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Into the Woods (2014) Stream and Watch Online

PG
2 hr 5 min Dec 25th, 2014 Comedy ,
Fantasy
Watch in Movie Theaters on December 25th, 2014
Watch on DVD or Blu-ray starting
March 24th, 2015
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Yearning to watch ' Into the Woods ' on your TV or mobile device at home? Discovering a streaming service to buy, rent, download, or watch the Rob Marshall-directed movie via subscription can be a challenge, so we here at Moviefone want to take the pressure off. Read on for a listing of streaming and cable services - including rental, purchase, and subscription choices - along with the availability of 'Into the Woods' on each platform when they are available. Now, before we get into the nitty-gritty of how you can watch 'Into the Woods' right now, here are some details about the Walt Disney Pictures, Marc Platt Productions, Lucamar Productions comedy flick. Released December 25th, 2014, 'Into the Woods' stars Meryl Streep , Emily Blunt , Anna Kendrick , Daniel Huttlestone The PG movie has a runtime of about 2 hr 5 min, and received a user score of 58 (out of 100) on TMDb, which put together reviews from 3,864 experienced users. Interested in knowing what the movie's about? Here's the plot: "In a woods filled with magic and fairy tale characters, a baker and his wife set out to end the curse put on them by their neighbor, a spiteful witch." 'Into the Woods' is currently available to rent, purchase, or stream via subscription on Apple iTunes, DIRECTV, Microsoft Store, Redbox, Google Play Movies, Amazon Video, AMC on Demand, Vudu, Spectrum On Demand, YouTube, and Disney Plus .

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A witch threatens a curse on childless couple, unless they bring her an eclectic collection of items - tales of Little Red Riding Hood, Jack & the Beanstalk, Rapunzel and more in a lavish musical spectacular.
Directors Rob Marshall Starring Meryl Streep , Emily Blunt , Anna Kendrick Genres Comedy , Drama , Fantasy , Adventure , Arts, Entertainment, and Culture Subtitles English [CC] Audio languages English , English [Audio Description]
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Rob Marshall - director See profile
LeoM Reviewed in the United States on February 24, 2022
The musical opened on Broadway in 1987 and won a Tony for Best Score (Best Musical went to “Phantom of the Opera”). There is another filmed version, done on stage with Bernadette Peters. This version was made for the big screen in 2014 and directed by Rob Marshall (who also filmed Chicago, winning a Best Picture Oscar). This rendering of “Into the Woods” stars James Corden (the Baker), Emily Blunt (the Baker’s Wife), Meryl Streep (the Witch), and Johnny Depp (the Big Bad Wolf), with music and lyrics by Stephen Sondheim. These turned-inside-out fairy tales are not for the kiddies. Even though this film is from Disney, and even has characters to be found in Disney animation, such as Cinderella, this is PG-rated. There is cosmetic mutilation. There is destruction and death. There are moral ambiguities. Stephen Sondheim did write more conventional musicals early in his career, such as “West Side Story” (music by Leonard Bernstein) and “Gypsy” (music by Jule Styne), where songs made it onto radio, and TV variety shows, and were recorded by the top pop singers of the time. “Into the Woods” is not like that. “Into the Woods” has a score fully integrated into the various plots and characters which do not easily stand alone unless one knows the context. And there is a slew of well-known characters. There’s Cinderella (Anna Kendrick) and her evil stepmother (Christine Baranski) and step sisters, “vile and black of heart.” There’s Jack of beanstalk fame (Daniel Huttlestone) and his mother (Tracey Ullman) and their dried-up cow, Milky White. There’s a girl with a red riding hood (Lilla Crawford) who filches from the baker for her grandmother in the woods. The Baker and his wife are childless due to a curse on his family by a witch because the Baker’s father stole some vegetables and magic beans long ago. (A baby daughter was taken by the witch in exchange for letting them keep the produce. The girl was locked in a tower and given the name Rapunzel (MacKenzie Mauzy) who believes the witch is her mother.) The witch says she can lift the curse and give the Bakers a baby if they can bring her four things: a cow as white as milk, a cape as red as blood, hair as yellow as corn, a slipper as pure as gold, and do it within three days, for that’s when a blue moon will appear. (Sondheim wisely did not include a few bars of Rodgers and Hart’s “Blue Moon.”) All of these folks interact in the woods, which begins to look like a metaphor for life: “...everything you learn there/will help when you return there.” Things do not go well for any of them. The opening title number that deftly skips among these characters as they all head into the woods takes up the first 16 minutes of the two-hour film and is a masterpiece of both composing and film editing. The girl with the red hood, of course, runs into the big bad wolf, who, slavering, sings: “There’s no possible way to describe what you feel/when you’re talking to your meal.” And he does indeed devour her and granny. (Luckily for them, the wolf’s digestive system proves to be both cavernous and slow-acting.) Cinderella, meanwhile, has some magical help from her dead mother (rather than a fairy godmother) and goes to the ball at the palace, attracts the prince, and runs off without a slipper. While searching the woods for her, the prince (Chris Pine) cheats on her with the Baker’s wife (“I was raised to be charming, not sincere”). Jack takes the magic beans from the Baker for his cow, climbs the beanstalk, and, though befriended by the giant’s wife, steals from them, bringing down all sorts of mayhem upon the village. My sympathy has always been with the giants. For want of a proper judicial system, the giant, a homeowner chasing a thief, is killed, and his wife, seeking revenge, is also killed. Only Red Riding Hood seems to think this is wrong. But the non-giants work together to kill Mrs. Giant to save Jack and the village, which apparently has no personal injury lawyers. (At some point early in, the script should have painted the giants as villains, regularly terrorizing the village, thus making it easier to dislike them. But, apparently, no one knew they were up there, for Jack, amazed, sings to the Baker, “There are giants in the sky!” Then goes back to steal from them a second time! One can only hope, for their sake, that there are no more giants up there in the clouds plotting more revenge on this budding juvenile delinquent. Or attending law school.) The sets are beautifully dark and scary; the cinematography (by Dion Beebe) is splendid; the editing top-notch; the performances all one could wish for. Streep is an excellent and scary witch. I particularly liked Emily Blunt when, as the Baker’s wife, now deceased (having fallen off a cliff after her tryst with the prince), she sings, “Sometimes people leave you/Halfway through the wood./Do not let it grieve you/No one leaves for good./You are not alone...” The DVD contains only one bonus feature, “The Magic of the Woods,” but it’s largely useless. It consists mainly of some cast members, director, and crew praising one another for seven minutes. There’s nothing about creating the outstanding special effects and sets, which one expects from a behind-the-scenes featurette. The closing credits note that the cow, Milky White, was played by “Tug.” One can only hope that a long moooovie career was ahead and Tug didn’t end up spread among various Burger Kings.
James Morris Reviewed in the United States on December 29, 2014
Into the Woods debuted on Broadway in October 1987, where it was greeted with great enthusiasm by critics and audiences alike. The narrative is based on four fairy tales, using versions by the Brothers Grimm (Cinderella, Jack and the Beanstalk, Little Red Riding Hood and Rapunzel). The plot blends the familiar tales with an original story about a baker and his wife and their attempts to undo a witch's spell. The musical boasts music and lyrics by Stephen Sondheim, the most respected theatre composer of the last 60 years, and a book by his frequent collaborator, James Lapine. Historically, fairy tales by the Grimm Brothers have been viewed as being darker and more realistic than versions of the same stories written by other authors. Consequently, and because Mr. Sondheim is seen as one of the most (if not the most) challenging composers of modern theatre, it must be noted that Into the Woods is not a piece that was conceived with an audience of young children in mind. Rather, it is a sophisticated adult experience, a fairy tale for grownups if you will. While some of the darker and more provocative aspects of the story have been muted for the film version, the fact that the film has been produced by Disney has led many parents to assume that this is a film for small children. It is not. It is a moral fable for grownups; most children under the age of fifteen or so (unless they are very mature) will not be able to appreciate the story, and many parents of small children will find the material unsuitable. For the uninitiated, Mr. Sondheim has long been known for his extremely clever rhymes, and his intellectually provocative lyrics and scenarios. Since 1957, he has written both music and lyrics for such heralded shows as A Funny Thing Happened on the Way to the Forum, Anyone Can Whistle, Company, Follies, A Little Night Music, Merrily We Roll Along, Sweeney Todd, Pacific Overtures, Sunday in the Park with George, Assassins, Passion, Bounce and, of course, Into the Woods. He also wrote the lyrics only for West Side Story, Gypsy and Do I Hear a Waltz. Whole revues have been assembled around his songs and even the songs he'd dropped from shows before they reached Broadway. Nevertheless, aside from the lyrics to West Side Story and his most successful song, Send in the Clowns, he is largely unknown to all but regular Broadway audiences. Yet many audiences are already familiar with the stage version of Into the Woods, either from Broadway, touring companies or the DVD of the complete show (with the original cast). Like most of Sondheim's other works, Into the Woods has been praised for its witty and intelligent lyrics and its extremely humorous book. It has also proved to be one of his most popular endeavors. Devotees of the stage work will find that, like Sweeney Todd before it, several cuts have been made in the story and music for the film version of Into the Woods. Having purchased the soundtrack and now having seen the film twice, I would say that about one third of the story and one fifth of the music has been removed from the film version. I was a bit more disappointed at the deletions of the choral portions of Sweeney Todd than I am in the music cut from Into The Woods. The film works quite well, with a good deal of the music and humor intact. The following songs have been deleted from the score for the movie: I Guess This is Goodbye / Maybe They're Magic First Midnight Act II Prologue (So Happy) Agony (Act II Reprise) And the following songs have been replaced by instrumental versions: Ever After (Instrumental) No More (Instrumental) This is not surprising; what is surprising is that so much of the score has been retained for the film. The original stage show ran over three hours, plus the intermission. The film clocks in at just over two hours, which means that more than an hour of music and plot have been trimmed. Many may disagree, but I believe this makes for a tighter, more structured story and score. Considering the length of the stage work, some cuts simply had to be made. It is recommended that those previously unfamiliar with the score acquire the complete soundtrack (with the libretto included) and follow along with the words as the songs are sung. The first thing you will realize is (as with any of Mr. Sondheim's works) how incredibly witty and sophisticated the lyrics are; on first listen you may miss most of his delicious wit. His use of the language, his clever rhymes, and his intelligent, deft semantics will amaze anyone who takes the time to listen. There are reasons why so many consider Sondheim the foremost composer of the theatre, and so many intelligent theatergoers hang on his every word. Into the Woods is no exception, despite the cuts. The cast of the film, led by Meryl Streep, Anna Kendrick and James Corden are uniformly excellent. I expected a faithful adaptation of Into the Woods as soon as I heard that the film was being directed by Rob Marshall, who brought the musical Chicago to the screen. Mr. Marshall presented a faithful adaptation of Chicago, and once again he does not disappoint. All in all, Into the Woods is a towering achievement. Few of Sondheim's musicals have been successfully transplanted to cinema. Into the Woods may very well be the best of them. Highly recommended.
Bright Angel Reviewed in the United States on March 30, 2015
One of the hopes some of us had that "Into the Woods" would eventually become a movie was that this mash-up of fairy tales, with some of the best songs ever written, would reach a far greater audience than the stage musical (fortunately available with the original cast--it is fantastic) alone could. But judging from many of the one star reviews here, one wonders whether a large segment of the population is just too dense and dumb to ever get a Sondheim show, even one as accessible as Into the Woods. Or were they never adequately prepared for what was coming? And yes, folks, people do sing in movie musicals. That is why they are called musicals. So for the uninitiated, this is NOT a typical Disney show, nor one that ever was written with a Disney audience in mind. It is a Sondheim/Levine show, toned down a bit in its darkness, which Disney has produced and made, with Sondheim advising. Sondheim's lyrics and music are sophisticated and complex--this is higher art than the usual far of what we are fed--and it requires a few listenings to really get or understand. But once you get the songs, you realize that Sondheim's music is not unmelodic at all, though it stretches your ears a bit at first. But one day you realize it is just gets in your blood and you realize the songs really ARE beautiful musically--each a piece of art that pays huge dividends for a lifetime. And once you get to know them, the songs' unparalleled lyrics reveal new insights into life after practically every listening. Sondheim's songs usually cannot be lifted right out of the story the way they are in many other musicals--they are deeply woven into the story of the show and are part of the plot. All that said, this movie adaptation was not nearly as bad as I had feared it would be, having finally dared now to watch it. I miss some of the music from the stage show--especially the song "No More", which I thought was a cornerstone piece in the original show. And I thought this DVD was to have, as a bonus feature, some new song that Sondheim wrote for Meryl Streep, which then also got cut--but it is not on my copy. Oh well, I am not going to dock it for that. Sondheim apparently had to make some compromises to keep Disney happy--and for executives to demand that he cut lines or songs seems a little bit to me like telling Beethoven how he should edit the 9th Symphony--who would have the temerity if they had any respect for the guy at all?--but Sondheim apparently obliged them, knowing this may the only chance he would have in his lifetime to get 80-90% of the show to the big screen with some of his input. And what got to the screen is most pretty good to excellent. Generally, all of the singing is very good. Of course they are not the same as in the original Broadway show--nothing ever will be--but I really enjoyed hearing some new interpretations of the songs--like hearing the songs you already know and love, but from a slightly different angle. Meryl Streep was particularly great, as was James Corden, Anna Kendrick, and the actors playing Jack and Little Red Riding Hood. The only one I rolled my eyes a little bit over was Johnny Depp's wolf--not quite evil enough maybe? I thought he would be a bit more wolf and a little less Johnny Depp. Still, it wasn't awful. The movie preserved most of the essence of the Broadway show, though it wasn't quite as humorous--probably more due to the limitations of film and advantages of live theater than anything. So while what we have here may be wasted on a lot of the fools who have never seen a musical, or people unfamiliar with Sondheim, or people who thought they were getting something like "Frozen", and while it will never eclipse the original stage production for all of the great things it had and still has, I believe the world is far better off with this movie than without it--if this is the only movie version that was ever going to get made with Sondheim around to advise--he's in his 80s now. It is still much more Sondheim than Disney. I would give it 4 or 4.25 stars and dock it one for the cuts that Disney forced on it--except I still like most of what remains anyway--and with all the ignoramuses giving it one star, I will round it up to 5, as it really is a lot better than the average is currently showing. And for those still complaining, remember what Hollywood did to "A Funny Thing Happened", "A Little Night Music", and (not quite as bad) "Sweeney Todd", to say nothing of a lot of non Sondheim musicals. It could have been a lot worse. In time, more people will come to understand and appreciate it.
Kindle Customer Reviewed in the United States on August 28, 2022
It worked as it should. Thank you for a good quality.
jshareen Reviewed in the United States on August 14, 2022
My teenage daughter I loves this movie. Not a movie I would put on loop but a film worth seeing more than once.
The Bear Reviewed in the United States on April 6, 2015
Before I start, my feeling about this movie is that it is a gift to everyone who was unable to see a live performance of the show, whether on Broadway, one of the many revivals and touring companies, or even one of the varying amateur productions. There is a film of a live performance available, if you are interested. I mention a little about it below. I've revised this review
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