Sentences with phrase «kind of action film»

«Face / Off» is the kind of action film that gives summer movies a better reputation.

Not exact matches

Through the extraordinary actions of ordinary individuals, the film acknowledges self - sacrifice as a kind of supernatural event, one that points to the ultimate salvation in Christ.

We love Disney movies and animated films in general because of how dynamic the art form is and how it can uniquely tell different kinds of stories that live - action ones can't.

This Friday marks the release of the eighth installment of the Fast & Furious films, the long - running, high - octane action franchise that revolves around Dom Toretto (Vin Diesel) and his motley crew of street racers - turned - international - crime - fighters - who - are - also - kind - of - criminals.

The film lacks any kind of real «action», which makes it a departure from Mann's other work like Heat or Last of the Mohicans, but it still feels like an action movie because of the aggressive way in which Mann directs it.

I didn't expect much from it because this kind of film doesn't really lend itself to spectacular audio mixes; those seem more the domain of action flicks.

What is so offensive about this film is it's attempt to apply a similar kind of blind action movie for

What is so offensive about this film is it's attempt to apply a similar kind of blind action movie for the guys / shallow romance for the chicks aesthetic to an actual, tragic event.

For that first chunk of the film, this traditional, classicist director is flirting with a very experimental notion — the kind of «action as characterization» storytelling that The Hurt Locker went almost all the way with last summer.

i only wish those thousands went to work on movies of more substance than fighting robots... and you don't have to apologize to me, i can in fact compare «Real Steel» to «The Fast and the Frivolous» films because in essence they are one - in - the - same, simply just the flavor of the week kind of flicks that have no real pull behind them other than big name actors, CGI and a promise of action.

With the right balance of action, and comic moments, this top - notch superhero film delivers the right kind of action - packed entertainment.

Featuring a different kind of performance from Tom Cruise and a scene - stealing Emily Blunt, the action never lets up and the futuristic design of the film is captivating and memorable.

The gang discussed the usual — their roles, appealing to the book's fanbase, etc. — and then introduced the film's new trailer, which wrapped with «all kinds of action, including giant flamethrowers» and «werewolves crashing through a window and attacking a bunch of bad looking dudes.»

They're also the kinds of places that Kormákur's camera loves, as embracing as he is of the modern - day action - film aesthetic of deliberate imperfection.

The filmmakers know exactly what kind of film this is and deliver a satisfying action romp.

Director Anton Corbijn's latest has all the firepower (and star power) you expect from an action blockbuster, but it's a different kind of film, with a quiet, deliberate pace to match its distinctly European vibe.

Blade, to the fresh eye, free of the fandom surrounding the character, comes across as the kind of film that is probably closer to a B Movie in the action genre than a superhero flick, as it is branded to be.

A hopelessly generic action movie that fully deserves the direct - to - DVD treatment, it's the kind of film that Cage has been making a little too frequently these days.

The film is a kind of variation on Chan's Police Story, also released in 1985 and another key film in the shift of HK action cinema from period epics to contemporary crime dramas.

Having thrived and evolved for eight consecutive decades in the public imagination - in prose and graphics, on the big screen and small, in games and properties of all kinds - Conan's exploits in the Hyborian Age now come alive like never before in a colossal 3D action - adventure film.

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

The film does kind of hint at the futility of revenge in a coens kind of way that is not too drawn out, a lot is concealed from us and we are only shown the grit and the action that gives the film its direction.

Director Tsui Hark and fight director Sammo Hung provide some great wire - fu action sequences among the convoluted plot that is typical of these kinds of Chinese epic modern films.

If there's a certain airlessness to Folman's live - action aesthetic and a tendency to over-egg some of the speeches, it does set up a kind of artificial, sci - fi - ish tone early on, even in this, the least fantastical part of the film.

Lots of action and the kind of moral complexity you look for in a Mann - Stewart film.

The Russo brothers are action - film virtuosi, using different styles of action to tell different kinds of stories throughout the film.

In a strict narrative form, most of Blue's main themes and actions reside just below the surface, so this is the kind of film that might be too slow for some impatient viewers, especially if they are watching it without the political, social, and artistic context from which it is created.

I could discuss similar films that played at this year's Berlinale — but these two examples must suffice to demonstrate the dilemma German cinema faces: these genre films suffer on the level of craft, while also facing the problem that the socio - cultural context might simply not lend itself to the kind of genre filmmaking (at least with regard to the thriller and action film genres) that seems to come so organically to filmmakers working in different national contexts.

This kind of disciplinary action reflects upon the complex interplay of entertainment and cultural substance in film and music.

It is the kind of action and character tension that makes for a memorable film.

You have a lot of character actors who've appeared in indie films and stuff, in kind of an action thriller.

But although the film is bloated with the kind of high - tech special effects expected in this fictional, futuristic world, the script maintains a steady pace of action and enough humorous quips to hold most viewers» attention for the two hour ride.

The film obviously wants to ally us very closely with Katniss, so for the most part we don't know a huge amount more than she does, but in these two instances anyway, we kind of don't even know as much as she does, and it makes her decisions, and the motivations for her actions (shooting the electrified arrow into the dome; creating the Seneca Crane dummy) a little unclear.

Once the film moves its action to Connecticut, it's not just the structure and tone that change, but the cast of characters, which quickly expands to accommodate all kinds of new players.

The film plays out as a kind of a cross between Run Lola Run (Lola Rennt) and The Bourne Identity, and I can't overemphasise the effectiveness of the action captured on screen.

There isn't much to recommend Wasabi except for the offbeat mix of over-the-top humor and overly stylized action, and taken as a pure entertainment kind of film, it'll please most audiences who like French action - comedies.

From the get go the movie makes no qualms about what kind of story it is; a violence filled vengeance film with plenty of action to satisfy any action movie aficionado thirsty for blood.

The nominees are Herman Yau's bomb disposal actioner Shock Wave, which is a fun old school Hong Kong film but not really a serious contender, Wilson Yip's Paradox, which is also quite a good action film (it may be part of the SPL series) and has a better chance but probably not, and Chasing the Dragon, which I haven't seen yet but also chases that early 90s Hong Kong vibe (it's kind of a remake of 1992 Best Film winner To Be Number One).

Fresher writing, a better cast, and more realism to the action could have made a decent film out of this, but this kind of survivalist adventure fare has been done so often that there wasn't any more gold to be mined with this material.

The reasonably - coherent and sensible action scenes interspersed throughout the film are replaced by a full - scale battle, a swirl of mud - brown and grey with the kind of shoddy camerawork and random editing we've come to take as normal from 21st century Hollywood.

It is not the fault of black movies and black actors that their success and failure can feel so collectively important — but I am wondering if, in cases like Proud Mary, it might serve the movie best to measure it against the kind of goals that white action films have been aiming at for years: that is, a genre where even a bad one can be good if it manages to be entertaining.

Maybe what most marks Beau travail as a film by a woman is the way Denis uses African women to subtly impose an ironic frame around the story; from beginning to end, they figure implicitly and unobtrusively as a kind of mainly mute Greek chorus — whether they're dancing in the disco, speaking in the market, appearing briefly as the girlfriends of some legionnaires (including Galoup), or serving as witnesses to portions of the action.

These kinds of inconsistencies are an annoyance, but this is a fairly schlocky film, so you just have to swallow them down for the sake of the action.

The end of the trailer shows off one of the film's action set pieces, with Han evading TIE fighters in the Falcon, before swooping towards some kind of tentacled creature.

While the gritty subject matter and intense action do deliver the goods for those looking for that kind of material, Donner's film gets off to a good start, only to lose momentum as the implausibility factor begins escalating, followed by a final twenty minutes of just straight - up bad filmmaking.

I kind of learned this from working on Creed, and I would talk with Sly [Stallone] about this a lot too while we were making that, and I think it was advice he gave me about action films being kind of like musicals.

«The rare kind of propulsive action film where everything is meant to feel appropriately desperate and harrowing» — AP

Cargo isn't the kind of film that you think demands a spinoff or its own cinematic universe but... come on, once you see those flashes of action, you may spend the next few moments with Andy wondering why we're following this dude when there are — I repeat — Indigenous zombie hunters in this movie!

Now we finally get an idea of the story at the heart of the film and this looks like the kind of live - action Disney adventure we've been missing, full of originality, amazing visuals and much more.

Just three years ago, Joss Whedon pulled off a remarkable feat by giving us a film that featured a cast of some of the biggest superheroes in the Marvel universe, known collectively as «The Avengers,» and delivering just the kind of action - packed adventure that fans ha...