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A Broadway classic that has delighted audiences for generations comes to the big screen with a new, contemporary vision in Columbia Pictures‘ comedy, Annie. Director/Producer/Screenwriter Will Gluck teams with producers James Lassiter, Will Smith & Jada Pinkett Smith, and Shawn "JAY Z" Carter, Laurence "Jay" Brown, and Tyran "Ty Ty" Smith with a modern telling that captures the magic of the classic characters and original show that won seven Tony Awards. Celia Costas serves as Executive Producer. The screenplay is by Will Gluck and Aline Brosh McKenna, based on the musical stage play "Annie," book by Thomas Meehan, music by Charles Strouse, lyrics by Martin Charnin, and on "Little Orphan Annie," (C) and (R) Tribune Media Services, Inc. Academy Award (R) nominee Quvenzhane Wallis (Beasts of the Southern Wild) stars as Annie, a young, happy foster kid who‘s also tough enough to make her way on the streets of New York in 2014. Originally left by her parents as a baby with the promise that they‘d be back for her someday, it‘s been a hard knock life ever since with her mean foster mom Miss Hannigan (Cameron Diaz). But everything‘s about to change when the hard-nosed tycoon and New York mayoral candidate Will Stacks (Jamie Foxx) - advised by his brilliant VP, Grace (Rose Byrne) and his shrewd and scheming campaign advisor, Guy (Bobby Cannavale) - makes a thinly-veiled campaign move and takes her in. Stacks believes he‘s her guardian angel, but Annie‘s self-assured nature and bright, sun-will-come-out-tomorrow outlook on life just might mean it‘s the other way around. (c) Sony.
About Annie
Artist : Jamie Foxx, Quvenzhane Wallis, Rose Byrne, Bobby Cannavale, Cameron DiazAs : Will Stacks, Annie, Grace, Guy, Miss Hannigan
Title : Kijken Naar Annie Aanhangwagen Review
Release date : 2014-12-19
Movie Code : 0083564
Duration : 118
Category : Family
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Phenom Quvenzhane Wallis proves her Oscar nomination for Beasts of the Southern Wild was no fluke. As a modern-day Annie, Wallis shines with her sweet portrayal. However, her performance alone can't save the film from being a dim adaptation.
Most remakes are unnecessary but Annie is a bigger offender than many.
While there are several possible good reasons to remake the Depression-set musical "Annie" in 2014, none of them seem to have informed Will Gluck's overblown yet undernourished treatment.
Quvenzhane Wallis, the Oscar-nominated star of the trippy bayou indie Beasts of the Southern Wild, simply has to skip into a room - and into the frame - to light things up.
Engaging characters, infectious melodies, suspense, drama and dance extravaganzas appeal to children of all eras. If only the powers that be behind the new Annie movie had kept this basic truth in mind.
Considering this musical has its roots in Depression-era American, Gluck's contemporary take on the material is eerily lacking in observations about the rich/poor divide in this country.
For all the talent involved, the overall effect is surprisingly flat. Foxx appears disconnected, Byrne is wasted and a painfully hammy Diaz seems to be in another movie altogether.
Did I really just watch Foxx and Wallis do an entire musical number set inside a moving helicopter? I did, and I've never felt more embarrassed for two actors, mostly because Foxx seems embarrassed for himself.
Think you've got a hard-knock life? Try sitting through the new "Annie."
The overall vibe of this folly is curdled and utterly blase; it's a 118-minute foregone conclusion, finesse-free and perilously low on the simple performance pleasures we look for in any musical, of any period.
The vigorous display of good feelings and comforting resolutions has an unusually effervescent sincerity, even if the rags-to-riches wish-fulfillment leaps over all the hard knocks.
Any scene without Wallis and her gang of remarkably symmetrical, well-groomed orphans feels like a chore-"Let's just get through this," the movie seems to be saying, "Then we'll show you that cute little girl and her puppy again."
The feel-good story and sing-along production numbers are likely to please the movie's target audience of tween girls, but there's not a whole lot in "Annie" to win their parents over.
"Annie" is not a great movie musical - but it's a fun time at the movies.
Leapin' lizards! The evergreen Broadway musical "Annie'' strays far from its Depression-era roots with truly dismaying results in this crass, charmless, tineared and lead-footed update.
Ultimately, "Annie" is so fixated on being current that it will never be more than a passing fancy.
A teeter-totter between O.K. and Meh.
There's still a good film to be made of "Annie," but it'll take Broadway veterans, not box-office stars, to pull it off.
Musical purists should stay away, but little girls should have fun here, and the movie's full of goofball touches that help pass the time for the grown-ups bringing them.
Where to begin in describing the awfulness of "Annie"?
The sun'll come out tomorrow, by which time this toxic mess should be forgotten.
Aside from an unintentional homage to Zoolander that is so tone-deaf it'll make you guffaw, Annie goes out of its way to make viewing it a hard-knock life.for us.
It falls ignominiously on its fat one. The Sony hackers, the so-called Guardians of Peace, have leaked the new Annie online so everyone can have free access. It's their cruelest trick to date.
A movie that coasts on a disturbing greed-is-good vibe. And one that looks strangely cheap doing it.
Despite any reservations about the music, it is a charming, lovely little movie.
By the end, the movie resembles just another formulaic, family-friendly piece of product, one the kids will enjoy and you'll endure as it goes in the DVD player for the 40th time.
The cast would have been better served by a middle school production overseen by a creatively frustrated, inappropriately ambitious drama teacher than by this hacky, borderline-incompetent production .
Banal, shallow and markedly cynical.
Wallis is adorable, but there's little magic in the new music or the barely-there choreography. A missed opportunity.
Hard to believe the sun will come out tomorrow for the new "Annie."
In all the ways that matter it's a missed opportunity to take a flawed musical and transform it into a powerful new myth with a particular African-American slant.
The new Annie is jam-packed with Glee-style choreography and greed-is-good luxury. Like its predecessors, it's a fantasy. But unlike them, it's not so much heartwarming as warmed-over.
There's a surprising amount of bite: the filmmakers openly acknowledge the similarities between the Great Depression and the present, and the populist message, however overstated, always registers as sincere.
Even Sandy the dog looks like he's had enough.
This "Annie" was supposed to be for a new generation. In the harsh light of 2014, it's never looked so dated.
Annie deserves credit for illustrating that old racial prejudices don't have to be preserved by new entertainments, but this remixed rendition doesn't speak to the kids of today so much as it does to their parents' wallets.
"Annie" is a shiny little pebble with nothing close to a surprise in it, set in a New York that would cause Martin Scorsese to burst into flame if he walked into it. And young kids just might like it.
"[A] disenchantment, even misanthropy, seeps through Will Gluck's reinterpretation of the Broadway classic."
This is an Annie for adults, only now the spin is less "Remember the social-welfare lessons of the Great Depression?" and more "Hey, rich people are nice, too."
Most of the cast can't sing or dance, and Gluck, who co-wrote the screenplay, has no clue why this story has endured.
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