Sentences with phrase «high action sequences»

The first major movie adaptation of Edgar Rice Burroughs» highly influential sci - fi pulp saga, it comes complete with sky - high action sequences, swashbuckling fight scenes and computer - generated creatures that your kids will either find awesome or disturbing.

The film looks pretty, and its high action sequences are solid in higher resolution.

Not exact matches

Fortunately, these philosophical arguments play out in a pretty solid cop drama, executing well on the high octane car chases, shootouts and action sequences that keep the public coming back to cop movies for decades.

But though it sustains itself at a remarkably high pitch, there are botched sequences and patches where the action is unintelligible or inelegant.

The opening sequences are among the best ever filmed treating the sheer terror and adrenaline rush of an out - and - out chase, and are nearly silent the whole time, such is the high action quotient.

In pure action adventure terms, Spectre delivers the goods, with plenty of revved - up supercar porn and several kinetic high - speed chase sequences on road, river and snowy mountain slope.

The Wachowskis and cinematographer Bill Pope take advantage of currently available technical trickery to create visually distinct levels of reality while setting high - speed cameras in motion to make the action sequences particularly dynamic and fluid.

For all its high - spirited action scenes, the film's most impressive sequence involves a single water droplet, which is later echoed in an artfully choreographed battle involving cannonballs.

The final outing in the series for Shia LaBeouf and co (though Megan Fox was replaced here already, after falling out with Bay), with John Malkovich and Frances McDormand among those paying for new houses with a few weeks work, the film does at least have a striking moon - landing themed opening, and an enormous extended climax that marks a high watermark for the franchise's action (particularly an impressive Halo jump sequence done for real).

Unfortunately, their playful camaraderie isn't exploited nearly as much as it could be, because while the movie is incredibly lively in its opening and closing minutes (including one of the most ridiculous action sequences ever filmed), that sense of high - energy fun is absent for most of the middle section, when it starts to take itself too seriously.

Action sequences set to high - octane music test the player's reflexes, with the surreal visual touches you'd expect from the Deadly Premonition director.

There aren't any wild spikes during action sequences, but you'll likely have to play it back two to four clicks higher than your normal volume in order to register dialogue cleanly.

There's little action in between a surprisingly violent gunfight at the beginning and the climactic battle - at - high - seas between Sparrow and Jones» crews, and while the special effects are quite effective, these sequences just don't have the inventive thrills of the last films.

The longest of the supplements --» Spy Vision: Recreating 60's Cool» on designing the film and «A Higher Class of Hero» on creating the action sequences — are under 10 minutes apiece and the rest under five minutes each: a piece on the creator of the motorcycles in the film and portraits of the two stars and the director.

The biggest squabble I have comes down to those high - octane action sequences.

While all of the other movies were trying to cram tons of high - energy action sequences and cool one - liners into just 30 seconds, the first trailer for Matthew Vaughn's X-Men prequel takes its time establishing a tone and a time period, putting drama and characters above flashy visual effects.

Despite its»80s high school allusions, Central Intelligence frolics happily in the nostalgia of the 1990s, reminiscing about Budweiser's «Wassup» adverts and featuring a soundtrack that opens with En Vogue's «My Lovin» and plays Blur's «Song 2» along to a vigorous action sequence which sees the pair crash out of a skyscraper in a mail cart.

Surrogates is a good science fiction idea that is either too shallow and underdeveloped to provide the depth necessary to make a lasting impression, or it's a case of a rich and deep story that had been stripped away of all of its high concepts due to lack of budget, studio meddling, and a director who prefers big action sequences over scenes of talking heads.

The first third of Clockstoppers is an interminable high school comedy ending with a DJ showdown, the second third of the film is Zak on the run from evil corporate drones led by Michael Biehn, and the final third of the film is an infiltration of the evil corporation ending in a ludicrous action sequence and capped by a Back to the Future resolution involving a shiny new car and a nubile young lass.

Excellent performances from Choi Min - sik and Lee Byung - hun keep tensions high from start to finish, and some absolutely barbaric sequences of action and suspense raise the stakes in an honest and believable fashion.

Between its uncomplicated plot and high - impact action sequences, this kid - friendly adventure provides a practically - perfect escape for fans of the comic adaptation genre.

The action sequences are exhilarating and inventive, the dramatic stakes are high and the huge cast of characters are expertly handled.

Directed by Rob Cohen, the director of high - adrenaline action blockbusters The Fast and the Furious, xXx, and The Mummy: Tomb of the Dragon Emperor, this edge - of - your - seat action - thriller showcases some of the craziest action sequences in recent cinematic history.

There are some high - powered action sequences, but the camera moves and edits are so quick that these scenes are difficult to appreciate.

It's both of these characters who contribute greatly to a high speed river chase that's one of the film's most impressive and exciting action sequences.

This ups the ante on all of Deadpool's action and fight sequences (Leitch also did Atomic Blonde), to the point where the film's entire second act is basically one long action set piece that involves sky diving, stunt driving, fights on and around high - speed trucks, and the introduction of a classic comic villain.

The truly spectacular action sequences never falter, more seamlessly blending live - action performance and stunt work to CGI marvels: a rampaging battle staged on the side of a building and a runaway train sequence easily trounce the efforts of the first film, and Raimi's effects team (again supervised by John Dykstra) also subtly improves upon the hero's web - slinging transit high above the city streets.

The bar has been set so high for action sequences and special effects, that we take the great for granted and only speak up on those that falter.

But Snowpiercer remarkably satisfies both the arthouse and mainstream crowds with a high - concept plotline stuffed with stunning visuals and marvelous action sequences.

Perhaps all would be forgiven if M: i: III were competently - directed (while M: I - 2 is one of the stupidest films ever made, as John Woo is one of the best action directors of the past twenty - five years, damn if it's not beautiful, coherent, auteurist stupidity), but it's a glassy - eyed, dead thing complete with superfluous flashbacks to events we don't care about involving characters we don't recognize, an interminable party sequence in which Cruise trots out his smile like it was a weathered, beaten - down trophy wife, and a smug, self - congratulatory conclusion full of high - fives, victory arms, and shit - eating grins.

The strength of this film is Fuqua's handling of the explosive action sequences and his ability to keep the tension high throughout the two - hour running time.

Expectations are high for director J.J. Abrams» second Enterprise tour, but this installment delivers action sequences at 10 - minute intervals, frequently cutting into more interesting character interactions.

The CGI effects of the third act action sequences don't live up to the high bar set as they start to take center stage over the practical combat, feeling a touch more plastic and taking some of the feeling of jeopardy out of it.

As for special effects, this is the first HP episode shot in 3 - D, which turns out to be worth the investment given the profusion of captivating action sequences ranging from the heroes» daring escape from a subterranean inferno on the back of a fire - breathing dragon to an epic, high body - count battle on the campus of their alma mater.

Luckily for him, the film manages to serve up enough high - powered action sequences and low - key jokes to keep the audience engaged the whole way through.

It's an enthusiasm that immediately wins you over with the unmistakable strains of mast - swinging combat, a nimble dexterity that is inexhaustibly fun through any number of elongated action sequences, from a carriage chase to scaffold rappelling and a climactic high seas battle.

But he is absolutely bland in every scene in which he has to talk (though it's not completely his fault — the soap - opera script is written at a bad, junior high school level) and quite unconvincing in the mindless action sequences filled with ridiculous mid-air, slow - motion sword play.

From the opening credits sequence, the soundtrack of «Birdman» comes from a single drum set, and the beat underscores the highs and lows of the action, in perfect rhythm with director Alejandro Gonzalez Inarritu's vivacious camera work.

Extras like: Bay On Action — an in - depth interview with Michael Bay about his vision and approach to the film's high - octane action sequences; the eight - part making of documentary, Evolution Within, Extinction and an Angry Birds Transformers trailer «where birds and pigs turn into Autobots and Deceptihogs, creating havoc on Piggy Island» — and that's just for staAction — an in - depth interview with Michael Bay about his vision and approach to the film's high - octane action sequences; the eight - part making of documentary, Evolution Within, Extinction and an Angry Birds Transformers trailer «where birds and pigs turn into Autobots and Deceptihogs, creating havoc on Piggy Island» — and that's just for staaction sequences; the eight - part making of documentary, Evolution Within, Extinction and an Angry Birds Transformers trailer «where birds and pigs turn into Autobots and Deceptihogs, creating havoc on Piggy Island» — and that's just for starters.

The opening sequences of Solo are visually ugly, which is one of the weaker parts of the films experience, but early missteps begin to fade, with a collection of well - paced, high - action set pieces.

Whether hanging from the fuselage of a plane in flight, engaging in a high - speed motorcycle chase, or holding his breath underwater for three minutes, Cruise once again performs his own stunts in well - orchestrated action sequences that never seem to let up.

The best course of action is for high schools to reinstate truly rigorous academic courses, but to differentiate among students with respect to the extent and rate of progress through the sequence of courses.

The drive experience will have a cinematic feel that celebrates Jaguar's long standing relationship with movies and provides consumers with the opportunity to star in their own filmed action sequence as they experience high performance driving on a closed course and on - road handling through a street drive.

With new, powerful combat moves, players can jump into the action with adrenaline pumping fighting sequences that let them jump higher, kick harder, swing further and defy gravity to conquer their enemies.

The visuals are shaping up to be as crisp and stunning as anything released this generation, and the quick video is of course filled with action sequences and high stakes drama.

It doesn't look too far removed from the graphical load of its bigger console versions, either, and the Vita has no trouble keeping the framerate high even during high - action sequences (see: any battle against Voldemort).

In truth, the roughly 6 - hours of play time feels no different to the usual roller coaster ride of high - intensity scripted sequences, bloody shooting galleries and Hollywood - style action cliché.

What's worse is that after you've put in that sequence, the action you're supposed to perform has a high chance of not working.

The improved character renderings and actions matched the high detailed environments well in gameplay situations at the numerous cut scene sequences.

The Wii U E3 build was choppy in high - action sequences, where the Switch seemed to struggle most with grass effects in TV mode.