Greg Berlanti seems to have a stranglehold on all things live-action DC. As of this spring, he will have five television shows in syndication on The CW with Arrow, The Flash, Legends of Tomorrow, Supergirl, and Black Lightning. Over the past several years, they’ve created a thriving little network of memorable superheroes. Though while The CW has always been a great fit for them, Berlanti and co. were never close-minded to sticking around with them. Both Supergirl and Black Lightning were made with other networks in mind, and Berlanti always seemed to want to stretch his wings into new territory.
The upcoming Teen Titans adaptation, Titans, is set to premiere next year on DC’s own digital streaming service. This was announced several months back, but in the time since then, things have been pretty quiet. There’s been little talk in terms of movement, but it sounds like...
The upcoming Teen Titans adaptation, Titans, is set to premiere next year on DC’s own digital streaming service. This was announced several months back, but in the time since then, things have been pretty quiet. There’s been little talk in terms of movement, but it sounds like...
- 8/31/2017
- by Joseph Medina
- LRMonline.com
It’s been five years since the TV academy adopted the Supporting Visual Effects category in an effort to honor subtle, less dominant work. It’s hard for a prestige drama with set extensions and other environmental re-creations to compete with “Game of Thrones.” (Luckily that’s not an issue this year.) Previous winners include “Boardwalk Empire,” “Banshee,” “Black Sails,” “American Horror Story: Freak Show,” and “Sherlock: The Abominable Bride.”
This season it’s a battle between “The Crown” and “The Handmaid’s Tale,” joined by “Genius,” “Gotham,” and “Taboo.” All feature splendid environmental work that help conjure the retro Gilead or recreate Buckingham Palace, gritty 19th century London, 1920’s Berlin, and present-day Manhattan.
“The Crown” — “Windsor”
For the episode in which Queen Elizabeth (nominated Claire Foy) negotiates her new life with Winston Churchill (nominated John Lithgow), One of Us in London provided supporting VFX (under the supervision...
This season it’s a battle between “The Crown” and “The Handmaid’s Tale,” joined by “Genius,” “Gotham,” and “Taboo.” All feature splendid environmental work that help conjure the retro Gilead or recreate Buckingham Palace, gritty 19th century London, 1920’s Berlin, and present-day Manhattan.
“The Crown” — “Windsor”
For the episode in which Queen Elizabeth (nominated Claire Foy) negotiates her new life with Winston Churchill (nominated John Lithgow), One of Us in London provided supporting VFX (under the supervision...
- 8/4/2017
- by Bill Desowitz
- Indiewire
In some ways, the Pirates of the Caribbean franchise can be compared to the Transformers franchise. They’re big, bombastic visual effects extravaganzas that surprised many in their first entry, but have since disappointed on many levels. Yet despite said disappointments, they both still manage to make huge bucks at the box office.
When it comes to the Pirates movies, I tend to find myself in the minority. I enjoyed the first one okay, but really fell in love with the second entry, Dead Man’s Chest, which I thought successfully amped up the fun and scope of the original without going too far into the deep end. The third entry, At World’s End lost me completely with its overly-convoluted narrative, and by the time On Stranger Tides came around, I’d already had enough of my fill of Pirates, so I didn’t even bother.
With that in mind,...
When it comes to the Pirates movies, I tend to find myself in the minority. I enjoyed the first one okay, but really fell in love with the second entry, Dead Man’s Chest, which I thought successfully amped up the fun and scope of the original without going too far into the deep end. The third entry, At World’s End lost me completely with its overly-convoluted narrative, and by the time On Stranger Tides came around, I’d already had enough of my fill of Pirates, so I didn’t even bother.
With that in mind,...
- 5/26/2017
- by Joseph Medina
- LRMonline.com
(“Guardians 2” spoilers follow.)
So here’s a poser: In “Guardians of the Galaxy Vol. 2,” we have Peter Quill (Chris Pratt) and his father, Ego (Kurt Russell), a living planet that takes on human form. Weta Digital was challenged with creating the interior look of Ego, along with the various transformations during his climactic fight with Quill.
This involved complicated mathematical patterns known as fractals (inspired by artist Hal Tenny, who served as a consultant). However, not only did Weta have difficulty controlling the fractals, but it also had to make them pliable in short order.
And then there was the biggest challenge: Weta was charged with ensuring that “Guardians” avoided an R-rating. That’s because 40% of Ego gets destroyed in the fight, and his internal organs can be seen dangling behind him. Weta offered to make him look more fractal, oozing black blood, but director James Gunn would have none of that.
So here’s a poser: In “Guardians of the Galaxy Vol. 2,” we have Peter Quill (Chris Pratt) and his father, Ego (Kurt Russell), a living planet that takes on human form. Weta Digital was challenged with creating the interior look of Ego, along with the various transformations during his climactic fight with Quill.
This involved complicated mathematical patterns known as fractals (inspired by artist Hal Tenny, who served as a consultant). However, not only did Weta have difficulty controlling the fractals, but it also had to make them pliable in short order.
And then there was the biggest challenge: Weta was charged with ensuring that “Guardians” avoided an R-rating. That’s because 40% of Ego gets destroyed in the fight, and his internal organs can be seen dangling behind him. Weta offered to make him look more fractal, oozing black blood, but director James Gunn would have none of that.
- 5/9/2017
- by Bill Desowitz
- Indiewire
Catch up with the last seven days in the world of film
The big story
As the Venice film festival staggered to a close – awarding its Golden Lion, rather controversially, to the Korean film Pieta rather than the runaway favourite, Paul Thomas Anderson's The Master – Toronto 2012 reared its head. We're forced to admit the Canadian festival gets better every year, attracting the pick of the international film circuit, and definitely putting its Old Europe rival in the shade.
Catherine Shoard and Henry Barnes are out there for us, and they've sent back a giant pile of copy and video. New films reviewed include (deep breath): the Jake Gyllenhall cop drama End of Watch; Emma Watson's breakout performance in The Perks of Being a Wallflower; the Salman Rushdie scripted adaptation of Midnight's Children; sex-addict yarn Thanks for Sharing with Mark Ruffalo and Gwyneth Paltrow; the loopy adapation of...
The big story
As the Venice film festival staggered to a close – awarding its Golden Lion, rather controversially, to the Korean film Pieta rather than the runaway favourite, Paul Thomas Anderson's The Master – Toronto 2012 reared its head. We're forced to admit the Canadian festival gets better every year, attracting the pick of the international film circuit, and definitely putting its Old Europe rival in the shade.
Catherine Shoard and Henry Barnes are out there for us, and they've sent back a giant pile of copy and video. New films reviewed include (deep breath): the Jake Gyllenhall cop drama End of Watch; Emma Watson's breakout performance in The Perks of Being a Wallflower; the Salman Rushdie scripted adaptation of Midnight's Children; sex-addict yarn Thanks for Sharing with Mark Ruffalo and Gwyneth Paltrow; the loopy adapation of...
- 9/13/2012
- The Guardian - Film News
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