Sentences with phrase «effects films do»

Not exact matches

«But what it actually did is it allowed films to do even bigger visual effects and we had to enhance what they did — whether it's an asteroid hitting the ground or blowing 10 cars up in the air.

It's a combination of practical and visual effects to make that great film — that's what we're striving to do.»

The Son of God thingy has all sorts of modern special effects in the promo, suprising they didn't film in 3D, jesus rising from the tomb right into the theatre.

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.

Whatever one's personal feelings about the film, it seems clear that Mel Gibson was trying to deliver a cardiac shock to the imagination, Christian and non-Christian, of our times; saying in effect, «Look in graphic detail at what God's Son did for you.

Wall's injury could have an effect on how he moved off the ball, but there has been film from previous years where he is doing similar things.

You can even download the Props in a Box Movie Maker App so you can film a movie of your kids performances with the ability to do different titles, music and special effects.

The area in which the film does particularly well is when it comes to the effect on Peres» family.

That although it did not stop the war, it did have other far reaching effects, which we show in the film, and which are being felt now.

Authors of the study hope future studies will investigate the effects of other documentary films and see why some films lead to large - scale mobilizations and others do not.

But you don't even have to watch sexually arousing films to get this boost — just being around women and talking to them will have an immediate effect on your testosterone.

By this time, the film «First Do No Harm» had been made highlighting the Ketogenic Diet, but when I questioned the doctors, again, I was told it was «Hollywood hype» and the diet really didn't work that well and that this film did not give the details of all the terrible side effects that there were with the Ketogenic Diet and once again I was told that drugs were the best option.

It is the director's extraordinary intuition about the synchronicity of history, geography and the physical universe — a mysterious relationship that has nothing to do with cause and effect — that gives the film and its predecessor their undeniable power.

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.

A note about the 3D effect and IMAX, I'm afraid I did not really see the film at its full potential as the «IMAX» theater selected for the screening is a pale imitation of the flagship IMAX theater in uptown Manhattan.

While the previous films in the series have been just that — parts of a sequence designed to get us here, each with their own beginning and end — the first and second parts of Deathly Hallows are two halves of the same film, and to approach them as separate entities means missing just what director David Yates, writer Steve Kloves, and a host of storytellers and performers have done: They've made a five - hour fantasy epic that balances effects - driven battles with some very real character moments, and one that isn't afraid to have its heroes pay a high price for their convictions.

I've never been a fan, as a rule of horror movies, however, the trailer drew me to this one and i'm glad it did, the awful acting we usually get in horror movies wasn't there this time round, in fact, the whole cast were excellent, the special effects were really very good and the humorous, intelligent dialogue (another thing you don't usually get in horrors) was brilliant, loved the film, Chris Hemsworth, although with less to do in this than he does in Thor, was great in it too.

For all the little moments which successfully bring the Greek Myths to life, the film doesn't have enough dramatic energy to sustain itself, and its poor effects work against the power of its set - pieces.

It's outstanding, and that doesn't even begin to mention the blast of depth charges and battle audio effects later in the film.

Based on a novel by Raymond F. Jones, This Island Earth is one of those rare 1950s speculative films that holds up as well today as it did when first released, despite the comparative quaintness of the special effects and high - tech paraphernalia.

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.

The special effects are well done, however considering that this is a film by Paul Verhoevem, it lacks in delivering what you'd expect from the man that brought classic films such as Robocop, Total Recall and Starship Troopers to the screen.

Where other films are done in by the freedom offered by computer effects, The Matrix integrates them beautifully.

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.

Cara Delevigne's performance isn't great by itself; she is visually striking, but doesn't have the deep - rooted charisma needed to wade through the special effects which grow as the film rolls on.

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.

Being well - versed on the film's production from the book or How Did This Get Made (the hosts of which — Paul Scheer, June Diane Raphael and Jason Mantzoukas — all appear in this movie) only adds to this effect.

In ways the pair's odyssey recalls Richard Linklater's Before films, with their examination of time's effect on people who once knew each other intimately, or believed they did.

Really the film excels with its visuals, a lovely looking old fashioned 30's New York complete with dated cars, store fronts and atmospheric swirling mist, the invisibility effects, shadow effects, hands on makeup and a surprisingly cool looking outfit for the Shadow (did someone pinch ideas for «Dark City» here?).

A lot of scenes in the film just don't make any sense and don't add anything to the thread of a narrative that runs through it, but they are striking and do have an effect on you, which is perhaps the purpose.

When gathering testimony about the effects of this approach to policy - making, the film's four major threads don't venture far from their central subjects.

The cartoon sound effects pop, as does the musical score; though I again didn't feel the film was at its best.

Yet an actor in a Cameron Crowe film must be prepared to do things that fly in the face of conventional narrative: his characters are forever addressing the camera and declaiming their innermost thoughts in voice - over, the cumulative effect of which is an anything - can - happen atmosphere and characters of substance etched in lightning - quick vignettes.

I do like how The Asylum spends all the additional money they must surely get to produce these films on celebrity cameos and not on improving the special effects and CG.

Certainly the feelgood factor is in effect here; but the film doesn't really distinguish itself within the genre.

Some films don't age well, and no doubt Brief Encounter had more of an emotional effect in the social climate of post-war Britain.

Whether you're wondering around the wilderness, enjoying the melodies from a bard in an inn, casually strutting about town, or going head to head with a dragon; the music and sound effects add to the immersion in the same way they do in a Lord of the Rings or Star Wars film.

With looks that allow him to either play soft - skinned pretty boys or greasy - haired white trash refuse, Sarsgaard has used his malleable features and brooding charisma to great effect in such films as Kimberly Peirce's Boys Don't Cry.A graduate of St. Louis» Washington University, where he was a co-founder of the improvisational group Mama's Pot Roast, Sarsgaard studied at the Actors» Studio in New York.

We can consider a number of great directors and their successful films, and how they did very well by keeping special effects at bay.

I quite recommend that you watch «Harry Potter and the Deathly Hallows» as a whole for the full effect but this film does stand very well on its own.

With more shots of mutant killer babies — thanks to stop motion effects — and the munching of human flesh, the films included here work more often than they do not.

This being said, the film's visual effects and style, along with a well executed soundtrack, deserve accolades (particularly with its modest 1.3 million budget) and, as a whole, it does inspire philosophical reflection.

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.»

The film does have a striking, period piece look and feel, though many shots are held for an overly - dramatic effect.

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.

Gordon - Levitt proves that while being a powerful player in the media, he does see the effect that it has on people and it is shown throughout his film and these characters.

While the film noted that it was based on a true story, it also did disclose that aspects were added for dramatic effect.

If I didn't know better, I would have thought for sure that this was an undiscovered early film of Steven Spielberg's (albeit one with far superior special effects).

A new featurette for the film has arrived, showcasing the film's focus on practical effects and live stunts and Michael Fassbender stunt doubles doing parkour across ancient cities.

Not likely to appeal to a wide range audience (this is not a film dependent on special effects or action sequences), the international thriller is the type of science fiction film we don't see often enough.