Word: cgi
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Dates: during 2000-2009
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...Velocity,” the single from upcoming LP “Our Earthly Pleasures,” begins dazed and ends dumbfounded. The first shot is upside down. The camera rights itself before the music starts, but by that time there are already six or seven CGI Maxïmo Parks performing, and the video can’t decide which version of the keyboardist it likes best. We end up careening between multiple iterations of the same musicians, massed before neon-hued backgrounds. Part of the band’s personality problem stems from lead singer and lyricist...
...want it to evoke everything that was glorious about “The Secret of the Ooze” and the vastly underrated “Teenage Mutant Ninja Turtles III.” But… it doesn’t. For one thing, it’s CGI, which seems like a cheap ploy to cash in on what the kids love these days. For another thing, the villains (space monsters) look goofy, and not nearly as terrifying or appropriate for the TMNT as guys like Shredder or Krang. I dunno. Maybe it’s just...
...Australian cinema out of a costume-drama past and into a cutting-edge future (Mad Max); beamed through the freckles and frizzy hair of a gawky Sydneysider to find the screen goddess within Nicole Kidman (as producer of Flirting and Dead Calm); and spliced live action with animatronics and CGI as creator of the beloved Babe franchise. "Somehow or other, his imagination is wired up to the future," says actor and comedian Magda Szubanski, who has added zing to three of Miller's recent films, including his latest hit, Happy Feet, "and he really seems to be able to bring...
...generated characters, so that the sight of 10,000 penguins gyrating to Prince's Kiss seems not only weirdly natural but also pretty cool. And being George Miller, he would insist that his tap-dancing hero Mumble (voiced by Elijah Wood) be composed of no less than six million CGI penguin feathers...
...near future, the French have cordoned off their housing projects, sites of immigrant crime and anger. They're even contemplating a nuclear final solution to their problem. That's the pretext director Pierre Morel uses to reinvent the action film with gracefully soaring chases and grittily imaginative confrontations--no CGI, very little wire work, just a subtle, clever use of off-speed cameras and canny editing. The result is a movie that makes all its American competitors look klutzy and flat-footed. Maybe it isn't exactly art, but it sure is kinesthetically dazzling...