互创手游现在已经支持电脑端、手机网页端、APP客户端，并且三端的数据都是互通，让玩家能够随时随地畅玩所有的游戏，无后顾之忧，这也大大满足了热衷于手机游戏的玩家。这也正是互创手游最大的特色，也是吸引广大用户的重要原因。不仅如此，互创手游能够使玩家能够完全掌握自我，以及充值的重要条件。让玩家可以自己操作，无需担心。玩家本身对于充钱玩游戏这是一件很敏感的问题，只有把它掌握玩家自己的手中，才能缓解平台与玩家之间可能出现的矛盾。在这个问题上，互创手游便做到了极致，实现了平台与玩家之间的自由发展。 (Photo by DC Universe)With Friday’s episode of Titans, the members of the Doom Patrol not only made their live-action debut on DC Universe, but also teased their own upcoming eponymous series thanks to voice cameos from stars Brendan Fraser and Matt Bomer and an in-the-flesh appearance by co-star April Bowlby. Portrayed as a group of misfits sheltering fellow oddity Garfield Logan (Ryan Potter), the characters also distinguished themselves from the Titans cast thanks to their strange circumstances, humor, and a family dynamic Dick Grayson (Brenton Thwaites) is far from cultivating.Who and what are the Doom Patrol? How far back does the group s DC Comics history go, and what does it say about the upcoming series? Read on for a primer on the world’s strangest heroes.Secret Origins(Photo by DC Universe)The Doom Patrol debuted as a strip in 1963 My Greatest Adventure #80, written by Arnold Drake and Bob Haney with art by Bruno Premiani. The initial four-member team was comprised of Rita Farr (a.k.a. Elasti-girl), an Olympic swimmer-turned-actor who can stretch to tremendous sizes after she is exposed to unusual volcanic gases; Cliff Steele (a.k.a. Robotman), a race car driver whose brain is saved after a car crash destroys his body; Larry Trainor (a.k.a. Negative Man), a test pilot whose body became negatively charged after exposure to radiation during a test-flight; and Dr. Niles Caulder (a.k.a. The Chief), a paraplegic genius and inventor who inspires the rest to use their augmented abilities for the greater good even as their conditions leave them outcast from a society which fears and hates them. If the premise reminds you of X-Men, which debuted two months after the first Doom Patrol strip, Drake always suspected Stan Lee somehow caught wind of his concept — though in his later years, he suggested they both reached for fruit from the same creative vineyard independently and simultaneously.While Drake s new superhero strip saved My Greatest Adventure from cancellation, the title was renamed Doom Patrol five issues later. In 1965 s Doom Patrol #99, Garfield Logan (a.k.a. Beast Boy) was introduced as the survivor of an experimental cure for a rare disease which gave him the ability to change into any animal. He remained with the group for a time before seeking his fortune in Hollywood and joining the Titans West.Doom Patrol itself survived another three years before its popularity declined and the book was finally cancelled. In response to the cancellation and his own anger toward DC at the time, Drake took the highly unusual step of killing off the team.A new team created by writer Paul Kupperburg — featuring a revived Robotman, a new Negative Woman, and Caulder’s previously unseen wife Celsius — emerged in 1977, but failed to capture the imagination of readers during an infamous downturn in DC s fortunes known as The DC Implosion. Ten years later, Kupperburg tried again with a third Doom Patrol team, but he was replaced in issue #18 by Grant Morrison. The new take on the team, which saw Robotman, the Chief, and Negative Man return with new additions like Crazy Jane — a woman with dissociative personality disorder and a superpower for each of her personas — and a mobile, conscious street known as Danny — yes, an actual sentient city street — is considered one of the definitive versions thanks to its surrealist adventures and reinvention of the Chief as the team’s ultimate enemy.After Morrison’s departure, writers including Rachel Pollack, John Arcrudi, John Byrne, and Keith Giffen took over Doom Patrol to varying degrees of success. In 2016, My Chemical Romance frontman Gerard Way revamped the concept for his DC Young Animal label. Featuring art by Nick Darrington, the new Doom Patrol went in new strange directions while honoring a lot of what came before — Robotman was present as ever while Danny became a world all his own.A Titans Debut(Photo by DC Universe)Much of Drake and Haney’s concept is on display within the Doom Patrol episode of Titans, with hints of Morrison s influence. Fraser gives Cliff a wistful tone as Rachel (Teagan Croft) describes her dinner to him. Bomer’s Negative Man is the definition of hip. Rita Farr (April Bowlby) tries her best to keep her studio-trained composure, but it is easy to see the cracks in her facade as her powers always seem to get the best of her. As a group, though, the strong bond between them is already on display. At this point in Titans own story, it is a welcome relief to see some superpowered beings acting as a family — but it also offers a tease of the dynamic viewers will eventually see on Doom Patrol.With the Chief, played in the episode by a menacing Bruno Bichir, Caulder’s seeming benevolence falls away pretty quickly. By the time he has Rachel strapped to a hospital bed, one is willing to believe he arranged the accidents that caused Cliff, Larry, and Rita to become super-powered oddities.Arguably the most important character to introduce here was Cliff. As a member of every Doom Patrol iteration, he is the de facto face of the whole concept. His condition — a human brain in a robot body — also makes him one of the easiest Doom Patrol characters to “get” and bond with. Luckily, Fraser voices the character as though he’d been playing Cliff for years, which is important as he will be playing Robotman for a long time to come.Doom Patrol 2019(Photo by DC Universe)That long time to come will begin next year with the arrival of DC Universe’s Doom Patrol series. Fraser, Bomer, and Bowlby return as their characters, but actors Jake Michaels and Dwain Murphy, who inhabited the Robotman and Negative Man suits, have been replaced by Riley Shanahan and Matthew Zuk. And in a move that may seem surprising, one key Doom Patrol member will have a new face when they make the leap to their own series: the Chief.In August, the streaming service announced that former James Bond, Timothy Dalton, would take over the Niles Caulder role. It is an inspired choice as Dalton is capable of both the compassion and menace Caulder can offer in equal measure. And after seeing Bichir’s take on the character, it makes sense to dial back Caulder to someone who would believably inspire the devotion Cliff, Larry, and Rita seem to have for the man.Plus there is a story point to be built from Caulder suddenly having a new personality, face, and accent: In the early Doom Patrol strips, the gang did not know the Chief s real name. Circumstances ultimately forced him to divulge these details, but it established Caulder s secretive tendencies. And what better way to establish the grandiose nature of the Chief s secretiveness on screen than for Cliff, Larry, and Rita to learn the man they thought gave them a home was nothing but a proxy?The group seems off to a fine start as Fraser, Bomer, and Bowlby offer the three key characters a lot of life. On the Doom Patrol series, Diane Guerrero will join them as Crazy Jane from Grant Morrison s run. The team will face off against Alan Tudyk’s Mr. Nobody, a character created by Drake for one issue but expanded upon by Morrison into a major team antagonist. The inclusion of the Morrison characters suggests the show will be more consciously absurd than their appearance on Titans would suggest, which would definitely be the right tone for this group. Additionally, missing Titan Cyborg (Jovian Wade) will give the Doom Patrol a mission that is difficult to refuse, but will completely alter their lives forever. The 13-episode series from longtime DC TV producer Greg Berlanti and Being Human s Jeremy Carver is expected to debut in February 2019.It is unclear, however, if Danny the Street will make his presence known.New episodes of Titans are released Fridays on DC Universe. Doom Patrol will premiere in 2019.
The summer heat is reaching new heights this month, the coronavirus pandemic continues affecting film and television production around the country, and the selection of returning series to binge is admittedly slim. So we are bringing you something a little different with this month’s guide by including an upcoming streaming film and the star’s previous TV projects you ll want to catch up on. Find our recommendations below for six series to binge in August.The Rain (Netflix)What it is: This post-apocalyptic Danish thriller from creators Jannik Tai Mosholt, Esben Toft Jacobsen, and Christian Potalivo takes place six years after the modern world has succumbed to a fatal virus that’s transmitted through toxic, infected rain. Siblings Simone and Rasmus survived against all odds while holed up in a bunker, and they reenter the world in search of their scientist father to find the rain has killed nearly all signs of human life in their native Scandinavia. They’re soon joined by another young group of survivors who face the world’s devastation and dangers together.Why you should watch it: This slow-burning, character-driven drama has enough sci-fi elements and reality-based thrills to keep any fan of the admittedly well-worn dystopian genre entertained for a quick binge. Season 3 premieres August 6 on Netflix.Where to watch: NetflixCommitment: Approx. 10.5 hours (for the first two seasons)Star Trek: The Next Generation 91% (CBS All Access)What it is: As the Star Trek universe adds a new series with this month’s Star Trek: Lower Decks, we’re recommending you revisit The Next Generation for a summer binge. TNG sets the stage for this animated comedy series’ fantastical world, which follows four “heroes” from the support crew on Starfleet s U.S.S. Cerritos, the fleet’s least important ship. The series also borrows its name from TNG episode, “Lower Decks.” If you want more Star Trek options, check out our list of Star Trek TV Shows Ranked by Tomatometer to find one that s right for you. Why you should watch it: While the new series should be accessible to Trekkies, experts, and newbies alike, a binge of TNG will give you the info you need to ID the Lower Decks’ Easter eggs, share in the Trek humor, and more. Season 1 premieres August 6 on CBS All Access.Where to watch: Amazon, CBS All Access, FandangoNOW, Google Play, Hulu, Microsoft, Netflix, VuduCommitment: Approx. 132 hours (for all seven seasons)Freaks and Geeks 100% (NBC)Undeclared 93% (Fox)What it is: This one is for all the Seth Rogen lovers out there. Today, he is a bankable star thanks to timeless teen and stoner comedy classics like Knocked Up, Superbad, and Pineapple Express — and his latest, An American Pickle, is quite literally timeless due to its time-jumping immigrant premise. But some may forget that he pretty much grew up on our screens at the top of the millennium with Judd Apatow’s short-lived but beloved network comedies, Freaks and Geeks and Undeclared.Why you should watch it: Anyone who’s ever felt like an adrift outsider will likely see themselves in any number of the messy-but-lovable characters across these two series. If you’re looking for a classic binge that’ll remind you just why Rogen is a huge star today, this is a great place to start before An American Pickle premieres on HBO Max on August 6.Where to watch it: A little twist with these titles: They re only available to purchase on DVD, so you re going to have to really commit. Freaks and Geeks and Undeclared are available to order from Amazon.com. (Step 1: Do you even have a DVD player?)Commitment: Approx. 13 hours for Freaks and Geeks and approx. 6.5 hours for Undeclared.Endeavour 88% (PBS)What it is: As a prequel series to the long-running Inspector Morse, this Russell Lewis–created, Shaun Evans–starring series follows our hero Endeavour Morse through his early career as a detective constable through to his promotion as a detective sergeant with the Oxford City Police.Why you should watch it: This lush period drama depicting 1960s-era Oxford and the surrounding area is grounded first and foremost from a charismatic Evans, but its twists and turns also help make the series endlessly watchable for lovers of the PBS Masterpiece cloth. Season 7 premieres August 9 on PBS.Where to watch it: Amazon, FandangoNOW, Google Play, Microsoft, VuduCommitment: Approx. 40 hours (for the first six seasons)Lucifer 88% (Netflix)What it is: Most people escape their locale to vacation where it’s warm, but where do you vacation when your home is in Hell? Los Angeles, apparently. That’s where our titular antihero Lucifer Morningstar (Tom Ellis) sets his sights, at least, after resigning his post as ruler of the underworld to spice up his life. Once in L.A., he opens up a nightclub and stumbles into becoming a civilian consultant for the LAPD.Why you should watch it: Based on the DC Comics character created by Neil Gaiman, Sam Kieth, and Mike Dringenberg, Lucifer Morningstar is a protagonist like we haven’t seen before. Ruler of Hell, sure, but also charismatic as hell (charming, witty, and handsome), proving himself to be the perfect right-hand man for homicide detective Chloe Decker (Lauren German). (Over the span of the series, their beguiling relationship is one of the reasons to stick around, too.) Lucifer was cancelled by Fox in 2018, but revived by Netflix, which will premiere its fifth season on August 21.Where to watch: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, Netflix, VuduCommitment: Approx. 47 hours (for the first four seasons)欧宝娱乐平台网页在线版登录入口Today we are excited to start our Product update blog, which will allow us to keep you informed of changes and updates on Rotten Tomatoes.Over the past 18 months, we’ve made a number of updates at Rotten Tomatoes, all in an effort to streamline the site and provide users with a more enriched experience. These updates include the launch of a new visual identity (you don’t hate the red anymore, right?); the creation of new original editorial, video, and social content (check us out on Twitter, Facebook, Instagram); and a revamped Tomatometer critics criteria that better reflects the current media landscape, increases inclusion, and more fully serves the global entertainment audience.We’re proud of what we’ve accomplished, but let’s get to what you really want to hear about!Starting this week, Rotten Tomatoes will launch the first of several phases of updates that will refresh and modernize our Audience Rating System. We’re doing it to more accurately and authentically represent the voice of fans, while protecting our data and public forums from bad actors.As of February 25, we will no longer show the Want to See percentage score for a movie during its pre-release period. Why you might ask? We’ve found that the Want to See percentage score is often times confused with the Audience Score percentage number. (The Audience Score percentage, for those who haven’t been following, is the percentage of all users who have rated the movie or TV show positively – that is, given it a star rating of 3.5 or higher – and is only shown once the movie or TV show is released.)What you will now see at the top of a movie or TV page, once it has been released, is this:What else are we doing? We are disabling the comment function prior to a movie s release date. Unfortunately, we have seen an uptick in non-constructive input, sometimes bordering on trolling, which we believe is a disservice to our general readership. We have decided that turning off this feature for now is the best course of action. Don’t worry though, fans will still get to have their say: Once a movie is released, audiences can leave a user rating and comments as they always have.Last but not least, you will notice we are making some layout changes to the site. Through our research department we have learned that our users would prefer a cleaner, less cluttered, presentation of the Tomatometer and Audience Score. Don’t worry, the information and data are still there (promise!).We hope you enjoy these changes. Please leave feedback in the comment section below. We are taking notes.Thanks for reading, and we ll see you at the movies.
4. 呼朋唤友 随心所欲
Today s Ketchup brings you another set of headlines from the world of film development news, covering movies with new roles for Richard Madden, Jessica Chastain, Michael Rooker, Elisabeth Moss, and more.This WEEK S TOP STORYMARVEL S YONDU May SNAP HIS TEETH INTO THE SUICIDE SQUAD AS KING SHARK(Photo by @ Walt Disney Studios Motion Pictures)Ever since Guardians of the Galaxy director James Gunn signed on to direct Warner Bros. and DC Comics The Suicide Squad, there have been rumblings that at least one of his Marvel stars would join him. For a while, there was word that might be Dave Bautista as Peacemaker, until recent news that the role will likely go to fellow professional wrestler John Cena instead. Today, we learned that James Gunn still might reunite with one of his Guardians stars, with Michael Rooker now in talks to play the monstrous villain, King Shark. If you re a fan of TV s The Flash, you might recall that King Shark has had some pretty cool scenes on that show. The Suicide Squad cast will also include Idris Elba, Viola Davis as Amanda Waller, and Margot Robbie as Harley Quinn. Warner Bros. has scheduled The Suicide Squad for August 6, 2021. Gunn is expected to return to Marvel Studios for Guardians of the Galaxy Vol. 3 after he wraps on the DC flick, suggesting a Guardians release date no sooner than 2022.Fresh Developments1. GAME OF THRONES, Bodyguard FAVORITE JOINS MARVEL S THE ETERNALS (Photo by Tony Gonzalez/Everett Collection)We re now within 10 days of the end of HBO s Game of Thrones, so we re in the midst of a wave of new roles for those many actors. The biggest story for a Game of Thrones favorite this week however was for someone whose last episode was nearly six years ago. Richard Madden, who played Robb Stark, the onetime King in the North, is now in talks with Marvel Studios about starring in The Eternals. If he signs on, Madden would be playing Ikaris, who, in the comics, has been a leader of the Eternals in the past. Angelina Jolie is also starring in The Eternals as Sersi (a long-running member of the Avengers in the late 1980s and early 1990s). Kumail Nanjiani (The Big Sick, HBO s Silicon Valley) and South Korea s Ma Dong-Seok are also attached to play unknown characters. There have also been reports that Marvel is looking to cast an openly gay Asian actor, but that role appears to have not yet been cast. The Eternals will be directed by Chloe Zhao (The Rider, Songs My Brothers Taught Me), whose two films to date both have Tomatometer scores above 90%. There is no official release date for The Eternals yet, but if the filming start dates align with the Marvel s put out, it might be November 6, 2020 (after Black Widow, which might come out May 1, 2020).2. DISNEY SCHEDULES NEW STAR WARS MOVIES FOR 2022, 2024, AND 2026 (Photo by @ Walt Disney Studios Motion Pictures)Every once in a while, a massive story will come out which is actually several all rolled into one. This week, Disney announced dozens of release dates (or changes), including some pretty seismic revelations. Last September, we heard that Disney planned on slowing down the release of their Star Wars franchise, and we now officially know that there will be a three year gap after this December s Star Wars: The Rise of Skywalker. Then, starting with December 16, 2022, there will be Star Wars movies every two years; the next two will arrive in theaters on December 20, 2024 and December 18, 2026. What we don t know is what these Star Wars movies actually are. It s known that Rian Johnson (Star Wars: The Last Jedi) has plans for a new Star Wars trilogy. Game of Thrones showrunners David Benioff and Dan Weiss are also developing a trilogy which is rumored to be set in the Old Republic period most seen to date in various video games. (You can check out a breakdown of five places we think the Star Wars franchise can go in the 2020s here.) We think that some of the release date changes are Rotten Ideas, so please continue to that section to read more.3. BLACK PANTHER’s CHADWICK BOSEMAN TO SLASH AGAIN AS SAMURAI YASUKE (Photo by JA/Everett Collection)Chadwick Boseman has starred in a few movies now where he was a first. Boseman played baseball groundbreaker Jackie Robinson in 42, he played Thurgood Marshall (the first African American Supreme Court Justice) in Marshall, and of course, Black Panther was a significant first. This week, Boseman signed on for another first in the historical drama Yasuke, in which he will portray the first African samurai in Japan. The historical Yasuke was a Portuguese retainer of Mozambique heritage who was brought to Japan as a slave in the 16th century, making him the first black man to set foot on Japanese soil, [as] Yasuke’s arrival aroused the interest of Nobunaga, a ruthless warlord seeking to unite the fractured country under his banner. It s not yet known who will be directing Yasuke.4. Jane Campion is Back, with Doctor Strange and a Handmaid in Tow(Photo by ©Apparition/courtesy Everett Collection)Marvel Studios has tapped so many top stars (and helped others become stars) that a bunch of new films feature those names. Acclaimed New Zealand director Jane Campion (The Piano) hasn t directed a feature film in 10 years (2009 s Bright Star), and she is now preparing to direct The Power of the Dog, an adaptation of the 1967 novel by Thomas Savage. For this film, Campion has cast Benedict Cumberbatch (Marvel s Doctor Strange) and Elisabeth Moss of the acclaimed Hulu series The Handmaid s Tale. Like 1994 s Legends of the Fall, The Power of the Dog is a story of ranchers in Montana, with Cumberbatch playing a wealthy Montana rancher who engages in a relentless war against his brother s son from a secret marriage to a local widow (played by Moss). The brother and son characters have yet to be cast.5. IT: CHAPTER TWO STAR JESSICA CHASTAIN TO PUT ON THE EYES OF TAMMY FAYE (Photo by Kerry Hayes/ © EuropaCorp USA /Courtesy Everett Collection)Nearly 20 years before acclaimed celebrity documentaries like Won t You Be My Neighbor? and RBG, one of the most successful early documentaries in that style was 2001 s The Eyes of Tammy Faye, about televangelist Tammy Faye Bakker. Fox Searchlight is preparing to produce a dramatic biopic about Tammy and husband Jim, to also be titled The Eyes of Tammy Faye. Attached so far are Jessica Chastain (IT: Chapter Two, Dark Phoenix) and Andrew Garfield (The Amazing Spider-Man). Director Michael Showalter (The Big Sick) will be working from a screenplay adapted from the documentary. There s no word yet about which makeup artist will be hired to work on The Eyes of Tammy Faye, but whomever it is might automatically be in the running for a Hair and Makeup Oscar.6. CHRIS HEMSWORTH AND TIFFANY HADDISH TEAMING UP FOR BUDDY COP COMEDY (Photo by @ Walt Disney Studios Motion Pictures, @ Universal)Chris Hemsworth is proving himself a master at comedic chemistry – witness the splendor of Lebowski Thor – and a great foil to a strong female co-star (he will be back on screen with Ragnarok co-star Tessa Thompson in Men in Black: International this summer). The latest female star to sign on to test Hemsworth’s on-screen charisma and comedic chops is Tiffany Haddish, whose career has been blowing up ever since 2017 s Girls Trip. Haddish and Hemsworth will costar together in the buddy cop comedy Down Under Cover, with Haddish playing a cop who teams up with an undercover male stripper police detective.#7. Dark Knight Writer David S. Goyer Rebooting HellraiserJoel MearesBack in the early 2000s, Spyglass Entertainment was a prolific production company which provided Disney s Touchstone with many of its hits, including The Count of Monte Cristo, Shanghai Noon, and 1999 s The Sixth Sense. Spyglass is back in business again as an independent company called the Spyglass Media Group and in the market for new franchises. Their first major project was announced this week: a reboot of the prolific horror series Hellraiser, featuring the erotic horrors of Pinhead and his Cenobite collaborators. When Hellraiser came out over 30 years ago in 1987, there was nothing like it, but since then, movies like Saw and Hostel have made the torture porn horror subgenre almost ubiquitous. Hellraiser is poised to make a big return, and the job of adapting Hellraiser for a new generation is going to David S. Goyer, the screenwriter behind comic book adaptations like Blade, The Dark Knight, and Man of Steel, and this year s Terminator: Dark Fate. It s not yet known exactly how Goyer will reboot Hellraiser.Rotten Ideas2. DISNEY S MASSIVE RELEASE DATE DUMP REVEALS VAST CHANGES(Photo by @ Walt Disney Studios Motion Pictures)Pretty much every week, there are new release dates or changes for upcoming movies, but usually it s only for a handful of films. This week, Disney announced such a massive slate of new dates and changes that it s had sort of a tsunami-like impact on the calendar. Disney recently finalized its acquisition of Fox s film properties, and part of its ongoing plan is to slow Fox releases down to 5-6 films a year (cut in half from 12 in 2018). Many Fox films are therefore being delayed or outright canceled. For example, The New Mutants (the last Fox/Marvel movie before Marvel Studios takes over the X-Men and Fantastic Four) was originally scheduled for 2018, and now it s not scheduled to come out until April 3, 2020. Harrison Ford s Call of the Wild (February 21, 2020) is one of the other films pushed back into 2020, as is the long-in-development YA novel adaptation Artemis Fowl (May 29, 2020), though that has always been a Disney movie. Dora and the Lost City of Gold has already swept in to take over Fowl’s original August 9, 2019, release date. Disney s slate is also significant for what it doesn t have, such as Fox s various Marvel movies, like Gambit (with Channing Tatum attached), and projects like X-Force, X-23, Kitty Pryde, and James Franco s Madrox the Multiple Man.1. AVATAR 2 PUSHED BACK TO 2021 (SEVEN YEARS AFTER ITS ORIGINAL 2014 RELEASE DATE) (Photo by @ 20th Century Fox)Up until this week, it was believed that Avatar 2 would be released next year, on December 18, 2020, following years of delays from its original release date in December 2014. This week, as Disney also revealed an every-two-years rotation of Star Wars movies in 2022, 2024, and 2026, they did the same thing for the upcoming Avatar sequels. The four Avatar sequels (yes, James Cameron is really working on four sequels) are now scheduled for December releases in the odd years: Avatar 2 (December 17, 2021), Avatar 3 (December 22, 2023), Avatar 4 (December 19, 2025), and Avatar 5 (December 17, 2027). Paramount Pictures took quick advantage of the vacuum left by the Avatar 2 move, pushing their own sequel, Coming to America 2, back to December 18, 2020. By doing that, Paramount also made room for the science-fiction drama Infinite, starring Chris Evans, on August 7, 2020. For their own part, Disney also replaced Avatar 2 with their own films, the double feature of Steven Spielberg s West Side Story remake on December 18, 2020, followed by Cruella (the live-action 101 Dalmatians starring Emma Stone), five days later on December 23, 2020. We can expect the next few weeks to have more release date changes from Disney s competitor studios.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
5. HD 画质与高品质音讯
Last week we were all easing back into a brief period of seeming normalcy with Warner Bros. finally launching Christopher Nolan’s Tenet stateside. We were also still hedging our bets and putting kid gloves on while reporting what, if anything, the movie s numbers meant about the state of moviegoing. This column has offered its own vision on how to look at them in the short term, but the studios are once again starting to look at the long game King of the Crop: Tenet Takes In .7 Million, But Calculating What That Means Is a Nolan-esque Mindbender(Photo by © Warner Bros.)Warner Bros. was choosing not to release daily breakdowns on the Tenet numbers and for the second week in a row adopted the strategy of only releasing estimated totals for the film on Sunday morning. Based on reporting last week, we had a number of .2 million, which would have been a pretty on-target expected haul for the first (one-time-expected) blockbuster released since March, given what we had seen out of Unhinged and The New Mutants. However, further reporting revealed that the weekend number may have been more in the vicinity of just million, with the rest of that .2 million coming from previews going back to the previous Monday. We knew some of the haul had come from earlier days last week, but may not have expected only 60% of that .2 million to have come over the four-day holiday. That brings us to this weekend.According to the studio, Tenet led the box office this weekend with .7 million. That would be a 66.9% drop from the initially reported .2 million. However, if we look at the guesstimated breakdown to million, that would be just a 44.2%. Except for the fact that Warner Bros. is saying that Tenet dropped just 29% this weekend, which by most accounts is a very solid hold bringing its domestic total to .5 million. But if that is true that means the three-day weekend haul last week was more between million and million, with the additional money being made on the Monday holiday.That is less than half of what the average expectations were for Nolan’s film s opening weekend, which is why rumors began to surface on the eve of the Dune trailer launch that WB was going to be pushing back Wonder Woman 1984 from its October 2 slot; on Friday, they did just that, pushing the superhero flick to December 25, 2020.(Photo by George Kraychyk / © TriStar Pictures / Courtesy Everett Collection)Universal was the next to act, moving its Candyman remake into sometime in 2021. That leaves Kenneth Branagh’s Death on the Nile and Sony’s animated Lord and Miller production, Connected, opening on October 23, as the next major studio releases on the schedule. On the semi-bright side, Tenet is up to 7 million worldwide, surpassing WB’s Birds of Prey (1 million) for fifth place on the decimated 2020 chart, behind Bad Boys for Life, The Eight Hundred, Sonic the Hedgehog, and Dolittle.The only new release of the week was The Broken Hearts Gallery. Sony decided to adopt the WB method and kept its numbers from the record until this morning: the movie made .1 million in 2,204 theaters. That’s a 9 per-theater-average. Even if we apply our rule of 2.5-to-3x for the multiple, that would mean the movie would be on track to earn .75-to-.3 million total in normal times. Or, to put it in September release terms, a number between what was earned by last year’s The Goldfinch and 1988’s Moon Over Parador.Last week, Mulan grossed a reported .5 million from more than 1.1 homes with its $US29.99 Premium On Demand release on Disney+. This weekend, it made another .2 million opening in China for an international gross of .6 million. (That comes with a blackout on local press covering the film there due to several controversies.) Also last week, the column suggested The New Mutants was headed for a final tally between .9 million and .3 million; its total this weekend stands at .3 million. Unhinged is not putting up big numbers, but they are a little better when compared against the August releases we had it in league last week. With .8 million total, it just outgrossed 2014’s Sin City: A Dame to Die For. So that’s…something.On This Weekend s Dates In Box Office History (Photo by © Pixar, © Walt Disney Studios Motion Pictures)With so little action in our current-day box office, we re casting our eyes back this week.September 11: Five years ago, Pixar’s Inside Out surpassed 0 million with 3,530 on its 85th day of release. At the time it was the second-highest–grossing film for the animation company behind just Toy Story 3. Since then, Finding Dory, Incredibles 2, and Toy Story 4 have all surpassed it. Fifteen years ago, in 2005, Wedding Crashers passed 0 million on its 59th day of release with 8,000, making it the sixth-highest–grossing “R”-rated film ever at the time.September 12: In 2015, Marvel’s Ant-Man made it to 5 million, grossing 1,713 on day 58. Back in 1993, In the Line of Fire reached 0 million on its 66th day of release, with 8,164. Fifteen years later, Ben Stiller’s Tropic Thunder grossed .21 million to cross 0 million on its 31st day of release. A year later, Quentin Tarantino would accomplish the same feat with Inglourious Basterds, doing it by grossing .78 million on just its 23rd day in theaters.September 13: Day 44 of release for James Gunn’s Guardians of the Galaxy was a momentous one: it grossed .9 million to pass 0 million. It took 93 days and another 8,547 for How To Train Your Dragon 2 to reach 5 million. Stephen King’s It only took six days to gross 0 million when it made .9 million on this day in 2017. Then we have a quartet of 0 million passers. American Pie did it in 1999 on its 67th day with ,625; Step Brothers crossed the line on day 51 with 0,687; and Disney’s Freaky Friday remake made it with .01 million on day 39. But it was this day in 2002 that was part of one of the most historic runs in box office history: With .05 million, My Big Fat Greek Wedding made it to 0 million on its 148th day of release.What Should Have Been This WeekendThis was to be the weekend of the latest film in The Conjuring universe. The James Wan-less The Conjuring: The Devil Made Me Do It was going to be battling A Quiet Place Part II for number 1 at the box office when that film initially moved from March to September in what looked like a pretty horror-centric month. Alas, the third entry in the series, helmed by The Curse of La Llorona’s Michael Chaves, was pushed back to June 4, 2021.Full List of Box Office Results: September 11-13, 2020
(Photo by Netflix)The long and arduous road to bring The Irishman to theaters spanned two decades and featured several dead ends and detours. It took Netflix stepping in at the last minute with a 0 million budget and multimillion-dollar ad campaign to distribute Martin Scorsese s long-awaited gangster opus as he had hoped to see it. Though the streaming giant s row with theater owners prevented a large-scale rollout, the film delighted audiences over the Thanksgiving break, and as the accolades continue to roll in on our Awards Leaderboard, we are now safely considering it a lock for a Best Picture Oscar nomination and perhaps even a win.Realizing a script by Steven Zaillian based on the controversial eponymous memoir, Scorsese has created his most epic work in the gangster genre with which he has become synonymous. The film chronicles Frank The Irishman Sheeran s time as a member of the Teamsters Union and as a hitman for the Mob, as well as his friendship with various mafia figures from the early 1960s onward, including infamous Teamster boss Jimmy Hoffa. To bring the story to screen with actors Al Pacino, Joe Pesci, and Robert De Niro playing younger versions of themselves, the shoot had to employ cutting edge de-aging technology and groundbreaking visual effects and photography techniques. To achieve this, cinematographer Rodrigo Prieto and visual effects supervisor Pablo Helman utilized a by-any-means-necessary approach to the visuals, inventing new camera equipment and techniques to shoot the action without encumbering the actors performances or Scorsese s vision. When we sat down with Prieto and Helman, they broke down their efforts, the new camera rig they fashioned, and why, when you work with Martin Scorsese, the last thing you want to tell him is No, we can t do that. Usually, I don t get involved talking to the DP and the director together until later on, but this was so important. (Photo by Netflix)Pablo Helman: I ve been involved with the project since 2015, so that s been four years, and we were all discussing the whole process with Marty [Scorsese], and I was working with him on Silence. We were shooting in Taiwan, and I took the opportunity to get to know Marty in Taiwan, and we started talking about technology, and of course, he s such a curious person. He always wants to know more about stuff. So we started talking about technology and making actors younger, and he told me that he had a project that he s been trying to do for about nine years, and this was in 2015. He sent me the script overnight, and of course, when he says he is going to send you something overnight, then you read it overnight. So I read the script and in the morning I was in.Rodrigo Prieto: I guess it would have been very soon after that when we had the conversation that started seeming like this was viable, and The Irishman could be, in fact, made. For me, I was just hearing about it, but not in a specific way. I was obviously so immersed in Silence, so it wasn t really until after we were done with Silence that I really started hearing about The Irishman and the idea of shooting a test. But I wasn t able to physically shoot the test myself, but I did participate in arranging for it. I got Reed Morano to shoot it; she s a director and a DP and she s wonderful. Of course, Pablo made the whole test happen. Then, later on, I saw the test while I was in the post-production phase of Silence.Helman: For me, it s just the same thing that Rodrigo did. Usually, I don t get involved talking to the DP and the director together until later on, but this was so important. Also, as a visual effects supervisor, I don t want to interfere with anything that Rodrigo is planning to do and he s talking to Marty about, but I realized how intrusive what we were going to do was going to be, and I tried to stay away from any creative decisions that would influence how we were going to shoot the movie. I really trusted Pablo. I knew that if he said he could do something he was going to do it. (Photo by Netflix)Prieto: When we started our first discussions, the essential part of all this was the look that we were going for. As I ve said before, we wanted the movie to have this feeling of memory, and I felt that it was important to photograph it with film emulsion, with film negative, because also I was doing the simulation of photography in Kodachrome for the 50s, Ektachrome for the 60s, and then in the 70s, it was a different process. But it all was based on photochemical processes that we all have in our memories; photographs, photography not digital photography, but photography either on the transparencies or on negatives. So we felt very strongly that we had to shoot this movie on film, but Pablo explained to me this rig that he was concocting that had to be digital, because all the shutters of the three cameras had to be synchronized. And then also he described how these, the main camera and the witness cameras, had all had to move in unison.So we actually had to create a rig that could take three cameras, so it made it physically impossible for it to be film cameras. So then, for me, it became choosing a camera that would be able to map the colors and the lookup tables of the Kodachrome and Ektachrome and so on, onto a digital camera that would match the film camera, the way that the film negative was responding to those lookup tables. Then, in addition to that, I told Pablo, you have to make sure and you have to guarantee to me that you ll be able to also match the texture, meaning the film grain. And since we worked very closely on Silence before, I really trusted Pablo. I knew that if he said he could do something, I knew that it was true. He was going to do it. So with that trust, I was okay. I said, all right, let s split it. We ll shoot on film, which everything that happened doesn t need the three-headed monster for the visual effects. Then we ll shoot the digital cameras for that, and we ll make it all match, and indeed that s what happened in the end. I think everyone of us that has worked with Marty has come to realize you really don t say no to Marty. (Photo by Netflix)Prieto: I think every one of us that has worked with Marty has come to realize you really don t say no to Marty. There is no limit in him as you know, and that s part of the joy of working with him. But he has these amazing ideas and concepts, and it s up to us to figure out how to make that actually come to fruition and technically achieve it and also artistically enhance it. That s a beautiful thing.Helman: I think in terms of film or digital or all these, I don t think he has this predetermined notion that everything has to have a film texture. It s more of an emotional thing for him. When I projected tests of something shot on film negative and something shot on digital, he feels more connected to the actors on what he s seeing on film negative. So it s more a feeling than a dogma. But then again, I know that he doesn t have a compunction of shooting a whole movie on digital. It s not something that he necessarily is married to one or the other. But I think that in the case of The Irishman, he agreed that the texture of film was an important part of this feeling of memory. I think it was pretty successful. Pablo was very impressed.Prieto: One thing for me that was also important and we talked a lot, Pablo and I, in pre-production was that I wanted to be able to sit in the digital intermediate room doing the color grading as if I shot the whole movie on film negative, and the lighting on the face replacements on the DGI visual effects would be the same that I did on the set and would react the same way of when I tweaked it in the ice suite. And it did. It felt completely organic. Whenever I came up to the shots that were Pablo s, as opposed to the ones that I had shot with a film camera, and then I came to the visual effects shots, it felt pretty seamless, and I think that was thanks to whatever magic Pablo did. From the beginning, [Scorsese] told me that De Niro was not going to wear any markers. He was not going to wear any helmets or cameras in front of him. (Photo by Netflix)Helman: Also, it s a way for us to understand what it is that he s after. You see, when he says something, he really means it, and it all goes to how he feels about something, so it s part of our job.Prieto: I think that there were other technical things that we talked about, because we were working with infrared technology and there was the lights and things that Rodrigo and I already talked about. We don t involve him. It s part of solving the problem.From the beginning in Taiwan, Marty told me that Bob De Niro was not going to wear any markers. He was not going to wear any helmets or little cameras in front of him. He wanted to be on set with the lighting, so there wouldn t be reshoots or shooting a scene in a different controlled environment that we call a mock-up studio or anything like that. He told me, I want the technology completely away from the performances. I want to work the way I want to work with the actors. The actors want to work with the actors too, and I want that technology completely away. The reason is the difference. You can see the difference in the performances. If the actors are not in the moment, in a different environment, not acting with their acting partners, the movie doesn t happen, because a lot of what happens between two actors is a connection that translates through the camera into the audience. If you are in the middle as the technology and visual effects supervisor, it s going to take it all in the movie, and we don t want to do that.Also, in cinematography, there s a lot of preference in terms of the lights, the cameras, the marks on the floor all these things that I try to make as minimal as possible. In fact, I try not to say things to the actors. I want them just to feel as free as possible. The three-headed monster camera rig became a concern in pre-production because we knew that Scorsese was going to want to be able to move the camera in whichever way he would desire. I didn t want to say, Marty, we really can t do this shot you re saying, because this camera s too heavy or big. Pablo and I worked together to make sure the camera team and also with every rental and ILM to design a rig that could work on any type of camera head, be it a fluid head or a remote head, a crane, or even on steady cam. We tested that several times and went back to the drawing board when initially we failed; particularly the remote head didn t respond. It was not happy with the weight. We had to come up with different materials and different types of motors for the focus and all these things. It was actually quite fun in pre-production to work on this and figure it out.Helman: On the set for me, it was important that my focus was the main camera and the lighting for that. The camera movement and the other witness cameras that were shooting infrared and actually lighting infrared would be Pablo s world. There were camera technicians for those cameras, focus pullers. There was our whole team. Each camera had its own team, but I didn t want to worry about that. I wanted to be able to deliver the schedule. So, that was another part that I m grateful to Pablo, because indeed, he just made sure that he was getting the information he needed from those cameras, and I mostly forgot about it. There were instances where even the rig, we had to make it so that we could detach one of the witness cameras and place it in a different place for example, putting it on top of the main camera because I needed to be close to a wall or I was seeing the other camera in one of the shots. We tended to shoot a lot with two cameras simultaneously. So we then were able to remove the camera and put it in a different spot. It was modular, so we kind of created a monster that was relatively nice to us. It wasn t so monstrous after all.I think the whole idea was, from a technology point of view, to remove the burden from the actors. If you remove the burden from the actors, that burden doesn t go away. It gets spread out throughout all these departments. The first department that hits is Rodrigo s, because he s got double the crew in the camera. So you have infrared, then it also spreads over the production design because you see the rig; it s about 30 inches wide. The frame of a door in the United States is about 32 inches, so we have to make sure, and we knew we had like 117 locations, so we had to get the rig through the doors and all kinds of things. Also, because we re working with infrared technology and really old cars from the 50s and 60s, the windshields on the cars have lead, and the lead doesn t let the infrared light go through, and I can t have that. So we had to take all the windshields off. All the windshields that you see are all CG. See how it spreads all over the place? It was a whole team working out the technology so that it was away from the actors and the director and they could do wherever they wanted. I have to credit everybody with being able to work together. That s one of the skills that could take them anywhere. (Photo by Netflix)Helman: At some point, I had to say to Rodrigo, This is what we need for this, but I don t know how to take 20 pounds away from there, because I don t know exactly what your department and you are going to need. So it was a working together thing in a way that I hadn t worked before, so maybe that is part of it? You have a team of people and you need to be careful with elbows and not elbow each other and those kinds of things.Prieto: I ll have to also credit my focus pillar, Trevor Loomis, and even a camera operator, Scott Sakamoto. They were instrumental in suggesting different types of motor and cables. Then the friends from area rental, figuring out a lighter plate on which to put the cameras. Both Pablo and I had requirements. For instance, what I was describing, I insisted on this possibility of removing pieces from both sides of the rig so we could have the camera in whatever corner needed to be. Pablo needed the witness cameras to be able to be adjustable because it depends on the distance of us to the actor s face. You need it to be able to adjust these cameras. For all these things, there was a whole team of people making sure that it worked. I think everybody took it with enthusiasm, and there are these kinds of challenges that we all relish. I m sure that if we do it again, we d figure out some other ways that would be even more practical. That s the way technology advances, right? But it s all manmade in the end, especially in the beginning when you re creating something new. You re doing it by hand basically.Helman: I have to credit everybody with being able to work together. That s one of the skills that anybody has that could take them anywhere. If you have the skill to work with other people, you can do anything in your life. It was difficult at times, but it was great. It was great being flexible and being able to accept solutions from other departments. It was really important that we communicated and sent pictures and made sure that we were on the same wavelength. (Photo by Netflix)Helman: Throughout post-production, I kept sending images to Rodrigo. During the production, we talked about the fact the lighting is so important, not only for the movie, but obviously because of the content and all the decisions that Marty and Irwin made. Also because of the technology. The technology is such that works from the lighting setup. If I cannot match the lighting, I cannot finish my work. So it was really important that throughout we communicated and we sent pictures and just made sure that we were on the same wavelength.Prieto: During the shoot, that was an important factor and also a challenge, time-wise. We did have to get the lighting information to Pablo to be sure that, in post-production, he had everything accurate. It wasn t just by eye, seeing what I had done in this shot, saying, OK, it looks like we used the three-quarter backlight here. They actually were able to input into the computer the exact information besides intensity and color and texture of each one of the lighting units, plus the influence of this set itself onto the light that ultimately lights a face. It s not only the lighting units, but it s also the environment as well. We had to every time shoot a mirrored sphere in the place of where the actor s face would have been. Also, we had to shoot a gray sphere and then color charts with all the different levels of black to white and the different colors and a lighter, which is a system where you put a camera where the face of the actor would be, and you d do a 360-degree capture of everything that s around the face of the actor. It s bracketed as well, meaning that you get all different levels of exposure.So all that information is fed into the computer, and it basically reproduces that on the actor s face. I m sure there s some tweaking also going on to make sure it matches what the main camera saw before the faces were replaced. I must say, it was very accurate. Obviously we re all a little bit neurotic about what we do, and we re very specific about why I lit in a certain way with a certain unit, with a certain intensity. I recognize everything I did while I was doing the DI, and when I was doing it, it was very seamless. So I really don t remember any instance whatsoever where I had to go back to Pablo and say, This doesn t look like the lighting I did. Can you redo it? It really felt very accurate. I even saw the movie before the visual effects. I saw it all put together with the faces of the actors as they were when we shot them. Then I started doing the DI and felt no real difference in the lighting, and I think, as Pablo says, it s crucial for the naturalism of the effects. They blend in perfectly with the lighting that was done on the set.Helman: Yeah, and besides that, there is a scientific reason why that had to be so. It s because the capturing of the performances has to do with comparing what we got on set with what I m rendering on the computer. So if there s a difference in lighting, the comp
Adjusted Score: 101436% Critics Consensus: Shirkers uses one woman's interrogation of a pivotal personal disappointment to offer affecting observations on creativity, lost opportunity, and coming to terms with the past. Synopsis: In 1992 teenager Sandi Tan shoots Singapore's first road movie with her enigmatic American mentor, Georges, who then absconded with... [More] Starring: Directed By: Sandi Tan
David Lowery’s The Green Knight has earned a solidly Fresh Tomatometer score thanks to largely positive reviews and its position as theatrical counter-programming against the glut of big-budget summer blockbusters hitting theaters as of late. It’s a reimagining of the late 14th-century poem “Sir Gawain and the Green Knight,” which tells one of the most well-known stories in Arthurian legend canon – the tale of Sir Gawain, who accepts a terrifying challenge from a stranger on Christmas, and the quest he must embark on one year later.It was a bold choice for Lowery to adapt a 700-year-old chivalric romance for the 21st century, and one that required a number of changes so that a story so profoundly rooted in the morality and literary style of the Middle Ages resonated with a modern audience. Here are five ways he changed the original Arthurian epic to do just that… and one important way he kept the medieval story intact.The Green Knight Gets Wild(Photo by © A24)In Lowery’s vision of Arthurian legend, the Green Knight is a primal supernatural entity, one whose ties to the natural world are right in his design. He is the Green Man of ancient myth come to life with his bark face accented by a beard made of curling twigs. Neither fully man nor tree, he harkens back to an older, pagan time when the lines between the natural world and the supernatural were far more blurred. Even the offshoot “branches” that crown his head vaguely evoke the horns of Cernunnos, the Celtic Horned God and lord of wild things. It’s deliberate character design meant to evoke the ancient unease of humanity realizing it doesn’t have full control of the world, and it’s a smart decision on Lowery’s part.The design of the Green Knight in the original poem is a less wild thing; the antagonist is more nobleman who just happens to be green. When Arthur’s court meets him, he’s kitted out in forest green finery, with emeralds and jewels encrusting his ax and bridle, his fine-spun clothes trimmed with silk and ermine. It was a striking image, one that made an impression in the late 14th century, but one that today would fail to impress modern moviegoers who have seen it all. By stripping the sense of rich civility from the Green Knight, Lowery draws out the inherent otherness of the character and tinges it with horror.Mother Knows Best: Recasting Morgan le Fay and Enriching Her Motivation(Photo by © A24)When the original poem was written, it was during a time in the Middle Ages in which Morgan le Fay’s role in Arthurian legend was transitioning from benevolent protector to villain. As patriarchal Christian morality took root and began heavily influencing writing of the era, Morgan (Arthur’s half-sibling), previously an amalgam of earlier revered, magical female Celtic deities, was recast as a malevolent sorceress of evil intent. Her role was often to play the antagonist in the mythology, intent on causing chaos in her half-brother’s court.Her motivations for summoning the Green Knight and arranging the challenge in the original poem were fittingly petty: hoping Arthur would take up the challenge, Morgan merely wanted to frighten Guinevere in a bit of spite. Gawain taking up the challenge instead was coincidental. That’s a flimsy and wildly outdated premise to build a story around in modern times. Lowery changed Morgan’s connection to Gawain and, in doing so, changed her motivation. By making Morgan Gawain’s mother in the film, her game, while harsh, made much more sense. A petty, inexplicably cruel woman sending a man to his potential death because she’s miffed at another woman is nonsensical and regressive; but a powerful woman secretly pushing her son to find his greatness is something one can understand, if not necessarily agree with.Sir Gawain: Peak Millennial(Photo by © A24)As with so many things in “Sir Gawain and the Green Knight,” what makes perfect sense in a medieval poem doesn’t translate so well to the big screen in 2021. This is arguably never truer than with Gawain himself. Dev Patel’s portrayal of Gawain is vastly different than the Gawain of the poem; while he’s less likable, he’s also more relatable.Poem Gawain was not so much a character in his own right, but a noble archetype and morality tale in one. He was meant to be the chivalric ideal and had the depiction to match. In fact, Gawain held himself to such a high standard in the poem that his test was to learn he was human and fallible, and that perfection is something that only God himself can achieve. Gawain is pious and pure, humble and extraordinarily chaste, courageous and benevolent to all he meets.Thus, Lowery was presented with the Captain America problem: how does one make a character so inherently perfect interesting? Marvel achieved it not by changing Captain America, but by changing the world around him. Lowery achieved it by doing the opposite: keeping the world the same but changing Gawain. His Gawain is far more flawed than the version in the poem, an entitled wastrel who is squandering his potential in sex and drink. Purity and chastity are not in movie Gawain’s nature and his test, in many ways, is the opposite of the test presented in the source. Poem Gawain had to learn that even great knights can wobble; movie Gawain had to see if he could even be great at all.As a heroic ideal, The Green Knight’s protagonist is quite lacking, but as a character whose struggle makes sense for moviegoers today, he’s incredibly timely.Making New Frenemies(Photo by © A24)“Sir Gawain and the Green Knight” is a true hero’s journey, an epic quest of man vs. nature, but moreover, of man vs. himself. There are only a handful of characters in the original poem and Gawain spends large chunks of the story by himself. For the purposes of depicting the Christ-like trials of a noble knight in a chivalric romance, it works; for a modern movie adaptation, however, it makes for an awfully boring on-screen story.Lowery wisely recognizes this and addresses it by adding three characters who seamlessly blend into the story while playing key roles in Gawain’s growth. Essel (Alicia Vikander) is the earthly temptation he must set aside to fully devote himself to his quest; the Scavenger (Barry Keoghan) is meant to shatter the naiveté and sheltered worldview Gawain holds; Winifred (Erin Kellyman) presents Gawain with a test of his altruism and chivalry. Each brings something essential that Gawain must learn in order to evolve, and their use provides a blueprint for how to add original characters to Arthurian adaptations that still feel as vital and necessary to the story as any characters in the old mythology.Bye, Bye to The Wild – and Potentially Slow – Hunt (Photo by © A24)Adapting an older story requires an insightful balance of knowing what to keep and what to cut: Too slavishly devote yourself to the original source and you risk dragging the story down with unnecessary scenes; deviate too far and you risk undermining the very aspects that made the original story so beloved in the first place.While Lowery certainly added to the story, he also excised certain parts with a decisive hand. The most impactful edit was Lowery’s compression of the poem’s lengthily told three-day hunting scene, during which readers follow Lord Bertilak as he rides out each day to hunt, with the third and final day offering a parallel narrative with Bertilak chasing a wily and evasive fox as Gawain tries to evade Lady Bertilak’s aggressive advances back at the castle. It’s a great bit of symbolism, but an unnecessary part of the story that would have further dragged down the already slow-burn movie.Condensing it kept the crux of Gawain’s quandary intact in the film while not killing the momentum that was building up heading into the third act.…And What Lowery Smartly Chose NOT To Change(Photo by © A24)Though Lowery took plenty of liberties with the original poem, The Green Knight remains true to the spirit of its source. So many layers are packed into “Sir Gawain and the Green Knight,” but what truly holds it up are two tentpole themes that remain searingly relevant: the duality of the pagan natural world vs. ordered Christianity, and the core story of a knight discovering the man he truly is. Remove or change other elements and the story still largely stands on its own, but remove those two foundational pillars and it comes crashing down.Lowery’s instincts for what to change and what to leave intact served him well, and the result is the old, archetypal story told in a fresh new way. One that feels urgent and modern, and yet true to its source. After Hollywood’s recent, multiple failed attempts to bring more Arthurian stories to the big screen, it might look to The Green Knight for an example of how to make Camelot and its endless well of stories relevant again.The Green Knight is in theaters now. On an Apple device? Follow Rotten Tomatoes on Apple News.
欧宝娱乐平台网页在线版登录入口 (Photo by Netflix)We were curious what keeps veteran actor Alan Arkin (Little Miss Sunshine, Glengarry Glen Ross) entertained and discovered that his TV consumption is very, very specific.After voicing author J.D. Salinger in animated Netflix comedy BoJack Horseman, the Academy Award–winner returns to streaming on Friday with The Kominsky Method, latest show for the service from The Big Bang Theory creator Chuck Lorre. Arkin plays Norman, a man who loses his wife and is forced to lean on his best friend, acting teacher Sandy Kominsky (fellow Oscar-winner Michael Douglas), to process his grief.The duo are an odd couple who disagree on everything from funeral arrangements to casket shopping, along with the proper way to handle Norman’s daughter Phoebe (Lisa Edelstein), who shows up out of the blue.The former St. Elsewhere and Chicago Hope star seemed to have no no qualms admitting to Rotten Tomatoes that he watches one series only — and that he keeps it in the family. Below, Arkin confesses his TV habits and shares some intel on his next project, Tim Burton’s live-action Dumbo.WHAT IS APPOINTMENT VIEWING FOR YOU?(Photo by Netflix)Well, there’s about 40 assumptions right there. We don’t watch television in the daytime ever. At night, we check and see what’s on Netflix.WHAT IS IN YOUR STREAMING QUEUE?(Photo by Epix)The only series we watch consistently is Get Shorty, which is, I’m afraid, not on Netflix. [Editor s note: The series airs on Epix, but Netflix has streaming rights to the series.] My son [Adam Arkin] produces and directs it, and we like the show a lot. So that’s the only one we feel any allegiance to. When I say Netflix, I mean we get screeners from them, and we watch films on Netflix.WHAT SHOWS ARE ON YOUR DVR? GET SHORTY?No, no, we don’t record anything.WHAT’S COMING SOON THAT YOU CAN’T WAIT FOR?(Photo by Epix)Get Shorty.Fred Topel for Rotten Tomatoes: Is there any sort of acting method you follow yourself?Alan Arkin: It diverged into several things. I started very classical method training and then it got coupled with a lot of training in improvisation, so it’s something in between method and improv.RT: Does Kominsky remind you of any teachers yo
More Highlights from Fox and CBS s TCA Presentations Last Week: 24 Could Be Coming Back Again, and More(Photo by Daniel Smith / © Fox / Courtesy: Everett Collection) This Is Us star Justin Hartley already has his next job lined up: he’ll star in the CBS drama pilot The Never Game, an adaptation of author Jeffrey Dever’s thriller about survivalist Colton Shaw, who travels around the United States, using his tracking skills to help solve mysteries. Hartley is teaming with This Is Us producer and director Ken Olin to develop the project. A third season of Big Brother: Celebrity Edition will premiere in February 2022, and after the pandemic delay, The Amazing Race will return this season. Fox’s midseason country music drama Monarch will star Susan Sarandon as country music queen Dottie Cantrell Roman, with country star Trace Adkins as her husband, Albie Roman. They’re the biggest stars in the industry, but they’ve got secrets, and a potential rival in their own daughter, Nicky (Anna Friel). Singer and songwriter Beth Ditto will play another Roman daughter, Gigi. Fox Entertainment president Michael Thorn confirmed the network is considering a revival of 24, but did not elaborate on the premise or whether Kiefer Sutherland would return. The series celebrates its 20th anniversary in November. Emmy-nominated Ted Lasso star Hannah Waddingham will star in the network’s 2022 animated comedy Krapopolis, from Rick and Morty creator Dan Harmon. The show is set in ancient Greece, in one of the first cities in the world, which is run by a family of humans, monsters, and gods. Waddingham plays goddess Deliria, who is married to King Shlub (What We Do in the Shadows’ Matt Berry), a manitaur – half centaur, half manticore. Their son, Tyrannis, is voiced by The IT Crowd’s Richard Ayoade. Fox-owned Tubi, the free streaming service, will premiere its first original movie, Corrective Measures, next year. The sci-fi action movie will star Bruce Willis and Michael Rooker.Ted Lasso Leads 2021 Television Critics Association Awards Winners With Three Honors(Photo by Apple TV+)Is this a sign of things to come for Ted Lasso at this weekend’s Emmys? The Apple TV+ comedy earned three awards from the Television Critics Association, including Program of the Year, Outstanding Achievement in Comedy, and Outstanding New Program for its first season.The complete lineup of winners, as voted on by the more than 200 professional TV critics and journalists from across the United States and Canada who make up TCA:Individual Achievement In Drama: Michaela Coel (I May Destroy You, HBO)Individual Achievement In Comedy: Jean Smart (Hacks, HBO Max)Outstanding Achievement In News and Information: Framing Britney Spears (FX/FX On Hulu)Outstanding Achievement In Reality Programming: TIE: Couples Therapy (Showtime), Deaf U (Netflix)Outstanding Achievement In Youth Programming: The Baby-Sitters Club (Netflix)Outstanding Achievement In Variety, Talk Or Sketch: Last Week Tonight With John Oliver (HBO, 2018 2019 Winner in Category)Outstanding New Program: Ted Lasso (Apple TV+)Outstanding Achievement In Movies, Miniseries, Or Specials: Mare Of Easttown (HBO)Outstanding Achievement In Drama: The Crown (Netflix)Outstanding Achievement In Comedy: Ted Lasso (Apple TV+)Program of the Year: Ted Lasso (Apple TV+)Career Achievement Honoree: Jean SmartHeritage Award: The Golden Girls (NBC)At the Creative Arts Emmys, which were handed out in three ceremonies last weekend, the biggest winners were Netflix’s Queen’s Gambit with nine, Disney+’s The Mandalorian with seven, and Saturday Night Live (NBC) and RuPaul’s Drag Race (VH1) with five each.(Photo by Netflix)Individual highlight winners at the Creative Arts ceremonies include Dave Chappelle and Maya Rudolph as Outstanding Guest Actor and Actress in a comedy for hosting SNL, while guest actor and actress in drama went to Courtney B. Vance for Lovecraft Country, and Claire Foy for The Crown. RuPaul won his sixth consecutive Emmy as Outstanding Host for a Reality or Competition Program (and 10th overall statue), while Stanley Tucci won his fourth overall, for Outstanding Hosted Nonfiction Series or Special, and This Is Us star Sterling K. Brown won his third overall, this one for Outstanding Narrator for Lincoln: Divided We Stand. Comedian Bo Burnham won three Emmys (directing, music direction, and writing for a variety special) for his Netflix comedy special Bo Burnham: Inside, part of the streaming network’s 34-Emmy haul going into Sunday night’s ceremony on CBS.For a complete list of winners for each of the Creative Arts Emmys, click here for group one, group two, and group three.And in other TV accolades this week, Time magazine announced its annual Time100 most influential people of the year list, and TV types included are Ted Lasso star and co-creator Jason Sudeikis, Blackish star Tracee Ellis Ross, Mare of Easttown star Kate Winslet, Lupin star Omar Sy, SNL star Bowen Yang, The Walking Dead alum and Oscar nominee Steven Yeun, Grey’s Anatomy and Bridgerton creator Shonda Rhimes, and Fox News star Tucker Carlson.NEW TRAILERS: Succession Season 3: Logan Roy Is Going “Full Beast” on His Rivals, Including His FamilySuccession, Season 3, promises to be worth the wait, as the Roy family continues its dysfunctional, but endlessly entertaining, civil war, each in hopes of being the one to wrestle control of the fam’s media conglomerate from papa Logan (Brian Cox). Don’t eat that mint, Cousin Greg! Also stars Jeremy Strong, Kieran Culkin, Sarah Snook, Alan Ruck, Nicholas Braun, Matthew Macfayden, Hiam Abbass, and new Season 3 cast Alexander Skarsgård, Sanaa Lathan, Hope Davis, and Adrien Brody. Premieres Oct. 17 (HBO)More trailers and teasers released this week:• In one of the most fun trailers of the year, Hawkeye, a.k.a. Clint Barton (Jeremy Renner) is just trying to enjoy the NYC holiday season with his family but some of the enemies he’s made in the past come back to haunt him. Good thing he has super archer Kate Bishop (Hailee Steinfeld) to help him! Also stars Vera Farmiga, Brian d’Arcy James, and Tony Dalton. Premieres Nov. 24 (Disney+)• Maid is the adaptation of Stephanie Land’s bestselling book about a young single mother who tries to work her way out of poverty by cleaning houses. Stars Margaret Qualley, her real-life mother Andie MacDowell, Anika Noni Rose, and Nick Robinson. Premieres Oct. 1 (Netflix)• Dopesick is the adaptation, developed by Danny Strong, of Beth Macy’s book Dopesick: Dealers, Doctors and the Drug Company that Addicted America, the story of the devastation caused by Purdue Pharma’s marketing of Oxycontin. Stars Michael Keaton, Kaitlyn Dever, Michael Stuhlbarg, Peter Sarsgaard, Will Poulter, Rosario Dawson, Ray McKinnon, and Jake McDorman. Premieres Oct. 13 (Hulu)• Dexter: New Blood brings serial killer Dexter Morgan back into our orbit, and shows us his new life in a small town where he is the happy everyguy … to his unsuspecting neighbors, anyway. He’s even got a new love interest, but some evildoers, and the arrival of his son, is going to pull him in a lot of different directions. Stars Michael C. Hall. Premieres Nov. 7 (Showtime)• I Know What You Did Last Summer, Season 1, is the series adaptation of Lois Duncan’s classic YA book about a group of friends who find out they’re being stalked a year after a car accident in which they killed someone. Stars Madison Iseman, Brianne Tju, Ezekiel Goodman, and Sebastian Amoruso. Premieres Oct. 15 (Amazon Prime Video)• There’s Someone Inside Your House is a slasher film about a high school student who moves from Hawaii to a small Nebraska town, and finds herself and her friends in the middle of a murder spree. Stars Sydney Park. Premieres Oct. 6 (Netflix)• Fear the Walking Dead, Season 7: What’s the one thing the zombie apocalypse was missing? A nuclear explosion, of course. And a Strand (Colman Domingo) who’s declared war on Morgan’s (Lennie James) leadership. Also stars Rubén Blades and Maggie Grace. Premieres Oct. 17 (AMC)• Power Book II: Ghost sees Tariq (Michael Rainey Jr.) getting deeper and deeper into the business with Monet (Mary J. Blige), while the bench of talent in the cast gets deeper with the addition of Daniel Sunjata and Redman. Premieres Nov. 21 (Starz)• Narcos: Mexico will end with this third and final season of the drug cartel drama, so savor all 10 episodes, which revolve around DEA agent Walt Breslin (Scott McNairy) in the aftermath of Felix Gallardo’s (Diego Luna) departure. Premieres Nov. 5 (Netflix)• Colin in Black White is the six-episode drama about the teenage years of future NFL star and activist Colin Kaepernick, with Kaepernick himself narrating, Jaden Michael portraying young Colin, and Mary-Louise Parker and Nick Offerman playing Colin’s adoptive parents. Premieres Oct. 29 (Netflix)• Bright: Samurai Soul is based in the same world as the live-action Bright, with the animated spin-off set in Japan during the end of the Shogunate and the beginning of the Meiji period, and exploring a new setting, era, and characters. Kim’s Convenience and Shang-Chi and the Legend of the Ten Rings star Simu Liu voices Izou, a one-eyed wandering samurai and the protagonist of the movie. Premieres Oct. 12 (Netflix)• TUDUM: A Netflix Global Fan Event is the streaming service’s virtual all-star showcase, with 145 of its biggest stars and creators from around the world — representing over 70 series, films and specials. Premieres Sept. 25 (Netflix)• Locke Key, Season 2, may veer heavily from the Joe Hill and Gabriel Rodriguez s source material, but in the hands of showrunners Carlton Cuse and Meredith Averill, the fantasy horror series promises a thrilling sophomore run. Premieres Oct. 22 (Netflix)For all the latest TV and streaming trailers subscribe to the Rotten Tomatoes TV YouTube channel.CASTING: Oscar Winners Hilary Swank and Tom McCarthy Team Up for Newspaper Drama for ABC 所以说做手游代理，游戏代理月入几万几十万都是真的。要找像归客手游这种大的平台，独立透明的流水，直接对接厂商，不会从中克扣，只要你自己愿意努力，付出越多，得到的也就越多。