Sentences with phrase «shot action sequences»

It's among the best - shot action sequences in memory.

This is Bay's bread and butter, and he doesn't disappoint with some expertly shot action sequences that drop the audience right into the middle of the combat.

Plenty of well - choreographed and well - shot action sequences (the action junkie in me was very much appeased), I did like Tauriel's character, and oh my god, Smaug stole the show!!

John Wick was hands - down my favorite action film of 2014 (and that's saying an awful lot for a year that also had The Raid 2), and that was largely because of the slick style and cleverly (and clearly) shot action sequences that Leitch and Stahelski brought to the table.

Cameron is a master at pacing and shooting action sequences.

There's nothing sexier than a 15 - minute (we're guessing) one shot action sequence starring Eric Bana in a suit.

(Lead actor Dylan O'Brien got run over by a car while shooting an action sequence, delaying production for almost a year.)

His way of shooting the action sequences, especially the opening train scene, keep you on the edge of your seat.

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.

Just Jared has posted some awesome photos from the set of Captain America: Civil War which includes our first looks at Chris Evans, and Anthony Mackie in costume shooting an action sequence.

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-...]

Not exact matches

Perversely (if unsurprisingly) for a big - budget historical epic, Scott stages most of his «action» in undistinguished, ground - level medium shots and flip - flopping close - up dialogue sequences; after an hour of this, one's starvation for a few picturesque vistas is only briefly sated by a lovely shot of the Thames Estuary, or Robin and his men's first arrival in Sherwood under sun - dappled branches.

It has the same amount of depth as some of the franchise's best (Winter Soldier and Civil War), while the way the action sequences are shot and edited is absolutely sensetional.

The HFR version is great in detailed action sequences involving visual effects — the prologue and Goblin Town look particularly good — and is otherwise so haphazardly hit and miss from shot to shot to shot that I don't think I was «in» the movie for more than eight seconds at a time for the entire two hours and forty - five minutes.

It becomes less of a problem when we enter into full blown CGI - laden action sequence territory where fire and orcs are being flung around the place or when we get far away shots of the sweeping landscapes.

He trusted her, and she could argue with him; she knew his rhythms, the pace of the long shots, dialogue and action, how to adapt to changes in tone, sequence by sequence.

Director Rob Cohen shoots believable action sequences, too.

The action sequences and fights are briskly shot and edited, the supporting cast is acerbically great....

The cockeyed C - quality B movie, shot on location with a Balkan supporting cast and crew, mixes a precarious pileup of visual clichés with over-staged action sequences.

We get notes on the development and shooting of a specific action sequence.

It also has other good action packed sequences while Sheen and Kinski are eluding and running away from the Mafia, and it has some gun - shooting parts to it as well.

Some of the action beats are eye - opening in their brutality, but they amount to little more than cheap thrills so fans can relish in sequences of Willis shooting the bad guys.

Shore also displays some directorial style of his own signature, creating shots that are the epitome of the word «cinematic,» or attempting to use Matthew Vaughn - style techniques (like 1st person POV) to create distinct and different styles of action sequences (to varying degrees of success).

Both showed off the intense action and «Dead Eye» laden gunplay — with Marston shooting bandits and sometimes their horses to stave off attacks — that should make for memorable chase sequences throughout the game.

Christopher Markus and Stephen McFeely's screenplay has enough going on storywise to allow for action sequences to pop up regularly without feeling forced, and the Russos shoot them so they're frenetic and fun without being chaotic.

The tightly edited action sequences are redolent of the old «Cops» TV show with their swaggering, spiralling confrontations, whereas the shots of townspeople voicing support for the Autodefensas present a sobering dramatisation of grassroots politics.

Also, to Ms. Taymor's credit, she intelligently provides at times inspired touches such as — stop motion action shots, color tinting in brightly exotic desert shades, finely textured black - and - white sequences, shots of Diego in New York to do the Rockefeller commissioned mural against a lively Dadaist collage of the New York setting, Frida's dream of her hubby as King Kong, a puppet show in the hospital (with the help of the gifted Quay brothers animations of skeletons in the post-accident emergency room — the skeletons were copied from one of Frida's paintings).

The appeal of the film is manifold - its serenity as The American meticulously goes about his craft; the paucity of dialogue that heightens its few action sequences when they do occur; a superb ensemble of actors led by Clooney that also includes Violante Placido (Clara), Thekla Reuten (assassin), Johan Leysen (controller), and Paolo Bonacelli (as a local town priest); the artistic framing of the film by director Anton Corbijn both in its interiors and the long shots of the Italian settings; and simply the story's uncertainty that grips one from its very beginning.

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.

The sequence always consisted of the same three actions: run, shoot, rewind time.

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.

«Straight Outta Compton» director F. Gary Gray takes the helm of «The Fate of the Furious,» and attempts to rev audiences up with an intro action sequence that boasts a bevy of up - skirt shots and a honeymooning Dominic Torretto (Vin Diesel), tearing up Havana's candy - colored streets in a literally explosive car race.

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.

This was merely a two - plus hour long video game action sequence with an nonsensical plot (stealing, erm, I mean drawing heavily from Christopher Nolan's Inception) and an excuse to watch young women in short skirts wave swords around and shoot machine guns.

Instead, director Steven Quale has gone the Michael Bay route by making it all about the destruction, and while that will likely result in some cool effects shots and action sequences, the movie itself looks about as empty as the calories in a bag of theater popcorn.

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.

As the main draw of the film, the action sequences are sufficiently stimulating and beautifully shot.

The Front Line's action sequences aren't pitched as gritty you - are - there realism; they're about sniper bullets zipping through the frosty air, and tracking shots that defy geometry to make it look as though soldiers are running up a perpendicular mountain.

Civil War was also partly filmed with IMAX cameras and the movie in general tends to feel big, visually - speaking, in - between its action sequences and many establishing shots of locations around the globe (as well as the massive title font that's used to identify each individual change in location)- making IMAX the preferable viewing format for Civil War.

The main carryover from Woo's Hong Kong thrillers is the elegant sense of craft in his articulation of action sequences, though the degree of stylization is much less: Woo specialties, like slow motion, tend to be restricted to short individual shots rather than taking up whole sequences.

Now, we've learned that they've hired a stunt coordinator to work on the action sequences which will be Kyle Gardiner, best known for his recent work on Thor: Rangarok, Alien: Covenant, Hacksaw Ridge, and Aquaman all shot in Australia.

, and certainly not the action sequences which are murkily shot and confusingly edited.

The plot here is entirely predictable but as with Ozu's family dramas the real meat is in the film's visual aesthetic and cultural context, at once captured most intensely during a scene where Teresa witnesses a financial crisis - related suicide with all the suddenness of an Alfonso Cuaron action sequence and Chen captures her jaded shock by shooting her from low angles through light - heavy filters.

The film has clearly been made on a tighter budget than your average Hollywood shoot -»em - up, but Travis makes the most of limited resources: the industrial backdrops are stunning, the action scenes sizzle and the eye - of - the - addict Slo - Mo sequences are sickeningly beautiful.

And let's not forget about the action sequences, which feature awesome fight choreography, impressive special effects allowing the heroes and villains to throw air, fire, water or air at each other, and some really cool long unbroken shots that use zoom - ins and slow - motion in a way that recalls «The Matrix» or «300».

Accordingly to early reports, TDKR features 100 minutes of action sequences and much of the movie was shot using IMAX cameras.

Just Jared and many other sites have been posting set photos from Captain America: Civil War while currently shooting in Atlanta, some new shots include Scarlett Johnasson joining the action sequence as Black Widow.

Soderbergh shot the major dance sequences in long takes, using only a few camera setups, just as he did the fight scenes of his recent action movie Haywire.

Typical for modern films of this nature, the action scenes are filled with shaky handheld cinematography and rapid cuts that mean there often isn't a single well - framed shot in the whole sequence (and if there is it lasts about a nanosecond before being replaced by one that isn't).