Sentences with phrase «much of an action film»

Not exact matches

Sony had to cancel the much - anticipated release of the comedy film The Interview last year after hackers threatened action if the film was released theatrically.

It was set in Modesto, California, 1962, but filmed largely in Marin County, with much of the action taking place along a thinly disguised Fourth Street in San Rafael, just 15 miles south of Sonoma Raceway.

The action scenes highlight Rodriguez's trademark ability to choreograph firefights and explosions, but they're doled out with uncharacteristic stinginess between long stretches of exposition that clear up much less than they should, as the film builds toward a climax featuring some strangely underpopulated riot action.

Obviously this is to give the film a much bigger impact and attract more of an audience with the action man vibe.

The plot is the worst part of the film, which packs way too much action into the sparse 86 - minute running time.

PANDA 2 is just about as much fun as the first film, with lots of laughs and action peppered into the brisk ninety minute run time.

While the first film focused on creating an atmosphere of pure tension, this sequel is much more action - oriented, even if its first hour is actually very slow - and instead of one alien, Cameron has now a horde of goo - spewing, acid - blood creatures to scare the audience to death.

Were they one film, Deathly Hallows Part 1 would no doubt have been missing much of its emotion and character work; likewise, Part 2 would have lost the little it has, not to mention at least some of it's magnificent action.

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.

The second half of the film is pretty much pure action as the remaining members of the group try to evade their hunters and, at the same time, take the hunt to them.

The screening we were at was packed with kids who were mostly silent for much of the film, but seemed to wake up for the final action - packed climax.

The distinctive stamp of action - film director Phil Karlson is very much in evidence in Scandal Sheet.

But perhaps one of the reasons why this film is so fascinating is that it delves deeply into the formative episodes in Napoleon's early life and gives as much importance to them as to his later actions on the battlefield in Italy, his tenure as emperor, and his subsequent exile, return, and exile.

Though Tony Gilroy, who shared writing credit on all three previous Bourne films and directed the excellent Michael Clayton 82 (and much less excellent Duplicity 69), handles both writing and directing duties here, critics found that Legacy added little in the way of originality, while Renner proved a less captivating action star than Damon.

As directed by Anthony and Joe Russo, the action scenes are often incomprehensible, which means that far too much of the film is spent waiting for the action to die down so we can see who is left standing.

Fortunately the action is handled in a much more controlled way than the second film with the viewer actually being able to walk out of the cinema without a coma.

For an espionage film there isn't much in the way of action or strange, exotic accents, except for the first agent who gets killed off.

If the action sometimes feels disjointed and plodding, the performances of the main cast do much to sustain the film.

While Gens can splatter gore with the best of them — early in the film, a human body packed with C4 goes off in graphic detail — he fails to stage so much as a single rousing action scene, even when he has four double - fisted swordsmen facing off inside an abandoned subway car.

It is amazing how much hair - raising action and fluid movement this film captures in the confined interior of a car trunk, or how many mood shifts Mr. Dorff conveys in a performance that can only be called multi-dimensional.

It is hard sometimes to shake the feeling that this live - action Disney adaptation is relying too much on the 1991 animation, to the point that it almost feels like an extended version of that film; but even so, it offers a fresh and modern look at the classic story that makes it worth it.

While Amma's teachings of love, inner peace and Karma, or action, resonate in the film — obviously, Amma is a woman called to God — her background remains pretty much a mystery.

The philosophy behind the sequel was obviously to focus on the action, and although it cuts into much of the what made the first film that much better, there is enough to latch onto to celebrate the Kung Fu Panda once again, and to let the fireworks begin.

The film's superb action sequences, beautiful cinematography, fine performances and haunting soundtrack are real stand - outs, but, unfortunately, they're undercut by uneven pacing and the inclusion of a little too much padding.

Still, fans of the first one will probably like this too, and at least the oodles of exposition that plagued the first film are replaced by a slightly more action - centric plot, even though the film frequently lapses into long stretches without much going on.

Deadline reports that the Jungle Cruise movie will be an Indiana Jones - like action - adventure, and Collet - Serra was very much interested in getting his hands on a film of its nature, a potential franchise that he will be able to mould around an A-list Hollywood star like Johnson.

Normally the science fiction concept of time travel is reserved for big budget action films, but the idea itself can be much more interesting within the confines of an indie scale film.

There's so much to appreciate in that film — from its portrayal of a kickass female lead character who just so happens to have a physical disability (though is never depicted as being a person who matters less because of it) to its impressive number of real - time stunts and action sequences to its feminist message.

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.

But it's unfair to judge on a book on its cover (or title) and after seeing Matthew Vaughn's film adaptation which releases this weekend, I can honestly say that Kick - Ass is much better than I first expected and Vaughn's big - screen version of the graphic novel features sharp writing, brilliant performances, and of course, indulgent action sequences and story - telling.

The chatter of this strange assortment of upper - middle class Brits might work better in the theater, since the action takes place in real time set wholly in an extensively furnished London home (actually filmed in a West London studio), with the women doing most of the talk and much of the witty liftings.

In true Wright fashion, this isn't exactly a straightforward adaptation; the director has set much of the film in a lush theater that uses over 100 interconnected sets to allow the action to move fluidly through various settings.

In true Wright fashion, this isn't exactly a straightforward adaptation; the director has set much of the film in a lush theater that uses over 100 interconnected sets to allow the action to move fluidly through a door and into a separate setting entirely.

Put it this way: the first action sequence in «Ant - Man'takes place in a bathtub, and while ultimately this film is too bland to leave much of an impression, at least it's still a much - needed reminder that there are people underneath all that spandex.

By Sean O'Connell Hollywoodnews.com: Much like «Mission Impossible: Ghost Protocol,» which marks the feature - film debut of animator Brad Bird, we're predominantly interested in next year's «John Carter» because it's the first live - action effort from Andrew Stanton, the genius brain behind Pixar's masterpieces «Finding Nemo» and «WALL - E.»

James Marsh at South China Morning Post says the film's action — one of its chief selling - points — leaves much to be desired:

In January, producer Michael Wilson said Quantum Of Solace, starring Daniel Craig as 007, would contain «twice as much action» as the last Bond film, Casino Royale.

Although the title suggests the possibility of an exercise in the pre-digested, pre-fab cynicism which seems to be a staple of contemporary American cinema, this action film focuses on its people as much as its action, and a good deal of its power comes from the way its sharply etched characters develop in various convincingly observed milieux.

There is a great rhythm created and we don't get too much SCS (Shaky Camera Syndrome), and then the film blows up into a high - octane action film with some of the best visuals of the year.

A fairly large cast throws itself into the action with vigor and much attention has been paid to the look of the film.

The film's combination of cutthroat action and wicked humor made it much more than just your run - of - the - mill, fangs - for - the - memory film.

Instead of a tightly - wound action adventure film with a bit of added political intrigue or compelling character relationships, Killer Elite lumbers along for 105 minutes - saddled with too much time spent as Statham stares out airplane windows (cue flashbacks) and Owen converses with greying bureaucrats.

District 9 is not only an action thriller, but a thought provoking critique on our own culture that can't be ignored as the Aliens or Prawns (derogetory term given to them by the humans) play a much larger emotional and dynamic role in the film than the trailer or bits of viral marketing let on.

I'm a fan of Guy Ritchie's stop - action style, especially the humor in his films... but you won't find much humor here.

At some points I thought the film dragged on and on and seemed overly clichéd even though this film in of itself is a bit of a cliché on the action genre, but it's all forgivable and you continue to watch Denzel kick Russian mobsters butts with ease without losing much sleep.

That approach includes focusing the spotlight on Evans» character (who leads a rebellion aboard a futuristic train that houses much of humanity in the film's wintery dystopian setting), in order to better utilize his star power as a selling point - in addition to emphasizing the movie's action beats, as accompanied by the expected dramatic musical cues in the post-Inception age of trailers.

She DEFINITELY earns the part of protector extraordinaire, but too much surrounding the action of the film lacks sincerity AND style.

Sure, the action in this movie is arguably better than the first film (partly because we actually get to see the climactic battle rather than just hear about it in the background), but is it possible to have too much of a good thing?

Directors Pierre Coffin and Chris Renaud excel in pleasing the fans of Despicable Me with much of the same spy action and slapstick minion comedy seen in the first film, only amped up to greater heights for this highly anticipated sequel.

Though much of the action remains confined to the inner sanctum of Franco's home, the biblical implications of the film dictate that they must eventually be taken out of their comfort zone, and thanks to their reasonably sized budget, they have enough to clout to develop some eye - popping special effects, and although it intends to satirise the current trend for apoca - blockbusters, it does its level best to match them in terms of scale.