Maleficent 2: Mistress of Evil, Ondskans härskarinna Disney Movie 2019.

Maleficent: Mistress of Evil is a 2019 American 3D fantasy film produced by Walt Disney Pictures, directed by Joachim Rønning, and written by Linda Woolverton, Micah Fitzerman-Blue, and Noah Harpster.I t is a sequel to the 2014 film Maleficent, with Angelina Jolie returning to portray the title role. Elle Fanning, Sam Riley, Imelda Staunton, Juno Temple and Lesley Manville also return to their previous roles, with Harris Dickinson replacing Brenton Thwaites from the first film and Chiwetel Ejiofor, Ed Skrein and Michelle Pfeiffer joining the cast as new characters. After the release of the first film in May 2014, Jolie stated a sequel was possible. The project was officially announced the following June, and Jolie signed on in April 2016. Rønning, who co-directed Pirates of the Caribbean: Dead Men Tell No Tales (2017) for Disney, was hired to direct the film in October 2017, and the rest of the cast was added or confirmed in May 2018, with filming beginning that month at Pinewood Studios in England, lasting though August. Maleficent: Mistress of Evil was released in the United States on October 18, 2019. It grossed over $491million worldwide, although it needed to make around $500 million in order to make a profit when factoring in total budget, marketing and distribution costs. The film received mixed reviews from critics, with criticism aimed at the “muddled plot and overly artificial visuals”, but praise for the performances of Jolie, Fanning and Pfeiffer. The film received an Academy Award nomination for Best Makeup and Hairstyling at the 92nd Academy Awards.

Plot- In the five years since King Stefan’s death, Aurora has reigned as Queen of the Moors, with Maleficent as its guardian and protector. Despite her service, the neighboring kingdom of Ulstead, home to Prince Phillip, deems Maleficent a villainess, and while Phillip’s father King John wishes for peace, his mother Queen Ingrith has been secretly preparing for war; in the hidden areas of the castle, workers make weapons and ammunition out of iron, deadly to all fairies. Diaval, Maleficent’s raven and confidante, overhears Phillip proposing to Aurora, and tells Maleficent. While she advises against the union, Aurora vows to prove her wrong. Phillip’s parents host an intimate dinner, having invited Aurora, Maleficent, and Diaval. Maleficent maintains her composure as Ingrith taunts her throughout the evening by repeating the inaccurate story that has made the humans believe her to be evil: the story of Maleficent’s sleeping curse on Aurora is only half the truth, because no one has ever been told the whole truth about her loving Aurora and sacrificing herself to lift the curse. Ingrith alludes to Stefan’s death as murder, and openly claims Maleficent killed two human fairy poachers last seen near the Moors. Maleficent responds with equal iciness that humans have been kidnapping fairies, and hints that she believes the order to do it comes from the King or Queen. Ingrith provokes Maleficent by dismissing her maternal bond with Aurora and claims that the marriage will make Ingrith her real mother, to which Maleficent reacts by angrily unleashing a burst of magical energy. John suddenly faints, and Ingrith accuses Maleficent of cursing him, which Maleficent denies to a disbelieving Aurora. Maleficent is prompted to flee without Aurora by the arrival of armed guards. Phillip urges his mother to try and awaken John with a kiss. Ingrith demurs, and her weak attempt fails because she does not love her husband – especially for their differing views on peace and war. As Maleficent flees the castle, Ingrith’s right-hand woman, Gerda, shoots Maleficent with an iron bullet. Wounded, Maleficent falls into the ocean, only to be rescued by a mysterious winged creature. She awakens in a cavern where fairies like herself have been in hiding. Among them is Conall, their peaceful leader who saved Maleficent, and Borra, a warlike fairy who favors open conflict with humans, who killed the poachers near the Moors. Maleficent is among the last creatures known as the Dark Fey, powerful fairies forced into hiding and nearly driven extinct by human oppression. She is also the last descendant from the Phoenix, an ancient and powerful Dark Fey ancestor. She needs to pass through certain stages in order to harbor her full potential. When she brought up a human, she cleared the initial stages and Conall insists on forgiving Aurora in order to gain her final phoenix stage, but Maleficient disagrees. Because Maleficent’s magic is so powerful, Conall and Borra believe she is instrumental in ending the conflict with humans, either by peace or war. Meanwhile, the magical denizens of the Moors are invited to the royal weeding, but Aurora grows disillusioned with being an Ulstead noblewoman. Later, some humans enter the Moors to gather flowers to use as weapons against the Fey. Sensing this, Maleficent and the Dark Fey go to the Moors to protect the flowers, but they are ambushed, and Conall is killed, prompting Borra to declare war on the humans. Aurora discovers that Ingrith cursed John using Maleficent’s old cursed spindle, as she hates all Moor fairy folk. She confronts Ingrith, who reveals that she bitterly resents the Moors’ prosperity during a time when her kingdom suffered, and also blames them for her brother’s death; she plots to eradicate all fairies and woodland beings using the iron weapons as well as a lethal crimson powder developed by Lickspittle, a de-winged pixie. When the Moor folk arrive, they are trapped inside the castle chapel. At Ingrith’s command, Gerda unleashes the deadly crimson powder by playing the chapel’s organ. The fairy Flittle selflessly sacrifices herself to save everyone as a last resort by clogging the organ, rendering it unplayable, while her friends Knotgrass and Thistlewit cause Gerda to fall to her death. The Dark Fey launch an assault on Ulstead but the palace soldiers begin massacring them until Maleficent, channeling her Phoenix power, joins the battle. She nearly kills Ingrith but Aurora appeals to Maleficent’s humanity to spare her, and declares that Maleficent is her only mother. With Maleficent distracted, Ingrith fires her crossbow. Maleficent saves Aurora, but is struck by arrow, dissolving into ashes. Devastated, Aurora grieves for Maleficent, but after Aurora’s tears fall on the ashes, a revived Maleficent attains her phoenix stage. Horrified and infuriated, Ingrith throws Aurora off the tower to kill her, prompting Maleficent to rescue her again. Phillip forges peace between the fairies and humans and the Ulstead soldiers stand down. Maleficent reverts her fairy form and finally gives Aurora and Phillip her blessing, realizing they belong together. Lickspittle decides to stop following Ingrith’s orders and gives Maleficent the spindle used to cures John and, previously, Aurora. Maleficent destroy the spindle and its curse, awakening John from his slumber. As she flees, Ingrith is stopped and captured by Borra and the other Dark Fey. As punishment for her crimes, she is transformed into a goat by Maleficent until she can accept the peace between the two people. After Aurora and Phillip marry, Maleficent returns to the Moors with the other Dark Fey, teaching the young fairies to fly. She promises to return for Aurora and Phillip’s future child’s christening.

Maleficent: Mistress of Evil
Maleficent Mistress of Evil (Official Film Poster).png

Theatrical release poster
Directed by Joachim Rønning
Produced by
  • Joe Roth
  • Angelina Jolie
  • Duncan Henderson
Written by
  • Linda Woolverton
  • Noah Harpster
  • Micah Fitzerman-Blue
Based on

Characters from:

  • Disney’s Sleeping Beauty
  • La Belle au bois dormant
    by Charles Perrault
Starring
  • Angelina Jolie
  • Elle Fanning
  • Chiwetel Ejiofor
  • Sam Riley
  • Ed Skrein
  • Imelda Staunton
  • Juno Temple
  • Lesley Manville
  • Michelle Pfeiffer
Music by Geoff Zanelli
Cinematography Henry Braham
Edited by
  • Laura Jennings
  • Craig Wood
Production
companies
  • Walt Disney Pictures
  • Roth/Kirschenbaum Films
Distributed by Walt Disney Studios
Motion Pictures
Release date
  • October 18, 2019
Running time
119 minutes
Country United States
Language English
Budget $185 million
Box office $491.7 million

  • Angelina Jolie as Maleficent, a Dark Fey and the former ruler of the Moors; Aurora’s adoptive mother
  • Elle Fanning as Aurora, the current ruler of the Moors; Maleficent’s adoptive daughter; Prince Philip’s wife
  • Michelle Pfeiffer as Queen Ingrith, the power-hungry Queen of Ulstead, John’s wife and Philip’s mother.
  • Chiwetel Ejiofor as Conall, a Dark Fey that rescues Maleficent.
  • Sam Riley as Diaval, a raven that is given human form by Maleficent.
  • Ed Skrein as Borra, a Dark Fey that leads the attack on Ulstead.
  • Harris Dickinson as Prince Phillip, the Prince of Ulstead and Aurora’s lover turned husband.
  • Imelda Staunton as the voice and motion-capture of Knotgrass, a red fairy.
  • Juno Temple as the voice and motion-capture of Thistlewit, a green fairy.
  • Lesley Manville as the voice and motion-capture of Flittle, a blue fairy.
  • Robert Lindsay as King John, the King of Ulstead. The character is briefly mentioned by Prince Phillip in the first film.
  • Warwick Davis as Lickspittle, a de-winged pixie who reluctantly works for Queen Ingrith.
  • Jenn Murray as Gerda, a woman who is loyal to Queen Ingrith.
  • David Gyasi as Percival, the captain of the guards who works for the Ulstead Royal Family.
  • Judith Shekoni as Shrike, a Jungle Fey.
  • Miyavi as Udo, a Tundra Fey.
  • Kae Alexander as Ini, a Desert Fey.
  • Aline Mowat as the Narrator.
  • Emma Maclennon as the voice and motion-capture of Pinto, a hedgehog-like creature.
    • Maclennon also provides the voice and motion-capture of Button.
  • John Carew as Jungle Warrior Fey
  • Freddie Wise as Young Peasant

    On June 3, 2014, following the release of the first film, Angelina Jolie hinted that a sequel to Maleficent was a possibility. On June 15, 2015, Walt Disney Pictures announced that the sequel was in the works and that Linda Woolverton would return to write the screenplay for the film. Although Jolie’s return to the sequel was not yet certain, the script was intended to be written with her in mind. In addition, Joe Roth was reported to return as producer of the film. On April 25, 2016, Disney officially confirmed Jolie’s return as the title character. On August 29, 2017, it was reported that Jez Butterworth would rewrite Woolverton’s script while Roth was confirmed as returning as producer. In September 2017, Jolie stated that they “have been working on the script and this is going to be a really strong sequel.” On October 3, 2017, Deadline reported that the film would be directed by Joachim Rønning and it would start filming in the first quarter of 2018.

    In April 2018, Ed Skrein was cast in the film to play a dark fae, with Elle Fanning returning to play Princess Aurora from the previous film. Michelle Pfeiffer was also added as character described as a queen, later clarified to be an evil queen named Queen Ingrith.

    In May 2018, it was announced that Harris Dickinson would replace Brenton Thwaites in the role of Prince Phillip, due to scheduling conflicts with the latter actor.[ Later it was also confirmed that Jenn Murray, David Gyasi, Chiwetel Ejiofor and Robert Lindsay had also joined the cast. Sam Riley, Imelda Staunton, Juno Temple and Lesley Manville were also confirmed to reprise their roles from the prior film. In June 2018, Judith Shekoni joined the cast.

    Principal photography began on May 29, 2018, at Pinewood Studios in Buckinghamshire, England. Filming wrapped on August 24, 2018.

    The visual effects were provided by Moving Picture Company and Mill Film, supervised by Jessica Norman, Damien Stumpf, Brian Litson, Ferran Domenech, and Laurent Gillet, with Gary Brozenich serving as the Overall Supervisor.

    On May 22, 2019, it was revealed that the film’s score would be composed by Geoff Zanelli, replacing James Newton Howard from the previous film. The film marks Zanelli and Rønning’s second collaboration, after Pirates of the Caribbean: Dead Men Tell No Tales. Zanelli said that “the storytelling in Maleficent: Mistress of Evil is fantastic”, for which he said that “writing [the film’s] score is a dream come true”. On September 20, 2019, the song “You Can’t Stop the Girl” by Bebe Rexha, from the film’s soundtrack, was released as a single.

    All music is composed by Geoff Zanelli (tracks 1–22).

    Maleficent: Mistress of Evil (Original Motion Picture Soundtrack)
    No. Title Performer(s) Length
    1. “Mistress of Evil” 1:33
    2. “Poachers on the Moors” 4:24
    3. “What Is Going On Here?” 4:31
    4. “Ulstead” 2:39
    5. “Etiquette Lesson” 2:05
    6. “All He Wanted Was Peace” 4:50
    7. “We Have Her” 3:49
    8. “We’re Dark Fey” 3:53
    9. “Pinto’s Retcon Mission” 1:52
    10. “It Is Love That Will Heal You” 2:07
    11. “Origin Story” 2:30
    12. “You Don’t Have To Change” 2:01
    13. “The Dance of the Fey” 2:11
    14. “Back to the Moors” 1:14
    15. “Our Fight Begins Now!” 1:45
    16. “Your Majesty, They’re Coming from the Sea” 2:16
    17. “I’ve Made My Choice, You’ll Have to Make Yours” 3:33
    18. “Protecting Our Kind” 2:42
    19. “Maleficent Returns” 5:09
    20. “The Phoenix” 4:41
    21. “Hello, Beastie!” 3:42
    22. “Time to Come Home” 5:49
    23. “You Can’t Stop the Girl” Bebe Rexha 2:38
    Total length: 1:11:57

    The film was released on October 18, 2019, by Walt Disney Studios Motion Pictures, moving up from its previously announced date of May 29, 2020.

    The first teaser trailer for the film was released on May 13, 2019. On July 8, 2019, the official trailer for the film was released, in which Ejiofor’s character was revealed. On September 4, 2019, Disney released a behind-the-scenes featurette in which the cast talk about the evolution of Maleficent’s personality and some of the moral challenges each of the characters face in the story. On September 10, Disney released a black and white sneak peek detailing the makeup process to transform Angelina Jolie into Maleficent.

    A tie-in novelization of the film was published by Disney Publishing Worldwide on October 8, 2019.

    Maleficent: Mistress of Evil was released by Walt Disney Studios Home Entertainment on Digital HD on December 31, 2019, followed by a 4K Ultra HD, Blu-ray and DVD release on January 14, 2020. Maleficent: Mistress of Evil was released on Disney+ on May 15, 2020.

    Maleficent: Mistress of Evil has grossed $113.9 million in the United States and Canada, and $377.8 million in other territories, for a worldwide total of $491.7 million. It was estimated the film would need to gross $400–475 million worldwide in order to break-even, and around $500 million in order to turn a profit.

    In the United States and Canada, the film was released alongside Zombieland: Double Tap and was initially projected to gross $45–50 million from 3,790 theaters in its opening weekend. However, after making $12.5 million on its first day (including $2.3 million from Thursday night previews), estimates were lowered to $38 million. It went on to debut to $36.9 million, finishing first at the box office but marking a 47% decline from the $69.4 million opening of the first film. The lower-than-expected opening was blamed on the five years between installments, mixed critical reviews and competition from fellow releases. In its second weekend, the film made $19.4 million, retaining the top spot at the box office, before falling to third place in its third weekend with $13.1 million.

    The film’s release in India was declared as below average by Chennai Box Office.

    The review aggregator website Rotten Tomatoes reported the film holds an approval rating of 39% based on 255 reviews, with an average rating of 5.10/10. The site’s critics consensus reads: “While it’s far from cursed, Maleficent: Mistress of Evil too rarely supports its impressive cast and visuals with enough magical storytelling to justify its existence.” On Metacritic, the film has a weighted average score of 43 out of 100 based on 40 critics, indicating “mixed or average reviews”. Audiences polled by CinemaScore gave the film an average grade of “A” on an A+ to F scale, the same score as the first film, while those at PostTrak gave it 4.5 out of 5 stars and a 59% “definite recommend”.

    List of awards and nominations
    Award Date of ceremony Category Recipient(s) Result Ref.
    Academy Awards February 9, 2020 Best Makeup and Hairstyling Paul Gooch, Arjen Tuiten and David White Nominated
    Art Directors Guild Awards February 1, 2020 Best Production Design in Fantasy Film Patrick Tatopoulos Nominated
    British Film Designers Guild January 1, 2020 Best Production Design in Fantasy Film Patrick Tatopoulos & Dominic Capon Nominated
    Costume Designers Guild Awards January 28, 2020 Best Costume Design in Fantasy Film Ellen Mirojnick Won
    Make-Up Artists and Hair Stylists Guild January 11, 2020 Best Period and/or Character Hair Styling Audrey Stern Nominated

Jag älskar både Maleficent 1 och 2 den är magisk.

Jag ger Maleficent 2 Ondskans härskarinna 290 poäng.

Skönheten och odjuret ( Beauty and the Beast 2017 movie.

Beauty and the Beast is a 2017 American musical romantic fantasy film directed by Bill Condon from a screenplay by Stephen Chbosky and Evan Spiliotopoulos. Co-produced by Walt Disney Pictures and Mandeville Films, the film is a live-action adaptation of Disney’s 1991 animated film of the same name, itself an adaptation of Jeanne-Marie Leprince de Beaumont’s 1756 version of the fairy tale. It features an ensemble cast including Emma Watson and Dan Stevens as the eponymous characters, with Luke Evans, Kevin Kline, Josh Gad, Ewan McGregor, Stanley Tucci, Audra McDonald, Gugu Mbatha-Raw, Ian McKellen, and Emma Thompson in supporting roles. A live-action Beauty and the Beast remake was first announced in April 2014, with Condon hired to direct it ; Watson, Stevens, Evans, and the rest of the cast signed on between January and April 2015. Principal photography lasted from May to August 2015, taking place primarily at Shepperton Studios in England. With an estimated budget of around $255 million, it is one of the most expensive films ever made. The film premiered at Spencer House in London on February 23, 2017, and was theatrically released in the United States in standard, Disney Digital 3-D, RealD 3D, IMAX, and IMAX 3D formats, along with Dolby Cinema on March 17, 2017. Beauty and the Beast received generally positive reviews from critics, with many praising its faithfulness to the original animated film, as well as elements from the Broadway musical, performances of the cast (particularly those of Watson and Stevens), visual style, musical score, songs, costume design, and production values, though criticism was drawn toward some of the character designs and its excessive similarity to the original. The film grossed over $1.2 billion worldwide, becoming the highest-grossing live-action musical film, making it the second-highest-grossing film of 2017 (after Star Wars: The Last Jedi), and the tenth-highest-grossing film of all time. The film received four nominations at the 23rd Critics’ Choice Awards and two nominations at the 71st British Academy Film Awards. It also received nominations for Best Production Design and Best Costume Design at the 90th Academy Awards. A spin-off/prequel television series, Little Town, is in development.

Plot.- An enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a cruel and selfish prince, a rose in return for shelter from a storm. When he refuses, she reveals her identity. As punishment for the prince’s lack of compassion, the enchantress transforms him into a beast and his servants into household objects before then erasing the castle, himself, and his servants from the memories of their loved ones and everyone else in the town. She casts a spell on the rose and warns the prince that the spell will only be broken if he learns to love another and be loved in return before the last petal falls, or he will remain a beast forever. Some years later, in the small town of Villeneuve, Belle, the book-loving daughter of an inventor named Maurice, dreams of adventure. She constantly brushes off advances from Gaston, an arrogant former soldier as he is not the type of man Belle wishes to marry. On Maurice’s way to a convention, he becomes lost in the forest and seeks refuge in the Beast’s castle. However, the Beast imprisons him when he “stole” a rose from his garden as a gift to Belle. When Maurice’s horse returns without him, Belle ventures out in search of him, and finds him locked in the castle dungeon. Belle tricks her father and the Beast by asking for a simple hug goodbye from her father, she pushes him out and locks herself in the dungeon. The Beast agrees to let her take her father’s place and forces Maurice to leave immediately. Belle befriends the castle’s servants, including candelabra/footman Lumiere, mantel clock/majordomo Cogsworth, feather-duster/maid Plumette, teapot/housekeeper Mrs. Potts, and her son, Chip, who is now a teacup. They invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast scares her into the woods. Belle is ambushed by a pack of wolves, but the Beast rescues her, becoming injured in the process. As Belle nurses his wounds, a spark develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses the book to visit her childhood home in Paris, where she discovers a plague doctor’s mask and realizes that she and her father were forced to leave when her mother succumbed to the plague. In Villeneuve, Maurice fails to convince the other villagers of the Beast and Belle’s imprisonment. Gaston, seeing rescuing Belle as an opportunity to win her hand in marriage, agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to be eaten by the wolves. Maurice is rescued by the town hermit Agathe, but when he tells the townsfolk of Gaston’s crime and is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum. After sharing a romantic dance with the Beast, Belle discovers her father’s predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle reveals the Beast in the mirror to the townsfolk, proving her father’s sanity. Realizing that Belle loves the Beast, a jealous Gaston claims she has been charmed by dark magic and her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Inside the asylum carriage, Belle tells her father that she knows what happened to her mother and showed him the rose rattle she took from her magical visit to their old, abandoned home. Maurice and Belle escape, and Belle rushes back to the castle. During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Meanwhile, he attacks the Beast in his  tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He defeats Gaston, but spares his life before reuniting with Belle. However, Gaston treacherously shoots the Beast from a bridge, which then collapses as the castle begins to crumble, leading Gaston to fall to his death. The Beast then dies as the last petal falls and the servants become inanimate objects. As Belle tearfully professes her love to the Beast, Agathe reveals herself as the enchantress and undoes the spell, repairing the crumbling castle, restoring the Beast and his servants to their human forms and to the villagers’ memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

  • Emma Watson as Belle, a young benevolent bibliophile who seeks for life beyond the confines of her village. She develops feelings for the Beast and begins to see the humanity within him.
    • Daisy Duczmal portrays an infant Belle.
  • Dan Stevens as Beast, a cold-hearted, selfish, unkind prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return, as well as to give rather than take. Stevens portrays the character through motion-capture.
    • Adam Mitchell portrays the younger version of the prince.
  • Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
  • Kevin Kline as Maurice, Belle’s protective widowed father who works as a music box maker and an artist.
    • Jolyon Coy portrays the young Maurice.
  • Josh Gad as LeFou, Gaston’s flamboyant, illiterate, and long-suffering sidekick who bolsters his friend’s ego but gets very little in return.
  • Ewan McGregor as Lumière, the Beast’s charismatic maître d’ who has been transformed into a candelabra.
  • Stanley Tucci as Cadenza, the neurotic court composer and Madame de Garderobe’s husband who has been transformed into a harpsichord.
  • Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza’s wife who has been transformed into a wardrobe.
  • Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière’s lover who has been transformed into a feather duster.
  • Ian McKellen as Cogsworth, the Beast’s gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.
  • Emma Thompson as Mrs. Potts, the castle’s motherly head housekeeper who has been transformed into a teapot.
  • Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince. Morahan also narrates the prologue.
    • Rita Davies portrays the enchantress in her beggar woman form. The film was released posthumously after Davies’ death.
  • Nathan Mack as Chip, Mrs. Potts’ plucky son who has been transformed into a teacup.
  • Adrian Schiller as Monsieur D’Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.
  • Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts’ husband and Chip’s father.
  • Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth’s wife.
  • Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve’s local tavern where Gaston and the village residents drink.
  • Ray Fearon as Père Robert, Villeneuve’s local chaplain who encourages Belle to borrow the books in the chapel’s meager library.
  • Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
  • Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston’s henchmen.
  • Zoe Rainey as Belle’s mother, Maurice’s late wife who contracted the plague and died when Belle was an infant.
  • Clive Rowe as Cuisinier, the castle’s head chef who has been transformed into a stove.
  • Gizmo as Frou-Frou, Maestro Cadenza’s and Madame de Garderobe’s pet Yorkshire Terrier who has been transformed into a footstool.
  • Thomas Padden as Chapeau, the prince’s valet who has been transformed into a coat rack.
  • Tom Turner as The King, the prince’s father who, following his wife’s death, raised his son to be just as selfish and arrogant as he was.
  • Harriet Jones as The Queen, the prince’s mother who died of an illness when he was a child.
  • Dale Branston as Villeneuve’s residential baker.
  • Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
  • Vivian Parry as the Village Lass’ mother, an unnamed seamstress.

Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.

^ In the initial theatrical release, Mitchell was miscredited as Rudi Goodman in the cast, but listed under his real name in the soundtrack credits

^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.

Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical. However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical “was canned”.

By April 2014, Walt Disney Pictures had already begun developing a new live-action version of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella, and The Jungle Book. Two months later, Bill Condon signed on to direct the film from a script by Evan Spiliotopoulos. Later in September of that same year, Stephen Chbosky (who directed Emma Watson in The Perks of Being a Wallflower) was hired to re-write the script.

Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that “after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, ‘We’re interested in a musical to a degree, but only half full of songs.’ My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, ‘No, no, no, we get it, let’s pursue it that way.'” Walt Disney Pictures President of Production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: “We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn’t a musical at that time. But we just couldn’t get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?” The film’s ending originally featured Gaston being cursed by the Enchantress, though the idea was scrapped.

In January 2015, it was announced that Emma Watson had been cast as Belle, the female lead. She was the first and only choice of Walt Disney Studios chairman Alan F. Horn, who had previously run Warner Bros. which released the eight Harry Potter films that starred Watson as Hermione Granger. Two months later, Luke Evans and Dan Stevens were reported to be in talks to play Gaston and the Beast respectively, and Watson confirmed their casting the next day on Twitter. The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor, and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière, and Cadenza, respectively.

Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as “perfect”. Paige O’Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.

According to The Hollywood Reporter, Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficents $759 million worldwide gross.

Principal photography began on May 18, 2015, taking place at Shepperton Studios in Surrey, England, nearby in the village of Cranleigh, and in Lacock, Wiltshire. Filming with the principal actors concluded on August 21. Six days later, co-producer Jack Morrissey confirmed that production had officially wrapped.

The Beast was portrayed with a “more traditional motion capture puppeteering for the body and the physical orientation”, where actor Dan Stevens was “in a forty-pound gray suit on stilts for much of the film”. The facial capture for the Beast was done separately in order to “communicate the subtleties of the human face” and “[capture the] thought that occurs to him” which gets “through [to] the eyes, which are the last human element in the Beast.” The castle servants who are transformed into household objects were created with CGI animation.

Prior to the film’s release, Bill Condon refilmed one certain sequence in the “Days of the Sun” number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones’ character, the Prince’s mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett’s names were mistakenly featured in the original theatrical release’s credits, but was later corrected in home releases.

When released in 1991, Beauty and the Beast marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Academy Award-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon’s opinion, that original score was the key reason he agreed to direct a live-action version of the film. “That score had more to reveal”, he says, “You look at the songs and there’s not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairy-tales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it’s not just being literal, now other elements come into play. It’s not just having real actors do it”.

Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Menken, Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a “straight-forward, live-action, large-budget movie musical”. Menken returned to score the film’s music, which features songs from the original film by him and Ashman, plus new material written by Menken and Rice. Menken said the film would not include songs that were written for the Broadway musical and, instead, created four new songs. However, an instrumental version of the song “Home”, which was written for the musical, is used during the scene where Belle first enters her room in the castle.

On January 19, 2017, both Disney and Celine Dion — singer of the original 1991 “Beauty and the Beast” duet song, with singer Peabo Bryson — confirmed that Dion would be performing one of the new original songs “How Does a Moment Last Forever” to play over the end titles. She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: “[The] first Beauty and the Beast decision was made with my husband. Now I’m making decisions on my own. It’s a little bit harder. I couldn’t say yes right away, because I felt like I was kind of cheating in a way”. She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, “I was at the beginning of my career, it put me on the map, it put me where I am today”. Also, Josh Groban was announced to be performing the new original song “Evermore” six days later.

The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend. Grande and Legend’s updated version of the title song is faithful to the original, Grammy-winning duet, performed by Celine Dion and Peabo Bryson for the 1991 Disney film. Disney debuted the music video for Ariana Grande and John Legend’s interpretation of the title song on Freeform television network on March 5, 2017, and it has since been viewed over 100 million views on the Vevo video-hosting service.

Emma Thompson also performed the title song, which was performed by Angela Lansbury in the original 1991 animated film.

On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017. The first official presentation of the film took place at Disney’s three-day D23 Expo in August 2015.

On February 10, 2017, IMAX announced that the film would have an expanded aspect ratio of 1.90:1, revealing 26% more picture, only in IMAX theatres.

Beauty and the Beast had its world premiere at Spencer House in London on February 23, 2017. The US premiere was held at the El Capitan Theatre in Hollywood on March 2, 2017. The stream was broadcast onto YouTube.

A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017. The United Kingdom received the same version on April 21, 2017.

The film was re-released in New York City and Los Angeles for a one-week engagement starting December 1, 2017. The movie was an awards push as the 2017–18 awards season heated up.

Disney spent around $140 million to market the film worldwide. Disney premiered the first official teaser trailer on Good Morning America the next day. In its first 24 hours, the teaser trailer reached 91.8 million views, which was the largest number ever seen for a trailer in that amount of time. This record has since been broken by Thor: RagnarokIt, and Avengers: Infinity War. The first official teaser poster was released on July 7, 2016. On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine, along with nine new photos. One week later, Emma Watson and Disney debuted a new poster. On November 14, 2016, the first theatrical trailer was released, again on Good Morning America. This reached 127.6 million views in its first 24 hours, setting a new record for the most views in one day, beating Fifty Shades Darker; this record has since been broken by The Fate of the Furious. A TV spot with Watson singing was shown during the 74th Golden Globe Awards. Disney released the final trailer on January 30, 2017.

A tie-in novelization of the film was published by Disney Publishing Worldwide on January 31, 2017.

Beauty and the Beast was released on Blu-ray, DVD, and Digital HD on June 6, 2017. The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast. The film regained the top spot on the national home video sales charts during its third week of release. Beauty and the Beast was released on 4K Blu-Ray on March 10, 2020 along with the original animated film.

Praised for her performance as Belle worldwide, Beauty and the Beast is Emma Watson’s highest-grossing film in the domestic side and second-highest-grossing film, behind only the final Harry Potter film, Harry Potter and the Deathly Hallows – Part 2.

Beauty and the Beast grossed $504 million in the United States and Canada and $759.5 million in other countries for a worldwide gross of $1.263 billion. With a production budget of $254 million, it is the most expensive musical ever made. In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It also became the second-biggest musical ever overall at the time, behind Disney’s Frozen (2013). Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second-biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney. This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title. It surpassed the entire lifetime total of the original film in just six days.

Beauty and the Beast was the 300th digitally remastered release in IMAX company’s history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time, and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings. On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One: A Star Wars Story (also a Disney property) in December 2016 to make over a billion dollars, and did so on its 29th day of release. It is currently the second-highest-grossing film of 2017 (behind Star Wars: The Last Jedi), the highest-grossing March release, the highest-grossing remake of all time, and the sixth-biggest Disney film. Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film. Deadline Hollywood calculated the net profit of the film to be $414.7 million, when factoring together all expenses and revenues, making it the second-most profitable release of 2017.

In the United States and Canada, Beauty and the Beast topped Fandango’s pre-sales and became the fastest-selling family film in the company’s history, topping the studio’s own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.By the time the film’s release was 10 days away, analysts raised projections to as high as $150 million. It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logans record), the biggest ever for a Disney live-action film (breaking Maleficents record), the second-biggest ever for both a G- or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third-biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 pm. The numbers were considered more impressive given that the film played during a school week.

On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games($67 million). It was also the biggest opening day ever for a film that wasn’t PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday’s previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million). Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2%, nevertheless, the dip was paltry, and the grosses are so much greater in comparison to the other titles. Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records. This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman, the biggest start ever for a PG title (also for a family film), surpassing Finding Dory until it was later surpassed by Incredibles 2, the biggest debut of all time for a female-led film, ahead of The Hunger Games: Catching Fire, the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson’s highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon’s biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.

It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and the second-highest-grossing musical, behind Greases $188 million cumulative gross in 1978. Out of the total ticket sales, 70% came from 2D showings thus signifying that people who don’t go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend’s gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office. The film’s opening day demographic, around 70% were female, dropping to 60% through the weekend. According polling service PostTrak, about 84% of American parents who saw the film on its opening day said they would “definitely” recommend it for families. The film’s opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast’s star power (namely Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney’s brand.

On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million). This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales. It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time. In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney. In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens). The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs. As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark. The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so. By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (−48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released. Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle. That weekend, The Circle was number four, while Beauty and the Beast was at number six. By May 28, the film had earned over $500 million in ticket sales becoming the first film of 2017 (until it was later surpassed by The Last Jedi), the third female-led film (after The Force Awakens and Rogue One followed by Wonder Woman and The Last Jedi) and the eighth overall film in cinematic history to pass the mark.

It has already become the biggest March release, dethroning The Hunger Games (2012), the biggest musical film (both animated and live-action), as well as the biggest film of 2017 (alongside The Last Jedi). In July 2020, due to the ongoing COVID-19 pandemic closing most theaters and limiting new releases, Beauty and the Beast returned 527 theaters (mostly drive-ins) and grossed $467,000.

Outside the US and Canada, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG-rated title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book. In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia. It topped the international box office for three consecutive weekends before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion threshold internationally for the first time in 2017.

It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney’s biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World’s End and Pirates of the Caribbean: On Stranger Tides. In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million), and Spain ($5.8 million).

In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012’s Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million). This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens. It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two James Bond films Skyfall (2012) and Spectre). In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions. It earned around ₹15 million (US$210,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined. Disney reported a total of ₹92.6 million(US$1.3 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[ In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.

In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book. The original film was, however, never widely popular in the country. Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country. It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million. Either-way, it recorded the second-biggest opening for a Disney live-action film, with $3.4 million coming from 386 IMAX screens.Japan—a huge Disney market—served as the film’s final market and opened there on April 21. It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country. The two-day gross was $9.7 million, outstripping Frozens previous record of $9.5 million. Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends and is the biggest film release of the year and, overall, the eleventh-biggest of all time. It topped the box office there for eight consecutive weekends.

The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local films and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1). It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews). In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million. In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings films (which also starred Ian McKellen). It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there. The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).In Europe alone, the cumulative total is $267 million, which led it to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).

Beauty and the Beast received positive reviews from critics, with particular praise going to its visuals, ensemble cast, musical score, songs, costume design, production values, and faithfulness to the original animated film with a few elements of the Broadway musical version, while the designs of the Beast and the servants’ household object forms drew mixed reviews.[ On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 375 reviews, with an average rating of 6.7/10. The website’s critical consensus reads, “With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material.” On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating “generally favorable reviews”. In CinemaScore polls, audiences gave the film an average grade of “A” on an A+ to F scale.

Leslie Felperin of The Hollywood Reporter wrote: “It’s a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours.” Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets, while commending the inclusion of Gad’s character of LeFou as the first LGBT character in Disney. Owen Gleiberman of Variety, in his positive review of the film, wrote: “It’s a lovingly crafted movie, and in many ways a good one, but before that it’s an enraptured piece of old-is-new nostalgia.” Gleiberman compared Stevens’ portrayal of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau’s original adaptation. A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: “It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn’t recognize the flavor: I think the name for it is joy.”

Likewise, The Washington Posts Ann Hornaday commended Watson’s performance, describing it as “alert and solemn” while deeming her singing abilities “serviceable enough to get the job done”. Richard Roeper of the Chicago Sun-Times awarded the film three and a half out of five and lauded the performances of Watson and Thompson which he drew a comparison to Paige O’Hara’s and Angela Lansbury’s performances in the 1991 animated version while appreciating the performances of the other cast. He also commented on the advantage of its using both motion capture and CGI technology, writing: “Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast”. Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn’t try anything different, saying: “There’s certainly nothing that new about this version of Beauty and the Beast (well, except it isn’t a cartoon anymore), but it’s a good recreation of a classic animated film that should leave most die-hards satisfied.” In her A- review, Nancy Churnin of The Dallas Morning News praised the film’s emotional and thematic depth, remarking: “There’s an emotional authenticity in director Bill Condon’s live-action Beauty and the Beast film that helps you rediscover Disney’s beloved 1991 animated film and 1994 stage show in fresh, stirring ways.” James Berardinelli of ReelViews described the 2017 version as “enthralling”.

Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon’s affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song. Peter Travers of Rolling Stone rated the film three out of four, deeming it an “exhilarating gift” while he remarked that “Beauty and the Beast does justice to Disney’s animated classic, even if some of the magic is M.I.A (Missing in Action)”. Stephanie Zacharek of Timemagazine gave a positive review with a description as “Wild, Vivid and Crazy-Beautiful” as she wrote “Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming.” and added that “it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version.” The San Francisco Chronicles Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that “Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along” while referring the film as “beautiful” and also praised the film for its emotional and psychological tone as well Steven’s motion capture performance.

Tim Robey of The Daily Telegraph gave the film four out of five and wrote that “It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical” while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad. Mark Hughes of Forbes also praised the film, which he wrote “could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original”. He also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film’s effectiveness in resonating to the audiences.

Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film “feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice”. Michael Phillips of the Chicago Tribune said that the 2017 film “takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly.” Phillips wrote that the film featured some “less conspicuously talented” performers who are “stuck doing karaoke, or motion-capture work of middling quality”, though he praised Kline’s performance as the “best, sweetest thing in the movie; he brings a sense of calm, droll authority”. Peter Bradshaw of The Guardian praised Watson’s performance and wrote that the film was “lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version.” In the same newspaper, Wendy Ide criticized the film as “ornate to the point of desperation” in its attempt to emulate the animated film.

Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that the new songs were “not transporting”. He felt the film needed more life and depth, but praised Watson’s performance as the “one of the film’s stronger elements”. Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to “advance the plot or theme in any meaningful way” while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.

Award Date of ceremony Category Recipient(s) and nominee(s) Result Ref(s)
Academy Awards March 4, 2018 Best Production Design Sarah Greenwood and Katie Spencer Nominated
Best Costume Design Jacqueline Durran Nominated
Art Directors Guild Awards January 27, 2018 Excellence in Production Design for a Fantasy Film Sarah Greenwood Nominated
British Academy Film Awards February 18, 2018 Best Production Design Sarah Greenwood and Katie Spencer Nominated
Best Costume Design Jacqueline Durran Nominated
Casting Society of America January 18, 2018 Feature Big Budget – Comedy Lucy Bevan, Bernard Telsey and Tiffany Little Canfield Nominated
Chicago Film Critics Association December 12, 2017 Best Art Direction Sarah Greenwood Nominated
Costume Designers Guild Awards February 20, 2018 Excellence in Fantasy Film Jacqueline Durran Nominated
Critics’ Choice Movie Awards January 11, 2018 Best Art Direction Sarah Greenwood and Katie Spencer Nominated
Best Costume Design Jacqueline Durran Nominated
Best Hair & Makeup Beauty and the Beast Nominated
Best Song “Evermore” Nominated
Empire Awards March 18, 2018 Best Actress Emma Watson Nominated
Best Soundtrack Beauty and the Beast Nominated
Best Make-up and Hairstyling Won
Golden Trailer Awards June 6, 2017 Best Animation/Family Nominated
Best Original Score Nominated
Best Animation/Family TV Spot Nominated
Best Fantasy Adventure TV Spot Nominated
Guild of Music Supervisors Awards February 8, 2018 Best Music Supervision for Film: Budgeted Over 25 Million Dollars Matt Sullivan Nominated
Hollywood Film Awards November 5, 2017 Costume Design Award Jacqueline Durran Won
Make-Up & Hair Styling Award Jenny Shircore Won
Hollywood Music in Media Awards November 16, 2017 Best Original Song – Animated Film “How Does a Moment Last Forever” – Alan Menken and Tim Rice Nominated
Best Original Song – Sci-Fi, Fantasy, Horror Film Won
“Evermore” – Alan Menken and Tim Rice Nominated
Best Soundtrack Album Beauty and the Beast Nominated
Hollywood Post Alliance Outstanding Color Grading – Feature Film Stefan Sonnenfeld Nominated
Outstanding Visual Effects – Feature Film Kyle McCulloch, Glen Pratt, Richard Hoover, Dale Newton, Neil Weatherley and Framestore Nominated
Houston Film Critics Society January 6, 2018 Best Original Song “Evermore” – Alan Menken and Tim Rice Nominated
Make-Up Artists and Hair Stylists Guild February 24, 2018 Feature Motion Picture: Best Period and/or Character Hair Jenny Shircore, Marc Pilcher and Charlotte Hayward Nominated
MTV Movie & TV Awards May 7, 2017 Movie of the Year Beauty and the Beast Won
Best Actor in a Movie Emma Watson Won
Best Kiss Emma Watson and Dan Stevens Nominated
Best Duo Josh Gad and Luke Evans Nominated
Best Musical Moment “Beauty and the Beast” – Ariana Grande and John Legend Nominated
NAACP Image Awards January 15, 2018 Outstanding Supporting Actress in a Motion Picture Audra McDonald Nominated
Nickelodeon Kids’ Choice Awards March 24, 2018 Favorite Movie Beauty and the Beast Nominated
Favorite Movie Actress Emma Watson Nominated
Publicists Guild Awards March 2, 2018 Motion Picture Beauty and the Beast Nominated
San Diego Film Critics Society December 11, 2017 Best Production Design Sarah Greenwood and Katie Spencer Nominated
Best Visual Effects Beauty and the Beast Runner-up
Best Costume Design Jacqueline Durran Won
Best Use of Music Beauty and the Beast Nominated
Satellite Awards February 10, 2018 Best Costume Design Jacqueline Durran Nominated
Saturn Awards June 27, 2018 Best Fantasy Film Beauty and the Beast Nominated
Best Actress Emma Watson Nominated
Best Production Design Sarah Greenwood Nominated
Best Costume Design Jacqueline Durran Won
Seattle Film Critics Society December 18, 2017 Best Costume Design Jacqueline Durran Nominated
St. Louis Film Critics Association December 17, 2017 Best Production Design Sarah Greenwood Nominated
Best Visual Effects Beauty and the Beast Nominated
Teen Choice Awards August 13, 2017 Choice Movie: Fantasy Won
Choice Movie: Fantasy Actor Dan Stevens Nominated
Choice Movie: Fantasy Actress Emma Watson Won
Choice Movie Villain Luke Evans Won
Choice Movie Ship Emma Watson and Dan Stevens Won
Choice Liplock Won
Choice Scene Stealer Josh Gad Nominated
Choice Hissy Fit Luke Evans Nominated
Dan Stevens Nominated
Visual Effects Society Awards February 13, 2018 Outstanding Virtual Cinematography in a Photoreal Project Shannon Justison, Casey Schatz, Neil Weatherley and Claire Michaud for “Be Our Guest” Nominated
Washington D.C. Area Film Critics Association December 8, 2017 Best Motion Capture Performance Dan Stevens Nominated
Best Production Design Sarah Greenwood and Katie Spencer Nominated
Women Film Critics Circle December 17, 2017 Best Family Film Beauty and the Beast Nominated

Controversy arose after director Bill Condon said there was a “gay moment” in the film, when LeFou briefly waltzes with Stanley, one of Gaston’s friends. Afterwards in an interview with Vulture, Condon stated, “Can I just say, I’m sort of sick of this. Because you’ve seen the movie—it’s such a tiny thing, and it’s been overblown.” Condon also added that Beauty and the Beast features much more diversity than just the highly talked-about LeFou: “That was so important. We have interracial couples—this is a celebration of everybody’s individuality, and that’s what’s exciting about it.” GLAAD president and CEO Sarah Kate Ellis praised the move, stating, “It is a small moment in the film, but it is a huge leap forward for the film industry.”

In Russia, Vitaly Milonov agitated the culture minister for banning the film, but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults). Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot. In Malaysia, the Film Censorship Board insisted the “gay moment” scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored. The studio moved the release date to March 30, to allow more time for Malaysia’s censor board to make a decision on whether or not to release the film without changes. The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that “the gay element was minor and did not affect the positive elements featured in the film”. In Kuwait, the film was withdrawn from cinemas by National Cinema Company, which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information’s censorship department had requested it to stop its screening and edit it for things the Ministry deemed offensive.

The film also received criticism over its portrayal of LeFou, as many felt that it was used as a way of teasing LGBT+ viewers without providing adequate representation, with his “exclusively gay moment” being his three seconds’ dancing with another man at the end of the film.

Disney has sought to portray Belle as an empowered young woman, but a debate questioning whether it is possible for a captor to fall in love with their prisoner, and whether this is a problematic theme, has resulted. As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale. Watson described Stockholm syndrome as “where a prisoner will take on the characteristics of and fall in love with the captor.” She went on to say that “Belle actively argues and disagrees with [the Beast] constantly. She has none of the characteristics of someone with Stockholm [s]yndrome because she keeps her independence, she keeps that freedom of thought”, further adding that Belle defiantly “gives as good as she gets” before forming a friendship and romance with the Beast.

Psychiatrist Frank Ochberg, who was responsible for defining the term “Stockholm syndrome”, said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die. Some therapists, while acknowledging that the pairing’s relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers. Following this viewpoint, Constance Grady of Vox stated that Jeanne-Marie Leprince de Beaumont’s Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th-century France for arranged marriages, and that the power disparity is amplified in the Disney version. Additionally, Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and that his treatment of Belle is not painted as wrong.

Shortly after the release of the film, Sean Bailey said that Walt Disney Pictures will “explore possible [live-action] spin-off and prequel scenarios” for animated and live-action Disney films, including Beauty and the Beast. Emma Watson and Dan Stevens have both expressed interest in reprising their roles in a potential sequel or prequel to the film.

On March 6, 2020, ABC Signature Studios announced to develop a spin-off/prequel limited series to the film focused on Gaston and LeFou, for Disney+. Luke Evans and Josh Gad will reprise their roles from the film, and will executive-produce the series alongside Eddy Kitsis and Adam Horowitz, with Gad, Kitsis and Horowitz serving as showrunners and writers for the series. Alan Menken was reported to be in talks to return as composer for the series, which he confirmed in April. The series will be titled Little Town.

Jag älskar filmen den är magisk fantasy och Jag gillar Emma Watson Dan Stevens.

Jag ger Skönheten och odjuret, Beauty and the Beast filmen, movie 290 poäng.

Beauty and the Beast
Beauty and the Beast 2017 poster.jpg

Theatrical release poster
Directed by Bill Condon
Produced by
  • David Hoberman
  • Todd Lieberman
Screenplay by
  • Stephen Chbosky
  • Evan Spiliotopoulos
Based on
  • Disney’s Beauty and the Beast
    by Linda Woolverton
  • Beauty and the Beast
    by Jeanne-Marie Leprince de Beaumont
Starring
  • Emma Watson
  • Dan Stevens
  • Luke Evans
  • Kevin Kline
  • Josh Gad
  • Ewan McGregor
  • Stanley Tucci
  • Audra McDonald
  • Gugu Mbatha-Raw
  • Ian McKellen
  • Emma Thompson
Music by Alan Menken
Cinematography Tobias A. Schliessler
Edited by Virginia Katz
Production
companies
  • Walt Disney Pictures
  • Mandeville Films
Distributed by Walt Disney Studios
Motion Pictures
Release date
  • February 23, 2017(Spencer House)
  • March 17, 2017 (United States)
Running time
129 minutes
Country United States
Language English
Budget $160–255 million
Box office $1.264 billion

 

 

 

 

 

 

Peter Pan 2003 Movie

Peter Pan ( 2003 film ) Peter Pan is a 2003 American fantasy adventure film directed by P.J. Hogan and written by Hogan and Michael Goldenberg. The screenplay is based on the 1904 play and 1911 novel Peter Pan, or The Boy Who Wouldn’t Grow Up by J.M. Barrie. Jason Isaacs plays the dual roles of Captain Hook and George Darling, Olivia Williams plays Mrs. Darling, while Jeremy Sumpter plays Peter Pan, Rachel Hurd-Wood plays Wendy Darling, and Ludivine Sagnier plays Tinker Bell. Lynn Redgrave plays a supporting role as Aunt Millicent, a new character created for the film. After completing the script, Hogan and Goldenberg were given approval by Great Ormond Street Hospital, who held the rights to Barrie’s story. Principal photography took place in Australia at Village Roadshow Studios on the Gold Coast, Queensland from September 2002 to May 2003. Peter Pan premiered at the Empire in Leicester Square, London on 9 December and was theatrically released by Universal Pictures, Columbia Pictures, and Revolution Studios in the United Kingdom on 24 December 2003 and in the United States on 25 December 2003. The film received positive reviews from critics but grossed $122 million worldwide. With an estimated budget of $130.6 million (not including marketing costs), the film was a box office bomb resulting in a $70–95 million loss.

Plot- In 1904, in the nursery of the Darling household located in London, Wendy Darling tells stories of Peter Pan to her younger brothers John and Michael before their Aunt Millicent’s arrival. Judging Wendy to be an “almost” full- grown woman, Aunt Millicent advises Mr. and Mrs. Darling that Wendy should be given her own bedroom. At school, Wendy is caught by her teacher, daydreaming with a drawing she made after supposedly seeing Peter in the night. The school sends a letter about this to Wendy’s father at the bank. In an attempt to stop the messenger boy from delivering the letter with the help of the family’s nurse dog Nana, Wendy embarrasses her father in front of his superiors. As punishment, Mr. Darling chains Nana outside and declares that is time for Wendy to grow up and have a room of her own. Peter visits the nursery looking for his shadow, which Nana had bitten off during his previous visit. He introduces himself to Wendy, who sews his shadow back on. Peter invites her and her brothers to Neverland where Wendy can tell stories to his gang of Lost Boys. They agree and are taught to fly using Tinker Bell’s fairy dust. Nana breaks free from her chain and leads Mr. and Mrs. Darling back home from a party, but they arrive too late to stop the children flying away. Captain Hook and his crew are alerted to Peter’s return and fire their cannons, knocking Wendy far away and causing Michael and John to fall towards the island. Jealous of Wendy’s presence, Tinker Bell tricks the Lost Boys into shooting Wendy with arrows as she is falling from the sky. To their relief, Wendy survives as the arrow hits her acorn necklace. However Peter banishes Tinker Bell and ends their friendship. Wendy awakens and agrees to be the Lost Boys’ mother. They lead her to their hideout, but realize her brothers are missing. Michael and John encounter the Native American princess Tiger Lily and all three are then captured by Hook and his crew, and taken to the Black Castle. Peter and Hook engage in a duel, but it is stopped when the ticking crocodile arrives and tries to eat Hook, allowing the children to all escape. After a celebration at the Native American camp, Peter shows Wendy the fairies’ home and the two share a dance. Hook spies on the two and charms Tinker Bell, still hurt over her banishment. Peter becomes upset with Wendy after she tries to get him to express his feelings. He tells her to leave, refusing to believe that he can ever love and grow up. Tinker Bell leads Hook’s men to Wendy’s makeshift “house” and they carry Wendy to his ship. There, he tries to entice her to become a pirate, but sends a spy to follow her to the Lost Boys’ underground hideout afterwards. Wendy persuades her brothers to return home and are joined by the Lost Boys. Later, she leaves an upset Peter a cup of “medicine”. Wendy exits the hideout only to be ambushed and captured by Hook’ s crew. Hook enters the hideout and poisons Peter’s medicine. However, Tinker Bell intervenes, drinking the poison instead, and succumbs to it. Peter asserts his belief in fairies, which reaches out to residents of London, bringing Tinker Bell back to life. Peter and Tinker Bell save Wendy and the boys from walking the plank by the pirates and a battle soon breaks out. Hook uses fairy dust to fight Peter in a duel while flying and taunts him about Wendy abandoning him and forgetting all about him when she grows up. Weakened by those thoughts and unable to fight, Peter Pan is incapacitated. A kiss from Wendy revives Peter and he finally defeats Hook, who falls into the jaws of the crocodile. With the ship covered in fairy dust, Peter flies Wendy and the boys back to London. Mr. and Mrs. Darling are overjoyed at the return of their children, and adopt the Lost Boys. Slightly, who got lost on the way to London and arrives at the house too late, is adopted by Aunt Millicent. Peter promises never to forget Wendy and to return some day before heading back to Neverland with Tinker Bell. Wendy, as the adult narrator, claims she never saw Peter again, but she continues to tell his story to her own children and grandchildren so that his legacy will last forever.

Cast!

  • Jason Isaacs as Captain Hook: the captain of the Jolly Roger and Peter’s archenemy: Peter cut off Hook’s hand and fed it to a crocodile which has followed him ever since.
    • Following the stage tradition, Isaacs also portrays George Darling, the Darlings’ father.
  • Jeremy Sumpter as Peter Pan: a young boy who does not want to grow up. Unlike other versions, Peter’s feelings and even his mere presence affect various aspects of the weather.
  • Rachel Hurd-Wood as Wendy Darling: the eldest child of the Darling family and a surrogate mother to the Lost Boys and her younger brothers, John and Michael.
    • Saffron Burrows plays the adult Wendy, who narrates the film. Burrows appears in the deleted epilogue.
  • Lynn Redgrave as Aunt Millicent: the maternal aunt of the three Darling children. Aunt Millicent is an original character created for the film.
  • Richard Briers as Mr. Smee: Hook’s humorous first-mate.
  • Olivia Williams as Mrs. Mary Darling: the matriarch of the Darling family.
  • Harry Newell as John Darling: the middle child of the Darling family.
  • Freddie Popplewell as Michael Darling: the youngest child of the Darling family.
  • Ludivine Sagnier as Tinker Bell: Peter’s fairy companion who is jealous of Wendy.
  • Rebel as Nana: the dog nurse of the Darling family.
  • Carsen Gray as Tiger Lily: the daughter of a Native American chief.
  • Kerry Walker as Miss Fulsom: a strict schoolteacher.
  • Mathew Waters as the Messenger Boy.
  • The Lost Boys:
    • Theodore Chester as Slightly
    • Rupert Simonian as Tootles
    • George MacKay as Curly
    • Harry Eden as Nibs
    • Patrick Gooch and Lachlan Gooch as twins.
  • The Pirate Crew:
    • Alan Cinis as Skylights
    • Frank Whitten as Starkey
    • Bruce Spence as Cookson
    • Daniel Wyllie as Alf Mason
    • Brian Carbee as Albino
    • Don Battee as Giant Pirate
    • Frank Gallacher as Alsation Fogarty
    • Septimus Caton as Noodler
    • Jacob Tomuri as Bill Jukes
    • Venant Wong as Quang Lee
    • Phil Meacham as Bollard
    • Darren Mitchell as Mullins
    • Michael Roughan as Cecco

The film is dedicated to Dodi Al-Fayed, who was executive producer of the 1991 film Hook. Al-Fayed planned to produce a live action version of Peter Pan, and shared his ideas with Princess Diana (who was President of Great Ormond St Hospital), who said she “could not wait to see the production once it was underway.” Al-Fayed’s father, Mohammed Al-Fayed, co-produced the 2003 adaptation of the tale after his son died in the car crash which also killed Princess Diana. Finding Neverland, a film about J. M. Barrie and the creation of Peter Pan, was originally scheduled to be released in 2003, but the producers of this film – who held the screen rights to the story – refused permission for that film to use scenes from the play unless its release was delayed until the following year.

Contrary to the traditional stage casting, the film featured a young boy in the title role. Since the first stage production of the story, the title role has usually been played by a woman, a tradition followed in the first film adaptation. Two subsequent animated adaptations have featured a male voice actor as Peter Pan, and a Soviet live-action film adaptation for television cast a boy to play the role. This film was the first live-action theatrical release with a boy playing the part. The casting of a single actor to play both George Darling and Captain Hook follows a tradition also begun in the first staging of the play.

Brie Larson originally auditioned for Wendy Darling.

Principal photography began on 17 September 2002 and concluded on 5 May 2003, taking place entirely inside sound stages on Australia’s Gold Coast, Queensland. According to Fisher, the decision to shoot in Australia was based on the low value of the Australian dollar at that time. Hogan had originally planned on filming in a variety of locations such as Tahiti, New Zealand, and London but abandoned this idea after scouting some of the locations. Filming on sound stages did help “retain some of the theatricality of the original play”, something which Hogan thought was important.

The visual effects in the film are a mixture of practical and digital. The fairies that appear in the film are actors composited into the film with some digital enhancements. According to actor Jason Isaacs, the filmmakers were impressed with actress Ludivine Sagnier’s performance and decided to abandon their plans to make Tinker Bell entirely computer animated. The film also features a large, computer-generated crocodile. Another character, an animatronic parrot, appears in some scenes on the pirate ship. A complex harness was built to send the live-action actors rotating and gliding through the air for the flight sequences. They were then composited into the shots of London and Neverland, although they are sometimes replaced with computer-generated figures. One other aspect of bringing the story to life was the complex sword-fighting sequences, for which the actors were trained. Sumpter said that, “I had to train for five months before the shoot. I had to do harness training to learn how to fly and learn how to swordfight,” and that, “I got stabbed a couple of times with a sword.” Hogan says that the flying scenes were very difficult to accomplish, but that, “it was tougher on the kids than it was for me. They were up there on the harness 12′ off the ground, having to make it look like flying is easy and fun.” Sumpter grew several inches over the course of the film’s production, requiring staging tricks to retain Hook’s height advantage over Peter in face-to-face scenes late in the process. Hollywood-based producer Lucy Fisher also said that, “The window he flies out of had to be enlarged twice.”

This film was released in theatres on 18 December 2003 in Australia, on 24 December 2003 in the United Kingdom and on 25 December 2003 in the United States. The Film was distributed by Universal Pictures in the United States, Canada, Australia, New Zealand, the United Kingdom, France, & South Africa, and by Columbia Pictures in the rest of the world. While Universal distributed the Film Theatrically in France, the Home Video Rights are handled by Sony there.

For the promotion of the film, the original novel of Peter Pan by J.M. Barrie was re-released displaying the film’s promotional material. A video game based on the film was released for Game Boy Advance on 4 November 2003, receiving mixed reviews from critics.

Review aggregator Rotten Tomatoes gives the film a score of 76% based on 144 reviews, and an average rating of 6.8/10. The website’s critical consensus reads, “Solid if far from definitive, this version of Peter Pan is visually impressive, psychologically complex and faithful to its original source.” On Metacritic, the film has a weighted average score of 64 out of 100, based on 33 critics, indicating “generally favorable reviews”.

Film critic Roger Ebert gave the film three and a half out of four stars. MovieGuide has also favourably reviewed the film, calling it “a wonderfully crafted, morally uplifting movie that intentionally emphasizes the fantasy elements of the story both in dialogue and design of the film.”

Peter Pan earned $48,462,608 at the box office in the United States and another $73.5 million outside the US, which brings the worldwide total to nearly $122 million. The film’s failure was partly due to its competition from the highly anticipated The Lord of the Rings: The Return of the King released the week before, and Cheaper by the Dozen, which opened on the same day.

 
Year Nominee / work Award Result
2003 Jeremy Sumpter Best Performance by a Younger Actor Won
Best Fantasy Film Nominated
Rachel Hurd-Wood Best Performance by a Younger Actor Nominated
Janet Patterson Best Costumes Nominated

 
Year Nominee / work Award Result
2003 Peter Pan Best Family Film – Live Action Nominated

 
Year Nominee / work Award Result
2003 Rachel Hurd-Wood Best Youth in Film Nominated

 
Year Nominee / work Award Result
2003 Peter Pan Best Live Action Family Film Nominated
Jeremy Sumpter Best Performance by a Youth in a Lead or Supporting Role – Male Nominated

 
Year Nominee / work Award Result
2003 Yusei UesugiGiles Hancock Outstanding Matte Painting in a Motion Picture Nominated
Ludivine Sagnier Outstanding Performance by a Male or Female Actor in an Effects Film Nominated

 
Year Nominee / work Award Result
2004 Jeremy Sumpter Best Performance in a Feature Film – Leading Young Actor Won
Peter Pan Best Family Feature Film – Drama Won
Rachel Hurd-Wood Best Performance in a Feature Film – Leading Young Actress Nominated
Harry Newell Best Performance in a Feature Film – Supporting Young Actor Nominated
Carsen Gray Best Performance in a Feature Film – Supporting Young Actress Nominated

 

Jag älskar den filmen för den är magisk och äventyr sagor tror på älvorna. Jag ger Peter Pan movie 2003 190 poäng.

Peter Pan
Peter Pan 2003 film.jpg

International theatrical release poster
Directed by P. J. Hogan
Produced by
  • Lucy Fisher
  • Douglas Wick
  • Patrick McCormick
Screenplay by
  • P. J. Hogan
  • Michael Goldenberg
Based on Peter and Wendy
by J. M. Barrie
Starring
  • Jason Isaacs
  • Jeremy Sumpter
  • Rachel Hurd-Wood
  • Richard Briers
  • Olivia Williams
  • Lynn Redgrave
  • Ludivine Sagnier
  • Geoffrey Palmer
Music by James Newton Howard
Cinematography Donald McAlpine
Edited by
  • Garth Craven
  • Michael Kahn
Production
companies
  • Universal Pictures
  • Columbia Pictures
  • Revolution Studios
  • Red Wagon Entertainment
  • Allied Stars Ltd
Distributed by
  • Universal Pictures (English-Speaking Territories, France & South Africa)
  • Sony Pictures Releasing(International)
Release date
  • 18 December 2003(Australia)
  • 24 December 2003(United Kingdom)
  • 25 December 2003(United States)
Running time
113 minutes
Countries
  • United Kingdom
  • United States
  • Australia
Language English
Budget $130 million
Box office $122 million

 

Winx Club The secret of the lost kingdom 2007 Movie.

Winx Club: The Secret of the Lost Kingdom -From Wikipedia, the free encyclopedia. Winx Club: The Secret of the Lost Kingdom (Italian: Winx Club – Il Segreto Del Regno Perduto), also known as Winx Club Il film, is an Italian CGI animated feature film, based on the television series Winx Club, taking place after the events of the first three seasons. The film premiered on November 30, 2007 in Italy. The film was animated by the Rainbow studio. In February 2011, Nickelodeon’s parent company Viacom became a co-owner of Rainbow, and it was announced that Viacom would re- release The Secret of the Lost Kingdom through its subsidiary Paramount Pictures. Nickelodeon U.S. premiered the movie on March 11, 2012, and Paramount released it on DVD on August 7, 2012. Rainbow offered the film to the Cannes Film Festival in 2007. Australian singer Natalie Imbruglia sings the film’s ending song, “All the Magic”. 

Plot: Bloom and her friends are on a search for Bloom’s missing birth parents, King Oritel and Queen Marion, who Bloom believes are still alive. The girls track down Hagen, a blacksmith who forged the powerful Sword of King Oritel, a magical sword that can never be separated from its rightful master, in hopes that he can trace the sword’s power to Bloom’s parents. The girls successfully sneak into Hagen’s but when they encounter Hagen, he believes they are intruders. Faragonda, an old friend of Hagen’s arrives. They return to Alfea to discuss the matter. Bloom begs Hagen for his help, but he admits that he is unable to aid her. Bloom feels guilty for the effort her friends have put in when it had been hopeless the whole time, and runs off in tears to avoid facing them. Most of the Alfea third-year fairies are graduating to become Guardian Fairies, after having earned their Enchantix powers. Due to Bloom’s powers being incomplete, she is compelled to stay behind as she watches her friends graduate. Sky comes to comfort her, encouraging her to continue her quest despite Hagen’s words. They share a tender moment until a mysterious girl arrives, forcing Sky to leave in a hurry, although he promises Bloom that he will explain everything later. The next morning, Bloom leaves for Earth to stay with her adoptive parents. Though she seems happy, Mike and Vanessa see that Bloom is uncomfortable living on Earth, and that she belongs more in the Magical Dimension. That night, Bloom has a dream about Daphne, who tells her that there is still hope; their parents  are still alive. She offers Bloom her strength. Daphne also informs her about the Book of Fate, a tome their father kept that tells the entire history of Domino, and its location. In the morning, Bloom is surprised to see all of her friends there to celebrate her 18th birthday. Bloom shares her plan and they all agree to help her, reminding her of their everlasting friendship.The restoration of Bloom’s hope triggers the Sword of King Oritel, deep within the dark Obsidian Circle, the center of all Evil forces. Its glow troubles the spiritual forms of the three Ancestral Witches, who caused the destruction of Domino. They employ the Obsidian’s Keeper, Mandragora,to root out the cause of the sword’s reactivation and snuff it out, additionally imbuing Mandragora with a fraction of their dark powers. Meanwhile, the team heads to Domino. Borrowing Daphne’s mask, Bloom recalls Daphne’s memories of when Domino was a paradise before it was covered with ice and snow. The group reach the mountain where the book is hidden, but Tecna informs them of a mystical bird called the Roc that guards the library. The Specialists scale the mountain first but accidentally causes the Roc to awaken, who flies off with the boys. The girls save them with Musa’s harmonic spells and successfully allow the Roc to land. Inside the library, they meet Bartelby,Oritel’s deceased scribe in spiritual form, who shows them the Book of Fate. In it, they discover that Bloom’s parents were part of a good warrior group known as the Company of Light, that served to eradicate Evil in the form of the three Ancestral Witches and that Oritel as well as all the people of Domino are currently trapped in the Obsidian Circle. However, the team finds the remaining pages empty after chronicling the Company of Light’s battle with the Ancestral Witches, with no clue on the outcome. Bartelby then foretells a prophecy where six legendary warriors will save Domino, and that a king without a crown will free the Sword of King Oritel. As the team celebrates this new discovery, Riven is bitten by one of Mandragora’s spy bugs and becomes her puppet. Soon after, Alfea is attacked by Mandragora, who despite being defeated, learns about Bloom and disappears, dutifully reporting about the second princess of Domino. Following Mandragora’s defeat, the group begin searching for a way into the Obsidian Circle, which leads them to Pixie Village. With the help of Lockette, the team heads to the gateway to the Obsidian Circle. As the girls enter, Mandragora appears and forces Riven to battle Sky and retrieve the key, separating the girls and the boys. As he is about to stab Sky, Musa jumps in front of him and is injured. The girls are forced to face their worst fears, and Bloom sees a vision of what happened to her birth parents: Oritel was pulled into the Obsidian Circle by the Ancestral Witches while Marion absorbed herself into the sword in order to be with him. To Bloom’s horror, she sees her father frozen in stone, the same fate for all inhabitants of her planet. All the fairies then wake up from their trances, only to come face-to-face with the Ancestral Witches, who severely weaken the Winx except Bloom. They force Bloom to make a choice between destroying the sword and saving her adoptive parents or taking the sword and letting Mandragora kill them, as seen in an image. Luckily, Bloom sees through the illusion and places her trust in the boys, while they are still fighting Mandragora, unleashing her Dragon Fire. Outside, Riven recalls all what he and Musa have been through together. Regaining his sanity, he lifts her up and they kiss. Chasing after Mandragora, Sky arrives moments later to aid her and takes the sword, but supposedly dies, as only a king can wield the sword. Bloom is ready to give up when Daphne reminds her that she is not alone. Bloom puts on the mask, and Daphne joins with her to destroy the Ancestral Witches. However, Mandragora returns and the Ancestral Witches use her body as a host and begin to strangle Bloom to death. Sky reawakens and stabs Mandragora with Oritel’s sword; with Bloom’s Dragon Flame, destroying both her and the entire Obsidian Circle, freeing everyone. Sky explains he is now King of Eraklyon, and his coronation was the night he left Bloom at Alfea. With Domino restored to its former glory, Oritel is freed from stone, placing Marion back in human form; Bloom’s Enchantix is complete, and she is finally reunited with her birth parents. At a party afterwards, Oritel and Marion promise Bloom that they will never leave her again. Mike and Vanessa are also there and Bloom hugs them. Oritel begins the traditional father-daughter dance, but lets Bloom dance with Sky, who proposes to her. Bloom accepts and kisses him. Bartelby then appears by the Book of Fate, telling the audience that the prophecy has been fulfilled, Bloom is now a Guardian Fairy and there is a new Company of Light – the Winx. In the final scene, it is revealed the Ancestral Witches have not been destroyed. Instead, they were freed with the destruction of the Obsidian Circle and are finding new hosts to take over and destroy the Winx. They are shown with their direct descendants, the Trix, cackling madly. This is a cliffhanger leading to the second film.

Voice cast

Character Italian English (Atlas Oceanic) English (Dubbing Brothers)
Bloom Letizia Ciampa Molly C. Quinn Cindy Robinson
Stella Perla Liberatori Amy Gross Jennifer Séguin
Flora Ilaria Latini Alejandra Reynoso Stephanie Sheh
Musa Gemma Donati Romi Dames Anik Matern
Tecna Domitilla D’Amico Morgan Decker Wendee Lee
Aisha Laura Lenghi Keke Palmer Wendee Lee
Prince Sky Marco Vivio Matt Shively Christopher Corey Smith
Brandon Massimiliano Alto Adam Gregory Uncredited
Helia Francesco Pezzulli David Faustino
Riven Mirko Mazzanti Sam Riegel Steve Staley
Timmy Corrado Conforti Charlie Schlatter Uncredited
Nabu Sasha De Toni Will Blagrove

Soundtrack (edit) International Versions (edit).

Song Original Name Language Singer(s) Country
“Jestes Naj” “Unica” Polish Aleksandra Szwed Poland
“Tu es la seule” French Mery Lanzafame (N.B: To note that Sina provides this song ONLY for the french soundtrack in Winx In Concert ) France
“Sen bir tanesin” Turkish Group Hepsi Turkey
“Mono esy” Greek Artemis Zannou Greece
“Tu eres única” Spanish María Blanco Spain
“Única” Latin Spanish Maythe Guedes ft. Rebeca Aponte Latin America
“És a tal” Portuguese Portugal
“Jij bent cool” Dutch Ilona Netherlands
“You’re the one” English Elisa Rosselli
“Du bist es” German Deevoice Germany
“Ayağa kalk !” “Segui il Ritmo” Turkish Group Hepsi Turkey
“Kom op dans” Dutch Ilona Netherlands
“Lass dich fallen” German Deevoice Germany
“Stand up” English Elisa Rosselli
“Enchantix” “Potere di enchantix” Turkish Group Hepsi Turkey
English Elisa Rosselli
Greek Artemis Zannou Greece
“You Made Me a Woman” “A un passo da me” English Elisa Rosselli
“Deine Augen” German Deevoice Germany
“Genau Wie Du” German Deevoice Germany
“Winx” “Segui il tuo cuore” Dutch Ilona Netherlands
“Fly” English Elisa Rosselli
“All the Magic” English Natalie Imbruglia All Countries

Dancers dressed as the Winx Club posing at the Rome FilmFest.

A live action dance show was performed to promote the film at the 2007 Rome Film Festival. In the first week of showing, the film was distributed in 665 cinemas and had 420,000 viewers. It received 1,979,972 euros ($3,074,695.84 US) in its opening week, and ended its run with five million euros in revenue. It was released on DVD in Italy in March 2008. The movie premiered on Nickelodeon in America on March 11, 2012 and was released on DVD on August 7, 2012.

Sequel!

On October 29, 2010, a sequel, Winx Club 3D: Magical Adventure, was released in Italy.

Jag älskar Winx Club serien och filmen för då kan man veta att Bloom har hittat sina kungliga föräldrar och sin hemplanet Domino blir en skydd fe.

Jag ger Winx Club hemligheternas slott/ The Secret Castle filmen movie 2007 180 poäng.

 

 

Sailor Moon S: The Movie 1994.

Sailor Moon S: The Movie ( Japanese: 劇場版美少女戦士セーラームーンS, Hepburn: Gekijō-ban Bishōjo Senshi Sērā Mūn S, lit. ‘ Pretty Soldier Sailor Moon S the Movie’) is a 1994 Japanese animated superhero fantasy film directed by Hiroki Shibata and written by Sukenhiro Tomita. It is the second film in the series, following Sailor Moon R: The Movie (1993), and is adapted from a side story of the original Sailor Moon manga series created by Naoko Takeuchi, The Lover of Princess Kaguya. It takes its name from the third arc of the Sailor Moon anime seriers, Sailor Moon S, as Toei Company distributed it around the same time. The film was released in Japan on December4, 1994, as part of the Winter ’94 Toei Anime Fair. In the 2000 Pioneer English adaptation, it was released as Sailor Moon S: The Movie – Hearts in Ice.

Plot – An extraterrestrial ice entity named Princess Snow Kaguya (プリンセス・スノー・カグヤ, Purinsesu Sunō Kaguya) arrives on Earth in an attempt to freeze it, but a fragment of her comet has been lost and she is unable to proceed without it. She has her henchwomen, the Snow Dancers, search for the missing fragment. In Tokyo, a young astronomer named Kakeru Ōzora (宇宙 翔, Ōzora Kakeru) finds the fragment and keeps it in his observatory to study in further. Meanwhile, the Sailor Guardians are enjoying a day in the Juban Shopping District. Luna falls ill and decides to go back to Usagi’s house. Along the way, she collapses while crossing the road, and is almost hit by a car, but is rescued and nursed to health by Kakeru. Luna then develops romantic feelings for him, even kissing him on the cheek in his sleep, leaving Artemis crushed. Luna herself ends up with unrequited love because it is revealed that Kakeru himself has a girlfriend, an astronaut named Himeko Nayotake  (名夜竹 姫子, Nayotake Himeko), and more importantly, because Luna is a cat. The two are devastated because Himeko is oblivious to Kakeru’s belief of Princess Kaguya’s existence. Later, after finding herself unable to reconcile her differences with Kakeru, Himeko leaves on a space mission. The fragment of the comet attaches itself to his life force, and begins slowly stealing his life-force energy, causing him to become very ill. Kaguya later steals the shard, but because it is linked to his life-force, he is brought even closer to death when Kaguya throws the shard into the ocean and creates an enormous ice crystal that will continue to drain away Kakeru’s life-force energy completely. She and her Snow Dancers than begin freezing the entire Earth, little by little. The Sailor Guardians attempt to stop her, only for Kaguya to revive the Snow Dancers using the Crystal. Just before Kaguya could kill the Sailor Scouts, Sailor Moon arrives and tries to talk her out of her plot. Wanting more strength, she activates the mighty powers of the legendary Holy Grail to evolve into Super Sailor Moon, but is easily overpowered by Snow Queen Kaguya. Determined to protect the Earth and its people, Usagi prepares to activate the Legendary Silver Crystal’s immense energy and power. The eight Sailor Guardians, along with Sailor Chibi Moon, combine their own strength and Sailor abilities at once to further strengthen the healing power of the Legendary Silver Crystal, destroying Snow Queen Kaguya and the Snow Dancers head-on, and eliminating the ice crystal in the ocean, as well as her comet. Usagi wishes for Luna to become the mythical Princess Kaguya for one night. Concerned about Himeko’s safety, Kakeru wanders in the snowstorm and is saved by Luna at the exact point Kakeru saved her, transformed into a human. She takes him near the moon, where Himeko, on her space mission, witnesses the phenomenon and realizes that Princess Kaguya does exist. Luna tells him that he needs to start focusing on his relationship with Himeko, and the two kiss. After returning to the Earth, Kakeru takes up Luna’s advice and meets Himeko at the airport, where the two lovingly hug. Artemis meets up with Luna, and the cats reconcile.

 

Voice Cast!

Character Japanese voice actor English voice actor
(Pioneer/Optimum Productions, 2000)
English voice actor
(Viz Media/Studiopolis, 2018)
Usagi Tsukino/Serena Kotono Mitsuishi Terri Hawkes Stephanie Sheh
Ami Mizuno/Amy Aya Hisakawa Karen Bernstein Kate Higgins
Rei Hino/Raye Michie Tomizawa Katie Griffin Cristina Vee
Makoto Kino/Lita Emi Shinohara Susan Roman Amanda Miller
Minako Aino/Mina Rika Fukami Stephanie Morgenstern Cherami Leigh
Usagi “Chibiusa” Tsukino/Rini Kae Araki Tracey Hoyt Sandy Fox
Haruka Tenoh/Amara Megumi Ogata Sarah Lafleur Erica Mendez
Michiru Kaioh/Michelle Masako Katsuki Barbara Radecki Lauren Landa
Setsuna Meioh/Trista Chiyoko Kawashima Sabrina Grdevich Veronica Taylor
Mamoru Chiba/Darien Tōru Furuya Vincent Corazza (Vince Corroza) Robbie Daymond
Luna Keiko Han Jill Frappier Michelle Ruff
Artemis Yasuhiro Takato Ron Rubin Johnny Yong Bosch
Princess Snow Kaguya Eiko Masuyama Catherine Disher Melissa Fahn
Kakeru Ōzora Masami Kikuchi Jeff Lumby Chris Hackney
Himeko Nayotake Megumi Hayashibara Jen Gould Claudia Lenz
Snow Dancers Mariko Onodera
Yūko Nagashima
Esther Thibault TBA
Announcers Tomohisa Asō
Yasunori Masutani
Tony Daniels TBA
Journalist Yoshiyuki Kōno Unknown TBA

Production

Sailor Moon S: The Movie is based on the 135-page side story “Princess Kaguya’s Lover” (かぐや姫の恋人, “Kaguya hime no Koibito”), written and illustrated by series creator Naoko Takeuchi and later published by Kodansha. Dissatisfied that she had left the production of the previous film to others, Takeuchi envisioned “Princess Kaguya’s Lover” as the plot of Sailor Moon S: The Movie, and proceeded to write the story “all in one go.” She modeled the antagonist after an Art Deco antique named “Salome”, while the Snow Dancers are modeled after a German china piece, which Takeuchi thought resembled “a character dancing in a snowstorm.” On July 8, 1994, she traveled to the Kennedy Space Center in Florida as part of her research; there, she watched the launch of space shuttle Columbia. She enjoyed working on the film, and liked the overall result, particularly Luna’s transformation sequence. The film was soft matted for its theatrical release, as it was animated in 4:3 aspect ratio.

English release

The film was first released in North America on VHS by Pioneer Entertainment on August 31, 1999, in Japanese with English subtitles. Pioneer later released the film to uncut bilingual DVD on May 23, 2000, alongside another VHS release containing an edited version of the English dub. Pioneer re-released their DVD on January 6, 2004 under their “Geneon Signature Series” line. The DVDs later fell out of print when Pioneer/Geneon lost the license to the film. The edited version was also shown on TV in Canada on YTV and in the US on Cartoon Network’s Toonami block on November 9, 2001.

The English dub was produced in association with Optimum Productions in Toronto, Canada, and featured most of the original DiC English cast reprising their roles. The edited version of the dub was censored for content and replaced the music with cues from the DiC version of the first two seasons of the anime. The uncut version of the dub was only seen on the bilingual DVD, featured no censorship, and all of the original Japanese music was left intact, with the exception of the DiC theme song being used.

In 2014, the film was re-licensed for an updated English-language release in North America by Viz Media, who have produced a new English dub of the film in association with Los Angeles-based Studiopolis and re-released it on DVD and Blu-ray on October 2, 2018. The film was released to North American theaters with one-day screenings nationwide as a double feature with Sailor Moon R: The Movie, in association with Fathom Events. Dubbed screenings were on July 28, 2018, and subtitled screenings on July 30, 2018. It has also been licensed in Australia and New Zealand by Madman Entertainment.

Jag har inte sätt den här filmen heller men jag hade gärna vilja se den filmen. Jag ger Sailor Moon S Movie 99 poäng.

 

Min blogg -Hermione Granger.

  Emma Watson – Hermione Granger/ Prinsessan Brea Bloggen.

är min första inlägg- Nu är jag börjat göra min egen serie berättelsen. Idag är jag klar med första ruta på min serie, Vecka 39 börjar jag blir klar med min serie sidan, Den här veckan kommer jag blir klar med min första sidan av min serie berättelsen snart ska jag göra en till manus och en annan serie berättelsen snart är jag klar med sidan 4 av min serie berättelsen. Den här veckan har jag lagt in nya bilder på min blogg.

God Jul och Nytt år på min Hermione Blogg

  Den här veckan har jag gjort klart med fjärde rutan på sidan 4 av H2o Just add water serien idag är jag jätte nöjd att  blir klart innan jul semester.

2020- 12/3 Mars – Har jag fortsatt med min serie berättelsen och igår jobbade jag med     min Hermione påsen till Cosplay och jag har syd till pärlor på min påse. Idag var det bara jag och Robin som hade tecknarskolan med Angelina vi jobbade med Pigment pennorna och gjode vår eget klot sen jobbade jag med min serie berättelsen. Jag har skrivit klart både  faktan om The Dark Crystal och Age of Resistance serien och filmen. Idag har jag skrivit faktan om Winx Club serien och lagt in några bilder och H2o just add water, Mako mermaids och bilder snart ska jag rita men egena figurer från The Dark Crystal filmen och serien och Winx Club, Salilor Moon och Glitter Force doki doki idag sen fortsätta nästa vecka. Idag har jag skrivit klart Sailor moon serien och Sailor Moon the Crystal, igår kollade jag på lägenhet som jag ska snart flytta till. Nu i veckan 35 åkte jag tillbaka till Grafiska jag fick ny schema och hängde upp bilder på min nya plats. Jag gjort klart Sailor Mars bilden ifrån mina clip studio övningar  den här veckan ska jag göra egen julbilden på Sailor Mars när har clip studio övningar.

Den här veckan har varit soligt och jobbit i måndag fick jag och Max våran föräldrar veta att våran kusin Lydia/Ludde s hund Milton har sovit in för han månde inte så bra och han hade levercancer det va jobbit för både för mig och min kusin. Jag va hemma hos min pappa och min söta hund Moltas på tisdag och onsdag jag va jätte ledsen. Idag har Jag börjat rita min andra karaktär på min serie Linn på en självbild och en bild på henne när hon målar. Idag gjorde jag klart med min julkort på karaktärerna från The Dark crystal: Age of Resistance och filmen sen jobbade jag lite på jul Sailor Mars efter det skrev jag lite på mina karaktärerna. Idag blev jag klar med mina karaktärerna nu håller jag fortfarande rita på mina karaktärerna. Den här veckan hade jag utveckling samtal med min handledare Angelina igår och det gick bra jag visade henne min The Dark Crystal julkortet. Idag blev jag klar med min Jultomte Sailor Mars på Clip studion övningar jag få se om jag vill fortsätta min teckning.

Hej min blogg nu är vi tillbaka till jobbet jag fortsätter skriver och snart ska jag rita mina karaktärer från min egen serie och färglägga sen ska jag skriva upp deras personlighet förmågor egenskaper. Idag jobbade jag med Brea prinsessan Gelfling på Clip-Studio övningar på förmiddagen. Jag fortsätter med  tuschingen på Brea Gelfling på Clip-studio övningar.