Running time 129 minutes Country United States Language English Budget $160 million Box office $1.264 billion Beauty and the Beast is a 2017 American directed by from a screenplay written by and, and co-produced by and. The film is a remake of Disney's, as well as an adaptation of 's eighteenth-century. The film features an that includes and as the eponymous characters with, and in supporting roles. Began at in, United Kingdom on May 18, 2015, and ended on August 21. Beauty and the Beast premiered at in London on February 23, 2017, and was released in the United States in standard, and formats, along with on March 17, 2017. The film received generally favorable reviews from critics, with many praising Watson and Stevens' acting performances as well as the ensemble cast, faithfulness to the original animated film alongside elements from the Broadway musical, visual style, production design, and musical score, though it received criticism for some of the character designs, vocal performances, and its excessive similarity to the original.

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The film grossed over $1.2 billion worldwide, becoming the highest-grossing live-action musical film, and making it the and the. The film received four nominations at the and two nominations at the. It also received nominations for and at the. Contents.

Watch Full HD 1080p Beauty and the Beast (2017) 123movies, gomovies, gostream An adaptation of the classic fairy-tale about a monstrous prince and a young woman who. Beauty and the Beast (2017) Watch Online Full Movie Stream online HD American Movies 2017 Watch Beauty And The Beast In HD Quality Best Free Netflix Stream.

Plot In -era, an enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a coldhearted prince, a rose for shelter. When he refuses, she reveals her identity as an enchantress and transforms him into a beast and his servants into household objects, then erases the castle, the prince and his servants from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will never lift unless he learns to love another, and earn their love in return, before the last petal falls. Some years later, in the small town of Villeneuve, Belle, the book-loving daughter of a maker and artist Maurice, dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. On his way to a convention and lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose from his garden as a birthday gift to Belle.

When Maurice's horse returns without him, Belle ventures out in search for him, and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place. Belle befriends the castle's servants, who invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, and is injured in the process.

As Belle nurses his wounds, a friendship develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses it to visit her childhood home in, where she discovers a and realizes that she and her father were forced to leave her mother's deathbed when her mother succumbed to the. In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage, and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to be eaten by the wolves. Maurice is rescued by the hermit Agathe, but when he tells the townsfolk of Gaston's crime but is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum.

After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with.

At Villeneuve, Belle proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston claims she has been charmed by dark magic, and has her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Maurice and Belle escape, and Belle rushes back to the castle. During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers.

Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He overpowers Gaston, but spares his life before reuniting with Belle.

However, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles, and he falls to his death. The Beast dies as the last petal falls, and the servants become inanimate. As Belle tearfully professes her love to the Beast, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle, and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily. Praised for her (acting) performance as Belle worldwide, Beauty and the Beast is 's highest-grossing film in the domestic side and second highest-grossing film, behind only the final film,. Beauty and the Beast grossed $504 million in the United States and Canada and $759.5 million in other territories for a worldwide gross of $1.263 billion.

With a production budget of $160 million, it is the most expensive musical ever made, or the second-most expensive musical ever made if accounting for inflation; only (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more. In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held. It is currently the second-biggest musical ever overall, behind Disney's (2013). Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only, the and the seventh-biggest for Disney.

This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title. It surpassed the entire lifetime total of the original film in just six days. Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of in 2002. Its robust global debut helped push the company past $6 billion for the first time, and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings. On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.

It is currently the 2nd highest-grossing film of 2017 (behind ), the highest-grossing March release, the highest-grossing remake of all-time, and the sixth-biggest Disney film. Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film. North America In the United States and Canada, Beauty and the Beast topped 's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million. By the time the film's release was 10 days away, analysts raised projections to as high as $150 million. It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking 's record), the biggest ever for a Disney live-action film (breaking 's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film which also starred Watson), and the third biggest ever in the month of March (behind and ).

An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 p.m. The numbers were considered more impressive given that the film played during a school week.

On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and ($67 million). It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and ($67.9 million). Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles. Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records. This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman, the biggest start ever for a PG title (also for a family film), surpassing, the biggest debut of all time for a female-fueled film, ahead of, the biggest for a Disney live-action adaptation, ahead of and the biggest musical debut ever, supplanting.

Furthermore, it is also Watson's highest-opening, beating same with, director 's biggest debut ever ahead of and the biggest outside of summer, save for, not accounting for inflation. It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and also the second-highest-grossing musical, behind 's $188 million cumulative gross in 1978. Seventy percent of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film.

About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office. Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend. According polling service, about 84 percent of American parents who saw the film on its opening day said they would 'definitely' recommend it for families. The film's opening was credited to positive from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially ), lack of competition, being the first family film since a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.

On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million). This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales. It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.

In its, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney. In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens). The hold was notable considering how the film was able to fend off three new wide releases:, and. As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.

The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer ($50.2 million). On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so. By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions.

It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films (−8%) and (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released. Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film. That weekend, The Circle was number four, while Beauty and the Beast was at number six.

By May 28, the film had earned over $500 million in ticket sales becoming the first film of 2017 (until it was later surpassed by The Last Jedi), the third female-fueled film (after The Force Awakens and followed by and The Last Jedi) and the eighth overall film in cinematic history to pass the mark. It has already become the biggest March release, dethroning (2012), the biggest musical film (both animated and live-action), as well as the biggest film of 2017 (alongside The Last Jedi). Outside North America Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India.

Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind. In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia. It topped the international box office for three consecutive weekends before finally being dethroned by and in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017. It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only and.

In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million). In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's ), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million). This included the second-biggest Saturday ever (£7.9 million), only behind.

It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two (2012) and ). In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions. It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—, and —combined. Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there.

It was ahead of all new releases and second overall behind Bollywood film. In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million. In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of.

The original film was, however, never widely popular in the country. Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country. It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace.

Disney on the other hand reported a different figure of $44.8 million. Either ways, it recorded the second-biggest opening for a Disney live-action film, with $3.4 million coming from 386 IMAX screens. Japan—a huge Disney market—served as the film's final market and opened there on April 21.

It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country. The two-day gross was $9.7 million, outstripping Frozen 's previous record of $9.5 million. Due to positive reviews, good word-of-mouth and benefitting from the, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer from securing the top spot. The total there is now over $98 million after seven weekends and is the biggest film release of the year and, overall, the eleventh-biggest of all time. It topped the box office there for eight consecutive weekends.

The only markets where the film did not top the weekend charts were Vietnam (behind ), Turkey (with two local movies and Logan ahead) and India (where retained No. It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).

In the Philippines, it emerged as the —both local and foreign—with over $13.5 million. In just five weeks, the film became one of the top 10, ahead of all but one Harry Potter film ( Deathly Hallows – Part 2) and all three (which also starred ). It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! To become the biggest musical production ever there. The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million). In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind ).

Critical response Beauty and the Beast received generally favorable reviews, with praise for its ensemble cast, visuals, production merits, musical score, songs, and faithfulness to the original film with a few elements of the, while the designs of the Beast and the servants' household object forms received mixed reviews. On, the film has an approval rating of 71% based on 308 reviews, with an of 6.6/10. The site's critical consensus reads, 'With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material.' On, the film has a score of 65 out of 100, based on 47 critics, indicating 'generally favorable reviews'. In polls, audiences gave the film an average grade of 'A' on an A+ to F scale. Leslie Felperin of wrote: 'It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours.'

Disney Beauty And The Beast Watch

Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney. Of, in his positive review of the film, wrote: 'It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia.' Gleiberman compared Steven's character of the Beast to a royal version of the in and the 1946 version of the Beast in 's. Of praised the performances of both Watson and Stevens, and wrote: 'It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy.' Likewise, 's Ann Hornaday complimented Watson's performance, describing it as 'alert and solemn' while noting her singing ability as 'serviceable enough to get the job done'. Of awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to 's and 's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: 'Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast'.

Mike Ryan of praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: 'There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied.' In her A- review, Nancy Churnin of praised the film's emotional and thematic depth, remarking: 'There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways.' Of ReelViews described the 2017 version as 'enthralling'. Brian Truitt of commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an. Of rated the film three out of four stars which he deemed it as an 'exhilarating gift' while he remarked that ' Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)'. Of magazine gave a positive review with a description as 'Wild, Vivid and Crazy-Beautiful' as she wrote 'Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming.' And added that 'it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version.'

The 's struck an affirmative tone, calling it one of the joys of 2017, stating that ' Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along' while referring the film as 'beautiful' and also praised the film for its emotional and psychological tone as well Steven's motion capture performance. Tim Robey of gave the film four stars out of five and wrote that 'It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical' while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.

Mark Hughes of also similarly praised the film which he wrote that 'it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original' and also complimented the importance of undertaking a renowned yet problematic as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences. Stephen Whitty of the called it 'this year's best new old musical' and 'the most magical thing of all' while describing Watson's performance of Belle as 'breakthrough'. Several critics regarded the film as inferior to its. David Sims of wrote that the 2017 film 'feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice'.

Of the said that the 2017 film 'takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly.'

Phillips wrote that the film featured some 'less conspicuously talented' performers who are 'stuck doing karaoke, or motion-capture work of middling quality', though he praised Kline's performance as the 'best, sweetest thing in the movie; he brings a sense of calm, droll authority'. Of praised Watson's performance and wrote that the film was 'lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version.'

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In the same newspaper, Wendy Ide criticized the film as 'ornate to the point of desperation' in its attempt to emulate the animated film. Chris Nashawaty of gave the film a B-, writing that while the film looks 'exceptionally great', he said the new songs were 'not transporting'.

He felt the film needed more life and depth, but praised Watson's and Steven's performances as the 'film’s stronger elements'. Dana Schwartz of felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to 'advance the plot or theme in any meaningful way' while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs. Accolades Award Date of ceremony Category Recipient(s) and nominee(s) Result Ref.