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Masterpieces Of Action: Celebrating The Best Top Action Movie Franchises
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Transformers Legacy United Leader Class Beast Wars Universe Tigerhawk
Collectibles Arts & Crafts Entertainment Memorabilia Musical Instruments & Gear Cameras & Photo Clothing Shoes & Accessories Computers/Tablets & Networking Toys & Hobbies Action Scene is a column that explores building action sets to deepen appreciation and spark discussion about action movies. .
2022 has been a great year for action movies in terms of the variety and virtuosity of the action scenes it has given us. The following article summarizes some of the best. As with last year’s film, the tight, relatively restrained displays of the art of mobility in the action scenes mean that some strong action films or close-up action films (such as Everywhere Together, The Fall, The Contractor, Detective vs. Sleuths, Moonfall) and less engaging than the few included movie episodes.
All of the featured films made their official, non-festival, US theatrical and/or broadcast debuts in 2022, thus displacing otherwise safe additions like Limbo and Good Morning, Sleeping Lion (which will be released stateside in 2023). disqualified. . For the sake of variety, I’ve limited myself to one scene from each film.
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Now let’s move on. Scenes are divided into thematic groups to facilitate reading and highlight thematic and stylistic patterns.
There are still many planes. Technical design of various planes in Top Gun; Visually and aurally conveyed, Maverick is tactile, even fetishistic, mesmerizing, but the expression of Bradley “Rooster” Bradshaw (Miles Teller) sums it up pathetically. The philosophy of flight instructor Pete “Maverick” Mitchell (Tom Cruise) rings true as a description of the film’s stylistic approach, which often involves placing the camera in the cockpit. In these shots, the pilot’s upper torso forms a visual anchor for the audience, standing upright in the shot even as the plane barrels and the world outside becomes confused. This formal strategy greatly appeals to the audience’s receptivity; Instead of capturing the plane from the outside, these shots invite you to experience its physical mass from the inside and “feel” the plane as it spins and accelerates.
In the film’s most surprising scene, this perceptual approach is balanced by two visual strategies that help restore a certain sense of geography (01:19:21 – 01:22:40 in the film): to show the cadets watching that this is possible, the film uses cockpit scenes, occasional shots from outside the plane, and alternates between a 3D digital display of the course, with an airplane-shaped icon hovering over it to track its progress. These other perspectives help the viewer to extrapolate “outward” from the cockpit shots by directing them into the film’s geographic space, preserving the dizzying physicality of the pilot-related images. It evokes the feeling of not only flying, but also of flying around and through a purposeful and directed space, from which a sense of strategic navigation emerges.
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“Pilot” also dominates “aircraft” in car-centric films, although their car sets outnumber the chauffeur characters’ action scenes outside of their cars. In Special Delivery, an illegal delivery service driver (Park So-dam) finds himself in deep water after hooking up with one of his clients, a young man (Jung Hyun-joon) with a target on his back. After some subtle, thrillingly precise driving scenes reminiscent of Drive (2011) and Motorway (2012), the film ends with an intense, exhilarating fight (01:32:54 – 01:37:06) that seems both literal and symbolic. . our protagonist gets down and dirty, abandoning his cool professionalism and the protective insulation of his car’s four walls when things get personal. The innovative fight choreography in this scene involves him throwing himself at enemies who are physically much larger than him; at one point he stands up so his full weight can be used to slam the screwdriver into the prone man’s chest and throw him around. in turn, like a rag doll. This noticeable disparity in size and weight is a source of great concern, and it causes concern that the ingenuity he has shown so far has finally been matched by his fitness.
Lost Bullet 2 has two of the most memorable acts from the first film: a police station brawl as protagonist Lino (Alban Lenoir) weaves his way through a small army of cops, and a highway chase that features traffic jams and rips. Except for highlighting and zooming in on the enemy vehicles, the sequel’s “Comes back for more” subtitle makes a good one. The 2.0 bumper scene is pretty impressive, with grappling hooks now buzzing with electricity that sends enemy cars flying into the sky, but what’s most surprising is the new police fight (00:39:49 – 00:44:08). Although more complex than its predecessor (in the later film, Lino must fend off not only “good” cops, but also masked “bad guys” who try to kidnap and kill an uncooperative key witness), the fight in Lost Bullet 2. ” is characterized by the same type of heavy, complex choreography and hand-held camerawork. Spanning a few meters over four-plus minutes, the scene stretches out tensely as the outnumbered Lino does his best to suffocate the opposing hordes trying to subdue him.
Following an amnesiac, avatar-like character through a single, seemingly continuous shot while completing a series of mini-missions, Carter evokes the structure of first- and third-person shooter video games. However, the film also pushes the one-shot conceit to more extremes than such games suggest, running its camera around and under cars and jumping out of planes. While not always flawless, the illusion of continuity is so maintained that the film becomes an ecstatic celebration of the camera as a virtuoso body that moves as dynamically as the stunts it captures. By placing the filmed bodies and the camera body in a shared physical space, Carter immerses the audience in a sense of a tangible, navigable three-dimensional world beyond the frame, while instilling the poignant thrill of moving within it so freely. The film’s best and most spectacular sequence (01:14:51 – 01:22:56) maximizes this frenetic immersion by literally taking the mobility of all bodies to new heights; The camera pans up to the back of a moving truck, cutting straight into a Mad Max-esque car chase with gun-toting chasers who stop and try to get into a larger vehicle.
Readers’ Poll: The 10 Best Action Movies Of All Time
If Carter resembles a video game in form, Uncharted is only the same in content. Based on the video game series of the same name, the film adopts a more classic cinematic style that taps into the treasure hunting subgenre without breaking any new ground. However, the film has some great set pieces that make up for the CGI-induced weightlessness with precise continuity editing and choreographic finesse. These scenes restore a sense of physical weight, despite surfaces that look a little flat and objects that slide a little too much, all of which suggest the presence of digital manipulation. Editing and choreography, in particular, enhance the audience’s haptic connection by foregrounding the complex mechanical interactions of physical objects in physical space (this appeal of the haptic experience actually has little resemblance to video games). The film’s most interesting action scene (01:13:39 – 01:17:30) is full of intricate action sequences in and out of an aerial cargo plane, as is the cargo net scene, still full of wire crates. industrial one. – expanding Christmas lights. He emerges from behind the plane’s open cargo door as fighter jets attempt to climb its length to safety. Here, the complexity of the choreographic arrangement activates the viewer’s perceptual capacity, his or her physio-spatial sense of where objects and bodies are located and how they move in relation to each other.
This year, various action films focused on anti-colonial themes, most notably Avatar: The Last Airbender. Water is the way. For more than a decade, this cinematic phenomenon has seen Hollywood tech maestro James Cameron push the computer-generated fantasy world of Pandora.
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