Maleficent: Mistress of Evil is one of the most visually dazzling films that Disney has put out this year, expanding on the lush fairy-tale visuals of the 2014 Maleficent to show us a rich Avatar-like underworld. It’s a world that you would expect to be completely created by the VFX team, but a new Maleficent Mistress of Evil clip that /Film is debuting ahead of the film’s digital and Blu-ray release proves that not to be the case.Maleficent Mistress of Evil Clip
/Film is debuting a new Maleficent: Mistress of Evil clip that will be available in full upon the film’s release on Digital and Blu-ray later this month. The clip digs into the VFX used in the film, overseen by VFX supervisor Gary Brozenich. The fantastical world of Maleficent seems at first to be composed entirely of CG shots, but producer Jeff Kirschenbaum describes how that is not the case.
“Not only is the Maleficent world built practically, it’s augmented by visual effects,” Kirschenbaum describe in the clip. “You really feel like you’re in the world and the visual effects are enhancing that.”
The clip goes on to show how the VFX team created the wings that Angelina Jolie‘s character uses to fly around the human kingdom of Ulstead and the fairy kingdom of the Moors — wings that are given special focus since the central conflict of the first film, 2014’s Maleficent, surrounded the damaging of Maleficent’s magnificent wings.
While it’s debatable whether Maleficent: Mistress of Evil was a successful sequel, there’s no denying it’s highly imaginative visuals. It’s amazing that a company like Disney would produce a film as visually gonzo and weird as this, and kudos must be given to the VFX team for bringing the vision of director Joachim Rønning to life.
Maleficent: Mistress of Evil will be available on Digital 12/31 and Blu-ray 1/14.
Maleficent travels to a grand old castle to celebrate young Aurora’s upcoming wedding to Prince Phillip. While there, she meets Aurora’s future mother-in-law - a conniving queen who hatches a devious plot to destroy the land’s fairies. Hoping to stop her, Maleficent joins forces with a seasoned warrior and a group of outcasts to battle the queen and her powerful army.
The mid-credits scene for Spider-Man: Far From Home drops a pretty big bombshell on your friendly neighborhood wallcrawler. Spidey Tom Holland saved the day and was forced to kill Mysterio Jake Gyllenhaal in order to destroy all the drones he was using to make himself look like a superhero from another dimension. But TheDailyBugle.net heard a different story, and they put it out into the world without hesitation, broadcasting across screens all over New York City. And now you can watch the full Spider-Man: Far From Home Daily Bugle news report in its entirety online.Spider-Man: Far From Home Daily Bugle News Report
Because this report appears in the-mid-credits scene of Spider-Man: Far From Home, we don’t get to see the full video of J. Jonah Jameson J.K. Simmons reprising his role from Sam Raimi’s Spider-Man film series calling out Spider-Man, revealing his true identity, and turning him into the menace that he’s been ranting about all these years.
This will undoubtedly be a big part of the story in Spider-Man 3, and it’s likely why Sony Pictures and The Walt Disney Company/Marvel Studios quickly struck a new deal to share the rights to the webslinger for a new movie and another appearance somewhere in the Marvel Cinematic Universe. Kevin Feige likely wants to finish this arc that they started before Sony takes Spider-Man and lets him play with Venom, Morbius the Living Vampire and whatever other Spider-Verse kind of stuff they’re cooking up.
Spider-Man: Far From Home is currently available on digital, 4K Ultra HD, and Blu-ray/DVD with all these bonus features:
Bonus Materials Include:New Original Short, Peter’s To–Do List: Peter has a few errands to run before he can leave on his class trip. Teachers’ Travel Tips: Mr. Harrington & Mr. Dell present a few tips on how to traverse the European continent. Stepping Up: Explore how Spider-Man was introduced in the MCU, the ways Tom Holland transformed the character of Peter Parker, and what the future holds for Spider-Man. Suit Up: The suit doesn’t make the hero – but it does play a big role in who they are and who they can become. This piece examines all of Peter’s different suits in the movie, and with behind the scenes footage, we see why some suits are better than others. Far, FAR, Far from Home: The film’s illustrious locations serve story points and establish tone, but they’re also amazing to travel to! Hear from the cast on their experiences filming on-location. It Takes Two: A special look at the chemistry between Jon Watts and Tom Holland. Fury & Hill: MCU stalwarts Cobie Smulders and Samuel L. Jackson are back as Agent Maria Hill & Nick Fury! The Ginter-Riva Effect: A look at the villain sub-plot and how William Ginter-Riva ties Spider-Man: Far From Home all the way back to the beginning of the MCU. Thank You, Mrs. Parker: A look at Marisa Tomei’s reimagining of Aunt May, from Homecoming to Far From Home. The Brother’s Trust: A quick look into some of the amazing work Tom Holland and his brothers have done through their charity, The Brothers Trust. The Jump Off: Interviews with the cast & crew take us through all of the amazing stunts of Far From Home. Now You See Me: We examine the evolution of Mysterio and why Jake Gyllenhaal was the perfect fit for the role. Stealthy Easter Eggs: Allow E.D.I.T.H. to reveal some of the hidden Easter Eggs you may have missed! Select Scene Pre – Vis: A side by side comparison of the Pre-Vis with the film Gag Reel & Outakes Never-Before-Seen Alternate & Extended Scenes ...
When I think of the Oscar for Best Visual Effects, I often think of the loudest and most cacophonous movies to play in a theater in a given year. But perhaps that’s unfair, because upon closer inspection, it seems that those types of films are rarely rewarded with the actual prize. So while there are a fair share of obnoxious movies on this year’s shortlist of candidates, the Academy will narrow the field soon for the actual nominees. In the meantime, let’s take a look at the 20 final contenders and see if we can use some recent history to predict the eventual winner.20 Remaining Best Visual Effects Oscar Candidates
The official Oscars website released the 20 movies that have advanced through the ranks to compete for the limited number of nominations. In recent years there have been five nominees, but for decades prior to 2010, there were only three each year. Here are the candidates who still have a shot at the trophy:
Ad Astra The Aeronauts Aladdin Alita: Battle Angel Avengers: Endgame Captain Marvel Cats Dumbo Fast and Furious Presents: Hobbs & Shaw Ford v Ferrari Gemini Man The Irishman Jumanji: The Next Level The Lion King Men in Black: International Midway 1917 Spider-Man: Far from Home Star Wars: The Rise of Skywalker Terminator: Dark FateFilms That Didn’t Make the Cut
For me, there are several genuine surprises that were either never in contention or have already been whittled off the list. The biggest may be Detective Pikachu, a film which we can debate the general merits of, but one that seemed to earn universal praise for its effects. There’s also no Godzilla: King of the Monsters, a movie that is kind of horrible sorry but which at least had some cool monster fights and some jaw-dropping Mothra imagery. A few others that were either never thought of or knocked off: Shazam!, Dark Phoenix, It Chapter Two, and Doctor Sleep. And I want to give a quick shout-out to Midsommar, a movie which almost certainly stood zero chance in this category. Its effects are much more subtle than many of the other movies mentioned already, but the way Ari Aster and his team was able to use pulsating sections of nature to convey an otherworldly, unsettling vibe has stayed with me ever since I saw it.Using Recent History to Predict the Winner
No Marvel movie has ever won this award, so let’s go ahead and cross Captain Marvel, Spider-Man: Far From Home, and Avengers: Endgame off the list. I briefly thought Endgame might earn a Return of the King-style victory that honors the entire franchise that came before it, but I forgot that the Return of the King thing only applied to Best Picture; all three of Peter Jackson’s Lord of the Rings movies won Oscars for visual effects.
No real-life war movie has won in recent history either, so let’s delete Midway and 1917. No live-action Disney movie has won in the past decade, so goodbye to Aladdin and Dumbo. The last time a Terminator film won was in the early ’90s with T2; hasta la vista, Dark Fate. No Fast & Furious film has ever even been nominated, so farewell to Hobbs and Shaw. The Force Awakens and The Last Jedi didn’t take the prize home, so let’s assume that means the Academy isn’t impressed with modern Star Wars films: bye, The Rise of Skywalker.
That leaves us with these contenders:
Ad Astra The Aeronauts Alita: Battle Angel Cats Ford v Ferrari Gemini Man The Irishman Jumanji: The Next Level The Lion King Men in Black: International
I have my own suspicions about which of these remaining entries will be laughed out of the nomination process, but let’s stop removing options and finally look at what might actually win. Space movies are frequent winners First Man, Interstellar, Gravity, so Ad Astra seems like a safe bet. Jon Favreau’s The...
EXCLUSIVE: The creative team behind Patrick Melrose, the BAFTA-winning Benedict Cumberbatch-fronted drama, are in active discussions about bringing the limited series back for a second run.
Patrick Melrose was originally set up as a five-episode order with each episode of the show based on one of Edward St Aubyn’s novels. Although all of the novels were used for the David Nicholls-penned adaptation, Deadline understands that Cumberbatch and the producers are looking at ways to carry on the story.
The series, which was directed by Edward Berger and produced by Michael Jackson's Two Cities Television, Little Island Productions and Cumberbatch’s SunnyMarch, aired on Showtime in the U.S. and Sky Atlantic in the UK in May 2018.
The producers are now eyeing plans for a follow-up. Little Island founder Helen Flint told Deadline that the discussions are timely given that Nicholls has just finished his latest novel, Sweet Sorrow. “I don't know what Edward St Aubyn thinks but the conversation is ongoing. We're getting very close to Teddy's age now, as to what happens and where we even go with that. It's a fascinating idea,” she said.
The series centered on Cumberbatch's Melrose, struggling to overcome the damage inflicted by a horribly abusive father and the mother who tacitly condoned his behavior. The final episode sees Melrose get sober, bury his mother, deal with the fact that she didn’t protect him from his father and ultimately find redemption.
One of the creative suggestions seems to be to check in with the character, which is based on St Aubyn himself, ten years after these experiences.
“We've closed ourselves at the point of redemption of a man who has had a family, who has maybe finally forgiven, maybe he has got there. To return and say 'is it successful?' is everybody's conversation about themselves. It's worth having a conversation. I don't love the character in any given way, I don't hate him either but I like his company. I think in a way he illuminates our society in a way that is unique. From a personal point of view, I'd love to do it,” added Flint.
Cumberbatch alluded to plans to return to the character when he picked up two BAFTAs earlier this month — for best actor and best mini-series. “[Patrick Melrose] was condensed brilliantly on both sides of the book and the screenplay, an incredible director, a fantastic producing team, and a family of [heads of department] and cast that you really couldn't repeat, although we'd like to,” he said on the night.
Similarly, Sky drama chief Cameron Roach, who was promoted to the position in February following the departure of Anne Mensah to Netflix, told Deadline that the pay-TV broadcaster was “actively engaging” with the creative team.
Patrick Melrose featured Jennifer Jason Leigh and Hugo Weaving as Melrose's parents with the cast also including Anna Madeley, Blythe Danner, Allison Williams, Pip Torrens, Jessica Raine, Prasanna Puwanarajah, Holliday Grainger, Indira Varma and Celia Imrie.