Hi Guess the Movie 2016 Answers

Total Page:16

File Type:pdf, Size:1020Kb

Hi Guess the Movie 2016 Answers 33. Argo 75. The Dark Knight 117. Mary Poppins 34. Resident Evil 76. The Matrix 118. Scoob Doo* 35. Up 77. Wall-E 119. Tarzan 36. The Smurfs 78. Amelie 120. Top Gun 37. Gladiator 79. Sin City 121. Tron Hi Guess The Movie 2016 38. Taken 80. The Incredibles 122. Blood Diamond Answers 39. Aladdin 81. Les Miserables 123. Yogi Bear - Man Zhang 40. Ghost Rider 82. Machete 124. The Help 41. G.I. Joe 83. Psycho 125. Spirited Away Main Game 42. Blade 84. Kill Bill 126. Puss in Boots 1. Cars 43. Madagascar 85. Mega Mind 127. Hulk 2. Iron Man 44. The Hobbit 86. Wreck It Ralph 128. The Shining 3. King Kong 45. X-Men 87. Shutter Island 129. The Deer Hunter 4. E.T. 46. Toy Story 88. Green Lantern 130. The Dictator 5. The Godfather 47. Braveheart 89. Hell Boy 131. The Graduate 6. Fury 48. The Simpsons 90. Rocky 132. The Karate Kid 7. Harry Potter 49. Troy 91. Jaws 133. The Sixth Sense 8. The Lion King 50. Tomb Raider 92. Casper 134. The Wolverine 9. Spider-Man 51. The Iron Lady 93. Borat 135. The Great Escape 10. Ice Age 52. Bambi 94. Bruce Almighty 136. The Mask of Zorro 11. Transformers 53. Austen Powers 95. Tangled 137. The Pianist 12. Planes 54. Cinderella 96. Fantastic Four 138. The Terminal 13. Scream 55. Jurassic Park 97. The Green Mile 139. Flight 14. Brave 56. Star Wars 98. V for Vendetta 140. Identity 15. Ted 57. Spongebob 99. Snow White 141. J. Edgar 16. Mr. Bean 58. Bridesmaids 100. Due Date 142. Mars Attacks! 17. Star Trek 59. Da Vinci Code 101. Watchmen 143. Ratatouille 18. Captain America 60. Rio 102. One Day 144. Twilight 19. Men in Black 61. Finding Nemo 103. The Pink Panther 145. The Croods 20. Kickass 62. Saw 104. Sleepy Hollow 146. Citizen Kane 21. The Hangover 63. Chicago 105. The Jungle Book 147. Priest 22. Life of Pi 64. Monsters Inc. 106. Identity Thief 148. Ali 23. Annabelle 65. Thor 107. Mary and Max 149. Chicken Run 24. Black Swan 66. Forrest Gump 108. Pocahontas 150. Cloverfield 25. Die Hard 67. Robocop 109. The Ring 151. Elf 26. Titanic 68. King’s Speech 110. Planet Terror 152. Face Off 27. Indiana Jones 69. The Mask 111. The X Files 153. Taxi Driver 28. Fight Club 70. Hannibal 112. Ace Venture 154. Seven Pounds 29. Roman Holiday 71. Peter Pan 113. Juno 155. Inception 30. Rango 72. Platoon 114. Godzilla 156. Astro Boy 31. John Wick 73. Speed Race 115. Underworld 157. Billy Elliot 32. The Lorax 74. Despicable Me 116. Jane Eyre 158. Oliver Twist 159. Pan’s Labyrinth 201. Jobs 243. Straw Dogs 285. Epic 160. Home Alone 202. Once 244. Stuart Little 286. Alexander 161. Phone Booth 203. Say Anything 245. The A-Team 287. Cleopatra 162. Red 204. Pulp Fiction 246. Annie Hall 288. Drive 163. Rush Hour 205. I Am Legend 247. The Transporter 289. Elysium 164. Unknown 206. Hitman 248. Magic Mike 290. Judge Dredd 165. The Host 207. The Avengers 249. Pirate Radio 291. Jumanji 166. Robin Hood 208. Bee Movie 250. The Wizard of Oz 292. Legally Blonde 167. The Mummy 209. Coach Carter 251. Run Lola Run 293. Mystic River 168. The Truman Show 210. Fantasia 252. Sea Biscuit 294. Armageddon 169. Contraband 211. Jack and Jill 253. Seven Samurai 295. Last Airbender 170. Mirror Mirror 212. Perfume 254. Salt 296. Liar Liar 171. Pearl Harbor 213. Sideways 255. Air Force One 297. Mad Max 172. Ray 214. Man of Steel 256. Capote 298. Miami Vice 173. Silent Hill 215. The Hunger Games 257. Dark Shadows 299. Oblivion 174. The Proposal 216. Happy Feet 258. Eurotrip 300. Office Space 175. Little Mermaid 217. The Ninth Gate 259. Hook 301. Perfect Storm 176. Looper 218. The Rookie 260. Paranorman 302. Precious 177. The Love Guru 219. Casablanca 261. Prometheus 303. Project X 178. A Bug’s Life 220. Desperado 262. Signs 304. R.I.P.D. 179. Anchorman 221. The Naked Gun 263. Walk the Line 305. The Muppets 180. Battleship 222. Love Actually 264. The Call 306. Bad Teacher 181. Corpse Bride 223. Sister Act 265. Almost Famous 307. Brother Bear 182. Hugo 224. Predators 266. Big Fish 308. Crazy Heart 183. Rerservoir Dogs 225. The Italian Job 267. Public Enemies 309. Dream Girls 184. Golden Compass 226. Skyfall 268. The Spirit 310. From Hell 185. The Punisher 227. Suspect Zero 269. Scary Movie 311. Gold Finger 186. Unforgiven 228. The Ugly Truth 270. True Lies 312. Rambo 187. Mulan 229. Basic Instinct 271. Vanity Fair 313. Spawn 188. The Tree of Life 230. Antz 272. The World’s End 314. The Brass Teapot 189. Apocalypto 231. High Noon 273. Yes Man 315. The Terminator 190. In Time 232. Total Recall 274. Dinosaur 316. Up in the Air 191. Misery 233. Warm Bodies 275. The Aviator 317. The Departed 192. Moulin Rouge! 234. Heat 276. Anonymous 318. Zombie Land 193. Scarface 235. Ghostbusters 277. Boogeyman 319. The Great Gatsby 194. Notting Hill 236. Memento 278. Entrapment 320. Zoolander 195. Garfield 237. South Park 279. Paths of Glory 321. The Exorcist 196. John Carter 238. AVP 280. Runaway Bride 322. The Fly 197. American Pie 239. Chicken Little 281. Space Jam 323. The Painted Veil 198. Bolt 240. Dumbo 282. Sweeney Todd 324. Dirty Dancing 199. Daredevil 241. Frankenweenie 283. Hard Candy 325. Pacific Rim 200. I. Robot 242. War Horse 284. After Earth 326. Usual Suspects 327. Jimmy Neutron 369. Source Code 10. Spy 52. Strangerland 328. Manhattan 370. Splice 11. Tomorrow Land 53. Return to Sender 329. Miracle 371. Stand Up Guys 12. Get Hard 54. Jenny’s Wedding 330. Old School 372. To the Arctic 13. Train Wreck 55. Legend 331. Rock of Ages 373. Trainspotting 14. Magic Mike XXL 56. Survivor 332. Secret Window 374. The Kite Runner 15. Focus 57. Crimson Peak 333. Splash 375. Into the Wild 16. Poltergeist 58. Slow West 334. The Artist 376. Jack Reacher 17. McFarland USA 59. Dark Places 335. Ghost Ship 377. Mama 18. Max 60. Irrational Man 336. The Color Purple 378. Maniac 19. The Longest Ride 61. The Intern 337. Robopocalypse 379. Marley & Me 20. Hot Pursuit 62. The Lobster 338. Talk to Her 380. Now You See Me 21. The Duff 63. Black Mass 339. Temptation 381. Parker 22. Fantastic Four 64. Everest 340. The Santa Clause 382. Promised Land 23. Insurgent 65. Macbeth 341. True Grit 383. Red Dawn 24. Goosebumps 66. Regression 342. The Town 384. The Cove 25. Chappie 67. The Revenant 343. Turbo 385. Mud 26. Run All Night 68. Batman vs Robin 344. The Internship 386. The Hours 27. Ex Machina 69. True Story 345. Amadeus 387. A Royal Affair 28. Pixels 70. Monkey Kingdom 346. The Lone Ranger 388. The Impossible 29. Southpaw 71. Exeter 347. American Mary 389. Snatch 30. The Gallows 72. Unity 348. The Oranges 390. The Other Son 31. Woman in Gold 73. Tracers 349. Modern Times 391. Speed 32. Entourage 74. Last Knights 350. Arthur 392. The Sapphires 33. Project Almanac 75. Residue 351. Buried 393. The Thing 34. Vacation 76. Bridge of Spies 352. Cast Away 394. The East 35. Aloha 77. Pan 353. Changeling 395. The Guilt Trip 36. Paper Towns 78. Do I Sound Gay 354. Dead Man 396. Mrs. Doubtfire 37. Dope 79. Super Fast! 355. Doubt 397. The Iceman 38. It Follows 80. Beyond the Reach 356. English Teacher 398. The Purge 39. Strange Magic 81. The Forger 357. Flubber 399. To the Wonder 40. Selfless 82. Everly 358. Frances Ha 41. The Gunman 83. Wild Card 359. Gangster Squad Movie 2015 42. Black Hat 84. Bessie 360. Lawless 1. Jurassic World 43. Montdecai 85. Spare Parts 361. Pain & Gain 2. Furious Seven 44. Mr. Holmes 86. Killing Jesus 362. Peeples 3. Inside Out 45. The Expendables 87. A Novel Romance 363. Pieta 4. Minions 46. Maggie 88. Barely Lethal 364. The Collection 5. Cinderella 47. The Martian 89. Predestination 365. Broken City 6. Home 48. Youth 90. Against the Sun 366. Con Air 7. San Andreas 49. Dragon Blade 91. The Walk 367. Hot Fuzz 8. Mad Max 50. Spectre 92. Cut Bank 368. Populaire 9. Ant Man 51. The Overnight 93. Danny Collins 94. Desert Dancer 34. Phantom 76. Gus 16. Chaplin 95. Experimenter 35. Nebraska 77. Austenland 17. Mark Ruffalo 96. Man Up 36. Runner Runner 78. How I Live Now 18. Gwyneth Paltrow 97. Suffragette 37. Safe Haven 79. Hell Baby 19. Will Smith 98. Lily & Kat 38. Old Boy 80. The Rocket 20. Shia Labeouf 99. Accidental Love 39. Philomena 81. Sparks 21. Taylor Swift 100. Knight of Cups 40. Pulling Strings 82. Sound City 22. Robert Downey 41. Trance 83. Saving Lincoln 23. Brad Pitt Movie 2013 42. The Way Way Back 84. Sunlight Jr. 24. Stallone 1. Frozen 43. Before Midnight 85. Maiden Trip 25. Megan Fox 2. Homefront 44. Enough Said 86. Saving Mr. Banks 26. Christian Bale 3. American Hustle 45. The Big Wedding 87. Stoker 27. Jason Statham 4. The Counselor 46. Side Effects 88. White Reindeer 28. Angelina Jolie 5. World War Z 47. Escape Plan 89. Waar 29. Rowan Atkinson 6. About Time 48. Hansel & Gretel 90. The Great Beauty 30. Halle Berry 7. Rush 49. Her 91. The To Do List 31. Orlando Bloom 8. Don Jon 50. In a World 92. Contracted 32. Anne Hathaway 9. Snitch 51. The World’s End 93.
Recommended publications
  • New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected]
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-15-2015 Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Ricci, James Anthony, "Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6021 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art by James A. Ricci A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Margit Grieb, Ph.D. Hunt Hawkins, Ph.D. Victor Peppard, Ph.D. Date of Approval: November 13, 2015 Keywords: New Media, Narratology, Manovich, Bakhtin, Cinema Copyright © 2015, James A. Ricci DEDICATION This dissertation is dedicated to my wife, Ashlea Renée Ricci. Without her unending support, love, and optimism I would have gotten lost during the journey. ACKNOWLEDGMENTS I owe many individuals much gratitude for their support and advice throughout the pursuit of my degree.
    [Show full text]
  • Sessões Recomendadas Para Crianças L São, Além Das INFANTIS: FUTURO ANIMADOR E ANIMATV
    PETROBRAS apresenta k'FTUJWBM*OUFSOBDJPOBM EF"OJNB}{PEP#SBTJM 3JPEF+BOFJSP BEF+VMIP Centro Cultural Banco do Brasil Centro Cultural Correios Casa França-Brasil Oi Futuro Cinema Odeon-BR Unibanco Arteplex Botafogo 4P1BVMP EF+VMIPBnEF"HPTUP Memorial da América Latina Centro Cultural Banco do Brasil 1 ATENÇÃO: Anima Mundi informa que as sessões recomendadas para crianças L são, além das INFANTIS: FUTURO ANIMADOR e ANIMATV. 14 As demais sessões não são recomendadas para menores de 14 anos. RIO DE JANEIRO Locais De Exibição Obs: Pagam meia-entrada: maiores de 60 (sessenta) anos e crianças até 12 (doze) anos. Centro Cultural Casa França-Brasil Banco do Brasil (CCBB) Rua Visconde de Itaboraí, 78, Centro Rua Primeiro de Março, 66, Centro Informações: (21) 2332-5121 Informações: (21) 3808-2020 Horário de funcionamento: Horário de funcionamento: 10h às 21h Estúdio Aberto: Ter a Dom 13h às 19h, Ingresso: R$ 6,00 (meia entrada R$ 3,00) Entrada franca Sessões gratuitas: Infantis, AnimaTV e Futuro Animador, retirada de senhas somente no dia da sessão Unibanco Arteplex Botafogo com 1 hora de antecedência na bilheteria Praia de Botafogo, 316 Térreo, Botafogo Informações: (21) 2559-8750 Centro Cultural Correios Horário de funcionamento: 12h às 22h Rua Visconde de Itaboraí, 20, Centro Ingresso: R$ 6,00 (meia entrada: R$ 3,00), Informações: (21) 2253-1580 Vendas por dia, a partir da abertura da bilheteria Horário de funcionamento: 11h30 às 19h30 Oi Futuro Flamengo · Sala de Cinema Rua Dois de Dezembro, 63, Flamengo Entrada Franca, Classificação Livre, Informações:
    [Show full text]
  • Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
    Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • Suggestions for Top 100 Family Films
    SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT..
    [Show full text]
  • A Study Guide by Marguerite O Lhara
    A STUDY GUIDE BY MArguerite o ’hARA http://www.metromagazine.com.au http://www.theeducationshop.com.au Introduction > Mary and Max is an animated feature film from the creators of the Academy Award-winning short animation Harvie Krumpet (Adam Elliot, 2003). This is Adam Elliot’s first full-length feature film. LikeHarvie , it is an animated film with claymation characters. However, unlike many animated feature films, it is minimal in its use of colour and the action does not revolve around kooky creatures with human voices and super skills. Mary and Max is about the lives of two people who become pen pals, from opposite sides of the world. Like Harvie Krumpet, Mary and Max is innocent but not naive, as it takes us on a journey that explores friendship and autism as well as taxidermy, psychiatry, alcoholism, where babies come from, obesity, kleptomania, sexual difference, trust, copulating dogs, religious difference, agoraphobia and much more. Synopsis at the Berlin Film festival in the seter, 1995) and WALL·E (Andrew Generation14+ section aimed at Stanton, 2008), will be something HIS IS A TALE of pen- teenagers where it was awarded that many students will find fasci- friendship between two the Jury Special Mention. How- nating. Tvery different people – Mary ever, this is not a film written Dinkle, a chubby, lonely eight-year- specifically for a young audience. It would be enjoyed by middle and old girl living in the suburbs of It is both fascinating and engaging senior secondary students as well Melbourne, and Max Horovitz, a in the way it tells the story of the as tertiary students studying film.
    [Show full text]
  • ALPHABETICAL LIST of Dvds and Vts 9/6/2011 DVD a Mighty Heart
    ALPHABETICAL LIST OF DVDs AND VTs 9/6/2011 DVD A Mighty Heart: Story of Daniel Pearl A Nurse I am – Documentary and educational film about nurses A Single Man –with Colin Firth and Julianne Moore (R) Abe and the Amazing Promise: a lesson in Patience (VeggieTales) Akeelah and the Bee August Rush - with Freddie Highmore, Keri Russell, Jonathan Rhys Meyers, Terrence Howard, Robin Williams Australia - with Hugh Jackman, Nicole Kidman Aviator (story of Howard Hughes - with Leonardo DiCaprio Because of Winn-Dixie Beethoven - with Charles Grodin, Bonnie Hunt Big Red Black Beauty Cats & Dogs Changeling - with Angelina Jolie Charlie and the Chocolate Factory - with Johnny Depp Charlie Wilson’s War - with Tom Hanks, Julie Roerts, Phil Seymour Hoffman Charlotte’s Web Chicago Chocolat - with Juliette Binoche, Judi Dench, Alfred Molina, Lena Olin & Johnny Depp Christmas Blessing - with Neal Patrick Harris Close Encounters of the Third Kind – with Richard Dreyfuss Date Night – with Steve Carell and Tina Fey (PG-13) Dear John – with Channing Tatum and Amanda Seyfried (PG-13) Doctor Zhivago Dune Duplicity - with Julia Roberts and Clive Owen Enchanted Evita Finding Nemo Finding Neverland Fireproof – with Kirk Cameron on Erin Bethea (PG) Five People You Meet in Heaven Fluke Girl With a Pearl Earring – with Colin Firth, Scarlett Johannson, Tom Wilkinson Grand Torino (with Clint Eastwood) Green Zone – with Matt Damon (R) Happy Feet Harry Potter and the Half-Blood Prince Hildalgo with Viggo Mortensen (PG13) Holiday, The – with Cameron Diaz, Kate Winslet,
    [Show full text]
  • Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
    Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders.
    [Show full text]
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • Animating Revolt and Revolting Animation
    ChApter one Animating Revolt and Revolting Animation The chickens are revolting! —Mr. Tweedy in Chicken Run Animated films for children revel in the domain of failure. To captivate the child audience, an animated film cannot deal only in the realms of success and triumph and perfection. Childhood, as many queers in particular recall, is a long lesson in humility, awkwardness, limitation, and what Kathryn Bond Stockton has called “growing sideways.” Stockton proposes that childhood is an essentially queer experience in a society that acknowledges through its extensive training programs for children that hetero- sexuality is not born but made. If we were all already normative and heterosexual to begin with in our desires, orientations, and modes of being, then presumably we would not need such strict parental guidance to deliver us all to our common destinies of marriage, child rearing, and hetero- reproduction. If you believe that children need training, you assume and allow for the fact that they are always already anarchic and rebellious, out of order and out of time. Animated films nowadays succeed, I think, to the extent to which they are able to address the disorderly child, the child who sees his or her family and parents as the problem, the child who knows there is a bigger world out there beyond the family, if only he or she could reach it. Animated films are for children who believe that “things” (toys, nonhuman animals, rocks, sponges) are as lively as humans and who can Downloaded from https://read.dukeupress.edu/books/chapter-pdf/106945/9780822394358-002.pdf by TEMPLE UNIVERSITY user on 07 January 2019 1.
    [Show full text]
  • Free-Digital-Preview.Pdf
    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]