Building on the success of the recently released stop-motion animated film “Blank: A Vinylmation Love Story,” the new Vinylmation: Create Your Own app lets fans express themselves by designing virtual Vinylmation figures. After selecting a 3D Mickey or Minnie Mouse figure to decorate, users can experiment with paint, accessories and decal patterns. Completed creations become a part of the user’s personal collection and can also be exported to the device’s camera role.
Vinylmation: Create Your Own is available for free on iOS and Android. You can also download “Blank: A Vinylmation Love Story” for free from Google Play.
Tweet an image of your Vinylmation: Create Your Own design @DisneyInteract using #BlankandBow for a chance to win a “Blank: A Vinylmation Love Story” prize-pack and be featured on the Disney Interactive blog!
Do you love the Tomorrowland Terrace Dessert Party at the Magic Kingdom? How about enjoying a similar experience at Epcot with the new Illuminations Dessert Party?
Now you can make your visit to nearby Epcot extra sweet with tempting treats, spirited drinks and a VIP view of IllumiNations: Reflections of Earth. Savor international desserts and wines from around the World Showcase in an intimate, exclusive setting AND enjoy a clear view of the World Showcase Lagoon as it erupts in color and sound during the Epcot nighttime fireworks spectacular, IllumiNations: Reflections of Earth!
The Illuminations Dessert Parties will be held Wednesday, Friday and Saturday nights from 7:45 PM to 9:20 PM. Advance reservations are highly recommended and can be made up to 180 days prior to your visit. The cost is $49.99 for adults and $29.99 for children, prices includes tax. Park admission is required (and not included). Reservations are available as of March 12, 2014 beginning with the March 15, 2014 Illuminations Dessert Party. Yum!
When Heather isn’t busy sharing Planning tips about Walt Disney World, the Disneyland Resort, Universal Orlando, and more, you can find her planning Disney and Universal Orlando vacations. Contact her on Facebook at Heather Abbott-Agent with Destinations in Florida. For more info and to book your travel, use the Price Your Vacation Form in the Sidebar or click here. You can also call 877-918-8941 and ask for Heather to book. Make sure to mention that you were referred by Socalthrills.com! Safe travels everyone!
Starbucks Coffee Company and the Disneyland Resort announced the opening of a new company owned Starbucks location at Downtown Disney in Anaheim, Calif., for the millions of guests visiting Disneyland Resort from all over the world each year. This store will be the first of four to be operated by Starbucks across Disney properties in the United States and will serve as a destination for guests looking to relax and recharge as part of their visit.
“This store is a reflection of two iconic brands coming together to offer their customers the kind of high quality experience they expect in a way that embodies the unique passion of each, ” said Arthur Rubinfeld, chief creative officer and president, global innovation for Starbucks. “Collaborating with Disney offered us the opportunity to create a unique moment of connection for our customers in a way that evokes the magic that their guests expect.”
The new Downtown Disney location will bring one of Starbucks most engaging experiences to customers with technology and content designed specifically for this store. This includes introducing customers to the story behind Starbucks coffee projected across a 10-foot video installation in addition to a first-of-its-kind interactive touch screen that will inspire moments of playful creativity for even the youngest visitors.
The store will also offer some of the rarest coffees available as part of the Starbucks Reserve® coffee line and Clover® brewing system. This sustainably built to LEED standards location will include an outdoor patio designed around a native tree, reclaimed wood siding and a living, green wall with more than 1,000 plants in the shape of a coffee cup that serves as a backdrop to capturing memories for visiting guests.
“Guests visit Disney parks and resorts around the world to share experiences with their friends and families and to create memories that will last a lifetime,” said Daniel Delcourt, vice president of Disneyland Resort Hotels and Downtown Disney. “This new location at Downtown Disney will appeal to their love of Starbucks, and provide yet another memorable experience at the Disneyland Resort.”
Starbucks opened its first location at a Disney resort in 2009 in Disney Village at Disneyland Paris with an innovative concept store that earned LEED platinum certification. The company also has worked with Disney to offer Starbucks signature beverages and pastries at locations inside the theme parks including Disneyland Resort’s Fiddler, Fifer and Practical Café at Disney California Adventure park and Market House at Disneyland park; as well as two locations at Walt Disney World Resort in Florida – Main Street Bakery at Magic Kingdom park and Fountain View at Epcot.
Starbucks and Disney will bring five more Starbucks locations to guests, including: one additional Starbucks-operated location in Downtown Disney at Disneyland Resort, two Starbucks-operated locations at Downtown Disney at the Walt Disney World Resort and two Disney-operated locations at Disney’s Animal Kingdom and Disney Hollywood Studios at the Walt Disney World Resort.
Hold onto your hats and glasses! The wildest ride in the wilderness reopens March 17 with an upgraded track, restoration of the historic Rainbow Ridge Mining Town, new paint on portions of the mountain and updates to the train vehicles. Guests taking a ride on this runaway mine train will discover some new surprises, too.
Along with the new track, Big Thunder Mountain Railroad reopens in 2014 with an enhanced audio system that sharpens the sounds heard by guests on the trains and in the caverns and buildings. Even the wildlife at Big Thunder can be heard more distinctly.
Big Thunder Mountain Railroad celebrated its grand opening in September 1979, becoming the third peak in the Disneyland Park “mountain range of thrill rides.” It was preceded by Matterhorn Bobsleds (1959) and Space Mountain (1977) and followed by Splash Mountain (1989).
The attraction’s setting evokes 19th century gold-mining territory, with rugged bedrock and desert cactus. Guests board a mine train for a thrilling, high-speed adventure past the spires and buttes of the old West and into the tunnels and shafts of a dark and mysterious mine.
Since its opening in 1979, Big Thunder Mountain Railroad at Disneyland has carried more than 225 million guests who are warned to “hold onto your hats and glasses” as they prepare to dip and drop into the canyons and caves of the Big Thunder ghost town.
The unusual rock spires of Big Thunder Mountain were inspired by the “hoodoos” of Bryce Canyon National Park in Utah. The tallest spire on Big Thunder Mountain reaches 104 feet.
Objects that may be spotted by guests in and around Big Thunder Mountain include a century-old stamp mill, hand-driven drill, press gears, picks shovels and other artifacts acquired from abandoned mines in Nevada, Colorado, Minnesota and Wyoming, as well as museums and swap meets.
Subsequent versions of the attraction appeared in Magic Kingdom Park, Walt Disney World, Florida in 1980; Tokyo Disneyland Park in 1987 and Disneyland Paris in 1992.
The miniature town of Big Thunder, seen at the end of the attraction, first appeared in 1956 as part of the Rainbow Cavern Mine Train and Mine Train through Nature’s Wonderland attractions. Many Disneyland fans still call it by its original name: Rainbow Ridge. The town is said to have been a favorite of Walt Disney, who built miniatures himself as a hobby.
Other items from the Nature’s Wonderland days include the caves of Rainbow Caverns, the rockwork buttes at the entry to Balancing Rock Canyon, and some of the animals – the dynamite-devouring goat, coyotes, possums, snakes, turtles, vultures – who appear among the rocky cliffs surrounding the mine tunnels.
Big Thunder Mountain Railroad was the first major design project for Walt Disney Imagineer and Disney Legend Tony Baxter, whose subsequent projects at Disneyland included the new Fantasyland of 1983, Splash Mountain and the Indiana Jones Adventure.
“300: RISE OF AN EMPIRE” delivers a high-impact punch for all lovers of 300 and Zach Snyder. There’s not a dull moment in this fast paced sequel with battle scenes galore! Sexy shot after shot with eye candy for all.
Do not be fooled however. “300: RISE OF AN EMPIRE” isn’t for historians and purists, but rather for an intense rush of battle scenes and cartoonish violence. The film is based off of Frank Miller’s graphic novel like the first “300” and creates a world one should expect. This story takes the visual style, action, and the idea of many nearly naked chiseled Greek-men then puts them out to sea for new battles.
Snyder and Kurt Johnstad created an exciting screenplay with all new characters due to the ending of the first “300” and builds of the original Spartan pride without cramming the “Sparta” down audiences throats. The story doesn’t feel forced yet remains fast and thrilling throughout thanks to Noam Murrow’s (“Smart People”) epic-film directorial debut.
“300: RISE OF AN EMPIRE” sees Greek general Thermistokles, SULLIVAN STAPLETON (“Gangster Squad”) leading the charge against invading Persian forces led by mortal-turned-god Xerxes, RODRIGO SANTORO, and Artemisia played by the gorgeous EVA GREEN, vengeful fierce female commander of the Persian navy.
Green really kicks this story up a notch or three! Not only is her story interesting but her character overall presence is captivating and incredibly sexy. Get ready some steamy scenes between her and Stapleton. Here you see that this is truly a flick to see more for entertainment value then any historical significance or deep substance. It’s just downright hot and action-packed.
It will be good to note that this really falls under the same ridiculous blood shedding style of Quentin Tarantino’s films as him and Frank Miller have collaborated in the past. This isn’t meant to be realistic. In fact, you may need to suspend your disbelief more than the film tells you to. The blood splatters along the logo don’t even come close to reaching the magnitude of the amount of blood to expect in this film. By the end you you will have become numb to the violence creating a lackluster of excitement that should come from it.
The similar effect happens with the stunning 3D effects that are in place a little too often. For instance, at the beginning you’ll see every dust particle reflecting all types of light creating depth of each scene, however it becomes distracting as this effect is used in every single scene. It was cool for awhile, but later I found myself just wanting to see an unobstructed view of the shot. I’ll admit though, the film in it’s entirety is frankly beautiful. If you dislike the HDR look of photos though, this may just annoy you.
The films first half remains a little slow, but stays action-packed from then on. While I found “300” fun, I found it uninspiring. I was worried “RISE OF AN EMPIRE” would be a quick couple of ram bam fights and minimum story and without something to takeaway. Luckily, the film is so much more and the right length. Any fan of Snyder or Miller or even epic-battle films needs to take a night off from the real world and see it. Bring the girlfriend, she’ll have plenty to drool over too.
The Walt Disney Studios today unveiled its exclusive cloud-based digital movie service, Disney Movies Anywhere. This all-new app for iPhone, iPad, and iPod touch and Web experience enables consumers to discover, purchase, manage, and watch movies from Disney, Pixar, and Marvel at home and on the go. iTunes is the premier digital movie provider for Disney Movies Anywhere.
The debut of Disney Movies Anywhere coincides with the digital release of Disney’s hit film “Frozen” and features Disney’s library of over 400 active digital titles. In addition, for a limited time, Disney Movies Anywhere users who activate and connect their Disney Movies Anywhere account to their iTunes account will receive a free digital copy of Disney•Pixar’s animated classic “The Incredibles.”
“Disney Movies Anywhere offers an exceptional consumer experience built around some of the most beloved and popular entertainment brands in the world,” said Alan Bergman, President, The Walt Disney Studios. “This unique technology underscores Disney’s commitment to meeting our consumers where they are with the content they want, and we’re thrilled to debut with iTunes, the #1 digital media retailer in the world.”
As a trusted creator of premium entertainment experiences for the whole family, Disney is committed to making it easier than ever for consumers to dive in and grow their digital movie libraries. In a seamless and family-friendly experience, Disney Movies Anywhere unlocks digital content across platforms and devices, enabling access to user-owned Disney digital content and movies in the Disney Movies Anywhere ecosystem and through iTunes.
With an easy-to-use interface, consumers can explore live-action and animated films from Disney, Pixar, and Marvel; watch exclusive content and bonus features; preview upcoming offerings; and more. Users can simply connect their iTunes account to their Disney Movies Anywhere account to begin populating their Disney digital movie locker and watch movies online and on their devices. Featuring simultaneous access on multiple devices, Disney Movies Anywhere enables consumers to stream and download Disney movies on their iPhone, iPad, and iPod touch and Apple TV (through iCloud or using AirPlay). In addition, Disney Movies Anywhere functions as a streaming movie service when users log in to the website on their desktop or laptop computers (Mac or PC).
“Disney Movies Anywhere is an adaptable digital ecosystem designed to help consumers consolidate their Disney movie collections and enjoy them for years to come,” said Jamie Voris, Chief Technology Officer, The Walt Disney Studios. “The beauty of this technology is that it enables us to work with iTunes and future provider partners to ensure movie lovers have streamlined access to all of their favorite Disney titles no matter which device they are on. The intuitive layout of the website and app creates an easy and enjoyable browsing environment for the whole family.”
Since 2008, Disney has included codes in select DVD and Blu-ray products redeemable for digital copies of Disney, Pixar, and Marvel films. Users can now redeemthese codes through Disney Movies Anywhere, and Digital Copy titles previously redeemed in Disney Movie Rewards or via iTunes will automatically be active in both Disney Movies Anywhere and iTunes once a user logs into Disney Movies Anywhere and connects their iTunes account. Additionally, for the first time, consumers can now earn Disney Movie Rewards points for their digital purchases through Disney Movies Anywhere going forward.
Disney Movies Anywhere’s functionality is built upon Disney’s proprietary digital rights locker, KeyChest.
With nary a hint of superhero fatigue in sight, Marvel continues their domination of the cinematic blockbuster landscape with the incredibly inventive Thor: The Dark World. While you’d think that it would be hard to continue crafting stories in this genre that feel fresh, Marvel has figured out a way to continue their epicly intertwined stories while evolving the very genre of each film in the series. Containing equal elements of fantasy and science-fiction, Thor pushes not only the Thor franchise into exciting new directions, but singlehandedly helps with the rebranding of the entire Marvel universe.
It’s hard to believe that the Marvel Cinematic Universe began with Robert Downey, Jr. captured by terrorists, trapped in a cave. From that moment, we have slowly been introduced to a world that spans not only the entire planet, not just Outer Space, but multiple realms of existence. As the first Thor established, there are nine realms, all existing independent of each other, but accessible through various means. This film opens with a preamble on par with Peter Jackson’s original opening to the Lord of the Rings. It is in this sequence that we are introduced to Malekith, the villain of the film, who’s origins span thousands of years. As I watched this opening, I couldn’t help but be awed at just how far Marvel has taken these characters, and how impressive it is that they have made this accessible to general audiences.
Part of that accessibility has to come from the amazing casting of each and every one of their films. Obviously, Robert Downey, Jr. is a standout as Iron Man. That being said, I couldn’t imagine a more compelling Thor than that of Chris Hemsworth. Likewise, Loki just wouldn’t have the same impact without the multifaceted performance of Tom Hiddleston. People often talk about chemistry between romantic leads, but chemistry can be so much more than love. With an antagonistic respect just under the surface, there is undeniable chemistry between these two brothers, and while it may not be romantic in nature (thank goodness), it is imperative to the success of this story.
It goes without saying that the film is filled with action, amazing special effects, and wondrous new worlds to explore. Asgard looks better than ever, with greater detail in every shot and a production design that is just gorgeous to watch. Whether admiring the majesty of the city itself, or the futuristicly dank cells in the dungeons below, there is a detail to the film’s designs that is unsurpassed in the Marvel universe.
Now that the film is on Blu-Ray, it becomes even more apparent just how much work went into the creation of this amazing film. After finishing the film, I found myself jumping back forth between various moments that I just had to get another look at. It’s a beautiful world that has been created, and I can’t wait to see how it continues to tie in to further Marvel stories.
Bonus Clip: Loki The Avenger (Deleted Scene)
As for the extras, there are some fun features, but nothing too exciting. The most interesting feature is a new short film entitled “All Hail the King.” Featuring Ben Kingsley’s return as “The Mandarin,” this film opens up the Marvel universe even more than I realized they were planning. I’m not sure how this film is going to come into play down the road, but they have definitely set up some interesting dominoes that need to be knocked down at some point.
There is also a standard making of feature, noteworthy for giving us a glimpse of Tom Hiddleston’s audition as Thor. I can’t imagine the alternate reality where that casting occurred, but it’s a fascinating look at what might have been. While most of this feature is a standard self-congratulatory talking-heads segment, there are some interesting looks behind the scenes of various setpieces, and looks at the overall development of the film through production. There are also several deleted and extended scenes, along with a quick look at the extremely entertaining score of the film. Finally, the extras are rounded out with a completely unfunny gag reel.
Overall, I couldn’t be happier with the direction the Marvel franchise is going. With Captain America 2 and Guardians of the Galaxy just around the corner, there doesn’t seem to be an end in sight for these films. If the quality is maintained to the level of this film, we are in for a very exciting finish to Phase II of the Marvel franchise.
Plot Summary: An epic rebirth to Toho’s iconic Godzilla, this spectacular adventure, from Warner Bros. Pictures and Legendary Pictures, pits the world’s most famous monster against malevolent creatures who, bolstered by humanity’s scientific arrogance, threaten our very existence.
After months of speculation, we’re just one day away from discovering which films will have been considered worthy of the moniker “Academy Award winner.” Countless articles have been written in countless publications and websites about the “big” categories, but there seems to be a shortage of insight into the lesser known, but just as valuable, short films. Unlike the Best Picture category with a whopping nine nominees, there are only five for Best Animated Short Film, and five for Best Live-Action Short Film. I try to watch all the short films every year, and while this isn’t the best batch I’ve ever seen, it’s an eclectic group of shorts, definitely worth seeking out.
I have to admit, some of the nominees this year seem significantly less than worthy. That’s not to say there isn’t something worthwhile to discover in each film, but I was surprised at just how generic a few of them are. That being said, there are some that are absolutely stupendous and have etched themselves a permanent place in my memory. Let’s start with the animated short that everybody has seen, Get A Horse. If you’re a regular reader of this site, than you’re probably very aware of this Mickey Mouse cartoon that was attached to Frozen. On the off chance you’re one of the handful of people who haven’t yet seen this film, I won’t ruin any of the surprises. I’ll just say that it is the best Mickey Mouse film in many years, with humor well beyond what’s on the surface. It’s a return to form for Mickey, showcasing his sadistic side in a hilarious way, and playing with the conventions of animation in a way that is unlike anything seen before. A masterpiece of animation and storytelling, this WILL be the winner in this category, and deservedly so.
It’s not that the other films aren’t good. There is some stunning animation throughout the other films, but none of them truly captured my imagination or wowed me to the degree that the films in this category have in the past. Strictly in terms of animation itself, Feral is a fantastic work of art. A boy raised by wolves has to resolve the struggle between his humanity and the animal within. It’s all very surreal, symbolic and not at all accessible. However, it is beautiful and highly impressive on a technical level.
Watch the Promo video:
The other shorts include Possessions, which is a very brief but entertaining film about inanimate objects coming to life, Mr Hublot, which is a computer animated steam-punk style look at a robotic and precise figure who obtains a giant robot-dog-creature thing that turns his carefully controlled life upside down, and Room on the Broom, which is a great adaption of the classic children’s story. I was very impressed with Possessions and it’s creative depictions of what living versions of various inanimate objects would look like but found the story itself to be lacking and overall pointless. Unfortunately, Mr. Hublot was my least favorite of the bunch. While it had a sweet ending and an interesting visual style, the story felt a little generic and just didn’t have the same artistry of the other films. Finally, Room on the Broom tells the story of a witch and her growing assortment of taggers-along as she’s flying with her pet cat. As she picks up more and more animal passengers, the crowded nature of the broom begins to cause resentment from her beloved pet. Simon Pegg proves a marvelous narrator, with notable voicework by the likes of Gillian Anderson as the witch and Sally Hawkins as the bird providing for a truly entertaining, if not slightly repetitive film.
As for the Live-Action films, it’s a little harder to identify a clear-cut frontrunner. However, it’s far easier to completely eliminate one of them. Do I Have to Take Care of Everything? is a complete mystery to me as to how it got nominated. It’s practically a sitcom in it’s quest to tell a story about a family trying to get to a wedding on time. The relationship between the family members is sweet and the escalating tension to get there is somewhat amusing, but this is far from an Academy worthy film.
I wouldn’t be surprised to find any of the other films winning the category. That Wasn’t Me is a harrowing look at the relationship between an African child soldier and the medical volunteers kidnapped by his General. The film is just under half an hour, but a lot happens in this one. The evolution this child goes through is incredibly powerful, and the acting across the board is amongst the best in the bunch.
Helium was a very sweet story about the friendship that develops between a hospital janitor and a terminal child he encounters. He ends up bringing hope to this boy’s life by telling him specifics about the transition to the other side through a mythical world he calls “Helium.” As the boy’s conditions worsen, the janitor finds himself separated from the child, unable to complete the story. It’s a moving film that develops the relationship between these characters in an extremely effective way, and a beautiful ending that will stay with me for a long time. Of all the live-action short films, this is the most fanciful, with charming special effects depicting the world after our own.
Just Before Losing Everything is great, but I almost with one was longer. I feel like there was more story to mine from this situation. A woman and her two kids are heading on the run from her abusive husband. They have to stop at the store she works in, only to be trapped as he goes to the store himself looking for her. It’s intense, but simplistic. Most notable about this film is the structure. The filmmaker doesn’t explain what’s happening right away, treating the specifics of the story as a puzzle to be pieced together. Without getting specific, it also seems like there were options for the lady that just weren’t even considered. Overall, a solid entry, but probably not worthy of a win.
Wrapping up the short films is The Voorman Problem. I really enjoyed this story of a psychiatrist sent to investigate the claims of a man claiming to be God. Martin Freeman plays the psychiatrist, and does a great job as a man having to come to terms with the fact that he just might not have all the answers. As the short goes on, Freeman’s character is forced to accept the fact that what the man says just might be true, and the world as he knows it might not be all it appears to be. It’s a really fun film, but I expected a little more open-endedness. Things are explicitly spelled out by the end, and I found that detrimental to the film as a whole. Still, a great short, and definitely worth checking out
With all that being said, I’m very confident in Get A Horse’s chances. If I had to pick a live-action winner, I would probably go with That Wasn’t Me. However, it’s a very strong group of films in that category. It’s a shame that the short films don’t get more attention. Length is irrelevant if the content is there, and there are some true gems that will never be seen by the average audience. I can’t wait to find out who takes home the top prize, and I hope that the exposure received as a result will bring more people to these great films.
From Marvel, the studio that brought you the global blockbuster franchises of Iron Man, Thor, Captain America and The Avengers, comes a new team—the Guardians of the Galaxy. An action-packed, epic space adventure, Marvel’s “Guardians of the Galaxy” expands the Marvel Cinematic Universe into the cosmos, where brash adventurer Peter Quill finds himself the object of an unrelenting bounty hunt after stealing a mysterious orb coveted by Ronan, a powerful villain with ambitions that threaten the entire universe. To evade the ever-persistent Ronan, Quill is forced into an uneasy truce with a quartet of disparate misfits—Rocket, a gun-toting raccoon, Groot, a tree-like humanoid, the deadly and enigmatic Gamora and the revenge-driven Drax the Destroyer. But when Quill discovers the true power of the orb and the menace it poses to the cosmos, he must do his best to rally his ragtag rivals for a last, desperate stand—with the galaxy’s fate in the balance.
Genre: Action-Adventure Rating: TBD U.S. Release date: August 1, 2014 Cast: Chris Pratt, Zoe Saldana, Dave Bautista, featuring Vin Diesel as the voice of Groot, Bradley Cooper as the voice of Rocket, Lee Pace, Michael Rooker, Karen Gillan, Djimon Hounsou, with John C. Reilly, Glenn Close as Nova Prime Rael and Benicio del Toro as The Collector Director: James Gunn Producer: Kevin Feige Executive Producers: Louis D’Esposito, Victoria Alonso, Jeremy Latcham, Alan Fine, Stan Lee Story by: Nicole Perlman and James Gunn
Screenplay by: James Gunn (writing credit not final)
Ever since I heard Andrew Lloyd Webber was bringing a new adaptation of the 1939 MGM production to stage I was ecstatic. While over the past couple years there has been quite a revival of the tale and additions to story surrounding Oz, there is nothing that beats the screenplay of the classic. THE WIZARD OF OZ will be sure to capture the whimsy and magic that so many generations have fallen in love with in the past while also providing even more music, stage effects and memorable moments to its fans and a new generation!
Today in the mainstream we have recently seen the addition of WICKED, DISNEY’SOZ THE GREAT AND POWERFUL, and even a re-release of THE WIZARD OF OZ in IMAX and 3D! With all this new interest in this world I was concerned that I would find the stage production possibly old and tired. Thankfully, there is nothing to worry about. This award-winning creative team from London and Toronto had done a magnificent job bringing new life and uniqueness to the production without taking anything away from all that you loved from the MGM film.
I am not just speaking about retaining the most recognizable songs in the world, or keeping the same story line, or even making sure the characters kept some of their famous lines aka “I’ll get you, my pretty, and your little dog, too!” This production encompasses the feeling we all got while watching this mesmerizing story as kids or even as an adult. The colors are brilliant, the costumes retain the same look and feel although adjusted slightly from stage, the transition from Kansas to Oz is absolutely magical, the music remains heartfelt and warm with new songs containing the same style, and the dog is even there to accompany Dorothy along the yellow brick road.
“Toto, I’ve a feeling we’re not in Kansas anymore!”
The show begins in Kansas with Auntie Em and Uncle Henry on their farm with everything in a warm sepia-tone. I was so excited to see how they were to pull this off, and I was pleasantly surprised how well every transition and effect was executed. I was quickly captured and ready for the ride. Immersed in the colorless world, I remembered I needed to take in everything.
Scenic and costume designer ROBERT JONES has created a masterpiece! Clever orientation of sets and every character carefully placed is dull tones of tans and brown along with a projected background of the farm side and clouds had me quickly realizing the transition to the vibrant world of Oz will surely be special. I looked around and realized there were just black curtains surrounding the stage. It had me slightly worried it would be like this throughout, but I was only to later realize this helped keep the Kansas scene minimal and almost feel like I was watching the film once again in perhaps an old tube TV.
The storm soon arrives in all its glory with many great lighting effects along with a lot of scrim use, but there is so much, and I don’t want to ruin it. I’ll say that you will not be dissatisfied. This production relies heavily on some computer generated effects projected on screen, and while at first I was concerned that they weren’t doing anything on stage during these moments, I realized this is needed for the huge costume changes and giant transformation from Kansas to over the rainbow.
We are treated with a new song “Nobody Understands Me” as the musical begins to quickly show Dorothy’s displaces at home and then quickly welcomed with “Over The Rainbow”. I was concerned some musical variations were going to be taken, but fortunately the originals all retain mostly the same arrangements. The music begins, the words are sung, and the chills ran down my arms. I quickly sink into my chair and enjoy.
Dorothy sounds like, well, Dorothy! DANIELLE WADE captured the hearts of Canada as she won the lead on CBC’s Over the Raindbow and plays a perfect Judy Garland. She gets to really belt out an extraordinary long note at the finish of the first “Over The Rainbow” having the audience roar with applause. It was this moment that had me thrilled that I was going to see THE WIZARD OF OZ how we all remember it.
Sure there are going to be some minor differences being it is a stage production. With the addition of several new songs by Andrew Lloyd Webber and Tim Rice, you may also see a few creative choices that may catch you a little off-guard, but are clearly there for good reason.
The ensemble cast is a perfect size and must play the part of the Munchkins, people of the Emerald City and the Winkies (castle guards). As we are greeted by the Munchkins, their beloved “Arrival In Munchkinland” has several comical changes that are needed being they aren’t actually using little people or kids. Their performance of “The Merry Old Land of Oz” is superb and showy with glamour of glittery green costumes, but sadly, no horse of a different color, though mentioned.
THE WIZARD OF OZ still follows the Scarecrow, Tin Man, Lion, Dorothy and her little dog Toto, as they journey through the magical Land of Oz to meet the Wizard and obtain a brain, a heart, the nerve, and a way home all while trying to avoid the Wicked Witch of the West and her winged monkeys. The ruby slippers are now even more desirable to the witch and a song even explains.
How about these well-known characters? Well, they all nail it on the head. The Scarecrow is played by JAMIE McKNIGHT (THE PRODUCERS, HAIR, ANNIE GET YOUR GUN) and has impeccable timing playing the character with a little more humor and brainlessness. The Tin Man is played by MIKE JACKSON (CHICAGO, CONTACT, and many other productions) and while may have the least amount of laughs, plays it more true to as originally written. The Lion is wittily played by LEE MacDOUGALL (MAMMA MIA!, DAMN YANKEES) who really plays it up and is outrageously funny. All three fit the part and no one is over-the-top, which would be incredibly easy with these types of roles. There was a very happy balance here.
This leads me to The Wicked Witch of the West played by JACQUELYN PIRO DONOVAN (LES MISERABLES, MISS SAIGON) who is given a little more comedic leeway, and pulls it off. She keeps her evilness and we aren’t suppressed to hearing an evil cackle 50 times. While at times the humor seemed a bit much, but it never gets carried away, thankfully. Here she gets her own song, something that Andrew Lloyd Webber felt missing in the film. This gives us a chance to get to know her slightly more without having to delve deep into her backstory in which WICKED is left for that.
There is some great interaction between the Wicked Witch and The Good Witch, Glinda. She’s played by the lovely ROBIN EVAN WILLIS and is true a delight. The two play at each other more than the film allowed and is definitely a welcomed addition.
By all means, I cannot leave out the dog! Yes, Toto is played by a living, breathing dog (NIGEL) that runs across stage many times even without a leash leaving the audience often gushing in “awe’s”. This was a great decision and I’m glad they stuck to it.
Throughout the show there are some incredible costumes, even for the main characters that somehow are quickly changed when needed. These costumes also need much makeup to be applied and I must commend them on not cutting corners here. This was very cool to see live along with the beautiful transitions.
As mentioned earlier, there are several scene transitions that rely heavily on some projections, but these are done very well and enhance the show while allowing for some needs backstage and onstage. There are many scrims, backdrops, and total scene changes that are seriously quite impressive. The audience truly gets to travel with the characters through the land.
The first act really shines in this show, but part of this is partly due to me never being a big fan of the latter half of the film. I was delighted throughout however and cannot recommend this show enough. It is a perfect show for all ages and I won’t just be leaving children mesmerized. THE WIZARD OF OZ is only playing until February 23rd, so get your witches hat and broom ready and fly on down to the Segerstrom Center for the Arts before the show lands on another stage.
The show has brought new life to something I already loved and I hope others will get to see that spark once again as if it was the first time they saw the Land of Oz come to life.
THE WIZARD OF OZ is now playing at Segerstrom Center for the Arts – Segerstrom Hall
February 11th – 23rd, 2014 Tuesday – Friday at 7:30 p.m.
Saturday at 2 and 7:30 p.m.
Sunday at 1 and 6:30 p.m.
The 2 p.m. performance on Saturday, February 22nd will include audio description, open captioning and sign-language interpretation.
It’s hard to know exactly where to begin with ‘Winter’s Tale’, the new film from writer/director Akiva Goldsman. Goldsman is best known for his screenplay work, with films such as ‘I Am Legend’, ‘Cinderella Man’, and ‘The Da Vinci Code’, but he has yet to tackle directing a film until now. Even though he hasn’t directed before, Goldsman has worked with many of Hollywood’s biggest actors, so it’s not too surprising that with his most successful work as a screenwriter, he’s been able to put together a pretty great cast. Colin Farrell leads the cast, where he’s supported by the likes of Jennifer Connelly, Jessica Brown Findlay, William Hurt, Russell Crowe, and Will Smith. It’s actually no surprise that Goldsman brought quite a few of the actors and actresses that he’s worked with before, bringing a sense of familiarity to ease him into the deep waters of directing. It’s just too bad that his script, as well as his direction, doesn’t give the cast a lot to work with, and will leave audiences scratching their heads.
Peter Lake (Farrell) is a common criminal in New York City, 1916. But when he crosses his boss, Pearly Soames (Crowe), his life is suddenly on the line in a way he could have never imagined. But when he meets a young girl who named Beverly Penn (Findlay), who is dying of consumption, Lake takes it on himself to try and save her life. What he doesn’t know though, is he’s actually the pawn in a much bigger game, stuck in a battle between a battle of angels and demons. One that will span over a century, and push him farther than he could have ever imagined.
The fact that Goldsman hasn’t directed a feature film at this point in his career is actually one of this film’s biggest problem, while his screenplay is the other. The script is sporadic and all over the place, which creates a huge problem for the film. It feels like there’s two separate movies fighting to be front and center, while they end up cannibalizing each other in the process. While the love story between Beverly and Peter seems to be the story that we’re supposed to really connect with, it’s completely lost in the second half of the film, in which the supernatural elements seem to really kick into high gear. The problem is, the world that’s created doesn’t seem to lend itself to that supernatural side, and it honestly just feels out of place. There’s just too much going on for the film’s good, and Goldsman’s amateurish direction doesn’t help, because he never seems to balance it all in a way that it feels believable. The other problem is, Goldsman doesn’t seem to fit naturally behind the camera. While he nails the smaller character moments in the film, the few action moments are all handled in a very lackluster fashion. Thankfully, there’s enough of those moments between a few of the characters to give the movie some moments of greatness, but it’s not enough to take the movie higher than that. Because there’s no balance, it’s easy for the movie to lose the audience, which happens too frequently here.
Thankfully, with those problems aside, Colin Farrell actually manages to be quite good with what he works with as Peter Lake. He’s actually great in the lead, giving a very enjoyable performance. He does so well, making Lake incredibly likable, and making him feel human. If it wasn’t for Farrell’s performance, the film would suffer a lot more than it does. The film rests firmly on his shoulders, and no one else. Jessica Brown Findlay is very likable as Beverly, making you care about her more than you’d think you could. The scenes she shares with Farrell are all good, and the two have wonderful chemistry. It’s just too bad their story is so riddled with cliches that you know exactly where it’s going to go. Crowe seems almost too over the top as Pearly, doing his best mustache twirling villain that he can muster, but it just comes off as too much. His best scenes are actually the ones between his character and Will Smith, who plays Lucifer in the film. They share two scenes, and they’re two of the best scenes in the film. Smith is quite good as well, with his little screen time, but it’s too bad he doesn’t have more to do. His presence could have given the film some extra power, pushing it over mediocre. Much like Jennifer Connelly, who seems to be a name for the sake of name, because her character has very little to do or say. It’s too bad, because so much of the cast feels wasted, which is how it shouldn’t be. When you have this many talented people in a film, there’s no reason a movie should turn out as disappointing as it is.
‘Winter’s Tale’ is a severely disappointing film. While it’s not a train wreck, it’s far from great, simply because Goldsman wasn’t ready to be behind the camera. His lack of understanding in direction really hurts the film, when this should be a film that works better. He isn’t able to balance the real world and the fantasy enough to make us believe it, and other than Colin Farrell and Jessica Brown Findlay, the rest of the cast is basically wasted. Mix that together with a haphazardly put together script, and you end up with a film that feels cobbled together. It’s too bad, because this should be a movie that works much better than it does. There are moments of greatness, but not enough to elevate it higher than mediocracy.
In an exciting new collaboration with Thirteenth Floor Entertainment Group, the Winchester Mystery House is launching "Festival Fright Nights." This all-new Halloween event will...
