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#florencepugh — Public Fediverse posts

Live and recent posts from across the Fediverse tagged #florencepugh, aggregated by home.social.

  1. Aug 26 : About Women 👭
    #Bales2026FilmChallenge #FilmMastodon 📽️ 🎬
    #LittleWomen (2019)
    In 19th century Massachusetts, the March sisters, Meg, Jo, Beth and Amy on the threshold of womanhood, go through many ups and downs in life and endeavor to make important decisions about their futures.
    #SaoirseRonan #EmmaWatson #FlorencePugh
    #ElizaScanlen #LauraDern #MerylStreep

  2. Movie TV Tech Geeks #MovieNews #FlorencePugh #DontWorryDarling Florence Pugh’s $88M Sci-Fi Hit Is Officially Getting a Second Chance on HBO Max dlvr.it/TV5bhy

  3. Spider-Man: Brand New Day (2026) – Review

    Look you guys, I’m going to come clean. As much as I adored the spider-themed nostalgia explosion that was Spider-Man: No Way Home, that ending hurt me pretty bad. Second only to the mass dusting of the majority of the cast of Avengers: Infinity War, the forgotten-ing of Peter Parker in order to save the multiverse was possibly too much tragedy to bear for even this weathered spider-veteran. Yes, the saying goes that for Spider-Man to be at his best, Peter Parker has to suffer, but surely this was crueler than a dozen slain Gwen Staceys.
    Even since the December of 2021, I’ve been waiting with bated breath to see what horrible injustices the MCU has in store for comic’s most beloved punching bag in the hope that the wall crawler can catch some semblance of a break. But with a new director at the helm and a new outlook on Spidey’s Marvel Cinematic tenure, can our beleaguered Spider-Man manage to score a great film AND a happy ending?

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    Since sacrificing the friendship of everyone who’s ever known him, Peter Parker has been discovering that while the likes of the Green Goblin, Vulture and Mystero are formidable villains, they ain’t nothing compared to wrestling with the male loneliness epidemic. Four years have passed since Parker last said goodbye to both MJ and Ned, and in that time he may have bested such supervillains as Scorpion, Tombstone and (for some reason) Ramrod, but he’s done so at the cost of forging any real relationships unless he’s wrapped in the costume of the Amazing Spider-Man.
    However, after tangling with a new menace running rampant in New York, Peter realises that he may be a little out of his league. Laying a beat-down on a man armed with a mechanical scorpion tail is one thing, but this being has the ability to possess minds and bend them to their will – and their will is seemingly targeting the Department Of Damage Control. However, when this mysterious villain finds that Spider-Man is the only mind they can’t manipulate, they step up their campaign to take the wall crawler off the board, but when MJ and Ned are targeted, it coincides with some physical issues that have started to plague our shit-magnet hero. It seems that long periods devoid of human contact has started the spider parts of his DNA to kick into overdrive and with it comes enhanced strength, biological webshooters and a temper that isn’t to be sniffed at.
    With his own biology running roughshod and a telepathic antagonist targeting his former friends, Parker has a few faces in his MCU rolodex he can call on (The Punisher, Bruce Banner and at least one other), but if he’s facing a force that can override entire personalities, surely getting a gun-totting vigilante and man with rage monster powers involved is a stratospherically hideous idea…

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    If the monstrously ambitious No Way Home was a multiverse-fuelled, nostalgia-drunk love letter to the previous Spider-Man movies that existed, Brand New Day is instead is an incredibly emotional tribute to the character himself, literally ripping countless images from the covers of iconic issues and plastering them up on the screen for us to fawn over. But while the Brand New Day of the title could refer a the visual and tonal refresh that feels similar to what Alfonso Cuarón managed with Harry Potter with The Prisoner Of Azkaban, it mostly seems to be a direct reference that Tom Holland is finally embracing the “man” part of Spider-Man after three movies (plus Avengers appearances) of breathlessly explaiming “that’s awesome!” every five minutes. Don’t get me wrong, the John Watts Spider-films magnificently plonked Peter Parker into the MCU with the energy of an 80s John Hughes movie, but new director Destin Daniel Cretton takes the baton and runs into some truly interesting places.
    After making his MCU debut with Shang-Chi and then proving that he’s got a knack for introducing lesser-known heroes by delivering a genuine original in the form of the Wonder Man show, Cretton makes up for his aborted Avengers movie by delivering a cinematic balancing act more precarious than Toby Maguire catching those food items on a tray back in 2002. On one hand, he’s got all the visual pizzazz you’d expect a Spider-Man movie to deliver as he uses fearless (and flexable) stunt men to enact tank chases and superbeing brawls with a greater sense of realism than ever before. John Bernthal’s Frank Castle trades alpha male barbs and angrily fired grenades as both Spidey and the Punisher share a big brother/little brother dynamic that absolutely zings. Later still, a face/off with an enraged Hulk may be a little surplus to requirements considering we only had Captain America squaring off with Red Hulk barely a year ago, but considering it’s a rousing return to form for Mark Ruffalo’s green alter-ego, it’s tough to grumble.

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    However, it’s the more human elements that stick the most as both Peter’s shifting DNA and a perfectly judged will they/won’t they thread between him and Zendaya’s MJ brings twice as many gasps as the action sequences – yes, even more than the remarkable battle between the web-head and scarlet-clad ninja troupe, the Hand. Finally allowed to fully embrace the surface-level misery of Peter Parker (shitty apartment, loner tendencies), Tom Holland gives arguably his strongest performance to date, seeking any connection he can grasp while clad in the iconic red and blue webs, but letting Peter Parker starve.
    Even the villain this time round is different, utilising a power set none of the previous films have tried before – but while Sadie Sink’s brain warper has bigger ramifications to the MCU as a whole, it also means that the big finish plays with more emotional beats than physical ones. Some may find a more gentle final battle (Hand ninjas not withstanding) a bit of a cop-out after watching the sinister five and the Spider-Man three scamper all over the Statue Of Liberty in the last film, but those dialled in to what the character of Peter Parker is truly all about will find it pitch perfect.
    Mainly, however, I just needed the universe to do Peter Parker a solid, and any scene that has him trying to re-bond with a confounded MJ or chatting to Ned about his Spider-Tracker app feels like much needed balm to a five year wound. Obviously I won’t divulge how it all turns out in the end, but the laughs and tears flow in equal measure that may make Brand New Day the most emotionally enriching of all.
    After an agonising wait, Spider-Man returns with a re-jigged outlook that may give us the most comic-accurate iteration we’ve ever seen.

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    After ten years of being mentored throughout the MCU by such faces as Iron Man and Doctor Strange, Peter Parker stands on his own two sticky feet in a movie that’s somehow impressively mature, and yet filled with tear duct-baiting awe. Cretton may have already proved his worth with Shang-Chi and Wonder Man, but this is him stepping up to the Russo Brothers big leagues in style.
    Great Power. Great Responsibility. Great fourth film.
    🌟🌟🌟🌟🌟

    RETURN TO SPIDER-MAN REVIEWS #2020s #2026 #DestinDanielCretton #FilmReview #FlorencePugh #Hulk #JacobBatalon #JonBernthal #KevinFeige #LizaColònZayas #MarisaTomei #MarkRuffalo #Marvel #MarvelStudios #MCU #MichaelMando #SadieSink #SpiderMan #SpiderManBrandNewDay #ThePunisher #TomHolland #TramellTillmam #Zendaya
  4. Dune: Part Three Trailer and First Look Assets Released

    The wait for the final chapter of the desert saga is nearly over. Warner Bros. has officially released the first trailer for Dune: Part Three, providing a glimpse into the conclusion of the massive sci-fi trilogy directed by Denis Villeneuve....

    #AnyaTaylorJoy #DenisVilleneuve #DunePartThree #FlorencePugh #JasonMomoa #JavierBardem #RebeccaFerguson #RobertPattinson #TimothéeChalamet #WarnerBros #Zendaya

  5. Dune: Part Three Trailer and First Look Assets Released

    The wait for the final chapter of the desert saga is nearly over. Warner Bros. has officially released the first trailer for Dune: Part Three, providing a glimpse into the conclusion of the massive sci-fi trilogy directed by Denis Villeneuve....

    #AnyaTaylorJoy #DenisVilleneuve #DunePartThree #FlorencePugh #JasonMomoa #JavierBardem #RebeccaFerguson #RobertPattinson #TimothéeChalamet #WarnerBros #Zendaya

  6. Dune: Part Three Trailer and First Look Assets Released

    The wait for the final chapter of the desert saga is nearly over. Warner Bros. has officially released the first trailer for Dune: Part Three, providing a glimpse into the conclusion of the massive sci-fi trilogy directed by Denis Villeneuve....

    #AnyaTaylorJoy #DenisVilleneuve #DunePartThree #FlorencePugh #JasonMomoa #JavierBardem #RebeccaFerguson #RobertPattinson #TimothéeChalamet #WarnerBros #Zendaya

  7. Olivia Wilde Denies ‘Screaming Match’ With Florence Pugh on ‘Don’t Worry Darling’ Set and Stayed Quiet on Rumors After Being Told: ‘Don’t Say a F—ing Word’
    #Variety #News #DontWorryDarling #FlorencePugh #OliviaWilde

    variety.com/2026/film/news/oli

  8. Ari Aster – „Midsommar“ (2019)

    Was zu Beginn aussieht wie eine Postkarte aus dem letzten Schwedenurlaub, ist ein chirurgischer Eingriff mitten ins Herz einer Beziehung. Kein klassischer Horror, sondern eine radikale Dekonstruktion von Intimität, Macht und kultureller Projektion. Wo Hollywood den Schrecken meist in dunklen Kellern und Wäldern versteckt, wagt Ari Aster einen Gegenentwurf: Wir sehen alles im grellen Tageslicht, ohne jede Rückzugsmöglichkeit. Der Horror liegt in der Unerbittlichkeit des Lichts, das einfach alles aufdeckt. Mit Florence Pugh und Jack Reynor. (ZDF, Wh.)

    Zum Blog: nexxtpress.de/mediathekperlen/
  9. #BehindTheScenes
    #Midsommar (2019)
    A couple travels to Northern Europe to visit a rural hometown's fabled Swedish mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.

    Director #AriAster #JackReynor #FlorencePugh feel out some floral settings.

  10. Rebecca Ferguson’s $715 Million Sci-Fi Epic Is Hypnotizing Audiences on PVOD – Collider

    From article…

    By Rahul Malhotra, Published 1 day ago

    Rahul Malhotra is a Weekend News Writer for Collider. From Francois Ozon to David Fincher, he’ll watch anything once. He has been writing for Collider for over two years, and has covered everything from Marvel to the Oscars, and Marvel at the Oscars. He also writes obsessively about the box office, charting the many hits and misses that are released weekly, and how their commercial performance shapes public perception. In his time at Collider, he has also helped drive diversity by writing stories about the multiple Indian film industries, with a goal to introduce audiences to a whole new world of cinema.  Swing and a miss > measured victory. Also, #JusticeForHan. (He/Him).

    It’s rare for an actor to be involved in one genre-defining project in their career, but Rebecca Ferguson is effortlessly balancing two. Not only does she headline the acclaimed Apple TV sci-fi series Silo, which will return with a third season this year, she also plays a pivotal supporting role in director Denis Villeneuve‘s Dune trilogy, which will also return with a third installment later this year. The first Dune film was released during the pandemic in 2021, as a part of Warner Bros.’ controversial slate of films that debuted day-and-date in theaters and on the HBO Max streaming service. Despite the studio’s self-defeating strategy, the movie emerged as one of the biggest box office hits of the year, and a sequel was immediately green-lit. Dune: Part Two debuted exclusively in theaters in 2024, and delivered an even bigger box office haul. The movie recently witnessed a surge in viewership on PVOD, despite being available to stream on HBO Max.

    According to FlixPatrol, it was among the most-watched movies on the domestic Apple TV charts, when the leader board was topped by fellow sci-fi hit Predator: Badlands. Produced on a reported budget of $190 million, Dune: Part Two grossed $715 million at the worldwide box office. It was also a critical hit, earning praise for its visuals and narrative scope. Based on the seminal sci-fi books by Frank Herbert, the films are headlined by Timothée Chalamet, and examine themes of power, corruption, and legacy. Dune: Part Two is now sitting at a “certified fresh” 92% critics’ score and a “verified hot” 95% audience score on the aggregator website Rotten Tomatoes, where the consensus reads, “Visually thrilling and narratively epic, Dune: Part Two continues Denis Villeneuve’s adaptation of the beloved sci-fi series in spectacular form.”

    ‘Dune: Part Three’ Is Set for a Clash Against ‘Avengers: Doomsday’

    By comparison, the first Dune was produced on a reported budget of $165 million, and ended up grossing over $410 million worldwide. It holds an 83% score on RT, and was the recipient of six Oscars, from 10 nominations in total. Dune: Part Two earned five Academy Award nods itself, including in the Best Picture category. Chalamet and Ferguson are set to return, along with Zendaya, Florence Pugh, and Josh Brolin, for Dune: Part Three, which has been scheduled for a highly anticipated box office clash against Avengers: Doomsday this December. You can catch up on the first two films in the meantime, and stay tuned to Collider for more updates.

    Continue/Read Original Article Here: Rebecca Ferguson’s $715 Million Sci-Fi Epic Is Hypnotizing Audiences on PVOD

    Tags: Collider, Denis Villeneuve, Dune: Part Three, Dune: Part Two, Epic Films, Florence Pugh, Josh Brolin, Movies, Rebecca Ferguson, Sci-Fi, Science Fiction, Silo, Zendaya
    #Collider #DenisVilleneuve #DunePartThree #DunePartTwo #EpicFilms #FlorencePugh #JoshBrolin #Movies #RebeccaFerguson #SciFi #ScienceFiction #Silo #Zendaya
  11. Ari Aster, Florence Pugh – „Midsommar“ (2019)

    Das, was aussieht wie eine Postkarte aus dem letzten Schwedenurlaub, ist ein chirurgischer Eingriff mitten ins Herz einer Beziehung. Kein klassischer Horror, sondern eine radikale Dekonstruktion von Intimität, Macht und kultureller Projektion. Wo Hollywood den Schrecken meist in dunklen Kellern und nächtlichen Wäldern versteckt, wagt Ari Aster einen Gegenentwurf: Wir sehen alles im grellen Tageslicht, ohne jede Rückzugsmöglichkeit. Der Horror liegt in der Sichtbarkeit, in der Unerbittlichkeit des Lichts, das einfach alles aufdeckt.

    […]

  12. Liam Neeson – The Commuter (2018)

    In Deutschland reden Bahnfahrer:innen über das Zugfahren fast nur noch in Tonlagen der finalen Verzweiflung. Verspätungen, kaputte Stellwerke, abgerissene Oberleitungen, entnervte Reisende. Der letzte Bahnchef ist inzwischen Geschichte, aber mal ehrlich, dessen Abgang ist auch nur eine Fußnote im Dauerdrama. Wer hierzulande Zug fährt, braucht Leidensfähigkeit. Vielleicht erklärt das, warum ein Film wie dieser auf mich so seltsam befreiend wirkt. Denn er zeigt einen Mann in einem Zug, der tatsächlich fährt. Pünktlich, unaufhaltsam, ohne jede Ausreden. (ZDF, Wh)

  13. From: blenderdumbass . org

    On the very basic surface level it could be read as a horror film. It is slashery in nature. It has very gruesome body mutilation scenes. But the film feels less of a horror and more of something like Nicolas Winding Refn's film Only God Forgives. Only this one has Ari Aster written all over it.

    Read: blenderdumbass.org/reviews/mid

    #Midsommar #AriAster #FlorencePugh #JackReynor #Film #Review #Movies #Cinemastodon

  14. From: blenderdumbass . org

    On the very basic surface level it could be read as a horror film. It is slashery in nature. It has very gruesome body mutilation scenes. But the film feels less of a horror and more of something like Nicolas Winding Refn's film Only God Forgives. Only this one has Ari Aster written all over it.

    Read: blenderdumbass.org/reviews/mid

    #Midsommar #AriAster #FlorencePugh #JackReynor #Film #Review #Movies #Cinemastodon

  15. From: blenderdumbass . org

    On the very basic surface level it could be read as a horror film. It is slashery in nature. It has very gruesome body mutilation scenes. But the film feels less of a horror and more of something like Nicolas Winding Refn's film Only God Forgives. Only this one has Ari Aster written all over it.

    Read: blenderdumbass.org/reviews/mid

    #Midsommar #AriAster #FlorencePugh #JackReynor #Film #Review #Movies #Cinemastodon

  16. From: blenderdumbass . org

    On the very basic surface level it could be read as a horror film. It is slashery in nature. It has very gruesome body mutilation scenes. But the film feels less of a horror and more of something like Nicolas Winding Refn's film Only God Forgives. Only this one has Ari Aster written all over it.

    Read: blenderdumbass.org/reviews/mid

    #Midsommar #AriAster #FlorencePugh #JackReynor #Film #Review #Movies #Cinemastodon

  17. From: blenderdumbass . org

    On the very basic surface level it could be read as a horror film. It is slashery in nature. It has very gruesome body mutilation scenes. But the film feels less of a horror and more of something like Nicolas Winding Refn's film Only God Forgives. Only this one has Ari Aster written all over it.

    Read: blenderdumbass.org/reviews/mid

    #Midsommar #AriAster #FlorencePugh #JackReynor #Film #Review #Movies #Cinemastodon

  18. Linear erzählt wäre #WeLiveInTime auch kein besonderer #Film. Deswegen haben Drehbuchautor Nick Payne & Regisseur John Crowley ihr Drama um ein Liebespaar wild vor & zurück durch die Jahre springen lassen, wobei zu früh zu viel vorweg genommen wird.

    Unsere #Filmkritik als #Podcast: dieletzte.website/filmkritik/2

    #Filme #Review #Rezension #Kino #Filmcast #Podcasts #Kritik #AndrewGarfield #FlorencePugh

  19. Ritkán ajánlok romantikus filmet, haldoklós-romantikust meg pláne, mert ezekkel egyrészt tele a padlás, másrészt válogatós is vagyok, de ezt most tényleg érdemes megnézni. Ha másért nem, akkor a két zseniális főszereplőért mindenképp! Aki karácsonykor kihagyta, még pótolhatja, mert még fent van a mozik műsorán.
    A részletes, de spoilermentes ajánlóm meg itt:

    ▶️ filmtro.hu/a-szerelem-ideje/

    #ASzerelemIdeje
    #WeLiveInTime
    #florencepugh
    #andrewgarfield
    #magyar
    #filmajanlo

  20. Todo Tempo Que Temos, romance estrelado por Florence Pugh e Andrew Garfield, acaba de ganhar um novo pôster e ter sua trilha sonora oficial divulgada. O filme tem sido largamente elogiado pela crítica internacional e chega aos cinemas de todo o Brasil em 31 de outubro, trazendo muita emoção para os espectadores.

    Todo Tempo Que Temos ganha novo pôster

    O longa acompanha a história da talentosa chef de cozinha Almut, interpretada por Florence Pugh, e o recém-divorciado Tobias, interpretado por Andrew Garfield, dois estranhos cujos destinos se cruzam de forma inesperada, levando-os a construir uma vida e uma família juntos. A narrativa explora a intensidade do relacionamento dos dois por meio de momentos significativos — desde o improvável primeiro encontro até as dificuldades que enfrentam ao longo dos anos.

    https://mauricioaraya.com/2024/10/02/todo-tempo-que-temos-romance-estrelado-por-andrew-garfield-e-florence-pugh-ganha-trailer-dublado/

    A narrativa se desenrola de forma não linear, alternando entre momentos de alegria e tristeza, passado e presente. Com direção de John Crowley, cineasta vencedor do Bafta e nomeado ao Oscar por Brooklyn, e roteiro de Nick Payne, criador da série Wanderlust, Todo Tempo Que Temos traz à tona temas profundos e complexos, mostrando ao público o valor de viver cada segundo e a importância de aproveitar todos os momentos como se fossem os últimos.

    https://open.spotify.com/intl-pt/album/1PrU2ieOlBJw0DOIYeAkIi?si=q17MAZ73R8eVV94DcEKdvg

    Bryce Dessner, compositor da trilha sonora original, faz parte da banda de indie rock estadunidense The National, que surgiu no início dos anos 2000 no Brooklyn e, desde então, já conquistou uma legião de fãs. O compositor já foi responsável pela trilha sonora de grandes filmes como O Regresso (2015), Dois Papas (2019), Sempre em Frente (2021) e Sing Sing (2023) e também participou de trabalhos recentes da cantora Taylor Swift.

    https://open.spotify.com/playlist/7IRN2GnDe6CwySARYwCf1r?si=IgBV4YL2TZyqC0hW5_2_Qw

    Além da trilha sonora original, a produtora A24 ainda preparou uma playlist no Spotify com músicas que fazem parte da trilha musical do filme.

    https://www.youtube.com/watch?v=I017QogrFOY

    Contando com 80% de aprovação no site Rotten Tomatoes, o filme garantiu o selo fresh e tem recebido diversos elogios da crítica especializada, destacando como o ponto alto a química entre os protagonistas, que ganham vida através das performances emocionantes e inesquecíveis de Pugh e Garfield. Com estreia nos cinemas marcada para o dia 31 de outubro, Todo Tempo Que Temos é uma coprodução da Benedict Cumberbatch, por meio de sua produtora Sunny March, e da StudioCanal, e tem distribuição nacional pela Imagem Filmes.

    https://mauricioaraya.com/2024/10/18/aclamado-pela-critica-todo-tempo-que-temos-ganha-novo-poster-e-trilha-sonora-oficial/

    #A24 #AndrewGarfield #BryceDessner #Cinema #cinemas #filme #Filmes #FlorencePugh #ImagemFilmes #JohnCrowley #NickPayne #TaylorSwift #TodoTempoQueTemos #trilhaSonora

  21. TIFF 2024 Review: We Live in Time – “signing yourself up for heartache, but the journey is exquisite.” Read it here bit.ly/4d9gkXI by @PetDocHill

    #WeLiveInTime #FlorencePugh #AndrewGarfield #film #JohnCrowley #NickPayne #TIFF #TIFF24 @TIFF_NET