Sentences with phrase «with other action films»

Not exact matches

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.

And while some are tastefully filmed, with no action «down below», others leave nothing to the imagination.

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.

Compared to other silent films of the 1920s, with the undercranked action, overly emotive acting, fantastic plots and theatrical make - up and costumes, «Napoleon» is years ahead of its time.

Difficult story with Elektra, other amazing character, but the film is terrible, the only good parts are the action scenes, but this film have much mistakes.

Good sci - fi has all these things, of course, but «bigger» isn't better, and most of the «big» idea movies use «the future» as a setting for action and adventure, whereas true sci - fi films (and books) use that setting to tell human stories in new ways; human relationships (with others, with self, with the environment, etc...) are are the core of the best sci - fi movies we've seen.

The Movie: The idea of George Clooney playing a (mostly) silent assassin holed up in the Italian countryside with gorgeous European women sounds like recipe for a solid dramatic experience, so why Focus Features is marketing «The American» as some sort of action thriller when in fact it's an arty European film, will throw some moviegoers off and just outright anger others.

The bigger cameras have forced Bay to step back and steady his shots more and that was basically the only complaints I ever had with the other two films as far as the action went.

The action sequences were done great and I loved how well this film tied in with the others in the universe.

Instead we are presented with an absolute turd of a film with shockingly bad «action» set pieces (despite not actually requiring major action set pieces for the plot), dreadful visuals that might as well be that «Gladiators» TV show complete with glitter and sparkles, a god awful thrash / heavy metal soundtrack just in case you forgot this film was suppose to be tough and your obligatory dire big name cast hot of the heels of other poor major blockbusters (yeah stick him / her in it, big name, can't go wrong, doesn't matter if they actually fit the role or not pfft!).

The film is at its best when it drops its focus from action beats, superb though they may be, and redirects itself towards quieter moments of clandestine favors and conversations between old contacts: of Zharkov and Cross drinking together and discussing the merits of Communism; of Zharkov's heart - felt talk with an Austrian contact whom he rescued decades ago from a Nazi concentration camp; of Cross and Scorpio confronting each other first in a midnight botanical gardens and then in a shadowy parking garage.

Comedy, sci - fi, horror, romance, adventure, action, drama, and thriller, it covers quite a lot of territory in a short amount of time, and does so with its own sense of style that makes it different from any other film, even if it is an homage film at its core.

Often shooting the action with sweeping pans a la «Afterschool» (a film more transparently indebted to the clinical approach of Michael Haneke), he tends to keep shots at the consistent level of heads bobbing along back alleys, hands as they hold onto one another, hips as they thrust together, until the routine is unsettled by bodies falling where they ought not to be, with hands grasping at feet and other indications of unease quietly coming to the forefront.

With adaptations of superhero comics to film, it seems that the only thing of interest to the film maker (s) is getting the shiniest and biggest effects on screen along with «kick - ass» action sequences and one - upping each other on the adrenaline leWith adaptations of superhero comics to film, it seems that the only thing of interest to the film maker (s) is getting the shiniest and biggest effects on screen along with «kick - ass» action sequences and one - upping each other on the adrenaline lewith «kick - ass» action sequences and one - upping each other on the adrenaline level.

But this is a film with four - quadrant appeal that deserves to be seen by as many people who have attended other hit live - action family films, most of which aren't nearly this good.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

More than any other film in the Marvel Cinematic Universe, Black Panther addresses the world today in ways that, while not distracting from the action and adventure, fills the movie with deeper meaning and moral weight.

These misses narratively combined with other elements of Deadpool 2 make it feel like a backwards step or at the very least of a stalling of the series from the first, there's a sense here that everything's a little auto - pilot, the action too taking a backwards step from the imaginative sequences of the first film and while perfectly entertaining, this is an experience filled with nothing that would suggest Deadpool 2 is going to be a film you'll be going back to anytime soon.

The film starts off with some awkward, painfully lame flashback scenes of Kyle's childhood and transitions into an opening act that is loaded with full - on patriotism that sees him go to war to get back at the people who brought suffering to our doorstep in the events of 9/11 (he was already enlisted, but if we believe the film that decision was also motivated by seeing news footage of American lives being taken), but one of the most interesting surprises is how balanced it eventually becomes and how we see the way that Kyle's actions negatively impact others and how even he begins to question his commitment to the cause, despite the fact that he would never vocalize it.

In March, it's been a different story, with big - budget action films London Has Fallen and Allegiant plus horror titles The Other Side of the Door and The Witch.

Winging between deadly serious starts (this is a film that opens with an incinerated baby, for chrissakes), heartbreaking lost loves, kingdom - destroying action scenes and Blunt and Theron yelling at each other to the point of camp, the film never even comes close to striking a balance.

At its core, it is a derivative film, not only because it is a remake, but it is also very similar to other films to come out in the years before it, including Alien and Invasion of the Body Snatchers, but it still manages to hold its own through the fantastic action, Ennio Morricone's (The Untouchables) sparse and haunting score, and the lively acting by all of the performers, with especially memorable performances by Kurt Russell (Stargate, Tombstone) and Keith David (They Live, Final Analysis).

For swathes of the film, Katniss has little to do but react to the actions of others, though she does get to blow stuff up with her bow and enjoy a literal save the cat moment.

With goofy villains, a terrible script, and every other scene ending with an unbelievably gargantuan explosion, this is a film for bad action movie junkies oWith goofy villains, a terrible script, and every other scene ending with an unbelievably gargantuan explosion, this is a film for bad action movie junkies owith an unbelievably gargantuan explosion, this is a film for bad action movie junkies only.

Ant - Man, on the other hand, was more than just a comedy movie, it was a heist film that managed to surprise audiences with its unique action scenes (thanks to the shrinking capabilities of the film's main hero and villain).

His success with «Alias» ultimately launched his career, and now, ten years later, here he is approaching A-list status, starring in a fine - looking action film, sharing the screen with none other than, in the words of Ricky Gervais, «the greatest screen - actor to have ever lived» — Robert De Niro.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

Embracing and getting swept up in the action is difficult because it's not balanced with the other ideas the film is trying to convey.

It is in no way a bad film and it is, moreover, one of the better action films of recent cinematic efforts, far outstripping anything such as the Jason Statham release, Safe, for example; that film was just a rehash of multiple other action pictures but delivered with one tenth of the quality.

Other films meriting mention include Robert Altman «s final picture, «A Prairie Home Companion ``; Mel Gibson «s Aztec - thriller, «Apocalypto ``; Tom Tykwer «s kinetic (perhaps too kinetic) «Perfume: The Story of a Murderer ``; John Cameron Mitchell «s low - budget erotica,» Shortbus ``; Richard Linklater's live - action rotoscoped Philip K. Dick adaptation «A Scanner Darkly ``; Spike Lee «s biggest commercial hit, the entertaining heist film, «Inside Man ``; Michael Mann «s flawed, but interesting «Miami Vice ``; Bryan Singer «s unfairly maligned «Superman Returns; «Nicole Holofcener «s wryly observational «Friends with Money,» the over-estimated, but enlivening horror «The Descent,» and «13 Tzameti.»

Although all of the characters are detestable in terms of their actions and egotism, we like them all despite their vices, and seeing them engage with each other and constantly manipulate the situation proves to be one of the more subtle delights in a film full of such choice little moments.

She's worked with great directors and other great actors in big and small movies, she's been a key part of one of the biggest franchises of all - time and has even proved she can lead a summer action film by herself.

Ball has acquitted himself well with this series and will hopefully find himself on a shortlist when it comes to other action films in need of a particular directorial eye (The Flash almost makes too much sense, but that spot is apparently taken... for now).

One punch is worth a whole clip of bullets in any other film, all landing with such satisfyingly messy semi-realism that the action feels real and tangible.

It's such a wonderful score, and it's so good to be able to hear all of it for the first time away from the film - but on the other hand, the original album was exceptionally well - sequenced, balancing the action / adventure and romantic sections beautifully with each other.

The way Hong deals with time means you could almost categorise his films as hard sci - fi, in particular the way he examines the counterintuitive daisy - chain effect that our actions have on the lives of others.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening March 5, 2010 BIG BUDGET FILMS Alice in Wonderland (PG for fantasy, action, violence, scary images and smoking) Tim Burton directs this animated sequel to the Lewis Carroll children's classic revolving around now 19 year - old Alice's (Mia Wasikowska) return to the whimsical kingdom for a reunion with the White Rabbit (Michael Sheen) and other childhood friends, and to end the Red Queen's (Helena Bonham Carter) reign of terror.

Oscar hopefuls turned Oscar disappointments are the other big new releases, with Angelina Jolie's inspirational chain - letter on film «Unbroken» making its way to Blu - Ray; stirring in its action sequences (aerial fights, men stranded on the ocean), it becomes lugubrious as soon as it focuses on Louis Zamperini's torture in concentration camps.

Hughes» next film, «The Hitman's Bodyguard,» is an action - comedy that stars none other than Ryan Reynolds, along with Samuel L. Jackson, Gary Oldman and Salma Hayek.

It's more like an action heist film with comedy thrown into it every other scene.

Though the film does a better job of capturing the spirit of the «Hitman» franchise with violent, stealth - based action sequences, it's bogged down by a cheesy and predictable script that shackles its titular character to Hannah Ware's human MacGuffin for no other reason than because Agent 47 would be an emotionally detached bore on his own.

The result is a «big film with action sequences but it's made by the smaller moments and human interaction and letting the audience connect with our characters and letting the characters connect with each other,» she said.

And in the other short - film categories, Best Animated Short Film and Best Live Action Short Film categories, a film qualifying via theatrical release must now have a seven - day run in Los Angeles County, with at least one screening per day.

Writer and director Alex Garland allows for the film's biggers questions to inhabit the space that other genre movies might fill with action sequences, allowing for a slow sinking horror as the film unfolds.

Epic battles that are hard to invest in coupled with dull exposition, action set pieces that have already been seen in other films and characters that are difficult to get behind all add up to one of the more dreary screen events in recent years.

Universal Pictures will handle distribution of the live - action film outside Japan as it has done with Legendary's other films for years.

It's similar to a lot of other films of different ilk, and many may find some striking similarities with Point Break in particular, and that's dipping pretty deep in the bad action movie barrel for inspiration.

Karl Urban and Olivia Thirlby, stars of upcoming Sci - Fi action film «Dredd,» sat down with CBR News and other members of the press at Comic - Con International in San Diego to discuss the new film, their hopes for the franchise, and what it's like to act using only your chin.

Just as they did with Shaun of the Dead, the makers of Hot Fuzz seek to play in the sandbox made by other guilty pleasure favorites, but this time, the gags don't crack as sharp, the action isn't as assured, and the climax of the film goes on entirely too long.

Others that we've seen and would heartily recommend include the twisted Americana fairytale Lamb, Jason Schwartzman «s other hysterical comedy 7 Chinese Brothers, Joshua Oppenheimer «s Indonesian genocide doc follow - up The Look of Silence, Kodi Smit - McPhee / Michael Fassbender neo-western Slow West, Leslye Headland «s surprisingly sweet shock - comedy Sleeping with Other People, NZ splatterhorror Deathgasm, 80s action figure throwback Turbo Kid, family road trip film Manson Family Vacation and Jemaine Clement as a semi-depressive comic book artist in People, Places, Thother hysterical comedy 7 Chinese Brothers, Joshua Oppenheimer «s Indonesian genocide doc follow - up The Look of Silence, Kodi Smit - McPhee / Michael Fassbender neo-western Slow West, Leslye Headland «s surprisingly sweet shock - comedy Sleeping with Other People, NZ splatterhorror Deathgasm, 80s action figure throwback Turbo Kid, family road trip film Manson Family Vacation and Jemaine Clement as a semi-depressive comic book artist in People, Places, ThOther People, NZ splatterhorror Deathgasm, 80s action figure throwback Turbo Kid, family road trip film Manson Family Vacation and Jemaine Clement as a semi-depressive comic book artist in People, Places, Things.