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    1988 academy awards best visual effects nominees

    Explore " 1988 academy awards best visual effects nominees" with insightful episodes like "RoboCop • The Next Reel", "RoboCop • The Next Reel", "The Princess Bride • The Next Reel", "The Princess Bride • The Next Reel" and "Predator • The Next Reel" from podcasts like ""The Next Reel Film Podcast", "The Next Reel Film Podcast", "The Next Reel Film Podcast", "The Next Reel Film Podcast" and "The Next Reel Film Podcast"" and more!

    Episodes (10)

    RoboCop • The Next Reel

    RoboCop • The Next Reel

    “Dead or alive, you are coming with me.”
    In 1987, screenwriters Edward Neumeier and Michael Miner developed an original story idea while working on the set of Blade Runner. They envisioned a dystopian future where privatized police forces maintained law and order. After pitching the concept to studios, Orion Pictures greenlit the production of RoboCop, directed by Dutch filmmaker Paul Verhoeven. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about RoboCop.

    Here's a hint at what we talk about:

    We dive into the amazing practical effects created by Rob Bottin and Phil Tippett, including RoboCop himself, ED-209, the toxic waste scenes, and more. We discuss Paul Verhoeven's unique directorial vision and how he used over-the-top violence to achieve a satirical tone. The film's sharp and funny social satire provides critical commentary on privatized policing and corporate greed that still resonates today.

    Here are a few other points in our discussion:

    • Great performance from Peter Weller as Murphy/RoboCop, plus the rest of the cast
    • The love/hate relationship with the corporate characters
    • How the 2014 remake compared to the original

    RoboCop is a classic sci-fi action film that struck a delicate balance between intense action and dark comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Film Sundries


    The Next Reel Film Podcast
    enJanuary 18, 2024
    1980s
    1987
    paul verhoeven
    1988 academy awards best visual effects nominees

    RoboCop • The Next Reel

    RoboCop • The Next Reel

    “Dead or alive, you are coming with me.”
    In 1987, screenwriters Edward Neumeier and Michael Miner developed an original story idea while working on the set of Blade Runner. They envisioned a dystopian future where privatized police forces maintained law and order. After pitching the concept to studios, Orion Pictures greenlit the production of RoboCop, directed by Dutch filmmaker Paul Verhoeven. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about RoboCop.

    Here's a hint at what we talk about:

    We dive into the amazing practical effects created by Rob Bottin and Phil Tippett, including RoboCop himself, ED-209, the toxic waste scenes, and more. We discuss Paul Verhoeven's unique directorial vision and how he used over-the-top violence to achieve a satirical tone. The film's sharp and funny social satire provides critical commentary on privatized policing and corporate greed that still resonates today.

    Here are a few other points in our discussion:

    • Great performance from Peter Weller as Murphy/RoboCop, plus the rest of the cast
    • The love/hate relationship with the corporate characters
    • How the 2014 remake compared to the original

    RoboCop is a classic sci-fi action film that struck a delicate balance between intense action and dark comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Film Sundries


    The Next Reel Film Podcast
    enJanuary 18, 2024
    1980s
    1987
    paul verhoeven
    1988 academy awards best visual effects nominees

    The Princess Bride • The Next Reel

    The Princess Bride • The Next Reel

    "This is true love. You think this happens every day?"
    After William Goldman's novel The Princess Bride was published in 1973, film studios immediately saw its potential and vied for the movie rights. 20th Century Fox won out, paying Goldman to adapt his novel into a screenplay. But after languishing in development hell for over a decade, Rob Reiner and Norman Lear finally brought Goldman's fantastical fairy tale to the big screen in 1987. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about one of our non-nominees The Princess Bride.

    Here's a hint at what we talk about:

    We discuss the film's classic quotable lines, unforgettable characters like Inigo Montoya and Fezzik, the comedic yet sinister Prince Humperdinck, and the palpable on-screen chemistry between Robin Wright and Cary Elwes. We also analyze Goldman's brilliant meta approach to the novel and script, the film's purposefully unrealistic visual effects, and how Rob Reiner adeptly brought this iconic fairy tale parody to life.

    Here are a few other points in our discussion:

    • The film's unexpected Christmas movie connections
    • Mandy Patinkin's fantastic performance as Inigo Montoya
    • How the story skewers notions of love, royalty, and leadership
    • The amazing swordfight paired with Mark Knopfler's score
    • Why fans adamantly resist remakes or sequels

    The Princess Bride is beloved for good reason – it's clever, funny, beautifully shot, and full of indelible moments. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Film Sundries


    The Next Reel Film Podcast
    enJanuary 11, 2024
    1980s
    rob reiner
    1987
    1988 academy awards best visual effects nominees

    The Princess Bride • The Next Reel

    The Princess Bride • The Next Reel

    "This is true love. You think this happens every day?"
    After William Goldman's novel The Princess Bride was published in 1973, film studios immediately saw its potential and vied for the movie rights. 20th Century Fox won out, paying Goldman to adapt his novel into a screenplay. But after languishing in development hell for over a decade, Rob Reiner and Norman Lear finally brought Goldman's fantastical fairy tale to the big screen in 1987. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about one of our non-nominees The Princess Bride.

    Here's a hint at what we talk about:

    We discuss the film's classic quotable lines, unforgettable characters like Inigo Montoya and Fezzik, the comedic yet sinister Prince Humperdinck, and the palpable on-screen chemistry between Robin Wright and Cary Elwes. We also analyze Goldman's brilliant meta approach to the novel and script, the film's purposefully unrealistic visual effects, and how Rob Reiner adeptly brought this iconic fairy tale parody to life.

    Here are a few other points in our discussion:

    • The film's unexpected Christmas movie connections
    • Mandy Patinkin's fantastic performance as Inigo Montoya
    • How the story skewers notions of love, royalty, and leadership
    • The amazing swordfight paired with Mark Knopfler's score
    • Why fans adamantly resist remakes or sequels

    The Princess Bride is beloved for good reason – it's clever, funny, beautifully shot, and full of indelible moments. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Film Sundries


    The Next Reel Film Podcast
    enJanuary 11, 2024
    1980s
    rob reiner
    1987
    1988 academy awards best visual effects nominees

    Predator • The Next Reel

    Predator • The Next Reel

    “There’s something out there waiting for us, and it ain’t no man. We’re all going to die.”
    After the huge success of Rocky IV in 1985, screenwriters Jim and John Thomas saw an opportunity for another Rocky film where he'd have to fight an alien, calling it "Rocky vs Predator." They developed the idea into a script titled "Hunter" about a group of alien hunters looking for the most dangerous prey. Unable to get interest, they slipped it under producer Michael Levy's door who loved it. Levy brought it to producer Joel Silver who also loved it. Silver brought in action star Arnold Schwarzenegger, who suggested changing it from one man against the creature to a team for more dynamics. Director John McTiernan was hired for his first studio film. With a budget under $20 million and filming in the jungles of Puerto Vallarta, Mexico, Predator began production.

    Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Predator.

    Here's a hint at what we talk about:

    We discuss the excellent creature design and visual effects that still hold up today in making the cloaked Predator feel dangerous and threatening. The story structure shifts cleverly from a military rescue mission to sci-fi horror when the alien arrives. We admire the directing style of McTiernan in generating tension and fear. Character dynamics are touched on, along with some problematic elements.

    Here are a few other points in our discussion:

    • Memorable one-liners and quips from Schwarzenegger
    • Contrast of the special forces team against the advanced alien
    • Discussion of problematic Indigenous American and female character tropes
    • Always hoping for more from Jesse “The Body” Ventura's character

    Predator succeeds at being an enthralling, action-packed cinema ride. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Film Sundries

    5vd7KcUHE9aFPUjXwStS


    The Next Reel Film Podcast
    enJanuary 04, 2024
    1980s
    john mctiernan
    1987
    1988 academy awards best visual effects nominees

    Predator • The Next Reel

    Predator • The Next Reel

    “There’s something out there waiting for us, and it ain’t no man. We’re all going to die.”
    After the huge success of Rocky IV in 1985, screenwriters Jim and John Thomas saw an opportunity for another Rocky film where he'd have to fight an alien, calling it "Rocky vs Predator." They developed the idea into a script titled "Hunter" about a group of alien hunters looking for the most dangerous prey. Unable to get interest, they slipped it under producer Michael Levy's door who loved it. Levy brought it to producer Joel Silver who also loved it. Silver brought in action star Arnold Schwarzenegger, who suggested changing it from one man against the creature to a team for more dynamics. Director John McTiernan was hired for his first studio film. With a budget under $20 million and filming in the jungles of Puerto Vallarta, Mexico, Predator began production.

    Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Predator.

    Here's a hint at what we talk about:

    We discuss the excellent creature design and visual effects that still hold up today in making the cloaked Predator feel dangerous and threatening. The story structure shifts cleverly from a military rescue mission to sci-fi horror when the alien arrives. We admire the directing style of McTiernan in generating tension and fear. Character dynamics are touched on, along with some problematic elements.

    Here are a few other points in our discussion:

    • Memorable one-liners and quips from Schwarzenegger
    • Contrast of the special forces team against the advanced alien
    • Discussion of problematic Indigenous American and female character tropes
    • Always hoping for more from Jesse “The Body” Ventura's character

    Predator succeeds at being an enthralling, action-packed cinema ride. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Film Sundries

    5vd7KcUHE9aFPUjXwStS


    The Next Reel Film Podcast
    enJanuary 04, 2024
    1980s
    john mctiernan
    1987
    1988 academy awards best visual effects nominees

    The Lost Boys • The Next Reel • Member Bonus

    The Lost Boys • The Next Reel • Member Bonus

    “Kill your brother, you’ll feel better.”
    The 80s were a transformative time for vampire films, leading studios to rethink the genre and develop sexier, edgier stories for modern audiences. Under Joel Schumacher’s direction, The Lost Boys brought together attractive young stars, iconic music, and cutting-edge special effects to create an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about The Lost Boys. 

    Here's a hint at what we talk about:

    We dive into the homoerotic subtext Schumacher wove throughout the film, from the casting to the costumes to set decor details. Though subtle, these elements enriched the story in ways we didn’t fully appreciate until now. We also discuss how the film’s Santa Cruz setting, portrayed fictionally as the murder capital Santa Carla, nicely matched its dark tale of teenage vampires. And we can’t neglect the movie’s stellar 80's soundtrack, which indelibly linked this movie with its musical era. (Plus, Sweaty Sax Guy!)

    Here are a few other points in our discussion:

    • The brilliant directing choices, like shooting in POV to suggest flying (and a cheap way to do it!)
    • The fantastic practical effects, especially the garlic bathtub scene
    • The film's influence on future vampire stories, from Buffy to Twilight
    • Our favorite and least favorite characters (Who are we kidding? We love them all!)
    • Questionable plot points that now bother us... barely

    The Lost Boys endures as a thoroughly entertaining vampire movie with depth beyond its horror trappings. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Film Sundries

    This is a member bonus episode, but as an end-of-year gift to all of our wonderful listeners, we’re giving it to everybody. It’s a taste of what membership brings you. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

    The Next Reel Film Podcast
    enDecember 31, 2023
    1980s
    1987
    joel schumacher
    member bonus
    1988 academy awards best visual effects nominees

    The Lost Boys • The Next Reel • Member Bonus

    The Lost Boys • The Next Reel • Member Bonus

    “Kill your brother, you’ll feel better.”
    The 80s were a transformative time for vampire films, leading studios to rethink the genre and develop sexier, edgier stories for modern audiences. Under Joel Schumacher’s direction, The Lost Boys brought together attractive young stars, iconic music, and cutting-edge special effects to create an instant cult classic. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about The Lost Boys. 

    Here's a hint at what we talk about:

    We dive into the homoerotic subtext Schumacher wove throughout the film, from the casting to the costumes to set decor details. Though subtle, these elements enriched the story in ways we didn’t fully appreciate until now. We also discuss how the film’s Santa Cruz setting, portrayed fictionally as the murder capital Santa Carla, nicely matched its dark tale of teenage vampires. And we can’t neglect the movie’s stellar 80's soundtrack, which indelibly linked this movie with its musical era. (Plus, Sweaty Sax Guy!)

    Here are a few other points in our discussion:

    • The brilliant directing choices, like shooting in POV to suggest flying (and a cheap way to do it!)
    • The fantastic practical effects, especially the garlic bathtub scene
    • The film's influence on future vampire stories, from Buffy to Twilight
    • Our favorite and least favorite characters (Who are we kidding? We love them all!)
    • Questionable plot points that now bother us... barely

    The Lost Boys endures as a thoroughly entertaining vampire movie with depth beyond its horror trappings. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Film Sundries

    This is a member bonus episode, but as an end-of-year gift to all of our wonderful listeners, we’re giving it to everybody. It’s a taste of what membership brings you. We have monthly member bonus episodes that only members can access. You also get other monthly member bonus episodes, access to members-only Discord channels, and early releases for every episode. Plus, no ads! And you get to vote on the movies we discuss in our members only episodes! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

    The Next Reel Film Podcast
    enDecember 31, 2023
    1980s
    1987
    joel schumacher
    member bonus
    1988 academy awards best visual effects nominees

    Innerspace • The Next Reel

    Innerspace • The Next Reel

    “You just digested the bad guy.”

    Innerspace came about after Jeffrey Boam took Chip Proser’s original script and injected comedy into the straightforward sci-fi concept. With Joe Dante directing and Steven Spielberg executive producing, the film had the freedom to push boundaries. Join us – Pete Wright and Andy Nelson – as we kick off our 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Dante’s 1987 film Innerspace.


    Here's a hint at what we talk about:

    We discuss the impressive visual effects that still hold up decades later, from the microscopic inner body sets to the giant props used for the miniaturized villains. Though we find some plot holes and dated elements, we agree that Martin Short’s performance, the chemistry between him and the other two leads (Dennis Quaid and Meg Ryan), and the film’s playful tone make Innerspace an enduringly fun watch.


    Here are a few other points in our discussion:

    • How Meg Ryan’s reporter character becomes merely a plot device, even though set up as someone with agency
    • The lack of resolution around Dennis Quaid’s character’s alcoholism
    • Appreciation for Robert Picardo as The Cowboy and many other supporting roles filled with familiar Dante regulars
    • Jerry Goldsmith’s delightful score capturing the movie’s energy

    Innerspace is a flawed but highly entertaining sci-fi comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


    Film Sundries


    The Next Reel Film Podcast
    enDecember 28, 2023
    1980s
    joe dante
    1987
    1988 academy awards best visual effects nominees

    Innerspace • The Next Reel

    Innerspace • The Next Reel

    “You just digested the bad guy.”

    Innerspace came about after Jeffrey Boam took Chip Proser’s original script and injected comedy into the straightforward sci-fi concept. With Joe Dante directing and Steven Spielberg executive producing, the film had the freedom to push boundaries. Join us – Pete Wright and Andy Nelson – as we kick off our 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Dante’s 1987 film Innerspace.


    Here's a hint at what we talk about:

    We discuss the impressive visual effects that still hold up decades later, from the microscopic inner body sets to the giant props used for the miniaturized villains. Though we find some plot holes and dated elements, we agree that Martin Short’s performance, the chemistry between him and the other two leads (Dennis Quaid and Meg Ryan), and the film’s playful tone make Innerspace an enduringly fun watch.


    Here are a few other points in our discussion:

    • How Meg Ryan’s reporter character becomes merely a plot device, even though set up as someone with agency
    • The lack of resolution around Dennis Quaid’s character’s alcoholism
    • Appreciation for Robert Picardo as The Cowboy and many other supporting roles filled with familiar Dante regulars
    • Jerry Goldsmith’s delightful score capturing the movie’s energy

    Innerspace is a flawed but highly entertaining sci-fi comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


    Film Sundries


    The Next Reel Film Podcast
    enDecember 28, 2023
    1980s
    joe dante
    1987
    1988 academy awards best visual effects nominees
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