Alice Attraverso Lo Specchio a.k.a. Alice in Wonderland 2, Walt Disney Pictures Opzioni

[veu]

Libri dedicati al film:

Alice Through the Looking Glass

Ages 9-12 By: Kari Sutherland Series: Alice in Wonderland

A deluxe novelization based on the upcoming Walt Disney Studios live action film, Alice Through the Looking Glass.



Alice Through the Looking Glass: A Matter of Time

Ages 9-12 By: Carla Jablonski Series: Alice in Wonderland

Based on events from the film Alice Through the Looking Glass, this unique illustrated novel allows readers to follow Alice, the Mad Hatter, the Red Queen and the White Queen as the characters journey through time. Each of the four characters have their own new, distinct art style to accompany their unpredictable adventures. As the readers travel along, they will be faced with choices that may turn the world-or at least the book itself-upside down.





Gadget (bellissimo il pupazzo dello Stregatto!):



Bambole Limited Edition:

[LucaDopp]

Le prime recensioni sono pessime. Ma che strano.

[Arancina22]

Bellissimo reparto trucco e costumi, nonchè merchandising, ma credo che questo sarà un altro dei recenti film Disney che salterò.

[veu]

Il romanzo tratto dal film è uscito in Italia, ha la stessa cover. Lo prenderemo.

Segnaliamo che il sito DigitalSpy ha rilasciato una recensione molto positiva del film:

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[LucaDopp]

Il romanzo tratto dal film è uscito in Italia, ha la stessa cover. Lo prenderemo.

Che senso ha trarre un romanzo da un film tratto da un romanzo?

[veu]

è una prassi ormai consuetudinaria che però ha radici antiche... già negli anni 50 si pubblicavano romanzi della versione sceneggiata di film/serie tv ispirati a romanzi esistenti, pensiamo alle versioni a libro dei grandi sceneggiati della Rai tipo I Promessi Sposi o Il Conte di Montecristo.

Ieri c'è stata la prima a Londra con Johnny Depp, Mia Wasikowska e Tim Burton:

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[veu]

Un po' sulle origini della creazione del personaggio del Tempo...

Dal sito NYTimes:

Alice in Wonderland, With Even More British Whimsy

LOS ANGELES — It was inevitable that Walt Disney Studios would make a sequel to “Alice in Wonderland.” That 2010 movie, directed by Tim Burton, took in more than $1 billion at the global box office, sending producers across Hollywood scurrying like White Rabbits — we’re late, we’re late — to make live-action storybook movies. Another bite of the “Alice” mushroom was a no-brainer.

But Disney’s return to Lewis Carroll’s absurdist fantasyland did have one element that was quite curious: James Bobin.

When he was hired to direct the $170 million “Alice Through the Looking Glass,” which arrives on Friday, May 27, Mr. Bobin had made only two modestly budgeted “Muppets” movies. In fact, Mr. Bobin, who is British, was perhaps still best known for television, as a creator of HBO’s eccentric “Flight of the Conchords” and a writer-director for “Da Ali G Show,” where he helped Sacha Baron Cohen create a roster of R-rated characters.

This was Disney’s new ace?

The reasoning becomes clearer if you meet Mr. Bobin, as I did late last month over afternoon (iced) tea in the Chateau Marmont’s garden restaurant. Consider, for instance, how he fielded — in mile-a-minute, foam-in-mouth-corner fashion — an easy initial question about what appealed to him about the “Alice” menagerie:

“I thought it would be interesting to take the utterly beautiful world that Tim created in the first movie and push that a bit, applying more absurdity and surrealism and that Victorian sense of fantasy, and adding some, I guess, comedy into it, because that’s largely where I have worked — whilst at the same time serving the central story, which is an emotional one: comedy and emotion, very important.” He adjusted his oversize black sunglasses and continued: “Lewis Carroll, you see, wasn’t really interested in telling an exciting story. Well, he wasn’t interested in things like cause and effect or a linear narrative. It’s surreal, it’s absurd, it’s wordplay, it’s satirical, it’s analyzing itself, it’s funny, it’s an enormous challenge.”

With that, he threw his head back and let loose a burst of laughter that was both jolly and slightly unhinged. “Huh-ha-huh-ha-huh!”

I stared at him. “You’re bonkers, aren’t you?” I said, using a line from the film.

“All the best ones are,” he replied, not missing a beat.

The affable Mr. Bobin, who hit a home run with “The Muppets” but struck out with “Muppets Most Wanted,” is the latest lesser-known director to benefit from Hollywood’s franchise obsession. As studios seek to keep their film series going ad infinitum, the most valuable directors are often ones who have exhibited a strong sensibility and sense of ambition but who still lack a body of big-screen work and are thus considered more artistically governable. Sometimes it turns out poorly, as when 20th Century Fox gave “Fantastic Four” to the inexperienced Josh Trank, who melted under the pressure. More often, the new guy — and it’s always a guy — brings some fresh twists but doesn’t leave a tangle. The franchise continues on.

Disney’s marketing needs also benefited Mr. Bobin, who will next move to Sony Pictures, where he will mash together the “Men in Black” and “21 Jump Street” properties. To sell tickets for an “Alice in Wonderland” sequel, Disney wanted to advertise the movie as “from” the producer Tim Burton. (Mr. Burton never intended to direct the sequel.) So the studio needed a filmmaker who had not yet achieved name-above-the-title status.

“These big, effects-driven films are an entirely different form of collaboration,” said the longtime producer Suzanne Todd, whose credits include the “Alice” movies, the “Austin Powers” series and little gems like Christopher Nolan’s “Memento.” “James had to be very good at listening and filtering. It’s very, very bad when young directors shut out the team of old people assembled around them who know more than they do. At the same time, movies never turn out well when directors try to do what everyone else wants.”

Mr. Bobin, 43, was certainly no pushover. He even pressed Linda Woolverton, who wrote the script, to add a major character named Time, a half-human, half-clock who controls how eternity unfurls and also gives chase to Alice.

“There was just a first draft of a screenplay when I came in,” Mr. Bobin said. “Linda had a nice time-travel movie about Alice going back to save the Hatter’s family. I said: ‘Hang on a minute. What about making Time a person? And maybe Time has a thing, a sparkly object, that Time uses to travel through time. And maybe, by stealing this thing, Alice breaks the continuum of time, thereby inadvertently forcing Time to pursue her.’ Right there, you’ve got great narrative drive. I did all that.”

Mr. Bobin turned to a buddy, Mr. Cohen, to play the role. “There’s nothing funnier to me than Sacha playing a competent idiot,” Mr. Bobin said, adding that Mr. Cohen was “heavily involved” with creating the character.

Sole screenplay credit ultimately went to Ms. Woolverton, who is something of a Disney legend, having written “Beauty and the Beast” and “Maleficent,” among others. “James did spark the idea of Time, but he didn’t just hand me something,” Ms. Woolverton said. “We developed the character together.”

Like its predecessor, “Alice Through the Looking Glass” has strong feminist currents. All the stars are back, including Mia Wasikowska as Alice Kingsleigh, Helena Bonham Carter as the Red Queen, Johnny Depp as the Mad Hatter and Anne Hathaway as the White Queen. Also returning to support Mr. Bobin were the visual effects whiz Ken Ralston, who was nominated for an Academy Award for his work on the first “Alice,” and the costume designer Colleen Atwood, who won an Oscar for that film.

But the sequel is quite different. The story, mostly created from whole cloth, “explores the ‘why’ of this world,” Ms. Woolverton said. “Why does the Red Queen, for example, have such a big head?” (The explanation involves a childhood fall, which Ms. Woolverton said reflected a fall of her own as a girl. “I slipped on some pickle juice and hit my head.”)

This time around, the story also focuses more on Mr. Depp’s character, who is more sad than mad. His orange hair is combed, and he wears a suit. (“What’s illness in a mad person?” Mr. Bobin said. “Is it being sane?”) Summoned by the White Queen to snap the Hatter out of his funk, Alice uses Time’s spinning globe — called the Chronosphere — to race through the computer-generated Oceans of Time, encountering many wacky creatures.

Time, for instance, has robot helpers called Seconds, who can stack themselves Minions-style into larger entities called Minutes. Humpty Dumpty rolls through. The arch Blue Caterpillar (Alan Rickman, in his last significant role) is now a Blue Butterfly. The Mad Hatter’s father, Zanik Hightopp (Rhys Ifans), makes an appearance.

“The movie needed to be sufficiently Carrollian in its difficulty,” Mr. Bobin said. “One of the successes of the movie as far as I’m concerned is that my 8-year-old daughter understands it.”

That would be Madelaine. Mr. Bobin and his wife, Francesca Beauman, a historian whose books include “Shapely Ankle Preferr’d: A History of the Lonely Hearts Advertisement,” also have two sons: Jack is 6, and Wilkie is 3. The family now lives in Los Angeles full time, having moved from London more than a decade ago, when “Da Ali G Show” started to gain Emmy recognition. All told, between that series, for which he helped shape characters like Borat, and the short-lived “Flight of the Conchords,” about awkward New Zealand musicians, Mr. Bobin has been nominated for 11 Emmy Awards.

The son of a British sportscaster, Mr. Bobin has always been interested in time. He studied history at Oxford University. Dickens’s “A Christmas Carol,” with its backward and forward jumps, is one of his favorite stories. Mr. Bobin even dresses a bit out of step with the moment; he turned up for our interview wearing a brown tweed jacket with a red, polka-dot pocket square.

He noted that his knowledge of history — specifically art history — influenced “Alice Through the Looking Glass.” The Red Queen’s attendants are made out of vegetables, for instance, which is a nod to Giuseppe Arcimboldo, a Renaissance painter who turned out portraits of people with pear noses and eggplant necks. When Alice arrives in London at the beginning of the film, the yellowish light is meant to recall “Sunset, St. Pancras Hotel and Station, From Pentonville Road,” an 1884 painting by the Irish artist John O’Connor.

“That was very much a choice,” Mr. Bobin said. “I pictured it when I read the script for the first time. London had to be busy and dirty and yellow.”

As my time with Mr. Bobin ended, I had one more question. Having never removed those sunglasses, even though we were seated in the Chateau Marmont shade, he looked the part: hotshot director. Did he feel that way?

“No! Absolutely no!” he said. “How could you feel like that?” He paused for a moment before adding: “I guess maybe if you told the 15-year-old version of me what I’m doing now, then yes. He would be pleased. And surprised. And possibly terrified.”

[winnie & pimpi]

da Box office Mojo

Securing a second place finish is Disney's Alice Through the Looking Glass, which brought in an estimated $28.1 million for the three day and is expected to post a $35+ million four-day total. Reviews for the film were brutal and the four-day performance is approximately $25 million less than tracking suggested and $17 million less than Mojo's weekend predictions.

In attempting to figure just how much of a miss Looking Glass is for the studio, it would have been unreasonable to expect a repeat performance of 2010's Alice in Wonderland as it landed in the sweet spot of 3D and visual effects. This becomes even more evident once you consider 59% of the opening weekend audience saw Looking Glass in 2D despite more than 82% of the film's 3,763 opening weekend theaters premiered the film in 3D.

That said, the best comparison for Alice isn't exactly a flattering one as last year's $190 million disappointment Tomorrowland comes to the forefront. Tomorrowland brought in $42.6 million over the four-day Memorial Day weekend before going on to finish with $93.4 million domestically. Alice should finish with $90-100 million domestically if not a bit more, but given the $170 million budget, and the success Disney has seen with its live-action fairy tale features as of late, this isn't the result the studio was hoping for.

Internationally, Alice brought in an estimated $65 million as it opened day and date across 72% of the international market. The top performing market was China where the film brought in an estimated $27.1 million followed by Mexico ($5.0m), Russia ($4.6m), Brazil ($4.1m), UK ($3.2m), Germany ($2.5m), Australia ($2.4m), Italy ($2.2m), Spain ($1.6m) and Argentina ($1.6M). It still has yet to open in France (June 1), Japan (July 1) and Korea (Sept. 8).

[Simba88]

Incasso italiano di ieri:

"Rimane in testa Alice Attraverso lo Specchio, con 251mila euro: il film Disney sale così a 3.8 milioni di euro complessivi."

Fonte: Badtaste.it

http://www.badtaste.it/2016/06/04/box-offi...venerdi/176246/

La butto lì: e se gli incassi (nettamente al di sotto delle aspettative, in America rischia di non arrivare ai 100 milioni) e le recensioni (29% su RottenTomatoes) bloccassero ALMENO il sequel di Maleficent?

[LucaDopp]

La butto lì: e se gli incassi (nettamente al di sotto delle aspettative, in America rischia di non arrivare ai 100 milioni) e le recensioni (29% su RottenTomatoes) bloccassero ALMENO il sequel di Maleficent?

Perché gli incassi di questo film dovrebbero bloccare la produzione del sequel di un altro film? Se va bene eviteranno un eventuale terzo capitolo di Alice, ma dubito influiranno sulla produzione di un film che non c'entra nulla.

[theprinceisonfir...]

La butto lì: e se gli incassi (nettamente al di sotto delle aspettative, in America rischia di non arrivare ai 100 milioni) e le recensioni (29% su RottenTomatoes) bloccassero ALMENO il sequel di Maleficent?

Gli incassi worldwide(che oramai sono quelli che più contano) sono comunque molto buoni(in Italia arriverà a 7-8 milioni di euro). Quanto a Maleficent si tratta di un investimento del tutto differente: qui vi sono stati molti anni di distanza fra le uscite ed il primo aveva beneficiato grandemente dell'effetto novità del 3D post Avatar; Maleficent non avrebbe di questi problemi aggrappandosi fondamentalmente sullo star power di Angelina Jolie, che è rimasto inalterato, e sullo stile visivo di stampo dark/medievale fantasy(a differenza dal fantasy più puramente fiabesco e astratto di Alice).
Sicuramente, se la striscia dei live action movies fiabeschi dovesse assumere contorni economicamente sfavorevoli, il trend potrebbe venire riconsiderato; tuttavia, credo che il film della Bella e la Bestia sarà un enorme successo(con buona pace di chi, come me , lo accoglie già in partenza tiepidamente) quindi credo che non ce ne libereremo molto presto.

[dragonwitcher]

Ma i live action degli ultimi anni stanno andando bene e benissimo quelli che si ispirano fortemente ai classici senza stravolgere nulla! Jungle book supererà i 900 milioni con qualche possibilità di arrivare al miliardo, Cenerentola ha incassato 500 milioni e chissà quanti ne incasserà la bella e la bestia...

[Simba88]

Ma i live action degli ultimi anni stanno andando bene e benissimo quelli che si ispirano fortemente ai classici senza stravolgere nulla! Jungle book supererà i 900 milioni con qualche possibilità di arrivare al miliardo, Cenerentola ha incassato 500 milioni e chissà quanti ne incasserà la bella e la bestia...

Hai rimosso cosa è stato stravolto in Maleficent? Niente da dire contro Cenerentola (non ho visto Il Libro della Giungla) e secondo me, sebbene ci siano molte critiche per il fatto di realizzare delle copie dei film d'animazione, farebbero meglio a puntare più sulle trasposizioni dirette dei Classici invece che realizzare variazioni sul tema come appunto Maleficent e i due film di Alice.

[veu]

Incasso italiano di ieri:

"Rimane in testa Alice Attraverso lo Specchio, con 251mila euro: il film Disney sale così a 3.8 milioni di euro complessivi."

Fonte: Badtaste.it

http://www.badtaste.it/2016/06/04/box-offi...venerdi/176246/

La butto lì: e se gli incassi (nettamente al di sotto delle aspettative, in America rischia di non arrivare ai 100 milioni) e le recensioni (29% su RottenTomatoes) bloccassero ALMENO il sequel di Maleficent?

Non crediamo bloccheranno Maleficent 2 per due ragioni:
1- non c'è ragione che lo blocchino. Alice non è Maleficent così come Alice nel paese delle meraviglie non è La Bella Addormentata nel bosco. E non c'è ragione per un unico modesto incasso della Woolverton bloccare la sua carriera (altrimenti cosa dovrebbero fare con tutti coloro che hanno realizzato i flopponi anni 2000 nel reparto animazione? licenziarli in massa e bloccare i loro lavori?)
2- Maleficent ha più presa sul pubblico perché c'è la Jolie (e lei e l'hype che ha intorno crediamo siano ben più che sufficienti per avere milioni al cinema), non soffre del fattore "rinuncia al 3D" così come invece ha sofferto Attraverso lo specchio rispetto al primo Alice in Wonderland, è più vicino al primo film come tempi di realizzazione (si parla di aprile 2018 o addirittura una realizzazione a tempo record per luglio 2017 il che però secondo noi è un po' difficile) e si prospetta più epico di Attraverso lo specchio (così come il primo Maleficent era più epico di Alice in Wonderland) e poi in Maleficent la squadra resta quella del primo film (sceneggiatore, regista, tecnici, attori ecc) cosa che in Alice non è stata così (il regista è cambiato)...
e contiamo poi che molti fan di Burton hanno rifiutato a priori Attraverso lo specchio solo perché non lo firmava lui (!)
Che poi a dirla tutta Attraverso lo specchio è migliore del primo film come trama e storia...

Noi più che del reparto live action ci preoccuperemmo più del reparto animazione (che dovrebbe restare il punto di forza degli Studios) e dove devono secondo noi trovare una storia universale da adattare in animazione (ok gli ultimi film sono andati molto bene però devono ora premere sull'acceleratore e fare storie immortali)

[dragonwitcher]

Infatti ho scritto che i film che si attengo fedelmente ai classici stanno andando benissimo (sia a livello di incassi si di critica)... Maleficient stravolge tutto viene criticato ma incassa tantissimo così come Alice.

[dragonwitcher]

Non immagino cosa potrà incassare tra una decina di anni il live action di Frozen.

[veu]

Secondo noi il live di Frozen farebbe il botto... ma arriveranno a farlo? o meglio credete che faranno anche prima o poi i remake dei film in CGI?

Questione Maleficent 2... fossimo nella Disney non lo annulleremmo anche perché vogliamo proprio vedere cosa sapranno inventarsi e poi alla fin fine Maleficent è vero stravolge un po' la storia ma è innovativo e mantiene come idea di base la favola, rimaneggiata ma resta la fiaba che conosciamo... e un po' di innovazione è quello che ci vuole sempre...

[dragonwitcher]

Faranno qualcosa come il libro della giungla con meno canzoni cantate e più azione! Io sarei molto felice di vedermelo in live action visto che l'ho adorato... non prima ovviamente di una trilogia cartoon di Frozen.

[LucaDopp]

Faranno qualcosa come il libro della giungla con meno canzoni cantate e più azione! Io sarei molto felice di vedermelo in live action visto che l'ho adorato... non prima ovviamente di una trilogia cartoon di Frozen.

Boh, io non capisco proprio tutta questa voglia di remake e sequel. Se oggi la Disney annunciasse di non voler mai più produrre remake, sequel ecc. di alcun film credo che festeggerei alla grande.

[dragonwitcher]

Mah se sono belli ben vengano!!!

[veu]

Se sono ben fatti, ben vengano i remake. Non ci poniamo nemmeno il problema, fossimo in noi li rifaremmo tutti (così anche alcuni film sarebbero più adulti delle corrispettive versioni a cartoni)...
a fianco a questi remake poi basta che facciano anche film nuovi (e ne fanno, vedesi Lo Schiaccianoci) e film d'animazione con storie immortali e classiche... ecco piuttosto di preoccuparsi sui remake sui quali si va abbastanza sul sicuro, fossimo in voi ci preoccuperemmo di più dei film d'animazione.

[-kekkomon-]

Da boxofficemojo:

Total Lifetime Grosses
Domestic: $50,772,597 28.8%
+ Foreign: $125,500,000 71.2%
= Worldwide: $176,272,597