Sentences with phrase «of shaky cam»

Meanwhile cutscene length is far better judged and features heavy use of shaky cam, something I'm normally against as movie directors these days rely on it far too much, but it's artfully done and combined with long, single camera shots.

And someone needs to stop the combined use of shaky cam with handheld camerawork.

Refreshingly absent of shaky cam, Fuqua masterfully sets up each battle and never loses track of the territory in which it takes place.

Something that is definitely improved upon is the use of shaky cam which was something that got to be a little annoying the first time around.

The usage of shaky cam was in no way intolerable.

Not exact matches

Like other so - called «mumblecore» movies, including Bronstein's own «Frownland,» this is an unnervingly intimate glimpse of dysfunction, with a shaky - cam aesthetic and seemingly improvised dialogue.

It's an interesting choice to say the least, and while I'm usually not the biggest fan of the «shaky cam», it is a novel way to shoot a «get laid road trip» flick.

The action scenes are better choreographed, with none of the dreaded shaky — cam, and there are some spectacular visual effects.

On this week's episode of Film Club, A.A. Dowd and Ignatiy Vishnevetsky talk Jason Bourne, the fifth entry in the superspy franchise, which reunites star Matt Damon with shaky - cam maestro Paul Greengrass.

Director Adam Wingard's (V / H / S, V / H / S 2) technique is rife with overused shaky - cam effects in order to give the semblance of tension, though not even the most tremulous of moments can cover up for the fact that this family just can not emote convincingly a look of sheer terror when their own beloved wives, sons or daughters are being butchered in front of their very eyes.

Having the movie told from the perspective of the TV crew means we have far less shaky cam than usual.

It maintains the look and feel of the first with amazing lighting, cinematography (NO annoying shaky - cam here!)

This was before the era of shaky bungee cam filmmaking, and, in retrospect, it seems like a bonus that you can actually tell what is going on during all of the action.

The 3D also required Michael Bay to tone down the use of the «shaky cam.»

Shaky cam and jolting cuts dominate the fights that feature CGI doubles for Thanos» Black Order or army of Outriders.

Cowperthwaite's direction is specific and confident, especially in one extremely complex battle scene where — unlike in a lot of films nowadays that over-rely on shaky - cams and quick - cuts — you can tell what is happening, who is doing what, and why.

He gets rid of the dreadful shaky - cam that the first film has and adds nothing to the film.

Expect lots of screaming and shaky first - person hand - cam footage.

Too earnest to ironically indulge in the narrative's familiar pulpy beats and too uncertain about the strength of this material to play it straight, Fleischer aims for a muddled middle, jazzing up Beall's faux - hardboiled dialogue with slow - motion shootouts and shaky HD - cam pursuits that only remind us of how much better Public Enemies turned out.

Gone is the annoying shaky cam and put into its place is a genuine sense of technical accomplishment.

This was Padilha's big opportunity to compensate for the much - derided PG - 13 rating, but between the annoying shaky cam and his tendency to cut away from the action too early, many of the set pieces are scattershot at best.

Image and sound quality are good, though the shaky - cam techniques of the found footage format render the HD moot.

Gone is the first movie's over-reliance on frantic shaky cam cinematography, which added a level of frenetic electricity but often at the cost of things like spatial geography or character placement.

And in fairness to [Paul W.S.] Anderson's champions, most of them praise the director not on any highfalutin philosophical grounds, but rather for his spatially coherent action sequences staged with a minimum of the shaky - cam aesthetics and nerve - jangling editing that have become the dominant m.o. of the post-MTV Hollywood blockbuster.

When Kick - Ass 2 stays focused with the goofy nature of real - life super-heroes, or the crazy action sequences (albeit with a too much shaky - cam for my tastes) it works.

Flinging special effects shots of alien spacecraft bombing buildings and shaky - cam confusion to the soldiers on the ground just isn't enough of a story to keep a nearly two - hour film afloat, and not long after the film starts does it run out of anything but the most basic ideas on what to do with its characters and where they should go.

Most of the time he resorts to handheld, shaky cam whenever Bond springs into fisticuffs.

I counted only one overt use of the dreaded handheld, a.k.a. «Shaky Cam», but it was appropriate for the scene.

With the new film comes a new director, Francis Lawrence, who gives us less character touches but more emphasis on action (thankfully, with less of the shaky - cam effects of Gary Ross), which may please those looking for the dystopic film to just keep moving, even if it seems to skip some narrative steps along the way.

For every moment of large scale action and scope, director Justin Lin fumbles a slice of sub-Greengrass shaky cam fisticuffs.

He sacrificed none of it for his first foray into found - footage horror, eschewing shaky cam chaos for patient, graceful pans and eerie moments of quiet reflection.

Catching Fire has made a conscious decision to be more upfront with its violence; gone are the shaky cams and motion blurs of its predecessor.

The Russos also struggle a bit with some of the action sequences, over-relying on disorienting quick cuts and Paul Greengrass shaky cam that obscures the power of movement.

Based on this early footage, Gilroy has traded in the frantic shaky cam and kinetic editing that director Paul Greengrass favored in Bourne Supremacy and Bourne Ultimatum, in favor of the steadier, but still exhilarating approach of Doug Liman in Bourne Identity.

But it lacks even the self - aware zaniness of those shows, and the shaky - cam fight scenes feel like they were edited by a random number generator.

The Bay came out of nowhere with a trailer that featured a shaky cam found - footage style of filmmaking about an infection that spreads over a small town.

Shot in Bourne - series shaky cam, which shouldn't be a surprise, as cinematographer Oliver Wood (Surrogates, Talladega Nights) had been the director of photography for that trilogy, Safe House delivers plenty of grit, grain, and ultra-close shots of the main actors looking tense.

I also applaud the absence of the dreaded shaky cam.

Most of the slow - mo effects and shaky cam stuff (used to great effect to match the frenetic pace in the fridge gunfight scene) were gone by the time the martial arts happened.

Sure, there are 15 minutes of epic planet collisions, beautiful shots of two people riding horses under low - lying fog, and people looking moody with a planet imposed in the sky, but most of the movie's running time is terrible shaky - cam that can't even keep itself stable on its characters, often shaking off to the walls of a room and refocusing abruptly.

The concept behind Battle: Los Angeles is to take a sci - fi premise and shape it into modern militaristic mayhem, with director Jonathan Liebesman (Darkness Falls, Texas Chainsaw Massacre: The Beginning) deploying ceaseless amount of shaky - cam stylistics to pound the viewer over the head with an impression of front line realism.

This flip flopping of styles goes throughout the entire film, with steady cam, extreme slow - mo, shaky cam, and old school music interludes all getting an inclusion.

Taking a break from deep forest ruins and a shaky cam of an upcoming fighter, ARMS has seen fit to reveal the addition of a new attribute.

Martel is obviously a sophisticated filmmaker, but she alienated me greatly in La Cienaga and The Holy Girl with her shaky - cam — not to be confused with the Michael Mann school of trying to catch gorgeous momentary accidents or the Assayas school of nervous energy, but far more thematically related.

On the one hand, most people seem to agree that he did an admirable job of translating Suzanne Collins» popular dystopian sci - fi thriller into cinematic form; on the other hand, some of Ross» stylistic choices with Hunger Games (specifically, the disorienting shaky cam / editing approach) left many viewers feeling disgruntled.

Credited (unfairly or not) as the great purveyor of «shaky cam,» Greengrass and director of photography Barry Ackroyd's extraordinary mobile camera along with editor Christopher Rouse's brilliant assembly of images places the viewer squarely alongside Bourne.

The secret - shrouded brainchild of producer J.J. Abrams, writer Drew Goddard, and director Matt Reeves, Cloverfield owes its first - person approach to 1999's shaky - cam horror classic The Blair Witch Project, a debt it repays by taking the technique places Blair Witch could never go.

You know I thought this was gonna be another shaky cam found footage movie and had zero interest in seeing another one of those.

To director Brad Anderson's credit, he does his best to visually elevate proceedings above their painfully televisual material through heavy use of helicopter shots on the one hand and leering, shaky - cam close - ups on the other.

That film had no stars and was shot in a shaky - cam home - video style; here, there are no such cinematography tricks, with a much more traditional use of camera.