Latest news with #Elio
Yahoo
9 hours ago
- Entertainment
- Yahoo
‘Hoppers' Trailer: Pixar Film Pokes Fun at ‘Avatar' as a Young Scientist Gets Put Into the Body of a Beaver
Pixar has unveiled the first trailer for its upcoming animated feature 'Hoppers.' 'Hoppers' are a group of scientists who have discovered a way to mind-hop into robot animal bodies. So when Mabel (Piper Curda), an animal lover, learns that a construction company wants to destroy the local animal habitat, she uses the clever new technology to inhabit the body of a beaver. More from Variety 'Elio' Box Office Flop: Why Can't Pixar Launch Original Films? Global Box Office: Pixar's 'Elio' Craters With $35 Million, '28 Years Later' Awakens to $60 Million How 'Elio' Pays Homage to Classic Sci-Fi Films Like 'The Thing,' 'Close Encounters' and 'Alien' 'This is like 'Avatar,'' Mabel quips in awe as she steps into the machine. 'It's not like 'Avatar,'' her colleague replies. Speaking with Variety, director Daniel Chong said the whole discussion had been debated about unveiling the 'Avatar' joke in the trailer. 'I think there are a couple of reasons why it was good to just put it out there. One is to let you know we know that, you know, it's quite similar, at least the premise sounds a lot like 'Avatar.'' Chong adds that the idea is to let audiences know the movie's premise will be 'a little bit crazy. There are going to be things that are a little bit tongue-in-cheek, and it's going to be out there and chaotic.' The trailer shows Mabel, after she's mind-hopped and is now the robot beaver, suddenly aware that she can understand other animals as Missy Elliot's 'Lose Control' song plays. Bobby Moynihan and Jon Hamm are among the voice cast. Hamm plays Mayor Jerry, the one trying to destroy the animals' habitat. And Hamm seemed like the perfect casting choice. 'That guy is hilarious,' says Chong. 'People know him from 'Mad Men,' but his comedy chops are incredible. And to be honest, he's very brave when it comes to comedy.' Chong promises, 'We have him do some pretty crazy stuff in our movies.' Moynihan is an animation superstar and 'Saturday Night Live' alum. He most recently delivered the voice for Forgetter Bobby in Pixar's 'Inside Out 2.' Chong said, 'Having worked with Bobby already, I felt so lucky to be able to slip back into that relationship and pick up where we left off. He's just so naturally funny and charming and sweet. I would just say across the board, everyone on our cast is really funny.' Curda, who voices Mabel, is a former Disney Channel actor who appeared in multiple episodes of the 2013-214 series 'A.N.T Farm.' She also featured in multiple episodes of the 2018-2022 CW superhero series 'Legacies. There is more voice casting yet to be announced. Chong promises, 'Hoppers' will have 'all the hallmarks of a Pixar movie.' He adds, It will be emotional, and it will be sincere, and it will be a big movie. But I think for me, I wanted comedy to be on a high level as we could.' 'Hoppers' will be released in theaters on March 6, 2026. Watch the teaser below. View this post on Instagram A post shared by Pixar (@pixar) Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? Final Emmy Predictions: Talk Series and Scripted Variety - New Blood Looks to Tackle Late Night Staples Oscars 2026: George Clooney, Jennifer Lopez, Julia Roberts, Wagner Moura and More Among Early Contenders to Watch
Yahoo
13 hours ago
- Entertainment
- Yahoo
What Pixar Should Learn From Its Elio Disaster
The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. Early last year, Pixar appeared to be on the brink of an existential crisis. The coronavirus pandemic had thrown the business of kids' movies into particular turmoil: Many theatrical features were pushed to streaming, and their success on those platforms left studios wondering whether the appeal of at-home convenience would be impossible to reverse. Disney, Pixar's parent company, premiered the Pixar films Soul, Luca, and Turning Red on Disney+, and each was well received. But they were followed by the theatrically released expected smash Lightyear—a spin-off of the beloved Toy Story franchise—which underwhelmed at the box office. Elemental followed, weathering a low-grossing opening to become a sleeper hit. Discussing the studio's next film, Inside Out 2, the company's chief creative officer, Pete Docter, acknowledged the concerns: 'If this doesn't do well at the theater, I think it just means we're going to have to think even more radically about how we run our business.' He had nothing to worry about: Inside Out 2 was a financial sensation—by far the biggest hit of 2024. Yet here we are, one year later, and the question is bubbling back up: Is Pixar cooked? Its latest film, Elio, made only $20.8 million in its first weekend; the performance marked a record low for the company. (The number is smaller than what the first Toy Story earned 30 years ago.) In the weeks since its mid-June debut, Elio hasn't shown the strong box-office 'legs' that bolstered Elemental or proved that it has the earlier movie's major international appeal. It instead seems likely to earn less than $100 million domestically, based on its current performance. It would be the first Pixar movie not to clear that bar, pandemic releases aside. The debut of the studio's newest film used to be a seismic theatrical event, whether it was a sequel or an original story; the Pixar imprimatur was enough. The company has made icons out of a curmudgeonly old man, a garbage-compacting robot, and a rat obsessed with French cuisine. But its status as an instant star-maker seems to have dimmed; name recognition alone is no longer carrying the day. Elio hit theaters after a tumultuous creative process that saw the director, Adrian Molina, leaving the project and the script getting reworked. The film follows a quirky, outer-space-obsessed preteen who, after the death of his parents, dreams of being abducted by aliens. This goal comes to fruition, leading him on a bunch of wacky adventures with an assemblage of blobby cosmic creatures. While the science-fiction angle was always present, reports suggested that other elements were lost over time: Elio (voiced by Yonas Kibreab) was initially supposed to be more 'queer-coded,' according to The Hollywood Reporter, to reflect Molina's own identity. Elio's mother was still alive, to be voiced by America Ferrera. The character's parents were written out in the reworked script, and Elio's disaffection became primarily rooted in loneliness rather than any sense of feeling 'different.' [Read: What the success of Inside Out 2 means for Hollywood] These creative shifts arose after an initial test screening reportedly ended with zero participants saying they'd want to see it in theaters. The changes didn't leave Elio unwatchable. It's a perfectly serviceable and cute diversion for kids, busy with playfully designed aliens; it's got some laser-blasting action that could appeal to preteens too. The protagonist does, however, come across as a little purposeless. The loss of Elio's parents is barely explained; his relationship with his aunt, Olga (Zoe Saldaña), is pleasant but lightweight. Elio's journey just doesn't have enough motivation to convince the audience that it's worth undertaking: After joining the extraterrestrials, he does little but bounce from quest to quest, pretending to be a high-ranking ambassador from Earth. Writing human characters has never been Pixar's forte, unless they're very cartoonish, and Elio suffers from that weakness. The studio has a rich history of introducing intense creative revisions in the middle of making a film. The original director of Ratatouille left the project, and the veteran hand Brad Bird took over; the end result was an artistic high point for Pixar. Brave was set to be the studio's first movie with both a female protagonist and a female director, Brenda Chapman; Pixar then removed Chapman midway through production, and the final film was a muddled effort. Still, the company's relative success with on-the-fly changes might have convinced higher-ups that Elio could be salvaged. Or maybe Docter, who is also one of Pixar's most successful filmmakers, saw Elio's box-office potential as a minor consideration after the sensation that was Inside Out 2. The company now has three more giant sequels on the horizon: Toy Story 5, Incredibles 3, and Coco 2, the last co-directed by Molina. Despite returning to its familiar franchises, the company isn't giving up on original storytelling. Several projects not based on preexisting properties are in the works; each one is animal-centric, a more typical mode for Pixar. But the fact that Elio underwent such extensive tweaks does suggest internal trepidation—and that Pixar could be shying away from more novel, personal works in favor of safer material. [Read: Pixar's talking blobs are becoming more and more unsatisfying] Elio's failure to resonate with audiences likely won't help matters. Would the movie have ever worked, however? I somehow doubt it. Pixar movies tend to thrive on the basis of their worlds; the galactic landscape—which emerged unscathed from all the tweaking—felt far too thinly sketched to me, even setting aside the low-stakes adventure taking place within it. Then again, my favorite Pixar film in recent years shares more in common with Elio than with Inside Out. Turning Red is a relatively grounded coming-of-age piece about a teenage girl. (She later turns into a giant red panda.) The director of Turning Red, Domee Shi, was brought in to salvage Elio after Molina stepped aside. But the latter film's rudderlessness emphasizes how crucial Shi's intimate connection to Turning Red was in making it so special—just as Molina's personal touch could have helped Elio feel more purposeful. The executives at Disney are likely pleased with the seeming priority shift. Big sequels and tales about cute animals tend to be an easy bet, as evidenced by Disney's own animated-movie track record. Pixar won't get by forever reheating its leftovers, though: It needs to foster filmmakers with specific points of view, such as Shi, to become the creative bedrock of its next generation. So much of the animation world is tilting toward adapting recognizable brands over inventive storytelling, with rivals such as Illumination finding success with Super Mario Bros.; Warner Bros. is threatening audiences with a ghastly looking update of The Cat in the Hat. Pixar has long stood out by bringing something less trifling to theatergoing families. Elio's failure in theaters may sting, but hopefully it won't entirely deter that mission. Article originally published at The Atlantic
Atlantic
a day ago
- Entertainment
- Atlantic
Pixar's Must-See Era Is Over
Early last year, Pixar appeared to be on the brink of an existential crisis. The coronavirus pandemic had thrown the business of kids' movies into particular turmoil: Many theatrical features were pushed to streaming, and their success on those platforms left studios wondering whether the appeal of at-home convenience would be impossible to reverse. Disney, Pixar's parent company, premiered the Pixar films Soul, Luca, and Turning Red on Disney+, and each was well received. But they were followed by the theatrically released expected smash Lightyear —a spin-off of the beloved Toy Story franchise—which underwhelmed at the box office. Elemental followed, weathering a low-grossing opening to become a sleeper hit. Discussing the studio's next film, Inside Out 2, the company's chief creative officer, Pete Docter, acknowledged the concerns: 'If this doesn't do well at the theater, I think it just means we're going to have to think even more radically about how we run our business.' He had nothing to worry about: Inside Out 2 was a financial sensation —by far the biggest hit of 2024. Yet here we are, one year later, and the question is bubbling back up: Is Pixar cooked? Its latest film, Elio, made only $20.8 million in its first weekend; the performance marked a record low for the company. (The number is smaller than what the first Toy Story earned 30 years ago.) In the weeks since its mid-June debut, Elio hasn't shown the strong box-office 'legs' that bolstered Elemental or proved that it has the earlier movie's major international appeal. It instead seems likely to earn less than $100 million domestically, based on its current performance. It would be the first Pixar movie not to clear that bar, pandemic releases aside. The debut of the studio's newest film used to be a seismic theatrical event, whether it was a sequel or an original story; the Pixar imprimatur was enough. The company has made icons out of a curmudgeonly old man, a garbage-compacting robot, and a rat obsessed with French cuisine. But its status as an instant star-maker seems to have dimmed; name recognition alone is no longer carrying the day. Elio hit theaters after a tumultuous creative process that saw the director, Adrian Molina, leaving the project and the script getting reworked. The filmfollows a quirky, outer-space-obsessed preteen who, after the death of his parents, dreams of being abducted by aliens. This goal comes to fruition, leading him on a bunch of wacky adventures with an assemblage of blobby cosmic creatures. While the science-fiction angle was always present, reports suggested that other elements were lost over time: Elio (voiced by Yonas Kibreab) was initially supposed to be more 'queer-coded,' according to The Hollywood Reporter, to reflect Molina's own identity. Elio's mother was still alive, to be voiced by America Ferrera. The character's parents were written out in the reworked script, and Elio's disaffection became primarily rooted in loneliness rather than any sense of feeling 'different.' These creative shifts arose after an initial test screening reportedly ended with zero participants saying they'd want to see it in theaters. The changes didn't leave Elio unwatchable. It's a perfectly serviceable and cute diversion for kids, busy with playfully designed aliens; it's got some laser-blasting action that could appeal to preteens too. The protagonist does, however, come across as a little purposeless. The loss of Elio's parents is barely explained; his relationship with his aunt, Olga (Zoe Saldaña), is pleasant but lightweight. Elio's journey just doesn't have enough motivation to convince the audience that it's worth undertaking: After joining the extraterrestrials, he does little but bounce from quest to quest, pretending to be a high-ranking ambassador from Earth. Writing human characters has never been Pixar's forte, unless they're very cartoonish, and Elio suffers from that weakness. The studio has a rich history of introducing intense creative revisions in the middle of making a film. The original director of Ratatouille left the project, and the veteran hand Brad Bird took over; the end result was an artistic high point for Pixar. Brave was set to be the studio's first movie with both a female protagonist and a female director, Brenda Chapman; Pixar then removed Chapman midway through production, and the final film was a muddled effort. Still, the company's relative success with on-the-fly changes might have convinced higher-ups that Elio could be salvaged. Or maybe Docter, who is also one of Pixar's most successful filmmakers, saw Elio 's box-office potential as a minor consideration after the sensation that was Inside Out 2. The company now has three more giant sequels on the horizon: Toy Story 5, Incredibles 3, and Coco 2, the last co-directed by Molina. Despite returning to its familiar franchises, the company isn't giving up on original storytelling. Several projects not based on preexisting properties are in the works; each one is animal-centric, a more typical mode for Pixar. But the fact that Elio underwent such extensive tweaks does suggest internal trepidation—and that Pixar could be shying away from more novel, personal works in favor of safer material. Elio 's failure to resonate with audiences likely won't help matters. Would the movie have ever worked, however? I somehow doubt it. Pixar movies tend to thrive on the basis of their worlds; the galactic landscape—which emerged unscathed from all the tweaking—felt far too thinly sketched to me, even setting aside the low-stakes adventure taking place within it. Then again, my favorite Pixar film in recent years shares more in common with Elio than with Inside Out. Turning Red is a relatively grounded coming-of-age piece about a teenage girl. (She later turns into a giant red panda.) The director of Turning Red, Domee Shi, was brought in to salvage Elio after Molina stepped aside. But the latter film's rudderlessness emphasizes how crucial Shi's intimate connection to Turning Red was in making it so special—just as Molina's personal touch could have helped Elio feel more purposeful. The executives at Disney are likely pleased with the seeming priority shift. Big sequels and tales about cute animals tend to be an easy bet, as evidenced by Disney's own animated-movie track record. Pixar won't get by forever reheating its leftovers, though: It needs to foster filmmakers with specific points of view, such as Shi, to become the creative bedrock of its next generation. So much of the animation world is tilting toward adapting recognizable brands over inventive storytelling, with rivals such as Illumination finding success with Super Mario Bros.; Warner Bros. is threatening audiences with a ghastly looking update of The Cat in the Hat. Pixar has long stood out by bringing something less trifling to theatergoing families. Elio 's failure in theaters may sting, but hopefully it won't entirely deter that mission.
Scotsman
2 days ago
- Entertainment
- Scotsman
Meet Elphaba, Glinda and Stitch inspired characters at Glasgow Fort this summer
Families will have the chance to meet some of this year's biggest blockbuster-inspired characters for free at Glasgow Fort this summer, as part of a series of exciting meet and greet sessions. Sign up to our daily newsletter – Regular news stories and round-ups from around Scotland direct to your inbox Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Taking place each weekend from 19th July to 10th August, visitors can snap a selfie and say hello to a whole host of familiar faces – from the loveable 'Aloha Alien' to the spellbinding Wicked duo, Elphaba and Glinda, and there will even be the chance to watch a 'dino show' inspired by the new Jurassic World Rebirth film. The character appearances will take place outside Primark between 11am and 4pm on the following dates: Advertisement Hide Ad Advertisement Hide Ad Saturday 19th July: Superheroes Sunday 20th July: 'Aloha Alien' (Stitch-inspired character) Saturday 26th July: Dino Show (inspired by Jurassic World Rebirth) Sunday 27th July: Dino Show (inspired by Jurassic World Rebirth) Saturday 2nd August: Dragon Training Sunday 3rd August: 'Aloha Alien' (Stitch-inspired character) Saturday 9th August: Wicked duo Sunday 10th August: Wicked duo Superhero characters to visit Glasgow Fort There is no need to book in advance for any of the character visits, but visitors are encouraged to arrive early to avoid disappointment. As well as the meet and greet sessions, families can make the most of the mini fairground rides at Glasgow Fort this summer, including trampolines, bumper cars, and a carousel, alongside a selection of much-awaited films showing on the big screen at Vue, including Smurfs, How to Train your Dragon, and Pixar's Elio. Visitors can purchase a discount token from the pop-up hut near the rides, which reduces the cost of all rides (excluding the trampolines) to £2.50. At standard price, rides are £3 and trampolines £5 per go. Phil Goodman, centre manager at Glasgow Fort, said: 'We know it's not always easy keeping the kids entertained during the school holidays, so it's brilliant to bring a bit of free movie magic and summer fun to the centre for families. Advertisement Hide Ad Advertisement Hide Ad Elphaba and Glinda inspired characters to visit Glasgow Fort 'There's something for everyone - from loveable aliens and spellbinding witches to trampolines and a carousel. It's a great excuse to pop down for the day, enjoy the fun and maybe grab a bite to eat while you're here too!'
UPI
3 days ago
- Entertainment
- UPI
'Superman' tops box office with $122M
Cast members David Corenswet (L) and Rachel Brosnahan attend the premiere of "Superman" at the TCL Chinese Theatre in the Hollywood section of Los Angeles on July 7. Photo by Jim Ruymen/UPI | License Photo July 13 (UPI) -- Superman is the No. 1 movie in North America, earning $122 million in receipts this weekend, reported Sunday. Coming in at No. 2 is Jurassic World: Rebirth with $40 million, followed by F1 at No. 3 with $13 million, How to Train Your Dragon at No. 4 with $8 million and Elio at No. 5 with $3.9 million. Rounding out the top tier are 28 Years Later at No. 6 with $2.7 million, Lilo & Stitch at No. 7 with $2.7 million, Mission Impossible: The Final Reckoning at No. 8 with $1.4 million, M3GAN 2.0 at No. 9 with $1.35 million and Materialists at No. 10 with $700,000. David Corenswet, Rachel Brosnahan attend 'Superman' premiere Cast members David Corenswet (L) and Rachel Brosnahan attend the premiere of "Superman" at the TCL Chinese Theatre in Los Angeles on July 7, 2025. Corenswet portrays Superman, with Brosnahan as Lois Lane. Photo by Jim Ruymen/UPI | License Photo
