Sentences with phrase «visual effects sequences»

This works perfectly with the film's very sharp visual effects sequences and 3D.

The visual effects sequences are still fantastic, but few and far between.

Not exact matches

The HFR version is great in detailed action sequences involving visual effects — the prologue and Goblin Town look particularly good — and is otherwise so haphazardly hit and miss from shot to shot to shot that I don't think I was «in» the movie for more than eight seconds at a time for the entire two hours and forty - five minutes.

There's almost no visual tone to the movie and the effects sequences are atrocious.

«The Hogwarts Shield» (2:27) deconstructs the many visual effects employed for the school battle sequence.

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.

T2: Judgment Day displays violence, drama and heart throughout, not to mention the enthralling action sequences and visual effects.

Critics Consensus: T2 features thrilling action sequences and eye - popping visual effects, but what takes this sci - fi / action landmark to the next level is the depth of the human (and cyborg) characters.

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.

To create these sequences, Malick collaborated with the great visual effects artist Douglas Trumbull, who made his name with Stanley Kubrick's 2001: A Space Odyssey (1968) and went on to Oscar nominations for Close Encounters of the Third Kind (1977), Star Trek: The Motion Picture (1979), and Blade Runner (1982).

If, like me, you have no fondness for the original, then you'll likely enjoy this vampiric comedy horror that boasts some decent visual effects and ambitious action sequences.

Miller, a title sequence animator and visual effects supervisor on video games, was in the process of working on the Deadpool 2 script when the creative differences arose, with sources telling The Hollywood Reporter that star Ryan Reynolds and Miller differing on the direction of «the Merc with a Mouth.»

EXTRAS: There's a featurette on the visual effects used to create the storm sequences, a behind - the - scenes look at designing the high - tech storm - chaser tank Titus, and a discussion with famed storm - chaser Reed Timmer about the science of tornados.

Even the Fast and Furious movies have taken to having more visual effects heavy action sequences when they used to rely on real stunt driving.

The visual effects (particularly in the opening sequence) are gobsmackingly pained, blending the rubber CGI and questionable play on post-9 / 11 anxieties a freakish cable network quality.

Here we hear from Rick Porras, Peter Jackson, Richard Taylor, Barrie Osborne, Ben Wootten, John Howe, Jamie Beswarick, Mark Ordesky, Weta senior animator Jason Schleifer, actor Andy Serkis, Christian Rivers, animation designer and supervisor Randy Cook, visual effects DP Brian Van't Hul, Elijah Wood, Sean Astin, Weta creature facial lead Bay Raitt, Weta visual effects supervisor Joe Letteri, motion capture supervisor Remington Scott, visual effects supervisor Jim Rygiel, Weta systems architect Jon Labrie, visual effects producer Dean Wright, Philippa Boyens, Weta animation department head Adam Valdez, animation supervisor Richie Baneham, Warren Mahy, Weta 3D sequence lead Ken McGaugh, and Gino Acevedo.

Also, as an aside, for as great as the visual effects were in the walk sequence, other times they were bad.

Additionally, there's a new featurette on the film's visual effects, new interviews with composer Alan Howarth, actor Joe Unger, still photographer Kim Gottlieb - Walker and filmmaker David DeCoteau, as well as a previously released featurette and the original opening bank robbery sequence.

Director Neil Burger uses visual effects as shorthand in montages supposed to illuminate Morra's experience of his newfound mental powers, and although these sequences are certainly in no way original or particularly inspired, they perform the task asked of them with dexterity.

The docking sequence is one of the film's supreme visual effects, as is a trip through a kaleidoscopic series of images that carries the astronaut Dave Bowman to Jupiter.

While the production does have around 1,500 visual effects, there were hundreds of live animals used during filming, including more than 100 horses for one of the battle sequences and 400 frogs for one of the plague sequences.

What is startling here is the eye - popping colour, the self - reflexive photography and visual effects, the dance sequences (Fred Astaire with his umbrella), and the witty and ingenious use of the Paris locations.

Gary Ross did a solid job crafting the cinematic world of Collins» novels, but «The Hunger Games» was lacking in certain areas, particularly the action sequences and visual effects.

«Deconstructing Chicago: Multi-Angle Sequences» is a visual effects featurette that is split in two parts.

While all of the other movies were trying to cram tons of high - energy action sequences and cool one - liners into just 30 seconds, the first trailer for Matthew Vaughn's X-Men prequel takes its time establishing a tone and a time period, putting drama and characters above flashy visual effects.

In Urubaen you can meet author Christopher Paolini during an interview, in Farthen - Dur you can learn The Secrets of Alagaësia «s visual effects, and at The Spine you can see The Vision of Eragon (Arya's Ambush Original Animatic Sequence, with optional commentary by director Stefen Fangmeier) plus some conceptual art.

Bekmambetov is a visual effects maestro (as he's proven with the Russian fantasy films «Night Watch» and «Day Watch»), and though most of his SFX trickery is squandered before the end of the first act, he still stages a mean gunfight; one good enough to rival even the most impressive sequence from «Shoot «Em Up.»

«While the themes are deep, Black Panther is at the same time a visual joy to behold, with confident quirkiness (those aforementioned war rhinos), insane action sequences and special effects, and the glorious reveal of Wakanda, whose culture is steeped in African influences but which also offers a jaw - dropping look at what a city of the future could be... Let's not wait too long for a return trip.»

The supplements include a very good making - of documentary (about 28 minutes), and two shorter featurettes focusing on the series visual effects and the creation of the opening titles sequence.

Heck, there's even a look at the many different end credit sequences that were created, while the film's three visual effects teams get a featurette («Wired») of their own.

Even with the poor visual effects work, the impressive diversity in the action sequences kept me well engaged throughout, with occasional stylistic flourishes that were rousing.

As for The Avengers, Battleship, John Carter and G.I. Joe: Retaliation, they're all duking it out in the action department, trying to one up each other with the hottest fight sequences and visual effects.

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.

Featuring intense battle sequences, breathtaking visual effects and...

Experience the nonstop action, incredible fight sequences and stunning visual effects of 2 epic films in The Scorpion King Action - Pack.

Other topics arising: costumes (which included CGI armor), linguistics, fighting styles, production design, visual effects (from the unsettling depiction of X-ray vision), set pieces (the tornado sequence, Lois Lane's complicated single shot work escape), underwater filming, and filming locations.

For the first 45 minutes or so, heady atmosphere works in the film's favor, culminating in an impressively whacked - out visual - effects sequence that demonstrates how the town exists in two different dimensions.

«The Visual Effects of Zodiac» (15:15) isn't the most obvious supplemental inclusion, but while the film is far from spectacle fantasy, this piece reveals just how much effects work was required, from blue screen crime scenes and precise camera moves to fabricating a vintage waterfront and using CGI on gruesome death sequences.

But it's hard to begrudge the cutesy ending sequence, just like it's hard to resist the way the film brings out the children for sentimental effect and features visual motifs inspired by Stephen's theory about black holes.

The most impressive sequence of the film is the crash of The Enterprise, the visual effects are as especially enthralling combined with the tragic score, the script however, not so much.

The cast does an absolutely incredible job portraying these characters, the visual effects are stunning (except for that casino sequence), the humor (for the most part) does work, and there are plenty of twists and turns to make this story even more exciting.

Yes, Waititi allowed, Marvel had the movie's major plot points set in stone and exerted a lot of control over the action sequences and visual effects.

The sequences are clean (There is nothing approaching the visual noise of the first movie's neon - soaked climax) and feature some impressive effects, even if the laws of physics don't seem to apply to Spider - Man (long plunges followed by last - second saves that would probably rip his arms from their sockets).

These great sequences are brought to life not only by top - notch visual effects, but by a committed, constantly surprising cast, who find surprising notes to play in what could be fairly standard roles.

Even as yet another superhero origin story, there are some truly next - level visual effects and action sequences in director Scott Derrickson's film, and opening the Marvel cinematic universe up to all the possibilities that come from the realms of the mystical is an exciting prospect.

Comments from visual effects supervisor Ken Ralston and raw B - roll footage deconstruct the sequences, the final versions of which are then seen (if applicable).

Even if these references hint at the sort of story that Midnight Special tells, what you won't see coming is the genuinely extraordinary coup de cinéma that Nichols pulls at the climax, about which I'll say only that, after years of brain - numbing visual bombast from Hollywood, here is a sequence that restores your faith in the capacity of special effects to achieve real grace, strangeness and beauty.

Koepp assembles backstories with flashbacks to earlier in the day, but the film moves with pedal propulsion along with numerous chase sequences made with stunts, rather than visual effects.

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.

While Condon reportedly fought to keep the visual effects to a minimum, even with Beasts face, there are many full sequences of green screen and no humans.