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Roald Dahl's Matilda the Musical, or simply Matilda the Musical, or Matilda, is a 2022 fantasy musical film directed by Matthew Warchus from a screenplay by Dennis Kelly, based on the stage musical of the same name by Tim Minchin and Kelly, which in turn was based on the 1988 novel Matilda by Roald Dahl.
David Cote, in Time Out New York, wondered whether the show was too English for Broadway tastes; he wrote, "Matilda is a kids' musical, not a musical that happens to be about a kid. As such, its attractions may be limited to younger spectators and die-hard Dahl fans. That would be a pity, since Matilda is wickedly smart and wildly fun". [119]
The Young Girls of Rochefort Jacques Demy's French New Wave musicals with their breezy, quirky, conversational lyrics are an acquired taste. (If you're a fan of La La Land, definitely check them out.
In Chapter 6 of Dahl's Matilda, the young girl hatches a plan to get back at her father for calling her a "liar" and a "cheat."Matilda knows that her father takes pride in his thick and dark locks ...
Miss Agatha Trunchbull is the fictional headmistress of Crunchem Hall Primary School (or Elementary School), and the main antagonist in Roald Dahl's 1988 novel Matilda and its adaptations: the 1996 film Matilda (played by Pam Ferris), the 2011 musical, and the 2022 musical film adaptation (played by Emma Thompson).
Universal Pictures. Director: Pierre Coffin, Kyle Balda Cast: Sandra Bullock, Jon Hamm, Michael Keaton, Allison Janney Rating: PG Run time: 91 minutes Reviews: Rotten Tomatoes 56%; IMDb 6.4/10 ...
Kimberly Dos Ramos as Matilda Román (Seasons 1–2) – She's the main antagonist of the first season and was the most popular girl at Escolarium before Grachi's arrival. She is also a witch but uses her powers to do bad. She is the leader of the "Red Panthers", a group of girls who dance and respond to all of Matilda's manipulations.
The School Library Journal wrote "You can’t help but love songs with double meanings like the oh-so appropriately named 'Revolting Children'". [3] The New York Times deemed it a "rousing final number" [2] and "an anthem of liberation", suggesting "which Mr. Darling has choreographed with a wink at Bill T. Jones’s work on “Spring Awakening”". [4]