Sentences with phrase «movie in slow motion»

Not exact matches

The ultrafast snapshots can be assembled into a movie, detailing the dynamics in ultra slow - motion.

We catched up with the Californian musician before one of her gigs of the European tour and talked with her about black sides, underground music and movies played in slow - motion.

Even a breaking glass is filmed in slow motion and accompanied by ominous soundtrack pounding — unless that thud is the movie hammering the same point home again and again.

This is the kind of movie where a madwoman's outburst leads her to throw a mug that just happens to be filled with gold sparkles — which can then be photographed cascading down on all the adorable loonies, in slow - motion.

Michael Bay is a director who love slow motions and explosions and it's normal because he is doing it right he is very good at this but in that movie they are just too much and interesting is that there is so much fights and violence in this movie and the death count is: 0.

Michael Bay is a director who love slow motions and explosions and it's normal because he is doing it right he is very good at this but in that movie they are just too much and interesting is that there is so much fights and violence in this

Brian De Palma demonstrates the drawbacks of a film - school education by overexploiting every cornball trick of style in the book: slow motion, split screen long takes, and soft focus abound, all to no real point... He's an overachiever — which might not make for good movies, but at least he's seldom dull.

It's as if I'm watching an over the top action movie and fast forwarding to all of the action packed sequences and replaying them in slow motion over and over.

but the movie is too boring and just can be watched for action sequences the slow motion in the action sequences and final sand blow in the castle has left without any impact.

by Walter Chaw TV - writer Kurt Sutter breaks into feature - screenwriting by amalgamating Taxi Driver with Raging Bull in a movie that has the distinction of being not only the second film of 2015 with Fiddy Cent in it for some inexplicable reason, but also the second film that Jake Gyllenhaal shares with a little slow - motion girl on a trampoline.

Instead of the self - aware stylings of the Jump Street series, Baywatch takes itself unbelievably seriously every step of the way, and this is a movie that is based on a television series whose popularity was entirely based on watching large breasted women in swimsuits running in slow motion on the beach, of which there is plenty here.

One of the cool things about the movie (though not necessarily original) is that after he does something really cool, the film will instant replay it in slow motion and from various camera angles.

Return Of The King — But for those lame hobbits bouncing on the bed in slow motion, this would be a great movie.

Though it has a lot of fun playing with slasher tropes and cinema in general (showing the way Max and her friends are affected by elements like musical cues, monochromatic flashback sequences and slow motion within the fictional movie), the film isn't funny or scary enough, ultimately becoming a victim of its own satire due to its insistence on preserving the genre's traditionally bad acting and writing.

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.

I don't want to ruin anything, but the action reminded me of how Robert Downey Jr. in the Sherlock Holmes movies would would use a slow motion inner monologue to determine the best ways to kill everyone in the room, and then shows you how he does it at normal speed.

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

Slow motion takes over as the Bennet sisters begin unsheathing various types of blades hidden underneath their elaborate Victorian - era appropriate garments (in what is a rather titillating shot), but most crucially, seems to promise that the ludicrous movie titled Pride and Prejudice and Zombies will live up to the level of absurd, stupid entertainment promised.

Baranski, Hines, and Sarandon get together for a low - key scene that happens to be the best one in the movie, where they sit down together and trade background information, issuing silly little one - liners that speak to their world views, no extensive slow - motion montages of weak sight gags required.

Since this is a story about a group of organized criminals, for example, the movie has a good amount of brutal violence, which is often shown in excruciatingly slow motion by director Steven C. Miller.

Front - runner: «Split's» fragmented title sequence cleverly hints at the villain's multiple personalities, and «Baby Driver» has an impeccably choreographed coffee run set to «Harlem Shuffle»; «Wormwood» — the Netflix docu - series that also got a theatrical release as a movie — has a dreamy depiction of a man falling in slow motion from a hotel window.

No sooner does it start than the half's over, and no sooner does the second half start than McG is putting the final play in slow motion with the final pass being lazily intercut with a montage of highlights from the movie itself.

Even its gorgeous cinematography, which won a prize from the Tribeca jury, feels like less than meets the eye; the frequent use of slow motion lingers past haunting until it becomes just plain draggy (not a great quality in an 80 - minute movie).

When the federal police show up to arrest him, Quaid kills an entire team in a few quick movements (Director Len Wiseman shows it in a fake one - take, a choice that makes infinitely more sense than the reliance on random slow motion shots and lens flares from randomly placed light sources that he shows through the rest of the movie).

Bay continues to use extraneous slow - motion shots of robots jogging, leaping, and flipping cars over, and the action sequences are lifted wholesale from the two previous movies, including a highway chase, fleeing a snake - like machine with a buzz - saw mouth, and that protracted final clash in a city (this time Chicago).

When not slowed down, the movie is little more than colors, fire, and sparks in motion, thanks to Bay's oftentimes incompetent camera placement (A tracking shot of Optimus swinging his sword moves him to the extreme right of the frame, mostly off - camera, and focuses on his feet).

Firstly the Frame Rate in vita version is terrible, it slows down to below 30 FPS perhaps 25) and makes the game feel like a slow motion movie.

I mean very very slow motion: 1,300 frames per second, which is 54 times the rate used in a normal movie.

He broke it off three months before our wedding, just disappearing into the night like some gut - wrenching movie that plays in slow motion with an eighties backing track.