Sentences with phrase «of modern action movie»

Simon West, seasoned director of modern action movie CON AIR, THE EXPENDABLES 2 and THE GENERAL»S DAUGHTER, will switch genres for a new remake...

Alfred Hitchcock's intense chase film is the beginning of the modern action movie, a precursor to the James Bond series and a high - point of Hollywood craft.

Not exact matches

It's not the first modern reboot of the retro comedy: Along with two really bad live action movie adaptations, even animators like Seth McFarlane have (unsuccessfully) tried their hand at bringing the series back.

With only two or so hours of story time, the movies have been forced to sacrifice swaths of her material, and while the scripts have been largely models of adaptation — most, this one included, are by Steve Kloves — the emphasis on action (and interminable games of quidditch) was also a concession to the action - imperative of the modern blockbuster.

That game, once it's afoot, is plenty entertaining, even if it never veers beyond the most conventional contours of modern - day movie action.

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Without relying overly much on the typical hack - and - slash editing that pollutes so many modern Hollywood action movies, the framing and staging makes allowance for the necessary intrusions of multiple stunt people while keeping things tight and comprehensible.

It's a modern day salute to the campy, goofy fun the action movies of the past used to have, while keeping a slick, modern set of effects that directors of days gone by could only dream about.

Michael Bay is a guy who makes big and dumb action movies, and a lot of superhero films are big and dumb action movies, but he still hasn't taken the plunge and embraced modern Hollywood's love for men wearing capes.

It could easily play as a monster movie or a modern horror movie, with the haunted tension of a supernatural story like The Orphanage mixed with the big, stately action of Pacific Rim.

Yes, T5 is a father / daughter drama, a romance, an action flick, a time - travel sci - fi yarn, a post-apocalyptic war movie, a modern - day satire on our reliance on smart devices, and the worst, stalest example of all those things at once.

For at least the past 20 years, the influence of anime movies could be found in most modern action movies.

In comparison with your average modern blockbuster, in which the story grinds to a halt every 15 minutes to make room for another eye - scorching set piece, there's very little action in the first Star Wars movie: an extended chase through the Death Star corridors, a perfunctory sword fight between two knightly codgers and a pair of space dogfights, and that's pretty much it.

The movie doesn't do anything wrong per se, merely suffers the same problems all action movies created in the early 2000s have, especially when compared to the sleek cinematography of the modern Bond films and the Raid.

The loss of life matters in this movie and its never glossed over or shied away from like some modern - day action movies.

is an 8 - bit recreation of the movie's climax that perhaps without meaning to shows how much modern action movies are like video games.

SOUNDS: Placing Gangster Squad in a contemporary mindset, the score of the film is run - of - the - mill typical action accompaniment seen in any modern day movie.

As for the CGI animals, Peyton gives them plenty of opportunities to wreak havoc, although at least one or two of those sequences feels better in conception than execution: though the large - scale destruction is all masterfully rendered — and it must be noted, brutally violent for a PG - 13 movie — he like many other modern filmmakers gets too close to the action, mistaking incomprehensibility for claustrophobia, and seems either unaware of or uninterested in even the basic physics of gravity, falling objects, and so on.

However, at the end of the day this is a movie about huge robots punching monsters and the film wastes no time in throwing us into the kind of spectacular action you'd hope from a modern day blockbuster with that premise.

LMD: You have been a part of every important era in modern Hong Kong action cinema since the 1960's, very notably in the 1970's, in your own starring films throughout the 1980's, and recently in movies like SHA PO LANG, IP MAN and THREE KINGDOMS, you're seeing another new age in martial arts filmmaking.

It's a remake of a minor classic 1972 film of the same name, starring Charles Bronson and Jan - Michael Vincent, and while this is a glossy, modern - day take, it's for the interesting character touches that The Mechanic doesn't become too «mechanical» to disappear into the action movie abyss many other Statham starring vehicles fall into.

Naughty Dog's video game series of the same name is considered one of the best action - adventure titles in modern gaming history, and the studio's cinematic approach to the story and gameplay make it the perfect choice for a movie adaptation.

Patrick Hughes previously made the well - regarded horror thriller Red Hill, which I haven't seen yet, but between those positive notices and the notion that he would be helming the remake of one of the best action movies in years, I was intensely curious to see what he would make of the third installment in this modern series that is dominated by lead actor, co-writer, and director Sylvester Stallone.

In a film year marked by gothic imagery, twisted interpretations of classic myth, and send - ups of modern art, who'd expect all three from the sequel to John Wick, the surrealist action movie par excellence that cast Keanu Reeves as a hit man out to avenge his dog?

Makin» wookiee In comparison with your average modern blockbuster, in which the story grinds to a halt every 15 minutes to make room for another eye - scorching set piece, there's very little action in the first Star Wars movie: an extended chase through the Death Star corridors, a perfunctory sword fight between two knightly codgers and a pair of space dogfights, and that's pretty much it.

The sheer size of the spectacle Hitchcock served up in VistaVision is still apparent in today's elephantine offerings; to watch these characters scramble across the impassive face of Mount Rushmore during the climax is to witness the modern action movie being born.

This is most prominent in the final few pages which are home to an action sequence that winds up being the comic version of an annoying modern action movie that reckons doing a jump cut every 0.2 milliseconds is a good thing.

Although it makes up a small portion of the game and is therefore often overlooked as the key to its ultimate success, much of Modern Warfare's greatness stems from its singleplayer campaign, a linear, tightly scripted action - movie that just so happened to be interactive.

Beneath the action and the «pop culture for pop cultures sake» (which does feature heavily in this movie) are a few messages that shine through at poignant times in the progress of both modern day cinema and gaming.

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Its multiplayer could have been a unique representation of modern guerrilla warfare instead of the typical action movie propaganda: U.S. soldiers are trained to work as a team, so why not give those players a significant stat boost when they're grouped together?

, has collected a series of movie titles from various films, ranging from old black and whites to popular modern - day action flicks.

A popular Tumblr, Movies & Titles, has collected a series of movie titles from various films, ranging from old black and whites to popular modern - day action flicks.

Facebook, Flixter, Hulu Plus, Lync 2014, Skype, and Twitter are all onboard with Cortana for actions such as «show top movies», «watch the latest episode of Modern Family,» and «make a new tweet».