Sentences with phrase «effects this film seems»

Caffeine, the drug, is known as a stimulant, usually taken in order to to perk up its consumer and keep him awake and alert for a period of time, or sometimes to alleviate headaches — effects this film seems to produce the opposite reaction of in abundance Highly addictive, withdrawal symptoms include fatigue, drowsiness, irritability, and in some cases, vomiting.

Not exact matches

Whether it's the latest superhero reboot, science fiction thriller or historical epic drama, the effects - driven juggernaut that powers the modern film industry seems to continually overlook subaquatic cinema.

Noah seems to work as a film because of a plot that is paced to move along, convincing special effects, and quality performances from name brand actors like Russell Crowe and Anthony Hopkins.

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.

After seeing these natural wonders, the elaborate special effects of such films as The Hulk and The Matrix Reloaded will seem like cheap parlor tricks.

His films as of late have seemed somewhat stuck in the 1990s when it comes to the below - the - line stuff, but the effects in this trailer (exclusively released on Yahoo! Movies) are quality.

After a successful outing in First Contact, Jonathan Frakes (Thunderbirds) takes the director's helm once again with a pleasant but uninvolving outing which seems more in tune with the style of the TV series than the film series, special effects notwithstanding.

With adaptations of superhero comics to film, it seems that the only thing of interest to the film maker (s) is getting the shiniest and biggest effects on screen along with «kick - ass» action sequences and one - upping each other on the adrenaline level.

Even with long scenes of action utilizing modern effects, the approach doesn't seem gratuitous, which is an impressive accomplishment after having seen so many action films already this year.

Another issue that bewilders me with the Star Trek film franchise is how or why the special effects seem to have gotten worse as the sequels progressed.

Going against my better judgment, I decided to give the new Brad Pitt film, World War Z, a shot as the polarizing effects of its release seemed to reach heights similar to those of Man of Steel.

Warner's miserly bitrate (24 Mbps) seems to have few adverse effects on the 96 - minute film, although the deepest blacks look a little crushed as a result.

All those changes do not seem to have had the intended effect domestically, where Retaliation grossed $ 122.5 million, a soft sum even by March standards that was $ 7.5 M beneath the film's reported production budget.

Sure, the first two films were able to deliver that, but the action always seemed like a nice side - effect to the story the writers wanted to tell.

The film moves at a languid pace that seems appropriate for its setting, utilising the true beauty of Bruges to great effect while imbuing the experience with a sense of make - believe that perhaps allows the violence that comes to be even more shocking.

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.

Mashing - up different film stock, lenses, video and in - camera effects with quick jump cuts and forced continuity, both directors seemed hell - bent on ignoring the source material as much as possible in favor of creating over-cranked «ecstasy trips» on screen.

-- «Carrie» (1976): When this Brian De Palma horror film (from Stephen King's book) was released, it seemed very much of its time, with geeky»70s fashions, a screechy horror score and clunky special effects.

Through much of the film, Fanny seems to have stepped off a canvas, an effect heightened by the way she is continually posed in the frames of doorways, windows, and mirrors, the colors in her outfits harmonizing foreground and background.

Even having Cruise demanding David Koepp's original script be re-written by Robert Towne seemed to have little effect on him — he knew that as long as he had some great action set pieces, the film would do its job.

Of course, based on the early buzz, it seems to have paid off, because even if the film doesn't dominate in the major award categories, it's sure to land a few technical awards for the stunning visuals and incredible animal effects.

With the new film comes a new director, Francis Lawrence, who gives us less character touches but more emphasis on action (thankfully, with less of the shaky - cam effects of Gary Ross), which may please those looking for the dystopic film to just keep moving, even if it seems to skip some narrative steps along the way.

While the film is still clearly another low budget affair, the special effects look to be well done, and new Pinhead actor Paul T. Taylor seems to be doing his best to live up to Doug Bradley's legendary portrayal of the character.

His last two major scores, for Obsession and Taxi Driver, give the films so much formal, emotional, and thematic shape that the usual rule of music serving as accompaniment often seems reversed, and the images, dialogue, and sound effects seem to accompany the scores.

There were few comin» - at - ya» effects in the film - which many 3D filmmakers seem to be shying away from these days.

Audio: This is a dialogue - driven film, so the rear effects speakers will seem underutilized unless a song kicks in or the sounds of traffic get rolling.

While the dramatics of the first two films (and later ones) are cleanly executed, they can't help but seem overly schematic when placed in comparison with this, in which the raw emotion of adolescence is allowed to comfortably interact with a magical world that seems all the more physically tangible for the juxtaposition (helped immeasurably by Cuaron's preference for physical rather than digital effects whenever possible).

Cameron's beef seems to be less with superhero films in general though and more about Hollywood's obsession with sequels, remakes and branding — which is strange coming from a filmmaker who is prepping a new series of «Terminator» movies (the sixth, seventh and eighth in that franchise), four new «Avatar» movies (sequels to a film many consider more a showreel for today's effects than a truly enjoyable bit of filmmaking), and a TV series based on his»90s film «True Lies».

In a number of instances, the film seems like it would benefit from atmospheric effects or some breathing room bestowed upon the songs and John Du Prez's score.

It seems to have potential as decent effects - heavy popcorn entertainment, and the film won't overlap too much with the other titles during the 2013 Winter Holiday frame (except for a little holdover from earlier in the month called The Hobbit: The Desolation of Smaug)-- but, as always, we'll have to wait and see...

«Drive» — The Elevator Scene For a film filled with many memorable moments — the opening action scene, the credits, Ron Perlman's huge frickin'teeth, the masked slasher stalking scene, Christina Hendricks meeting a shotgun, Albert Brooks getting all knifey, the hammer and the bullet — the one that seemed to have the most lasting effect on audiences was that elevator scene.

Viewed through the retrospective filter of both the US's Gitmo - ised» 2000s foreign policy and countless subsequent race - to - excess «torture porn» flicks, Audition's last reel might now seem a little tamer in its effect — but this just allows all that precedes it to come into sharper focus, revealing a film of two very distinct (and distinctly colour - coded) halves.

It is a title that, at first, may seem unusual for a film about the human body's gradual betrayal of itself, and the effect this has on those who experience it and those who merely bear witness to it.

And the unresolved romantic and sexual tension between Black Widow and Hulk creates a weird driving force to the narrative: even the absurdity is somehow recirculated into the film's internal economy as comedy and irony and the cast - of - thousands effect never seems to split the focus: Andy Serkis plays metal trader Ulysses Klaw and Julie Delpy has a blink - and - you'll - miss - it cameo as Black Widow's sinister former controller.

Altogether, the film plays tricks with space and shape suggesting that the whole effects department puzzled over M. C. Escher illustrations and wondered if you could actually pull off those tricks in three dimensions (and better still, make them seem somehow like four, or five).

Kormákur's directing style seems like a conscious corrective to the disorienting cutting and obvious CGI effects that have come to dominate Hollywood action films.

The first show - stopping CGI moment — so spectacular that it's almost shocking how casually the film seems to squander it right at the start — is a variation on the city - folding effect that Christopher Nolan practiced on Paris in Inception, but here pushed much further.

While a great display of some nice visual effects, this scene, which seems to go on for 30 mins, just takes you out of the film totally.

Slapping the nickname «Needy» on Seyfried's only - possibly - nerdy - by - movie - standards - otherwise - hotter - than - 99 % - of - my - hs - classmates best friend character (full name: Anita Lesnicki, her nickname seems designed to add superfluous character the incredibly - talented Seyfried can supply with a mere inclination of her head) is the first hint of Cody doing her thing; by the time Jennifer is mocking Needy's bf Chip (the sublime Johnny Simmons) as «lime green Jell - o» the Cody Dialogue Effect is in full force within the film.

Where the first film never truly made it clear if there was a supernatural force at work and showed nothing that would seem terribly scary in the bright light of day, Blair Witch eventually goes all - in on the impossible, with pulsating skin parasites, flying tents and some CGI that undermines the carefully constructed practical effects.

It seems Mass Effect project director Casey Hudson is fully aware of that as there's been plenty of attentiveness revolving around a possible Mass Effect film.

His well - known «Kuleshov Effect» seemed to prove the point: in the experiment, Kuleshov cut between the expressionless shot of a famous Russian silent film actor (Ivan Mozzhukhin) and a variety of other shots: a young woman reposed on a chaise, a child in a coffin, a bowl of soup.

For all their mystery, for all the taciturnity of their refusal, these paintings lodge the totality of their effect in a sleight of hand through which the material surface of the picture appears to be supplanted by an optical membrane: a resonant film that seems the very envelope of vision, like the blackness you «see» when you shut your eyes.

The scenario painted in the film «The Day After Tomorrow» seems extremely unlikely, even to most climate change advocates, but one could easily make a far more convincing version, based not on the effects of climate change, but the efforts of some crackpot to «save the world» from same by implementing some well meaning scheme that could all too easily lead to a disaster far more immediate and possibly far more destructive than anything a few degrees of temperature rise could produce.