Paris-based animation studio Illumination Mac Guff used Shotgun software to keep on track for the 3D summer family film and one its most successful, Despicable Me 2.
Douglas Trumbull’s latest project UFOTOG, the world’s first high-frame rate (120 fps), stereoscopic 3D film, has completed production.
On August 20 Robbie Williams will perform at Estonia’s 70,000-capacity Tallinn Song Festival Ground and fans in digital cinemas around the world will have the chance to catch the entertainer live on the big screen.
Bad Robot, the production company founded by director J.J. Abrams, used Tweak Software’s RV-SDI to review visual effects shots from Star Trek Into Darkness.
NCM Media Networks and Beijing China Times Media Advertising Co. have entered into an advertising cooperation and fee agreement to help international brands reach movie audiences in the United States and China.
Cinepolis and Contenido Alternativo announced today that Universal Pictures and Illumination Entertainment's Despicable Me 2 was delivered through the Satellite Network to 281 of the chain's theatres simultaneously.
If you’re not laughing out loud and often, you are simply not paying attention. This is a movie that’s “politically incorrect” in every way, but oh, it’s just so funny. And yeah, I know Melissa McCarthy is basically playing the role she often plays, the slightly over-sexed and out-of-control loony but she plays it better – and bigger – here. And while Sandra Bullock seems to be overacting a bit especially in the beginning, as soon as you recognize that’s coming from the two-by-four she’s jammed up her rear end so she can get promoted, you just go with the flow.
World War Z is Contagion recast as a family story with the plague causing zombies. The story is predicable, but still there are tension, suspense and some of the best editing and most frightening crowd-replication effects I’ve ever seen.
For seventy years, the Lone Ranger has been about “…a fiery horse with the speed of light, a cloud of dust, and a hearty Hi-Yo Silver…” Here, it’s about mugging for the camera, massive special effects, and a meandering story that features Tonto more prominently than his trusted companion, Kemo Sabe.
This year the buzz at CineEurope seemed to be all about alternative content, or event cinema as it’s being increasingly referred to. As chair of the ECA it’s difficult to gain real perspective from the eye of the storm but having seen the business grow from an occasional add-on for exhibitors to a serious revenue stream in more recent years, the sense in Barcelona last month was that in event cinema, the possibilities are endless and the sense of real excitement was tangible. Everyone from major studios to major cinema chains to independents to technical partners seemed keen to know more, hear more, do more to exploit this established and still growing revenue stream.