This feels exactly like what would happen if you asked Jim Henson to make a Pokemon movie, and I’m all-in on that.

There’s a reason depictions of Pokemon are rarely photorealistic.

The image for which the phrase “good old-fashioned nightmare fuel” was created.

Deadpool 3 looks really good!

In your head:

Give a pay raise to whoever put that trailer together. They did their job because I’m sold. I was never all that into Pokemon, but I want to see this movie now.

‘I want to see this pokemon movie ‘ is something I never thought I’d write either..but hey! these are strange days we live in.

Move over Garbage Pail Kids, we’ve got some strong new entries in the unsettling adaptation awards.

Even if some of the monster designs didn’t translate well to the style they’re going for (Jigglypuff looks horrifying), I appreciate that they went all in on the Pokemon world and didn’t try to shy away from it by having only a few here or there.  I haven’t cared about Pokemon since 2003 so the odds of me ever seeing…

photorealistic CGI was...an interesting choice. Some of those creature designs did not translate well at all.

I would respond: “Fuck that, nobody wants to see The Nutcracker. We’re going to release Solo in Winter 2018 because releasing Star Wars movies during the Holidays has become our thing in the last couple of years and if we do something stupid like releasing it five months after The Last Jedi, sandwiched between Infinit…

I love Winter Soldier and Civil War, and I’d still agree with that assessment.

No he didn’t. In fact he adore much of Nutcracker. He found the subject matter (which was based on the very simplified Dumas version of the very strange Hoffmann original) to be absolutely uninspiring—unlike Sleeping Beauty which he found a lot of metaphor in two years earlier—and he was particularly miserable at the…

Joe Johnson is a director that I feel like deserves far more love and career recognition. He’s constantly making fun entertaining movies, but he never gets attention.

Eh, neither A Wrinkle in Time nor Tomorrowland really made money—both made their official production budgets back, but not much more. Disney likes to keep the occasional spot on its schedule for a CGI-heavy non-remake like this one, and those are generally not moneymakers.

It’s a public domain work so the music is pretty much free to use. Probably saves some mony

Who makes these decisions?

If were a higher up at Disney someone came to me and said: “Let’s do The Nutcracker with the goal of a 2018 Holiday release.”

I would respond: “Fuck that, nobody wants to see The Nutcracker. We’re going to release Solo in Winter 2018 because releasing Star Wars movies during the Holidays has…

How many swings are they going to take at The Nutcracker anyway? Has Hollywood ever poured so much money into an IP to get absolutely no return?