Thefilm is suitable for all the family; from the tiny tots to the big kids at heart, Beauty and the Beast has the capability of winning the hearts of people of all age groups. The first thing I noticed with this film in comparison to the animation is that it's far more detailed, which is probably why it's of a greater length than I expected. menx27sdigital sports. The 2017 Beauty and the Beast live-action film, starring Emma Watson as Belle, was something out of a Tumblr committee in terms of casting and desire to fill in all the gaps of the original film. 2017. 3. 10. · Track 16 on. "Beauty and the Beast" is a song written by lyricist Howard Ashman and composer Alan Menken for the Disney animated feature film Beauty and the AjakSobatKeren 21 anda Nonton Film Beauty and the Beast (2017) dengan Subtitle Indonesia dan juga memberikan link Download Gratis. Sebelum anda Nonton Movie Sub Indo ini, Anda dapat melihat Trailer Filmnya terlebih dahulu. Dengan melihat Trailer film anda dapat memutuskan untuk tidak ke Bioskop akan tetapi bisa menikmati tontonan dengan Admin Beauty and the Beast (2017) subtitle download is in SRT Format. This movie subtitle file is compatible with all versions of Beauty and the Beast (2017) ranging from Bluray, WEBRip, WEB-DL, BRRIP, 720p and 1080p to a lot more. Thereby, bringing friendly reading to the movie. The subtitle of this movie is free from glitch. NontonBeauty and the Beast (2017) Layar Kaca 21 Indoxxi Dunia21 Lk21 Layarindo GudangMovie Filmapik BioskopKeren HardSub Indo 1080p 720p 480p 720p, 480p, 360p, LayarKeren streaming movie yang sangat powerful, dengan design yang di sesuaikan dengan tampilan dan mata pengguna Kami tidak menyimpan file film tersebut di server sendiri dan cara membuat otak otak ikan tenggiri bakar. You could say that the notion of turning beloved stories and characters into brands was invented by Walt Disney. He built his empire on the image of Mickey Mouse who made his debut in 1928, but Disney really patented the brand concept in 1955, with the launch of Disneyland, where kids could see old familiar characters — Mickey! Snow White! — in a completely different context, which made them new. Twenty-three years ago, the Broadway version of “Beauty and the Beast” followed three years later by the Broadway version of “The Lion King” introduced a different form of re-branding the stage-musical-based-on-an-animated-feature. Now the studio is introducing a cinematic cousin to that form with the deluxe new movie version of “Beauty and the Beast,” a $160 million live-action re-imagining of the 1991 Disney animated classic. It’s a lovingly crafted movie, and in many ways a good one, but before that it’s an enraptured piece of old-is-new nostalgia. There’s a lot riding on “Beauty and the Beast.” Given its sheer novelty value the live-action “Cinderella” released by Disney in 2015 wasn’t really cued to the 1950 cartoon version, the picture seems destined to score decisively at the box office. But the larger question hanging over it is How major — how paradigm-shifting — can this new form be? Is it a fad or a revolution? Disney already has a live-action “Lion King” in the works, but it remains to be seen whether transforming animated features into dramas with sets and actors can be an inspired, or essential, format for the future. Going into “Beauty and the Beast,” the sheer curiosity factor exerts a uniquely intense lure. Is the movie as transporting and witty a romantic fantasy as the animated original? Does it fall crucially short? Or is it in some ways better? The answer, at different points in the film, is yes to all three, but the bottom line is this The new “Beauty and the Beast” is a touching, eminently watchable, at times slightly awkward experience that justifies its existence yet never totally convinces you it’s a movie the world was waiting for. A good animated fairy tale is, of course, more than just a movie — it’s a whole universe. The form was invented by Disney eighty years ago, with “Snow White and the Seven Dwarfs” 1937, a film I still think has never been surpassed, and when you watch something as transporting as “Snow White” — or “Bambi,” or “Toy Story,” or “Beauty and the Beast” — every gesture and background and choreographed flourish, from the facial expressions to the drip-drop of water, flows together with a poetic unity. That’s the catchy miracle of great animation. When you watch the new “Beauty and the Beast,” you’re in a prosaic universe of dark and stormy sets, one that looks a lot like other stagy films you’ve seen. The visual design, especially in the Beast’s majestic curlicued castle, is gentrified gothic — Tim Burton de-quirked. At the beginning, when Belle Emma Watson walks out of her house and wanders through the village singing “Belle,” that lovely lyrical meet-the-day ode that mingles optimism with a yearning for something more, the shots and beats are all in place, the spirit is there, you can see within 15 seconds that Emma Watson has the perfect perky soulfulness to bring your dream of Belle to life — and still, the number feels like something out of one of those overly bustling big-screen musicals from the late ’60s that helped to bury the studio system. It’s not that the director, Bill Condon “Dreamgirls,” “The Twilight Saga”, does anything too clunky or square. It’s that the material loses its slapstick spryness when it’s not animated. The sequence isn’t bad, it’s just…standard. That’s true of most of the first part of the movie, right up until the point when Belle rescues her kindly inventor father, Maurice Kevin Kline, from the Beast’s castle — where he’s being held prisoner for having assaulted a flower — by trading places with him. Belle, a wistful bookworm, is the odd girl out in her village, and she has already brushed off several encounters with Gaston Luke Evans, the duplicitous hunk who became a new Disney archetype in “Frozen,” etc. the handsome, big-chinned, icky monomaniacal two-faced suitor. On first meeting, however, the Beast seems nearly as dark. He’s a prince who was cursed and turned into a monster for having no love in him, and the best thing about the movie — as well as its biggest divergence from the animated version — is that he’s a strikingly downbeat character, a petulant and morose romantic trapped in a body that makes him feel nothing less than doomed. He’s played by Dan Stevens, a British actor who out of makeup looks like a bland version of Ryan Gosling, but the makeup and effects artists have done an extraordinary job of transforming him into a hairy hulking figure with ram horns, the face of a saddened lion having an existential meltdown, and the voice of Darth Vader channeling Hugh Grant. Visually, the characterization makes a nod to the scowling-eyed Beast from Jean Cocteau’s immortal “Beauty and the Beast” 1946, but he also comes off as a kind of royal version of the Elephant Man a melancholy freak trapped in solitude. I loved that for a good long while, he’s a bit of a hard-ass, a man-creature who doesn’t dare to think that Belle could love him. But then, under her gaze, he begins to soften, and his transformation is touching in a more adult way than it was in the animated version. The romance there was benign; here, it’s alive with forlorn longing. Which is to say, the new “Beauty and the Beast” is not as kid-friendly a movie. It tries to be in certain sequences, notably those featuring Lumière the candelabra voiced by Ewan McGregor, Cogsworth the pendulum clock Ian McKellen, and Garderobe the wardrobe Audra McDonald — all of whom are basically tactile, live-action animated characters. The “Be Our Guest” musical number scrupulously revives the dancing-plate surreal exuberance of the original, but there the frenetic nuttiness was exquisite. Here it tips between exhilarating and exhausting, because you can feel the special-effects heavy lifting that went into it. I keep comparing “Beauty and the Beast” to the animated version, which raises a question Is that what we’re supposed to be doing? Or should the film simply stand on its own? The movie wants to have it both ways, but then, that’s the contradictory metaphysic of reboot culture We’re drawn in to see the old thing…but we want it to be new. The live-action “Beauty and the Beast” is different enough, and certainly, if you’ve never experienced the cartoon, it’s strong enough to stand on its own. Josh Gad, incidentally, plays Gaston’s worshipful stooge Le Fou as maximally silly and fawning, but I must have missed the memo where that spells “gay.” Yet it’s not really that simple, is it? The larger fantasy promoted by a movie like this one is that we’ll somehow see an animated feature “come to life.” And that may be a dream of re-branding — shared by studio and audience alike — that carries an element of creative folly. Animation, at its greatest, is already a glorious imitation of life. It’s not clear that audiences need an imitation of the imitation. Beauty and the Beast bra A Bela e a Fera[2]; prt A Bela e o Monstro[3] é um filme musical estadunidense do género fantasia romântica, dirigido por Bill Condon e escrito por Stephen Chbosky e Evan Spiliotopoulos. É uma produção da Walt Disney Pictures, baseado no conto de fadas homónimo de Jeanne-Marie Leprince de Beaumont e no filme de animação de 1991 da Disney. O elenco principal é formado por Emma Watson, Dan Stevens, Luke Evans, Kevin Kline, Josh Gad, Ewan McGregor, Stanley Tucci, Audra McDonald, Gugu Mbatha-Raw, Ian McKellen e Emma Thompson. No filme, Bela é feita prisioneira de uma fera temível no seu castelo encantado e aprende a olhar além da sua aparência, evitando um caçador narcisista que procura casar com ela. As filmagens ocorreram no estúdio Shepperton Studios, em Surrey, Reino Unido, de 18 de maio a 21 de agosto de 2015. O filme estreou-se nos Estados Unidos a 17 de março de 2017, nos formatos 2D, Disney Digital 3-D, RealD 3D, IMAX 3D e 4DX.[4] Estreou-se em Portugal e no Brasil a 16 de março de 2017[3][2] e em Angola e Moçambique a 17 de março do mesmo ano.[7][8] Beauty and the Beast recebeu críticas geralmente favoráveis, destacando-se as performances do elenco, em especial Watson, Stevens e Evans, a narrativa, fidelidade ao longa-metragem animado, fotografia, direção de arte e trilha sonora.[9][10][11] Arrecadou mais de US$ 1,2 bilhão mundialmente, contra um orçamento de US$ 160 milhões, sendo a segunda maior bilheteria no mercado doméstico, Estados Unidos e Canadá, no ano e também ocupando a segunda posição entre os filmes mais rentáveis de 2017, ficando atrás apenas de Star Wars The Last Jedi.[12][13][14] Além de ser o décimo nono maior abertura da história no mercado interno com US$ 174,7 milhões,[15] é a 2° maior arrecadação entre os remakes em live-action dos clássicos de animação da Disney, atrás apenas de The Lion King 2019 que arrecadou 1,6 bilhão em 2019.[16] Recebeu duas indicações ao British Academy Film Awards, concorrendo nas categorias de Melhor Direção de Arte e Melhor Figurino, além de também ser indicado nas categorias de Melhor Direção de Arte e Melhor Figurino na cerimônia do Oscar. Beauty and the Beast streaming where to watch online?Currently you are able to watch "Beauty and the Beast" streaming on Disney Plus, DIRECTV. It is also possible to buy "Beauty and the Beast" on Microsoft Store, AMC on Demand, Apple TV, Amazon Video, Google Play Movies, YouTube, Vudu, Redbox, DIRECTV as download or rent it on Amazon Video, Apple TV, Google Play Movies, YouTube, Vudu, Microsoft Store, Redbox, DIRECTV, Spectrum On Demand online. Be our guest and look back at EW's coverage of the live-action retelling before it opens in theaters this weekend Each product we feature has been independently selected and reviewed by our editorial team. If you make a purchase using the links included, we may earn commission. It's been more than 25 years since the debut of Disney's animated Beauty and the Beast, but Emma Watson now steps into Belle's shoes in the live-action adaptation, in theaters this weekend. It's "a tale as old as time," but with a few nuances. Belle, a young woman and outsider of her small, provincial town, meets a prince cursed into a monstrous form by a witch. A mix of live-action and CGI performances, Beauty and the Beast features an massive ensemble with Dan Stevens, Luke Evans, Josh Gad, Ian McKellen, Ewan McGregor, Kevin Kline, Stanley Tucci, Emma Thompson, and Audra McDonald. For anyone holding off on spoilers or wanting to learn more about the behind-the-scenes Disney magic, here's a recap of EW's continuing coverage of the latest live-action fairytale. Beauty And The Beast GIF - Find & Share on GIPHY Subscribe now to receive Entertainment Weekly's The Ultimate Guide to Beauty and The Beast special issue, featuring the casts and creators of the new film and the animated classic, free with your order. EW’s Beauty and the Beast review, by Chris Nashawaty "Directed by movie-musical veteran Bill Condon Dreamgirls and the script for Chicago, Beauty and the Beast is a movie that can't quite figure out what it wants to say that it didn't already say back in 1991," Nashawaty writes. But that doesn't mean the film is void of joy. Watson "is certainly one of the film's stronger elements" who, "it turns out, can sing." Beauty And The Beast GIF - Find & Share on GIPHY EW’s first look cover story, by Clark Collis EW premiered the first look at the cast with a behind-the-scenes investigation of Beauty and the Beast, complete with secrets from the set. Beauty and the Beast On the Cover of EW Emma Watson gives Belle a new backstory The Disney princess is no longer a damsel in distress. The star of the film talks about bringing more of an inventor background to the library-loving character. Image How Disney recreated Belle’s yellow dress We all know the scene Belle, twirling in a yellow gown, dances with the Beast in a shimmering ballroom to the song "Beauty and the Beast." Watson remarked of the moment, "It really tells the story of Beast and Belle falling in love." BEAUTY AND THE BEAST A guide to the new songs In addition to compositions from the original movie musical, the film incorporated original pieces from composer Alan Menken "For Evermore," "Our Song Lives On," and "Days in the Sun." Beauty And The Beast GIF - Find & Share on GIPHY Emma Watson on bringing a fearless edge to Belle In EW's recent cover story, the actress and director Bill Condon tell EW about how Belle's quiet village views her inquisitive mind as a threat. "They don't think women should read and it goes further than that," she said. "They are deeply suspicious of intelligence." ew1454_55cvr_promo Credit Kerry Hallihan for EW On the “Stockholm Syndrome” element of the original story Watson defended the live-action remake against criticism surrounding Belle's relationship with the Beast. "It's such a good question and it's something I really grappled with at the beginning," she said. Beauty And The Beast GIF - Find & Share on GIPHY LeFou's "gay moment" A backlash ensued over Disney's first openly gay character in a film Josh Gad's LeFou. Condon said the moment was "overblown," McGregor defended the choice in an interview on The Late Show. BEAUTY AND THE BEAST Credit Laurie Sparham/Disney A dissection of the film’s gay character EW's Anthony Breznican penned a thoughtful essay from a father's perspective on LeFou's character progression. null Credit Laurie Sparham/Disney Crack open EW’s special edition issue for Beauty and the Beast Check out exclusive behind-the-scenes images from the London set — from Belle's hometown to the Beast's castle and the wolf-riddled woods. Beauty And The Beast GIF - Find & Share on GIPHY Alan Menken returns to the musical realm of the film The legendary movie composer Aladdin, The Little Mermaid, Pocahontas, and more looks back to one of his most renowned achievements in EW's Ultimate Guide to Beauty and the Beast. Beauty And The Beast GIF - Find & Share on GIPHY Behind the music Want to know how such iconic tunes, like "Gaston" and "Be Our Guest," came to be? Find out from Menken himself. Beauty And The Beast GIF - Find & Share on GIPHY An oral history of the original Beauty and the Beast Find out how the film started out with a 20-minute reel about Belle with her angry aunt, cat, and little sister. Plus, there wasn't any music. Yeah, Disney didn't go for that concept, either. Beauty And The Beast GIF - Find & Share on GIPHY Bill Condon on the new Beauty and the Beast It may be a story we've heard before, but there's still more to say. Condon writes about his experience looking to 1932's Love Me Tonight and breathing new life into a Disney hallmark. BEAUTY AND THE BEAST Credit Laurie Sparham/Disney Inside the filming of "Be Our Guest" "Be Our Guest" is one of the most iconic Disney moments of all time. So, no pressure recreating it again decades later. "It's a four-minute number that cost more than Mr. Holmes's entire budget," Condon dished. be-our-guest Beauty and the Beast 2017 type Movie mpaa runtime 129 minutes director Bill Condon Disney’s newest live-action remake can’t shake the legacy of the original centuries-old fairytale of Beauty and the Beast is a story of transformative love, and of learning to see someone’s inner beauty, that ends in a blessed matrimony with a handsome prince. As such, it was virtually tailor-made for Disney. The studio’s 1991 film remains arguably the greatest of its animated works, somehow managing to adhere to a rigid musical formula while injecting atmosphere, deep characterization especially for its heroine, and beautifully written, funny, and intelligent songs. It’s perhaps no wonder, then, that Bill Condon’s new live-action remake is also a swooning romance. Here is a film that truly only has eyes for the 1991 Beauty and the Beast; unfortunately, this reverence makes for a far unholier recent Disney remake formula is a simple one Take a beloved animated tale say, Cinderella or The Jungle Book, cast some big-name celebrities, and then dial the opulence factor up to 11, turning a film everyone remembers into a grand, if somewhat hollow, homage for a new generation. There’s nothing particularly outrageous about retelling or reimagining these stories. But this 2017 edition of Beauty and the Beast feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor which is quite often, it’s hard not to ReadingFor a film that feels like a shot-for-shot remake at times, Beauty and the Beast is also surprisingly long, running a hefty 129 minutes to the original’s 84. That’s mostly because Condon and the screenwriters Stephen Chbosky and Evan Spiliotopoulos have added in several soupçons of backstory and a few extra songs, just to give things more of a blown-out feeling. The prologue, told as a series of stained-glass vignettes in the animated film, has been turned into an extravagant ball scene, with the posh, entitled Prince Dan Stevens raging the night away with his sat up straight in my seat at this hilariously sumptuous sight, something right out of the court of Louis XIV. Condon, who once focused on gentle biopics about sexuality and intimacy Gods and Monsters, Kinsey, has since become a purveyor of lavish ridiculousness Dreamgirls, Twilight Breaking Dawn, and there’s many a moment in Beauty and the Beast where he’s trying to have fun. But the Prince is quickly turned into a Beast for his arrogance, of course, and his servants are transformed into anthropomorphic appliances alongside him, quickly locking viewers into the story they know so a nearby village, Belle Emma Watson is a bookish and beautiful girl doting on her inventor father Maurice Kevin Kline and batting away the repeated marriage proposals of a puffed-up suitor, Gaston Luke Evans. She sings thinly of “adventure in the great wide somewhere,” hoping to escape her provincial life. Gaston, meanwhile, boasts about how handsome and tough he is to his simpering dogsbody LeFou Josh Gad. His eponymous number is probably the standout of the film, with Evans the only performer who really captures the exaggerated vibe of the cartoon he’s trying to enough, Belle’s father ends up imprisoned in the Beast’s dungeons for trespassing, and she nobly takes his place, meeting the colorful cast of servants who have been turned into household items. Now the fun begins, right? Not so much. “Be Our Guest,” the Busby Berkeley-esque showstopper that sees Lumière Ewan McGregor serve dinner in a magical musical fashion, becomes a cacophonous and forgettable blur of visual effects. The new renderings of the servants are still animated, but there’s a blocky, lifeless quality to them. The efforts to make the walking clock Cogsworth Ian McKellen or the friendly teapot Mrs. Potts Emma Thompson feel like realistic bits of décor also cost the characters their same goes for the Beast himself, a CGI/motion-capture creation that obscures the usually charming Stevens so arresting in 2014’s The Guest, halting any chance at real chemistry with Belle. Stevens makes some effort to bring a little humor to the Beast’s quieter moments, and Watson similarly strives to layer humanity into her broad, archetypal role, but there’s only so much they can do. The whole romance feels dull and inevitable. They can’t disguise the sense that the film is going through the motions, making sure it hits its marks and repeats all the emotional crescendos of its of the unforgettable songs by the composer Alan Menken and the late Howard Ashman the brilliant lyricist of Disney’s early-’90s renaissance is here, plus a few new ones with lyrics by Tim Rice that land with a thud alongside them. These added songs are meant to deepen each character’s backstory, much like the occasional flashbacks that are sprinkled in apparently Belle’s mother suffered from the plague in Paris. But the rest of the film’s attempts to mirror the animated original just make the new scenes feel horribly Condon and company could have followed the example of Jon Favreau’s The Jungle Book. That film was a remake in the more classical sense, tipping its cap to all the major moments of the Disney classic but going with a very different plot. With the new Beauty and the Beast, Disney has ripped a jewel out of its casing and set it in something far more elaborate; the effect is garish rather than nostalgic, frustrating rather than memorable. It will serve to remind you of the glory days of the past, but as its own pleasant viewing experience, Condon’s Beauty and the Beast is sadly lacking.

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