Why is beautiful creatures not playing

Despite being based on a successful novel and featuring a talented cast, Beautiful Creatures was a financial disappointment upon release in , and just about covered its production budget. Critics felt the movie was dull and the central romance was a little too sappy, while followers of the book series hated many of the changes it made. While the original film has its own fans the odds of Beautiful Creatures 2 coming together now are close to zero.

The first film was a flop and the lead actors are too old to convincingly play teenagers, as Ethan and Lena still are in Beautiful Darkness. The YA movie bubble has long since burst too, so even if the first movie has a cult following, there's simply not enough interest in a Beautiful Creatures 2. Maybe the Caster Chronicles will receive a movie or TV reboot in the future, but for now, the franchise is dormant. A part-time hobby soon blossomed into a career when he discovered he really loved writing about movies, TV and video games — he even arguably had a little bit of talent for it.

And I yelled at you because I care about you, that's what normal people do who love each other! When one of them is acting like a brat! Now would you please stop raining on me! Sign In. Play trailer Drama Fantasy Romance. Director Richard LaGravenese. Top credits Director Richard LaGravenese.

See more at IMDbPro. Trailer Version 2. Version -- 1. Beautiful Creatures. Clip Featurette Promo Photos Top cast Edit. Viola Davis Amma as Amma. Thomas Mann Link as Link. Eileen Atkins Gramma as Gramma. Pruitt Taylor Vince Mr. Lee as Mr. Robin Skye Mrs. Hester as Mrs. Lance E. Richard LaGravenese. More like this. Watch options. Storyline Edit. Teenager Ethan Wate Alden Ehrenreich is obsessed with his urge to finish high school and go on to college in order to leave the small town of Gatlin, South Carolina behind, until a mysterious girl begins to inhabit his dreams.

The director therefore needed her costume to change but liked the framing and other aspects of the shot, so the key technical task here was to replace the dress whenever the camera moves close to her.

Method chose to make a digital double of her body wearing the required dress, keeping the head and flowing hair as they were in the plates and focussing their efforts on building and integrating the body. The dress was created with a cloth simulation to match its looks in the wide shots, floating around her. Because the only other reference of her wearing this dress was a backlit wide shot, the production sent the actual dress to the team to use when creating the simulation, to study and replicate the fabric.

Their approach to the sequence left time for creatively enhancing the lighting and dramatic sky, which were also important to Richard LaGravenese. The large room changes dramatically in look and mood from sequence to sequence, starting out pure white and progressively becoming darker until it is black at the end. Unfortunately, as the shoot had progressed, these changes had not been taken into consideration — the set was always shot in its original bright white mode.

At one point, it takes on an autumnal mood and appears to open out at the back to a forest entirely composed of computer generated trees and falling leaves, with a digital matte painting for the distant background. For this scene, Method was assigned to change the walls to deep orange and open the rear walls of the set to reveal the forest environment. The white hair of the grandmother character had been shot against the white set, which made extracting each hair fairly tricky.

As far as possible, we colour corrected the walls to look orange without replacing them, and then corrected the elements to look as though they were in an orange room but not actually orange themselves.

On the walls, a straightforward hue shift was not enough — all the shadows had to be re-worked for different elements, separating each one, for example the moulding on the walls, to make them look real. Overall, the scene required a lot of rotoscoping. It helps, therefore, to know if they will be pushing the images to look darker, brighter and so on. When the evil Sarafine, in the guise of Mrs Lincoln, attempts to visit Ethan at home she first has to tangle with a magical force field that Lena has put in place around his house as protection.

Losing her composure, she lets her darker side show through — with some frightening effects including black veins appearing over her face and animated tendrils emerging and wrapping around her body.

Method discussed with the director just how her shifting appearance should look at various moments. Would they actually reveal Sarafine, or keep the audience guessing? Production VFX supervisor Joe Harkins and Richard explained fairly clearly what they wanted and the team arrived at the right look for the effects without too many iterations. We then placed a set up of curves on the CG surface that allowed us to deform this surface accordingly. Combining the results gave us the displacement.

The colour correction was added in the composite, before integrating all of the effects. Even when the skin is stretching, for example, you need to be able to achieve the same stretching in the CG model as well.

Otherwise you have the impression of the effect sliding over the surface of the skin. To achieve the look of the dark veins lying just below the surface is applied as a subsurface quality, in the render. Particles were initially emitted from her body, each producing its trajectory, into a turbulence field, giving them a random path which, in this example, produces curves. Animating this turbulence field, in turn, animates the curves.

The force field look was somewhat different, because it needed to relate to a much grander electrical force field effect another vendor created in a sequence near the end of the film.