Apple® announced iPhone® 7 and iPhone 7 Plus (PRODUCT)RED Special Edition in a vibrant red aluminum finish, in recognition of more than 10 years of partnership between Apple and (RED). This gives customers an unprecedented way to contribute to the Global Fund and bring the world a step closer to an AIDS-free generation. The special edition (PRODUCT)RED iPhone will be available to order online worldwide and in stores beginning Friday, March 24.
“Since we began working with (RED) 10 years ago, our customers have made a significant impact in fighting the spread of AIDS through the purchase of our products, from the original iPod nano (PRODUCT)RED Special Edition all the way to today’s lineup of Beats products and accessories for iPhone, iPad and Apple Watch,” said Tim Cook, Apple’s CEO. “The introduction of this special edition iPhone in a gorgeous red finish is our biggest (PRODUCT)RED offering to date in celebration of our partnership with (RED), and we can’t wait to get it into customers’ hands.”
“Apple is the world’s largest corporate donor to the Global Fund, contributing more than $130 million as part of its partnership with (RED),” said Deborah Dugan, (RED)’s CEO. “Combining the global reach of the world’s most loved smartphone with our efforts to provide access to life-saving ARV medication in sub-Saharan Africa, customers now have a remarkable opportunity to make a difference and contribute to the Global Fund through the purchase of this new beautiful (PRODUCT)RED iPhone.”
iPhone 7 and iPhone 7 Plus are the best, most advanced iPhones ever, packed with unique innovations that improve all the ways iPhone is used every day. Both phones feature the most popular camera in the world with advanced camera systems that shoot incredible photos and videos day or night, more power and performance with the best battery life ever in an iPhone, immersive stereo speakers and a wide color system from camera to display, all in a water and dust resistant design. iPhone comes with iOS 10, which brings more expressive and animated ways to communicate in Messages, new ways to use Siri® with your favorite apps, beautifully redesigned Maps, Photos, Apple Music® and News, and the Home app, which lets you simply and securely set up, manage and control your home all in one place.
(RED)’s critical work provides access to life-saving HIV/AIDS programs in sub-Saharan Africa, which is home to more than two thirds of the world’s HIV-positive population. One hundred percent of all money raised by (RED) goes directly to Global Fund HIV/AIDS grants that provide testing, counseling, treatment and prevention programs with a specific focus on eliminating transmission of the virus from moms to their babies. Since it was founded in 2006, (RED) has generated more than $465 million for the Global Fund, with more than $130 million from Apple alone.
After Craig Johnson’s 2014 The Skeleton Twins, he quickly became a director to watch. His dramedy, which starred Kristen Wiig and Bill Hader, featured the two long time Saturday Night Live alumni in a film that pushed them to their dramatic limits in a great way. The film was a nice surprise, and the question became what’s next for Craig Johnson? Unsurprisingly, it’s another human dramedy, this time based on a graphic novel. His new film, Wilson, based on the graphic novel of the same name by Daniel Clowes, who also wrote the film, and stars Woody Harrelson in the titular role of Wilson.
The film follows the misanthropic, and generally down on his luck Wilson, who who’s a condescending and unpleasant individual with few friends, and even fewer acquaintances. When his father passes away, Wilson is left with nothing, and he’s not really sure where to go. But when Wilson discovers his ex-flame, Pippi (Laura Dern), is back in town, he quickly decides to reconnect with her, and hopes to recreate their love. What Wilson finds though is more than he could have ever imagined: He’s a father of a teenage girl. The only problem is, she’s an adoptee and has a family. In the middle of a midlife crisis, Wilson forgoes all that, and decides to create his family and make it whole again, no matter the cost, and no matter who it’ll hurt.
While the premise is short, simple, and a fairly fun and human sounding story, the unfortunate truth is the film never truly comes together. Much of the film feels cold and bitter, much like Wilson himself, but not in a fun way. Instead, it often alienates the audience as it meanders back and forth, with little to no purpose, other than to watch Wilson in awkward situations in life. The real frustration lies in the fact that even though Woody Harrelson is so great in the role as Wilson, the film just doesn’t give him enough to work with. It feels like a series of vignettes that often meander along, just seeing life through the eyes of Wilson, but it never really comes together in any meaningful way. This is much like the comic, so maybe it’s done on purpose. But as a film, it’s not a fun experience, and it often pushes the audience out, leaving them nothing to latch on to.
Despite the film’s story issues, Harrelson really is fantastic as Wilson, and he really gets to shine in the role. In a lot of ways, the movie reminds me of Curb Your Enthusiasm, but as a film, with Wilson feeling much like Larry David, the social awkward, occasionally thick headed, and always awkward star of the show. That feeling almost rings too true when Curb Your Enthusiasm star Cheryl Hines actually shows up in the film as Pippi’s sister, and suddenly you’re reminded of the much superior show. That aside, Harrelson really knocks the role out of the park, giving yet another terrific performance in a long line of scene stealing roles over the last several years. As much of a jerk as Wilson may be, he’s got a bit of a boyish charm underneath, and he feels very human, thanks to Harrelson’s performance. Along with Laura Dern, they manage to make a plodding, and many times un-engaging film, feel like it’s got a life underneath.
It’s too bad that the script, which is written by the comic’s creator Daniel Clowes, just never really works. The script always feels a bit jumbled, just kinda meandering too and from, without any real impact. It never gives us enough reason to really care about Wilson, outside of Harrelson’s fantastic performance. On top of that, it tries to make us care about Wilson reconnecting with his ex, finding love, finally having a family, but they’re all so terrible to him throughout the movie, you start to wonder why even bother. Maybe that’s the key to this whole thing, is that the desperation for love creates new relationships and love you didn’t know was there, which ultimately becomes the film’s story, but the problem is that it never feels earned. Even in the end, it still leaves you feeling frustrated because it doesn’t seem to earn its ending.
The film is also too tonally uneven at times to really make any sort of impact. Where The Skeleton Twins managed to hang the balance of comedy and drama seamlessly, Wilson can’t seem to walk too far one way or the other, often times making the film feel uneven in what it wants to accomplish. It’s too bad, because every time the film seems like it might finally be finding its feet, it manages to swing too far the other way, and the film will feel off again. Many of the jokes land, but just as many don’t, and too many of the dramatic moments feel forced. Worse is that a pivotal moment in Wilson’s life in the third act is told to us in dialogue instead of shown, making it feel like an afterthought. The film’s last act is really the biggest overall problem, and it’s what really derails the overall film, making it for a frustrating experience. As wonky as the first two acts are, the film is at least many times fun, and starts to show its heart, but the third act really undoes most of the goodwill it presents. The film’s finale ultimately feels disingenuous, and almost tacked on after the rest of the events of the film.
It’s really too bad that Wilson ends up being a frustrating experience. All the right pieces are there to make a great film, but it just doesn’t seem like any of it comes together in the end. Thankfully, even with as messy as it gets, Woody Harrelson shines in the titular role, which is truly a marvel when Wilson really isn’t that great of a guy. Hopefully this is just a bump in the road for Craig Johnson, and not a sign of what’s to come, as he’s a talented director who has a very bright future ahead. Unfortunately, Wilson doesn’t quite live up to the talent he’s shown, and ends up feeling like a muddled mess.
Nearly 400 million guests have embarked on this swashbuckling adventure at Disneyland Park. It has inspired a highly popular film franchise, and the lyrics to its theme song–“Yo Ho (A Pirate’s Life for Me)”– are recognized around the world. It’s Pirates of the Caribbean, of course, an attraction that celebrates its 50th anniversary on March 18, 2017.
To celebrate this special occasion, guests are invited to enjoy pirate-themed entertainment, merchandise exclusives and special food and beverage offerings beginning March 16. Disneyland is sure to be filled with pirate-talking mates for this limited-time, rollicking fun.
Beginning Thursday, March 16: Guests may feast upon special, pirate-themed food at French Market Restaurant, Mint Julep Bar, Harbour Galley, Royal Street Veranda, Cafe Orleans and Blue Bayou Restaurant. Blue Bayou also celebrates its 50th anniversary on March 18. Food items vary by location and will include:
Buccaneer Pulled Pork Sandwich: Jerk-spiced Pork, Sweet and Tangy Barbecue
Sauce, Pineapple Caribbean-style Slaw and Fried Yucca
Lost Treasure Beignets: Lemon-flavored Beignets with gold shimmer dust
Jolly Roger Punch: Spiced Tropical Juices with hints of Pineapple, Orange and Mango
Calypso’s Caribbean Chicken Stew: Caribbean-seasoned Chicken stewed with Onions, Carrots, Celery, Tomatoes, Potatoes and Yucca
Golden Churro: Gold-dusted Churro
On Friday, March 17: Pirate-themed entertainment comes alive throughout New Orleans Square, including performances by the Bootstrappers and Lucky the Pirate.
Saturday, March 18: Even more entertainment will be added on the attraction’s official anniversary, including appearances by the legendary pirate himself, Captain Jack Sparrow. Guests may purchase limited-edition, anniversary merchandise in New Orleans Square, while supplies last. Pirate Speak! collectible cards will be available for guests who wish to talk like a pirate.
Guests may discover additional special surprises on March 18.
The original Pirates of the Caribbean attraction set the bar for future theme park attractions with masterful storytelling and technology that introduced approximately 120 Audio-Animatronics characters. The popular attraction has inspired five films and the fifth, “Pirates of the Caribbean: Dead Men Tell No Tales,” is set to open in theaters May 26, 2017.
Capcom, a leading worldwide developer and publisher of video games, today announced TheDisney Afternoon Collection, a compilation of six games that feature beloved Disney TV characters from the 80s and 90s in fun-filled adventures. The beautifully restored classic games feature crisp 1080p HD support and include all-new modes that can be enjoyed by first-time players and long-time fans. TheDisney Afternoon Collection will be available as a digital download across North America and Europe for $19.99 / £15.99/ €19.99 starting on April 18, 2017 on PlayStation®4 computer entertainment system, Xbox One and Windows PC.
Players will be able to relive their childhood afternoons with Disney and explore these pieces of gaming history with classics including:
Chip ‘n Dale Rescue Rangers – This classic lets players team up with a friend in co-op play as they assume the roles of the mischievous Chip and Dale as they take on memorable villain Fat Cat and attempt to solve the mystery of a missing kitten.
Chip ‘n Dale Rescue Rangers 2 – Fat Cat has escaped and his plans are even more dastardly this time. The titular heroes and supporting cast Monterey Jack, Gadget, and Zipper must stop Fat Cat from his evil dream of world domination!
Darkwing Duck – Play as the original caped crusader and fight a city full of criminals from the infamous F.O.W.L. organization in this action-packed platforming epic.
DuckTales – In this iconic platforming adventure, players help Scrooge McDuck fill his feathery pockets with vast riches from across the world.
DuckTales 2 – The sequel to the original game comes jam-packed with more action and an even bigger caper set in new locations like the Bermuda Triangle and Niagara Falls!
TaleSpin – Take to the skies as Baloo the bear navigates his plane through exotic and dangerous locations in this side-scrolling shoot-em-up.
All six games are new and improved HD versions of the originals and feature a number of filtering options that replicate a classic retro look and feel. This collection also offers new ways to play with Boss Rush and Time Attack modes for each game. In Boss Rush mode, players battle through challenging boss encounters consecutively, while Time Attack mode encourages time-based gameplay and provides online leaderboards that track the fastest times for each game. A new “Rewind” feature makes these challenging titles more accessible for newcomers, with the option to rewind time and enjoy a swift recovery from blunders. Additionally, the in-game Disney Museum will provide history buffs with a wealth of content to celebrate the era of the original releases, such as concept art, advertisements, character art, and music – all preserved in their original glory.
With this week’s release of the highly-anticipated live-action adaptation of Disney’s Beauty and the Beast, Disney is releasing new Beauty and the Beast themed-update across its digital offerings. These updates, inspired by the tale as old as time, come in some of Disney’s most popular apps, including:
Disney Crossy Road – March 9: Beauty and the Beast figurines and worlds inspired by the highly-anticipated live-action film launch in the game.
Disney Story Central – March 9: Beauty and the Beast enchants the largest collection of Disney stories with new tales, including The Enchantment, World of Reading: Beauty and the Beast, and more.
Disney Emoji Blitz – March 17 – 24: New Beauty and the Beast Item Cards will be added, featuring Belle’s Cottage, The Beast’s Magic Mirror, Belle’s Fountain, and more. Beauty and the Beast emojis inspired by the animated classic will also be added, including Lumiere, Cogsworth, and Mrs. Potts.
Disney Jigsaw – March 17: A new Beauty and the Beast puzzle pack is now available.
Color by Disney – February 19: New Beauty and the Beast coloring pages invite artists to bring the enchanted tale to life.
Also a Disney Stickers: Beauty and the Beast pack will also be available on March 9 on the App Store for iMessage. Featuring a new art style and popular phrases, including “Beast Mode,” and “It’s Lit,” iMessage users will never struggle with conversation again with stickers from the tale as old as time. The sticker pack is now available for download on the App Store for iMessage for $1.99.
Lastly, a standalone Beauty and the Beast mobile game is in development and expected to launch this summer.
Disney has released the third episode in its viral “Easter Eggs” series, which reveals the connective thread between Disney films as seen in hidden moments and character cameos. For instance, did you know that Mrs. Potts from Beauty and the Beast was featured as a drum set in Tarzan? Or that Sebastian from The Little Mermaid was in Aladdin?
“Disney Easter Eggs” dives into these connections that many moviegoers might miss if they blink. The episode connects Walt Disney Animation Studios’ favorite films – from Frozen, Zootopia and Tangled to Sleeping Beauty, The Little Mermaid and more.
Disney has taken a tale as old as time and re-imagined it into a refreshing live-action adventure that will delight both fans of the 1991 animated feature and new audiences alike. Amidst the barrage of live-action re-tellings of Disney’s most beloved classics, Beauty and the Beast stands out as the likely fan-favorite, with its star-studded cast, infamous musical numbers, widely familiar characters, and most importantly, its imagery. Bill Conden’s Beauty and the Beast will likely be a box office smash, with excitement among Disney fans and Generation Y’ers.
In any live-action remake, there is a fine line between being identical to the animated film, and straying so far that die-hard fans lose interest. Beauty and the Beast expertly marches this line musically by utilizing all songs from the 1991 release, additional music written for the film, and even songs from the Broadway musical. Much of the un-sung dialogue is identical to the 1991 film as well.
The film’s prologue begins much differently than its 1991 predecessor, telling a somewhat darker and more detailed backstory of a selfish Prince and the Enchantress who curses him to be a beast forever. Though the prologue has a few unexpected changes, it is followed by the beautifully executed large-scale musical number of “Belle” that is true to the original, and helps introduce the remainder of the main characters not featured in the prologue. The songs in the film blend the animated film and musical/unreleased which will keep Beauty and the Beast fans excited and interested.
Overall, the acting performances were better than I had imagined. Emma Watson breathed a youthful and strong-willed determination into her performance of Belle, mirroring the actresses well-known personal passion for women’s rights. Luke Evans and Josh Gad provide a dynamic of juxtaposition as Evans’ Gaston is overly confident, and possibly more obsessed with Belle than his animated counterpart, and Gad’s LeFou struggles with his morals and his relationship with Gaston. As a huge fan of Josh Gad, I found this casting and character development to be delightful, though with the success of Frozen it’s also easy to sometimes picture Olaf singing. Kevin Klein as Maurice is warm and more involved with his daughter than in the animated film, proving to be a bit less “crazy” than before.
SPOILER ALERT – Though hopefully you have seen or heard this story in some way, shape, or form in the last 26 years, I was delighted to see the voice actors for the also-cursed castle staff of Lumiere (Ewan McGregor), Cogsworth (Sir Ian McKellen), Mrs. Potts (Emma Thompson), Garderobe (Audra McDonald), and Cadenza (Stanley Tucci) emerge as themselves again at the end of the film. It serves as both a joyful happy-ending, as well as a curtain call of sorts.
The titular song and ballroom scene were the most lacking of the film’s musical numbers. Emma Thompson as Mrs. Potts delivers a lackluster and awkwardly cadenced performance, inappropriate for the waltz being danced. In contrast, the ballroom scene in the 1991 film was revered as a technical and stunning feat in its grandeur. Both the ballroom itself and the famous yellow/gold ballgown Belle dawns for this defining moment are underwhelming in comparison to the rest of the scenery and costuming throughout the film.
The differences in this re-telling, based on the characters’ family background and the nature of the Beast’s curse, appear to have stemmed from an effort to complete the story and fill in plot holes. However they left me a bit confused and wishing they had been more developed.
Overall, the CGI was stunning; the acting and singing were all you could hope for and more, with amazing execution. As someone who is a Disney fan, I was wowed by this re-telling. Though Beauty and the Beast was not my favorite Disney Animated feature, I felt this live-action edition was impressive, emotional, grown-up in taste, and will surely be a film remembered as a Disney classic.
The Force remains strong at LEGOLAND® California Resort as guests of the family theme park in Carlsbad will now get to experience a new exciting installment in LEGO® Star Wars™ Miniland with the LEGO® Star Wars™: The Force Awakens Miniland Model Display! The latest major model addition includes the 16-foot-long Star Destroyer Finalizer, made of more than 350,000 LEGO® bricks. The Finalizer is installed more than 6 feet in the air above guests and is now the longest LEGO Star Wars™ Miniland model ever created!
“Guests have been enjoying LEGO® Star Wars™ Miniland for 6 years since it first opened in 2011. Since then, we have added the LEGO Star Wars™ Miniland Gallery in 2012 and LEGO Star Wars™ Miniland Death Star in 2015, which is the largest LEGO model to have ever been added to LEGO® Star Wars™ Miniland,” said General Manager of LEGOLAND California Resort Peter Ronchetti. “I am excited to introduce the latest addition: The LEGO® Star Wars™: The Force Awakens Miniland Model Display as once again, our Master Model Builders used incredible detail in constructing the new LEGO models and I can’t wait for guests to enjoy it!”
LEGO® Star Wars™: The Force Awakens Miniland Model Display is in the center of LEGO Star Wars Miniland and will include six scenes representing the first 30 minutes of Star Wars: The Force Awakens which include: Kylo Ren’s capture of Poe at planet Jakku; Rey’s rescue of BB-8; Poe and Finn’s escape from the Star Destroyer Finalizer; The wreck of Finn and Poe’s TIE Fighter; Rey, Finn and BB-8’s escape from Niima Outpost; and the escape from the Starship Graveyard. Lights, sound effects and animation will further bring the scenes and characters to life from this blockbuster film.
The LEGO® Star Wars™: The Force Awakens Miniland Model Display opens just in time for spring break and is included in the cost of admission to LEGOLAND California Resort.
In 2014, Warner Bros. and Legendary Pictures brought back the monster movie in a big way with Godzilla, a modern day reboot that brought the prehistoric beast to life for a new generation. The movie was a smashing success, which meant that it was time to build a new franchise around the King of the Monster’s homecoming, as many studios would do. But you can’t just build a franchise these days, you have to build a cinematic universe! So a course was laid out for a new monster universe that would would find that Godzilla wasn’t the only monster in the world, and not only that, he wouldn’t be the only King either: Enter Kong, everyone’s favorite sky scrapper climbing primate, the star of Jordan Vogt-Roberts’ new monster mash film, Kong: Skull Island.
We’ve seen many iterations of the Kong character since his debut in the 1933 classic, King Kong, the original Hollywood creature feature. So it’s easy to write off a new film featuring the character as just another Kong film, but film’s director, Jordan Vogt-Roberts, clearly wants you to know this is a completely new take on the character. The film, set in 1973 at the end of the Vietnam War, is a big B monster film through the eyes of Francis Ford Coppola’s Apocalypse Now. It’s a truly fascinating mix, one that could go terribly off the rails, but in fact, ends up being the film’s greatest strength. This is a Kong film like we’ve never seen, and this fresh new style and aesthetic ends up being the perfect back drop for the story. As with any good creature feature, the story revolves around an expedition to Skull Island, the last uncharted piece of land on the planet, and the crew that goes to explore it. But of course, they have no idea what they’re getting into, as the man behind the mission, Bill Randa (John Goodman), has kept all the secrets of the island to himself for fear of being called a crack pot. Simply put, Bill believes that monsters are real, and he’s hellbent on proving it. Together with a team that consists of a war photographer (Brie Larson), an ex-British Military Officer (Tom Hiddleston), and a group of U.S. military officers led by Samuel L. Jackson’s Col. Packard, they set out to explore this uncharted terrain known as Skull Island, where Kong is king.
If the above synopsis of the film is any indication, it’s clear that we’ve seen stories like this before. More so, you’ve seen these characters before, and really they’re not the most interesting or most fleshed out. While something like that would normally be detrimental to a film, here it actually works to Kong: Skull Island‘s advantage. The characters do their job bringing us into this world, but the real star of the film is Kong himself, and all the monsters that surround him. Vogt-Roberts wastes no time getting into action with Kong, as the crew arrives in Skull Island twenty minutes into the film, dropping bombs as they first arrive, only to be met by an angry ape who doesn’t like people bombing his territory. Not only is this a Kong film we’ve never seen before, but this is a Kong we’ve never seen before. This Kong is huge, about as big as the mountains around him, so you can see they’ve sized him up considerably. Now he’s closer to the size of Godzilla, for many obvious reasons, but it works. This Kong is a true monster, one that you don’t mess with, as he’s powerful, and really a full on badass. As king of his land, he’ll protect it at all costs, no matter who, or what, you may be.
There’s something to be said about the simplicity of the story and the characters, and letting them be there to strength our bound with the land and Kong, without taking away from the film itself. All the characters are classic archetypes of adventure and monster films, like the lone hero who doesn’t work with people, the strong and brash female who can fend for herself, the man who loves the beast, and the other who wants to destroy it. Each plays a specific part, but outside of John C. Reilly’s Hank Marlow, who steals the movie from everyone around him, the characters don’t really add to the film. Samuel L. Jackson’s Packard is a fun play on Marlon Brando’s Col. Kurtz from Apocalypse Now, down to the man not born in war, and the thought of no war driving him mad, but it’s also just Samuel L. Jackson being Samuel L. Jackson. We know what we’re getting from him, and he’s fun as hell to watch, but his character isn’t groundbreaking or different than anything we’ve really seen before. It’s amazing that the film can be so entertaining, and dare I say fun, with characters that are more there to push the story forward than to be the film’s sole focus. This is a pulpy creature feature at its finest, and the filmmakers embraced that head on in they’re handling of the film. It can’t be understated though how great John C. Reilly is in this film, as he’s the one character who knows this is a big B monster extravaganza, and he plays it up to great effect.
But what Vogt-Roberts does so perfectly with this film is he brings the big monster mayhem beautifully to life with cinematographer Larry Fong. This film looks gorgeous from the opening moments, capturing the 1970’s aesthetic and feel, while also really bringing that Apocalypse Now vibe vividly back to life. Every scene has shots that should be freeze framed to just stare at and explore, as they’re just perfectly captured moments that you can’t keep your eyes off. This is exceptionally true when we get to the film’s many action sequences, that are just gorgeously composed, where you can really relish in the majesty of these giant creatures fighting. Every action scene is new and exciting, and looks absolutely gorgeous, you have a hard time not wanting to stand up and cheer when Kong starts knocking these monsters back into the ground that they came from. One moment in particular really stood out to me, that was clearly an influence of Akira Kurosawa and his samurai films, and it’s played in such a cool way here that it felt fresh and new. All this comes together under Fong and Vogt-Roberts’ watchful eyes, and is fleshed out by Henry Jackman, whose score strengthens the film throughout. This is a brilliant score that completely melds with the film, adding fun, adding dread, and really just oozing off the screen, completely encapsulating the audience.
Honestly, the best thing about this movie is it embraces the heart of the creature feature, and goes completely for broke. While we’re so used to seeing Kong in the city, this film leaves him in his element on Skull Island, surrounded by many beasts and monsters that are not only extremely cool to look at, but also extremely dangerous at well. Every creature is fascinating to look, and the fact that there’s so many creatures to look at makes this feel like a whole world. Not only that, but as stated before, the big monster fights are fun as hell, as well as truly mesmerizing and monstrous. Many parts throughout this film will go on to become classic monster movie moments, no doubt about it, and that’s much to Jordan Vogt-Roberts’ credit. By simply embracing that this is a monster movie, he’s given Kong new life by letting him really tear up the screen, as well as the creatures around him. This is a no holds barred look at the original creature feature king, and it’s a welcome new direction for the character. One that is sure to have an even bigger payoff in the future. With all the references and hints towards Godzilla throughout the film, part of that being what’s pushing Goodman’s Bill Randa, it’s hard not to get excited about seeing the King of Monsters himself go toe-to-toe with Kong down the line.
Kong: Skull Island is a massively entertaining return of the B movie creature feature, but with new paint, and a great cast. Though the characters are more there for story purposes than to be real characters, it works in the film’s favor, as it gives Kong time to shine as the film’s real star. Action packed from beginning to end, and featuring some incredibly awesome monster mash style battles, it’s hard not to fall head over heels for this new take on the classic character. This is a huge step in the right direction for the franchise, and will go down as one of the best additions to the Kong pantheon. This is film that will leave audiences cheering, and wanting more from this world and character, which is really the biggest compliment you can give it. There’s so much more to explore, and here’s hoping that we get to spend more time on Skull Island with Kong, and the creatures that inhabit his island. Kong truly is king, and it’s great to have him back and better than ever.
At the recent Beauty and the Beast Global Press Conference in Beverly Hills, Alan Menken performs live, signing some old and new songs from the movie.
Below is the video of his performance:
Alan then asked Josh Gad and Luke Evans to help him perform the next song:
The new songs written by Menken and Rice are telling new parts of the story, taking the story in new directions and fitting seamlessly into the fabric of “Beauty and the Beast.” In addition, some of Howard Ashman’s original lyrics from the songs “Gaston” and “Beauty and the Beast” not used in the animated film have been added back in to the film as well.
The music from the animated film is perfect as is, so there was never any discussion about cuttng any of those musical numbers for the live-ac on adaptation. The music for the Broadway production is equally as brilliant, and while Condon would have liked to have incorporated some of those songs in this film, they were written specifically for the stage and fit a theatrical format, not a cinematic one.
Directed by Bill Condon based on the 1991 animated film “Beauty and the Beast,” the screenplay is written by Stephen Chbosky and Evan Spiliotopoulos and produced by Mandeville Films’ David Hoberman, p.g.a. and Todd Lieberman, p.g.a. with Jeffrey Silver, Thomas Schumacher and Don Hahn serving as executive producers. “Beauty and the Beast” will be released in U.S. theaters on March 17, 2017.
Johnny Depp returns to the big screen as the iconic, swashbuckling anti-hero Jack Sparrow in the all-new “Pirates of the Caribbean: Dead Men Tell No Tales.” The rip-roaring adventure finds down-on-his-luck Captain Jack feeling the winds of ill-fortune blowing strongly his way when deadly ghost sailors, led by the terrifying Captain Salazar (Javier Bardem), escape from the Devil’s Triangle bent on killing every pirate at sea—notably Jack. Jack’s only hope of survival lies in the legendary Trident of Poseidon, but to find it he must forge an uneasy alliance with Carina Smyth (Kaya Scodelario), a brilliant and beautiful astronomer, and Henry (Brenton Thwaites), a headstrong young sailor in the Royal Navy. At the helm of the Dying Gull, his pitifully small and shabby ship, Captain Jack seeks not only to reverse his recent spate of ill fortune, but to save his very life from the most formidable and malicious foe he has ever faced.
“Pirates of the Caribbean: Dead Men Tell No Tales” also stars Kevin R. McNally as Joshamee Gibbs, Golshifteh Farahani as the sea-witch Shansa, Stephen Graham as Scrum, David Wenham as Scarfield and Geoffrey Rush as Captain Hector Barbossa.
“Pirates of the Caribbean: Dead Men Tell No Tales” is in theaters May 2017 in 3D, RealD 3D and IMAX 3D!
The outrageously funny and insanely witty 2014 Best Musical Tony Award® winner has arrived to Orange County in its first national tour! Now playing at Segerstrom Center for the Arts, A GENTLEMAN’S GUIDE TO LOVE & MURDER has made its ferocious opening to rip-roarious laughter and boisterous applause! No matter what you have heard, or the number of times you have heard the Broadway soundtrack, justice is not served unless you witness it first hand. Nothing will be able to prepare oneself for the hilarity that will ensue. This nonstop, speedily-paced dark comedy is filled with lively music and a cast of uniquely colorful enriching characters that will have you belly-up in no time. I am thankful I got my chance to see this already prized musical so soon!
London, 1909, A GENTLEMAN’S GUIDE TO LOVE & MURDER tells the most unlikely of stories of penniless Monty Navarro who finds himself as a distant heir to a celebrated wealthy family, the D’Ysquiths. With being a mere 8 earls in succession and a non-contender in his loves hand for marriage due to his lack of fame or fortune, Monty figures his only way to win her heart would be to kill all the successors ahead in line. In the mean time, Monty finds true love and must juggle his mistress, his fiancé, and the threat of being caught in his scheme.
What may seem an impossible plotline to keep track of, Robert L. Freedman’s book and Darko Tresnjak’s direction makes for a fairly simple story to follow. With effortless banter and snappy back-and-forth dialogue, A GENTLEMAN’S GUIDE moves swiftly from one kill, er… I mean, one scene to the next. Steven Lutvak’s music along with lyrics penned by both Lutvak and Robert L. Freedman follow a rhythm and style that makes the storytelling presented through song easy to understand. The plethora of songs retain a sense of intrigue as the audiences awaits each next set to see what our leading man will get into next.
Lutvak’s music is a classic operatic style with vintage cabaret melodies and vocalization. Every song contains moments requiring true talent along with perhaps a little early 1900s stylized inflections. In the undoubtedly most iconic number in the show, “I’ve Decided to Marry You”, all aspects of the show cumulate together with physical, slapstick humor with creative stage choreography to quick cleverly orchestrated exchanges of lines that should bring joy to every theatergoer.
While the music is crisp and classic, its truly the characters of A GENTLEMAN’S GUIDE that shines above all else. There is no mistaking that the star of the show is not the “leading man”, Monty Navarro, but rather the actor of several characters played all by JOHN RAPSON. This man not only plays NINE different characters, he also plays them all incredibly differently, just as wildly entertaining as the last, AND must switch in and out of each role in mere seconds! (Costume changes included!)
With some slight trickery at times and well planned-out clothing layers, RAPSON is able to transform between many members of the D’Ysquith family from a ridiculous goober of a Reverend to a very large Lady Hyacinth D’Ysquith with a prominent bosom and all. This show would be nothing without a solid performance in this role. Fortunately, this production benefits from the brilliance that is JOHN RAPSON. At times I felt I would be satisfied with just a one man show starring him. His performance was the clear reason for the audience reception of the show as it continued to build. The crowds laughter erupted louder with each new character.
Mind you the delightful KRISTEN HAHN as Monty’s fiance and KRISTEN BETH WILLIAMS as the mistress could not have been more flawless. Both a true gem and incredibly charming in their own right. KEVIN MASSEY as the leading man no doubt carried the show with being onstage nearly the entire show. He has impeccable timing and wonderful stage presence.
Speaking of the stage, it’s beautiful! Cleverly minimized within the broader frames of Segerstrom Hall, the stage is basically a stage within a stage. Sliding forward and back and key moments, the smaller stage helps bring an intimate feel to a show performed in such a large space. This seems necessary with a small cast of characters usually on stage with most scenes only containing two or three present with random flocks of others for some small support. Surrounding the stage… on the stage… are small downstage sets for transitional scenes. This lends well for setting the pace and allowing the actions from the actors play bigger than the need for lavish sets for each scene. The sets and production design lend well as support to the musical that never interfere with the actual scene.
This is not a show that music alone would bring its justice. Rather this requires a seat in the theater with a view of all the ridiculousness that this show has to offer. From the opening, Monty conceals no secrets that the audience is in for a quite off the wall show with an idea that him killing eight people will be practically normal. There was no yawning moment or even a chance to for a glisten of boredom, A GENTLEMAN’S GUIDE TO LOVE & MURDER lends an entertaining night out that will have audience members falling out of their chair with laughter. It’s unique, refreshing and simply, a riot. It will be bringing joy to theatergoer for many years to come without a doubt! You know a show has past the test when an unconventional comedy can feel like a classic after one watch.
A GENTLEMAN’S GUIDE TO LOVE & MURDER is playing through March 5th at Segerstrom Center for the Arts with tickets starting at just $29. Visit SCFTA.org for ticket details and more information.
London, 1909, A GENTLEMAN’S GUIDE TO LOVE & MURDER tells the most unlikely of stories of penniless Monty Navarro who finds himself as a distant heir to a celebrated wealthy family, the D’Ysquiths. With being a mere 8 earls in succession and a non-contender in his loves hand for marriage due to his lack of fame or fortune, Monty figures his only way to win her heart would be to kill all the successors ahead in line. In the mean time, Monty finds true love and must juggle his mistress, his fiancé, and the threat of being caught in his scheme.
