document_title: List of Sahitya Akademi Award winners for Bodo

question_text: who won the sahitya akademi award 2017 in bodo language

text: Sahitya Akademi Award for Bodo language (बर राव) is given each year, since 2005, by Sahitya Akademi (India's National Academy of Letters), to writers and their works, for their outstanding contribution to the upliftment of the language.[1][2]

text: The winners and their works[edit]

text:
Year
Author
Book
Category of Book
Ref.

2005
Mangalsingh Hazowary
Ziuni Mwkthang Bisombi Arw Aroj
Poetry
[1]

2006
Katindra Swargiary
Sanmwkhangari Lamajwng
Novel
[1]

2007
Janil Kumar Brahma
Dumphaoni Phitha
Short Stories
[1]

2008
Vidyasagar Narzary
Birgwsrini Thungri
Novel
[3]

2009
Manoranjan Lahary
Dainee?
Novel
[4]

2010
Aurobindo Uzir
Swdwbni Swler
Poetry
[5]

2011
Premananda Mosahari
Okhafwrni Dwima
Poetry
[6]

2012
Guneswar Musahary
Boro Khonthai
Poetry
[7]

2013
Anil Boro
Delphini Onthai Mwdai Arw Gubun Gubun Khonthai
Poetry
[8]

2014
Urkhao Gwra Brahma
Udangnifrai Gidingfinnanwi
Poetry

2015
Brajendra Kumar Brahma
Baidi Dengkhw Baidi Gab
Poetry

2016
Anjali Narzary
Ang Mabwrwi Dong Daswng
Poetry

2017
Rita Boro
Thwisam
Novel
[9]


document_title: Color

question_text: the color of visible light can be determined by frequency or

root

text: Color

text: Physics of color

text:
The colors of the visible light spectrum[5]

Color
Wavelength
interval
Frequency
interval

Red
~ 700–635 nm
~ 430–480 THz

Orange
~ 635–590 nm
~ 480–510 THz

Yellow
~ 590–560 nm
~ 510–540 THz

Green
~ 560–520 nm
~ 540–580 THz

Cyan
~ 520–490 nm
~ 580–610 THz

Blue
~ 490–450 nm
~ 610–670 THz

Violet or Purple
~ 450–400 nm
~ 670–750 THz

tag: table

text:
Color, wavelength, frequency and energy of light

Color

λ

{\displaystyle \lambda \,\!}

(nm)

ν

{\displaystyle \nu \,\!}

(THz)

ν

b

{\displaystyle \nu _{b}\,\!}

(μm−1)

E

{\displaystyle E\,\!}

(eV)

E

{\displaystyle E\,\!}

(kJ mol−1)

Infrared
>1000
<300
<1.00
<1.24
<120

Red
700
428
1.43
1.77
171

Orange
620
484
1.61
2.00
193

Yellow
580
517
1.72
2.14
206

Green
530
566
1.89
2.34
226

Blue
470
638
2.13
2.64
254

Violet or Purple
420
714
2.38
2.95
285

Near ultraviolet
300
1000
3.33
4.15
400

Far ultraviolet
<200
>1500
>5.00
>6.20
>598

text: Electromagnetic radiation is characterized by its wavelength (or frequency) and its intensity. When the wavelength is within the visible spectrum (the range of wavelengths humans can perceive, approximately from 390 nm to 700 nm), it is known as "visible light".

tag: p

text: Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class the members are called metamers of the color in question.

text: Spectral colors

text: The familiar colors of the rainbow in the spectrum – named using the Latin word for appearance or apparition by Isaac Newton in 1671 – include all those colors that can be produced by visible light of a single wavelength only, the pure spectral or monochromatic colors. The table at right shows approximate frequencies (in terahertz) and wavelengths (in nanometers) for various pure spectral colors. The wavelengths listed are as measured in air or vacuum (see refractive index).

text: The color table should not be interpreted as a definitive list – the pure spectral colors form a continuous spectrum, and how it is divided into distinct colors linguistically is a matter of culture and historical contingency (although people everywhere have been shown to perceive colors in the same way[6]). A common list identifies six main bands: red, orange, yellow, green, blue, and violet. Newton's conception included a seventh color, indigo, between blue and violet. It is possible that what Newton referred to as blue is nearer to what today is known as cyan, and that indigo was simply the dark blue of the indigo dye that was being imported at the time.[7]

text: The intensity of a spectral color, relative to the context in which it is viewed, may alter its perception considerably; for example, a low-intensity orange-yellow is brown, and a low-intensity yellow-green is olive-green.

text: Color of objects

text: The color of an object depends on both the physics of the object in its environment and the characteristics of the perceiving eye and brain. Physically, objects can be said to have the color of the light leaving their surfaces, which normally depends on the spectrum of the incident illumination and the reflectance properties of the surface, as well as potentially on the angles of illumination and viewing. Some objects not only reflect light, but also transmit light or emit light themselves, which also contributes to the color. A viewer's perception of the object's color depends not only on the spectrum of the light leaving its surface, but also on a host of contextual cues, so that color differences between objects can be discerned mostly independent of the lighting spectrum, viewing angle, etc. This effect is known as color constancy.

text: Some generalizations of the physics can be drawn, neglecting perceptual effects for now:

text:
Light arriving at an opaque surface is either reflected "specularly" (that is, in the manner of a mirror), scattered (that is, reflected with diffuse scattering), or absorbed – or some combination of these.
Opaque objects that do not reflect specularly (which tend to have rough surfaces) have their color determined by which wavelengths of light they scatter strongly (with the light that is not scattered being absorbed). If objects scatter all wavelengths with roughly equal strength, they appear white. If they absorb all wavelengths, they appear black.[8]
Opaque objects that specularly reflect light of different wavelengths with different efficiencies look like mirrors tinted with colors determined by those differences. An object that reflects some fraction of impinging light and absorbs the rest may look black but also be faintly reflective; examples are black objects coated with layers of enamel or lacquer.
Objects that transmit light are either translucent (scattering the transmitted light) or transparent (not scattering the transmitted light). If they also absorb (or reflect) light of various wavelengths differentially, they appear tinted with a color determined by the nature of that absorption (or that reflectance).
Objects may emit light that they generate from having excited electrons, rather than merely reflecting or transmitting light. The electrons may be excited due to elevated temperature (incandescence), as a result of chemical reactions (chemoluminescence), after absorbing light of other frequencies ("fluorescence" or "phosphorescence") or from electrical contacts as in light emitting diodes, or other light sources.

tag: ul

text: To summarize, the color of an object is a complex result of its surface properties, its transmission properties, and its emission properties, all of which contribute to the mix of wavelengths in the light leaving the surface of the object. The perceived color is then further conditioned by the nature of the ambient illumination, and by the color properties of other objects nearby, and via other characteristics of the perceiving eye and brain.

text: Perception

text: Development of theories of color vision

text: Although Aristotle and other ancient scientists had already written on the nature of light and color vision, it was not until Newton that light was identified as the source of the color sensation. In 1810, Goethe published his comprehensive Theory of Colors in which he ascribed physiological effects to color that are now understood as psychological.

text: In 1801 Thomas Young proposed his trichromatic theory, based on the observation that any color could be matched with a combination of three lights. This theory was later refined by James Clerk Maxwell and Hermann von Helmholtz. As Helmholtz puts it, "the principles of Newton's law of mixture were experimentally confirmed by Maxwell in 1856. Young's theory of color sensations, like so much else that this marvelous investigator achieved in advance of his time, remained unnoticed until Maxwell directed attention to it."[10]

text: At the same time as Helmholtz, Ewald Hering developed the opponent process theory of color, noting that color blindness and afterimages typically come in opponent pairs (red-green, blue-orange, yellow-violet, and black-white). Ultimately these two theories were synthesized in 1957 by Hurvich and Jameson, who showed that retinal processing corresponds to the trichromatic theory, while processing at the level of the lateral geniculate nucleus corresponds to the opponent theory.[11]

text: In 1931, an international group of experts known as the Commission internationale de l'éclairage (CIE) developed a mathematical color model, which mapped out the space of observable colors and assigned a set of three numbers to each.

text: Color in the eye

text: The ability of the human eye to distinguish colors is based upon the varying sensitivity of different cells in the retina to light of different wavelengths. Humans are trichromatic—the retina contains three types of color receptor cells, or cones. One type, relatively distinct from the other two, is most responsive to light that is perceived as blue or blue-violet, with wavelengths around 450 nm; cones of this type are sometimes called short-wavelength cones, S cones, or blue cones. The other two types are closely related genetically and chemically: middle-wavelength cones, M cones, or green cones are most sensitive to light perceived as green, with wavelengths around 540 nm, while the long-wavelength cones, L cones, or red cones, are most sensitive to light is perceived as greenish yellow, with wavelengths around 570  nm.

text: Light, no matter how complex its composition of wavelengths, is reduced to three color components by the eye. Each cone type adheres to the principle of univariance, which is that each cone's output is determined by the amount of light that falls on it over all wavelengths. For each location in the visual field, the three types of cones yield three signals based on the extent to which each is stimulated. These amounts of stimulation are sometimes called tristimulus values.

text: The response curve as a function of wavelength varies for each type of cone. Because the curves overlap, some tristimulus values do not occur for any incoming light combination. For example, it is not possible to stimulate only the mid-wavelength (so-called "green") cones; the other cones will inevitably be stimulated to some degree at the same time. The set of all possible tristimulus values determines the human color space. It has been estimated that humans can distinguish roughly 10 million different colors.[9]

text: The other type of light-sensitive cell in the eye, the rod, has a different response curve. In normal situations, when light is bright enough to strongly stimulate the cones, rods play virtually no role in vision at all.[12] On the other hand, in dim light, the cones are understimulated leaving only the signal from the rods, resulting in a colorless response. (Furthermore, the rods are barely sensitive to light in the "red" range.) In certain conditions of intermediate illumination, the rod response and a weak cone response can together result in color discriminations not accounted for by cone responses alone. These effects, combined, are summarized also in the Kruithof curve, that describes the change of color perception and pleasingness of light as function of temperature and intensity.

text: Color in the brain

text: While the mechanisms of color vision at the level of the retina are well-described in terms of tristimulus values, color processing after that point is organized differently. A dominant theory of color vision proposes that color information is transmitted out of the eye by three opponent processes, or opponent channels, each constructed from the raw output of the cones: a red–green channel, a blue–yellow channel, and a black–white "luminance" channel. This theory has been supported by neurobiology, and accounts for the structure of our subjective color experience. Specifically, it explains why humans cannot perceive a "reddish green" or "yellowish blue", and it predicts the color wheel: it is the collection of colors for which at least one of the two color channels measures a value at one of its extremes.

text: The exact nature of color perception beyond the processing already described, and indeed the status of color as a feature of the perceived world or rather as a feature of our perception of the world – a type of qualia – is a matter of complex and continuing philosophical dispute.

text: Nonstandard color perception

text: Color deficiency

text: If one or more types of a person's color-sensing cones are missing or less responsive than normal to incoming light, that person can distinguish fewer colors and is said to be color deficient or color blind (though this latter term can be misleading; almost all color deficient individuals can distinguish at least some colors). Some kinds of color deficiency are caused by anomalies in the number or nature of cones in the retina. Others (like central or cortical achromatopsia) are caused by neural anomalies in those parts of the brain where visual processing takes place.

text: Tetrachromacy

text: While most humans are trichromatic (having three types of color receptors), many animals, known as tetrachromats, have four types. These include some species of spiders, most marsupials, birds, reptiles, and many species of fish. Other species are sensitive to only two axes of color or do not perceive color at all; these are called dichromats and monochromats respectively. A distinction is made between retinal tetrachromacy (having four pigments in cone cells in the retina, compared to three in trichromats) and functional tetrachromacy (having the ability to make enhanced color discriminations based on that retinal difference). As many as half of all women are retinal tetrachromats.[13]:p.256 The phenomenon arises when an individual receives two slightly different copies of the gene for either the medium- or long-wavelength cones, which are carried on the X chromosome. To have two different genes, a person must have two X chromosomes, which is why the phenomenon only occurs in women.[13] There is one scholarly report that confirms the existence of a functional tetrachromat.[14]

text: Synesthesia

text: In certain forms of synesthesia/ideasthesia, perceiving letters and numbers (grapheme–color synesthesia) or hearing musical sounds (music–color synesthesia) will lead to the unusual additional experiences of seeing colors. Behavioral and functional neuroimaging experiments have demonstrated that these color experiences lead to changes in behavioral tasks and lead to increased activation of brain regions involved in color perception, thus demonstrating their reality, and similarity to real color percepts, albeit evoked through a non-standard route.

text: Afterimages

text: After exposure to strong light in their sensitivity range, photoreceptors of a given type become desensitized. For a few seconds after the light ceases, they will continue to signal less strongly than they otherwise would. Colors observed during that period will appear to lack the color component detected by the desensitized photoreceptors. This effect is responsible for the phenomenon of afterimages, in which the eye may continue to see a bright figure after looking away from it, but in a complementary color.

text: Afterimage effects have also been utilized by artists, including Vincent van Gogh.

text: Color constancy

text: When an artist uses a limited color palette, the eye tends to compensate by seeing any gray or neutral color as the color which is missing from the color wheel. For example, in a limited palette consisting of red, yellow, black, and white, a mixture of yellow and black will appear as a variety of green, a mixture of red and black will appear as a variety of purple, and pure gray will appear bluish.[15]

text: The trichromatic theory is strictly true when the visual system is in a fixed state of adaptation. In reality, the visual system is constantly adapting to changes in the environment and compares the various colors in a scene to reduce the effects of the illumination. If a scene is illuminated with one light, and then with another, as long as the difference between the light sources stays within a reasonable range, the colors in the scene appear relatively constant to us. This was studied by Edwin Land in the 1970s and led to his retinex theory of color constancy.

text: Both phenomena are readily explained and mathematically modeled with modern theories of chromatic adaptation and color appearance (e.g. CIECAM02, iCAM).[16] There is no need to dismiss the trichromatic theory of vision, but rather it can be enhanced with an understanding of how the visual system adapts to changes in the viewing environment.

text: Color naming

text: Colors vary in several different ways, including hue (shades of red, orange, yellow, green, blue, and violet), saturation, brightness, and gloss. Some color words are derived from the name of an object of that color, such as "orange" or "salmon", while others are abstract, like "red".

text: In the 1969 study Basic Color Terms: Their Universality and Evolution, Brent Berlin and Paul Kay describe a pattern in naming "basic" colors (like "red" but not "red-orange" or "dark red" or "blood red", which are "shades" of red). All languages that have two "basic" color names distinguish dark/cool colors from bright/warm colors. The next colors to be distinguished are usually red and then yellow or green. All languages with six "basic" colors include black, white, red, green, blue, and yellow. The pattern holds up to a set of twelve: black, gray, white, pink, red, orange, yellow, green, blue, purple, brown, and azure (distinct from blue in Russian and Italian, but not English).

text: Associations

text: Individual colors have a variety of cultural associations such as national colors (in general described in individual color articles and color symbolism). The field of color psychology attempts to identify the effects of color on human emotion and activity. Chromotherapy is a form of alternative medicine attributed to various Eastern traditions. Colors have different associations in different countries and cultures.[17]

text: Different colors have been demonstrated to have effects on cognition. For example, researchers at the University of Linz in Austria demonstrated that the color red significantly decreases cognitive functioning in men.[18]

text: Spectral colors and color reproduction

text: Most light sources are mixtures of various wavelengths of light. Many such sources can still effectively produce a spectral color, as the eye cannot distinguish them from single-wavelength sources. For example, most computer displays reproduce the spectral color orange as a combination of red and green light; it appears orange because the red and green are mixed in the right proportions to allow the eye's cones to respond the way they do to the spectral color orange.

text: A useful concept in understanding the perceived color of a non-monochromatic light source is the dominant wavelength, which identifies the single wavelength of light that produces a sensation most similar to the light source. Dominant wavelength is roughly akin to hue.

text: There are many color perceptions that by definition cannot be pure spectral colors due to desaturation or because they are purples (mixtures of red and violet light, from opposite ends of the spectrum). Some examples of necessarily non-spectral colors are the achromatic colors (black, gray, and white) and colors such as pink, tan, and magenta.

text: Two different light spectra that have the same effect on the three color receptors in the human eye will be perceived as the same color. They are metamers of that color. This is exemplified by the white light emitted by fluorescent lamps, which typically has a spectrum of a few narrow bands, while daylight has a continuous spectrum. The human eye cannot tell the difference between such light spectra just by looking into the light source, although reflected colors from objects can look different. (This is often exploited; for example, to make fruit or tomatoes look more intensely red.)

text: Similarly, most human color perceptions can be generated by a mixture of three colors called primaries. This is used to reproduce color scenes in photography, printing, television, and other media. There are a number of methods or color spaces for specifying a color in terms of three particular primary colors. Each method has its advantages and disadvantages depending on the particular application.

text: No mixture of colors, however, can produce a response truly identical to that of a spectral color, although one can get close, especially for the longer wavelengths, where the CIE 1931 color space chromaticity diagram has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green.

text: Because of this, and because the primaries in color printing systems generally are not pure themselves, the colors reproduced are never perfectly saturated spectral colors, and so spectral colors cannot be matched exactly. However, natural scenes rarely contain fully saturated colors, thus such scenes can usually be approximated well by these systems. The range of colors that can be reproduced with a given color reproduction system is called the gamut. The CIE chromaticity diagram can be used to describe the gamut.

text: Another problem with color reproduction systems is connected with the acquisition devices, like cameras or scanners. The characteristics of the color sensors in the devices are often very far from the characteristics of the receptors in the human eye. In effect, acquisition of colors can be relatively poor if they have special, often very "jagged", spectra caused for example by unusual lighting of the photographed scene. A color reproduction system "tuned" to a human with normal color vision may give very inaccurate results for other observers.

text: The different color response of different devices can be problematic if not properly managed. For color information stored and transferred in digital form, color management techniques, such as those based on ICC profiles, can help to avoid distortions of the reproduced colors. Color management does not circumvent the gamut limitations of particular output devices, but can assist in finding good mapping of input colors into the gamut that can be reproduced.

text: Additive coloring

text: Additive color is light created by mixing together light of two or more different colors. Red, green, and blue are the additive primary colors normally used in additive color systems such as projectors and computer terminals.

text: Subtractive coloring

text: Subtractive coloring uses dyes, inks, pigments, or filters to absorb some wavelengths of light and not others. The color that a surface displays comes from the parts of the visible spectrum that are not absorbed and therefore remain visible. Without pigments or dye, fabric fibers, paint base and paper are usually made of particles that scatter white light (all colors) well in all directions. When a pigment or ink is added, wavelengths are absorbed or "subtracted" from white light, so light of another color reaches the eye.

text: If the light is not a pure white source (the case of nearly all forms of artificial lighting), the resulting spectrum will appear a slightly different color. Red paint, viewed under blue light, may appear black. Red paint is red because it scatters only the red components of the spectrum. If red paint is illuminated by blue light, it will be absorbed by the red paint, creating the appearance of a black object.

text: Structural color

text: Structural colors are colors caused by interference effects rather than by pigments. Color effects are produced when a material is scored with fine parallel lines, formed of one or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's wavelength. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce Tyndall effect colors: the blue of the sky (Rayleigh scattering, caused by structures much smaller than the wavelength of light, in this case air molecules), the luster of opals, and the blue of human irises. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a diffraction grating: the grating reflects different wavelengths in different directions due to interference phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness.

text: Structural color is studied in the field of thin-film optics. A layman's term that describes particularly the most ordered or the most changeable structural colors is iridescence. Structural color is responsible for the blues and greens of the feathers of many birds (the blue jay, for example), as well as certain butterfly wings and beetle shells. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in peacock feathers, soap bubbles, films of oil, and mother of pearl, because the reflected color depends upon the viewing angle. Numerous scientists have carried out research in butterfly wings and beetle shells, including Isaac Newton and Robert Hooke. Since 1942, electron micrography has been used, advancing the development of products that exploit structural color, such as "photonic" cosmetics.[19]

text: Additional terms

text:
Color wheel: an illustrative organization of color hues in a circle that shows relationships.
Colorfulness, chroma, purity, or saturation: how "intense" or "concentrated" a color is. Technical definitions distinguish between colorfulness, chroma, and saturation as distinct perceptual attributes and include purity as a physical quantity. These terms, and others related to light and color are internationally agreed upon and published in the CIE Lighting Vocabulary.[20] More readily available texts on colorimetry also define and explain these terms.[16][21]
Dichromatism: a phenomenon where the hue is dependent on concentration and thickness of the absorbing substance.
Hue: the color's direction from white, for example in a color wheel or chromaticity diagram.
Shade: a color made darker by adding black.
Tint: a color made lighter by adding white.
Value, brightness, lightness, or luminosity: how light or dark a color is.


document_title: Incredibles 2

question_text: who is the villain in the incredibles 2

question_tokens: who is the villain in the incredibles 2

text: Incredibles 2

text: Plot

text: Three months after defeating Syndrome, the Incredibles pursue the Underminer. Although the Underminer robs the Metroville Bank and escapes, they manage to stop his out of control drill from destroying Metroville's City Hall with help from Frozone. However, the government is more concerned with the amount of collateral damage caused by the incident, and shuts down the Superhero Relocation Program, leaving the Parr family without financial assistance from the head of the program, Rick Dicker. Later, he meets Violet's date, Tony Rydinger, and has his memory wiped after encountering her without her mask during the Underminer's attack. That night, Lucius informs Bob and Helen of an offer presented to him by Winston Deavor, a superhero fan and the owner of DevTech, a telecommunications corporation. Winston and his sister Evelyn, the genius inventor behind DevTech technology, propose a publicity stunt to regain the public's support and trust in Supers.

text: Helen is chosen to spearhead the stunt under her old superhero identity, Elastigirl. Winston provides the Parr family with a new home and Bob offers to look after the kids while Helen is away on her missions. Bob struggles with his new role of a stay-at-home parent, especially with Jack-Jack displaying his various superpowers (requiring him to be temporarily babysat by Edna Mode); Dash struggling with math even Bob can't figure out; and Violet becoming withdrawn after learning that her date, Tony Rydinger, had his memory wiped by Rick after encountering her without her mask during the Underminer's attack. Meanwhile, whilst on her missions, Elastigirl confronts the Screenslaver, a mysterious supervillain who projects hypnotic images through television screens. She eventually tracks down and captures the villain, who, when unmasked, is revealed to be a pizza delivery man with no recollection of his actions.

text: At a DevTech party celebrating the Screenslaver's defeat, Winston announces a summit with leaders of various countries to once again legalize Supers, to be hosted on a luxury hydrofoil at sea. Unsettled by the ease with which she captured the Screenslaver, Elastigirl investigates further and realizes that the Screenslaver was being controlled by screens within his goggles. Before she can alert anyone, however, Evelyn forces the goggles onto her, revealing herself as the mastermind behind the Screenslaver. Evelyn explains that her hatred for Supers stems from her parents' murder several years ago, where instead of hiding from intruders and calling the police, her father attempted to call the Supers, but was unable to reach them and fatally shot. Evelyn plans to use the Supers to sabotage her brother's summit and cause a catastrophe that will tarnish their reputation forever. She uses Elastigirl to lure Mr. Incredible into a trap and force a pair of goggles on him, then sends other hypnotized Supers invited for the event to subdue the Parr children in their home. Frozone arrives and tries to protect the children, but is ultimately overwhelmed and placed under Evelyn's control as well.

text: Violet, Dash, and Jack-Jack escape with the help of the Incredibile, a high-tech car once owned by Bob during his time as Mr. Incredible, and reach the Deavors' ship. On board, the hypnotized Mr. Incredible, Elastigirl, and Frozone recite a vindictive manifesto on air to paint Supers as a public threat. They subdue the ship's crew members and aim the high-speed ship at Municiberg before Mr. Incredible destroys the controls. When the Parr children find them, Jack-Jack telekinetically removes the goggles from Elastigirl, who in turn frees Mr. Incredible and Frozone. The Incredibles and Frozone release all the other mind-controlled Supers by destroying their goggles. Mr. Incredible swims underwater to turn the rudder while Frozone sends out layers of ice, and they manage to slow the ship down just before it can crash into the city. Evelyn tries to escape in a jet but is captured by Elastigirl. Following the incident, Evelyn is arrested, and Supers around the world regain full legal status.

text: Some time later, Tony accompanies Violet and her family to see a movie. Outside the theater, the Parrs spot a deadly high speed pursuit between police and armed gunmen. Violet leaves Tony at the theater and promises to be back in time for the movie, before the Parrs don their masks, ready to give chase in a refurbished Incredibile.

text: Voice cast

text:
Craig T. Nelson as Bob Parr/Mr. Incredible, who possesses super strength and limited invulnerability.[5]
Holly Hunter as Helen Parr/Elastigirl, who has the ability to stretch her body into many shapes and forms.[6]
Sarah Vowell as Violet Parr, the family's daughter and first child, who can become invisible and project force fields for limited lengths of time.[5]
Huck Milner as Dashiell "Dash" Parr, the family's troublemaker first son, who has superhuman speed. He was previously voiced by Spencer Fox in the first film.[5]
Eli Fucile as Jack-Jack Parr, the infant son of Bob and Helen who has an assortment of powers.
Nicholas Bird provides the vocal effects of Jack-Jack's monster form.
Samuel L. Jackson as Lucius Best/Frozone, Bob's best friend, who has the ability to form ice from humidity.[7]
Bob Odenkirk as Winston Deavor, a superhero fan who leads a telecommunications company with his sister Evelyn, and wants to bring back the "supers" by revamping the public's perception of them.[8][9][10]
Catherine Keener as Evelyn Deavor, Winston's sister, the mastermind behind Screenslaver, and a technological genius who has never encountered a problem she could not solve.[8][9][10]
Bill Wise as a pizza delivery man converted into a villain by the real "Screenslaver", who hijacks screens to project hypnotic images in order to brainwash civilians.[11][12]
Brad Bird as Edna Mode, a fashion designer to the "supers" and a close friend of the Parrs.[5]
Jonathan Banks as Rick Dicker, a government agent responsible for helping the Parrs stay undercover and unremarkable. When his department is shut down, the Parrs are left to their own devices. He was previously voiced by Bud Luckey in the first film, who died in 2018 and to whom the film is dedicated.[9][10]
Michael Bird as Tony Rydinger, Violet's love interest.[12]
Sophia Bush as Karen/Voyd, a young Elastigirl fan who aspires to be a true superhero, with the power of creating voids where objects can appear and disappear.[9][10]
Phil LaMarr as Krushauer and He-Lectrix, two Supers, alongside Voyd, who aspire to be true superheroes. Krushauer has the power of telekinesis while Helectrix has the power of controlling and projecting electrical currents.[13]
Paul Eiding as Gus Burns/Reflux, an elderly Super (alongside Voyd, Krushauer, and He-Lectrix) who aspires to be a true superhero, with the power of heaving hot lava.[13]
Isabella Rossellini as The Ambassador, a dignified foreign official committed to the support and legalization of superheroes.[9][14]
John Ratzenberger as The Underminer, a mole-like supervillain who seeks to bring war and destruction to the world.[13]
Barry Bostwick as Mayor
Jere Burns as Detective #1
Adam Rodriguez as Detective #2
Kimberly Adair Clark as Honey Best, Frozone's wife.[12]
Usher as Lucius Best's valet[15]

text: Other aspiring non-speaking supers (alongside Voyd, Krushauer, He-Lectrix, and Reflux) include Concretia "Connie" Mason/Brick (a brick-themed super with super strength and durability) and Screech (an owl-like super (e.g. owl eyes, a 360-degree head turn, and winged suit for flight) with a glass-shattering screech and nocturnal tendencies.

text: Production

text: Development

text: Following The Incredibles, Brad Bird directed his next film for Pixar, Ratatouille, which was released in June 2007. Near its premiere, Bird said he was open to an idea of a sequel to The Incredibles, but only if it could be even better than the original. He stated, "I have pieces that I think are good, but I don't have them all together."[16]

text: In a May 2013 interview, Bird reiterated his interest in a sequel: "I have been thinking about it. People think that I have not been, but I have—because I love those characters, and love that world." He added: "I am stroking my chin and scratching my head. I have many, many elements that I think would work really well in another Incredibles film, and if I can get 'em to click all together, I would probably wanna do that."[17] While publicizing the first film, Bird had already conceptualized the eventual approach where Bob and Helen would switch roles, and Jack-Jack would develop multiple powers yet known by the family.[18]

text: At the Disney shareholder meeting in March 2014, Disney CEO/chairman Bob Iger confirmed that Pixar was working on an Incredibles sequel, and that Bird would return as writer.[19] Bird started the script around April 2015,[20] and said that the Incredibles sequel would be his next film after Tomorrowland.[21]

text: One challenge in writing Incredibles 2 was how to deal with the large number of superhero films and television series that had been released since the first film, such as the Marvel Cinematic Universe.[22] To try to differentiate the sequel, Bird wanted to avoid tropes related to the superhero genre: "I don't think that kind of idea stays interesting for very long. For me, the interesting thing was never the superhero part of it. It was more the family dynamic, and how do superhero things play into that."[23] He said he wanted to include some unused ideas that "didn't fit" in the first film,[24][25] and that the new story would focus on Helen Parr / Elastigirl.[26] Even though the sequel was released fourteen years after the first, Bird did not want to use a narrative element like a timeskip or to come up with new characters, and instead continued from where the first film left off. This allowed him to keep characters with the same superpowers and not have to develop new ones, nor did he need to figure out how to deal with Violet and Dash being adults. This also allowed him to keep Jack-Jack as an infant with a variable array of powers, which Bird likened to how infants are able to understand numerous languages.[27]

text: One advantage that Pixar had with Incredibles 2 was the advancement of technology the company had seen since the original film and a team of much more experienced animators. Producer John Walker said, "I think that one of the things that excited Brad and Ralph Eggleston, the Production Designer, was the fact that the technology existed now to finally realize the designs in the way that they had hoped to realize them in 2004. There were no notions of, ‘Well, we don’t know how to do long hair, we don’t know how to do humans, we don’t know how to do muscles.’ Everybody knows how to do it. It’s just now about doing it quickly."[28] Because Pixar no longer used the same systems from the first movie, all the characters had to be created from scratch on the computer again. The studio also used physically-based human eye models for the characters for the first time, even if the eyes are larger and more stylized than in real humans.[29]

text: Casting

text: Pixar announced in November 2016 that both Holly Hunter and Samuel L. Jackson would return to reprise their roles,[6][7] and at the July 2017 D23 Expo that both Craig T. Nelson and Sarah Vowell would also return with them. Spencer Fox, the original voice of Dashiell "Dash" Parr, was replaced in the sequel by younger newcomer Huck Milner.[5] Also that July, Brad Bird and John Ratzenberger were confirmed as reprising their characters from the first film.[26][8]

text: In November 2017, Pixar announced that Bob Odenkirk and Catherine Keener had been signed to the cast,[8] but did not disclose their roles as new characters Winston and Evelyn Deavor until a later date.[citation needed] In January 2018, it was announced that Sophia Bush and Isabella Rossellini would voice new characters Voyd and The Ambassador, while Jonathan Banks would voice Rick Dicker, after the character's original voice actor, Bud Luckey, retired in 2014;[9][10] after his death in 2018, the film was dedicated to Luckey's memory.[30]

text: Music

text: In 2015, Bird confirmed that Michael Giacchino would return to compose the score.[31] Giacchino began work on it around May 2017.[32]

text: The soundtrack album was released on June 15, 2018. In addition to the film's score, it includes the vocalized theme songs for Mr. Incredible, Frozone, and Elastigirl heard in the credits, as well as bonus versions of the songs sung by Disney's a cappella group, DCappella, and the latter's version of the track "The Glory Days" from the first film.[33]

text: Track listing

text: All music composed by Michael Giacchino, except where noted.

text: showIncredibles 2: Original Motion Picture SoundtrackNo.TitleLength1."Episode 2"0:502."A Tony Perspective"2:083."Consider Yourselves Undermined!"5:124."A Matter of Perception"1:505."Diggin' the New Digs"1:426."This Ain't My Super-Suit?"0:577."Elastigirl Is Back"1:008."Train of Taut"3:179."Rocky vs. Jack-Jack"1:5810."Ambassador Ambush"2:2911."Hero Worship"1:0812."Searching for a Screenslaver"4:4013."Super Legal Again"0:4214."Renouncing the Renunciation"1:3815."World's Worst Babysitters"1:3316."Helen of Ploy"0:5517."A Dash of Reality"2:0318."Hydrofoiled Again"3:5119."Jack Splat"1:3020."A Bridge Too Parr"4:1721."Together Forever and Deavor"1:4522."Elastigirl's Got a Plane to Catch"3:0023."Looks like I Picked the Wrong Week to Quit Oxygen"1:5924."Happily After-Deavor"1:1525."Out and a Bout"0:3626."Incredits 2"9:5127."Here Comes Elastigirl – Elastigirl's Theme"1:2328."Chill or Be Chilled – Frozone's Theme"1:4029."Pow! Pow! Pow! – Mr. Incredible's Theme"1:3130."Devtchno!"1:5331."Chad Tonight Talk Show Theme" (written by Daniel Farid, Grace Giacchino and Michael Giacchino)0:0532."Chad Tonight Newscast Bumper" (written by Daniel Farid, Grace Giacchino and Michael Giacchino)0:0633."Here Comes Elastigirl – Elastigirl's Theme (A Cappella)" (performed by DCappella) (digital bonus track)1:2034."Chill or Be Chilled – Frozone's Theme (A Cappella)" (performed by DCappella) (digital bonus track)1:3635."Pow! Pow! Pow! – Mr. Incredible's Theme (A Cappella)" (performed by DCappella) (digital bonus track)1:3136."The Glory Days (A Cappella)" (performed by DCappella) (digital bonus track)1:39Total length:1:14:50

text: Release

text: The official premiere of Incredibles 2 took place in Los Angeles on June 5, 2018.[34][35] It was theatrically released in the United States on June 15, 2018,[36] including an IMAX release as part of Disney's new distribution deal with IMAX, but only in 2D.[37] It is accompanied by Pixar's short film Bao.[38] The film's release was originally scheduled for June 21, 2019, but the date was moved forward after Pixar handed the 2019 release date over to Toy Story 4, after its production fell behind schedule.[36]

text: Marketing

text: A 53-second teaser trailer premiered on November 18, 2017 during ESPN's broadcast of College GameDay. It received 113 million views in its first 24 hours, becoming the most viewed trailer for an animated film, and the 7th most-viewed trailer overall.[39] A new sneak peek premiered during the 2018 Winter Olympics on February 14.[40] On April 13, a new trailer was released.[41]

text: Merchandise

text: An Incredibles 2 graphic novel and comic miniseries was published by Dark Horse Comics in 2018. The graphic novel, titled Incredibles 2: Heroes at Home, was written by Liz Marsham and illustrated by Nicoletta Baldari. A comic miniseries, titled Incredibles 2: Crisis in Mid-Life! & Other Stories, was written by Christos Gage and Landry Walker, and illustrated by Gurihiru, J. Bone, Andrea Greppi and Roberta Zanotta.[42][43][44]

text: In May 2018, a prose novel was released entitled Incredibles 2: A Real Stretch: An Elastigirl Prequel Story, which focuses on the life of the character Elastigirl before the events of the first film.

text: A Lego video game adaptation of both films was released on the same day as Incredibles 2.[45]

text: Reception

text: Box office

text: As of  July 15, 2018[update], Incredibles 2 has grossed $535.8 million in the United States and Canada, and $321.1 million in other territories, for a total worldwide gross of $856.9 million.[4]

text: On July 1, 2018, the film passed $648 million at the worldwide box office, surpassing the $633 million the original film made in its entire theatrical run.[46] It is currently the ninth highest-grossing film of all-time domestically and the highest grossing animated film domestically.

text: United States and Canada

text: In April 2018, early box office projections had Incredibles 2 grossing $110 million in its opening weekend in the United States and Canada.[47] In May 2018, a month before the film's release, tracking revised to an opening weekend of $140 million or more.[48] A week prior to the film's opening, Fandango reported that pre-sale of tickets for the film had exceeded that of previous mid-year blockbusters Finding Dory, Wonder Woman, Spider-Man: Homecoming and Suicide Squad at the same point in their release cycles.[49] By the week of its release, opening weekend projections had reached upwards of $150 million.[50] A day before release, it became Fandango's top pre-selling animated film of all-time, outselling the previous record-holder, Finding Dory.[51]

text: The film grossed $18.5 million from Thursday night previews, increasing weekend projections to as high as $174 million. The previews set the record for an animated film, doubling Finding Dory's $9.2 million, and were higher than the likes of fellow superhero films Spider-Man: Homecoming, Thor: Ragnarok and Justice League. It made $71.6 million on its first day, including previews, the best-ever for an animated film (besting Dory's $54.7 million by 31%) and 14th highest all-time. It went on to debut to $182.7 million, the eighth best opening of all-time, far ahead of Finding Dory's animated record of $135.1 million and more than the entire lifetime gross of Pixar's A Bug's Life ($162.8 million), Cars 3 ($152.9 million) and The Good Dinosaur ($123.1 million).[52][53]

text: The film set animated records for its Monday and Tuesday grosses, making $23.9 million (beating the $23.4 million made by Shrek 2 in May 2004)[54] and $27.1 million (beating Finding Dory's $23.1 million), respectively. Its Tuesday gross also set a June record, topping Jurassic World ($24.3 million in 2015).[55] By Thursday, its seventh day of release, the film had grossed $269.4 million, topping the entire lifetime domestic gross of the original, not accounting for inflation ($261.4 million). In its second weekend the film dropped 56% to $80.9 million, finishing second behind newcomer Jurassic World: Fallen Kingdom ($148 million), marking the first time two films opened to over $100 million in back-to-back weekends.[56] It remained in second place in its third and fourth weekends, grossing $45.5 million and $29 million, respectively.[46] On July 7, its 23rd day of release, the film crossed $495 million, passing Finding Dory to become the highest-grossing animated film and Pixar's highest-grossing film of all-time domestically,[57] and the following day became the first animated film to gross over $500 million domestically.[58]

text: Internationally

text: Outside North America, the film made $51.5 million from 25 countries in its opening weekend, for a global debut of $231.5 million. Mexico was the largest debut with $12.3 million, followed by Australia ($7.7 million) and Russia ($5.4 million).[59] In its second weekend of release the film made $58.6 million from 28 countries, bringing its two-week total to $134.7 million. Its largest market was China where it made $21.2 million, the best ever opening for a Pixar film in the country. It was also released in India where it made $3.3 million.[60]

text: Critical response

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 93% based on 261 reviews, with an average rating of 7.9/10. The website's critical consensus reads, "Incredibles 2 reunites Pixar's family crimefighting team for a long-awaited follow-up that may not quite live up to the original, but comes close enough to earn its name."[61] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 80 out of 100, based on 51 critics, indicating "generally favorable reviews".[62] Audiences polled by CinemaScore gave the film an average grade of "A+" on an A+ to F scale, the same score as the first film, while PostTrak reported filmgoers gave it a 93% overall positive score and an 83% "definite recommend".[52]

text: Robert Abele of TheWrap praised the film, saying: "Whatever the opposite of phoning in a sequel is, that's Brad Bird's progressive-minded, thunderously fun mix of super saves, throwback aesthetics and family comedy."[63] A.A. Dowd, writing for The A.V. Club, felt it was "A sparkling contraption of an animated comedy, funny and often wondrous in its midcentury-modern vision of an alternate America frozen in the amber of a bygone idealism."[64] David Ehrlich of IndieWire gave the film a "B+", saying: "When the Parrs are pushed out of their comfort zone, Bird settles into his... [after] inciting a Spielberg-level monorail chase that reaffirms Bird's lucid gift for kinetic and character-driven action filmmaking, the movie blasts off and never looks back."[65] Stephanie Zacharek from Time considered it "bold [and] rapturously entertaining,"[66] while David Sims at The Atlantic dubbed it "dazzling, thought-provoking, and sometimes overwhelming in terms of plotting."[67]

text: Variety's Owen Gleiberman called the film "fun but far from incredible" and wrote "It's true that the Toy Story films, all three of which are fantastic, did variations on the same theme of a toy's obsolescence, but as movies they kept the emotions close to the surface. In Incredibles 2, we never get that rush of feeling."[68] Michael Phillips of the Chicago Tribune gave the film 2.5 out of 4 stars and said, "Incredibles 2 is content to punch the clock and stick to straight, bombastic action mode. In that mode, composer Giacchino's music is the most successful element, running nimble, beautifully orchestrated variations on themes that feel familiar in the best ways while retaining their spark. The animation is bright and visually dynamic. The script, well … if the title were Satisfactories 2, it'd be about right."[69] Alex Hudson of Exclaim! praised the film's action sequences, but criticized the lack of original story, saying "This is a by-the-numbers redux of the first Incredibles movie — it's fun to watch, but it's too predictable to be truly gripping."[70] Ty Burr for The Boston Globe called it a "clattery, unfocused affair that at times is more irritating than fun."[71]

text: Epilepsy issues

text: Many disability advocates, including the Epilepsy Foundation, have raised concerns that scenes with flashing lights, particularly the scene of Elastigirl's fight with the Screenslaver, can trigger seizures in viewers affected by photosensitive epilepsy.[72][73][74] As a result, several theaters have started posting warnings for audiences.[75] Disney issued a statement to USA Today stating that they appreciated the efforts the theaters had already made in making signs warning people seeing the movie. They then asked theaters to warn audiences about the scene in a memo that read, "Incredibles 2 contains a sequence of flashing lights, which may affect customers who are susceptible to photosensitive epilepsy or other photosensitivities."[76]

text: The UK release in response to this have released a re-edited version [77]of the film with all affected sequences altered so any flashing-lights or strobe effects now pass the Harding Test.[78]

text: Future

text: Following the release of Incredibles 2, director Brad Bird acknowledged that the film's truncated production schedule resulted in many plotlines and ideas he had for the film being cut from the final version. He cited Pixar's decision in October 2016 to swap the release dates of Toy Story 4 and Incredibles 2, which meant that Bird’s film lost a full year of production. Bird stated that the lingering plotlines could lead to a third installment, just as they did with the second. "There were a lot of ideas that we had on this film that could be [used]... whether it's another Incredibles film, or something else." Cast members including Samuel L. Jackson and Sophia Bush have expressed interest in reprising their roles. Producer John Walker would not "rule [a third film] out".[79]


document_title: Kingsman: The Golden Circle

question_text: when was the kingsman the golden circle filmed

text: Kingsman: The Golden Circle

text: Plot[edit]

text: A year after the events of the previous film, Eggsy Unwin has officially joined Kingsman, taken his late mentor Harry Hart's title of Galahad and begun a relationship with Tilde, Crown Princess of Sweden. On his way home from the tailor shop, he is ambushed by Charlie Hesketh, a former Kingsman trainee who lost his arm and vocal cords during the Valentine incident, replacing them with cybernetics. Eggsy evades Charlie and his henchmen in a car chase across London, but Charlie's severed cybernetic arm hacks into the Kingsman servers through the computer system of Eggsy's car. Charlie passes on the information gained to Poppy Adams, the leader of the world's largest drug cartel, the Golden Circle. Poppy uses the information to launch a volley of missiles that destroy the Kingsman headquarters and wipe out all of the agents in Britain, aside from Eggsy and Merlin, Kingsman's tech support.

text: Eggsy and Merlin follow an emergency protocol which leads them to Statesman, an American private intelligence service posing as a Bourbon whiskey distillery in Kentucky. There, they discover that Harry survived his shooting thanks to Statesman technology, but is suffering from amnesia. They also learn about the Golden Circle from Statesman head Champagne and the two agencies agree to work together to bring it down. Statesman agent Tequila later develops a blue rash and shows signs of mania and is replaced by another agent, Whiskey, as Eggsy's partner. Eggsy plants a tracking device on Charlie's ex-girlfriend Clara Von Gluckfberg during a sexual encounter at Glastonbury Festival, but his revelation of the mission to Princess Tilde strains their relationship.

text: Eggsy later manages to cure Harry's amnesia by threatening to shoot a Cairn Terrier puppy that resembles Harry's late dog, shortly before Poppy broadcasts a message telling the world about a toxin she has added to all her drugs, which causes users to develop symptoms like Tequila's before progressing to paralysis and ultimately death. She offers the antidote to the world if the President of the United States ends his country's war on drugs and grants her cartel immunity from prosecution. The President decides to have everyone affected quarantined, intending to let them all die in order to put Poppy out of business.

text: Eggsy, Harry and Whiskey track Clara to the Golden Circle's antidote factory in Italy. Eggsy manages to steal an antidote sample, but it is broken by Whiskey during an ambush by the Golden Circle's henchmen, leading Harry to suspect him of working against them. Harry shoots Whiskey in the head, but Eggsy, believing Harry to be delusional as a result of his recovery, saves him with the same technology that Statesman used to save Harry. Princess Tilde calls Eggsy in a state of mania, revealing that she has been affected by the blue rash, having taken drugs due to her stress over Eggsy's infidelity. Eggsy, Harry and Merlin discover the location of Poppy's hideout, "Poppy Land", in Cambodia and fly there to steal the laptop which can deploy the drones carrying the antidote all over the world.

text: Upon their arrival at Poppy Land, Eggsy steps on a land mine, but Merlin sacrifices himself to save him and Harry. Eggsy and Harry storm through the lair; Eggsy kills Charlie, while Harry destroys Poppy's robotic attack dogs with the help of Elton John, who had been kidnapped by Poppy during the events of the previous film. They secure the laptop and inject Poppy with a concentrated dose of her toxin and heroin. Poppy gives them the laptop password in exchange for the antidote, but dies of an overdose from the heroin. Whiskey interrupts them before they can deploy the drones, revealing that he wants all drug users to die after his pregnant wife was killed in a robbery committed by two methamphetamine users. Eggsy and Harry fight and kill Whiskey, then deploy the drones to release the antidote and save the affected victims throughout the world.

text: In the aftermath, the President is impeached for conspiring to commit genocide on the drug victims and Statesman purchases a distillery in Scotland to help rebuild Kingsman. Statesman tech support specialist Ginger Ale is appointed to the position of Whiskey, Eggsy marries Princess Tilde and Tequila joins Kingsman, which acquires a new tailor shop in London.

text: Cast[edit]

text:
Colin Firth as Harry Hart / Galahad
Julianne Moore as Poppy Adams
Taron Egerton as Gary "Eggsy" Unwin / Galahad
Mark Strong as Merlin
Halle Berry as Ginger Ale
Elton John as himself
Channing Tatum as Tequila
Jeff Bridges as Champagne "Champ"
Pedro Pascal as Jack Daniels / Whiskey
Edward Holcroft as Charles "Charlie" Hesketh
Hanna Alström as Tilde, Crown Princess of Sweden
Poppy Delevingne as Clara Von Gluckfberg
Bruce Greenwood as the President of the United States
Emily Watson as Chief of Staff Fox

text: Michael Gambon portrays Sir Giles / Arthur, the head of Kingsman and Sophie Cookson reprises her role as Roxanne "Roxy" Morton / Lancelot. Flashback footage from The Secret Service includes Samuel L. Jackson and Sofia Boutella as Richmond Valentine and Gazelle, respectively. Tobias Bakare and Theo Barklem-Biggs return as Eggsy's friends Jamal and Ryan, with Thomas Turgoose and Calvin Demba introduced as two of Eggsy's other friends, Liam and Brandon. Furthermore, Samantha Womack makes a brief return appearance as Michelle Unwin, Eggsy's mother. Keith Allen and Tom Benedict Knight feature as Charles and Angel, two of Poppy's henchmen, while Mark Arnold portrays General McCoy, an advisor to the President of the United States. Björn Granath (in his final film performance) and Lena Endre feature as the King and Queen of Sweden, respectively. Shannon Bream and Bill Hemmer of Fox News appear as themselves.

text: Production[edit]

text: Development[edit]

text: Near the release of Kingsman: The Secret Service, Mark Millar and Matthew Vaughn stated that a sequel would be possible if the first film was to perform well at the box office, and Vaughn expressed interest in returning to direct.[5][6] Vaughn also noted that he had hoped to have Firth back in the sequel, though it was later stated that Firth would not be returning.[7][8]

text: On 29 April 2015, Fox announced that a sequel was in production, but that it was unclear if Vaughn would return due to his interest in directing a Flash Gordon film.[9] On 11 June 2015, Vaughn told Yahoo that he had begun writing the script for the sequel, and that he could return to direct.[10] In September 2015, Millar reiterated that the sequel was in development, and that Vaughn was looking for ways to bring Firth back without sacrificing the integrity of the story. Later that month, The Hollywood Reporter confirmed that Egerton had also signed on for a new Robin Hood film, which was then set to begin shooting in February 2016; Egerton's schedule was thus in conflict with the Kingsman sequel. However, in mid-October, it was confirmed that scheduling issues had been settled between both studios. Lionsgate began Robin Hood's production right after Egerton wrapped filming on Kingsman: The Golden Circle, which began in May 2016.[11]

text: Casting[edit]

text: On 17 February 2016, it was revealed that Julianne Moore was in negotiations to play the villain in the film.[12] On 10 March 2016, Halle Berry was cast in the film,[13] in a role that later turned out to be the Statesmen's tech support. In late March, Vaughn confirmed Berry's and Moore's casting, as well as the title, Kingsman: The Golden Circle. On 8 April 2016, Pedro Pascal was cast in the film as Jack Daniels,[14] and on the same day, a promotional poster was released featuring Firth's character's glasses, confirming Firth's return for the film;[15] Firth's return was later officially confirmed on 11 July 2016.[16] Channing Tatum confirmed his casting through his Twitter account, while Variety reported that Elton John was in talks for a role.[17] In late April, Vaughn talked about writing the sequel, and stated "writing this was the hardest thing I've ever done."[18] Jeff Bridges was added to the cast on 28 May 2016.[19] Vinnie Jones announced on Twitter that he had been cast, though he did not appear in the finished film.[20]

text: Filming[edit]

text: Principal photography on the film began on 15 May 2016 in Birmingham.[21][22][23] Filming also took place in Warner Bros. Studios, Leavesden. The cable car and antidote factory scenes were shot on Skyway Monte Bianco and Pointe Helbronner, located in Courmayeur, Aosta Valley, in northern Italy and Sri Lanka (dompe pola gawa,biyagama yabaraluwa).[24][25] On 13 September 2016, Kingsman: The Golden Circle completed initial filming.[26] Additional footage was filmed on location in London in December 2016.

text: Music[edit]

text: Henry Jackman and Matthew Margeson reunited to compose the music for the film. The soundtrack was released on iTunes on 22 September 2017 by Fox Music and is scheduled for a CD release on October by La-La Land Records.[27]

text: Release[edit]

text: 20th Century Fox originally scheduled Kingsman: The Golden Circle for a summer release date of 16 June 2017 but pushed the film back to 6 October 2017.[28] The film was then moved up to 20 September in the United Kingdom and 22 September 2017 in the United States likely to avoid competition with Blade Runner 2049. The film had an IMAX release.[29]

text: Marketing[edit]

text: On 20 July 2017, Fox released an animated Kingsman/Archer crossover short film featuring Eggsy and Sterling Archer.[30] On 18 September, Fox released a TV advert featuring a mock Kingsman board game.[31]

text: The beige bomber jacket for Channing Tatum's character and a shearling coat worn by Colin Firth's Harry Hart were tailored by Cromford Leather, a UK designer brand and maker of luxury leather clothing.[32] In May 2017, TAG Heuer partnered with Fox to make the TAG Heuer Connected the official watch of the Kingsman agents.[33] In August 2017, Fox partnered with Old Forester to release a Statesman edition of their 95 proof Bourbon whisky for the U.S. market.[34] In addition, GlenDronach released a Kingsman Edition 1991 of their scotch whisky. Director Vaughn cited GlenDronach as his favourite scotch whisky brand, and the distillery used casks from 1991, as it is the fictional year of Eggsy's birth. Only 240 bottles have been allocated to the U.S. market, all of which are signed by Vaughn.[35] In addition, Berry Bros. & Rudd released a Kingsman edition of their No. 3 London Dry Gin.[36] In September 2017, Hard Rock Cafe introduced the "Poppy Burger" in their menu to promote the film.[37]

text: On 8 September 2017, luxury retailer Mr Porter opened its first Kingsman shop between Berry Bros. & Rudd and Lock & Co. Hatters on St James's Street in Central London. Both the Kingsman shop and Berry Bros. & Rudd were integral locations for this film, while Lock & Co. was featured in the first film.[38]

text: Video games[edit]

text: In August 2017, it was confirmed that Kingsman: The Golden Circle would have a tie-in game to accompany its release, and that it would be a turn-based match-3 role-playing combat game, released on iOS and Android by the Korean mobile game company NHN PixelCube.[39] The game also includes characters from Kingsman: The Secret Service, and was released globally on 14 September 2017, about a week before the film's release.[40] Unlike the films, the game does not have graphic violence or explicit language, but it is classified a "12+" rating for "mild realistic violence".[41][42] In the days before the film's release, another mobile game based on the Kingsman franchise, simply titled Kingsman: The Secret Service, was announced to be in development also for iOS and Android, by American mobile game developer YesGnome. The game is a hybrid action adventure-construction simulator, where players construct impregnable secret bases, similar to Fallout Shelter, while infiltrating enemy bases in run-and-gun missions based on the plot of at least the first film.[43] The Android version is currently in early access.[44] Both games are free-to-play, offer in-app purchases, and support online player-versus-player multiplayer, with the former game requiring an Internet connection to play.

text: Home media[edit]

text: The film was released on Blu-ray on 12 December 2017 and DVD. A Target exclusive gift set includes four whiskey stones.[45] The Walmart exclusive gift set comes with a Funko Pocket Pop! Eggsy keychain.[46] A limited edition steelbook packaging is available exclusively at Best Buy in the U.S.,[47] HMV in the UK,[48] and JB Hi-Fi in Australia.[49]

text: Reception[edit]

text: Box office[edit]

text: Kingsman: The Golden Circle grossed $100.2 million in the United States and Canada and $310.6 million in other territories for a worldwide total of $410.8 million, against a production budget of $104 million.[3]

text: In North America, the film was released alongside The Lego Ninjago Movie and Friend Request and was projected to gross $40–45 million from 4,003 theaters in its opening weekend.[50] It made $3.4 million from Thursday night previews at 3,100 theaters up from the $1.4 million made by the first film and $15.3 million on its first day. It went on to open to $39 million, an increase over the first film’s $36.2 million debut and topping the box office, overtaking two-time defender It.[51] In its second week, the film initially made a projected gross of $17 million, finishing second at the box office behind It. However the following day, actual results had the film finishing atop It by a gross of $16.93 million to $16.90 million and also beat out newcomer American Made ($16.8 million).[52] The film made $8.7 million and $5.3 million in its third and fourth weeks, finishing 5th and 7th respectively. The film dropped 47% in its second weekend, making $5.7 million and falling to 5th.[53]

text: Critical response[edit]

text: Kingsman: The Golden Circle received mixed reviews.[54] On review aggregator Rotten Tomatoes, the film has an approval rating of 52% based on 248 reviews, and an average rating of 5.3/10. The site's critical consensus reads "Kingsman: The Golden Circle offers more of everything that made its predecessor so much fun but lacks the original's wild creative spark".[55] On Metacritic, the film has a weighted average score of 44 out of 100, based on 43 critics indicating "mixed or average reviews".[56] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, the same score earned by its predecessor.[51]

text: Writing for Uproxx, Amy Nicholson called the film better than the first and wrote: "Kingsman: The Golden Circle has matured just enough. Its doubled down on the mayhem and hammered out the tone. Everything is sincere even when it's insane".[57] Writing for Rolling Stone, Peter Travers gave the film 2.5 stars out of 4 and wrote "The stunts defy the laws of gravity but are no less fun for that; watch out for the fight on the ski lift. Even when Kingsman: The Golden Circle goes off the rails and it inevitably does, this cracked caper wears you down with action and giggles. Sometimes overkill can hurt so good".[58] Christopher Orr from The Atlantic said in his review "The movie is too long, too violent, too silly - too everything. Yet for those who enjoyed the original Kingsman, it is a more than adequate second act. To put it another way: First time satire, second time farce".[59]

text: Michael Phillips of the Chicago Tribune gave the film 1.5 stars and said "Kingsman: The Golden Circle offers everything – several bored Oscar winners; two scenes featuring death by meat grinder; Elton John, mugging in close-up – except a good time".[60] Wendy Ide, reviewing the film for The Guardian, gave it 1 stars and called it "a knowing sneer of a movie that shrugs off its plot holes along with a particularly unsavoury attitude to violence and a tendency to use female characters as the decorative punchline to jokes".[61] Writing for RogerEbert.com, Glenn Kenny gave the film 0/4 stars saying: "As action-packed as the movie is, it feels like it's six hours. That's in part because the pacing is so spavined; the movie lurches twitchily from set piece to set piece and spends inordinate amounts of time on shots of its sharp-dressed characters slow-motioning into the widescreen frames showing off accessories that will be sold to you by various companies in various Kingsman tie-ins all over the Internet".[62]

text: Accolades[edit]

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

Saturn Awards
June 2018
Best Action or Adventure Film
Kingsman: The Golden Circle
Pending
[63]

text: Sequel and potential spin-off[edit]

text: Vaughn has stated that he and Goldman have a third Kingsman film planned.[64] In the September 2017 edition of Total Film, Egerton revealed that his personal choice for the role of the villain of Kingsman 3 is Dwayne Johnson.[65] He also went on to suggest that this sequel may be the last as he envisions the Kingsman franchise to be a trilogy.[66]

text: Vaughn has also revealed that with the success of the Kingsman films, he is interested in making a Statesman spin-off.[67]


document_title: The Great Gatsby (2013 film)

question_text: who played jordan baker in great gatsby 2013

text: The Great Gatsby (2013 film)

text: Plot[edit]

text: In 1929, Nick Carraway, a World War I veteran, is receiving treatment for alcoholism at a psychiatric hospital. He talks about Jay Gatsby, the most hopeful man he had ever met. Nick's doctor suggests that he writes his thoughts down, since writing is Nick's passion.

text: In the summer of 1922, Nick moves from the Midwest to New York after abandoning writing. He rents a small house in the North Shore village of West Egg, next to the mansion of Gatsby, a mysterious business magnate who often holds extravagant parties. One day, while Nick has dinner with his cousin, Daisy Buchanan, and her husband, Tom, he is introduced to Jordan Baker by Daisy, who hopes to make a match between them. When Nick returns home, he sees Gatsby standing on the dock, reaching towards the green light coming from the Buchanan dock.

text: Jordan tells Nick that Tom has a mistress who lives in the "valley of ashes", an industrial dumping site between West Egg and New York City. The symbolism of the Valley of Ashes represents the moral and social decay that results from the uninhibited pursuit of wealth, as the rich indulge themselves with regard for nothing but their own pleasure. [8]Nick and Tom visit the valley and stop at a garage owned by George Wilson and his wife, Myrtle, Tom's mistress. Later, Nick receives an invitation to one of Gatsby's parties. Upon arrival, Nick learns he is the only one to receive an invitation and none of the guests have ever met Gatsby. Nick encounters Jordan, and both meet Gatsby. Gatsby offers Nick a ride to town for lunch. On the way, Gatsby tells Nick he is an Oxford graduate and war hero from a wealthy Midwestern family. They go to a speakeasy, where Gatsby introduces Nick to his business partner, Meyer Wolfsheim.

text: Jordan tells Nick that Gatsby had a relationship with Daisy years ago and is still in love with her, and that Gatsby threw parties in the hopes that Daisy would attend. The green light at the end of the Buchanan dock symbolized Gatsby's hopes and dreams for the future. Gatsby associates it with Daisy, and the reason he reaches toward it is to symbolize him reaching toward his goal that is Daisy.[9] Gatsby asks Nick to invite Daisy to tea. After an awkward reunion, Gatsby and Daisy begin an affair. Gatsby is dismayed when Daisy wants to run away with him and wants her to get a divorce. He asks Nick and Jordan to accompany him to the Buchanan home, where he and Daisy plan to tell Tom that Daisy is leaving him. During the luncheon, Tom becomes suspicious of Gatsby and Daisy, but Daisy stops Gatsby from revealing anything to Tom and suggests they all go to the Plaza Hotel. Tom drives Nick and Jordan in Gatsby's car, while Gatsby drives Daisy in Tom's car. Tom stops for gas at George's garage, where George tells him that he and Myrtle are moving and that he suspects Myrtle is unfaithful.

text: At the Plaza, Gatsby tells Tom of his affair with Daisy. Tom accuses Gatsby of having never attended Oxford and having made his fortune through bootlegging with mobsters. Daisy says she loves Gatsby but cannot bring herself to say she never loved Tom. Eventually, both Gatsby and Daisy leave. After a fight with George over her infidelity, Myrtle runs into the street and is fatally struck by Gatsby's car after mistaking it for Tom's. After learning about Myrtle's death, Tom tells George that the car belongs to Gatsby and that he suspects Gatsby was Myrtle's lover. Nick deduces Daisy was the driver, though Gatsby intends to take the blame. Nick overhears Daisy accepting Tom's promise to take care of everything, but he does not tell Gatsby. Gatsby admits to Nick that he was born penniless; his real name is James Gatz, and he had asked Daisy to wait for him until he had made something of himself.

text: The next day, Gatsby hears the phone ringing and thinks it is Daisy. Before he can answer it, he is shot and killed by George, who then kills himself. Nick is the only person other than reporters to attend Gatsby's funeral, as Daisy and Tom are leaving New York. The media paints Gatsby as Myrtle's lover and killer. Disgusted with both the city and its inhabitants, Nick leaves after taking a final walk through Gatsby's deserted mansion and reflecting on Gatsby's ability to hope. In the sanatorium, Nick finishes typing his memoir, titling it The Great Gatsby.

text: Cast[edit]

text:
Leonardo DiCaprio as Jay Gatsby
Tobey Maguire as Nick Carraway
Carey Mulligan as Daisy Buchanan
Emily Foreman as Pamela "Pammy" Buchanan
Joel Edgerton as Tom Buchanan
Elizabeth Debicki as Jordan Baker
Isla Fisher as Myrtle Wilson
Jason Clarke as George Wilson
Amitabh Bachchan as Meyer Wolfsheim
Jack Thompson as Dr. Walter Perkins
Adelaide Clemens as Catherine
Callan McAuliffe as Young Jay Gatsby
Richard Carter as Herzog
Max Cullen as Owl Eyes
Heather Mitchell as Daisy's mother
Gus Murray as Teddy Barton
Steve Bisley as Dan Cody
Vince Colosimo as Michaelis
Felix Williamson as Henri
Kate Mulvany as Mrs. Mckee
Eden Falk as Chester Mckee
Nick Jantz as Robert Stellenbosh
iOTA as Trimalchio
Brendan Maclean as Ewing Klipspringer
Kahlia and Karinna Greksa as The Twins

text: Production[edit]

text: Development[edit]

text: Prior to this version, there had already been an opera and numerous other dramatic adaptations of F. Scott Fitzgerald's acclaimed 1925 novel of the same name.[10] In December 2008, Variety reported that this film adaptation was to be made with Baz Luhrmann as director.

text: Luhrmann stated that he planned it to be more up-to-date due to its theme of criticizing the often irresponsible lifestyles of wealthy people.[11] In order to commit to the project, in September 2010 Luhrmann moved with his family from Australia to Chelsea in Lower Manhattan, where he had intended to film The Great Gatsby.[12] While Luhrmann was at the Consumer Electronics Show in January 2011, he told The Hollywood Reporter that he had been workshopping The Great Gatsby in 3D, though he had not yet decided whether to shoot in the format.[13] In late January 2011, Luhrmann showed doubt about staying on board with the project,[14] before deciding to stay.

text: In 2010, it was reported that the film was being set up by Sony Pictures Entertainment[15] but by 2011, Warner Bros. was close to acquiring a deal to finance and take worldwide distribution of The Great Gatsby.[16]

text: Casting[edit]

text: Luhrmann said the results from the movie's workshop process of auditioning actors for roles in The Great Gatsby had been "very encouraging" to him. Leonardo DiCaprio was cast first, in the title role of Jay Gatsby. It is the second time Luhrmann and DiCaprio worked together; DiCaprio costarred in Luhrmann's Romeo + Juliet (1996). Tobey Maguire was cast to play Nick Carraway.[17] Reports linked Amanda Seyfried to the lead role of Daisy Buchanan, in October 2010.[18] The next month Deadline Hollywood reported that Luhrmann had been auditioning numerous actresses, including Keira Knightley, Rebecca Hall, Amanda Seyfried, Blake Lively, Abbie Cornish, Michelle Williams, and Scarlett Johansson, as well as considering Natalie Portman, for Daisy.[15] Soon afterward, with her commitment to Cameron Crowe's We Bought a Zoo(2011), Johansson pulled out.[19]

text: On November 15, Luhrmann announced that Carey Mulligan had been cast to play Daisy after reading for the part on 2 November in New York.[17] She got the role shortly after Luhrmann showed her audition footage to Sony Pictures Entertainment executives Amy Pascal and Doug Belgrad, who were impressed by the actress' command of the character.[17] Mulligan burst into tears after learning of her casting via a phone call from Luhrmann, who informed her of his decision while she was on the red carpet at an event in New York. Luhrmann said: "I was privileged to explore the character with some of the world's most talented actresses, each one bringing their own particular interpretation, all of which were legitimate and exciting. However, specific to this particular production of The Great Gatsby, I was thrilled to pick up the phone an hour ago to the young Oscar-nominated British actress Carey Mulligan and say to her: 'Hello, Daisy Buchanan.'"[17]

text: In April, Ben Affleck was in talks about playing the role of Tom Buchanan but had to pass due to a scheduling conflict with Argo (2012).[20] Several weeks later, Affleck was replaced by Joel Edgerton.[21] Bradley Cooper had previously lobbied for the part,[21] and Luke Evans was a major contender.[22] Isla Fisher was cast to play Myrtle Wilson.[23] Australian newcomer Elizabeth Debicki won the part of Jordan Baker, right after graduating from Victorian College of the Arts.[24][25]

text: While casting for the supporting role of Jordan, the filmmaker said the character must be "as thoroughly examined as Daisy, for this production, for this time", adding, "It's like Olivier's Hamlet was the right Hamlet for his time. Who would Hamlet be today? Same with a Jordan or a Daisy".[26] In June 2011, Jason Clarke was cast as George B. Wilson.[27] Indian actor Amitabh Bachchan makes a cameo appearance as Meyer Wolfshiem; this was his first Hollywood role.[28]

text: Filming[edit]

text: The Great Gatsby was planned to be filmed in the New York City area where the novel is set, starting in June 2011.[12] The director instead opted to shoot principal photography in Sydney. Filming began on September 5, 2011, at Fox Studios Australia and finished on December 22, 2011, with additional shots filmed in January 2012.[29][30] The film was shot with Red Epic digital cameras and Zeiss Ultra Prime lenses.[31][32] Originally scheduled for a December 25, 2012 release, on August 6, 2012, it was reported that the film was being moved to a summer 2013 release date.[33] In September 2012, this date was confirmed to be May 10, 2013. The film opened the 66th Cannes Film Festival on May 15, 2013,[34] shortly following its wide release in RealD 3D and 2D formats.

text: Sets[edit]

text: In creating the background scenery for the world depicted in the film, designer Catherine Martin stated that the team styled the interior sets of Jay Gatsby's mansion with gilded opulence, in a style that blended establishment taste with Art Deco.[35] The long-destroyed Beacon Towers, thought by scholars to have partially inspired Fitzgerald's Jay Gatsby estate, was used as a main inspiration for Gatsby's home in the film.[35][36] The filming for the exterior of Jay Gatsby's mansion was the college building of the International College of Management, Sydney,[37] Some inspiration was also drawn from other Gold Coast, Long Island, mansions, including Oheka Castle and La Selva Mansion.[38] Features evoking the Long Island mansions were added in post-production.[38]

text: The inspiration for the film version of the Buchanan estate came from Old Westbury Gardens.[35] The mansion exterior was built on a soundstage, with digital enhancements added.[38] The interior sets for the Buchanan mansion were inspired by the style of Hollywood Regency.[35]

text: The home of Nick Carraway was conceived as an intimate cottage, in contrast with the grandeur of the neighboring Gatsby mansion. Objects chosen adhered to a central theme of what the designers saw as classic Long Island. The architecture conjures American Arts and Crafts, with Gustav Stickley-type furnishings inside and an Adirondack-style swing out.[38]

text: The opening scene was filmed from Rivendell Child, Adolescent and Family Unit in Concord, Sydney, only a few kilometres from Sydney 2000 Olympic Stadium.

text: Costumes[edit]

text: Many apparel designers were approached in collaboration of the film's costumes. The Great Gatsby achieved the iconic 1920s look by altering pieces from the Prada and Miu Miu fashion archives. Martin also collaborated with Brooks Brothers for the costumes worn by the male cast members and extras. Tiffany & Co. provided the jewelry for the film. Catherine Martin and Miuccia Prada were behind the wardrobe and worked closely together to create pieces with "the European flair that was emerging amongst the aristocratic East Coast crowds in the 1920s"[39]

text: Costume historians of the period, however, said that the costumes were not authentic, but instead modernized the 1920s-era fashions to look more like modern fashions. Most prominently, the women were clothed to emphasize their breasts, such as Daisy's push-up bra, in contrast to the flat-chested fashions of the era. While the book was set in 1922, the movie included fashions from the entire decade of the 1920s and even the 1930s. Many of the fashions from archives were concepts from runways and fashion magazines that were never worn by women in real life. Martin says that she took the styles of the 1920s and made them sexier, and was trying to interpret 1920s styles for a modern audience. Alice Jurow, of the Art Deco Society of California, said that she loved the movie, but most of their members prefer more period-perfect films. The men's costumes were more authentic, except that the pants were too tight.[40]

text: Marketing[edit]

text: The first trailer for The Great Gatsby was released on May 22, 2012,[41] almost a year before the film's release. Songs featured in various trailers include: "No Church in the Wild" by Jay-Z and Kanye West; a cover of U2's "Love Is Blindness" performed by Jack White; a cover of The Turtles' "Happy Together" by the band Filter; a cover of Amy Winehouse's "Back to Black" performed by André 3000 and Beyoncé; "Young and Beautiful" performed by Lana Del Rey; and two songs, "Bedroom Hymns" and "Over the Love", performed by Florence and the Machine.[42]

text: On April 15, 2013, Brooks Brothers premiered "The Gatsby Collection", a line of men's clothing, shoes and accessories "inspired by the costumes designed by Catherine Martin for Baz Luhrmann's The Great Gatsby". According to Fashion Weekly, "The looks weren't simply based on 1920s style: the new duds were designed based on the brand's actual archives [...] Brooks Brothers was one of the initial arbiters of Gatsby-era look. The actual costumes, designed by Catherine Martin, will be on display in select Brooks Brothers boutiques."[43][44]

text: On April 17, 2013, Tiffany & Co. unveiled windows at its Fifth Avenue flagship store "inspired by" Luhrmann's film and created in collaboration with Luhrmann and costumer Catherine Martin. The jewelry store also premiered "The Great Gatsby Collection" line of jewelry designed in anticipation of the film. The collection comprises 7 pieces: a brooch, a headpiece (both reportedly based on archival Tiffany designs), a necklace, and four different rings, including one in platinum with a 5.25-carat diamond, priced at US$875,000.[45][46][47]

text: Soundtrack[edit]

text: Released on May 7, the film's soundtrack is also available in a deluxe edition; a Target exclusive release also features three extra tracks.[42] The film score was executive-produced by Jay-Z[48] and The Bullitts.[49]

text: Penned by Lana Del Rey and the film's director, Baz Luhrmann, the song "Young and Beautiful" was released to contemporary hit radio as a single, and was used as the film's buzz single.[50] A snippet of the track appeared in the official trailer for the film and played during the scene where the characters portrayed by Leonardo DiCaprio and Carey Mulligan express their romantic feelings for one another.[51] Hip hop magazine Rap-Up called the single "haunting",[50] while MTV called it "somber-sounding".[51] The track performed by Florence and the Machine, "Over the Love", references the "green light" symbol from the novel in its lyrics.[48] Chris Payne of Billboard praised Beyoncé and André 3000's cover of "Back to Black", made unique with a downtempo EDM wobble.[48] The xx recorded "Together" for the film, with Jamie Smith telling MTV that the band's contribution to the soundtrack sounds like "despair",[52] and revealing that it utilizes a 60-piece orchestra.

text: Speaking of his goals for the movie's musical backdrop, Baz Luhrmann expressed his desire to blend the music of the Jazz Age, associated with the 1922 setting of the story, with a modern spin. Much like his modern twists applied in Moulin Rouge! and Romeo + Juliet, Baz uses the movie's music not as a background, but instead prominently in the foreground, which takes on a character of its own.[53]

text: Reception[edit]

text: Box office[edit]

text: The Great Gatsby earned US$144.8 million in North America, and US$206.2 million in other countries, for a worldwide total of US$351 million.[54] Calculating in all expenses, Deadline.com estimated that the film made a profit of $58.6 million.[55]

text: In North America, The Great Gatsby earned US$19.4 million on its opening Friday, including US$3.25 million from Thursday night and midnight shows.[56] It went on to finish in second place, behind Iron Man 3, during its opening weekend, with US$51.1 million.[57] This was the sixth-largest opening weekend for a film that did not debut in first place,[58] the second largest opening weekend for a film starring Leonardo DiCaprio behind Inception,[59] and Luhrmann's highest-grossing movie.[60]

text: Critical response[edit]

text: On review aggregation website Rotten Tomatoes the film has an approval rating of 48% based on 264 reviews, with an average rating of 5.8/10. The site's critical consensus reads, "While certainly ambitious—and every bit as visually dazzling as one might expect—Baz Luhrmann's The Great Gatsby emphasizes visual splendor at the expense of its source material's vibrant heart."[61] Metacritic gives the film a score of 55 out of 100, based on 45 critics, indicating "mixed or average reviews".[62] Audiences polled by the market research firm CinemaScore gave an average grade of "B" on an A+ to F scale.[56]

text: Joe Morgenstern of The Wall Street Journal felt the elaborate production designs were a misfire and likened the film to the Roaring Twenties themselves as Fitzgerald envisioned and criticized them, stating that what is "intractably wrong with the film is that there's no reality to heighten; it's a spectacle in search of a soul."[63] The Chicago Reader review felt "Luhrmann is exactly the wrong person to adapt such a delicately rendered story, and his 3D feature plays like a ghastly Roaring 20s blowout at a sorority house."[64] In The Atlantic, Christopher Orr observed that "The problem is that when the movie is entertaining it's not Gatsby, and when it's Gatsby it's not entertaining."[65]

text: The positive reviews included A. O. Scott of The New York Times, who felt the adaptation was "a lot of fun" and "less a conventional movie adaptation than a splashy, trashy opera, a wayward, lavishly theatrical celebration of the emotional and material extravagance that Fitzgerald surveyed with fascinated ambivalence"; Scott advised "the best way to enjoy the film is to put aside whatever literary agenda you are tempted to bring with you."[66] Ty Burr of The Boston Globe reserved special praise for DiCaprio's performance, saying "magnificent is the only word to describe this performance – the best movie Gatsby by far, superhuman in his charm and connections, the host of revels beyond imagining, and at his heart an insecure fraud whose hopes are pinned to a woman."[67]

text: The Scene Magazine gave the movie a "B-" rating, and praised the actors' performances, in particular saying that "the stand-out actor is Joel Edgerton as Tom Buchanan doing an excellent job of showing the character’s gruffness, despite the one-dimensionality given to him".[68] A granddaughter of Fitzgerald praised the style and music of the film.[69]

text: Tobey Maguire's role as Nick was given mixed to negative reviews from critics, with Philip French of The Guardian calling him "miscast or misdirected;"[70] Ann Hornaday of The Washington Post saying "Tobey Maguire is his usual recessive presence, barely registering as either a dynamic part of the events he describes or their watchful witness;"[71] and Elizabeth Weitzman of The New York Daily News saying despite "the wry-observational skills needed for Nick's Midwestern decency", the character is "directed toward a wide-eyed, one-note performance".[72] Rick Groen of The Toronto Star was more positive of Maguire's character, saying "our narrator, [is] prone to his occasionally purple rhetoric. But that imposed conceit, the image of a talented depressive writing from inside the bauble of his imagination, seems to validate his inflated prose and, better yet, lets us re-appreciate its inherent poetry."[73]

text: in 2017, while promoting Mudbound, Carey Mulligan has since revealed that she's not a fan of her own performance in this film, believing that the huge scale of the project overwhelmed her at the time, and after completing it decided to focus on smaller films that would be more likely to have smaller and more tightly-knit casts and crews.

text: Accolades[edit]

text:
Awards

Award
Date of ceremony
Category
Recipients and nominees
Result

Academy Awards[74][75]
March 2, 2014
Best Production Design
Catherine Martin (Art Direction); Beverley Dunn (Set Decoration)
Won

Best Costume Design
Catherine Martin
Won

AACTA Awards
January 30, 2014
Best Film
Baz Luhrmann, Catherine Martin, Douglas Wick, Lucy Fisher, and Catherine Knapman
Won

Best Direction
Baz Luhrmann
Won

Best Adapted Screenplay
Baz Luhrmann and Craig Pearce
Won

Best Actor in a Leading Role
Leonardo DiCaprio
Won

Best Actress in a Leading Role
Carey Mulligan
Nominated

Best Actor in a Supporting Role
Joel Edgerton
Won

Best Actress in a Supporting Role
Elizabeth Debicki
Won

Isla Fisher
Nominated

Best Cinematography
Simon Duggan
Won

Best Editing
Matt Villa, Jason Ballantine, and Jonathan Redmond
Won

Best Original Music Score
Craig Armstrong
Won

Best Sound
Wayne Pashley, Jenny Ward, Fabian Sanjurjo, Steve Maslow, Phil Heywood, and Guntis Sics
Won

Best Production Design
Catherine Martin, Karen Murphy, Ian Gracie, and Beverley Dunn
Won

Best Costume Design
Catherine Martin, Silvana Azzi Heras, and Kerry Thompson
Won

AACTA International Awards
January 10, 2014
Best Supporting Actor
Joel Edgerton
Nominated

Best Direction
Baz Luhrmann
Nominated

Art Directors Guild[76]
February 8, 2014
Excellence in Production Design – Period Film
Catherine Martin
Won

British Academy Film Awards[77]
February 16, 2014
Best Costume Design
Catherine Martin
Won

Best Make-up and Hair
Maurizio Silvi, Kerry Warn
Nominated

Best Production Design
Catherine Martin, Beverley Dunn
Won

Costume Designers Guild[78]
February 22, 2014
Excellence in Period Film
Catherine Martin
Nominated

Critics' Choice Movie Awards[79]
January 16, 2014
Best Costume Design
Catherine Martin
Won

Best Production Design
Catherine Martin, Beverley Dunn
Won

Best Song
"Young and Beautiful"- Lana Del Rey
Nominated

Gay and Lesbian Entertainment Critics Association[80]
January 21, 2014
Campy Flick of the Year

Nominated

Visually Striking Film of the Year

Nominated

Empire Awards[81]
March 30, 2014
Best Female Newcomer
Elizabeth Debicki
Nominated

Grammy Awards[82]
January 26, 2014
Best Compilation Soundtrack for Visual Media
Baz Luhrmann
Nominated

Best Song Written For Visual Media
Young and Beautiful
Music by Lana Del Rey and Rick Nowels, Lyrics by Lana Del Rey
Nominated

Best Score Soundtrack For Visual Media
Craig Armstrong
Nominated

International 3D Society's Creative Arts Awards[83]
January 28, 2014
Outstanding Live Action 3D Feature Film

Nominated

Motion Picture Sound Editors Golden Reel Awards[84][85]
February 16, 2014
Best Sound Editing: Music Score in a Feature Film
Jason Ruder
Won

Satellite Awards
February 23, 2014
Best Art Direction and Production Design
Catherine Martin (Art Direction); Beverley Dunn (Set Decoration)
Won

Best Costume Design
Catherine Martin
Nominated

Best Original Song
Young and Beautiful
Music by Lana Del Rey and Rick Nowels, Lyrics by Lana Del Rey
Won

St. Louis Gateway Film Critics Association
December 14, 2013
Best Cinematography
Simon Duggan
Nominated

Best Art Direction

Won

Best Soundtrack

Nominated

Visual Effects Society Awards[86]
February 12, 2014
Outstanding Supporting Visual Effects in a Feature Motion Picture
Chris Godfrey, Prue Fletcher and Joyce Cox
Nominated

Washington D.C. Area Film Critics Association
December 9, 2013
Best Director
Baz Luhrmann
Nominated

Best Art Direction
Catherine Martin and Beverley Dunn
Won

Best Cinematography
Simon Duggan
Nominated

Young Artist Awards[87]
May 4, 2014
Best Supporting Young Actor in a Feature Film
Callan McAuliffe
Won