Sentences with phrase «scale action film»

Returning screenwriters Christopher Markus and Stephen McFeely (Dawn Treader, Prince Caspian) continue to score big with the Captain America character, and this time they outdo themselves by making a grand - scale action film with an undertaking that comes closest to rivaling the scope and intricacies of The Avengers as an event (Supporting player Anthony Mackie describes this entry adeptly as Avengers 1.5).

Some of his observations totally ruin the illusion (like the declaration that the river was actually a lake), but they do provide interesting insight into the production of a large scale action film.

Not exact matches

Moviegoers are finally about to get a break from all of the big - budget summer blockbusters and superhero action movies, as studios move away from large - scale spectacles in favor of award - season prestige films.

Robert Richardson's camera glides across the various flattened landscapes with purpose, and plunks down to provide widely scaled, conspicuously painterly compositions (and for once, the background action in a Tarantino film feels lively and detailed).

Normally the science fiction concept of time travel is reserved for big budget action films, but the idea itself can be much more interesting within the confines of an indie scale film.

«A street - racing blockbuster about traffic cops» is one of the more endearing action - film premises in recent memory, and in terms of conceptual scale alone it seems a refreshing rejoinder to the genre's rather exhausting penchant for maximalism.

As expected with any Bay film, this one is beautifully shot and gives you big sense of scale and all the action did have a sense of weightiness to it.

Director John Crowley (Boy A, Intermission) does a very fine job with a good troupe of thespians, and while the film lacks a huge budget for large - scale action scenes, the more grounded developments definitely work in its favor in keeping a tenuous believability in what is mostly a story built on creative fantasy.

Though much of the action remains confined to the inner sanctum of Franco's home, the biblical implications of the film dictate that they must eventually be taken out of their comfort zone, and thanks to their reasonably sized budget, they have enough to clout to develop some eye - popping special effects, and although it intends to satirise the current trend for apoca - blockbusters, it does its level best to match them in terms of scale.

DEADLINE — Hard to imagine there will be a hotter film package unveiled at Cannes next week than 355, a large - scale espionage film that Simon Kinberg will direct with an all - star international spy cast of Jessica Chastain, Marion Cotillard, Penelope Cruz, Fan Bingbing and Lupita Nyong» o. They'll play international agents in a grounded, edgy action thriller that aims to alter a male - dominated genre with a true female ensemble, in the style of spy franchises The Bourne Identity, Mission: Impossible and James Bond.

This film is on a bigger scale with more outdoor action and its silly fun.

Thea Sharrock's «Henry V» is the most movie - like in some respects — the music more aggressive, the action more muscular; yet she too scales it toward the human, and I like it better than the Laurence Olivier and Kenneth Branagh films that helped make this the most familiar of the plays presented here.

Everything about this film screams excess, from the ludicrous two - and - a-half hour running time to the whopping scale of the action sequences to Johnny Depp's bizarro costume.

Chiefly, it is a big - scale (admittedly overscaled) action spectacle, typical of the era where such films ruled the box office.

The reasonably - coherent and sensible action scenes interspersed throughout the film are replaced by a full - scale battle, a swirl of mud - brown and grey with the kind of shoddy camerawork and random editing we've come to take as normal from 21st century Hollywood.

The action scenes are staged on a grand scale, appropriate to the power of the film's god - like villain, and the visual effects are spectacular.

The first, by George A. Romero, his wife and assistant director Chris Romero (née Forrest) and Tom Savini, reveals that almost all the cast were friends, family or local Pittsburgh volunteers (even the mall was owned by personal friends of Romero), that the original script had a far bleaker ending (everybody dies) which was changed during the shoot because the film was «too much fun» for it, and that the fourth film, should it ever get made, is a larger - scale affair set in a down - town area, with lots of action sequences and an overarching theme of «ignoring the problem».

There was also something very intriguing to me about making the final film in Phase 2 of the Marvel Cinematic Universe a low - scale heist comedy as opposed to the cataclysmic action behemoths we've come to expect from Marvel Studios.

The scale of the action - packed second half ultimately dispels the strong atmospherics of the first half and despite Wingard's self - aware black humour the film ultimately proves just that bit too preposterous to swallow.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

Using a «found» Korean action thriller by director Kim Jee Woon, entitled A Bittersweet Life (2005), Webster works with paint and encaustic wax on large and small - scale film stills (computer - generated screenshots), which have been printed onto synthetic and slippery digital canvas.

Influenced by New Wave films from Europe, his early work is characterized by a cinematic atmosphere with an emphasis on location, wide shots, and odd angles, to convey action, scale, and mood.