{"id":155506,"date":"2023-05-31T01:13:01","date_gmt":"2023-05-30T19:43:01","guid":{"rendered":"https:\/\/www.imageantra.com\/the-best-animatronics-in-cinema-show-that-hollywood-does-not-need-to-abuse-cgi-to-leave-us-stunned\/"},"modified":"2023-05-31T01:13:01","modified_gmt":"2023-05-30T19:43:01","slug":"the-best-animatronics-in-cinema-show-that-hollywood-does-not-need-to-abuse-cgi-to-leave-us-stunned","status":"publish","type":"post","link":"https:\/\/www.imageantra.com\/the-best-animatronics-in-cinema-show-that-hollywood-does-not-need-to-abuse-cgi-to-leave-us-stunned\/","title":{"rendered":"The best animatronics in cinema show that Hollywood does not need to abuse CGI to leave us stunned"},"content":{"rendered":"<div>\n<p>You can, dear readers, call me &#8220;carca&#8221;, &#8220;stale&#8221;, &#8220;old man&#8221;, or tell me that I smell rancid;  but I can categorically assure you that <strong>there is no digital effect that manages to impose itself and stand out from a good practical effect<\/strong>;  especially if we are referring to a <strong>animatronic<\/strong>.<\/p>\n<p><!-- BREAK 1 --><\/p>\n<p>I can admit that the <strong>CGI<\/strong>in combination with as many tangible special effects as possible, <strong>can enrich to the unsuspected limits any sequence<\/strong> \u2014as Christopher Nolan is showing us well\u2014;  but this is a subject on which I could pour rivers of ink, and I am not planning to write a doctoral thesis on the subject.<\/p>\n<p><!-- BREAK 2 --> <\/p>\n<p>Instead I&#8217;m going to propose <strong>a review through some of the aforementioned animatronics that have marked me the most<\/strong>inspired by a recent discovery that borders the limits of the grotesque and the fascinating with my beloved <strong>nic cage<\/strong> as protagonist.  As always in these cases, &#8220;it is not all who are, nor are all who are&#8221;, but <strong>the following 19 animatronics have not left, nor will they leave anyone indifferent<\/strong>.<\/p>\n<p><!-- BREAK 3 --><\/p>\n<h3>&#8216;The Thing&#8217; (&#8216;The Thing&#8217;, 1982)<\/h3>\n<p>It is more than understandable that the very young <strong>rob bottin<\/strong> who got to captain the special effects team on John Carpenter&#8217;s best picture was intimidated by the magnitude of the project.<\/p>\n<p><!-- BREAK 4 --><\/p>\n<p>Luckily for him, for Mr. Carpenter, and for fans of genre cinema, things went well enough for the film to have not aged in the least despite having turned 41 years old.  The magic of practical effects pushed to the limit with <strong>a human head with spider legs<\/strong>.  Masterly.<\/p>\n<p><!-- BREAK 5 --><\/p>\n<h2>&#8216;The Thing&#8217; (The Thing&#8217;, 2011)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"THING ADI Creature Work Behind-The-Scenes\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/fBzpT7VmSaU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>Despite its undeniable flaws, I am a <strong>staunch defender of the prequel released in 2011<\/strong> from John Carpenter&#8217;s classic.  He <strong>I respect<\/strong> shown by the original work when addressing a sort of <em>remake<\/em> undercover, is up to the task <strong>fantastic design of his creatures<\/strong>.<\/p>\n<p><!-- BREAK 6 --><\/p>\n<div class=\"article-asset article-asset-normal article-asset-center\">\n<div class=\"desvio-container\">\n<div class=\"desvio\">\n<div class=\"desvio-figure js-desvio-figure\">\n<p>     <\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p>Too bad the producers considered that <strong>the animatronics were too realistic<\/strong> and unpleasant for the audience, and <strong>smear them with a layer of CGI<\/strong> which wrecked the work of the practical effects team.<\/p>\n<p><!-- BREAK 7 --><\/p>\n<h2>&#8216;Face to Face&#8217; (&#8216;Face\/Off&#8217;, 1997)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"Face Off - Behind the Scenes\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/qU_bCxNkp4c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>Be very careful with these <strong>replicas of the bodies of John Travolta and Nicolas Cage<\/strong> used in the great <strong>&#8216;Face to face&#8217;<\/strong> \u2014of Chinese master John Woo, employed at the famous <strong>surgery sequence<\/strong> in which both characters exchange their faces.  The detail of the breath is, to say the least, disturbing.<\/p>\n<p><!-- BREAK 8 --><\/p>\n<h2>&#8216;Shark&#8217; (&#8216;Jaws&#8217;, 1975)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"JAWS - The Taylor Footage\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/MlBiLUDK90c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>What can we add that is not already written about this <strong>defective mechanical shark<\/strong> that so many headaches gave <strong>Steven Spielberg<\/strong> on the set of &#8216;Jaws&#8217;, and that forced him to <strong>hide the creature<\/strong> during most of the footage.  Never has a blunder by the special effects team contributed so much to a film that brilliantly exploited the maxim that <strong>&#8220;suggest is better than show&#8221;<\/strong>.<\/p>\n<p><!-- BREAK 9 --><\/p>\n<div class=\"article-asset article-asset-normal article-asset-center\">\n<div class=\"desvio-container\">\n<div class=\"desvio\">\n<div class=\"desvio-figure js-desvio-figure\">\n<p>     <img decoding=\"async\" alt=\"Steven Spielberg's 13 Best Movies\" src=\"https:\/\/i0.wp.com\/i.blogs.es\/24cb8c\/spielberg\/375_142.jpg?w=788&#038;ssl=1\" data-recalc-dims=\"1\"\/><\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<h2>&#8216;Total challenge&#8217; (&#8216;Total Recall&#8217;, 1990)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"Total Recall: Decompression Cohagen\" width=\"788\" height=\"443\" src=\"https:\/\/www.youtube.com\/embed\/Z5TqD5xf0ic?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>The wildest stage of Paul Verhoeven gave us this <strong>classic science fiction and action movie<\/strong> made by <strong>arnold schwarzenegger<\/strong>.  Among all its sequences and its fantastic repertoire of special effects, this moment stands out in which the infamous Cohagen has the odd <strong>little problem with his eyeballs<\/strong>.<\/p>\n<p><!-- BREAK 10 --><\/p>\n<h2>&#8216;Starship Troopers&#8217; (1997)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"STARSHIP TROOPERS Animatronics Behind The Scenes ADI BTS\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/cUpUKAs_IGA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>Let&#8217;s not abandon the Dutch director to delve into the bowels of another of his classics <em>sci fi<\/em> crazier and more self-conscious.  Despite the enormous effort of the practical effects team, <strong>the mechanical orgy of &#8216;Starship Troopers&#8217; is diluted by the digital flirtations of its time<\/strong> Let&#8217;s remember that it dates from 1997.  Despite everything, the mechanical work, as we can see, was titanic.<\/p>\n<p><!-- BREAK 11 --><\/p>\n<div class=\"article-asset article-asset-normal article-asset-center\">\n<div class=\"desvio-container\">\n<div class=\"desvio\">\n<div class=\"desvio-figure js-desvio-figure\">\n<p>     <img decoding=\"async\" alt=\"Paul Verhoeven: everything you need to know in 5 essential points \" src=\"https:\/\/i0.wp.com\/i.blogs.es\/dbe98e\/paulverhoeven\/375_142.jpg?w=788&#038;ssl=1\" data-recalc-dims=\"1\"\/><\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<h2>&#8216;Jurassic Park&#8217; (&#8216;Jurassic Park&#8217;, 1993)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"JURASSIC PARK T-Rex - Part 3 - Building an Animatronic Dinosaur\" width=\"788\" height=\"443\" src=\"https:\/\/www.youtube.com\/embed\/KZtJVh3nUyU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>In a compilation of these characteristics, the genius of the teacher could not be left out <strong>Stan Winston<\/strong> and his <strong>tyrannosaurus rex<\/strong> created for &#8216;Jurassic Park&#8217;.  Once again, it is surprising to face the film, released in 1993, and witness how it remains so <strong>fresh and impeccable as almost a quarter of a century ago<\/strong>.<\/p>\n<p><!-- BREAK 12 --><\/p>\n<h2>&#8216;Terminator 2: Judgment Day&#8217; (&#8216;Terminator 2: Judgment Day&#8217;, 1991)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"Learn about the FX for the T-800 in TERMINATOR 2 - Behind-the-Scenes\" width=\"788\" height=\"443\" src=\"https:\/\/www.youtube.com\/embed\/8uKRNlpT1X0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>Once again, another impeccable job by <strong>Stan Winston<\/strong>, integrated into a pioneering feature film in the use of computer-generated digital effects.  The <strong>vintage mechanical magic of the T-800<\/strong> faced with the fate of liquid mercury from the T-1000 in a film by a James Cameron that as soon as the explosion of a bridge built for the occasion shoots you in &#8216;Risky Lies&#8217;, as it signs a film focused on CGI as \u2014the great \u2014 &#8216;Avatars&#8217;.<\/p>\n<p><!-- BREAK 13 --><\/p>\n<h2>&#8216;Spider-Man&#8217; (2002)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"SPIDER-MAN Green Goblin Animatronic Make-Up Hybrid Test ADI\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/QEZBhL5lpqg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>Before he ended up wearing some sort of metallic servo-suit, the <strong>Green Goblin<\/strong> of the &#8216;Spider-Man&#8217; <strong>sam raimi<\/strong> It was the animatronic marvel, more faithful to the original design of the character, that we can see on these lines.  The effort of the effects team is more than evident judging by the result of the test, but it must be recognized that, perhaps, <strong>it was too bad vibes<\/strong> enough to use it in a movie for all audiences.<\/p>\n<p><!-- BREAK 14 --><\/p>\n<h2>&#8216;An American Werewolf in London&#8217; (&#8216;An American Werewolf in London&#8217;, 1981)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"The animatronic transformation werewolf head from An American Werewolf In London\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/_yLfDXdtPV8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>An indisputable classic of horror movies achieves that status on its own merits;  and among all the praiseworthy aspects that we can find in &#8216;An American Werewolf in London&#8217;, there is <strong>the transformation of its protagonist<\/strong>practically in its entirety, and <strong>with a devastating capacity to impact the viewer<\/strong>, beginner or not.  To this day, estimable lycanthropic works such as <strong>&#8216;Dog Soldiers&#8217;<\/strong> either <strong>howl<\/strong> have managed to match this genius of <strong>John Landis<\/strong>.<\/p>\n<p><!-- BREAK 15 --><\/p>\n<div class=\"article-asset article-asset-normal article-asset-center\">\n<div class=\"desvio-container\">\n<div class=\"desvio\">\n<div class=\"desvio-figure js-desvio-figure\">\n<p>     <img decoding=\"async\" alt=\"When technology transforms cinema: 19 movies that changed everything\" src=\"https:\/\/i0.wp.com\/i.blogs.es\/85b659\/avances\/375_142.jpeg?w=788&#038;ssl=1\" data-recalc-dims=\"1\"\/><\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<h2>&#8216;The fly&#8217; (&#8216;The Fly&#8217;, 1986)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"The Fly (1986) - Behind the Scenes_Part 1\" width=\"788\" height=\"443\" src=\"https:\/\/www.youtube.com\/embed\/p_Knr9GrYbQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>We remain in the field of terror, we continue with the transformations, but we change the animal.  The final phase of the <strong>mutation from human to fly-anthropomorphic<\/strong> of the good of <strong>jeff goldblum<\/strong>, shot through the sick vision of David Cronenberg, continues to be one of the most unpleasant and disturbing passages that the genre has given us throughout its history.  Pure gold covered with various fluids.<\/p>\n<p><!-- BREAK 16 --><\/p>\n<h2>&#8216;Mortal Kombat&#8217; (1995)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"MORTAL KOMBAT Goro Animatronic Suit BTS\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/vVi2klX_feE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>Before embracing the dark side of digital effects, my dear <strong>Paul W.S. Anderson<\/strong> used in its adaptation of the video game <strong>&#8216;Mortal Kombat&#8217;<\/strong> a <strong>gigantic animatronic<\/strong> to give life to the monstrous <strong>goro<\/strong> and its four extremities.  The result is not as polished as one would expect judging from what has been seen in this article, but, <strong>given its size and complexity<\/strong>Goro has earned a place in it.<\/p>\n<p><!-- BREAK 17 --><\/p>\n<h2>&#8216;Krampus: Damn Christmas&#8217; (&#8216;Krampus&#8217;, 2015)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"Krampus - Terror Toys and Gingerbread Nightmares Scene (6\/10) | Movieclips\" width=\"788\" height=\"443\" src=\"https:\/\/www.youtube.com\/embed\/U0xf89hs1Mc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>It is inspiring and, in turn, cause for celebration, to find a feature film like <strong>&#8216;Krampus: Damn Christmas&#8217;<\/strong> at this point in the 21st century.  see this <strong>ode to the cinema of the 80s<\/strong> in which its director <strong>michael dougherty<\/strong> he turns his efforts into the creation of mechanical creatures, and into the use of practical effects to offer <strong>a <\/strong><em><strong>revival<\/strong><\/em><strong>  In all rules<\/strong>It&#8217;s a real pleasure.<\/p>\n<p><!-- BREAK 18 --><\/p>\n<div class=\"article-asset article-asset-normal article-asset-center\">\n<div class=\"desvio-container\">\n<div class=\"desvio\">\n<div class=\"desvio-figure js-desvio-figure\">\n<p>     <img decoding=\"async\" alt=\"This was the origins of CGI in the cinema: a revolution that began with 2 megabyte computers\" src=\"https:\/\/i0.wp.com\/i.blogs.es\/a9ce2d\/cgihitos\/375_142.jpeg?w=788&#038;ssl=1\" data-recalc-dims=\"1\"\/><\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<h2>&#8216;Gremlins&#8217; (1984) and &#8216;Gremlins 2: The New Generation&#8217; (&#8216;Gremlins 2: The New Batch&#8217;, 1990)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"RICK BAKER ONLINE AUCTION Lot 86: GREMLINS 2 - Lenny Telemetric Puppet Rig\" width=\"788\" height=\"443\" src=\"https:\/\/www.youtube.com\/embed\/gHVgtFqHEuo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>One of the more than evident inspirations of the aforementioned <strong>&#8216;Krampus&#8217;<\/strong> is this magnum opus of adventure cinema with hints of horror <em>soft<\/em> titled &#8216;Gremlins&#8217;.  The repertoire of <strong>handcrafted animated creatures<\/strong> which the first part of the duo boasts, was considerably enhanced in a &#8216;Gremlins 2&#8217; that left us monsters as iconic as <strong>lenny the goofball<\/strong>.<\/p>\n<p><!-- BREAK 19 --><\/p>\n<h2>&#8216;Alien vs.  Predator&#8217; (2004)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"AVP Facehugger Mechanics Tests ADI\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/pXJ8GAsAREI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>The impeccable use of animatronics and practical effects throughout the &#8216;Alien&#8217; saga is as obvious as it is unnecessary to claim.  That is why I have decided to include the work \u2014again\u2014 of <strong>Paul W.S. Anderson<\/strong> and his team in <strong>&#8216;Alien vs.  Predator&#8217;<\/strong>for the unexpected to find <strong>such hard work in making tangible creatures<\/strong> to integrate them into a show that, apparently, screams &#8220;digital&#8221; from the four winds.<\/p>\n<p><!-- BREAK 20 --><\/p>\n<h2>&#8216;The crazy history of galaxies&#8217; (&#8216;Spaceballs&#8217;, 1987)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"SpaceBalls Alien\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/aVZUVeMtYXc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>Very sorry, I have not been unable to contain my instinct to include this glorious moment from &#8216;The crazy story of the galaxies&#8217; of <strong>mel brooks<\/strong>.  every time i&#8217;m <em>chestburster<\/em> comes out of the chest of the newly ill-fated <strong>john hurt<\/strong>puts on his hat, and begins to sing, <strong>I am unable to contain the instant laughter<\/strong>.  It won&#8217;t be the best animatronic in the world, but <strong>fulfills its purpose perfectly<\/strong> \u2014and looks better than his counterpart in &#8216;Alien: Covenant&#8217;.<\/p>\n<p><!-- BREAK 21 --><\/p>\n<h2>&#8216;Devil Doll&#8217; (&#8216;Child&#8217;s Play&#8217;, 1988)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"Introducing Chucky: The Making of Child&#039;s Play\" width=\"788\" height=\"591\" src=\"https:\/\/www.youtube.com\/embed\/cQ74Li8HSaY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>if we talk about <strong>childhood traumas<\/strong> with celluloid, the good one <strong>chucky<\/strong> it holds a wonderful second place on my personal list.  To be honest, seeing the &#8216;Devil Doll&#8217; as god brought into the world, made up of <strong>irons and mechanisms to articulate it<\/strong>it has not diminished the index of chills that the simple fact of thinking about him generates in me.<\/p>\n<p><!-- BREAK 22 --><\/p>\n<div class=\"article-asset article-asset-normal article-asset-center\">\n<div class=\"desvio-container\">\n<div class=\"desvio\">\n<div class=\"desvio-figure js-desvio-figure\">\n<p>     <img decoding=\"async\" alt=\"This is how 'Devilish Doll' has evolved in eight films: from the slasher classic to its surprising remake\" src=\"https:\/\/i0.wp.com\/i.blogs.es\/2252b9\/chucky\/375_142.jpeg?w=788&#038;ssl=1\" data-recalc-dims=\"1\"\/><\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<h2>&#8216;The Exorcist&#8217; (&#8216;The Exorcist&#8217;, 1973)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"The Exorcist - Head-Spinning Dummy\" width=\"788\" height=\"443\" src=\"https:\/\/www.youtube.com\/embed\/GrQ0scRm8O4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>How could it be otherwise, if Chucky is the bearer of the silver medal, <strong>Regan and her spinning head<\/strong> occupy the place of honor on the podium of <strong>animatronics that have put me through the most sleepless nights<\/strong> during my childhood.  A snapshot taken by a William Friedkin in a state of grace that even seen out of context manages to shudder, inside of what is considered by many to be <strong>scariest movie of all time<\/strong>.<\/p>\n<p><!-- BREAK 23 --><\/p>\n<h2>Extra ball: &#8216;The Twilight Saga: Breaking Dawn &#8211; Part 2&#8217; (&#8216;The Twilight Saga: Breaking Dawn &#8211; Part 2&#8217;, 2012)<\/h2>\n<div class=\"article-asset-video article-asset-normal\">\n<div class=\"asset-content\">\n<p>\n   <iframe title=\"&#039;Twilight Forever&#039; new clip: &quot;Chuckesme&quot;\" width=\"788\" height=\"443\" src=\"https:\/\/www.youtube.com\/embed\/7jOuy-HOcg8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n  <\/p>\n<\/p><\/div>\n<\/div>\n<p>Let&#8217;s leave the best?  for the end.  If you have already seen the video attached to this section, my apologies for the cold sweats and future night terrors.  If you haven&#8217;t already, be brave and witness what is likely to be <strong>one of the most unintentionally terrifying animtronics in movie history<\/strong>.<\/p>\n<p><!-- BREAK 24 --><\/p>\n<p>The creature, which should give life to the baby <strong>renesmee<\/strong>ended up being renamed<strong> chuckesmee<\/strong> for his slight resemblance to our good friend Chucky.  Obviously and given the gruesome aspect of the animatronic, <strong>Chuckesmee was replaced by a digitally generated churumbel<\/strong> after a wise decision by those responsible for the film.  We fully agree with <strong>Bill Condom<\/strong>director of the film, in describing the aberrant puppet as &#8220;one of the most grotesque things we have ever seen&#8221; but, even so, it still looks better than the baby from &#8216;The Sniper&#8217; <strong>Clint Eastwood<\/strong>.<\/p>\n<p><!-- BREAK 25 --><\/p>\n<p>In Espinof |  16 Movie Classics With Better Special Effects Than Any Modern Movie<\/p>\n<p><!-- BREAK 26 -->\n <\/div>\n","protected":false},"excerpt":{"rendered":"<p>You can, dear readers, call me &#8220;carca&#8221;, &#8220;stale&#8221;, &#8220;old man&#8221;, or tell me that I smell rancid; but I can categorically assure you that there is no digital effect that manages to impose itself and stand out from a good practical effect; especially if we are referring to a animatronic. I can admit that the<\/p>\n","protected":false},"author":10,"featured_media":155525,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[10746],"tags":[19627,15266,37773,13716,11767,19847,14275,13946,20026,19579,11352,31907],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/i.blogs.es\/415f3b\/terminator-animatronics-cgi\/840_560.jpeg?fit=%2C&ssl=1","_links":{"self":[{"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/posts\/155506"}],"collection":[{"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/comments?post=155506"}],"version-history":[{"count":0,"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/posts\/155506\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/media\/155525"}],"wp:attachment":[{"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/media?parent=155506"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/categories?post=155506"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.imageantra.com\/wp-json\/wp\/v2\/tags?post=155506"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}