury — that stays too far out of focus.

Chris Pratt and Bryce Dallas Howard are returning along with an island full of unwanted beasts and for those who worried the last preview focused on just the bigger action scenes, this one has some of the more intimate creepy sequences that made the original film so successful.

Director Sam Mendes and his crew go behind the scenes of «Spectre» in a new production blog that focuses on the action sequences of the new James Bond film.

Yet what's on view is rousing material, with not only the action scenes delivering the goods but also the numerous sequences focusing on Roman politicizing as well as the love story between Spartacus and the strong - willed servant Varinia (Jean Simmons).

Focusing on the leaders of two groups — one in charge of a citizens» anti-cartel organization known as the Autodefensas, another the head of a self - appointed border patrol in Arizona — the pic finds most of its best moments in the action - packed scenes south of the Rio Grande.

The Blu - ray version adds a single featurette with director Jaume Collet - Serra focusing on the creation of the movie's many action scenes.

The rest of the bonus material is focused on the behind - the - scenes experience, with «The Making of Incredible» taking a broader approach to the production of the movie, and «Anatomy of a Hulk - Out» offering a more detailed look at the filming of the three Hulk - driven action sequences.

Without giving much consideration to the context that breed such an environment, bar a couple of fleeting scenes where one of the Day's gang attempts to find work as a farm hand, it begs the question as to what the film is trying to accomplish by focusing on the gang; especially when the film's ephemeral style distances the action from reality, laying blame on the gangs for Day's downward spiral into a life of crime and not the faulty idealism behind the myth of American opportunity.

Spielberg knows how to direct action scenes and these sequences work by keeping an intense focus on the participants involved in the action and crafting a grandiose world around them.

The danger the gang encounters along the road is palpable and immersive, thanks to the excellent sound design, and a minimalist musical score that allows you to focus on the action, unlike the average Hollywood blockbuster which smothers every fight scene with a bombastic musical score that more often than not distracts from the action.

If only he could deliver when the film needs that shot of adrenaline for the action scenes as he fails to connect us to the immediacy of the moment as characters get overrun by avalanches of poorly - animated CGI zombie hordes while keeping the focus on Gerry, the one character we're all but assured is safe.

To be fair, through the eye of Yates those visuals are formidable, and Rowling fills these scenes with some truly original, weird events, but up to the movie's halfway point it's almost entirely focused on fantasy beasts and action instead of a coherent plot.

But after a pacy early scene in which courier Lara leads a wild bike chase through East London, the action reverts to the tried - and - true as the narrative focuses once again on tomb raiding, ruthless mercenaries, mad races through the jungle, much hanging from precipices, secret chambers being penetrated and dormant curses being unleashed after two thousand years.

The second half of the trailer moves into action scenes focusing on the elves — Orlando Bloom's returning Legolas and Evangeline Lilly as Tauriel — and how they might get involved in the action, as well as Martin Freeman's Bilbo Baggins.

Orlando Bloom's iconic Legolas is somewhat disappointing in this latest installment, as is Ian McKellen's brief involvement as Gandalf, but this is to be expected with the script focusing so much more on assailing us with erratic action scenes than portraying the complexity of these characters.

After such a reliance on CGI in comic book movies, it's significant that the best action scene in Iron Man 2 is one that focuses on real people and a lot of wirework.

Shot mostly in interiors, Ford gives the film a deep - focus luster — the few outdoor scenes are just as lovely — and tones down the action while focusing on the central characters.

Here is a movie that exists in the world of superheroes but focuses on its characters and its story rather than special effects and loud action scenes.

FIRST PARAGRAPH — Since the first paragraph establishes the scene, I would suggest stronger wording to set the stage and focus on the action.

Action mode strips away the ability to make decisions, leaving dialogue sequences as straight cut - scenes letting you focus on the combat only.

The first half was interesting, focusing on relatively down - to - Earth cop - based action, but the second half completely went off the rails, attempting to emulate Call of Duty by somehow fitting in a tank, a bloody stupid elevator scene and a helicopter which inexplicably flies through a firework display so that it can conveniently snag your zipline wire.

Yes there are quite a few QTE, but they do not take you away from the scene like some games so where you are so focused on the next button press you miss the action.

Atmospheric and moody music composed by Jared Emerson - Johnson provides further tension to scenes in which Lee, Clementine, Javier or Michonne are in a one - on - one encounter with a walker or bandit and elevates emotion within scenes that are not focused on action.

They really need to focus on more puzzles in these level packs or even action scenes as it's starting to get a bit stale.

The windows for their inputs are short and awkward, and the small button prompts are practically hidden in the busy scenery every time, essentially forcing a replay because you weren't supposed to be looking at what Mitchell was actually focusing on during the action scene.

The focus is on the Greenwich Village bohemian scene in the early 20th century; plus there's a short film called «We Rise» — narrated by Meryl Streep and featuring music by Alicia Keys — spotlighting the women at the center of the action.

Following Orange House Action Clinic at Portland's S1 earlier this year and First Water to Tripoli at London's Jupiter Woods last year, We Are The People We Have Been Waiting For is the final piece of the artist's ongoing research, focused on «taking everyday subliminal surfaces and utterances out of their typical scenes».