Sentences with phrase «cgi sequences»

The game also features a number of CGI sequences featuring a disembodied Mario head who talks to the player.

Visually it has a nice art style for the cut scenes which are animated boards rather than full blown CGI sequences.

Sato managed characted design, CGI sequences, and environment for the first two titles from Konami's survival horror series before jumping to Electronic Arts to work on GoldenEye: Rogue Agent and canceled Command & Conquer first - person shooter Tiberium.

In fact, we're still not entirely sure whether there were any CGI sequences in there.

The video game cutscene has undergone a lot of transformations over the past couple of decades, and many games these days present elaborate, dazzling CGI sequences that are often billed as «Hollywood - caliber.»

Interspersed between the dull characters and even duller plot, we are occasionally treated to the CGI sequences promised in the trailer, and this is perhaps the only aspect of the film which doesn't fail to impress.

Blank: «My problem with the movie is that the story doesn't seem fully realized... If you want to keep me interested you will need a lot more than 20 minutes of fantasy CGI sequences sprinkled throughout a 120 minute trek.

This film is certainly an outstanding visual spectacle that boasts some of the most impressive, fluid and stunning cgi sequences I've ever seen.

It's virtually impossible to find fault with it especially during some of the busy CGI sequences with the restaurant explosion or the superb channel tunnel finale.

There are still the age old issues of dodgy bluescreen going on but now they also have the added downside of completely fake CGI sequences on top.

Follow John Cusack and a bloated ensemble cast of international actors, all slumming it for cash, as they alternately engage in philosophical hand - wringing about the end of the world and evade one CGI sequence after another.

It asks to be taken seriously, then turns ridiculous, then brings out the horn section to indicate the hoped - for triumph of good, then shows people's heads exploding in a CGI sequence intended to be funny.

Not exact matches

Yesterday afternoon was the kickoff party launching WashU's Cancer Genomics Initiative (CGI), better known as our goal to sequence 150 cancer genomes in the coming year.

An exciting sequence at the Wizarding Bank Gringotts soon kicks off the action, with the inclusion of an extremely impressive looking CGI dragon.

The destruction of Erabor is a massive CGI set piece that reminds of LOTR, while the sequence in The Shire is almost as whimsical as you might expect, with Frodo (Elijah Wood) rushing off to meet Gandalf (Ian McKellen) as Bilbo putters about in his hobbit hole — and then, he begins to write, «In a hole in the ground there lived a hobbit...» and we see the younger Bilbo being approaching by Gandalf the Grey on the matter of an adventure.

The best part as said was the Hydra attack, brilliant CGI with that sequence and really well played out, not really tense as you know no one will die (kids film!!)

It becomes less of a problem when we enter into full blown CGI - laden action sequence territory where fire and orcs are being flung around the place or when we get far away shots of the sweeping landscapes.

It takes way longer than was necessary to finally pick up its feet and get going but once it does the last couple of hours zips along fine, with the last two thirds of the movie basically being made up of a sequence of big set - pieces which vary in effectiveness, some relying too much on CGI or being repetitive while others are unique and eye - catching in their own right.

On the other, it's a for - the - cheap - seats would - be-blockbuster with CGI swarms of the undead, and a plane crash sequence that features the three stupidest things we've seen in a movie in at least a year.

And as the CGI effects aren't particularly sophisticated, they give the action sequences a cheesy feel.

Blending close up tracking shots with CGI kites, these sequences are not only out of place, they subvert whatever symbolic meaning the kites had to the story.

All told, I, TONYA verges on being a perfect film, were it not for a few small things that could be corrected before release, such as some bad CGI in the ice - skating sequences.

Effects are standard CGI fare and nothing special but the flashback sequence to Caviezel's home world is a nice looking animation.

Elizabeth's sea battle against the Spanish Armada — led by one very droll King Philip II (Jordi Molla)-- co-opts the movie with a CGI infused battle sequence made memorable for its insistence on the significance of a white horse consumed by the ocean's depths.

Despite the medium acting, the way too over the top and unrealistic action sequences, the bad CGI and the lack of great one - liners, the movie's biggest flaw is probably that it doesn't feel like a Die Hard movie.

In fact I enjoyed it a lot more than most of the original trilogy, although much of this is down to natural progression with special effects and much less hokey - ass CGI laden action sequences.

Now there are sequences in which the camera moves smoothly, in which shots last for longer than three seconds apiece, in which we can actually see and appreciate the marvelous CGI Transformers.

The sequence unfortunately ends on a highly absurd set piece requiring CGI assistance which spoils the moment but it is fun (how many innocent people were killed on that highway?!!).

I came into the film with a certain «checklist» of things that I expected from a popcorn blockbuster like Transformers... explosions, great set - pieces, great battle sequences, amazing cgi and 3D, and of course beautiful women, and was hugely satisfied with the film.

But what it lacks in substance, it makes up for with poorly rendered CGI graphics and dull action sequences.

Yes, the barrel sequence is a lot of fun, and Smaug himself, mo - capped by Benedict Cumberbatch, is a stand - out, but in both cases the sequences are hampered by a CGI - reliance and impossible floating camera that Peter Jackson never felt the need for in the «Lord Of The Rings» trilogy.

It always just kills the momentum of the breathtaking CGI driven destruction sequences.

The visual effects (particularly in the opening sequence) are gobsmackingly pained, blending the rubber CGI and questionable play on post-9 / 11 anxieties a freakish cable network quality.

The opening sequence is visually stunning and the CGI script both fascinating and believable.

With all three elements in place, the film unravels as the expected CGI - laden mess the trailer promises, rendering dialogue, story and mis - cast star Worthington secondary to fight sequences.

I wish the movie weren't so visually junky - looking, and that the CGI action sequences (involving sand, and weapons, and the possible destruction of the world) weren't so vacant.

«Rhino Fight» is a sequence that was planned but never filmed; we see storyboards and a CGI rhino test.

Lawrence's reliance on CGI is almost missing this time out - except for an unfortunately extended baboon attack sequence, which just doesn't work.

I thought there were some problems with the culture story and some wobbly CGI in both action sequences and the backgrounds of Wakanda itself.

Extras include a six - minute behind - the - scenes featurette whose highlight is star Wilson suiting up for a pre-production supersonic flight; seven deleted or extended scenes — among them odd alternate opening and closing title sequences — with optional commentary from director Moore and editor Paul Martin Smith — these trims carry a viewer discretion warning, for they would've threatened the film's PG - 13 rating; a fantastic, largely CGI pre-visualization (with, again, optional Moore / Smith commentary) of the virtuoso ejection set piece that at times gives Final Fantasy a run for its money; the teaser trailer for Spielberg's upcoming Minority Report; and two engrossing full - length commentaries, one by Moore and Smith, the other producer John Davis and executive producer Wyck Godfrey.

Its action sequences are quite CGI heavy but the fact that most of them — besides a stunningly lit shipwreck scene — take place in the daytime is a relief.

To underline the point, director Matt Reeves frames a sequence of Gary Oldman shuffling through family photographs on his iPad, the glow from the screen quietly lighting the actor's tearful, joyful face; and then repeats the trick a few scenes later, with an entirely CGI character delivering just as complex a scene in total wordlessness, with a different glowing screen and different family pictures.

Spider - Man fights bad guys; jumps around as an amazingly - poor - at - times CGI puppet; climbs the Washington Monument in a scene that reminds me of a dream Miles had on «Murphy Brown» about being a dolphin erupting from the tip; and tries to hold the Staten Island Ferry together in a scene that recalls - without - surpassing the runaway - train sequence from Spider - Man 2.

The comedy gets placed mostly on hold while Segal attempts to dazzle us with CGI - laden sequences that somehow never involve us in the process, as we know it's a comedy where the players never are in any danger of getting maimed or killed.

And other than flying sequences (where it looked like Hal had a floating head on a fake body) I thought the cgi was pretty seamless and frankly that suit actually looked awesome.

Say what you will about Prometheus, but I would take a film that makes me think over a bunch of CGI'd cat - and - mouse chase horror sequences and an uninspired plot any day.

The flashback is heavy on CGI, and it features a very unique style of lighting to blend in with the dream - like quality of the sequence.

What the piece perhaps aims to prove is that so much of what one would assume is CGI was shot practically (such as the motorboat sequence and the fire stunts), though it's also a love letter to a close - knit production whose sometimes drippily sentimental narration gives it the feeling of a video meant for private screening at the wrap party.

After a brief and promising prologue, the movie launches into an extended and wholly unnecessary sequence that depicts the birth of the universe and planet earth, complete with swelling orchestras, CGI dinosaurs and the hushed voices of various narrators who ask existential questions that the film will make no attempt to address.

For all that Michael Bay clearly loves action sequences, the fighting between giant CGI robots becomes routine far too quickly to sustain an experience of this length.