Sentences with phrase «out all of the action sequences»

The script by Chris Morgan (Wanted, Cellular) features a plot that is barely cohesive, and merely serves as a springboard to get the protagonists in and out of action sequences at predictable beats.

Not exact matches

The chase sequence involving an elaborate single take stands out as one of Spielberg's greatest action set pieces.

Instead of being left to rely on deductive theoretical formulations about the economic or political interests served by ideologies, we are offered attempts to spell out a credible set of social factors that relate the actual producers and disseminators of ideas with their social environment, with interested audiences, and with sequences of action that put ideas into effect.

«Third, the man seems to have developed a rather exalted understanding of his ill - advised intervention, By binding wounds and pouring on oil and wine he seems to have been carrying out a highly provocative sequence of actions.

It makes sense out of the complex stream of events flowing into the brain; it places mental contents into appropriate sequences and hierarchies; and it plays a critical role in planning our future actions.

All your profile pictures matter, but as the above sequence of actions makes clear, nothing will help you stand out from the crowd as effectively as a great main profile picture.

i do nt have any special routine or planned out sequence of actions to heighten arousal.

The action is mostly well - executed, Forster having come on leaps and bounds since the poorly - put - together sequences in «Quantum Of Solace» (the cutting does occasionally lapse into incoherence, but one suspects it's more out of a need to get its compromised PG - 13 rating than anything elseOf Solace» (the cutting does occasionally lapse into incoherence, but one suspects it's more out of a need to get its compromised PG - 13 rating than anything elseof a need to get its compromised PG - 13 rating than anything else).

The 3D conversion for DH2 is superb — even though there are few instances of stuff coming out of the screen at the audience, it adds depth and solidity to the proceedings, and puts us squarely in the middle of things during the movie's first action sequence of note, a ride through Gringotts vaults.

The film, which initially resembles a sitcom both in its reliance on one - liners and in its decidedly uncinematic visual style, slowly but surely wears out its welcome, however, as the affable vibe inevitably gives way to an emphasis on increasingly over-the-top action sequences - which wouldn't be quite so problematic had such moments been infused with even an ounce of real excitement by director Shawn Levy.

Bond - lovers will be offended by story inaccuracies and barely recognizable action sequences, while shooter fans will grow bored of the lame level design, lack of variety, and out - of - context story lines.

The opening sequences are among the best ever filmed treating the sheer terror and adrenaline rush of an out - and - out chase, and are nearly silent the whole time, such is the high action quotient.

He runs out of ideas for action sequences (worst is when he repeats one just a couple set pieces later), he doesn't give his actors anything to do (he's more concerned with showcasing the makeup jobs on most of them); in fact, he barely has any enthusiasm for anything in journey.

The sequence goes on forever, with Nispel borrowing action thrills out of Predator, Cliffhanger and probably Commando, only without knowing how to direct them.

The plot plays out like a very bad Silver Age comic, with a cringeworthy heavy - handed «Captain Planet» - esque anti-nuclear weapon message, beyond cheesy plot consisting of multiple meaningless subplots, mediocre effects - driven action sequences that induce laughter rather than suspense, and actors who seem more disinterested than the next.

A powerful experience, filled with dazzlingly executed action sequences that generally avoid the rock music and drugged - out conventions of «Apocalypse Now,» and even exude a certain core of humanity.

The action sequences and fight scenes in the first two acts of the movie are equally impressive in their staging, taking visual cues from sources that include Coogler's own grounded boxing scenes in Creed, as well as many a James Bond film during a nightclub sequence right out of something like Skyfall.

The film's superb action sequences, beautiful cinematography, fine performances and haunting soundtrack are real stand - outs, but, unfortunately, they're undercut by uneven pacing and the inclusion of a little too much padding.

There are scenes where Jolie and Pitt sizzle, and there are some moments of fantastic scripting, where the violence and gun battles become something more than just great action sequences... they become commentary on the process of working out one's differences with another.

Mockingjay Part 2 doesn't quite reach those heights, but plays out like a gripping recap of the best bits of the rest of the franchise: the gulf between rival suitors Gale and Peeta is clearer than ever, thanks to their conflicting ideologies; the clash between dictatorship and democracy is brutally violent; and the action sequences buzz with thrill and ingenuity not seen since Catching Fire.

A lot of the action sequences are lifted straight out of Resident Evil, and its basic tropes are a somewhat unstable mixture of disaster movie and political thriller.

The inclusion of several way out - of - left - field action sequences only cements Mr. Brooks» status as a seriously unfocused piece of work, though there's little doubt that the movie remains worth a look if only for Costner's eye - opening performance.

With plenty of genuine laughs, balls - out action sequences, and a whole lot of emotion and heart, this is the sequel that you'd hoped for.

He brings the pacing of Creed's boxing matches to the longer action scenes, producing a fabulously entertaining sequence in which a shoot - out in a South Korean underground casino — presented in part as an uninterrupted long take — breaks out into a rollicking car chase through city streets.

Content Advisory: Some mildly frightening moments and action violence; mild rude humor and a sequence of gross - out humor; depictions of theft.

Even something like «The Bourne Identity,» beyond the action sequences there's something deeply satisfying about being a fish out of water alongside the protagonist.

Coleen Atwood's costume designs here also seem wasted, a bevy of insidious peculiars whose personalities are visualized through the designer's outfits but get edited out of the monotonous action sequences in the third act.

Director Jonathan Liebesman background in horror films shines through in some genuinely tense moments, and one or two of the action sequences are well executed (a massive shoot - out on a freeway overpass is a particular highlight), but the potential of this movie is both wasted by a lack of general coherence, and then destroyed by dialogue that swings wildly from cheesy patriotic to unintentionally hilarious.

But it's not nearly as out there or impactful as Diesel's other 2017 action - adventure, «XXX: Return of Xander Cage,» which also boasted an action sequence opening in an exotic location that has Diesel's hero save the day, then being roundly cheered by the locals.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

I love how IMAX obliged shots that were «lovingly held» to maximize the effort of rigging up the cameras and get the most out of their 3 - minute magazines, lending the applicable action sequences a delightful old - school tempo.

There is a lot of flair and bravado to the action sequences here, whether it be in - car chases, boat chases, Nazi torture doctors, and powerful slaps that can knock a man out while keeping him standing still upright, but your left solely appreciating the idiosyncratic nature of it all alongside some admittedly wonderful cinematography that captures these scenes with, again, style.

The action sequences are non-stop leaving the audience on the edge of their seat wondering how Bond will get out of each situation.

In some ways you could say this movie suffers from the pitfalls of other video game movies where there's not enough time to flesh out exposition and the action sequences suffer from rushed conflict resolution.

As expected from a Ridley Scott - directed sword / sandals epic based on the story of Moses leading 600,000 slaves out of Egypt, the trailer and footage teased killer action sequences and battle scenes, a cast of thousands which includes Sigourney Weaver, Ben Kingley, Joel Edgerton, Aaron Paul, John Turturro and some of history's earliest family drama between Moses and Rhamses (Edgerton).

Though most of the action is set in and around a Los Angeles skyscraper, the film manages to wring many convincing sequences out of such a claustrophobic setting, from one - on - one fights to an explosive last - act rooftop setpiece.

Also, Forster is smart enough out to bathe his action sequences in light (instead of only focusing on zombies attacking in the dark or popping out suddenly to attack).

There are plenty of dynamic action sequences yet none of them felt like they were dragged out for too long like we've seen in some of the Marvel or DC movies.

Finalists: It was a great year for action, largely thanks to George Miller's new action masterwork but even in less perfect films there were inarguable standout sequences like the choreographed unbroken take on the Johnson vs. Sporino fight in CREED or the Hulkbuster Suit vs. Hulk in AVENGERS: AGE OF ULTRON both of which were so strong it's unfortunate to leave them out of the top fivOF ULTRON both of which were so strong it's unfortunate to leave them out of the top fivof which were so strong it's unfortunate to leave them out of the top fivof the top five.

The film is basically one extended shootout sequence with the occasional diversion for a purely stylish interlude of silhouettes against the Italian sky that play out somewhat like a Greek chorus physically commenting on the action.

The excellent work in establishing characters and the group's relationship early on is nearly all but thrown out the window or forgotten about for large portions of the film to make way for prolonged, self indulgent action sequences that we have all seen many times before and that are all too common in a Frost, Pegg, Wright collaboration.

Johnston, who worked on the original Star Wars franchise before striking out on his own, knows this sort of filmmaking well enough, and his choreographing of action sequences is consistently admirable.

The action sequences have also been ramped up in size and intensity from the original, especially during a blistering shoot - out in a German forest that sees our heroes on the run from a world - class marksman and an armada of tanks.

Director Len Wiseman choreographs these sequences well, but they nonetheless take us out of action with their spectacle.

Taking every part of what made the original Mad Max outings so successful, Miller took an absolute shedload of risks, putting stuntmen where they'd never gone before, crafting insane, lengthy action sequences, and wrapping that all together into a visually - arresting story that just so happens to have a slew of kick - ass female characters.

Much of the action sequences also feel straight out of the video game and, much like in the games, they are exciting to watch and engage in.

Most importantly, without Cuarón, it's hard to imagine Yates would have the freedom to make the Potter movies his own: to make the Ministry of Magic an automated nightmare straight out of Brazil; to shoot action sequences as loud and surprising as gunfights; to let Harry and Hermione dance to Nick Cave, even though it's not in the books, because it turns out that's just what the audience needs to see.

They break in with guns blazing, and there's an extended action sequence ending with one of the heroes diving out of an upper floor on a bungee cord, just ahead of a shattering explosion.

Despite its»80s high school allusions, Central Intelligence frolics happily in the nostalgia of the 1990s, reminiscing about Budweiser's «Wassup» adverts and featuring a soundtrack that opens with En Vogue's «My Lovin» and plays Blur's «Song 2» along to a vigorous action sequence which sees the pair crash out of a skyscraper in a mail cart.

Less successful are the action sequences where the Beast and Gaston battle it out «Hunchback of Notre Dame» - style among rooftop turrets, crumbling buttresses and gargoyles.