眩手游代原始传奇理利润晕符：暴击时，10%的概率使玩家眩晕手游折扣盒子代理平台骗子，持续2仙剑奇缘商秒，暴手游天龙八部账号击神器达到100级摇钱树游戏手游代理开放； 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 have a new documentary that dissects singer-songwriter Linda Ronstadt s storied career and one about racing safety, plus a sophmore effort from a Sundance standout. In our indie trailer section, we have new clips featuring Spider-man: Into the Spider-Verse star Shameik Moore, Black-ish star Miles Brown, and Laurence Fishburne.Opening This Weekend
(Photo by © NEON)The Los Angeles Film Critics Association announced the winners of the 2019 LAFCA Awards on their Twitter page this weekend. Parasite was named the Best Picture of 2019, while director Bong Joon-ho was named Best Director, and in a welcome surprise, Parasite star Kang-Ho Song was named Best Supporting Actor. This marks LAFCA as the first major voting group to recognize his performance – could he sneak into the Golden Globes nominations on Monday?Read through for the full list of winners below.Best Picture: Parasite (2019) 98%Best Director: Bong Joon-ho —Parasite (2019) 98%Best Actor: Antonio Banderas —Pain and Glory (2019) 96%Best Actress: Mary Kay Place —Diane (2018) 93%Best Supporting Actor: Kang-Ho Song —Parasite (2019) 98%Best Supporting Actress: Jennifer Lopez —Hustlers (2019) 87%Best Screenplay: Noah Baumbach—Marriage Story (2019) 94%Best Production Design: Barbara Ling—Once Upon a Time... In Hollywood (2019) 85%Best Editing: Todd Douglas Miller —Apollo 11 (2019) 99%Best Cinematography: Claire Mathon—Portrait of a Lady on Fire (2019) 98% Atlantics (2019) 95%Best Music Score: Dan Levy—I Lost My Body (2019) 96%Best Foreign Language Film: Pain and Glory (2019) 96%Best Non-Fiction Film (Documentary): American Factory (2019) 96%Best Animated Film: I Lost My Body (2019) 96%Douglas Edwards Independent/ Experimental Film/ Video Award: The Giverny DocumentAre you as obsessed with awards as we are? Check out our Awards Leaderboard for 2019/2020.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.亚博手机登录是什么意思天龙八部2手游什么时候上线？完美世界的《天龙八部2》才是正统续作，是获得正版授权的。好多玩家预约后一直在问什么时候上线，下面就把上线的时间分享给大家，让大家可以在第一时间体验到游戏。
(Photo by Buena Vista Pictures courtesy Everett Collection)Is there anything more meta than a flop about making flops? Ed Wood, Tim Burton’s biopic on “the worst director of all time,” may have been the critical darling its subject could only dream of (it’s Burton’s highest-rated directorial effort at 92% on the Tomatometer), but it hardly caught on. The comedy took in less than a third of Burton’s comparatively small -million budget, whereas the filmmaker’s predecessor, Batman Returns, skyrocketed to become the then-highest-grossing opening weekend of all time. To give an idea of the comedies the public did pine for in 1994, Jim Carrey starred in three movies in the top 20 that year. Ed Wood was decidedly nothing like a Jim Carrey movie.Dark, sweet and restrained (by Burton standards, anyway), Ed Wood chronicles the life of Edward D. Wood Jr. (Johnny Depp), a crossdressing wannabe auteur in the 1950s who befriends his hero, a washed-up and drug-addled Bela Lugosi (Martin Landau), and makes schlocky B-movies with a misfit crew. Here are just a few reasons why it remains a high-watermark for Burton and pretty much everyone involved — and warrants some serious reassessment if you shrugged it off 25 years back.IT S BURTON S SMALLEST MOVIE(Photo by Buena Vista Pictures courtesy Everett Collection)Wait, so where did the guy go who wowed with the visual feasts Pee-wee’s Big Adventure and Beetlejuice and the thrilling art direction in Edward Scissorhands and Batman? He’s Mostly absent here. There are some nifty, Burtonesque flourishes — a cheesily spooky title sequence that harkens back to ’50s horror and sci-fi sets the tone perfectly — but overall, Burton puts a simple story over any distinct style. It’s him at his least showy, a move that lets the comedy’s quickfire script breathe and doesn’t muddy up its already arresting performances. Besides, when you have black-and-white cinematography (thanks to cinematographer Stefan Czapsky) this beautiful, why complicate things? Burton, in fact, was so adamant about the film being monochrome that Columbia dropped the picture (Disney picked it up later). AND HIS MOST PERSONAL(Photo by Buena Vista Pictures courtesy Everett Collection)It’s not hard to understand why Burton would relate to a story about an energetic young director bonding with his childhood idol. Burton famously adored Vincent Price, casting him in the stop-motion Disney short “Vincent” and as The Inventor in Edward Scissorhands, and, like with that relationship, the one between wide-eyed Wood and an aging Lugosi boasts a delightful mutual appreciation. While Ed Wood capitalizes on the odd couple for comedic effect (it’s tough not to laugh as an Energizer Bunny-like Wood shepherds around a moribund, ever-frowning Lugosi), the bromance always comes off as weirdly sweet. Ed Wood was a labor of love for him — in fact, Burton, who demanded creative control, even waived a paycheck.THE PERFORMANCES ARE ACE(Photo by Buena Vista Pictures courtesy Everett Collection)The success of any buddy comedy — and boiled down, Ed Wood is one — rests on the chemistry of its stars. Depp upped his game, giving a performance that’s all gusto and unrelenting optimism and over-the-top tics yet still somehow grounded. Wood’s ridiculous, but you pull for him. Landau, too, imbues what could be a cartoonish Lugosi essentially, his Dracula character thrown into ’50s California, complete with the accent, mannerisms, and gait with some real emotional heft, and he rightfully nabbed a Best Supporting Actor Oscar. Sarah Jessica Parker is a great comedic foil as Wood’s encouraging (and later disapproving) girlfriend, and Bill Murray is brilliantly deadpan as aspiring transsexual John Bunny Breckinridge.THE SCRIPT SIZZLES(Photo by Buena Vista Pictures courtesy Everett Collection)“We envisioned Ed Wood as more of an indie-style picture, because we had written two big Hollywood hits that we were very unsatisfied with,” co-writer Larry Karaszewski told Medium, referencing the Problem Child movies. You can see what he means: He and Scott Alexander’s script, written in a mere six weeks after the go-ahead from Burton, has a quirky, left-field, character-driven quality that doesn’t scream “huge studio” (like, say, Disney) or “big-deal director” (like, say, Burton). So Burton reining in the very sensibilities that made him a name is necessary, especially with a script packed with this much snappy dialogue. Just take this exchange between Wood and Breckinridge, during the filming of Plan 9 from Outer Space:Breckinridge: What about glitter? When I headlined in Paris, audiences always loved it when I sparkled.Ed Wood: No.Breckinridge: Cats eyes?Ed Wood: No!Breckinridge: Well, I m going to need some antennae.Ed Wood: No! You re the ruler of the galaxy — show a little taste!IT WAS AHEAD OF ITS TIME(Photo by Buena Vista Pictures courtesy Everett Collection)Ed Wood may have not saturated the zeitgeist and spawned copycats the way Pulp Fiction did in ’94, but it’s not too much of a leap to suggest it helped open the door for other love letters to ragtag groups of outsider filmmakers with questionable tastes. Paul Thomas Anderson’s Boogie Nights a few years later similarly embraced the freak-flag spirit of the early porn industry. Interestingly, Wood’s line about Plan 9 from Outer Space (“This is the one I’ll be remembered for”) is echoed by Nights’ Burt Reynolds, talking about his directorial opus (“This is the film I want them to remember me by”). (Also interesting: Wood helmed porn in ’70s.) Wes Anderson’s seafaring adventure-comedy The Life Aquatic with Steve Zissou and The Disaster Artist, a big-screen retelling of the making of “the worst movie ever,” also have traces of Ed Wood. And Wood’s spirit was alive and well in documentaries about enthusiastic, unfazed, unrealistic dreamers — be they about aspiring filmmakers (American Movie) or rock bands (Anvil! The Story of Anvil).Ed Wood opened nationwide on October 7, 1994.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
5. HD 画质与高品质音讯
7.96.4 1月喜迎The 2018 Gotham Independent Film Awards were awarded Monday night in New York. It was a night of big surprises, with Chloe Zhao s The Rider taking home the top prize, besting Yorgos Lanthimos The Favourite, Paul Schrader’s First Reformed, and Barry Jenkins If Beale Street Could Talk for Best Feature. (Marvel fans should be excited – Zhao has been tapped to direct The Eternals.)Ethan Hawke took home the Best Actor trophy for First Reformed, while Toni Collette took the best actress honor with horror film Hereditary. Capping off a stellar evening for boutique distributor A24, director Bo Burnham and star Elise Fisher were also winners, and Schrader won for best screenplay. The full list of winners are below.Best Feature
The next few months are going to be dominated by big awards movies (think Bombshell, Little Women) and even bigger blockbusters (The Rise of Skywalker). But they re not the only films worthy of your attention, and money, on the horizon. There is some great indie fare, much of which debuted on the festival circuit this year, coming to theaters and streaming services soon. So mark these dates down – at least the ones we have; we re still waiting for release info on some of them – to get your quality indie fill.Guns Akimbo (2019) 51%Courtesy of TIFFAccording to critics, Jason Lei Howden’s latest action-packed adventure is just the right balance of good old-fashioned American excess and pointed social commentary about our fascination with guns, violence, and masculinity. Starring Daniel Radcliffe as Miles, a bumbling ne’er-do-well, Guns Akimbo is what Robert Daniels at rogerebert.com calls an exciting and sometimes trite adventure into the world of tech, the internet, and our insatiable need for brutality on demand. When Miles is unwillingly recruited into a notorious and illegal underground death match called “Skizm,” he must figure out how to survive the day, save the girl, and become the hero. Nothing goes according to plan, of course, but the journey is what makes it fun.Pursued by Skizm champion Nix (played with campy fun by Samara Weaving in another killer role following her breakout performance earlier this summer in the Certified Fresh Ready or Not) and trying hard not to “shoot his dick off” with the guns literally bolted into his hands, Miles embarks on a darkly funny race through the city. According to Birth.Movies.Death., the movie overflows with a frenetic, intense energy that supports Radcliffe s progressively-more-unhinged performance. Release date TBD.The Obituary of Tunde Johnson (2019) 89%Courtesy of TIFFAli LeRoi’s feature debut is a lyrical take on police brutality and the many vagaries of living as a black gay man in America. Working from a screenplay by USC film student Stanley Kalu, LeRoi blends terror and fiction in this time-loop drama: his protagonist wakes up dead every day, repeating old routines, meeting with his secret boyfriend, and coming out to his parents again and again before being murdered by police once more.The film’s slow build makes these rash of deaths feel immediate and terrifying. Each path to the end is different from the last and tragic in its own way. As Tunde navigates his relationships anew each day, he is never quite conscious of the last, forced to make new decisions without any knowledge of his past and future. But as he’s constantly reminded that he has so much to live for, the arc of his fateful day begins to bend. Beandrea July for The Hollywood Reporter writes that The Obituary of Tunde Johnson is “an agonizing tale about the weight society hoists upon too many black gay men’s weary shoulders.”Release date TBD.The Platform (2019) 79%Courtesy of TIFFCritics are calling this debut from Spanish director Galder Gaztelu-Urrutia a thrilling morality tale about the radical power of working toward the common good. The film’s focus is the terrifying prison of Urrutia’s near-future dystopia: The Pit. Vertically stacked cells set around holes in the ceiling and floor connect each level’s two captives to each of the others. Every day, a decadent feast is sent down to the prisoners through the tower’s delivery system, stopping at each floor for a brief time. Those at the top are kept well-fed, while those at the bottom starve. One citizen volunteers to serve a six-month sentence in exchange for professional credentials upon his release, but the horrors he experiences as he makes his way through the Pit’s “vertical self-management system” force him to think about what we owe each other, how we can support each other, and who precisely wins when we choose neglect instead of cooperation.Critics and audiences are saying that the Spanish thriller is disorienting, but incredibly arresting in its tight critique of our current political climate. Variety called it a “brutalist nightmare for the way Urrutia’s vivid and inventive cruelties flesh out the psychological madness of living in such casually cruel conditions. The prisoners demonstrate how social mores can break down when people are pushed to the outer edges of their own humanity. The Platform is coming to Netflix. Release date TBD. How to Build a Girl (2019) 79%Courtesy of TIFFStarring Booksmart and Lady Bird’s Beanie Feldstein and based on the novel of the same name by screenwriter and journalist Caitlin Moran, How To Build A Girl is what Rendy Reviews calls another cementing case of the gleaming star power of Feldstein s talent. The film follows protagonist Johanna Morrigan (Feldstein) through the highs and lows of rock and roll. Initially lonely and longing for adventure, Morrigan gets it when she auditions to be the rock critic for English magazine D ME with a review of “Tomorrow” from the musical Annie. Writing under the alias Dolly Wilde, Morrigan constructs a version of herself she thinks other people prefer but loses herself in the process. Critics say what follows is an earnest but devilish adventure into teen girlhood, and how finding yourself can mean breaking yourself down and starting from scratch. Variety writes, “How to Build a Girl dares to argue that reinventing yourself doesn’t make you a poseur.”Release date TBD.Waves (2019) 84%© A24Still sizzling from the Certified Fresh Luce, Kelvin Harrison Jr. leads the highly acclaimed Waves alongside a cast of highly recognizable faces. Written and directed by Trey Edward Shults, Waves explores the struggles of a young African-American teen with his family and his ambitions, and his ultimate fall from grace. The film is “a kinetic essay on the beauty of the body in motion” according to the Los Angeles Times, and blends music and memory to create what Film Inquiry calls a “grandiose, quasi-Greek tragedy.”In limited release November 15, 2019.Hala (2019) 86%Courtesy of TIFFThis quiet, contemporary coming-of-age film written and directed by Minhal Baig is a stunner in every way that matters. Starring Geraldine Viswanathan (the breakout star of 2018’s Blockers) in the titular role, Hala explores the intimacy of family life and the weight of cultural expectations. As Hala, a young Muslim woman of Pakistani descent, comes into herself and discovers the ways in which her parents were people before she came along, she begins to find the dividing line between who they are, who she is, and who they want her to be.Faced with budding romantic and sexual feelings and her parents’ disapproval, Hala starts meeting a male classmate in secret, telling as many lies as are necessary to give her a solid alibi. But when she discovers a devastating secret about the state of her parents’ marriage, she’s forced to re-evaluate her position in the family and her willingness to pretend for the sake of appearances. As 812 Film Reviews puts it, the film “balances the familiar with the foreign to pull for a girl whose strength of freedom is at once powerful and quiet.” In limited release November 22, 2019.Clemency (2019) 91%© Neon Chinonye Chukwu’s sophomore feature stars Alfre Woodard as Bernadine Williams in what Nick Allen of rogerebert.com calls a “towering performance [that] is sure to push her into awards contention.” Woodard takes on the role of a prison warden tasked with carrying out the execution of inmate Anthony Woods (Aldis Hodge). The film not only explores the emotional toll executions take on the prisoners facing certain death, but also digs into the long-term psychological effects of being mandated to take another human life.As Woodard’s Bernadine struggles with taking pride in a job that means carrying out legal but often unjust sentences, her marriage crumbles. Populated with strong supporting performances from the likes of Wendell Pierce and Danielle Brooks, Clemency is a study in how the barbaric can become mundane, and what changes for the people forced to witness or inflict violence as a matter of course.In limited release December 27, 2019.Honey Boy (2019) 94%© AmazonShia LaBeouf makes his screenwriting debut and stars as an analogue of his father in a reimagining of his own life story. Honey Boy recounts the difficult childhood of Otis Lort (Lucas Hedges) as he reflects on life with his abusive father. Reckoning with the trauma of his past, LaBeouf finds a way to create “the cinematic exorcism needed to deal with a major actor’s PTSD,” according to Brian Tallerico at rogerebert.com. A.A. Dowd at the AV Club writes of LaBeouf: “It’s just fascinating to see the actor play with the power of his persona and our association with it.” A Quiet Place’s Noah Jupe plays young Otis, giving a performance that EW s Leah Greenblatt calls “remarkably tender and unsentimental. In limited release November 8, 2019.Midnight Family (2019) 97%A documentary that provides what The Hollywood Reporter calls “a visceral understanding of the cutthroat nature of this private-ambulance business,” Midnight Family follows the exploits of a family of EMTs in Mexico City as they try to make a living by providing critical medical care. Filling in the gaps left by the government’s inadequate resources, the Ochoa family battles with other private ambulance providers to race to the scene of accidents and earn their keep – all while knowing that they have no recourse should a client be unable or simply refuse to pay.As they come up against the glad-handing and corruption of the city (money changes hands in transactions that seem less than legal), it is the 17-year-old Juan Ochoa who maintains order in the household, taking care of his brother, minding the money frugally, and trying to keep his struggling family together. As Alissa Wilkinson at Vox puts it, Midnight Family is ultimately a “sweet, fascinating portrait of a group of people trying to make the best of a bad situation, and sometimes succeeding.”In limited release November 15, 2019.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
When you re a kid, every movie is a transporting experience, like peeking in a keyhole to some new reality beyond. You feel the fun, the joy, the wonder. And sometimes the shattering terror. The monsters you had imagined creeping the corners of your mind or darkened bedrooms prowled in full horror on the screen. The awful, awe-inspiring power of witnessing something frightening can reverberate for decades. So in the spirit of Halloween, we asked 12 Tomatometer-approved critics to tell us about the movie scenes they watched as children that scarred them for life. Here are their answers.What movie scenes scared the s t out of you as a kid? Tell us in the comments. Stranger in the House (1974) 71%(Photo by Warner Bros.)The scene: The killer gives our final girl the evil eyeThe scare: The climactic scare in this groundbreaking slasher is really the culmination of a series of scares that assault the senses, beginning with the panicky moment when the police call college student Jess to reveal that the shrieking, barely human obscene phone calls to her sorority house have been COMING FROM INSIDE THE HOUSE! Then, there’s her nerve-wracking decision to employ “horror victim logic” and venture upstairs to check on her sleeping (read: dead) friends rather than heading out the front door. And when she enters the bedroom to find her deceased sorority sisters, the sight of the killer’s rabid, maniacal eyeball peering through the crack in the door as he whispers to her “Don’t you tell what we did!” is the stuff of nightmares. This was one of the first horror movies that drew me into the genre as a kid and made me appreciate the power of fright, and after seeing it, I understood why people would want to dream of a white Christmas. Mark H. Harris, BlackHorrorMovies.comE.T. the Extra-Terrestrial (1982) 98%(Photo by Universal)The scene: E.T. is dyingThe scare: Easily the most horrific visual I ve had seared into my brain involves E.T. when he s sick. He s scary enough as-is, and once his skin turns papery white and blotchy, he looks like a diseased liver stretched over a child-sized nightmare. I ll take Sadako, It, or Chucky over E.T. any day, yikes. Li Lai, Mediaversity ReviewsThe Exorcism of Emily Rose (2005) 44%(Photo by Screen Gems/courtesy Everett Collection)The scene: In the barnThe scare: I was 11 when The Exorcism of Emily Rose was released in September 2005. I remember a friend of mine talking about it, mentioning how she had seen it in theaters that weekend. My exposure to the horror genre was pretty much non-existent at that point, so perhaps Emily Rose was the first of the genre I had ever seen. Needless to say, it ruined my life. Now scared of sleeping in the darkness of my own bedroom, I slept on the floor of my mom s. This lasted for quite some time, maybe a year, which resulted in me having to see a therapist. The scene that scarred me the most is definitely the barn scene. I remember it vividly. Emily, possessed, is growling, screaming in tongues, flailing her arms, and looking upon Father Moore with blackened eyes. Father Moore is commanding the demon inside Emily to say its name, but there isn t just one demon: there are six. We are the ones who dwell within, they say, as they begin to state their names, with actress Jennifer Carpenter using a different tone and language for each: Cain, Nero, Judas, Legion, Belial, and Lucifer. When she says Lucifer, it s particularly frightening, as a faint light flickers in her eyes. The eyes of an animal peering at you through the dark. Sara Clements, @mildredsfierceGhostbusters (1984) 97%(Photo by Columbia Pictures)The scene: Quiet in the libraryThe scare: Ghostbusters might be a definitive comedy classic, but the ghostly librarian is the stuff of nightmares. At least it was for me as a child. The dark, maze-like rows of bookshelves and eerie quiet was atmospheric enough. Even more so when the books and index cards moved on their own accord. But there was no mentally preparing for the ghastly wrath of the librarian. I screamed along with Peter, Ray, and Egon. Still to this day, I’m petrified to make even a peep when stepping foot inside a library. Meagan Navarro, @HauntedMegThe Great Mouse Detective (1986) 80%(Photo by Walt Disney Pictures)The scene: Fidget kidnaps OliviaThe scare: An animated Sherlock Holmes-esque detective story starring a mouse is not something that instantly screams “horror.” But The Great Mouse Detective knows how to build a mystery and a tense atmosphere, culminating in the terrifying scene where tiny little Olivia (also a mouse) finds herself drawn to a toy baby crib. As ominous yet playful music builds up to a big reveal, Olivia approaches the crib and pulls on the cover to reveal an evil and scary bat that takes her for a hostage just as the music changes to resemble the screeches from the shower scene from Psycho. Rafael Motamayor, @rafaelmotamayorJaws (1975) 98%(Photo by Universal)The scene: The head in the boatThe scare: The day I saw Jaws on VHS in my dad s basement, I had spent the previous week convincing myself I would be terrified. All the stories from its theatrical run talked about audiences fainting, and I was sure I would freak out. Well, the self-hypnotism worked: When Hooper goes underwater and the head pokes out from the bite in the boat, I remember practically vomiting in fear. For a month afterwards I was terrified of any water, even my morning shower. I was convinced the shark would come out of the spout to attack me! Summer vacations in the East Coast of Canada where I learned to swim had the same murky salt water as Amity Island, and I d look out convinced I d see the dorsal coming my way. Jason Gorber, @filmfest_caA Nightmare on Elm Street 4: The Dream Master (1988) 52%(Photo by New Line Cinema/courtesy Everett Collection)The scene: Joey s aquatic demiseThe scare: My first experience with the A Nightmare on Elm Street franchise was flipping through channels on TV and landing upon this scene. I was too young to watch a Nightmare film but also old enough to be fascinated by the mystique and terror surrounding them. Watching Freddy manipulate Joey and then burst through the bed had an indelible effect on me. It was my first experience with a horror movie and the terror it elicited was the foundation upon which my love of the genre was built. 1 2 Freddy s coming for you Jonathan Barkan, @JonathanBarkanThe Others (2001) 83%(Photo by Dimension Films/Courtesy Everett Collection)The scene: The face behind the veilThe scare: The scene where Grace (Nicole Kidman) interrupts her daughter Anne playing with toys while her head is obscured by a veil, only for Grace to then see a withered elderly face staring back at her from beneath the sheet, left me traumatized for nights afterward. I didn t look at curtains or any kind of hanging fabric in the same way for a while after that. The mixture of youthful innocence with the complete opposite end of the human life cycle was such an unsettling union for me and it still is. Lewis Knight, @ThatsOurLewisPet Sematary (1989) 51%(Photo by Paramount Pictures)The scene: A tendon momentThe scare: Pet Sematary confronts death and explores grief in ways I just wasn t used to given my identity in a culture that isn t necessarily afraid of it. But while there are many scenes that make that film an annual rewatch for me, the Achilles tendon scene is in fact THE scene that affected me the most as a child. Hiding under the bed, a reanimated Gage slices Jud s Achilles tendon as he approaches. You can see the deep wound and Jud s ankle split in detail as he falls. That one scene made me long -ump to the bed for months. And after rewatches, it still makes me shiver as I get ready to go to sleep. Kate Sanchez, @ohmymithrandirPoltergeist (1982) 86%(Photo by MGM/courtesy Everett Collection)The scene: Suburban invasionsThe scare: The Freeling family always reminded me a bit of my own – the suburban surroundings, the copious amounts of Star Wars toys that littered their home – and that made Poltergeist, despite all of the supernatural shenanigans, all too real for me. When that tree attacks Bobby, or when the skeletons emerge from their pool, as a young man, I felt like any of that could happen to me. Just the mere mention of the film’s title was enough to send shivers down my spine until I was a teenager. To this day, if I have it on too late at night, I have second thoughts about heading down to the basement. Mike Vanderbilt, Daily GrindhouseReturn to Oz (1985) 54%(Photo by Walt Disney Pictures)The scene: A hallway of headsThe scare: The unofficial sequel to MGM’s Wizard of Oz, Walter Murch’s Return is a far cry from the brightly-colored 1939 musical. Not only does it have a much darker and fantastical narrative, this scene perfectly encapsulates why the film is the stuff of nightmares. In a bid to avoid being decapitated, Dorothy (Fairuza Balk) has to steal the Powder of Life from Princess Mombi (Jean Marsh) to escape. Unfortunately, she has to walk almost silently through a hallway of sleeping heads – and in full view of them – to get the powder. For extra pressure, it is placed inconveniently next to Mombi’s (real) head. Combined with David Shire’s powerful score, the slow-brewing tension from Dorothy’s delicate approach is blown apart by the ensuing screeching of multiple heads, not to mention being chased by a headless body. The whole sequence is terrifying as an adult but it’s horrifyingly out of place in a kid’s film – which is why it scars you for life. Katie Smith-Wong, @guitargalchinaThe Shining (1980) 84%(Photo by Warner Bros.)The scene: The woman in the bathroomThe scare: I refused to take a bath for a week. When I was seven, my father – much to the protestations of my mother – let me watch Stanley Kubrick’s The Shining. When Jack Nicholson walks into that lime-green bathroom only to find the decrepit, rotting ghoul of an elderly woman cackling at him after he danced with and kissed her younger specter, I leapt as high as her laugh, and haven’t come down since. Robert Daniels, @812filmreviewsLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Horror movie fans will be familiar with the concept of the Final Girl. The term was originally conceived in 1992 by Carol J. Clover as a way to describe the traits of the sole female victim who remains alive to tell the story of a film’s violent crime – or many violent crimes. Clover’s central idea was that, in the films where the trope is evident, the viewer initially sees the Final Girl through the killer’s perspective, but that partway through the movie, they begin to identify directly with her instead.Final Girls illustrated the moral split between the chaste and the virtuous. You know the deal – the hard-drinking, promiscuous girl dies first, and the demure, virginal girl survives to take down the murderer. She s the final one standing. Pop culture is replete with characters that fit the bill – Jess Bradford in the original Black Christmas, Sally Hardesty in The Texas Chainsaw Massacre, Nancy Thompson in The Nightmare on Elm Street – and their existence has become as integral to the slasher genre as the killers themselves.(Photo by Lionsgate/Courtesy Everett Collection)But that was then and this is now. The original Final Girl is slowly but surely being crowded out by a newer, more progressive iteration that acknowledges the restrictive ideas that initially gave birth to her. Over the last couple of decades, and particularly in the last 10 years, the last girl standing has looked a lot different from the final girls of the past. Progressively, in films like Scream, The Cabin In The Woods and It Follows, final girls have complicated the existing frame of the trope by pushing against its restrictions. Whether it’s by having sex, refusing to be constricted by archaic ideas of femininity, or simply by teaming up to fight together, these women now survive despite leading lives the genre used to consider wholly immoral and in need of corrective punishment – they’re a new kind of Final Girl. The Final Girls who were introduced in the 1970s and 1980s have become more nuanced over time, and that progress paved the way for the Finals Girls of Ready or Not and 2019’s Black Christmas who directly confront issues of misogyny and sex negativity.In some ways, the New Final Girl is almost the original Final Girl’s polar opposite. Rather than surviving because of her innocence, naïveté or virginity, the New Final Girl is the woman who makes it to the end of the film alive specifically because of her rejection of the old norms about what makes a woman morally deserving. The New Final Girl embraces drink, drugs, and sex and defends her engagement in each of them. She insists on being seen as a full human being and actively, often violently defends her right to do so. Most of all, the New Final Girl is still an active participant in her own survival – she knows the original Final Girl shouldn’t have had to sand off her edges to stay alive. The New Final Girl is not a virginal survivor but an intentional fighter who asserts her right to exist despite perceived moral flaws.(Photo by © Universal /Courtesy Everett Collection)In the 2019 sequel slasher Happy Death Day 2U, Tree Gelbman (Jessica Rothe) finds herself once again stuck in the murderous time loop of the first film. Over and over, she relives the same day, and it ends when she is brutally murdered by a serial killer known as Babyface. In the first film, the culprit is Tree’s sorority sister and roommate Lori (Ruby Modine). The two women are both having an affair with the same married professor, and Lori’s jealousy puts Tree in her crosshairs. In the sequel, Babyface is none other than the philandering professor himself, trying to eliminate any evidence of his transgressions.What makes Tree’s Final Girl status so interesting is that she begins the story as one of the “immoral women” who would usually die in a thriller. Tree is, by all accounts, a typical sorority mean girl. When we meet her, she is recovering from a night of partying and on her way to meet the professor she’s carrying on with. And in fact, she does die, over and over again, punished for her ruthlessness, immorality, and general misbehavior. But through the mechanics of the film itself, she evolves into a New Final Girl through sheer determination. (Photo by © Universal /Courtesy Everett Collection)In both films, Tree breaks her loop and returns to her life not by becoming more virtuous, but by becoming a more compassionate and considerate person. She improves and grows as a character – including ending her affair – not because those things make her unworthy of redemption, but because they are not the best choices for her as a person. She undergoes significant character growth without ever placing a moral frame on her sexuality or femininity. And through each of the infinite deaths it takes her to get there, she plots and schemes to find her killer and thwart them, determined to prevent her eventual death and save herself. Tree is a novel subversion of the trope because it’s her death itself that furthers her character growth. Several times, she intentionally kills herself in service of a larger goal; sometimes to gather more information about her situation and sometimes to undo the murders of other characters. As a result, her deaths then become an intentional sacrifice that signals her increasing virtue, instead of confirming its absence. It’s a large departure from the way the original Final Girls functioned in films like these.Cate YoungSimilarly, the evolution of Halloween’s Laurie Strode (Jamie Lee Curtis) into a New Final Girl in the film’s 2018 sequel of the same name is particularly notable because the character’s first iteration was in many ways the definitive final girl – most other examples are direct descendants of her legacy. In the first film, Strode is left as the sole survivor of the serial killer Michael Myers murder spree – the only young woman in the film who chose to abstain from the usual vices. Her survival largely conformed to expectations for women in horror at the time, and helped to cement the trope in the genre.But in the film’s most recent sequel – which retcons several that had come before –Laurie is now an older woman, driven to extremes by her fixation on stopping Myers return. In the 40 years since the events of the first film, Laurie has grown into an obsessive, battle-worn veteran of the war in her own mind. She may not be having sex or doing drugs, but she s far from the pure, likable babysitter we met decades earlier. She is convinced that Myers will return and has devoted her life to preparing for that eventuality. In the process she has lost custody of her daughter and become estranged from her daughter’s family. She is perceived as a lonely old woman too traumatized by her past to move on. Cate YoungOf course, Myers does eventually return. But this time Laurie is ready for him, having rigged her entire house to trap and kill him. Whereas in 1978 she was permitted to survive by virtue of her moral purity, in 2018 she fights like hell for that survival, taking active steps to make sure that Myers can no longer victimize her. She takes the lead in tracking Myers down and trapping him on her home turf. After spending years contemplating and preparing for the return of his torment, Laurie has transformed herself into the Ultimate Final Girl through sheer force of will. She has no intention of being defeated yet again.Critically, Laurie must also protect her daughter Karen (Judy Greer) and granddaughter Allyson (Virginia Gardener) this time around, folding them into a generational legacy of victimization and defense. When the threat they have dismissed for so long reveals itself to be real, they join forces with Laurie to fight and eliminate it – Myers is now a specter that haunts them all, the source of their estrangement and the origin of their familial trauma. Defeating Myers together connects the women as Final Girls of a new generation, forcing them all to overlook their own and each other s flaws in order to face the embodiment of their fractured relationships. Laurie leads the charge, but her family takes up her mantle. This isn’t to say that the old trope never survives. In fact, Allyson’s best friend Vicky is killed during a babysitting job soon after letting her wayward boyfriend into the house. It wouldn’t be a stretch to interpret her death as the same kind of stark moral judgement that historically happened in slasher films. This is especially true given the contrast with Allyson’s own encounter with Myers. After her boyfriend’s best friend inappropriately propositions her, he is immediately murdered while she survives. His overeager instinct to breach her consent should absolutely have been corrected, but death is a disproportionate response. The message couldn t be clearer: all sexual impulses exist along the same punishable continuum, regardless of how welcome they might be to the participants involved.(Photo by © Neon /Courtesy Everett Collection)One of the starkest examples of this shift in recent years is 2018’s Assassination Nation, which explored the trope in thrilling style. Set in conservative Salem, the movie focuses on a group of teen girls who find themselves at the center of a small-town lynch mob when they are blamed for the release of the community s private information. The girls are not guilty of the mass doxing, but their reputations as “loose women” make them ideal targets for the ire and anger of the town’s men and boys. The girls — Lily (Odessa Young), Sarah (Suki Waterhouse), Bex (Hari Nef), and Em (Abra) – are known at their high school for their skimpy outfits, their questionable choices in boys, and their perceived promiscuity. They are open about and proud of their burgeoning sexuality and enjoy exploring their relationships to the men in their lives. Lily is dating an abusive high school boy and carrying on an illicit affair with a married neighbor. Bex is trans and keeping her relationship with the popular football player a secret at his request. Sarah and Em are living with their mother Nance, who is implied to be operating a brothel out of her home. When the community devolves into ultraviolence, the citizens hunt the girls across the town, determined to punish them for being forced to confront their own once-private sexual shames. As the balance of power shifts, the horror genre tropes follow in quick succession. From a coordinated home invasion to a horde of masked killers to the use of guns and baseballs bats — the most American of weapons — the girls suddenly find themselves in the middle of their very own slasher film.(Photo by © Neon /Courtesy Everett Collection)At another time, all four of these women would be fated to die before the credits rolled. Their proximity to vice marks them as fallen women, and only the morally pure survive the transformative power of abject terror. But as New Final Girls, all four of them not only survive but continue on to restore order to the town. The girls rescue each other from the outsized violence the men are trying to inflict on them (including an attempted rape and hanging) and take up arms to defend themselves both literally and in abstract. The film ends as they deliver a call to action to the town’s girls, surrounded by bodies and covered in glitter, both claiming the righteousness of their femininity and rejecting the ubiquity of patriarchal terror. Through female solidarity they all survive and mete out the violence necessary to do so. Assassination Nation is unique in that the girls are explicitly targeted because of their sexuality – usually, this aspect of the genre is left as subtext. But here, the trope is almost deconstructed by bringing both the reasons for their attack and subsequent defense to the surface. They become New Final Girls because, given the plot constraints, their only options are to transform themselves or die. (Photo by © Universal Pictures / courtesy Everett Collection)The New Final Girl is a natural evolution of the original trope. Stories are becoming more egalitarian, and with that comes a necessary examination of the moral dimension of the traditional way women are depicted on film. But in the end, all these Final Girls aren’t as different from each other as we might think. The virtuous distinction that we make between them is largely based on an old patriarchal frame that divides women into Madonnas and Whores, then kills the whores. Part of making the genre more progressive – or dare I say feminist – is rejecting that binary entirely.Teenaged Laurie Strode and college-aged Tree Gelbman might have led different lives and made different choices, but when it came down to it, they both survived because they resolved to fight and refused to die. The haunting specter of violent masculinity came for all the women mentioned here, and they all triumphed, even under the restrictive gaze of a society that expects feminine perfection. But no matter how stark the contrast may be, these changes are progressive strides that honor the history of the slasher genre in inventive ways while bringing them into the contemporary moment. The Final Girl survived, but the New Final Girl thrives, and she’s ready to fight again another day.Follow Catherine Young on Twitter @battymamzelle
Charlize Theron, Nicole Kidman, Margot Robbie (Photo by Courtesy of Lionsgate (Hillary Bronwyn Gayle))Recent screenings of the Fox News sexual harassment feature Bombshell have forced pundits to recalibrate the Oscars race. Charlize Theron s uncanny transformation into Megyn Kelly is now a major contender for Best Actress. And we still have Greta Gerwig’s Little Women to come; first reactions for that film have been heralding the work of Saoirse Ronan and Florence Pugh. What was once thought to be a light year for female performances – and one in which Renee Zellweger was looking like a lock – is suddenly shaping up to be a powerhouse.And it’s not just in the lead actress category.Supporting performances often prove the hardest to predict because the category can be stacked with leading performances positioned for “supporting” mostly to up their chances of winning (see Alicia Vikander’s win for The Danish Girl). But we’re going to give it a shot.The 2020 race now features three high-profile female-led efforts with Oscar-worthy supporting performances (Bombshell, Hustlers, and Little Women) – this is in addition to impressive works from earlier in the year, like The Farewell. As with our Best Actress predictions, our list of supporting female performances runs deep, with several marquee names and several newcomers in contention. It will be interesting to see who cuts through as critics groups start releasing their honors lists and we move towards the Indie Spirit Awards.If history tells us anything, it is that most of these names won t make it to Oscar night, but we re pretty confident many of them will be right up there in the awards chatter. So read on as we break down our early picks for 2020 Best Supporting Actress contenders.Don t agree with our picks? Have at us in the comments.Laura Dern, Marriage Story (2019) 94%(Photo by Netflix)Newly announced to join original Jurassic Park co-stars Sam Neill and Jeff Goldblum in the upcoming Jurassic World sequel, the Big Little Lies star also features prominently in two Oscar-caliber films in the fall: She plays the matriarch in Greta Gerwig s Little Women and a no-nonsense lawyer with a talent for dispensing prescient Yoda-like advice in Noah Baumbach s Marriage Story. Having two bites at the apple usually serves potential nominees well, with voters picking the strongest of the two to nominate. And though she’s being praised for her performance in Little Women, her work with longtime friend and collaborator Baumbach is what’s getting the most buzz. Dern, who s on the Board of Governors for the Academy, is also a very active and well-liked member, so it would be a significant upset for her not to make it to Oscar night.Jennifer Lopez, Hustlers (2019) 87%(Photo by Kristin Callahan/Everett Collection)Most pundits are still not fully sold on Hustlers star Jennifer Lopez’s Oscar chances, but you can place us firmly in the “J-Lo for an Oscar nom” camp. Lopez, who plays the acrobatic stripper-turned-“mini mob boss” Ramona in the flick, is seductive, hilarious, and deadly. Also, she’s showing early that she has no intention of coasting through the season. (And yes, we include her recent walk down the Versace runway wearing a reimagining of her iconic green dress and her highly anticipated Super Bowl performance as part of an overall “campaign.”) Looking forward, perhaps the former In Living Color Fly Girl’s biggest obstacle is getting everyone to recognize how exceptional she is in the role. We don’t need convincing. Enjoying her best reviews since Steven Soderbergh’s Out of Sight, Lopez switches from charismatic mom-like figure to lethal crime boss with no more effort than she’d take to slide on a new pair of pumps. So yeah, it’s time Jenny from the Block got her due.Annette Bening, The Report (2019) 82%(Photo by Amazon Studios)There are several films on the fall slate that deal with political themes, and it’s yet to be seen how that will play with Academy voters. Among them are Richard Jewell, Queen Slim, Bombshell, Jojo Rabbit, and The Report. The voters do sometimes embrace the political – Alejandro Iñárritu’s The Revenant looked unbeatable at the 2016 Oscars but was nevertheless defeated by the quiet newspaper procedural Spotlight – and Supporting Actress contender Annette Bening will be hoping they do so this year for her transformative portrayal of Senator Dianne Feinstein in the Amazon feature about the 9/11 torture report.Shuzhen Zhao, The Farewell (2019) 97%(Photo by A24)Before last year’s Oscar campaign, a film like The Farewell, its lead actress Awkwafina, and the script/direction from newcomer Lulu Wang would have been hopeful but unlikely to vie for a golden statuette. Then Roma proved anything is possible, particularly in what the film signaled for actresses Marina de Tavira and Yalitza Aparicio, who were both nominated for Oscars. This is why we’re confident in the chances of the hilarious and heartfelt performance by Shuzhen Zhao as The Farewell’s Nai Nai, the elderly matriarch who is kept unaware of her own terminal illness to spare her unwanted pain. The film is based on an actual lie from the life of director Lulu Wang – the family gathers in China to say goodbye to Nai Nai under the guise of a family wedding – and Zhao is astonishingly good at its center, delivering cutting one-liners and intimate life lessons. Zhao also comes with the kind of Cinderella story voters love: this is her first on-screen performance.Nicole Kidman Margot Robbie, Bombshell (2019) 68%(Photo by Lionsgate)Early word on this Fox News sexual harassment drama is nothing but raves for lead actress Charlize Theron and supporting stars Margot Robbie and Nicole Kidman. Robbie was already a contender for her work as Sharon Tate in Once Upon a Time In Hollywood, but those who have seen Bombshell say this is the performance more likely to get her nominated. The I, Tonya actress’s portrayal of a young, impressionable Fox News staffer who s harassed by founder Roger Ailes is the stuff that Oscar highlight reels are made of. As Gretchen Carlson, the first woman to raise concerns at the network and who eventually filed suit for harassment and wrongful termination, Nicole Kidman is equally noteworthy. Both are a serious threat for nomination.Also in contention: Maggie Smith (Downton Abbey)Jennifer Hudson (Cats)Thomasin McKenzie (Jojo Rabbit)Octavia Spencer (Luce)Da Vine Joy Randolph (Dolemite is My Name)Florence Pugh (Little Women)Meryl Streep (Little Women)
One plays one of the movies most formidable villains; one has played some of the movies most lovable heroes, from Sherlock Holmes to Tony Stark. As they get set to battle on the big screen once more in Avengers: Endgame, we re pitting Josh Brolin and Robert Downey Jr. against each other – in a bit of friendly competition – first by Tomatometer and box office, and then by their most iconic roles and a special wildcard round. Who will come out on top? And who will be left in the dust? Watch to find out.Avengers: Endgame is in theaters April 26Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 9377手游皇图高爆版是一款热血竞技爆率十足的激战传奇手游玩家在9377手游皇图可以自由打怪，闲置装备不用怕，秒回收交易安全公平，喜欢的玩家一定不要错过哦。
亚博手机登录是什么意思 King of the Crop: Jumanji Destroys the Competition(Photo by Sony Pictures)Jumanji: Welcome to the Jungle opened on a Wednesday, five days after the release of Star Wars: The Last Jedi, and in its first five days, it grossed .77 million. Jumanji: The Next Level took just three days to make million, way ahead of its ultra-conservative estimates of just million. That may only be the 13th best start for a film in the month of December, but if it follows suit with the other films like it, The Next Level should pass 0 million with no issue. Sony has a much higher number in mind, given that Jungle had the second-best December multiple of all time (after Avatar) when it earned 11.18 times its opening Fri-Sun weekend, amounting to over 0 million domestic. Another 7 million internationally gave the film enough (2 million) to place among the Top 50 grossing films ever; a spot it is likely to relinquish soon after The Rise of Skywalker opens. Can The Next Level reach the 0 million level? Only 12 other films to have started in December (including the limited release of American Sniper, which broke through in January) have done it. Four are Lord of the Rings/Hobbit films, three are Star Wars, two are from James Cameron, and the others are Aquaman and Jumanji: Welcome to the Jungle. Budgeted at 5 million, The Next Level’s global total currently stands at 3 million and will have no problem turning a profit for Sony.Rotten Returns: Richard Jewell and Black Christmas Fail to Make an Impact‘Tis the season not to release films about terrorist bombings and serial killers. It is hard to say whether or not the accompanying controversy over the portrayal of a journalist in Richard Jewell really kept people away, but a Clint Eastwood film without a big star at its center (like Tom Hanks, Bradley Cooper or… Clint Eastwood) is normally not a big draw. The last Eastwood film without any of those faces in front of the camera to gross over million was 2003’s Mystic River. But the last of his films to open as weak as Jewell ( million) was, ironically, True Crime, back in 1999. Eastwood the actor only drew a .27 million opening for that February release, which went on to gross just .64 million. His Best Picture nominee, Letters from Iwo Jima, made just .75 million. Jewell may still find itself grossing over million, but it will rank as one of the lowest-grossing wide releases of his career and one of the bigger losers, given its million budget.Then there is Black Christmas, the second remake of Bob Clark’s first great Christmas film from 1974. The 2006 remake opened to just .72 million and finished with .27 million. The 2019 version did not do much better, with a .4 million start after what turned out to be an against-the-odds projection of -12 million. Horror has not been a popular genre to release in December, and the numbers show why. Going all the way back to 1981, only three horror films have opened to more than million in December (Scream 2, Krampus, and the 1998 remake of Psycho) and only four horror films have grossed over million (Scream, Scream 2, Krampus, and Dracula 2000.) In Blumhouse fashion, the budget for Black Christmas was only million, so it is not some major financial disaster, but if it fails to reach the million benchmark set by the 2006 remake (Rotten at 14%), that has to stand as a big disappointment.The Top 10 and Beyond: Frozen II Hangs on, Uncut Gems and Bombshell Are Solid in Limited TheatersThe champion of the past three weeks fell to second place, as Frozen II missed becoming the 45th film to gross more than million in its fourth weekend of wide release, though its .18 million raised its tally to 6.54 million, which is the 19th best ever after 24 days. That s about million higher than The Hunger Games: Catching Fire had back in 2013, when it was the original Frozen’s November partner in grossing 0 million. Frozen II’s fourth weekend is also around million more so we should expect no less than 0 million domestic in its pocket by the end of its run. Most importantly, though, Frozen II has become Disney’s 6th film this year to cross the billion-dollar mark which makes it the 38th highest-grossing film ever, and it will ultimately join the Top 25. The original Frozen currently ranks 15th, with .274 billion. Frozen II is only 2 million behind right now.Then we have two films making their runs toward 0 million. Ford v Ferrari is nearly there after another .14 million this weekend. Its total stands at .2 million domestic, but it is the 5 million global tally that lingers for Fox, as that is still around million behind where it needs to be to recoup its costs. Rian Johnson’s Knives Out is already into profit for Lionsgate and is now just trying to leg it out to the milestone. With .8 million so far, the murder mystery is hitching a ride on the numbers that Creed had at this point, within a million behind of both it’s 19-day tally and its third weekend. Creed finished with 9 million. That is a number that Ferrari is also headed towards and even with Knives a few million behind its pace it looks like it should still cross the finish line and may even pass Ferrari worldwide as it currently has 2 million.Benny and Josh Safdie’s Uncut Gems (92%) with Adam Sandler had a stellar showing in just five theaters grossing 5,498. While that is the second best per-theater-average of the year (5,099) behind just Bong Joon-ho’s Parasite (8,072 in each of three theaters), it is the fourth-best ever for a film released in five theaters. Only La La Land (1,104), The Master (6,311), and Brokeback Mountain (7,425) opened better. Gems also just missed a personal best PTA for A24, passing such notable titles as Lady Bird (,109) and this year’s The Farewell (,916), but was just behind Moonlight (0,519) as the all-time champion. We will see if the estimates come out higher on Monday. The studio’s ,000+ PTAs have all grossed at least .3 million. The Safdies last film, Good Time with Robert Pattinson, grossed a total of .02 million.The list of four-theater openings is a little steeper, but Jay Roach’s Bombshell nevertheless had a solid showing this weekend. With 2,000 the Fox News sexual harassment expose became the 15th best opening within that group ahead. Among the top 15 films in that group, 11 of them were nominated for Best Picture (with The Farewell TBD) including the aforementioned American Sniper (the all-time champ with 3,667) and Moonlight, which went on to win the Oscar, as did Birdman (4,397).Terrence Malick’s latest, A Hidden Life, had a less than great showing with just ,000 in five theaters. That comes between his last two narrative releases, Song to Song (,559 / Rotten at 43%) and Knight of Cups (,551 / Rotten at 47%), which were only in four theaters initially. A Hidden Life’s PTA (,400) is the director’s third lowest since his return to cinema in 1998 with The Thin Red Line and could be second lowest if the estimates fall. This has to be cited as a big disappointment for Fox Searchlight, who released the three-hour film featuring his first positive score with critics (78%) since The Tree of Life in 2011.This Time Last Year: Spider-Verse Swings into First Place(Photo by Sony Pictures Animation)The Oscar winner for Best Animated Feature first took the #1 spot at the box office this weekend. Spider-Man: Into the Spider-Verse opened to .36 million, doubling the take by Clint Eastwood’s The Mule, which began with .50 million. In turn, Eastwood’s film more than doubled the start of Mortal Engines (.55 million) which ultimately barely doubled its opening weekend to become one of the biggest bombs of 2018. Both Fantastic Beasts: The Crimes of Grindelwald and Ralph Breaks the Internet passed 0 million, and Creed II got over 0 million. James Wan’s Aquaman earned .9 million in special previews and that was good enough to grab the tenth slot on the list. Barry Jenkins’ If Beale Street Could Talk opened to 4,476 in four theaters, which amounted to the eighth best per-theater-average of the year. The Top Ten films grossed 1.64 million and averaged 67% on the Tomatometer.This year’s Top Ten grossed an estimated 2.24 Million and averaged 76.7% with critics.On the Vine: Jumanji Is Back, Along with a Slew of Awards Hopefuls(Photo by © Lucasfilm)The week fans both young and old have been waiting decades for is finally here: The big-screen adaptation of Andrew Lloyd Webber’s Cats arrives to storm the box office with its blend of live-action FX wizardry and angel-like lyrics. All kidding aside, while that all remains to be seen, it is also the week that the Skywalker Saga comes to an end. For years, fans all over the world have been anticipating the conclusion of the nine-film arc that George Lucas hinted at so many years ago. And now Star Wars: The Rise of Skywalker, Episode IX of the series, arrives and will undoubtedly be one of the biggest hits of 2019 and ultimately give Disney its 7th billion-dollar film of the year and push their grosses to over billion.The Full Top 10: December 13-15Jumanji: The Next Level (2019) 71% – .1 million (.1 million total)Frozen II (2019) 78% – .18 million (6.54 million total)Knives Out (2019) 97% – .25 million (.91 million total)Richard Jewell (2019) 77% – million ( million total)Black Christmas (2019) 39% – .42 million (.42 million total)Ford v Ferrari (2019) 92% – .14 million (.12 million total)Queen & Slim (2019) 83% – .6 million (.17 million total)A Beautiful Day in the Neighborhood (2019) 95% – .35 million (.32 million total)Dark Waters (2019) 89% – (.89 million total)21 Bridges (2019) 54% – .19 million (.36 million total)