Sentences with phrase «than any action film»

It is more than an action film and Blunt's performance is more than a typical hero.

It is captivating, to say the least, particularly in a climax that produces more tension than any action film or thriller this year.

In truth, the deeply absorbing and thematically rich «Apes» sequel is more akin to a drama than an action film, but it's one that still satisfies the desires and demands of big, blockbuster filmmaking.

Not exact matches

The studio has two more big Marvel releases (Guardians of the Galaxy 2 and Thor: Ragnarok) as well as a live - action version of Beauty and the Beast, two new movies from Pixar Animation Studios (including Cars 3), and a fifth installment in the Pirates of the Caribbean franchise (two of the first PotC films grossed more than $ 1 billion apiece).

While the studio did not name the troubled film, Variety and other outlets reported that the culprit was believed to be the live - action, computer - animated hybrid Monster Trucks, which cost more than $ 100 million to make.

It's closer to an immersive film than a fully interactive simulation, but as Fortune reported when we first checked in on StriVR in 2015, research shows that seeing real humans in action helps the brain refine its timing and stay focused.

Moviegoers over the past 10 years more often than not went to see an action adventure film featuring comic book heroes, giant robots, or someone driving a fast car.

Contrast the alleged actions of this alleged Coptic Christian with that of Muslims killing and maiming Coptic Christians and blowing up their places of worship... INSULTING Coptic Christians in far worse ways (literally «insulting» them TO DEATH) than is done (or ever could be) in this or any other film.

But action flicks typically end on a note of triumph or at least gritty perseverance, rather than the humiliated acceptance with which even relatively hopeful horror films often close.

By appearance logic Dolph Lundgren is better in action films than Jackie Chan.

«Bringing a very high - field superconducting magnet to UCSB to create the MRX facility would provide a unique opportunity to fulfill a national need and enable many experiments that can not be done at the NHMFL,» said chemistry professor Songi Han, a member of the «Big Mag @ UCSB» program committee who has been working with Sherwin for more than a decade on filming proteins in action.

Things feel more like a cartoon than a live action film, Freddy is about as scary as a mime, and the lack of tension that dominated the last film is back with a vengeance.

This is the ultimate larger - than - life cinema experience for film fans wanting to feel part of the action!

The action scenes highlight Rodriguez's trademark ability to choreograph firefights and explosions, but they're doled out with uncharacteristic stinginess between long stretches of exposition that clear up much less than they should, as the film builds toward a climax featuring some strangely underpopulated riot action.

The gunplay (what little there is), is done well, and even though the film is more style than substance, and could stand to be trimmed up greatly, it's a thinking man's drama / thriller, and not a blockbuster action film.

The killer has no motivations for his actions other than the cliched «He's just crazy,» and the establishment's actions, personified by the mayor and police chief's conservative dealings with the killer, wreak of a contrived set - up to make Harry appear «heroic» - what the film considers «heroic» - by contrast.

Lara Croft: Tomb Raider, one of the most dumbed down action films of 2001 gets the sequel treatment (that everything is getting this year), turns out to be one of the few that actually works better than the original, if only slightly.

When Chris suggests patience in dealing with Jan's grief, Rainey goes so far as to wonder aloud if he might be «Jesus»; in another brief moment, my favorite in the film, he leans down toward a seated Jan and tells her he'll sit with her, as long as she wants, rather than join a group for dinner: the action is lovely, the shot exquisite.

What's the Deal: More character study than action movie, this adaptation of Martin Booth's 1990 novel «A Very Private Gentleman» is instead concerned with the inner workings of its amoral antihero, whom we witness do very bad things at film's start that haunt him until the very end.

Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes more of a thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).

More an action blockbuster than a horror squelcher, it contains spectacular crowd scenes that have an Hieronymus Bosch quality, but the film lacks strong meat — of the emotional and bloody zombie - cannibal sort.

In the meantime, a deliciously nasty bad guy, a white South African gangster and arms dealer named Klaue (Andy Serkis, in a role he introduced three years ago in Avengers: Age of Ultron), is keen to get his hands on some vibranium himself, which involves an unexpected side trip to Busan, South Korea, for a prolonged sequence heavy on chases and tough - guy action but rather more conventional than the rest of the film.

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).

A technologically marvelous animated movie that's just as funny and inventive as the first, but also more emotionally engaging than most live - action films.

Though lacking in some aspects of the picture, the film more than makes up for it with it's action.

Video: With an aspect ratio of 2.40:1 Anamorphic Widescreen, the video quality of the film is higher than the time period of the action allows it to appear.

Other than a budget boost which means better CGI and more muscular action set - pieces, you'd be hard pressed to spot any major differences in the craft behind the two films, but if it ain't broke, don't fix it.

Knaggs» character, a mute seaman, narrates the film's key sections with an internal voice - over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs» seaman ultimately rescues the hero from near - certain death.

Though Tony Gilroy, who shared writing credit on all three previous Bourne films and directed the excellent Michael Clayton 82 (and much less excellent Duplicity 69), handles both writing and directing duties here, critics found that Legacy added little in the way of originality, while Renner proved a less captivating action star than Damon.

First, by focusing on Graham and her Post rather than the actions of Daniel Ellsberg (played here by Matthew Rhys), who leaked the Pentagon Papers, or the New York Times, which initially published them, the film opens itself up to dissect gender roles in the power structures of that time.

All the more action - based scenes, like the quidditch match, the broomstick lessons or the wizard's chess scene near the end, feel like set - pieces which have wandered into what otherwise resembles a recital rather than a film.

Fortunately the action is handled in a much more controlled way than the second film with the viewer actually being able to walk out of the cinema without a coma.

The trick for a movie of this type, at least one that is aspiring to be more than just a simple - minded exploitation film (such as the original Charles Bronson «Death Wish,» a far more complicated work than usually given credit for, especially in comparison to its tacky sequels), is to create a narrative that somehow justifies such actions without completely overdoing it.

Visceral action (including an opening sequence that masterfully sets the tone for the rest of the film); a sharply written and directed script; rich, dynamic characters; and, as promised, the world's cutest cat (other than yours if you have one) combine to create a gut - busting, endearing, salty - sweet, and highly re-watchable comedy.

To get a really good and entertaining film, you need: 1) characters you care about 2) a plot that is more than twenty words when boiled down 3) stunning action (on which Transformers delivers 4) believability and credibility And all Transformers has is eye candy.

The film isn't perfect: in some action scenes, Black Panther's suit looks more computer - generated than realistic, and the hand - to - hand combat sequences can come off more chaotic than compelling.

The following year, Garofalo appeared in no less than five films, with a supporting part in the ensemble piece 200 Cigarettes, a starring role as an unconventional action heroine called the Bowler in Mystery Men (which also featured Stiller), and prominent turns in Kevin Smith's eagerly awaited Dogma, Hampton Fancher's psychological thriller The Minus Man, and the satirical comedy Can't Stop Dancing, in which she acted alongside fellow comedienne Margaret Cho.In 2001, Garofolo took on the role of Catherine Connolly in The Laramie Project, HBO's docudrama chronicling the aftermath of the death of Matthew Shepard, and filmmaker David Wain's comedy Wet Hot American Summer.

Apart from its racialist theme, the film is nothing more than a conventional Hollywood «blockbuster,» chock full of action sequences, explosions and the rest.

Mangold, a replacement for original director Darren Aronofsky, is new to the superhero genre, and hasn't directed a film since the disappointing 2010 action - comedy Knight and Day, but his approach to The Wolverine (it sounds more like a samurai film than anything else) suggests it should at least be an improvement over X-Men Origins: Wolverine.

In 2000 alone, she could be seen in no less than four films, including the action comedy The Crew, Red Planet, and as a bartender with questionable motives in director Christopher Nolan's unconventional breakthrough, Memento.

Mediocre action film, Sanctum is a film that had potential of being a great film; unfortunately it falls flat, and relies more on clichés than anything.

Though his action figured resembled a gorilla more than Joseph, the film got him unbelievable exposure and the offers started flooding in.

The film's action highlight is the massacre of Fort Henry (we are spared nothing, not even the bayonetting of babies), but its emotional peak occurs when Cora Munro (Barbara Bedford), daughter of the Fort Henry commander, threatens to fling herself off a high cliff rather than fall into the hands of the lecherous Magua.

Written and directed by Karen Leigh Hopkins, the film's tone looks to be all over the place, but it's good to see James Badge Dale as something other than a supporting character in an action blockbuster.

The first film's breathless action is reduced to staccato bursts rather than extended showstoppers.

Which means that rather than the normal action film sweet / sour balance, Man on Fire presents a much less preferable sickly sweet / unremittingly and sickeningly bitter balance.

This gruesome French horror flick (2016) functions more as a mystery than as an action film, with an endless drip drip drip of revelation that gradually exposes a terrifying world behind the everyday.

It's an actors» piece rather than an action flick, and Davis finds new, moving nuance in the film's familiar beats.

The action is a horrible muddle of skating, blood, fighting and stupid bike stunts all crammed within this tiny arena, at the same time you have other players skating down from higher levels or platforms for no apparent reason other than to look cool in the film.

Lemkin's semantic - based search for the right word to galvanize an effort — the actual creation of the word «genocide» — is an ideal example of the film's realization that this fight for justice is more of a battle of words than actions.