Sentences with phrase «of slow motion shots»

Plus the film is from the mind of Zack Snyder, so you're going to get plenty of slow motion shots and astonishing unbroken takes.

As eye candy for older males, there are plenty of slow motion shots of Megan Fox running, and running, and running... all while wearing a strappy, little shirt that will never qualify her for best «supported» actress.

Not exact matches

«I really love that slow - motion shot of Kylo and Rey back - to - back with the guards from all the sides in Snoke's chambers,» Johnson told Business Insider in a recent interview.

During FP1, we witnessed some stunning slow - motion shots of drivers tackling the Turn 15/16 chicane (the second part of the Swimming Pool section).

He's in a slow - motion swagger, with low steps and shoulder dips, chopping the air with his right hand, holding a basketball aloft with his left — a few beats of celebration for the Sooners» senior shooting guard after sinking more than 80 % of his three - pointers over the past half hour.

Jiří Tureček caught a seriously cool slow - motion shot of Hanninen's wheel on fire after the crash, obviously caused by the unfortunate meeting with the bridge.

His slow - motion full swing was something of a breakthrough considering he told us recently he was able only to hit 60 - yard shots, though it's unclear what iron he used in his most recent transmission.

All four shots were dead - on and especially in slow motion, are a complete work of art.

Ozil appears to have so much time on the ball it seems like slow motion — wouldn't be surprised if he is conducting a quick mental calculation to work out what he should do next to maximise the probability of a goal — shoot with his weaker foot or pass to someone in a better position — last two games he chose the latter with goals resulting from both decisions.

Yet, if you're looking to shoot awesome looking slow - motion drone videos, the X-Star is actually the best choice because of its 120 fps and 240 fps modes and its high - quality three - axis stabilization gimbal.

In slow motion - in video originally shot at a thousand frames per second but played back here at 30 frames per second - we see the initial suspension lines deploying out of the pack and taking the parachute backwards where it will ultimately inflate in nearly half a second.

this game has so much cursing in it i love it and all the blood man it is just one of the greatest games ever made plus when you get a perfect shot I love how it goes into slow motion.

Despite a plethora of Bay's usual flourishes (casual sexism, ridiculous premises, gratuitous slow - motion shots of guys climbing out of choppers), The Island actually succeeds as a midsummer diversion.

A Michael Bay film = loud explosions + flashy editing + beautiful people + lots and lots of slow - motion shots

A Michael Bay film = loud explosions + flashy editing + beautiful people + lots and lots of slow - motion shots (mostly of people turning their heads.

The pro package's most distinctive stylistic aspect is the recurrent shots of birds flying in slow - motion against pure - black backgrounds, shot in an avian research center's artificial wind tunnel (which scientists use to closely study bird aerodynamics).

Director Cate Shortland shows this off to good effect, but could have done without the arty shots of falling leaves, and slow - motion captures of passing countryside and kept the story told in a more straightforward way.

Slow motion tracking shots like this are trademarks of Anderson's style.

During Flickering Myth's interview with Bryan Singer about X-Men: Apocalypse, the director's newfound mutant power of shooting super, super, super slow motion scenes came up.

The slow motion «Dead Eye» system of lining up shots in «bullet time» is back and Rockstar reps made good use of the mechanic to fill enemies full of holes, rescuing the kidnapped Bonnie.

Another notable strength of the film is the slick imagery, courtesy of DP Gianfilippo Corticelli, who uses slow - motion shots stylishly and appropriately (a sequence with Cruz dancing in a puddle as Hirsch photographs her is stunning.)

What's left is pretty frugal, indeed: a loosely - sketched, moronic master plot complete with a final slow - motion shot so saccharine and hilarious that it looks to be on loan from Ford's sometime - collaborator and child prince of the stupid ending Steven Spielberg.

Other than the slow - motion shots, the robots» movements all to often resemble a blur of metal sweeping past the camera.

The film is an exhausting collection of airplane CGI Firefox - style and heroic slow - motion establishing shots with shutter - staggered sprints through minefields, tripwires, and large - calibre gunfire that would be more at home in a chop - socky Van Damme opera.

When Emily makes a fool of herself dancing, it's in slow motion; when mother and daughter leave for vacation, it's conveyed by a montage of stock shots of countrysides and airplanes; and so on.

Viewers will learn about the use of the Phantom 3 camera for the extreme slow - motion shots, and the goal to make them more beautiful than horrific.

Rosi uses the same montage style from the «baptism murder» sequence in Coppola's film, cutting from a lavish dinner held in Luciano's honour to scenes of bosses being shot to death in various locations, mostly in Peckinpah-esque slow - motion.

The film flatters us by leaving exposition and backstory to our knowledge of anthropology — in fact, Animal Kingdom is best indicated by its unwavering reserve — a reluctance, almost — to say too much when slow, fluid tracking motions and static, medium - distance establishing shots may suffice.

Cut to Ronnie ordering his subordinates around with over-the-top lingo out of movies like Commando and Delta Force; cut to slow - motion shots of the mall cop crew, squinting and posing in badass formations that emphasize their dorky self - importance; cut to Ronnie's bombastic antics constantly getting in the way of police detective Harrison (Ray Liotta), who highlights the hero's dumbassery by actually knowing what he's doing.

Regardless, the effect of limiting the film to the Dunst - Hartnett storyline is twofold: first, we get to enjoy many many many shots of pretty young actors being pretty, walking in slow motion, rolling around in the grass, etc; second, none of the other characters ever mean anything to us.

Ranging from gliding camera movements and symmetrical shot constructions to slow motion and rich sound design, Jenkins deploys a wide range of techniques with refreshing confidence and enthusiasm.

Dredd shoots a bunch of thugs on Slo Mo and we see the bullets piercing various body parts in slow motion.

Snyder shoots it in poetic style using slow motion and evocative shots of a dying woman's pearls dropping on the pavement.

Helmed by veteran TV director Mimi Leder in somehow small - screen - friendly Panavision (that she manages to make her panoramic establishing shots look like the stock transitions in any episode of «Hart to Hart» should be included in a textbook somewhere), the picture goes through the motions — from discovery of the peril by naïfs to the involvement of the Internet to the slow - in - coming participation of the powers that be — of a genre most recently (and faithfully) resurrected by The Day After Tomorrow.

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.

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

Slow motion takes over as the Bennet sisters begin unsheathing various types of blades hidden underneath their elaborate Victorian - era appropriate garments (in what is a rather titillating shot), but most crucially, seems to promise that the ludicrous movie titled Pride and Prejudice and Zombies will live up to the level of absurd, stupid entertainment promised.

Ghosts of Mars, however, doesn't seem to have any rules to begin with — it's a chaotic mish - mash of ill - framed excuses for extended and dull fight scenes, most of them shot in extreme slow - motion and without any trace of the exuberance of, say, Carpenter's Big Trouble in Little China and its alleyway deathmatch.

Paycheck is Woo ripping off the best of Woo: all his standard signatures (doves, slow - motion, long dissolves, meticulous matching shots, Mexican stand - offs, sliding - while - shooting, starfucking), plus stuff about switching faces (Face / Off), bird cages with hidden compartments (Hard - Boiled), motorcycle chases (Hard Target), and Lazy Susan meet - cutes (A Better Tomorrow II, Mission: Impossible II).

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).

The vibrant photography includes dazzling time - lapse and motion - control footage of tides coming in and striking slow - motion shots of salmon trying to journey upstream.

The worst scene has to be the bloody finale featuring lingering, slow - motion shots of the pervert's swaying private parts.

In virtually every promo for Marvel's Black Panther, there's been a slow - motion shot of the Chadwick Boseman's titular hero avoiding a car explosion by back - flipping onto another vehicle.

Ignatiy Vishnevetsky, AVClub.com: «Despite its illegible chase scenes, awkward slow - motion shots, and fumbling attempts at political commentary, No Escape manages to be intermittently interesting, thanks to an off - beat supporting turn from Pierce Brosnan and the intrinsic curiosity factor of watching a film mishandle an inspired premise.»

Other non-starters include Camera (essentially a hidden object puzzle where you're looking to take photos of on - the - run criminals), Patchwork (a tiresome pattern - matching puzzle game), Ski (a motion - controlled top down game very similar to the F - Zero mini-game from Nintendo Land), Kung Fu (a frustratingly slow - paced platform game with the art style from Ōkami), Design (a thinly veiled excuse to indulge Shigeru Miyamoto's love for guessing the length of objects (no, really)-RRB-, and Ashley (a tedious 2D shooter without any actual shooting).

All the slow motion, tracking moves, and framing and wide and long shots are hauntingly descriptive: In that strangulation sequence, a shot in an apartment hallway with Bulger and his victim in the foreground slowly accommodates, in the background, one out - of - focus henchman, then another.

Mister Lonely opens with a slow - motion shot of a Michael Jackson impersonator (Diego Luna) riding around on a miniature motorcycle, a stuffed monkey trailing behind him, while Bobby Vinton croons the title track.

Though the movie isn't without the typical Bayisms (from the overuse of slow motion and lingering shots of the American flag, to the corny dialogue), «13 Hours» is a marked improvement compared to his recent output that harkens back to earlier films like «The Rock.»

«The Scorch Trials» opens with slow - motion shots of barbed wire.

The film lives and thrives on these whiplash moments; it seems as if Wong hadn't yet perfected the languor that I love so much about his films, and so there is no small thrill in the chases, or the extended scenes of almost sadomasochistic violence inflicted on and by Wah (often shot in extremely long slow motion shots), or of course the unspoken flirtations.