Sentences with phrase «best visuals of this film»

One of the best visuals of this film is when the Mummy sends the sands of Egypt after Frasier's O'Connell character, as he flies a plane to the climax.

Not exact matches

It's the visual cues as well, which feature dozens of references to film from the decade of big hair and glam rock.

«Many people will go to this film and enjoy it,» expressed Dr. Johnson, who holds a Ph.D. in Christian Ethics from Southern Baptist Theological Seminary and has taught a Cinematic Theology course at the undergraduate level in college, as well as a course on the Theology of Movies and Visual Media at the graduate level in seminary.

Not many of the following films will likely be making appearances at any award shows (well, aside for their visual effects), but that doesn't mean they won't be a lot of fun to watch.

Starring former Mouseketeer Ryan Gosling and Emma Stone, the musical tells the story of two struggling lovers in modern day L.A.. From striking visuals to inspiring musical sets, the film has already won awards at the Capri Hollywood International Film Festival for best ensemble cast and best film score.

They experimented to find the best combination of microbes to create the desired visual effect as the bugs emerged to reveal the film's title.

Take Magazine features in - depth stories of people in New England who are making culture happen in the fields of visual art, music, design, literature, film, dance, food, fashion, and theater as well as the timely information you will need to plan your cultural consumption throughout New England.

«This time, its war, «was the tagline and Aliens went on to become one of the biggest blockbuster films of 1986 and not to mention ending up being nominated for Seven Oscars including a Best Actress nomination for Sigourney Weaver and winning two Oscars for Sound Effects Editing and Special Visual Effects.

On a visual note they seem to have tried to make the film appear like the pages of a comicbook, split screens with a bit of text and in a slightly cartoony way, kinda works but the rest of the film needs to be good to make it fully work.

One of the greatest and funniest horror films ever made, it has a great story and a powerful scenes with great visuals and exquisite acting, I am a big horror fan, this one is good, it is really good, although I was barging for something smaller and simpler, but it turned out to be way too different than expected!

Visually this film is pretty well shot, with balanced, eye catching frames, and beautiful visuals of the Seattle landscape.

Less Is More, More is Less: In his second feature film, photographer - turned - director Anton Corbijn tries his best to match Clooney's hostile stillness with distance of his own, but his attempts at visual nuance inadvertently come off as conspicuous filmmaking choices overly fraught with meaning.

Perhaps no other series of children's films (and few series of films period) has delivered as consistently good visuals and narrative as Potter.

As much as I may believe all of these things — that this kind of speechlessness in the face of art is a near instant augur of greatness, that a film whose ideas ebb and flow so grandly and subtly fares poorly when bound by the fixity of the written word, that if Malick chooses to engage his spectators on the level of the visual, then well, fuck, shouldn't I be making him a collage or a photo diary?

One of the greatest and funniest horror films ever made, it has a great story and a powerful scenes with great visuals and exquisite acting, I am a big horror fan, this one is good, it is really good, although I was barging for something

But where Asquith (who only had the best players in his films) took this approach out of respect, Crabtree deferred to his actors principally because his main concern were the visuals.

Whether you have a film like Ex Machina winning the Oscar for best visual effects over films like Mad Max: Fury Road or The Hurt Locker taking precedence over behemoth's like Avatar for best picture, independent films have always had a way of winning over the hearts of many viewers.

The photographic background of co - directors / co-writers (and brothers) Carlos and Jason Sanchez gives the film a strong visual sense as well.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

The film includes a visual feast of well - staged musical numbers.

The Telegraph's Robbie Collin find it «sensual and lyrical, tremendously well acted, heavy in visual and verbal metaphor, and so ablaze with pastoral beauty that the hillsides and forests seem to glow with their own amber light,» and Eric Kohn of Indiewire agrees, claiming the film «maintains a visual sophistication unparalleled in international cinema.»

With such films as the Mad Max films, The Book of Eli and even The Hunger Games, there are better options with even larger budgets out there if you are looking for spectacle that isn't just purely visual candy.

I would like to say that this film would make a good example of how visual effects look on a home television experience for a rental, but I still think the better recommendation for that would be the first film.

Kino Lorber's DVD edition of The Strongest Man gives the film a good visual presentation in letterboxed 2.35:1 anamorphic widescreen.

Here he was one of the reasons the film somewhat came alive with an energetic pace, well executed scare scenes and polished visuals.

Bay is at his best, paradoxically, when he's at his worst, if for no other reason than the fact that the most enjoyable and the most offensive parts of his films (which are often the same scenes and sequences) extend from the mind of a man with a very particular visual sense.

The casting clicks; the visuals have leaped right out of Dave Gibbons» original panels; the action is brutal, stylish and well - staged, and — with most of the major characters, themes and symbolism are retained in an abbreviated form — the 2 1/2 - hour film makes an enjoyably esoteric Cliff's Notes version of the book.

It's not, though, because this is one of those «too good to be true» tales perfectly suited for a narrative feature film and one helmed by a maestro of visual effects and other technical facets.

The action sequences and fight scenes in the first two acts of the movie are equally impressive in their staging, taking visual cues from sources that include Coogler's own grounded boxing scenes in Creed, as well as many a James Bond film during a nightclub sequence right out of something like Skyfall.

There's good stuff around the edges of the film — all that word play and all those visual gags demand that you pay attention lest you miss something even in the slow scenes.

Instead we are presented with an absolute turd of a film with shockingly bad «action» set pieces (despite not actually requiring major action set pieces for the plot), dreadful visuals that might as well be that «Gladiators» TV show complete with glitter and sparkles, a god awful thrash / heavy metal soundtrack just in case you forgot this film was suppose to be tough and your obligatory dire big name cast hot of the heels of other poor major blockbusters (yeah stick him / her in it, big name, can't go wrong, doesn't matter if they actually fit the role or not pfft!).

Absolutely brilliant film and for me the best of 2011, stylistically and artistically miles ahead of a lot of films with great acting, directing, visuals and music together make this a great contender for 4 or 5 Oscar nominations with Albert Brooks an absolute stick - on for best supporting actor.

Questioning our understanding of the very notion of «the visual» in film, as something that operates in opposition to «the sonic», might be a good place to start.

Surprisingly, though seventeen years of technological advances should have made for smoother man - to - dog transformations, the visual effects don't hold up as well as the original film's.

While it would be easy to shoot an entire film like this on a sound stage and use visual effects to complete the scenery, director Baltasar Kormakur (2 Guns, Contraband) wanted the cast to experience the elements firsthand by shooting on location in Nepal on the foothills of Everest, as well as the Italian Alps.

(Oddly, one joke that is given time to breathe — and one of the film's few visual gags — is the bit featured in the trailer where Barinholz gets Poehler's music box stuck up his butt; it works better in the movie than in the trailer, but it's still a juvenile choice for a centerpiece.)

Rupert Wyatt (Rise of the Planet of the Apes) does a good job directing a gifted cast of talents young and old, and moody cinematography by Greig Fraser gives the film a stylish visual signature, but it's in the script by William Monahan where the film comes up short.

Nolan's awe - inspiring masterpiece «Interstellar» will be released on 4K Ultra HD in a 3 - disc Combo Pack that includes the film on 4K UHD and in high definition on Blu - ray, as well as a bonus Blu - ray Disc ™ with three hours of in - depth, behind - the - scenes content detailing the epic shoot, the scientific realities explored in the film, a look at creating the stunning visuals, and much more.

Disney brought on horror filmmaker Scott Derrickson to take on the origin of the Sorcerer Supreme with gratifying visual splendor only to fall short in what many Marvel films have been missing and that's a villain worth noting as well as actual stakes in the grand scheme of the plot.

Though the animation bests DisneyToon's more frugal contemporaries, it makes clunky use of CGI and is a distant approximation of the original film's nimble visuals.

By far the best part of the film are the scenes set in the Judge Dredd style mega city which owe a great visual debt to Blade Runner and the idea of a futuristic society ruled by the church is a really interesting one.

The tagline for The Nativity Story should be «When You Care Enough to Send the Very Best,» not only because the Christian plot is all about how God sends his only son, but also because the film has all the substance, visual appeal, and excitement of a Hallmark card.

By any reckoning, the film's visual panache and terrific performances, especially by its two well - matched leads, announce Khant as a director of truly impressive talents.

«The Shape of Water» leads all films this year with 14 nominations including Best Picture, Sally Hawkins for Best Actress, Richard Jenkins for Best Supporting Actor, Octavia Spencer for Best Supporting Actress, Guillermo del Toro for both Best Director and Best Original Screenplay alongside Vanessa Taylor, Dan Laustsen for Best Cinematography, Paul Denham Austerberry, Shane Vieau, and Jeff Melvin for Best Production Design, Sidney Wolinsky for Best Editing, Luis Sequeira for Best Costume Design, Best Hair and Makeup, Best Visual Effects, Best Sci - Fi or Horror Movie, and Alexandre Desplat for Best Score.

The 2.40:1 visuals have all the flair of an Edgar Wright film, impressing through scenes of action and effects as well as simply the colorful banter of reconnected childhood friends.

There is a great rhythm created and we don't get too much SCS (Shaky Camera Syndrome), and then the film blows up into a high - octane action film with some of the best visuals of the year.

Artistically, one of the hardest things [about «City of Ghosts»] was that unlike «Cartel Land» where there's a sort of visual feast everywhere you went and you'd just have to make all these choices between good options of where to go, who to follow, where to be, this film was very constrained.

There's little doubt, as well, that Shyamalan's expected emphasis on stylish visuals plays an integral role in confirming the film's mild success, while the story's coda is nothing short of jaw - dropping in its unexpectedness and audacity (ie it forces the viewer to rethink and recontextualize everything they've just seen)- which ultimately ensures that Split continues the momentum established by Shyamalan's comeback endeavor, 2015's The Visit.

But Billboards still speaks the language of film, with incredibly well - staged scenes and a great visual gag involving Officer Dixon (Sam Rockwell) and his music.

In the franchise, X-MEN: DAYS OF FUTURE PAST was the only film to be nominated for an Academy Awards in «Best Achievement in Visual Effects.»