Our Oscar frontrunner “The Favourite” as well as third and fourth-ranked “Mary Poppins Returns” and “Mary Queen of Scots” contend for best period costumes as do “BlacKkKlansman” and “Bohemian Rhapsody.”
Besides the second-ranked Oscar contender “Black Panther,” the fantasy film nominees are “Aquaman,” “The Avengers: Infinity War,” “The Nutcracker and the Four Realms” and “A Wrinkle in Time.”
And the contemporary costume nominees are “Crazy Rich Asians,” “Mamma Mia! Here We Go Again,
In the contemporary film races, “Crazy Rich Asians” was nominated alongside “Mamma Mia! Here We Go Again,” “Ocean’s 8,” “A Star Is Born” (extending its streak of nominations from every single industry group so far) and “Widows.”
For period film, nominees were “BlacKkKlansman,” “Bohemian Rhapsody,” “The Favourite,” “Mary Poppins Returns” and “Mary Queen of Scots.”
Nominated for sci-fi/fantasy were “Aquaman,” “Avengers: Infinity War,” “Black Panther,” “The Nutcracker and the Four Realms” and “A Wrinkle in Time.”
In the television categories, nominees included “The Assassination of Gianni Versace: American Crime Story,” “This Is Us,” “Glow,” “Outlander,” “The Handmaid’s Tale,” “Star Trek: Discovery” and “Jesus Christ Superstar Live in Concert.”
Previously announced, the guild’s Career Achievement and Distinguished Collaborator honors will go to Ruth E. Carter and Ryan Murphy, respectively.
Full list of nominees below.
A majority of IndieWire awards editor Anne Thompson’s current predictions to land Oscar nominations for Best Costume Design are represented by the Cdga. Erin Benach (“A Star Is Born”) and Ruth Carter (“Black Panther”) are competing in the Excellence in Contemporary Film and Excellence in Sci-Fi/Fantasy Film categories, respectively, while Julian Day (“Bohemian Rhapsody”) and Sandy Powell (“The Favourite”) are nominated in the Excellence in Period Film. Powell is a double nominee, with her work on “Mary Poppins Returns” also nominated for Excellence in Period Film.
In the CDGA’s Excellence in Period Film category, the nominees are “BlacKkKlansman,” “Bohemian Rhapsody,” “The Favourite,” “Mary Poppins Returns” and “Mary Queen of Scots.”
In Excellence in Sci-Fi/Fantasy Film, the guild nominated “Aquaman,” “Avengers: Infinity War,” “Black Panther,” “The Nutcracker and the Four Realms” and “A Wrinkle in Time.”
And in Excellence in Contemporary Film, the nominees are “Crazy Rich Asians,” “Mamma Mia! Here We Go Again,” “Ocean’s 8,” “A Star Is Born” and “Widows.”
Sandy Powell received two nominations,
The top film and TV noms each are split into three categories — contemporary, period and sci-fi/fantasy. A number of awards-season regulars made the cut on the film side, with noms going to the costumers behind A Star Is Born, Crazy Rich Asains, BlackKklansman, Bohemian Rhapsody, The Favourite and 2018’s top-grossing domestic release, Black Panther. The No. 1 film of last year worldwide, Avengers, Infinity War, also scooped a nomination.
“I would like to congratulate all of the nominees of the 2019 Costume Designers Guild Awards,” said Salvador Perez, President of Cdg Local 892. “This year, we are especially thrilled to include the nominees for our brand-new Variety, Reality-Competition, Live Television category.
The film is inspired by E.T.A. Hoffmann’s classic tale and the beloved ballet The Nutcracker — and sends audiences along with 14-year-old Clara (Mackenzie Foy) to a magical, mysterious world with breathtaking performances by Misty Copeland plus sweets, snowflakes, soldiers, scurrying mice … and no shortage of surprises. Destined to become an annual viewing tradition for adventurers of all ages, the film arrives home instantly with never-before-seen extras and deleted scenes on Digital-Download on Feb 25th and on Blu-ray and DVD March. 11, 2019.
Bonus features include a discussion with American Ballet Theatre’s Misty Copeland about her role as the enchanting Ballerina Princess, her personal history with The Nutcracker ballet, and her inspirational and historic rise within the world of dance. Extras take viewers on the set of
The tale centers on Clara (Mackenzie Foy), a 14-year-old who traverses through a parallel world where she meets a Nutcracker soldier (Jayden Fowora-Knight),the Sugar Plum Fairy (Keira Knightley), and Fourth Realm ruler Mother [...]
The post ‘The Nutcracker and the Four Realms’ Hits Blu-Ray And Digital In January appeared first on Hollywood Outbreak.
The dazzling Disney adventure carried audiences along with 14-year-old Clara (Mackenzie Foy) to a magical, mysterious world with breathtaking performances by Misty Copeland plus sweets, snowflakes, soldiers, scurrying mice... and no shortage of surprises. Destined to become an annual viewing tradition for adventurers of all ages, the film arrives home instantly with never-before seen extras and deleted scenes on Digital and Movies Anywhere, and on 4K Ultra HD,
The Nutcracker and the Four Realms stars Mackenzie Foy, Morgan Freeman, Jayden Fowora-Knight, Keira Knightley and Helen Mirren. It had a rough go at the North American box office with just under $55 million, and overall made $172.6 million worldwide.
Bonus features are highlight by five deleted scenes with one extra, the making-of the visual effects, exclusive to the digital version.
Here's a rundown of all the extras you can expect:
On Pointe: A Conversation with Misty Copeland - Copeland shares the thrill of portraying one of her favorite characters in a whole new way.
Unwrapping “The Nutcracker and the Four Realms” - Dive into the production design, sets, costumes and more that helped transform
From racial diversity to a historic year at the box office and to blockbusters that have found their way into the awards season buzz, the movies still mattered this year in ways that stand to have an impact on the choices Hollywood makes moving into 2019 and beyond.
Here are seven trends in the film industry that stood out in 2018:
Also Read: 'Mary Poppins Returns' to Receive Ensemble Award at Palm Springs Film Festival
1. Disney dominated at the box office — and it’s only getting bigger
However you want to slice it, the Mouse House dominated this year. Disney released the top three films of the year in “Black Panther,” “Avengers: Infinity War” and “Incredibles 2,” which buoyed the Burbank-based studio to $7 billion
Blockbusters including Disney’s “Black Panther” and “Incredibles 2,” Universal’s “Jurassic World: Fallen Kingdom,” and Fox’s “Deadpool 2” drove sales past $11.383 billion, according to Comscore. That puts 2018’s haul ahead of the record $11.382 billion set in 2016, with over a week left to go in the year.
It got more expensive to go to the movies, and ticket prices hit a new high, averaging $9.38 over the summer. But it’s not just the rising cost of admission accounting for the surge. Attendance is also up over 4% from last year.
As of Christmas Day, five of the top 10 biggest domestic releases of the year came from Disney. A pair of Marvel titles nabbed the first two slots, with “Black Panther” generating $700 million
Disney is on track to top $3 billion at the domestic box office, which has which has only been done once before, and already passed the $7 billion mark worldwide.
By virtually any metric, 2018 has been an impressive year for Disney.
“Black Panther” opened in February and has remained relevant throughout the year, garnering $700.1 million at the domestic box office and $1.3 billion worldwide. Ryan Coogler’s franchise-launching film, which has been at the center of the Best Picture conversation for the Oscars, earned Disney-owned
SEEour interview with “The Nutcracker and the Four Realms” writer.
What is the reason for Hollywood’s sudden itch to tell stories about a man who died 15 years ago and whose PBS show “Mister Rogers’ Neighborhood” went off the air two years before that? “There’s a big one in the White House,” “You Are My Friend” co-writer Micah Fitzerman-Blue answers. Fitzerman-Blue and his co-writer and fellow executive producer Noah Harpster spoke to Gold Derby earlier this
Failing to make the cut, however, were animated upstarts “Incredibles 2” and “Isle of Dogs,” DC’s “Aquaman,” “Bumblebee,” “Fantastic Beasts: The Crimes of Grindelwald,””Mission: Impossible – Fallout,” “Mortal Engines,” “The Nutcracker and the Four Realms,”“Paddington 2,” and “A Quiet Place.”
This season has become a showdown between “First Man” and “Infinity War” — reshaping in-camera VFX for Nasa’s trip to the moon versus Marvel’s brilliant CG Thanos. And a win for “Infinity War” would mark Marvel Studio’s first Oscar.
Nominations will be announced on Tuesday, January 22, 2019. The 91st Oscars will be held on Sunday,
After announcing its initial field of 20 films earlier this month, the VFX branch whittled that list down to just 10 vying for the final five Oscar nominations announced on Jan. 22.
Here’s the full list via the Academy below:
Also Read: Curtis Clark to Receive Academy's John A. Bonner Award for Scientific and Technical Achievement
“Ant-Man and the Wasp”
“Avengers: Infinity War”
“Jurassic World: Fallen Kingdom”
“Mary Poppins Returns”
“Ready Player One”
“Solo: A Star Wars Story”
“Welcome to Marwen”
All three Marvel movies released this year, including “Ant-Man and the Wasp,” made the shortlist, while their rival DC, whose slate includes this weekend’s “Aquaman,” was left out.
The awards derbies of recent years have seen a predominance of indie films at the expense of big studio features — resulting in a slate of Oscar contenders devoid not only of genuine blockbusters but also of more modest mid-budget crowd-pleasers. This has dampened the ratings of the Oscars telecast, much to the consternation of the Academy.
But this year feels different, with studio pics including “Black Panther,” “First Man” (pictured above) and “A Star Is Born” definitely in the running.
And along with this rise in the fortunes of studio pictures, many artisans who have worked on them — from cinematographers to costume designers to visual-effects supervisors — are seeing their projects attain a new level of acclaim and respect.
But before the distribution of the top prizes Feb. 24 at the Dolby Theatre, these artisans will have to run the
Cj Entertainment’s financial drama “Default” earned $3.61 million for a three-weekend total of $25.8 million from 3.54 million admissions. In third place, homegrown thriller “Door Lock” earned $2.43 million from 327,000 admissions for a total of $10.4 million after two weekends.
Opening on Wednesday, “Spider-Man: Into the Spider-Verse” debuted in fourth. The Sony release earned $2.87 million over five days, including $2.23 million between Friday and Sunday. Walt Disney’s “The Nutcracker and the Four Realms” slipped to fifth place, earning $772,000 between Friday and Sunday for a total of $2.98 million after two weekends.
Set for a Dec. 19 opening, Next Entertainment World’s “Swing Kids” landed in fifth place
With a budget of just over $100 million and tens of millions in global marketing costs, executives at rival studios estimate that the movie will lose upwards of $100 million. Some even project that number could float to more than $125 million. “Mortal Engines” has so far made a paltry $42 million globally. The sci-fi epic came into a crowded marketplace at a competitive time of year, opening against the well-reviewed “Spider-Man: Into the Spider-Verse” and “The Mule,” a Clint Eastwood thriller that had a better start than expected. “Mortal Engines,” on the other hand, launched below estimates, generating just $7.5 million when it debuted in North America.
“This is a true Christmas disaster and a lump of coal for Universal,” said Jeff Bock, an analyst with Exhibitor Relations. “They took a big swing, and they struck out.”
The film still has a few international markets left to open,
New Image and Production Details for The Show, Written by Alan Moore: Press Release: "Thrilled to announce that Alan Moore’s first original screenplay, The Show, is currently shooting up in Northampton and we have the first official image to share with you.
Moore is the famed author of seminal graphic novels and comics, including Watchmen, V for Vendetta, From Hell and The League of Extraordinary Gentlemen. Despite much of his work being adapted for the screen,
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