The youths specially admire the thrilling movies with amazing stunts and thrilling actions. If you feel bored by watching the same run on the mill stories that are overloaded with melodrama and the voluptuous characters that seem to be weary and lackluster, then try watching the awesome action packed thriller movies. The adventurous young generation love to watch the movies that have high speed action with amazing stunts and fight sequences that have loads of action and thrill.

There have been a number of illustrative movies that have won great accolades and immense commends by both the critics and the viewers. The Matrix is one such movie that has depicted the wonderful fight sequences in an exceptionally unique manner. This movie has wonderful characters and amazing style which has been lately copied in a number of movies and tele-series later across the world. The movie has won many awards and recognitions world wide. It has also grabbed the prestigious Academy award for the best sound, best editing, and best visual effects. This movie showcased wonderful plots and awesome scenes that have become ageless marvels for the cinema.

Another action packed film that received more than ten academy award nominations and grabbed seven out of them is the Lawrence of Arabia. It got awards for the best film, best music and best director etc. David Leans directed this awesome movie that had superb drama sequences packed with action, scintillating cast and wonderful story line. The film had some of the finest performances of cinema with the breathtaking plots and mesmerizing scenes. The story of a British lieutenant really touched hearts of the viewers.

The Star Wars Trilogy is another magnificent film that has been immensely successful. It had some awe-inspiring moments filled with great special effects and wonderful graphics. The movie was extremely wonderful and won many recognitions and rewards worldwide. The movie has wonderful characters like Captain Han Solo, Luke Skywalker and princess Leia.

Another movie that is considered as one of the most popular action movies is The Lord of the Rings. This movie showcases the adventures and perils of the unrealistic world where amazing characters and dangerous situations create moments of awe and shock. The film has some of the best performances and astounding star cast. Created with a whopping $ 280 million budget, this movie is a fantastic work of art. The movie lovers consider this film as the most awe-inspiring and scintillating films of all times.

The films which are based on the backdrop of the New York City include Morning Glory, The French Connection, Falling in Love etc. These movies also depict great action sequences. The 300 is an impeccable piece of work in terms of wonderful action and astounding special effects. This film is really worth watching time and again. It is based in the much popular novel by Frank Miller.

Users can easily find the latest action movies on the various online portals at amazing costs.

For example, in the early days of the movie industry, there weren’t no special effects due to the fact that technology was just beginning to develop. Back in the old days, movies had a complex and intelligent plot; in those days you judged a movie by how well the actors performed, how good the plot was; nowadays, people judge movies by the quantity of TNT used, the computer generated special effects used, the number of girls that are in the movie and let’s not forget that a good movie must have a plot as simple as it can be. I’m not saying that all modern movies are bad, but let’s be frank, most of them have these ingredients, and you can’t blame the producers because if the audience wants to see one of the mentioned, you have to give them that so that they can make a pretty buck.

Getting back to old movies, in those days, there weren’t any computers, no special effects; it came down to the actors, which in my opinion are the most important part in a movie. Let’s not forget that black and white movies have a special look which can’t be found in today’s computerized movies. It took hard work to make a movie back in the days, it took even years to make some of the movies in comparison to present, when movies are made on a regular basics. To fully comprehend this aspect I have two questions: What car would you buy? A car manually built or a car which was made in a few hours by robots? Which is of more quality? The answer is obvious, at least in my opinion: the manually built one because it is far better, of greater quality.

It is the exact situation with movies; if you see a computerized movie that means you have seen them all, they are all the same in comparison with classic movies which are different because every producer, director came with something new, something that hasn’t been seen before, that is way movies were interesting because not only producers but also actors struggled to give their best to attract movie fans.

Some examples of great movies that all movie enthusiasts mustn’t miss are : 1. “Casablanca”; 2. “Gone With The Wind”; 3. “Mr. Smith Goes To Washington”; 4. “Sunset Boulevard”; 5. “It Happened One Night” and others as well. These 5 movies are classics: great actors, great performances, great producers, everything is great about these movies.

Some of you probably don’t like old movies; I have some piece of advice: try watching the colorized versions of some classic movies, you might change your mind about these movies; these movies have a lot to offer, give them a try, I can assure you that you won’t regret watching Gone With The Wind, for example.

All things considered, most of the old movies are of very high quality with the accent put on the actors not on the special effects which in those days were inexistent. Don’t get me wrong, some of today’s movies are great but most of them can’t be compared to the old movies like Alfred Hitchcock’s “ The Birds” or Ernst Lubitsch’s “Trouble In Paradise”.

I learned that during the independent film shoots for Consignment and In With Thieves that were produced under the flag of Slice Of Americana Films.

Drug Dealing, Money, & Power. Consignment deals with the drug trade that thrives at the street level. This fast-paced urban movie erupts into 14 on screen murders. In this business you don’t go legit. You just go.

The soundtrack highlights tracks from up and coming East Coast & West Coast artists that include Custom Made Recordings, Ayreon The Don, Malice & Da Commission and Street Squad Entertainment. Consignment is being released November 13, 2007 by Maverick Entertainment Group, Inc. one of the premiere distributors of independent cinema. Consignment will be distributed under their urban label.

In With Thieves is the intense story of a Cuban cartel that practices their own version of Santeria, an African based crime group that deals in blood diamonds, ruthless Albanian gangsters, and a tough American burglary crew. This film was completed July 2007 and is represented by Mark Bosko of The Bosko Group.

We are currently in pre-production for our third film. Stash Spot is a furious urban action film. Rival criminals fight to find a fortune in cash ripped-off during a drug deal gone bad. When the stick-up artists responsible turn up dead, a bloodbath erupts as each vicious criminal makes their ruthless play to locate the money.

Urban movies are on the rise in popularity with viewers. This can be seen in the exploding direct to video market where urban movies have carved out a very respectable following.

Who can forget how hardcore of a director Robert Rodriguez looked on the cover of ‘Rebel without A Crew’. Rodriguez’s story inspired guerrilla filmmakers everywhere that they could shoot an ultra-low budget action movie like ‘El Mariachi’ that was entertaining, while giving the finger to the traditional way of getting a movie done.

Quentin Tarantino is a cool as they come. His style is often ‘borrowed’ from because he knows how to tell a good story using pictures. Tarantino has creative influences like all directors who grew up watching movies. The difference is Tarantino turned those influences into his own unique style.

There are many more directors who make great movies and look cool doing it I didn’t mention for the sake of brevity. There’s even more directors who’s personalities and colorful nature keep them in the publics even if they haven’t had a hit movie in years. The cult of personality is a real factor in the world of movies. It can keep some directors working or at least in the media eye until they can turn out a good movie. In Hollywood that may work, but on the true independent side of filmmaking your image won’t get you anywhere unless you can make entertaining movies.

Instead of wasting your energy to create a colorful image and developing your own cult following like a rock star. Focus on learning what a director does and has to deal with during a movie shoot. You don’t want to be all style and no substance. Craig Brewer, Charles Dutton, Damon Dash, Sid Kali, Hype Williams, John Singleton, The Hughes Brothers, Mario Van Peebles, and Kasi Lemmons had to prove themselves by making sharp urban films before anyone knew who they were or cared.

It takes more than deciding where the camera goes to be a director, especially when you’re directing an indie film where you won’t have the luxury of sitting in video village cut off from all the other production gyrations going on. I’ve wrangled cable, broke down equipment, dressed sets, and a dozen other jobs as ‘director’ on indie film shoots. It’s not glamorous, but it gets the job done.

General rules of thumb that will help you become a stronger director.

A strong grasp of the entire process it takes to make a film is important. There’s different departments that work together to bring a film together. The camera department, sound department, make-up/wardrobe department etc. You need to know what they do and how to maximize their efforts to help achieve your creative goal as a movie director. On big budget film shoots the departments are very distinct and well supported. Knowing how to best utilize your team comes from understanding how these departments work. On indie shoots more often than not the departments blur together out of necessity. During the shooting of the urban movie Consignment we had one person with an assistant doing key hair and make-up while also heading the wardrobe department. These two departments were put together because I knew how they worked and how to bring them together to keep the production moving.

You should learn basic camera shots, angles, and moves. Know what a medium shot is. Know what a reverse-angle shot is. Know what a dolly shot is. Know what a two and three shot are. Pick up ‘Film directing Shot By Shot’ by Steven D. Katz’. It can provide the technical foundation you will need as a director to help your creative vision come to life. Keep in mind their is only so much you can learn from books. When you get on set you’ll hear terms for shots, like ‘cowboy guns’ and ‘cowboy no guns’ not covered in a book. It’s a medium shot from the waist up no guns to thigh up guns. People will yell ‘Wolf!’ which means stop. “Flying in (insert film gear here) means bringing in. No shame in asking what a term means when you do not know. Ignorance is not bliss on a urban film set.

I was a grunt production assistant (PA) acting as a human stop signing controlling traffic with another PA. I got called on the walkie we were rolling and to not let any cars through. I gave the hand signal to the other PA, production had limited walkies, that we were rolling. He nodded knowingly for two takes. During the middle of the third take he let a motorcycle roar through killing the take and getting us both chewed out. I later asked if he missed the signal, he told me he had no idea that signal meant rolling. He never worked on a film before. Asking what the signal meant would have saved us being chewed out.

That story ties into how crucial communication is when your making an urban action movie. You have to be clear to with everyone involved in your film about what you’re going to do, what you need, and what you’re looking for them to do. People look for this, they expect this from a director. Don’t leave cast and crew guessing about what you want. There’s never enough time or money to play that game during production. Communication runs two ways. Make sure people can ask you questions if they’re not clear on something you said. What might make total sense to you can be lost in the translation as it goes out to the troops.

Accept you’re not always going to make the right call on every shot. You’re never going to be totally happy with the way some scenes turned out. You’ll always want to go back and re-shoot certain scenes again. Fight through it. It might not seem like it during crazy times of filming, but if you have paid attention to the details you will have shot yourself a movie at the end of production. Trust your instincts. I was a nervous wreck after CONSIGNMENT was in the can. I could barely sit down with the editor Tim Beachum to watch the raw footage because my neck and back were seized up with stress.

Sure enough a couple of the camera moves I chose for a few scenes did not turn out like I had envisioned. A few of the calls I made as a director just didn’t work. I was a mess, editor Tim Beachum was surprisingly relaxed about it all and talked me down from the proverbial ledge. I was positive the urban movie Consignment was doomed. What saved the day?

A tip I got from an old school Director of Photography (DP) I listened to before shooting. No matter what kind of amazing camera move you want to experiment with to shoot a scene grab at least one take of a master or a standard three shot for coverage in case your wonder shot goes to hell. Turns out the coverage I thought was never going to use because surely my awesome camera moves would work. Some didn’t. The extra coverage I grabbed did end up covering my ass in post.

The editor had enough coverage from those few takes to cut the film together without losing continuity. I had spent three or four takes on what I thought were the coolest shots only to end up using the basic takes that worked. The other side of the coin of that is some of the shots I had taken chances on worked beautifully. Nothing like hearing an editor say, ‘that was a real pretty shot’ or ‘loved the way you shot that scene’. So if it all goes to hell with your experimental shots have at least a little standard coverage to get you through. If it comes down to time. Plan ahead to give yourself a take or two with the shot you really want and a take going by the book for coverage

Having a solid sense of how to tell stories using moving pictures and thinking about how a scene will cut together before you yell ‘Action!’ is a smart. It gives you much more flexibility as a director to be creative, take chances, and experiment with a scene. Knowing the basics how to cover a scene allows you to bend the rules.

Avoid being a paranoid and insecure director. Yes, you have to keep firm control of the shoot because a film directed by committee doesn’t work, but there is a fine line between control and paranoia fueled by insecurity. It can quickly turn into on of those possessive relationships where it all goes bad quickly if you go along with it.

I was working on a shoot film in Los Angeles with a director that was wired pretty tight. He asked me once if any of the cast or crew said things about him behind his back. Of course they did. That’s what people do. Of course I lied like people do in that situation and said no. He was completely convinced that one of the actors were forgetting their lines on purpose to undermine him and the DP was just waiting to hijack his movie all together. He was wrong. They were talking about what an absolutely paranoid hard on he was.

It all came to ahead when a camera shot wasn’t working after numerous takes and the director went off into one of the most colorful profanity laced fits I had ever seen. I mean for a fit it was a beauty to watch. Arms flailing, a prop glass being thrown against the wall like a child, and everything else you expect from a person who lost control. “Why isn’t this working?” was the last thing he yelled. The 1st A.D. smartly told everyone to take five while things cooled on set.

The director got himself back together and we took another take that didn’t work. We were losing daylight and had a lot of other scenes to shoot to make the day, so the DP suggested a way the shot could work, by using a different camera position and move to get the action the director wanted. Right on cue, the paranoid director completely over reacted. He told the DP to piss off he. He was the director and wasn’t going to let him hijack his movie. The DP cooly said, “stop being so insecure. I’m here to make your movie, not mine.” The director blew off the suggestion without a second thought. He never got the shot he wanted to work and scraped the scene from the final cut. Who knows if the DP’s suggestion would have worked? It would have made sense to try it considering the other shot wasn’t working.

It was a different story on another shoot all together. A friend of mine was directing his first feature. He didn’t have a lot of money, but he brought on a DP with a resume an arm long and for the lead this hot B list actress that had some slasher movie credits. He invited me out to visit the set. My friend was a director with energy and drive to spare. He knew exactly what he wanted from everybody on the set. He gave the DP detailed notes, his shot sheet, and they had already gone over in detail the story-boards my friend drew up himself before shooting began. My friend was in total control.

I was looking over his shoulder into the monitor during the crucial shooting of the final scene of the film. He had the actress in this amazing bikini being chased by a knife wielding killer. After the first take there was a problem. The actress ran slower than the actor playing the killer. On the next take he told the actress to speed it up and the actor to slow it down. Still didn’t work. My friend watched the playback with the DP. Then asked the DP what he thought would work to get the shot. The DP got the shot to work by changing the blocking and moving the camera. My friend got the shot and the ending he wanted because he was secure enough as a director to utilize his DP, not neutralize him.

Those two experiences really gave me some perspective on getting through directing a movie. During CONSIGNMENT I ran into a major problem that threatened to cost us shooting a crucial murder scene. We had been working all night and instead of chasing daylight we were trying to beat it. We had a shooting scene that had to be shot before the sun came up, we had about an hour of night left, and there was no option to push the scene. We were losing that location for good after we wrapped. After a couple less than stellar takes I turned to my DP Royce Dudley. We have to make this work, we can’t lose this scene I said. I took the actors through a last minute rehearsal without rolling on the camera to see if I could cover the scene a different way. Royce stood back like he did sometimes watching. After the walk through rehearsal he said, “I can get your scene” and he did. Thanks Royce!

On the IN WITH THIEVES shoot I brought back an actor from CONSIGNMENT I really enjoyed working with named Jerome Hawkins.

I write and direct my own movies, so I get really involved in not only the action, but that the lines are delivered the way I want them. So here we are shooting a scene, when Jerome tells me he’s really feeling adding something to a line, keep in mind this movie is my baby, but I felt his vibe. I gave him one take to run with it his way. The line he added to close the dialogue was great. We added it to the script and kept it in the movie. Did I feel he was under-minding me? No. I was secure enough as a director to let an actor I respected contribute creatively to the movie.

These last couple of stories might seem to go against what I said about not directing by committee, taking chances that don’t always work, and keeping control of your movie. I still feel that a movie can’t get done right when you have a weak director who listens to everyone on what their movie should end up looking like. I still feel you can’t be afraid to take chances on shots that don’t end up working. I still feel you have to keep control of your movie. It’s one thing to be overly paranoid about someone hijacking your movie, but it’s equally destructive to you as a director to cave in when someone is trying to tell you how to do your job as a director.

You also don’t want to become so completely narrow minded that you can’t brainstorm with your key production personal to problem solve, work creatively with your DP to see your vision materialize, allow your talent to spread their wings from time to time in a scene, or see when you need to be open minded enough to change the way you’re shooting a scene so that it can work. You surrounded yourself with a good team let them help you make your movie. They say it takes a village to raise a child. Well it takes a production team to make a movie.

it will always be your overall vision behind the way a movie will turn out, but being open to collaboration with your cast and crew creates a more positive set. You don’t want mindless robots going through the motions. You want fired up people eager to lend you all their talents to make your movie rock. Don’t let your ego get in the way of you seeing the big picture.

Some myths I do not buy into about being a director.

You’re not a real director if you don’t shoot on film. Once you’ve completed a shoot on any format you’re a real director.

A director needs to know how to light scenes. The more you know about any aspect of film production the better, but if you don’t know about lighting a scene you can still direct. What I do is make notes on the look, feel, and mood I see in my head for each scene. I pass that along to the DP so we can discuss how to make it happen. I also like to suggest to the DP DVD’s to rent with scenes I feel lighting wise are close to what I’m going after. Your DP is the master of light. He’ll deliver the lighting set ups you need.

The director needs to know how to run the camera. Not true. It’s very possible you will never touch the camera once during a shoot. I myself for the most part watch through a monitor. I do look through the camera after the DP has set the frame for the shot, but I rarely run it.

It’s easier to direct a low budget indie movie than a mainstream Hollywood movie. Wrong. Directing a low budget indie or a Hollywood blockbuster both have their own challenges for a director to numerous to list. In the end you still have to be able to tell a good story using pictures. It’s never easy.

A director sits in video village all day while everyone else works. I wish that was true. A director has to be on top of everything going on during shooting. They deal with the actors, check with camera and sound to make sure there were no problems with the take, and put out a dozen other fires that pop up.

Some ideas I do buy into as a director.

Never let anyone give your actors direction or notes, unless they are coming directly from you. You’re the director It’s your role and your role alone to work with actors to get the performances you want. No one else should ever be allowed to work with the actors. One time I was on a roof looking at a scene. I didn’t like the way the blocking was playing out, so I walkied the 1st A.D. some directions to pass along to the actors. That’s as far as I felt comfortable having people work with talent.

It’s your set and you should be the only one to yell CUT! I had an actor once in the middle of the take turn to the camera and say cut because they flubbed a line. It wasn’t their call, it’s not anyones call but the director. They were warned and when it happened again they were released from the movie.

The director is the driving force behind a movie. Nobody is going to care as much about your movie as you do. You have to keep everyone pumped up and on track to finish a movie. You want your passion for what you’re shooting as a director to be contagious on the set.

A director needs to be able to be secure enough to listen and collaborate with cast and crew. This is not directing by committee but having the leadership ability to fully maximize everyone’s talents. Your movie can only turn out better because of it.

You have to be a cheerleader and a salesmen. When things are not going well on set you need to be able to keep morale up. After a rough day of shooting I let everyone know what a great job they were doing and how excited I was by the dailies I looked at each night. I had to keep them excited about the movie now, not when they would get paid a week later. The next toughest thing is keeping people going after you’ve hit 12 hours. You have to sell them on your ability as a director to not only finish the movie, but turn out a good one that people will want their names attached to in the credits. You would be surprised how many people worked on a movie for credit only and the movie never got done or turned out terrible. Let them know you’re not that director. If they stick with you and dig a little deeper you will put out a good film.

As name suggests each genre of the movie is filled with the named element, such as action with great stunts, comedy with nerve-tickling sequences and like that. Along with traditional genre movie kinds there are also non-genre movie categories. Some of these non-genre movie categories may be Animated Movies, Classic Movies, Cult Movies, Children Movies and like that. Whatever the genre is whatever the categories are, this is a true fact that movies entertain truly and they lead us to a whole new world of fantasies.

The movie show most beautiful faces, most ugly faces, most tender love-filled heart and at the same time the most ruthless heart, that is, we can see every emotion of our life in these movies. The movies have great dance sequences, music and views. No one can spare oneself with the magic of these movies. Social movies spread good message for making the society a good place for living. These films inspire us a lot. Movies do impart education in that sense.

One genre of movie which attracts a huge mass of movie lovers is horror movies. The horror movies have strange characters with unusual faces and body structures. These movies show sound effects which are very scary that causes chills and shudders. Horrors movies excite us also and they are full of spine-chilling sequences.

Horror movies have often a terrifying and shocking finale. They scare us while captivating and entertaining us at the same time in a cathartic experience. Horror movies feature a wide range of styles, from the earliest silent Nosferatu classic, to today’s CGI monsters and deranged humans. They are sometimes combined with science fiction. Here the menace or monster is related to a corruption of technology, or when Earth is threatened by aliens. The scariest movies show sequences of an old and deserted big palace with no one, but a ghost and a group of people meet him or her in bizarre consequences. These movies are full of special sound effects and light effects.

Everyone loves to get oneself scared by watching these horror movies. It scares, excites and sometimes makes us laugh under fear also. There are many sub-genres of horror movies also like slasher, teen terror, serial killers, satanic, Dracula, Frankenstein, etc. You would love to move away in a fantasy land with these movies so often. Movie industry has produced many excellent horror movies. Some of the top rated horror titles are Psycho, The Innocents, Dead of Night, Peeping Tom, The Wicker Man, The Haunting, Theatre of Blood, Dracula, Brides of Dracula, Dead Man’s shoes and Dr. Jekyll And Sister Hyde to name a few. The horror movies are generally a tale of repression, superstition and sexual hysteria. These movies boast excellent cinematography, superb acting and seriously scaring moments.

It is very difficult to find the movie of your choice particularly in horror movies genre. New-age online shopping portals are offering many titles under this category. They have classical horror movies, cult horror movies, scariest horror movies and like that. The titles available wouldmesmerise you for sure. Shopping for these titles is also very easy and full of fun. Just check one of these sites and you can see lots of excitement is waiting for you.

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The first film in the trilogy, Dead or Alive, was conceived simply to get two of Japan’s biggest cult legends together, Sho Aikawa and Riki Takeuchi. These two are sort of the Japanese cult film answer to DeNiro and Pacino, so Dead or Alive is sort of the Japanese cult answer to Heat. It was also focused on solving one of the primary problems with that movie: The anti-climactic ending.

We can’t spoil the ending of Dead or Alive for you, and you wouldn’t believe us if we did. Just check it out and see for yourself. The whole movie is designed to be non-stop, exciting, fast paced, and entirely over the top the whole way through.

Dead or Alive 2 is one of those rare sequels that blows the original away, even though the original was already pretty good. Aikawa and Takeuchi are recast as two entirely different characters, that parallel their original roles in some interesting ways. Where the first is about a cop and a gangster out to get each other, this one focuses on two childhood friends who have grown up to become hitmen who donate all of their earnings to buying medicine for children in third world countries. This movie is all heart.

This one is much more positive, much more life affirming, and surprisingly sweet and sentimental, whereas the first was relatively dark and negative in comparison. It’s interesting having these two movies, that are so different from each other, and yet have so much in common.

The third takes the whole series in an all new direction, going into science fiction akin to Blade Runner or Robocop, that sort of cyberpunk, androids and megacorporations sort of theme. It’s probably the least interesting of the trilogy, but it’s really interesting for how it ties the whole thing together.

If you want more after these three flicks, check out Deadly Outlaw Rekka also by Miike. It really takes the same approach to action. Everything is very over the top and surreal, and it’s all pretty exciting.

The first movie’s trailer proudly declares that Miike is the dog with rabies of the Japanese film world, and it’s true, it’s not just a clever tagline for the trailer. The guy makes something like five or six movies a year, and has made about one hundred since his debut some years ago. He is one of the most prolific directors out there, and while the quality varies, if only one in ten is any good, he’s already one of the greats.

There are specific services that are available to provide you with the ability to get great quality songs on your iPod. Movie Game Rental (Ironically, this film was underwritten by Standard Oil! Can she really act, sing, dance, produce or direct’