First Look at Angelina Jolie as the Villainous Maleficent - Dread Central
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First Look at Angelina Jolie as the Villainous Maleficent

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We’re not sure how much we’ll be covering Disney’s upcoming Maleficent, but since the film will be exploring the dark side of the studio’s most popular villain, we thought we’d at least share this first look at Angelina Jolie in the title role and then go from there.

From the Press Release:
The Walt Disney Studios announced today that production began Wednesday, June 13th, on Maleficent, starring Academy Award-winning actress Angelina Jolie.

Directed by two-time Oscar-winning production designer Robert Stromberg (Avatar, Alice in Wonderland) in his directorial debut and produced by Joe Roth, Maleficent is written by Linda Woolverton (The Lion King, Beauty and the Beast) and executive produced by Angelina Jolie, Don Hahn, Matt Smith, and Palak Patel.

Co-starring in the film are Sharlto Copley (District 9), Elle Fanning (Super 8), Sam Riley (On the Road), Imelda Staunton (Vera Drake), Miranda Richardson (The Hours), Juno Temple (Atonement), and Lesley Manville (Secrets & Lies).

This is the untold story of Disney’s most beloved villain, Maleficent, from the 1959 classic Sleeping Beauty. The film reveals the events that hardened her heart and drove her to curse the baby, Aurora.

Behind-the-scenes talent includes Academy Award-winning cinematographer Dean Semler (Dances with Wolves, In the Land of Blood and Honey), production designer Gary Freeman (Saving Private Ryan, The Bourne Supremacy ), two-time Oscar nominated costume designer Anna B. Sheppard (Schindler’s List, The Pianist), and seven-time Academy Award–winning makeup artist Rick Baker (Planet of the Apes, Men in Black).

Maleficent is scheduled for a March 14, 2014, release in 3D.

First Look at Angelina Jolie as the Villainous Maleficent

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Reviews

Desolation Review: Campers + Lunatic = Simplicity, But Not Always a Better Product

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DesolationStarring Jaimi Page, Alyshia Ochse, Toby Nichols

Directed by Sam Patton


I’m usually all in when it comes to a psycho in the woods flick, but there was just something about Sam Patton’s Desolation that seemed a bit distant for me…distance…desolation – I’m sure there’s a connection in there somewhere. Either that or I’m suffering from a minor case of sleep-deprivation. Either way, make sure you’ve got your backpack stuffed, cause we’re hitting the timber-lands for this one.

The film focuses on mother and son tandem Abby and Sam, and the tragic notion that Abby’s love and father to her son, has passed away. The absence has been a crippling one, and Abby’s idea of closure is to take her adolescent offspring to the woods where her husband used to love to run and scatter his ashes as a memorial tribute. Abby invites her best friend Jenn along as emotional support, and together all three are planning on making this trip a fitting and dedicatory experience…until the mystery man shows up. Looking like a member of the Ted Kaczynski clan (The Unabomber himself), this creepy fellow seems content to simply watch the threesome, and when he ultimately decides to close the distance, it’ll be a jaunt in the forest that this close-knit group will never forget.

So there you have it – doesn’t beg a long, descriptive, bled-out dissertation – Patton tosses all of his cards on the table in plain view for the audience to scan at their leisure. While the tension is palpable at times, it’s the equivalent of watching someone stumble towards the edge of a cliff, and NEVER tumble over…for a long time – you literally watch them do the drunken two-step near the lip for what seems like an eternity. What I’m getting at is that the movie has the bells and whistles to give white-knucklers something to get amped about, yet it never all seems to come into complete focus, or allow itself to spread out in such a way that you can feel satisfied after the credits roll. If I may harp on the performance-aspect for a few, it basically broke down this way for me: both Abby and Jenn’s characters were well-displayed, making you feel as if you really were watching long-time besties at play. Sam’s character was a bit tough to swallow, as he was the sadder-than-sad kid due to his father’s absence, but JEEZ this kid was a friggin malcontented little jerk – all I can say is “role well-played, young man.”

As we get to our leading transient, kook, outsider – whatever you want to call him: he simply shaved down into a hum-drum personality – no sizzle here, folks. Truly a disappointment for someone who was hoping for an enigmatic nutbag to terrorize our not-so-merry band of backpackers – oh well, Santa isn’t always listening, I guess. Simplicity has its place and time when displaying the picture-perfect lunatic, and before everyone gets a wild hair across their ass because of what I’m saying, all this is was the wish to have THIS PARTICULAR psycho be a bit more colorful – I can still appreciate face-biters like Hannibal Lecter and those of the restrained lunacy set. Overall, Desolation is one of those films that had all the pieces meticulously set in place, like a house of cards…until that drunk friend stumbled into the table, sending everything crumbling down. A one-timer if you can’t find anything else readily available to watch.

  • Film
2.5

Summary

Looking for a little direction way out in the woods? Look elsewhere, because this guide doesn’t have a whole lot to offer.

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New 78/52 Clip Showers Off

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To celebrate the UK DVD release of the Psycho doc 78/52, we have a brand spanking new clip for you cats to go crazy over. Watch it quick; you don’t want to keep Mother waiting!

The flick, from director Alexandre O. Phillipe, features interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Marli Renfro – body double for Janet Leigh in Psycho, Karyn Kusama, Neil Marshall, Richard Stanley, and many more.

An unprecedented look at the iconic shower scene in Alfred Hitchcock’s Psycho, the ‘Man behind the Curtain’, and the screen murder that profoundly changed the course of world cinema, 78/52 references the number of set-ups (78) and the number of cuts (52) in the shower scene from Alfred Hitchcock’s Psycho. One entire week out of the four weeks scheduled to shoot Psycho — a full quarter of the film’s production schedule — was dedicated to the infamous shower scene.

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Joel David Moore to Write and Direct the Remake of Hit Korean Film Hide and Seek

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Joel David Moore is an actor we all know from his roles in James Cameron’s Avatar and Adam Green’s original Hatchet film. But did you know he also co-directed Adam Green’s psychological thriller Spiral? Well, he did and now the man is stepping back behind the camera for CJ Entertainment’s upcoming remake of the 2013 Korean Movie Hide and Seek.

Moore will write an adapted feature English-language screenplay for Hide and Seek in addition to directing the film. The original Korean version was written and directed by Huh Jung.

“Hide and Seek is a sharp, sophisticated thriller that created a lasting imprint on me,” said Joel David Moore. “I wanted to explore what could happen if we retold this story to an American audience, using the tools from the original story. We found a rich and complex world, relevant to our current race, class and power struggles we’re seeing here in America. I’m excited to partner with CJ Entertainment, perfect partners on this journey.”

CJ Entertainment is developing, financing and producing the film.

We’ll let you know when we hear more!

Synopsis:

Based on a phenomenon that actually happens, the film centers on a man searching for his long-lost brother stumbles upon a secret world of squatters living in the homes of unsuspecting tenants – a revelation that becomes all the more menacing when his home becomes the next target.

Hide and Seek is a social horror-thriller that builds upon themes related to the widening gap between the upper 1% and the lower class. As the population in urban areas balloon and real estate prices skyrocket, lower-income segments of society are finding themselves continually getting pushed out. This film explores the question of “what if” when those left marginalized decide to take matters, and homes, into their own hands.

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