Sentences with phrase «films creature effects»

The film looks great and shines with the films creature effects.

Not exact matches

Lack of imagination, an entire cast of unlikeable characters, and some sub-par effects (those creature puppets were horrible) make this a film we won't be watching again anytime soon, if ever.

This film was chock full of massive CGI effects, in your face effects, lots of gun fights, lots of fisticuffs, big CGI alien creatures, big CGI ships and stunt men flying all over the place.

Universal Pictures has released a new featurette for Jurassic World: Fallen Kingdom which takes us behind the scenes of the blockbuster sequel and sees director J.A. Bayona, creature Effects supervisor Neal Scanlan, executive producer Colin Trevorrow, and stars Bryce Dallas Howard and Chris Pratt how practical effects are being used during filming to bring the movie's -LSB-...]

With a lengthy career on special effects, makeup, and creature crews, Magee worked on major blockbuster films like Sam Raimi's Spider - Man, Jurassic Park III, and Alien vs. Predator.

Visually stunning with impressive special effects Ender's Game is one of the better science fiction adventure films to come along in 2013, next to «Oblivion,» which also had at its heart a war between humans and otherworldly creatures.

The film's eye - popping effects transmute familiar creatures into ravenous and terrifying beasts while the beautiful flowers and plants are both familiar and foreign.

Extras repeat the U.K. release including a feature length audio commentary track with the Chiodo Brothers, The Making of Killer Klowns: a 20 - minute featurette looking at the film's production, including an interview with the Chiodo Brothers alongside behind - the - scenes footage, Visual Effects with Gene Warren Jr.: an interview with Charles Chiodo and visual effects supervisor Gene Warren Jr., Kreating Klowns: an interview with Charles Chiodo and creature fabricator Dwight Roberts, Bringing Life to These Things - A Tour of Chiodo Bros..

Given the extreme low budget (the film was shot on a shoestring in Budapest), the special effects look pretty credible, with Petty wisely deciding to spend most of the time with the creatures in the background or swathed in shadow, understanding that Sentinel is a picture of ideas — an unusually faithful recreation of Hitchcock's film possessed of a similar, mordant sense of humour, if an understandable surfeit of corresponding depth.

The film is produced by Copperheart Entertainment's Steve Hoban -LRB-» Splice»,» Ginger Snaps»), with makeup effects by Oscar - winning creature designers Dave Elsey and Lou Elsey -LRB-» The Wolfman»,» X-Men: First Class»).

While it's awesome that digital effects can reduce the headache of shooting certain scenes, it's nice to know that even with a film at the scale of Rogue One they're still grinding out some amazing creature effects.

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.

«Don't Be Afraid of The Creatures» covers the visual effects that bring to life the film's villainous beings, from sculptures and design to the different stages of CGI.

Even the look of the film holds up to the expectations of today's effects - driven industry, with Stan Winston's practical creature effects outdoing the likes of Stephen Sommers» SFX - happy «Van Helsing.»

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.

The score from Alexandre Desplat has a timeless feeling to it; it's endlessly charming when it needs to charm, electrifying when we're required on the edge of our seat; Paul D. Austerberry's production design is aces, the film drowns in this ocean blue, soaking wet aesthetic that emanates this sensual but creepy world; and the creature design is nothing short of righteous, a perfect throwback to the era of practical effects reigning supreme that uses just the right intermitted splashes of CGI.

Everyone's favourite characters, much of the surreal narration (delivered with perfect dryness by Stephen Fry), and the original's distinctive theme music, are all present and accounted for — and in an age where CGI has become the slick new medium for special visual effects, an inordinate amount of physical modelling and creature puppetry have been used to give the film a refreshingly organic retro look, as though the crew from the original TV series had been lured back to their old tools by a much bigger budget.

There are tons of great interviews with every key figure in the Turtles» evolution including co-creators Kevin Eastman and Peter Laird, animation legend Fred Wolf, creature effects maestro Brian Henson, and even Vanilla Ice, who made my made the song «Ninja Rap» from the film «Teenage Mutant Ninja Turtles II The Secret of the Ooze».

EXTRAS: There's a series of featurettes on the writing process, filming in Dubai, production design and creature effects, a profile on Idris Elba's villain, a tribute to Leonard Nimoy and Anton Yelchin, deleted scenes, a gag reel and more.

The film's visual effects, creature designs and action scenes are simply breathtaking.

The intent was obviously to mimic the «Underworld» films, and it shares a lot of the same DNA as the horror / fantasy series, from its gothic visual cues, to the creature effects, to Bill Nighy as the big bad.

* 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.

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.»

Del Toro, also a producer and co-screenwriter, worked closely with the effects team at ILM to create the battle sequences between the giant robots and creatures that make up much of the film.

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.

As for the fantastical elements, there are times when practical effects would have better served the film (especially in close - ups of the creature when it's not scuttling around), but that's a minor complaint.

A slightly hour - plus - long documentary, divided into five 10 - 15 minute segments, comprehensively covers the film's making from conception to production, with a large amount of time spent on the elaborate digital and practical creature effects.

Although it's unclear whether the creatures stalking Will Smith's lonely Robert Neville are vampires or zombies, it doesn't matter because his fantastic performance eclipses the (admittedly impressive) visual effects of the film.

Director Benni Diez makes his feature film debut with the practical effects - driven creature feature Stung, a gooey thriller packed with laughs and mayhem.

Raimi has assembled his own band of technical wizards and movie magicians on the project, which includes cinematographer Peter Deming («Mulholland Dr.,» «Drag Me to Hell»), two - time Academy Award ® — winning production designer Robert Stromberg («Alice in Wonderland,» «Avatar»), Oscar ® - winning film editor Bob Murawski («The Hurt Locker,» the «Spider - Man» trilogy), veteran Oscar ® - nominated costume designer Gary Jones («Spider - Man 2,» «The Talented Mr. Ripley»), visual effects Oscar ® winner Scott Stokdyk («Spider - Man 2,» «Spider - Man») and Academy Award ® — winning special makeup artist Howard Berger («The Chronicles of Narnia» series), who will create the looks of several of the unique denizens of Oz, including creatures such as the Whimsies, the Tinkers and the Winkies, as well as the ghastly look of the Wicked Witch of the West.

Sadly, the only things this film really has in common with the original are similar creature effects and the return of the least memorable supporting character, now in the lead role.

Essentially a jungle - peril drama about a couple on the run, that film used its Central American locations and its very modest budget to economical effect — and was astutely sparing with shots of its titular creatures, eerie rather than frightening phenomena that resembled ethereal stilt - walking jellyfish.

It's enough for some people to have an immediate knee - jerk reaction to him being involved in any film, let alone a remake of an oft - imitated, never - toped genre classic that found the perfect balance between grim humor and gruesome horror while breaking ground with its astonishing practical make - up and creature effects (the great Rick Baker won the first - ever Best Make - Up Oscar for his work on the film).

The special effects artist, who won an Oscar in 1995 for his work on «Babe,» recently completed work on «Jurassic World: Fallen Kingdom» while simultaneously creating creatures for the new Star Wars film «Solo.»