document_title: The Greatest Showman

question_text: who played young pt in the greatest showman

text: The Greatest Showman

text: Plot[edit]

text: The movie begins with P. T. Barnum and his troupe performing a show at the circus ("The Greatest Show"). We then flashback to Barnum's childhood where he and his father Philo, a tailor, work for the Hallett family, and he becomes infatuated with their daughter, Charity. Though Charity is being sent to finishing school, Barnum reassures her they will not be separated. The two keep in touch through letters until they meet again in adulthood ("A Million Dreams"), eventually marrying and raising two daughters, Caroline and Helen, in New York City ("A Million Dreams" reprise). They live a humble life; though Charity is happy, Barnum dreams of more.

text: Barnum loses his job as a clerk at a shipping company after the company goes bankrupt. Taking a risky bet, he takes out a large loan from a bank, deceiving the bank into accepting his former employer's lost ships as collateral. He uses this loan to buy Barnum's American Museum in downtown Manhattan, an attraction showcasing various wax models. Initially, sales are slow; on the suggestion of his children to showcase something "alive", Barnum searches for "freaks" to serve as performers for his museum ("Come Alive"). This attracts a large audience despite protests and poor reviews, prompting Barnum to rename his venture "Barnum's Circus".

text: Searching for ways to further his reputation amongst the upper class, Barnum meets playwright Phillip Carlyle and convinces him to join his venture ("The Other Side"). Carlyle is enchanted with Anne Wheeler, an African-American trapeze artist, but he hides his feelings. During a trip Carlyle arranged for Barnum and his troupe to meet Queen Victoria, Barnum meets Jenny Lind, a famed Swedish singer, whom he convinces to perform in America, with him serving as her manager. Lind's first American performance is a rousing success ("Never Enough"). While Barnum gains favor with the aristocratic patrons, he begins to distance himself from his original troupe, refusing to socialize with them. Dejected, they decide to stand against their local harassers ("This Is Me").

text: Carlyle and Wheeler attend the theatre together one night, only to run into Carlyle's parents, who insult Wheeler's lowly status, causing her to leave. Carlyle chases her and tries to convince her that they can be together, but she rejects him despite her feelings towards him ("Rewrite the Stars"). As Barnum takes Lind on a U.S. tour, Charity feels isolated from her husband as she stays home with their daughters ("Tightrope"). While on tour, Lind begins falling in love with Barnum, but when he refuses her advances, she calls off the tour and kisses him at the end of her last show, which is photographed by the press ("Never Enough" reprise). Barnum returns home to find his circus on fire, caused by a fight between the protesters and the troupe. Carlyle, who had tried to save Anne not knowing she had already escaped, is rescued amid the chaos by Barnum but suffers severe burns. Most of the sets and props are destroyed. Word of Lind's cancellation and Barnum's public intimacy also reaches New York, resulting in his mansion being foreclosed upon and Charity taking Caroline and Helen back to her parents' home.

text: Depressed, Barnum starts drinking at a pub. His troupe find him there and persuade him to rebuild the circus. Barnum has an epiphany that causes him to realize the circus was for his friends and family rather than for himself ("From Now On"). Meanwhile, the injured Carlyle wakes in a hospital with Wheeler by his side and they share an intimate moment together.

text: Barnum leaves and finds his estranged wife, and they decide to mend their relationship. Faced with the financial difficulty of rebuilding the circus, the recovering Carlyle steps in, offering to use his earnings from his share of the circus's profits to rebuild it under the condition of becoming partners, which Barnum happily accepts. As rebuilding the circus in its original location would be too expensive, Barnum rebuilds it as an open-air tent circus by the docks. The new, revamped circus is a huge success, and Barnum gives full control of the show to Carlyle so he can focus on his family ("The Greatest Show" reprise).

text: Cast[edit]

text:
Hugh Jackman as P. T. Barnum, an ambitious showman and entrepreneur.

Ellis Rubin as Young P. T. Barnum

Ziv Zaifman provides Young P. T. Barnum's singing voice

Zac Efron as Phillip Carlyle, a playwright who becomes Barnum's partner. He is a composite character partly based on James Anthony Bailey.
Michelle Williams as Charity Hallett Barnum, the wife of P.T. Barnum.

Skylar Dunn as Young Charity

Rebecca Ferguson as Jenny Lind, the singer known as the "Swedish Nightingale".

Loren Allred provides Lind's singing voice.[8][9]

Zendaya as Anne Wheeler, an acrobat, trapeze artist, W.D.'s sister and Phillip Carlyle's love interest
Keala Settle as Lettie Lutz, a bearded lady. She is a composite character partly based on Josephine Clofullia and Annie Jones.
Sam Humphrey as Charles Stratton, a dwarf performer who is also known by his stage name, General Tom Thumb.
Austyn Johnson as Caroline Barnum, one of Barnum's daughters.
Cameron Seely as Helen Barnum, one of Barnum's daughters.
Paul Sparks as James Gordon Bennett, the founder, editor and publisher of the New York Herald.
Yahya Abdul-Mateen II as W. D. Wheeler, an acrobat and Anne's brother.
Natasha Liu Bordizzo as Deng Yan, a Chinese blade-specialist.
Caoife Coleman and Mishay Petronelli as the Albino Twins, twins who both have albinism.
Eric Anderson as Mr. O'Malley, a former thief whom Barnum employs at his circus.
Daniel Everidge as The Lord of Leeds, The Huge Man.
Shannon Holtzapffel as Prince Constantine, The Tattooed Man.
Luciano Acuna Jr. as Fedor Jeftichew, The Dog Boy.
Danial Son and Yusaku Komori as Chang and Eng Bunker, The "Siamese Twins".
Jonathan Redavid as Frank Lentini, The Three-Legged Man.
Nick Jantz as Jeff Harris, The Juggler
Gayle Rankin as Queen Victoria.
Fredric Lehne as Benjamin Hallett, father of Charity and abusive father-in-law of Barnum.
Kathryn Meisle as Hannah Hallett, mother of Charity and mother-in-law of Barnum.
Will Swenson as Philo Barnum, a tailor and the father of P. T. Barnum.

text: Production[edit]

text: The project was first announced in 2009, with Jackman already set for the title role.[10] In August 2011, Michael Gracey was chosen to direct.[11] In 2013, Fox hired lyricists Pasek and Paul to write the songs.[12] According to Jackman, the seven year development process was, in part, due to studios being unwilling to take a risk on an original musical.[13] Jackman mentioned that he took inspiration from Shah Rukh Khan for the film. Among other traits, Jackman used Khan's signature pose in the film.[14][15]

text: On June 15, 2016, Zac Efron began negotiations to star in the film,[16] and in July 2016, Michelle Williams was cast.[17][18][19][20]

text: Filming[edit]

text: Rehearsals on the film began in October 2016 in New York City, and principal photography began on November 22, 2016.[21][22]

text: Post-production[edit]

text: In December 2017, it was reported that James Mangold, who had worked with Jackman on several projects (including 2017's Logan), had been brought in to oversee the film's reshoots and post-production. This was due to the studio's concern that Gracey, a first-time director, was overwhelmed with the scope of the film and struggling with the pressure of an $84 million budget. Mangold was eventually given an executive producer credit.[23]

text: Music[edit]

text: Musical numbers[edit]

text: Benj Pasek and Justin Paul wrote nine songs.[24]

text:
"The Greatest Show" – Hugh Jackman, Keala Settle, Zac Efron, Zendaya
"A Million Dreams" – Ziv Zaifman, Jackman, Michelle Williams
"A Million Dreams" (Reprise) – Austyn Johnson, Cameron Seely, Jackman
"Come Alive" – Jackman, Settle, Daniel Everidge, Zendaya
"The Other Side" – Jackman & Efron
"Never Enough" – Loren Allred
"This Is Me" – Settle
"Rewrite the Stars" – Efron & Zendaya
"Tightrope" – Williams
"Never Enough" (Reprise) – Allred
"From Now On" – Jackman

tag: ol

text: Soundtrack[edit]

text: The soundtrack album features eleven tracks performed by the cast.

text: Release[edit]

text: The Greatest Showman held its premiere on December 8, 2017 aboard the RMS Queen Mary 2, while it was docked in New York City. The film was then released in the United States on December 20, 2017.[25][26] Like Disney's live-action Beauty and the Beast, a sing-along version of the film was released in the United Kingdom on February 23, 2018.[27] The film had a limited IMAX release on February 2.

text: Marketing[edit]

text: On June 28, 2017, 20th Century Fox released the first international trailer to promote the film. On November 13, 2017, the second trailer was released.[28]

text: On December 17, 2017, Fox televised a live performance of "Come Alive" from Warner Bros. Studios during its live musical special A Christmas Story Live! (which was based on fellow Pasek and Paul work A Christmas Story: The Musical). The number featured the film's stars and a cast of 150 dancers.[29][30]

text: Home media[edit]

text: The film will be released first on digital download on April 27th while Blu-ray, 4K Ultra HD and DVD copies go on sale on May 14th.These versions will include the popular sing-along version, two hours of behind the scenes footage and music machine jukebox features.[31]

text: Reception[edit]

text: Box office[edit]

text: As of February 25, 2018[update], The Greatest Showman has grossed $160.8 million in the United States and Canada, and $200.8 million in other territories, for a worldwide total of $361.5 million, against a production budget of $84 million.[3]

text: In the United States and Canada, The Greatest Showman was released alongside Jumanji: Welcome to the Jungle, and was projected to gross around $21 million from 3,006 theaters over its first six days.[32][33] It took in $2 million on its first day and $2 million on its second. Over the three day weekend, it grossed $9 million (for a six-day total of $19 million), finishing fourth at the box office, behind Star Wars: The Last Jedi, Jumanji: Welcome to the Jungle and Pitch Perfect 3.[34] In its second weekend, the film grossed $15.5 million, again finishing 4th at the box office.[35] The weekend-to-weekend increase of 76.3% marked the largest ever for a film playing in over 3,000 theaters, and the fourth biggest ever.[36][37] In its third week, the film dropped 11% to $14 million.[38]

text: The film made $13 million in its fourth weekend and $11 million in its fifth, finishing 4th and 5th at the box office, respectively.[39] The film continued to hold well in its sixth week of release, grossing $9.5 million and returning to 4th place,[40] and again finished fourth in its seventh week, this time grossing $7.8 million (a drop of just 18%).[41]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 55% based on 203 reviews, and an average rating of 6/10. The website's critical consensus reads, "The Greatest Showman tries hard to dazzle the audience with a Barnum-style sense of wonder – but at the expense of its complex subject's far more intriguing real-life story."[42] On Metacritic, the film has a weighted average score of 48 out of 100, based on 43 critics, indicating "mixed or average reviews".[43] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while it earned a 70% "definite recommend" from comScore.[34]

text: Owen Gleiberman of Variety gave the film a positive review, writing, "The Greatest Showman is a concoction, the kind of film where all the pieces click into place, yet at an hour and 45 minutes it flies by, and the link it draws between P.T. Barnum and the spirit of today is more than hype."[44] Richard Roeper of the Chicago Sun-Times gave the film 3/4 stars, saying, "With all that corn and cheese and old-timey sentiment, The Greatest Showman ends up scoring some very timely social arguments. P.T. Barnum himself would have approved the dramatic sleight of hand."[45] Steve Persall of Tampa Bay Times gave the film an 'A', and said, "The Greatest Showman is the feel-good movie the holiday season needs,"[46] while William Bibbiani of IGN gave The Greatest Showman a score of 7.9/10, and called the film, "wildly entertaining."[47]

text: Britton Peele of The Dallas Morning News said, "The story is interesting and the beats are well-acted, but it's the musical numbers that make The Greatest Showman."[48] Jackie K Cooper of HuffPost gave the film a score of 10/10 and wrote, "You will be overwhelmed by the music and magic that explode on the screen. The film has a message that should resonate with today's world concerning acceptance and courage."[49] Hugh Armitage of Digital Spy said, "The Greatest Showman is a broad and solid crowd-pleaser. An undemanding spectacle for all the family."[50] Alan Jones of Radio Times called it "A joyously uplifting potpourii of visual resplendence, stylish choreography and solid gold magic, one engineered to approximate the lavish spectacle the movie musical once offered."[51]

text: Sheila O'Malley of RogerEbert.com gave it 3.5/4, stating "The Greatest Showman is an unabashed piece of pure entertainment punctuated by memorable songs."[52] Douglas Davidson of CLTure called the film, "An undeniable spectacle with a infectious soundtrack, a movie that dazzles and delights."[53] James Berardinelli of ReelViews gave the film a 3/4 score, and said, "The film has show-stopping well-choreographed numbers with catchy tunes,"[54] and Calvin Wilson of St. Louis Post-Dispatch called the film "highly enjoyable."[55]

text: Carl Kozlowski of Pasadena Weekly gave the film an 'A', calling it "Groundbreaking & grandly innovative."[56] Sean P. Means of The Salt Lake Tribune gave The Greatest Showman 3.5/4 stars, stating, "A strong cast give emotional power to this romanticized, tune-filled biography."[57] Manuela Lazic of Little White Lies gave it 4/5, saying, "The Greatest Showman deserves to become a Christmas classic. the film's severe romanticism and ridiculous but affecting enthusiasm make it irresistibly life-affirming."[58] Pete Hammond of Deadline Hollywood gave the film 4 out of 5 stars and called it, "A fantasia of song and dance, a joyous exercise in pure entertainment that is made for the holiday crowd."[59]

text: Conversely, Mick LaSalle of the San Francisco Chronicle gave the film a negative review, criticizing the songs and characters and saying "There's idiotic, and there's magnificent, but The Greatest Showman is that special thing that happens sometimes. It's magnificently idiotic. It's an awful mess, but it's flashy. The temptation is to cover your face and watch it through your fingers, because it's so earnest and embarrassing and misguided – and yet it's well-made."[60] In a negative review for The Hollywood Reporter, David Rooney wrote "This ersatz portrait of American big-top tent impresario P.T. Barnum is all smoke and mirrors, no substance. It hammers pedestrian themes of family, friendship and inclusivity while neglecting the fundaments of character and story."[61]

text: Writing for Rolling Stone, Peter Travers gave the film 1.5 out of 4 stars, saying, "How do you cast a virtuoso Hugh Jackman as P.T. Barnum, spare no expense in production values, add a score by Oscar and Tony winners Benj Pasek and Justin Paul and still end up with the shrill blast of nothing that is The Greatest Showman? Ask first-time director Michael Gracey, who cut his teeth on commercials and music videos without ever mastering the crucial knack of building snippets of musical comedy and drama into a satisfying whole."[62] Justin Chang of the Los Angeles Times wrote that the film's failures "are rooted in something deeper: a dispiriting lack of faith in the audience's intelligence, and a dawning awareness of its own aesthetic hypocrisy. You've rarely seen a more straight-laced musical about the joys of letting your freak flag fly."[63]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref(s)

AARP's Movies for Grownups Awards
February 5, 2018
Best Grownup Love Story
The Greatest Showman
Won
[64][65]

Academy Awards
March 4, 2018
Best Original Song
"This Is Me" – Benj Pasek and Justin Paul
Pending
[66]

Casting Society of America
January 18, 2018
Big Budget – Comedy
Bernard Telsey, Tiffany Little Canfield, Rori Bergman and Patrick Goodwin
Won
[67]

Costume Designers Guild
February 20, 2018
Excellence in Period Film
Ellen Mirojnick
Nominated
[68]

Critics' Choice Movie Awards
January 11, 2018
Best Song
"This Is Me" – Benj Pasek and Justin Paul
Nominated
[69]

Dorian Awards
February 24, 2018
Campy Flick of the Year
The Greatest Showman
Nominated
[70]
[71]

Empire Awards
March 18, 2018
Best Costume Design
The Greatest Showman
Pending
[72]
[73]

Best Make-up And Hairstyling
The Greatest Showman
Pending

Georgia Film Critics Association
January 12, 2018
Best Original Song
"This Is Me" – Benj Pasek and Justin Paul
Nominated
[74]

Golden Globe Awards
January 7, 2018
Best Actor in a Motion Picture – Musical or Comedy
Hugh Jackman
Nominated
[75]

Best Motion Picture – Musical or Comedy
The Greatest Showman
Nominated

Best Original Song – Motion Picture
"This Is Me" – Benj Pasek and Justin Paul
Won

Golden Reel Awards
February 18, 2018
Outstanding Achievement in Sound Editing – Musical
Jen Monnar, Jim Harrison, Jeff Carson, Peter Myles and Sheri Ozeki
Won
[76]

Guild of Music Supervisors Awards
February 8, 2018
Best Music Supervision for Film: Budgeted Over 25 Million Dollars
Benj Pasek and Justin Paul
Nominated
[77]

Best Song/Recording Created for a Film
"This Is Me" – Benj Pasek and Justin Paul
Nominated

Heartland Film Festival
December 31, 2017
Truly Moving Picture Award
Michael Gracey
Won
[78]

Make-Up Artists and Hair Stylists Guild
February 24, 2018
Feature Motion Picture: Best Period and/or Character Makeup
Nicki Ledermann, Tania Ribalow and Sunday Englis
Nominated
[79]


document_title: Beauty and the Beast (2017 film)

question_text: who played beast in beauty and the beast

root

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: A beautiful enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a cruel and selfish prince, a rose in return for shelter from a storm. When he refuses, she reveals her identity. To punish the prince for his lack of compassion, the enchantress transforms him into a beast and his servants into household objects, then erases the castle, the prince and his servants from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will only be broken if he learns to love another, and earn their love in return, before the last petal falls.

tag: p

text: Some years later, in the small town of Villeneuve, Belle, the book-loving daughter of a music box maker and artist Maurice, dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. On his way to a convention and lost in the forest, Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose from his garden as a gift to Belle. When Maurice's horse returns without him, Belle ventures out in search for him, and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, and is injured in the process. As Belle nurses his wounds, a friendship develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses the book to visit her childhood home in Paris, where she discovers a plague doctor mask and realizes that she and her father were forced to leave when her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage, and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to be eaten by the wolves. Maurice is rescued by the hermit Agathe, but when he tells the townsfolk of Gaston's crime but is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle reveals the Beast in the mirror to the townsfolk, proving her father's sanity. Realizing that Belle loves the Beast, a jealous Gaston claims she has been charmed by dark magic, and has her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Maurice and Belle escape, and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He defeats Gaston, but spares his life before reuniting with Belle. Ungrateful and unrepentant, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles, and he falls to his death. The Beast dies as the last petal falls, and the servants become inanimate. As Belle tearfully professes her love to the Beast, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle, and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a young benevolent bibliophile woman who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as Beast, a cold-hearted, selfish, unkind prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return, as well as to give rather than take. Stevens portrays the character through motion-capture.[12][13]

Adam Mitchell[1] portrays the younger version of the prince.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father who works as a music box maker and an artist.[14]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[15]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[16]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[17]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[18]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[19]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[20]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[14]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince.[21] Morahan also narrates the prologue.

Rita Davies portrays the enchantress in her beggar woman form. The film was released posthumously after Davies' death.

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[22]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[21]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the prince's valet who has been transformed into a coat rack.
Tom Turner[2] as The King, the prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the prince's mother who died of an illness when he was a child.
Dale Branston as Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' mother, an unnamed seamstress.

tag: ul

text: Cast notes[edit]

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

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[23]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[24]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[25][26] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[27]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[28] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[29] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[30]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[31] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[32]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[33] She was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[32] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[34][35] and Watson confirmed their casting the following day through tweets.[12][36] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[15][14][18][20][19][16][17][37]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[38] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[39]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[40]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[14][41][42] Filming with the principal actors concluded on August 21.[43][44] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[45]

text: The Beast was portrayed with a "more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast." The castle servants who are transformed into household objects were created with CGI animation.[7]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones's character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[23]

text: Music[edit]

text: When released in 1991, Beauty and the Beast, marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[46]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[47] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[48] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[49] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[50]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion—singer of the original 1991 "Beauty and the Beast" duet song, with singer Peabo Bryson—that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[51] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way". She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today". Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[52][53][54][55]

text: The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend.[56][57] Grande and Legend's updated version of the title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[58] Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song on Freeform television network on March 5, 2017, and it has since been viewed over 100 million views on the Vevo video-hosting service.[59]

text: Emma Thompson also performed a rendition of the title song, which was performed by Angela Lansbury in the original 1991 animated film.[59]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[14] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[60]

text: The world premiere of Beauty and the Beast took place at Spencer House in London, United Kingdom on February 23, 2017;[61] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[62] The United Kingdom received the same version on April 21, 2017.[63]

text: The film was re-released in New York and Los Angeles for a one-week engagement starting December 1, 2017. The move is an awards push as awards season heats up.[64]

text: Marketing[edit]

text: Disney spent around $140 million to market the film worldwide.[65] Following an announcement on May 22, 2016,[66] Disney premiered the first official teaser trailer on Good Morning America the next day.[67] In its first 24 hours, the teaser trailer reached 91.8 million views, which was the largest number ever seen for a trailer in that amount of time.[68] This record has since been broken by Thor: Ragnarok,[69] It and Avengers: Infinity War.[70][71] The first official teaser poster was released on July 7, 2016.[72] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine, along with nine new photos.[73][74] One week later, Emma Watson and Disney debuted a new poster.[75] On November 14, 2016, the first theatrical trailer was released, again on Good Morning America.[76] This reached 127.6 million views in its first 24 hours, setting a new record for the most views in one day, beating Fifty Shades Darker;[77] this record has since been broken by The Fate of the Furious.[78] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[79] Disney released the final trailer on January 30, 2017.[80]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[81] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[82] The movie regained the top spot on the national home video sales charts during its third week of release.[83] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $759.5 million in other countries for a worldwide gross of $1.263 billion.[5] With a production budget of $160 million, it is the most expensive musical ever made, or the second-most expensive musical ever made if accounting for inflation; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second-biggest musical ever overall, behind Disney's Frozen (2013).[85] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second-biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[86] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[87] It surpassed the entire lifetime total of the original film in just six days.[88][89]

text: Beauty and the Beast was the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[90] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[91][92][93][94] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its 29th day of release.[95][96][97] It is currently the second-highest-grossing film of 2017 (behind Star Wars: The Last Jedi),[98] the highest-grossing March release,[99] the highest-grossing remake of all time,[100] and the sixth-biggest Disney film.[101] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[100] Deadline Hollywood calculated the net profit of the film to be $414.7 million, when factoring together all expenses and revenues, making it the second-most profitable release of 2017.[102]

text: United States and Canada[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[103][104][105] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[106][107] It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second-biggest ever for both a G- or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third-biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[108] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 pm.[109] The numbers were considered more impressive given that the film played during a school week.[110]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[111][112] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[113] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2% but, nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[90] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[114] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[115][116] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[117] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[118] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[118] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[114]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and also the second-highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[119] Seventy percent of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[90] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[118] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[120][121] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[120][121]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million).[122] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[123] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[124] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[125] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[85] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[126] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[127] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[128] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[129] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (−48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[130] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[131] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[132] By May 28, the film had earned over $500 million in ticket sales becoming the first film of 2017 (until it was later surpassed by The Last Jedi),[133][134] the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman and The Last Jedi) and the eighth overall film in cinematic history to pass the mark.[135][136][137][138]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[139] the biggest musical film (both animated and live-action),[140] as well as the biggest film of 2017 (alongside The Last Jedi).[141]

text: Other countries[edit]

text: Outside the US and Canada, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG-rated title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book.[142] In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[143] It topped the international box office for three consecutive weekends[144] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[145][97]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[146][147] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million), and Spain ($5.8 million).[142][143]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[148] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[149] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[150][143] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[151][152][153] It earned around ₹15 million (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined.[154] Disney reported a total of ₹92.6 million (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[155][156][157] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[158]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[159] The original film was, however, never widely popular in the country.[160] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[161] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[162][163] Either ways, it recorded the second-biggest opening for a Disney live-action film,[160] with $3.4 million coming from 386 IMAX screens.[142] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[143] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[164][165] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[166] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[167][168][169] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[170] It topped the box office there for eight consecutive weekends.[171][172]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[142] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[145][173] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[174] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[175] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[164][176] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[171] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[164][167][177]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for its ensemble cast, visuals, production values, musical score, songs, and faithfulness to the original film with a few elements of the Broadway musical version, while the designs of the Beast and the servants' household object forms received mixed reviews.[10][11] On review aggregator Rotten Tomatoes, as of April, 2018, the film had an approval rating of 70% based on 319 reviews, with an average rating of 6.7/10. The site's critical consensus read, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[178] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[179] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[180][181]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[182] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[183] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[184]

text: Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[185] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[186] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[187] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[188] James Berardinelli of ReelViews described the 2017 version as "enthralling".[189]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[190] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)".[191] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it's loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[192] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[193]

text: Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[194] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[195] Stephen Whitty of the New York Daily News called it "this year's best new old musical" and "the most magical thing of all" while describing Watson's performance of Belle as "breakthrough".[196]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it's so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it's hard not to notice".[197] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[198] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[199][200]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he said the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film's stronger elements".[201] Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[202]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

Academy Awards
March 4, 2018
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[203]

Best Costume Design
Jacqueline Durran
Nominated

Art Directors Guild Awards
January 27, 2018
Excellence in Production Design for a Fantasy Film
Sarah Greenwood
Nominated
[204]

British Academy Film Awards
February 18, 2018
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[205]

Best Costume Design
Jacqueline Durran
Nominated

Casting Society of America
January 18, 2018
Big Budget – Comedy
Lucy Bevan, Bernard Telsey and Tiffany Little Canfield
Nominated
[206]

Chicago Film Critics Association
December 12, 2017
Best Art Direction
Sarah Greenwood
Nominated
[207]
[208]

Costume Designers Guild Awards
February 20, 2018
Excellence in Fantasy Film
Jacqueline Durran
Nominated
[209]

Critics' Choice Movie Awards
January 11, 2018
Best Art Direction
Sarah Greenwood and Katie Spencer
Nominated
[210]

Best Costume Design
Jacqueline Durran
Nominated

Best Hair & Makeup
Beauty and the Beast
Nominated

Best Song
"Evermore"
Nominated

Empire Awards
March 18, 2018
Best Actress
Emma Watson
Nominated
[211]
[212]

Best Soundtrack
Beauty and the Beast
Nominated

Best Make-up And Hairstyling
Won

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Nominated
[213]

Best Original Score
Nominated

Best Animation/Family TV Spot
Nominated

Best Fantasy Adventure TV Spot
Nominated

Guild of Music Supervisors Awards
February 8, 2018
Best Music Supervision for Film: Budgeted Over 25 Million Dollars
Sullivan, MattMatt Sullivan
Nominated
[214]

Hollywood Film Awards
November 5, 2017
Costume Design Award
Jacqueline Durran[a]
Won
[215]

Make-Up & Hair Styling Award
Jenny Shircore
Won

Hollywood Music in Media Awards
November 16, 2017
Best Original Song – Animated Film
"How Does a Moment Last Forever" – Alan Menken and Tim Rice
Nominated
[216]
[217]

Best Original Song – Sci-Fi, Fantasy, Horror Film
Won

"Evermore" – Alan Menken and Tim Rice
Nominated

Best Soundtrack Album
Beauty and the Beast
Nominated

Hollywood Post Alliance
Outstanding Color Grading – Feature Film
Stefan Sonnenfeld
Nominated
[218]
[219]

Outstanding Visual Effects – Feature Film
Kyle McCulloch, Glen Pratt, Richard Hoover, Dale Newton, Neil Weatherley and Framestore
Nominated

Houston Film Critics Society
January 6, 2018
Best Original Song
"Evermore" – Alan Menken and Tim Rice
Nominated
[220]

Make-Up Artists and Hair Stylists Guild
February 24, 2018
Feature Motion Picture: Best Period and/or Character Hair
Jenny Shircore, Marc Pilcher and Charlotte Hayward
Nominated
[221]

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[222]

Best Actor in a Movie
Emma Watson
Won

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans
Nominated

NAACP Image Awards
January 15, 2018
Outstanding Supporting Actress in a Motion Picture
Audra McDonald
Nominated
[223]

Nickelodeon Kids' Choice Awards
March 24, 2018
Favorite Movie
Beauty and the Beast
Nominated
[224]

Favorite Movie Actress
Emma Watson
Nominated

Publicists Guild Awards
March 2, 2018
Motion Picture
Beauty and the Beast
Nominated
[225]
[226]

San Diego Film Critics Society
December 11, 2017
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[227]
[228]

Best Visual Effects
Beauty and the Beast
Runner-up[b]

Best Costume Design
Jacqueline Durran
Won[c]

Best Use of Music
Beauty and the Beast
Nominated

Satellite Awards
February 10, 2018
Best Costume Design
Jacqueline Durran
Nominated
[229]

Saturn Awards
June 2018
Best Fantasy Film
Beauty and the Beast
Pending
[230]

Best Actress
Emma Watson
Pending

Best Production Design
Sarah Greenwood
Pending

Best Costume Design
Jacqueline Durran
Pending

Seattle Film Critics Society
December 18, 2017
Best Costume Design
Jacqueline Durran
Nominated
[231]
[232]

St. Louis Film Critics Association
December 17, 2017
Best Production Design
Sarah Greenwood
Nominated
[233]

Best Visual Effects
Beauty and the Beast
Nominated

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[234]
[235]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans
Won

Choice Movie Ship
Emma Watson and Dan Stevens
Won

Choice Liplock
Won

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans
Nominated

Dan Stevens
Nominated

Visual Effects Society Awards
February 13, 2018
Outstanding Virtual Cinematography in a Photoreal Project
Shannon Justison, Casey Schatz, Neil Weatherley and Claire Michaud for "Be Our Guest"
Nominated
[236]

Washington D.C. Area Film Critics Association
December 8, 2017
Best Motion Capture Performance
Dan Stevens
Nominated
[237]

Best Production Design
Sarah Greenwood and Katie Spencer
Nominated

Women Film Critics Circle
December 17, 2017
Best Family Film
Beauty and the Beast
Nominated
[238]
[239]

tag: table

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[240] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I'm sort of sick of this. Because you've seen the movie—it's such a tiny thing, and it's been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that's what’s exciting about it.”[241] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[242]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[243] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[244] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[245] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[246][247][248] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[249] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[250][251] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[252]

text: The film also received criticism over its portrayal of LeFou, as many felt that it relied on stereotypes[253] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[254] LeFou's status as a sidekick to the main villain brought about criticism over Disney's queercoding of villains in the past, and his infatuation with Gaston was seen as relying on a stereotype of gay men being predatory towards straight men.[255] Furthermore, the only gay interaction LeFou has is a three-second clip of him dancing with another man at the end of the film. Many saw this as Disney cheating its LGBT+ audiences.[256]

text: Belle and the Beast's relationship[edit]

text: Disney has sought to portray Belle as an empowered young woman,[257] but a debate questioning whether it is possible for a captor to fall in love with their prisoner, and whether this is a problematic theme, has resulted.[258] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[259][260] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[261]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[262] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[263][264] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th-century France for arranged marriages, and that the power disparity is amplified in the Disney version.[265] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[266]

text: Notes[edit]

text:
Jump up ^ Also credited for Darkest Hour.
Jump up ^ Tied with Dunkirk.
Jump up ^ Tied with Mark Bridges for Phantom Thread.


document_title: Pitch Perfect 2

question_text: who plays the legacy in pitch perfect 2

question_tokens: who plays the legacy in pitch perfect 2

text: Pitch Perfect 2

text: Plot[edit]

text: Three years after winning the previous competition, the Barden Bellas are now led by Beca Mitchell and three-time super senior Chloe Beale. The Bellas have become ICCA champions each of these three years. However, the group becomes involved in a national scandal, dubbed Muffgate, when a wardrobe malfunction causes Fat Amy's pants to rip in front of President Barack Obama, as well as showing her vagina to the public since she did not wear underwear, leading to the Bellas' suspension from the ICCAs. Beca makes a deal to allow the Bellas to be reinstated should they win the World Championship of a cappella.

text: Freshman Emily Junk begins her college career, hoping to follow in her mother Katherine's footsteps by being a Bella. At orientation, she watches an a cappella performance by the Treblemakers, now led by Beca's boyfriend Jesse Swanson. Benjamin "Benji" Applebaum, Jesse's best friend, overhears Emily, leading to a crush on her.

text: The Bellas learn that German a cappella group, Das Sound Machine, have replaced the Bellas on their victory tour. Additionally, Beca has started an internship at a recording studio, Residual Heat, something only Jesse knows.

text: Emily goes to the Bellas' sorority house to audition for them because of their absence from the auditions. When she sings her unfinished song "Flashlight," she succeeds in joining the Bellas.

text: At a car show where the ICCA winners are due to perform, the Bellas scout their replacements, German powerhouse "Das Sound Machine" (DSM) - led by intimidating duo Pieter Krämer and Kommissar, who take delight in mocking the all-girl group. Later, the Bellas are invited to an exclusive riff-off, but end up losing to DSM in the final round when a nervous Emily flubs an attempt to sing "Flashlight," her original song not from the right category ("90's Hip-Hop Jamz").

text: The next day at the warmups, the Bellas' chance of winning end in disaster when the performance makes John and Gail question the Bellas' identity and sets Cynthia-Rose's hair on fire by pyrotechnics. In order to regain harmony and sync, Chloe takes them to a retreat led by former leader Aubrey Posen. Beca starts a heated debate with Chloe over herself being the only one thinking about life beyond the Bellas and Chloe's obsession with winning Worlds.

text: To prove to her boss that she can produce music well, Beca offers Emily to produce "Flashlight" at the studio. The group realizes that they may not see each other after graduation and regain harmony by singing "Cups (When I'm Gone)." At the studio, Emily and Beca present their song to Beca's boss, in which he envies their talent and looks forward to producing with them.

text: The senior Bellas graduate and they all head off to Copenhagen for the World Finals, with Jesse and Benji to cheer them on. They perform a harmonized version of "Flashlight" with Aubrey, Katherine, and other past Bellas joining in. The Bellas win the championship and repair the damaged legacy. As the senior Bellas leave Barden, they give Emily a belated proper initiation with Fat Amy showing her how to do the last tradition: christening the house by sliding down the staircase.

text: In a mid-credits scene, Bumper performs on The Voice, he chooses Christina Aguilera as his coach and makes her uncomfortable when he gives her an oddly lengthy hug.

text: Cast[edit]

text: The Barden Bellas[edit]

text:
Anna Kendrick as Beca Mitchell, the senior leader of the Bellas, known for creating the unique modern-day sound of the Bellas. She is an aspiring record producer and is now an intern at Residual Heat, a record label.
Brittany Snow as Chloe Beale, the three-time super senior with a Type A personality who is the co-leader of the Bellas.
Rebel Wilson as Patricia "Fat Amy", a senior Bella from Australia and Bumper's love interest.
Alexis Knapp as Stacie Conrad, a senior Bella known for being overly sexual.
Ester Dean as Cynthia-Rose Adams, a lesbian senior Bella known for her strong urban vocal skills.
Hana Mae Lee as Lilly Onakurama, a senior Bella known for her quiet speaking voice, odd remarks, and beat-boxing.
Hailee Steinfeld as Emily Junk, a freshman legacy Bella who is an aspiring songwriter, and Benji's love interest. Her mother was also a Barden Bella.
Chrissie Fit as Florencia "Flo" Fuentes, a senior Bella who joined the group her sophomore year when she came to Barden University from Guatemala.
Kelley Jakle as Jessica, a senior Bella.
Shelley Regner as Ashley, a senior Bella.

text: Additional characters[edit]

text:
Skylar Astin as Jesse Swanson, the leader of the Treblemakers and Beca's boyfriend.
Adam DeVine as Bumper Allen, Fat Amy's love interest, former leader of the Treblemakers and current member of the Tone Hangers. After working for John Mayer, he returns to Barden University as a security guard.
Anna Camp as Aubrey Posen, former leader of the Bellas, now runs the Lodge of Fallen Leaves.
Ben Platt as Benjamin "Benji" Applebaum, a senior Treblemaker, Jesse's best friend, and Emily's love interest.
Birgitte Hjort Sørensen as Kommissar, Das Sound Machine's leader.
Flula Borg as Pieter Krämer, Das Sound Machine's 'second in command'
Katey Sagal as Katherine Junk, Emily's mother and a former Bella.
John Michael Higgins as John Smith, an a cappella competition commentator.
Elizabeth Banks as Gail Abernathy-McKadden-Feinberger, an a cappella competition commentator.
Keegan-Michael Key as Sammy, Beca's boss at Residual Heat, a rude but successful producer.
Shawn Carter Peterson as Dax, an intern at Residual Heat.
David Cross as the Riff-Off host.
Reggie Watts, John Hodgman, Jason Jones, and Joe Lo Truglio as Tone Hanger singers.
Pentatonix as Team Canada
Penn Masala as Team India

text: Green Bay Packers players Clay Matthews, David Bakhtiari, Don Barclay, Josh Sitton, and T. J. Lang play themselves in cameo appearances. Also appearing as themselves are Snoop Dogg, Natalie Morales, Jake Tapper, Joe Scarborough, Mika Brzezinski, Jimmy Kimmel, Rosie O'Donnell, Rosie Perez, Nicolle Wallace, Jordan Rodgers, Christina Aguilera, Adam Levine, Blake Shelton, and Pharrell Williams. Robin Roberts, C.J. Perry, and Kether Donohue appear as Legacy Bellas during the finale. Additionally, President Barack Obama and First Lady Michelle Obama briefly appear via archive footage.

text: Production[edit]

text: In December 2012, Skylar Astin revealed that he and Rebel Wilson had had meetings with Universal Studios about the potential sequel.[7] In April 2013, it was confirmed that a sequel would be released in 2015.[8] Elizabeth Banks directed the sequel, and Kay Cannon returned as screenwriter.[9] Paul Brooks produced for Gold Circle Films, alongside Banks and Max Handelman.[9] Deke Sharon returned as vocal producer, and has a brief cameo as a German reporter.[10] As in the first movie, they ran a month of "a cappella boot camp" before filming.[11]

text: Casting[edit]

text: Anna Kendrick and Wilson returned to the cast early in 2014 to play the characters they originated in the first film.[12] Brittany Snow reprised her character.[13] On April 24, Chrissie Fit was added to the cast.[14] On May 1, Hailee Steinfeld was added to the cast, playing a new member of the Barden Bellas.[15] On May 5, Adam DeVine was reported to return in the film.[16] On May 14, Katey Sagal was added to the cast, playing Steinfeld's character's mother.[17] On May 29, Flula Borg was added to the cast.[18] He played the leader of a European a cappella group, Das Sound Machine, that competed with the Bellas.[19] It was confirmed on June 18, 2014 that Christopher Shepard was added to the cast.[20] It was confirmed on June 19, 2014 that Pentatonix would play the role of a rival group to the Barden Bellas.[21] It was later confirmed that The Filharmonic from season 4 of The Sing Off would make a cameo appearance as a rival group from the Philippines.[22] On August 24, 2014 it was announced that Penn Masala,[23] the all-male Hindi a cappella group from director Elizabeth Banks's and producer Max Handelman's alma mater The University of Pennsylvania, would be featured as a team from Southeast Asia.[24] On June 25, Birgitte Hjort Sørensen was confirmed added to the cast.[25]

text: Filming[edit]

text: On May 21, 2014, principal photography began at Louisiana State University (LSU) campus in Baton Rouge.[26]

text: Music[edit]

text: On December 3, 2014, Mark Mothersbaugh was hired to compose the music for the film.[27] The official soundtrack was released on May 12, 2015.[28] The special edition soundtrack was later released on August 8, 2015.[29]

text: The original album debuted at number one on the Billboard 200, earning 107,000 album-equivalent units (92,000 copies of traditional sales) in the week ending May 17, 2015.[30]

text:
No.
Title
Music
Length

1.
"Universal Fanfare"

Elizabeth Banks
John Michael Higgins

0:33

2.
"Kennedy Center Performance (We Got the World/Timber/America The Beautiful/Wrecking Ball)"
The Barden Bellas
2:27

3.
"Lollipop"
The Treblemakers
2:43

4.
"Car Show (Uprising/Tsunami)"
Das Sound Machine
1:47

5.
"Winter Wonderland/Here Comes Santa Claus"

Snoop Dogg
Anna Kendrick

3:04

6.
"Riff Off (Thong Song/(Shake, Shake, Shake) Shake Your Booty/Low/Bootylicious/Baby Got Back/Live Like You Were Dying/Before He Cheats/A Thousand Miles/We Are Never Ever Getting Back Together/What's Love Got to Do with It/This Is How We Do It/Doo Wop (That Thing)/Poison/Scenario/Insane in the Brain/Flashlight)"

Das Sound Machine
Tone Hangers
The Barden Bellas
Green Bay Packers
The Treblemakers

4:24

7.
"Jump"

Das Sound Machine
Tone Hanger
The Treblemakers
Green Bay Packers

1:16

8.
"Convention Performance (Promises/Problem)"
The Barden Bellas
1:41

9.
"Back to Basics (Boogie Woogie Bugle Boy/You Can't Hurry Love/Lady Marmalade/MMMBop/My Lovin' (You're Never Gonna Get It))"
The Barden Bellas
1:30

10.
"Cups ("When I'm Gone") [Campfire Version]"
The Barden Bellas
0:45

11.
"We Belong"

Rebel Wilson
Adam DeVine

3:34

12.
"Any Way You Want It (World Championship Medley)"

Pentatonix
Filharmonic
The Cantasticos
The Singboks
Penn Masala

1:56

13.
"World Championship Finale 1 (My Songs Know What You Did in the Dark (Light Em Up)/All I Do Is Win)"
Das Sound Machine
2:01

14.
"World Championship Finale 2 (Run the World (Girls)/Where Them Girls At/Lady Marmalade/We Belong/Timber/Flashlight)"
The Barden Bellas
4:16

15.
"Crazy Youngsters"
Ester Dean
3:39

16.
"Pitch Perfect 2 End Credit Medley"
Mark Mothersbaugh
3:00

17.
"Flashlight"
Jessie J
3:29

18.
"All of Me (Bumper's Audition)"
Adam DeVine
1:27

Total length:
43:32[28][31]

text:
[show]Special edition

No.
Title
Music
Length

1.
"Universal Fanfare"

Elizabeth Banks
John Michael Higgins

0:33

2.
"Kennedy Center Performance (We Got the World/Timber/America The Beautiful/Wrecking Ball)"
The Barden Bellas
2:27

3.
"Bang Bang"

Jessie J
Ariana Grande
Nicki Minaj

3:19

4.
"Lollipop"
The Treblemakers
2:43

5.
"Change Your Life"
Iggy Azalea (feat. T.I.)
3:41

6.
"Sunshine"
Teddybears
3:20

7.
"Car Show (Uprising/Tsunami)"
Das Sound Machine
1:47

8.
"A Different Beat"
Little Mix
3:27

9.
"Winter Wonderland/Here Comes Santa Claus"

Snoop Dogg
Anna Kendrick

3:04

10.
"Riff Off (Thong Song/(Shake, Shake, Shake) Shake Your Booty/Low/Bootylicious/Baby Got Back/Live Like You Were Dying/Before He Cheats/A Thousand Miles/We Are Never Ever Getting Back Together/What's Love Got to Do with It/This Is How We Do It/Doo Wop (That Thing)/Poison/Scenario/Insane in the Brain/Flashlight)"

Das Sound Machine
Tone Hangers
The Barden Bellas
Green Bay Packers
The Treblemakers

4:24

11.
"Jump"

Das Sound Machine
Tone Hanger
The Treblemakers
Green Bay Packers

1:16

12.
"Convention Performance (Promises/Problem)"
The Barden Bellas
1:41

13.
"Back to Basics (Boogie Woogie Bugle Boy/You Can't Hurry Love/Lady Marmalade/MMMBop/My Lovin' (You're Never Gonna Get It))"
The Barden Bellas
1:30

14.
"Cups ("When I'm Gone") [Campfire Version]"
The Barden Bellas
0:45

15.
"We Belong"

Rebel Wilson
Adam Devine

3:34

16.
"Any Way You Want It (World Championship Medley)"

Pentatonix
Filharmonic
The Cantasticos
The Singboks
Penn Masala

1:56

17.
"World Championship Finale 1 (My Songs Know What You Did in the Dark (Light Em Up)/All I Do Is Win)"
Das Sound Machine
2:01

18.
"World Championship Finale 2 (Run the World (Girls)/Where Them Girls At/Lady Marmalade/We Belong/Timber/Flashlight)"
The Barden Bellas
4:16

19.
"Crazy Youngsters"
Ester Dean
3:39

20.
"Heartbreak Dream"
Betty Who
3:38

21.
"Pitch Perfect 2 End Credit Medley"
Mark Mothersbaugh
3:00

22.
"Flashlight"
Jessie J
3:29

23.
"All of Me (Bumper's Audition)"
Adam DeVine
1:27

24.
"Flashlight (Sweet Life Mix)"
Hailee Steinfeld
2:58

25.
"Any Way You Want It"
Pentatonix
2:30

26.
"Flashlight (Rebel Mix)"
Jessie J
3:41

27.
"Jungle"
The Barden Bellas
0:32

Total length:
70:38[29]

text:
Chart (2015)
Peak
position

Australian Albums (ARIA)[32]
3

Austrian Albums (Ö3 Austria)[33]
11

Belgian Albums (Ultratop Flanders)[34]
144

Canadian Albums (Billboard)[35]
3

German Albums (Offizielle Top 100)[36]
12

New Zealand Albums (RMNZ)[37]
8

Swiss Albums (Schweizer Hitparade)[38]
26

Taiwanese Albums (Five Music)[39]
1

US Digital Albums (Billboard)[40]
1

US Billboard 200[41]
1

US Vinyl Albums (Billboard)[42]
1

text:
Chart (2015)
Position

Australian Albums (ARIA)[43]
27

US Billboard 200[44]
52

text: Release[edit]

text: The film was released on May 7, 2015 in Australia and New Zealand, and May 15 in the United States and Canada.[45]

text: Marketing[edit]

text: A still from the rehearsals for the film was revealed on May 16, 2014.[46] The poster was released on November 18, 2014 and the trailer came out the following day. A second trailer was aired during the Super Bowl on February 1, 2015.[47]

text: Home media[edit]

text: Director Elizabeth Banks stated an additional performance by the Treblemakers was filmed specifically for the DVD release. Also included on the DVD will be deleted scenes.[48] On May 20, 2015, it was announced that FX Networks had acquired U.S. television broadcasting rights to the film.[49]

text: The Blu-ray and DVD editions of Pitch Perfect 2 were released on September 22, 2015 in the U.S.[50] with a Target-exclusive edition containing additional bonus features being released the same day.[51]

text: Reception[edit]

text: Box office[edit]

text: Pitch Perfect 2 grossed $184.2 million in North America and $103.2 million in other territories for a worldwide total of $287.5 million, against a budget of $29 million.[3] In its first five days, the film surpassed the total gross of the original ($115.4 million), and also overtook School of Rock ($131.3 million) for the highest grossing musical-comedy of all-time and the second greatest musical debut ever (behind Beauty and the Beast's $174.8 million in 2017).[4] Deadline.com calculated the net profit of the film to be $139.6 million, when factoring together all expenses and revenues for the film.[52]

text: In the United States and Canada, Pitch Perfect 2 grossed $4.6 million from Thursday night showings and $27.8 million on its opening day, increasing the opening weekend projections from $40 million to $64 million.[53] In its opening weekend, the film grossed $69.2 million, finishing first at the box office.[54] The opening weekend gross was more than the entire North American total gross of the first film ($65 million), is the third biggest PG-13 comedy opening of all-time (behind The Simpsons Movie's $74 million in 2007 and Austin Powers in Goldmember's $73 million in 2002) and the highest grossing opening ever for a musical.[55]

text: Outside North America, the film opened at number one in Australia and New Zealand, earning $7.6 million and $1.2 million respectively.[56] The film grossed $22.1 million in Australia, $27.3 million in the United Kingdom and $2.7 million in New Zealand.[citation needed]

text: Critical response[edit]

text: Pitch Perfect 2 received positive reviews from critics. On Rotten Tomatoes, the film has an approval rating of 66% based on 183 reviews, with an average rating of 6/10. The site's critical consensus reads, "Pitch Perfect 2 sings in sweet comedic harmony, even if it doesn't hit quite as many high notes as its predecessor."[57] On Metacritic, the film holds score of 63 out of 100, based on 39 critics, indicating "generally favorable reviews".[58] In CinemaScore polls conducted during the opening weekend, cinema audiences gave Pitch Perfect 2 an average grade of "A–" on an A+ to F scale.[59]

text: Accolades[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message)

text: Billboard Music Awards[edit]

text: 2016 Top Soundtrack (won)

text: Teen Choice Awards[edit]

text:
2015 Choice Movie: Comedy (won)
2015 Choice Movie Actor: Comedy (Skylar Astin, won)
2015 Choice Movie Actress: Comedy (Anna Kendrick, won)
2015 Choice Movie Actress: Comedy (Rebel Wilson, nominated)
2015 Choice Movie: Chemistry (Anna Kendrick and Brittany Snow, won)
2015 Choice Movie: Liplock (Rebel Wilson and Adam DeVine, nominated)
2015 Choice Movie: Hissy Fit (Anna Kendrick, won)
2015 Choice Movie: Scene Stealer (Adam DeVine, nominated)
2015 Choice Movie: Scene Stealer (Green Bay Packers, nominated)
2015 Choice Movie: Scene Stealer (Hailee Steinfeld, nominated)

text: People's Choice Awards[edit]

text:
Favorite Movie (lost to Furious 7)
Favorite Comedic Movie (won)
Favorite Comedic Movie Actress (Anna Kendrick, Rebel Wilson, both lost to Melissa McCarthy)

text: Kids Choice Awards[edit]

text:
Favorite Movie (lost to Star Wars: The Force Awakens)
Favorite Movie Actress (Anna Kendrick, Rebel Wilson, lost to Jennifer Lawrence)

text: MTV Movie Awards[edit]

text:
Best Female Performance (Anna Kendrick, nominated)
Best Comedic Performance (Rebel Wilson, nominated)
Best Kiss (Rebel Wilson and Adam DeVine, won)
Best Ensemble Cast (won)

text: Sequel[edit]

text: On April 11, 2015, a month before the release of the film, it was announced that Rebel Wilson would return for a third film, although she stated that she did not know if Anna Kendrick or any of the other cast members would also be reprising their roles. She added that she would be "up for a Fat Amy spin-off," although nothing has been confirmed.[60]

text: Director, star, and producer Elizabeth Banks acknowledged the possibility of a third film, saying, "I will say, it would be disingenuous to say that no one's talking about a Pitch Perfect 3; the possibility of it. We are really focused on getting as many butts in seats for this one. If fans embrace it, we are going to seriously think about what the continuing journey would look like, but we don’t know what that is yet".[61]

text: On June 10, 2015, a third film was officially confirmed, with Kay Cannon returning to write the script.[62] Several days later it was announced both Kendrick and Wilson would reprise their roles, and later Brittany Snow was also confirmed to return.[5] Banks will also return to produce, but in June 2016 it was announced she would not be directing the film.[63]

text: The film was originally slated for a July 21, 2017 release, and was later pushed back to August 4, 2017 before moving back to the July 21 slot.[6] In May 2016 it was moved again, this time being pushed back to December 22, 2017.[64]

text: As of January 2, 2017, Anna Kendrick, Rebel Wilson, Anna Camp, Brittany Snow, Ester Dean, Alexis Knapp, Hana Mae Lee, Kelley Jakle, Shelley Regner, Hailee Steinfeld, Chrissie Fit, and Elizabeth Banks have been confirmed to be reprising their roles.[65][66]