document_title: Moana (2016 film)

question_text: who does the voice of moana's mom

question_tokens: who does the voice of moana 's mom

text: Moana (2016 film)

text: Plot[edit]

text: On the Polynesian island of Motunui, the inhabitants worship the goddess Te Fiti, who brought life to the ocean, using a pounamu stone as her heart and the source of her power. Maui, the shapeshifting demigod and master of sailing, steals the heart to give humanity the power of creation. However, Te Fiti disintegrates, and Maui is attacked by Te Kā, a volcanic demon, losing both his magical giant fishhook and the heart to the depths.

text: A millennium later, Moana, daughter of Motunui's chief Tui, is chosen by the ocean to return the heart to Te Fiti. However, Tui arrives and takes Moana away, causing her to lose the heart. Tui and Moana's mother, Sina, try to keep her away from the ocean to prepare her for ascension as the island's chief. Years later, a blight strikes the island, rotting the coconuts and dwindling the number of fish caught. Moana suggests going beyond the island's reef to find more fish, but Tui forbids it. Moana tries conquering the reef but is overpowered by the tides and shipwrecked back on Motunui.

text: Moana's grandmother Tala shows her a secret cave, where a number of ships are hidden, revealing to Moana that their people used to be voyagers. Tala explains they stopped when Maui stole Te Fiti's heart and that Te Kā's darkness is poisoning the island, but it can be cured if Moana finds Maui and makes him restore the heart of Te Fiti, which she gives to Moana. Tala falls ill shortly after and dies.

text: Moana sets sail on a camakau found in the cavern. She is caught in a typhoon and shipwrecked on an island where she finds the stranded Maui, who traps her and steals the camakau, but Moana catches up to him with help from the ocean. She demands that Maui return the heart but he refuses. Maui is accompanied by a sentient "Mini-Maui" tattoo, acting as his conscience.

text: They are attacked by Kakamora—coconut-armored pirates—who seek the heart, but Moana and Maui outwit them. Moana realizes Maui is no longer a hero, and convinces him to redeem himself by returning the heart. Maui first needs to obtain his magical fishhook, which is located in Lalotai, the Realm of Monsters, and is in the possession of Tamatoa, a giant, greedy coconut crab. Maui retrieves his fishhook while Moana distracts Tamatoa, but Maui discovers he cannot control his shapeshifting and loses self-confidence, quickly becoming overpowered by Tamatoa. Moana's quick thinking allows them to escape with the hook. Maui reveals that his first tattoo was earned when his mortal parents rejected him. After reassurance from Moana, Maui teaches her the art of sailing and regains control of his powers.

text: The two arrive at Te Fiti's island, only to be attacked by Te Kā, who badly damages Maui's fishhook. Fearful he will lose his hook, and therefore his power, Maui angrily abandons Moana, who tearfully asks the ocean to find someone else to restore the heart. The ocean obliges and takes the heart from Moana. Tala's spirit appears, inspiring Moana to find her true calling. She retrieves the heart and sails back to confront Te Kā. Maui returns, having had a change of heart, and buys Moana time to reach Te Fiti by fighting Te Kā, destroying his fishhook in the process. Moana discovers Te Fiti is missing, and realizes Te Kā is Te Fiti without her heart. Moana tells the ocean to clear a path, allowing her to restore Te Fiti's heart, transforming her back to normal. Te Fiti then heals the ocean and islands of the blight. Maui apologizes to Te Fiti, who restores his fishhook and falls into a deep sleep.

text: Moana bids farewell to Maui, returning home where she reunites with her parents. She takes up her role as chief and wayfinder, leading her people on a voyage.

text: Cast[edit]

text:
Auliʻi Cravalho as Moana, the 16-year-old daughter of village chief Tui and Sina, who is chosen by the ocean to restore the heart of Te Fiti
Cravalho reprised her role in the Hawaiian-language version of the movie.[5]
Louise Bush as a younger Moana
Dwayne Johnson as Maui, a legendary shapeshifting demigod who sets off with Moana on her journey
Rachel House as Tala, Moana's grandmother. Like Moana, Tala shares a passion for the ocean
House reprised her role in the Māori-language version of the movie.[6][7]
Temuera Morrison as Tui, Moana's overprotective father, who is Tala's son, chief of Motunui Island
Morrison reprised his role in the Māori-language version of the movie.[6][7]
Christopher Jackson as Tui's singing voice
Jemaine Clement as Tamatoa, a giant treasure-hoarding coconut crab from Lalotai, the Realm of Monsters
Clement reprised his role in the Māori-language version of the movie.[6][7]
Nicole Scherzinger as Sina, Moana's mother and Tui's wife
Scherzinger also reprised her role in the Hawaiian-language version of the movie.[8]
Alan Tudyk as Heihei, Moana's pet rooster
Tudyk also voices Villager No. 3, who suggests cooking Heihei
Oscar Kightley as a fisherman
Troy Polamalu as Villager No. 1
Puanani Cravalho (Auliʻi's mother) as Villager No. 2

text: Production[edit]

text: Development[edit]

text: After directing The Princess and the Frog (2009), Clements and Musker started working on an adaptation of Terry Pratchett's Mort,[9] but problems with acquiring the necessary film rights prevented them from continuing with that project. To avoid a recurrence of that issue, they pitched three original ideas.[10] The genesis of one of those ideas (the one that was ultimately green-lighted) occurred in 2011, when Musker began reading up on Polynesian mythology, and learned of the heroic exploits of the demigod Māui. Intrigued with the rich culture of Polynesia, he felt it would be a suitable subject for an animated film. Shortly thereafter, Musker and Clements wrote a treatment and pitched it to John Lasseter, who recommended that both of them should go on research trips.[11][12] Accordingly, in 2012, Clements and Musker went on research trips to Fiji, Samoa, and Tahiti to meet the people of the South Pacific Ocean and learn about their culture.[13] At first, they had planned to make the film entirely about Maui, but their initial research trips inspired Clements to pitch a new idea focused on the young daughter of a chief.[14]

text: Clements and Musker were fascinated to learn during their research that the people of Polynesia abruptly stopped making long-distance voyages about three thousand years ago. Their navigational traditions predated those of European explorers, beginning around 300 CE.[15] Native people of the Pacific possessed knowledge of the world and their place in it prior to the incursion of foreigners. For example, Kānaka Maoli (Native Hawaiians) were well aware of the existence of far away islands, had names for these places, and were interested in exploring them to benefit their societies.[15] This voyaging heritage was made possible by a geographical knowledge system based on individual perspective rather than the European cardinal direction system.[15] The reasons for the halt of this voyaging tradition remain unknown, but scholars have offered climate change and resulting shifts in ocean currents and wind patterns as one possible explanation.[15] Native peoples of the Pacific resumed voyaging again a thousand years later. Clements and Musker set the film at the end of that era, about two thousand years ago, on a fictional island in the central Pacific Ocean, which drew inspiration from elements of the real-life island nations of Fiji, Samoa, and Tonga.[16]

text: Over the five years it took to develop and produce the film, Clements and Musker recruited experts from across the South Pacific to form an Oceanic Story Trust, who consulted on the film's cultural accuracy and sensitivity as the story evolved through nine versions.[17] The Trust responded negatively, for example, to a depiction of Maui as bald, and to a proposed scene in which Moana threw a tantrum by throwing coconuts. In response, Maui was reworked with long hair and the coconut scene was scrapped.[14]

text: Te Kā was referred to in early drafts of the film as Te Pō,[18] a reference to the Māori goddess Hine-nui-te-pō, who was originally the life-giving goddess Hine-tītama, but became the goddess of death upon discovering that her husband the god Tāne was also her father.[19] Māui set out to defeat her in order to bring immortality to humans, but failed and was himself killed.[20]

text: During the 2015 D23 Expo's panel for Disney's slate of upcoming animated films, Moana's last name was given as "Waialiki", but that name was not retained in the final film.[21]

text: Writing[edit]

text: Taika Waititi wrote the initial screenplay.[22] The first draft focused on Moana as the sole daughter in a family with "five or six brothers",[23] in which gender played into the story. However, the brothers and gender-based theme were deleted from the story, as the directors thought Moana's journey should be about finding herself.[12] A subsequent draft presented Moana's father as the one who wanted to resume navigation, but it was rewritten to have him oppose navigation so he would not overshadow Moana.[12] Instead, Pamela Ribon came up with the idea of a grandmother character for the film,[24] who would serve as a mentor linking Moana to ancient traditions.[23] Another version focused on Moana rescuing her father, who had been lost at sea.[25] The film's story changed drastically during the development phase (which happens with most Disney films), and that idea ultimately survived only as a subtle element of the father's backstory.[25] Aaron and Jordan Kandell joined the project during a critical period to help deepen the emotional story architecture of the film. They are credited with developing the core relationship between Moana and Maui, the prologue, the Cave of the Wayfinders, the Kakamora, and the collector crab Tamatoa (played by Jemaine Clement).[26] Jared Bush received sole credit as the writer of the final version of the screenplay.

text: Like most Disney and Pixar animated films, several major story problems were identified in 2015 only after the film had already transitioned from development into production, but computer-generated films tend to have much shorter production schedules and much larger animation teams (in this case, about 90 animators) than traditionally animated films.[25] Since Clements and Musker were already working 12-hour days (and Saturdays) directing such a large team of animators, Don Hall and Chris Williams (who had just finished directing Big Hero 6) came on board as co-directors to help fix the film's story issues.[25] The scene in which Maui and Moana encounter the Kakamora is an intentional homage to Mad Max: Fury Road.[25]

text: Casting[edit]

text: After the filmmakers sat through auditions of hundreds of candidates from across the Pacific,[13] 14-year-old high school freshman Auliʻi Cravalho was cast as the lead character Moana.[27][28] At that point in time, the design of Moana's face and personality was already complete, and Cravalho's obvious physical resemblance to her character was simply a coincidence.[29] During animation production, Disney animators were able to integrate some of Cravalho's mannerisms into Moana's behavior as depicted onscreen.[29]

text: The majority of the film's cast members are of Polynesian descent: Auliʻi Cravalho (Moana) and Nicole Scherzinger (Sina, Moana's mother) were born in Hawaii and are of Native Hawaiian heritage; Dwayne Johnson (Maui), Oscar Kightley (Fisherman), and Troy Polamalu (Villager No. 1) are of Samoan heritage; and New Zealand–born Rachel House (Tala, Moana's grandmother), Temuera Morrison (Tui, Moana's father), and Jemaine Clement (Tamatoa) are of Māori heritage.

text: Animation[edit]

text: Moana is Clements and Musker's first fully computer-animated film.[13][30] One of the reasons for using computer animation was that the environment, including the ocean, benefited much more from the use of CGI as opposed to traditional animation.[31] The filmmakers have also suggested that three-dimensional computer animation is well-suited to the "beautiful sculpturing" of the faces of the people of the South Pacific.[32] Eric Goldberg worked on the hand-drawn animation used to depict Maui's sentient tattoos.[33][34] During early development, the filmmakers considered the possibility of making the film with hand-drawn traditional animation, but only a few early animation tests were made in that style. In the final cut, only Maui's tattoos are hand-drawn.[35]

text: Moana was produced in makeshift quarters in a giant warehouse in North Hollywood (together with Zootopia), while Disney Animation's headquarters building in Burbank was being renovated. Musker observed that Moana was similar in that respect to The Little Mermaid, which was produced in a warehouse in Glendale. Production wrapped on October 20, 2016.[36]

text: Music and soundtrack[edit]

text: The film's soundtrack was released by Walt Disney Records on November 18, 2016. The songs were written by Opetaia Foa'i, Mark Mancina, and Lin-Manuel Miranda, while the score was written by Mancina.[37][38] The lyrics are in English, Samoan, and the Tokelauan language.[39] The soundtrack peaked at number two on the Billboard 200.[40]

text: Localization[edit]

text: In many European countries, the name of the titular character, Moana, was changed to Vaiana due to a trademark conflict. The film was released in those countries to bear the alternative name in the title.[41] In Italy, the film was released with the title Oceania.[42] Media outlets speculated that the name change was to avoid confusion with Italian pornographic actress Moana Pozzi,[43][44] and Disney Italy's head of theatrical marketing, Davide Romani, acknowledged they were "thinking about the issue" at a meeting of Italian exhibitors in 2015.[44]

text:
Following the success brought by international productions of Disney's Frozen, which led to the release of a complete set album which included all the official versions of "Let It Go" released at the time,[45] Disney decided to produce a special Tahitian dubbing for the movie. On October 25, 2016, at a press conference in Papeete, it was announced that the film will be the first motion picture to be fully dubbed in the Tahitian language.[46] This marks the third time Disney has released a special dubbing dedicated to the culture which inspired the film: the first case was The Lion King (1994), for which the directors travelled to South Africa to cast voice actors for a Zulu-dubbed version;[47] and the second case was Mulan (1998), which was the first Disney film to have a Mandarin Chinese dubbing made in China, separate from and independent of the version released in Taiwan.[48]
In June 2017, a Māori-language dubbing of the movie was announced,[49] premiering in Auckland on September 11, with 30 theatres screening it for free as part of Māori Language Week.[50] Rachel House, Jemaine Clement, Temuera Morrison, and Oscar Kightley reprised their respective roles in this version, directed by Rachel House herself.[51][52]
In November 2017, a Hawaiian-language dubbing was announced to be under way, with Auli'i Cravalho reprising her role as Moana.[5] The movie premiered on June 10, 2018.[53]

text:
show"Moana" worldwide

Language

Title

Translation

Arabic

موانا (Moana)

Bengali

মোয়ানা (Moana)

Brazilian Portuguese

Moana: Um mar de aventuras

Moana: A seaful of adventures

Bulgarian

Смелата Ваяна (Smelata Vayana)

Brave Vaiana

Canadian French

Moana

Cantonese Chinese

魔海奇缘

Romance of the demon of the ocean

Castilian Spanish

Vaiana

Catalan

Vaiana

Croatian

Vaiana: Potraga za mitskim otokom

Vaiana: Quest for an island of myth

Czech

Odvážná Vaiana: Legenda o konci světa

Brave Vaiana: The legend of the end of the world

Danish

Vaiana

Dutch

Vaiana

Estonian

Vaiana

European French

Vaiana, la Légende du bout du monde

Vaiana, the legend from the end of the Earth

European Portuguese

Vaiana

Finnish

Vaiana

Flemish

Vaiana

German

Vaiana – Das Paradies hat einen Haken

Vaiana – Paradise has a hook

Greek

Βαϊάνα (Vaiana)

Hawaiian

Moana

Hebrew

מואנה (Moana)

Hindi

मोआना (Moana)

Hungarian

Vaiana

Icelandic

Vaiana

Italian

Oceania

Japanese

モアナと伝説の海 (Moana to densetsu no umi)

Moana and the sea of legend

Kazakh

Моана (Moana)

Korean

모아나 (Moana)

Latin American Spanish

Moana: Un mar de aventuras

Moana: A seaful of adventures

Latvian

Vaiana

Lithuanian

Vaiana

Mandarin Chinese (China)

海洋奇缘 (Hǎiyáng qí yuán)

The romance of the ocean

Mandarin Chinese (Taiwan)

海洋奇缘 (Hǎiyáng qí yuán)

The romance of the ocean

Māori

Moana

Norwegian

Vaiana

Polish

Vaiana: Skarb oceanu

Vaiana: Treasure of the ocean

Romanian

Vaiana

Russian

Моана (Moana)

Serbian

Вајана (Vaiana)

Slovak

Vaiana

Slovene

Vaiana

Swedish

Vaiana

Tamil

மோனா (Moana)

Tahitian

Moana

Thai

ผจญภัยตำนานหมู่เกาะทะเลใต้ (P̄hcỵ p̣hạy tảnān h̄mū̀ keāa thale tı̂)

Adventure on the islands of the legendary southern sea

Turkish

Moana

Ukrainian

Ваяна (Vayana)

Vietnamese

Hành trình của Moana

Moana’s journey

text: Release[edit]

text: On October 20, 2014, Walt Disney Pictures announced that it would be releasing the film in late 2016,[54] and hinted that it might be the November 23, 2016 release window previously announced by the studio in March 2014 for a then-untitled film.[55] In November 2014, Disney confirmed that it would be releasing the film on November 23, 2016.[56] The film is accompanied by the short film, Inner Workings.[57] The film's world premiere was held at the El Capitan Theatre in Los Angeles on November 14, 2016.[58]

text: On January 27, 2017, a sing-along version of Moana was released in more than 2,000 theaters in the United States, featuring on-screen lyrics.[59]

text: Marketing[edit]

text: On October 15, 2016, Hawaiian Airlines unveiled their Moana-themed livery for three of their Airbus A330-200 fleet.[60]

text: There are currently meet-and-greets with Moana at Disneyland, Walt Disney World, Disneyland Paris, and at Aulani, a Disney Resort and Spa. At Hong Kong Disneyland, there will be a stage show called Moana's Village Festival, which is scheduled to open in 2018.

text: Home media[edit]

text: Moana was released by Walt Disney Studios Home Entertainment on Blu-ray (2D and 3D) and DVD in the United States on March 7, 2017, with a digital release on February 21, 2017. The releases include the short film, Inner Workings. The Blu-ray release also introduces a short film featuring Maui and Moana, titled Gone Fishing.[61] The film is also available for streaming on Netflix.

text: Reception[edit]

text: Box office[edit]

text: Moana grossed $248.7 million in the U.S. and Canada, and $394.5 million in other countries, for a worldwide total of $643.3 million.[3] On January 22 and March 16, 2017, respectively, the film reached the $500 million and $600 million marks, becoming the fourth consecutive Walt Disney Animation Studios film to reach both milestones after Frozen (2013), Big Hero 6 (2014), and Zootopia (2016).[62][63] Although Disney has not disclosed the film's production budget, most of its animated films cost around $150 million.[64][65] Deadline Hollywood calculated the net profit of the film to be $121.3 million, when factoring together all expenses and revenues for the film, making it the 12th-most profitable release of 2016.[1]

text: North America[edit]

text: In the United States, Moana was released during the Thanksgiving weekend. The film played in 3,875 theaters of which a majority of them (80%) screened it in 3D. It also played in 50 premium large-format screens and more than 400 D-Box screens. It was projected to take in around $50 million in three days, with $75–85 million in five days (some estimates going as high as $90 million).[66][67][68] Deadline.com said the numbers were good for the original Disney film and marked a great rebound for the company in the wake of Pixar's The Good Dinosaur the previous year, which had made $55 million over five days off a production budget of $175–200 million.[69]

text: Moana made $2.6 million from Tuesday paid previews which began at 7 pm, the highest ever for a Walt Disney Animation Studios film and for a non-Pixar Disney animated film.[70] On its opening day, it made $15.5 million, a new record for a Walt Disney Animation Studios film opening on Wednesday (breaking Frozen's record) and the biggest opening day ever for a film released on pre-Thanksgiving Day.[71] On Thanksgiving Day, it earned $9.9 million, a decrease of 36% from its previous day. On Black Friday—the highest-grossing day of the Thanksgiving stretch—it made $21.8 million, a 127% increase from the day before.[72] Through Sunday, the film posted a three-day opening weekend worth $56.6 million over its Friday-to-Sunday debut and $82.1 million from Wednesday to Sunday, the third biggest three-day Thanksgiving opening[73] (behind Frozen and Toy Story 2) and the second-biggest five-day Thanksgiving opening[74] (behind Frozen), dethroning Fantastic Beasts and Where to Find Them off the top spot. Among all films that did not necessarily open in this weekend but may have played, Moana ranks sixth among three-day[75] weekends and fifth among five-day weekends.[76]

text: The film's opening was considered to be another animated success for the studio after Zootopia and Pixar's Finding Dory posted huge openings, respectively, the same year in March and June.[77]

text: In its second weekend, the film dropped by about 50% for a total of $28.3 million, a smaller drop than Toy Story 2, Frozen, Tangled, and The Good Dinosaur.[78][79] The film managed to top the box office for its third weekend, despite competition from newcomers and holdovers, earning $18.5 million while falling by 34%. It became the sixth film of 2016 to top the box office three times, following Deadpool, Zootopia, The Jungle Book, Finding Dory, and Suicide Squad.[80] The film was overtaken by Disney's own Rogue One: A Star Wars Story in its fourth weekend, despite only a marginal decline.[81]

text: It fell to number six in its fifth weekend, due to competition from four new releases—Sing, Passengers, Why Him?, and Assassin's Creed—despite a small drop again; it grossed $2.9 million on Christmas Day.[82] On the holiday week of December 23–29, the film finished at number four with a gross of $26 million, which was 14% up from the previous week, despite losing over 300 theaters.[83] It finished at number four in its sixth weekend, going up 42% and 97%, respectively, during the three-day[84] and four-day weekends;[85] it grossed $3.6 million on New Year's Day.

text: It fell outside the top ten in its eighth weekend (which included Martin Luther King Jr. Day), dropping 33% and 4%, respectively, during the three-day[86] and four-day weekends.[87]

text: Outside North America[edit]

text: Internationally, the film earned $17.2 million in its first weekend from 12 markets, the bulk of which came from China. In its second weekend, the film expanded to a total of 30 markets, adding an additional $33.7 million.[88]

text: In China, the film had a November 25 opening day[89] with $1.9 million from 38,000 screenings. However, it enjoyed a big weekend bump on Saturday—even though its screens dipped—and Sunday.[90] In total, it scored an opening weekend of $17.2 million, the second best for a Disney animated title, behind only Zootopia. It was No. 2 behind Fantastic Beasts and Where to Find Them. Strong social media numbers showed among the highest the studio has seen there, similar to how Zootopia started off slow and later became a blockbuster phenomenon.[91] The film slipped 55% in its second weekend, earning $5.8 million, and $21.8 in total in China.[92] It would eventually earn a total of $32.7 million in China.[89]

text: It had similar successful number-one debuts in France, Russia, Mexico and Spain. The film also saw success in Belgium, the Netherlands and French-speaking Switzerland.[88] In the United Kingdom and Ireland, the film faced competition from Fantastic Beasts—which was playing in its third weekend—and as a result, it posted a low opening of only £2.2 million ($2.8 million).[93]

text: The biggest earning markets to date have been Japan ($45.9 million), followed by France ($35.5 million), China ($32.8 million), the UK ($25.3 million), Brazil ($22.9 million), Australia ($19 million), Germany ($17 million), Italy ($15.9 million), and South Korea ($15.5 million).[94]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, Moana holds an approval rating of 96% based on 245 reviews, and an average rating of 7.9/10. The website's critical consensus reads, "With a title character as three-dimensional as its lush animation and a story that adds fresh depth to Disney's time-tested formula, Moana is truly a family-friendly adventure for the ages."[95] Subsequently, the film is also listed as number 11 on the website's "50 Best Computer Animated Movies" list.[96] On Metacritic, the film holds a weighted average score of 81 out of 100, based on 44 critics, indicating "universal acclaim".[97] Audiences polled by CinemaScore gave the film an average grade of "A" on a scale ranging from A+ to F, while PostTrak reported filmgoers gave an 89% overall positive score and a 71% "definite recommend".[70]

text: Joe Morgenstern of The Wall Street Journal proclaimed that "Moana is beautiful in more ways than I can tell, thanks to the brilliance of more animators than I could count."[98] Animator Eric Goldberg received praise from critics and audiences for his hand-drawn animation of Maui's tattoos, which they claimed "stole the show" from the actual CGI-animated motion picture.[99][100][101] Wai Chee Dimock, writing in the Los Angeles Review of Books, compared the ocean in Moana to the one in "The Water Baby", a short story by Jack London, saying that both are animated: one, by the tension between digital and analog animation, and the other, by the tension between an encroaching future and a past in retreat still capable of pushing back.[102]

text: Christy Lemire of RogerEbert.com gave the film three-and-a-half out of four stars, stating that "'Moana' would have been enormously entertaining regardless of when it came out, but its arrival at this particular moment in history gives it an added sense of significance—as well as inspiration."[103] Peter Debruge of Variety praised the film, calling it "a return to the heights of the Disney Renaissance".[104]

text: Criticism[edit]

text: Disney has been accused of appropriating Polynesian mythology and culture. Through the film, the corporation has been claimed to perpetuate settler colonialist practices of exploitation and erasure by utilizing the knowledge and narratives of native peoples to spur a profitable capitalist enterprise of music, celebrities and merchandise.[105] A Maui "skin suit" costume made to tie in with the film was pulled by Disney from its online store following complaints about it being culturally insensitive[106] and for appearing to promote brownface.[107]

text: The film takes specific cultural elements from a variety of native Pacific groups and incorporates them into one generalized portrayal of Polynesian culture. This conglomeration of cultures has been regarded as degrading to the diversity of the Pacific, falsely reducing all of Polynesia to a single cultural entity.[105]

text: The film has also been criticized as a tourism advertisement for the Pacific. It has been accused of fetishizing Polynesian island nations as exotic vacation spots, the people and culture of which exist only to entertain foreign audiences.[105] Disney initiating a partnership with Hawaiian Airlines[108] to promote the film has been perceived as having this particular motive, as well as Auliʻi Cravalho speaking with The New York Times in an interview sharing travel tips for visitors to Hawaii.[109] Critiques of these promotional tactics focus on how adverse effects of tourism have devastated native communities in the Pacific, resulting in environmental degradation and poverty.[110]

text: Colin Philp, an educator on Polynesian history, noted that the sailing canoe used by the film's protagonists is believed to be a Fijian camakau, and that the film's concept artists based it on one of the canoes they saw when they visited the Korova settlement in Laucala. Philp said that using that design without permission of the Korova community could be viewed as a violation of the intellectual property rights of their elders.[111]

text: Brigham Young University–Hawaii sociocultural anthropologist Tēvita 'Ō. Ka'ili stated that "despite its important girl-power message, the film had a major flaw. It lacked symmetry by its omission of a heroic goddess. Disney resorted to reducing the mighty god Maui to a one-dimensional, selfish, borderline abusive, buffoon to foreground the strength of the movie's protagonist Moana." He went on to explain that, "the omission of a goddess-heroine is significant because Polynesia is a culture with a vast pantheon of powerful heroic goddesses. Hina, a companion goddess to the god Maui, was nowhere to be found in Disney's imagineering of Moana."[112]

text: Accolades[edit]


document_title: Wizards of Waverly Place (soundtrack)

question_text: who wrote the wizards of waverly place theme song

root

text: Wizards of Waverly Place (soundtrack)

text: Background[edit]

text: In an interview with Disney Channel's commercial-segment, Disney 365, Selena Gomez discussed her interpretations of the songs on the soundtrack saying: "Disappear is more of a romantic song. It's basically talking about how a girl likes a guy and they [she] don't want him to disappear, and then Magical is about casting a spell on a guy and this song, Magic, ties into Wizards of Waverly Place: The Movie".[5] Although recorded for the episode, "Make It Happen" doesn't appear on the album, for an unknown reason.

tag: p

text: Critical reception[edit]

text:
Professional ratings

Review scores

Source
Rating

Allmusic
[3]

tag: table

text: In response to the soundtrack, Stephen Thomas Erlewine of Allmusic recognized Wizards for its "teen revamps of boomer classics that parents can enjoy too". He also stated that the album is "agreeable" and that Selena Gomez "inevitably stands out from the pack". However, Erlewine said: "the dang-awful version of America's "You Can Do Magic" by Drew Seeley is sunk by its hyper-claustrophobic rhythms, the biggest rearrangement of a tune here and easily the worst cut."[3]

text: Singles[edit]

text: "Magic" by Selena Gomez is a digital single on the iTunes Store. The song was released on July 21, 2009 as part of the Radio Disney iTunes Pass.[6] "Magic" premiered on Radio Disney and a music video to Disney Channel on July 24. The song's music video has Gomez singing into a microphone with bright and flamboyant background, as well as including clips from Wizards of Waverly Place: The Movie.[4][7] "Magic" debuted at no. 61 in the Billboard Hot 100 with 42,000 downloads.[8]

text: Track listing[edit]

text:
Standard Edition[1]

No.
Title
Writer(s)
Recording Artist(s)
Length

1.
"Disappear"

Selena Gomez
3:39

2.
"Magical"

Selena Gomez
2:54

3.
"Magic*" (Originally by Pilot)
David Paton, William Lyall
Selena Gomez
2:49

4.
"Strange Magic" (Originally by Electric Light Orchestra)

Steve Rushton
3:20

5.
"Magic**" (Originally by The Cars)
Ric Ocasek
Honor Society
3:51

6.
"Every Little Thing She Does Is Magic" (Originally by The Police)
Sting
Mitchel Musso
3:44

7.
"Magic Carpet Ride" (Originally by Steppenwolf)

KSM
2:57

8.
"Magic***" (Originally by Olivia Newton-John)
John Farrar
Meaghan Martin
4:08

9.
"You Can Do Magic" (Originally by America)
Russ Ballard
Drew Seeley
3:33

10.
"Some Call It Magic"
Matthew Gerrard, Robbie Nevil, Raven-Symone
Raven-Symoné
3:13

11.
"Do You Believe in Magic" (Originally by The Lovin' Spoonful)
John Sebastian
Aly & AJ
2:13

12.
"Everything Is Not What It Seems" (Theme Song)
Bradley Hamilton, John Adair, Ryan Elder, Stephen Hampton
Selena Gomez
0:51

text:
Bonus track (Mexican Edition)[9]

No.
Title
Recording Artist(s)
Length

13.
"Nada Es Aquí Lo Que Es" (Everything Is Not What It Seems) (Spanish Version)
Romina Marroquín Payró
0:50

text:
Bonus track (Greek Edition)

No.
Title
Length

13.
"Min Pisteveis Panta Oti Deis" (Everything Is Not What It Seems) (Greek Version)
0:50

text: Bonus content[edit]

text: Bonus content for the physical CD for Wizards of Waverly Place includes exclusive behind-the-scenes interviews with Gomez and also the new music video for "Magic".[1]

text: Charts and sales[edit]

text: The album debuted at #24 on the Billboard 200, selling 18,000 units in its first week. It has sold 105,000 copies in the U.S. to date.[10]

text:
Charts (2009)
Peak
Position

U.S. Billboard 200[11]
24

U.S. Top Soundtracks[12]
4

U.S. Kid Albums
3

Mexican Albums Top 100[13]
32

Norway Albums Top 40[14]
27

UK Soundtracks Albums
1

text: International release[edit]

text: The soundtrack was released in the UK on October 5, 2009, although not stocked up in most of the UK, and in Mexico released on August 14, 2009.

text: Personnel[edit]

text:
John Adair - Producer
Michael Bruno (member of Honor Society) - Vocals, guitar
Kate Cabebe (member of KSM) - Drums
Katie Cecil (member of KSM) - Vocals, guitar
Shelby Cobra (member of KSM) - Vocals
Ryan Elder - Producer
John Fields - Producer, engineer, mixing
Steve Gerdes - Art direction
Matthew Gerrard - Producer, mixing
Selena Gomez - Vocals
Paul David Hager - Mixing
Steve Hampton - Producer
Daniel James - Mixing
Andrew Lee (member of Honor Society) - Vocals, keyboard, bass
Jon Lind - A&R
Brian Malouf - Executive producer, mixing
Stephen Marcussen - Mastering
Meaghan Jette Martin - Vocals
Dani Markman - A&R

William J. McAuley III - Producer, engineer
Sophia Melon (member of KSM) - Vocals, bass
Aly (member of 78violet) - Vocals
AJ (member of 78violet) - Vocals
Mitchel Musso - Vocals
Alexander Noyes (member of Honor Society) - Drums
Shae Padilla (member of KSM) - Guitar
Jason Pennock - Mixing
Jason Rosen (member of Honor Society) - Vocals, guitar, keyboard
Steve Rushton - Vocals
Curt Schneider - Producer
Drew Seeley - Vocals
Raven-Symoné - Vocals
Anabel Sinn - Design
Louie Teran - Mastering
Kent Verderico - Mixing
Steve Vincent - Music executive
Trey Vittetoe - Producer


document_title: The Walking Dead: The Final Season

question_text: the walking dead game final season ep 2 release date

text: The Walking Dead: The Final Season

text: Gameplay[edit]

text: As with other games in The Walking Dead series, The Final Season is a graphic adventure game, where the player controls the protagonist Clementine as she struggles to survive in the wake of a zombie apocalypse.  The player can move Clementine around the environment to examine items, initiate conversation trees with non-player characters, and progress in the game. Decisions made by the player can affect future episodes, and The Final Season can use previous saved games from The Walking Dead to bring a player's choices from these games into The Final Season. Players that have not played previous seasons, or who may want to adjust choices made affecting Clementine's character, will be able to use a web-based Story Builder tool to create a cloud-based save game that can be used to feed into the game. This also addresses issues with various save game limitations due to platform transitions over the course of the series (for example, previous saves from the Xbox 360 or PlayStation 3 from the first two seasons are not compatible with The Final Season).[1]

text: In portions of the game, the player will be required to react to quick time events in action-driven scenes, such as escaping from a "walker" (the name for zombies in the series). Failure to complete the events typically results in the death of Clementine or another key character, requiring the player to retry the event.  The Final Season introduces more open-ended action sequences that give the player more control during the sequence.[2]

text: Plot[edit]

text: Some years after the events of A New Frontier, Clementine has continued to raise AJ, recalling Lee's own lessons he taught her. They drive along and stop at a train station to scavenge for food. Inside, they find a cellar with a well-stocked supply of food, but the door is rigged with a grenade, and the noise from the blast draws a walker horde. Whilst driving to escape, Clementine crashes the car, and as she blacks out, she sees someone grabbing AJ. Clementine awakens within the ruins of a schoolhouse. She meets Marlon, the leader of a group of teenagers from the school, and finds they have also been taking care of AJ while she recovered. Clementine and AJ meet the other kids, learning that they have been alone for some time after being abandoned by the school staff but have found ways to survive by hunting and fishing from nearby woods and using traps to ward off walkers outside the school grounds. As she gets to know the others and helps AJ learn appropriate social skills, Clementine learns about the loss of a set of twin sisters about a year prior that still troubles the children, particularly Tenn, the younger brother of the siblings.

text: Marlon warns Clementine they are running low on food, the safe area around the school becoming smaller over time, and has her help the next day with hunting and fishing. Neither effort secures enough food, and Clementine suggests returning to the train station to see what food supplies survived the grenade blast, despite the station being outside of the designated safe zone. Clementine and AJ enter the station to secure the food but are confronted by a man named Abel, who demands a ration of the food at gunpoint. After either complying with or subduing Abel, Clementine and the rest of the group make it back to the school, reporting on their encounter. That evening, through the pipe system in the school, Clementine hears two voices arguing, and finds Marlon and Brody, another resident, having a heated discussion in the cellar. Brody reveals to Clementine that Abel is part of a raider group that Marlon had traded the twins to in exchange for safety. Furious at the reveal, Marlon hits her with a flashlight giving her a deep head gash. Before she dies of brain trauma, Brody reveals to Clementine that Marlon also intends to trade her and AJ should the raiders return. In a state of panic, Marlon leaves Brody to turn and locks Clementine in the cellar. Clementine dispatches the re-animated Brody and escapes the cellar to find Marlon being held at gunpoint by AJ, drawing the attention of the rest of the group. Marlon takes the gun from AJ and tries to frame Clementine for Brody's death in an attempt to get the group to turn on her. Clementine is able to convince the other children of Marlon's wrongdoings, and eventually, Marlon surrenders. As the others discuss what to do with Marlon, he is shot and killed by AJ.

text: Despite Clementine and AJ's attempts to make amends, the other children vote to have the pair evicted from the school. Outside, they run into Abel and another member of the raiders, who Clementine is shocked to find is Lilly, a woman who Lee and Kenny had forced out of their group after leaving Macon, Georgia. Despite her attempts to negotiate with Clementine to convince the other kids to give themselves over to her group, she refuses and they start to hunt her and AJ down, during which AJ is shot in the stomach. The pair are saved by James, a former member of the Whisperers, who reveals to them the raiders are forcibly recruiting people to fight in their war against a rival community. James tends to AJ's wounds and accompanies them back to the school the next morning, before departing on his own. Despite some of the children's resentment towards Clementine and AJ, they allow them back in so that AJ can have his wounds treated. Clementine warns them about Lilly and the raiders, and they make plans to prepare the school grounds for an attack.

text: Two weeks go by without the raiders' incoming attack, putting everyone on edge. After playing a game of truth or dare to ease tensions, the children go to check on final preparations. The player can choose to have Clementine accompany Louis or Violet, and in either case, express romantic feelings for these characters. Soon after, the raiders arrive at the school, looking to capture more children. In the midst of the battle, Lilly inadvertently kills one of the kids, Mitch. Clementine gets into a fight with Abel that ends with them falling off a balcony, breaking Abel's leg. After Clementine saves either Violet or Louis from being kidnapped, Lilly and the raiders escape, and the remaining children count their losses, which include Omar, Aasim, and whichever person Clementine did not save. They vow to get them back and as Abel is now their prisoner, they intend to interrogate him for the location of the raider camp.

text: Episodes[edit]

text: The game is separated into four episodes, released every six weeks.[3]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal release date [4]161"Done Running"Chris Rebbert, Vahram AntonianJessica Krause, Adam Esquenazi Douglas, Mary Kenney, Lauren MeeAugust 14, 2018 (2018-08-14)
Clementine and AJ join a new group made entirely of children set up in Ericson School for Troubled Youth. Clementine aims to prove their worth to the group by helping out while AJ has trouble fitting in. They learn the recent loss of twin sisters, Sophie and Minerva, has left many in the community heartbroken. After a tense encounter with a stranger who has been stealing the group's food, Clementine learns the secret behind how Ericson has remained safe for so long. The episode ends with AJ making a troubling decision of his own.
172"Suffer the Children"Chris RieserJames Windeler, Mary KennySeptember 25, 2018 (2018-09-25)
Clementine and AJ are forced to leave Ericson, and they run into a figure from Clementine's past, now a new threat to their safety. Helped by a former Whisperer, the pair returns to the school to help the students prepare for an enemy attack. After the raiders make their move, Clementine is forced to choose between two friends, and prepares for vengeance against the raiders with the remaining kids.
183"Broken Toys"TBATBATBA
194"Take Us Back"TBATBATBA

text: Development[edit]

text: Announced during the July 2017 San Diego Comic Con, The Walking Dead: The Final Season, is scheduled to launch as a four-episode series on August 14, 2018 for Windows, PlayStation 4, and Xbox One, with a Nintendo Switch version to launch later that year.[5] Clementine will return as the lead character, voiced by Melissa Hutchinson, as Telltale found that fans of the series were not pleased with how little interactivity there was with Clementine in A New Frontier. Telltale wanted to have the final season call back to what fans had praised about the first season, and knew they needed to make Clementine the focus. With this direction, Telltale decided to make this the final season for The Walking Dead series so that they can create a satisfactory conclusion to Clementine's story arc.[6] For this purpose, Telltale brought back Gary Whitta, the writer for the first season and "400 Days" content, to help close out Clementine's story.[7][6]

text: The story will follow from A New Frontier with Clementine having rescued AJ from the McCarroll Ranch, with a timeskip a few years ahead, where AJ is now a young boy. With diminishing resources amid the apocalypse, Clementine and AJ find the importance of staying with communities of vital importance, meeting other characters who have little memory of the time before the downfall of society. Clementine starts to teach AJ the essentials of survival as Lee had taught her during The Walking Dead: The First Season, as a way of paying Lee's lessons forward.[8] Telltale had initially considered writing a version of Clementine that had become more jaded, but found this was far too different from the established version of the character, and reworked her to be more sympathetic.[6][2][9]

text: The final season will use the updated version of the Telltale Tool first introduced in Batman: The Telltale Series, along with improvements in the visual style to approach the style used in The Walking Dead comic.[6] This included improved dynamic lightning, and a new rendering style Telltale called "Graphic Black" to enforce the comic book rendering style.[10] Some scenes will feature "unscripted" zombies who may attack Clementine if the player is not careful, creating new freeform combat sequences, while other parts of the game will continue to use quick-time events as from previous games.[2]

text: Due to course-corrections made at Telltale in 2017, The Walking Dead: The Final Season was primarily the only game the company released that year, cutting down from twenty episodes across multiple games in 2017 to only this season's four in 2018. The game's executive producer Brodie Andersen said that "We know we ran a little hot in previous years and weren't able to fully deliver the experiences we may have wanted to, so that was important to focus in on a polished quality experience players love."[10] Because of the reduced product schedule, Telltale was able to establish firm release dates for all four episodes in the season, a first for any of Telltale's episodic series. Andersen said that they were able to achieve this by starting from where they wanted The Final Season to end, and then building the narrative backwards from that, establishing four clear episodes for the series to work towards.[10]

text: A free demo of the game, offering approximately the first twenty minutes of the first episode, meant to show off the new gameplay features added in this season, was released for PlayStation 4 and Xbox One on July 31, 2018.[11] Physical releases of The Final Season for PlayStation 4 and Xbox One are expected to be released on November 6, 2018; they will contain the first two episodes and a season pass code to download the final two episodes when they are normally released.[12]

text: Despite the title The Final Season, Telltale originally did not rule out a possible future for The Walking Dead games; Creative Director Kent Mudle said that The Final Season title represented the end of Clementine's journey from Telltale's view, but could revisit the franchise through other characters.[13]

text: On September 21, 2018, Telltale announced they were undergoing a "majority studio closure", laying off nearly all staff and leaving only 25 to complete the studio's remaining obligations. The state of The Final Season is unknown, though other planned studio projects were cancelled.[14][15] The second episode was still released on September 25, 2018, but the fate of the remaining episodes is unknown. Telltale stated on September 24, 2018, that the studio has been approached by "multiple potential partners" that want to help bring these two episodes to completion in some manner.[16] Until they are able to figure out how the last two episodes will be played out, Telltale asked retailers and digital storefronts to pull sales of the game and the season pass.[17]

text: During the 2018 New York Comic Con, Robert Kirkman announced that his production company, Skybound Entertainment, will help to bring the last two episodes to release.[18] According to Skybound, they have acquired the rights of the game from Telltale, and will be working with former Telltale Games employees who worked on the series to finish off the episodes.[19]  Ian Howe, the CEO of Skybound Games, noted that there were logistical difficulties in this. Some of the Telltale team had already moved on to other jobs prior to the Skybound deal, and for those still looking for work, they are not expecting them to relocate from San Francisco (where Telltale was located) to Los Angeles (where Skybound is located), but do need to find them space that makes the completion of development possible. They further needed to account for the time that those seeking jobs would need. Howe stated that he fully expected that the third episode would be released before the end of 2018.[20]

text: Reception[edit]

text: The Walking Dead: The Final Season received generally positive reviews, earning praise for its characterization, visuals, and upgraded gameplay mechanics, and is considered by many critics and fans to be a return to form for the series.[21][22][23][24]

text: Episode 1 - Done Running[edit]

text: Aggregating review website Metacritic gave the Microsoft Windows version 76/100 based on 26 reviews,[25] the PlayStation 4 version 75/100 based on 14 reviews,[26] the Xbox One version 70/100 based on 9 reviews,[27] and the Nintendo Switch version 76/100 based on 5 reviews.

text: Episode 2 - Suffer The Children[edit]

text: The second episode received mixed reviews. On Metacritic, PC version of the episode has a rating of 69/100,[28] and PS4 version has a rating of 70/100.[29]


document_title: Justice League (film)

question_text: who plays cyborg in the new justice league movie

text: Justice League (film)

text: Synopsis

text: Months after the events of Batman v Superman: Dawn of Justice[1] and inspired by Superman's apparent sacrifice for humanity, Bruce Wayne and Diana Prince assemble a team of metahumans consisting of Barry Allen, Arthur Curry, and Victor Stone to face the catastrophic threat of Steppenwolf and his army of Parademons, who are on the hunt for three Mother Boxes on Earth.[2][3]

text: Cast

text:
Ben Affleck as Bruce Wayne / Batman:
The benefactor of the group of meta-humans, a wealthy socialite and the owner of Wayne Enterprises, who also dedicates himself to protecting Gotham City from its criminal underworld as a highly trained, masked vigilante equipped with many powerful tools and weapons.

Henry Cavill as Kal-El / Clark Kent / Superman:
A Kryptonian survivor and journalist for the Daily Planet with superhuman abilities, who was presumed dead after the events of Batman v Superman: Dawn of Justice. In February 2016, Cavill announced on social media that he had already started exercising for the film in advance of principal photography.[4]

Gal Gadot as Diana Prince / Wonder Woman:
An antiquities dealer and acquaintance of Wayne who is actually an immortal Amazonian warrior princess from Themyscira and daughter of Zeus, who possesses superhuman attributes and abilities inherited from her parents.

Jason Momoa as Arthur Curry / Aquaman:
The king of the undersea nation of Atlantis, whose meta-human aquatic abilities and superhuman physical attributes originate from his Atlantean physiology.

Ezra Miller as Barry Allen / The Flash:
A Central City police forensic investigator, who can move at superhuman speeds with his ability to tap into the Speed Force.

Ray Fisher as Victor Stone / Cyborg:
A former college athlete who, after being cybernetically reconstructed with a Mother Box after a nearly fatal accident, has powers that allow him to manipulate technology and to turn his arms to cannons. Fisher portrays the character through the assistance of motion capture performance, for the cybernetic portion of his body.[5]

Amy Adams as Lois Lane: An undaunted and compassionate award-winning journalist for the Daily Planet and the primary love interest for Clark Kent / Superman.[6]
Ciarán Hinds as Steppenwolf:
A general of the alien race, the New Gods, from the planet Apokolips who is charged with hunting down the three Mother Boxes on Earth for his nephew and commanding officer Darkseid.[3][7] The character had previously appeared in the extended Ultimate Edition of Batman v Superman: Dawn of Justice, in which he communicates with Lex Luthor through Kryptonian hologram technology. In March 2017, Ciarán stated that Steppenwolf is old, tired and trying to get out of his enslaved position under Darkseid.[8] Hinds will portray the villain through use of motion capture performance and received help in that process from his friend Liam Neeson, who had recently done similar work in A Monster Calls.[9]

Willem Dafoe as Nuidis Vulko: An Atlantean advisor to Aquaman.[10]
Jesse Eisenberg as Lex Luthor: The hereditary CEO of LexCorp who is incarcerated in Arkham Asylum, following the events of Batman v Superman: Dawn of Justice.[11][12]
Jeremy Irons as Alfred Pennyworth: Bruce Wayne's butler, chief of security, and trusted confidant.[13]
Diane Lane as Martha Kent: Clark Kent's adoptive mother.[6]
Connie Nielsen as Queen Hippolyta: Diana Prince's mother and the Amazonian queen.[6]
J. K. Simmons as James Gordon: The Commissioner of the Gotham City Police Department and close ally of Batman.[6]

tag: ul

text: Joe Morton and Robin Wright reprise their roles from previous films as Dr. Silas Stone, a scientist at S.T.A.R. Labs and Victor Stone's father, and as Amazonian General Antiope, Hippolyta's sister and Diana's aunt/mentor.[14][15] Amber Heard, Billy Crudup, and Kiersey Clemons will portray Mera, Dr. Henry Allen, and Iris West, respectively.[6][14] Julian Lewis Jones and Michael McElhatton have been cast in undisclosed roles.[16][17]

text: Production

text: Development

text: In February 2007, it was announced that Warner Bros. hired husband and wife duo Michele and Kieran Mulroney to write a script for a Justice League film.[18] The news came around the same time that Joss Whedon's long-developed Wonder Woman film had been cancelled,[19] as well as The Flash, written and directed by David S. Goyer.[20] Reportedly titled Justice League: Mortal,[21] Michele and Kiernan Mulroney submitted their script to Warner Bros. in June 2007, receiving positive feedback,[22] which prompted the studio to immediately fast track production in the hopes of filming to begin before the 2007-2008 Writers Guild of America strike.[23] Warner Bros. was less willing to proceed with development with a sequel to Superman Returns, having been disappointed with the box office return. Brandon Routh was not approached to reprise the role of Superman in Justice League: Mortal,[24] nor was Christian Bale from Batman Begins.[25] Warner Bros. intended for Justice League: Mortal to be the start of a new film franchise, and to branch out into separate sequels and spin-offs.[26] Shortly after filming finished with The Dark Knight,[27] Bale stated in an interview that "It'd be better if it doesn't tread on the toes of what our Batman series is doing," though he personally felt it would make more sense for Warner Bros. to release the film after The Dark Knight Rises.[25] Jason Reitman was the original choice to direct Justice League, but he turned it down, as he considers himself an independent filmmaker and prefers to stay out of big budget superhero films.[28] George Miller signed to direct in September 2007,[23] with Barrie Osbourne producing[29] on a projected $220 million budget.[30]

text: The following month roughly 40 actors and actresses were auditioning for the ensemble superhero roles, among them were Joseph Cross, Michael Angarano, Max Thieriot, Minka Kelly, Adrianne Palicki and Scott Porter. Miller intended to cast younger actors as he wanted them to "grow" into their roles over the course of several films.[27] D. J. Cotrona was cast as Superman,[26] along with Armie Hammer as Batman.[31] Jessica Biel reportedly declined the Wonder Woman role after being in negotiations.[32] The character was also linked to actresses Teresa Palmer and Shannyn Sossamon, along with Mary Elizabeth Winstead, who confirmed that she had auditioned.[33] Ultimately Megan Gale was cast as Wonder Woman,[34] while Palmer was cast as Talia al Ghul, whom Miller had in mind to act with a Russian accent.[35] The script for Justice League: Mortal would have featured John Stewart as Green Lantern, a role originally offered to Columbus Short.[36] Hip hop recording artist and rapper Common was cast,[37] with Adam Brody as Barry Allen / Flash,[38] and Jay Baruchel as the lead villain, Maxwell Lord.[39] Longtime Miller collaborator Hugh Keays-Byrne had been cast in an unnamed role, rumored to be Martian Manhunter. Aquaman had yet to be cast.[27][30] Marit Allen was hired as the original costume designer before her untimely death in November 2007,[40] and the responsibilities were assumed by Weta Workshop.[41]

text: However, the writers strike began that same month and placed the film on hold. Warner Bros. had to let the options lapse for the cast,[42] but development was fast tracked once more in February 2008 when the strike ended. Warner Bros. and Miller wanted to start filming immediately,[43] but production was pushed back three months.[26] Originally, the majority of Justice League: Mortal would be shot at Fox Studios Australia in Sydney,[30] with other locations scouted nearby at local colleges,[29] and Sydney Heads doubling for Happy Harbor.[21] The Australian Film Commission had a say with casting choices, giving way for George Miller to cast Gale, Palmer and Keays-Bryne, all Australian natives. The production crew was composed entirely of Australians, but the Australian government denied Warner Bros. a 40 percent tax rebate as they felt they had not hired enough Australian actors.[30][44] Miller was frustrated, stating that "A once-in-a-lifetime opportunity for the Australian film industry is being frittered away because of very lazy thinking. They're throwing away hundreds of millions of dollars of investment that the rest of the world is competing for and, much more significantly, highly skilled creative jobs."[45] Production offices were then moved to Vancouver Film Studios in Canada. Filming was pushed back to July 2008, while Warner Bros was still confident they could release the film for a summer 2009 release.[46][47]

text: With production delays continuing, and the success of The Dark Knight in July 2008,[48] Warner Bros. decided to focus on the development of individual films featuring the main heroes, allowing director Christopher Nolan to separately complete his Batman trilogy with The Dark Knight Rises in 2012. Gregory Noveck, senior vice president of creative affairs for DC Entertainment stated "we're going to make a Justice League movie, whether it's now or 10 years from now. But we're not going to do it and Warners is not going to do it until we know it's right."[49] Actor Adam Brody joked "They [Warner Brothers] just didn't want to cross their streams with a whole bunch of Batmans in the universe."[50] Warner Bros. relaunched development for the solo Green Lantern film, released in 2011 as a critical and financial disappointment. Meanwhile, film adaptations for The Flash and Wonder Woman continued to languish in development while filming for a Superman reboot was commencing in 2011 with Man of Steel, produced by Nolan and written by Batman screenwriter David S. Goyer. Shortly after filming had finished for Man of Steel, Warner Bros hired Will Beall to write the script for a new Justice League film.[51] Warner Bros. president Jeff Robinov explained that Man of Steel would be "setting the tone for what the movies are going to be like going forward. In that, it's definitely a first step."[52] The film included references to the existence of other superheroes in the DC Universe,[53] and setting the tone for a shared fictional universe of DC Comics characters on film.[54] Goyer stated that should Green Lantern appear in a future installment, it would be a rebooted version of the character and not connected to the 2011 film.[55]

text: With the release of Man of Steel in June 2013, Goyer was hired to write a sequel, as well as a new Justice League, with the Beall draft being scrapped.[56] The sequel was later revealed to be Batman v Superman: Dawn of Justice, a team up film featuring Ben Affleck as Batman, Gal Gadot as Wonder Woman, and Ray Fisher as Victor Stone / Cyborg in a minor role that will become more significant in leading up to the proposed Justice League film. The universe is separate from Nolan and Goyer's work on The Dark Knight trilogy, although Nolan is still involved as an executive producer for Batman v Superman.[57] In April 2014, it was announced that Zack Snyder would also be directing Goyer's Justice League script.[58] Warner Bros. was reportedly courting Chris Terrio to rewrite Justice League the following July, after having been impressed with his rewrite of Batman v Superman: Dawn of Justice.[59] On October 15, 2014, Warner Bros. announced the film would be released in two parts, with Part One releasing on November 17, 2017, and Part Two on June 14, 2019. Snyder will direct both films.[60] In early July 2015, EW revealed that the script for Justice League Part One had been completed by Terrio.[61] Zack Snyder stated that the film will be inspired by the New Gods comic series by Jack Kirby.[3] Although Justice League was initially announced as a two-part film with the second part releasing two years after the first, Snyder announced in June 2016 that they would be two distinct, separate films and not one film split into two parts, both being stand-alone stories.[62][63]

text: Casting

text: In April 2014, Ray Fisher was cast as Victor Stone / Cyborg, and was set to cameo in Batman v Superman: Dawn of Justice followed by a larger role in Justice League.[64][65] Henry Cavill, Ben Affleck, Gal Gadot, Diane Lane and Amy Adams are also expected to reprise their roles from Batman v Superman: Dawn of Justice.[60][66] In October 2014, Jason Momoa was cast as Arthur Curry / Aquaman and debuted as the character in Dawn of Justice.[67][68] On October 20, 2014, Momoa told ComicBook.com that the Justice League film would be coming first and that is what they were preparing for, and he did not know if the solo Aquaman film would be prior to Justice League or post. He thought it might be the origin of where Aquaman came from.[69] On January 13, 2016, The Hollywood Reporter announced that Amber Heard was in negotiations to appear in the film as Aquaman's love interest Mera.[70] In March 2016, producer Charles Roven said that Green Lantern would not appear in any film before Justice League Part Two, and stated that they "could put Green Lantern in some introduction in Justice League 2, or barring that, a movie after."[71] Also in March, The Hollywood Reporter announced that J. K. Simmons was cast as Commissioner James Gordon,[72] and Heard was confirmed to join the cast as Mera.[73] Adams also confirmed that she would reprise her role as Lois Lane in both Justice League films.[74] The following month, Simmons confirmed that he would play Gordon.[75] By April 2016, Willem Dafoe was cast in an undisclosed role,[76] later revealed to be Nuidis Vulko.[10] Cavill confirmed that he would return for both Justice League films.[77] In May 2016, Jeremy Irons confirmed he will appear as Alfred Pennyworth.[13] That same month, Jesse Eisenberg stated that he would reprise his role as Lex Luthor, and in June 2016, he confirmed in an interview with Shortlist magazine of his return.[78][79] In July 2016, Julian Lewis Jones was cast in an undisclosed role.[16] Laurence Fishburne, who portrays Perry White in the DCEU, said he declined to reprise his role in this film due to scheduling conflicts.[80] In April 2017, Michael McElhatton revealed that he has a role in the film.[17]

text: Filming

text: Principal photography commenced on April 11, 2016, with shooting taking place at Warner Bros. Studios, Leavesden, as well as various locations around London, Scotland, Los Angeles and in Djúpavík in the Westfjords [81] of Iceland.[76][82][83] Snyder's longtime cinematographer Larry Fong was replaced by Fabian Wagner due to scheduling conflicts.[83] Affleck was also revealed to be serving as executive producer.[84] In May 2016, it was revealed that Geoff Johns and Jon Berg will be producing the Justice League films and they will also be in charge of the DC Extended Universe after the largely negative critical reception of Batman v Superman: Dawn of Justice.[85] Geoff Johns confirmed on June 3, 2016, that the title of the film is Justice League.[86] That same month, Irons stated that the Justice League storyline will be more linear and simple, in comparison to the theatrical version of Batman v Superman: Dawn of Justice.[87] Johns later stated that the film would be "hopeful and optimistic" in comparison to the previous DCEU films.[88] Filming wrapped in October 2016.[89][90][91]

text: Post-production

text: In May 2017, Snyder stepped down during post-production of the film to properly deal with the death of his daughter. Joss Whedon, who Snyder had previously brought on to rewrite some additional scenes, took over to handle post-production duties in Snyder's place.[92] In July 2017, it was announced the film was undergoing two months of reshoots in London and Los Angeles, with Warner Bros. putting about $25 million into them (more than the typical $6–10 million additional filming costs).[93] The reshoots coincided with Cavill's shooting schedule for Mission: Impossible 6, for which he had grown a mustache which he was contracted to keep while filming, so Justice League's VFX team had to resort to using special effects to digitally remove the mustache in post.[94] Warner Bros. later announced that Whedon would receive a screenwriting credit on the film.[95]

text: Music

text: In March 2016, Hans Zimmer, who composed the score for Man of Steel and Batman v Superman: Dawn of Justice, stated that he is officially retired from the "superhero business".[96] By June 2016 he was replaced by Junkie XL, who wrote and composed the soundtrack of Batman v Superman: Dawn of Justice with Zimmer.[97] In June 2017, Danny Elfman was announced to have replaced Junkie XL.[98] Elfman had previously composed Batman, Batman Returns, and the theme song for Batman: The Animated Series.

text: Release

text: Justice League is scheduled to be released by Warner Bros. Pictures on November 17, 2017.[60] The film will get an IMAX release.[99]

text: Box office predictions

text: In the United States and Canada, early predictions from Forbes had the film debuting to anywhere from $130–170 million,[100] while BoxOffice speculated an opening weekend of $150 million and a total domestic gross of $330 million.[101]

text: Sequel

text: A sequel was scheduled to be released in June 2019,[60] but has since been delayed to accommodate the release for a standalone Batman film.[102] In March 2017, producer Charles Roven announced that Zack Snyder would return as director.[103]


document_title: Going in Style (2017 film)

question_text: who played the waitress in going in style

text: Going in Style (2017 film)

text: Plot[edit]

text: Joe, Willie, and Albert are senior citizens and lifelong friends living in New York. During an unpleasant appointment at the bank, Joe is one of the victims to witness a robbery in progress carried out by three individuals wearing black masks. During the robbery, he notices the leader bearing a Mongol warrior tattoo on his neck as the only lead that could help the police identify the culprit. However, the leader sympathizes with Joe when he finds out about his current financial situation brought up by the bank. Then, the robbers manage to escape with over $1.6 million.

text: When the company they worked for is bought out, their pensions become a casualty of the restructuring. Joe is hit particularly hard and finds out that he, his daughter, Rachel, and granddaughter, Brooklyn, will be homeless in fewer than 30 days. Willie finds out he's gravely ill from kidney failure and needs a transplant and is even more frustrated because his financial situation forces him into a long-distance relationship with his daughter and granddaughter. Desperate, the three friends decide to rob the bank that is going to restructure their pension funds and take back what is rightfully theirs.

text: Inspired by his experience of the robbery, Joe originates the idea; at first Albert and Willie are appalled, but eventually agree when they later learn that their bank intends to steal their pensions. Trying to shoplift some items from a grocery store, where Al's love interest, Annie, works, results in a comic disaster, so the trio turn to Joe's former son-in-law, Murphy, and a criminal working as a pet store owner named Jesus to teach them the ropes. They plan an alibi using their lodge's carnival as a cover.

text: Joe, Willie, and Albert disguise themselves as "The Rat Pack" (Frank Sinatra, Dean Martin, and Sammy Davis, Jr.) and use guns with blanks so that no one gets hurt. The robbery almost goes awry when Willie collapses briefly and a child witness partially pulls off his mask to allow him to breathe better; she sees the wrist watch he wears with a picture of his granddaughter on it as he engages in a friendly conversation and sympathizes with her, so as not to let her feel intimidated about the robbery in progress and when the bank manager clumsily tries to fire shots at them; however, the three manage to get away with over 2.3 million dollars. They are soon arrested on suspicion by FBI Agent Hamer after the manager from the grocery store recognizes Al's walk from the video surveillance cameras, but they all stick to their alibis.

text: Hamer puts them along with other senior suspects into a police lineup, using the child witness who partially took off Willie's mask. She refuses to identify Willie, leaving Hamer with no case. Willie suffers total renal failure and is near death until Al agrees to donate a kidney. While part of the money is used to help the three friends with their financial situations, the rest is given to their families, friends, co-workers, and fellow members at the lodge. Joe finally gets his granddaughter a puppy he promised her if she got A's in every subject at school; courtesy of Jesus, who is later revealed to be the leader of the robbers from the robbery Joe witnessed and has laundered the money that they stole. The tattoo on his neck is also revealed to be a fake made of Henna, intended to throw the FBI and the police off the scent. The movie ends at Al and Annie's wedding as the three friends celebrate their good fortune.

text: Cast[edit]

text:
Morgan Freeman as Willie Davis, one of the three protagonists.
Michael Caine as Joe Harding, one of the three protagonists.
Alan Arkin as Albert Garner, one of the three protagonists.
Joey King as Brooklyn,[5][6] Joe's whip-smart granddaughter.
Maria Dizzia as Rachel Harding, Joe's daughter.
Ashley Aufderheide as Kanika, Willie's granddaughter.
Gillian Glasco as Maya Davis, Willie's daughter.
Matt Dillon as Special Agent Hamer, an FBI agent who investigates bank robberies.
Ann-Margret as Annie Santori, Albert’s love interest, Ezra's grandmother, and an employee at Value Town.
Jeremy Schinder as Ezra Bronkowski, Annie's grandson.
Anthony Chisholm as Paul, the Knights Grandmaster.
Christopher Lloyd as Milton Kupchak, the guys' senile lodge buddy.
Annabelle Chow as Lucy, the child witness.
Nancy Sun as Mandy, Lucy's mother.
Kenan Thompson as Keith Schonfield, a grocery store manager of Value Town.
Josh Pais as Chuck Lofton, the bank manager of Williamsburg Savings Bank who intends to take Joe's house in a month.
Siobhan Fallon Hogan as Mitzi, a waitress at Nat's Diner.
John Ortiz as Jesus Garcia, a man of unspecified credentials who agrees to show the guys the ropes, a pet store owner in Queens, and the leader of robbers at the beginning of the film.
Peter Serafinowicz as Murphy, Joe's former son-in-law, Rachel's former husband, and Brooklyn's estranged father.

text: Production[edit]

text: On October 12, 2012, it was announced that New Line Cinema and Warner Bros. were developing a remake of 1979 heist comedy film Going in Style, with Theodore Melfi set to write the script.[7] Donald De Line was on board to produce the film with Tony Bill, producer of the original film, as executive producer.[7] Melfi was approached by De Line and Andrew Haas about writing the screenplay for the remake, but Melfi insisted on changing the ending to something more upbeat. Melfi explained, "In this modern era, and even for me, I don’t want to see a movie where my heroes whom I’ve been fighting for and rooting for for two hours die or go to jail. I want to see them get ahead, and it’s perfect for them to get ahead these days because everyone hates banks now. So let’s have them put the perfect heist together, rob a bank, get away with it, and go off into the sunset. They said, 'Yes, let’s do that,' and that’s how that script was born."[8]

text: On January 9, 2013, Don Scardino was hired to direct the film.[9] On September 19, 2013, Melfi, who wrote the script was in talks to direct the film.[10] On November 19, 2014, it was revealed that Zach Braff was in talks with the studio to direct the film, but he was not officially offered yet.[11] On November 19, 2014, it was announced that Morgan Freeman and Michael Caine were cast in the film to play the lead roles, while Dustin Hoffman was in talks to join them.[12] On April 9, 2015, Alan Arkin joined the cast of the film to complete the lead cast of three.[13] On August 3, 2015, Joey King joined the cast of the film to play Caine's character's granddaughter.[6] On August 10, 2015, Matt Dillon was added to the cast to play an FBI agent named Hamer, pursuing the three elderly lifelong friends and robbers.[14] The same day, Ann-Margret was cast in the film for an unspecified role.[15]

text: Principal photography on the film began in Brooklyn, New York City on August 3, 2015.[13][16] Filming also took place in Astoria, Queens.[17][18]

text: Release[edit]

text: Going in Style was released on April 7, 2017,[19] which Warner Bros moved from an original May 6, 2016 date.[20]

text: Box office[edit]

text: Going in Style grossed $45 million in the United States and Canada and $39.6 million in other territories for a worldwide gross of $84.6 million, against a production budget of $25 million.[4]

text: In North America, the film opened alongside Smurfs: The Lost Village and The Case for Christ, and was projected to gross around $8 million from 3,061 theaters in its opening weekend.[21] It grossed $4.2 million on its first day and $11.9 million over the weekend, finishing above expectations and 4th at the box office.[22] In its second weekend the film grossed $6.3 million (a drop of 47%), finishing 5th at the box office.[23]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 46% based on 134 reviews, with an average rating of 5.3/10. The site's critical consensus reads, "Despite the considerable talent of its leads, Going in Style is light on laughs and plays it safe far too often."[24] On Metacritic, which assigns a normalized rating, the film has a score 50 out of 100, based on 31 critics, indicating "mixed or average reviews".[25] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[26]