4. 呼朋唤友 随心所欲
If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at email@example.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown.
5. HD 画质与高品质音讯
(Photo by Focus Features)The Venice International Film Festival, the longest-running film fest in Europe, kicks off on Wednesday after successfully executing a tamer, smaller affair amid the COVID-19 pandemic in 2020. La Biennale di Venezia, as it s called in Italy, will look to mirror the success of the Cannes Film Festival, which was able to bring the glitz and glamour back to the French Riviera earlier this summer.Though the spread of the Delta variant at home and abroad has tempered the hopes many had of the fall festival circuit returning to normal, this year s Venice lineup, with much of the A-list talent expected to attend, has gone a long way towards alleviating those fears. Venice serves as the unofficial starter pistol for the fall awards season, and a good showing there could increase audience anticipation dramatically. As with Cannes, many marquee titles that have been pushed off for several months will use the festival to gain buzz ahead of their world premieres. Have you heard about a little film from Denis Villeneuve called Dune?Kidding aside, we are also more than a little excited about smaller offerings from auteurs like Pedro Almodóvar (Parallel Mothers) and Paolo Sorrentino (The Hand of God) that are also set to premiere this week. Today, however, we focus on those buzzy titles that have already captured the attention of the public and punditry, sight unseen. Many of these titles have lofty box office and awards season ambitions, and in just a few days, we ll have word on the odds for them to achieve those aspirations. In the meantime, read on for our picks for the six buzziest films set to premiere at the Venice Film Festival.
Join us weekly as Rotten Tomatoes reports on what s indie features are streaming. From promising releases by new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week.For the foreseeable future, the specialty box office and all theatrical releases will be on hold as we all make efforts to socially distance ourselves and reduce the spread of the COVID-19 coronavirus. With that in mind, we have reshaped our Indie Fresh List to reflect the specialty box office releases that are newly available on streaming services and VOD. This week we have a horror-comedy about the devil and heavy metal, a horror film set at sea where an unseen force infects the crew, and an Oscar-nominated tale inspired by the Paris riots of 2005. In our Spotlight section, Best Picture winner Parasite is now available to stream on Hulu just in case you somehow haven t seen it yet.Streaming This Weekend
This weekend felt like a crucial mid-term for theatrical releases. Between the hybrid release controversies of the summer and the continued lack of attendance for non-IP originals, particularly those aimed at adults, it is still anyone’s guess what we are headed for come the holiday movie season. Barring the return of some new surge of virus infections (at least those numbers are headed in the right direction) people will hopefully feel safer filling seats at their local theaters. They certainly had a choice this weekend between staying home and buying a ticket. The latter won for one film while the former created some dismal numbers for another, casting a shadow over anything not part of a franchise the rest of the year.King of the Crop: Halloween Kills its Hybrid Release with million Debut(Photo by Universal Pictures)Before the pandemic, the focus on this weekend’s #1 movie would have been the drop from its predecessor’s million start in 2018. Halloween Kills’ million weekend is a 33.8% drop from three years ago, but even that can be put in a positive perspective looking at other sequel drops of this stature over the years. Among R-rated sequels to films opening over million, 300: Rise of an Empire (36.4%), Ted 2 (38.4%), Paranormal Activity 4 (44.8%), Sex and the City 2 (45.6%), The Matrix Revolutions (47.1%), and The Hangover Part III (51.5%) all dropped further. Alien: Covenant fell 29.1% from Prometheus but didn’t have nearly as far to fall as Halloween Kills did, leaving It: Chapter 2 (26.2%) and Deadpool 2 (5.23%) as the higher standards. The point is that this is a really terrific number for David Gordon Green’s sequel..4 million is the sixth-best opening of the pandemic. As it marks the third consecutive week of a film opening over million, that statistic may quickly become an afterthought, though it shouldn’t. Where Halloween Kills busted the ceiling this weekend was in the hybrid streaming wars. After it was announced the film would simultaneously premiere on the Peacock service the same day it premiered in theaters, its chances for widespread theatrical success appeared to be kneecapped. The first film was a rather frontloaded success story, posting just a 2.09 multiple over its opening weekend. Halloween Kills may be down 34% from the 2018 opening, but it is up 58% from the year’s best hybrid HBO MAX openings, with Godzilla vs. Kong and Space Jam: A New Legacy each in the million realm. Kong already had a two-day head start with .4 million prior to the weekend and to date is the only hybrid release (sans an additional fee) to crack the 0 million barrier. And that was a March 31 release that took over 11 weeks to reach that milestone. Halloween Kills is already halfway there in just three days.Kills also nearly doubled up The Suicide Squad (.2 million) for the best “R”-rated opening of the year in any release strategy. 54 million Peacock subscribers at last count compared to roughly 73 million for HBO MAX. (And those are late July numbers.) The five biggest WB/HBO MAX openings dropped like flies in their second weekends Godzilla vs. Kong (56.9%), The Conjuring: The Devil Made Me Do It (57.1%), Space Jam: A New Legacy (69.1%), The Suicide Squad (71.5%), and Mortal Kombat (73.2%). 2018’s Halloween fell 58.8% to .4 million in weekend two, so there’s a good chance Kills falls below million next weekend, especially if people realize they actually have Peacock on their cable service. Those who actually still have cable service.Rotten Returns: Ridley Scott s The Last Duel Reinforces a Grim Trend(Photo by 20th Century Studios)What may actually be the bigger story this weekend is the continuing failure of non-IP films aimed at adults to draw them in. Ridley Scott’s The Last Duel was speculated to at least get into eight-digit territory this weekend. Its fate was all but sealed when it opened to just 0,000 in previews Thursday night, and the final numbers were even worse than imagined. The historical drama with a cast boasting Matt Damon, Adam Driver, Jodie Comer, and Ben Affleck grossed a mere .8 million this weekend. That is less than Damon in Stillwater did this summer (.18 million) and the worst start for a Damon-led film opening in over 3,000 theaters. The previous low was We Bought a Zoo (.36 million), which nevertheless went on to gross over million over its 2011 holiday season release.There is a strong chance that The Last Duel will not even be able to leg itself out enough to outgross All the Pretty Horses (.5 million) or Stillwater (.2 million), leaving it as the third-lowest grossing Damon-led film ahead of only Suburbicon (.77 million) and Promised Land (.59 million), both of which were released in fewer than 2,050 theaters. The story is far grimmer than anything surrounding Damon’s perceived star power, though. The Last Duel represents a continuing trend in the pandemic box office for anything other than a sequel, franchise, universe-builder, or Disneyland ride to break out among audiences. Free Guy, Raya and the Last Dragon, and Old are the only films outside of those categories to gross over million this year. The Last Duel is about to become the third theatrical-exclusive film released this year in over 3,000 theaters that fails to gross even million.The Top 10 and Beyond: No Time to Die Takes Aim at 0 Million(Photo by Nicola Dove/©MGM)No Time To Die missed the opportunity to become the fifth film of the pandemic to gross 0 million in its first 10 days; instead it will take 11. With .3 million this weekend (a 56% drop) the 25th James Bond film is just shy of the milestone. That is a slightly better second weekend than F9 had ( million), though Bond is still nearly million behind its pace while also about million ahead of A Quiet Place Part II’s 10-day run. The film has a good chance to stick around the Top Five into just before Thanksgiving (and could hang on enough into that holiday) so we’ll stick with a final gross between 0-170 million domestically. Globally the film is over 7 million and could actually surpass F9’s 6 million to become the highest-grossing film of the pandemic era.Venom: Let There Be Carnage fell to .5 million (the second-best third weekend of the year), bringing its total to just over 8 million, still on a very solid pace for 0 million. That is about million below Shang-Chi’s third weekend and overall about million behind its 17-day pace. Shang-Chi and the Legend of the Ten Rings drove its total to over 8 million and is going to settle into the 5 million territory, suggesting that the Venom sequel will come in somewhere around the original Venom’s total of 3 million.The Addams Family 2, which is also on VOD for .99, is not far behind the pace of The Boss Baby: Family Business, which was also streaming on Peacock s subscription tiers. That animated film finished with over million. Addams looks to be in line to come in between -55 million. A24’s odd folktale, Lamb, managed to stay put in eighth place, falling from just over million to 3,000 and driving its total to million. Not too shabby, all things considered, and the studio can put this on its mantle along with the knowledge that David Lowery’s The Green Knight is going to outgross Ridley Scott’s The Last Duel.On the Vine: A Timothée Chalamet Double Feature with Denis Villeneuve s Dune and Wes Anderson s The French Dispatch(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)Fear is the mind killer next week when Denis Villeneuve hopes people will take his advice and see his adaptation of Frank Herbert’s Dune on the big screen instead of watching it from their sofas on HBO MAX, which will begin streaming the film Thursday night. Actually theaters and the home service will be showing Dune: Part One, as the opening title card announces it. There is no release date or production start date for Dune: Part Two. Also finally opening is the animated film, Ron’s Gone Wrong, and Wes Anderson’s latest, The French Dispatch.Full List of Box Office Results: October 8-10, 2021
1. Hallelujah As anyone who has ever watched a televised talent competition will tell you, Leonard Cohen’s “Hallelujah” has been subjected to its fair share of abuse over the years. Nowhere, though, has the song been more thoroughly beaten up than in this scene from Zack Snyder’s Watchmen, an otherwise fascinating superhero flick that has its hardcore defenders. What was a powerful moment in the graphic novel is laughable here, as Nite Owl (Patrick Wilson) and Silk Spectre (Malin Akerman) trade grunty-faces in their steampunk binoculars-looking sex pod all while the booming voice of Cohen… booms. Just when you think it can’t get any worse, the pod shoots flames at the moment of climax. Disagree, passionately? Let us know in the comments, and share your favorite so-bad-they re-good movie sex scenes.
Benjamin Lindsay for Rotten Tomatoes: The second half of season 5 marks your grand return. Tell us about that first phone call with Michael Hirst when he told you that you were coming back. What was that discussion like?Clive Standen: It was great, because it was more about the discussion before I left. At the end of season 4, we talked about the death of Ragnar, and I was concerned because I was going, “Well, most of my storyline is entwined with Ragnar’s. It’s very much the saga of Rollo and Ragnar at the moment, and then the next stage is the sons of Ragnar, it’s the Golden Age of the Vikings — and I’m not sure how Rollo fits in with that.” And [Hirst] said, “Yeah, you’re right,” and I said, “Well, I don’t really want to stick around in the show if I’m doing a disservice to the character and the audience.” And he said, “You’re right.” It was literally like we cleared the air because he was going, “Well, this is a problem. We don’t want to lose you, Clive, but it’s called Vikings.” He has to introduce these sons because we’re losing a major character in the show. We need to create some more characters that people can root for and some new stories and alliances, and they’ll see the saga of the Vikings in the Golden Age — we go all sorts of places. So we put Rollo on a hiatus, and that was nice.I mean, Taken came along for NBC, and I did that and that kept me really busy, and a couple of other films in between. And then Michael said, “Don’t worry, I’m going to find the most opportunistic moment to bring you back, and it’s going to be like the old Rollo: He’s going to be like a volcano all over again; he’s going to erupt and everyone’s going to have to deal with the consequences.” And that’s what he did. He rang: “Look, you’re coming back, I’m sending you the scripts tomorrow.” We had a little talk about it, and it was everything I wanted.It’s a fiery return, and there’s so much going on that we were able to add to what the real Rollo was doing in history. In the later life of Rollo, there were historical documents that recorded that he was questioning his own mortality, and he lined up 100 Christian soldiers to be slaughtered in the town square and at the same time sent 100 pounds in weight in gold to the Christian churches. This was certainly a man who was worried about the gods he’s worshiped his whole life accepting him into Valhalla, so he’ll appease them by sacrificing 100 soldiers and at the same time sending 100 pounds in gold to the Christian church to kind of hedge his bets. We didn’t want to do it like that. We didn’t want to make a big thing of it, but we thought we’ll pay homage to that. So Rollo is coming back, and he’s dealing with his past wrongs.Obviously he has a whole [group of] people that he looks after now, that he rules over, and they come first. As the Duke of Normandy, he’s matured. He has responsibilities and he’s a leader. So the politics of the situation come first, and that’s what gives him the opportunity to come back and make an alliance with Ivar. But it was really in the end what Vikings is always about: It’s about family. It’s about all those emotions. It’s about coming back and opening up those old wounds and hopefully having people that may sew them up for him. He has no idea if that’s going to happen, and that’s what plays out in the episode. That’s the real reason for his return: facing his demons head on.(Photo by Jonathan Hession/History)A lot of people may see the fact that Rollo gave Ivar the assist as a betrayal to Lagertha and Björn. Is there more than meets the eye to the situation?That’s the thing: Whenever Rollo comes back for a new season, Michael and I always want to make people think — to expect the unexpected. He is coming back, and he’s not team Lagertha and he’s not team Ivar. He’s purely team Rollo, as he’s always been.Ivar is very much the runt of his brothers. He was born disabled. He was kind of written off as a child by his own father; Ragnar left him in the wilderness with an ax to fend for himself. The brothers were teasing him. He’s risen up against all odds and learned the hard way, and now a lot of what drives him is that.Rollo is no different. If you think about Rollo being the shadow of his brother, who went on to become the King of Sweden and do so much in the Viking mythology, he always felt like he was second best. When you compare Rollo and Ivar, Rollo has been there, done that, and got the T-shirt. He’s now an old, wise dog. So there’s nothing Ivar can throw at Rollo that he hasn’t seen coming way down the line. It’s a chance to school this little runt [laughs]. But he also offers Lagertha and Björn something that he feels that they can never, ever turn down.So is he really team Ivar? He needs a reason to go there in person. He has responsibilities now as the Duke of Normandy, he’s become — in history, and it’s no different from our story in the series — stronger than the king of France. So he needs a reason to go and help Lagertha and Björn, but his alliance is obviously with his own people. He needs to provide what’s more beneficial for the people of Normandy, and that’s always going to be the case. There has to be an alliance with Ivar because Ivar is the King of Sweden.His position as the Duke of Normandy is a transition from the savagery of the Vikings to a more sophisticated European place of power. Has Rollo missed the fighting and savagery?Definitely. I’m not sure if it made the cut, but I hope it does: There was a scene we filmed where Rollo talks about an old Berserker he knew — which is obviously Rollo — that missed the battles. That’s what he was best at. He would gather all the pots and pans and weapons and anything metal in his domain and carry them to the top of the hill and threw them off the top so they clattered and crashed and smashed against the rocks below, just so he could hear the sounds of battle one last time. And, you know, Rollo is really speaking about himself. I don’t think it makes it into this episode, but that was a real sense of getting under the skin of Rollo for me, because very rarely does he actually talk about how he feels.There was a scene late in season 2, I think, where Floki’s character is talking to Björn about Rollo and says something along the lines of, “Unfortunately, the warrior never reveals [himself]. You’ll never know what’s going on in the warrior’s heart, so the ax reveals it.” And there’s a lovely parallel seen in this episode.It all certainly gives you a lot to play with as an actor. In a previous interview Michael Hirst hinted that going into season 5, part of the action is going to be based on a “seed” planted in season 1 between you and Lagertha. Can you speak to what that seed might be? What should we be keeping our eyes peeled for?This is one of those moments where as an actor, you just realize that you’re in such a special show and you work with so many amazing people. Our very first director, who I’m always going to speak to the rafters about, Johan Renck, [is] a phenomenal director. I remember the very first scene with Lagertha, Ragnar, and Rollo. He likes to take actors out of the set and whisper things into their ears — every single take something different just to try to get a different performance and see how it changes. And it’s always the subtext; it’s always about what’s not being said.He whispered something into my ear in a scene where Ragnar goes out to relieve himself and [Rollo is] left all alone with Lagertha for a second that changed the whole construct of the scene. It was never said. I think maybe some may have picked up on it, but I never forgot it because it was a note that I never really thought about, and it made me as an actor question the whole character a little bit more and the subtext that Michael was writing. It’s lovely to have something that started out like, just as you said, a seed that’s come to fruition, and it’s grown, and the actor finally gets to speak it out loud. Maybe half the [audience] will go, “I knew it!” and then half of the other people are like, “Oh my god!” But what I love is that it all came from Michael’s writing and also this brilliant director at the very, very beginning.(Photo by Jonathan Hession/History)It sounds like you’re tapped in to fan theories and the discussion surrounding your character and this “seed.” What do you say to theories surrounding Björn’s parentage?Well, there was no paternity test back then in those days, so no one really knows at the end of the day. It’s not like you can get a pregnancy test and find out! Or take a sample of Viking hair and go get a DNA test.If only!But that’s what’s so great about Michael’s writing. There’s always a reason for why someone hates someone so much. There’s a fine line between love and hate. You know, if someone’s impassive towards someone, then there’s no story. But drama is built on conflict, and the fact that a character can one minute have so much anger towards someone and the next minute have so much compassion usually means that there’s a history between them or that there’s a love there.There’ve been scenes between Rollo and Lagertha all the way through Vikings: sometimes she hates him, sometimes he hates her, sometimes he loves her. It’s all that stuff, just as it was with Ragnar and Lagertha when Ragnar moved on from his marriage with Lagertha. That’s the good stuff. Nothing is stronger than our imagination, and I think what’s nice is that this has festered for a little while and now it’s either going to let people down or it’s going to explode the world of Vikings a little bit more.