Sentences with phrase «through scenes of action»

The 2.40:1 visuals have all the flair of an Edgar Wright film, impressing through scenes of action and effects as well as simply the colorful banter of reconnected childhood friends.

Not exact matches

One of the biggest surprises in «Avengers: Age of Ultron» occurs about halfway through the film when our heroes break away from the action for a more light - hearted family - centric scene on a farm.

The divine action need not be thought of as a matter of super-casuality behind the scenes through which everything happens; but as the continual divine self ~ communication, presenting to the creatures not only the good to which they may aspire, but also the support and recreative power of the sustaining and loving reality which is in the depths of all things.

Speaking about the film recently in Los Angeles, Cera — who in this film, takes some refreshingly bold steps away from his usual one - note nerd persona — and co - writer / director Edgar Wright (who also did the zany cult classics Shaun of the Dead and Hot Fuzz) discussed the meaning of the film, the stretching Cera had to go through for the role, and the way in which the film's hyperkinetic action sequences are really just the same as the dance scenes in Grease or a Gene Kelly movie.

Much of the IR dogma across paradigms, envisages states action and reaction on the international scene through a limited range of purposes.

The official who wears the hat of fiscal monitor, auditor and payroll administrator might also be the master of ceremonies — standing to the side, making sure everything runs well, highlighting each character and scene, essentially guiding the taxpayer through the action onstage and behind the scenes.

If Bay shot footage of an intersection, the animators would integrate computer imagery into Bay's background plate so they could better control the action of the animated characters moving through the scene.

High stakes, forged through effective storytelling, can imbue even the sleepiest action scene with an invaluable sense of urgency, excitement, and suspense.

I will admit there are some fun action scenes, and the fight scene in the last act was quite a bit of fun, but it is definitely not worth sitting through just for that.

The actors are really just playing themselves as far as their line delivery goes and the plot really doesn't go anywhere new, especially since the opening scene of the film rewinds through the entire film, showing every action beat, which was a really bizarre move.

She gives every last action sequence an added level of excitement, particularly a heart - stopping chase scene through Busan, South Korea that marks an impressive feat by everyone involved.

Characters will jump and twirl and come out of nowhere in spaceships to save the day, and as you guide them through one over-the-top action scene after another, it's tough not to smile at the cartoonish demeanor and scale.

And there's a terrific central action scene, just the right mix of comedy and thrills, involving a motorcycle - helicopter chase through Saigon's slums.

Carano's line readings are occasionally atonal and flat, but that's more than compensated for in the scenes where her personality and poise shine through, and if her voice may lack an elegant flow and nimble range of motion, her body, in action, has both of those in a way that speaks louder than words.

Earlier scenes feature whales flying through the clouds and into the sea, which becomes intertwined with the reflection of the sky in the water, and the climax is impressive action sequence, featuring the realm's inhabitants using their assorted magical powers to escape a giant tidal wave.

However, repetition sets in and the escalation of set pieces reaches some sort of a peak here: there are good - to - great action, chase and fight scenes (Bryan Singer's X-Men films still have an edge on depicting superpowers) but there's also a limit to the number of times people can be kicked through walls before the scraps start to feel samey.

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.

In these early moments, like a half - hearted action scene set in a Chinatown restaurant secretly run and frequented by extraterrestrials, MIB3 smacks of desperation as it sadly goes through the motions it so cleverly unveiled fifteen years ago.

Just imagine having to shift through 70 hours of footage that came from the 5 «HBO» cameras and then the 2 - 3 film cameras used to capture the action taking place outside of the ring — and that was just for the boxing scenes.

A sequel of the global smash - hit The Protector, this extreme fight movie is an endlessly intense, nerve - racking film full of daredevil stunt scenes and amazingly choreographed fighting moves that will pump hot blood through the body of all action fans!

Director / Screenwriter (and part - time comic book writer) Joss Whedon's love for comics is apparent right from the start with an opening act that would be the climax in many action films and carries through to one of the more spectacular final battle scenes you're likely to see for years to come.

While the final action scene through the Vegas Strip may work for action fans, to me it was confusing, unnecessary and dull, and must surely have only existed because they had heaps of budget left that they didn't know what to do with, and didn't want to hand it back.

The story missions are the best part of the game, where you will be going through some of the best scenes of the movies (plus some new original scenes) and able to help partake in this action.

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 Turtle skateboard scene through the sewer pipes is prime example of this, as we watch a «Tony Hawk» / «SSX» - style minute of action where we see plenty of rail slides, spins, and other skateboarding techniques.

The opening scene, in which all the mecha - aliens transform back and forth between giant robots and various makes of automobiles and heavy trucks, becomes so abstract it looks like a Jackson Pollock canvas in motion screeching through the middle of a Hollywood action movie.

With that in mind you might be led to believe that Live by Night is some action extravaganza rip - roaring through countless scenes of tommy guns spraying bullets everywhere, buildings being set on fire, etc... but it's not.

But director John Landis drifts through the proceedings at the pace of an injured sloth, rendering bad action scenes even worse and all but wiping out any chance of a snappy comedy to rival Martin Brest's original.

Winstead, who dominates every scene of the movie both through her personality — running from flirtatious to manipulative to terrified — and her actions, has fantastic chemistry opposite Gallagher as the doofy Emmett.

It is part an indictment of the ludicrous mandatory sentence drug laws, and part dramatic thriller, while only delivering on one big action scene late in the film involving Matthews trying to drive a semi containing a shipment of cash through the border to Mexico, while trying to avoid men with machine guns driving cars trying to take him down.

From its opening scene, The Golden Circle throws us immediately into a meticulously choreographed action setpiece, with Eggsy (Taron Egerton), now an established Kingsman agent, fighting his former Kingsman colleague Charlie (Edward Holcroft) in a speeding taxi through the streets of London.

To be fair, through the eye of Yates those visuals are formidable, and Rowling fills these scenes with some truly original, weird events, but up to the movie's halfway point it's almost entirely focused on fantasy beasts and action instead of a coherent plot.

While nearly every scene features a fighting sequence, the action effortlessly flows through the film like delicate leaves, and director Yimou produces a beautiful backdrop for his violence with the use of bold greens, reds, yellows and blues to distinguish the different sections of the story.

Instead of splurging the cash on extended action scenes early in the running time, Edwards instead gives us mere peripheral glimpses of the action through TV news coverage or unexpected cut - aways at the last moment.

As a result of the convincing effects and a solid, humor filled script by Sinister's C. Robert Cargill, the possibility of these magics also create some of the best action scenes of the Marvel universe by presenting clever and puzzling scenarios instead of making the hero blast through countless waves of robots.

As one would expect from the filmmakers behind «The Matrix» and «Speed Racer,» the film is colorful and filled with top - notch special effects and action scenes; a chase through the skies of Chicago moves so fast that it's a wonder of construction, and it doesn't wear out its welcome like a few other set pieces, including a climactic showdown on Jupiter (the planet).

Unfortunately, the film's insistent, convoluted plot constantly gets in the way of its aesthetically pleasing scenes and excellent action sequences so that it becomes a bit of a chore to get through.

Plunging into the trademarked opening action scene that always got us off to a roaring start with the James Bond movies, this chase through the streets of London is set to Prince's Let's Go Crazy.

Playing an action heroine was like professional playtime, and she gained five or six kilograms of muscle to play the role: «Due to all the action scenes that [the character] had to be put through, I wanted it to be plausible that a young girl could fight a man who's obviously both stronger and bigger.»

He is bloodthirsty, cruel, and remorseless — only displaying an ounce of personality in the brief glimpses of his face as he is in the process of swinging his sword toward a foe (Nispel's visual aesthetic of rapid cuts and handheld camera moves makes for disjointed action scenes, and it's close to intolerable watching through those worthless 3 - D glasses).

That carries us through the downtime between the action scenes, although it's much more tenable for purposes of comic relief than for drama (The film still continues the silly amnesia storyline for Letty).

Nabwana IGG's aesthetic is proudly low - grade, immersing the viewer the slums of Kampala, Uganda as seen through blurry digital video and overflowing with quick cuts and rapid - fire action scenes interspersed with the most archetypal, blatant narratives.

Students will create interactive scenes in which characters will respond to the actions of other characters initially through the telling of jokes.

Hap and Leonard's wildly off - color repartee provides both through line and funny counterpoint to the extended, violent action scenes (which our reviewer referred to as «print versions of Sam Peckinpah's six - gun ballets»).

Cleverly narrated by the voice of the Groove, Pinkney's journey through Motown reveals the behind - the - scenes players and actions that helped build an iconic sound.

The first half was interesting, focusing on relatively down - to - Earth cop - based action, but the second half completely went off the rails, attempting to emulate Call of Duty by somehow fitting in a tank, a bloody stupid elevator scene and a helicopter which inexplicably flies through a firework display so that it can conveniently snag your zipline wire.

Dialogue between characters is replaced with a sort of pantomime during each scene, where emotion is still conveyed through each characters actions, and not a single word is uttered.

The game is an old - school cinematic - platformer that proved innovative through its use of effects in the graphics, sound and cut scenes with characters communicating through their facial features, gestures, and actions only to tell the story.

You won't be engaging in any major action scenes, instead all your energy is spent choosing the paths to take through various branching narratives, and having to deal with the consequences and the fallout of your actions and words.

The story is very minimalistic as you play through a few story scenes which lasts a few minutes in - between the action parts of the game.