欧宝体育网页入口采用百度引擎9（Baidu 8）Networks are into day 7 of presentations to TV reporters gathered at the Television Critics Association winter press tour in Los Angeles. News out of Monday s FX panels includes information on upcoming series, a rivalry with Netflix, and more.TOP STORYFX Boss Blasts Netflix(Photo by Frederick M. Brown/Getty Images)Typically, FX Networks and FX Productions CEO John Landgraf addresses reporters at the Television Critics Association winter press tour about the state of “peak TV.” (For the record, approximately 496 scripted television series premiered original episodes in the U.S. in 2018.) The network boss used his 2019 time to focus on FX’s performance in critics’ end-of-year “best TV” lists versus competitors including HBO and especially Netflix.The network’s research department compiled data from 166 critics’ best TV shows of 2018 lists, and established that FX aired 14 original series across all genres that could be included, HBO had 70 that qualified, and Netflix had “an insane 530 original programs” that could’ve made year-end lists.“In 2018, 13 out of 14 FX series made a critic’s best shows of 2018 list. That is a 93 percent conversion rate, above the 80 percent we have averaged for the past few years, and, frankly, above any reasonable expectation,” he said. “Compared to our 93 percent, HBO placed 20 of its 70 programs on year end best lists, or 29 percent. And Netflix had 62 of its 530 original programs make a list, which is a 12 percent conversion rate.”Additionally, the network calculated that out of 2,237 slots in the 166 lists, Netflix led with 479 mentions (21 percent total), then FX with 334 and HBO with 327 (both 15 percent total). Amazon earned 168 mentions (8 percent), and BBC and AMC tied with 6 percent.“When you drill down to lists that name 10 best shows of 2018, which we feel measures the top of the top echelon, Netflix still led with 273 inclusions, but now is followed much more closely by FX with 259 and HBO with 225, with the others well behind,” Landgraf said. “And when you drill down even further to the best of the best counting only shows ranked No. 1 on a critic’s list that did numerical rankings, which is 118 of 166, FX leads all networks or streaming services with 53 No. 1s, or 45 percent of the total. Second by this measure is actually BBC America with 20, or 17 percent — paced by the outstanding Killing Eve, and third was Netflix with 14 No. 1s, or 12 percent, followed by HBO with seven No. 1s, or 6 percent.”To summarize, per Landgraf, “FX had less than 3 percent as many at bats as Netflix, but we had almost four times as many No. 1 rankings on year-end best lists. If we expand the time range to look at the past five years of top 10 inclusions on annual critics’ lists, HBO leads with 22 percent, followed by FX and Netflix tied at 19 percent, with all others far behind. So it has remained a three-horse race for quite some time. Netflix Has the Most Certified Fresh Films of All(Photo by Netflix)The Streaming Observer analyzed the streaming movie libraries of Hulu, Amazon Prime, HBO Now, and Netflix, and found that Netflix has 596 Certified Fresh movies available to watch – more than the other services combined.According to the study, just 232 of Amazon Prime’s 17,461 available movies are Certified Fresh (1.3 percent), 38 of HBO Now’s 815 (4.7 percent), 223 of Hulu’s 2,336 (9.6 percent), and 596 of Netflix’s 3,839 (5.5 percent). So while Amazon Prime has the most movies available to watch, Netflix has the highest-quality films by far.Legion Creator, Star Address How Upcoming Season 3 Will End the Series(Photo by Suzanne Tenner/FX)Noah Hawley originally went into his FX X-Men–adjacent series, Legion, with a three-season plan. And ahead of the show’s TCA panel, the network confirmed that the upcoming third season will be the series’ last.“I think endings are what give stories meaning. I said last year I’ve never done a second season of anything,” Hawley said on the panel. “I always thought about this as a complete story with a beginning, middle, and end, and it felt like three acts of a story, and so this just felt like the natural place to end it.”When the audience met David Haller, he was in a psychiatric hospital after a suicide attempt. Throughout the first two seasons, he’s gotten on medication and left the hospital, but then thought that maybe he didn’t need his meds and went in a downward spiral. In the third season, Hawley said, “The question is: Can he get back to some kind of good place, or is he gone for good? Once we tell that story, it just feels like we’re going back to the beginning of the cycle, potentially, so it just felt like the right place to end it.”Dan Stevens, who plays Haller, agreed.“As Noah said, great stories have endings, Stevens said. They don’t just stop. And when Noah first discussed this story with me, I knew where it was going. I didn’t necessarily know how, but I was promised that it would be weird and beautiful, and it certainly has been. I really like the way this twisted rainbow is emerging.”While the cast hasn’t filmed the finale yet, Stevens teased that “there’s definitely a destination David wants to get to,” and David’s destination and Hawley’s “will neatly coincide, I hope.”What We Do in the Shadows TV Show vs. FilmJemaine Clement and Taika Waititi starred in and directed their vampire feature film mockumentary What We Do in the Shadows. But when it came time to adapt the film for television, neither chose to be on screen. Waititi had to step away from the project to direct a little movie you may have heard of, Thor: Ragnarock, but Clement executive produced the series and didn’t write himself a role on purpose.“I have done it in the past, writing a show that I’m in, and it’s very difficult to do both,” Clement told reporters on FX’s What We Do in the Shadows TCA panel. “And at the time, we thought Taika wouldn’t be able to be in it because he was making [Thor], so it didn’t make any sense to have not him and the rest of us. It was set in America. It’s different people.”The series takes place in the same world as the film, so the New Zealand vampires still exist. In the TV format, there’s more time to spend developing each character and storyline and the writing is much more planned out than in the film, according to the creators.“[On the film] we wrote a script, and we didn’t show the actors the script at all, and so we shot a whole movie like that,” Waititi said. “We would tell the actors what they should be doing and what they should be talking about.”He and Clement would describe the scenes from the actors, who would then improv the scenes and keep going until they got the joke they wanted.“As a result, we had about 160 hours of footage that we had to get down to 90 minutes, and that’s why it took 14 months to edit,” Waititi said. “It was very exhausting. And I thought that we didn’t really want to do that this time. Going to give the script to the actors this time.”On the show, the actors would perform what was written in the scripts, but then would improvise later takes. And a lot of the time, Clement revealed, “that stuff makes it in.”Fosse/Verdon’s Secret Weapon: Nicole FosseFX’s Feud: Bette and Joan featured many real-life characters, and one of the people portrayed in the series, Olivia de Havilland, sued over that portrayal. The creators of the network’s Fosse/Verdon series don’t necessarily anticipate that happening on their series for two reasons: one, they’ve been “incredibly careful” when they talk about both living and non-living people, executive producer Steven Levenson said. But two, the fact that Bob Fosse and Gwen Verdon’s daughter, Nicole, is a producer on the series, helps more than anything else.“Having Nicole is an incredible asset because she’s able to share not only the facts as she remembers them, but the emotional experience,” executive producer Joel Fields said. “Our goal is to explore a relationship between these two characters and to do it in an authentic way, and we are never looking to whip something up. So I don’t think that’s been an issue for us. It’s been easy to follow what the truth was as we see it and to try to let the drama flow out of that.”
NBC gets the 30 Rock gang back together to support its fall lineup, Michael Keaton plays a doctor fighting in the opioid crisis in an upcoming series, 95% Certified Fresh HBO vigilante series Watchmen will be free to stream online, and more of the week s top news.TOP STORYThe 30 Rock Cast Will Play Their Characters in an Upfront Special To Introduce NBC’s New Fall Programming Plans(Photo by Mary Ellen Mathew/NBCU Photo Bank)Throw some snacks in the Funcooker, because the 30 Rock cast is reuniting as their TGS characters for a night of fun to promote NBC’s fall lineup. Tina Fey, Alec Baldwin, Tracy Morgan, Jack McBrayer, Jane Krakowski, and other cast-to-be-named-later will reunite for a July 16, one-hour event that will find Liz Lemon, Jack Donaghy, Tracy Jordan, Kenneth Parcell, and Jenna Maroney celebrating the shows NBC hopes will earn even a fraction of the fan and critical love 30 Rock – which won 16 Emmys – earned during its 2006-13 run on the network.The 30 Rock Upfront special will feature guest appearances from talent from many stars from the NBC Universal universe, and will highlight new and returning programming from NBC, Telemundo, USA, Syfy, E!, Bravo, and more, including new, sports, and entertainment.The special replaces NBC Universal’s traditional Upfront event, which takes place in New York every year as advertisers are shown the new fall programming. COVID-19 derailed those plan a Austin, We Have a HulkA more hopeful Batman means that tone is lighter and more optimistic. Amon Warmann, Empire MagazineZack Snyder’s Justice League is mostly the same 118-minute movie but with two hours of deleted scenes and poor pacing. Scott Mendelson, ForbesIs it just more movie?While more isn t always better, that axiom is challenged by the subjective truth that this redo is an impressive improvement over the original release. Rob Hunter, Film School RejectsThe defining problem for Zack Snyder’s Justice League: the director’s vision adds a lot more stuff but rarely does more add up to anything of meaning. Sean Mulvihill, FanboyNationHow does the longer runtime affect the film?The film’s chapter breaks are very effective, allowing the narrative room to breathe while also embodying the spirit of a tried and true superhero comic event, which needs multiple issues to tell its massive narrative. Jenna Anderson, ComicBook.comOverall the film benefits from its extended running time, but it still can feel like a slough, especially in the first half. Matt Rodriguez, ShakefireThis version running four hours is the very definition of indulgence, especially how much of the new footage is not new but merely extended. Scott Mendelson, ForbesThere are very few movies that justify an over three-hour run time, and, unfortunately, Zack Snyder s Justice League is not one of them. Kaitlyn Booth, Bleeding Cool(Photo by HBO Max)Is it just for fans?Perhaps the most general audience-friendly film Snyder has made in his career, Justice League seems to have something for everyone. Sheraz Farooqi, ComicBook DebateThis epic should open with a disclaimer: This movie is intended FOR THE FANS ONLY. Sean Mulvihill, FanboyNationIs the plot easier to follow?The most striking thing about Zack Snyder’s Justice League is the fact that everything that didn’t make sense three-and-a-half years ago now does. Josh Wilding, ComicBookMovie.comFrom the moment the film begins, it is clear that it is something much more cohesive with a specific plan of attack for all of the heroes in the film. Britany Murphy, Geeks of ColorThe massive differences serve to better establish the story… It sets the stage for the main antagonist in Darkseid, as well as provides a much clearer idea of what’s happening and why. Shah Shahid, Comic YearsThe point is not to shovel plot information at the viewer. The point is to create a fantastic world where metaphors are real, and to give you time to roam around in it and savor all the details. Matt Zoller Seitz, RogerEbert.comI’m actually not clear on why Steppenwolf was banished in the first place, and this is one of the areas where I feel that Snyder’s version is actually worse than the original. Matt Rodriguez, ShakefireDo the characters feel more developed?The character work is easily one of the biggest pleasant surprises of the movie, as is the further exploration of Steppenwolf. Jenna Anderson, ComicBook.comThe character development helps immensely… While watching Snyder’s version, I had a lot of, ohhh, I see, that makes sense now, moments. Mike Ryan, UproxxIt allows for time to see these characters when they aren’t superheroes, and makes them more human as a result. Karen Han, SlateSnyder’s priority is in giving each character time to look cool as hell, but not necessarily in making the audience like them any more — except for Cyborg. Joshua Rivera, Polygon(Photo by HBO Max)Do any characters stand out?Far and away, Cyborg [is] the best part of Zack Snyder’s Justice League. Sheraz Farooqi, ComicBook DebateFisher s performance is the best in a film filled with strong acting. Matt Zoller Seitz, RogerEbert.comThis is a star making performance from the actor. Josh Wilding, ComicBookMovie.comIf there’s any reason to see this beyond curiosity, it’s for those wanting a Justice League movie where Cyborg is the (eventual) central character. Scott Mendelson, ForbesThe extra Cyborg scenes make him a more relatable character, they are also rather dull at times. Kaitlyn Booth, Bleeding CoolDoes it fix the villain problem?Steppenwolf is among the characters who are fleshed out. Now he’s less ‘standard CGI villain’ and more of a depressing dope who just wants to impress Darkseid. Mike Ryan, UproxxSteppenwolf never feels imposing… The big bad getting chewed out by his boss doesn’t exactly establish a terrifying villain. Sean Mulvihill, FanboyNationThe extra scenes explaining Steppenwolf only underline that he s still a total dud. Angie Han, Mashable(Photo by HBO Max)How is the tone of the film?This new cut also wisely removes much of the original s cheesy, ill-fitting jokiness, making for a smarter, more even experience. Rob Hunter, Film School RejectsA lot of the vaguely Whedonish wisecracks have made it intact; turns out the Flash s awkward sense of humor was a rare element that both filmmakers could comfortably get behind. Angie Han, MashableThere’s also a sense of levity, with moments of humor… the tone isn’t quite the upbeat camp of Super Friends, or the stoicism of Snyder at his most serious, but something comfortably in the middle. Jenna Anderson, ComicBook.comHow does the movie look?The filmmaker s knack for striking visuals shows in the action set pieces, which play crisper and cleaner this time around. Angie Han, MashableThis has to be one of the most visually spellbinding comic-book movies ever made. Owen Gleiberman, VarietyThe superhero version of a symphonically grand, late-period silent epic… just scene after scene of impeccably composed panoramas. Matt Zoller Seitz, RogerEbert.comWhat about the visual effects?The visual effects are particularly impressive in bringing both Steppenwolf and Darkseid to life, especially in the intricate detailing and purple hue of Steppenwolf’s armor. Nicola Austin, We Have a HulkOutside of one or two brief moments, the visual effects within that aesthetic are near-flawless, especially when it comes to Steppenwolf and Darkseid’s visual design. Jenna Anderson, ComicBook.comWe re far too often treated to some pretty abysmal CG and digital matte work… the inconsistent quality of effects here is enough to threaten whiplash. Rob Hunter, Film School RejectsWhile there were some nicks and scratches in the heavy CGI moments, given that the team only had seven months to create 3,000 shots during a pandemic, this can be forgiven. Sheraz Farooqi, ComicBook Debate(Photo by HBO Max)And the action scenes?They’ve been staged with a supreme conviction that’s more Seven Samurai than super invincible. Owen Gleiberman, VarietyIn some instances, both action and quiet moments happen simultaneously, giving us a roller coaster of emotional reactions. Shah Shahid, Comic YearsThe action is free of any tangible stakes. There’s plenty of comic book action unfolding but it’s all weightless. Sean Mulvihill, FanboyNationThe final battle buries weightless digital oblivion under one laughable plot twist. Darren Franich, Entertainment WeeklyIs the new score by Junkie XL better?In many ways a character of its own, Junkie XL’s score is masterful. Sheraz Farooqi, ComicBook DebateJunkie XL s score is a rousing, ethereal mix of synth-fueled adrenaline and choral beauty alongside earlier Hans Zimmer tracks. Rob Hunter, Film School RejectsMostly, it works as a backing track for Snyder’s visual excess, but it’s still forgettable. Joshua Rivera, Polygon(Photo by DC Entertainment)How does it measure up against the Marvel movies?It comes closer to delivering the DCEU s equivalent of The Avengers than anyone could have expected. Rob Hunter, Film School RejectsThis cut is an ensemble picture that does as good a job as MCU s Avengers films of depicting a band of heroes as strong-willed, fully-rounded individuals. Matt Zoller Seitz, RogerEbert.comJustice League accomplishes in four hours what those films did in nine. Owen Gleiberman, Variety[The climax] may not be as all-encompassing as The Battle of New York, but it is close to the epic Justice League finale we wanted in 2017. Scott Mendelson, ForbesSo it was all worth the fuss, then?Zack Snyder’s Justice League is one of the best comic book films of all time. Sheraz Farooqi, ComicBook DebateZack Snyder’s Justice League is one of the best superhero films ever made. Dewey Singleton, AwardsWatchThe superhero movies that have achieved a genuine sweeping transcendence can just about be counted on one hand… to that hallowed list I would now add Zack Snyder’s Justice League. Owen Gleiberman, VarietyThis four-hour cut is the kind of brazen auteurist vision that Martin Scorsese was calling for when he complained (rightly) that most modern superhero movies don t resemble cinema. Matt Zoller Seitz, RogerEbert.comZack Snyder s Justice League premieres on HBO Max on March 18, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
The Handmaid’s Tale cast reveal whose side they’re on – June’s husband Luke or lover Nick – in the drama’s central love triangle. Elisabeth Moss, Joseph Fiennes, Ann Dowd, Madeline Brewer, Amanda Brugel, O-T Fagbenle, Max Minghella, Bradley Whitford, and Sam Jaeger talk season 4, and correspondent Nikki Novak also learns about Moss’ first time as a director while working on this season, and how her costars feel about her being boss.欧宝体育网页入口2、《原神》是手游排行榜2021前十名中最火的游戏之一，在各大最新手游排行榜中都是常见的面孔，游戏发生在一个被称作“提瓦特”的幻想世界，在这里，被神选中的人将被授予“神之眼”，导引元素之力。
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The Internet did it: The Snyder Cut of Justice League is happening, coming to HBO Max in 2021. The campaign to release the director’s version of the DC superhero team-up flick, and Warner Bros.’ move to do just that, arguably represents the single greatest act of “fan service” in movie history. But what does this move – and others like it (hello, redesigned Sonic!) – mean for the future of movies and filmmakers’ ability to take creative risks? That’s what we’re asking in this video deep dive into fan service, where we break down what exactly “fan service” is; take you through the history of fan campaigns and studios’ successful (and sometimes unsuccessful) attempts to please lovers of certain IP; and contemplate what it all means for some of our favorite franchises.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Courtesy of Sundance Institute | photo by Kasia Ladczuk. )Five years after The Babadook made Jennifer Kent a household name – at least within the homes of adventurous filmgoers with a thirst for smart and terrifying horror – the Australian director returns with a brutal, controversial, and Certified Fresh surprise. For her second feature film, The Nightingale, Kent moves away from the horror genre and jumps back in time to 1825 Tasmania, the small island at the base of southeast Australia from which some of the darkest stories of the nation s colonization have emerged. It s a bleak setting for a brutal story. Irish convict Clare (Aisling Franciosi) seeks revenge on a British officer (Sam Claflin) after he and two other men rape her and kill her husband and baby. Her chase takes her through the wilderness of Tasmania as the officer and his crew head north to the city of Launceston; to navigate the woods, she enlists – steals, really – Aboriginal man Billy (Baykali Ganambarr) to work as her tracker. At Sundance in January, where the film had its U.S. debut, a number of audience members walked out of the premiere screening, mirroring reactions at other film festivals where the film has screened. There are multiple scenes of rape, two of them extended, and moments of extreme violence. But there is also an unflinching honesty that drives the film, a rage, and a refusal to turn away from the brutality of colonial history that many are hailing as an overdue corrective to more sugarcoated readings of the period. Rotten Tomatoes met with Kent the day after the Sundance premiere at a hotel lobby in Park City, Utah, to talk about reactions to the film and the director s determination to throw a torch into dark corners, no matter how uncomfortable it makes those who have to look.Joel Meares for Rotten Tomatoes: When you introduced the film last night, you said you didn’t necessarily think of it as a period film, but a contemporary film. What did you mean by that?Jennifer Kent: I mean, I think of it as a myth. Not in that it s untrue, but just, I love myth. I love mythical stories, but I don t really love period dramas that kind of focus on costumes and sweeping images. I guess I meant that the concerns of the film are modern. You know? Charlie says, ‘It s a really brutal time.’ But I think [the time] where we re living now is brutal.Rotten Tomatoes: Watching with an American audience, when you made the comment about it being a brutal time, I think everyone sort of chuckled assuming it was a reference to U.S. politics. But being at that screening so close to Australia Day [which marks the day the first fleet of British settlers arrived to colonize the country], it felt much more directed at Australia and the debate around Indigenous rights and history there. It hit hard. Kent: Yeah, well I m really happy to hear. Not happy to hear it hit you, but I mean, I am, because I feel I have so much to say. I went to the Adelaide Film Festival, and I was really scared about how the Australian audience would take it to be honest. I just thought, we ve had such a blind spot in the past historically. And I think we went in with such sensitivity to that, but we couldn t not tell [certain parts of the story]. You can t not include those things in 1825 Tasmania because that is what happened. But also I think in order for this to change we need to shine a light on the darkness. Then we will really start to move forward, I think, have some kind of reconciliation and evolution together.(Photo by Matt Nettheim, © IFC Films)Rotten Tomatoes: How was the reaction at that first Australian screening in Adelaide?Kent: So yeah, I was really scared. And at the end of the screening no one left, no one clapped in the credits. It was dead silence for the whole, I don t know, those credits were four minutes or something. Then after the music ended and the screen went black, they stood up and gave a standing ovation for several minutes. And it really felt real – because Australians don t give standing ovations.Rotten Tomatoes: The film contains some brutal scenes, including two extended rape scenes and then there’s a smashing of a man’s head, shown graphically. How sensitive are you in shooting and editing in terms of how far to take it and how much an audience will be able to take? Kent: I mean yes that s violent, but no more violent than, say, Game of Thrones. But I don t think that s what disturbs people. I think it s all context. For example, if you sat and broke down that big long scene in the hut [in which Franciosi’s character Clare is assaulted by three men], there are only faces. It s just human emotion. That blows my mind that that s what really angers people. And you know, I ve been asked, ‘Do you feel you have the right to put this on screen?’ Well I don t believe in artist censorship for one, but I also think, ‘What are you asking me to censor? Human emotion? Is that what you want me to take out? Human hatred and rage?’ No, I won t do that. A person [at the Q A] last night had said, ‘How are you going to get this film seen across the world, because you show a baby being murdered?’ And I said, ‘No I don t.’ I said, ‘Your mind saw that. I don t show that on screen.’ I ve seen it thousands of times, I know I don t show it.I could tell you all sorts of terrible stories that are documented historically that happened in that period that would just shock you to your core. And I think the only thing I think I can say is, I ask the idea, ‘How far do I need to go?’ And the idea tells me. I m in service to the story. I try with all my heart to tell the purest story I can. It s not about me.(Photo by © IFC Films)Rotten Tomatoes: The film gives audiences an incredibly blunt, unfiltered portrayal of the way indigenous Australians were treated in that period – and for a long time after. It’s like no film I’ve seen in that way. There are rapes; Billy is treated like an animal. You don’t turn away from anything. And it’s confronting and hard to watch at times.Kent: It is. It is. I mean all I can say is the Aboriginal people who worked on the film are so proud of it. You know I wish Baykali [Ganambarr, who plays Billy] was here. He s doing a tour, a world tour with his dance group, but he always says, ‘It s not sugar coated. It s as it was.’ And I m really proud of it.Rotten Tomatoes: Baykali’s performance is incredible in this film. It’s a shock to hear it’s his first role. Kent: He hasn t acted before, but he s an experienced dancer, so he understands performance. I can t speak highly enough of Baykali. I love him and he s a genius actor. Incredibly bright, emotional intelligence. So dedicated. So easy to work with. He just was Billy. He really understood the character. You write a character like that and I thought, ‘How the hell am I gonna, A, find them and, B, direct them?’ It was just meant to be.Rotten Tomatoes: He’s well matched by Aisling. I remember seeing her in The Fall a few years ago and thinking that she stood out. And the character of Clare is fascinating: She’s sympathetic because of what happens to her at the beginning, but then she loses some of our sympathies because of the way she treats Billy initially. She’s racist and brutal in the same way as the British officers. Was there any temptation to smooth those edges down?Kent: No. I mean it s what I tried to do with Essie [Davis], who played Amelia and The Babadook, as well. For example, Amelia going, ‘Oh, my sick kid, I ve got to go home and look after him,’ and then she goes to the shopping center, has ice cream, and sits. She doesn t want to be with her child. It s really important when I m creating characters to find, you know, a human being. We re all complex. And I think Clare is a product of her time. And people were racist. That old man towards the end, there were people like that and that s why he s in there, because there were people who understood that this system was wrong. It wasn t a collective blind spot. There were people like him; he wasn t just a fantasy or hope of mine. People like that existed in history books. They re there. Just not many.(Photo by Matt Nettheim )Rotten Tomatoes: Speaking of horror, because that audience does know you from The Babadook. The movie has a kind of horror structure starting out; something like I Spit On Your Grave or Last House on the Left, with a big brutal thing happening and us expecting then some sort of satisfying revenge. But it doesn’t stick to that at all, and doesn’t give us that.Kent: If you love those movies you ll be terribly frustrated by this film, really, don t you think? Be like, ‘What s going on? What s this with the, you know, compassion and empathy?’ No. I don t want that. But you know it s a backdrop. It s not a right revenge film. It s not.Rotten Tomatoes: [SPOILER WARNING for the end of The Nightingale]. Indeed. She doesn’t even get to be the one who gets to do the avenging in the end. Was there any temptation to have her do the killing and give the audience that catharsis?Kent: Only from the financiers, not from me. I m not interested in giving an audience satisfaction. I think often we re fed stories that are comforting and for all the wrong reasons. And more and more it s happening. I think that s not personally my job to spoon feed people, or make them feel safe, or make them feel better about the world.Rotten Tomatoes: What do you see as your job?Kent: I think my job is to serve the story that comes to me, hopefully on a deeper level. And to move people in some direction. And I can t be responsible. It s like, you put a painting on the wall, but you can t be responsible for how people feel about it. I know in my own life, for example, it s the story I always remind myself of: I saw Mulholland Drive and I hated it. I was so angry, you know, it s two-and-a-half hours long, nearly three hours long, and I was so pissed off. I was like, ‘This is stupid stuff with the box.’ And really irritating. Even though I loved her performance, it really irritated me. Then I ve seen it like 10 times since then. Now I realize it was no problem with the film, it was me that was the problem. I appreciate so much more his vision. And I love it, it s a masterpiece. I never thought that I could change my opinion or feeling about a work of art, but you can. So, we can t as artists bow to what we think people [want], you know. You can t want to be liked.The Nightingale opens in limited release August 2, 2019.
欧宝体育网页入口 Some 31 years after the original comedy that made them household names was released, time-traveling slackers Bill and Ted are back – along with the actors who made them icons, Keanu Reeves and Alex Winter. In Bill Ted Face the Music, the boys – now middle-aged men with kids – are tasked with creating a song that will save the universe, and they have less than 80 minutes to do it. Ahead of the movie’s release, Rotten Tomatoes sat for a Bill Ted deep dive with Reeves and Winter, as well as writers and co-creators Chris Matheson and Ed Solomon, who created the characters in sketch workshops and have written all three films in the Bill Ted trilogy. Here, the quartet take us back to the very beginning, remembering first auditions, revealing how sequel Bogus Journey almost turned out very differently, and giving us their takes on why the characters continue to appeal and what it means to “be excellent to each other.”Bill Ted Face the Music is in select theaters and available on VOD now.
This feature is by Catherine Young, the current USC Annenberg-Rotten Tomatoes Digital Innovation and Entertainment Criticism fellow, a partnership with the USC Annenberg School for Communication and Journalism. Cate is writing on the representation of women in film; read her piece, The Bling Ring, Debbie Ocean, And Why We Can t Help But Love Cinema s Designer Thieves, here.(Photo by ©Focus Features/courtesy Everett Collection)The last 25 years have brought a slew of female action heroines to our screens. From Lorraine Broughton in Atomic Blonde and Letty Ortiz in the Fast and Furious franchise to Lucy in Lucy and Milla Jovovich’s Leeloo in The Fifth Element, women have been steadily kicking their way to center stage in a genre that once mostly excluded them. These characters have very little in common on the surface – their story motivations don’t overlap and they come from all walks of life. But they are all connected by the way they are depicted on screen. The women are all physically strong, whizzes with weapons, or both; every one of them has a rousing “girl power” fight scene that drives home their physical prowess. The “power” is the key. Instead of becoming an expanded avenue for female characters to flourish, the action genre has become a place where female characterization often goes to die. Combat skills have become a handy shortcut for films to skimp on true character development for the women in their story. Rather than learning about these women’s inner lives or motivations, we watch with glee as they raze through scene after scene of dangerous (nearly always male) thugs, and enjoy the minor thrill of seeing them act just like one of the boys. After all, if a female character lands enough punches, it can be easy to miss that she isn’t adding much depth to the story. This lazy narrative trick has meant that instead of getting character arcs, women have just been getting bigger and better guns. But there are other possibilities, and we’re finally starting to see them onscreen.(Photo by © Marvel / courtesy Everett Collection)Female-led action films of the last five years have started showing that empathy is also an integral part of the heroic scaffolding. It’s noteworthy that by combining physical and emotional strength, films like Wonder Woman, Captain Marvel, and Mad Max: Fury Road, demonstrate that women do not have to be emotional vacuums in order to live up to their heroic ideals.In 2019’s Captain Marvel, the title hero spends most of the film being gaslit by her mentor. After absorbing an unimaginable cosmic power and being kidnapped by the Kree, Carol Danvers (Brie Larson) is turned into a weapon for the galaxy’s villains against her will, and without her memory, she doesn’t know her own power. In the film’s final confrontation, her mentor turned nemesis, Yon-Rogg (Jude Law) attempts to bait her into a fistfight, but she merely blasts him off his feet instead. She has nothing to prove. Over the course of the film’s run time she has learned that her physical strength and otherworldly abilities are not what make her valuable. Her true skill is in valuing the dignity of human life and a willingness to right the wrongs of her past.(Photo by © Marvel / courtesy Everett Collection)Danvers’ narrative arc may feel unfinished to some, but what it succeeds in doing is showing that physical and emotional strength do not have to be mutually exclusive traits. As she regains her memory, Danvers must come to terms with the fact that she has been fighting on the wrong side of a colonial war, and her innate goodness is what propels her to defect to the side of the righteous. Though the story makes clear that she is possibly the singular most physically powerful being in the universe, it also takes the time to highlight that her emotions also bring her power. Her rage, love, and desire to be good make her physical power stronger and more lethal, feeding into her ability to protect the people who deserve it.What makes Captain Marvel such an interesting example of the modern action hero is that part of the villain’s plan is to get her to repress her emotional side. Danvers is outfitted with an inhibitor chip meant to suppress her powers, and she is repeatedly told that in order to master them, she must release herself from emotional complications. It’s a direct engagement with the idea that feelings make women weak or less capable, and that’s what makes it all the more satisfying when her embrace of her full emotional range allows her to access the true extent of her power.Cate YoungPatty Jenkins’ Wonder Woman similarly makes empathy a central part of its title character’s arc. Diana of Themyscira (Gal Gadot) is driven directly by her innate need to protect and defend the powerless. The very purpose of the Amazons – the powerful all-female tribe to which Diana belongs – is to protect mankind from the jealous god Ares. When fighter pilot Steve Trevor (Chris Pine) washes up on the shores of her idyllic nation and tells the Amazons about a war that is ravaging the world, Diana feels obligated to intervene on behalf of humankind. Her purpose is to defend the helpless and ensure peace. Throughout the film, Jenkins takes great pains to display and demonstrate Diana’s empathy. The famous No Man’s Land scene shows just how strongly Diana can draw from her emotions to effect real change. In the scene, Diana faces a violent threat directly, and acts in service of her empathy for the war’s victims, defeating an enemy and saving a town. The moment is the film’s best action scene, and it works so well because the audience understands Diana’s empathetic motivations.(Photo by ©Warner Bros./courtesy Everett Collection)Later, in the movie s finale, Diana s finding the strength to defeat Ares by drawing on her love for Steve could have played out as cliché, but it falls completely in line with the actions of an empathetic hero. With her hopes dashed and her belief shattered by Ares, it makes sense that Diana’s access to love, empathy, and a true belief in righteousness would be the thing that allows her to access her true power as Zeus’s “Godkiller.”In Ares’ view, the only way to save the world is to rid it of humankind. But it is Diana’s radical empathy that allows her to see that people have a great potential for goodness, and deserve the chance to right their wrongs. This realization springs from her fundamentally different perspective on the inherent nature of people. People have the ability to be good or bad, but she chose to believe that given the chance, they would turn towards goodness. It’s a belief that’s rooted not just in the lore of Wonder Woman herself, but in the idea that people are not disposable. Wonder Woman was an excellent example of what a hero can be capable of when they access their full emotional capacity. (Photo by ©Warner Bros./Courtesy Everett Collection)In Mad Max: Fury Road, Imperator Furiosa’s (Charlize Theron) motivation is rooted in her empathy for Immortan Joe’s five wives. The film also tackles larger themes of environmental pillage and economic scarcity. Furiosa’s decision to steal the women away and bring them to what she believes is a land of plenty, is a firm outgrowth of her understanding of the need for human dignity. Before the events of the film’s central conflict, Furiosa is a valued servant in Immortan’s vast empire, in good standing with his stifling world order. But the clear injustice of his treatment of not just women, but the very earth he stands on, prompts her to act. Furiousa risks her life and Immortan’s wrath by leaving with his prized “broodmares,” but the danger she chooses to face is a direct reflection of her rejection of his world view. In this barren hellscape, women exist to be pumped for milk or to give birth to heirs. But Furiosa remembers a time when resources were plentiful and women were ushers of new life instead of prisoners to its arrival.(Photo by ©Warner Bros./Courtesy Everett Collection)Her quest to save the Wives is an act born out of revenge, but also a sincerely generous and selfless impulse. There is nothing that the Wives can give her. Their presence is functionally a burden on her ability to survive. But she saves them anyway, because they are slaves to Immortan’s whims and she knows that no one deserves to be treated like an object or plaything. In turn, the Wives reflect this impulse over the course of their journey with her, saving the life of a War Boy, and protecting Furiosa from Immortan’s bullets when he begins his pursuit.The Vuvalini, or Many Mothers, who meet up with Furiosa and the Wives in the Green Place, are a group of mostly older women who guard the few remaining seeds with the potential for growth. Instead of a vibrant, flowering paradise, Furiosa finds that the utopia she had hoped to share with the Wives has been decimated by Immortan’s far-reaching neglect – the land of plenty is no more.(Photo by Jasin Boland/©Warner Bros./Courtesy Everett Collection)Rather than stealing away with this new team of female survivors, Furiosa turns them around and heads back to the Citadel, the very place from which they escaped.. With Immortan distracted, she retakes his fortress, freeing not just the Wives, but all the other people left starving and mistreated by his hoarding of resources.This eventual revolution would never have happened if not for Furiosa’s brave actions and her desire to seek revenge on Immortan Joe. Without the calculated risks she took and the help of the newly freed Wives and noble Vuvalini, the wasteland they called home would have remained under the iron fist of a dictator. A simple empathetic impulse – to save the Wives from sexual bondage – led to the freedom of an entire society. Furiosa has no super powers or special abilities, but her empathy influenced her actions, and her actions liberated a city.(Photo by ©Netflix / Courtesy: Everett Collection)Furiosa, Diana, and Carol’s empathetic strength may make them compelling, even iconic action heroines, but they’re complexity is not the norm in Hollywood. Actress and filmmaker Brit Marling succinctly explained the problem of female “strength” in film in a New York Times op-ed earlier this year: “It would be hard to deny that there is nutrition to be drawn from any narrative that gives women agency and voice in a world where they are most often without both. But the more I acted the Strong Female Lead, the more I became aware of the narrow specificity of the characters’ strengths – physical prowess, linear ambition, focused rationality. Masculine modalities of power. [ ] Because what we really mean when we say we want strong female leads is: Give me a man but in the body of a woman I still want to see naked.' (Photo by ©TriStar Pictures/ Courtesy: Everett Collection)There’s nothing wrong with female characters being physically strong. Some of the most iconic women of cinema are iconic specifically because they were allowed to be physically strong when women’s strength was a novelty. Characters like Terminator 2’s Sarah Connor, G.I. Jane’s Jordan O’Neil, Underworld’s Selene, Kill Bill’s Bride, and Resident Evil’s Alice broke boundaries by showing that women could be more than the damsel in distress. But the tendency to ignore the real value of more traditionally feminine modes of power means that we effectively erase them from existence. When our cultural scripts equate strength with brawn, we ignore the important ways emotional intelligence and empathy play a role in how we interact with each other. Movies are their own kind of cultural record, and it’s important to inscribe women’s emotion into our history. The action hero is a perfect opportunity to do just that. Ryan Fujitani for Rotten Tomatoes: I read that Climax is loosely based on something that actually happened.Gaspar Noé: Yeah, it s an open adaptation. I was working on two other scripts based on true stories, and the moment you decide to make a movie about a true story you need to have the permission of the families. Also you can guess when you weren t in a situation and you see it from the outside or a newspaper, it s reduced to a situation in which people die or something.The whole movie happened quickly, although my line producer was obsessed with the story and I remember that story at the time. The movie was kind of improvised around what we had in mind for the story. So we said, like in the opening of the pitch, we can do a movie about a cult, you can do a movie about a war, you can do a movie about a couple of artists who committed suicide in their house, and you don t know what happened. Then you can invent a story out of that couple of artists who committed suicide in the mountain. But, it s an open adaptation.And certainly the dancers were not as good as the ones that were in the movie. I mixed the story with the dancers that I wanted to film, so you will certainly know this type of dancing.RT: Were you always interested in exploring the dance/musical format at some point?Noé: No, I did once a music video with filmed dancing that I really enjoyed shooting, but I had never shot choreography even two weeks before shooting. I never even thought I would work with a choreographer, hopefully secure Nina McNeely, who s a genius, and the casting, and what she created with them. I discovered on the third day of shooting, I had the crane, and then I started playing with the crane as Nina was playing with the dancers and the dancers were playing with the other dances. That particular scene is certainly the most corrective scene I ve ever shot, because I thought I was more like a documentary director shooting something that I instigated but I was not responsible for. It s like being the captain of a football team you re inside the team, but there are eleven players trying to win. So you can shout, but dancing didn t come from my mind. In my mind I said, Well, I want to do the choreography, and I found my favorite dancers around Paris. If someone has to be congratulated it s more them and Nina than me.RT: The film s themes are open for interpretation, though it s easy to imagine some people will simply take the central message to be an anti-drug warning, and I don t think that s your intention.Noé: It s like, no, some people are for abortion, some people are against abortion. Drugs are everywhere, even coffee, and even wines. The movie s not pro or against the use of chemicals. What I know is that there are situations that are portrayed in movies that exist in real life, and I like watching serious movies that would warn you about things that happened during wartime or in a hippie basement, but it s like everything. Alcohol I like alcohol. It s very good when you take one glass of wine, two glass of wine, and then a third one and fourth, and the energy is going up and up, and everything that is constructive and funny can suddenly turn totally destructive. I ve been in situations in which there were no drugs involved, in which a happy party turns into hell. Some people can handle alcohol, some people can not. Some people can handle small amounts of plants or chemicals, and the alternate. The movie s not a cautionary tale. Drama exists in your life even without substances.Climax is currently in theaters.
欧宝体育网页入口 Are the Fast Furious movies critic-proof? Perhaps, but also: many critics love the Fast Furious movies. And going by the first wave of reviews of the latest installment, F9, there are more critics in favor of the property’s further push into ludicrous speed, especially with franchise favorite Justin Lin returning to direct the sequel. There are a few disappointing elements even for the die-hards, though, including the addition of John Cena to the Fast Furious family. But if you’re in the mood for more over-the-top action mixed with a silly, soapy scenario, you’ll be happy to take another ride with Vin Diesel and crew.Here’s what critics are saying about F9:How does F9 compare to the other Fast Furious films?Possibly the fastest and most furious yet. Germain Lussier, io9.comF9 takes The Fast and the Furious to the next level. Fred Topel, Showbiz Cheat SheetThis is, by FAR, the biggest, wildest, gravity-defying-iest Fast Furious installment yet. David Ehrlich, IndieWireF9 returns to the heights of Lin s best Fast Furious franchise films, combining big heart and bigger action while deepening its themes of family. Molly Freeman, Screen RantEven by the standards of a Fast Furious movie, F9 crams a dizzying amount of stuff into its 149-minute run time, and it tears through them at such head-spinning velocity that the dizziness becomes part of the pleasure. Angie Han, MashableA return to form for the series. At least up there with 6 if not close to touching the bombastic grandeur of Five. Kyle Anderson, NerdistIt’s far from a nadir for the brand, but sits comfortably in the bottom five when ranking the films. Eric Eisenberg, Cinema BlendThis latest installment suffers from the inevitable diminishing returns inherent when a franchise constantly tries to top itself. Tim Grierson, Screen International(Photo by ©Universal Pictures)How does it feel to have Justin Lin back in the driver s seat?F9 sees Lin return after two movies away, and I have to say, it’s really good to have him back. Kyle Anderson, NerdistAfter the empty soullessness of Fate of the Furious and the ribald nonsense of Hobbs and Shaw, F9 feels like Lin is pulling the franchise back on track. Hoai-Tran Bui, SlashfilmOnce again, Lin gets the job done not by slamming on the brakes, but rather by speeding things up to such a ridiculous extreme that the velocity starts to hold everything in place. David Ehrlich, IndieWireInstantly you know this film is in the hands of people who get this world. Germain Lussier, io9.comHow is the plot?F9 further pushes The Fast Saga into the realm of unapologetic soap opera, complete with long-lost siblings and ridiculously convoluted resurrections. Scott Mendelson, ForbesIt s simply the vehicle (pun intended) that loosely ties the various action scenes together. Molly Freeman, Screen RantI missed an exchange that explained a key plot point about what the main gizmo, that can destroy the world, even does and I didn’t care. It doesn’t matter. Mike Ryan, UproxxA good portion of the plot, scripted by Daniel Casey, feels cribbed from Furious 7 with some slight alterations It’s rarely a good sign when a franchise needs to go the route of digging up mysterious/long-lost relatives as tired plot devices. Eric Eisenberg, Cinema BlendToo much of what happens in F9 feels stuck in the past. Owen Gleiberman, VarietyLumbering along like a vehicle in need of a tune-up… with an A-to-B plot that’s as laughably lazy as it is simplistic. Jordan Raup, The Film StageThe jolly inventiveness of the action scenes only underlines how painfully corny the drama is by comparison. Tim Grierson, Screen InternationalRyan FujitaniWhat about the action?The effects and stunt teams all deserve gold stars. Alonso Duralde, The WrapA lot of the road stunts do look quite real, where I assume a lot of actual stunt work was done, as opposed to Dom fighting a CGI submarine. Mike Ryan, UproxxI appreciated a return to more primal car chases this time out after the over-the-top madness of Furious 6 (a tank!) and Furious 8 (a submarine!). Scott Mendelson, ForbesIt’s pretty damn enjoyable to watch a car swing around on a cable off of a cliff. Eric Eisenberg, Cinema BlendThere’s a fair share of wit on display as well, in particular during a couple of set pieces which make giddy good use of high-powered magnets. Tim Grierson, Screen InternationalOne scene toward the end [is] guaranteed to make your jaw drop at the gloriously brain-dead chutzpah of it all. David Ehrlich, IndieWireWhile the ideas in F9 s big third-act action scene are bigger than any other Fast Furious movie, the sequence itself doesn t feel quite as epic as past films. Molly Freeman, Screen RantThe movie also has a lot of hand-to-hand combat — too much of it, I would say — that happens aboard speeding vehicles. Owen Gleiberman, VarietyComes across as borrowed, not only from past iterations but other action films as well, with two separate Christopher Nolan set pieces coming to mind. Jordan Raup, The Film Stage(Photo by ©Universal Pictures)Do they really go to space?If seeing two wise-cracking dudes in bright yellow scuba suits rocketing into outer space in a Pontiac Fiero doesn’t sound the least bit appealing, then you’re probably not a fan of the Fast Furious franchise. Courtney Howard, Fresh FictionIt lives up to the hype and then some. Germain Lussier, io9.comWould you believe me if I said that aspect is one of the lesser ridiculous things to take place in this film? Aaron Neuwirth, We Live EntertainmentReally, the less said about that, the better. Suffice it to say that the car jumping from skyscraper to skyscraper to skyscraper in Furious 7 was a lot more fun. John DeFore, Hollywood ReporterYou might smile at the lunkheadedness of the whole enterprise — that is, if you’re feeling generous. Joshua Rothkopf, Empire MagazineDoes F9 ever go too far over the top?This is a movie that sling-shots so far past self-parody that it loops all the way back to something real. David Ehrlich, IndieWireF9 reaches heights of absurdity that break through into the transcendent. Angie Han, MashableThe most ludicrous and unwieldy of the films so far. It transcends parody… I might go so far as to say F9 is a comedy. Hoai-Tran Bui, SlashfilmPerhaps what’s most fascinating is the deeper intelligence mixed into the ridiculousness. Courtney Howard, Fresh FictionAs long as these movies keep their earnest, fun, ’90s action movie tone, there is no ridiculous plot point these movies could come up with I wouldn’t believe. Mike Ryan, UproxxFor a series with a main character who routinely urges his buddies to trust in math and physics because Numbers Don’t Lie, Fast really insults any viewer who feels the same way. John DeFore, Hollywood Reporter(Photo by ©Universal Pictures)Do the women get enough of the action?The women do get some of the better moments in the movie. Rodriguez is still quite a badass after 20 years, and even Dom’s sister, played by Jordana Brewster, gets more into the action than we’ve ever seen before. Edward Douglas, Below the LineWatching Michelle Rodriguez drive over landmines faster than they can explode beneath her motorcycle feels like snorting nitrous straight from the tank after a year of being forced to pretend that movies are even remotely the same at home. David Ehrlich, IndieWireThere s a positively delightful sequence that finally gets Helen Mirren s Queenie Shaw in the driver s seat of a chase scene. Molly Freeman, Screen RantThis is a movie about men and brothers and men and fathers and men and cars, and sisters can just jump to the back of the line, apparently. Alonso Duralde, The WrapHow is the addition of John Cena to the franchise?If there’s a piece that doesn’t fit, it’s Cena… As the brooding, bitter baby brother, he’s a glowering wet blanket, and no fun whatsoever. Alonso Duralde, The WrapA disappointing use of John Cena, who has to put a lid on all of his charisma so that he can seem like a relative of Vin Diesel’s. Eric Eisenberg, Cinema BlendThe charm Cena showed in Blockers and Trainwreck does not blip on the radar here, lest it interfere with Diesel’s signature, leaden acting style. John DeFore, Hollywood ReporterThe chemistry between Cena and Diesel is so non-existent that it’s almost impossible to buy into the central emotional (if that’s what you can call it) thrust of the movie. Hoai-Tran Bui, Slashfilm(Photo by ©Universal Pictures)What about the reappearance of Sung Kang s Han?Even in his brief scenes (Lin lovingly reintroduces the character in the coolest way possible), Kang reminds us of why Han was an instant fan-favorite — radiating charisma and likability. Hoai-Tran Bui, SlashfilmThe script hardly does him justice (Sung Kang is still the coolest, and manages to survive the human plot device he’s forced to bring with him). David Ehrlich, IndieWireWhile Sung Kang makes the most of his limited time onscreen (my audience cheered practically every time he appeared), it s hard not to expect more after all this time. Angie Han, MashableBringing Han back to life works as pure fan service, but it also undercuts the emotional impact of his passing. Eric Eisenberg, Cinema BlendSad to say but if all of Han’s story was cut, F9 would probably have been a more compact, tighter, faster-paced movie. Germain Lussier, io9.comIs there a lot of fan service?It has moments fans have always wanted to see, moments we never thought we’d see, action to spare, and dives deeper emotionally than any other installment. Germain Lussier, io9.comA lot of the movie feels crowdsourced, and that’s fine in a way. Give the fans what they want, and they’re the ones who demanded Letty be alive. Fred Topel, Showbiz Cheat SheetSome of this fan service ends up feeling forced, as does one action sequence that satisfies a desire many Fast And Furious aficionados have long harbored about where the sequels might go. Tim Grierson, Screen International(Photo by ©Universal Pictures)Does the franchise seem to be on the right path?There’s still plenty of gas in the tank of this franchise. Germain Lussier, io9.comThere’s assuredly plenty of gas left in the tank. Courtney Howard, Fresh FictionFor the first time in a long time it feels like it’s drifting in the right direction. David Ehrlich, IndieWireFast Furious 9 feels like a rejuvenation. Joshua Rothkopf, Empire MagazineAs fast and furious as F9 races along, it can’t quite outrun the impression that these films are losing some of their freshness. Tim Grierson, Screen InternationalThe series no longer has any dramatic stakes and no longer even pretends to adhere to the consequences of its onscreen stories. Scott Mendelson, ForbesThis humdrum antepenultimate adventure leaves one convinced those steering the series don’t have a firm grasp on where it’s heading. Jordan Raup, The Film StageI’m not 100% sure that even the most diehard fans will want much more of the Fast Saga with everything thrown at them in this one. Edward Douglas, Below the LineFast and Furious is clearly running on fumes and in desperate need of a pit stop, if not a full overhaul. James Marsh, South China Morning PostF9 releases in theaters on June 25, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.