This summer offers f/x-heavy pics as diverse as any year ever, some of them offering new take on familiar and established franchises.
Visual effects masters are called "magicians" for a reason: They really do seem like conjurers. The only limits on what they can put on the screen seem to be time, budget and imagination.
With Lucasfilm gearing up for a new era of active production of Star Wars films and TV series, the company has upped John Knoll to chief creative officer of Industrial Light & Magic. Knoll joins ILM…
J.J. Abrams sets his filmmaking to "stun" with a sequel in every respect equal or even superior to its splendid 2009 predecessor.
Production designer Guy Hendrix Dyas was atop a snow-covered Fortress Mountain in Alberta, Canada, shooting the final scenes for "Inception" in late November 2009, when he got the call on his cell…
While the concept is more likely to inspire giggles than excitement, "Cowboys & Aliens" is a full-bodied, roundly satisfying yarn.
This year's Oscar visual effects race is like something out of Mad magazine: if not "Spy vs. Spy," certainly Aliens vs. Aliens vs. Aliens.
For vfx supervisor Roger Guyett, "Star Trek" was "a big show, emphasizing everything from creatures through the modern toolbox of visual effects..."
The new and improved 'Star Trek' will transport fans to sci-fi nirvana.
Digital backgrounds may not be as obvious as they once were, but improvements in technology have made background replacement into a safer, cheaper and more flexible substitute for real-life locations…
Domestic Film DAILY
PROVIDED BY: Box Office
Frozen2Daily: $1.7M Cumulative: $140.5M Disney -30.18%
Out of the Furnace
Out of the Furnace3Daily: $437,117 Cumulative: $6.8M Relativity Media -25.73%