Though specific details have been kept under wraps, the film is described as a "modern musical reimagining" of the timeless holiday tale about Ebenezer Scrooge and the spirits of Christmas Past, Present and Future.
and Paramount.” /> "Spirited" — featuring Octavia Spencer alongside Ferrell and Reynolds — will be written and directed by Sean Anders and John Morris, who previously teamed on "Daddy's Home" and "Instant Family." Apple won rights to the film in 2019 after a heated bidding war, beating out lucrative offers from Netflix, Warner Bros.
Hursey has written for the romantic musical drama "Soundtrack" and is currently penning "Love in America," a movie musical that will be produced by Issa Rae. Khiyon got his start as the music assistant on the off-Broadway and Broadway productions and the cast album of "Hamilton." Sonnenblick has been nominated for Emmy and Drama Desk awards, with credits on "Song of Parkland," "Saturday Night Seder" and "Midnight at the Never Get." His musical "Eastbound" was selected for the 2020 National Alliance for Musical Theatre Conference and he has works in development at New York Stage and Film and Ars Nova. Jones, a playwright, screenwriter and musical theater lyricist, is a graduate of Vassar College and New York University's Tisch School of the Arts.
Ryan Reynolds and Will Ferrell's upcoming movie "Spirited," a musical rendition of the Charles Dickens classic "A Christmas Carol," will feature all-new songs from Benj Pasek and Justin Paul.
In between projects, they have written original music for "Trolls," Disney's "Aladdin" remake and the NBC cult hit "Smash." Pasek and Paul gained national recognition after the success of their Tony-winning musical "Dear Evan Hansen." They served as executive producers on the film adaptation starring Ben Platt.
Three rising songwriters, Sukari Jones, Khiyon Hursey and Mark Sonnenblick, will write the tunes with Pasek and Paul, the duo behind "La La Land," "Dear Evan Hansen" and "The Greatest Showman." The film, set up at Apple, is set to debut next year.
When it comes to writing songs for the screen and stage, the collaborators known as Pasek and Paul have an enviable track record. They won an Oscar for writing "City of Stars," the catchy tune sung by Emma Stone and Ryan Gosling in "La La Land." They also scored Academy Award nominations for "Audition (The Fools Who Dream)" from "La La Land" and "This Is Me," the power ballad from "The Greatest Showman."

But he isn't just coasting by on his considerable charm; Reynolds has made a series of bold, risky choices in films that might have slipped under the radar. There are many keys to Ryan Reynolds' success — talent and affability play a big part, but there's also the choice to never take himself too seriously. Bear in mind these are not necessarily his best movies, but the roles where he truly stood out.” /> With his latest action-comedy "Free Guy" now in theaters, we took a look at 10 of his best performances. His stardom always seemed inevitable, but it took time to find the right project — he's been a good sport about the "Green Lantern" jokes, an early attempt to make him a superstar. Reynolds often seems to be having a blast and the feeling is contagious.

"The Mule," Eastwood's first acting gig since 2012's "Trouble With the Curve," brought out a much older crowd. In addition to Eastwood, “The Mule” cast includes Bradley Cooper, Laurence Fishburne, Michael Pena, and Dianne Wiest. Another weekend release, Warner Bros.' "The Mule," snagged the No. 2 spot with $17 million. Clint Eastwood directed and stars in the R-rated crime drama about a nonagenarian who gets caught smuggling drugs for the cartel. Moviegoers over the age of 35 accounted for 78% of audiences.
Based on James Baldwin's novel, the awards hopeful has already received a number of superlatives since its Toronto debut, especially for the performances of Regina King and Brian Tyree Henry. That comes out to $54,793 per location, easily marking the best screen average of the weekend. At the specialty box office, Barry Jenkins' "If Beale Street Could Talk" debuted in four theaters and generated $219,173.
Illumination's "Sing" previously held that title, debuting with $35 million in 2016. That's hardly the biggest opening for an animated film this year, but it does rank as the best start for a cartoon in the month of December.
Meanwhile, Sony Pictures Classics' "Capernaum" made $27,588 from three screens, averaging $9,196 per location. It follows a young boy who sues his impoverished and indifferent parents for giving birth to him. Nadine Labaki directed the drama that won the Jury Prize at Cannes and has been selected as Lebanon's entry for foreign language film at the Oscars.
"Spider-Man: Into the Spider-Verse" is the new box office king, collecting a solid $35.4 million during its first three days of release.
The middling reviews haven't helped build momentum, and it carries a paltry 28% on Rotten Tomatoes. Universal's "Mortal Engines" launched in fifth place with a disastrous $7.5 million when it debuted in 3,103 venues. Peter Jackson produced the CGI spectacle, adapted from Philip Reeve's YA novel. It'll be an uphill battle for "Mortal Engines" to break through a crowded holiday frame and attract the kind of audience it needs to justify its expensive price tag. That could be catastrophic for the sci-fi saga that cost over $100 million to make. Not all newcomers were able to stick the landing. The post-apocalyptic steampunk adventure has fared slightly better overseas, picking up $34.8 million from 54 international territories, but "Mortal Engines" looks like it could still lose a sizable chunk of change.
Weeks before “Spider-Verse” opens in theaters, Sony announced the development of a sequel and spinoffs set in the shared multiverse. “Spider-Verse” has already racked up plaudits, including a Golden Globe nod for best animated feature, and boasts an impressive 97% on Rotten Tomatoes.
It doesn't seem like audiences were much more receptive to the gory psychological horror film that prompted more than 100 people to walk out of its Cannes premiere. IFC's "The House That Jack Built" faltered with $40,000 from 33 theaters, for a disappointing screen average of $1,225. Lars von Trier's latest undertaking didn't fare quite as well.
Universal's "The Grinch" continues to bring back solid returns, pocketing another $11.5 million this weekend for a domestic total of $239 million. "Ralph Breaks the Internet" earned $9.3 million in its fourth weekend of release, bringing its North American tally to $154 million. A pair of animated flicks secured third and fourth place.
That sum will get added to the initial run of Ryan Reynolds' R-rated superhero comedy, which now sits at $322 million in North America and $736 million globally. The original version wasn’t released in China, but the new clean(er) cut means the Middle Kingdom could finally give the raunchy mercenary a chance. Elsewhere, Fox's "Once Upon a Deadpool," a PG-13 re-release of "Deadpool 2" picked up $2.6 million on 1,566 screens.
This weekend's total haul came in 61% below the same frame in 2017, according to Comscore. As the busiest time for moviegoing approaches, the year-to-date box office is still a healthy 8.5% ahead. It's a tough comparison since "Star Wars: The Last Jedi" launched last year with a massive $220 million. Christmastime debuts of "Aquaman" and "Mary Poppins Returns" should keep momentum going for a record 2018.” />
Mahershala Ali, Hailee Steinfeld, Jake Johnson, Brian Tyree Henry, Lily Tomlin, and John Mulaney round out the voice cast. Miles Morales (voiced by Shameik Moore), a Brooklynite with a Puerto Rican mom and an African American dad, puts on the Lycra-tights for this rendition. Philip Lord and Christopher Miller produced "Spider-Verse," which cost $90 million and takes place in a universe where more than one Spider-Man exists.
"It pushes the boundaries of animation," said Adrian Smith, Sony's president of domestic distribution. "It plays to all audiences, and it's really exciting because we're positioned to play into the biggest week of the year — and there are eight days until we get to Christmas."
"It was a crowded marketplace," said Jim Orr, Universal's head of domestic distribution. "We're very proud of the film, no doubt. It might take audiences a little time to find it."
It uses a mix of CGI and hand-drawn animation to bring the web-slinger to life. Despite an influx of superhero titles that hit multiplexes this year, not to mention 2016's Peter Parker feature "Spider-Man: Homecoming" and its sequel that bows next year, "Spider-Verse" was lauded for bringing a fresh take to the genre.
It also has plenty of time to make up ground during a holiday frame, though Warner Bros.' "Aquaman" might cannibalize a bit of the superhero crowd. "Spider-Verse," based on Sony's catalog of Marvel heroes, is resonating with a slightly older audience than most animated adventures.

Morgan Neville's documentary on Mister Rogers, which secured the 10th spot at the domestic box office, has earned an impressive $4.1 million in three weeks. At the specialty box office, "Won't You Be My Neighbor" pocketed $1.8 million after expanding to 348 theaters. The film will expand to 500 theaters next weekend.
"Incredibles 2" also earned $56.8 million overseas, taking the international tally to $134.6 million. With a global total of $485 million, "Incredibles 2" has already surpassed the entire run of the original film, 2004's "The Incredibles."
Universal, the studio behind "Fallen Kingdom," is celebrating its second-best opening ever, only behind 2015's "Jurassic World."
It also opened on 410 Imax screens, where it brought in $13 million. Of "Fallen Kingdom's" $711 million haul, $380 million came from 3D ticket sales, along with $105 million from RealD.
and Village Roadshow Pictures film pocketed $11.6 million this weekend. In its third weekend, the female-led spinoff hit the $100 million mark in North America. Overseas, the heist movie stole $26.9 million for a global total of $171 million. Meanwhile, "Ocean's 8" has crossed a major milestone of its own. The Warner Bros.
Thanks to the roaring success of "Fallen Kingdom" and "Incredibles 2," the box office is 97.3% bigger than the same weekend last year, according to comScore. Overall, the box office is up 8.5% in 2018.
The superhero blockbuster, directed by Brad Bird, launched with $182.7 million, making it the best opening for an animated feature and the eighth-biggest debut of all time. "Fallen Kingdom" easily led the domestic box office as the lone wide release, though "Incredibles 2" enjoyed a heroic second weekend. The Disney-Pixar sequel picked up another $80 million, bringing its North American total to $350.3 million.
title, "Tag," landed in fourth with $8.2 million. Another Warner Bros. The comedy has brought in $30 million domestically, officially clearing its $28 million production budget.
"Notably, the $150 million earned by 'Jurassic World: Fallen Kingdom' is more than the $141.9 million generated by the entire marketplace of 105 films (led by 'Transformers: The Last Knight') over the comparable weekend last year," said Paul Dergarabedian, a box office analyst at comScore.
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The film has received a mixed critical response with a 50% average on Rotten Tomatoes and an A- CinemaScore. Moviegoers under the age of 25 accounted for 56% of audiences, while 54% were males. The tentpole, co-produced by Steven Spielberg's Amblin Entertainment, is the fifth installment in the "Jurassic" franchise.
Dinosaurs are ruling the box office again.
Rounding out the top five is Ryan Reynolds' "Deadpool 2" with $5.2 million. The 20th Century Fox sequel passed the $300 million mark domestically and $700 million globally. The original "Deadpool" finished its box office run with $363 million in North America and $783 million worldwide.
J.A. Bayona directed the sequel, which had a price tag around $170 million. "Jurassic World: Fallen Kingdom" topped estimates to devour $150 million from 4,475 locations in North America this weekend. While it fell short of its predecessors' record-shattering $208.8 million launch, the dinosaur sequel is off to a mighty start. The Chris Pratt and Bryce Dallas Howard-led tentpole has already amassed $711.5 million worldwide, including $561.5 million overseas.
Bayona] really crafted an extraordinarily intense film. I expect word of mouth to be stellar." "We found that we are playing very broadly in all four quadrants. "We are obviously thrilled with our opening at the North American box office," Jim Orr, head of domestic distribution at Universal, said. [J.A.
With another $2 million internationally, the Disney and Lucasfilm picture's worldwide total sits at $353.5 million. Elsewhere, "Solo: A Star Wars Story" reached $200 million in North America five weeks in.