Action Movies 2012 Full Movie English Hollywood – More than a century ago. But somewhere along the way, filmmakers began to realize that they didn’t have to confine their car chases, fight scenes, shootouts and explosions within the confines of another genre. The plot doesn’t have to be part of a Western or a silly historical adventure or sci-fi extravaganza; the action becomes the real point. Thus, at the end of the 20th century, a new genre developed in Hollywood.
Combining the precision of the best stunts and visual effects that work with the emotional resonance of the best dramas and comedies, a truly great action film feels like something that really has it all, even though the focus is fixed and the set pieces are undoubtedly finished. – up. There are many masterpieces in the genre, but here are 30 of our absolute favorites (in chronological order).
Action Movies 2012 Full Movie English Hollywood
Note: For the purposes of this list, in an attempt to keep things concise, we’ve chosen, for the most part, to focus on movies where “action” is the main genre associated with the story. , so you won’t see much in the way of westerns, superhero movies, and other genres among these choices. Also, with a few exceptions, we mostly stick to films made after 1970, in order to focus on the decades when action cinema as a genre in its own right really flourished.
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In the eyes of modern audiences, it doesn’t necessarily play like an action movie, but if you watch enough action movies and understand the vocabulary of their pacing, and the ways in which directors build modern action sets, then Henri-Georges Clouzot’s thriller about four men wearing nitroglycerin over dangerous terrain became a valuable introduction to the construction of the film’s action grammar. From the way he uses close-ups and editing to build tension in key sequences to creating complex sets built around two trucks and four characters,
It’s truly impossible to overstate Akira Kurosawa’s influence on nearly every film genre in the years since his unique films began reaching global audiences, and Seven Samurai is perhaps the best example. It’s more of a historical drama than an action film, but as a precursor to action cinema as we know it, the film proved to be an important signpost for the director’s future. Whether we’re talking about the building of a colorful ensemble, the pace of a duel, or the calm before a literal war storm, Kurosawa casts a long shadow over most of the action genre. with many of his films, but this one in particular.
It begins with Sean Connery removing his wet suit to reveal a clean white tuxedo underneath and ends with a mid-flight fight scene. For reasons and everything in between, from a laser that threatens to cut Bond in half to an Aston Martin ejection seat,
Stands today not only as the best Bond of the Connery era, but as the film that set the standard for what a Bond film – and indeed, almost every other spy film since – should be. It’s not as action-packed as many of its successors, nor is it full of set pieces and stunts like the decades-old action films that followed it. But if you’ve ever tried to make someone look cool with a gun in your movie, there’s a good chance you’re at least a little bit in tune.
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Shaft came at a time when “action” movies weren’t as fast-paced as they are today, but that does nothing to diminish the film’s impact as a breakthrough moment for black action heroes. Richard Roundtree retains the charisma that incarnates the lead, and while Shaft spends most of the film chasing the leads at a leisurely pace, director Gordon Parks manages to maintain a sense of tension that builds and builds to a stunning final sequence, which is both. cemented the character as an icon of black cinema and cemented the film as a landmark in action filmmaking.
Bruce Lee was already an international star by the time Enter the Dragon hit theaters, but it was the film—released just a month after his sudden death at the age of 32—that made Lee a legend forever. Filled with classic Hong Kong kung fu film style layered with a newfound Western action sensibility, Lee’s latest completed film continues to play not only as a display of his prodigious talent, but also as a testament to his abilities as a visual and physical storyteller. As Leah’s character previously said, “We need emotional content,” and through her body, her voice, and her imagination, the legendary performer delivers it perfectly.
Begins somewhere that puts it firmly in crime drama territory, as a detective (Bruce Dern) tries to set up a trap for a talented getaway driver (Ryan O’Neal) with what should be a set-up job. But Hill begins toying with the very concept of the car chase, changing the motivation each time, until the film’s crescendo builds to an unforgettable final sequence in which the cars crash into each other, one through a labyrinthine warehouse, using the sounds of each other’s machines. as guides within. chase. It’s a creative, deliciously tense way to create confrontation and cement it
Legend has it that when Steven Spielberg wanted to make a Bond movie, George Lucas countered with an idea inspired by the adventure series, and the result was the archeologist’s favorite in cinema. However this happened, Raiders of the Lost Ark remains an absolute masterpiece of an action-adventure film, combining Spielberg’s natural visual wit with screenwriter Lawrence Kasdan’s timeless story and Lucas’ mastery of the scene. From iconic rock openings to desert chase scenes, there are action sequences in this film that 40-year-old directors could only dream of replicating.
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Although subsequent Rambo sequels have become bloodier exercises in absolute masculinity, Ted Kotchef’s original film remains the best of the series because it is more drawn to the pain from within than from without. In what remains a remarkably measured performance, Sylvester Stallone gives us a jaded prospector wandering through an America that doesn’t seem to want him anymore, and he charts John Rambo’s descent back into violence with real vulnerability. That Kochev was able to sell the action unfolding on the road in a truly exciting way only heightened the inner turmoil at its core, and the result is classic.
As much a satire of Reagan’s America as it is sci-fi action, Paul Verhoeven’s RoboCop is a film that plays today as a film that simultaneously co-opts and mocks the violence-obsessed, sensationalized genre cinema of the 1980s. Verhoeven is happy to comment on everything from corporate greed to corrupt police to Americans’ obsession with violent crime, whether it’s in our own backyard or not, but he’s also happy to prove time and time again that he can beat other filmmakers at their own action movie game. . The result is one of the most layered action films of the 1980s that remains surprisingly powerful at the dawn of the 2020s.
A rogue cop, a group of terrorists with ulterior motives, a Christmas party gone wrong, a skyscraper full of explosives and Reginald Well Johnson. Die Hard really has it all, and director John McTiernan makes sure all the elements come together for a film that still works like a Swiss watch, perfectly timed without a millimeter of wasted space. From the instantly quotable screenplay to Jan de Bont’s cinematography to Alan Rickman’s incredible film debut, it’s easy to see why the film has become one of the most influential entries in the history of the action genre. For proof, just look at the endless list of 90s and 2000s action movies that can be described as “Die Hard at [insert random location here].”
James Cameron has done a lot for the action genre throughout his filmography, but T2 may be his greatest achievement — in large part because he somehow managed to outdo the low-budget work. Master Terminator. Working with an all-star cast, a bigger budget and more technological ambition, Cameron and co-writer William Vischer managed to flip the script that made the first film great, turning the bad guy into a good guy and delivering a sequel that retains the original’s sci-fi horror feel. , while surpassing it in terms of scale, emotional roles and wild pieces.
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Other filmmakers may have made Point Break work, but they may not have done it like Kathryn Bigelow. He directs many of the film’s stunt-centric scenes – from the bank robbery to the car chase to the iconic skydiving scene – with spirit and visceral intensity, but it’s the essential relationship between Johnny Utah (Keanu Reeves) and Bodie (Patrick Swayze) that is the film’s made very memorable. An FBI agent and a surfer/bank robber are in love with each other, or just on the inside
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