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Drive Action/Drama film adapted from '05 novel
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John The Grudge  |
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Foot Soldier

Group: Members
Joined: Mar 5, 2009


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| QUOTE (Mr.Funny12 @ Thursday, Mar 22 2012, 04:08) | I really liked the realism. In movies like "transporter" or any super action films of the sort, is just all action, all speed and kinda ridiculos. In this movie, for example when he looses the police by blending with traffic, using an average car and changing his outfit was very smart and doable by somebody now a days.
Also, it seemed a bit more realistic in other areas too. Like I was saying, in those action movies, the main protagonist is some super badass kickass fighter who can take on an army by himself and his fists. In this movie, gun fights, and fighting in general was alittle better then normal.
The only think I didn't like is that I was there was more driving scenes because I enjoyed those parts and there weren't that much of them. | I think that realism and deliberate pacing is key to memorable action scenes. You could have explosions and ninjas and lasers, even exploding laser ninjas. A guy in an ordinary car, underplayed with a subtle score and good sound, gets the pulse racing faster though. It's not a coincidence that one of the most famous car chases is basic, raw, played out with little or no fanfare, in what was up to that point a slow burning detective movie (I talk of Bullitt of course). With it's one or two action scenes it's more exciting that all the transformers movie put together. Michael Bay should learn that.
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Robinski  |
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Under a fluorescent sky

Group: BUSTED!
Joined: Oct 26, 2007


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Realism can be a lot more visercal and engaging. Like John above me says, you can have all the over the top, out of this world, exciting action and still get a great reaction from the audience. But when something is grounded and understated things get a lot more excitable because they're relatable. Everybody's either been punched or seen someone get punched, or been in a car with someone who drives a bit too wildly. It's when you take something that the audience has experienced first hand, you grab them and drag them a just a little bit out of their speher of experience, but only so much. It's why the elevator scene works so well in Drive. Sure, dude gets pummelled, and it's pretty slickly executed by our man, but it's the sort of thing you might see once or twice in your life. But then, he just keeps going. Dargging you further and furtehr away from what you know is what gets the reaction.
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