Into The Woods — Main Thread (Part 2)

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  • Etchie
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    #170357

    Let the Magical Discussions continue ……

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    Etchie
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    #170359

    To All WISHING Meryl Streep “Not Getting” her 19th Nomination for Into The Woods ….. I say …..

    Be Careful What You Wish For  ……..   You might get the Witch’s Curse  !!!

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    Etchie
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    #170360

    What were the working (production) names of the nameless characters in Into The Woods?  From what I’ve read and gathered thus far as follows:

    The Baker = Jeff

    The Baker’s Wife = Margory

    Cinderella’s Prince = Prince Charming

    Rapunzel’s Prince = Prince Sincere

    The Witch = Patricia

    The Wolf = MJ

    Cinderella’s Stepmother = KJ

    Jack’s Mother = ???

    The Baker’s Father = ???

    Cinderella’s Mother = ???

    The Lady Giant = ???

    The Steward = ???

     

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    benbraddock
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    #170361

    After seeing the film I am revising my oscar Nomination predictions
    for INTO THE WOODS…

    BEST SUP. ACTRESS…..MERYL STREEP…..(IFFY)
    BEST COSTUMES
    BEST ART DIRECTION
    BEST SOUND MIXING..

    I have removed it from the best picture list even though it seems to be a box office smash.
    If meryl misses the cut….its just a little ol 3
    Even NINE got 4 nominations

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    tonorlo
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    #170362


    Saw it on December 26, in a theater filled to about 70%
    capacity, young children making up a fair chunk of the audience…

     


    The Sondheim curse is not quite, ahem, reversed.


     

    Yes. “Into the Woods” is the best film adaptation of a
    Sondheim musical yet to be executed… but c’mon. That was never a high bar, and
    thus, the acknowledgement is no ringing endorsement.


     

    What gets up on the screen is an essentially well-meaning
    yet emotionally opaque lead balloon in place of the celebrated stage musical.
    Lacking the energy or the punch of director Rob Marshall’s “Chicago” at its
    best, the characters and songs in this latest Hollywood-produced musical often
    feel as perfunctory as raisins inserted into a dough. The delicious theatrical conceit
    of the intertwined fairy tales on film becomes an interesting object lesson in
    trial-and-error that manages to work in some places, but seldom soars.


     

    The long takes during “interior monologue” numbers feel
    like painfully wasted opportunities; you can acutely feel the brief moments
    when editor Wyatt Smith snaps awake at the wheel. Produced to within an inch of
    its life, the unforgiving lens literalizes the literal and moralistic “woods”
    of the title to such extent that a major disservice is rendered. Whereas on the
    stage, minimalistic sets and lighting have permitted the emphasis to be on the
    characters and their wonderfully witty dialogue, the art direction and set
    decoration of the film barely give any of its actors a fighting chance. The
    cast struggles valiantly to assert themselves against the suffocating
    production design, and while the overall effect is uneven, everybody does make,
    for better or worse, an impression.


     

    Emily Blunt (The Baker’s Wife): Lacking the weight of “past-35”
    maturity or the peerless gift for underplaying that made Joanna Gleason such a
    well of joy in the original stage version, Blunt brings a wide-eyed, earnest
    gravitas to a woman clearly horrified at the notion of being denied her
    much-desired maternity. Blunt works hard at finding new colors and shades to
    play in “Moments in the Woods,” (opting to play for drama, rather than
    following Gleason’s penchant for comedy, which works just fine). In terms of
    duking it out with the bulging sets, perplexingly far-off camera angles and a
    somewhat underwritten role, Blunt comes off as well as anybody. She gives a
    more-than-fair account of herself, and she is one of the few people in this
    enterprise who implies that the humanity occasionally glimpsed in her character
    is no mere trick of the light.


     

    James Corden (The Baker): A clever roly-poly who doesn’t
    palpitate under the pressure of the role, the vehicle or the medium, and who
    manages to surprise even when one has stopped expecting it. While I do begrudge
    the deletion of his epiphanic “No More,” Corden’s beautifully played catharsis
    goes a long way toward making up for it. He manages to create a harried
    bumbler, an alternately bemused and adoring spouse, and a sympathetically
    flawed Everyman whose essential decency and game professionalism ballasts him
    through a number of aspersions that both the writing and direction fling onto
    his able shoulders.


     

    Anna Kendrick (Cinderella): The one casting choice that
    seemed to make perfect sense on paper, and yet… Kendrick often seems over-awed
    by her surroundings and her material. She’s not bad, per se, only bloodless. She
    fills the bill without the performance ever really taking off, basically
    staying put in a register between winsome anxiety and p’s-and-q’s decorum not
    to get in the way of anyone or anything.


     

    Chris Pine (Cinderella’s Prince): Eager to chew some
    scenery but toeing the line of camp, Pine makes the most of his opportunity in
    “Agony,” one of the few instances where there is real wit in Marshall’s
    direction (and, thankfully, some beautiful l light flowing in under
    cinematographer Dion Beebe’s otherwise unrelievedly gloomy palette). Not quite
    a game changer for the film, but Pine definitely shores up the film’s stabs at
    satirical bite.


     

    Billy Magnussen (Rapunzel’s Prince): See Pine, with
    shakier accent and more candid lunging for laughs.


     

    Mackenzie Mauzy (Rapunzel): Blown off the screen in her
    few brief scenes by actors who don’t even try.


     

    Lilla Crawford (Little Red Riding Hood): At first
    appearance, she seems more than ready to deliver the smarmy adolescent tang
    that the role is eager to solicit. But Crawford probably suffers more than
    anyone from Marshall’s uneasy and undecided translation of her role from stage
    to screen. The stylized, sardonic edge that gives Red her spark onstage feels
    oddly truncated and one-note here. Crawford makes an effort, but the
    performance never quite fulfills its early promise.


     

    Daniel Huttlestone (Jack): If you can’t say something
    nice… Oh, heck. Borders on the unendurable throughout, even more mincingly
    strident than he was as Gavroche in “Les Miserables.” Yes, my blood runs colder
    than Simon Cowell’s.


     

    Tracey Ullman (Jack’s Mother): Wonder of wonders, the
    most on-point casting of the whole movie. Ullman is pro enough to nail her
    individual comedy bits, yet never at the expense of forgetting her place as a
    member of the ensemble. She’s perhaps a shade too eager to wop her kid upside
    the head in early sequences, but she also generates embers of real affection
    for the little so-and-so beneath easy-to-understand layers of frustration and
    ennui.


     

    Christine Baranski (Cinderella’s Stepmother): Slumming it
    with impunity, desperately looking for Mary Sunshine’s puppeteer from
    “Chicago.”


     

    Tammy Blanchard and Lucy Punch (Florinda and Lucinda):
    Over-talented for the roles, both chomp ferociously at what they’ve got to work
    with.


     

    Johnny Depp (The Wolf): Somebody. Has got. To stop this
    man.


     

    Did I forget anybody?


     

    Hmmmm?


     

    Oh, yes.


     

    Meryl Streep (The Witch): The brutal fact is that Streep
    is well into the Dowager Empress stage of her career, and if one leans in
    closely, one can feel her gaze increasingly drifting from the drive to do great
    work to the shallower (but-who-are-we-mortals-to-argue-with-it?) indulgence of
    keeping herself amused. Her Witch is, from moment to moment, a wildly
    unfocused, scene-stealing question mark. Is she a demented avenging angel
    trying to restore equilibrium, or is she the Wizard of Oz in cerulean up-do,
    nothing but a toothless dragon snorting fire and smoke? For all the fantastical
    powers at her command, Streep’s Witch never feels remotely dangerous, and she
    possesses not one iota of the inherent venom of another cinematic “witch” in
    Streep’s canon: Miranda Priestly would have security toss this dizzy broad out
    the window without looking up from her cappuccino. In the film’s tonally
    lighter first half, Streep seems perfectly content to let her makeup do her
    acting for her… which leaves her stranded at the film’s halfway mark, where she
    seems to lose her bearings for a little while (her disillusioned “Children Won’t
    Listen” is a total wash). But her unexpectedly virtuoso “Last Midnight,”
    produced to such dizzying excess that the whole movie very nearly feels
    centered on this four-minute extravaganza, will likely be irresistible catnip
    to Oscar voters. Yet for all the roaring pyrotechnics on display in “Midnight,”
    there is one blink-and-you-miss-it moment that re-affirms why Streep is MERYL
    STREEP™. As Rapunzel accepts a gift of blackberries from her guardian with
    unreserved delight, Streep palpably glows as a tender parent, moved to
    exultation at having brought joy to her child. It’s the one moment in the
    performance of the vivid emotionalism that Streep can paint like few American
    actresses, and for this performance, it is also its one true flicker of magic.


     

    At the end of this “Woods,” we’ve come to… to… what,
    exactly? The stage version has always hinted at spectacular cinematic
    possibilities, and most of what we’ve imagined over the years (indeed, be
    careful what you wish for) has come to fruition here with decidedly haphazard
    results. But if what I’ve described sounds like an out-and-out farrago, rest
    assured: there are isolated moments of real pleasure, gleams and flashes of
    genuine artistry here and there, wisps of the great picture the movie so badly
    wants to be. “Into the Woods” may sag a bit by being a bit too confident in
    some areas and too erratic in others, and it’s not the movie that definitively
    declares that the Hollywood Musical is home at last, but it’s never less than
    watchable, and the emotional, intellectual and philosophical drawers of the
    play get opened and examined more or less faithfully (to appropriate Sondheim,
    it’s an overstuffed salad with peppers, parsley, asparagus and watercress and a
    few choice bites of rampion). You can pick and choose your own morals: sometimes,
    the longed-for end doesn’t justify the morally ambiguous means, sometimes, a
    parent has to know when to cut the apron strings, sometimes, there really is no
    place like home, and chief among all of these: whether going about the
    day-to-day drudgeries of life or turning a gemlike stage musical into a
    supersized Hollywoodized collossus, be willing to accept the consequences of
    your actions.


     

    ** ½ out of ****


     


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    Etchie
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    #170363

    Judging from the recent tweets from the Producers of forthcoming Oscars, you could sense they want Into The Woods to be a prominent contender & feature in the telecast notwitstanding their Broadway-based host Neil Patrick Harris.

     13h13 hours ago

    Delighted musicals did strong b.o. this season because our next feature musical is Stephen Schwartz’s PIPPIN which we produce for Weinstein.

     

     

    Strong b.o.for Les Miz, solid b.o. for Annie, & even stronger b.o. for Into the Woods, the fear of movie musicals needs to go away at last.

     

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    KyleBailey
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    #170364

    I’m excited that Pippin is our next musical film! 

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    Actriz
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    #170365

    I have no idea how Pippin will translate to film, but I’m excited nonetheless.

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    Etchie
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    #170367

    Based on Actuals, Into The Woods BROKE Unbroken taking #2 position over Weekend Box Office.  More remarkable, Into The Woods did this in far fewer theaters 2440 vs. 3131 for Unbroken.  ITW significantly won the PTA (Per Theater Average).

    http://www.boxofficemojo.com/daily/chart/

    Rank* Title Friday
    12/26
    Saturday
    12/27
    Sunday
    12/28
    Monday
    12/29
    1 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES
    Warner Bros.

    3,875

    $15,610,000
    (estimate)
    +18.8% / $4,028
    $142,712,000 / 10
    $14,300,000
    (estimate)
    -8.4% / $3,690
    $157,012,000 / 11
    $11,010,000
    (estimate)
    -23% / $2,841
    $168,022,000 / 12
    N/A
    2 INTO THE WOODS
    Buena Vista

    2,440

    $12,190,430

    -19.2% / $4,996
    $27,280,170 / 2

    $10,618,027

    -12.9% / $4,352
    $37,898,197 / 3

    $8,243,466

    -22.4% / $3,378
    $46,141,663 / 4

    N/A
    3 UNBROKEN
    Universal

    3,131

    $12,336,140

    -20.1% / $3,940
    $27,770,540 / 2

    $10,785,210

    -12.6% / $3,445
    $38,555,750 / 3

    $7,500,095

    -30.5% / $2,395
    $46,055,845 / 4

    N/A
    4 NIGHT AT THE MUSEUM: SECRET OF THE TOMB
    Fox

    3,914

    $7,380,730

    +3.3% / $1,886
    $41,911,446 / 8

    $7,350,516

    -0.4% / $1,878
    $49,261,962 / 9

    $5,470,762

    -25.6% / $1,398
    $54,732,724 / 10

    N/A
    5 ANNIE (2014)
    Sony / Columbia

    3,197

    $6,077,000
    (estimate)
    +32.1% / $1,901
    $35,312,000 / 8
    $5,956,000
    (estimate)
    -2% / $1,863
    $41,268,000 / 9
    $4,467,000
    (estimate)
    -25% / $1,397
    $45,735,000 / 10
    N/A
    6 THE HUNGER GAMES: MOCKINGJAY – PART 1
    Lionsgate

    2,793

    $3,526,032

    +31.3% / $1,262
    $300,182,013 / 36

    $3,664,524

    +3.9% / $1,312
    $303,846,537 / 37

    $2,872,869

    -21.6% / $1,029
    $306,719,406 / 38

    N/A
    7 THE GAMBLER
    Paramount

    2,478

    $3,421,451

    -31.6% / $1,381
    $8,424,620 / 2

    $3,360,858

    -1.8% / $1,356
    $11,785,478 / 3

    $2,344,713

    -30.2% / $946
    $14,130,191 / 4

    N/A
    8 THE IMITATION GAME
    Weinstein Company

    747

    $2,891,674

    -6% / $3,871
    $9,593,328 / 29

    $2,877,471

    -0.5% / $3,852
    $12,470,799 / 30

    $2,163,147

    -24.8% / $2,896
    $14,633,946 / 31

    N/A
    9 EXODUS: GODS AND KINGS
    Fox

    3,002

    $2,407,095

    -20.5% / $802
    $48,175,453 / 15

    $2,485,061

    +3.2% / $828
    $50,660,514 / 16

    $1,821,765

    -26.7% / $607
    $52,482,279 / 17

    N/A
    10 WILD (2014)
    Fox Searchlight

    1,285

    $1,880,941

    +13.3% / $1,464
    $12,826,457 / 24

    $1,980,017

    +5.3% / $1,541
    $14,806,474 / 25

    $1,528,256

    -22.8% / $1,189
    $16,334,730 / 26

    N/A

     

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    Etchie
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    #170368

    Into The Woods Blu-ray & DVD Due March 24, 2015 — a month after WINNING some OSCARS !!! 

    broadwayworld ‏@broadwayworld 4h4 hours ago

    INTO THE WOODS Blu-ray & DVD Now Available For Pre-Order, Out 3/24…
    http://www.broadwayworld.com/article/INTO-THE-WOODS-Blu-ray-DVD-Now-Available-For-Pre-Order-Out-324-20141229 

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    GraemeONeil
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    #170369

    Saw it for a second time today (the first time I saw it was weeks ago at an advanced screening). Just as good, if not better.
    Here’s my Movie Minute Review:
    https://www.youtube.com/watch?v=JSEOJdAnD0o&list=UUiASpmaSOZNhKJayXsxjJGQ

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    KyleBailey
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    #170370

    Into The Woods Blu-ray & DVD Due March 24, 2015 — a month after WINNING some OSCARS !!! 

    broadwayworld ‏@broadwayworld 4h4 hours ago

    INTO THE WOODS Blu-ray & DVD Now Available For Pre-Order, Out 3/24…
    http://www.broadwayworld.com/article/INTO-THE-WOODS-Blu-ray-DVD-Now-Available-For-Pre-Order-Out-324-20141229 

    Funny because James Cordon’s show starts the day before so he will have a good week 

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    Etchie
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    #170371

    Into The Woods is now the Biggest Grosser Film Opening of Meryl Streep based on this chart.

    http://www.boxofficemojo.com/people/chart/?view=Actor&id=merylstreep.htm&sort=opengross&order=DESC&p=.htm

    Meryl Streep

    Row Rank Title (click to view) Studio Lifetime Gross /Theaters Opening / Theaters Date
    1 14 Into the Woods BV $46,141,663 2,440 $31,051,923 2,440 12/25/14
    2 3 Lemony Snicket’s A Series of Unfortunate Events Par. $118,634,549 3,623 $30,061,756 3,620 12/17/04
    3 A.I. Artificial Intelligence
    (Voice)
    WB $78,616,689 3,242 $29,352,630 3,242 6/29/01
    4 1 Mamma Mia! Uni. $144,130,063 3,194 $27,751,240 2,976 7/18/08
    5 2 The Devil Wears Prada Fox $124,740,460 2,882 $27,537,244 2,847 6/30/06
    6 4 It’s Complicated Uni. $112,735,375 2,955 $22,100,820 2,887 12/25/09
    7 6 Julie & Julia Sony $94,125,426 2,528 $20,027,956 2,354 8/7/09
    8 9 The Manchurian Candidate Par. $65,955,630 2,867 $20,018,620 2,867 7/30/04
    9 10 Hope Springs Sony $63,536,011 2,441 $14,650,121 2,361 8/8/12
    10 15 The Giver Wein. $45,090,374 3,003 $12,305,016 3,003 8/15/14
    11 11 Death Becomes Her Uni. $58,422,650 1,866 $12,110,355 1,409 7/31/92
    12 8 The Bridges of Madison County WB $71,516,617 1,986 $10,519,257 1,805 6/2/95
    13 13 The River Wild Uni. $46,816,343 2,153 $10,214,450 2,074 9/30/94
    14 24 The Ant Bully
    (Voice)
    WB $28,142,535 3,050 $8,432,465 3,050 7/28/06
    15 18 Postcards from the Edge Col. $39,071,603 1,323 $7,871,856 1,013 9/14/90
    16 35 Lions for Lambs UA $15,002,854 2,216 $6,702,434 2,215 11/9/07
    17 27 One True Thing Uni. $23,245,840 1,636 $6,606,455 1,590 9/18/98
    18 28 Prime Uni. $22,827,153 1,837 $6,220,935 1,827 10/28/05
    19 26 Heartburn Par. $25,314,189 850 $5,783,079 843 7/25/86
    20 5 Kramer Vs. Kramer Col. $106,260,000 898 $5,531,000 524 12/19/79
    21 31 A Prairie Home Companion PicH $20,342,852 767 $4,566,293 760 6/9/06
    22 41 Rendition NL $9,736,045 2,250 $4,060,012 2,250 10/19/07
    23 42 Before and After BV $8,797,839 1,318 $4,023,815 1,313 2/23/96
    24 36 Music of the Heart Mira. $14,859,394 1,353 $3,653,281 1,349 10/29/99
    25 7 Out of Africa Uni. $87,071,205 1,102 $3,637,290 922 12/20/85
    26 34 She-Devil Orion $15,351,421 1,452 $3,509,647 1,403 12/8/89
    27 39 Evening Focus $12,492,481 979 $3,501,971 977 6/29/07
    28 40 Falling in Love Par. $11,129,057 807 $2,293,710 305 11/21/84
    29 45 The House of the Spirits Mira. $6,265,311 476 $1,719,085 474 4/1/94
    30 44 A Cry in the Dark WB $6,908,797 334 $1,561,793 334 11/11/88
    31 20 Silkwood Fox $35,615,609 843 $1,218,322 257 12/16/83
    32 21 Doubt Mira. $33,446,470 1,287 $507,226 15 12/12/08
    33 17 Manhattan MGM $39,946,780 $485,734 29 4/25/79
    34 46 Plenty Fox $6,148,000 228 $436,266 24 9/19/85
    35 29 Adaptation. Sony $22,498,520 672 $384,478 7 12/6/02
    36 16 The Hours Par. $41,675,994 1,010 $338,622 11 12/27/02
    37 37 To the Arctic (IMAX)
    (Narrator)
    WB $14,198,636 52 $270,228 50 4/20/12
    38 30 Fantastic Mr. Fox
    (Voice)
    Fox $21,002,919 2,304 $265,900 4 11/13/09
    39 23 The Iron Lady Wein. $30,017,992 1,244 $220,409 4 12/30/11
    40 22 Sophie’s Choice Uni. $30,036,000 548 $202,131 9 12/10/82
    41 19 August: Osage County Wein. $37,738,810 2,411 $179,302 5 12/27/13
    42 33 Defending Your Life WB $16,371,128 715 $92,622 3 3/22/91
    43 48 Dancing at Lughnasa SPC $2,287,818 93 $83,759 4 11/13/98
    44 38 Marvin’s Room Mira. $12,803,305 1,158 $57,739 6 12/20/96
    45 43 Ironweed TriS $7,393,346 600 $36,973 2 12/18/87
    46 49 Dark Matter FInd. $30,591 5 $8,701 2 4/11/08
    47 Stolen Childhoods
    (Narrator)
    Bal. $2,996 1 $2,996 1 5/20/05
    48 12 The Deer Hunter Uni. $48,979,328 n/a 12/8/78
    49 25 The French Lieutenant’s Woman MGM $26,890,068 n/a 9/18/81
    50 Julia (1977) Fox $20,714,400 n/a 10/2/77
    51 32 The Seduction of Joe Tynan Uni. $19,595,168 n/a 8/17/79
    52 47 Still of the Night MGM $5,979,947 n/a 11/19/82

    Note: Titles in grey are cameo or bit parts and not counted in totals and averages.

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    Etchie
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    #170372

    With the Frequency (so many) TV spots-commercials of Into The Woods touting the 3 Golden Globe Nominations for Best Picture, Best Actress and Best Supporting Actress IS an INDIRECT OSCAR AD CAMPAIGN.

    Moreso, very helpful for the Best Picture, Emily Blunt & Meryl Streep Oscar nomination bids.

    Big Advantage as well given reports that Screeners for some prime contenders have not been seen-watched by a lot of Academy voters.

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    manakamana
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    #170373

    None of the cast made much more of an impression to me than the cow who played Milky White, and I usually love Meryl.

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