It's new bat shots
like helicopter shots, charge sixes etc..
The panning across the dead reef at the film's intro went from a blanket of bland brown calcium to an intricate collection of reds, oranges, browns, and purples, while scenes
like the helicopter shot of the reef from above exploded with color, revealing electric blue, sapphire, and dazzling aquamarine.
Not exact matches
The mission where you are in a
helicopter and rain death on enemy villages and mortar teams provides some thrills but the game play is quite limited because it plays
like an arcade on - rails
shoot - em up.
The lab is one of those classic Brutalist - fortress - looking monstrosities; it seems to be located deep in the bowels of the earth but is revealed in
helicopter shots to be within biking distance of the U.S. Capitol (seems
like a bad idea, but this isn't a film that puts a high price on real - world plausibility, so whatever).
Kosinski and his returning cinematographer Claudio Miranda (who also
shot Life Of Pi) are experienced in the art of digital imagery, and they capture beauty in images both relatively mundane,
like a hose dangling from an initially unseen firefighting
helicopter, drawing water from a swimming pool, and genuinely strange,
like a recurring image of a bear charging out of a forest on fire.
Micro and macro scale are constructed along similar lines in Blackhat:
Helicopter shots of grid -
like cities evoke earlier sequences of moving around microchips, the bright moving lights of cars convey the sense of people moving through cities as sequences of code move around the web.
Take your pick: the particular way constellations of pinkish - red candle flames help illuminate Gianni D'Antonio's shadowy underground chambers; the riotous cacophony of icy blues and fiery reds that accompanies the funhouse climax; or how peering into the detailed aerial
shots of midtown Manhattan at night feels a little bit
like hanging out of the
helicopter.
What attracted critical minds
like Jacques Rivette, Eric Rohmer, and others to Nicholas Ray and his oeuvre — bored stiff as they were by the risk - averse, respectable, and ultimately neutered «cinema of quality» — was the stamp of the personal and the element of danger they discerned in his films, whether that meant the improvisatory handling of actors with a touch deft enough to coax remarkable performances out of even non-professionals; the «superior clumsiness,» cited by Rivette in «Notes on a Revolution,» resulting in «a discontinuous, abrupt technique that refuses the conventions of classical editing and continuity»; or the purely visual flourishes Ray relished — ranging from the sweeping, vertiginous
helicopter - mounted
shots in They Live By Night to disorienting, subjective POV compositions
like the «rolling camera» during a car crash halfway through On Dangerous Ground, its very title indicating the source of Ray's critical appeal.
Matt says, what if when you
shoot down, you fly, and it's
like a
helicopter game
like Flappy Bird?
There are also multiple skins for your
helicopters, but this is
like applying a new coat of paint to the side of the house facing the alley: no one ever appreciates it since the action is always focused on
shooting at your enemies to keep them off your allies or away from yourself.
Kanika Saigal writes for Quartz how threatened elephants that live in dangerous countries are deciding to migrate to safe places,
like the Chobe National Park in northern Botswana — a sprawling 4,517 square mile (11,700 square kilometers) sanctuary where elephants can live their elephant lives without having to worry about being
shot from a
helicopter.