对于手机游戏来说，手机游戏对玩家的吸引力将会越来越大，这也将为系列手游品牌铺平道路。通过授权其IP，或者直接投资于手机游戏开发，娱乐公司可以推动这一进程，许多实际案例都证明，在合适的时机，娱乐公司与游戏开发商的合作将获得巨大成功。有些成功的游戏在玩家心中以及获得了不错的好感，随后同类型的游戏在开发中，直接获得了一定的玩家资源。而且随着玩家对游戏需求的增加，游戏的吸引力也在不断增强。 rs and streams on HBO Max on December 25, 2020.On an Apple device? Follow Rotten Tomatoes on Apple News.
Ryan Murphy announced via his Instagram account that the upcoming tenth season of American Horror Story, which has been filming in Provincetown, Massachusetts, will tell two spooky stories — one by land, one by sea — in a theme he s dubbed Double Feature. Also new this year: cast members including Macaulay Culkin and the just-announced Kaia Gerber.Season 10 of the horror anthology, like so many other shows, was pushed from 2020 to 2021 due to the pandemic, but is on track to premiere ahead of the Halloween season later this year.What We Do in the Shadows Spinoff Finds U.S. Home(Photo by Paramount Pictures)Wellington Paranormal, the TV spinoff of cult-favorite Kiwi vampire movie What We Do in the Shadows, has found a U.S. home. The New Zealand-set series — not to be confused with the What We Do in the Shadows TV show, which is also a spinoff of sorts set in New York City — will air on The CW and HBO Max this summer. The series, which was created by WWDITS directors Jemaine Clement and Taika Waititi, follows the adventures of Officers O’Leary and Minogue, hard-working members of the Wellington constabulary’s paranormal unit who, under the supervision of Sergeant Maaka, investigate supernatural occurrences that arise in the capital of New Zealand on a surprisingly regular basis. National Treasure Is Becoming a TV Series(Photo by Touchstone courtesy Everett Collection)The long-rumored third National Treasure movie might still be up in the air, but the franchise is getting a new entry in the form of a TV series reimagined through the eyes of a 20-year-old DREAMer named Jess Morales.According to The Hollywood Reporter, Jerry Bruckheimer is on board as a producer, as are original screenwriters Cormac and Marianne Wibberley. Mira Nair will direct the series, which centers on a younger cast as they explore the ideas of identity, community, patriotism and who gets to write history as Jess and a diverse group of friends embark on an adventure to uncover her mysterious family history and recover lost treasure. Bruckheimer said in May 2020 that the series was being developed alongside a potential third film, which would star Nicolas Cage and the rest of the original cast.NEW TRAILERS: Cristin Milioti and Billy Magnussen star in Made for LoveAfter 10 years in a suffocating marriage to a tech billionaire, Hazel (Cristin Milioti) finally makes her escape — only to find that her controlling ex (Billy Magnussen) has implanted a monitoring device in her brain that allows him to track and observe her as well as mine her emotional data as she tries to regain her independence. Made for Love premieres April 1 on HBO Max.More trailers and teasers released this week:• Big Shot follows a temperamental basketball coach (John Stamos) who takes a job as the head coach at an elite all-girls private high school. Premieres April 16 (Disney+).• Kung Fu follows a Chinese-American woman (Olivia Liang) who returns from a years-long stay at a monastery in China and uses her teachings to protect her hometown of San Francisco. Premieres April 7 (The CW).• The Nevers is a sci-fi series set in Victorian London that follows a group of women with newfound supernatural powers who are all in grave danger and must be protected. Premieres April 11 (HBO).• The first season of horror anthology Them follows a Black family who moves from North Carolina to an all-white Los Angeles neighborhood in 1953, where their idyllic home becomes ground zero for malevolent forces. Premieres April 9 (Amazon Prime Video).• Season 3 of Miracle Workers sees its characters hit the Oregon Trail. Premieres later in 2021 (TBS).• Christopher Meloni s Detective Elliot Stabler is back in action in Law Order: Organized Crime. Premieres April 1 (NBC).• Godfather of Harlem season 2 sees Forest Whitaker return as 1960s crime boss Bumpy Johnson. Premieres April 18 (Epix).• Dad Stop Embarrassing Me follows a single dad and cosmetics brand owner (Jamie Foxx) who figures out fatherhood on the fly when his strong-minded teen daughter moves in with him. Premieres April 14 (Netflix).For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.CASTING: Jamie Foxx is Mike Tyson in Scorsese-Produced Series(Photo by © Warner Bros.)Jamie Foxx is set to play Mike Tyson in the authorized limited series Tyson, executive produced by Martin Scorsese, the boxer himself, and Antoine Fuqua, who will direct. Colin Preston is set to write the show, which currently does not have a home.Naomie Harris is set to star alongside Chiwetel Ejiofor in the Showtime series The Man Who Fell to Earth, based on the Walter Tevis novel of the same name (and, of course, the famous David Bowie-starring film). Ejiofor plays the titular alien, while Harris will play brilliant scientist Justin Falls.HBO s series about the Los Angeles Lakers has added super-tall actors Jason Segel as former Lakers head coach Paul Westhead and Bo Burnham as player Larry Bird.Stanley Tucci is an Inside Man — he ll star as the titular character alongside David Tennant, Dolly Wells, and Lydia West in the four-part Netflix/BBC miniseries that follows a U.S. prisoner on death row, a vicar in a quiet English town, and a math teacher trapped in a cellar whose paths unexpectedly cross.Ryan Murphy has recruited American Horror Story veteran Evan Peters to play serial killer Jeffrey Dahmer in his upcoming Netflix limited series Monster: The Jeffrey Dahmer Story.The most adorable part of 2021 s award season, Minari star Alan Kim, is joining Awkwafina is Nora From Queens for the comedy s second season. He ll play the younger version of BD Wong s character, Wally, in flashbacks.In a surprise move, The CW s Batwoman has recast Wallis Day in the recurring role of Kate Kane, the character previously played by former series star Ruby Rose.PRODUCTION DEVELOPMENT: Issa Rae is Sticking With WarnerMedia(Photo by Amy Sussman/Getty Images for Women In Film)Insecure might be ending, but Issa Rae is staying at her home of WarnerMedia. The writer and actor has signed a five-year overall deal with the company, which will include television and features created by Rae s company Hoorae. Upcoming projects include the fifth and final season of Insecure, which is filming now, plus HBO Originals including The Vanishing Half, Nice White Parents, and the documentary Seen and Heard, plus the HBO Max Original Rap Sh*t and a scripted series with Mark Phillips.A new Disney+ series starring Alaqua Cox as Marvel s Echo is in the early stages of development. Cox debuts as the deaf Native American hero in the upcoming Hawkeye Disney+ show, which stars Hailee Steinfeld.David Duchovny s latest novel Truly Like Lightning is headed to Showtime, with Duchovny writing and starring in a series adaptation. Tyler Nilson and Michael Schwartz will write the script alongside the star, whose book follows a former Hollywood stuntman living with his three wives and ten children outside of Joshua Tree who becomes embroiled in a deadly chain of events after being approached by an ambitious real estate developer.Girls Trip creator Tracy Oliver has signed a sweeping multi-year overall deal with Apple, which will see the creator developing original television series and feature films that emphasize telling diverse and meaningful stories.On an Apple device? Follow Rotten Tomatoes on Apple News.战魂olBarbara Ling: I got a call to read the script at Quentin s house, and I went crazy for it, then met with Quentin. And the first big meeting was kind of insane. He writes the script as if it s a novel. It was an enormous amount of places. It was all I could do to try to take notes and catch up on how many locations we were going to need it was so massive. A massive film driving through LA, nonstop. It s stopping at many different types of areas. So once Quentin and I talked about the things that were most crucial for him and what he d love to see that could be discovered, all of the rest happened really quite quickly. Within the first 24 hours of me starting, I made sure I had Rick [Schuler] starting the next day, because the one thing that was very apparent to me, time was of the essence, and it was gonna take a lot of wrangling. It s Los Angeles, which is not an easy hunt. So Rick threw his department together fast.Rick Schuler: I was working on Ford v Ferrari and decided to jump over because I wanted to do the Quentin movie. Then I interviewed with Barbara. I guess that interview went well. [laughs] I was excited to be working with her, because she grew up and lived in Hollywood at that time. I came to Hollywood much later, so I was very excited about that. But yeah, it started rather quickly. Barbara met with him first, and then I got to the script, and then just started breaking down the locations. Barbara was already doing the locations that were written in the script and scouted already. So there was plenty for me to start wrapping my head around, like Musso Frank s and Casa Vega and all that kind of stuff. And then it was only later that I jumped in and talked more with Barbara and Quentin about other specific locations.Ling: We had Quentin in a car the very first week we both started. By the end of that week, we were driving the streets of LA. We had a tight window of only about 12 weeks before the tech scout and the first commercial shoots. Those little commercials were being made for within the film first, which meant that you had 12 weeks to put this movie together, to have the budget, start building, and start finding. The best part was being in the car with Quentin those hours and long conversations. And it does take hours, because driving through Los Angeles scouting is always hours. [laughs] In one respect, it was good, because that s where you get so much about what he s thinking. He s going, Yeah, and what about that? What about if we do this? It s a creative time. And then there was nonstop driving with him once Rick would assemble things. It was a very quick process, but very creative and very fun. The hardest part [was] getting all of [these fractured moments] pinned down in the beginning. (Photo by Columbia/Sony Pictures)Ling: You have a layering in this film that s separate from the world that they were in the everyday 1960s, and then you had the TV shows that they were in at that time. Rick Dalton s Lancer would ve been set as an 1800s Western. So now we re doing this film, and we re doing the eras within the era. The constant was 1969, the live-action now. The actors, you d see on the streets or in their homes. And then we d go to a set, and now we re coming into a TV show. You have the Westerns, the Hullabaloo, and these fractured moments around different sets that carry on as their characters are on the set. When Cliff Booth is fighting Bruce Lee you re there on the outside of the set in the 1960s. You re not on the inside of the set, but it s there in the background.And those scenes within the scenes are the hardest part. Getting all of that pinned down in the beginning how many TV shows are there? It s a lot. It s a lot because there were a broad range of shows. But Quentin had to pin it down for himself. He said, Okay, we re going to do 20 of these shows. But then you had the everyday action of the movie, Rick s life, Rick coming home, Cliff going to his trailer, the introduction of the Polanski house. And there s actually a lot that we did that didn t make the cut, because what happens with any movie is that you go for the gold, and then you think, Well, maybe I don t need that now. [Quentin s] an encyclopedia of both film and TV shows of that era. (Photo by Columbia/Sony Pictures)Schuler: Do you remember how he [Quentin] would pop things on us? Like, we were driving back from somewhere, and he goes, Oh, okay, go down Riverside. Go by Bob s Big Boy, and make a left on Furman. Stop. Now, let s get out of the car. And then he showed us a restaurant that he had frequented with his family growing up called The Money Tree on Riverside. And then once he sort of told us about that, he said, Well, an FBI episode was shot here. And we re listening, and he s like, Yeah, and I want to do this scene here. And that was sort of completely out of the blue.Ling: What s so great about Quentin, he s an encyclopedia of both film and TV shows of that era, particularly of the 50s, 60s, and 70s. And because there were scenes from FBI he wanted to recreate, which he did with Rick s character, we found a location and put that into the episode. He had found an old FBI with Burt Reynolds that he knew had a moment driving right down Riverside Drive and making the turn on Furman he just knew exactly where that was. The Money Tree was the place he had gone to, and he said, This would be fabulous if we just recreate on this block, if we could put everything back. And I was like, Well, that s not an easy ask. [laughs] Riverside is not an easy street, but it was fabulous because it s something off the beaten track, and that s what makes period work fun. And working with Quentin, those are the things that aren t always obvious, but it s very fun. Hollywood tends to be kind of an idea, but not so much a destination. [Tarantino] could make it a destination. (Photo by Columbia/Sony Pictures)Ling: I would say Hollywood Boulevard was certainly one of the most massive things we tried. That had not really been done in probably 50 years, that someone was allowed to close Hollywood Boulevard. To have that much work done and closed down for, what? Three days? It was massive. Just the logistics of getting it done was like a miracle.Schuler: When Quentin mentioned he wanted to do Hollywood Boulevard, I was thinking, Oh, we ll do it between 9:00 AM and 3:00 PM in the afternoon, and then we ll do some night stuff, so that we can work between rush hours and all that. And then as he kept talking about Hollywood Boulevard, it became clear to me, Oh, there s no way we re going to do this, this way. We re going to have to really shut this whole thing down. So I started talking to the stakeholders in the area about what we wanted to do. Eventually, it led to a meeting with those stakeholders, and it became clear that I needed to get the council s office on board. The Department of Transportation was going to say no, because they have to say no. Our filming there is not going to make driving around Hollywood easier. They made it clear that if I could get the council s office to override everybody else, then they would be willing to go along with it, because, essentially, there was political cover, and it was out of their hands. I understood that, so eventually, we were able to go ahead and do that.Quentin came to the meeting, and by that time, everybody was on board with the project. And part of it was due in part that it was a movie about Hollywood. It was a man who had essentially grown up in Hollywood, that worked in Hollywood, that owned a theater in Hollywood, and who better to be able to do something like this and actually give something back to the city? That was the plug he made, and it worked. Hollywood tends to be kind of an idea, but not so much a destination. He could make it a destination. People could watch this movie, come to Hollywood, and start looking for locations where we shot. When I went into this meeting, they said they didn t do this except like maybe 50 years ago it was Alex in Wonderland Quentin had actually shown us that movie. They also had shut down Hollywood Boulevard, they had tanks on the street, cars on fire, and machine gun fire in that movie. And as a humorous point, I said, Okay, you ve done this before. I can promise you, we won t do this again, but I do need some time to do some stuff that will bring people to this city. And they consented to that. [Rick Dalton s house] was our hardest location to scout. (Photo by Columbia/Sony Pictures)Ling: [Rick Dalton s house] was our hardest location, because it was written with such detail. Quentin had a shot that was actually written in the script about Rick in his pool. He s floating, and the camera is on Rick then the camera pulls up, comes up over the house, over the trees and lands right in front of the driveway with the Polanskis coming out the door and getting in their car. He wanted to do that in one shot. To get that was the longest thing we ever hunted. This was Rick s army of human beings searching every avenue on Google Earth looking for two houses that we could actually use that had all the other things we needed, which was a great pool and a view. That went on for months and months, trying to find this combination. And eventually, we found it, but it took months, an enormous amount of work, different homes, and different things. But the shot was so crucial to Quentin, it had to work. He had to be able to get this shot. But finally, in Studio City, up in the hills, we found this great pool that actually had a great view, and then it had a house above it. And all of it could be just altered enough to look more like hillsides.What we didn t do was use Rick s interior house there that became four locations. Rick s interior, I built on a stage, because that was too specific for Quentin in staging, especially for the final scene. That would ve been nearly impossible to find a house that would let me rebuild the interior to look like what he needed. So we did that one on a stage, and then we put in a pool, but in miniature, that was only about six inches deep, so that you could still look out the window at night. And then up at Sharon s house, for her backyard, we used yet another house that was in Tarzana. We altered the back of their house, so when you came out of a door at Sharon s house in Studio City, you actually were in this new location.It was an amazing collection of locations to make one thing. Plus, Quentin did a brilliant, brilliant job in his staging, so you never know that s not all just the same place. It was a number of locations to make up those two. But the feeling of Rick s interior was very important with Quentin it had to feel like a bachelor pad of the time, one of the late 50s for an early 60s kind of actor in Benedict Canyon. This mid-century kind of development actually is what they were. And it s the idea of, Rick Dalton s not a decorator, so he just puts a lot of stuff from his shows. He s got his saddle from one of the Westerns. He s got his Spanish bar we did Palomino skins in it and that s kind of the center of his universe within his home. And of course, the TV, with the mid-century BarcaLounger. You can tell it s not a female-driven home; it s very male-driven. And those are the things that a man would decorate around. The bar was also very important to Quentin what the cups were and things like that. And a lot of pieces from Quentin s own house are in that bar. He also loves to put in little tidbits of old movies like the Hopalong Cassidy poster with a Hopalong Cassidy cup, and all the other things that he collects. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. (Photo by Columbia/Sony Pictures)Ling: It all started just quickly with Musso s, which of course is still very period. That place still looks like 1969, and they adore Quentin. They were very lovely, particularly with the decorating and prop crowd. When we said, Oh, we re going to bring out the dishes that were the right dishes for 1969. They still had everything it was still in that kitchen. The only things we changed out were things in the front, getting rid of the digital cash registers. We changed the curtains and all the stuff by the front door back to the curtains of the time. And we changed all the bottles to make sure that they were the labels from 1969, because even a lot of the alcohol has changed.Certainly, the theaters had more work, particularly the Bruin, who also were great to us. They let us change out their snack bar, put it back to the original snack bar, get rid of things on the side, and put up huge posters inside of there. We had to actually put our own projectors in, because Quentin wanted the film Sharon was watching to be the actual film, not to put that in digitally. So in the back of the theater, they let us take out seats and build another booth and put in film projectors with enough light that we projected the film, in film. So Sharon Tate (Margot Robbie) was watching the film the way it would have been screened at that time. So they were very gracious with all of this. They found even some of the original deco poster holders in their basement and brought them out for us; they were original to 1969. Then we built pieces on the exterior of the building to hold the posters. We were very lucky that both the theaters were managed by the same company. They were incredibly great in letting us change the marquees out of LED to florescent marquees again that could have letters on them. And they let us do that overnight, as their last film came down before we closed the theater. It wasn t easy, but we were very lucky. It was the same thing with Casa Vega. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. That helped a lot.Once Upon A Time in Hollywood is available now for purchase on Blu-Ray and VOD.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
4. 呼朋唤友 随心所欲
Join us weekly as Rotten Tomatoes reports on what s opening, expanding, and coming to the specialty box office. From promising releases from 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 in Fresh Indie Finds. This week at the specialty box office we find a pair off-kilter comedies that will have you giggling through the awkward stares and a crowd-pleaser of a musical featuring musician-turned-actress Jessie Buckley. Looking ahead to the fall movie season we see new trailers featuring Lee Pace (Guardians of the Galaxy) and Jason Sudeikis (Booksmart) in a based-on-a-true-story FBI caper surrounding the man who invented the DeLorean, and a moving documentary chronicles the life and tragic death of Star Trek actor Anton Yelchin.Opening This Weekend
5. HD 画质与高品质音讯
From the creator of the John Wick franchise comes Ilya Naishuller’s Nobody, a similar action movie about a retired family man with a particular set of skills who goes up against the Russian mob. This one gives us comedic actor and Better Call Saul star Bob Odenkirk as the unlikely lead, and according to most of the early reviews of the movie, it’s worth seeing for him alone. That and a ton of brutal action and a tone that doesn’t take itself too seriously.Here’s what critics are saying about Nobody:Is Nobody a good time at the movies?Nobody doesn’t take itself seriously and just wants the viewer to have fun and have a moment to tune out from the real world for a couple of hours. Jamie Broadnax, Black Girl NerdsIs it a good movie? Not exactly. But its 90 minutes fly by, and it’s a canny vehicle for Odenkirk. Owen Gleiberman, VarietyNaishuller and Odenkirk prove to be a winning duo of entertaining chaos. Preston Barta, Fresh FictionAn immensely entertaining experience… You’re in for a wild ride that never lets up. Meagan Navarro, Bloody DisgustingWill it satisfy action junkies?Action-movie lovers get plenty to love, from an appearance from 1980s tough-guy actor Michael Ironside to well-crafted two-fisted affairs. Brian Truitt, USA TodayIts approach to methodically crafted action will leave you cheering in your seat… This is an action film crafted by action fans with style, love, and the slyest of winks. Rob Hunter, Film School RejectsNobody doesn’t just exist in the action genre but adds to it. Kate Sánchez, But Why Tho? A Geek CommunityThe combat, while not as flashily shot as the work of [John Wick directors Chad Stahelski and David Leitch], is utilitarian enough to get the job done. Kyle Pinion, ScreenRex(Photo by Allen Fraser/©Universal Pictures)How violent is it?[The bus scene is] one of those movie fights that just goes on and on, the violence moving from brutal to funny through sheer, absurd duration. It’s amazing. A.A. Dowd, AV ClubThe hyper-stylization and blood-letting are grounded by the gallows humor. Meagan Navarro, Bloody DisgustingNobody simply doubles down on the genre’s most immoral implication, for unquestioningly equating manliness with brute violence. Chuck Bowen, Slant MagazineHow is Ilya Naishuller s work as director?With his second feature, Ilya Naishuller has grown as a filmmaker and truly has the potential to be one of the most exciting action directors working. Sean Mulvihill, FanboyNation[He] may be as far as you can get from a psychological realist… but he’s a born filmmaker. Owen Gleiberman, VarietyNaishuller stages the action effectively (that bus sequence stands out), delivering visceral thrills even for those of us who are keeping our distance. John DeFore, Hollywood ReporterNaishuller is quite good at directing action. Chris Evangelista, SlashfilmHow does it look?Pawel Pogorzelski’s cinematography is just fabulous in the film… Violence has never looked this beautiful. Dewey Singleton, AwardsWatchMidsommar and Hereditary cinematographer Pawel Pogorzelski brings the same slick camera maneuvers that elevated those movies to dreamlike planes in service of pure entertainment. Eric Kohn, IndieWireShout out to cinematographer Pawel Pogorzelski, because stylistic flair becomes that much more important as narrative throughlines are straighter than arrows. Matt Donato, What to Watch(Photo by Allen Fraser/©Universal Pictures)How is Bob Odenkirk as an action hero?He’s simply awesome and owns this movie. Don Shanahan, Every Movie Has a LessonA credible Jekyll and Hyde act… It’s a blast seeing the actor in this kind of role, even if Nobody does vaguely play like the nihilistic cartoon version of a Vince Gilligan arc. A.A. Dowd, AV ClubThe Odenkirk-ness is really all there is… which is enough to keep things interesting, if not make them all that good. Bill Goodykoontz, Arizona Republic[This] may leave you longing to watch Better Call Saul and Odenkirk’s thorny performance as Saul Goodman, a truly piercing dramatization of frustration and failure. Chuck Bowen, Slant MagazineOdenkirk deserves way better. Kyle Pinion, ScreenRexDoes anyone in the supporting cast stand out?Christopher Lloyd is a special delight as Hutch s shotgun-toting father. Rob Hunter, Film School RejectsChristopher Lloyd renews his classic mad-science energy with a devious twist. Eric Kohn, IndieWireAn appearance by RZA as Hutch’s brother, whose own hidden talents aid Hutch in his quest for vengeance, also adds some comedic flair to this story. Jamie Broadnax, Black Girl NerdsOther than Odenkirk, they have little to work with and don t leave an impression. Chris Agar, ScreenRant(Photo by Allen Fraser/©Universal Pictures)How is the villain?With a fearsome magnetism that’s at once authentic and operatic… He’s like the Frankenstein’s monster of hard-partying hooligans. Owen Gleiberman, VarietyIt all goes downhill once the villain, Yulian, is dropped into play. Kyle Pinion, ScreenRexOne of the blandest movie villains in recent memory. Chris Evangelista, SlashfilmThat Yulian fails to be compelling or intimidating contributes to the film’s overall low stakes. Meagan Navarro, Bloody DisgustingWhat about the writing?The plot of Nobody is, in a word, preposterous… It’s just a cardboard fable. But when the ultraviolence erupts, the movie pops. Owen Gleiberman, VarietyThe plot is absurd and could fall apart easily when looking back on it… Is it trying to say anything? Not really. This is as slight as it gets. Aaron Neuwirth, We Live EntertainmentThere s some unwise and unnecessary narration early on, but the already slim exposition is tidily delivered in oft-comedic ways. Rob Hunter, Film School RejectsNobody seems to think that if it follows a paint-by-numbers Wick formula, that’ll be enough. It’s not. Chris Evangelista, SlashfilmThe story lacks the emotional impact for the film to truly connect with viewers. Chris Agar, ScreenRant(Photo by Allen Fraser/©Universal Pictures)Is the movie funny?The film also happens to be a masterclass in sardonic humor. Sean Mulvihill, FanboyNationThis isn t a parody, but it offers sly humor on many levels…[and] a couple of well-timed visual gags. Brian Truitt, USA TodayI was hoping for more comic relief lines. Danielle Solzman, Solzy at the MoviesIs it trying too hard to be John Wick?Kolstad’s script takes a similar idea but finds the different wrinkles to… create a unique film in the similar mold. Sean Mulvihill, FanboyNationLike Kolstad’s John Wick, but it makes its own way with more humor and charisma than the more silent and gritty counterparts. Kate Sánchez, But Why Tho? A Geek CommunityYou could call Nobody Wickian… In philosophy, however, we’re stuck in Death Wish territory. A.A. Dowd, AV ClubIf John Wick is Buster Keaton, Hutch is Harold Lloyd. Aaron Neuwirth, We Live EntertainmentThe influence is unmistakable to the point where it keeps Nobody from fully creating its own identity. Joshua Starnes, VitalThrills.com(Photo by Allen Fraser/©Universal Pictures)Should it get its own franchise?Move over John Wick and make way for Hutch Mansell. Dewey Singleton, AwardsWatch[It] leaves you eager to follow the Mansells on any blood splatter-filled journey. Meagan Navarro, Bloody DisgustingNobody features an instantly iconic action trio that I’d never imagine in a million a years. Now I want spinoffs and sequels with these characters. Sean Mulvihill, FanboyNationThe worst thing you can say about it is this: It s satisfying enough that it could spawn sequels, possibly distracting its star from the plum dramatic roles he deserves. John DeFore, Hollywood ReporterNobody releases in theaters on March 26, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Lionsgate)Do movie trilogies have Fresher Tomatometer scores and make more money at the box office when one director (or co-directors) oversees all three films? Or, is it better if three different directors each tackle different films in a trilogy? With the wildly successful John Wick: Chapter 3 Parabellum marking the third Certified Fresh John Wick collaboration between director Chad Stahelski and Keanu Reeves (with a fourth on the way!), we decided to do a Tomatometer deep dive into theatrically released trilogies helmed by single directors. We wanted to know how the Tomatometer scores and domestic box office numbers for trilogies like Francis Ford Coppola s The Godfather, Jay Roach’s Austin Powers, and The Wachowskis’ Matrix films compare to trilogies directed by two or three separate directors.Is consistency actually key?After comparing the Tomatometer and box office data of 83 different trilogies we learned that when one person (or a duo like the Wachowskis) directs all three films, their trilogies make more money on average and have much higher Tomatometer averages than the trilogies in which two or three different people direct the entries. There are exceptions to the rule, of course, but the numbers favor The Dark Knight, Spider-Man, and Back to the Future trilogies, which were lucky enough to have Christopher Nolan, Sam Raimi, and Robert Zemeckis see them all the way through.If you’re interested in reading about the trilogy selection process, and seeing the list of selected franchises, you can check them out below. Also, we know Stahelski co-directed John Wick with David Leitch, but Stahelski stayed around to helm the second and third installments when Leitch moved on to direct Atomic Blonde and Deadpool 2; since he has been on the project the entire time, we’re considering him to be “one” director.Here is the data – and the trends we found.The Fewer the Names, the better the trilogy (Photo by © New Line/courtesy Everett Collection)Average Tomatometer for trilogies directed by one person: 68%Average Tomatometer for trilogies directed by two directors: 54%Average Tomatometer for trilogies directed by three directors: 49%Based on the Tomatometer averages, it’s clear that having one person (or team) direct a trilogy is the way to go for Freshness. The 68% Tomatometer average for trilogies with a single director or directing team isn’t super Fresh, but it’s well ahead of the 54% and 49% averages of the trilogies with multiple directors. The Fresh average can be attributed to exceptional franchises such as Richard Linklater’s Before trilogy (97.6% average Tomatometer score), How to Train Your Dragon (94.6%), and The Lord of the Rings (93%), trilogies that received multiple Academy Awards and include no films with Tomatometer scores lower than 91%. Another factor that sets the single director category apart is that 22 of the 34 total trilogies in this category (64.7%) are Fresh, whereas only 14 (56%) and six (24%) of the trilogies in the other two categories have Fresh scores.All Trilogies Drop Off In Quality, But A Single Director Will Help you Stay (Just) Fresh In the End.(Photo by © Sony Pictures/courtesy Everett Collection)Tomatometer averages of the first, second, and third films in trilogies directed by one person or team: 75.5%, 68%, 60.8%Tomatometer averages of the first, second, and third films in trilogies directed by two people: 71%, 47%, 45%Tomatometer averages of the first, second, and third films in trilogies directed by three people: 71.4%, 46.3%, 35.5%The first, second, and third films in trilogies directed by one person or team all have Fresh Tomatometer averages (75.5%, 68%, 60.8%), and the 7.5% Tomatometer drop-off between the first and second film is pretty solid when compared to the 24% and 25.1% drops when it comes to trilogies with two and three directors, respectively. The sequels that contributed to the Fresh Tomatometer averages throughout the series are classics like John Wick: Chapter 2 (89%), Evil Dead 2 (98%), Spider-Man 2 (93%), Before Midnight (98%), The Dark Knight (94%), The Trip to Spain (82%), and The Lord of the Rings: The Return of the King (93%). The coolest (or nerdiest) fact here is how similar the Tomatometer averages for the trilogies directed by two or three people are until their third films (45% compared with 35.5%). The Tomatometer dropoff for trilogies with three directors was caused by soul-crushers such as Robocop 3 (3%), The Bad News Bears Go to Japan (0%), and Crocodile Dundee in Los Angeles (11%).More Directors Equals Less Money (Most of the Time)(Photo by © Walt Disney Studios Motion Pictures)Trilogies directed by one person or team: 2 million domestic box office average (adjusted for inflation)Trilogies directed by two people: 1 million domestic box office averageTrilogies directed by three people: 1 million domestic box office averageThe 2 million total domestic average for trilogies directed by a single person would make any studio executive happy — and probably get them ordering another trilogy ASAP. It helps that eight of the 36 (22.8%) series with a single director or directing team, including the Star Wars prequels and The Hobbit trilogy, made over billion domestically after adjusting for inflation. The 1 and 1 million box office averages for the other groups of trilogies are very respectable. However, only six of the 58 trilogies (10.3%) in the other two categories made over billion domestically; these multi-director trilogies include Iron Man, Beverly Hills Cop, and the original Star Wars trilogy. The newest Star Wars trilogy will likely join their ranks.Domestic box office averages (adjusted for inflation) of the first, second, and third films in trilogies directed by one person or team: 1 million, 6 million, 0 millionDomestic box office averages of the first, second, and third films in trilogies directed by two people or teams: 8 million, 6 million, 5 millionDomestic box office averages of the first, second, and third films in trilogies directed by three people or teams: 8 million, 7 million, millionThe standout trend here is that the box office averages for the movies directed by one person or team all stayed above 0 million – the majority of the first film’s audience kept coming back for more. Trilogies directed by one person also had the smallest box office drop between each film; the million (30%) box office drop from the first to third film is smaller than the 5 (45%) and 6 (60%) million drops for trilogies with two directors and three directors, respectfully.ARE THERE EXCEPTIONS TO THE RULE? (Photo by Quantrell D. Colbert/Universal Pictures)Of course, when it comes to Tomatometer ratings, the Marvel Cinematic Universe (MCU) has proven with their Iron Man (two directors), Thor (three directors), and Captain America (one single director and a directing team) trilogies that it sometimes doesn’t matter how many directors helm the movies. Also, the Pitch Perfect, Hannibal, Star Trek (2009-2016), Meet the Parents, X-Men, Beverly Hills Cop, and Wolverine trilogies pulled in huge amounts of money and had multiple directors. So, trilogies can absolutely work with multiple directors. HOW DID WE PICK THE TRILOGIES?(Photo by Lionsgate)Since John Wick tells the continuing story of Keanu Reeves s titular assassin killing hundreds of henchmen on his quest for revenge, we stuck with trilogies that told a continuous story featuring the same character(s) or plot lines throughout three films. Examples are Richard Linklater’s Before trilogy, and Todd Phillips Hangover trilogy, which saw the exploits of the same characters to a conclusion. We didn’t include trilogies with loose-connections (Noriko Trilogy), similar themes (Three Colors), or actors (Cornetto Trilogy) tying them all together. Also, you may notice that some of the trilogies we included such as the Pirates of the Caribbean, Jason Bourne, Jurassic Park, and Scream franchises went on to have more than three films. We included them because they had three-film narrative arcs that were completed with the third installment (e.g., Indiana Jones and the Last Crusade). Some of these films had fourth (or fifth or sixth installments), but most of these later installments were meant to be part of a new trilogy (e.g. Jurassic World and Scream 4, which was supposed to be the beginning of a new trilogy). If a trilogy did not have complete Tomatometer scores they weren’t included. That’s why you won’t see the Infernal Affairs or Samurai trilogies below. The trilogies also needed to have been released in theaters. We didn’t include series that completed their trilogies with direct-to-DVD releases .Number of Trilogies directed by three people/teams 25: Alien (1979-1992), The Bad News Bears, Beverly Hills Cop, Blade, Blair Witch, Child’s Play (1988-1991), Crocodile Dundee, The Expendables, Free Willy, Friday, Hannibal, Harold Kumar, In the Heat of the Night, Johnny English, The Mighty Ducks, Oh God!, Omen, Pitch Perfect, The Ring, Robocop, Rugrats, Star Wars (1977-1983), Thor, Transporter, xXxNumber of Trilogies directed by two people 24: 50 Shades of Grey, Bridget Jones Diary, Captain America, Cars, The Chronicles of Narnia, The Creature From the Black Lagoon, Divergent, Iron Man, Jason Bourne (2002-2007), Jurassic Park (1993-2001), Kung Fu Panda, Look Who’s Talking, Major League, Meet the Parents, The Mummy, Naked Gun, Poltergeist, Porky s, Rise of the Planet of the Apes, The Santa Clause, Smokey and the Bandit, Star Trek, Taken, Wolverine (2009-2017), X-Men (2000-2006)Number of Trilogies directed by one person 34: Austin Powers, Back to the Future, Before Trilogy, Da Vinci Code, The Dark Knight, Despicable Me, Evil Dead, The Godfather, Hangover, The Hobbit, Hotel Transylvania, How to Train Your Dragon, Indiana Jones (1981-1989), Jackass, John Wick, The Lord of the Rings, Madagascar, Mad Max (1979-1985), Matrix, Maze Runner, Men in Black, The Mexico Trilogy, Night at the Museum, Ocean’s Trilogy, Pirates of the Caribbean (2003-2007), Purge, Riddick, Rush Hour, Scream (1996-2000), Spider-Man, Star Wars Prequels, The Trip, UnbreakableNote: All Tomatometer data is accurate as of May 29, 2019Like this? 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On this, the weekend of the most prestigious awards ceremony in Hollywood, we also take a moment to look at the worst that cinema had to offer in 2018, courtesy of the Golden Raspberry Awards, or Razzies. With such worthy contenders as the misguided biopic Gotti, the farcical take on Holmes and Watson, and the soft and plushy vulgarity of The Happytime Murders, it was anyone s guess who would take home the big prizes. Read on for the full list of winners. Worst Picture
The NYFCC announced the winners of their 2018 Awards this morning on Twitter. Roma led all winnners with three; Best Film, Best Director, and Best Cinametography. Paul Schrader s First Reformed followed with two wins for Best Screenplay and Best Actor. This sets up quite well for Curarón s black and white semi-autobiographical story of his adolescence in 1970s Mexico, as told through the eyes of the woman who raised him. A strong showing with critics groups early will help propel some good will with Academy voters. This morning s announcement also bodes well for Schrader, the writer of Taxi Driver Raging Bull, to secure his ever-elusive first Oscar.The NYFCC Awards are chosen by a group of critics from daily newspapers, weekly newspapers, magazines, and qualifying online general interest publications. Last year, Lady Bird won the award for Best Picture while The Florida Project won for Best Director (Sean Baker).Read through for the full list below, and make sure to check out the complete Awards Leaderboard to keep up to date on the accolades bestowed on the best movies of 2018/2019 from the press, fans, and members of the film industry.Best Film: Roma (2018) 96%Best Director: Alfonso Cuarón — Roma (2018) 96%Best Screenplay: Paul Schrader — First Reformed (2017) 93%Best Actress: Regina Hall — Support the Girls (2018) 91%Best Actor: Ethan Hawke — First Reformed (2017) 93%Best Supporting Actress: Regina King — If Beale Street Could Talk (2018) 95%Best Supporting Actor: Richard E. Grant — Can You Ever Forgive Me? (2018) 98%Best Cinematographer: Alfonso Cuarón — Roma (2018) 96%Best Animated Film: Bob Persichetti, Peter Ramsey, Rodney Rothman — Spider-Man: Into the Spider-Verse (2018) 97%Best Non-Fiction Film (Documentary): Bing Liu — Minding the Gap (2018) 100%Best Foreign Film: Pawel Pawlikowski — Cold War (2018) 92%Best First Film: Bo Burnham — Eighth Grade (2018) 99%Special Award For Career Achievement: David Schwartz Kino Classics Box Set Pioneers: First Women Filmmakers
Norman Reedus Torments Marilyn Manson in an Exclusive Sneak Peek from the Ride with Norman Reedus Season 3 Finale The Walking Dead’s Daryl takes a rocker for a ride for his AMC motorcycle series. Join them as they travel to Nashville. by Debbie Day | March 15, 2019 | Comments Joel MearesCovering the year s buzziest movies, series, and chatter during the feverish time period known as Awards Season presents unique challenges. Screenings and screeners can be hard to come by, advanced access is limited, and everyone’s trying to articulate increasingly edgier takes about properties that everyone else is writing about, too. But there are ways to cut through. Ahead of the Golden Globes, Guild awards, and Oscars, Rotten Tomatoes asked editors and awards experts what tips they have for freelancers covering the contenders.Eric Kohn, Executive Editor and Chief Critic, IndieWire Read as much as you can from the established pundits who cover awards season and pay attention to the calendar of awards events throughout the year — from the Gothams to the SAG Awards — so you can deepen your understanding of the awards season ecosystem. Your take on the race will have more authority if you make the effort to see how each piece fits into the larger whole. Erik Anderson, Founder and Owner, AwardsWatch For me, breaking into awards coverage was a 20-year game. I started out in forums, talking about movies, and then building my way up in the ranks, and then ultimately creating my own outlet. That might not be for everyone, but if I had to give any advice to people who want to break in, it would be to say ‘yes’ to everything at first. Publicists will grab onto to you and the reciprocal relationship will hopefully then bring you bigger and better things. I try and answer every email back, even if it’s with a ‘no.’ Be as persistent as they are. It’s respectful and it garners respect. Something else I will tell anyone, freelancer or entrepreneur, know your worth. It took me a long time to get to that, to even knowing what it was. But it made all the difference in the world. Clayton Davis, Editor-in-Chief and Owner, AwardsCircuit.com After removing the ‘glitz’ and ‘glam’ or just merely watching films and meeting stars for a living, you have to ask yourself, why do you WANT to write? If passion is the foundation for your pitches, then the next course of action is to show how your voice is unique in an industry that has so many perspectives and feels oversaturated. Be persistent, but not rude or overbearing when you receive a ‘no’ or a non-response. Get your foot in the door, no matter how trivial, and show what you re worth when you re finally inside. Rubin Safaya, Executive Editor, AwardsWatch Cinemalogue The most consistent factor impacting a journalist’s visibility is speed. International festival coverage – Cannes, Venice, Toronto, etc. – is early in the cycle. From these reviews, studios pull quotes for FYC campaigns, trailers, one-sheets. In addition to notoriety as one of the first 15 to 20 critics on the Rotten Tomatoes listing for a feature, festivals provide resourceful journalists a feel for the rhythm and flow of the entire cycle: what films are being tapped by distributors for their awards potential, how public and press/industry screenings are shaping the distributors public and trade (FYC) marketing campaigns, and which films public sentiment and critical consensus are likely to coalesce around. Jacqueline Coley, Editor, Rotten Tomatoes One of the best assets for a freelancer is cultivating positive relationships with editors. Editors get hundreds of pitches a week. Having familiarity with them is always going to fare better than cold calls. So, make the rounds and say hello at screenings, events, or whenever possible. Get contact information and make sure to follow up. The next most important thing for pitches is uniqueness. If a site has four reporters on staff, then don’t pitch an article they could easily staff out. Give perspective or an outlook they would not normally contemplate. Make sure your pitch is tailored to you and make sure to explain why you’ll be the best person for the job. You can do this in the thoughtfulness of the pitch or with the subject matter. Either way – and forgive the quote, but – ‘Make them a pitch they can’t refuse.’ Best of luck, and pitch away. Check out more resources for critics from Rotten Tomatoes
Jimmi Simpson (Westworld), star of Into the Dark episode Treehouse, explains his history with horror and how the episode flips the script on exploitation. The horror anthology series comes from Blumhouse, producers of The Purge, Happy Death Day, and Paranormal Activity. Treehouse is written and directed by Psyche star James Roday.Into the Dark: Season 1 (2018) 68%About the Series: A horror event series from award-winning producer Jason Blum s independent TV studio. The series includes 12 feature-film length episodes. A new installment will be released each month inspired by a holiday and will feature Blumhouse s signature genre–thriller spin on the story.About the Episode: Celebu-chef Peter Rake escapes a scandal for a weekend at his family’s isolated vacation home, but there are debts to repay and Peter has to learn the lesson that a woman’s place is anywhere that she chooses to be — if he survives. Treehouse premieres Friday, March 1 on Hulu.