Sentences with phrase «special effects sequences»

And then there are the big special effects sequences, as Godzilla terrorizes New York.

Monster House plays out like a children's book that was never fleshed out, injecting special effects sequences to fill out the running time to feature length.

Johnston's old - fashioned modus operandi proves effective at carrying the proceedings through its few underwhelming stretches, and it's finally clear that Captain America: The First Avenger remains a cut above its lackluster Marvel brethren for most of its running time (if only because it primarily resembles an actual movie more than it does a collection of special effects sequences).

What Harlin contributes is the cinematic glue that holds togther what might have been a series of spectacular but meaningless special effects sequences.

Chances are they'll be disappointed - although featuring some good special effects sequences, X-Men is a rarity: an understated superhero comic book movie adaptation.

There's a cast of decent actors, a script that's at least not embarrassing, and a couple of solidly fun special effects sequences.

This marks the first time a Star Trek film has shot outside the United States, with shooting in Iceland for special effects sequences.

is a somewhat standard promotional documentary comprised of on - set interviews, shots from the film, B - roll footage, and a few (too few) nifty behind - the - scenes special effects sequences.

Neame describes how they performed the sinking corridor and the turning - over the ship special effects sequences, it's basically all trick photography, old boy, and in «Generations of Fans» he slowly reads a letter he received by a fan of the film.

As well, you can take a peek at composer Harold Arlen's home movies, outtakes and deleted scenes, special effects sequences, the 1938 MGM short From the Vault: Another Romance of Celluloid: Electrical Power, the 1939 newsreel Cavalcade of Academy Awards, the 1939 trailer Texas Contest Winners, audio vault, the radio promo Leo Is on the Air, the 1939 radio show Good News, the December 25 1950 Lux Radio Theater broadcast, and stills galleries.

The special effects sequences may have been the ones most used in the marketing material to sell the movie, but they are also the movie's weakest aspect.

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»?

So, to make up for the material's shortcomings, he throws in everything but the kitchen sink with his special effects sequences for the film's preposterous final third.

Lots of beautiful filmmaking here, the music against the exquisite, ageless, and all around perfect special effects sequences.

Right away you can see that the movie is relatively advanced; «The Mummy Returns» had no plot, and one special effects sequence, which was 121 minutes long.

There are also multi-angle animatic - to - scene studies of various special effect sequences (Fantastic Four hit by cosmic storm, Brooklyn Bridge, Ben hits Johnny, Reed and Doom fight, Johnny chased by missile and The Thing and Doom fight).

Every shot gets drawn, including camera angles and close - ups, as well as special effects sequencing.

Not exact matches

But the movie's infectious, cartoonish energy, along with some incredible special - effects sequences driven by miniatures, moves it into the plus column.

The action sequences, the incredible special effects, the drama, the IRON MAN.

Here Whedon and Goddard look like they're abandoning their convictions for what their film should be, and pandering to modern blockbuster viewers and their incessant craving for elaborate action sequences and expensive special effects.

These showcase sequences under - deliver entirely, with all of them being either a formless mess (a shoehorned car chase, an overwhelmingly ordinary hallway shootout), or a sterile special effects expo (time manipulation and anti-grav shots).

The film's dream sequences are ingenious, and they feature some remarkable nightmare images and special effects.

Once again, Iron Man 2 presents a fairly silly story in a more - or-less convincing way, excellent special effects and a handful of action sequences that range from lackluster to pretty good.

All of these conflicts are eventually resolved in the conventional framework of a Marvel action movie — action sequences full of stylized martial arts and the kind of special - effects melee common to the genre.

In fact I enjoyed it a lot more than most of the original trilogy, although much of this is down to natural progression with special effects and much less hokey - ass CGI laden action sequences.

Any reaction will do, since his real focus is on putting together extended special - effects sequences: The bed shakes, the posts change shape and trap Eleanor in bed, and — but what's the use of describing it?

Zemeckis, who is best known for «Forrest Gump» and «Cast Away,» is a proven master of special effects, and here he uses 3 - D technology with skill and sensitivity: The cable sequence kicks off a climax that turns «The Walk» from a jolly procedural into a reflective exploration of physical and existential extremes, or what Petit himself calls «ze void.»

It creates and maintains a mood of paranoia, its special visual effects are original and nightmarish, and it has at least three sequences as haunting as anything I've seen in some time.

These action scenes and dream / sim sequences can be thrilling at times, propelled by largely solid special effects.

It even mimics the horribly long opening title sequence of the original, complete with cheesy special effects, and John Ottman's score works fairly closely within John Williams» original material.

It hits all the right notes in my opinion, great action sequences, superb acting performances, Outstanding special effects and some very slick comic relief.

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.

Big on special effects, though small on bonus features, the disc offers you a behind the scenes look at the creation of the film's «incredible action sequences and spectacular stunts,» plus an audio commentary by Director Michael Bay.

I felt it managed to compensate for its frenetic pacing, occasionally cringe - worthy special effects, and eye - rolling twist ending with superb chemistry among its leads and genuinely thrilling heist sequences.

Scarlett Johansson, director Rupert Sanders and other cast and crew take you behind - the - scenes to talk stunts, special effects and intricate fight sequences.

The special effects, courtesy of Weta Digital, are beautiful and the emotional core of the story is never lost as a consequence of the big budget sequences, only heightened.

There are some great special effects and some solid sequences, but the third act's a mess and the denouement is somewhat worse.

Special effects and wire - work stunts were not as established back then, but that's not to say that filming the movie's many action sequences was a walk in the park.

Featuring special effects that would make Ed Wood blanche, the sequence is certainly one of the most boring, confusingly edited sieges ever filmed.

The special - effects sequences are up to the usual high standards of Marvel excellence, but by far the best elements of «Homecoming» are the writing, which brims with humor, and the performances.

But it's not the special effects that make The French Connection a true classic, it's the quality of the performances, the enticing direction by William Friedkin, the brilliant editing, and the intensity and selectivity of the action sequences.

Coogler has created some intense battle sequences that are light - on in terms of special effects and editing.

It's the quintessential event movie with wild special effects, an explosive soundtrack and whip - ass action sequences.

The mistake of «The Mummy Returns» is to abandon the characters, and to use the plot only as a clothesline for special effects and action sequences.

Special attention is paid to the shark sequence and arm removal effects.

There's little action in between a surprisingly violent gunfight at the beginning and the climactic battle - at - high - seas between Sparrow and Jones» crews, and while the special effects are quite effective, these sequences just don't have the inventive thrills of the last films.

Each step in their not - so elaborate escape plan is told via a special effects heavy fantasy sequence set to loud rock music covers of over-familiar songs in which Baby Doll imagines herself to be a machinegun - toting sex object inspired by computer games and anime.

Special makeup effects sequences director Greg Cannom was at the top of his game with Dream Warriors, and his work is easily a series highlight.

Each of the action sequences and special effects are top notch and impressive.

From this point on, storytelling takes a backseat to special effects as Smallville and then New York City are demolished in an extended sequence that sees buildings, a train yard, cars and even an orbiting satellite destroyed.