Sentences with word «shakycam»

Forster's manic editing style — at its worst in The Quantum of Solace (2008)- does turn that opening street rampage into a blithering mess of shakycam shots, reverse - swish - swoop pans and psycho - edits, but the film soon calms down, and there are several strong performances in the quiet scenes that buffer Lane's ongoing question for answers.

That assumes that it's some sort of Paul Greengrass - style shakycam docudrama without recognizable actors that envelops an audience in what seems like real - life drama, à la United 93.

The camera (hand - held, but not shakycam style) pans to the left as a truck pulls up.

Paul Greengrass didn't invent shakycam.

Well probably the only thing for this reviewer were the fight scenes which crackle with realism, vigour and fluidity meaning there is none of the fast editing / shakycam technique that has become the signature style of Hollywood action films since the success of the Bourne franchise.

(The weirdest criticism I read of Zoolander 2 is that its action scenes look dated — this, from someone who didn't object to the stale, relentless shakycam of Captain America: Civil War.)

THE BLU - RAY DISC Cinematographer Benedict Neuenfels shot The Counterfeiters in Super16, and the lighter (compared to 35 mm) cameras allowed for a handheld shooting style that apes documentary - style filmmaking from shakycam operation to fast zooms — an occasionally distracting tactic.

As much as I normally hate shakycam, it works here.

It's clear immediately that The Hunger Games: Catching Fire, in certain respects, marks a vast improvement over its immediate predecessor, with, especially, filmmaker Francis Lawrence's decision to jettison the inept visuals of the first installment - ie no more shakycam!

Although that plot is obviously swiped from Cloverfield, Friedberg and Seltzer never actually get around to spoofing the movie's first - person shakycam gimmick; they're too busy taking potshots at sitting ducks.

Some off - screen shakycam footage of Dark Souls II has made its way online, which reveals the first confirmed boss for the anticipated sadism simulator.

In the film, you can see Malick's ponderous love for the American Midwest, J.J. Abrams» love for slick production design and lens - flare, and producer Christopher Nolan's gritty ponderousness and love of shakycam.

Tony Scott, whose late - period movies are nearly as guilty for spreading the shakycam virus as anything Greengrass did, had a big hit with the turgid revenge flick Man On Fire, a movie whose reputation rests almost entirely on a strong Denzel Washington performance that the movie doesn't really earn.

That Moscow car chase is the one moment in the movie where the shakycam really gets out of control.

The shakycam that some complained about last time seems all but absent, however there are a couple of action scenes that occur in the dark, which makes it a little hard to follow.

I can't see how his shakycam schtick will work in an historical setting, but sadly, I'm sure there are plenty of people dying to see this classic tale remade all dark, gritty and «realistic,» with some sort of social or political message slapped clumsily on top.

Why the modern action film is now required to be shot with the «shakycam» technique is beyond me, however somehow Taken manages to overcome this bad decision to remain exciting and entertaining.

Unlike some action movies that obscure much of the goods with shadows and shakycam, you can see everything in the «Pacific Rim» battles... and they go on for a good amount of time.

Still, good things come to those who wait, including a defense for the controversial Dutch angles (which the studio discouraged) as a reaction to shakycam and other «artificial» ways of maintaining visual interest during potentially boring dialogue scenes.

The stealth campaign kept with the previous two films in the J.J. Abrams - produced franchise - the shakycam marauding monster mash Cloverfield (2008) and the elegantly claustrophobic maybe - it's - the - apocalypse thriller 10 Cloverfield Lane (2016)- both of which seemed to emerge out of nowhere, fully formed and ready to go.

Gary Ross borrowed from the Paul Greengrass school of direction when filming the original — lots of shakycam and quick - cutting — but Chasing Fire director Francis Lawrence takes a different approach, allowing his camera to glide smoothly around the action so that the viewer can take it all in, and while the violence still feels overly - sanitized, at least it's comprehensible.