Angelina Jolie has starred in many projects, and one of them became a streaming hit during the past weekend. Since her career began in 1982, the award-winning actress has appeared in numerous films, including those aimed at younger audiences, such as the Kung Fu Panda franchise. Recently, one of her films became a massive box-office hit and received recognition at the Academy Awards.
In 2014, Jolie starred in Maleficent, a live-action dark fantasy film based on the 1959 Disney animated feature, <em>Sleeping Beauty,</em> which originated from one of Charles Perrault’s fairy tales. Jolie plays the evil fairy Maleficent, the creature who placed the sleeping curse on Princess Aurora (Elle Fanning) as a baby, and who can only be awakened by true love’s kiss. Unlike the animated feature and the original story, the film follows Maleficent’s point of view, detailing how she became the evil sorceress and how she befriends Aurora before the day the princess pricks her finger.
Over the weekend, Maleficent continued its reign on Disney+ streaming charts, recently ranking #10 on Disney+’s Top 10 Movies in the United States, below Thumbelina. However, Saturday was the last day Maleficent reigned in the Top 10 as it left the streaming charts by Sunday. Since its release, Maleficent has become a massive hit, grossing over $759.8 million worldwide, and was recognized at the Academy Awards with a nomination for “Best Costume Design.” Its success led to the release of the 2019 sequel titled <em>Maleficent: Mistress of Evil</em>, which unfortunately didn’t match the box office performance of its predecessor but was highly praised by audiences, earning a 90% score.
Which OscarBEST PICTURE
Is Your Perfect Movie?
Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
Parasite
Everything Everywhere
Oppenheimer
Birdman
No Country for Old Men
01
What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?
03
How do you like your story told?
Form is content. The way a story is shaped changes what it means.
<SPANCLASS=” C Q_OPTION_LETTER“ A Genre-twisting — I want it to start in one lane and migrate into something completely different.
<Maximalist and genre-blending — comedy, action, drama, sci-fi all in one ride.
<Epic and non-linear — cutting between timelines building a mosaic of cause and consequence.
<A single unbroken flow — I want to feel like I’m living it in real time no cuts to safety.
<Spare and precise — every scene doing exactly what it needs to do and nothing more.
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<What makes a truly great antagonist?
<The opposition defines the protagonist. What kind of opposition fascinates you?
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<A system invisible structural almost impossible to fight because it has no single face.
<The self ways we sabotage abandon fail people we love most.
<History unstoppable momentum events that no single person can stop or redirect.
<The industry machinery culture chews up talent spits out irrelevance.
<Pure implacable evil force so certain itself becomes almost philosophical.
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<>What do you want from a film’s ending?>
<>The final note is one that lingers. What do you want it to sound like?>
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<>Shock inevitability conclusion that recontextualises everything that came before it.>
<>Earned emotion want cry laugh feel genuinely hopeful even if world is mess.>
<>Devastation grandeur ending makes me sit silence for few minutes after.>
<>Ambiguity something leaves enough open I’m still thinking about it days later.>
<>Bleakness honest refusal pretend world tidier than actually is.>
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<>Which setting pulls you in most?>
<>Where film takes place shapes everything mood stakes what’s even possible.>
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<>A gleaming modern city with hidden underside beauty masking rot wealth masking desperation.>
<>A collapsing suburban life that opens onto something infinite multiverse single ordinary person.>
<>The corridors power science at world-historical turning point where decisions echo decades.>
<>The grimy alive chaos New York Hollywood fame both destination trap.>
<>Vast indifferent landscape desert highway where violence arrives without warning reason.>
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<>What cinematic craft impresses you most?>
<>Every great film has signature technical artistic element makes unmistakable.>
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<>Production design mise-en-scène every frame composed carry meaning beneath surface.>
<>Editing tonal control ability move between registers without losing audience.>
<>Score sound design music becomes inseparable dread awe what you’re watching.>
<> Cinematography performance camera not recording events participating them.>
<>Silence restraint what’s left unsaid unshown doing more work than any dialogue could .>
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>08>
<>What kind main character do you root for?>
<>The protagonist lens. Who choose follow says something about you .>
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<>Someone smart resourceful makes increasingly dangerous decisions under pressure .>
<>Someone overwhelmed ordinary turns out capable something extraordinary .>
<>Brilliant tortured figure gifts flaws inseparable from each other .>
<>Self-destructive artist ego both superpower undoing .>
<>Quiet principled person trying make sense world stopped making sense .>
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Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class desire architecture inequality manages be darkly funny deeply suspenseful genuinely shocking across single extraordinary running time. Your instinct is for cinema hides true intentions until moment it’s ready reveal them. Parasite exactly that — film rewards close attention punishes assumptions right up devastating final image.
You want it all — this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of most maximalist films ever made: action comedy multiverse sci-fi family drama existential crisis genuinely earned emotional core sneaks up you amid chaos. You are someone who responds ambition doesn’t want cinema choose between entertaining meaningful. This film refuses choice entirely overwhelming design overwhelming nature precisely point feeling crushed infinite possibility exactly what it’s about.
You are drawn to cinema on grand scale — films understand history not backdrop but force place characters inside force watch happens. Christopher Nolan’s Oppenheimer is film about terrifying gap between what we can do what we should do told with full weight one most consequential moments human history behind it. You want your films feel important without feeling self-important earn ambition through sheer craft gravity their subject Oppenheimer does exactly that enormous complicated refuses easy comfort.
You are drawn to films foreground their own construction — make how filmmaking part what it’s about. Alejandro González Iñárritu’s Birdman shot appear as single continuous take cinema examining itself through cracked mirror fading actor’s ego. You respond formal daring feeling film doing something probably shouldn’t be possible Michael Keaton’s performance Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — film simultaneously creativity relevance self-destruction impossibility ever truly knowing if your work means anything at all.
You are drawn to cinema trusts silence refuses explain itself treats dread form meaning Coen Brothers’ No Country for Old Men is film about arrival new kind evil implacable arbitrary utterly indifferent moral frameworks we use make sense world one most formally controlled films ever made controlled restraint makes terrifying want your films haunt comfort interested resolution resolution would be dishonest No Country for Old Men honest way most cinema never dares be.
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