Sentences with phrase «screen effects the movie»

Not exact matches

Responsible for some of the greatest visual effects pulled off on screen in the last 40 years, he's done everything from James Bond movies like «Moonraker» and «GoldenEye,» to Christopher Nolan's Batman trilogy and «Inception» (which he won an Oscar for).

Since the «Star Wars» prequels, in which George Lucas was heavily criticized for using too much CGI to create the worlds and characters, many big - budget movies have tried to find that happy medium of practical and visual effects to give the action on screen a more grounded feel.

What movies these would make — for those who like scary special effects on the screen!

In movie theatres, the eyes need to focus on the screen itself to see objects in focus, but the 3D effects can force the viewer to try to focus several metres in front of or behind the screen instead.

Costume and special effects makeup are the secret to movie magic on screen.

«The Towering Inferno» laid the foundation for good disaster movies to come, both in being huge budget and cast wise, and with great special effects that accompany a story that makes you glad you're not one of the people you're watching on the screen.

Endless fast cuts complete with whooshy sound effects, thumping techno bass lines, ugly on - screen graphics, garish colour filters, and * cringe * a hero who talks directly to camera (Michael Caine is STILL the only actor to EVER get away with that...) Every tacky, irritating and superficial MTV affectation is on display here, in an unbelievably lame attempt to make an american rip - off of a Guy Ritchie heist movie.

Finally, «Shrek Shmash Ups» is an application which lets you play editor, stringing together movie clips, borders / on - screen graphics, music, and sound effects.

«Chronicles» covers the novel's complicated path to the screen, concept design, actor training and rehearsals, the start of principal photography and aspects of the shoot, performances and related technical issues, sets and production design, various effects, stunts and action, costumes, weapons and makeup, the end of principal photography and the movie's premiere.

The screen - specific discussion sheds light on notable topics, such as Phillips» movie traditions, the babies, and the missing tooth effect.

Actually, it's like watching something other than a movie, like a bunch of bad acting, cheesy dialogue and laughably crap special effects, and like this kind of slapstick childish unfunny type of humour, all exploded onto your screen!!!! It's a bit like something you'd see on Disney Channel, like in the same league as Lizzie McGuire.

Once the characters are presented in close - up and their names blazed across the screen in captions (a trick copied to great effect, and made into a signature by Nicolas Winding Refn in the similarly hard - hitting Danish actioner Pusher [1996]-RRB-, the scene is set for one of the greatest chase - movies of the decade.

Violence: Scenes of on - screen shootings, beatings, stabbings and other carnage are seen throughout this movie with some detailed blood effects.

This movie just gave me nightmares, the special effects the sounds, the creatures design were pretty well done, the acting was just good to decent at times, they could do better, the other thing is that they did» t gave a lot of screen time to the creature, it would been really good to see more about it.

Viewers would be forgiven for their hesitance to see another movie from the directors of the «Vacation» reboot, but John Francis Daley and Jonathan Goldstein, working from a pitch - perfect screenplay by Mark Perez («Accepted»), have crafted an ensemble comedy that lives up to its high - concept premise while giving a gang of talented actors — including the gifted Jason Bateman, so rarely employed to great effect on the big screen — fun characters and big, outrageous moments.

This movie just gave me nightmares, the special effects the sounds, the creatures design were pretty well done, the acting was just good to decent at times, they could do better, the other thing is that they did» t gave a lot of screen time to the creature, it would been really good to see

While the movie does all of its characters the favor of not condescending to them or their perspectives — a Bible Study group that might have been played for snickers is accorded, at the very least, a neutral view — its strategy of withholding both particular characters and information about their actions (the mine supervisor played by Josh Lucas doesn't show up until a half hour or so into the picture), while perhaps looking attractively, insinuatingly oblique on paper, has on the screen the general effect of blunting potential emotional impact.

Each screen has an old - school grainy effect reminiscent of classic horror movies.

The movie does indeed have amazing visuals, fantastic 3D effects, and thunderous sound, but when the Transformers themselves are not on - screen, the movie just crawls to an uninteresting stop.

Aside from a couple of things not being explained well, mostly involving the final scene of the movie, as well as a rather horrible green screen effect used towards the end, there isn't anything else negative to say about Youth.

Sucker Punch is however such a special effects heavy movie that I can not imagine anyone wanting to watch it on a tiny computer screen.

Back in the spring, James Franco hit Cannes with «As I Lay Dying,» an experimental drama and adaptation of William Faulkner's book that utilized all kinds of split - screen to surprisingly decent effect, even if the movie as a whole didn't amount to much more than a curiosity.

The movie is digitally shot on green screens, which allows the filmmakers to properly layer characters with effects and backgrounds.

With new Ben Wheatley movie Free Fire on release this week, Sean Wilson chats to one of the director's closest collaborators Dan Martin about the art of great practical effects... Blasting onto screens in a hail of gunfire, mismatched accents and some choice 1970s costumes, Free Fire is the riotously entertaining new black comedy from -LSB-...]

Not a lot of movies are worth seeing in 3D, but The Smurfs 2 has enough effects that looked really good compared to a 2D screening.

With all those other heroes crowding the screen in a movie called Captain America: Civil War, it's easy to start thinking of Cap's new movie as another Avengers flick (and to then write jokes to that effect on the Internet, if that happens to be your job), but Chris Evans has made it clear that's not the case.

Among the movies showing in town that can be broadly categorized as thrillers, two represent murder and mayhem with particular enthusiasm: the neatly constructed Funny Games, a home - invasion fable playing at Facets Multimedia Center for one week, and the erratic effects vehicle The Beyond, a supernatural horror rerelease screening midnight Friday and Saturday at the Music Box.

The film nonetheless has a distinctly «budget look» when the green screen backdrops and CGI scenery tends to stick out; despite solid practical production design work by Eve Stewart (Les Miserables), the overall effect is that Victor Frankenstein resembles a cheaper version of Guy Ritchie's Sherlock Holmes movies (and their version of Victorian England), visually speaking.

The first time the movie cuts back to Callum in what amounts to a green - screen room, ghosted images of the flashbacks swooshing around him as he embodies his ancestor martial arts moves, it's a neat effect.

* 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.

Here, once again, is the bald, barcoded, and entirely conspicuous video game protagonist who shoots his way through a nonsense plot, his near - invincibility inciting surprisingly chintzy special effects along the way, in between the ample time this movie spends on scenes of people staring at computer screens as face - recognition programs run.

The curiosity factor is certainly high on the streaming service's first aspiring blockbuster, a movie that looks every bit the big - screen effects extravaganza — right down to its sickly neon glow and cacophony of slow - motion fight sequences.

Set in Gerwig's hometown — the movie opens on a black screen with a quote from fellow escapee Joan Didion, «Anybody who talks about California hedonism has never spent a Christmas in Sacramento» — «Lady Bird» hits the mark of the American teen movie while quietly reaching toward literary effect.

Like WB's Maximum Movie Mode, Blu - ray exclusive The Devil's in the Details: Inside the Action with Joe Carnahan is a souped - up commentary with the film's director that includes behind - the - scenes footage, storyboards, animatics, model - building and visual - effects presentations, and an interactive dashboard with info on vehicles and weaponry, as well as a running counter of steps in each plan (at times, Carnahan's audio commentary gives way to video segments with the director as on - screen host for the supplementary video footage.

Long after the form fell out of vogue — and in an era when many big - budget studio films pack the screen with saturated candy colors and in - your - face 3 - D effects — indie filmmakers and even the occasional studio - movie veteran are turning to the monochromatic.

Canadian comedy troupe hits the big screen with this movie about the humorous side effects of a new drug.

Luc Besson's epic sci - fi adventure earned accolades for revealing its first footage at San Diego Comic - Con 2016, drawing comparisons from some of the Screen Rant team to it being the closest thing to a Mass Effect movie.

Next up is a 13 - minute documentary entitled Love in the Movies, which examines Sleepless in Seattle, but also looks at how we compare real - life love to on - screen romance and how this effects our expectations.

The impasto technique itself, which entails layering paint on a canvas so thickly that it can appear to be emerging from the canvas, resembles the effects of movie carnage, which can seem to flow off the screen.

Plus, the revolutionary Real Steel Second Screen app lets viewers sync their iPad ™ * or computer with the Blu - ray ™ movie to peel back layers of effects with progression reels, check out 360 - degree turnarounds of the robots, explore seamless branching pods that delve into the cutting - edge technology used to create the fights, and much more.

Unfortunately, Egoyan's movie is having the opposite effect than that intended — as I write this a day after the screening, I'm already starting to forget it.

Per Batman-News.com, there was a test screening recently and while the special effects were still in the early stages, the film was described as «an emotional action movie» with a tone more similar to Wonder Woman than to other entries in the DCEU.

The actors are set against completely unconvincing green screen backdrops or walk in long helicopter shots through the snowy mountains (a tableau that will be overly familiar to anyone who's seen a fantasy epic in the last five years (the fact that most of the movie is shot in New Zealand makes the effect more apparent)-RRB-.

It vaguely resembles Mars, but the quality of the visuals is more reminiscent of how crappy the green - screen effects looked in Robert Rodriguez's «Spy Kids» movies (especially the later ones).

The effect only works intermittently between flurries of Grand Prix racing sequences in different cities that are kept too brief for the audience to invest enough in their outcomes — which gratuitously appear in bold graphics across the screen, giving the movie a cartoonish quality.

If an adult likes big budget sci - fi eye - candy filled epics developed from children's stories or simply liked the cartoons when they were younger and think its cool to see them brought to life on the big screen with live actors and modern special effects, then they will probably enjoy this movie — if they can sit through it all.

Genre - juggler Ang Lee was a curious director to take on such a project, and while he played around with the effects as much he could, he was far more interested in the underlying psychology of Bruce Banner's rage and the formal constructs of a film literally based on a comic book movie, with editing flowing between on - screen panels — everything short of speech bubbles.

Comprised of Standard, Movie, Movie (Bright), Sharp and No Effect, the panel enabled us to adjust screen color for every viewing situation.

Windows users have access to a simple program called Windows Movie Maker that can stitch video clips together, erase unwanted sections, and add title screens, transitions, and sound effects if desired.

And yet my husband and I go see big special effects movies on the big screen right off, because we don't want to wait.