Going Into and Beyond Peyo’s World for ‘Smurfs: The Lost Village’
How Sony referenced the original material and looked to new horizons for the latest Smurfs feature film.
From fully-animated features to vfx-driven live-action films, animation is an integral part of the theatrical marketplace today.
How Sony referenced the original material and looked to new horizons for the latest Smurfs feature film.
Eyeing big profits, another live-action production company joins the animation fray.
Visual effects played a huge role in bringing Michael Pitt’s Kuze villain to life in the new live-action version of ‘Ghost in the Shell.’
The directors of “Archer” and “The Lego Movie” are involved.
The animation and design of ‘The Boss Baby’ is a deliberate throw-back to old-school styles.
The Weinstein Company has a history of repeatedly delaying animated feature releases, and ‘Leap!’ is no different.
A first look at “Ferdinand,” the next film from “Ice Age” maker Blue Sky Studios.
Yes, animated features can compete against live-actions films — and WIN!
Kong and his Skull Island friends and foes receive their own special brand of animation in the new Jordan Vogt-Roberts film.
A first look at Dreamworks’ adaptation of the smash children’s book series “Captain Underpants.”
“Song of the Sea” director Tomm Moore is ready to reveal details about his third feature, the “final panel of our Irish folklore triptych.”
Two industry veterans are attached to direct a bigscreen version of the children’s book series “Darkmouth.”
There’s more than a few ways to fund an animated feature nowadays, but the surest one of all is to simply be the child of a billionaire.
Watch the teaser for “Kensuke’s Kingdom,” a feature film based on the bestselling children’s novel by Michael Morpurgo.
Nick Park is back!
A first look at Pixar’s “Coco,” arriving in November.
A fresh take on classic Greek myths, “Icarus” was pitched last week at Cartoon Movie.
Originally titled “Ballerina,” this France/Canada production will open in the U.S. on April 21.
“It’s not going to look like a Pixar movie, where you see money on the screen,” says “Ernest & Celestine” director Benjamin Renner.
Minchin expresses “impotent fury and sadness” at Dreamworks’ cancellation of the project that he had worked on for four years.