Sentences with phrase «visual effects budgets»

Inspirational true sports dramas don't usually have or need big visual effects budgets.

Comic book artists aren't bound by visual effects budgets, so they're allowed to give us priceless imaginations on paper: new worlds on every page, mystifying beings, dazzling spacecraft, spellbinding powers, and megaton fights.

Higher level X-Men characters, of course, and maybe slightly more than a «moderate visual effects budget.»

Not exact matches

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.

The visual effects required for «The Irishman» are part of the reason the film's budget is over the $ 100 million mark.

However there could have been some improvements, especially in the acting and visual effects, but what can you expect from a low budget B movie monster flick?

The film has a certain visual allure in its gaudy colours and low - budget special - effects.

This felt like an old - school, big budget sci - fi film with massive special effects, great visuals and a concept that made you think in Director Joseph Kosinski's love letter to 80s and 90s science fiction trendsetters.

This being said, the film's visual effects and style, along with a well executed soundtrack, deserve accolades (particularly with its modest 1.3 million budget) and, as a whole, it does inspire philosophical reflection.

The project displays every bit of the huge budget on visual effects, sets and locations.

I appreciate that the film had a tiny budget of $ 15 million, but that simply means they should have been more choosy when it came to visual effects shots.

Given a reported production budget of $ 180 million, there are needless to say quite a few visual effects shots in Disney's Maleficent, released this past summer.

Grossing just under $ 19 M domestically and barely matching that total overseas, the movie was one of several to lose money last year for young distributor Relativity Media, whose $ 25 M budget (identical to Piranha's) seems excessive but at least yields animatronics and CGI clearly better than the visual effects of Corman's shoestring Syfy productions.

While Chu doesn't have any experience in the genre, the substantial budget helps him string together adequate set pieces with polished production values and passable visual effects.

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.

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.

It is an all - around good time and packs some great visual effects for a low - budget film.

They're brothers, visual effects wizards, and filmmakers - Colin & Greg Strause - and their second feature film after AVP: R, a low budget sci - fi movie called Skyline, hits theaters today.

Thanks to a background in visual effects, Ball uses a reasonably modest budget (as far as dystopian sci - fi blockbusters go) to create a film that feels quite large in scope and exciting as far as the chases, gunplay, and fights.

This special effects dominated sequel spent most of its budget on the visuals, with not much left for basic things like a quality script or even the ability to retain the mostly no - name actors from the first film, with only Robin Shou (Beverly Hills Ninja) and Talisa Soto (License to Kill) reprising their roles.

The story, setup, and payoff are awesome; the time travel stuff, though subtle, is awesome; the performances and link between Willis and Gordon - Levitt is awesome; Emily Blunt is awesome, holy shit she's fantastic in this; the visual effects and low budget filmmaking are awesome; the action is awesome.

As you can deduce from the budget I cited above, Gifted is not looking to win you over with action and visual effects.

Still, it's tough to fathom, with a much smaller cast budget and fairly unremarkable visual effects, just where those $ 200 million went.

With an $ 80 million dollar budget and said to have stunning visual effects, Cuaron is near the top of the list of potential Director candidates in 2013.

This is, of course, a mega budget visual effects extravaganza, and I must admit that I got a little tired of the Wondrous Fantastical Vistas.

Voyage boasts cinema - ready visual effects and the colossal budget required of them.

In terms of both action and (budgeted) visual effects, however, City of Bones is a definite step up from The Twilight Saga, offering a few sequences of genuinely exciting action and / or visual splendor.

We learn how the team came together, various challenges — including the budget — and how they accomplished the flick's main effects and visual elements.

Smartly shot for a very modest budget of $ 30 million (lots of strings were certainly pulled to get such a cast of famous personalities onboard), Rogen and Goldberg know where and when it's most effective to go for special effects (this does not feel like a low budget Hollywood film), and they do so without letting visuals or star egos get in the way of making a very funny movie.

It also boasts some surprisingly good visual effects for such a low - budget production, including cool vampire - to - bat transformations and buckets of gore.

The monster's destruction does require some visual effects, which that unusual mid-sized budget does sufficiently cover.

The visual effects are surprisingly shoddy for a film with such a big budget and the writing is laughably bad, defying logic at every turn.

This packs some decent scares and good visual effects for a low budget film.

After shooting the low - budget Monster (whose visual effects he funded himself), director Gareth Edwards got his shot at the big time by being given the huge budget to shoot the latest attempt by Warner Bros. to make a decent American version of Godzilla, 16 years after Roland Emmerich's pretty awful effort.

«Ex Machina» stars Oscar Isaac and Alicia Vikander discuss the film's limited budget, its amazing visual effects, and more.

If you strip away the recognizable actors, budgets and visual effects of Nolan's recent works, you'd see something resembling Following, only the movie doesn't suffer from those absences.

It is feels so satisfying when a film doesn't have the huge Hollywood budget, action sequences and visual effects, and yet you walk out having had a very enjoyable, and surprising cinema experience.

The film was crowd - funded back in 2014, but underwent several post-production delays due to the extremely limited budget and complex visual effects.

The Host is a more traditional mix of set builds and location shoots, with integration (again) of visual effect nuances on a much thriftier budget.

In this way, music can influence animation phrasing, platform budgets push new ways to visual fidelity, enemy designs inspire sound effects.

Following their historic lead, there's truth to the old adage that birds of a feather flock together, as there are numerous women in contemporary society that continue to effect change globally in the way art is perceived, understood and collected, among them Agnes Gund, the current President Emerita of MoMA; Sheikha Al Mayassa Al Thani, who at 31 is the Director of the Qatar Museum Authority with an unlimited acquisition budget; Emily Fisher Landau, famed art collector and philanthropist, who founded the Fisher Landau Center for Art and is a trustee and generous donor for the Whitney Museum of American Art; Rosa de la Cruz, who with her husband Carlos, founded the de la Cruz Collection Contemporary Art Space (Miami), which provides education and awareness in the visual arts; Dasha Zhukova, the formidable founder of the most significant private art foundation in Russia, the Garage Museum of Contemporary Art; and Miuccia Prada, CEO of Prada fashion and co-founder of Fondazione Prada, which promotes contemporary art and other arts - related interests; all of these remarkable women share the passion that Beth has developed for the arts and artists.