Also, note that the victory screen gives you a glance at
your hero in slow motion and you know you're in for a very cinematic experience.
Not exact matches
The follow - up to 2016's surprise superhero smash is even more overtly «edgy,» concluding its opening sequence with a shot
in which its nigh - indestructible
hero is blown to bits, his severed head and limbs turning graceful
slow -
motion spirals as they ride a fireball toward the camera.
Returning director Joss Whedon stages the mighty
heroes coming together
in slow -
motion, with dramatic music behind them, to enhance the excitement.
In between what little plot there is, we get to hear all the latest and greatest of today's up and coming hitmakers, all the while watching our heroes walking in slow motion, looking coo
In between what little plot there is, we get to hear all the latest and greatest of today's up and coming hitmakers, all the while watching our
heroes walking
in slow motion, looking coo
in slow motion, looking cool.
Cut to Ronnie ordering his subordinates around with over-the-top lingo out of movies like Commando and Delta Force; cut to
slow -
motion shots of the mall cop crew, squinting and posing
in badass formations that emphasize their dorky self - importance; cut to Ronnie's bombastic antics constantly getting
in the way of police detective Harrison (Ray Liotta), who highlights the
hero's dumbassery by actually knowing what he's doing.
And let's not forget about the action sequences, which feature awesome fight choreography, impressive special effects allowing the
heroes and villains to throw air, fire, water or air at each other, and some really cool long unbroken shots that use zoom -
ins and
slow -
motion in a way that recalls «The Matrix» or «300».
Wong's violent interludes are most often brief riots of slurred or
slow -
motion action alternating unexpectedly with freeze - frames; these sequences, delivered so rapidly one can often barely perceive what's happening, are obviously abstract versions of the action scenes
in conventional martial - arts films (The Eagle Shooting
Heroes included).
In virtually every promo for Marvel's Black Panther, there's been a
slow -
motion shot of the Chadwick Boseman's titular
hero avoiding a car explosion by back - flipping onto another vehicle.
Rusty is a dull
hero, an alleged bad boy who loves his mother, respects his mom's boyfriend, wants to save his best buddy
in the whole world, and speaks with unnatural lyrics of love for a woman he just meets
in a diner (Marley Shelton, who appears
in one scene to walk through a door and to a stool repeatedly
in slow motion before making googly eyes at Rusty, who returns the favor).
What follows
in both Gibson's film and Fulci's is a period fantasy leaking blood and viscera, scored with drama and shot
in operatic
slow -
motion: tales of martyrs and
heroes, of battles against the unclean (more suggested
in Gibson's film as a steely - eyed, newly - risen saviour gets ready to rock), and,
in their different / same ways, reduced to the barest elements of conflict - action - resolution, repeat.
Sam Fisher was pretty much portrayed as an action
hero with cover mechanics,
in -
motion lethal accuracy and Max Payne
slow - mo.