Sentences with phrase «of other action films»

Another spoof starring Leslie Nielsen sending up Die Hard, Jame Bond and plenty of other action films.

Not exact matches

Contrast the alleged actions of this alleged Coptic Christian with that of Muslims killing and maiming Coptic Christians and blowing up their places of worship... INSULTING Coptic Christians in far worse ways (literally «insulting» them TO DEATH) than is done (or ever could be) in this or any other film.

This film reminds us that we are called upon to love those who are hurting even when they threaten to hurt themselves or others, and we are asked to offer support to the beleaguered parents who often become isolated from others through the actions of their children.

The other is that this is the last live - action film in which Walt Disney was personally involved; he died two years before the film's release, but supervised the scripting process and some of pre-production.

The killer has no motivations for his actions other than the cliched «He's just crazy,» and the establishment's actions, personified by the mayor and police chief's conservative dealings with the killer, wreak of a contrived set - up to make Harry appear «heroic» - what the film considers «heroic» - by contrast.

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.

You have the option to play as Marlin, Dory, or Nemo and, as you live the action of the film's storyline, you'll meet all the other memorable characters.

Compared to other silent films of the 1920s, with the undercranked action, overly emotive acting, fantastic plots and theatrical make - up and costumes, «Napoleon» is years ahead of its time.

Good sci - fi has all these things, of course, but «bigger» isn't better, and most of the «big» idea movies use «the future» as a setting for action and adventure, whereas true sci - fi films (and books) use that setting to tell human stories in new ways; human relationships (with others, with self, with the environment, etc...) are are the core of the best sci - fi movies we've seen.

The Movie: The idea of George Clooney playing a (mostly) silent assassin holed up in the Italian countryside with gorgeous European women sounds like recipe for a solid dramatic experience, so why Focus Features is marketing «The American» as some sort of action thriller when in fact it's an arty European film, will throw some moviegoers off and just outright anger others.

The film shifts to an action / adventure tale of friends working together to save each other and defeating evil.

Visceral action (including an opening sequence that masterfully sets the tone for the rest of the film); a sharply written and directed script; rich, dynamic characters; and, as promised, the world's cutest cat (other than yours if you have one) combine to create a gut - busting, endearing, salty - sweet, and highly re-watchable comedy.

For those of us who prefer to judge Gibson solely in terms of his art, the movie is a virtuosic piece of action cinema — particularly in its second half... And while there has been no shortage of recent films that decry the horrors of war and man's inhumanity to his fellow man, I know of none other quite this sickeningly powerful.

While Harlin's big action sets in other films like Die Hard 2 suffered from an unfortunately dated sampling of CGI, everything you see in CutThroat Island has been constructed — and destroyed in grand fashion.

I find this poorly made and putted on the back of the line from many other action films I had fun watching.

The film set itself apart from others as it used a combination of live action filming and animation.

The action is a horrible muddle of skating, blood, fighting and stupid bike stunts all crammed within this tiny arena, at the same time you have other players skating down from higher levels or platforms for no apparent reason other than to look cool in the film.

Instead we are presented with an absolute turd of a film with shockingly bad «action» set pieces (despite not actually requiring major action set pieces for the plot), dreadful visuals that might as well be that «Gladiators» TV show complete with glitter and sparkles, a god awful thrash / heavy metal soundtrack just in case you forgot this film was suppose to be tough and your obligatory dire big name cast hot of the heels of other poor major blockbusters (yeah stick him / her in it, big name, can't go wrong, doesn't matter if they actually fit the role or not pfft!).

Seeing as how «G.I. Joe: Retaliation» is a live - action cartoon, I wish we could have seen thought balloons above the heads of Channing Tatum, Dwayne «The Rock» Johnson and Bruce Willis, among others, as they filmed this ridiculous and overblown debacle.

The film is at its best when it drops its focus from action beats, superb though they may be, and redirects itself towards quieter moments of clandestine favors and conversations between old contacts: of Zharkov and Cross drinking together and discussing the merits of Communism; of Zharkov's heart - felt talk with an Austrian contact whom he rescued decades ago from a Nazi concentration camp; of Cross and Scorpio confronting each other first in a midnight botanical gardens and then in a shadowy parking garage.

Comedy, sci - fi, horror, romance, adventure, action, drama, and thriller, it covers quite a lot of territory in a short amount of time, and does so with its own sense of style that makes it different from any other film, even if it is an homage film at its core.

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.

It should be obvious by now that the Hong Kong film industry is one of frequent cross-pollination by its writers, directors, actors, action choreographers and others, and if the many names dropped in this article are confusing, one more title is available to stream which might clarify things.

On top of this, the action is superb and the train sequence has never been surpassed in any other superhero film.

On the other hand, you can point out that not only was the unstoppable action hero of «Mad Max» played by Charlize Theron, but also that the Oscar nominators went out of their way to include more thoughtful and even sensitive films that depended on subtler emotions and more nuanced relationships for their impact.

I'm sure others are assuming the release date is for Deadpool 2, but Ryan Reynolds has a couple of films lined - up first which include the action flick Hitman's Bodyguard (currently about to shoot), voice work on Croods 2 and the Mars thriller Life.

Often shooting the action with sweeping pans a la «Afterschool» (a film more transparently indebted to the clinical approach of Michael Haneke), he tends to keep shots at the consistent level of heads bobbing along back alleys, hands as they hold onto one another, hips as they thrust together, until the routine is unsettled by bodies falling where they ought not to be, with hands grasping at feet and other indications of unease quietly coming to the forefront.

It should be said that this film, unlike all the other Potter movies, doesn't contain that last forty minutes of action packed sequences.

With adaptations of superhero comics to film, it seems that the only thing of interest to the film maker (s) is getting the shiniest and biggest effects on screen along with «kick - ass» action sequences and one - upping each other on the adrenaline level.

For all the 12 certificate - troubling action, though, the other reason The Hunger Games series has been unsuitable for younger viewers is far more commendable: the films have never shied away from examining the notions of corruption and control via the media.

But this is a film with four - quadrant appeal that deserves to be seen by as many people who have attended other hit live - action family films, most of which aren't nearly this good.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

By this point the action is flashing by like a fire engine without any clear end in sight, other than more and more violence, and the film feels as if it could go on indefinitely, or at least until the whole of Queens lies dead on the restaurant floor.

These misses narratively combined with other elements of Deadpool 2 make it feel like a backwards step or at the very least of a stalling of the series from the first, there's a sense here that everything's a little auto - pilot, the action too taking a backwards step from the imaginative sequences of the first film and while perfectly entertaining, this is an experience filled with nothing that would suggest Deadpool 2 is going to be a film you'll be going back to anytime soon.

This latest Disney picture, Beauty and the Beast, joins a growing list of live - action movies which traces its origins to animated films, including «The Jungle Book,» «Pete's Dragon,» «Cinderella» and «Maleficent,» among others.

The film starts off with some awkward, painfully lame flashback scenes of Kyle's childhood and transitions into an opening act that is loaded with full - on patriotism that sees him go to war to get back at the people who brought suffering to our doorstep in the events of 9/11 (he was already enlisted, but if we believe the film that decision was also motivated by seeing news footage of American lives being taken), but one of the most interesting surprises is how balanced it eventually becomes and how we see the way that Kyle's actions negatively impact others and how even he begins to question his commitment to the cause, despite the fact that he would never vocalize it.

In March, it's been a different story, with big - budget action films London Has Fallen and Allegiant plus horror titles The Other Side of the Door and The Witch.

Some of the CGI was a bit spotty in the final action scenes but other than that, this is the film I was hoping for.

Winging between deadly serious starts (this is a film that opens with an incinerated baby, for chrissakes), heartbreaking lost loves, kingdom - destroying action scenes and Blunt and Theron yelling at each other to the point of camp, the film never even comes close to striking a balance.

At its core, it is a derivative film, not only because it is a remake, but it is also very similar to other films to come out in the years before it, including Alien and Invasion of the Body Snatchers, but it still manages to hold its own through the fantastic action, Ennio Morricone's (The Untouchables) sparse and haunting score, and the lively acting by all of the performers, with especially memorable performances by Kurt Russell (Stargate, Tombstone) and Keith David (They Live, Final Analysis).

Not that the characters look realistic, but within their established cartoon world, their movements are completely fluid, their environs intricately presented, and even the physics of their action carry the proportions necessary to avoid taking us out of the moment, as so many other recent animated films tend to do.

Darkest Hour is a film of flummoxed old white men hollering at each other, a perfect foil to (and double - bill alongside) Christopher Nolan's Dunkirk, both because the two take place at about the same time during the early years of World War II — as Hitler's world domination began to take shape and an invasion of the UK imminent — and because they are entirely different experiences: Dunkirk is all action, while Joe Wright's film is all words.

While Tom Cruise's reputation as an action actor in Jack Reacher, the Mission: Impossible movies, Minority Report and War of the Worlds holds up in this story, the film's content, much like the content in his other movies, pushes Oblivion outside the realm of general family viewing.

The story's a simple quest / coming of age story, but in managing to stick to the story action it avoids the preachiness that some other Pixar films suffer from.

For swathes of the film, Katniss has little to do but react to the actions of others, though she does get to blow stuff up with her bow and enjoy a literal save the cat moment.

Anyway, there is plenty of excuse for Marcus and Michael and Selene to fight each other several times, and these provide the main action set pieces for the film.

Ant - Man, on the other hand, was more than just a comedy movie, it was a heist film that managed to surprise audiences with its unique action scenes (thanks to the shrinking capabilities of the film's main hero and villain).

His success with «Alias» ultimately launched his career, and now, ten years later, here he is approaching A-list status, starring in a fine - looking action film, sharing the screen with none other than, in the words of Ricky Gervais, «the greatest screen - actor to have ever lived» — Robert De Niro.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

From Kevin Jagernauth's Playlist review: «This is a film that desires to say something about how we relate to each other, and how the often overlooked consequences of our actions can refract down avenues we could never expect.