Disney+ showcases 'National Treasure: Edge of History'

A streaming series based on the adventure movies with Nicolas Cage "coming soon" on Disney +

There was no trailer premiere at Comic-Con in San Diego, but a short teaser - and a behind-the-scenes featurette - when "National Treasure: Edge of History" was dedicated to a panel on Thursday.

The TV series continues to spin on the popular films with Nicolas Cage, and even though fans have been nagging and hoping for a third film, it unfortunately seems difficult to get. Instead of Cage, we now have to settle for a young Latin girl (Lisette Olivera) who takes over the torch and embarks on the treasure hunt of her life.

But we will recognize some faces from the movies, including Harvey Keitel in the role of FBI agent and Justin Bartha returning in the role of Riley. In the clip that Disney has just released online, he says:

 - The wonderful thing about the films and now the TV series is that they use American history as a springboard for exciting treasure hunts. The difference in the series is that it is a different world, and exploring history was very different 20 years ago when I was young.

 Get to know the heroine Jess, her friends and Catherine Zeta-Jones' villain in the video below.

"National Treasure: Edge of History" will premiere at Disney + soon.

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Chris Hemsworth: Thor's role is constantly evolving


Chris Hemsworth spoke about his Thor role being an ever-evolving character.

The 38-year-old actor first played the legendary superhero in 2011, and since then Chris has found that Thor is different in each of the films.

The Hollywood star revealed to 'IGN.com': "When we started in the first film there were many versions of the character and so I've always hoped... and I think every time we see him in a film see, it's something unique, that's where he's changed. There's always been something...

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unexpected about the character." Chris also thinks that Thor has become better known since director Taika Waititi joined the franchise. The actor thinks that 46-year-old Taika made Thor more humorous and also more emotionally vulnerable. "I definitely think from 'Ragnarok' onwards his sense of humor made it all the more relatable and there was a greater sense of fun and enjoyment in it. I think the more vulnerable he got over time and the more complex - to the extent that he's prone to emotional Trauma or emotional complications - his mental fitness wasn't always at ten... I think people kind of appreciated that," the star continued. Meanwhile, Tessa Thompson recently revealed that the sexuality of her role as Valkyrie has been a "big talking point" among the 'Thor: Love and Thunder' creators.

Minions 2 - How Gru Becomes Despicable: the Italian premiere at the Taormina Film Fest

The 68th edition of the Taormina Film Fest wins the national premiere of Minions 2 - Come Gru Becomes Despicable, an animated film that will be screened on June 30 at the Greek Theater. It will be presented by Max Giusti, Gru's Italian voice.

The very nice and impertinent Minions, whom we met thanks to Despicable me, will arrive at the Taormina Film Fest 2022, which will be held from 26 June to 2 July in the beautiful Sicilian town, under the direction of journalists and critics Alessandra De Luca, Federico Pontiggia and Francesco Alò.

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Minions 2 - Come Gru Becomes Despicable will be presented in national preview at the Greek Theater on the evening of June 30, and then debut in our cinemas on August 18. The film premiere will be preceded by a special introduction by Max Giusti, who, for the fifth time the Italian voice of the evil Gru, will interact with the Minions in a 3D hologram.

The three directors of the 68th edition of the Taormina Film Fest are delighted to have the film. And in fact they said:

We would like to thank Illumination and Universal who have granted the screening of Minions 2 - Come Gru becomes very bad for an audience of all ages at the Ancient Theater, an exciting experience for the Taormina Film Fest (...) This new chapter of the sample animation saga revenue, inaugurated in 2010 by Despicable Me, is yet another confirmation of the excellent quality of an editorial line under the guidance of Chris Meledandri, founder and CEO of Illumination.

Minions 2 - How Gru Becomes Despicable tells the origins of the story in which the greatest supervillain in the world meets the Minions for the first time, forms the most despicable troop in the cinema and faces the most unstoppable criminal force ever assembled.

Long before he became the lord of evil, Gru (Max Giusti) is just a 12-year-old from the suburbs plotting to take over the world from his basement.

But he's not doing particularly well. When Gru runs into the Minions, including Kevin, Stuart, Bob and Otto - a new Minion sporting braces and a desperate need to please - this unlikely family joins forces. Together, they build their first lair, design their first weapons, and strive to complete their first missions.

When the infamous supervillain supergroup, the Evil 6, hunts down their leader, the legendary Wild Knuckles martial arts fighter, Gru, their most die-hard fanboy, interviewed to become their newest member. At first, the Evil 6 were not impressed by the tiny, aspiring villain, but then Gru outsmarted them (and infuriated them) and suddenly became the archenemy of the worst villains in the world. With Gru on the run, the Minions try to learn the art of kung fu to save him, and Gru discovers that even the bad guys need a little help from their friends. 

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'Doctor Strange 2': When does it premiere on Disney +?

Doctor Strange 2 arrives on Disney+ well before Spider-Man: No Way Home. Marvel Studios has officially announced that it opens on June 22.

When does Doctor Strange 2 premiere on Disney+? Doctor Strange in the Multiverse of Madness, which grossed $450 million in its opening weekend, becoming the fifth-biggest post-pandemic theatrical release, will premiere on Disney+ on June 22 after passing the 60-year window. theatrical screening days that Marvel is applying to its movies. With Shang-Chi: The legend of the ten rings that window was extended to 69 days and in the case of Eternals it was limited to 60 days.

Doctor Strange in the multiverse of madness thus arrives at Disney before Spider-Man: No Way Home, which depends on Sony and not on Disney, and for which there is no release date on the digital platform, although the rest of the catalog of Spider-Man is getting closer, poised to hit Disney+ in the UK first. Tom Holland's film is available to rent or buy from March 15 through Amazon Prime Video, Apple TV, Google Play, Microsoft Store and Rakuten TV. And no, there is no simultaneous release in theaters and Disney + of Doctor Strange 2.

Although Black Widow was released simultaneously in theaters and Disney + with premium access, Shang-Chi: Legend of the Ten Rings and Eternals, already available on the digital platform, were released exclusively in theaters. In the case of Simu Liu's film, the idea was to stay in theaters for only 45 days before being released on the streaming platform. In the end, instead of 45 days, Marvel Studios chose to postpone the premiere on the digital platform to November 12, 69 days later to link it to the second anniversary of the platform. In the case of Doctor Strange 2, it has been brought forward so as not to coincide the premiere with the addition of the Daredevil series to the Disney Plus catalog and precisely to distance it and give viewers time to enter this series and the rest of the fiction. from Marvel Studios coming from Netflix and premiering on June 29.

If the Disney + premiere of Doctor Strange 2 had been strictly adapted to the 60-day window, we would have put it around July 6, assuming, of course, that there is such a window. A leak already pointed out at the end of May that Doctor Strange in the multiverse of madness would premiere on Disney + on June 22, 2022. Although the 'official' source was the Disney + Instagram account in Germany, the image that circulated on social networks it could perfectly have been a fake. Although it fit with the initial window of 45 days... Now it's official: it opens on June 22.

Disney announced that both the Eternals and the rest of the Marvel movies would be released exclusively in theaters and there would be no 45-day window. His arrival on digital platforms would follow, he said, his usual course. In the end Marvel and Disney announced that Eternals would premiere on Disney + 60 days later. Disney first analyzed the evolution of the box office and the result of the premiere of Shang-Chi on Disney +. Shang-Chi took only two months to reach the digital platform. Eternals followed the same release model at 60 days. The box office, quite similar to that of Shang-Chi, always pointed in this direction.

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This answer has to do with Black Widow and Shang-Chi's box offices, obviously. Disney has been experimenting, trying to reach all channels and keep all stakeholders happy. The best proof that they didn't know which was the best option is that the Disney movie Jungle Cruise, which has absolutely nothing to do with the MCU, which is supposed to have all the ingredients of a summer blockbuster capable of powerfully attracting attention of consumers who are, in principle, returning to theaters, was also released simultaneously in theaters and on the streaming platform Disney + with the same model as Black Widow. This means that the model that has been followed with the films Mulan, Raya and Black Widow must not have gone so badly within the framework of the current social and economic situation, although the income that these films have obtained in the streaming platform. But the fact that it is returning to the traditional model after Shang-Chi's good performance at the box office is that the income on the digital platform in the form of Premium Access still leaves something to be desired. If to this is added that, at least for now, part of the public is returning to theaters, it is clear that we are not going to see the hybrid model again.

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Disney has tested three models to release their movies. On the one hand, the simultaneous premiere of Black Widow, the option to release only through its digital platform, as happened with Hamilton and Soul in 2020, and as happened this past summer with Pixar's Luca, and the exclusive theatrical window of 45-60 days. And the question in each case was: how many viewers do they give up if they limit themselves to the digital platform? In other words: is only the digital release profitable for that particular film? In the case of Black Widow, which was still released in the middle of the vaccination process in practically all countries, it was clear that they could not take risks exclusively with a theatrical exhibition. Not only in the US domestic market, but also abroad. In the five months that separate Black Widow from Eternals, it was logical to think that there would be a change in the behavior of the spectators, as it was.

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Guy Ritchie to Direct Hercules Live-Action Remake


Guy Ritchie is set to direct another live-action Disney remake, Hercules, following the successful Aladdin remake and confirmed sequel.

Film director Guy Ritchie was able to bring in more than one billion US dollars with his "Aladdin" remake and was thus responsible for the most successful Disney remake. It is therefore not surprising that the Brit is brought on board for another Disney classic: In addition to the sequel to "Aladdin", Guy Ritchie is now also set to direct a remake of "Hercules".

When it comes to humor, style and execution, Guy Ritchie seems to be ideal for the Disney universe - at least when it comes to live-action remakes of the most popular films. The director will soon ensure a successful return of "Hercules", the powerful demigod and son of Zeus.

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The cartoon "Hercules" was released in cinemas in 1997. In the German version, Til Schweiger spoke the role of the main character from Greek mythology. Alongside Ritchie, Dave Callaham, author of Shang-Chi and the Legend of the Ten Rings, will also be part of the team already tasked with drafting the first draft of the script. The remake is being produced by brothers Joe and Anthony Russo.

It's unclear when filming for the remake will begin. Nothing is known about the cast of the live-action remake at this time.

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Oscar-nominated new film will explore culture and generation: "Are we the adults now?"

The Norwegian director Joachim Trier has been around the world with his latest film The World's Worst Man, which has now finally landed in Danish cinemas after a year of standing ovations in Cannes, two Oscar nominations and already great success on the big screen.

'The World's Worst Man' is about the soon-to-be 30-year-old Julie, who has not yet figured out what she wants or who she wants to be. In the role of Julie is seen Renate Reinsve, who won the award for Best Actress in a Leading Role at last year's Cannes Film Festival, while also receiving a BAFTA nomination for her performance.

The comedy-drama is a portrait of the eventful adult life of the late 20s and its crossroads, where great and defining choices about the course of the future must be made.

We met Joachim Trier to talk about his cinematic film, which is largely based on his own experiences and observations. Therefore, 'The World's Worst Man' has also become a work with a high possibility of resonance in the audience.

Reviewer for Børsen, Michael Solgaard, writes, among other things, that "there is so much identification in 'The World's Worst Man' that most men and women between the ages of 20 and 60 in Scandinavia's big cities can see themselves in the main characters."

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When we inquired into the secret behind making films that resonate in other human beings, Trier emphasized the personal angle.

- It's a strange mix of having to find characters like me and Eskil [Vogt, ed.] That I write with, and the actors can also feel are us - and at the same time not us. It must also be something culture-specific. The one that mixes of observing and trying to be accurate and exploring a culture or a generation or a character.

- At the same time, one must mentally understand their character and what they are going through. For example, I also turned 30 several years ago and have been unsure of love and all that stuff. But at the same time, I can not just transfer and make a story about it to Julie - so Julie will have to be someone else.

- I've known some Julie's in my life and I have a huge love for that character. I think it's a bold character full of enthusiasm and curiosity and a lot of dreams and a giant cloud over his head of expectations. At the same time, she has the one who travels to recognize that time is limited. You can not have it all.

- I have talked to a lot of friends over the years about the feeling that we are adults, but we do not feel adults. Are we the adults now?

- I talked to Renate about what is at the age of Julie, and which has also meant a lot to the film. The character is written for her. We can come back to that.

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- She kind of said that it's about turning 30, and then you go out to a bar, and then there are some younger people who talk about "you and your generation". What? Are we not the same generation? It takes time to realize that time passes.

- I have also tried to find some humor in that. It should not only be sad. The film is serious, but there must be something funny about it.

As I said, Renate Reinsve has received a lot of recognition for her role as Julie, and of course we had to return to Trier's comment that the character was written for her.

- Yes! Renate had one reply in 'Oslo, 31 August'. We had to film some morning scenes over several mornings to be able to grab the light, which went up a bit each day to make a sequence of it. And then Renate only had one line, but she was on the set for 7-8 days.

- And I was just thinking, "fuck how gifted she is, how cool is that." I felt so comfortable with her on set. She never did anything wrong, and it was always interesting what she did in the background of these scenes.

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- Then I thought she would probably get some giant role in a little while. Then 10 years passed. No one gave her a starring role. She played small roles that annoyed me sometimes. The main character's male girlfriend is with another girl who is a threat. It was only these different, weird characters that I did not feel gave her talent the respect she deserves.

- So I just said, okay, we're writing the movie for Renate. And then she won in Cannes. And I was just like that, YES, now she's flying out there with a lot of offers from Hollywood and everything. And she will probably have to make some wise choices and choose some good roles, because she is very skilled in craftsmanship and does not just want to play "the pretty girl", it's boring.

- She should probably get some good roles. But I am super happy with our collaboration, she has meant a lot to the film. I just want to say that. It's very much Renate's film too.

Joachim Trier has written the scripts for all his films in collaboration with Eskil Vogt, whom he has known for years. When we asked about their work process, the answer is also that they are two people who know each other really well.

- It's super chaotic, we almost get embarrassed when we have to describe it. It's just two old friends from when we were teenagers who still meet in a room in the morning and sit from 9-17 and discuss for a year. And then we come out with a script at the end.

- In the beginning we just sit and discuss a mix of movies, what we like, what we've seen lately, what we like about movies right now. We geeks out on form-things and that character and that movie, and how they told it and stuff like that completely film-historical. "Why is no one making movies about this anymore?"

- And then we also talk about life. How it goes and what happens to people we know. That is what the material is. It's the mix of a formalistic curiosity about what's cool to see on the big screen, what do we want to show? What types of sequences would be fun to make? It's a very shapely, film-loving way of looking at it.

- It mixed with what we are trying to think about, why are there so many people who know about this and that and that? Which no one makes stories about. The despair that we see around us, where people hardly dare to tell about the little things, because there is war in the world - so why should my love worries mean anything?

- And at the same time say that we should not also acknowledge that there is a lot of drama going on in this after all not infinitely long life we ​​have, which is about attachment, hard choices in relation to what we should spend our time on career-wise, pressure of expectations, the whole idea of ​​identity, which in our time we just have to know what it is we represent and show it.

- And then we still feel that it's such a fucking mystery; who am I really? It's not something we get smart about.

- Slowly, these stories come about characters, which we try to find the vulnerability in, because then we start to become curious about them.

Movies must be seen in the cinema. And Trier also had some specific reasons why this is precisely the case with 'The World's Worst Man'.

- [The Cinema, ed.] Is a unique place to get close to the characters. And I'm a character storyteller.

- The intimacy, the closeness to these people, their feelings. I really spent time making something that is a romantic movie. Which has great pictures and almost like some musical-like sequences. We have a lot of such some funny comedy sequences that I think it's cool to sit in a movie theater and laugh at together.

- But also the serious moments. Proximity to the characters. We can not get as close to people in art as when we see the big face in front of us. And we have thought about that a lot. How do we get under the skin of these characters? And I think the cinema room is a completely unique opportunity for that.

The talk then fell on Trier's best cinema experiences ever, and here he told about his nerve-wracking trip to Cannes with 'The World's Worst Man', which received a 9-minute standing ovation after the premiere.

- When I'm in the final stages of editing, I usually show my film to a full cinema hall sometimes, to sit with people, and they fill out some forms about their experience, and what they understand and do not understand. Then I sit and feel the emotions in the hall. And then I can just feel, uh that sequence needs to be shortened or it needs to get longer. You sit and regulate a little, because you can feel the atmosphere in the room.

- This movie was finished during the pandemic, so I was not allowed to gather more than 5 people. So I did not get that experience. And then we are suddenly invited to Cannes.

- We go up the red carpet with the actors. Renate and Herbert are there for the first time, and wow, it's huge and fun, and there are walls with photographers, 2300 people sitting in there in tuxedos and waiting, and then I just got this feeling here ... SHIT! This is the first time I'll be watching this movie with the audience. I was SO nervous. I was hardly present in it.

- Then there was someone who filmed the subsequent reaction. They spoke it to 9 minutes of standing ovation. And after a few minutes, I just started crying. We all stood and tooted. It meant so much to us. We came out of that lonely rock and sound mix, and the actors had just been sitting at home, and then all of a sudden we're standing there with all these people. It was hugely powerful. So it was a great cinema experience.

'The World's Worst Man' can be seen in cinemas now.

Kiss between two women causes boycott: several countries do not want to show "Lightyear".

Boycott because of a kiss: After the United Arab Emirates had already banned the film "Lightyear" because of a kissing scene between two women, other countries are now moving. But Disney stands firm.

Buzz Lightyear once became known through the "Toy Story" films, in which the animated astronaut played his way into the hearts of children. No wonder, then, that the famous character got his own film. But the prequel, which tells the origin of the Buzz Lightyear action figure, is now causing a stir mainly because of a kiss: A scene in which two women can be seen kissing was reason enough for the United Arab Emirates, the animated film was not to show in cinemas. Now other countries have joined the boycott.

The regulator of the United Arab Emirates justified its decision on Monday with a violation of the "country's standards for media content". But now the film is not being shown in other predominantly Muslim countries either. According to media reports, Egypt and Saudi Arabia have also decided not to allow the film about cowboy doll Woody's best friend. The Film Censorship Board of Malaysia stated that "Lightyear" would not be shown if the scenes remained in the film. Other countries not allowing the film include Syria, Lebanon, Iraq and Oman.

Meanwhile, Disney remains firm on the issue: The media company continues to refuse to subsequently remove the scene. "Lightyear" starts in German cinemas on Thursday, June 16th.