Sentences with phrase «set piece of action»

On the surface, there are variations on set pieces of action and even spy movies to appeal to the black experiences, including some great jokes about wigs and footwear.

Not exact matches

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

Thompson, Ruffalo and Hemsworth's banter is fast and delicious, with an off - the - cuff feel that makes it every bit as thrilling as any one of the action set pieces Waititi stages here.

So the Daily Star report which claims we are set to challenge other Premier KLeague big boys including Liverpool and Chelsea for the Dutch defensive star Virgil Van Dijk should come as music to our ears and could be the final piece in a very impressive summer of transfer action indeed.

A slick, beautifully photographed, action - packed, international thriller with a number of wonderfully, ludicrously entertaining set pieces, a sprinkling of dry wit, myriad gorgeous women and a classic psycho - villain.

Action set pieces connected by a thin and clichéd plot, where the latter is in the service of the former, rather than the other way around.

A bunch of impressive set pieces stitched together rather than a good story convincingly told, this gargantuan production should ride Brad Pitt «s name, teeming action scenes and widespread interest in all things zombie to strong box office returns, particularly internationally.

Rather than coming off as an empty paean to the fans, though, the filmmakers» desire to focus on the characters as real people even in the midst of pitched battle keeps even the shallowest viewer of the series engaged in what could have easily been just mindless action set pieces and explosions.

Featuring a screenplay by no less than five writers, Flushed Away has clearly been geared to appeal primarily to small children - as evidenced by the film's emphasis on action - oriented set pieces and distinctly broad bits of comedy (there's even a fart joke thrown in for good measure).

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 stretched - out action set piece that takes up a majority of the middle section is a work of fine filmmaking craft and design, and it is seen mostly through the eyes of the central characters.

What we get is a collection of moderately violent action set - pieces untroubled by humour or broader coherence... Forster, who directed the Bond film Quantum of Solace, has done his best to piece together a story from these incompatible parts, but the final product has an elaborate uselessness about it, like a broken teapot glued back together with the missing pieces replaced by parts of a vacuum cleaner.

There used to be a wide range of different games to choose, from run - and - gun action titles to slow - paced tactical shooters focusing on strategy and tactics, but now most shooters follow the same model of big set pieces, regenerating health,

Of course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterOf course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterof New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterof all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopters.

The movie's opening scene, which is also the best action set piece in this Brad Peyton - directed picture, depicts the lone survivor of a space station catastrophe trying to return to Earth with her scientific samples intact.

The action, especially a midpoint chase scene, rivals many of even the best Marvel set pieces when it comes to innovation and pulse - pounding pacing.

The movie doesn't exactly boast a rich color palette (like San Andreas, it's mostly painted in flat shades of brown and grey), but its action and set pieces are photographed in a clean fashion that makes them easy to follow.

Director Leitch, a former stunt pro lauded for his inventive action, never reaches the dynamic virtuosity of his previous films but ably pieces together a midpoint set piece set on wheels, tracking a speeding convoy through a busy city center.

The story goes that when Alfred Hitchcock conceived the idea for «North by Northwest» he really just came up with three action set - pieces — Cary Grant and Eva Marie Saint hanging from the faces on Mount Rushmore, the cropduster chasing Grant through a cornfield and the sequence that has bad guys pouring liquor down Grant's throat until he's too drunk to drive, then putting him behind the wheel of a car that is sent careening down a mountain.

It's not only an introduction to Waititi's wit and sense of style, it also produces the film's first action set piece.

Unfortunately Antal's film working from a script by Michael Finch and Alex Litvak apes this buildup to a tee, but forgets two key elements: a great action set piece and a cast of memorable characters.

«Mission: Impossible» might have a plot with innumerable twists and turns but there are plenty of superb action set - pieces and quality hammy - acting to keep you amused.

Bassett, whose recent Solomon Kane suggested a director working in the hyperkinetic Paul W.S. Anderson mold, is clearly a poor fit for material that ought to be more contemplative than frenzied, and his flair is accordingly directed toward showy last - act set pieces and more blockbuster action with a capital A. Revelation trades the moody, satisfying first act of Silent Hill for one overloaded with talky exposition, and then goes on to trade its loud, cacophonous mess of a last act into an even more obtuse celebration of splatter and special effects.

For «Mission: Impossible,» director Brian De Palma (an odd choice, considering all the gory films in his mostly R - rated filmography, most famously «The Untouchables») also has three elaborate action set - pieces — a suspenseful caper set at a posh party, an intense break - in at CIA headquarters in Langley, Va., and a ridiculous but nonetheless thrilling chase on top of a bullet train that is speeding from London to Paris.

His primary interest seems to be that of all «generals in the arts,» to wow us with action set pieces garnished with bits of faux - profundity and Cliff's Notes historicity.

Instead we are presented with an absolute turd of a film with shockingly bad «action» set pieces (despite not actually requiring major action set pieces for the plot), dreadful visuals that might as well be that «Gladiators» TV show complete with glitter and sparkles, a god awful thrash / heavy metal soundtrack just in case you forgot this film was suppose to be tough and your obligatory dire big name cast hot of the heels of other poor major blockbusters (yeah stick him / her in it, big name, can't go wrong, doesn't matter if they actually fit the role or not pfft!).

Wiseman is still too flashy a director for this franchise, but his love for the character comes through, and some of the action set pieces — especially the tunnel sequence that ends with a vehicle basically being thrown at a helicopter — are phenomenally staged.

Even when the film gears up for one of its many tonal shifts, from its Old Boy-esque hallway action set - piece in a lavish upmarket Georgian town house, to its intense abandoned warehouse finale with The Businessman (William Houston)-- who seemed to be channelling the foreboding gunslinger in Westworld, ensures the film has a wonderfully rich and engaging backdrop throughout.

As Butch's cronies catch up to the train to free their hair - lipped leader, so begins one of many boisterous, off - the - rails set pieces, with justice - conscious John forced to step up and take action, and the whole thing coming to a dusty, inches - from - death halt after a few million dollars worth of CGI wreckage.

Surprisingly gory in a horror - movie fashion and chock - a-block with more grotesques than a Southern Gothic, Hot Fuzz takes its time getting to where it's going — it's a carefully - written, meticulously - planned piece that ties up all of its set - ups with clever knots, saving the majority of its action for the last half of its full two hours.

Parts of F6 are fun, but a convoluted plot, with terrible, frenetically chopped up action set pieces, and an overextended run time, make this film cumbersome and dull by the end.

On one level, «The Cabin in the Woods» is simply a demonically enjoyable rollercoaster: Whedon's knack for a snappy, offbeat one - liner remains unmatched, while first - time director Goddard's control of his action set - pieces (of which there are many) is truly impressive.

There is less rollercoaster action and splashy set pieces and more focus on the people at the center of the action.

Along with a constant stream of barbed humour, the film has an enjoyably knotted mystery plot and action set - pieces that feel like...

And Stallone and Statham harmonize some absurdly satisfying / satisfyingly absurd action set - pieces, such as Broker taking out a gang of thugs with both hands literally tied behind his back.

The plot itself means very little — characters make massive leaps of logic and we scoot from location to location all in an effort to get to the next action set piece.

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.

While they are thrilling to watch, they seem forcibly written into the action set pieces to please fans of the video games.

But, the latest Avengers movie balances out these lackluster aspects with certain really cool action beats - placed amid larger action set pieces that aren't really groundbreaking - and plenty of humor so as to create an overall fun experience.

«Yes, «Jason Bourne» basically amounts to a trio of action set - pieces elegantly strung together,» he wrote.

The film is rooted in Hollywood classicism, populated with idiosyncratic characters who have plenty of room to speak and interact in between the action / horror set pieces.

«Norwegian director Roar Uthaug (The Wave) makes the most of his locations, but the action is edited to ribbons, and an over-reliance on CG augmentation starves the more ambitious set pieces of any sense of threat or physicality.»

Opening in Venice, Italy with an action set - piece that wouldn't look out of place in one of his RESIDENT EVIL movies.

«Something Borrowed,» a wedding episode, Torchwood - style, avoids both the precious and the obnoxious, with shape - shifting aliens, tons of snappy dialog, and terrific action set - pieces; in the end, love and a really, really big gun conquer all.

Instead, The Return of Xander Cage is just an excuse to stage one stupid - yet - entertaining action set piece after another.

And while no one is really clamoring for any more of Peter Jackson's Tolkien - fueled «world building,» few doubt Jackson's skill with elaborate set - pieces and action sequences.

Maybe Tomorrowland dawdles its way to its climax because that particular set piece is such a bust: an underpopulated and anticlimactic action scene that doesn't come close to fulfilling the promise of the movie's best moment, a mid-movie single - take tour of the Tomorrowland that once was.

Revisionist fairy tales like Maleficent and Snow White and the Huntsman have done well at the box office, but this movie lacks the purpose of even those mediocre works as it attempts to plug aspects of Barrie's world into tired formulas like chases, journeys, and action - packed set pieces.

Instead, we get the usual clichés (hero doesn't want his friends to join him on his quest but they do anyway, good guys rarely miss their targets while highly trained bad guys can't hit the broad side of a barn) and implausible action set pieces.

The rest is exploring unfounded suspicions and the usual range of motivations; dealing with antagonists of various stripes [from a sheik who has a tax - free ostrich racing concern in the desert, to Hassansins — hired killers who use drugs to see into the future], and action set pieces that pretty much rock — even before the effects crew embellish them.