Latest news with #PussinBoots:TheLastWish
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Scotsman
13-05-2025
- Entertainment
- Scotsman
Every Florence Pugh Film: Here are all 18 of the star's movies ranked from best to worst
It's official: after a series of less-than-well-received entries in the Marvel film series, the 36th instalment of superhero adventures, Thunderbolts* (or should that be New Avengers?), is a critical and commercial hit. The many faces of Florence Pugh. | Contributed Much of the credit for that is going to Florence Pugh who plays Natasha Romanov, the adoptive sister of Scarlett Johansson's Black Widow who just happens to be a highly-trained assassin. It's the latest chapter in a dizzying rise to the top of the acting world for the English actress who only made her screen debut just over a decade ago in 2014'sThe Falling . Since then she's been nominated for an Oscar for Best Supporting Actress and two Baftas, as well as winning several gongs including a British Independent Film Award and the Trophée Chopard Award at the Cannes Film Festival. Her upcoming projects include the new Avengers film, as well as a television adaptation of East of Eden. Thusfar she's starred in 18 feature films - here they all are, ranked from best to worst. 1 . Little Woman Florence Pugh was nominated for the Oscar for Best Supporting Actress for her performance as Amy, the youngest of the March sisters, in Greta Gerwig's much-loved 'Little Women'. It's the seventh time that Louisa May Alcott's novel has been adapted for the big screen, with Gerwig giving it a clever feminist spin. It scores a near-perfect 95 per cent on Rotten Tomatoes. | Contributed Photo Sales 2 . Puss in Boots: The Last Wish It took 11 years for 2011's Shrek spinoff 'Puss in Boots' to get a sequel, but when it came it was well worth the wait according to the critics - with 'Puss in Boots: The Last Wish' scoring 95 per cent positive reviews. Antonio Banderas and Salma Hayek return as Puss and Kitty Softpaws, while Florence Pugh voices crime family boss Goldilocks. | Contributed Photo Sales 3 . Oppenheimer The winner of seven Oscars - including for Best Picture, Best Director, Best Actor, and Best Supporting Actor - Oppenheimer has a Tomatometer rating of 93 per cent. Directed by Christopher Nolan, it tells the story of J. Robert Oppenheimer, the American physicist who helped develop the first nuclear weapons during World War II. Florence Pugh plays Jean Tatlock, a psychiatrist and Communist Partymember who falls in love with Oppenheimer. | Contributed Photo Sales 4 . Fighting With My Family Florence Pugh's big international breakthrough came with 2019's 'Fighting With My Family'. Written and directed by Stephen Merchant, it's based on a true story about a brother and sister who head to America to become professional wrestlers. A then little-known Jack Lowden plays Pugh's brother, while big names including Nick Frost, Vince Vaughn, and Dwayne 'The Rock' Johnson also star. It has a 'Certified Fresh' Rotten Tomatoes rating of 93 per cent. | Contributed Photo Sales
Yahoo
22-04-2025
- Entertainment
- Yahoo
Comedian John Mulaney coming to CMAC during ‘Mister Whatever' tour
ROCHESTER, N.Y. (WROC) — Comedian John Mulaney will be bringing his latest stand-up tour to Canandaigua next September. The former Saturday Night Live writer and talk-show host is coming to CMAC as part of the 'John Mulaney: Mister Whatever' tour on Saturday, September 6. Concerts in the Rochester area in 2025! Mulaney is best known for his work in shows such as Netflix's 'Big Mouth' and as the host of 'Everybody's Live with John Mulaney.' He has acted in movies such as 'Puss in Boots: The Last Wish' and 'Spider-Man: Into the Spider-Verse.' Tickets to Mulaney's show will go on sale this Friday at 10 a.m. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Yahoo
16-04-2025
- Entertainment
- Yahoo
‘Puss in Boots: The Last Wish' Director Joel Crawford's ‘Forgotten Island' Hits Theaters in 2026
'Forgotten Island' will soon be found. The latest project from 'Puss in Boots: The Last Wish' director Joel Crawford and Januel Mercado, who served as co-director on the 'Puss in Boots' sequel, will arrive in theaters on Sept. 25, 2026, from Universal Pictures and DreamWorks Animation. The pair also wrote the film. The new movie will be produced by Crawford's longtime collaborator Mark Swift. Swift also produced 'The Last Wish,' which was nominated for the Academy Award for Best Animated Feature as well as BAFTA and Golden Globe nods. 'Forgotten Island' will mark the directorial debut for Mercado, who previosuly served as head of story on Crawford's 'The Croods: A New Age.' While plot details are being kept under wraps, the film is described as 'a broad party comedy adventure that transports the film's protagonists to a long forgotten, magical island rooted in Philippine mythology.' 'Puss in Boots: The Last Wish' has been in the news recently, with Ryan Coogler saying that the character of the Wolf (voiced by the great Wagner Moura) was a key inspiration for the immortal vampire villain in his new film 'Sinners' (which opens this Friday). DreamWorks is coming off of their Oscar-nominated 'The Wild Robot' and January's hit 'Dog Man.' This year, they also have 'The Bad Guys 2' opening in August and 'Gabby's Dollhouse: The Movie,' along with the first live-action adaptation of an animated DreamWorks classic, 'How to Train Your Dragon,' coming in June. Plus, Universal is so confident in the movie that they have already scheduled a sequel, 'How to Train Your Dragon 2,' for June 11, 2027. 'Forgotten Island' hits theaters on Sept. 25, 2026. The post 'Puss in Boots: The Last Wish' Director Joel Crawford's 'Forgotten Island' Hits Theaters in 2026 appeared first on TheWrap.
Los Angeles Times
12-02-2025
- Entertainment
- Los Angeles Times
A guided tour of the visual world of ‘The Wild Robot'
When multiple Oscar nominee Chris Sanders took on adapting Peter Brown's beloved children's book, 'The Wild Robot,' he wanted to do something different visually than what he was seeing in other movies. The reigning 3D computer animation style, with its smooth surfaces, often bright, even lighting and familiar character designs wasn't right for the feeling he wanted to foster. 'You've got these cute animals, and you've got a forest, and you've got this robot, all these adorable elements. And if we had made the film in traditional CG style, I was absolutely sure it would play too young,' Sanders says of the DreamWorks film. So he and his team looked both backward and forward: They drew heavy inspiration from Tyrus Wong's revered painted environments for 1942's 'Bambi' and used cutting-edge computer animation tools to achieve the analog-looking visuals. Here, Sanders reveals the thinking behind those and other choices. 'I wanted people to see this film like I saw 'Bambi,' as the most glorious, sophisticated tone poem of a story that packs a wallop. So we began to pursue this more soft, painterly look,' Sanders says, acknowledging they were 'really fortunate that DreamWorks had made some huge advances in breaking away from that traditional CG' style with 'Puss in Boots: The Last Wish' and 'The Bad Guys' — placing a more illustrated feeling, like a hand-drawn picture book, within reach. They tweaked the software to produce what looked like real brushstrokes in the rendering of the images. 'We were going for something very specific, again, much more like Ty Wong and his styling for 'Bambi,' ' says Sanders. 'One of our development artists, Daniel Cacouault, was doing these beautiful impressionistic paintings out in France. He was very loose, and instead of flowers being [exactly articulated], he would just dot the paper with little [dabs] of color, red, as flowers.' 'It's like the best paintings when you get really close to them: They fall apart in the most glorious way, become like nonsense. But when you back up, they pull together, and it becomes a mountain or a cloud or a flower. And that's what we wanted to do. So imagine that as a challenge to really get true brushstrokes onscreen. It took many, many iterations and meetings to find just the right balance of the width of the brushstrokes, where they blended into other colors. ' 'Were they a hard edge? Were they a soft edge?' 'What kind of weight of paint we were using?' There's a lot of ingenuity and inventiveness that went into this, but the end result really achieved what I was hoping for.' Sanders says there was a balance to strike between the photoreal and the almost-impressionistic looks. For instance, letting go of the notion that every leaf on a tree had to be photoreal and separately articulated, instead using looser brushstrokes to imply them, they found, 'It felt in a way more real because you weren't dealing with those repeated leaves. That was something I didn't expect. And same thing with the animals' fur. When you got away from the individual hairs, and now you had these brushstrokes that felt more like matted fur again, there was an interesting reality that came from that. That was all its own. It was a really wonderful thing. 'Whether it be a fish or a bird or a human or a dragon, most of the time, animated characters have human eyes. They'll have a sclera and a beautiful iris, and they're gorgeous. They look like jewels. I felt that that would've broken the spell in our film. It was critical that we look at all the animal eyes and make them be as appropriate to the original animal as possible. [The fox] Fink's eyes are green; they have an oval pupil. 'No human eyes in animal bodies' was one of our rules.' 'The only thing I insisted on in the translation of Roz [the title robot] from the drawings in the book to the screen is that we eliminate the mouth entirely. I did a presentation on robots that I like, with the Iron Giant being the only one with an operational jaw that I felt really worked. Otherwise, I felt too much articulation on the face became distracting. So we gave that limitation to Roz: It was just Lupita [Nyong'o]'s voice, Roz's pantomime and her really complex eyes' that conveyed the character, Sanders says. 'If you bought a ROZZUM Unit 7134 and something went wrong with one of her eyes and you had to replace it, it would be very expensive. It would be like $70,000 to get a new eye. I wanted 'em to feel big and heavy and have a lot of glass in them. We threw a lot of development at her eyes, so there's a lot of stuff going on in them, and boy, it really paid off.' Among the film's sci-fi moments 'would be the cave; what we always called the robot graveyard. The natural world has been manipulated to create this interesting place to project the future. We have this wall that's tilted up above Roz, and we project the commercial from the damaged robot onto that wall, but the wall has this kind of geometric surface to it, and if you look at it straight on, the image is fairly regular, but if you turn just a little bit, the camera moves a little bit off. It's got this jagged look to it. So it was this really beautiful arrangement of the natural world but using basalt and geometric elements to create a bit of a structure that we would project this futuristic world onto. And the overall effect with the weird light coming from the tide pools, I wanted it not to be creepy but kind of beautiful and weirdly cozy. So we were heavily manipulating how light would actually work inside a cave like that. There's a luminosity coming from the pools — on a live-action set, you'd be dropping lights in. If it was a real cave, it would be incredibly dark, but we didn't want scary; we wanted beautiful and kind of weird.' 'In the migration, I felt very strongly that this is where Roz and Brightbill [the gosling she raised] are going to separate. I imagined an early-morning flight where Roz and all the geese are starting on the ground. The sun is rising, but it's only high enough to touch the birds once they separate from the ground. 'So Roz remains in that cool morning light, but as soon as Brightbill lifts off her shoulder, he lights up with the rest of the geese and they're this bright golden orange, and you're telling the audience that there's two layers to this story and to the world, and that once Brightbill joins that layer, he's now separated from Roz and she's deliberately left in that cool light, because she has to feel as though she's left behind.'
