Congo (1995, 20 percent)

After the revolutionary CGI/animatronics of Jurassic Park, Winston used models and puppetry for another Michael Crichton adaptation, the ape-gone-ape flick Congo (since director Frank Marshall didn't think computers could accurately duplicate the beasts' fur). The film fared poorly with critics ("This glib, overheated film about vicious primates delivers little suspense," wrote Janet Maslin of the New York Times), and fanboys were disappointed with the lack of digital razzle dazzle.

However, Congo was an important film for Winston, who said his work on the movie was a learning process: "The next thing that I did was a movie called Instinct with Anthony Hopkins, which I think was the best gorillas I've ever scene on film, and I could never have done that movie if I had not made mistakes on Congo."

A.I.: Artificial Intelligence (2001, 72 percent)

In his TV days, Winston was the makeup artist for a version of Pinocchio. So it wasn't much of a stretch when, working on Steven Spielberg's A.I., he was tasked with crafting animatronics that would make artificial humans as lifelike as possible. The result were a number of puppets that bridged the uncanny valley, as well as Teddy, a super toy that required five crew members to aid it in its movements. Winston's work on the film impressed MIT scientists and the Academy, garnering his last Oscar nomination for Best Visual Effects. Critics found the film flawed but worthy, especially on a technical level; Michael Wilmington of the Chicago Tribune called A.I "a provocative, personal and intensely engaging picture made with big-studio resources and technical magic."