No one expected Pitch Perfect to become one of the most profitable franchises in recent years, with an investment of just $ 46 million, the Barden Bellas have raised more than $ 400 million globally.
But the group is not satisfied and is already preparing a third act that will close this hilarious musical adventure. The film will premiere in December of this year and for everyone to tune their throats, Universal presented a fun -and very emotional- teaser that shows the group's preparation towards its last issue.
Pitch Perfect 3 is directed by Trish Sie and starring Anna Kendrick , Rebel Wilson, Hailee Steinfeld and Elizabeth Banks.
The Bellas de Barden meet once again to perform and enjoy a fun and good musical movie. The third installment of Pitch Perfect - Giving the note in our country - will hit theaters on December 29 and although they had already released a first preview a few months ago, this new trailer was highly anticipated by the fans.
The picturesque group of vocalists formed by Beca (Anna Kendrick), Chloe (Brittany Snow), Fat Amy (Rebel Wilson) and Aubrey (Anna Camp), among others, will be reunited to participate in a last musical tour to test their skills of acapella singing. However, they must face adversity that they did not have: some groups use musical instruments, and they only use their voice and body percussion. On the other hand, Becca's character will once again stand out from the rest because they will offer her a solo opportunity that she should not reject, to think about her group feeling.
The university life ended in the previous delivery to this and each Bella has had to look for life; some have smiled more life than others, but none has lost their passion for music and their friends.
The most surprising thing about the trailer - for us, Spaniards - is that they travel to Cádiz! Moreover, they go to the Rota military base. Have they really recorded here and we have not heard or is it all a "simulation"?
This third installment does not seem to be the last of the franchise, but the original group that has been accompanying us since 2012, although everything points to that we could see some of them again in future installments and that, of course, the character of Emily played by Hailee Steinfeld will be the new leader of the Beaux from now on.
'Giving the note' does not reach the cinemas until the month of December, but the director and the girls already warm up. And as this new video points, the Bellas go beyond singing: risky scenes are now joined to the musical numbers.
"We will take you on a global tour with the Bellas," says director Trish Sie ("Step Up: All In") in the new promotion . And watching some of the scenes of the shooting, it seems that the girls are thrown back to the road, but also to the sea.
Anna Kendrick, Rebel Wilson or Anna Camp are some of the actresses you see on the set. Among the new cast members are Ruby Rose, Andy Allo and John Lithgow. Along with Kendrick, Wilson and Camp, the originals will return, including Brittany Snow, Ester Dean, Chrissie Fit, Hana Mae Lee or Hailee Steinfeld, who joined in the 2015 sequel.
For the third continuation, the Bellas rejoin for one final visit, and the a cappella young lady bunch establishment goes out on a triumphant note.
A considerable number individuals who now know the expression "a cappella" likely didn't before "Pitch Perfect," in 2012, enchanted and irritated and stimulated us with its upbeat skewed combination of sunburst amicability and junior-catfight kitsch. However the "Pitch Perfect" establishment hasn't generally remained consistent with the soul of a cappella. The main film for the most part did: The Bellas, the all-young lady hotshots of Barden University, sang in pop rivalries without backup, and however the music was handled and Auto-tuned to inside an inch of its life, we fundamentally heard the sound of their voices spun together into sweet-and-cheeky solidified custard flawlessness. In "Pitch Perfect 2" (2015), be that as it may, the synthesizers and drum machines assumed control over: The numbers were enlarged into a sort of soupy a cappella murk, as was the motion picture, a low-camp honey bee otch-fest that trudged endlessly, well past the moment that a film that treats pop singles like vocal advertisement jingles ought to have stopped.
That makes "Pitch Perfect 3," the last section of the set of three, an arrival to frame. (Truly, it's a set of three — however in the event that this motion picture figures out how to slither its approach to $100 million residential, I could see the Bellas leaving retirement to win a spot on "The Voice.") The new film doesn't add anything progressive to the "Pitch Perfect" recipe. Regardless it sounds like we're in center period "Joy" composed by somebody who discovers Ryan Murphy excessively grave. In any case, as coordinated by Trish Sie, the film is bubbly, it's quick, it's hella manufactured astute, and it's an energetic feature for the identities of its stars: the incredulously perky Anna Kendrick, the brilliant and vivacious Hailee Steinfeld, and the terrifyingly comical Rebel Wilson. Each of the three merit better motion pictures however benefit as much as possible from this one.
The Bellas, long past their school days, are presently out in reality, stuck in the drudgery of deadlock employments. Indeed, even Beca (Kendrick), having built up herself as a record maker, gets canned from her most recent gig after a run-in with an unfortunate white rapper in rasta plaits. So when the Bellas are welcomed, by one gathering part's military father, to join a USO voyage through Europe, they snatch the opportunity to grab the day.
At the air terminal, they keep running into an opponent gathering whose individuals really play instruments, and this permits the Bellas to return to their a cappella establishes in a progression of go head to head mixtures. The Bellas do party tunes (a whip-splitting "Kick the Party Off," and so on.), at that point challenge their adversaries to do "tunes by individuals you didn't know were Jewish," a variety that incorporates Blondie's 1980 hit "Call Me" (which influenced me to go… truly? Also, no, it wasn't composed by Chris Stein). The arrangement succulently sets out the "Pitch Perfect" vibe, which strolls an awesome line amongst snark and genuineness: The tunes are hooky ecstasy, served up with an intensely stressed icing of hip-jerking women's activist 'tude.
As it were, these motion pictures are about the brilliance of flaunting, and the Bellas do it big-time when they play out Sia's "Shabby Thrills," turning around in red-and-white striped strap tops. They have it together in front of an audience, yet in the wake of destroying the stack of DJ Khaled (playing himself), they utilize their minds to vault a progression of absurdist cleanser musical drama spine chiller obstructions.
Wilson's Fat Amy — and it says such a great amount in regards to Wilson's triumphantly unfriendly against P.C. vitality that she's called Fat Amy — has reconnected with her dad, an Aussie criminal played by John Lithgow, who is such a decent performer you could never figure he had ever been definitely not an Aussie hoodlum. He's after Amy's $180 million legacy (reserved by her late mother in the Cayman Islands), and when he hijacks the Bellas and stows them on his yacht, there's just a single thing left for them to do: assume control over the joint by playing out an adaptation of Britney Spears' "Poisonous" that is all exquisite come-here pushes. At the point when Amy crashes down into the number with a fire quencher, transforming it into "Extremist with a Groove," you're quickly in some adaptation of garbage film paradise.
John Michael Higgins and Elizabeth Banks, now venturing once again from her part as the chief of "Pitch Perfect 2," are close by and by as the play-by-play analysts John and Gail, who are making a bumbling narrative film, and their whippersnapper repartee is more interesting than anything in the last two Christopher Guest films. Concerning Kendrick, she holds the photo together with her vaporous constancy. At the point when the Bellas, up in front of an audience for the last time, complete a permeating interpretation of George Michael's "Flexibility '90," it's an attestation of triumph that I took, too, to be the performers' announcement of opportunity from the "Pitch Perfect" establishment. They've had a decent run, however enough! There are higher things to go for than being lethally snappy.
Tossing all credibility in the canister, the Bellas go up against a whistlestop European voyage through army installations in their third excursion, which some way or another stays in order.
Hardly any watchers left Pitch Perfect 2 considering, "this establishment will run and run". Second time around, the preface of focused a capella as of now appeared to have depleted its conceivable outcomes. What number of more "riff-offs" did we have to see? What number of all the more huge rivalries were left to enter? What number of all the more marginally finished expanded Rebel Wilson jokes would we be able to take? However, this third – and without a doubt last – trip fundamentally detonates its own recipe. It resembles a decent Christmas emulate. It accept we as a whole know the bore, at that point has a whale of a period subverting it. In the process it tosses out all similarity of believability, however by this stage, who truly minds?
The opening set-up is actually touchy: the Bellas are on an extravagance yacht, playing out another of their arranged, beatbox-sponsored cover adaptations for the delectation of three obscure men. All of a sudden Fat Amy (Wilson) comes slamming through the sky facing window, hoses the men with a fire douser, and they all bounce over the edge before the yacht detonates.
The "How could it result in these present circumstances?" backtracking that makes up whatever remains of the film packs in a lot of episode and a large number characters. The more seasoned age of Bellas, drove by Anna Kendrick's Beca, are attempting to adapt to the outside world, post-college, and a show by their perkier successors just compounds the situation. So obviously they jump at the absolutely false chance to rejoin and leave on a voyage through European US army installations. "Is there an opposition? There's dependably an opposition," one of them contributes. Beyond any doubt enough, stout hip-bounce titan DJ Khaled will join one the triumphant represent his name.
Yet, things don't go very of course. The Bellas' visit rivals incorporate a nation band, a hip-jump furnish and an all-young lady guitar band (splendidly named Evermoist). When they throw down the riff-off gauntlet, alternate groups turn out to be better at everything – pounding up cover adaptations, composing their own particular tunes and playing instruments. You know, similar to genuine performers. Now, Pitch Perfect's whole raison d'être undermines to crumple like an overcooked soufflé, however this portion understands the music was just ever extremely optional to procedures.
Those procedures incorporate the rise of Fat Amy's departed father (John Lithgow, whose endeavor at an Australian articulation may best be depicted as "transpacific"), Beca's companionship with a great looking, delicate youthful music maker, episodes of "we're a moment family" holding, multitudinous minor Bella sub-subplots, and the killing Greek chorale of reporters Elizabeth Banks and John Michael Higgins, who are following the Bellas for a narrative. These play out through a whistlestop voyage through European areas, ensemble changes and firmly arranged melody and-move numbers.
It's a demonstration of author Kay Cannon (who composed every one of the three Pitch Perfects) and new executive Trish Sie that all these irregular components remain tuned in to each other and everything wraps up flawlessly. The drama once in a while wavers. There are decision jokes ("we will stick to you like mother pants to a camel toe"), music-industry parody (DJ Khaled goes with a devoted "juiceologist", with his own compact colony), and Rebel Wilson's strange interpositions, which are wisely kept in charge, however she's released in the unavoidable activity finale like a mystery weapon.
Saturating the babble, however, is an ardent statement of collaboration and female solidarity in disobedience of ordinary sexism that is particularly tuned in to the present minute (regardless of whether it's best not to contemplate too profoundly what sort of "strengthening" the Bellas skipping in clingy disguise furnishes before US military equipment truly speaks to). Such a large number of films end with trite estimations about "family" and "sisterhood" yet it doesn't feel constrained here. It would appear that these entertainers are truly having fun, and it's irresistible. In spite of the crazy adventures and the foolish parody, toward its finish all, there's something genuine left standing.