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Frozen Full EXCLUSIVE Movie 2013 Japanese Version Of Boys

The visual effects company Scanline VFX worked on Snowpiercer.[120] The company worked primarily on the exterior shots of the film: the frozen city, the Yekaterina Bridge, the Frozen Harbour landscape in the sushi lounge, the "Frozen Seven" sequence, the industrial park in the shoot-out sequence, and the avalanche and post crash environment at the end of the film.[121] Already having multiple designs, storyboards and basic concepts of the train cars, it set in motion the development of over 60 different versions of the various wagons for the train Snowpiercer. Thus, visual effects supervisor Michel Mielke said "... we [had] a good idea of the vision of director Bong, we saw what he liked, and what did not work for the movie."[121]

frozen full movie 2013 japanese version of boys

Parallel to principal photography in Prague, the first designs of visuals spanned from May 2012 up until the final shots of early March 2013, with a team of over 70 artists developing over 186 VFX-shots with almost 50 being full of computer-generated imagery.[121]

Del Vecho explained how the film's animation team was organized: "On this movie we do have character leads, supervising animators on specific characters. The animators themselves may work on multiple characters but it's always under one lead. I think it was different on Tangled, for example, but we chose to do it this way as we wanted one person to fully understand and develop their own character and then be able to impart that to the crew. Hyrum Osmond, the supervising animator on Olaf, is quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it; Anna's animator, Becky Bresee, it's her first time leading a character and we wanted her to lead Anna."[34][51][82] Acting coach Warner Loughlin was brought in to help the film's animators understand the characters they were creating.[78] In order to get the general feeling of each scene, some animators did their own acting. "I actually film myself acting the scene out, which I find very helpful," said animation supervisor Rebecca Wilson Bresee. This helped her discover elements that made the scene feel real and believable.[83] Elsa's supervising animator was Wayne Unten, who asked for that role because he was fascinated by the complexity of the character.[84] Unten carefully developed Elsa's facial expressions in order to bring out her fear as contrasted against Anna's fearlessness.[84] He also studied videos from Menzel's recording sessions and animated Elsa's breathing to match Menzel's breathing.[78] Head of Animation, Lino DiSalvo, said, "The goal for the film was to animate the most believable CG characters you've ever seen."[85]

During production, the film's English title was changed from The Snow Queen to Frozen, a decision that drew comparisons to another Disney film, Tangled. Peter Del Vecho explained that "the title Frozen came up independently of the title Tangled. It's because, to us, it represents the movie. Frozen plays on the level of ice and snow but also the frozen relationship, the frozen heart that has to be thawed. We don't think of comparisons between Tangled and Frozen, though." He also mentioned that the film will still retain its original title, The Snow Queen, in some countries: "because that just resonated stronger in some countries than Frozen. Maybe there's a richness to The Snow Queen in the country's heritage and they just wanted to emphasize that."[34]

Since 2013, some local TV stations and independent studios have been dubbing the movie in their local languages, creating some unofficial dubs. Namely: Albanian,[134] Arabic (TV dub), Karachay-Balkar,[135] Persian[136] and Tagalog.[137]

Frozen became Fandango's top advance ticket seller among original animated films, ahead of previous record-holder Brave,[199] and became the top-selling animated film in the company's history in late January 2014.[158] The sing-along version of the film later topped the best-selling list of the movie ticketing service again for three days.[158] Frozen opened on Friday, November 22, 2013, exclusively at the El Capitan Theatre in Hollywood for a five-day limited release and earned $342,839 before its wide opening on Wednesday, November 27, 2013.[200] During the three-day weekend it earned $243,390, scoring the seventh-largest per-theater average.[201] On the opening day of its wide release, the film earned $15.2 million,[202] including $1.2 million from Tuesday late-night shows,[203] and set a record for the highest pre-Thanksgiving Wednesday opening, ahead of Tangled ($11.9 million).[204] It was also the second-largest pre-Thanksgiving Wednesday among all films, behind Catching Fire ($20.8 million). The film finished in second place over the traditional three-day weekend (Friday-to-Sunday) with $67.4 million, setting an opening weekend record among Walt Disney Animation Studios films.[205] It also scored the second-largest opening weekend among films that did not debut at #1.[206][207] Female audiences accounted for 57% of Frozen's total audiences on the first weekend, while family audiences held a proportion of 81%.[207][208] Among films that opened during Thanksgiving, it set new records; three-day ($67.4 million from Friday to Sunday)[209] and five-day ($93.6 million from Wednesday to Sunday).[210] It also achieved the second-largest three-day[211] and five-day[212] Thanksgiving gross among all films, behind Catching Fire.[213]

Ray Subers, writing for Box Office Mojo, compared the film to Disney's 2010 animated feature Tangled by saying that the film's story was not as "immediately interesting" and that "marketing has yet to sell this to boys the way Tangled did".[253] Noting that the 2013 holiday season (Thanksgiving and Christmas) lacked compelling content for families, Subers predicted that the film would "play well all the way through Christmas" and end up grossing $185 million in North America (similar to Wreck-It Ralph).[253] Boxoffice noted the success of previous Disney's animated films released during the holiday season (Tangled and Wreck-It Ralph), but argued that the cast might not attract audiences due to the lack of major stars.[254] They issued a $170,000,000 North America box office forecast for the film.[254] Chris Agar from ScreenRant expressed a similar opinion; he cited a string of recent box office successes of the studio, and thought that Frozen would fill a void of kid-friendly films in the marketplace, but did not expect it to surpass Catching Fire in terms of box office gross.[255]

Frozen opened to positive reviews,[267] with several critics comparing it favorably to the films of the Disney Renaissance, particularly The Little Mermaid, Beauty and the Beast, Aladdin, and The Lion King.[23][268][269][270] Some journalists felt that the film's success marked a second Disney Renaissance.[271][272] The film was praised for its visuals, themes, musical numbers, screenplay, and vocal performances, especially those of Bell, Menzel, and Gad.[273] The "Let It Go" musical sequence was also particularly praised by critics.[274][275][276] Frozen has an approval rating of 90% based on 250 professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of 7.7/10. Its critical consensus reads: "Beautifully animated, smartly written, and stocked with singalong songs, Frozen adds another worthy entry to the Disney canon."[277] Metacritic, which determines a rating out of 100 from the reviews of mainstream critics, calculated a score of 74 based on 43 reviews, indicating "generally favorable reviews."[278] Audiences polled by CinemaScore gave the film a rare "A+" grade on an A+ to F scale.[279] Surveys conducted by Fandango among 1,000 ticket buyers revealed that 75% of purchasers had seen the film at least once, and 52% had seen it twice. It was also pointed out that 55% of audiences identified "Let It Go" as their favorite song, while "Do You Want to Build a Snowman?" and "For the First Time in Forever" held proportions of 21% and 9%, respectively.[158] Frozen was named the seventh-best film of 2013 by Richard Corliss of Time[280] and Kyle Smith of the New York Post.[281]

What happens when you give an alien masquerading as a human a humble animation budget and the directive to make a movie for kids? You get whatever Strawinsky and the Mysterious House (2013) is supposed to be. With horrendously ugly 3D character models, equally terrible animation, and soulless voice acting, this movie is an abomination of sight and sound that should be locked into a vault and hidden away in a vast warehouse.

Dubbed by The New York Times' Manohla Dargis as "haunting, haunted, and beautifully shot," "In the Fog" tells the tale of a Russian citizen who is wrongly believed to be collaborating with the Nazis and, as a result, is set to be executed. The film explores the fog that war casts on our moral compass and ability to see things clearly. The movie competed for the top prize at the Cannes Film Festival in 2012.

"Days of Glory" does something few other movies on this list can: It finds a new, urgent story to tell in a battlefield of well-trodden tropes. The movie follows soldiers from French colonies in Northern Africa who are fighting for their home nation while simultaneously facing discrimination from their brothers in arms. In real life, France froze the pensions of these soldiers after the decolonization of Africa in the '60s, and it wasn't until the release of "Days of Glory" that they were fully restored by President Jacques Chirac.

An anime-style, animated film, "The Wind Rises" was the final project of Hayao Miyazaki. It's a fictionalized biopic of Jiro Horikoshi, who designed the Mitsubishi A6M Zero fighter plane, which played a major role in Japan's brutal imperialist campaign and was used in events like Pearl Harbor. Upon its release in 2013, the movie faced intense scrutiny thanks to its sympathetic portrayal of a man whose invention caused the deaths and torture of so many souls. Critics like the Village Voice's Inkoo Kang blasted the movie as "morally repugnant"; Kang went so far as to say the movie was "wholly symptomatic of Japan"s postwar attitude toward its history, which is an acknowledgment of the terribleness of war and a willful refusal to acknowledge its country's role in that terribleness."


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