Gore Verbinski criticizes the use of Unreal Engine in cinema

The integration of game development technologies into film production faces technical resistance from veteran directors. On January 21, 2026, Gore Verbinski, known for the original Pirates of the Caribbean trilogy, classified the use of Unreal Engine by Epic Games as a setback for the seventh art. According to the filmmaker, the migration of the graphics engine, previously restricted to video games, to finalize visual effects in major productions, resulted in the loss of photorealistic naturalness in favor of a standardized aesthetic.

The use of Unreal Engine in productions such as those of Disney and Marvel is a positive point regarding production flow agility and cost reduction. The technology allows entire scenarios to be rendered in real time, facilitating directors' visualization on set. This technical optimization is essential for the viability of contemporary blockbusters, ensuring that tight schedules are met without the need for months of manual post-production, and offering satisfactory results in contexts where absolute realism is secondary to fantasy.

"I think the simplest answer is you've seen the game engine Unreal Engine come into the visual effects landscape. It was very much divided, Unreal was very, very in the games, but then people started thinking maybe movies could use Unreal for visual effects. So you've got this kind of gaming aesthetic coming into the world of cinema."

"I think the arrival of Unreal Engine to replace Maya as one of the fundamentals was one of the biggest setbacks. It doesn't work from a purely photorealistic perspective."

However, the visual standardization resulting from this transition is subject to severe criticism. It is regrettable that cinema is sacrificing the depth of manual lighting and the physical simulation of fabrics and skin in exchange for speed of execution. Verbinski's criticism focuses on the tool's inability to convincingly emulate natural light, resulting in a break in immersion where actors appear detached from the scene. The replacement of Maya software by immediate rendering engines suggests a devaluation of the craftwork of VFX artists.

The Disney's dependence on these tools has generated technically questionable results, often pointed out by the audience as artificial. The debate exposes a failure in seeking a balance between technological innovation and cinematic visual fidelity.