document_title: Harry Potter (film series)

question_text: when did the first harry potter film come out

question_tokens: when did the first harry potter film come out

root

text: Harry Potter (film series)

text: Origins

text: Late in 1997, film producer David Heyman's London offices received a copy of the first book in what would become Rowling's series of seven Harry Potter novels. The book, Harry Potter and the Philosopher's Stone, was relegated to a low-priority bookshelf, where it was discovered by a secretary who read it and gave it to Heyman with a positive review. Consequently, Heyman, who had originally disliked "the rubbish title", read the book himself. Highly impressed by Rowling's work, he began the process that led to one of the most successful cinematic franchises of all time.[11]

tag: p

text: Heyman's enthusiasm led to Rowling's 1999 sale of the film rights for the first four Harry Potter books to Warner Bros. for a reported £1 million (US$2,000,000).[12] A demand Rowling made was that the principal cast be kept strictly British, allowing nevertheless for the inclusion of many Irish actors, such as Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[13] Rowling was hesitant to sell the rights because she "didn't want to give them control over the rest of the story" by selling the rights to the characters, which would have enabled Warner Bros. to make non-author-written sequels.[14]

text: Although Steven Spielberg initially negotiated to direct the first film, he declined the offer.[15] Spielberg wanted the adaptation to be an animated film, with American actor Haley Joel Osment providing Harry Potter's voice.[16][not in citation given] Spielberg contended that, in his opinion, there was every expectation of profit in making the film. He claims that making money would have been like "shooting ducks in a barrel. It's just a slam dunk. It's just like withdrawing a billion dollars and putting it into your personal bank accounts. There's no challenge".[17] In the "Rubbish" Bin section of her website, Rowling maintains that she had no role in choosing directors for the films, writing "Anyone who thinks I could (or would) have 'veto-ed' him [Spielberg] needs their Quick-Quotes Quill serviced."[18]

text: After Spielberg left, conversations began with other directors, including Chris Columbus, Jonathan Demme, Terry Gilliam, Mike Newell, Alan Parker, Wolfgang Petersen, Rob Reiner, Tim Robbins, Brad Silberling, and Peter Weir.[19] Petersen and Reiner both pulled out of the running in March 2000.[20] It was then narrowed down to Columbus, Gilliam, Parker, and Silberling.[21] Rowling's first choice was Terry Gilliam.[22] However, on 28 March 2000 Columbus was appointed as director of the film, with Warner Bros. citing his work on other family films such as Home Alone and Mrs. Doubtfire as influences for their decision.[23]

text: Harry Potter is the kind of timeless literary achievement that comes around once in a lifetime. Since the books have generated such a passionate following across the world, it was important to us to find a director that has an affinity for both children and magic. I can't think of anyone more ideally suited for this job than Chris [Columbus].

text: Steve Kloves was selected to write the screenplay for the first film. He described adapting the book as "tough" since it did not "lend itself to adaptation as well as the next two books". Kloves was sent a "raft" of synopses of books proposed as film adaptations, with Harry Potter being the only one that jumped out at him. He went out and bought the book, becoming an instant fan. When speaking to Warner Bros. he stated that the film had to be British and true to the characters.[24] David Heyman was confirmed to produce the film.[23] Rowling received a large amount of creative control for the film, an arrangement that Columbus did not mind.[25]

text: Warner Bros. had initially planned to release the first film over the 4 July 2001 weekend, making for such a short production window that several of the originally proposed directors had withdrawn themselves from contention. Eventually, due to time constraints, the date was put back to 16 November 2001.[26]

text: Casting the roles of Harry, Ron, and Hermione

text: In 2000, after a seven-month search, lead actor Daniel Radcliffe was discovered by producer David Heyman and writer Steve Kloves seated just behind them in a theatre. In Heyman's own words, "There sitting behind me was this boy with these big blue eyes. It was Dan Radcliffe. I remember my first impressions: He was curious and funny and so energetic. There was real generosity too, and sweetness. But at the same time he was really voracious and with hunger for knowledge of whatever kind."[11]

text: Radcliffe had already established himself as an actor in the 1999 BBC television production of David Copperfield in which he played the title role's childhood years. Heyman persuaded Radcliffe's parents to allow him to audition for the part of Harry Potter, which involved Radcliffe being filmed.[11] (This screen test footage was released via the first set of Ultimate Editions in 2009.)[27] Rowling was enthusiastic after viewing Radcliffe's filmed test, saying she didn't think there was a better choice for the part of Harry Potter.[11][28]

text: Also in 2000, the then unknown British actors Emma Watson and Rupert Grint were selected from thousands of auditioning children to play the roles of Hermione Granger and Ron Weasley, respectively. Their only previous acting experience was in school plays. Grint was eleven years old and Watson ten at the time they were cast.[29]

text: Los Angeles Times writer Geoff Boucher, who conducted the above-mentioned interview with Heyman, added that the casting of the three major roles "is especially impressive in hindsight. The trio's selection was arguably one of the best show-business decisions over the past decade... they have shown admirable grace and steadiness in the face of teen superstardom."[11][28]

text: Production

text: Filming of the series began at Leavesden Studios, Hertfordshire, England, in September 2000 and ended in December 2010, with post-production on the final film lasting until summer 2011.[6] Leavesden Studios was the main base for filming Harry Potter, and it opened to the public as a studio tour in 2012 (renamed as Warner Bros. Studios, Leavesden).[30]

text:
Motion Picture

Director

Writer

Producer(s) [n 1]

Composer

Rating

Novel by J. K. Rowling

Harry Potter and the Philosopher's Stone

Chris Columbus

Steve Kloves

David Heyman

John Williams

PG

Harry Potter and the Philosopher's Stone

Harry Potter and the Chamber of Secrets

Harry Potter and the Chamber of Secrets

Harry Potter and the Prisoner of Azkaban

Alfonso Cuarón

David Heyman, Chris Columbus and Mark Radcliffe

Harry Potter and the Prisoner of Azkaban

Harry Potter and the Goblet of Fire

Mike Newell

David Heyman

Patrick Doyle

PG-13

Harry Potter and the Goblet of Fire

Harry Potter and the Order of the Phoenix

David Yates

Michael Goldenberg

David Heyman and David Barron

Nicholas Hooper

Harry Potter and the Order of the Phoenix

Harry Potter and the Half-Blood Prince

Steve Kloves

PG

Harry Potter and the Half-Blood Prince

Harry Potter and the Deathly Hallows – Part 1

David Heyman, David Barron and J. K. Rowling

Alexandre Desplat

PG-13

Harry Potter and the Deathly Hallows

Harry Potter and the Deathly Hallows – Part 2

tag: table

text: David Heyman produced all the films in the series with his production company Heyday Films, while David Barron joined the series as an executive producer on Chamber of Secrets and Goblet of Fire. Barron was later appointed producer on the last four films. Chris Columbus was an executive producer on the first two films alongside Mark Radcliffe and Michael Barnathan, but he became a producer on the third film alongside Heyman and Radcliffe. Other executive producers include Tanya Seghatchian and Lionel Wigram. J. K. Rowling, author of the series, was asked to become a producer on Goblet of Fire but declined. She subsequently accepted the role on the two-part Deathly Hallows.[31]

text: Heyday Films and Columbus' company 1492 Pictures collaborated with Duncan Henderson Productions in 2001, Miracle Productions in 2002, and P of A Productions in 2004. Even though Prisoner of Azkaban was the final film produced by 1492 Pictures, Heyday Films continued with the franchise and collaborated with Patalex IV Productions in 2005. The sixth film in the series, Half-Blood Prince, was the most expensive film to produce as of  2009[update].

text: Warner Bros. split the seventh and final novel in the series, Deathly Hallows, into two cinematic parts. The two parts were filmed back-to-back from early 2009 to summer 2010, with the completion of reshoots taking place on 21 December 2010; this marked the end of filming Harry Potter. Heyman stated that Deathly Hallows was "shot as one film" but released in two feature-length parts.[32]

text: Tim Burke, the visual effects supervisor of the series, said of the production on Harry Potter, "It was this huge family; I think there were over 700 people working at Leavesden, an industry in itself." David Heyman said, "When the first film opened, no way did I think we'd make eight films. That didn't seem feasible until after we'd done the fourth." Nisha Parti, the production consultant on the first film, said that Heyman "made the first film very much the way he felt the studio Warner Bros. wanted to make it." After the film's success, Heyman was given "more freedom".[33]

text: One of the aims of the filmmakers from the beginning of production was to develop the maturity of the films. Chris Columbus stated, "We realised that these movies would get progressively darker. Again, we didn't know how dark but we realised that as the kids get older, the movies get a little edgier and darker."[34] This transpired with the succeeding three directors who would work on the series in the following years, with the films beginning to deal with issues such as death, betrayal, prejudice, and political corruption as the series developed narratively and thematically.[5][35]

text: Directors

text: After Chris Columbus had finished working on Harry Potter and the Philosopher's Stone, he was hired to direct the second film, Harry Potter and the Chamber of Secrets. The production started within a week after the release of the first film. Columbus was set to direct all entries in the series,[36] but he did not want to return for the third film, Harry Potter and the Prisoner of Azkaban, claiming he was "burned out".[37] He moved to the position of producer, while Alfonso Cuarón was approached for the role of director. He was initially nervous about directing the instalment since he had not read any of the books or seen the films. After reading the series, he changed his mind and signed on to direct since he had immediately connected to the story.[38]

text: Because Cuarón decided not to direct the fourth instalment, Harry Potter and the Goblet of Fire, a new director had to be selected.[39] Mike Newell was chosen to direct the film, but he declined to direct the next film, Harry Potter and the Order of the Phoenix, which was given to David Yates, who also directed Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, becoming the only director to helm more than one film since Chris Columbus.

text: Chris Columbus said his vision of the first two films was of a "golden storybook, an old-fashioned look", while Alfonso Cuarón changed the visual tone of the series, desaturated the colour palette, and expanded the landscape around Hogwarts.[34][39] Mike Newell decided to direct the fourth film as a "paranoid thriller", while David Yates wanted to "bring a sense of jeopardy and character to the world".[40][41] Cuarón, Newell, and Yates have said that their challenge was striking a balance between making the films according to their individual vision, while working within a cinematic world already established by Columbus.[39][40][41]

text: David Heyman commented on the "generosity of the directors" by revealing that "Chris spent time with Alfonso, Alfonso spent time with Mike and Mike spent time with David, showing him an early cut of the film, talking through what it means to be a director and how they went about [making the films]."[42]

text: David Heyman also said, "I suppose Chris Columbus was the most conservative choice from the studio's point of view. But he expressed real passion."[33] Producer Tanya Seghatchian said they were "more adventurous" in choosing a director for the third film and went straight to Alfonso Cuarón.[33] Mike Newell became the first British director of the series when he was chosen for the fourth film; Newell was considered to direct the first film before he dropped out.[33] David Yates directed the final films after David Heyman thought him capable of handling the edgy, emotional, and political material of the later novels.[43]

text: All the directors have been supportive of each other. Chris Columbus praised the character development in the films, while Alfonso Cuarón admired the "quiet poetry" of David Yates' films.[34][39] Mike Newell noted that each director had a different heroism, and David Yates views the first four films "respectfully and enjoy[s] them."[40][41] Daniel Radcliffe said Yates "took the charm of the films that Chris made and the visual flair of everything that Alfonso did and the thoroughly British, bombastic nature of the film directed by Mike Newell" and added "his own sense" of realism.[44]

text: Scripts

text: Steve Kloves wrote the screenplays for all but the fifth film, which was penned by Michael Goldenberg. Kloves had direct assistance from J.K. Rowling, though she allowed him what he described as "tremendous elbow room". Rowling asked Kloves to remain faithful to the spirit of the books; thus, the plot and tone of each film and its corresponding book are virtually the same, albeit with some changes and omissions for purposes of cinematic style, time, and budget constraints. Michael Goldenberg also received input from Rowling during his adaptation of the fifth novel; Goldenberg was originally considered to adapt the first novel before the studio chose Kloves.[45]

text: In a 2010 interview, David Heyman briefly explained the book-to-film transition. He commented on Rowling's involvement in the series, stating that she understood that "books and films are different" and was "the best support" a producer could have. Rowling had overall approval on the scripts, which were viewed and discussed by the director and the producers. Heyman also said that Kloves was the "key voice" in the process of adapting the novels and that certain aspects from the books needed to have been excluded from the scripts due to the filmmakers' decision to keep the main focus on Harry's journey as a character, which would ultimately give the films a defined structure. Heyman mentioned that some fans "don't necessarily understand the adaptation process" and that the filmmakers would have loved to "have everything" from the books in the films but noted that it was not possible since they had "neither time nor cinematic structure" to do so. He finished by saying that adapting a novel to the screen is "a really considered process."[46]

text: Because the films were being made as the novels were being published, the filmmakers had no idea of the story's outcome until the release of the final novel in 2007. Kloves spoke of his relationship with Rowling when adapting the novels by saying, "The thing is about Jo, which is remarkable for someone who had no experience with the filmmaking process, was her intuition. We had a conversation the very first day I met her where she said, 'I know the movies can't be the books... because I know what's coming and it's impossible to fully dramatise on screen what I'm going to write. But I just ask you to be true to the characters; that's all I care about.'"[47] Kloves also said, "I don't know what compelled me to say this [to Rowling], but I said, 'I've just got to warn you my favourite character is not Harry. My favourite character is Hermione.' And I think for some weird reason, from that moment on, she sort of trusted me."[47]

text: Cast and crew

text: Aside from the three lead actors, other notable cast members include Robbie Coltrane as Rubeus Hagrid, Tom Felton as Draco Malfoy, Alan Rickman as Severus Snape, and Dame Maggie Smith as Minerva McGonagall. Richard Harris, who played the role of Professor Albus Dumbledore, died on 25 October 2002 causing the role to be re-cast for the third instalment, Harry Potter and the Prisoner of Azkaban. David Heyman and director Alfonso Cuarón chose Michael Gambon to portray the character of Dumbledore, which he did for all succeeding films. Notable recurring cast members include Helena Bonham Carter as Bellatrix Lestrange, Warwick Davis as Filius Flitwick, Ralph Fiennes as Lord Voldemort, Brendan Gleeson as Alastor Moody, Richard Griffiths as Vernon Dursley, Jason Isaacs as Lucius Malfoy, Gary Oldman as Sirius Black, Fiona Shaw as Petunia Dursley, Timothy Spall as Peter Pettigrew, David Thewlis as Remus Lupin, Emma Thompson as Sybill Trelawney, Mark Williams as Arthur Weasley, and Julie Walters as Molly Weasley.

text: The series has seen many returning crew members from various departments, including Tim Burke, visual effects supervisor; Peter Doyle, digital film colourist; Nick Dudman, make-up and creature effects designer; David Holmes, stunt double; Amanda Knight, make-up artist; Stephenie McMillan, set designer; Greg Powell, stunt coordinator; Jany Temime, costume designer; and Fiona Weir, casting director.

text: Set design

text: The production designer for all eight films is Stuart Craig. Assisted by Stephenie McMillan, Craig has created iconic sets pieces including the Ministry of Magic, the Chamber of Secrets, Malfoy Manor, and the layout for the CGI Horcrux Cave. Because the novels were being published as the films were being made, Craig was required to rebuild some sets for future films and alter the design of Hogwarts.[50]

text: He said, "In the early days, every time you saw the exterior of Hogwarts, it was a physical miniature," which was made by craftsmen and occupied a large sound stage.[52][53] "We ended up with a profile of how Hogwarts looked, a skyline that actually I didn't design, and it wasn't always satisfactory, and as all the novels got written and movies got made there were new requirements [for buildings]. The [Astronomy Tower] definitely wasn't there originally, and so we were able to add that substantial piece. And in the last film, we needed an arena for the battle for Hogwarts – the big courtyard outside doubled in size, and if you look at the first movie it wasn't there at all. There were quite some liberties taken with the continuity of Hogwarts."[54] In the last film, Craig used a digital model instead of a miniature to "embrace the latest technology".[53]

text: On the method of creating the sets, Craig said he often started by sketching ideas onto a blank sheet of paper.[55] Stephanie McMillan also said that "each film always had plenty of new challenges," citing the changes in visual style between directors and cinematographers as an example, along with the developing story in the novels. Due to J.K. Rowling's descriptions of various settings in the novels, Craig noted his "responsibility was to place it together".[56]

text: Craig commented on his experience working in the studio environment: "I'm the production designer, but on a big movie like Harry Potter I may be responsible for 30 to 35 people; from the supervising art director, and a team of art directors and assistants, to draughtsmen and junior draughtsmen, and then on to model makers, sculptors and scenic artists." He said, "Ten years ago, all the Harry Potter drawings were done in pencil. I would take my roughs and plans and sections and give them to a professional architectural illustrator, who would create concept art using pencil and colour wash on watercolour paper." He said the process changed slightly throughout the years due to, what he called, the "digital revolution" of making films.[53]

text: When filming of the series was completed, some of Craig's sets had to be rebuilt or transported for them to be displayed at the Warner Bros. studio tour.[52]

text: Cinematography

text: Six directors of photography worked on the series: John Seale on the first film, Roger Pratt on the second and fourth, Michael Seresin on the third, Sławomir Idziak on the fifth, Bruno Delbonnel on the sixth, and Eduardo Serra on the seventh and eighth. Delbonnel was considered to return for both parts of Deathly Hallows, but he declined, stating that he was "scared of repeating" himself.[57] Delbonnel's cinematography in Half-Blood Prince gained the series its only Academy Award nomination for Best Cinematography. As the series progressed, each cinematographer faced the challenge of shooting and lighting older sets (which had been around since the first few films) in unique and different ways.[58] Chris Columbus said the series' vivid colouring decreased as each film was made.[34][59]

text: Michael Seresin commented on the change of visual style from the first two films to Prisoner of Azkaban: "The lighting is moodier, with more shadowing and cross-lighting." Seresin and Alfonso Cuarón moved away from the strongly coloured and brightly lit cinematography of the first two films, with dimmer lighting and a more muted colour palette being utilised for the succeeding five films.[60] After comparing a range of digital cameras with 35 mm film, Bruno Delbonnel decided to shoot the sixth movie, Half-Blood Prince, on film rather than the increasingly popular digital format. This decision was kept for the two-part Deathly Hallows with Eduardo Serra, who said that he preferred to work with film because it was "more technically accurate and dependable".[61]

text: Because the majority of Deathly Hallows takes place in various settings away from Hogwarts, David Yates wanted to "shake things up" by using different photographic techniques such as using hand-held cameras and very wide camera lenses.[62] Eduardo Serra said, "Sometimes we are combining elements shot by the main unit, a second unit, and the visual effects unit. You have to know what is being captured – colours, contrast, et cetera – with mathematical precision." He noted that with Stuart Craig's "amazing sets and the story", the filmmakers could not "stray too far from the look of the previous Harry Potter films."[61][63]

text: Editing

text: Along with continuous changes in cinematographers, there have been five film editors to work in post-production on the series: Richard Francis-Bruce edited the first instalment, Peter Honess the second, Steven Weisberg the third, Mick Audsley the fourth, and Mark Day films five through eight.

text: Music

text: The Harry Potter series has had four composers. John Williams scored the first three films: Philosopher's Stone, Chamber of Secrets, and Prisoner of Azkaban. However, the second entry was adapted and conducted by William Ross due to Williams's conflicting commitments. Williams also created Hedwig's Theme, which is used in every film in the series.

text: After Williams left the series to pursue other projects, Patrick Doyle scored the fourth entry, Goblet of Fire, which was directed by Mike Newell, with whom Doyle had worked previously. In 2006, Nicholas Hooper started work on the score to Order of the Phoenix by reuniting with director David Yates. Hooper also composed the soundtrack to Half-Blood Prince but decided not to return for the final films.

text: In January 2010, Alexandre Desplat was confirmed to compose the score for Harry Potter and the Deathly Hallows – Part 1.[64] The film's orchestration started in the summer with Conrad Pope, the orchestrator on the first three Harry Potter films, collaborating with Desplat. Pope commented that the music "reminds one of the old days."[65] Desplat returned to score Harry Potter and the Deathly Hallows – Part 2 in 2011.[66]

text: Director David Yates stated that he wanted John Williams to return to the series for the final installment, but their schedules did not align due to the urgent demand for a rough cut of the film.[67] The final recording sessions of Harry Potter took place on 27 May 2011 at Abbey Road Studios with the London Symphony Orchestra, orchestrator Conrad Pope, and composer Alexandre Desplat.[68]

text: Doyle, Hooper, and Desplat introduced their own personal themes to their respective soundtracks, while keeping a few of John Williams's themes.

text: Visual effects

text: There have been many visual effects companies to work on the Harry Potter series. Some of these include Rising Sun Pictures, Double Negative, Cinesite, Framestore, and Industrial Light & Magic. The latter three have worked on all the films in the series, while Double Negative and Rising Sun Pictures began their commitments with Prisoner of Azkaban and Goblet of Fire, respectively. Framestore contributed by developing many memorable creatures and sequences to the series.[69] Cinesite was involved in producing both miniature and digital effects for the films.[70] Producer David Barron said that "Harry Potter created the UK effects industry as we know it. On the first film, all the complicated visual effects were done on the [US] west coast. But on the second, we took a leap of faith and gave much of what would normally be given to Californian vendors to UK ones. They came up trumps." Tim Burke, the visual effects supervisor, said many studios "are bringing their work to UK effects companies. Every facility is fully booked, and that wasn't the case before Harry Potter. That's really significant."[33]

text: Final filming

text: On 12 June 2010, filming of the Deathly Hallows – Part 1 and Deathly Hallows – Part 2 was completed with actor Warwick Davis stating on his Twitter account, "The end of an Era – today is officially the last day of principal photography on 'Harry Potter' – ever. I feel honoured to be here as the director shouts cut for the very last time. Farewell Harry & Hogwarts, it's been magic!".[71] However, reshoots of the epilogue scene were confirmed to begin in the winter of 2010. The filming was completed on 21 December 2010, marking the official closure of filming the Harry Potter franchise.[72] Exactly four years earlier on that day, author J. K. Rowling's official website revealed the title of the final novel in the series – Harry Potter and the Deathly Hallows.[73]

text: Films

text: Harry Potter and the Philosopher's Stone (2001)

text: Harry Potter is an orphaned boy brought up by his unkind Muggle (non-magical) aunt and uncle. At the age of eleven, half-giant Rubeus Hagrid informs him that he is actually a wizard and that his parents were murdered by an evil wizard named Lord Voldemort. Voldemort also attempted to kill one-year-old Harry on the same night, but his killing curse mysteriously rebounded and reduced him to a weak and helpless form. Harry became extremely famous in the Wizarding World as a result. Harry begins his first year at Hogwarts School of Witchcraft and Wizardry and learns about magic. During the year, Harry and his friends Ron Weasley and Hermione Granger become entangled in the mystery of the Philosopher's Stone which is being kept within the school.

text: Harry Potter and the Chamber of Secrets (2002)

text: Harry, Ron, and Hermione return to Hogwarts for their second year, which proves to be more challenging than the last. The Chamber of Secrets has been opened, leaving students and ghosts petrified by an unleashed monster. Harry must face up to claims that he is the heir of Salazar Slytherin (founder of the Chamber), learn that he can speak Parseltongue, and also discover the properties of a mysterious diary, only to find himself trapped within the Chamber of Secrets itself.

text: Harry Potter and the Prisoner of Azkaban (2004)

text: Harry Potter's third year sees the boy wizard, along with his friends, attending Hogwarts School once again. Professor R. J. Lupin joins the staff as Defence Against the Dark Arts teacher, while convicted murderer Sirius Black escapes from Azkaban Prison. The Ministry of Magic entrusts the Dementors of Azkaban to guard Hogwarts from Black. Harry learns more about his past and his connection with the escaped prisoner.

text: Harry Potter and the Goblet of Fire (2005)

text: During Harry's fourth year, Hogwarts plays host to a legendary event: the Triwizard Tournament. Three European schools participate in the tournament, with three 'champions' representing each school in the deadly tasks. The Goblet of Fire chooses Fleur Delacour, Viktor Krum, and Cedric Diggory to compete against each other. However, curiously, Harry's name is also produced from the Goblet thus making him a fourth champion, which results in a terrifying encounter with a reborn Lord Voldemort.

text: Harry Potter and the Order of the Phoenix (2007)

text: Harry's fifth year begins with him being attacked by Dementors in Little Whinging. Later, he finds out that the Ministry of Magic is in denial of Lord Voldemort's return. Harry is also beset by disturbing and realistic nightmares, while Professor Umbridge, a representative of Minister for Magic Cornelius Fudge, is the new Defence Against the Dark Arts teacher. Harry becomes aware that Voldemort is after a prophecy which reveals: "neither can live while the other survives". The rebellion involving the students of Hogwarts, secret organisation Order of the Phoenix, the Ministry of Magic, and the Death Eaters begins.

text: Harry Potter and the Half-Blood Prince (2009)

text: In Harry's sixth year at Hogwarts, Lord Voldemort and his Death Eaters are increasing their terror upon the Wizarding and Muggle worlds. Headmaster Albus Dumbledore persuades his old friend Horace Slughorn to return to Hogwarts as a professor as there is a vacancy to fill. There is a more important reason, however, for Slughorn's return. While in a Potions lesson, Harry takes possession of a strangely annotated school textbook, inscribed 'This is the property of the Half-Blood Prince'. Draco Malfoy struggles to carry out a deed presented to him by Voldemort. Meanwhile, Dumbledore and Harry secretly work together to discover the method on how to destroy the Dark Lord once and for all.

text: Harry Potter and the Deathly Hallows – Part 1 (2010)

text: After unexpected events at the end of the previous year, Harry, Ron, and Hermione are entrusted with a quest to find and destroy Lord Voldemort's secret to immortality – the Horcruxes. It is supposed to be their final year at Hogwarts, but the collapse of the Ministry of Magic and Voldemort's rise to power prevents them from attending. The trio undergo a long journey with many obstacles in their path including Death Eaters, Snatchers, the mysterious Deathly Hallows, and Harry's connection with the Dark Lord's mind becoming ever stronger.

text: Harry Potter and the Deathly Hallows – Part 2 (2011)

text: After destroying one Horcrux and discovering the significance of the three Deathly Hallows, Harry, Ron and Hermione continue to seek the other Horcruxes in an attempt to destroy Voldemort, who has now obtained the powerful Elder Wand. The Dark Lord discovers Harry's hunt for Horcruxes and launches an attack on Hogwarts School, where the trio return for one last stand against the dark forces that threaten the Wizarding and Muggle worlds.

text: Release

text: The rights for the first four novels in the series were sold to Warner Bros. for £1,000,000 by J.K. Rowling. After the release of the fourth book in July 2000, the first film, Harry Potter and the Philosopher's Stone, was released on 16 November 2001. In its opening weekend, the film grossed $90 million in the United States alone, which set a record opening worldwide. The succeeding three motion picture adaptations followed suit in financial success, while garnering positive reviews from fans and critics. The fifth film, Harry Potter and the Order of the Phoenix, was released by Warner Bros. on 11 July 2007 in English-speaking countries, except for the UK and Ireland, which released the movie on 12 July.[74] The sixth, Harry Potter and the Half-Blood Prince, was released on 15 July 2009 to critical acclaim and finished its theatrical run ranked as the number two grossing film of 2009 on the worldwide charts.

text: The final novel, Harry Potter and the Deathly Hallows, was split into two cinematic parts: Part 1 was released on 19 November 2010, and Part 2, the conclusion to both the final film and the series, was released on 15 July 2011.[75] Part 1 was originally scheduled to be released in 3D and 2D,[76] but due to a delay in the 3D conversion process, Warner Bros. released the film only in 2D and IMAX cinemas. However, Part 2 was released in 2D and 3D cinemas as originally planned.[77]

text: The television broadcast rights for the series in the United States are currently held by NBCUniversal, which typically airs the films on USA Network and Syfy. [78] The film series has accrued nearly 1.3 billion viewings since their television debut—the highest-watched franchise in television broadcast history.[79]

text: Reception

text: Critical response

text: All the films have been a success financially and critically, making the franchise one of the major Hollywood "tent-poles" akin to James Bond, Star Wars, Indiana Jones and Pirates of the Caribbean. The series is noted by audiences for growing visually darker and more mature as each film was released.[34][80][81][82][83] However, opinions of the films generally divide book fans, with some preferring the more faithful approach of the first two films and others preferring the more stylised character-driven approach of the later films.

text: Some also feel the series has a "disjointed" feel due to the changes in directors, as well as Michael Gambon's interpretation of Albus Dumbledore differing from that of Richard Harris. Author J. K. Rowling has been constantly supportive of the films,[84][85][86] and evaluated Deathly Hallows as her favourite one in the series. She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions – novels do not have constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations".[87]

text: Critical and public response

text:
Motion Picture

Rotten Tomatoes

Metacritic

CinemaScore

Harry Potter and the Philosopher's Stone

80% (193 reviews)[88]

64 (35 reviews)[89]

A[90]

Harry Potter and the Chamber of Secrets

82% (232 reviews)[91]

63 (35 reviews)[92]

A+[90]

Harry Potter and the Prisoner of Azkaban

91% (253 reviews)[93]

82 (40 reviews)[94]

A[90]

Harry Potter and the Goblet of Fire

88% (248 reviews)[95]

81 (38 reviews)[96]

A[90]

Harry Potter and the Order of the Phoenix

78% (245 reviews)[97]

71 (37 reviews)[98]

A−[90]

Harry Potter and the Half-Blood Prince

84% (269 reviews)[99]

78 (36 reviews)[100]

A−[90]

Harry Potter and the Deathly Hallows – Part 1

78% (265 reviews)[101]

65 (42 reviews)[102]

A[90]

Harry Potter and the Deathly Hallows – Part 2

96% (315 reviews)[103]

87 (41 reviews)[104]

A[90]

text: Accolades

text: At the 64th British Academy Film Awards in February 2011, J. K. Rowling, David Heyman, David Barron, David Yates, Alfonso Cuarón, Mike Newell, Rupert Grint and Emma Watson collected the Michael Balcon Award for Outstanding British Contribution to Cinema for the series.[105][106]

text: In addition, the American Film Institute recognised the entire series with a Special Award at the American Film Institute Awards in 2011. Special awards "are given to outstanding achievements in the moving image that do not fit into AFI's criteria for the other honorees." [107] In its press release, the Institute referred to the films as "a landmark series; eight films that earned the trust of a generation who wished for the beloved books of J.K. Rowling to come to life on the silver screen. The collective wizardry of an epic ensemble gave us the gift of growing older with Harry, Ron and Hermione as the magic of Hogwarts sprung from the films and into the hearts and minds of Muggles around the world." [107]

text: Harry Potter was also recognised by the BAFTA Los Angeles Britannia Awards, with David Yates winning the Britannia Award for Artistic Excellence in Directing for his four Harry Potter films.[108][109]

text:
Motion Picture

Academy Award nomination

Academy Award nominee

Academy Award ceremony

Harry Potter and the Philosopher's Stone

Best Art DirectionBest Costume DesignBest Original Score

Stuart Craig and Stephenie McMillanJudianna MakovskyJohn Williams

74th Academy Awards

Harry Potter and the Prisoner of Azkaban

Best Original ScoreBest Visual Effects

John WilliamsRoger Guyett, Tim Burke, John Richardson and Bill George

77th Academy Awards

Harry Potter and the Goblet of Fire

Best Art Direction

Stuart Craig and Stephenie McMillan

78th Academy Awards

Harry Potter and the Half-Blood Prince

Best Cinematography

Bruno Delbonnel

82nd Academy Awards

Harry Potter and the Deathly Hallows – Part 1

Best Art DirectionBest Visual Effects

Stuart Craig and Stephenie McMillanTim Burke, John Richardson, Christian Manz and Nicolas Aithadi

83rd Academy Awards

Harry Potter and the Deathly Hallows – Part 2

Best Art DirectionBest MakeupBest Visual Effects

Stuart Craig and Stephenie McMillanNick Dudman, Amanda Knight and Lisa TomblinTim Burke, David Vickery, Greg Butler and John Richardson

84th Academy Awards

text: Six of the eight films were nominated for a total of 12 Academy Awards.

text: Some critics, fans, and general audiences have expressed disappointment that the Harry Potter series did not win any Oscars for its achievements. However, others have pointed out that certain films in the series had uneven reviews, in contrast to the three films of The Lord of the Rings, for example, which were all critically acclaimed. This has been partially attributed to the Harry Potter franchise going through several directors with their own styles in contrast to the Lord of the Rings trilogy, which was filmed in one massive undertaking by the same director, writer, and producer.[110][111]

text: Although not successful at the Oscars, the Harry Potter series has gained success in many other award ceremonies, including the annual Saturn Awards and Art Directors Guild Awards. The series has also gained a total of 24 nominations at the British Academy Film Awards presented at the annual BAFTAs, winning several, and 5 nominations at the Grammy Awards.

text: Philosopher's Stone achieved seven BAFTA Award nominations, including Best British Film and Best Supporting Actor for Robbie Coltrane.[112] The film was also nominated for eight Saturn Awards and won for its costumes design.[113] It was also nominated at the Art Directors Guild Awards for its production design[114] and received the Broadcast Film Critics Award for Best Live Action Family Film along with gaining two other nominations.[115]

text: Chamber of Secrets won the award for Best Live Action Family Film in the Phoenix Film Critics Society. It was nominated for seven Saturn Awards, including Best Director and Best Fantasy Film. The film was nominated for four BAFTA Awards and a Grammy Award for John Williams's score. Prisoner of Azkaban won an Audience Award, as well as Best Feature Film, at the BAFTA Awards. The film also won a BMI Film Music award along with being nominated at the Grammy Awards, Visual Effect Society Awards, and the Amanda Awards. Goblet of Fire won a BAFTA award for Best Production Design as well as being nominated at the Saturn Awards, Critic's Choice Awards, and the Visual Effects Society Awards.

text: Order of the Phoenix picked up three awards at the inaugural ITV National Movie Awards.[116] At the Empire Awards, David Yates won Best Director.[117] Composer Nicholas Hooper received a nomination for a World Soundtrack Discovery Award.[118] The film was nominated at the BAFTA Awards, but did not win for Best Production Design or Best Special Visual Effects.[119] Half-Blood Prince was nominated for BAFTA Awards in Production Design and Visual Effects,[120] and it was in the longlists for several other categories, including Best Supporting Actor for Alan Rickman.[121] Amongst other nominations and wins, the film also achieved Best Family Movie at the National Movie Awards as well as Best Live Action Family Film at the Phoenix Film Critics Society Awards, along with being nominated for Best Motion Picture at the Satellite Awards.

text: Deathly Hallows – Part 1 gained two nominations at the BAFTA Awards for Best Make-Up and Hair and Best Visual Effects, along with receiving nominations for the same categories at the Broadcast Film Critics Association Awards. Eduardo Serra's cinematography and Stuart Craig's production design were also nominated in various award ceremonies, and David Yates attained his second win at the Empire Awards, this time for Best Fantasy Film. He also obtained another Best Director nomination at the annual Saturn Awards, which also saw the film gain a Best Fantasy Film nomination.[122][123] Deathly Hallows – Part 2 was released to critical acclaim, gaining a mix of audience awards. Part 2 of Deathly Hallows was also recognised at the Saturn Awards as well as the BAFTA Awards, where the film achieved a win for Best Special Visual Effects.[124]

text: Box office performance

text: As of  2018[update], the Harry Potter film series is the 3rd highest-grossing film franchise of all time, with the eight films released grossing over $7.7 billion worldwide. Without adjusting for inflation, this is higher than the first 22 James Bond films and the six films in the Star Wars franchise.[125] Chris Columbus's Philosopher's Stone became the highest-grossing Harry Potter film worldwide upon completing its theatrical run in 2002, but it was eventually topped by David Yates's Deathly Hallows – Part 2, while Alfonso Cuarón's Prisoner of Azkaban grossed the least.[126][127][128][129]

text: Six films in the Harry Potter franchise — Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, Parts 1 & 2 — have to date grossed around $216 million in IMAX theaters worldwide.[130]

text:
Motion picture

Release date

Box office gross

Budget

Ref(s)

United Kingdom

USA & Canada(approx. ticket sales)

Other countries

Worldwide

Harry Potter and the Philosopher's Stone

16 November 2001 (2001-11-16)

£66,096,060

$317,575,550(55,976,200)

$657,179,821

$974,755,371

$125 million

[131][132][132][133][134]

Harry Potter and the Chamber of Secrets

14 November 2002 (2002-11-14)

£54,780,731

$261,988,482(44,978,900)

$616,991,152

$878,979,634

$100 million

[133][134][135][136]

Harry Potter and the Prisoner of Azkaban

31 May 2004 (2004-05-31)

£45,615,949

$249,541,069(40,183,700)

$547,147,480

$796,688,549

$130 million

[133][134][137]

Harry Potter and the Goblet of Fire

18 November 2005 (2005-11-18)

£48,328,854

$290,013,036(45,188,100)

$606,898,042

$896,911,078

$150 million

[133][134][138][139]

Harry Potter and the Order of the Phoenix

11 July 2007 (2007-07-11)

£49,136,969

$292,004,738(42,442,500)

$647,881,191

$939,885,929

$150 million

[133][134][140][141]

Harry Potter and the Half-Blood Prince

15 July 2009 (2009-07-15)

£50,713,404

$301,959,197(40,261,200)

$632,457,290

$934,416,487

$250 million

[133][134][142][143]

Harry Potter and the Deathly Hallows – Part 1

19 November 2010 (2010-11-19)

£52,364,075

$295,983,305(37,503,700)

$664,300,000

$960,283,305

Less than $250 million (official)

[133][134][144][145][146]

Harry Potter and the Deathly Hallows – Part 2

15 July 2011 (2011-07-15)

£73,094,187

$381,011,219(48,046,800)

$960,500,000

$1,341,511,219

[134][146][147]

Total

£440,269,736

$7009239007659600000♠2,390,076,596

$7009533335497600000♠5,333,354,976

$7009772343157200000♠7,723,431,572

$1.155 billion

[148]

text: All-time rankings

text:
Motion picture

Rank

Ref(s)

All-time(worldwide)

All-time(United States)

All-time(United Kingdom)

Yearly(United States)

Yearly(worldwide)

Opening day(all-time)

Opening weekend(all-time)

Philosopher's Stone

#29

#54

#9

#1

#1

#66

#55

[131]

Chamber of Secrets

#46

#90

#17

#4

#2

#81

#60

[133][135][136]

Prisoner of Azkaban

#62

#106

#33

#6

#2

#47

#49

[133]

Goblet of Fire

#42

#77

#28

#3

#1

#41

#40

[133][138][139]

Order of the Phoenix

#38

#73

#25

#5

#2

#34

#77

[133][140][141]

Half-Blood Prince

#39

#65

#24

#3

#2

#24

#75

[133][142][143]

Deathly Hallows – Part 1

#34

#68

#18

#5

#3

#22

#25

[133][144][145]

Deathly Hallows – Part 2

#8

#27

#7

#1

#1

#3

#8

[147][149]

text: Legacy and influence

text:
"Harry Potter was in the vanguard of a new approach to big-budget film-making. Most modern blockbuster franchises have two things in common: they are based on known properties such as books and comics, and they are steered by respected but little-known directors."
—The Economist[150]

text: The Harry Potter films and their success have been retrospectively considered to have had a significant impact on the film industry. They are cited as having helped redefine the Hollywood blockbuster in the 21st century by initiating a shift toward established media franchises forming the basis of successful films. In the wake of the final film's release, Claudia Puig of USA Today wrote that the films "inspired every major studio to try to capture [its] alchemic formula, spawning a range of copycats and wannabes" and "also have shown Hollywood how to make a glossy blockbuster with an eye toward keeping costs down."[151] A 2009 article from The Economist argued that the films were "in the vanguard" of adaptations of established properties being the modern film franchise model, citing The Lord of the Rings, Spider-Man and The Dark Knight Trilogy as examples of successful film series that followed Harry Potter's suit.[150] Furthermore, the practice of splitting the finale of a film series into two back-to-back films began with the success of Deathly Hallows, and it would soon be replicated by The Hobbit: The Desolation of Smaug and The Battle of the Five Armies, The Twilight Saga: Breaking Dawn – Parts 1 and 2, The Hunger Games: Mockingjay – Parts 1 and 2, and Avengers: Infinity War and its untitled sequel.[152]

text: The films are also widely credited with singlehandedly signalling the popularity of films based on children's and young adult literature in the 2000s and 2010s, correlating with the book series' own literary influence. Costance Grady and Aja Romano, commenting on the whole Harry Potter franchise's legacy for Vox in light of its 20th anniversary, wrote that youth-targeted literature has since become "a go-to well of ideas for Hollywood," pointing to the successes of The Twilight Saga and The Hunger Games.[153]

text: The series has spawned a vast volume of fan fiction, with nearly 600 thousand inspired stories catalogued.[154]  Youtube hosts many fan films, ranging from amateur productions to full length films.

text: Notes

text: Jump up ^ Not including executive producers.


document_title: List of Game of Thrones episodes

question_text: how many episodes in season 7 game of thrones total

text: List of Game of Thrones episodes

text: Series overview[edit]

text:
Season
Episodes
Originally aired
Avg. viewers
(millions)

First aired
Last aired

1
10
April 17, 2011 (2011-04-17)
June 19, 2011 (2011-06-19)
2.52[14]

2
10
April 1, 2012 (2012-04-01)
June 3, 2012 (2012-06-03)
3.80[14]

3
10
March 31, 2013 (2013-03-31)
June 9, 2013 (2013-06-09)
4.97[15]

4
10
April 6, 2014 (2014-04-06)
June 15, 2014 (2014-06-15)
6.84[16]

5
10
April 12, 2015 (2015-04-12)
June 14, 2015 (2015-06-14)
6.88[17]

6
10
April 24, 2016 (2016-04-24)
June 26, 2016 (2016-06-26)
7.69[18]

7
7
July 16, 2017 (2017-07-16)
August 27, 2017 (2017-08-27)
10.26[19]

text: Episodes[edit]

text: Season 1 (2011)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

1
1
"Winter Is Coming"
Tim Van Patten
David Benioff & D. B. Weiss
April 17, 2011 (2011-04-17)
2.22[20]

2
2
"The Kingsroad"
Tim Van Patten
David Benioff & D. B. Weiss
April 24, 2011 (2011-04-24)
2.20[21]

3
3
"Lord Snow"
Brian Kirk
David Benioff & D. B. Weiss
May 1, 2011 (2011-05-01)
2.44[22]

4
4
"Cripples, Bastards, and Broken Things"
Brian Kirk
Bryan Cogman
May 8, 2011 (2011-05-08)
2.45[23]

5
5
"The Wolf and the Lion"
Brian Kirk
David Benioff & D. B. Weiss
May 15, 2011 (2011-05-15)
2.58[24]

6
6
"A Golden Crown"
Daniel Minahan
Story by : David Benioff & D. B. Weiss
Teleplay by : Jane Espenson and David Benioff & D. B. Weiss
May 22, 2011 (2011-05-22)
2.44[25]

7
7
"You Win or You Die"
Daniel Minahan
David Benioff & D. B. Weiss
May 29, 2011 (2011-05-29)
2.40[26]

8
8
"The Pointy End"
Daniel Minahan
George R. R. Martin
June 5, 2011 (2011-06-05)
2.72[27]

9
9
"Baelor"
Alan Taylor
David Benioff & D. B. Weiss
June 12, 2011 (2011-06-12)
2.66[28]

10
10
"Fire and Blood"
Alan Taylor
David Benioff & D. B. Weiss
June 19, 2011 (2011-06-19)
3.04[29]

text: Season 2 (2012)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

11
1
"The North Remembers"
Alan Taylor
David Benioff & D. B. Weiss
April 1, 2012 (2012-04-01)
3.86[30]

12
2
"The Night Lands"
Alan Taylor
David Benioff & D. B. Weiss
April 8, 2012 (2012-04-08)
3.76[31]

13
3
"What Is Dead May Never Die"
Alik Sakharov
Bryan Cogman
April 15, 2012 (2012-04-15)
3.77[32]

14
4
"Garden of Bones"
David Petrarca
Vanessa Taylor
April 22, 2012 (2012-04-22)
3.65[33]

15
5
"The Ghost of Harrenhal"
David Petrarca
David Benioff & D. B. Weiss
April 29, 2012 (2012-04-29)
3.90[34]

16
6
"The Old Gods and the New"
David Nutter
Vanessa Taylor
May 6, 2012 (2012-05-06)
3.88[35]

17
7
"A Man Without Honor"
David Nutter
David Benioff & D. B. Weiss
May 13, 2012 (2012-05-13)
3.69[36]

18
8
"The Prince of Winterfell"
Alan Taylor
David Benioff & D. B. Weiss
May 20, 2012 (2012-05-20)
3.86[37]

19
9
"Blackwater"
Neil Marshall
George R. R. Martin
May 27, 2012 (2012-05-27)
3.38[38]

20
10
"Valar Morghulis"
Alan Taylor
David Benioff & D. B. Weiss
June 3, 2012 (2012-06-03)
4.20[39]

text: Season 3 (2013)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

21
1
"Valar Dohaeris"
Daniel Minahan
David Benioff & D. B. Weiss
March 31, 2013 (2013-03-31)
4.37[40]

22
2
"Dark Wings, Dark Words"
Daniel Minahan
Vanessa Taylor
April 7, 2013 (2013-04-07)
4.27[41]

23
3
"Walk of Punishment"
David Benioff
David Benioff & D. B. Weiss
April 14, 2013 (2013-04-14)
4.72[42]

24
4
"And Now His Watch Is Ended"
Alex Graves
David Benioff & D. B. Weiss
April 21, 2013 (2013-04-21)
4.87[43]

25
5
"Kissed by Fire"
Alex Graves
Bryan Cogman
April 28, 2013 (2013-04-28)
5.35[44]

26
6
"The Climb"
Alik Sakharov
David Benioff & D. B. Weiss
May 5, 2013 (2013-05-05)
5.50[45]

27
7
"The Bear and the Maiden Fair"
Michelle MacLaren
George R. R. Martin
May 12, 2013 (2013-05-12)
4.84[46]

28
8
"Second Sons"
Michelle MacLaren
David Benioff & D. B. Weiss
May 19, 2013 (2013-05-19)
5.13[47]

29
9
"The Rains of Castamere"
David Nutter
David Benioff & D. B. Weiss
June 2, 2013 (2013-06-02)
5.22[48]

30
10
"Mhysa"
David Nutter
David Benioff & D. B. Weiss
June 9, 2013 (2013-06-09)
5.39[49]

text: Season 4 (2014)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

31
1
"Two Swords"
D. B. Weiss
David Benioff & D. B. Weiss
April 6, 2014 (2014-04-06)
6.64[50]

32
2
"The Lion and the Rose"
Alex Graves
George R. R. Martin
April 13, 2014 (2014-04-13)
6.31[51]

33
3
"Breaker of Chains"
Alex Graves
David Benioff & D. B. Weiss
April 20, 2014 (2014-04-20)
6.59[52]

34
4
"Oathkeeper"
Michelle MacLaren
Bryan Cogman
April 27, 2014 (2014-04-27)
6.95[53]

35
5
"First of His Name"
Michelle MacLaren
David Benioff & D. B. Weiss
May 4, 2014 (2014-05-04)
7.16[54]

36
6
"The Laws of Gods and Men"
Alik Sakharov
Bryan Cogman
May 11, 2014 (2014-05-11)
6.40[55]

37
7
"Mockingbird"
Alik Sakharov
David Benioff & D. B. Weiss
May 18, 2014 (2014-05-18)
7.20[56]

38
8
"The Mountain and the Viper"
Alex Graves
David Benioff & D. B. Weiss
June 1, 2014 (2014-06-01)
7.17[57]

39
9
"The Watchers on the Wall"
Neil Marshall
David Benioff & D. B. Weiss
June 8, 2014 (2014-06-08)
6.95[58]

40
10
"The Children"
Alex Graves
David Benioff & D. B. Weiss
June 15, 2014 (2014-06-15)
7.09[59]

text: Season 5 (2015)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

41
1
"The Wars to Come"
Michael Slovis
David Benioff & D. B. Weiss
April 12, 2015 (2015-04-12)
8.00[60]

42
2
"The House of Black and White"
Michael Slovis
David Benioff & D. B. Weiss
April 19, 2015 (2015-04-19)
6.81[61]

43
3
"High Sparrow"
Mark Mylod
David Benioff & D. B. Weiss
April 26, 2015 (2015-04-26)
6.71[62]

44
4
"Sons of the Harpy"
Mark Mylod
Dave Hill
May 3, 2015 (2015-05-03)
6.82[63]

45
5
"Kill the Boy"
Jeremy Podeswa
Bryan Cogman
May 10, 2015 (2015-05-10)
6.56[64]

46
6
"Unbowed, Unbent, Unbroken"
Jeremy Podeswa
Bryan Cogman
May 17, 2015 (2015-05-17)
6.24[65]

47
7
"The Gift"
Miguel Sapochnik
David Benioff & D. B. Weiss
May 24, 2015 (2015-05-24)
5.40[66]

48
8
"Hardhome"
Miguel Sapochnik
David Benioff & D. B. Weiss
May 31, 2015 (2015-05-31)
7.01[67]

49
9
"The Dance of Dragons"
David Nutter
David Benioff & D. B. Weiss
June 7, 2015 (2015-06-07)
7.14[68]

50
10
"Mother's Mercy"
David Nutter
David Benioff & D. B. Weiss
June 14, 2015 (2015-06-14)
8.11[69]

text: Season 6 (2016)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

51
1
"The Red Woman"
Jeremy Podeswa
David Benioff & D. B. Weiss
April 24, 2016 (2016-04-24)
7.94[70]

52
2
"Home"
Jeremy Podeswa
Dave Hill
May 1, 2016 (2016-05-01)
7.29[71]

53
3
"Oathbreaker"
Daniel Sackheim
David Benioff & D. B. Weiss
May 8, 2016 (2016-05-08)
7.28[72]

54
4
"Book of the Stranger"
Daniel Sackheim
David Benioff & D. B. Weiss
May 15, 2016 (2016-05-15)
7.82[73]

55
5
"The Door"
Jack Bender
David Benioff & D. B. Weiss
May 22, 2016 (2016-05-22)
7.89[74]

56
6
"Blood of My Blood"
Jack Bender
Bryan Cogman
May 29, 2016 (2016-05-29)
6.71[75]

57
7
"The Broken Man"
Mark Mylod
Bryan Cogman
June 5, 2016 (2016-06-05)
7.80[76]

58
8
"No One"
Mark Mylod
David Benioff & D. B. Weiss
June 12, 2016 (2016-06-12)
7.60[77]

59
9
"Battle of the Bastards"
Miguel Sapochnik
David Benioff & D. B. Weiss
June 19, 2016 (2016-06-19)
7.66[78]

60
10
"The Winds of Winter"
Miguel Sapochnik
David Benioff & D. B. Weiss
June 26, 2016 (2016-06-26)
8.89[79]

text: Season 7 (2017)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

61
1
"Dragonstone"
Jeremy Podeswa
David Benioff & D. B. Weiss
July 16, 2017 (2017-07-16)
10.11[80]

62
2
"Stormborn"
Mark Mylod
Bryan Cogman
July 23, 2017 (2017-07-23)
9.27[81]

63
3
"The Queen's Justice"
Mark Mylod
David Benioff & D. B. Weiss
July 30, 2017 (2017-07-30)
9.25[82]

64
4
"The Spoils of War"
Matt Shakman
David Benioff & D. B. Weiss
August 6, 2017 (2017-08-06)
10.17[83]

65
5
"Eastwatch"
Matt Shakman
Dave Hill
August 13, 2017 (2017-08-13)
10.72[84]

66
6
"Beyond the Wall"
Alan Taylor
David Benioff & D. B. Weiss
August 20, 2017 (2017-08-20)
10.24[85]

67
7
"The Dragon and the Wolf"
Jeremy Podeswa
David Benioff & D. B. Weiss
August 27, 2017 (2017-08-27)
12.07[86]

text: Home media releases[edit]

text:
Season
Episodes
DVD and Blu-ray release date

Region 1
Region 2
Region 4

1
10
March 6, 2012[87]
March 5, 2012[88]
August 10, 2012[89]

2
10
February 19, 2013[90]
March 4, 2013[91]
March 6, 2013[92]

3
10
February 18, 2014[93]
February 17, 2014[94]
February 19, 2014[95]

4
10
February 17, 2015[96]
February 16, 2015[97]
February 18, 2015[98]

5
10
March 15, 2016[99]
March 14, 2016[100]
March 16, 2016[101]

6
10
November 15, 2016[102]
November 14, 2016[103]
November 16, 2016[104]

7
7
December 12, 2017[105]
December 11, 2017[106]
December 11, 2017[107]

text: Ratings[edit]

text:
Season
Ep. 1
Ep. 2
Ep. 3
Ep. 4
Ep. 5
Ep. 6
Ep. 7
Ep. 8
Ep. 9
Ep. 10
Average

1
2.22
2.20
2.44
2.45
2.58
2.44
2.40
2.72
2.66
3.04
2.52[108]

2
3.86
3.76
3.77
3.65
3.90
3.88
3.69
3.86
3.38
4.20
3.80[108]

3
4.37
4.27
4.72
4.87
5.35
5.50
4.84
5.13
5.22
5.39
4.97[109]

4
6.64
6.31
6.59
6.95
7.16
6.40
7.20
7.17
6.95
7.09
6.84[110]

5
8.00
6.81
6.71
6.82
6.56
6.24
5.40
7.01
7.14
8.11
6.88[111]

6
7.94
7.29
7.28
7.82
7.89
6.71
7.80
7.60
7.66
8.89
7.69[112]

7
10.11
9.27
9.25
10.17
10.72
10.24
12.07
N/A
10.26[113]


document_title: Minions (film)

question_text: who does the voice of scarlet in minions

text: Minions (film)

text: Plot[edit]

text: Minions are small, yellow creatures who have existed since the beginning of time, evolving from yellow single-celled organisms into beings which exist only to serve history's most despicable masters.[14] After rolling their leader T-Rex down a volcano, getting their caveman leader eaten by a bear, crushing a Pharaoh under the pyramids while his people survive, burning Count Dracula on his birthday party, and accidentally firing a cannon at Napoleon, the Minions are driven into isolation and start a new life in a massive cave in the Arctic. After many years, the Minions become depressed, restless, and unmotivated without a master to serve. To regain their dignity and sense of purpose, Kevin, one fearless Minion, decides to set out to find a new master and asks for help. Stuart, a musically inclined Minion, and Bob, a young and inexperienced but enthusiastic Minion, are recruited.

text: The trio journeys to New York, where the year is 1968. After spending the day attempting to blend in, the Minions end up in a department store for the night, where they discover a hidden commercial broadcast for villains advertising Villain-Con; a convention for villains and supervillains in Orlando. The trio hitchhikes a ride with the Nelson family and impress them with their accidental villainy. At the convention, they see Scarlet Overkill, the first female supervillain, who hires them and takes them to her home in England.

text: Scarlet explains the plan to steal the Imperial State Crown from the Queen of England and promises to reward the Minions if they steal it but kill them if they do not. Her husband Herb supplies them with inventions to aid in the heist, but they are nearly caught when they break into the Tower of London, which leads to a chase that ends with Bob crashing into the Sword in the Stone and pulling it free, removing the Queen from the throne and becoming King Bob. Enraged, Scarlet confronts the Minions, so Bob abdicates the throne in her favor. Undeterred because she feels betrayed, Scarlet imprisons the three in a dungeon to be tortured by Herb before her coronation, but they escape with the intention to apologize to Scarlet.

text: Making their way to Westminster Abbey, the three of them interrupt the coronation by accidentally dropping a chandelier on Scarlet, who orders their execution. Dozens of villains chase them and Bob and Stuart are caught, while Kevin finds his way into a pub. He sees Scarlet on a television, promising that she will kill Stuart and Bob if Kevin does not show up by dawn. Kevin sneaks into Scarlet's home to steal weapons but inadvertently triggers a machine Herb was building and enlarges himself. He tramples through London, rescuing his friends just as the other Minions reunite with them. Scarlet tries to eradicate them, but Kevin swallows a massive missile she fires at them. Scarlet and Herb attempt to escape with her rocket-dress, but Kevin holds onto it. The missile detonates, causing it to explode. After the Minions briefly mourn him, Kevin returns, having returned to his normal size.

text: The original Queen from the earlier part of the story receives her place on the throne and crown back and rewards Bob with a tiny crown for his teddy bear and Stuart an electric guitar, and she knights Kevin for his heroism. She suddenly realizes that her crown is missing, and Kevin leads a chase after Scarlet and Herb, who survived the explosion and are fleeing through the crowd with the bejeweled crown until they are suddenly frozen in place by a young Gru, who steals the crown from them and takes off in a rocket-powered motorbike while the Minions stare in awe. Bob gives his crown to the frozen Scarlet, and the Minions see Gru as their new potential master and give chase to follow him home.

text: Cast[edit]

text:
Pierre Coffin as Kevin, Stuart, Bob and The Minions[15]
Sandra Bullock as Scarlet Overkill[16]
Jon Hamm as Herb Overkill[17]
Michael Keaton as Walter Nelson[18]
Allison Janney as Madge Nelson[19]
Steve Coogan as Professor Flux and[20] The Tower Guard
Jennifer Saunders as Queen Elizabeth II[21]
Geoffrey Rush as The Narrator[22]
Steve Carell as Young Gru[23]
Katy Mixon as Tina Nelson[24]
Michael Beattie as a VNC Announcer and Walter Nelson Jr.
Hiroyuki Sanada as Dumo, the Sumo Villain[25]
Dave Rosenbaum as Fabrice
Alex Dowding as The Royal Advisor
Paul Thornley as a News Reporter
Andy Nyman as Frankie Fishlips, a Gill-man-like creature super-villain

tag: ul

text: Production[edit]

text: Universal Studios and Illumination Entertainment first announced in July 2012, that the Minions from Despicable Me would get their own spin-off film, then planned for a 2014 release.[26] Brian Lynch, previously known for co-writing another Illumination film, Hop (2011), as well as DreamWorks Animation's Puss in Boots (2011), was asked to write the film's screenplay, due to his prior work writing for the theme park ride Despicable Me: Minion Mayhem.[27]

text: On August 21, 2012, it was announced that the film would be released on December 19, 2014.[28] In February 2013, Sandra Bullock joined the cast to voice Scarlet Overkill,[16] with Jon Hamm joining two months later as her husband Herb Overkill.[17] On September 20, 2013, the film's release date was pushed back from December 19, 2014, to July 10, 2015,[29] due to Universal's satisfaction with the successful July 2013 release of Despicable Me 2[30] and desire to exploit fully the merchandising potential of a summer film.[29]

text: Soundtrack[edit]

text:
Minions: Original Motion Picture Soundtrack

Film score by Heitor Pereira

Released
July 10, 2015

Recorded
June 23, 2015

Genre
Score

Length
67:11

Label
Back Lot Music

Heitor Pereira film scores chronology

Curious George 3: Back to the Jungle
(2015)Curious George 3: Back to the Jungle2015
Minions
(2015)
The Angry Birds Movie
(2016)The Angry Birds Movie2016

text: The official soundtrack for the film was released on July 10, 2015, by Back Lot Music. The soundtrack also features the film's original music, composed by Heitor Pereira.[31] The only minion not to receive a character music is Stuart, though individual soundtracks focusing on him appears on all songs.

text: Track listing[edit]

text: All music composed by Heitor Pereira, except where noted.

text:
No.
Title
Writer(s)
Performer
Length

1.
"Universal Fanfare"
Jerry Goldsmith
The Minions (Pierre Coffin)
0:32

2.
"Happy Together"
Garry Bonner, Alan Gordon
The Turtles
2:54

3.
"I'm a Man"
Steve Winwood, Jimmy Miller
The Spencer Davis Group
3:05

4.
"You Really Got Me"
Ray Davies
The Kinks
2:14

5.
"My Generation"
Pete Townshend
The Who
3:16

6.
"Mellow Yellow"
Donovan
Donovan
3:41

7.
"Revolution (The Beatles)"
John Lennon & Paul McCartney
The Minions (Pierre Coffin)
2:22

8.
"Minions Through Time"

4:34

9.
"Kevin, Stuart and Bob"

2:57

10.
"Minions Run Amok"

1:29

11.
"Tortellini"

0:21

12.
"The VNC"

1:11

13.
"Minions in the U.S.A."

2:13

14.
"Orlando"

0:46

15.
"Scarlet Overkill"

1:07

16.
"Ruby Fight"

2:58

17.
"Make 'Em Laugh"
Nacio Herb Brown and Arthur Freed
The Minions (Pierre Coffin)
0:44

18.
"Scarlet's Fortress"

3:31

19.
"Traveling Tribe"

0:49

20.
"Tower of London"

1:39

21.
"Hair"
James Rado, Gerome Ragni
The Minions (Pierre Coffin)
0:54

22.
"Fighting the Crown Keeper"

1:43

23.
"King Bob"

0:57

24.
"Theme From The Monkees (The Monkees)"
Tommy Boyce and Bobby Hart
The Minions (Pierre Coffin)
0:29

25.
"Dungeon Mayhem"

0:35

26.
"Goodbye Fabrice"

2:28

27.
"Minion Mission"

4:56

28.
"Sneaking In"

2:34

29.
"King Kong Kevin"

3:30

30.
"Our Hero Is Back"

1:14

31.
"Minions Victory"

2:49

32.
"Greatest Renegade Unveiling (GRU)"

2:39

Total length:
67:11

text: Release[edit]

text: The film had its premiere on June 11, 2015, at Odeon Leicester Square in London, United Kingdom.[1] On June 17, 2015, it was released theatrically in Indonesia and Australia.[32] The next day, June 18, saw releases in Malaysia and Singapore,[32] and a screening at the Annecy International Animated Film Festival, in France.[33] It was released theatrically in the United Kingdom on June 26, 2015. In the United States, the film premiered on June 27, 2015, at the Shrine Auditorium in Los Angeles,[34] and went into general release theatrically on July 10, 2015.[2] It was released in China on September 13.[35]

text: Marketing[edit]

text: The first trailer for Minions was released by Illumination on November 3, 2014, through YouTube.[36] McDonald's released Minions-related Happy Meals on July 3, 2015.[37][38] A series of comics and graphic novels based on the film is being published by Titan Comics.[39] The series includes four comic book issues, two digest collections, two hardcover editions and a paperback collection.[39] Drawn by Didier Ah-koon and Renaud Collin, the series launched on June 17, 2015, with the release of the first issue of the Minions comic book and the first digest collection.[39][40] In April 2015, Pantone announced the creation of a new official Pantone color, 'Minion Yellow' (displayed at right), in partnership with Illumination Entertainment.[41]

text: Universal's parent company, Comcast, and its partners spent $593 million in advertisements and promotion across all media and platforms.[42] Universal spent a total of $26.1 million on TV advertisement for the film.[43] Universal described the promotional campaign as the "largest and most comprehensive" in its history.[44]

text: Home media[edit]

text: Minions was released on Blu-ray (2D and 3D) and DVD on November 16, 2015, in Europe and on December 8, 2015, in North America. The film is accompanied by three short films titled Cro Minion, Competition, and Binky Nelson Unpacified. Extras include Making Of and Minion Jingle Bells.[45]

text: Upon its first week of release on home media in the U.S., the film topped the Nielsen VideoScan First Alert chart, which tracks overall disc sales, as well as the dedicated Blu-ray sales chart with 63% of unit sales coming from Blu-ray.[46]

text: Reception[edit]

text: Box office[edit]

text: Minions grossed $336 million in North America and $823.4 million in other territories for a worldwide total of over $1.159 billion.[47] Worldwide, it is the fifth-highest-grossing film of 2015,[48] the highest-grossing animated film of 2015, the second-highest-grossing animated film, the 13th-highest-grossing film, and the third-highest-grossing film released by Universal Pictures. It topped the worldwide box office for three consecutive weekends.[49]

text: By breaking $1 billion worldwide, Minions became the first non-Disney animated film, third animated film after Toy Story 3 and Frozen, and the 23rd film in cinematic history to do so.[50] Needing 49 days, it became the fastest animated film to reach $1 billion, surpassing Toy Story 3 (75 days). This made Universal Pictures the first studio ever to have three films earn more than $1 billion at the worldwide box office in a single year following Furious 7 and Jurassic World.[12] Deadline.com calculated the net profit of the film to be $502.34 million, when factoring together all expenses and revenues for the film, making it the most profitable animated film of 2015, the most profitable Universal Pictures film of all time and the second-most profitable picture of that year overall, behind only Star Wars: The Force Awakens.[51]

text: North America[edit]

text: In the United States and Canada, Minions received the widest release for Universal Pictures, the widest of 2015, and the second-widest for an animated film behind Shrek Forever After (4,386 theaters).[52] It opened simultaneously with the horror film The Gallows and the sci-fi drama Self/less, across 4,301 theaters, with box office pundits noting that the film did not face serious competition with them. Initial projections had the film open around $100–$121 million. However, Universal Pictures decided not to report box office figures for the movie.[4][5][53][54] It made $6.2 million from its Thursday night showings from 2,985 theaters, which began at 6 p.m., a record for an animated film (now held by Finding Dory),[55][56][57][58] and $46.2 million in its opening day (including Thursday previews), marking the biggest opening day for an animated film and the second-biggest single-day (behind the $47.1 million Saturday gross of Shrek the Third) at that time.[59] It holds the second-biggest opening-day and third-biggest single-day gross.[60] Through its opening weekend, it earned a total of $115.7 million, which fell in line with the projections and marked the second-highest-grossing animated-movie opening of all time, at the time, only behind Shrek the Third ($121.6 million). Albeit in terms of 3D, it is the highest. It also became the fourth film of 2015 to open more than $100 million (the third by Universal) and only one of four animated films ever to achieve this milestone, the other two being Toy Story 3 ($110.3 million) and Shrek 2 ($108 million).[61][62] In its second weekend, the film fell to No. 2 earning $49.3 million (down 57%) behind newcomer superhero film Ant-Man.[63] It ended its theatrical run on December 17, 2015 playing for a total of 161 days on theaters with a total gross of $336,045,770, which is just 29.0% of its total worldwide gross.[47] It became the second-highest-grossing animated film of 2015 (behind Inside Out),[64] the eight-highest-grossing animated film of all time,[64] the second-highest-grossing film in the Despicable Me franchise (behind Despicable Me 2),[65] the third-highest-grossing Universal Pictures film of 2015,[65] the sixth-highest-grossing film of 2015,[66] the sixth-highest-grossing Universal Pictures film,[65] and the thirteenth-highest-grossing film of all time.[67]

text: Outside North America[edit]

text: Minions went into general release in 44 countries in the months of June and July, ahead, and along with, its North American release.[68] It was released in a total of 66 countries.[69] It earned an estimated $12.5 million in its opening weekend from four countries on 621 screens.[70] It added $37.6 million in its second weekend from 10 countries.[71] In its third weekend, it grossed $56.2 million from 26 countries, coming in second place at the international box office behind Terminator Genisys.[72] It finally topped the international box office, earning $130.7 million from 56 countries in its fourth weekend.[73] As of August 16, 2015, it is playing across 62 countries, landing in first place in 56 countries.[74] In Australia and India it landed at No. 2 where Jurassic World and Baahubali: The Beginning both took the top spot respectively the weekend it was released in.[73][75] It topped the box office for just one weekend, before Chinese film Monster Hunt surpassed it in its fifth weekend.[76] It passed the $500 million mark internationally in five weeks and six days, faster than Despicable Me 2, which took fourteen weeks and three days to reach that milestone.[75]

text: It had the biggest opening day of all time for an animated film in 16 countries,[69][77][78][79] Universal's biggest opening day of all time in 5 countries,[69] Universal's second-biggest opening day in Indonesia (behind Furious 7),[68] the second-biggest opening day of all time in Russia and the CIS ($3.8 million),[79] and the biggest opening day of all time for all films in Venezuela.[69] Also, it set the record for the biggest opening weekend of all time in Venezuela ($5.6 million),[73] the biggest for an animated film in 29 countries including Italy ($8.5 million), Brazil ($7 million), Argentina ($5.4 million), Portugal ($1.2 million), Indonesia, and Malaysia,[70][71][73][75][80] the second-biggest for an animated film in Peru with $1.9 million (behind Ice Age: Continental Drift), the biggest for Universal in France ($12.1 million) and 6 other countries, the second-biggest opening of all time in Mexico ($19.7 million) and the third-biggest in Russia and the CIS ($14.3 million). Albeit it is the biggest of all time in terms of admissions ahead of Furious 7.[49][73][75] In the UK, Ireland, and Malta, the film received the widest release ever for an animated film—across 573 screens—and grossed $18.1 million (£11.6 million), thus achieving the biggest-ever three-day opening for an animation in the UK.[71] It topped the box office there for three weekends.[81] Elsewhere, Poland, Czech Republic, Slovakia, and New Zealand all opened No. 1.[71] Other notable openings were witnessed in Germany ($9.8 million), South Korea ($6.4 million), Japan ($6 million), Spain ($6 million), Australia ($4.4 million), and Colombia ($3.3 million).[70][72][82] In China, it opened on Sunday, September 13 and earned $18.8 million on its opening day, marking the biggest opening day for an animated film ever in China; roughly 50% higher than the previous record held by Kung Fu Panda 2[83] (this record was later broken by the series' next instalment, Despicable Me 3 in 2017).[84] It went on to earn $49.8 million through its 8-day opening (Sunday to Sunday)[85] and $19.4 million for the weekend alone (Friday to Sunday).[86] It went into general releases for 30 days in China.[83]

text: Minions became the highest-grossing animated film of all time in 12 markets,[87] and Universal's highest-grossing film of all time in six.[88] As of July 26, it has become the most watched film of 2015 in Germany, with 4.42 million admissions (surpassing even the 3.7 million admissions of Despicable Me 2).[89] With nearly three million admissions and $22.35 million in box office revenue, Minions has become the highest-grossing film of 2015 in Italy and is the most viewed film in Italy this year.[90] In Russia, it emerged as the second-highest-grossing film of all time with $33 million only behind Avatar.[91] It opened in its last market Greece on September 24 earning $505,000, marking the second-biggest animated film opening there behind only Ice Age: Continental Drift.[49][75] It grossed a total of $823,048,473 from overseas markets representing a huge 71.0% of its total worldwide gross[47] with the United Kingdom and Ireland ($73.1 million), China ($67.9 million), and Germany ($63.4 million) being the largest markets.[92] Outside North America, it is the highest-grossing film in the Despicable Me franchise, the eleventh-highest-grossing film, the third-highest-grossing Universal Pictures film and the fifth-highest-grossing film of 2015.[93]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes gives the film a rating of 56%, based on 200 reviews, with an average rating of 5.8/10. The site's critical consensus reads, "The Minions' brightly colored brand of gibberish-fueled insanity stretches to feature length in their self-titled Despicable Me spinoff, with uneven but often hilarious results".[94] On Metacritic, the film has a score of 56 out of 100, based on 35 critics, indicating "mixed or average reviews".[10] In CinemaScore polls, cinema audiences gave Minions an average grade of "A" on an A+ to F scale.[61]

text: Jesse Hassenger of The A.V. Club gave the film a C, saying "Minions has idiosyncratic roots, but it's a franchise play all the way. Finally, even 5-year-olds have their own movie that mechanically cashes in on something they loved when they were younger".[95] Michael O'Sullivan of The Washington Post gave the film two and a half stars out of four, saying, "I, too, once enjoyed the Minions, in the small doses that they came in. But the extra-strength Minions is, for better or for worse, too much of a good thing".[96] Brian Truitt of USA Today gave the film two and a half stars out of four, saying, "Brian Lynch's screenplay features a series of amusing sight gags and physical comedy that mostly hits; watching the Minions play polo while riding Corgis is an exercise in cuteness".[97] Tom Russo of The Boston Globe gave the film two out four stars, saying, "Impressive as it is that the filmmakers get so much comedic mileage out of their characters' half-intelligible prattling, the conventional dialogue is bafflingly flat".[98] Manohla Dargis of The New York Times said, "While Minions explores nominally new narrative ground, it folds neatly into a series that now includes two features, various shorts, books, video games, sheet music and a theme park attraction. So, you know, different but also the same".[99]

text: Tom Long of The Detroit News gave the film a B, saying "Minions is every bit as cute as it's supposed to be, a happily empty-headed animated frolic that rarely pauses to take a breath".[100] Peter Travers of Rolling Stone gave the film two out four stars, saying, "It's not whether this prequel can mint money; that's a given. The questions is: Can the minions carry a movie all by their mischievous mini-selves? 'Fraid not".[101] Kerry Lengel of The Arizona Republic gave the film two-and-a-half stars out of five, saying, "Despite the dizzying pace of carefully calibrated incongruities, Minions somehow never generates more than the occasional chuckle".[102] Christopher Orr of The Atlantic said, "There's plenty of high-velocity comic inanity on display to keep kids happily diverted. But the movie's major flaw is an extension of its own premise: Search as they may, the minions never find a villain worthy of their subservience".[103] James Berardinelli of ReelViews gave the film two-and-a-half stars out of four, saying, "Inconsistent and undisciplined, Minions is more an adjunct to marketing than a legitimate motion picture".[104] Liam Lacey of The Globe and Mail gave the film two out of four stars, saying, "With its episodic stream of slapstick gags, Minions has moments of piquant absurdity, but mostly its shrill-but-cutesy anarchy works as a visual sugar rush for the preschool set".[105]

text: Accolades[edit]

text:
Awards

Award
Category
Winner/Nominee
Result

People's Choice Awards[106]
Favorite Movie Animated Voice
Sandra Bullock
Nominated

Favorite Family Film

Won

British Academy Film Awards[107]
Best Animated Film
Pierre Coffin & Kyle Balda
Nominated

Kids' Choice Awards
Favorite Animated Movie

Nominated

Favorite Voice From an Animated Movie
Sandra Bullock
Nominated

Saturn Awards[108]
Best Animated Film

Nominated

Empire Awards[109][110]
Best Animated Film

Nominated

Village Voice Film Poll[111]
Best Animated Feature

9th Place

text: Sequel[edit]

text: In January 2017, a sequel to the film, titled Minions 2, was scheduled to be released on July 3, 2020.[13] It will be directed again by Balda, with co-direction by Brad Ableson, and written by Lynch.[112]