Sentences with phrase «gotten to an action film»

«The Grand Budapest Hotel» isn't exactly more of the same — it's the closest he's gotten to an action film, although «caper» is a more apt word — but even if its heightened visuals, frenetic pacing, and wondrously odd characters do hew too closely to his past works, more of the same from Wes Anderson isn't a tragedy.

Not exact matches

Moviegoers are finally about to get a break from all of the big - budget summer blockbusters and superhero action movies, as studios move away from large - scale spectacles in favor of award - season prestige films.

The only reason even a few of the evil cops are somewhat facing actual consequences for their actions is because they're getting filmed and it shoots down any lie they or the police union tries to spin to save their sorry asses.

During his film career, Adkins has been cast in mostly direct - to - DVD movies like the two Undisputed sequels, Assassination Games, Ninja, however he finally got to get a bigger role in Stallone's ensemble cast testosterone - packed movie «The Expendables 2» and star along other great action stars like Jason Statham, Jet Li, Dolph Lundgren, the all - powerful Chuck Norris, Jean - Claude Van Damme and many others.

Visit to get the The new film sees good old Captain Jack back in swashbuckling action and on the hunt for another bit of mythical gubbins, the legendary Trident of Poseidon

It's Spielberg's best and truest action film since Jaws, relentlessly paced, pitch - perfectly acted (the young Fanning is almost certain to get a Best Supporting Actress nod come Oscar time), and rife with moments of such horrifically poetic imagery that it's all you can do not to stop thinking about them long after the film has ended.

Rambo is such an interesting action film character, and we get to know more about him now with this film.

Lara Croft: Tomb Raider, one of the most dumbed down action films of 2001 gets the sequel treatment (that everything is getting this year), turns out to be one of the few that actually works better than the original, if only slightly.

Looking to make him stop his talk of a tiny world, they try to get that speck away from him, setting up the action of the rest of the film.

Setting aside for a moment the question of when exactly it was finished, the answers seem obvious: there were already too many action films jostling for position this summer (including the ill - fated Batman & Robin), and the film is just too smart and well - crafted to have risked getting lost in that shuffle, a fate which the equally worthy Face / Off narrowly escaped.

In the meantime, a deliciously nasty bad guy, a white South African gangster and arms dealer named Klaue (Andy Serkis, in a role he introduced three years ago in Avengers: Age of Ultron), is keen to get his hands on some vibranium himself, which involves an unexpected side trip to Busan, South Korea, for a prolonged sequence heavy on chases and tough - guy action but rather more conventional than the rest of the film.

What we get is a collection of moderately violent action set - pieces untroubled by humour or broader coherence... Forster, who directed the Bond film Quantum of Solace, has done his best to piece together a story from these incompatible parts, but the final product has an elaborate uselessness about it, like a broken teapot glued back together with the missing pieces replaced by parts of a vacuum cleaner.

It's all completely appropriate; we get the big spectacle but the film ends with the type of action that feels the most faithful to the rest of the series.

His intensity got him cast relatively often as bad guys, something he put to great effect in the 2012 action film Premium Rush and in the criminal biopic The Iceman.

To get a really good and entertaining film, you need: 1) characters you care about 2) a plot that is more than twenty words when boiled down 3) stunning action (on which Transformers delivers 4) believability and credibility And all Transformers has is eye candy.

Namely, how do you get around the issue that the action centrpiece to the film is over so quickly?

Director Brad Peyton competently stages most of the action, from George breaking out of his sanctuary, to a canister retrieval in Wyoming, led by scarred mercenary Burke (a briefly used Joe Manganiello), that turns awry, to the film culminating in mass destruction of Chicago as the three animals, well, rampage to get to the sonar signal at the top of the Wydens» skyscraper headquarters and Davis safely crashes a helicopter.

The story is complete shit and the characters seem to get worse with each new film, but Bay manages to raise the action and budget of each film to drown out the horrible shit.

Despite claiming that she's «got it under control» and that she «doesn't feel unhealthy,» there's always further she can go - which is why she's admitted to a treatment programme led by the controversial Dr. Beckham (Keanu Reeves), where most of the film's action takes place.

Michael and Justin receive an offer to turn «Rage» into a live - action feature film; Ted delivers his letter of amends to Emmett; Debbie and Vic get into a heated argument that will change their lives; Brian receives shocking news.

In the world of live - action films, changing a director when a film is already in production is rare, though it happened this year on the independent western «Jane Got a Gun,» when Gavin O'Connor replaced director Lynne Ramsay after she failed to show up on the first day of shooting in New Mexico.

The Castle Rock Entertainment film, however, gives Johnson's fans something to be thankful for, however, as he gets back in touch with his action roots.

You quickly get the sense that Williams is trying to do more of a zombie action film, rather than a straight - up loveletter to the videogames.

The second Hanks film this Fall isn't one that's going to get him nominations (though a Critics Choice Best Actor in an Action Movie nod could be a possibility).

Carrey looks to be wearing a bit of prosthetics to get the character's look just right, and it should be fun to see him in action when the film hits theaters.

Due to an out - of - the - blue contact from his old IMF controller, Hunt gets thrust back into action to extract an agent who is presumed to have been kidnapped by the film's villain, Owen Davian (Phillip Seymour Hoffman).

What is so disappointing about this is that so often in these action films, we are only allowed to have one heroine who gets to save the day.

Deadline reports that the Jungle Cruise movie will be an Indiana Jones - like action - adventure, and Collet - Serra was very much interested in getting his hands on a film of its nature, a potential franchise that he will be able to mould around an A-list Hollywood star like Johnson.

If the recent crop of low - budget, intimate war films featuring a handful of actors in limited locations tells us anything, it's that studios are desperate to ensure that they get a better return on investment than a full - blown, star - studded action spectacle.

You're Next — A group of killers thinks they've got easy prey when they decide to attack the Davison family's wedding anniversary, but they get more than they bargained for in this horror / comedy / action film.

The campy opening credits montage depicts murderous women in film, as if Harris were continuing a long - honored tradition of lovers who were wronged taking action against former lovers when they try to get out of the relationship.

With adaptations of superhero comics to film, it seems that the only thing of interest to the film maker (s) is getting the shiniest and biggest effects on screen along with «kick - ass» action sequences and one - upping each other on the adrenaline level.

Baby Driver is the latest film from writer / director Edgar Wright (Shaun of the Dead, Scott Pilgrim vs the World), and a new featurette reveals that the action flick about a getaway driver trying to get away from his chosen profession is chock full of real stunt driving, with real cars, on real locations, with real people.

Though Warners is likely hoping that the big problems of getting classic anime Akira converted to a live - action version and up on screen are now behind it, the issues bringing the film to life haven't quite gone away.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

At first blush, Ramsay's film would appear to be a look into the genesis and reasons behind the title teen's killing spree; the film we get is something different entirely, an exploration of loss and pain and grief through the eyes of the mother (Tilda Swinton) left shattered and battered in the wake of her son's irrational, irredeemable actions.

The action here is over the top, which sets a tone that the film is going to be a violent cartoon, but it never tops the insane sense you get from this opening action sequence.

At the same time, the film does present a President who is able to lead because he is not beholden to his aides, political action committees, or corporations that got him elected — a common man who knows what it's like to be one of the people who needs someone at the top looking out for the little guys, like himself.

Unfortunately — and here's where we get to the bad stuff — first - time live action director Andrew Stanton (Wall - E, Finding Nemo) can't maintain that tone throughout the film.

But before anyone gets the idea that Black Panther is an «agenda» movie — yes, it has something to say, but it says it so perfectly, giving us pure entertainment, a rousing, thrilling action - adventure film that spans the globe, full of characters to cheer for, bad guys to hiss at, and action sequences galore.

The only problem here is that the story really gets in the way of the action, and since the action seems to be more important, this turns out to hurt the film.

Fans of Jason Statham will no doubt have some fun with Killer Elite and there's one show - stopping moment in the first Statham / Owen brawl that will certainly get a reaction from audiences, but for anyone looking for either an over-the-top action flick or a smart - witted political thriller, the film fails to live up to the sum of its respective parts.

Where the film errs is in introducing the action spy flick elements, which is too prevalent to even call a subplot, as it gets the most amount of screen time.

And as long as the movie is doing its job of fully entertaining us and treating us to swashbuckling fun, it's not too hard to overlook the little flaws... but it gets harder to do that as the film drags on and the action wears thin.

Unfortunately, the one actioned - packed, high tension moment in the film is flubbed due to either sloppy editing or lack of coverage — we don't really get an understanding of the geography of the scene, and it's a missed opportunity.

The film starts off with some awkward, painfully lame flashback scenes of Kyle's childhood and transitions into an opening act that is loaded with full - on patriotism that sees him go to war to get back at the people who brought suffering to our doorstep in the events of 9/11 (he was already enlisted, but if we believe the film that decision was also motivated by seeing news footage of American lives being taken), but one of the most interesting surprises is how balanced it eventually becomes and how we see the way that Kyle's actions negatively impact others and how even he begins to question his commitment to the cause, despite the fact that he would never vocalize it.

To make matters worse, around about the same time we get an action scene that's... well... it's just ridiculous, and really took me out of the film.

It is not trying to be the next great action film or win any Oscars, it wants to show you a character that you would never want to mess with and it does it with style and charm only so many actors can get away with.

Searching for Bobby Fischer is a crowd - pleasing sports film written and directed by Steven Zaillian (A Civil Action, All the King's Men) that gets high marks from critics and audiences alike, but which I personally found to be too manipulative and contrived to swallow down in a satisfactory way.

Sure, the action in this movie is arguably better than the first film (partly because we actually get to see the climactic battle rather than just hear about it in the background), but is it possible to have too much of a good thing?