The Boss Baby (2017) - News Poster

(2017)

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‘Boss Baby’ Producer Ramsey Naito Hired for Paramount Animation Post

‘Boss Baby’ Producer Ramsey Naito Hired for Paramount Animation Post
Paramount Pictures has named “The Boss Baby” producer Ramsey Naito to the post of executive vice president at Paramount Animation.

Naito received an Oscar nomination for DreamWorks Animation’s “The Boss Baby” along with Tom McGrath. She will report to Paramount Animation’s president, Mireille Soria. Paramount made the announcement Thursday.

“I have had the privilege of knowing and working with Ramsey for a number of years,” Soria said. “She is a consummate professional with incredible creative instincts and relationships. I am so excited for her to bring her skills and energy to our growing team.”

Naito will oversee production on the next SpongeBob SquarePants movie. She will actively seek new projects for development and animation talent to work with the division. Naito will work with Soria to build cross-divisional opportunities with Nickelodeon and parent company Viacom’s other brands.

In addition to the third installment of “SpongeBob SquarePants,” Paramount
See full article at Variety - Film News »

‘The Boss Baby’s Ramsey Naito, Others Join Paramount Animation Executive Ranks

Ramsey Naito, who most recently produced DreamWorks Animation's Oscar-nominated feature The Boss Baby, has joined Paramount Animation as Executive VP. She will report to Paramount Animation President Mireille Soria. Paramount Animation also has added Emily Nordwind as VP Production and Development, Katherine MacDonald as VP Production and Marketing and Maya Kambe as a creative executive. In her new job, Naito will not only oversee production on the next SpongeBob SquarePan…
See full article at Deadline Movie News »

The Boss Baby is Back as a New Netflix TV Series

It seems like people liked Boss Baby enough that it’s been brought back as a TV series on Netflix. That’s not the worst news anyone could hear but it does make some people wonder just what’s going to happen in the series that will bridge the original movie to the sequel that’s been given the green light for 2021. It’s been reported that Alec Baldwin will be taking up the voice of the baby in the suit once more when the sequel comes out which means that the rest of the cast should be back as well. While it might

The Boss Baby is Back as a New Netflix TV Series
See full article at TVovermind.com »

Japan Box Office: ‘Coco’ Wins Again as ‘Boss Baby’ Beats DreamWorks Record

Pixar animation “Coco” led the Japanese box office for the second weekend in a row. With Disney distributing, the film made $2.8 million on 224,000 admissions for the April 7-8 frame. In its 24th day on release the film extended its cumulative total to $33 million.

Ranking second by earnings was Sony’s “Jumanji: Welcome to the Jungle.” Opening on Friday, the film took $2.53 million on 180,000 admissions on Saturday and Sunday. Its three-day total was $3.95 million on 260,000 admissions, with a forecast to finish near the $14 million mark.

Toho-Towa’s animation “The Boss Baby” scored $2.3 million with a higher admissions figure, of 192,000 admissions. The film’s cumulative was extended to $23.3 million on 2 million admissions. This is the highest figure for a DreamWorks animation in Japan, beating the previous record of $22.8 million held by “Shrek 2.”
See full article at Variety - Film News »

Japan Box Office: ‘Coco’ Climbs to Top as Animation Dominates Rankings

Pixar animation, “Coco” took the top spot at the Japanese box office in its third weekend on release. For the April 31-April 1 frame the film earned $3.6 million on 328,000 admissions, extending its cumulative total to $24.5 million.

Dropping one place from last weekend’s number one was Toho-Towa’s “The Boss Baby.” In its second weekend on release the animation made $3.3 million.

Meanwhile, the highest ranking Japanese film, at number three, was the latest installment in the long-running “Doraemon” animation series. It took $2.9 million, for a cumulative total of $39.5 million.

The top-ranking live-action film, at number four, was “Chiyahafuru Part 3,” the third in a trilogy centering on a high school girl who is an ace player of the traditional card game Karuta. The film scored $1.3 million, lifting its cumulative total to $10.4 million.
See full article at Variety - Film News »

'Ready Player One' easily ousts 'Pacific Rim: Uprising' in North America (update)

'Ready Player One' easily ousts 'Pacific Rim: Uprising' in North America (update)
I Can Only Imagine becomes Roadside Attractions’ biggest Us hit; ‘Black Panther’ crosses $650m.

April 2 Update: Steven Spielberg’s Ready Player One made a strong start at the North American box office this weekend, easily taking the number one spot from a slumping Pacific Rim: Uprising.

Spielberg’s Warner Bros-distributed outing opened with a confirmed $41.8m from the three-day weekend and $53.7m since its Thursday opening. The take was in line with expectations for the sci-fi adventure with a reported budget of $150m-$175m.

Ready Player One opened internationally with $127.5m, giving the nostalgic, effects-heavy adaptation of a 2011 novel
See full article at ScreenDaily »

'Ready Player One' easily ousts 'Pacific Rim: Uprising' in North America

'Ready Player One' easily ousts 'Pacific Rim: Uprising' in North America
I Can Only Imagine becomes Roadside Attractions’ biggest Us hit; ‘Black Panther’ crosses $650m.

Steven Spielberg’s Ready Player One made a solid start at the North American box office this weekend, easily taking the number one spot from a slumping Pacific Rim: Uprising.

Spielberg’s Warner Bros-distributed outing opened with an estimated $41.2m from the three-day weekend and $53.2m since its Thursday opening. The take was in line with expectations for the sci-fi adventure with a reported budget of $150m-$175m.

Ready Player One opened internationally with $128m, giving the nostalgic, effects-heavy adaptation of Ernest Cline’s 2011 novel
See full article at ScreenDaily »

Netflix schedule: Here’s what is coming and leaving in April 2018

Netflix has confirmed that a slew of new original series will be debuting on the streaming service in April. There will also be new to Netflix seasons of some of your favorites from other networks. Likewise, there will be plenty of movies making their first Netflix appearances including the animated classic “The Iron Giant” and several films in the “Pirates of the Caribbean” and “Despicable Me” series.

Of the new Netflix originals, several stand out as particularly binge-worthy, including the freshman seasons of the remake of “Lost in Space” and the TV version of the Oscar-nominated animated film “The Boss Baby.” And there are episodes of both the new David Letterman and Joel McHale talk shows as well as a comedy special from Kevin James.

Available April 1

A Sort of Family

Along Came Polly

Bad Boys

Battlefield Earth

Beethoven’s Christmas Adventure

Big Time

Body of Lies

Cabin Fever

Cabin Fever 2: Spring Fever
See full article at Gold Derby »

Is the Success of ‘Black Panther’ Actually Hurting Other Films? Nobody Knows, and That’s Hollywood’s Real Problem

Scott Mendelson’s much-discussed Forbes.com article “‘Black Panther’ Should Terrify Every Hollywood Studio” makes a startling claim: One movie’s incredible and sustained box-office success is consuming potential profits of the would-be tentpoles released in its wake.

Mendelson points to the tremendous opening weekends of last March: “Logan” ($88 million), “Skull Island” ($61 million), “Beauty and the Beast” ($174 million), “Power Rangers” ($40 million) and “The Boss Baby” ($49 million). This year saw the disappointments of “Red Sparrow,” “Wrinkle in Time,” and “Tomb Raider,” not to mention “Annihilation.”

However, that assessment skips past another, obvious problem — Hollywood has narrowed its theatrical offerings to different flavors of the same high-priced, VFX-driven, boom-or-bust product — and the author assumes moviegoing is a zero-sum game. Certainly, there’s a rising-tide argument that “Black Panther” brought in droves of non-regular moviegoers, and that the tremendous buzz surrounding it – accompanied by being only the second superhero movie to receive an
See full article at Indiewire »

Beyond ‘Black Panther,’ Studios Are Losing Interest in the Domestic Blockbuster

Beyond ‘Black Panther,’ Studios Are Losing Interest in the Domestic Blockbuster
As expected, last week “Black Panther” passed $1 billion worldwide when China opened to strong numbers. Overseas, the Marvel title now ranks above nearly all recent comic-book movie adaptations. Next week, it should cross $600 million in North America. This is wonderful news on many levels: For Marvel and for Disney, certainly; for diversity representation in the blockbuster realm. But what “Black Panther” can’t do is uplift the rest of the marketplace: Where “Black Panther” has soared this year, most releases lag.

The simplest way to compare year-over-year box office is to check the respective box office totals year to date. By that standard, 2018 looks terrific at the moment; we’re up eight percent.

However, by this point last year, we had five films — “Split,” “The Lego Batman Movie,” “Fifty Shades Darker,” “Logan,” and “Kong: Skull Island” — open to over $40 million. “Get Out” opened a little below that, but already earned $100 million.
See full article at Indiewire »

‘Boss Baby’ Animated Netflix Series Trailer Is Here as Punishment for Your Wickedness

If you watched the recent Oscars ceremony, you probably heard that DreamWorks Animation's The Boss Baby was in the running for Best Animated Feature Film ... and then probably did a double-take. Yep, the Alec Baldwin-fronted animated business baby comedy earned itself an Oscar nomination. Since I haven't seen it, I'll reserve judgment. But since I have seen the first trailer for the Netflix animated series adaptation The Boss Baby: Back in Business, I feel pretty good about passing on it completely. Your mileage may vary, and if you liked the feature film, there's a …
See full article at Collider.com »

‘Sundays With Alec Baldwin’ Review: ABC’s Talk Show Is Already on the Edge of Disaster

‘Sundays With Alec Baldwin’ Review: ABC’s Talk Show Is Already on the Edge of Disaster
“Sundays With Alec Baldwin” is, on every conceivable level, meant to be simple, inoffensive television. From the ’60s multi-color ABC logo that kicks off the episode to the colorful set complete with blue chairs (that make Baldwin’s eyes pop like crazy), the hourlong talk show is meant to be a throwback to “Dick Cavett and Tom Snyder,” as Baldwin notes in his introduction — a return to TV’s roots. Maybe some insights pop up here and there while the host chats with his famous “friends,” but the superficially personal conversations and big-name sheen are more important than honest-to-goodness candor.

This is all well and good in theory, save two points: First, talk shows like “Sundays With Alec Baldwin” never went away. Or, at the very least, they’ve been back for a while, in a new form: They’re called podcasts, and Baldwin already has one. Nothing makes his
See full article at Indiewire »

2018 Oscars: How many women were nominated beside the 10 acting contenders (Hint: not enough)

2018 Oscars: How many women were nominated beside the 10 acting contenders (Hint: not enough)
Ten women will always be nominated for Oscars: five for Best Actress and another five for Best Supporting Actress. At the 2018 Oscars, Frances McDormand, who won her second Best Actress Academy Award for “Three Billboards Outside Ebbing, Missouri” asked all the female nominees to stand. As you can see from the video above, she asked rival acting nominee Meryl Streep (“The Post”) to lead the way and this 21-time Oscar nominee obliged. Besides the other eight actresses nominated, how many other women were on their feet in the Dolby theater?

Of the 20 non-gender specific categories, women were contenders in 17 of them; they were shut out of Original Score (5 men), Sound Editing (9 men) and Visual Effects (20 men). As you can see below, 47 women other than actresses were nominated at the 90th Academy Awards. Of these, only four won Oscars. By comparison, 151 men other than actors were nominated and 32 took home Oscars.
See full article at Gold Derby »

Oscars 2018: Full list of winners from the 90th Academy Awards

The Academy of Motion Picture Arts and Sciences honoured the very best in film last night in Hollywood at the 90th Academy Awards, with Guillermo del Toro’s The Shape of Water winning four Oscars in Best Picture, Best Director, Best Production Design and Best Original Score.

On the acting from, Gary Oldman and Frances McDorman were honoured for Best Actor and Best Actress for Darkest Hour and Three Billboards Outside Ebbing, Missouri respectively, while the Support Actor and Actress awards went to Sam Rockwell (Three Billboards) and Allison Janney (I, Tonya).

Other winners included Get Out (Best Original Screenplay), Call Me by Your Name (Best Adapted Screenplay), Coco (Best Animated Feature) and A Fantastic Woman (Best Foreign Language Feature Film).

Check out a full list of the winners here…

Best Picture:

Call Me by Your Name

Darkest Hour

“Dunkirk”

“Get Out”

“Lady Bird”

“Phantom Thread”

“The Post”

“The Shape
See full article at Flickeringmyth »

Oscars 2018: The Shape of Water Tops Winners with Best Picture, Director

Oscars 2018: The Shape of Water Tops Winners with Best Picture, Director
Hollywood’s biggest night of the year is a wrap!

Guillermo del Toro’s The Shape of Water cleaned up at the 90th Academy Awards, winning four Oscars including the night’s biggest honor, Best Picture.

In the lead actor categories, Frances McDormand and Gary Oldman dominated — as expected — for Three Billboards Outside Ebbing, Missouri and Darkest Hour respectively. McDormand’s costar Sam Rockwell won Best Supporting Actor, while I, Tonya‘s Allison Janney netted Best Supporting Actress.

Box office sensation Get Out didn’t go home empty-handed despite losing out on Best Picture — its director/writer Jordan Peele won Best Original Screenplay.
See full article at PEOPLE.com »

Oscars 2018: Full list of winners

The Shape Of Water wins four awards at 90th Academy Awards.

Fox Searchlight’s The Shape Of Water won best picture, best director for Guillermo del Toro, best score for Alexandre Desplat, and best production design for Paul D. Austerberry, Jeffrey A. Melvin, Shane Vieau.

Searchlight’s Three Billboards Outside Ebbing, Missouri won best lead actress for Frances McDormand, and best supporting actor for Sam Rockwell.

Gary Oldman was named best lead actor for Focus Features’ Darkest Hour, while Allison Janney was named best supporting actress for I, Tonya, distributed in the Us by Neon and 30West.

Spc’s A Fantastic Woman
See full article at ScreenDaily »

my picks for tonight’s 90th Academy Awards (the Oscars for 2017’s films) (winners indicated)

Update: Winners are now indicated. I correctly guessed 15 out of the 24 categories, which is one of my better showings ever, I think.

Earlier:

Just under the wire!

I’ve now seen as many of the nominated films as I will be able to before tonight’s ceremony, and here finally are my educated guesses about who will take home each award — projected winners are Xed at the lefthand side. Keep in mind: those Xes don’t represent whom I think should win Oscars but whom I think will win, based on what little I can grasp about how the Academy thinks. I’ve also noted which nominees I think should win. Kindly note that this is not necessarily my take on who did the best performance/writing/FX/whatever of the year, but whom I think is best among the nominees.

The only films I have not yet seen are:
See full article at FlickFilosopher »

The 2018 Oscar Winners In Full

Last night, at the prestigious Kodak Theatre on Hollywood Boulevard, the 90th annual Academy Awards were dished out. It was Hollywood’s biggest night and it didn’t disappoint.

In traditional style, the first award dished out on the night was Best Actor In A Supporting Role, which went to the hot favourite Sam Rockwell for Three Billboards Outside Ebbing, Missouri.

Dunkirk picked up a few technical awards – Best Sound Mixing, Best Sound Editing and Best Editing. Blade Runner 2049 was awarded the Best Visual Effects awards.

The superb A Fantastic Woman picked up Best Foreign Language Film, while Coco won Best Animated Feature.

Call Me By Your Name was awarded Best Adapted Screenplay for James Ivory, while Get Out bagged Best Original screenplay for Jordan Peele. Roger Deakins finally won the award for Best Cinematography after the 14th time of trying for his outstanding work on Blade Runner 2049.
See full article at The Hollywood News »

Oscars: ‘Coco’ Co-Director Proclaims ‘Representation Matters’

Disney-Pixar’s “Coco” has won the Academy Award for best animated feature for director Lee Unkrich and producer Darla K. Anderson, marking Disney’s sixth consecutive win in the category.

“‘Coco’ is proof that art can change and connect the world, and this can only be done when we have a place for everyone and anyone who feels like an other to be heard,” said producer Anderson.

Co-director Adrian Molina thanked the people of Mexico. “‘Coco’ would not exist without your endlessly beautiful culture and traditions. With ‘Coco’ we tried to take a step forward toward a world where all children can see characters in movies that look and talk and live like they do. Marginalized people deserve to feel like they belong. Representation matters,” he concluded.

Molina, however, was not eligible to be named as part of the winning team, since Academy rules allow only one director
See full article at Variety - Film News »

‘Coco’ Wins Academy Award for Best Animated Feature

Pixar was back in the Academy spotlight Sunday night, with their most recent film “Coco” winning the 2018 Oscar for Best Animated Feature.

Prior to Sunday night’s Academy Awards, Pixar films had made up half of all winners in the category, which dates back to 2001. Throw in the wins for “Frozen,” “Zootopia,” and “Big Hero 6” and the award hasn’t gone to a Disney-affiliated production since Gore Verbinski’s “Rango” in 2011.

Accepting the second Oscar of his career, co-director Lee Unkrich said, “The biggest thank you of all to the people of Mexico. ‘Coco’ would not exist without your endlessly beautiful culture and traditions. With ‘Coco,’ we tried to take a step forward toward a world where all children can grow up seeing characters in movies that look and talk and live like they do. Marginalized people deserve to feel like they belong. Representation matters.”

Read More: ‘Coco
See full article at Indiewire »
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