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Watch Pixar’s Stunning 2018 Animated Short ‘Bao’ Online Right Now

It has just been shortlisted for the Academy Award, and to celebrate Disney and Pixar have made the stunning Bao available online to stream for Free. The short, which accompanied Incredibles 2 in cinemas in 2018, will be available on YouTube for one week online. Watch Bao online in the player below.

YouTube/Disney/Pixar Watch Bao online for Free – Pixar’s stunning 2019 short

In “Bao,” an aging Chinese mom suffering from empty nest syndrome gets another chance at motherhood when one of her dumplings springs to life as a lively, giggly dumpling boy. Mom excitedly welcomes this new bundle of joy into her life, but Dumpling starts growing up fast, and Mom must come to the bittersweet revelation that nothing stays cute and small forever. This short film from Pixar Animation Studios and director Domee Shi explores the ups and downs of the parent-child relationship through the colorful, rich, and
See full article at The Hollywood News »

‘First Man’ and ‘Avengers: Infinity War’ Lead Oscar Visual Effects Shortlist

‘First Man’ and ‘Avengers: Infinity War’ Lead Oscar Visual Effects Shortlist
Damien Chazelle’s “First Man” and Marvel’s “Avengers: Infinity War” topped the VFX Oscar shortlist. They will compete in the January 5 bakeoff with Marvel’s “Ant-Man and the Wasp,” “Christopher Robin,” “Ready Player One,” Marvel Best Picture contender “Black Panther,” “Jurassic World: Fallen Kingdom,”“Mary Poppins Returns,” “Solo: A Star Wars Story,” and “Welcome to Marwen.”

Failing to make the cut, however, were animated upstarts “Incredibles 2” and “Isle of Dogs,” DC’s “Aquaman,” “Bumblebee,” “Fantastic Beasts: The Crimes of Grindelwald,””Mission: Impossible – Fallout,” “Mortal Engines,” “The Nutcracker and the Four Realms,”“Paddington 2,” and “A Quiet Place.”

This season has become a showdown between “First Man” and “Infinity War” — reshaping in-camera VFX for Nasa’s trip to the moon versus Marvel’s brilliant CG Thanos. And a win for “Infinity War” would mark Marvel Studio’s first Oscar.

Nominations will be announced on Tuesday, January 22, 2019. The 91st Oscars will be held on Sunday,
See full article at Indiewire »

‘Black Panther’ and ‘Ready Player One’ Land on Oscars Shortlist in Visual Effects Race

The Visual Effects branch of the Academy announced its shortlist in the Best Visual Effects category at the 2019 Oscars, advancing Marvel’s “Black Panther,” “Avengers: Infinity War” and Steven Spielberg’s “Ready Player One” in the race.

After announcing its initial field of 20 films earlier this month, the VFX branch whittled that list down to just 10 vying for the final five Oscar nominations announced on Jan. 22.

Here’s the full list via the Academy below:

Also Read: Curtis Clark to Receive Academy's John A. Bonner Award for Scientific and Technical Achievement

“Ant-Man and the Wasp”

Avengers: Infinity War

Black Panther

“Christopher Robin”

First Man

Jurassic World: Fallen Kingdom

Mary Poppins Returns

Ready Player One

“Solo: A Star Wars Story”

“Welcome to Marwen”

All three Marvel movies released this year, including “Ant-Man and the Wasp,” made the shortlist, while their rival DC, whose slate includes this weekend’s “Aquaman,” was left out.
See full article at The Wrap »

Big Breakthroughs Seen in Below-the-Line Categories

  • Variety
Big Breakthroughs Seen in Below-the-Line Categories
Is 2018 an anomaly, or is it a harbinger of things to come?

The awards derbies of recent years have seen a predominance of indie films at the expense of big studio features — resulting in a slate of Oscar contenders devoid not only of genuine blockbusters but also of more modest mid-budget crowd-pleasers. This has dampened the ratings of the Oscars telecast, much to the consternation of the Academy.

But this year feels different, with studio pics including “Black Panther,” “First Man” (pictured above) and “A Star Is Born” definitely in the running.

And along with this rise in the fortunes of studio pictures, many artisans who have worked on them — from cinematographers to costume designers to visual-effects supervisors — are seeing their projects attain a new level of acclaim and respect.

But before the distribution of the top prizes Feb. 24 at the Dolby Theatre, these artisans will have to run the
See full article at Variety »

Sound the Alarm! 3 Seasons of Law & Order: Svu Are Leaving Netflix

Netflix giveth, and Netflix taketh away.

In the midst of celebrating all the exciting new additions heading to the streaming giant in January - Incredibles 2, A Series of Unfortunate Events season 3, all the Indiana Jones movies, among others - we came to the startling realization that a ton of episodes of Law & Order: Svu will be disappearing from the TV selection next month. Talk about a bummer, right? It's almost as bad as when Netflix announced Moana would be leaving the site in December . . . almost.

The series - which currently stars Mariska Hargitay and Ice T as Detective Olivia Benson and Sgt. Fin Tutuola, respectively - has been on the air since 1999 and has 20 seasons in total. When the calendar reaches Jan. 1, however, three seasons' worth of episodes will vanish from your queue: Law & Order: Special Victims Unit: The Fifteenth Year, Law & Order: Special Victims Unit: The Sixteenth Year,
See full article at Popsugar »

Netflix Isn’t Killing Movie Theaters, Study Shows

Netflix Isn’t Killing Movie Theaters, Study Shows
Netflix isn’t killing movie theaters. At least, that’s the take-away from a new study conducted by EY’s Quantitative Economics and Statistics group, which finds that people who go to movies in theaters more frequently also consume more streaming content. That flies in the face of the “conventional wisdom” of box office sages, who grimly ascribe flatlining theatrical attendance to the growing popularity of digital entertainment companies.

If the study’s findings are accurate, it would appear that the two forms of entertainment consumption are more complementary than cannibalistic. The study found, for instance, that respondents who visited a movie theater nine times or more in the last 12 months consumed more streaming content than consumers who visited a movie theater only once or twice over the past year. Those who saw nine or more movies at the cinema averaged 11 hours of weekly streaming compared to the seven hours
See full article at Variety »

How 'Spider-Verse' Delivered a New Spin on Spider-Man

How 'Spider-Verse' Delivered a New Spin on Spider-Man
In 2004, The Incredibles brought superheroes into the world of 3D animation in an event film that seemed like it would usher in a new age of superheroics. Yet, in the years since, superheroes have taken over the live-action space, while 3D animated films in the genre have been few and far between.

That's what makes 2018 noteworthy, as it has two major 3D animated superhero films: Incredibles 2 and Spider-Man: Into the Spider-Verse. But it’s the latter that represents perhaps the biggest step within the 3D style since 2004, as well as the biggest reason for further ...
See full article at The Hollywood Reporter »

‘Spider-Man: Into the Spider-Verse’ Big, ‘The Mule’ Strong; ‘Mortal Engines’ Sputters

‘Spider-Man: Into the Spider-Verse’ Big, ‘The Mule’ Strong; ‘Mortal Engines’ Sputters
Sometimes raw figures don’t tell the full story. Case in point: This weekend, grosses dropped nearly 60 percent, or about $160 million, below the same results for the same three-day weekend, even more from the year before. Does this mean the end of the year has become a disaster?

Well, no. Why? Because most years see the release of top holiday films delayed closer to December 25 — the better to maximize impact and not worry about peaking too early. And this year saw no “Star Wars” title released.

By other comparisons, the results — which include decent or better initial takes for two new films (“Spider-Man: Into the Spider-Verse” and “The Mule”) and an ongoing impressive showing for “The Grinch” — portend an excellent end-of-year result.

Still, the absence of Luke Skywalker and company from this year’s lineup could mean year-end box office will stay close to the norm this decade. How “Mary
See full article at Indiewire »

Movie Attendance Is the Highest Since the 1970s — in the UK

According to the UK Cinema Association, 2018 will end with 176 million admissions on the other side of the pond — six million more than last year, and the highest number since 1970. The reason is unsurprising: blockbusters, more than eight of which brought in more than £40 million (roughly $50 million) at the UK box office. “There has been a really strong film slate with a diversity of films performing well,” the UK Cinema Association’s Phil Clapp told Sky News.

“Probably one of the reasons why admissions have been higher than they have been is because we’ve been pulling in audiences from a broad range of places,” said Clapp. “It’s something new in the community. We also see cinemas acting as a space for more than just films, and cinemas are catering for this with events like accessible or parent-and-baby screenings.”

Among the most successful films in the UK this year were “Black Panther,
See full article at Indiewire »

17 Movies That Blew Us Away in 2018

As award season starts to heat up and the nominations come rolling in, we found ourselves wondering which films we personally found to be the best of the best this year. Which characters left us in tears? What scenes inspired us? Which films made us want to stand up and cheer? From box office hits like A Star Is Born and Incredibles 2 to underrated faves like Support the Girls and Leave No Trace, find out which films we were thankful for this year ahead.

Related: 18 Female Characters Who Got Us Through 2018
See full article at BuzzSugar »

‘Spider-Man: Into the Spider-Verse’ directors on the ‘head-spinning’ awards for their ambitious superhero film [Exclusive Video Interview]

“It’s head-spinning. Nobody took a job on this movie thinking, ‘I’m going to win an award,'” says Rodney Rothman, who directed “Spider-Man: Into the Spider-Verse” along with Bob Persichetti and Peter Ramsey. The film has become an unlikely critics’ darling, winning Best Animated Film from Chicago, Detroit, Los Angeles and New York film critics groups, along with nominations at the Critics’ Choice, Golden Globe and Annie Awards — all before the film was even released on December 14. Watch our exclusive video interview with Rothman and Ramsey above.

“Spider-Verse” is based on the same Marvel Comics that have been adapted by Disney into the sprawling Marvel Cinematic Universe, but this Sony film tells a story independent from that. It follows a different Spider-Man, namely Miles Morales (voiced by Shameik Moore), a Brooklyn teen who unexpectedly finds himself following in the heroic footsteps of web-slinger Peter Parker. Then an experiment
See full article at Gold Derby »

‘Spider-Man: Into the Spider-Verse’ Could Be First $200 Million Sony Animation Hit

For the first time in four years, Christmas comes without a Disney “Star Wars” release. That leaves several new films vying for top performer. D.C. Comics’ “Aquaman” has already taken in around $100 million in China; it opens here December 21. Disney’s “Mary Poppins Returns” is set for Christmas Day with considerable anticipation. And then there’s Marvel’s little “Spider-Man: Into the Spider-Verse.”

Going in, the Marvel entry isn’t the film to beat. However, the guess here is It could easily reach $250 million. Here are some factors that seem to be barriers — and others that add to its potential:

Only $200 Million?

The last 10 Marvel releases have domestic grosses of $200 million of more. Two this year (“Black Panther” and “Avengers: Infinity War”) took in around $700 million to become the top two hits of 2018.

Even the one previous animated Marvel-character film, 2014’s “Big Hero 6,” made (adjusted) a little under $250 million.
See full article at Indiewire »

Brad Bird On The Long Wait For ‘Incredibles 2’, His Epic Passion Project ‘1906’ & Pixar Post John Lasseter – Crew Call Podcast

  • Deadline
It’s not the first time that a sequel has arrived more than a decade after it’s predecessor, and in such situations, it’s always daunting for a studio, because you never know if moviegoers are still going to care, or if they’re too precious about the original movie.

However, Disney/Pixar’s Incredibles 2, like Finding Dory before it, delivered the same type of electricity as its original movie 14 years ago (arguably more), hooking both legacy audiences and a new generation to fuel what became the highest grossing animated film stateside ever with $608.5M and the second-highest worldwide behind Disney’s own Frozen with $1.24B.

But still why did we have to wait 14 years for Incredibles 2? For Director-writer Brad Bird, who collected a 2005 Best Animated Film Oscar on the original, it wasn’t really ever about writer’s block; it was the other movies on his plate,
See full article at Deadline »

Grab Your Super Suit, Because Incredibles 2 Is Coming to Netflix in January

Grab Your Super Suit, Because Incredibles 2 Is Coming to Netflix in January
The sequel to 2004's The Incredibles, arrived nearly two decades later - and to much critical acclaim - when it exploded into theaters in June, renewing everyone's love for the heroic Parr family. Now, because apparently Netflix is in a giving mood this holiday season, the spectacular animated film will be available to stream before you know it.

Netflix announced the exciting news via Instagram on Tuesday, noting that Incredibles 2 will arrive on its site on Jan. 30. This is incredible information for a number of reasons - Being able to watch Edna and Jack-Jack's adventures anytime we want? Sign us up! - but it also comes hot on the heels of the news that Netflix will be losing Moana on Dec. 20. A crushing blow to families everywhere, to say the least.

Since Disney is rolling out its own streaming site in 2019, we only have a limited time to watch the studio's films on Netflix,
See full article at Popsugar »

‘Spider-Man: Into the Spider-Verse’ reviews from top critics earn it 100% fresh rating at Rotten Tomatoes

‘Spider-Man: Into the Spider-Verse’ reviews from top critics earn it 100% fresh rating at Rotten Tomatoes
Spider-Man: Into the Spider-Verse” just opened to the best reviews of the year for an animated film. Those raves from top critics translate into a perfect score of 100% fresh on Rotten Tomatoes. That outpaces the positive notices for “Incredibles 2” by 6 points. Many of the rave reviews make mention of the innovative visual style, which combines computer animation with traditional hand-drawn comic book techniques. Indeed, the aggregator’s critical consensus says the film “matches bold storytelling with striking animation for a purely enjoyable adventure with heart, humor, and plenty of superhero action.”

This version is focused on Miles Morales rather than Peter Parker as the super-hero and is set in the “Spider-Verse”, which features alternate universes. This means it stands separate and apart from the live-action version played by Tom Holland, who lives over in the Marvel Cinematic Universe.

A trio of talent — Bob Persichetti, Peter Ramsey, and Rodney Rothman
See full article at Gold Derby »

Avengers: Infinity War Was Not The Most Googled Film Of The Year

Avengers: Infinity War may have been the highest-grossing film of the year worldwide by a pretty solid margin, but in terms of Google searches, the Russo Brothers’ latest has fallen behind several of its superhero peers.

Google has just released a set of lists showing the most trending subjects of 2018, and in the ranking of most-searched movies, Infinity War sits at fourth place. Ahead of it in third is Sony’s surprisingly popular Venom, while Deadpool 2 just misses out on the top spot. The number one position, meanwhile, goes to Infinity War‘s McU predecessor Black Panther. The rest of the Top 10, going from 5 to 10, is rounded out by Bohemian Rhapsody, A Star Is Born, Incredibles 2, The Nun, A Quiet Place, and Jurassic World: Fallen Kingdom.

There are probably all kinds of theories you could offer on why Infinity War isn’t as high as you might have expected,
See full article at We Got This Covered »

Oscars: Can Anyone Break Disney & Pixar’s Animated Feature Streak In 2019?

In the competitive world of feature animation, it takes more than an entertaining yarn and a bit of slapstick comedy to cut through the noise. To make an impact at the box office in 2018—and at the Oscars, heading now into its 91st go-round—filmmakers are called upon to pursue a new standard of excellence, going back to the drawing board with each new effort, and finding exciting ways to break the mold.

Leading the charge as regular contenders for Best Animated Feature since the category was created in 2001, Walt Disney Studios, and its Bay area subsidiary Pixar, once again enter the field of 25 films, with two projects that embody the category’s ideals. First, there’s Incredibles 2, Brad Bird’s return to the groundbreaking superhero world he established in 2004. Sending the Parr family off on new adventures, the film easily achieved hard-to-get hit sequel status, setting a record for best debut for an animated film—with a gross of $182.7 million in its opening weekend—on the way to becoming the second highest-grossing animated pic of all time, second only to Disney’s own Frozen, in fact.

Bowing just a few weeks ago, Ralph Breaks the Internet transcended that same sequel challenge. A follow-up to the beloved Wreck-It Ralph, this iteration from Phil Johnston and Rich Moore (the writer and director behind the Oscar-winning Zootopia) capitalizes on the boundless world the original set up, following compelling video game characters (and best friends) Ralph and Vanellope into the Internet. Impeccably designed, the film visualizes the web as it’s never been seen before, offering up thoughtful satire on the culture embedded within the information superhighway, with a timely critique of Disney princess tropes and the ideas about gender that have circulated for as long as stories have been told.

Bearing in mind that Disney-produced offerings have won the Animation Oscar in 10 out of the last 11 years—in an unprecedented stretch—competing studios are working tirelessly to up their game, in hopes of breaking the behemoth’s spell. The top candidate to do so this year would have to be Fox Searchlight, with Wes Anderson’s Isle of Dogs. The second stop-motion outing from the critically praised auteur, the film follows a Japanese boy living in the retrofuture, on a quest to find his missing dog. Lovingly crafted by hand, the film features an astonishing assortment of environments and gorgeously sculpted characters, pushing the medium of stop-motion and bending towards Anderson’s signature stylings. It opened the 68th Berlin International Film Festival, where its director was awarded the Silver Bear.

Another pillar of stop-motion—behind such classics as Chicken Run and Wallace and Gromit—Nick Park has won four Oscars to date, and looks to compete again with Aardman Animations’ Early Man. Set at the dawn of time, the comedy takes an altogether new angle on history, following a group of cavemen as they face off against the powers of the Bronze Age in a football match, with life as they know it at stake.

Four other studios are also making a run at Oscar. A major presence in the animation conversation since its inception in 2007, Illumination Entertainment is back with Dr. Seuss’ The Grinch, directed by Yarrow Cheney and first-timer Scott Mosier. The third adaptation of a classic 1957 tale by the beloved children’s author, this version sees Benedict Cumberbatch tap into the withered spirit of the iconic green curmudgeon, setting out to ruin Christmas for those poor Whos of Whoville yet again. Also featuring the voices of Rashida Jones, Kenan Thompson, Cameron Seely and Angela Lansbury—with narration by Pharrell Williams—Illumination’s film sought to pay reverential homage to Seuss’ work, while making it feel fresh, introducing the Grinch to a new generation of viewers.

From Sony Pictures Animation, Spider-Man: Into the Spider-Verse really shakes things up. A postmodern take on Spidey—and the first-ever animated film centering on Stan Lee and Steve Ditko’s iconic creation—the immersive, action-and-laugh-packed flick brings the style of vintage comic books to CG animation, playing with form, and employing meta-level self-awareness. From innovative producers Phil Lord and Christopher Miller, this Spider-Man film is the first to star Miles Morales—an Afro-Latino version of the character existing within a Marvel multiverse. The film introduces the viewer to parallel dimensions and several Spider-people, demonstrating that there’s no single definition of a superhero. Anyone can wear the mask, so long as they’re willing to stand up for what’s right.

Also on the Sony slate is Hotel Transylvania 3: Summer Vacation, the latest installment in a franchise from Genndy Tartakovsky, which takes Dracula away from the comforts of his hotel, and out onto the sea, where new characters including Van Helsing (voiced by Jim Gaffigan) emerge.

At Paramount, John Stevenson brings his skill to Sherlock Gnomes, a sequel to 2011’s Gnomeo & Juliet. It sends a band of garden gnomes out into a different genre and setting, as Sherlock Gnomes investigates the mysterious disappearance of garden ornaments in contemporary London. Executive produced by Elton John, the film even features some captivating Elton originals.

Rounding out the studio offerings this year is Warner Bros., with Smallfoot—centered on a Yeti who is convinced humans don’t exist—and Teen Titans Go! To The Movies, based on a popular television series, involving the exploits of DC superheroes.

On the international front, it can take even more craft to draw Oscar’s attention—and yet in 2018, the animation shortlist is as diverse as it’s ever been, with submissions from Mexico (Ana y Bruno), China (Have a Nice Day), and Taiwan (On Happiness Road). One of three particular stand-outs is Ruben, Brandt Collector, Sony Pictures Classics’ R-rated art and cinema pastiche from 66-year-old first-time director Milorad Krstić, who weaves a tapestry of all of the works of art that have consumed him over the years. From Gkids, Mfkz is based on a comic series of the same name and follows one of many deadbeats making his way through the violent Dark Meat City. Also on the dystopian front, Shout! Factory’s Tito and the Birds (Brazil) paints a picture of a world where fear manifests as a disease, and a villain (inspired by President Donald Trump) weaponizes mass hysteria for his own malevolent purposes. Notably, this season’s list features a record eight films produced in Japan, many of which strive to take anime to new heights. These include Fireworks, The Laws of the Universe – Part I, two films from Masaaki Yuasa, Mamoru Hosoda’s Mirai, Maquia: When the Promised Flower Blooms from first-time director Mari Okada, and Liz and the Blue Bird from Naoko Yamada.

Completing the list of contenders this year are Tall Tales, coming out of France, and Sgt. Stubby: An American Hero, from director Richard Lanni. Providing some resolution in a season with an overabundance of solid works, the Oscar nominations will be announced on January 22, 2019.
See full article at Deadline »

Oscars’ Best Picture Category Needs Fixing – Here’s an Easy Way to Do It

A version of this story first appeared in the Actors/Directors/Screenwriters issue of TheWrap’s Oscars magazine.

Will this be a thin year in the Best Picture race? In some ways, it looks as if it might. We know the usual suspects– “Roma” and “A Star Is Born,” “Green Book” and “First Man” and “If Beale Street Could Talk,” “Black Panther” and “BlacKkKlansman,” “The Favourite” and a few others — but there’s precious little on that list that doesn’t have some kind of vulnerability, and even less off that list that seems positioned to grab a spot.

And yet I keep thinking of a different kind of Oscars race, one in which Pawel Pawlikowski’s luminous “Cold War” has a real chance, along with the Coen brothers’ brilliantly dark and wickedly funny “The Ballad of Buster Scruggs,” and Paul Greengrass’ harrowing but triumphant “22 July,” and Jason Reitman’s
See full article at The Wrap »

Disney passes $7 billion at the global box office for 2018

After setting a record in 2016 by becoming the first studio to reach the $7 billion mark at the worldwide box office in a single year, Walt Disney Pictures has now matched that feat in 2018.

The Mouse House is responsible for four of the year’s top eight releases in Avengers: Infinity War ($2.048 billion), Black Panther ($1.347 billion), Incredibles 2 (1.241 billion) and Ant-Man and the Wasp ($622.7), while other big releases include Solo: A Star Wars Story ($392.9 million), Ralph Breaks the Internet ($261.2 million and counting) and Christopher Robin ($197.4 million).

2019 is also shaping up to be another huge – and potentially record-breaking – year for Disney, with its big releases including Captain Marvel, Dumbo, Avengers: Endgame, Aladdin, Toy Story 4, The Lion King, Artemis Fowl, Frozen 2 and Star Wars: Episode IX.

And that’s without the Fox takeover!

The post Disney passes $7 billion at the global box office for 2018 appeared first on Flickering Myth.
See full article at Flickeringmyth »

2018 Movie Trailer Mashup Relives the Year's Biggest and Best Moments

2018 Movie Trailer Mashup Relives the Year's Biggest and Best Moments
The best 2018 Movies have almost all come and gone. It's hard to believe, but the year is nearly over and it's already time to look back at all of the great movies that were released in the last 12 months. A new video takes all of the highlights from the year and crams them into a 6-minute video set to three perfect songs. The video even packs in some of the movies that haven't been released yet, including Aquaman, Vice, and Bumblebee. It's all here from the action to the tear jerking and everything in between.

Marvel Studios' Black Panther was the movie that truly kicked off 2018, breaking records left and right, becoming a cultural phenomenon. The Ryan Coogler-directed comic book adventure is featured in the mashup video next to scenes from Annihilation, Christopher Robin, and Fantastic Beasts: The Crimes of Grindelwald as well. Mary Queen of Scots is
See full article at MovieWeb »
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