Sentences with phrase «only effected the film»

Not exact matches

He helped formulate the concept of seeking alien civilizations by listening for their radio broadcasts; he lobbied for nuclear disarmament, believing that atomic power should be wielded only for constructive effect; and he helped Charles and Ray Eames create Powers of Ten, perhaps the most stunning science movie ever filmed.

But as soon as Neeson and his men have moved on, the film never raises it again, and the only effect is to make Neeson's character more unlikeable.

This effect is most noticeable in Schindler's last scene, the film's only major misstep, as a throng listens silently to Oskar's overwrought farewell.

Forster finds a nice way of visualizing this last quirk by showing Harold surrounded by shifting diagrams and mathematical equations, but in one of the film's many missteps, these visual effects show up only sporadically throughout the rest of the story, as if the filmmakers couldn't decide to either fully utilize them or get rid of them after paying the special effects studio a lot of money to create something so nifty - looking.

Not only are the special effects immaculate (and often quite beautiful), but they exist in a way that feels completely real within the world of the film.

Making it the highest budgeted film for the time, to bad the amazing effects were the only good part.

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.

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.

Really, the only area is which the film falls back a bit is in its reliance on visual effects to play a primary role in the action sequences, a common shortcoming in recent superhero movies.

Given that Spielberg only committed to «The Post» in March while already involved in the effects - laden «Ready Player One,» due out early next year, this film had to be made with remarkable speed to meet the 2017 deadline.

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.

Terrible plot, lackluster effects, a trainwreck sense of direction, and an absolute lack of an epic scope that the first two delivered on so well makes Superman IV: The Quest for Peace not only the worst Superman film, but one of the worst comic book movies in general

Formulaic films are released every week, but it's rare that one has a $ 100 million budget, big stars whose roles are embarrassing to watch and unusual special effects that only serve to mask a predictable plot and cliche - ridden scenes.

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.

The only things thing film has going for it is the effects, which actually work against the story sometimes.

It is also Hitchcock's most innovative film in terms of narrative technique, discarding a linear story line in favor of thematically related incidents, linked only by the powerful sense of real time created by the lighting effects and the revolutionary ambient sound track.

However, the visual effects, which only become more important as the film progresses, vary in quality.

Night at the Museum possesses only special effects and a short - attention span style to keep us entertained, and while that has sometimes proven to be enough for other family - oriented films, it falls quite short of the mark here.

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.

The film has been injected with a decent special effects script, so it only makes it all the more frustrating that the impressive CGI tripods and the scarily made up kid aren't supported by a decent script.

In Barbara, Petzold has fashioned not only a superb character study but a film that illuminates the effects of oppression on the human...

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.

Not only has the director garnered an impeccable roster of talent for his first feature film — Michael Fassbender, Kodi Smit - McPhee and Ben Mendelsohn, but has taken on the genre of the mighty American Western with astonishing effect.

It's the only sequence in the film that successfully redeploys an ABBA song to real emotional effect.

The film might've been better if Matthew figured it out earlier and they had more of a cat - and - mouse effect, with Matthew trying to acquire evidence to get the cops to go after the real kidnapper instead of treating him as the one and only suspect.

With stunning special effects and gritty realism, the film plunges us into a world where the aliens have landed... only to be exiled to a slum on the fringes of Johannesburg.

The fact that these two are unfamiliar faces only heightens the realism, and, in turn, the film's devastating effect.

The only special effect in this film is genius.

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.

Though the strong work of Sandra Bullock and George Clooney — the only two actors who appear on camera — is essential to what the film accomplishes, the great lure of «Gravity» is the way director Alfonso Cuarón, cinematographer Emmanuel Lubezki and visual effects supervisor Tim Webber have collaborated to make us feel we're stranded in outer space ourselves, no questions asked.

Yet despite great special effects and a fun story, this film was only modestly successful.

What makes this a truly special sci - fi film is that the amazing special effects only exist in order to serve the story, not distract from it.

There's nothing particularly groundbreaking about the movie (the script is only as good as your typical Carpenter production and the special effects are right on par with the films of that era), but there's a real charm to the film that makes it irresistible.

The second break, between awards films and blockbusters, effects not only teen viewership but general viewership as well.

The rest of the film can be rejected, even at the intellectually contemptible level of disaster flicks, for such inept conceptions as a volcano that throws fireballs nowhere except straight at the hotel, and a tidal wave that must be only about one block wide, for all that the tranquil sea views from just up the beach indicate; and for trembly special effects the like of which hasn't been seen since the DeLuxe Color Allens at the turn of the Sixties.

The only weaknesses I found in the original film were the low - budget special effects, and the shaky camera work.

Everything about the film reeks of inanity, with its only saving grace coming from the quality of the special effects and appealing child actors.

Yet it has fallen to third in the box office against an animated film that was just in that seat last weekend, and is an odd drop considering its only competition Drive Angry: 3D didn't even have a ripple effect in the top box office.

My only real issue with the BD treatment of the second and third films is that, similar to Warner's recent Blu - ray version of Forbidden Planet, shots containing multiple VFX elements have been severely noise - reduced to counteract the degenerative effects of optical compositing.

Thanks to the success of that first film, the sequel benefits from an increased budget and the visual effects are first - rate, without becoming the only focus of the movie.

If only Emmerich could figure out how to better integrate these cool effects shots into his films, rather just drop them in the middle of some tedious story about a scientist racing against the clock to blah blah blah...

The found - footage horror flick The Visit — a film that's only a little less self - reflexive than Split — gave the one - time Hollywood golden boy a chance to start over after a couple of misguided forays into the world of effects - driven fantasy blockbusters.

The violence of the acts carried out against Mildred's daughter is reflected in the colour of the boards, but the words themselves wouldn't have the same effect if they were written in Futura or Comic Sans.Typography is a vital component of writer / director Martin McDonagh's film, and there's only one font that is bold and in - your - face enough for Mildred's cause.

It's actually the only time in the film where the fight choreography, the visual effects, and the dialog fit together well and brought up some excitement and genuine tension.

Sichel's choice to make a film about her illness, of course, not only has the opposite effect of firmly directing her attention to her own mortality, but it also forces her to engage with technology and stress, two leading triggers of sickness today.

Although the director is Douglas Trumbull, a special effects expert who has only directed two features as of date (the other being Brainstorm) the film isn't a special effects film as such and is surprisingly good, albeit slightly melancholy.

The effects are much better this time, and the Hulk is more expressive in long shots (in the first film, his face only moved in close - up).

Aesthetically, The Void raises the bar for Astron - 6, both in cinematography and practical effects; however, the acting isn't similarly elevated, making it ultimately only halfway successful as a serious horror film.

Reason: A dark thriller about the side effects of drug deals, No Country is the Coens» first and only film to win a Best Picture Academy Award.

Alexander Payne is one of cinema's most brilliant and consistent directors to come into the fold in the last two decades with films that have not only balanced heart and humour to wonderful effects but bring us some of the most eclectic group of characters.