Sentences with phrase «effects films of this kind»

I don't normally go in for big laden special effects films of this kind but it's hard to resist when they're this much fun.

Not exact matches

Jobs achieved this kind of effect the same way a film director might.

I would love to have lunch with Lauren Parsekian Paul, one of the founders of Kind Campaign, a nonprofit that helps educate about the powerful belief in KINDness that brings awareness and healing to the negative and lasting effects of girl - against - girl «crime» through documentary films and school based programs.

You can't exactly call Alfonso Cuarón's Gravity the best film of its kind, because it has no kind: It stands alone as an extraordinary balance of 3 - D effects, heroes - in - jeopardy storytelling and emotional depth.

A model of simplicity and grace, with emotional effects that move you when you least expect it, the kind of great film that only a master can pull off.

A kind of low - level trickster god of indie cinema himself, Waititi lets his film go a little crazy: He's outfitted it with garish colors and costumes and set designs, some not - entirely - perfect special effects, and a synthesized Mark Mothersbaugh score that sounds like it was lifted from an early period Jean - Claude Van Damme flick.

I kinda liked Avatar when I saw it and appreciated the spectacle, but that film winning any kind of awards not related to visual effects is ridiculous.

and other mythological creatures and then confronting a very pissed off Ares — before the heroes finally have to find their way into the Underworld through a very odd, three - dimensionally moving labyrinth — a kind of Greek - Deco - Escher construct that houses the film's best practical effect — a completely physical, GC - unenhanced minotaur.

Her bleak working conditions in this effects - heavy film demanded physical dexterity and the ability to withstand long periods of isolation, but through it all her gift for connecting with an audience, so essential for this kind of film, never fails her.

But although the film is bloated with the kind of high - tech special effects expected in this fictional, futuristic world, the script maintains a steady pace of action and enough humorous quips to hold most viewers» attention for the two hour ride.

It seemed as if we'd never get to see any other kind of foreign film hereabouts — an effect reinforced by Ettore Scola's A Special Day, in which a director who had heretofore drawn a lot of his strength and interest from the unpredictable intersections of gritty - grubby realismo and flamboyant stylization (The Pizza Triangle, We All Loved Each Other So Much) inclined dangerously toward high gloss.

TELLURIDE, Colo. — In the blazing noon sun of Labor Day, on a panel discussion in Elks Park, the veteran critic Stanley Kauffmann put his finger on the kinds of films that the Telluride Film Festival does not exist to support: movies made of special effects and technology.

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.

The movie's villains aren't nefarious masterminds or hardened thugs, but scared, emotionally damaged teenagers, while Talley himself is less unbreakable superhero than the kind of vulnerable everyman Willis (who also produced the film) played to such good effect in the original Die Hard.

He said something to the effect that what he wanted to do was slowly build the dread and the tension, rather than explode to 11 in the opening moments and fail to be able to register that kind of suspense for the rest of the film.

* 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.

It was our first kind of crossover film out of sequel B - horror films and gore films, to something that had more realistic effect in it.

And that's kind of the way it's been ever since for Joe Dante's creature classic — generally regarded as one of the greatest werewolf films of all time, hallowed for Bottin's startlingly mature effects work (he was only 22 at the time), praised for a sly satirical script by John Sayles... and yet still plagued by the perennial refrain: ``... but «American Werewolf» is better.»

The audio track sounds excellent, with an amazing balance between the surrounds as this film is filled with screams and demonic effects of all kinds.

Vaughn's new film suffers from a kind of Observer Effect: it knows what we loved about the original, is kind of self - satisfied by what mortified us about the original, and endeavors to give us more of both.

The look of the film is only so impressive, but with the limits of portraying elaborate skate scenes that don't feel modified by visual effects, it kind of suits the story of a character who didn't get by easy.

This film is the kind of movie magic that isn't created by visual effects.

To think that child audiences in 1963 had a far more earth - shattering theater experience than today's young viewers will have with «Percy Jackson» speaks to the effect that «Harry Potter» films have had on reconfiguring what is expected of this kind of picture.

Sure the story's essentially the same and the special effects budget has obviously been spent, but the tone here is also a more menacing one than Robert Wise's 1951 film, which points to a certain intelligence to which we're not typically accustomed in these kinds of projects.

The rest of these 10 films on my list also had that same kind of effect, the experience being a key component in my connection to the films I genuinely love.

I just called it the «Hollywood lens effect» haha, seriously when you watch big blockbusters, that spectral distortion on the edges of objects kind of gives a nice little finish to a film.

The speakers get plenty loud, and the issue isn't always that noticeable — during a fight sequence in Captain America: Civil War, the effect almost came off as immersive — but films» quieter sequences and, really, most YouTube clips I've watched have been kind of annoying to listen to.