#jean-philippe vine

[whynot-movies]

Ron's Gone Wrong (2021)

[thecraggus]

Ron's Gone Wrong (2021) Review

Ron's Gone Wrong makes the case for embracing your inner glitch. #Review

[movies-to-add-to-your-tbw]

Title: Ron's Gone Wrong

Rating: PG

Director: Sarah Smith, Jean-Philippe Vine

Cast: Zach Galifianakis, Jack Dylan Grazer, Ed Helms, Olivia Colman, Justice Smith, Rob Delaney, Kylie Cantrall, Ricardo Hurtado, Marcus Scribner, Thomas Barbusca, Ruby Wax, Ava Morse, Krupa Pattani

Release year: 2021

Genres: action, comedy, family, science fiction

Blurb: In a world where walking, talking, digitally-connected bots have become children's best friends, an 11-year-old finds that his robot buddy doesn't quite work the same as the others do.

[izzybubs24]

Ron's Gone Wrong - Inspirational Environment Concept Art and World-Building Examples

As I plan to base my work on the style of Locksmith Animation Studios, I decided to have a look at the initial concept art created for their 2021 feature film "Ron's Gone Wrong" for concept art style inspiration.

Here is the link to a website I found that contains lots of their initial environment concept art pieces:

Here are also some shots of the set created for the environment from the actual film that I found really inspirational:

[nosetoons]

A late celebration of the second anniversary of Ron's Gone Wrong, one of my favorite animated movies, which occurred yesterday.

I actually forgot all about it until yesterday where my mii Ron turned 2, and thus that's why I made the drawing.

Happy late 2nd anniversary to Ron's Gone Wrong! Thank you Sarah Smith, Jean-Philippe Vine, and Locksmith Animation!

[byneddiedingo]

Jean-Paul Belmondo in That Man From Rio (Philippe de Broca, 1964)

Cast: Jean-Paul Belmondo, Françoise Dorléac, Jean Servais, Roger Dumas, Daniel Ceccaldi, Milton Ribeiro, Ubriacy De Oliveira, Adolfo Celi, Simone Renant. Screenplay: Jean-Paul Rappeneau, Ariane Mnouchkine, Daniel Boulanger, Philippe de Broca. Cinematography: Edmond Séchan. Production design: Mauro Monteiro. Film editing: Françoise Javet. Music: Georges Delerue. 

With its nonstop silliness, Philippe de Broca's That Man From Rio became a big international commercial success, but more surprising, it got an Oscar nomination for its screenplay, written by de Broca with Jean-Paul Rappeneau, Ariane Mnouchkine, and Daniel Boulanger. It's usually characterized as a spoof of James Bond films, with their glamorous locations and over-the-top action sequences, but if a spoof is intended to laugh its target out of existence, That Man only whetted audiences' appetites for more of the same. One of its stars, Adolfo Celi, who pays the unscrupulous, fabulously wealthy Mário de Castro, turned up the following year as the unscrupulous, fabulously wealthy Bond villain Emilio Largo in Thunderball (Terence Young, 1965). And it's easy to see touches of That Man From Rio in later action-adventure films, such as the Indiana Jones series, which like de Broca's film centered on archaeological treasure hunting. In That Man From Rio, the location of a priceless treasure is discovered by lining up the sun's rays through the lens in an ancient statue, just as Indiana Jones uses the sun's rays and an ancient artifact to discover the location of the Ark of the Covenant in Raiders of the Lost Ark (Steven Spielberg, 1981). Jean-Paul Belmondo's Adrien picks up the help of a Rio shoeshine boy called Sir Winston (Ubriacy De Oliviera), just as Harrison Ford's Indy picks up a kid sidekick called Short Round (Ke Huy Quan) in Indiana Jones and the Temple of Doom (Spielberg, 1984). Still, That Man From Rio stands on its own for its goofy energy, most of which is supplied by Belmondo, who with his ex-boxer's mug and physique is entirely credible flinging himself into whatever improbable situation he is called on to fight (or swim or climb or swing from vines) his way out of. Françoise Dorleac is the giddy heroine, Agnès, who spends much of the first part of the movie drugged out of her mind and never seems to find her way fully back to sobriety. It's only in retrospect -- 59 years worth of retrospect -- that the film turns sour. Today, we can see it as part of the playing out of a post-colonial environmental nightmare. There are no slums to be seen in the film's Rio: Sir Winston lives in a neatened up favela nothing like the one you see in City of God (Fernando Meirelles and Kátia Lund, 2002). The city of Brasília, still under construction when the film was made, is treated as a setting for Belmondo's stunts and for elaborate parties, though perhaps some of the bleakness and sterility of its urban-planning megalomania is hinted at. And at the end our hero and heroine are "rescued" by construction crews blasting and bulldozing their way through the rain forest, constructing highways that will connect to the country's new capital. There's no apparent suggestion that this constitutes a kind of environmental rape, although the villainous archaeologist (Jean Servais) is buried along with what might have been a valuable site. De Broca does allow us a glimpse of an Indian family looking on in astonishment at the raw earth uncovered by the bulldozers pushing their way through what must have been their neighborhood. It's a fleeting moment, however, one quickly passed over as Adrien and Agnès ride a truck back to civilization.

[softersinned-arc]

@inkpromise said: ❝  woah—  what the hell happened there? ❞

There's something strange about Gallowglass these days.

He's always been a bit odd. A bit distant. He has yet to forgive the family fully for the slight against his fathers, and Astoria can hardly blame him for it; she had wondered in those weeks following Philippe's death if perhaps that would be enough to bring him home, but it seemed almost as though the distance only grew. Perhaps it was the grief; perhaps it was the distance she'd placed between herself and everyone who wasn't her mate, focusing every waking moment on the roles she played for him and for the family at large.

(Perhaps it was her own anger; she keeps her husband's secrets, and he chooses now to keep his brother's. Philippe dead, at Matthew's hand; Baldwin hadn't gotten the chance to end his father's life with dignity. Baldwin hadn't even gotten the chance to say goodbye. It gets harder and harder to look certain members of the family in the eye. It gets harder and harder to bite her tongue. As such, she spends an awful lot of time with her attention focused anywhere, everywhere but inward.)

But things have gotten worse of late. She barely sees him, and she frets. Her nephew has centuries on her, but she worries about him all the same. They are afforded rare time together, these days, and she takes advantage of it when she can, to push, to pry.

Immortality has stripped her of her modesty. She thinks nothing of inviting him along for one of her frequent updates to her tattoos—wildflowers, this time, Irish wildflowers. The artists know there's more to the world; they simply don't ask for details, paid handsomely to enjoy their ignorance. One sits behind her, touching up the fox curled across her back in homage to her husband; another sits at her side, elegant lines in the shapes of petals and vines across the entirety of her left arm; a third works on Gallowglass. All three of the artists tire before either of their clients do, and when the artist at her back finishes the touch-ups, he stands, nods towards the door.

"Mind if we take a break?" he asks, and Astoria looks over her shoulder and offers him a smile, her unoccupied hand rising in a careless wave. The other two follow suit, and Astoria stands to stretch, her camisole hanging over her chest from around her neck, her hair tied up high. The bandage over her thigh (unnecessary, but she already asks the artists to ignore so much; she doesn't mind playing along) crinkles under her jeans. She walks towards the mirror, twisting to get a glimpse of the work being done on her back, before she turns her attention to the sleeve.

"I like it." Gallowglass offers her a grin, and she smiles in return. She's not sure what to say to him, only that she knows she needs to broach the subject at some point—where have you gone? And will you ever come back?

He rarely leaves the States, now. She can't imagine why. Has he renewed his hatred of France? Have he and Ysabeau fallen out? Perhaps Baldwin? But no; she'd have heard of this by now. (Verin is secretive, too, but Astoria takes it for a victory. She's always been her least favorite of her in-laws.)

"I'm glad you could join me." She's careful as she speaks, choosing her words with evident consideration.

For a moment Gallowglass almost looks guilty. She thinks she must be imagining it, until he changes the subject. "Woah." She's standing with her back to him now, the knotted scar tissue just below her kidney on display. "What the hell happened there?"

It's far from her favorite scar. She doesn't particularly enjoy discussing it. Still, she can't bring herself to rebuff the question, not when she's been half-desperate to get something, anything out of him. "Stabbed."

"Might have guessed that much myself, Auntie," he snorts, and she laughs, shrugging her shoulder.

"I was—fuck. Early twenties, I think? Shortly after I first arrived in England. My godmother—the woman who would become my sire—she let slip a few details she shouldn't have. So she distracted me." Her lips twitch, her smile fading just a touch. "Figured I wouldn't put what she'd said together if I was too busy hiding. The King didn't know I was a witch. Nor did the Queen. And given the—sudden fervor that came with Catherine Parr's religious convictions, I wouldn't have been welcome in court. Even your uncle was playing a dangerous game, remaining where he was, and Henry counted him a dear friend."

"I remember." Gallowglass raises an eyebrow, grins suddenly. "It's a wonder we didn't meet sooner."

"I wasn't in court for long. Elyssa reminded me how precarious my position was, that day. If anyone caught me healing an injury like that it would have been a short drop with a sudden stop. And I wasn't quite so durable then." She laughs, wrinkles her nose affectionately. "I met Matthew, though. Insufferable little shit." Matthew, a full thousand years older than her, does not enjoy being called a little shit. She calls him that anyway. "We bickered. Debated. And when I came back to London as a wearh it didn't matter what I was—Baldwin kept me far away from court."

He softens for a moment. "I remember that, too. Hubbard was already unhappy about your presence."

"Mm. Baldwin could only claim so much privilege attached to his name when I was still just a stray he'd taken in. Better to keep me contained." She pauses, runs her thumb along her lower lip, painted nail tracing its outline. "Are you in trouble?"

He looks up, then, surprised—perhaps a little guilty now, too. "Trouble?"

"Whatever it is—we can help. At least you wouldn't have to do it alone."

He opens his mouth to answer her before snapping it shut, nodding towards the door as it opens and the artists come back in. Gallowglass takes his seat once more, and Astoria chews the inside of her cheek, says nothing, settles back in as well.

He's occupied for the next breaks the artists take. (She wonders how inclined he'll be to take her next invitation.)

[olympain]

BRAVE IN THE DARK

[watchingmoviesandshit]

Ron's Gone Wrong (2021)

[jmunneytumbler]

'Ron's Gone Wrong' in the Right Place and the Right Time

CREDIT: 20th Century Studios/Screenshot Starring: Jack Dylan Grazer, Zach Galifianakis, Ed Helms, Olivia Colman, Rob Delaney, Olivia Colman, Kylie Cantrall, Ricardo Hurtado, Cullen McCarthy, Ava Morse, Marcus Scribner, Thomas Barbusca, Liam Payne, Ruby Wax Directors: Sarah Smith and Jean-Philippe Vine Running Time: 106 Minutes Rating: PG Release Date: October 22, 2021 (Theaters) Often when…

[oftenofftopic]

Ron's Gone Wrong (2021)

Movie Review: Ron's Gone Wrong (2021)

Director: Sarah Smith, Jean-Philippe Vine Genre: Animation, Adventure, Comedy, Family Runtime: 106 Minutes Main Cast: Zach Galifianakis, Jack Dylan Grazer, Olivia Colman, Ed Helms, Justice Smith, Rob Delaney, Kylie Cantrall, Ricardo Hurtado, Ruby Wax, Ava Morse Plot: B-Bots, invented by a global technology company, are marketed as a child’s best friend, with the ability to learn everything about…

[edsonjnovaes]

Ron Bugado

Ron Bugado (1h 47min) é um filme da 20th Century Studios e sua data de lançamento 21 de outubro de 2021, dos criador(es): Sarah Smith, Jean-Philippe Vine. A história acompanha um mundo tecnológico em que todas as crianças possuem um “B-bot”, um robô inteligente que os conecta com pessoas em todo o mundo, estudam e conhecem suas personalidades com base em dados e podem ser personalizados com…

[kermodefan94-blog]

Ron's Gone Wrong. Quick Review

Always interesting to look at the work of a new mainstream animation studio.

What makes a new animation studio stand out? That was the question this viewer was asking himself when watching Rons Gone Wrong. This is the first effort for London based animation studio locksmith. What the creative team have come up with is a fairly standard technology/ AI influenced comedy. Sat in a vaguely non-specific near future where everyone relies on Alexa type robots as part of their…

[milliondollarbaby87]

Ron's Gone Wrong (2021) Review

Ron’s Gone Wrong (2021) Review

Barney is an awkward middle-schooler who wants nothing more than to fit in and have friends. In a social media world and the land of bots, he ends up with Ron who malfunctions and doesn’t work like he is supposed to. On this journey they show how you can always learn and everything about true friendship will be revealed. ⭐️⭐️⭐️⭐️ (more…)

[ruthmedia2]

Ron's Gone Wrong (PG)

Ron’s Gone Wrong (PG)

Ron’s Gone Wrong (PG) Director: Sarah Smith and Jean-Philippe Vine Runtime: 1h 46min Cast: Zach Galifianakis, Jack Dylan Grazer, Olivia Colman, Ed Helms, Justice Smith, Rob Delaney, Kylie Cantrall, Ricardo Hurtado, Marcus Scribner, Thomas Barbusca Synopsis: Barney is a socially awkward schoolboy who receives a robot named Ron — a walking, talking, digitally connected device that’s supposed to be…

[rotoscopers]

Locksmith's 'Ron's Gone Wrong' Reschedules for April 2021 | Rotoscopers