Sentences with phrase «effects seen on film»

His first real brush with international acclaim came with «Dead Alive» in 1992 (also known as «Braindead»), which was a gory zombie flick that included some of the most gruesome, outlandish and hilarious effects seen on film since Sam Raimi's «Evil Dead 2.»

Not exact matches

I have seen firsthand on filming Plain Jane and other makeover shows, the enormous effect the right outfit can make on a woman's mood.

Released in theatres on August 24,1966, «Fantastic Voyage» was not only a film of authentic wonder but a science fiction masterpiece with amazing special effects... the team enters the body of a man where they see first hand the oceans of life within the human body that contains the «corpuscles», «the heart», «the lungs» and other features of the human body through which the crew move through are exquisitely designed in great detail with artistic quality.

When Spielberg recently told the Hollywood Reporter, «I realized this was the only year to make this film,» he was speaking to what he saw as the immediate need for a project that in effect commandeers yesterday to comment on today.

The Coens went on to cast Buscemi in nearly all of their films, featuring him to particularly memorable effect in Barton Fink (1991), in which he played a bell boy; Fargo (1996), which featured him as an ill - fated kidnapper; and The Big Lebowski (1998), which saw him portray a laid - back ex-surfer.

In a time when most movies are little more than filmed deals that can spend millions of dollars on elaborate special effects sequences that fade from the mind almost as soon as they play out, he has created some of the most bizarre, hilarious, haunting and memorable imagery that I have ever seen in a film — who could forget the sight of beer baroness Isabella Rossellini standing upon artificial legs filled with her own product in «The Saddest Music in the World,» or the horses stuck in the middle of a frozen river in «My Winnipeg»?

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.

Warner's confidence in this ambitious film is not unfounded, as Ron Howard has constructed a film that is not only hugely enjoyable, but big on technical achievement, and while the film may not be banging on voters doors over the coming weeks in the main categories, expect to see nods for the glorious effects, sound and the photography.

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.

Even though a lot of the scares weren't as effective for me in this film because of the more comedic tone, I could definitely see the impact and effect they had on the audience, so I'm sure those segments work.

See Also: There's not a lot comparable to «The Lobster» in Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at aSee Also: There's not a lot comparable to «The Lobster» in Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at asee him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at all.

While the first film had a sense of newness on its side that made it somewhat effective as a straight - up shocker, we've seen all of the scary images in this sequel a few too many times to experience their original effect.

To wit: Sidney Lumet and Naomi Foner put the Sixties on the lam in Running on Empty, and tell Gavin Smith and Anne Thompson why Paul Kerr dopes out the Sixties effect on Brit - cinema Andreas Kilb sacks German film Philippe J. Maarek routs the French Peter Wollen checks out Film Theory country Marcia Pally roasts the American rewrite of the era but sees signs of life in some quarters Marlaine Glicksman finds the perfect Sixties Woman: Sylvia Miles -LRB-!)

The film sets up some of the main characters early on pretty much in the same way we've seen in countless disaster movies, but it takes a real turn after the bombing and chronicles the incredibly complex and far - reaching operation that immediately went into effect.

(p. 37) Yet, whereas Daire sees Mauprat as a dynamic, complex, and ostensibly queer studio film (the gender play he notes in the biography), Keller sees the film as a «costume drama [that] lacks almost entirely the vigour described by Epstein about the effects of cinema on an audience.»

Looking back at earlier films like City by the Sea or Stone, it's invigorating to see the effect a decent script and a strong performance to play against (from Frances McDormand and Edward Norton respectively) have on upping his game.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

James Wan and Leigh Whannell collaborated on the original SAW and with that film proved that they had a keen understanding that a successful horror film is about mood, tone, and using just the right sound effects.

For his part, Martini is clearly trying to go for a stylized, hyper - real effect in which everything looks normal but is a bit off but his results are off in all the wrong ways — the film feels as if it was made by someone who has been charged with making something in the tradition of «Blue Velvet» and «Donnie Darko» but who never actually got around to seeing them and is basing his work on what he thinks was in them.

As I haven't seen the film on DVD, reports of this remix omitting certain sound effects I leave for others to vet.

Michael Powell's film had always haunted and intrigued me, but seeing the streets that I traversed every day on - screen from fifty years earlier had a darkly powerful effect on me.

A practical effect], or the fight sequences where we actually see Batman beat down hordes of the ungodly with surprising ease — and savagery; while we could talk about superb performances [Christian Bale, Aaron Eckhart, Gary Oldman and the rest cast are all in top form] or debate the questions raised by the film for hours, and / or the film's achievement purely on an entertainment level, what makes it a masterpiece is that it is all of these things and more.

We see the effects of the ending of the second film on Dr. Loomis and Michael as well as the mention of what happens to the Laurie Strode character.

back staging it on pop fashion and art food,, cold play and you being almost as funkadleic as,, kl f our totnes pop band the west country bring out comicness and fun with bil lbalies as standup comedy, but the uncanny, comic connections,, and ideologies,, divine intervention etc has to be confronted,, in this instance,, there, writer,, everything went,, lahlah lah when i found out1999 my first son was deaf,,,, your film baby driver now he is 21 effected,, very deeply as a deaf man him and he would love to meet you,, and help you do baby driver two accompanied rap back, on his life in the deaf community London as an artists and lover of fast cars,, and anti war gang block buster, he has all the locations and sights he just needs u when u next in London,, he is Leonardo Patterson on Facebook but as his mum - an interpreter,, i have to translate he wants to take u top the 32 floor of the shade, an ask u how come sign language music blips u got him quite emotional echoes his child hood with his Jamaican father,,,, he just wants the anti war second mix,, none violent comedy,, with bil bailey unit as a mixed race teenager growing up in south London, he has seen the,, how gangs nonviolence,, have ruined it,, for, cant give any more away he cant work out how to meet your pr,, as he is dyslexic,, soi he is getting me to write this,, Lamborghini,, s are his love,, its cosmic,, could u make a,, deaf teeagers dream come true,, we could meet you clpahm picture house where wesaw bay driver with subitles at thier subtitles for deaf club every Thursday,, can you messge me onfacebook messgenr,, thanks his deaf club,, eevry wed,, would also love avisit,, deaf club central, reards su and,,, leonardo patterson,,,

* 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.

Whether Under the Gun will have an effect on the debate or if it will just be seen as one side's biased account is yet to be seen, but the impact of it and the other gun - related films could do for gun control what The House I Live In did for America's awareness of drug sentencing.

It's hard to put a finger on what hurts this film the most: the fact that, at an unrelenting 158 minutes, your eyes actually get tired of seeing things blow up and irritating people perish, or that the film only serves up the same special effects and migraine - inducing sound design you've seen and heard before in far better movies, just cranked a few notches higher.

We've seen satires on THAT particular film scene before and we've heard THAT particularly sappy ballad used to comedic effect before as well.

Don't get me wrong: I'm happy as a clam that the films (remastered in effervescent 1.85:1 anamorphic widescreen transfers — pan-and-scan sold separately — supervised by co-creator Bob Gale with Dolby Digital 5.1 remixes that beef up the re-entry effects especially) look and sound as good as they do and that, for the first time in home video's history, each picture is now being seen as it appeared in theatres (more on that below).

There are minimal special effects used in the film; whatever we do see are merely the shadows under a door or against the moonlight or a quick glimpse of something disquieting in a cornfield or on the videotape of a young child's birthday party.

I understand that the desire it to give the scene a docudrama sense (like The Bourne Effect), and there is some logic to film scenes about the aftermath of war that way, to draw connections to the wars and rebellions we've seen on TV and the internet.

«Haunted Hospital: On Location» — Cast and crew discuss what it's like to film at a haunted location (Blu - ray exclusive) «Leigh Whannell's Insidious Journal» — A look at making the film through the perspective of writer / actor Leigh Whannell (Blu - ray exclusive) «Work in Progress: On Set Q&A» — Barbara Hershey, Patrick Wilson, Jason Blum, James Wan, and Leigh Whannell discuss their experiences filming «Insidious: Spectral Sightings» 3 - Part Webisodes — Specs & Tucker find an unexpected ally in their early days as paranormal investigators (Blu - ray exclusive) «Peripheral Vision: Behind the Scenes» — Go on the set and see how the second installment was created «Ghostly Transformation» — Discover how actors were transformed into ghosts in The Further through make - up effecOn Location» — Cast and crew discuss what it's like to film at a haunted location (Blu - ray exclusive) «Leigh Whannell's Insidious Journal» — A look at making the film through the perspective of writer / actor Leigh Whannell (Blu - ray exclusive) «Work in Progress: On Set Q&A» — Barbara Hershey, Patrick Wilson, Jason Blum, James Wan, and Leigh Whannell discuss their experiences filming «Insidious: Spectral Sightings» 3 - Part Webisodes — Specs & Tucker find an unexpected ally in their early days as paranormal investigators (Blu - ray exclusive) «Peripheral Vision: Behind the Scenes» — Go on the set and see how the second installment was created «Ghostly Transformation» — Discover how actors were transformed into ghosts in The Further through make - up effecOn Set Q&A» — Barbara Hershey, Patrick Wilson, Jason Blum, James Wan, and Leigh Whannell discuss their experiences filming «Insidious: Spectral Sightings» 3 - Part Webisodes — Specs & Tucker find an unexpected ally in their early days as paranormal investigators (Blu - ray exclusive) «Peripheral Vision: Behind the Scenes» — Go on the set and see how the second installment was created «Ghostly Transformation» — Discover how actors were transformed into ghosts in The Further through make - up effecon the set and see how the second installment was created «Ghostly Transformation» — Discover how actors were transformed into ghosts in The Further through make - up effects

The apparent effect of this on camera is that of gravity shifting its orientation, (a well known film technique as seen with Fred Astaire dancing on walls, or the loss of gravity in «2001, A Space Odyssey»).

I was going to write about the possibility of Birol quote mainly being used for effect than being the foundation of his whole argument, when it reminded me that I'd seen that film before and the paper it's based on.

The analogy that I saw in a recent film of a search light and then turning on and off a pen light to represent the effect of sunspots has to be WRONG.

Likewise, if you're watching a movie that's filmed at 24 frames per second, the Razer will set its refresh rate to match, so you don't get the «soap opera» effect commonly seen on TVs that use 120Hz rates.