Sentences with phrase «effect in films like»

Drawing inspiration from such pivotal usage of practical effects in films like E.T., The Empire Strikes Back, and The Thing, the team intends on building a practical robot puppet for the young actor playing Wei to interact with and get better performances from.

Not exact matches

From the Inside Out - «Making Avengers: Age of Ultron»: A 20 - minute video going back 18 months showing what it was like on set of the film in Italy and Seoul, Sourth Korea; a look at the Avengers Tower; some of the behind - the - scenes early visual effects of Ultron; early concept work for Quicksilver, the Hulk, and Vision; and more.

So it shouldn't come as a big surprise that in his latest movie, the film's two monolith - like robots TARS and CASE had hardly any digital effects.

Like «Part 1», «Part 2» was filmed in 2D, but in this case the effects (and some 200 shots) were completed in 3D.

Although Levy does a great job integrating the special effects into the story in an unobtrusive and even seamless way, he remains unable to lend a film a discernible personality beyond what exists in the script, and at best «Real Steel» feels like a convincing argument that he's eminently capable of handling generic mainstream blockbusters.

Older Joe (Bruce Willis, whom Gordon - Levitt has been somewhat awkwardly made to look like) has other plans in mind for the past and escapes his execution, beginning the film's grinding chase and giving us lots to wonder about in regard to theories of time travel and butterfly effect and all those other head - scratchers.

Sure, they have to force their AMD Opteron processors to conjure up all that flashy «ooh» and «aah» stuff, like, say swishy - whizzy magic - spell effects, or the impressive orange glow of dragonflame, but if you can't make the texture of Fiona's shimmery dress capture the light properly, if the audience don't truly feel they can reach out and caress that silky fabric, then the animators might as well all shut down their DL145 ProLiant servers, pack up their HP nx6125 notebooks («based,» it says in the film's fascinating production notes, «on AMD Turion 64x dual - core mobile technology to streamline a variety of production activities») and go home.

Since «Law Abiding Citizen» turns out to be «Clyde: Portrait of a Serial Killer (or «Clean Shaven Death Wish), in which the daddy - turned - vigilante (played by Gerald Butler) starts killing, not NYC lowlifes like a Scottish Charles Bronson, but innocent people, ala Henry (Michael Rooker) in the 1989 John McNaughton film, brutality needs to match brutality, because the cause and effect of the carnage needs to be better proportioned.

There is also a nicely eerie special effect whenever the demon possesses someone in order to pose the film's titular question: their eyes darken and their mouth twitches ghoulishly upwards at the corners, like the face on the cover of an Aphex Twin album — or «a messed - up Snapchat filter,» as the group's coolest head Olivia (Lucy Hale) accurately describes it.

Many films in which characters are pregnant look exactly like what has been done to achieve this effect: an extremely thin actress has been fitted with a fake baby belly, which does not offer an accurate depiction of what happens to a woman's body when she's pregnant.

Special effects are in abundance, but none of them are very well - produced, much like the film on the whole.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

Now I'm not saying all the CG in the film is bad, in fact there are some very great looking CG effects, like Azog the Orc still is a great effect (even if the character wasn't in the book and just made him up for the film,) and Smaug, MY GOD!

This felt like an old - school, big budget sci - fi film with massive special effects, great visuals and a concept that made you think in Director Joseph Kosinski's love letter to 80s and 90s science fiction trendsetters.

A visually - rich film like Ghost in the Shell that's filled with futuristic sets and cyborg characters could have easily relied on green screens and digital effects to bring its entire world to life.

This Halloween, the seasonal offerings include some big - ticket gift sets, like «Chucky: The Complete Collection,» an anthology of all six films in the «Child's Play» series (Universal; Blu - ray, $ 84.98; DVD, $ 59.88; not rated), and «Friday the 13th: The Complete Collection,» which offers Blu - ray editions of 12 films in that slasher franchise, from the original 1980 «Friday the 13th» directed by Sean S. Cunningham to its 2009 remake - reboot directed by Marcus Nispel — in effect, closing the circle (Warner Home Video; $ 129.95; R).

SPC says Allen doesn't disclose his budgets, but like nearly all of his films, it's devoid of special effects and «Blue Jasmine» is almost surely in the same $ 17 million range as «Midnight in Paris.»

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.

OUR TAKE: Fresh young faces starring in a movie about a board game that hinges on delusion - as directed by Stiles White, a special effects guru from the Stan Winston studio, who has written films like Knowing and The Possession, but is admittedly making his directorial debut with this movie.

With the success of the National Treasure films, how was it like to work with Nicolas Cage in a different type of film, especially with a film that is very visual effect driven?

Granted, for a low budget film like this, the HD clarity sometimes exposes more imperfections in the special effects at times.

The climactic showdown is a special - effects blowout we've seen many times before, but the film works like gangbusters in spite of that.

Along with films like Jim Sheridan's Brothers, Paul Haggis's In the Valley of Elah and Grace is Gone, starring John Cusack, it's a «coming home» movie about the effect of the current conflicts on military lives back in AmericIn the Valley of Elah and Grace is Gone, starring John Cusack, it's a «coming home» movie about the effect of the current conflicts on military lives back in Americin America.

The disc is packed with extras, including some deleted scenes that add very little, a blooper reel and a featurette detailing how Wonder Woman fits in with Batman and Superman as a DC flagship character that are all fairly throwaway, but there are a few neat production featurettes that detail how director Patty Jenkins approached making what could have been a potential disaster given the negativity towards the DCEU's previous movies, and also interesting effects details about the lighting, costumes and the chosen colour palette that may not sound like much but actually prove to be quite enlightening about the whole filming process.

It's fast paced (and like all of Edgar Wright's films, the editing punches you in the face every chance it gets), witty and filled with glorious comic book inspired action scenes, complete with onscreen sound effects text.

Once in a while, you'll see story sequences that I can imagine would be much more entertaining if they had voices or cool effects but instead they play like short silent films as if you're reading a comic book with no text.

The shorter pieces, which take on various aspects of the film, the story, production and special effects details (like the use of miniatures, which has become a rarity in the CGI age), range from under two minutes to just over twelve minutes.

After watching a film like Pulse, I feel a bit insulted that movie executives think so little about the intelligence of the American movie - going public that the vast majority of the attempts at popular entertainment are completely stripped of anything remotely resembling a thought - provoking element, eschewing those in favor of noise, special effects and music stimuli to try to induce a subconscious reaction in the audience.

From its opening moments, San Andreas delivers the special effects and traumatic destruction that you would expect in a film like this.

The film also continues the franchise's renewed interest in practical effects, making this once again feel like a lived - in world populated by «real» creatures and «working» vehicles and droids.

JJ Abrams follow up from «Star Trek» didn't live up to the hype necessarily but it did give an even enough story while showing great works from child actors Joel Courtney and Elle Fanning in this «E.T. - like» aura stricken film that has great sound and visual effects.

Paul Franklin has made his mark in cinema in the dizzying world of visual effects, having done work on the likes of a few Harry Potter films, a Bond movie, and most recently, Captain America: Civil War.

But it sounds like the dinosaurs of Jurassic World: Fallen Kingdom might give them a run for their money, at least when it comes to the practical effects in the film.

Hodder said he got the role of Jason in Friday the 13th Part VII thanks to a successful relationship with director Renny Harlin, who he had worked with the year before on a film called Prison, who liked Hodder's enthusiasm for makeup effects and how he worked in it.

What's seldom observed is that films like Taxi Driver and The Godfather don't look the way they do without pioneering pictures like The Wild Bunch first understanding how colour could be used in noir to glorious, nasty effect.4 The Wild Bunch does it well enough that it was threatened with an NC - 17 rating upon its re-release twenty - five years later in 1994.

Meanwhile, sound editors Christopher S. Aud and Aaron Glascock discuss their unique approach to foley on the film, which involved creating effects in locations that acoustically mimicked the environments depicted on screen — an ethos Kaufman says carried over into leaving in the imperfections of the dialogue recording (like breathing) that animation studios normally edit out.

Actors who regularly work at scale or discount for directors they believe in — actors like Matt Dillon, Jane Fonda, Morgan Freeman, Gerard Depardieu, Genevieve Bujold, William Hurt, Peter Coyote — are in effect subsidizing what's left of the auteur film.

The first film directed by Douglas Trumbull (Brainstorm), the special effects maestro that created memorable visions in such movies as 2001: A Space Odyssey, Close Encounters of the Third Kind, and Blade Runner, features quite a bit of interesting effects of its own, perhaps a bit dated by today's standards (the spaceships look like obvious miniatures) but given the limited budget and schedule Trumbull had to work with, still impressive.

This puts the film into the same genre as films like Uncle Buck and The Pacifier, in which an unlikely outsider has an effect on a family / group.

I liked Iron Man enough to be a little nervous about the sequel, especially after seeing the film's star, Robert Downey Jr., marooned in Sherlock Holmes, which reached for that same mix of cool special effects, kinetic camerawork, clever dialogue, and mildly kinky characters and missed by a mile.

While she would never consider a potential film franchise shouldering a reported $ 40 million budget and a frightfully ardent fan base as anything akin to her art, Taylor - Johnson does manage to use her eye for the slow burn, honed in work like her 2004 video portrait of the soccer star David Beckham sleeping, to great erotic effect.

* Asked how he feels about going from very small indie films to a massive, effects - driven fantasy / comedy, Green said: «Well, just like probably all of you guys like to see different kinds of movies every week — a little of this, a little of that — it's fun professionally to, like, get in the ring and design creatures and have guys in suits and puppets and just, y ’ know, bring in all this stuff... I remember when I was a kid, and if something like «Behind The Scenes of Return of The Jedi» would come on, I'd just be glued to the screen, wishing that one day I'd be able to get my hands dirty doing something like that.

The special effects are outstanding and Abrams never lets you forget the cast is in outer space, from simple touches like light reflections seemingly coming out to the viewer or in space battles that far and away eclipse anything done before in the Star Trek films.

As such, the effects workload wouldn't have been any higher than the average blockbuster — of course there would be heavy CGI elements, but probably far less than something like, say, Disney's other forthcoming tentpoles «John Carter» and «Oz: The Great and Powerful» — and the fantastical elements, at least in Elliot and Rossio's draft (Justin Haythe has since come on board to rewrite) aren't massively prominent, the film being more of a straight action Western.

Sure, some of the sets are probably enhanced by CGI and the magical transformation is obviously done by special effects, but the film doesn't feel saturated in it like some movies do.

Other films carried the torch for film as a medium for social justice: the angry, bracing I, Daniel Blake, Spotlight — which played like the taut political thrillers made by Pakula and Lumet in the 70s — and Katharine Round's lucid expose of the effects of inequality, The Divide.

There is much more teeth chattering than wolf fighting (especially for audience members who, like me, mainly want to see Neeson in fisticuffs with the wolves), and this may be because the film's special effects weren't always that convincing.

Admittedly, the production value has improved with more characterful creature effects and the claustrophobic locations make for more scope for suspense, but the pedestrian direction and tired formula makes the film feel like a TV movie with little in the way of flair or imagination.

Like WB's Maximum Movie Mode, Blu - ray exclusive The Devil's in the Details: Inside the Action with Joe Carnahan is a souped - up commentary with the film's director that includes behind - the - scenes footage, storyboards, animatics, model - building and visual - effects presentations, and an interactive dashboard with info on vehicles and weaponry, as well as a running counter of steps in each plan (at times, Carnahan's audio commentary gives way to video segments with the director as on - screen host for the supplementary video footage.

Smartly shot for a very modest budget of $ 30 million (lots of strings were certainly pulled to get such a cast of famous personalities onboard), Rogen and Goldberg know where and when it's most effective to go for special effects (this does not feel like a low budget Hollywood film), and they do so without letting visuals or star egos get in the way of making a very funny movie.