1. Directed by Michael Miller. With Chuck Norris, Ron Silver, Steven Keats, Toni Kalem. A sheriff tries to stop the killing spree of a mute maniacal murderer who, as the.
2. Think silent films reached a high point with The Artist?The pre-sound era produced some of the most beautiful, arresting films ever made. From City Lights to.
3. A martial experts has knocked out one man and beaten up another in a road rage punch-up outside a supermarket. Police are investigating the street fight in broad.
4. My husband has an anger problem, yelling and screaming over even small things. Last night the kids had friends over, and they wanted to include the neighbor who is a.

Martial arts expert in Birmingham road rage punch- up. A martial experts has knocked out one man and beaten up another in a road rage punch- up outside a supermarket. Police are investigating the street fight in broad daylight in Northfield, Birmingham, which left one victim out cold in the road. Shocked Saturday shoppers who witnessed the fight on September 2 can be heard urging the trio to stop fighting while drivers stuck in traffic repeatedly beep their horns.

Greed (1924) is one of the greatest silent films ever made, although the film was a box-office failure at the time. The 'lost' film masterpiece is a dark study of the.

The video, which has been shared on social media shows two men taking on the driver of a silver soft topped Audi. The Audi driver first trips one man with a sweep kick before punching him to the ground as someone is heard shouting: 'He's got my brother's keys'.

“I think we’d do better with a healer,” I suggested to my Overwatch team earlier this week. We were in the spawn room defending the Temple of Anubis and. The symptoms and triggers of misophonia are varied and unique to each person who suffers from selective sound sensitivity syndrome. Rage of Bahamut Dark Angel Olivia Statue - Kotobukiya - Anime/Manga - Statues - From the popular online card battle game, Rage of Bahamut comes the Dark Angel Olivia. David Desper, 28, was charged with 18-year-old Bianca Roberson's murder after he allegedly shot her in the head in a shocking road rage attack in Pennsylvania last.

Walk away see another day: Two men got more than they bargained for when they approached a motorist in a road rage outburst who turned out to be a martial arts expert. He launched some targeted kicks at the two men on the street in Birmingham. One man appeared to be knocked out and his friend rushed to his aid but police later confirmed that no one was seriously injured in the altercation. The incident is taking place outside Heron Foods at the Bell Shopping Centre in Bristol Road. Shoppers look on helplessly as the violent confrontation takes place and shouts of shock can be heard. The fight comes to an end when one of the two attackers is incapacitated.

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Police are appealing for witnesses to the fight, which took place on September 2, to come forward. West Midlands Police confirmed that they were investigating the fight, and confirmed that no- one was badly injured. A spokeswoman for the force said: 'It was a road rage incident. There were no serious injuries and investigations are still ongoing.

No arrests have been made.'The fight has been shared on social media and viewed 2. One watcher said: 'When a guy starts standing like Bruce Lee, walk away see another day.'West Midlands Ambulance Service attended after being called to reports of a fight outside Heron Foods and Mc. Donald's on Bristol Street on September 2 at 1. The men were unable to endure this trained fighter's onslaught of kicks and punches.

They confirmed that they treated one man for minor injuries. 'One man, with no visible injuries was treated and discharged at the scene. He was then left in the care of the police. No one was seriously injured.'Anyone with information can call police on 1. Otherwise people can call Crimestoppers anonymously on 0.

Dissecting the Action Movie Magic of John Wick Chapter 2. Posted on Wednesday, February 1. Jacob Hall. John Wick and John Wick: Chapter 2 aren’t just good action movies – they’re perfect action movies. And they’re more than that – they’re great movies, filled with character and humor and detail that rewards careful consideration and thought. They also feature Keanu Reeves shooting so many people in the face, but that’s just the appetizer. Come for the violence (and there’s plenty of that), but linger for two of the most magical and beautifully realized genre movies of all time.

So let’s take a deep dive into these movies and dissect them. Let’s figure out what makes these movies so good and how they utilize Reeves so well, and explore their debt to everything from silent comedies to ancient mythology. Because the John Wick movies aren’t just a ton of fun – they’re art. Spoilers for both movies lie ahead. The Derby Movie Watch Online. The Very Specific Skill Set of Keanu Reeves.

Let’s talk about the Kuleshov effect. Named for Soviet filmmaker Lev Kuleshov, this film editing technique was developed in in the early 2. Kuleshov cut between the same expressionless image of an actor and a series of images, including food and a beautiful woman. Audiences formed connections that didn’t exist in the performance and only in the edit – the man was hungry; the man was lustful.

The performance did not change, but the association of other imagery implied that it did. And this is why the natural blankness of Keanu Reeves is a gift to filmmakers who know how to utilize it. In the wrong hands, Reeves can appear wooden and stilted, an actor who can’t quite wrap his mouth around certain dialogue and his mind around certain characters. He doesn’t have an especially wide range. But what is here is a very specific set of skills, a mesmerizing deadpan, that sings when put in conjunction with the right associative material. The same zen- like blankness that allows Reeves to play a bumbling stoner also allows him to play a science fiction warrior or a hitman powered by pure vengeance.

It’s all about teaming Reeves with a storyteller who understands that this is a leading man who works best as a cog in a larger machine, a tool rather than an engine. He’s the ultimate collaborator, a role made more powerful by his commitment to research and preparation. Reeves’ natural stillness is not something every actor can pick up – there’s a fine art to doing very little. The John Wick movies have an entirely appropriate love for early silent comedies, and Reeves demands comparison with Buster Keaton, who built an entire career on maintaining a rigid composure and an expressionless face in the midst of absurd and (literally) dangerous situations. Although John Wick is a more emotional guy than Keaton’s characters, his outbursts of rage and anger only come at a breaking point.

For the bulk of both movies, Reeves is stone- faced, the source of an unending and intentional punchline. Yes, this all very absurd. Yes, this is all very goofy.

Yes, this action is so over- the- top. But look at the face of the leading man!

He’s taking it so seriously. Maybe we should, too? In director Chad Stalelski, Reeves has found a storyteller who knows how to use him best. In John Wick, he has found a character (and world) that feels like it was custom built for his specific set of skills. Putting It All in Camera. John Wick: Chapter 2 opens with a strange image that we quickly forget about because the camera tilts down and drops us straight into a car chase.

Footage of an old silent movie is projected on the wall of a Manhattan skyscraper. Who is watching it? Who is projecting it?

Why are we seeing this? These questions are unimportant.

It serves its purpose: it pays tribute to the performers to which the John Wick series pays tribute and it lets you know that yes, the movie is very much in on the joke. One of the posters for John Wick: Chapter 2 (partially seen at the top of this article) features Reeves staring forward, poker face at the ready, with countless guns aimed straight at his noggin. The internet wryly pointed out that this looked an awful lot like imagery from Two- Gun Gussie, a 1. Harold Lloyd. What those who haven’t given John Wick the time of day didn’t realize is that this was very intentional. Lloyd, like Buster Keaton and other early film comedians, is silent cinema’s equivalent of an action star. Without the use of dialogue, their jokes had to be purely visual and the most memorable of them involve genuine risk to all involved. The very nature of early film technology, including generally static cameras and the lack of sophisticated visual effects, meant that you just couldn’t fake certain things.

Either you did it on camera, either you risked your life for the gag, or it didn’t happen. The John Wick movies arrive a century after the heyday of the silent comedians, but they’re very much a throwback to the days where filmmakers had no choice but to put it all in camera. There are modern tricks in the John Wick movies and digital technology helps ensure the safety of performers and a smoother production process, but the spirit is very much alive in how Stahelski shoots his action and how his stunt team stages it. Shots are long and avoid extreme close- ups. The faces of performers, including Reeves, are kept in frame as much as possible to make sure we know they’re actually participating in the action. When someone takes a fall or when a car slams into them, the John Wick movies are making a promise: they’re not faking this and they’re not editing around people who don’t know how to fight.

These are movies that understand the visceral, giddy thrill of watching someone survive a perilous and impossible situation, especially when that perilous and impossible situation feels real. That’s not to say John Wick and its sequel are realistic films. They’re patently and knowingly ridiculous, much like how Buster Keaton knew that it was patently and knowingly ridiculous for his character to survive the front of a house around him in Steamboat Bill Jr. But to pull off that famous stunt, Keaton and his team had to actually execute it, to sell something so silly as something that could actually happen…because they made it actually happen. Similarly, the John Wick movies pad their inherent outrageousness with just enough realism to sell it. Every bullet is accounted for, with the action choreography accounting for him reloading his weapons after the proper number of shots are fired. There is no John Woo- esque cheating when it comes to the number of rounds in every magazine.

Every physical encounter is shot wide enough to showcase the specific details of the struggle, revealing how Wick fights his way out of any given situation with enough real- world accuracy to suggest that maybe it’s possible for him to survive his ordeal. And it certainly helps that Reeves does the bulk of his own stunts, having learned how to shoot and fight over the course of a grueling training regimen. By putting it all in camera and adding that tinge of realism, the John Wick movies sell their ridiculousness in a way that most action movies simply cannot. And that tinge of realism is, like the leading man itself, a finely tuned deadpan that lets you know it’s okay to laugh. Pages: 1 2. 34. Next page. Cool Posts From Around the Web.