Sentences with phrase «good fight sequences»

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.

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

I was expecting the intricately - designed, always - paying - off - and - paying - back screenplay, and the astonishingly good fight sequences, but I wasn't expecting a final product that was so profoundly sad, a raucous, but melancholy sci - fi action - comedy about addiction, friendship, aging, the way that You Can't Go Home Again, and humanity's inalienable right to be fucking awful.

Carano gets a good fight sequence... naturally, the underground is shown along with some other landmarks... naturally, and of course we are given one obligatory street race.

The special features included are a Martial Arts Awesomeness Music Video which features the best fight sequences in the beat of «Kung Fu Fighting».

The film is filled with memorable action sequences, and Yen faces Louis Fan in a battle that might be the best fight sequence he ever filmed.

Daniel Wu leads this martial arts action show, which features some of the best fight sequences ever seen on TV.

Not exact matches

Sports journalists could better comment on movement sequences during a live boxing match or judo coaches could use it to analyze the fighting techniques of their athletes immediately.

Please people, stop giving this game a 10, and stop buyng it, if you keep believing the hype and continue to pretend this game is good just because you liked its predecessor (which wasnt as good as the original Syphon Filter by a longshot by the way) then the game will never improve, the next version will have just as lame a story, with another crappy character, and they'll lazily put in another torture sequence, and stinger fight with an aircraft (how lame was that?)

All things considered, it is a well - wrought piece of entertainment, confidently paced, although its necessary subplots are little more than dutiful filler sandwiched between fight sequences.

The early battle between Smaug and the dwarves dazzled, with fire and flying all around the room, and subsequent fight sequences worked equally well.

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.

The supporting characters are usually an afterthought, but in Black Panther, they are so well drawn that they seem every bit as interesting, perhaps even more so, than the main protagonist himself, who is either mostly masked or obvious CG during his battle sequences, whereas we are always aware as the women fight, with full acting and facial expressions to root us into their fight in the moment.

Well, guess what, you can either shoot them down OR you can zoom in close, jump on them, go into a fight sequence in mid-air, and then commandeer the saucer and use it against them flying it!!!

Lots of great fight sequences, lots of gratuitous nudity (all skinny up and down women but hey, you can't have everything) and the piece de resistance, THE BEST BADDIE BEST ACTED BADDIE I've seen in many a year, in the fantastic Ulrich Thomsen as Kai Proctor.

Exceptional fight choreography coupled with one of the best songs in Star Wars» history certainly isn't enough to save [it], but next time someone makes the ill - advised choice to check it out, you at least have [a] great sequence to look forward to.

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.

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 one of the best knock - down - drag - out fight sequences in history, there's plenty of room for improvement.

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

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.

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.

When she's attacked by another one of the villains (this one is the smart, hacker type), she instantly fights back, care of a punishing and well - earned fight sequence that lets both the audience and her foes know that Shaun isn't someone to be ignored.

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.

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.

He also was really good in the parkour and fighting sequences.

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.

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.

The problem with Million Dollar Baby is neither its fighting sequences (good) nor, in truth, its performances (nothing special, but not awful), but rather that it treats us like stooges by narrating every step with a careful, paternal clarity reserved for the dumbest kid in class.

There is also some great fight choreography on - hand throughout the movie, especially during the escape and final showdown, granted much of it looks like a video game, but the character animation is all motion - captured, and Liebesman stages these sequence well.

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.

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.

Lewis's best moment comes when he betrays in the middle of an otherwise - inconsequential meeting that he's tortured and alone — a moment again murdered by Spielberg narrating as much first in a dream sequence (seriously), then in a fight with First Lady Mary Todd (Sally Field).

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

No amount of multinational money thrown at the screen can give any of its action sequences the clean, cold athleticism of the best fights in John Wick 2 (Warner, 15), a less electric follow - up to 2014's excellent Keanu - Reeves - on - a-rampage thriller that nonetheless knows all the moves.

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

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.

Bird's proven hand at creating spectacular and imaginative set pieces (a chase in a raging sandstorm; an insane parking garage fight that's Pixar - ready) is in full effect here as well as a heretofore unseen skill at nailbiting suspense (a sequence of Cruise — not a double — scaling the side of the world's tallest building is by far the best non-documentary use of large format IMAX photography to date).

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.

For as long as they're on screen, Captain America: Civil War becomes a better movie, and the extended action sequence in which they are both featured is the highlight of the entire experience, in part because it pauses to allow for joking dialogue and an assessment of the situation; the fights have meaning and reflect the characters involved.

Director Stephen Fung is making a martial arts movie for the internet age; the fight sequences have additional videogame - style graphics showing angles of attack, and rather than putting the cast's names in the opening credits, Fung introduces them whenever they show up in the movie, and adds each actor's best - known credit next to his or her name.

The action sequences are breathtaking throughout, but the bookends of the opening chase / fight sequence and the wall of destruction just before the film's conclusion are among the best I've ever seen.

There's also a really great action sequence with Reynolds and «The Killing» star Joel Kinneman (who previously worked with director Daniel Espinosa on the Swedish hit «Snabba Cash») that will likely go down as one of the best fight scenes of the year, but for a movie packed with this much talent, there should have been a lot more highlights than that.

Best moment: This is the rare Marvel movie in which the final fight sequence is really worth it.

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.

Beckinsale and Biel, both fighting fit, acquit themselves well enough in the action sequences but function primarily as the killer bitch and killer partner.

Stephanie Merry of the Washington Post describes some Oscar categories the Academy should have included, like best opening credit sequence, best motion - capture performance, best fight scenes, and best performance by a child.