“The Jungle Book” is on its way to VFX Oscar gold after getting five Ves nods Tuesday night at the Beverly Hilton. “Rogue One,” the “Star Wars” standalone, however, came away empty-handed after receiving seven nominations.
Innovative Disney hybrid “The Jungle Book” won for outstanding feature, King Louie’s animated performance, virtual cinematography, effects simulations, and compositing.
Laika’s Oscar-nominated “Kubo and the Two Strings” earned VFX animation props, “Deepwater Horizon” took supporting VFX and model work for Industrial Light & Magic, and “Game of Thrones: Battle of the Bastards” continued its TV dominance.
Disney’s “Moana” grabbed two animation awards (created environment and simulations), Pixar won for Hank’s animated performance, and Marvel’s “Doctor Strange” won for its New York City environment
The Ves Visionary Award went to Victoria Alonso, producer and Marvel Studios Evp of physical production. Five-time Oscar winner Ken Ralston (“Return of the Jedi” and “Who Framed Roger Rabbit?...
Innovative Disney hybrid “The Jungle Book” won for outstanding feature, King Louie’s animated performance, virtual cinematography, effects simulations, and compositing.
Laika’s Oscar-nominated “Kubo and the Two Strings” earned VFX animation props, “Deepwater Horizon” took supporting VFX and model work for Industrial Light & Magic, and “Game of Thrones: Battle of the Bastards” continued its TV dominance.
Disney’s “Moana” grabbed two animation awards (created environment and simulations), Pixar won for Hank’s animated performance, and Marvel’s “Doctor Strange” won for its New York City environment
The Ves Visionary Award went to Victoria Alonso, producer and Marvel Studios Evp of physical production. Five-time Oscar winner Ken Ralston (“Return of the Jedi” and “Who Framed Roger Rabbit?...
- 2/8/2017
- by Bill Desowitz
- Indiewire
Naomi Watts and Ewan McGregor shine in this affecting and powerful true story of a family caught up in the Asian tsunami
Spanish cinema has had a long love affair with genre film-making. Perhaps because of Franco's repressive regime, the country's leading directors have frequently used fantasy, the supernatural and horror to explore loss, regret and, in the case of Juan Antonio Bayona's debut film The Orphanage, family secrets. For his follow-up, Bayona returns to the family unit, but this time in a movie that comes with no dressing. The Impossible simply is what it is, neither metaphorical nor allegorical, and its power comes from its physical scale and human emotion.
It begins with a plane journey; an everyday family – Maria (Naomi Watts), Henry (Ewan McGregor) and their three children – are off to spend Christmas in Thailand, where their hotel suite has been upgraded to a villa on the coastline.
Spanish cinema has had a long love affair with genre film-making. Perhaps because of Franco's repressive regime, the country's leading directors have frequently used fantasy, the supernatural and horror to explore loss, regret and, in the case of Juan Antonio Bayona's debut film The Orphanage, family secrets. For his follow-up, Bayona returns to the family unit, but this time in a movie that comes with no dressing. The Impossible simply is what it is, neither metaphorical nor allegorical, and its power comes from its physical scale and human emotion.
It begins with a plane journey; an everyday family – Maria (Naomi Watts), Henry (Ewan McGregor) and their three children – are off to spend Christmas in Thailand, where their hotel suite has been upgraded to a villa on the coastline.
- 9/13/2012
- by Damon Wise
- The Guardian - Film News
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