Sentences with phrase «stands as the animation»

Once again, Disney stands as the animation studio to beat come Oscar time, and it's well - earned.»

Not exact matches

The animation by which it stands or falls is as brilliant as ever and, though it wouldn't really be right to call it totally anti-Disney, it certainly trumps that institution for sharpness of focus, notably as far as the screenplay is concerned.

As it stands, «Spirit» provides neither the profound human touch of the great Disney animation of the past, nor the dazzling, high - tech fun of present - day digital cartooning.

Another bonus for the film is its voice acting, with these big budget animations usually carrying some huge names; they have a good cast but no stand out big guns this time around (although Damon Wayans, Jr. is fairly well known as coach from New Girl, and Scott Adsit of 30 Rock fame as Baymax).

From its eye - opening teaser, which brilliantly reintroduces audiences to Donovan's 1966 psychedelic rock classic, «Season Of The Witch», to its incredible visual style and haunting stop - motion animation imagery, ParaNorman immediately stands out as something distinctive, different, and to movie fans — dare we say important.

Throughout this rising tide, the venerable and venerated Studio Ghibli has stood strong, never abandoning hand - drawn animation even as it has fallen out of vogue.

A magical mix of Noel's unique brand of stand up comedy, live animation, music and some of Fielding's best - known TV characters such as The Moon and Fantasy Man.

But that's just one piece of the puzzle, as developers must streamline the gameplay mechanics, animations, combos and everything else that make a good fighting game stand out.

As it stands, there's that worth - the - admission first half, wherein ex-CIA agent Snow (Pearce) is interrogated about the death of a colleague and a briefcase that goes missing before being sentenced to thirty years in suspended animation (Minority Report) on an orbiting prison station.

In a world of kid - friendly CG animations, Hell and Back stands out as an R - rated, stop - motion endeavor.

His Studio Ghibli stands alongside — and continues to inspire — Pixar as the world's greatest animation house.

A crusader of nostalgic tendencies, especially as it pertains to the innocent yearnings of childhood which eventually evaporate into the ether of disappointing adulthood, Anderson returns to stop - motion animation with what stands as his messiest (at least in a narrative sense) output to date, the Japanese themed Isle of Dogs.

It stands out as a fresh yet familiar work that shows off the best of Disney with its excellent script, perfect voice casting, memorable songs and score, and luscious animation.

I truly believe it is time to challenge the status quo and do away with overly grand idle animations, and make sure the movements of a character standing still are every bit as subtle as the ones you employ or him during the rest of the game.

this was the one thing with move that seemed to stand on its own... I don't mind the idea of HD wii sports either, as long as it really is 1:1... that was my only real complaint with the wii when it released... there was motion control, but it was gimmicky and registered «wiggles» into canned animations... not to mention the gamecube visuals... still not sold on Move though... for me to really want one, I want to see what they are doing with shooters... Socom 4 and killzone 3 could be very special for core gamers and motion controls if they are done right... if you can aim on screen in true 1:1 fashion while sitting comfortably at a «normal» gaming distance... it could rearrange how I play first person shooters on a console... developers are saying the Move has input latency of 21ms, which is roughly half of a DS3... and second only to a wired mouse / keyboard... need to see how it works though, as it is not always that simple... just saying that if it does what its supposed to... it could end up being the answer to shooters on a console... as much as I like playing shooters with 2 sticks... I can't argue that I miss the days of a mouse and keyboard (as well as PC being the only platform to get the best shooters on... no longer the case by any means)... but with a first person shooter, there is no wiggle room... pun intended... it has to register every mm of movement on screen... and do it quickly... not sure if it can yet...

When you KO an opponent, you stand within a red circle around them press Triangle and Hold Square to fill a gauge as your opponents animation goes into a final attack pose.

Marutama Chō stands out as a result of its colourful and vibrant visuals, and superb 2D animations.

These little details are what separate Uncharted 4 from other games and lets it stand on its own as a perfect description of what video games can accomplish, as well as featuring some of the best and most realistic acting and motion capture any video game has ever achieved before, character animations both during and out of cutscenes are borderline life - like, and the transitions from gameplay to cutscene and vice-versa are impressively seamless and barely noticeable.

Some instances involve zombies using what are clearly stand - in animations, the kind of stuff you'd see in a game's alpha build — just watch zombies in any building with intact windows — watch as they walk toward the glass and it stutteringly shatters upon the briefest of contact.

There's nothing in this game that particularly stands out as visually impressive and our only example of any real animation is within the battles and even then, we're getting stiff character motion and low quality effects.

I tried to get through a bit of personality in Marsh's animation such as his flailing arms when standing on a ledge.

In one scene, a scantily - clad Japanese animation figurine stands with her back turned towards us, thigh - deep in murky fish - tank water littered with debris as a mouse struggles not to drown, scampering over the figurine's strangely small and motionless body to reach safety on her head.

Standing atop a plinth, spot lit against the flickering black and white animation, the creature's silhouette is caught as if mid-dance.

Next day, at the Museum of Contemporary Art (Le Mac LYON), which is secreted within a hideous and massive commercial complex designed by Renzo Piano, only an intriguing digital animation by Takao Minami stood out as truly new narrative amid the otherwise opaque commissions and previously exhibited works by, among others, Bjarne Melgaard, Matthew Barney, Ryan Trecartin, and Robert Gober, who contributed the dollhouses that comprise his first - ever artworks.

Figures carrying torches through dark tunnels fight a nightmarish machine just before a mind - bending animation derails the narrative; paranoia settles in as three masked figures stand perfectly still before a fire as the image arbitrarily flashes in and out of a strobing effect.

Its GIF capture mode stands out as an easy and fun way to shoot a quick animation to send off to friends.