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‘Ne Zha 2,' World's Highest-Grossing Animated Film, Heads to European Theaters

‘Ne Zha 2,' World's Highest-Grossing Animated Film, Heads to European Theaters

Yahoo10-03-2025

Trinity CineAsia has secured theatrical distribution rights for 'Ne Zha 2' across 37 European territories, including the U.K., Ireland, Germany, France and Spain, from Beijing Enlight Media. The animated blockbuster, which has shattered box office records, will debut in the U.K. and Ireland on March 21, with previews beginning March 14.
The Chinese animated epic has made history as the highest-grossing animated film worldwide, surpassing 'Inside Out 2,' and becoming the first non-Hollywood production to crack the global all-time top 10 box office chart. It currently ranks sixth behind only 'Avatar,' 'Avatar: The Way of Water,' 'Avengers: Endgame,' 'Star Wars: The Force Awakens,' and 'Titanic.' The film has also achieved the unprecedented milestone of grossing $1 billion in a single market – China – where it was released on Jan. 29. It passed $2 billion in China over the weekend.
More from Variety
China Box Office: 'Ne Zha 2' Passes $2 Billion, Climbs to 6th in All-Time Imax Rankings
China Box Office: 'Ne Zha 2' Nears $2 Billion as Imax Total Hits $144 Million
'Ne Zha 2' Review: Hit Chinese Animated Sequel Delivers in Jaw-Dropping Visual Spectacle, but Overflows With Lore
'Rarely do you get a film that truly defines the era, shows again the unique power of cinema to move audiences, and makes an indelible mark on culture. This is 'Ne Zha 2,'' said Cedric Behrel, managing director of Trinity CineAsia. 'It signifies a major turning point in further establishing Trinity CineAsia as a pan-European distributor.'
'After years spent cultivating the audience and building relationships with exhibitors, press and other stakeholders, as well as our online presence, it is a landmark for Trinity CineAsia in terms of reaching the far corners of the continent and developing our offering to a far larger audience. We look forward to more adventures in this realm,' Behrel added.
The film follows Ne Zha, a demon child raised by humans, who must embark on a perilous quest to obtain an elixir to restore the body of his uneasy ally, the dragon prince Ao Bing. During this journey, Ne Zha uncovers a conspiracy threatening to ignite a war between good and evil.
Rooted in 16th-century Chinese mythology but offering a bold reinterpretation, 'Ne Zha 2' represents a technical marvel in animation. The film was crafted over five years by a team of 4,000 animators and features nearly 2,000 visual effects shots. One battle sequence reportedly involved 200 million individually animated characters – an approach rarely implemented at this scale.
Beyond its technical achievements, director Jiao Zi's sequel builds upon the themes of its predecessor. While the first film centered on defying fate, 'Ne Zha 2' challenges institutions and the status quo, exploring the concept that good and evil are not determined by race or origin.
Trinity CineAsia has established itself as a premium distributor for martial arts and Asian action cinema in the U.K. market. Its recent releases include 'Twilight of the Warriors: Walled In' (Hong Kong's submission to the 2025 Oscars), 'Black Dog' (which won at Cannes Un Certain Regard), and 'The Goldfinger,' which reunited 'Infernal Affairs' stars Tony Leung and Andy Lau.
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Elvis & Lilo & Stitch: 'Everyone's Favorite Elvis-Loving Alien' pulls up to Graceland
Elvis & Lilo & Stitch: 'Everyone's Favorite Elvis-Loving Alien' pulls up to Graceland

Yahoo

time35 minutes ago

  • Yahoo

Elvis & Lilo & Stitch: 'Everyone's Favorite Elvis-Loving Alien' pulls up to Graceland

Elvis and Ann-Margret. Elvis and Nancy Sinatra. Those teams were popular with audiences. But not as popular as Elvis & Lilo & Stitch. Released in 2002, the Disney animated feature film "Lilo & Stitch" introduced audiences to a lonely young Hawaiian girl and Elvis fan, named Lilo, and her new "pet," Stitch, a somewhat dog-esque genetically engineered extraterrestrial who liked to rampage but really yearned for a hug. Together, the duo pursued 'ohana (a Hawaiian term for "family") while playing "Suspicious Minds" on a portable record player and battling space aliens. Like Stitch's stolen spaceship when it crash-landed on the island of Kauaʻi, the movie made an impact. It earned an Academy Award nomination for Best Animated Feature (it lost to Miyazaki's "Spirited Away," as any movie would), and collected $273 million at the international box office. (In comparison, 1964's "Viva Las Vegas," with Elvis and Ann-Margret, earned the equivalent of $94 million, in 2025 dollars.) On May 23, Disney released a new "Lilo & Stitch," the latest in its series of more-or-less live-action remakes of beloved animated features (other examples — all with digitally animated characters — include "Beauty and the Beast," "Mulan" and "Snow White," to name a few). Directed by Dean Fleischer Camp (who charmed audiences with the low-budget "Marcel the Shell with Shoes On"), the movie preserves but de-emphasizes its predecessor's Elvis connection. Even so, in the actual live-action world — the world of Disney and Graceland, of marketing and merchandise, of fans of music and movies — Elvis & Lilo & Stitch remain inseparable. "The amazing thing is that each generation gets introduced to Elvis in a different way, and for a certain generation, 'Lilo & Stitch' was how they were introduced to Elvis," said Angie Marchese, vice president of archives and exhibits at Graceland. "Now in their mid-20s, these people became fans because of the Disney movie," she said. "And now there's a whole new generation of kids who will be introduced to Elvis and his music through this new live-action version." How many kids? A lot of 'em: The new "Lilo" immediately established itself as a blockbuster. According to Variety, the entertainment industry newspaper, the movie set a Memorial Day weekend record by collecting an estimated $183 million at the U.S. box office. With the addition of its overseas revenues, Variety added, "Lilo & Stich" is off to "a staggering $341.7 million global start." On May 22, the evening before the movie's official release date, Disney hosted an invitation-only screening of the new movie in the 464-seat theater at The Guest House at Graceland, the hotel on Elvis Presley Boulevard that is located just north of the Elvis mansion. Attendees — mostly Elvis fans already connected to Graceland via various mailing lists — packed the house. They snagged free "Lilo & Stitch" posters and leis, and posed for selfies against Hawaiian backdrops and alongside larger-than-life Stitch figures, dressed in Elvis garb (there was a "Blue Hawaii Stitch," a "Jailhouse Rock Stitch," and a "50000000 Million Elvis Fans Can't Be Wrong Gold Lamé Suit" Stitch). Earlier in the day, an animatronic Stitch in a rhinestone-studded jumpsuit toured Graceland in a miniature motorized vehicle, to the surprise and likely delight of fans. "The lovable renegade alien, who happens to love the music of Elvis Presley, arrived at the gates to Graceland Mansion in a pink convertible before going across the street to view the King of Rock 'n' Roll's jumpsuits and pink Cadillac at Elvis Presley's Memphis entertainment complex," stated a Disney press release about the publicity event. The headline described Stitch as "Everyone's Favorite Elvis-Loving Alien." ELVIS AT 90: Decade-by-decade milestones in the life — and afterlife — of the King The ballyhoo echoed similar fanfare that heralded the release of the first "Lilo & Stitch" 23 years earlier. In 2002, the movie's arrival coincided with Graceland's yearlong commemoration of the 25th anniversary of Elvis Presley's death; Jack Soden, CEO of Elvis Presley Enterprises, told The Commercial Appeal that the release of an Elvis-connected "classic G-rated Disney flick" would open "a powerful market" for Graceland. In 2002 as in 2025, Disney and Graceland hosted an invitation-only local premiere for "Lilo & Stitch," but the earlier event was more elaborate. The screening of the film at Downtown's now-vanished multiplex, the Muvico Peabody Place 22, was followed by what The Commercial Appeal called a "lavish luau" in front of the ticket pavilion at Graceland, complete with fire dancers, leis made from actual orchids, bamboo huts and costumed movie characters. Testifying to the event's importance, the guest of honor was the nephew of Walt Disney, longtime Disney executive Roy E. Disney, who at the time was vice chairman of the Disney company and chair of Disney Feature Animation. (Roy Disney died in 2009, at 79.) The Los Angeles premiere of the 2002 movie had occurred about a week earlier. Priscilla Presley attended, and told reporters that "Lilo & Stitch" offered "a great message to bring family back together again because really, that's what it's all about. Elvis was very much a family man, regardless of what you hear. He loved family and he always came home." In 2025 as in 2002, Disney and Elvis Presley Enterprises are banking on the appeal of "Lilo & Stitch." The gift shops at Graceland now are stuffed with items from the grandiloquently labeled "Disney Stitch Inspired by Elvis Collection," created by NECA, a pop culture collectibles company. Ranging from $12.99 to $34.99, these include plush and plastic figures of all sizes, showcasing Stitch in Elvis garb. Stitch-as-Elvis pins and other items also are available. The new merchandise augments a still thriving line of "Lilo & Stitch" merchandise, tied to the original film. Stitch "has become a crucial character in the Walt Disney Company's modern empire, mainly in the form of a dizzying array of licensed merchandise," The New York Times reported this week, in a story that called Stitch "a cash cow for the company." Reported the newspaper: "The company's annual financial reports for 2023 and 2024 included 'Lilo & Stitch' on a short list of nine examples of its 'major' licensed properties, putting it on par with classics titans like Winnie the Pooh and Mickey and Friends, and conglomerates like Star Wars and the collective Disney princesses." Meanwhile, vintage 2002 "Lilo & Stitch" collectibles continue to be popular on eBay and elsewhere; these include eight McDonald's Happy Meal toys, one of which presents Stitch in an Elvis jumpsuit, strumming a guitar atop a surfboard. ELVIS WEEK 2025: Graceland to celebrate the King with concerts, panels, vigil and more The new "Lilo & Stitch," for the most part, is remarkably faithful to its inspiration, even to the inclusion of a clip from the same B-movie, 1958's "Earth vs. The Spider." But — somewhat surprisingly, in the wake of the hit Baz Luhrmann biopic — the new movie has less Elvis than the old. Yes, the soundtrack showcases the same songs ("Heartbreak Hotel," "Devil in Disguise," "Hound Dog"), in basically the same situations (although the remake totally bungles the Stitch-as-record-player "Suspicious Minds" scene); but the live-action Lilo (played by Maia Kealoha) is less the Elvis evangelist than was her cartoon counterpart. In the first film, Lilo pays Stitch the ultimate compliment: "You look like an Elvis fan." She pulls out an 8-by-10 "Blue Hawaii" portrait of Elvis and declares: "Elvis was a model citizen." She tells Stitch: "I have compiled a list of his traits for you to practice." This leads to comic scenes of Stitch strumming a guitar while wearing an Elvis-style jumpsuit and pompadour. The film ends with a happily-ever-after vacation "photo" of Stitch and his new human family posing in front of the gates of Graceland. None of these Elvis moments are recreated in the new movie — although Stitch does appear, briefly, in his Elvis jumpsuit during the end credits. Maybe we'll get more Elvis — for better or worse? — in the sequel, if there is one. The 2002 "Lilo & Stitch" was followed by a TV series and three direct-to-video feature films. The first of these features was "Stitch! The Movie," which — perhaps due to budgetary constraints — licensed only one Elvis song, the thematically appropriate but hardly epochal "Slicin' Sand," from 1963's "Blue Hawaii." The lyrics likely did not give Leiber & Stoller sleepless nights. Encourages Elvis, while serenading a bevy of beauties: "Dance, dance, dance/ 'til your toes get tan/ We're gonna have us a ball on the beach/ Slicin' sand..." This article originally appeared on Memphis Commercial Appeal: Lilo & Stitch: Elvis references, Stitch merch and a visit to Graceland

Opeth Unveil Rare Performance Video for Song '§1': Watch
Opeth Unveil Rare Performance Video for Song '§1': Watch

Yahoo

time36 minutes ago

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Opeth Unveil Rare Performance Video for Song '§1': Watch

The post Opeth Unveil Rare Performance Video for Song '§1': Watch appeared first on Consequence. Opeth have stepped in front of the lens for a rare official performance music video for their song '§1.' The clip was produced and directed by Ash Pears and arrives amidst the band's ongoing European tour (get tickets here). Featuring clean up-close shots of the Swedish vets running through the lengthy track — the first to feature death growls from Mikael Åkerfeldt in 16 years — the video should give concertgoers a visceral look at the band in full flight. Regarding the decision to film a live-style clip for '§1,' Åkerfeldt offered up a press statement revealing the band was inundated with requests to produce a more generic lyric video or visualizers for the song, but opted for the 'old-fashioned' way of simply rocking out for the cameras. Said Åkerfeldt: 'So here's a video (of sorts) for your 'enjoyment.' We had requests left, right & centre to do one of them measly 'lyric videos' or 'visualizers' for 'content.' Now, right there are three words I despise! I've made it clear in our circle of trust that we shouldn't use the word 'content' even if that's exactly what we're working on. We're not some goddamn influencers, now are we? So can we please settle on the old-fashioned word 'video' without meddling with modern online lingo? And a video is what it really is. A performance video, no less. We figured it's a bit more happening to look at (should you decide to do so) than a lyric video. '§1' is the opener on The Last Will and Testament. A good song. I like it! The video looks good. As good as it can look when involving 5 middle-aged, slightly hungover geezers miming along to something. We shot it in some industrial area in Birmingham (UK) on the latest Euro tour. Everyone (well, the band and crew) were quite eager to get out of there as we had dinner planned at a fancy curry house locally. Much thanks to Ash Pears and ASH TV, who were really professional (ie: quick!) and made the whole experience rather easy on us. Hope you dig it, people!' As he mentioned, '§1' hails from Opeth's latest album The Last Will and Testament, one of our top metal albums of 2024. You can stream the video for the track below. Popular Posts King of the Hill Revival Gets Hulu Release Date, New Opening Sequence Sabrina Carpenter Announces New Single "Manchild" Eddie Murphy and Martin Lawrence Are Now In-Laws Jonathan Joss, Voice of John Redcorn on King of the Hill, Shot and Killed by Neighbor T-Pain Announces 20th Anniversary US Tour King of the Hill Voice Actor Jonathan Joss Was Victim of Hate Crime, Husband Says Subscribe to Consequence's email digest and get the latest breaking news in music, film, and television, tour updates, access to exclusive giveaways, and more straight to your inbox.

Ballerina is a dance-by-numbers return to the world of John Wick
Ballerina is a dance-by-numbers return to the world of John Wick

The Verge

timean hour ago

  • The Verge

Ballerina is a dance-by-numbers return to the world of John Wick

Lionsgate was always going to need to take the John Wick franchise in a new direction if it wanted to keep the film series going after the inevitable exit of its central star. A spinoff series came and went with a telling lack of fanfare that spoke, in part, to how John Wick stories feel like they were meant to be experienced in movie theaters. And while the studio has a second tie-in show in the works, it seems like another project that might wind up being a sign that John Wick works best on the silver screen. On paper, director Len Wiseman's awkwardly named From the World of John Wick: Ballerina feature sounds like the sort of straightforward parallel prequel that could work as the beginning of a new chapter for the larger franchise. There's a simplicity to the story and a comedic whimsy to (some of) its action that feels true to the John Wick brand. And there are enough returning faces from the older films that it works fairly well as a crash course introduction to this gore-filled world of assassins. But in practice, Ballerina lacks a lot of the near-camp flair that made previous John Wick films fun, and most of its set pieces feel uninspired. Rather than using its story to show you how an ordinary person learns the ins and outs of the assassin lifestyle, Ballerina spends most of its runtime riffing on narrative beats from other action films. That might have worked if the movie's leading actor delivered a compelling performance that sold her character as the series' rightful heir. But Ana de Armas' acting — especially compared to that of her co-stars — falls too flat for its own good. Set between the events of John Wick: Chapter 3 – Parabellum and John Wick: Chapter 4, Ballerina chronicles the rise of Eve Macarro (Ana de Armas) as she becomes one of the world's most-wanted hired killers. As an orphan raised within the Ruska Roma, Eve knows that she's destined to follow in the bloody footsteps of her adoptive mother, the Director (Anjelica Huston). But part of her still yearns to leave her violent life behind to pursue a career as a ballerina. It's a dream that Eve's father (David Castañeda) encouraged her to hold onto during her childhood while he worked to keep their small family safe and far away from another clan of deadly assassins. But after being forced to watch his murder at the hands of the Chancellor (Gabriel Byrne) as a child, Eve locks that part of herself away in order to focus on revenge. As one of the Ruska Roma's strongest young students, it doesn't take much for Eve to convince the Director to let her start going on assignments to take out and / or protect high-profile targets. But when one of her missions brings her face-to-face with a member of the Chancellor's clan, she breaks protocol and starts hunting more of them down, knowing full well that her adoptive family will take swift action to stop her before she sets off a war. Compared to past John Wick films, there's a roughness to Ballerina 's choreographed fights that's meant to highlight how relatively new Eve is to operating in the field and how, because of her small stature, she has to be creative in her approach to taking on larger opponents. While Eve finds herself in plenty of shoot-outs, the film often leaves her with nothing but her wits and whatever mundane objects (rather than weapons) happen to be laying around. It's an idea that works well enough throughout Ballerina 's first act, when we're first shown her signature move of using her bodyweight to snap people's necks and arms. Though Ballerina 's script cribs some story beats from Kill Bill and Marvel's Black Widow, the film's action is classic John Wick in the way its brawls emphasize the artistry of stunt fighting. But as the film progresses, it quickly becomes clear that Eve doesn't have many other tricks up her sleeve, and the few that she does have tend to feel like steps de Armas is counting her way through. Acting has never really been the big draw for John Wick movies, but there's an emotionally wooden quality to de Armas' performance that makes Eve hard to buy as a complex, conflicted character. This is especially apparent in scenes between Eve and Ballerina 's other returning characters from John Wick 's past like New York Continental owner Winston Scott (Ian McShane) and hotel concierge Charon (the late Lance Reddick in his final on-screen performance). Where Ballerina does work well is in moments where it embraces the cartoon energy that's always been present in the John Wick franchise and served to offset the visceral brutality of its brawls. It's tough watching Eve slash people's faces to shreds with ice skates on her hands, but it's wildly fun watching her use a fire hose to square off with someone wielding a flamethrower. De Armas' awkwardness actually feels like more of a feature than a bug in scenes that double down on the idea that Eve is learning on the job and still getting used to the ridiculousness of being an assassin in this heightened reality. But Ballerina insists on returning to a serious tone that does no favors for its lead actor. It's easy to imagine Ballerina really shining with a little bit more live-action cartoon energy and a narrative that actually felt like a journey through the world of John Wick. But for that kind of a good time, we're going to have to wait for whatever the franchise has next.

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