What better way to kick off the Christmas weekend than with Pitch Perfect 3?
After much ‘will they, won’t they’ talk, the third instalment to the hilarious movie franchise was confirmed in June 2015.
And now, it’s finally ready to hit cinemas, with the Bellas reuniting just in time for the festive holidays.
When is the Pitch Perfect 3 release date?
Pitch Perfect 3 will hit cinemas in the UK on Friday 22 December.
Who’s in the cast?
The usual Pitch Perfect suspects will be making an appearance led by Anna Kendrick playing Becca and Rebel Wilson as Fat Amy.
The cast will be joined by Orange Is The New Black star Ruby Rose who will play the singer in the Bella’s rival band who bring the trash talking into the latest film.
Halle Steinfeld, Brittany Snow, Anna Camp and Ester Dean will all be back and funnier than ever as the group of graduated college students clinging on to the carefree acapella times of the past.
Unfortunately, Skylar Astin who plays Becca’s (Anna Kendrick) love interest in the previous two films will not be returning for Pitch Perfect 3, and we will also miss the comic character Bumper in the new release.
Ben Platt who plays the lovable character of Benji has also been axed from the Pitch Perfect cast.
This time around it’s a female-dominated cast centred around two teams propelled by girl power as they vow to take over the music scene.
Award-winning actor John Lithgow, who played Winston Churchill in the Netflix drama The Crown, will be joining the cast of Pitch Perfect 3, however, exactly what he is playing has been kept a secret.
What’s the story?
After the last instalment of the musical comedy that saw the Barten Bella win the World Championships with their own song, the hilarity ensues when the newly graduated ladies are struggling to find a way to turn their aca-passion into an actual paycheck.
With the group of talented starlets at a loose end, they decide to go on another musical journey with their group of ‘awesome nerds’.
While auditioning to be a part of the overseas USO tour they meet a new musical enemy, and this time the competition may be way out of their league as their rival musical act is a real band – with actual instruments and original songs.
The film franchise goes international again as the Bellas take on Spain, and some spicy chat-up lines when they hit the army base.
It looks like this will be the swansong for the film saga as the latest release is branded as the Bella farewell tour.
What rating is it?
It’s a 12A so unless you wanted to take your little niece or nephew, you’ll be fine.
What about a trailer?
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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”