Sentences with phrase «over action films»

Not exact matches

None of the upcoming movies listed over the next two years will have women behind the director's chair and, as Casey Cipriani and Melissa Silverstein of IndieWire have noted, no woman has directed a live - action film for the studio since 2010.

However, just as you can manage the actual playing of the film, you can exert control over your subsequent actions.

The inchoate, messy anger of the film mirrors the free - floating frustration of our cultural moment, and I'm stunned to see activists all over the world latch onto the film's central concept by erecting billboards meant to shame politicians into action on a variety of societal issues.

Moviegoers over the past 10 years more often than not went to see an action adventure film featuring comic book heroes, giant robots, or someone driving a fast car.

Having friends over for dinner, then watching an awesome movie (I love action films!)

After that hour, though, the scheme goes into action, and with Zemeckis» consummate control of tone and pacing and visual effects, the film, especially once Philippe prepares to take his first steps across and over the void, becomes something altogether astonishing.

Knaggs» character, a mute seaman, narrates the film's key sections with an internal voice - over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs» seaman ultimately rescues the hero from near - certain death.

It doesn't have the same hold over me it maintained a decade ago, but I continue to be very fond of it, and I think it's one of the best action films ever made.

Its gloriously silly in places clearly leaning more towards a hyped up action man vibe over simulated realism... this film has a high popcorn count, no thinking required.

With Lawrence (the director) and Lawrence (the actor) so professionally in tune over the course of three Hunger Games films, you might have hoped that the pair would deliver an off - the - rails, more mature action film with a nuanced female protagonist.

The action is large, coherent and solidified within the roots of the story, which has been deeply established over the past decade through over a dozen films.

For his elaborately choreographed fight scenes, Canutt developed a new, more realistic method of throwing punches, positioning the action so that the camera filmed over the shoulder of the actor receiving the blow, with the punch itself coming directly toward the lens.

Namely, how do you get around the issue that the action centrpiece to the film is over so quickly?

So yeah, we all know that Black Panther, a.k.a. Prince T'Challa, is going to triumph over adversity in his bid to bring harmony to the kingdom of Wakanda, that there will be the obligatory action sequences where actual danger is a distant possibility for both hero and bystander, and that the plot will pivot on a mysterious object of unknown origin («Vibranium,» in this case — don't worry if it sounds unfamiliar; the film's characters will mention it at least three - dozen times over the course of the movie).

Mangold, a replacement for original director Darren Aronofsky, is new to the superhero genre, and hasn't directed a film since the disappointing 2010 action - comedy Knight and Day, but his approach to The Wolverine (it sounds more like a samurai film than anything else) suggests it should at least be an improvement over X-Men Origins: Wolverine.

With an unhurried pace and a focus on character over action or plot, this film takes us into the mind and life of a hardened assassin and follows the story to its natural conclusion.

But layering over this film was rambunctious Rolling Stones and Clash tracks didn't do the action any favours, it just jarred the viewer, over and over, with little to no gain from it.

The film's writer and director, Ivan Kavanagh, and his team pull off a few enjoyable, decently creepy scares, but over all, the action is too cryptic, and the pedestrian dialogue doesn't help.

Written and directed by Karen Leigh Hopkins, the film's tone looks to be all over the place, but it's good to see James Badge Dale as something other than a supporting character in an action blockbuster.

Worse, barely any of the exposition in the film's dreary first half hour affects the rest of the movie; one throwaway line creates a late - movie action beat, but it's not even played as the triumph over personal history that it could have been.

Sure, it's a small, indie type film, but the action seems so over drawn and drawn out that you wonder how it would present over two or three acts.

The trailer of this film looked as though it would make the original look bad as the trailer was full of cheesy one liners and would have no action excitement compared to the first film, and worried ghostbusters fans all over the world.

«2003 saw two films that: (1) featured female lead (s), (2) valued action, atmosphere, and attitude over plot, (3) replaced character depth with exhaustive references to pop culture and / or cult films.

Matthieu Kassovitz, «Babylon A.D.» (2008) One of the more recent director - studio feuds, «La Haine» director Matthieu Kassovitz's frustrations with 20th Century Fox over «Babylon A.D.,» a sci - fi action film he'd been developing for six years before going through tremendous professional pains to shoot and cut it, is among the most notorious.

Ghost Protocol is solid action cinema that thanks to several thrilling, if over long set pieces, plus a healthy sense of irony is almost on a par with the first film.

The Tom Hardy - Charlize Theron action epic, the only R - rated film in the top ten, is expected to pick up steam and finish with a little less than $ 30 million over the four days for Warner Bros..

In true Wright fashion, this isn't exactly a straightforward adaptation; the director has set much of the film in a lush theater that uses over 100 interconnected sets to allow the action to move fluidly through various settings.

In true Wright fashion, this isn't exactly a straightforward adaptation; the director has set much of the film in a lush theater that uses over 100 interconnected sets to allow the action to move fluidly through a door and into a separate setting entirely.

Reduced by Refn almost to the point of abstraction — it could have been called Notes on a Rehearsal for an Action Movie — Drive may do little to win over multiplex crowds who prefer the fast and furious to the moody and languorous, but it reconfirms Refn as one of the most exciting young directors around, and Albert Brooks (stealing the film as a small - time Jewish gangster with an aversion to loose ends) as a national treasure.

Considering the large margin of error hanging over this production, the entertaining results are quite satisfactory and add up to one of Disney's strongest live - action films in a while.

The action — filmed in the Western style that favours quick cuts and too - close camerawork over the clarity of an Eastern approach — is perhaps the film's weakest element, but then it's just the bridge to the movie's greater concerns, anyway.

Even while spending quality time with John, Emily, President Sawyer, Finnerty, and the head of White House security, Martin Walker (James Woods), you still know what's coming, but Emmerich doesn't just hand over the action as quickly as most films, giving «White House Down» an impressively effective build before unleashing the ultimate display of DC destruction.

The action here is over the top, which sets a tone that the film is going to be a violent cartoon, but it never tops the insane sense you get from this opening action sequence.

Ever since the Detective Pikachu live - action film was announced a little over a year ago, many wondered who would play the popular Pokémon.

Once the pair go MIA, all of the adults, led by the police chief (Bruce Willis), spring into action, with even the film's voice - over narrator (Bob Balaban) dropping by to lend a hand!

Modern adventure films, some of which have been successful blockbusters, have crossed over and added resourceful action heroes (and oftentimes heroines).

ScreenPicks: Along with surpassing over 100 eligible films, Silent Nights is also the only film from Denmark to make it to the Best Live Action Short Oscars top ten this year.

Go into this movie knowing that it is an action film with Denzel Washington being awesome and do not over think the clichés and this will be an enjoyable movie for you to watch on a Friday night with your buds or you spouse... sort of.

Also noteworthy, in the category of cinema ruled by cultural concerns and actual political events, was Carlos (d. Olivier Assayas), which kept a packed auditorium of critics in their seats for over five hours with a glossy, but intelligent action film version of the 1970s exploits of a terrorist born Illich Ramirez Sanchez, but known internationally as the Jackal, also by the code name Carlos; and Des Hommes et des dieux (Of Gods and Men, Xavier Beauvois), a film, elegantly minimalist in design, based on a real - life encounter between Algerian fundamentalist Islamic terrorists and a community of ascetic Christian monks.

«Fast Five» (2011) 77 percent: Sleek, loud, and over the top, this film proudly embraces its brainless action thrills and injects new life into the franchise, thanks in part to a typically charismatic performance from Diesel.

Developed by CtrlMovie and written by Michael R. Johnson, author of Sherlock Holmes (2009 film), experience a gripping live - action crime thriller with a total of over 180 decision points.

Already decorated with over 20 honours, including the 2016 Santa Barbara International Film Festival's Best Live Action Short Film award, Graffiti marks the Barcelona - born director's return to both short films and the Oscar race; he was previously shortlisted for 2005's Avatar.

The early 1970s to the late 1980s was a unique moment in Australian cinema history; a time when censorship was reigned in and home - grown production flourished, resulting in a flurry of exploitation films — sex comedies, horror movies and action thrillers — that pushed buttons and boundaries, trampled over taste and decency, but also offered artistry within their escapism, giving audiences sights and sounds unlike anything they had seen in Australia before.

Since then Ashley has been taking over the action genre with strong female roles in films like «The Day» and recently in «The Marine 3: Homefront».

And she's not driven mad with guilt over her actions over the course of the film.

«Black Panther,» which will probably be the most popular action film of the year when 2018 is over, was released in February.

Towards the end of the film, the satire scoots over to make room for some pretty sweet action sequences, mostly delivered by Hit - Girl.

Taking over the action man reins from Matt Damon's amnesiac protagonist is Avengers star Jeremy Renner, whose profile continues to rise with each passing film.

Run All Night reunites Liam Neeson with his Unknown and Non-Stop director Jaume Collet - Serra for another high - concept action film - this time set in the urban jungle of NYC, during one incredibly long chase, over one incredibly violent night.

About his ability to marshal big egos there can be little doubt, but his camera bobs all over the axis of action like a first - year film student, and he shows almost no command of tone, reducing the material's vaguely satirical detours into perversion (incest!