![]() ![]() The film is gorgeous to look at and the musical numbers are dynamic and involving, with many echoes of the animated film, but not feeling beholden to repeat every single bit of choreography. The director’s eclectic career includes Gods and Monsters, Kinsey, a Candyman sequel and two Twilight sequels, but his work on two Academy Award-winning musicals, Chicago (which he wrote) and Dreamgirls (which he both wrote and directed), certainly serves him well here. Potts, and with top notch digital effects and the voices of excellent actors like Ewan McGregor, Ian McKellan and Emma Thompson playing them, these characters vividly come to life, as do Madame de Garderobe (Audra McDonald), Chip (Nathan Mack), Plumette (Gugu Mbatha-Raw) and the newly-created Maestro Cadenza (Stanley Tucci), a composer transformed into a harpsichord.Īs for the musical numbers, they are by and large great, with Condon proving to be an excellent choice to guide the film. It’s impossible to imagine Disney’s Beauty and the Beast without Lumiere, Cogsworth or Mrs. ![]() Also integral to this story, of course, are the staff in the Beast’s castle, who have all been transformed into household items by the curse. but some would say that the same goes in the animated version. Though it should be said that while no fault of Stevens, but rather some questionable wig and costume choices, the character is amusingly goofier looking as the long-haired prince than as the Beast. Watson brings her innate intelligent, thoughtful nature to Belle (being typecast as a voracious reader isn’t the worst thing), while Stevens - balancing the tricky nature of a mo-cap, CG-enhanced performance - brings the right bitter, yet still soulful feel to the Beast. ![]() Beauty and the Beast is expertly cast, beginning with the title characters. ![]()
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