Sentences with phrase «cgi monsters»

Ludicrous CGI monsters?

Daniel Day - Lewis» precise Reynolds Woodcock is heavier than all the CGI monsters in the world.

Daniel Day - Lewis» Woodcock, a precise, haute couture fashion designer in the 1950s, is heavier than all the CGI monsters in the world.

There was no need to have CGI monsters that made the whole thing seem even less real!

A Quiet Place is a change of pace for Krasinski the director, whose previous films — the David Foster Wallace adaptation Brief Interviews With Hideous Men, the indie dramedy The Hollars — were decidedly lacking in sightless CGI monsters.

In the end, Sharknado 3 - like the CGI monsters that are its true stars - is the beast that it is: single - minded, greedy and ravenous.

Apparently robots (or space zombies, or some variety of scary CGI monsters) have enslaved humanity, and are harvesting them for energy.

The downtown riverfront area of Chicago, also reduced to ashes in Transformers: Dark of the Moon, makes a picturesque backdrop for a large - scale face - off between the military and a bunch of CGI monsters.

Even worse, the picture eventually abandons its attempts at political relevance so that Batman, Superman, and Wonder Woman can engage in a climactic battle against a generic CGI monster.

(And it doesn't help, either, that the film is topped off with a fairly generic battle between Kitai and a laughably unconvincing CGI monster.)

It's not just some CGI monster.

The other is a giant orange CGI monster that fires vines out of his hands while bad editing makes it impossible to get a good look at him.

It's undeniable that Cloverfield is, at its core, a metaphor for the terror and uncertainty of the real world, from its aforementioned iconic poster and DVD cover image and willfully vague tagline («Some thing has found us»), which makes no mention of a CGI monster on which millions of dollars was spent, to specific dialogue of choking despondency («I don't know why this is happening»).

Ultimately, this is just a CGI monster - delivery device.

In A Monster Calls, which stars Lewis MacDougall and Sigourney Weaver and a CGI monster voiced by Liam Neeson, the film's trailer makes it seem like action fare, but in reality, the story works on an emotional level.

It's a mash - up of blah buddy comedy and gross - out CGI monster splatter, with nary a laugh to be had.

Tim Roth plays him with some sweaty, crazy - eyed gusto, but it's boilerplate gunplay followed by a transformation to another CGI monster who just bashes everything in sight.

When I see a cgi monster I look at it as exactly that, computer generated, not a living, breathing thing.

Not exact matches

The climax, anchored by Krypton - sourced monster Doomsday, uses far too much CGI.

The look and movement of the monsters is pretty basic, with one new wrinkle — effects artists conspire to give the gorilla an unprecedented CGI movie skill: When someone gets on his nerves, he flips them the bird.

But mostly, they ramp up the monsters and send them out on a frenzy of mindless CGI destruction.

My only complaint is that the CGI effects for the monsters are pretty bad!

Tom Cruise, Sofia Boutella and a gajillion CGI effects can't save this epic monster mess from unraveling

There are still improvements to be made on the CGI front but it still looks good putting a fresh spin on a classic monster that doesn't get much attention.

In Pitof's CGI Paris, the city is being terrorized by a cloaked monster able to steal souls with his mirrored mask, a theme that lacks resonance here despite its deep roots in Japanese folklore (or Nietzsche, if you prefer); Pitof sees it only as a springboard for an interesting visual.

And while those were all very successful films, I don't really like the idea of a CGI Frankenstein because that would take away everything from the monster that made him so iconic.

It's also, now, the stylistic middle child of a franchise that converted Universal's famous monster from a creepy spine - tingler into a big money blockbuster with infant CGI.

The end scene looks particularly fake, for all the awesomeness of the fire, but overall, for reasonably early use of CGI, the monster comes across well.

Naturally, the monsters in 2011 are mostly CGI, and of course this is a little disappointing.

It's hard to judge «The Mummy Returns» as a «Dwayne Johnson movie»: The wrestler - turned - actor is in the film for a very short prologue, and then he comes back at the end as a CGI scorpion monster.

Whilst Monsters is never flashy, the CGI is fantastic.

I have no idea what political metaphors for Chinese - American relations are buried in the gravyish CGI fog of The Great Wall (Universal, 12), a Hollywood - China co-production that meshes historical warfare, monster - movie fantasy and Matt Damonic heroism to eccentric but turgid effect, marking a career low for director Zhang Yimou.

The spectacular (especially in 3 - D) epic battle which ensues up and down the streets of San Francisco, on the Golden Gate Bridge and below in the Bay is the raison d'etre of Monsters vs. Aliens, a CGI - driven animated adventure that's all about the wow factor.

Guillermo del Toro's «Pacific Rim» was a slightly better - than - average spectacle, a modern assemblage of combatting CGI colossi rooted in camp - classic Toho rubber - monster features.

Melding cutting edge visual effects and state - of - the - art CGI, Monster Trucks is an action filled adventure for the whole family that will keep you on the edge of your seat and ultimately touch your heart.

In fact, Michael Myers is such a great evil figure because although we know his back - story, we essentially see so little of him that we can create the monster in our own imagination; a much scarier world than that any Hollywood prosthetics of CGI could ever create.

With the success of this weekend's low - budget found - footage superpower movie «Chronicle,» we thought it would be fun to look back in the Scene - Stealers vault to four years ago when director Matt Reeves and producer J. J. Abrams hoisted «Cloverfield,» a monster movie firmly rooted in the lo - fi - meets - CGI aesthetic, on the world.

With an all - star cast consisting of Oscar and Emmy nominees with Bryan Cranston, Juliette Binoche, Ken Watanabe, and Sally Hawkins, I felt I could trust that if these guys were going to star in a CGI heavy monster flick, this was going to have potential.

The monster and robot designs (both CGI) are not terribly interesting (think Super 8 or Pacific Rim), but there is a story reason for this to being the case in Colossal.

The major fight that the trailer put emphasis into is a massive mess of CGI rock monsters smashing faceless crowds of people.

Max and the monsters (who are animatronic creations of Jim Henson's Creature Shop, with tasteful CGI enhancements) run, bump, howl, and huddle up into a comfortable group sleep.

The description makes it sound like this is a fantasy film more about the human experience than CGI — the boy has to tell stories to keep the monster happy — and distributor Focus Features surely seems confident in the project, recently moving it to an awards - friendly release date in December.

With more inventive frights, the story might not have mattered, but even the monsters here are boring; CGI wasps and coloured contact lenses aren't as terrifying as director Simon Verhoeven seems to think, and all the loud bangs in the world can't hide the lack of tension.

Director Marc Forster has carved out a very unusual career, moving from Oscar - winner «Monster's Ball» to blockbusters like «Quantum of Solace» and «World War Z.» His latest looks more character - driven and less CGI - heavy, and it stars two often - fascinating actors in Jason Clarke and Blake Lively.

Whatever one may say about that film, it is a remarkable technical accomplishment, revealing a skill set that makes him an interesting choice for a CGI - heavy monster movie that sounds like a twisted cousin of Steven Spielberg's «The BFG» from earlier this year.

CGI can be intrusive, although Abrams» decision to recycle the monster footage he created for Cloverfield and just change the background must have saved the production a lot of dough.

Even the action, for all it's wham - bam CGI glory, is boring beyond description, featuring the same giant robot monsters, daring escapes, and massive property damage that summer action movies have been required to showcase for about fifteen years.

In it, a monster attacks a group of children, followed by a «Before and After» featurette showing off the film's CGI.

Then there's the fish - out - of - water English boy abroadBen (Hugo Johnstone - Burt — actually Australian and another Home and Away alumni), and his pubescent younger brother Ollie (Art Parkinson), both thrown in to appeal to the younger members of the audience and to create a little teenage angst in this rather messy, too - heavy - on - the - CGI (which is very ropey in places), cheesy dialogue - laden, Michael Bay-esque monster of a disaster movie.

From King Kong to Pacific Rim, Godzilla and now Jurassic World, giant monsters are all the rage in Hollywood, presumably because they can use all the CGI their black hearts desire.