Sentences with phrase «of slow motion action»

Not exact matches

In the absence of decisive, quick action to tackle this slow - motion crisis, the best - case scenario for the next few years is that America becomes a much riskier place to do business.

In addition, the three resident PGA instructors take advantage of high - speed cameras and digital playback equipment to teach golfers by visualizing their swing in stop action or slow motion.

It thrusts you into the thick of the action, leaves you perched precariously on the edge of your seat, fingernails bitten to the quick, mouth hanging open and heart pumping as the ball spins in slow motion towards the net, and then elated by the deafening roar of the crowd or deflated by another crushing defeat.

In this low - impact, slow - motion exercise, you go without pausing through a series of motions named for animal actions — for example, «white crane spreads its wings» — or martial arts moves, such as «box both ears.»

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.

Performances are uniformly not great; the whole thing takes place at night and even scenes inside the house are lit too dark; a PG - 13 rating holds back the violence, most of the action features a weird reliance on cheesy slow motion, and - perhaps the film's greatest misstep - the tech house angle is barely utilized.

Each action sequence looks like an expressionist painting and are strengthened by Jenkins's exceptional use of slow motion (a style I've resented in recent years).

Is Zack Snyder's «Sucker Punch» a story of self - empowerment and fantasy worlds, a dream come true — or just another over-the-top action film with slow - motion cinematography?

While a little long and full of some pretty hefty amounts of cheese (slow motion action scenes complete with slow motion talking abound), Young Guns is just downright entertaining, especially if you love the 80s.

The action of the romance is the film is reduced to slow - motion gestures, sidelong glances, and shared pauses, and, in turn, what we recall of the film is reduced to its essence: We may remember the impossibly rich red of a wall, the undulations of a pot of noodles, the patterns of Mrs. Chan's cheongsams, the smoke of Mr. Chow's cigarette.

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.

If you are familiar with Woo's work, you will be comfortable with the constant barrage of violent action, the slow - motion for emphasis and double - getting the drop on the other guy.

The main carryover from Woo's Hong Kong thrillers is the elegant sense of craft in his articulation of action sequences, though the degree of stylization is much less: Woo specialties, like slow motion, tend to be restricted to short individual shots rather than taking up whole sequences.

«Mash - Up of Awesomeness: Slo - Mo» focuses the franchises more intense action scenes in slow - motion.

But renowned Hong Kong action director Woo puts a striking new spin on the chaos, using lots of slow motion, freeze frames, and dissolves during the many well - staged action sequences.

Wong's violent interludes are most often brief riots of slurred or slow - motion action alternating unexpectedly with freeze - frames; these sequences, delivered so rapidly one can often barely perceive what's happening, are obviously abstract versions of the action scenes in conventional martial - arts films (The Eagle Shooting Heroes included).

He tugged them, slyly, like a man doing a slow - motion rug trick, to his own corner of the action.

Slow Motion Endings Every one of Anderson's live action films features an slow motion ending set to a pop sSlow Motion Endings Every one of Anderson's live action films features an slow motion ending set to a popMotion Endings Every one of Anderson's live action films features an slow motion ending set to a pop sslow motion ending set to a popmotion ending set to a pop song.

After the monologues trickle to an eventual stop, there come the sort of Matrix - inspired action sequences involving fast impact and slow - motion resolution, lots of guns in the John Woo tradition, and lots of water in the Adrian Lyne tradition.

Action highlights for the zombie - filled adventure include hundreds of Alice clones storming an underground fortress, a rooftop face - off against an army of zombies and a MATRIX - inspired slow motion battle with Wesker.

The over-the-top action is pretty good, if oddly directed; car chases and gunfights will vacillate between conventionally filmed excitement and kooky close - ups and slow - motion shots of Helen Mirren firing two guns out of the windows of a spinning car.

Finally, we get «Action Is Art: A Study of Ushio Shinohara's Boxing Painting» (3:39), a short that presents the artist's boxing glove methods, taken outside and applied to glass showing Manhattan skyline behind it, in highly artistic super slow motion.

But while Creevy struggles with the basics of suspense — often indulging in the same hacky, buzz - killing slow motion shots as he did in Welcome To The Punch — his direction of the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahof suspense — often indulging in the same hacky, buzz - killing slow motion shots as he did in Welcome To The Punch — his direction of the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahof the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahof a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the AutobahOf Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahn.

Director White tries to hide the use of body doubles through slow - motion inserts of the stars in action, but it's not terribly effective.

Director Kathryn Bigelow gives the proceedings a hefty dose of style, using a lot of dreamy slow motion and quick editing, and staging the action scenes with great energy; her most brilliant work here are the on - screen recreations of the SQUID clips, shot in long takes and with appropriately edgy and shaky handheld camera work.

strange very talky thriller... very good acting by all... a film of style over substance I think... good soundtrack and an excellent slow - motion action sequence when someone gets shot in a car but has a very ABRUBT ending that confuses!

What follows in both Gibson's film and Fulci's is a period fantasy leaking blood and viscera, scored with drama and shot in operatic slow - motion: tales of martyrs and heroes, of battles against the unclean (more suggested in Gibson's film as a steely - eyed, newly - risen saviour gets ready to rock), and, in their different / same ways, reduced to the barest elements of conflict - action - resolution, repeat.

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).

And when a substance of hers, that Buchannon describes as stronger than «bath salts on meth,» washes up on shore, the gang goes into action to solve the crime, but also for additional phallic jokes (more than just Oscar's member is sacrificed on the alter of cheap laughs), near drownings, shootings, various vomiting scenes (a body function that seems to have totally replaced farting in the screenwriter's lowest denomination guidebook), shipboard fires, shark attacks, Mitch getting fired and replaced by Brody, and slow - motion shots of well - endowed women running up and down the beach.

And on a technical level, Wright brilliantly mimics the structural characteristics of these films, with rapid - fire editing (Wright deploys Bay's fast - edited style to such a degree that there can be up to eight cuts per second in a few action sequences, a noticeable and hilarious gag) and swooping, circling and slow motion camerawork that would make John Woo proud.

The big visual difference is that once commands are executed, actions immediately play out in dramatic cinematic slow - motion close - ups where you can see the detail and personality of the 3D models interacting with one another in bloody engagement.

And about five minutes into a tedious prologue that features a novel's worth of voiceover, blather about a virus that makes people dangerously embrace their emotions, and a sloppy action scene of murder and fucking that included a pair of bare tits disturbingly distorting in slow - motion, I thought only, «Fuck me.»

Of course, this is also comes with few advanced mode, such as Smart Pro, Action Freeze, Slow Motion Video, Auto Cloud Back - up, Share Shot, Buddy Photo Share, AllShare Play and more.

Despite the fact that they can run at great speed, most of their actions around the house are in decidedly slow motion, and they are definitely not snap - to - it obedience prospects.

Stopping time, diving through the air in slow motion and rewinding actions to have another shot at success are but a few examples of a power we all fantasise about and are always eager to live through within games.

One of the highlights that keeps the focus on the action is a slow motion crash cam that zooms in and slows down the video on the games biggest crashes.

You can watch a full race replay with the ability to watch in slow motion, pause, fast forward, rewind, change the camera angles for a different view of the action or enter the free camera feature.

The gunplay is reminiscent of the first game and combines frantic action with slow - motion barrages of bullets.

You can watch a full race replay with the ability to watch in slow motion, pause, fast forward, rewind, change the camera angles for a different view of the action and to view the action from the previous or next rider, restart the replay or enter the free camera feature.

The game, which bears all the filmic hallmarks of the developer's earlier work — including jump cuts, camera swirls and slow - motion action sequence — will even ship with its own tie - in TV show.

Very cool stuff in slow motion where you get the satisfaction of every move you would not see because the regular action occurs at a very high speed.

Special actions include a nice slow motion «reflex mode» (can be disabled) that displays a visual arc in the direction of the enemy who spotted you and that familiar exclamation point and sound.

While the art style is completely different in Samurai II: Vengeance than it is in Shadowgun, going for a more anime - style of art, the game itself is hack n» slash at it's finest where you can break out combos against multiple enemies and even get some slow motion final killing blow action in there as well.

You can vault over cover, resulting in slow motion in which you can continue firing at your enemies, but fans of John Woo will certainly be disappointed with the lack of a shoot dodge ability, given that the game partially takes its inspiration from Woo's own Chinese action films.

Los Angeles painter Patrick Wilson presents a magnificent new body of his brilliantly constructed, abstract acrylic on canvas paintings in his highly anticipated third solo exhibition Slow Motion Action Painting at Marx & Zavattero, June 2 - July 14, 2012.

The duration of Sterle's continuous action is underlined by the technical device of a video medium - the act of running is put in slow motion.

A third man walked into the room, sat down, and watched the action, the women rolling in slow motion and the man moving about the room, taking stock of things.

Shot primarily in slow motion, the competitive nature of the Jiu - Jitsu fighters and racehorses is paralysed by an extreme aestheticisation, transforming scenes of action into objects of contemplation and visual pleasure.

Mark Lynas's Six Degrees * is first, a graceful yet massive synthesis of a very large selection of scientific research papers; second, an eloquent and honest plea for action on the «slow - motion crisis» that is climate change; and third, a coherent account of how global warming would affect humans and their world, if allowed to proceed.

Super slow - motion video seems gimmicky, at least in the case of the XZ2, because you have to anticipate when the action you'll want to slow down will occur.