Sentences with phrase «shoot out of sequence»

An hour long TV show is more like a film, because you shoot out of sequence.

Although most of us have grown used to movies shot out of sequence, the final scenario does show some characters who have already died, and it does beg the question as to why it was split from the first sequence to begin with.

Not exact matches

In the resulting shoot - out, a series of missed kicks saw the penalty sequence go into sudden death.

«You can take advantage of really high - throughput sequencing technologies that allow you, in a single shot, to assess millions of genetic combinations simultaneously and pick out the ones that are successful,» Lu says.

Blending close up tracking shots with CGI kites, these sequences are not only out of place, they subvert whatever symbolic meaning the kites had to the story.

In X-Men: Days of Future Past, Quicksilver arguably stole the show with his very inventively shot super-slow-motion sequence when breaking Magneto out of jail.

(As an opening sequence, it's a killer, shot like beautiful lost footage from «Fellini Roma» that ends with a moment out of a»70s international terrorist drama.)

As for «Short Circuit, «the film quickly disappoints after a cute opening sequence in which we see the army present a new breed of mechanical soldier able to dish out laser shots and withstand any firepower.

He brings the pacing of Creed's boxing matches to the longer action scenes, producing a fabulously entertaining sequence in which a shoot - out in a South Korean underground casino — presented in part as an uninterrupted long take — breaks out into a rollicking car chase through city streets.

Rather, it's a delirious five - minute sequence that involved shutting down an active freeway off - ramp for two days, hundreds of dancers hoofing and singing their hearts out on top of color - coded cars, and an extraordinary amount of co-ordination to make it seem as if it's all happening in one seamless, smooth - as - hell single shot.

The two sequences that stand out are the aforementioned prologue / credit sequence and a finale shot from inside a refrigerator that should go down as some sort of classic of claustrophobic invention.

Director Jonathan Liebesman background in horror films shines through in some genuinely tense moments, and one or two of the action sequences are well executed (a massive shoot - out on a freeway overpass is a particular highlight), but the potential of this movie is both wasted by a lack of general coherence, and then destroyed by dialogue that swings wildly from cheesy patriotic to unintentionally hilarious.

Ryan Coogler knocked it out of the park, some great sequences presented in a «single take / shot.»

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

I love how IMAX obliged shots that were «lovingly held» to maximize the effort of rigging up the cameras and get the most out of their 3 - minute magazines, lending the applicable action sequences a delightful old - school tempo.

Director Steven Soderbergh shoots those dance sequences with dynamic flourish (The camera is almost always moving in ways that punctuate the actors» motions) and plenty of polish (The stark contrast of the darkened house of the club with the perfectly lit stage is itself a contrast to Soderbergh's washed - out cinematography for the scenes outside of the club).

Director Adam Shankman is the Uwe Boll of family movies: he doesn't know how to pace a picture, he has no idea what to do with a camera (check out an outdoor banquet sequence that looks like it was shot under muddy water), and his use of John Debney's atrocious, hate - crime of a score should set off Amnesty International's radar.

The action sequences have also been ramped up in size and intensity from the original, especially during a blistering shoot - out in a German forest that sees our heroes on the run from a world - class marksman and an armada of tanks.

Most importantly, without Cuarón, it's hard to imagine Yates would have the freedom to make the Potter movies his own: to make the Ministry of Magic an automated nightmare straight out of Brazil; to shoot action sequences as loud and surprising as gunfights; to let Harry and Hermione dance to Nick Cave, even though it's not in the books, because it turns out that's just what the audience needs to see.

It's a short scene, only a couple of shots over a couple of minutes, and Bordwell uses it as an example of the simple virtuosity of Hong Kong filmmakers, how they are able, again and again, to make an exciting and fun sequence out of almost nothing, budget-wise, and specifically how Tsui's mastery of cutting and framing keeps the whole sequence as light and airy as it is inexpensive.

The game breaks up the combat by way of puzzles, flying and shooting sequences, and even some Punch - Out style boss fights; most of which, have their own control schemes.

As gnarly as the footage was (I saw someone on Twitter claiming that someone at their table had thrown down their napkin and stormed out of the room), the entire sequence was beautifully shot and edited with laser precision, with each of Johnson's movements causing an immediate reaction on the young lady in the first room.

The film works well for the most part, focusing on Victoria's romance with Albert and her learning how to wield what power she has, and there's relatively little melodramatization of history (though a late sequence with Albert getting shot in an assassination stands out as particularly ridiculous).

Such sequences stand out because even though Anderson can not resist occasional flourishes, his style here is relatively subdued, with plenty of dialogue heavy interior two shots.

All the slow motion, tracking moves, and framing and wide and long shots are hauntingly descriptive: In that strangulation sequence, a shot in an apartment hallway with Bulger and his victim in the foreground slowly accommodates, in the background, one out - of - focus henchman, then another.

He also replicates a single unbroken shot from the original film's sequence at a soccer stadium; this time, it's set at Dodgers Stadium and impressively shot by cinematographer Daniel Moder (Roberts» husband), as Ray and fellow detective «Bumpy» (Dean Norris) pick out the suspect out of the crowded stands and give him a chase.

Innovatively shot by ace cinematographer Dante Spinotti (L.A. Confidential, Mann's The Last of the Mohicans), this contains at least two bravura sequences that still stand out: the fiery fate of a pesky tabloid reporter (Stephen Lang) and the «In - a-Gadda-da-Vida» - driven finale.

The Rookie's best sequence is its intital car chase, in which Eastwood pursues (and boards) the car thieves» semi auto - carrier, but matters get downight nutty by the picture's midsection — in which Pulovski is kidnapped by the baddies: his escape involves a sports car shooting out of a second - story wall, just ahead of an explosion («Fasten your seatbelt,» Pulovski sez).

Leitch outdoes himself in a sequence that has Broughton protecting the East German defector with one hand and fighting off a group of Soviet assassins with another — rolling out of an apartment and into a staircase in a choreographed ballet of escalating brutality that appears to have been shot in one impressive take.

It is not all bad; director Francis Lawrence has the technical know - how to at least shoot the miasma with grace and elan (though after nearly four hours of Mockingjays, the drab gray color palette and landscapes of smoking destroyed highrises becomes rather tiresome and repetitive), and there are a few high points, including one stand - out sequence, a highly tense, at times often terrifying underground chase sequence that often recalls the pressure cooker atmosphere of The Descent.

Earlier this week we got a look at some new set photos from Captain Marvel featuring Brie Larson's Carol Danvers and Samuel L. Jackson's Nick Fury [see here], and now we have some more photos and videos, this time showing Larson's hero shooting an action sequence on top of a train; check them out here... -LSB-...]

That extended sequence, an aerial assault on the pigs» home, offers some weird moments, especially in terms of what the birds can do: A toucan becomes a boomerang, and Red's anger management instructor (voice of Maya Rudolph) is a chicken that shoots fireballs out of the second most obvious orifice.

But it's often McQueen's penchant for lengthy, one - shot sequences without music that brings out moments of contrast, such as a scene showing Northup, in a hangman's noose, trying to get enough of a footing in the mud underneath him to keep from choking to death.

Amusing extended versions of the skinhead confrontation and Corky's gym - spar with Shaw, a 12 - minute behind - the - scenes featurette that follows a sequence involving Kattan, Penn, and Berg from shooting through to dailies and the final product, and the trailer for Bubble Boy round out the DVD.

These sequences are straight out of any rote thriller, but they're meant to be profound — critical of the conventions of the genre — because Paul (Arno Frisch) breaks the fourth wall a number of times; this is Scream for art - house aficionados, with Haneke at one point curbing the audience's euphoria by rewinding the film immediately after Anna shoots Peter in the chest.

During the many lulls in the story, viewers can pick out elements from other films: The design for the Doberman evokes «Up,» one potential buyer imitates Edna Mode from «The Incredibles,» a tracking shot through the engine of a wrecking crane recalls a clockwork sequence in «The Great Mouse Detective.»

Despite far too many helicopter shots of Manhattan (seemingly left over from the end credits), Stahelski and Leitch direct the hell out of what little story there is — particularly the extraordinary car sequences — but this is one film that could actually use a sequel / sidequel for Kolstad's characters to really let rip.

As for special effects, this is the first HP episode shot in 3 - D, which turns out to be worth the investment given the profusion of captivating action sequences ranging from the heroes» daring escape from a subterranean inferno on the back of a fire - breathing dragon to an epic, high body - count battle on the campus of their alma mater.

Wordless, the sequence plays out as Ry (Neve Campbell, never better) shoots a rack to the cool blues slinking out of a corner jukebox, glancing up now and again to meet Josh's (Franco) frank interest with gradually thawing humour and heat.

Those nefarious Clanton boys eventually roar back into My Darling Clementine, prompting the classic shoot - out sequence seemingly embedded within the DNA of the American western.

«Penguin Pandemonium» demonstrates the progress of a single sequence, from mapping out shots to lighting reference pass to different stages of animation, with commentary from Waters, Green, and Hollander.

Sully from the Huey happened to be taking pictures and he motored up and gave Tommy a disc with about a 30 shot sequence of him coming out of section after section!

More like more falling sand, fire shooting out and action sequences of announced titles.

No matter what type of weapon or action sequence enemies are in they can always shoot the player and one cant even figure out its direction.

It begins with intense Prison Break sequences that are played out via an adventure game and interacting with objects, and by the end it morphs into a full - on action game with plenty of shooting.

The space combat sequences play out like a lighter, streamlined version of Wing Commander or other classic space sims, with players having access to two main weapons and a subweapon, and a lock - on system that takes out the difficulty of chasing and shooting at the same as it puts the Jackal on autopilot so that players can concentrate on shooting.

The game expertly blends puzzles, do - or - die action sequences, clambering, shoot outs and sneaking to create a well - paced game that is incredibly hard to turn off, even though its story suffers from the usual overdose of twist and turns to keep the lengthy single - player adventure moving.

While the majority of the game relies on the split screen sequence, A Way Out's finest moment actually comes during a brilliantly choreographed climactic foot chase through a hospital via a four - minute long, unbroken «camera shot».

The end of the 3D mazes give way to a boss encounter where Fester needs to find a safe spot and shoot and / or whip repeatedly until the monster in question dies in a sequence cribbed right out of Blaster Master.

A Way Out from creator of Brothers: A Tale of Two Sons prison - escape action - adventure set in the 1970s requires two players, either via split - screen couch co-op or online play «there will be driving, there will be shooting, there will be stealth sequences — ... you'll never be doing the same thing twice, nor for too long»