Will be re­leased on Jun 15, 2018.

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We’re cuckoo for Coco! With such a bright, fes­tive (and slightly spooky) world to work with, Dis­ney-Pixar xar and p part­ners are com­ing up with treats like the old school Ernesto T-Shirt ($23); Mat­tel’s In­ter­ac­tive Gui­tar r ($35) an and Dante/Ale­brije Color­ing Sculp­ture ($13); and Chron­i­cle Books’ beau­ti­ful 160-page ge The Art of Coc Coco co ($ ($40). [shopdis­ney.com | chron­i­cle­books.com] Even be­fore the trailer for Star Wars: The Last Jedi dropped, fa­nat­ics and lay­men alike were ob­sessed with Porgs (The New Ewok!™). Get more of the pug/pen­guin/marsh­mal­low hy­brids with a cus­tom­iz­a­ble Car­toon Badge Mug ($17), ), your own life-sized Talk­ing Plush h ($20) or Kevin Shinick’s chil- dren’s sto­ry­book Chewie and the Porgs ($18, Dec. 15), il­lus­trated by Fiona Hsieh. [shopdis­ney.com | tar­get.com] Love Stu­dio Ghi­bli? GKIDS and Shout! Fac­tory have been rolling out new Blu-ray combo pack ($30) and DVD ($20) edi­tions of Spir­ited Away, My Neigh­bor To­toro, Howl’s Mov­ing Cas­tle, Ponyo, Kiki’s De­liv­ery Ser­vice, Princess Mononoke (Oct. 17), Cas­tle in the Sky, Nau­si­caä of the Val­ley of the Wind (Oct. 31), The Se­cret World of Ar­ri­etty and Porco Rosso (Nov. 21)! Some sets have up­dated spe­cial fea­tures, and all come with art & com­men­tary book­lets. toys! Y Young colts and fil­lies would love Ha Has­bro’s as­bro’s Cant Can­ter­lot & Seaque­str­ria ques­tria Cas­tle pl play­set ($100), mov­ing/light-up Pinkie ie Pie Swi­im­ming Swim­ming Sea Seapony ($25) or Mag­i­cal Princess Twi­light Sp­parkle Sparkle talkin talk­ing/an­i­mated plush ($130). Bronies can aalso also build the their clas­sic fig­ure col­lec­tion with new ccha­r­ac­ters, char­ac­ters, o or add some sparkle with the Funko Pop! V Vinyl Fig­ure Fig­ures. [has­bro­toyshop.com | funko.com] ] The 1930s car­toon-in­spired run ‘n’ gun game Cup­head fi­nally launched in Septem­ber to en­thu­si­as­tic re­views, thanks to its fab­u­lous, freaky hand-drawn art and en­er­getic game­play. Stu­dio MDHR con­tin­ues to tweak and up­date the ti­tle, which is avail­able on Steam, Xbox One & Win­dows 10. Now we just wait while King Fea­tures puts the li­cens­ing pro­gram to­gether! [cup­headgame.com]

Pre­vi­ously on X-Men: The Mak­ing of an An­i­mated Se­ries is a fas­ci­nat­ing new ret­ro­spec­tive on life in the toon trenches from 30-year vet­eran Eric Le­wald. And it gets deep into those trenches. From Mar­garet Loesch’s strug­gles to get the show on the air, to fine­tun­ing the an­i­mated adap­ta­tion, to the eter­nal ques­tion “How Can You Say ‘No’ to Stan Lee?”, this is an in­ten­sive his­tory of a gamechang­ing su­per­hero toon through the eyes of the folks who made it hap­pen. [Ja­cobs Brown Press] Death Note: Allin-One Edi­tion ($40) packs all 12 vol­umes (2,400 pages) of Tsug­umi Ohba & Takeshi Obata’s smash-hit manga in a sin­gle, ex­clu­sive doorstop­per. [VIZ Me­dia]

BoxLunch ch is dig­ging around in our ur wal­lets again. n. Just added to o our wish­lists: s: plas­tic Chucky Glasses ($10) and glit­tery Danielle Ni­cole Rep­tar Clutch ($40) in­spired by Nick­elodeon’s Ru­grats. Their new Looney Tunes col­lec­tion is also a mix o of car­toony and classy— we dig the un­der­stated, ex­clu clu­sive “That’s All Folks!” W Wal­let ($23, faux leather). [b [boxlunch.com]

5It’s Walt Dis­ney’s birth­day! ...Maybe that’s why there’s so many ti­tles ar­riv­ing on DVD and BD: De­spi­ca­ble Me 3, The Simp­sons - Sea­son 18, Sailor Moon Crys­tal: Sea­son 3, Digi­mon Ad­ven­ture tri. Chap­ter 3: Con­fes­sion, Mo­bile Suit Gun­dam Wing box set and End­less Waltz, Rev­o­lu­tion­ary Girl Utena: Com­plete Fer­di­nand A Town Called Panic: The Col­lec­tion

Craft­ing a See-Through Ca­nine Miguel’s dog Dante came with his own en­dear­ing, yet com­pli­cated set of chal­lenges. As a hair­less Xolo dog, his en­tire body would be vis­i­ble to the au­di­ence and noth­ing could be hid­den un­der­neath fur. An­i­ma­tors would have to rely on tech­niques they de­vel­oped while work­ing on the bears in Brave. One was vol­ume sim­u­la­tion that gave nat­u­ral move­ment to the part of the dog that wig­gled while he walked, and the other was a skin sim­u­la­tion that made the stretch of Dante’s un­even, im­per­fect skin seem be­liev­able over his skele­ton.

The film’s most strik­ing vis­ual achieve­ment is the Land of the Dead, cre­ated by pro­duc­tion de­signer Har­ley Jes­sup and lit by cin­e­matog­ra­pher Danielle Fein­berg. Miguel finds him­self trans­ported to this place where his an­ces­tors live when he dares to pick up an old gui­tar and play it. Once there, we watch him tra­verse an as­ton­ish­ing Vic­to­rian-in­spired -in­spired city that’s stacked into the skies. Mul­ti­ple gen­er­a­tions s of the dead have come to live here, each one build­ing on the e struc­tures cre­ated by the pre­vi­ous group of the de­ceased.

Fein­berg found ways to cre­ate ate a unique light­ing strat­egy by work­ing with code. There are shots hots of the Land of the Dead that con­tain about 7 mil­lion in­di­vid­ual dual lights, which makes for the oth­er­worldly look achieved by the team. But hand-plac­ing the e lights would have sim­ply been n im­pos­si­ble, ac­cord­ing to Feinein­berg, be­cause of the cost and time ime needed. Fein­berg re­al­ized that if they used ed a bit of code cre­ated dur­ing the 2014 movie The he Good Di­nosaur, which groups lights to­gether, it would d be pos­si­ble to get the look they wanted. With this code, ode, light­ing artists could tell the com­puter to find all the e street­lights in a shot, for ex­am­ple, and put a lit­tle light in­side nside them. So the com­puter con­sid­ers them all one light and d the shot be­comes rel­a­tively sim­ple to stage.

“There are al­ways things we’ve never done be­fore, but that’s part of what in­ter­ests and ex­cites me about mak­ing this film,” says Unkrich. “I wanted this world to look like noth­ing we’d ever seen.” comes to U.S. the­aters on Novem­ber 22.

in the way we ap­proached the an­i­ma­tion to de­pict the char­ac­ters’ ex­pe­ri­ences in the real world,” says Twomey. “We wanted to get a sense of re­al­ism and sub­tlety and to re­spect the cul­tural dif­fer­ences. We also pushed our cast as much as we could to re­ally in­habit the char­ac­ters. Many of our cast mem­bers were ei­ther born in Afghanista­n or had par­ents who grew up in the coun­try, so they were bring­ing their own child­hoods and ex­pe­ri­ences to the parts they played and they spread the knowl­edge around.”

Of course, An­gelina Jolie’s in­volve­ment in the project as pro­ducer added a big­ger spot­light on the movie. The first time that Twomey met the amaz­ing ac­tress in per­son, she pre­tended that she just hap­pened to be in town on busi­ness, but in fact the di­rec­tor had flown out to Los An­ge­les for the sole pur­pose of meet­ing Jolie face to face.

“She is such an ex­traor­di­nary woman and is ex­tremely knowl­edge­able about the sit­u­a­tion in that part of the world,” says Twomey. “She has spent over a decade pro­mot­ing ed­u­ca­tion and equal rights for young women in Afghanista­n and un­der­stands the com­plex­ity of the sit­u­a­tion and his­tory of that coun­try. On a per­sonal level, she ap­pre­ci­ated the sub­tlety and sen­si­bil­ity of the story we were telling. She watched ev­ery stage of the project as we pro­gressed, and she even recorded a heart­felt mes­sage for ev­ery­one when we had a Christ­mas party for the cast and crew, and ev­ery­one felt very ap­pre­ci­ated. She has the abil­ity to shine a light on the is­sues fac­ing chil­dren and bring more vis­i­bil­ity to an in­die film, so her in­volve­ment was so valu­able.”

The di­rec­tor, who had worked with the an­i­ma­tion team in Melu­sine in the past, says she shared as much in­for­ma­tion about each scene as pos­si­ble as they went into pro­duc­tion. “It was cru­cial for ev­ery­one to un­der­stand why ev­ery scene ex­ists and what kind of crescen­dos we were bring­ing to the film. This was our third co-pro­duc­tion at Car­toon Saloon, and we re­ally value our co-pro­duc­tion part­ners. For a movie of this scale, we had to make sure we had enough pro­duc­tion man­agers, as the flow of com­mu­ni­ca­tion is very im­por­tant.”

The Car­toon Saloon team used Shot­gun soft­ware to go over the scenes with an­i­ma­tors at the dif­fer­ent stu­dios in real time. “My as­sis­tant di­rec­tor Stu­art Shankly, who is an in­cred­i­ble artist and shares my sen­si­bil­ity, helped im­mensely as he en­sured a con­sis­tency be­tween all the stu­dios,” she notes.

The pro­duc­tion used TVPaint for the an­i­ma­tion and Pho­to­shop to in­cor­po­rate the real-world back­grounds. For the sim­pler an­i­mated seg­ments that rep­re­sent the fa­bles and sto­ries of the nfar­ra­tive, the team used Moho to rig the char­ac­ters and Nuke to com­pos­ite them. “Things have changed so much since we made Se­cret of Kells,” says Twomey. “Back then, all the scenes were done on pa­per, and they were lit­er­ally shipped around the world. I think the hand­son na­ture of an­i­ma­tion is in­cred­i­ble. I love ev­ery stage of the process.” Pro­mot­ing Em­pa­thy Be­yond Bor­ders Be­yond rais­ing aware­ness of the plight of young women in Afghanista­n, one of the

The fea­ture Nap­ping Princess (also known as An­cien and the Magic Tablet) con­firms writer-di­rec­tor Kenji Kamiyama’s rep­u­ta­tion as the cre­ator of an­i­mated sto­ries that are in­tri­cate and chal­leng­ing, as well as en­ter­tain­ing.

In Solid State So­ci­ety— the tele­vi­sion fol­low-up to Mamoru Oshii’s Ghost in the Shell— and the in­trigu­ing Eden of the East, Kamiyama pre­sented com­pli­cated sto­ries with un­ex­pected twists that re­solved their con­flicts as el­e­gantly as a Bach fugue. It’s not sur­pris­ing that he cites Hard-Boiled Won­der­land and the End of the World and Kafka on the Shore by Haruki Mu­rakami and The Laugh­ing Man by J.D. Salinger as in­flu­ences.

The well-re­ceived film cen­ters on the ad­ven­tures of high school ju­nior Kokone Morikawa (voiced by Mit­suki Taka­hata) who would rather spend the sum­mer doz­ing and look­ing after her wid­owed me­chanic fa­ther than watch­ing the 2020 Tokyo Olympics. How­ever, she finds her­self caught up in two in­ter­twined ad­ven­tures: A fan­tasy based on the sto­ries her fa­ther told her as a lit­tle girl, in which she must de­fend the king­dom of Heart­land, and an all-too-real case of in­dus­trial es­pi­onage tied to the Olympic cer­e­monies. Aided by her sen­si­ble friend Mo­rio Sawatari (Shin­no­suke Mit­sushima), Kokone finds a way to over­come the in­ter­lock­ing chal­lenges.

Like many of Kamiyama’s char­ac­ters, Kokone in Nap­ping Princess doesn’t set out to be­come a hero­ine; she has that role thrust upon her. As she faces un­ex­pected ob­sta­cles, she dis­cov­ers re­serves of strength and imag­i­na­tion she didn’t know she pos­sessed. “I like lively, tal­ented women,” Kamiyama says. “I get in­spi­ra­tion from watch­ing them be­ing chal­lenged and try­ing their best. That’s why I put strong, dy­namic women in my films.”

As Nap­ping Princess is a hero­ine’s jour­ney, Kamiyama felt he needed a woman to com­pose the score. “The mu­sic in my works con­veys the im­ages and events to the au­di­ence on an emo­tional level,” he con­tin­ues. “I knew I wanted a fe­male com­poser to cre­ate the mu­sic for this film, as only women can un­der­stand the fe­male mind. A pi­ano piece writ­ten by Yoko Shi­mo­mura fit the story, so I asked her to write the score.” Unit­ing Words and Im­ages Dur­ing his 30-year ca­reer, Kamiyama worked as a back­ground painter, art di­rec­tor, sto­ry­board artist, screen­writer and unit di­rec­tor be­fore be­com­ing a writer-di­rec­tor. “The words and the im­ages come at the same time,” he ex­plains in a re­cent in­ter­view con­ducted via email. “I write scripts to ver­bal­ize the im­ages in my head, so I can con­vey them to the staff. Dur­ing sto­ry­board­ing, the artists tended to draw what they wanted, rather than at­tempt to un­der­stand my in­ten­tions. I had to put the themes and im­ages into words again, then ex­plain them to the staff.”

Kamiyama’s films re­flect his am­biva­lence to­ward modern tech­nol­ogy. Kokone clings to a cracked tablet that may have mag­i­cal prop­er­ties; Akira Tak­izawa in Eden of the East has a cell phone that de­liv­ers any­thing he re­quests. Nei­ther of these de­vices al­ways func­tions the way the owner ex­pects. Sim­i­larly, the Tachikoma ro­bots in Solid State So­ci­ety are evolv­ing in ways that go be­yond any pro­gram­ming their hu­man users in­stalled.

“One of the themes in all my works is the hope that science and tech­nol­ogy will make the fu­ture of hu­man­ity brighter,” he states. “Although these tech­nolo­gies are not al­ways good for us or the global en­vi­ron­ment, we can’t re­lin­quish new tech­nol­ogy be­cause of its down­sides. We need to think about the prob­lems and the so­lu­tions si­mul­ta­ne­ously.”

Kamiyama had to deal first hand with the prom­ises and chal­lenges of new tech­nol­ogy, as Nap­ping Princess fea­tures both hand­drawn and com­puter an­i­ma­tion. “Vet­eran an­i­ma­tors usu­ally don’t like to use CG, but the younger staff mem­bers are ac­cus­tomed to us­ing dig­i­tal. It was very chal­leng­ing to get them to ad­just to each other’s ways of work­ing. The great­est chal­lenge for me was hav­ing to fin­ish work left un­done by staffers who weren’t good at it, or didn’t want to learn. I some­times had to work all night—in ad­di­tion to di­rect­ing the film.”

Although Nap­ping Princess is still show­ing in var­i­ous coun­tries and should be a con­tender at awards time, Kamiyama is al­ready at work on his next projects—plu­ral. “I’ve al­ready started mak­ing two films, and there are two more I’ve be­gun pre­par­ing: I’m get­ting one idea after an­other,” he con­cludes. “I hope I can make them into pieces many peo­ple will en­joy. I try to make films that will be watched for a long time, but I also try not to worry too much about the au­di­ence’s re­ac­tion, be­cause it’s some­thing I can’t con­trol.” Nap­ping Princess was re­leased by Warner Bros. in Ja­pan in March. GKIDS re­leased in the film in the U.S. and Canada in Septem­ber.

AAnn Marie Flem­ing’s fas­ci­nat­ing new an­i­mated fea­ture

n imag­i­na­tive young Cana­dian poet named Rosie Ming (voiced by San­dra Oh) learns about Per­sian cul­ture and the heal­ing power of poetry when she is in­vited to per­form at a fes­ti­val in Iran. That’s the un­usual premise be­hind Ann Marie Flem­ing’s an­i­mated fea­ture de­but Win­dow Horses, which opened in Los An­ge­les in Septem­ber. The 2D an­i­mated project, which is also exec pro­duced by ac­tresses Oh and Ellen Page (who pro­vides the voice for Rosie’s best friend), is the re­sult of years of cre­ative work and soul-search­ing by Flem­ing.

“I was in­vited to an artist res­i­dency in Ger­many many years ago, and was sur­rounded by po­ets and artists from all over the world, all shar­ing sto­ries of their own di­as­po­ras,” re­calls Flem­ing. “The ef­fects of the Sec­ond World War are still very much alive in Europe, and I was struck by the his­to­ries of fam­i­lies that’d not been shared, and the dif­fi­culty of cross­gen­er­a­tional re­la­tion­ships after trauma. I saw poetry as a way to com­mu­ni­cate be­tween gen­er­a­tions and cul­tures and mil­len­nia.”

Flem­ing says years later, in Van­cou­ver, she learned about the Ira­nian com­mu­nity in the city and was struck by the sim­i­lar­i­ties with what she’d heard from all over the world. “Also, like in China, words writ­ten by po­ets from a thou­sand years ago are still rel­e­vant in Ira­nian so­ci­ety to­day,” she re­calls. “There is a deep con­nec­tion through fam­ily and poetry. So, I wanted to make the story con­tem­po­rary, and made the Is­lamic Revo­lu­tion the point of change.” His­tory, Poetry and Imag­i­na­tion The writer/di­rec­tor say she re­ally felt the need to make some­thing pos­i­tive about in­ter­cul­tural re­la­tion­ships back in 2007. She also wanted to tell the story from the point of view of her avatar, “stick­girl,” which she has been play­ing with for al­most 30 years. “The movie takes place in Iran and it is about poetry, his­tory and the imag­i­na­tion, so an­i­ma­tion was the per­fect ex­pres­sion for the pos­si­bil­i­ties of cre­ativ­ity,” Flem­ing adds.

After re­ceiv­ing some fund­ing from Tele­film Canada, she ran into dif­fi­cul­ties after Canada cut diplo­matic re­la­tions with Iran a few years after the 2009 elec­tions. “The film be­came an even harder sell,” she re­calls “I tried to make a graphic novel out of the sto­ry­boards I made with Kevin Lang­dale. I made a stick­girl poetry or­a­cle app and had haiku con­tests on my web­site to keep the story alive.”

Flem­ing fi­nally de­cided to put her house on the line to make the film. Then, she called San­dra Oh and asked her if she would voice the main char­ac­ter. Oh loved the story so much she also be­came ex­ec­u­tive pro­ducer, brought on other top-notch ac­tors and was the spokesper­son for the film’s Indiegogo crowd­fund­ing cam­paign. Even­tu­ally, Tele­film Canada came on board as in­vestors and NFB came on as co-pro­duc­ers. The Cana­dian tax credit pro­gram helped com­plete the fi­nanc­ing pic­ture.

The movie, which also fea­tures the voices of Don McKel­lar, Shohreh Agh­dashloo and Nancy Kwan, used a team of tal­ented in­de­pen­dent an­i­ma­tors in dif­fer­ent lo­ca­tions. “This is a re­ally ar­ti­san film, and was made with less than a cou­ple of dozen peo­ple, not hun­dreds,” says Flem­ing. The an­i­ma­tion team, which in­cluded the likes of Kevin Lang­dale, Janet Perl­man, Bahram Java­heri and Jody Kramer, was spread out all over Canada. “I like the idea

YMary and the Witch’s Flower Ja­panese helmer Hiro­masa Yonebayash­i, who di­rected Stu­dio Ghi­bli’s Ar­ri­etty and When Marnie Was There, is the mas­ter­mind be­hind Stu­dio Ponoc’s ac­claimed first pro­duc­tion. Many of the artists who worked on the film are former Ghi­bli em­ploy­ees. The movie opened in July in Ja­pan and has earned over 3 bil­lion yet ($28.8 mil­lion). Based on Mary Ste­wart’s book The Lit­tle Broom­stick, the plot cen­ters on the ad­ven­tures of a young girl who dis­cov­ers a mag­i­cal flower with spe­cial pow­ers. Kate Winslet, Ruby Barn­hill and Jim Broad­bent lead the dis­tin­guished English-lan­guage voice cast. Ponoc/GKIDS, Jan­uary

Early Man How can any­one re­sist the lat­est epic movie by the team at Aard­man An­i­ma­tions? Di­rected by the bril­liant Nick Park ( Wal­lace & Gromit) and penned by Mark Bur­ton ( Curse of the Were-Rab­bit) and John O’Far­rell (Broad­way’s Some­thing Rot­ten!), the pre­his­toric stop-mo­tion project tells the story of Dug (Ed­die Red­mayne) and his side­kick Hog­nob who rise up against their pow­er­ful en­emy Lord Nooth (Tom Hid­dle­ston) and his Bronze Age City. The voice cast also in­cludes Maisie Wil­liams ( Game of Thrones). Aard­man/ Lion­s­gate, Feb. 16

The Big Bad Fox and Other Tales Ever since its de­but at An­necy, this lovely 2D an­i­mated fea­ture has been de­light­ing au­di­ences. Set on a seem­ingly nor­mal farm, the movie cen­ters on the de­light­ful ad­ven­tures of an odd­ball fox, a duck who wants to be Santa Claus, a clumsy rab­bit who acts like a stork, and a sen­si­tive pig. The film is di­rected by Os­car nom­i­nee Ben­jamin Ren­ner ( Ernest & Ce­les­tine) and An­nie-nom­i­nated an­i­ma­tion di­rec­tor Pa­trick Im­bert, and pro­duced by Di­dier Brun­ner’s Paris-based stu­dio Fo­li­vari. Fo­li­vari/GKIDS, Fe­bru­ary

Isle of Dogs Fans of Wes An­der­son’s The Fan­tas­tic Mr. Fox are in for a treat as the whim­si­cal di­rec­tor re­turns to the world of stop-mo­tion an­i­ma­tion. In­spired by the clas­sic films of Akira Kuro­sawa, the plot cen­ters on a young boy named Atari who searches for his ex­iled dog Spots in a mas­sive garbage dump known as Trash Is­land, with the help of a pack of pooches he meets along the way. Ac­com­pa­ny­ing the gor­geous an­i­ma­tion are the voices of stars such as Bill Mur­ray, Bryan Cranston, Tilda Swin­ton, Frances McDor­mand, Scar­lett Jo­hans­son, Greta Ger­wig, Jeff Gold­blum, Har­vey Kei­tel, Akira Ito, Akira Takayama, Yoko Ono, and Ed­ward Nor­ton. Two paws way up! Fox Search­light, March 23 Gnomeo & Juliet: Sher­lock Gnomes Seven years after the re­lease of the first movie, the se­quel about the star-crossed gar­den gnomes sur­faces. Di­rected by John Steven­son ( Kung Fu Panda), the CG-an­i­mated com­edy ad­ven­ture finds Gnomeo (James McAvoy) and Juliet (Emily Blunt) hir­ing the fa­mous de­tec­tive Sher­lock Gnomes (voiced by Johnny Depp) to help solve the mys­tery of the miss­ing gar­den gnomes. Sir El­ton John will pro­vide the mu­sic for the fea­ture, as he did for the first out­ing. Rocket Pic­tures/ Mikros Im­age/ MGM/ Paramount, March 23

The In­cred­i­bles 2 Dy­namo writer/di­rec­tor Brad Bird ( The Iron Gi­ant, Rata­touille) is fi­nally de­liv­er­ing the se­quel his fans have been beg­ging him to make for years. The toon about the de­light­ful fam­ily of Su­pers (hu­man with su­per­pow­ers) will re­unite orig­i­nal cast mem­bers Craig T. Nel­son, Holly Hunter, Sarah Vow­ell and Sa­muel L. Jack­son. The plot will start im­me­di­ately after the first movie, where Mr. In­cred­i­ble, Elasti­girl, Jack-Jack and Dash are about to face the su­pervil­lain Un­der­miner (John Ratzen­berger). Pixar fave Michael Gi­acchino pro­vides the film’s sweep­ing mu­sic. The 3D CG film will also be avail­able in IMAX! Dis­ney-Pixar, June 15

Ho­tel Tran­syl­va­nia 3 Di­rec­tor Gen­ndy Tar­takovsky is back, as are orig­i­nal voice ac­tors Adam San­dler, Andy Sam­berg and Se­lena Gomez, in the third in­stall­ment of the fran­chise. Co-penned by Tar­takovsky and Mike McCullers ( The Boss Baby, Austin Pow­ers), the third chap­ter in the vam­pire fam­ily’s saga finds them on a lux­ury Mon­ster Cruise Ship, where Drac­ula falls for the ship’s cap­tain, Ericka—a de­scen­dent of leg­endary mon­ster slayer Van Hels­ing. Sony Pic­tures An­i­ma­tion/Columbia, July 13 Dr. Seuss’ How the Grinch Stole Christ­mas Wait a sec­ond! This new an­i­mated Grinch sounds aw­fully like… Sher­lock Holmes? Yes, it’s Bene­dict Cum­ber­batch who is voic­ing Dr. Seuss’ fa­mous hol­i­day-hat­ing cur­mud­geon in Il­lu­mi­na­tion’s an­i­mated adap­ta­tion of the 1957 chil­dren’s clas­sic. The shiny new CG ver­sion is di­rected by Yar­row Cheney ( The Se­cret Lives of Pets) and Pe­ter Can­de­land, who has the best last name in Toon Town! Kait­lyn Ma­her pro­vides the voice of the adorable Cindy Lou Who. Il­lu­mi­na­tion/ Uni­ver­sal, Nov. 9

Ralph Breaks the In­ter­net: Wreck-It-Ralph 2 This se­quel to Dis­ney’s Os­car-win­ning 2012 hit about videogame char­ac­ters prom­ises to be just as fan and packed with cameos as the orig­i­nal movie. Su­per tal­ented Rich Moore is back at the helm of this ad­ven­ture (joined by co-di­rec­tor/writer Phil John­ston). This time, Ralph (John C. Reilly) gets plugged into the World Wide Web, and he and Vanel­lope (Sarah Sil­ver­man) meet new char­ac­ters, trendy al­go­rithms, Dis­ney princesses, Iron Man, Gamora, C-3PO, R2-D2, Yoda and Princess Leia. Voice cast in­cludes Taraji P. Hen­son and many of the orig­i­nal voices of the Dis­ney princesses, as well as Alan Tudyk, James Cor­den, Jane Lynch and Jack McBrayer. Dis­ney, Nov. 21 Un­ti­tled An­i­mated Spi­der-Man Movie This in­trigu­ing new in­car­na­tion of Stan Lee’s web-sling­ing hero is di­rected by Bob Per­sichetti (head of story, The Lit­tle Prince) and Pe­ter Ram­sey ( Rise of The Guardians), with a script by Phil Lord and Chris Miller ( The LEGO Movie) and story by Grav­ity Falls cre­ator Alex Hirsch. It will fea­ture the voices of Shameik Moore as Miles Mo­rales/Spi­der-Man and Liev Schreiber as the main vil­lain of the story, as well as Os­car win­ner Ma­her­shala Ali ( Moon­light) and Emmy nom­i­nee Brian Tyree Henry ( This Is Us). Sony Pic­tures An­i­ma­tion/ Marvel An­i­ma­tion/Columbia, Dec. 14

Un­ti­tled LAIKA Fea­ture Travis Knight and his mag­i­cal stop-mo­tion team at Port­land’s LAIKA stu­dio have not re­vealed any­thing about their new movie, but we know it’s slated for a May re­lease. (And that it’s prob­a­bly go­ing to won­der­ful!)

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