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The Visual Effects Society bowed before The Creator tonight. New Regency’s sci-fi flick scored a leading five trophies including Outstanding VFX in a Photoreal Feature at the 22nd annual Ves Awards. Spider-Man: Across the Spider-Verse — hot off dominating the Annie Awards over the weekend — picked up four awards including Outstanding Visual Effects in an Animated Movie.

See the full list of winners below.

Guardians of the Galaxy Vol. 3 was the night’s only other multiple winner on the film side, and Nyad swam home with the other marquee film prize — Outstanding Supporting Visual Effects in a Photoreal Feature. Best Picture Oscar favorite Oppenheimer won for Special (Practical) Effects.

The Creator and Guardians of the Galaxy Vol. 3 also are up for Best Visual Effects at next month’s 96th Academy Awards, vying against Godzilla Minus One, Mission: Impossible – Dead Reckoning Part One and Napoleon. Across the Spider...

The creative team from Spider-Man: Across the Spider-Verse will soon be swinging into Colorado to accept an inaugural award at the Denver Film Festival.

The fest today announced a more complete lineup of events, screenings, honorees, special guests, podcasts and more for this year’s installment, scheduled for Nov. 3-12. Plucked to receive the inaugural Denver Film Festival 5280 Award will be the Spider-Verse team. The prize is designed to honor “exceptional cinematic work and collaboration to achieve new heights,” per officials. It will be presented to writers and producers Phil Lord and Christopher Miller, executive producer Bob Persichetti, producer Christina Steinberg and senior animation supervisor Humberto Rosa following a screening of the film on Nov. 7 at the AMC 9 + Co 10.

Anthony Chen, whose credits include Ilo Ilo, Wet Season and Ah ma, has been tapped to receive the Denver Film Festival Excellence in Directing Award following the screening of one of his new films,...

Last night, the 17th annual Visual Effects Society Awards were held. The gala represented a moment to honor some of the types of films that don’t usually get cited during the precursor season. Mostly, it’s an opportunity to see which movie or movies are the frontrunners in the Best Visual Effects category at the Oscars. Even beyond the Academy Awards, it’s just a perfect time to honor the craftsmen and craftswomen who do the sort of work that’s too often overlooked. So, even though the Academy voters are looking at this for one specific reason, there’s multiple reasons to take interest in the Ves results from yesterday. Below you can see all of the Ves victors, though leading the way was Avengers: Infinity War and Spider-Man: Into the Spider-Verse, with four wins each. The former actually took the top honor of the night, which is...

Marvel’s “Avengers: Infinity War” was the big VFX winner at the 17th annual Ves Awards Tuesday at the Beverly Hilton, grabbing four prizes, including photoreal feature. And Sony’s animated Oscar favorite, “Spider-Man: Into the Spider-Verse,” also scored four awards, including animated feature.

While it’s a significant momentum builder for “Infinity War” in its quest to be the first VFX Oscar winner for the McU (and first superhero winner since 2004’s “Spider-Man 2”), there still remains competition from Damien Chazelle’s “First Man,” which won the Ves supporting prize. However, “Infinity War” boasts the stronger CG wow factor in the form of the brilliantly animated Thanos (peformance-captured by Josh Brolin) from Digital Domain and Weta Digital.

“Infinity War” also took home honors for animated character (Thanos), simulations (Titan), and compositing (Titan). “Spider-Verse” additionally snagged animated character (Miles Morales), environment (Graphic New York City), and simulations.

On the TV side,...

It was a great night for Marvel at the 17th annual Visual Effects Society Awards on Tuesday night. The comic book publisher’s wares led the film fields, with “Avengers: Infinity War” and “Spider-Man: Into the Spider-Verse” nabbing four wins apiece.

“Spider-Verse,” a dominant animated feature on the awards circuit this year, swept each of its categories. “Avengers” nearly did the same, dropping just one to Universal’s “Mortal Engines.”

“Ready Player One” received two prizes, while “First Man” picked up one. They join “Avengers: Infinity War,” along with “Christopher Robin” and “Solo: A Star Wars Story,” in the Academy’s Oscar lineup of visual effects nominees this year.

On the television side, Netflix’s “Lost in Space” dominated with four wins as well.

“Westworld” co-creator Jonathan Nolan received the Visual Effects Society’s Visionary Award, while “Game of Thrones” creators David Benioff and D.B. Weiss accepted the organization’s...

The 17th annual Ves Awards are being handed out tonight at the Beverly Hilton in Los Angeles, and Deadline will be live-blogging the affair and updating the winners list live. Patton Oswalt is hosting the Visual Effects Society’s gala, which celebrates the best VFX artistry and innovation in film, animation, TV, commercials and video games across 24 categories.

The winner of the Ves Award for Photoreal Feature has gone on to win the Visual Effects Oscar 10 of the 16 times it has been presented, but it hasn’t been much of a harbinger for the past half-decade or so. Last year the Ves Award went to War for the Planet of the Apes, while the Academy Award was claimed by Blade Runner 2049, as Roger Deakins won for the first time in his 14th nominations. The Jungle Book won both in 2017, but Ves and Oscar failed to match up in either of the previous two years.

Stars: Patrick Murphy, Ciara Rose Burke, Lynn Larkin, Craig Grainger, Aaron Gibson, Christopher Daly | Written by Humberto Rosa, Aaron Gibson | Directed by Humberto Rosa, Thairon Mendes

Five friends head out to a remote island off the coast of Ireland for a holiday. The old house they re staying in gives them the creeps, and as the night draws in and they fool around with a séance, the friends soon realise they are not alone. They have invoked an evil spirit intent on terrorising and possessing them one by one.

Sometimes I find myself torn as movie reviewer. On the one hand you have to give credit to companies like Left Films (who released Invoked here in the UK) for taking chances with low-budget independent horror moviess, often releasing titles other companies wouldn’t touch with a bargepole. On the other hand, there’s a reason other companies won’t go near these movies!