Sentences with phrase «point of the action sequences»

There's some rough, maybe intentionally crude effects or CGI at one point of the action sequences near the end where a cabin explodes.

Not exact matches

While she keeps the action hopping from one flash point to the next and cooks up a couple of exciting sequences in the last 30 minutes, she doesn't develop the narrative momentum needed to sustain a two - hour story.

The plot never works, the jokes are too stale to really get a laugh above the age of fifteen, and the action sequences drag on to the point of redundancy.

Landing one triggers a cinematic action sequence where Samus gets up close and personal with the metroids, grappling with them and firing a barrage of rockets or laser beams into their weak points.

Vantage Point is rated PG - 13 by the MPAA for sequences of intense violence and action, some disturbing images and brief strong language.

The MPAA rated Vantage Point PG - 13 for sequences of intense violence and action, some disturbing images and brief strong language.

The plot serves to deliver the main point of the film: the exceptionally visceral action sequences.

Brian Tyler and Keith Power's BRAAAAAHMS - heavy score punctuates many of the action sequences, feeling like an auditory arrow pointing toward where you're supposed to be wowed.

It makes for a pleasing metaphysical subtext to a film with spectacular action sequences, pointed references to the political economics of the class struggle, and a character in Benicio Del Toro whose nihilism carries with it a whiff of Zen philosophy at its purest.

If Shyamalan is to the point where he's actively flipping the bird to audiences and expectations, eschewing his life - support systems for twists and protracted takes in favour of ugly, flat, uninspired action sequences and blighted implications, then I might actually at this point be looking forward to his next one.

An exclamation point sprouts from the heads of alerted enemies; lengthy codec conversations and cinematic sequences punctuate the action; bosses yammer on and on about political ideologies before dueling you to the death; and you can even hide in boxes to stay hidden from foes.

It's a defining moment for a movie that has, until this point, assembled a series of pretty decent action sequences.

There are a few action sequences of shocking coherence in «Transformers: The Last Knight,» the fifth of Michael Bay's clang - clang - clang - went - the - robot adventures, but fear not, fans of the franchise: if you're here for the director's trademark chaos editing (where fights go from points A to D to Q), toxic masculinity (and female objectification), comedy scenes rendered tragic (and vice versa), and general full - volume confusion, you'll get all those things in abundance.

From the opening sequence of young Mowgli (Neel Sethi) racing through the jungle in the company of his adoptive wolf family and his feline guardian, the black panther Bagheera (Ben Kingsley), through its comic setpieces with the layabout Baloo the Bear (Bill Murray) and its sinister interludes with the python Kaa (Scarlett Johansson), the despot orangutan King Louie (Christopher Walken), and the scarred Bengal tiger Shere Khan (Idris Elba), the movie bears you along on a current of enchantment, climaxing in a thunderous extended action sequence that dazzles while tying off every lingering plot point, and gathering up all the bits of folklore, iconography, and Jungian dream symbols that have been strewn throughout the story like Hansel and Gretel's breadcrumbs.

Fortunately, the teaser avoids revealing anything too spoiler - y in that respect and instead focuses on condensed versions of action sequences, rather than major plot points from the film.

For those who didn't get to run with X-Men Legends, Marvel Ultimate Alliance is an over the top (view point) action RPG that takes in some of the more common RPG traits, like leveling up and team based strategy, with a real time action sequence that tries to capture the best of both worlds.

Whether it is in terms of dialogue, action sequences, or level of violence, nearly everything is handled with an exclamation point.

At the film's recent press day in Los Angeles, Waugh and stunt coordinator Lance Gilbert talked about their longtime friendship and professional relationship, what it was like growing up together on the sets of «Smokey and the Bandit,» «Vanishing Point,» «The Blues Brothers» and «Bullitt,» why Waugh considers Gilbert one of the best stunt coordinators in the world, the challenges they faced pulling off practical stunts and capturing amazing action sequences realistically in - camera without CGI enhancement, and the entertaining Easter eggs they included as a homage to the classic car - culture movies of another era.

The ensuing multitude of subplots does prevent the viewer from wholeheartedly embracing the central protagonist's plight, and yet there does reach a point at which the various threads begin to converge and the plot appreciatively streamlines - which paves the way for an impressively propulsive midsection that's rife with tense, action - packed sequences.

This ups the ante on all of Deadpool's action and fight sequences (Leitch also did Atomic Blonde), to the point where the film's entire second act is basically one long action set piece that involves sky diving, stunt driving, fights on and around high - speed trucks, and the introduction of a classic comic villain.

At many points, particularly during the live action sequences, it seems to be out of focus.

Utilizing everything that's made the Marvel universe thrilling so far, including relationships being explored (Natasha and Steve), exciting new characters introduced (The Falcon) and action packed sequences that have you on the edge of your seat (the first stand off between Hydra operatives and Fury being a highlight), they went one step further and deconstructed everything we knew about the Marvel universe up until this point.

Yes, Waititi allowed, Marvel had the movie's major plot points set in stone and exerted a lot of control over the action sequences and visual effects.

Here, we witness skydiving cars, and that's just the starting point of the first of the film's extended action sequences.

Greengrass» vomit - inducing camera work aside, he has a gift for framing action sequences in a holy - shit - they - did - not - just - do - that kind of way, and the final car chase (come on, you knew there would be one) has moments so visceral that the points of impact will bruise your skin, which is a nice contrast from, say, the painfully obvious CGI car sequence of «Live Free or Die Hard.»

But here, it works because he's able to blend into the action, including an airplane crash & rescue sequence that feels taken out of the pages of Point Break, and a climactic battle on the streets of Chicago that includes the astonishing destruction of the Sears (I don't call it Willis!)

Once basic literary terms (such as point - of - view, dynamic and static characters, conflict, exposition, rising action, climax, falling action, and resolution) have been taught and reviewed by the teacher, the students are to ready to read Edgar Allan Poes story «The Tell - Tale Heart» and discuss it in terms of plot sequencing and character development.

So, while commissioning the machines, if the users needed an instant clarification, all they had to do was point their smart phones on the QR Code and the related video would start playing, showing them the sequence of actions to be followed as far as commissioning that particular part is concerned.

- characters are drawn in the main screen in a super-deformed style - features a lot of fan - service - play as Eduard, an innkeeper of an inn who doesn't have a lot of customers - stumble into a cave while looking for crystals and meet a girl who has amnesia - this girl also has six sisters who unlock each other's memories as you come across them - your subordinate at the inn gets the idea to put all of the girls into maid uniforms - the girls transform into battle - appropriate clothing during the battle sequences - strategy / action - RPG hybrid - unlimited movement within a circle around the character's starting point - combo system - when attacking weaker enemies, you knock them back in a fashion that takes out others and builds up a combo - extra turn awarded if you manage to take out 10 or more enemies in one swing - enemies do respawn their weak helpers at a hit point cost to them - right side of the screen shows a time bar so you know which friend or foe will attack nex - male character you play as is more of a support role in battle - he'll provide a lot of your stat buffs - events for each of the maidens that give them a chance to level up and unlock new abilities in each battle - possible 18 quests - each of the girls has their own quirks

However, the action sequences that you do encounter in this game are really quite phenomenal... and some comes up unexpectedly to the point where it will actually make you leap to the edge of your seat.

Not to mention, there's plenty of epic landscapes, intense action sequences, as well as grandiose monsters and creatures on display, with the game's co-protagonists Talion and Celebrimbor steadily remaining the video's focal point.

The show had two central points of reference: Stanley Kubrick's The Shining (1980), based on the novel by Stephen King, and the Disney adaptation of Uncle Remus by Joel Chandler Harris, which opened in 1946 as Song of the South, a film musical containing both live - action and animated sequences.