Gena Rowlands and John Cassavetes. [I chose this one] because of Gena, because I watched it when my mind was first opened up to what cinema could be when I was a young actress starting out and discovering the scope of film. Everything that Gena does in this, as well as in A Woman under the Influence, the way that it explores femininity and masculinity and the devastating edges of masculinity, as well as so many colors that a woman can be – her fierceness, her devastation, her heartbreak, her going mad. And then to understand a film could be shot in someone s house, that you could just do this – you could find a way to carve your own path away from prescribed studio roles. So, I chose this for the whole package.And I had the honor of working with Nick [Cassavetes, son of John and Gena] and Gena in a film that Nick directed and I saw that it was a completely different way of working than I had ever been exposed to. The collaboration between all the departments and how we were all… you hear it a lot, “we re like a family,” but in that case, it really was. Everyone was together. The relationship, for example, between me and the set designer was extremely close because Nick wanted it that way. He said, “Well, this is your character. Where would you live? Let s all do this all together.” So that makes for a more relaxed performance and it s just more fun.Opening Night is also important to me because it s about the theater. Those scenes where she s backstage and about to go on, or the scenes in the rehearsal room, but particularly when she s about to go on stage, that visceral thrill and terror, the way he catches it… theater is my heart so it combines a lot of my loves in that film. This Week s Ketchup brings you seven headlines from the world of film development news, covering such titles as Ant-Man 3, and remakes of The Others and The Night of the Hunter. This WEEK S TOP STORYMARVEL S ANT-MAN BETTER STOCK UP ON SZECHUAN SAUCE (Photo by Marvel Studios)One of the side effects of COVID-19 forcing (most of) the entire MCU schedule to shift back several months (starting with Black Widow moving to November 6, 2020) is that all of those movies are still in the works, so instead of there being four or five films being actively developed, we now have more like seven or eight going on at the same time. One of the furthest out (it doesn t even have a release date yet) is Ant-Man 3, which is looking like it will come at least four years after the 2018 release of Ant-Man and the Wasp (Certified Fresh at 88%). With that in mind, this week Marvel hired its first writer for the project, namely Jeff Loveness, a writer and producer on the popular Rick and Morty animated cable show. There is no indication yet about what Ant-Man 3 might be about, except that Paul Rudd and Evangeline Lily will both return as Ant-Man and the Wasp. Having said that, one could look at the comics and the seeds that previous Marvel movies have planted to guess that the third film could possibly introduce Scott Lang s daughter Cassie as a new teen superhero called Stature. In the comics, Cassie Lang has been an active superhero since 2005, including stints in groups like the Young Avengers, the Mighty Avengers, and the Secret Avengers. And, like many superheroes, she has also died, but this being comic books we re talking about she also eventually got better. In the MCU, Cassandra Lang was last seen in Avengers: Endgame, played by teen actress Emma Fuhrmann.Other Top Headlines1. THE BATMAN DIRECTOR PROMISES IT WON T BE ANOTHER ORIGIN STORY (Photo by Mark Sagliocco/Getty Images)Ever since Robert Pattinson was announced as Bruce Wayne in next year s The Batman (6/25/2021), there was some expectation that we would get yet another version of Batman s origin story. This week, director Matt Reeves clarified the issue by specifically assuring that The Batman will not be another origin tale, although it will be a tale that would still acknowledge his origins, in that it formed who he is. Like this guy, he’s majorly struggling, and this is how he’s trying to rise above that struggle. As for how The Batman has been impacted by the recent production shutdowns due to the COVID-19 pandemic, Reeves also revealed this week that they had actually shot a quarter of the movie. As with most currently stalled productions, there is no confirmed schedule for when Reeves and his cast will be able to get back together in London to continue filming, which means the film s currently scheduled release date of June 25, 2021 could change.2. TAIKA WAITITI TEASES SPACE SHARKS IN THOR: LOVE AND THUNDER(Photo by Jasin Boland/©Marvel)A number of movie stars and directors are currently self-quarantined, as many of us are, but one small glimmer of fun in the midst of all this is that many of them are staging online events like group watches of various films. For example, Taika Waititi and his Thor: Ragnarok star Tessa Thompson staged a live watch of that film on Thursday, and in the process, Waititi dropped a few new details about what we can expect from Thor: Love and Thunder (2/18/2022). Calling the film so over the top, he also suggested that fans look up space sharks (likely a reference to Starsharks ) and shared some of the new film s concept art, including some new armor for Miek.3. LADY GAGA RETURNS TO ACTING IN FASHION EMPIRE EPIC GUCCI(Photo by Axelle/Bauer-Griffin/Getty Images)This coming October will mark two years since the release of Lady Gaga s A Star is Born (Certified Fresh at 90%), and this week, her next big film got a little closer to happening. Lady Gaga is attached to star in the true crime drama Gucci about the murder of fashion icon Mauricio Gucci, playing Patrizia Reggiani, Gucci s ex-wife who was convicted of orchestrating his hit after he had an affair (apologies if that that s a spoiler, but it s sort of how this entire story is being addressed in the news). Gucci is one of dozens of projects that Ridley Scott has been attached to in the last decade, but MGM coming aboard this week is being seen as an indication that Gucci will be one of Scott s next projects, possibly right after The Last Duel, which will reunite Ben Affleck and Matt Damon, along with Adam Driver. Indeed, MGM has already given Gucci a release date of November 24, 2021, which has to be seen as rather ambitious, considering all the current delays in film production. That date is just 11 months after December 25, 2020, which is when The Last Duel is currently scheduled (though that could also potentially be pushed back).4. JESSE EISENBERG TO MAKE HIS DIRECTORIAL DEBUT BASED ON AN AUDIBLE ORIGINAL(Photo by Jason Smith/Everett Collection)With the long-in-development sequel Zombieland: Double Tap released last year, and with Warner Bros. unlikely to use his version of Lex Luthor again now that the Henry Cavill version of Man of Steel is likewise pretty much over, Jesse Eisenberg has a lot more time on his hands now. Heck, even the Rio movies are done. And so, as many actors of a certain caliber often do, Eisenberg is preparing to make his feature film directorial debut. That film will be called When You Finish Saving the World, and Eisenberg has recruited Julianne Moore and Finn Wolfhard (Mike from Stranger Things) to star in it. Moore and Wolfhard will play a mother and son in the drama adapted from an upcoming Audible Original recording of the same title. Jesse Eisenberg also voices a role in the Audible production, so he may have a role as well as being the film s director.5. FEDE ALVAREZ TAKES ON ZOMBIE PANDEMIC THRILLER 16 STATES (Photo by Kirsty Griffin/©TriStar Pictures)As the world continues to struggle through an actual pandemic, one has to wonder how movies will tackle the subject. Diseases have frequently been an explanation in film for zombies (28 Days Later, for example, blamed it on a rage virus ), and as of this week, we re already getting a new movie about a zombie pandemic. Chilean director Fede Alvarez, who previously gave us both Don t Breathe (Certified Fresh at 88%) and the 2013 Evil Dead remake (Fresh at 62%), has signed on with Lionsgate (the studio behind both of those films) for 16 States, about a mother who has to make her way back to her family who are stuck in the middle of a massive zombie outbreak. The 16 States screenplay has also been described as having shades of the Will Smith movie, I Am Legend.
不难看出，手游上线后还是主打情怀，在保留原有玩法的基础上创新，让玩家能在进入游戏后，找到童年的那段美好回忆的同时，不会因为游戏玩法单一而产生厌烦，再加上氪金模式，让小时候没有购买力的玩家完成当时的梦想，情怀+氪金的这波操作无疑给了手游极大的发展空间。游戏平台十大排名Behind the Zero(Photo by Sony Pictures Home Entertainment)John Travolta is as notorious for his bizarre and unfortunate choices in roles as he is famous for his performances in movies like Grease, Saturday Night Fever, and Urban Cowboy. He s a perpetual comeback kid, if only because he always has dispiriting professional nadirs to come back from. That was certainly the case in 1994 when he joined an ambitious, offbeat ensemble crime comedy called Pulp Fiction, which came on the heels of 1993’s Look Who’s Talking Now, the disastrous second sequel to his 1989 comeback movie and, of course, a recipient of the infamous zero percent on Rotten Tomatoes.By the time Look Who’s Talking Now died at the box office, the franchise had drifted far away from both the emotional core that initially made it culturally and emotionally resonant and the cutesy gimmick that helped make it a surprise box-office smash. A recently announced series reboot may be able to recapture some of that initial charm, but as the sequels demonstrated, there s only so much you can do with the same idea.Writer-director Amy Heckerling’s 1989 original was a rare hit romantic comedy rooted in middle-aged single motherhood. To make the film more palatable to a mass audience, the inner monologue of star Kirstie Alley s pre-verbal baby was voiced by a wisecracking Bruce Willis. The result was a surprise smash with a decidedly limited premise that nevertheless inspired a full trilogy of movies. Look Who’s Talking is not Lord of the Rings it does not probe into any themes that would require an entire series of films to explore. It’s a minor miracle that it worked even a single time, but stretching it over three films is sadistic, to audiences and characters alike.The ZeroLook Who’s Talking had a cheesy but cute and effective gimmick: who hasn t wondered what babies are thinking in their pre-verbal state? Who hasn’t pondered what might be going on inside those adorable little heads? Look Who’s Talking Now, the first entry in the series not to be written and/or directed by Amy Heckerling (Fast Times at Ridgemont High, Clueless), tries to do the same with pooches, but the novelty and freshness has been lost.The film opens with parents James (Travolta) and Mollie (Alley) chasing after a now partly grown-up Mikey (David Gallagher) and his little sister Julie (Tabitha Lupien). They can both talk, unfortunately, so now the creatures whose inner monologues we hear are a little further down the food chain.Danny DeVito steps sadly into the fray to voice scruffy, oversexed mutt Rocks, who earned his name by doing his business in the backseat on the way home. Don’t worry, though; there are lots of creepy, inappropriate sex jokes to go along with all the poop jokes.Rocks is like the Tramp in Lady and the Tramp, in the sense that Look Who’s Talking Now baldly and badly steals from the Disney animated classic. Diane Keaton plays the aristocratic Lady to Rocks’ salt-of-the-earth Tramp as the voice of Daphne, a poodle given to the family by Samantha D’Bonne (Lysette Anthony), a 30-year-old ice queen and titan of industry who hires James to be her personal pilot as the first step in an elaborate plan to seduce him away from his family.As for the children, Mikey is not only capable of speaking for himself, he looks like he should probably start thinking pretty seriously about college in the years ahead. The gimmick that initially defined the character and the franchise is long gone, leaving behind only another gratingly precocious moppet tormented by questions of Santa Claus’ authenticity.(Photo by TriStar courtesy Everett Collection)In a bid to get him back into the Yuletide spirit, James, Mollie and sister Julie the latter clad in a tutu and angel wings lip-sync their way through Alvin The Chipmunks The Chipmunk Song (Christmas Don t Be Late), that exemplar of Eisenhower-era uber-kitsch. The performance is supposed to be so adorable that Mikey s skepticism and disillusionment are rendered powerless before its heartwarming power. Instead, it s a moment of David Lynchian horror, a close cousin to the sequence in Blue Velvet when Dean Stockwell lip-syncs to In Dreams, but infinitely more disturbing due to context.It’s almost impressive that the makers of Look Who’s Talking Now managed to create a family movie about dogs and children that isn t cute in the least, but rather unintentionally disturbing . Little Julie, for example, has an obsession with basketball players specifically Charles Barkley that is supposed to pay off in a fantasy sequence in which this tiny, self-conscious girl challenges the NBA legend to a game of one-on-one, taunting him with “Let’s get busy!”Barkley’s bewildering cameo here at least ensures that Space Jam is not the single worst film he’s ever been a part of.Later, Julie decides that she can fly like Peter Pan, so she climbs up a series of shelves and prepares to dive onto the carpet before she’s scooped up by her alarmed mother. We re meant to find it adorable that this precocious child misunderstands the adult world. Instead, she s like a creepy ghost-girl from a J-Horror shocker, seemingly possessed by evil spirits in at least a couple of scenes. Look Who’s Talking Now may skip through genres randomly, but its many horrific elements are unintentional.Rocks is like the character DeVito plays on It’s Always Sunny in Philadelphia, but less appealing or capable of self-restraint. He calls a female dog a bitch, responds to Daphne’s introduction with a Wayne’s World-style shwing, and, before he falls in love with Daphne, accuses her of being the product of inbreeding.That might seem wildly inappropriate for what is ostensibly a family movie franchise rooted in the ability to hear an adorable little baby’s thoughts, but by this point, the series had somehow morphed into a bad-taste marital sex comedy primarily concerned with whether or not James will be able to successfully avoid sleeping with his manipulative, hot-to-trot ice queen of a boss.(Photo by TriStar courtesy Everett Collection)Since there’s nothing kids enjoy more than sexual jealousy, they’ll particularly enjoy the many scenes of Mollie brooding about her husband violating the sanctity of marriage with a world-conquering dynamo who throws her own unemployed messiness into even sharper relief. Alley can make for a relatable, vulnerable, sympathetic heroine, or she can be a sloppy, blubbering, desperate mess. We get the latter here.In another fantasy sequence, Mollie dreams about James cheating on her while he dreams about her cheating on him with a character played by a returning George Segal. Eventually they realize they’re in a dream together and that they have control over their actions, and we are briefly treated to a lovely little production number with Travolta and Alley gliding across the dance floor like Fred Astaire and Ginger Rogers. It’s an example of what a world-class performer like Travolta can bring to even the dodgiest and most desperate of projects, but it also just made me wish that I was watching literally any other movie in which Travolta dances, including even Be Cool, another unnecessary, god-awful sequel that is nonetheless infinitely better than Look Who’s Talking Now, if only for Dwayne Johnson’s performance.But it somehow gets even worse and less dignified for Travolta and company. For reasons known only to the filmmakers, Look Who’s Talking Now ends with a music video-style showcase for French baby rapper/one-hit wonder Jordy, who scored an international hit with 1992’s Dur dur d être bébé! (It s Tough to Be a Baby) when he was a mere four years old. Jordy was a grizzled has-been of five or six by the time the movie opened, but that didn t stop the franchise from closing its ostensibly final chapter, fundamentally, with a product placement for a Christmas song by the pre-pubescent European pop star. Alley, Travolta, and the children from the film are all there for Jordy as he delivers lyrics like Can you feel something in the air? A super nice feeling of holiness. Needless to say, It s Christmas, C est Noel failed to become a new holiday standard. But it’s an utterly bizarre and yet wholly appropriate way to end a singularly misguided sequel that deviated so far from what made the original successful that they barely seem to inhabit the same universe, let alone the same film series.Final Verdict(Photo by TriStar courtesy Everett Collection)Thanks largely to the mega-watt movie star charm of John Travolta , Look Who’s Talking Now is not completely worthless. But it is astonishingly misconceived, the concluding entry in a series that never should have been a trilogy. It’s so bad it reflects poorly on sequels as a whole they are rightly disparaged for being frequently terrible, strained, and unnecessary, but in the entire undignified history of sequels, few can compete with Look Who’s Talking Now for sheer pointlessness.Nathan Rabin is the author of six books and the proprietor of Nathan Rabin’s Happy Place.Follow Nathan on Twitter: @NathanRabinLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
WandaVision is finally out in the world in its totality. And between its long-form look a grief, its look back at classic television, and its playfulness with the Marvel Cinematic Universe, it became far more of a sensation than showrunner Jac Schaeffer predicted.“I didn t know that the show would air at the peak moment in all of human history where we re all relying on our TVs, and our iPads, and our phones for total solace and comfort. The way that it resonated in such an intense way, because of our current circumstances, that was a surprise,” Schaeffer recently told Rotten Tomatoes ahead of Marvel Studio s Assembled episode The Making of WandaVision, which is now streaming and dives deeper into the production on the series.Schaeffer, along with director Matt Shakman, and co-executive/supervising producer Mary Livanos spoke with us about some of those surprises, Marvel Comics deep-pulls, fan theories in one last look back at the series.Examining The Darkhold for the MCU(Photo by Suzanne Tenner/Marvel Studios)Agatha (Kathryn Hahn) possessing and invoking Marvel’s book of the damned served as a great reveal in the later part of the series and may yet prove to be a source of solace or sorrow for MCU characters.According to Livanos, who pitched the use of the book, it also answered a question about Agatha herself.“The idea of introducing The Darkhold as this higher-level dark-magic power felt like it could really elevate the danger level,” she explained. “Agatha s an incredibly powerful witch, yet she s not the Scarlet Witch and she wants to be, so how is she able to infiltrate Wanda s world to begin with? How was she able to manipulate Wanda without revealing herself? How is she able to combat Wanda in the finale?”The book served first as an amplification totem. But beyond enhancing Agatha’s power, it is also a signal to Wanda (Elizabeth Olsen) that she “has a lot to learn about magic.”“It was a really great way to inject some exposition about how we define the Scarlet Witch,” Schaeffer added.Besides its purpose within the story, it is also a rather amazing call back to earlier television shows like Agents of S.H.I.E.L.D. and Runaways, which used the book’s black magic for its own ends. Although, as Schaeffer explained, that connection is more accidental than a direct reference.“It was much more looking at the comics and how it functioned [there],” she said.Focusing on its place in Marvel Comics lore also led Shakman to initiate the creation of a new Darkhold prop.“It was a long process of trying to figure out what that would look like and how it would be created and how it would appear and disappear,” he said of the design phase and its physical placement within scenes.Steering Away From TGIF(Photo by Marvel Studios)Though each of WandaVision’s recreations tended toward a specific program, Shakman was interested in creating an overall “authentic to the era” atmosphere. This is part of the reason the program jumped over ABC’s TGIF line-up — which included Full House and Just The Ten of Us, which Shakman starred in — to the late-1990s with its Malcolm in the Middle pulls. Those shows overlap with Family Ties. Although, the director noted episode five’s love letter to ’80s sitcoms features a few Full House references.“You can see it in the opening title sequence. There s a couple of direct nods to the Full House opening titles,” Shakman said.And though not a TGIF sitcom, Ralph Boehner (Evan Peters) is a reference to Growing Pains Richard Milhous Stabone (Andrew Koenig) — aka Boner. Shakman appeared on the series as his Just The Ten of Us character a handful of times.He also noted that though many of sitcoms seem a key element of certain times, there is a surprising amount of overlap in regards to when they aired. The Dick Van Dyke Show started late in the 1950s and ran into the early ’60s, for example.“[Malcolm in the Middle’s] pilot was shot late ’90s and came out the beginning of 2000,” he added.That fuzziness allowed for a bigger picture: the evolution of sitcoms and the audiences who watched them. Beyond the obvious elements of lighting and sets, Shakman worked with a “laugh track expert” to subtly change the quality of the laughs from “a live recording of an audience to something that was actually added after the fact.” Also, outside of the house, the march of time was reflected in Wanda’s red Buick, which was parked in the driveway the whole time.“It’s the same car iterating from generation to generation,” he said.Soul Vision vs. The Vision(Photo by Marvel Studios)We loved the use of “The Vision” to distinguish the synthezoid corpse from the being inside Westview (both played by Paul Bettany), but Schaeffer told us that distinction was hard to see on the page and a different naming convention was used in the script: “Soul Vision” and “White Vision.”“We felt so attached to that Vision, and to everything that we had gone through in the sitcoms with him, that it felt to us that he was the one with the soul, he was the one with the heart, and the one that we as an audience felt so attached to, and obviously Wanda felt attached to,” she explained.As the same time, “The Vision” offered its own sort of horror.“It’s also dehumanizing. It s objectifying,” she said. “It is another layer of separation between these two Visions, one that is so wholly defined by his emotional life, and the other who is very much defined by his lack of emotional life and love.”A Rising Star for Monica Rambeau(Photo by Marvel Studios)Although Monica debuted as an 11-year-old in Captain Marvel (played there by Akira Akbar), WandaVision re-introduced her as a grown woman. For Schaeffer, bringing forward the character s “liveliness” from the film was key to establishing the grown-up Monica (Teyonah Parris). She also wanted to seed her searcher qualities and “nascent hero elements.” Also, her experiences in Captain Marvel and the circumstances of her absence during her mother’s death created a “strong sense of empathy and that desire to always look at a problem from all angles” the team definitely wanted to highlight.For Livanos, who continues to journey with Monica as an executive producer of the upcoming Captain Marvel sequel, the empathy she ultimately shows for Wanda was important to establish as it is, ultimately, her key power.“It’s her emotional capacity for empathy that makes her a real leader [in the comics],” she explained. “That felt at the core of her journey. It was really the thing that you see propel her into becoming an actual superhero. So illustrating Monica s emotional depth and Teyonah s portrayal of that was really special.”Although she couldn’t say much about Captain Marvel 2, Livanos said she feels lucky to continue with Parris and Monica: “Teyonah is going to rock it with Captain Marvel, too. Agatha, Fan Theories, and Kick-Ass JokesAlthough a scene in episode 6 — the one with Agnes and Vision at the edge of Westview — led us away from the Agatha Harkness fan theory, Schaeffer admitted they never really intended to make it hard to discover.“Early on, we talked about how much do we want to hide that or obscure that, and I think it was [Marvel Studios President] Kevin [Feige] who said, ‘Yeah, people will figure it out, but that s OK.’ Not everything has to be a thoroughly six-foot-under buried Easter egg. Some things are hiding in plain sight and that s OK,” she said.“We did give some clues,” Shakman added. “The comic book fan would see [Agatha’s] cameo or the color purple, and it didn t shock me that folks were guessing that.”Also, all three agreed Hahn’s presence — from the moment she was announced — led fans to the right conclusion.“[She’s] such an incredibly talented actress with such depth and an amazing potential for darkness,” Livanos said.Though the theorizing online proved correct for Agatha, episode 6’s now-infamous Kick-Ass joke led plenty down a X-shaped rabbit hole. Shakman even went as far as apologizing for what was, in his mind, a joke about Tommy’s (Jett Klyne) new way of speaking.“It was really just about Uncle Pietro s bad influence,” he said. “And then on the day we were improvising, and I suggested to Lizzie [Olsen] that she repeat it because it s a mom commenting on what s happening to her kid. And so she said, ‘Kick-Ass?’ And then the internet was on fire because of our Aaron Taylor-Johnson reference.”No matter the intention, it definitely lit a new fire under the possibility of the X-Men appearing on the show in some small way. Like the way Monica’s “aerospace engineer” friend ignited theories about a Mr. Fantastic appearance, Shakman was surprised by the passionate responses.For Schaeffer, finding those moments where a series can reward the viewer is part of the thrill.“I think it s very satisfying for people when they call things,” she said. “It s case-by-case and person-to-person, because there s so much in the comics.”Nevertheless, characters like Magneto, Mephisto, and even Doctor Strange — who Wanda will encounter in the upcoming Doctor Strange in the Multiverse of Madness — were never part of the plan.And though it is fun to think about who could appear in a given Marvel series, Shakman said those things never really fit the core of the show, which to him was “this story about a woman overcoming grief and dealing with loss and trying to rebuild herself after experiencing so much trauma. We weren t trying to open up the Multiverse or introduce the X-Men,” he said. “But Marvel s got your back, just wait. Accountability for the Scarlet WitchWhile some viewers may see Wanda’s end state as fairly ambiguous, Schaeffer, Livanos, and Shakman all agree that she finally learned how to grieve.“You can never completely move past a loss [or] the many losses that Wanda has felt. But this show really was structured to follow the Elisabeth Kübler-Ross stages of grieving, from denial, bargaining and all the way to acceptance And the conclusion of this is, hopefully, moving Wanda to a place where she s ready to say goodbye to Vision for the last time,” Shakman explained. “That s why she s able to say goodbye to him and why she s able to tuck in the kids.”At the same time, Wanda’s personal journey to that acceptance left the citizens of Westview traumatized and the audience with a final image of the Scarlet Witch reading The Darkhold.“We love the texture at the end of the series that the world may still label Wanda Maximoff as a terrorist,” Livanos said. Like the final image, the tension between understanding her pain and the feeling she should be held accountable is no accident. “We as audience members have been privileged in being able to be close to Wanda throughout her journey, but it s interesting at the end of the show to see that she s still on the run, she s still judged by those she has inadvertently harmed. And so that has been really fantastic and interesting and something to be tackled at a future time.”Will Doctor Strange in the Multiverse of Madness be that future time? No one can say for sure.But one element going forward with Wanda is her alias; a name with a new, added meaning thanks to WandaVision.“It was a two-year-long conversation, because it was a little bit of a blank slate. She s had so many appearances, and so many storylines, and there s so much known about her, but the actual definition of the Scarlet Witch, there is none,” Schaeffer said.Through the years, Wanda’s costumed identity never took on a greater meaning despite her absolutely essential (and sometimes chaotic) contributions to Marvel Comics lore. Tying it to that chaos and a destiny she is yet to deny or embrace also created the possibility of further defining magic within the MCU.“The witch zone was not explored,” Schaeffer said. “We hadn t seen witchcraft. We d seen magic in the space of Doctor Strange and a sort of, I would argue, more of a masculine magic not at all aligned with Salem and our sort of Americanized version and feminized version of witches and magic.”Deciding how much of that mythology to embrace offered the name and iconography of the Scarlet Witch something Schaeffer felt “gives some shape to her, but without being too prescriptive and too limiting, because ultimately where we land her is that she wants to know more and we want to know more.”
4. 呼朋唤友 随心所欲
Ever wondered how Axel Foley would fare in a Saw movie? Your ponderings are about to be answered in Spiral: From the Book of Saw, a reboot of the terrifying franchise famous for its inventive murder traps. The movie’s star, Chris Rock, says that he wanted to bring humor – and a sharp look at social issues – to the series, which he’s loved for a long time, and see how an Eddie Murphy-style cop would operate in a horror film. Ahead of the movie’s release, Rotten Tomatoes correspondent Naz Perez sat down with Rock to talk about his move into more dramatic material, the mood on set, and just how scary the movie’s epic traps are in real-life. Plus, Perez spoke with co-stars Max Minghella and Marisol Nichols, and director Darren Lynn Bousman, who revealed just how the Saw team dreams up their brutal contraptions, builds them, and eventually tests them. (For real.)Spiral releases in theaters on May 14, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
5. HD 画质与高品质音讯
1.85.0 6月喜迎Best Movies 2018: Wide Release January 10, 2019
With Shadow and Bone, the new fantasy series set to hit Netflix on Friday, April 23, the mega streamer behind The Witcher and Fate: The Winx Saga is continuing on its mission to broaden and expand the groundwork HBO s Game of Thrones laid for genre television.The new show, which is based on the best-selling YA books by Leigh Bardugo and stars Jessie Mei Li, Ben Barnes, Freddy Carter, Archie Renaux, Amita Suman, and Zoë Wanamaker, tells the story of Alina Starkov, a seemingly average young girl who embarks on the quintessential hero s journey to realizing her true purpose, magical power, and resolve against unfathomable odds and a dastardly villain. Shadow and Bone immerses viewers in a place known as The Grishaverse, opening the door to a whole plethora of characters and plotlines familiar to the devoted fandom of the book series.But does the adaptation work? Here s what critics are saying about Shadow and Bone season 1 HOW DOES IT COMPARE TO THE BOOKS?(Photo by Attila Szvacsek, © Netflix)Packing more than one book’s worth of history, context and mythology into an eight episode season was always going to be unwieldy though and it does lead to some clunky exposition-filled scenes where a LOT of information is conveyed. – Fiona Underhill, JumpCut OnlineBringing in characters from Six of Crows, which technically takes place after the events of Shadow and Bone, was the right choice here. I initially had some concerns that this was going to feel like some strange add-on plot that doesn t really fit the rest of the story, but they do not feel shoehorned in at all. The writing makes this feel natural and they bring a lot to the series. The show weaves them into the story really well while also setting you up for a completely different storyline that will pay off in future seasons. – Marianna Neal, Impression BlendLet’s be real, though. Perfection is impossible to attain. However, this reviewer would argue that what writer/executive producer Eric Heisserer has created in Shadow and Bone, with the help of his team and author Leigh Bardugo, is close to perfection. And, for newcomers to the universe Bardugo has created, they’ll become immediate converts to the Grishaverse fandom. – Sarah Musnicky, Nightmarish ConjuringsHOW ARE JESSIE MEI LI AND BEN BARNES?(Photo by David Appleby, © Netflix)The fleeting moments of entertainment come courtesy of the cast. Li, who apparently burst onto the scene in a London production of All About Eve in 2019 and will appear in Edgar Wright’s highly anticipated Last Night in Soho, is an obvious future star, carrying her scenes with a blend of charisma and vulnerability that works. Alina becomes the center of the world when her power is revealed, simultaneously wanted, feared, and idolized, and Li deftly conveys that heady mix of adrenaline that comes from knowing one’s life has drastically changed forever with the associated fear that comes with that knowledge. – Brian Tallerico, The PlaylistGiven that Alina often served as a kind of placeholder for readers, Jessie Mei Li has perhaps the hardest task of anyone on the show, but thankfully, she s able to bring some fun and whimsy to what could have been a very sombre, heavy role The latter could also be said of General Kirigan, so it s reassuring to see that Ben Barnes is just as smouldering and handsome and charismatic and ahem, yes, he s great too, effectively balancing the moral extremes of his character without ever resorting to caricature. – David Opie, Digital SpyWHAT ABOUT THE REST OF THE CAST?(Photo by © Netflix)Renaux is also extremely charming as Mal, bringing a balance to Li s portrayal of Alina that gives the characters relationship a tender quality. As for the Crows and Nina and Matthias, while they re given a little less to work with, they re just as compelling, with Young a particular standout as the roguish Jesper. He plays the mischievous foil to Carter s Kaz and Suman s Inej, both of whom are more serious (though about very different things), but all three have plenty of fun moments and their friendship is a highlight of the season. Lastly, Galligan and Skogman have plenty of chemistry as the antagonistic Nina and Matthias and their scenes, though most removed from the rest of the action, are a delight to watch as the characters engage in plenty of verbal sparring. – Molly Freeman, Screen RantYoung s confident gunslinger is a clear standout, as is Amita Suman as his knife-wielding compatriot Inej… – Liz Shannon Miller, ColliderThe two men on either side of her love triangle — Mal Oretsev (Archie Renaux), Alina s childhood friend and a fellow soldier, and General Kirigan (Ben Barnes), the mysterious shadow summoner of the Grisha army — prove to be wildly different but incredibly compelling foils to her, with Barnes particularly shining in every scene he s in. The Dregs — leader Kaz Brekker (Freddy Carter), spy Inej Ghafa (Amita Suman), and sharpshooter Jesper Fahey (Kit Young) — are also sure to become fan-favorites, with each bringing a charming, swashbuckling, but meaningful energy to the whole affair. – Jenna Anderson, ComicBook.comIS THE PRODUCTION VALUE UP TO PAR?The scenery, the costuming, the visuals of the powers — they are all incredibly expressed on the screen. This show is visually stunning no matter where you look. The clothing perfectly encompasses a feel of past times, but also a fantasy world that doesn’t truly exist. – Tessa Smith, Mama s GeekyProduction-wise, it s a beautifully made show, with the best visual touch beyond the effects being the costumes designed by Wendy Partridge, which lean heavily on Russian influences to make this world feel distinct and special from other fantasy tales. – Liz Shannon Miller, ColliderOne of the biggest standouts is undoubtedly the gorgeous costumes, which balance extravagance and practicality with a massive sartorial flair, in a way that will hopefully inspire a flurry of fan-made cosplays. – Jenna Anderson, ComicBook.comANY FINAL THOUGHTS?(Photo by David Appleby, © Netflix)With its magical, orphaned, chosen-one hero (hello, Harry Potter), its story of a young woman destined to cause revolution while caught between her childhood bestie and a dashing, untrustworthy incomer (hey there, Hunger Games) and its dangerous kingdom of backstabbers (Game Of Thrones, we meet again), Shadow And Bone has plenty of familiar echoes. But it’s very watchable, with a compelling world and characters that could help it become a fantasy favourite in its own right. Ben Travis, Empire MagazineYou can watch the first season for the twisty world-building, Wendy Partridge s lovely costumes, several enjoyable performances and the comfort of its reliable YA plotting. Just don t expect to immediately understand everything and definitely don t expect everything to come together by the end. Daniel Fienberg, Hollywood ReporterShadow and Bone is a perfectly cast, exquisitely-constructed fantasy dream, one that will find ways to charm both new and existing fans. Jenna Anderson, ComicBook.comShadow and Bone premieres Friday, April 23, on Netflix.
(Photo by CD Projekt Red)Every year in late spring, gamers and press from around the globe converge on the Los Angeles Convention Center to get a sneak peek of the latest and greatest video games being revealed at the Electronic Entertainment Expo.For E3 2019 this week, heavy hitters Microsoft, Nintendo, and Ubisoft broke out the big guns for their latest projects, but a number of movie- and TV-based games have emerged as some of the week s most promising prospects. Game developers no doubt hope to score the same sort of critical acclaim as last year s Marvel s Spider-Man.Here are 10 of those pop culture–centric projects — and two honorable mentions — that already have our thumbs twitching in anticipation!STRANGER THINGS 3: THE VIDEO GAMEDeveloper: BonusXPPublisher: En Masse EntertainmentPlatforms: PlayStation 4, Xbox One, Nintendo Switch, PCRelease Date: July 4Following their ravenous consumption of new Stranger Things episodes this summer, fans can dive deeper into the sci-fi horror series third season in a new game releasing day and date with the show. Featuring a charmingly retro visual style, complete with a pixel-perfect Sheriff Hopper, as well as solo and co-op play, Stranger Things 3: The Video Game invites fans to solve puzzles, battle supernatural baddies, and uncover Hawkins — and the Upside Down s — darkest secrets.MARVEL ULTIMATE ALLIANCE 3: THE BLACK ORDERDeveloper: Koei Tecmo Games, Team NINJAPublisher: NintendoPlatforms: Nintendo SwitchRelease Date: July 19Marvel Ultimate Alliance 3: The Black Order easily earns its title, as it allows players to assemble teams of iconic characters from all corners of the Marvel Universe. Playing solo — or as part of a four-player super-team — fans can choose from nearly 40 characters, from the Avengers and Fantastic Four to the X-Men and Guardians of the Galaxy. Dynamic action-RPG gameplay, a gorgeous visual presentation, and an original Thanos-thwarting tale round out this fan-pleasing package.BLAIR WITCHDeveloper: Bloober TeamPublisher: Lionsgate GamesPlatforms: Xbox One, PCRelease Date: August 30The future of the Blair Witch franchise might be in limbo, but the cult-favorite film series faithful followers can return to the Black Hills Forest this summer. A story-driven, psychological horror entry from the team behind the nerve-fraying Layers of Fear games, Blair Witch weaves a fresh, frightening tale, complete with shaky camcorder footage, atmospheric environments, and the sort of imagery that will take up permanent residence in your nightmares.STAR WARS JEDI: FALLEN ORDERDeveloper: Respawn EntertainmentPublisher: Electronic ArtsPlatforms: PlayStation 4, Xbox One, PCRelease Date: November 15Gaming s latest take on the galaxy far, far away puts players in the role of Cal Kestis, a Padawan on the run from the Empire s Jedi-hunting Inquisitors. Set shortly after the events of Episode III, Star Wars Jedi: Fallen Order is a single-player, story-driven action-adventure featuring familiar faces from both the light and dark sides, dynamic lightsaber combat, Stormtrooper-crushing Force powers, and an adorable companion droid that could top BB-8 on the cuteness scale.JUMANJI: THE VIDEO GAMEDeveloper: FunsolvePublisher: Outright GamesPlatforms: PlayStation 4, Xbox One, Nintendo Switch, PCRelease Date: November 15Landing ahead of the holiday season s highly-anticipated Jumanji: Welcome to the Jungle sequel comes a new game based on the family-friendly franchise. Embracing the action, humor, and exotic environments of the films, the game features four-player co-op (both online and local) and a delightfully stylized take on the films colorful cast of characters.THE WALKING DEAD ONSLAUGHTDeveloper: SurviosPublisher: SurviosPlatforms: Oculus Rift, HTC Vive, PlayStation VRRelease Date: Fall 2019Given virtual reality s immersion-ratcheting nature, it s not surprising so many game developers have leveraged the tech to scare the pants off players. The Walking Dead Onslaught aims to up the ante in this regard, putting brave fans face-to-rotting-face with the franchise s brain-craving foes. Sporting visceral combat — supported by a “progressive dismemberment system” — and a new story, the game also puts players in the boots of their favorite survivors from the AMC series.THE DARK CRYSTAL: AGE OF RESISTANCE TACTICSDeveloper: BonusXPPublisher: En Masse EntertainmentPlatforms: PlayStation 4, Xbox One, Nintendo Switch, PCRelease Date: 2019The Dark Crystal renaissance continues with a new game based on the cult-favorite film’s 10-episode prequel series set to hit Netflix this summer, The Dark Crystal: Age of Resistance. Dubbed Dark Crystal: Age of Resistance Tactics, the title combines strategy-focused combat with deep role-playing game elements, all brought to life by a charming visual presentation that should please fans of the original Jim Henson– and Frank Oz–directed film.CYBERPUNK 2077Developer: CD Projekt RedPublisher: CD ProjektPlatforms: PlayStation 4, Xbox One, PCRelease Date: April 16, 2020Cyberpu
(Photo by Netflix)With Netflix s Chilling Adventures of Sabrina offering a darker take on the fresh-faced teenage witch — and Certified Fresh on the Tomatometer with a 91% score to boot — and a new version of Suspiria spooking it up on the big-screen, witches have been working some epic magic on audiences lately.Need more proof that vampires and zombies have moved on from the spotlight? Take a look at American Horror Story: Apocalypse, which is revisiting its season 3 witches from the Certified Fresh Coven, or The CW’s rebooted Charmed, which has introduced a new generation to the power of three.Dark magic and sorcery have cemented their place in episodic entertainment over the years, which is why we thought it was the perfect time to concoct a list of TV s very best witches. Among these magic-doers, you ll find two very different Sabrina Spellmans, Game of Thrones sinister Melisandre, a whole gang of fabulous American Horror Story women, and a teenage vampire slayer s loyal best friend. In addition to these icons, wand-twirlers from Penny Dreadful, True Blood, Once Upon a Time, and Bewitched also make an appearance.So break out the bubbling cauldrons and dust off that flying broom as it s time to rank these TV witches from best to worst below. And if you don’t see your favorite magic-conjurer on our list, tell us in the comments! 2018 was a big year at the box office – perhaps the biggest ever – and a big year on the Tomatometer, with the likes of Cobra Kai, Paddington 2, and more scoring 100%, and hundreds of movies and TV seasons going Certified Fresh. It was also a big year for movie and TV news – the Academy threatened to add a new category and Stan Lee passed, while scandal threw the Guardians of the Galaxy franchise into disarray and kicked Roseanne out of her own show. And it was a big year for movie and TV news-makers: Crazy Rich Asians, Black Panther, and more all made history. With an eye on the Tomatometer, as well as the headlines, the box office, the streaming wars, and the titles that captured people s imaginations and hearts, we vee rounded up the biggest and best moments in the year for film and TV. Check them out below, and let us know the big moments you think we ve missed in the comments.Sundance Kicks Off a Huge Year for First-Time Directors(Photo by © A24)It was a strong year for first-time directors, with Bo Burnham kicking things off at Sundance with the premiere of Eighth Grade. The at-times hilarious, at-all-times excruciatingly awkward story of eighth-grade outcast Kayla sits at 99% on the Tomatometer and star Elsie Fisher recently earned a Golden Globe nomination for Best Actress in a Musical or Comedy. Boots Riley’s bizarre, Kaufman-esque comedy Sorry To Bother You also premiered at Sundance, along with Blindspotting, directed by Carlos Lopez Estrada and co-written by Hamilton’s Daveed Diggs and Rafael Casal; both films went on to win continued acclaim and accolades for their casts and filmmakers. Actors Bradley Cooper (A Star Is Born) and Paul Dano (Wildlife) made impressive debuts, while Pitch Perfect writer Kay Cannon showed she’s as strong behind the camera as she is behind the laptop with the comedy Blockers. Meanwhile, two of the year’s most skillful suspense-drivers – horror hit Hereditary and missing-girl techno-thriller Searching – came to us via first-timers Ari Aster and Aneesh Chaganty, respectively, while Night Comes On (100% on the Tomatometer) marked the arrival of Jordan Spiro.It s “Wakanda Forever” at the Box Office(Photo by © Marvel Studios)In mid-to-late January, box office watchers began to notice that Black Panther was tracking well. Really, really well. They began to predict an million opening. And then a 0 million opening. By the week of its release, with online pre-sales soaring beyond expectations, some prognosticators were predicting a bigger opening than Thor: Ragnarok. And indeed, they were right. But BP opened even bigger than that, launching with a 2 million weekend – and 1.9 million across the full four-day President’s Day weekend – and going on to earn 0 million domestically, .347 billion globally, and become the ninth highest-grossing movie ever. It was huge. The film was also good: Black Panther sat at 100% on the Tomatometer for a solid stretch in the days before its release, leaving some to hope it might be the first “perfect” superhero movie. Alas, it would go on to land a handful of Rotten write-ups, but its eventual 97% Certified Fresh score still makes it the best reviewed superhero movie of all time. Eight months later, with the catchphrase “Wakanda Forever” firmly a part of pop culture and director Ryan Coogler signed on for a sequel, the film is generating serious Oscar buzz. “First superhero movie to be nominated for Best Picture”? We wouldn’t bet against this record-breaker.A Quiet Place is the best and biggest horror movie of the yearSouth By Southwest audiences have a reputation for being a little extra: they whoop and holler at screenings and occasionally bring a little too much inflated hype home with them from Austin. So you could have been forgiven for dismissing the “OMFG” reactions to A Quiet Place coming out of the festival. But the hype was real. John Krasinski’s horror film, hinging on that ingenious “don’t make a sound” conceit, was a game-changer: a terrifying no-holds-barred action-horror ride; the fourth highest grossing horror movie ever at the U.S. box office; and, at 95% and Certified Fresh, the best-reviewed horror film of the year. Naturally, Krasinski is busy writing the sequel, which early reports suggest could focus on a different group of survivors.“Mr. Stark, I don’t feel so good…”Eight months later and we’re not over it Thanos s universe-halving snap. Bring on Endgame.Cobra Kai Certified Fresh at 100%YouTube began producing its own original scripted content in 2016, but it didn’t reach mainstream status until the launch of Karate Kid sequel series Cobra Kai — and its universal praise from critics — in May 2018. (That it was called “YouTube Red” until that same month, when it became the less-porny “YouTube Premium,” probably didn’t help.) Cobra Kai’s first season is Certified Fresh at an impressive 100% on the Tomatometer, putting the platform’s other series, including the cheeky comedy Ryan Hansen Solves Crimes on Television, director Doug Liman s Impulse (based on the Jumper book series), and the Tom Felton–starring sci-fi drama Origin on the critical map.The title s first season was only one of 12 TV seasons Certified Fresh at 100% in 2018 (of 79 overall), but its impact on the perception of YouTube as a serious scripted-series producer was huge.Netflix Becomes the Rom-Com KingThe resurgence of romantic comedies in 2018 is indisputable (see: Crazy Rich Asians), and while there are plenty of outside reasons why the genre is beginning to thrive again (a turbulent worldwide political atmosphere, an alternative to tentpole releases with sky-high budgets, etc.), the surge has also been helped in large part thanks to Netflix’s investment in it. The streaming service, in an attempt to beef up its own original film offerings, leaned in to the rom-com this year — to varying degrees of success. Its first breakout hit of 2018, The Kissing Booth, is Rotten at 13%, while summer sensation To All the Boys I’ve Loved Before is Certified Fresh at 96%. Similarly, Kristen Bell’s Like Father is Rotten at 48% (though it s less a rom-com than a daughter-dad–com), at while the hit Set It Up (starring Lucy Liu, Taye Diggs, Zoey Deutsch, and Glen Powell) is Certified Fresh at 90%. Other Fresh 2018 rom-coms from Netflix to add to your queue: The Guernsey Literary and Potato Peel Pie Society, Alex Strangelove, Happy Anniversary, Ibiza, and Sierra Burgess Is a Loser.Brooklyn Nine-Nine, The Expanse, and More Fan Favorites Saved from CancellationIt didn’t take a mass-mailing of hot sauce or nuts to TV executives (see: early 00s canceled-too-soon series Roswell and Jericho) to save series in 2018 — just deeply passionate fan bases with Twitter accounts (and some advantageous behind-the-scenes business dealings). During TV’s annual May culling, Fox canceled fan-favorite comedy Brooklyn Nine-Nine after five seasons — and massive social media outcry followed. Mere hours later, NBC — whose studio, Universal Television, produces the series — announced it had picked up the show for season 6. Similarly, a month after Fox axed its comic book dramedy Lucifer, Netflix announced it had picked up the series for a fourth season. And Syfy’s cancellation of space drama The Expanse lasted only a few weeks, with Amazon founder, chairman, and CEO Jeff Bezos announcing at May’s International Space Development Conference that the series will return on Amazon Prime for season 4.Roseanne Fired, The Connors Is Born(Photo by ABC/Robert Trachtenberg)ABC’s decision to revive one of its biggest-ever sitcoms sounded, on the surface, like a no-brainer. Roseanne’s massive season 10 ratings seemingly reinforced that decision (it ended the 2017-2018 TV season as the No. 3 show in overall viewers and No. 3 in the advertisers’ most coveted 18-49 demographic). But the titular star’s history of racist statements raised a gigantic red flag for many in discussing the revival, though did not prevent the series from moving forward. It was a May tweet about former senior White House staffer Valerie Jarrett that proved to be the line for the Disney-owned company, which immediately canceled the series. Weeks later, it greenlit a Roseanne Barr–less spin-off, The Conners (Barr does not have any involvement in the new series, financial or otherwise) that debuted to solid, though not Roseanne-level, ratings.Mr. Rogers Heralds the Year of the Doc(Photo by Jim Judkis/© Focus Features)This was the biggest year for documentaries at the box office since 2004. Back then, the big driver was a single film, Michael Moore’s incendiary anti-Bush documentary, Fahrenheit 9/11; in 2018, the was shared among a large crop of critically-acclaimed biographical documentaries, the highest-earning of which was the Fred Rogers bio-doc, Won’t You Be My Neighbor?, released in June. (That film was also one of the best-reviewed features of the year, currently sitting Certified Fresh on 99%.) Other big earners were RBG, the Ruth Bader Ginsberg documentary (94% on the Tomatometer); CNN Films’ Three Identical Strangers (96%); rock-climbing thriller Free Solo (98%); and Kevin Macdonald’ Whitney (88%), which dives into the life of late pop singer Whitney Houston and which made headlines for its shocking revelations of child abuse.James Gunn Out of Guardians FranchiseOne minute, writer-director James Gunn was Instagramming the cover of his just-finished Guardians of the Galaxy Vol. 3 script; the next Disney was booting him from the project and throwing the future of the mega franchise into doubt. You will likely recall the reasons: A series of Gunn’s years-old inappropriate tweets resurfaced in July and, under pressure from various groups and in an effort to maintain that squeaky-clean Mouse House image, Disney and Marvel decided to cut ties. Guardians cast members came to Gunn’s defense, but it was not enough; fans are still none-the-wiser as to whether the project is moving forward, and if it is, whether Gunn’s script will be used. Marvel’s loss would ultimately be DC’s gain, with Gunn jumping on board Suicide Squad 2 as writer just a few months later, a move many fans applauded. If anyone can work magic on the story of a rag-tag bunch of shouldn’t-be-heroes, it’s Gunn.Crazy Rich Asians Has a Gold Run(Photo by © Warner Bros. Pictures)Writer Kevin Kwan and director Jon M. Chu turned down offers from Netflix to adapt Kwan’s books for the streaming service, saying they felt the movie had to be shown in theaters – they wanted Asian audiences to see themselves reflected on the big screen. The gamble paid off. Not only was Crazy Rich Asians — the first wide-release mainstream film with a largely Asian and Asian-American lead cast in 25 years – a landmark event for representation, it was a huge financial success for Warner Bros. In the lead-up to the movie’s release, the filmmakers and cast had been encouraging audiences to turn out and create a “gold open,” and the film topped the box office with .3 million over its first five days in early August. And then the fans kept coming; CRA was one of the leggiest movies of the year, making 4 million domestically. The movie also made instant stars of Awkwafina – who would go on to be just the second Asian-American woman to host SNL – as well as Henry Golding, whom audiences got a second helping of in Paul Feig’s A Simple Favor, and who has now been cast in Feig’s forthcoming Last Christmas and Guy Ritchie’s Toff Guys. Meanwhile, the movie’s star, Constance Wu, is up for a Golden Globe Award for Best Actress in a Musical or Comedy, and Michelle Yeoh is considered an outside chance for a Best Supporting Actress nomination at the Oscars.The New Oscar Category That Wasn’tIn August, the Academy announced a number of big changes, including a shortened ceremony, the removal of a number of categories from the live broadcast, and, most controversially, the introduction of a new category that would honor excellence in popular film. The outcry was immediate and loud, with many shellacking the Academy for further ghettoizing popular filmmaking just as it seemed we were starting to see worthy blockbusters and genre movies, like last year’s Get Out, getting traction in top-of-the-line categories. It felt like a particularly poor move for this year, given that Black Panther and Crazy Rich Asians are being seen as serious contenders for Best Film nominations. Eventually, the Academy saw the light, and quietly announced they would not be moving forward with the new category. Since then, the Academy had a super-smooth year, not having to deal with any more controversies whatsoever.Shirtless Jason Statham + Giant Shark = Huge Hit(Photo by © Warner Bros. Pictures)For whatever reason, the world was in the mood for a giant shark movie in 2018. The Meg, riding a wave of clever tongue-in-cheek marketing – the “Pleased to eat you” poster was our favorite – made 0 million worldwide, making it the highest-grossing Chinese-American co-production ever. Producers behind the film have hinted that a sequel is in the works, and there are plans for a Meg-inspired theme park in China.Nic Cage Gets Wilder (Even Wilder Than Usual) in MandyThe Cage-aissance continued apace in 2018, with everyone’s favorite wild man kicking off the year as one half of a child-killing couple in Mom and Dad and following that up in September with his best performance since Bad Lieutenant: Port of Call New Orleans in horror-flick–slash-fever-dream, Mandy. The movie, which co-stars Andrea Riseborough, came out of Sundance with some well-deserved buzz and would go on to be Certified Fresh at 92%. It was Cage’s highest Tomatometer score since 1997’s Face/Off, until another film came along this December DC Universe Streaming Service LaunchesDC Comics launched its own streaming service with a big FU to Batman and the debut of its dark, violent action series Titans. The first season is Certified Fresh at 82%, and the series was renewed for a second season ahead of its debut. On the slate for 2019: live-action dramas Doom Patrol (introduced in an episode of Titans), Stargirl, and Swamp Thing, animated comedy Harley Quinn, and the return of animated hit Young Justice (Outsiders premieres January 4, 2019).Venom and Bohemian Rhapsody Divide Critics and Audiences, Conquer Box OfficeThose who sniggered at the Venom trailers – and yes, that includes a couple of us here at RT – might have to eat wind-swept turds come New Year’s Eve. That’s because the film, which many critics have called a total mess when it opened in early October, is now one of the biggest movies of the year, making 4.5 million worldwide (so far). It is also one of the most divisive movies of the year, with a Tomatometer of just 28% but an Audience Score of 85%. As we said in one recent article, we’re not picking sides – Venom was kind of a blast, thanks in no small part to the efforts and charm star Tom Hardy, and we’re as excited for any potential sequels as you are. Another film that split critics was Bohemian Rhapsody, which hovered in Rotten territory until around the time of its release in November, and remains just barely Fresh at 62%. Audiences however, have dubbed it a triumph, giving it an Audience Score of 90% (!) and helping the film make 7.1 million at the global box office so far.The Spectacularly Spooky Haunting of Hill HouseIn a TV landscape with nearly 500 scripted series airing in 2018, a seemingly low-profile horror drama series based on a 1959 novel isn’t necessarily the first natural candidate for one of the biggest breakout series of the year. But Netflix s tense, spooky take on Shirley Jackson’s Gothic horror novel The Haunting of Hill House from genre vet Mike Flanagan combined a top-notch ensemble cast and groundbreaking filmmaking techniques for a genuinely scary haunted-house tale.Netflix Axes Its Marvel Series(Photo by Sarah Shatz/Netflix)With Disney’s streaming service, Disney+, set to launch in 2019, the company has begun to streamline the platforms where its content is offered. That means the Marvel-Netflix partnership, which included Daredevil, Jessica Jones, Luke Cage, Iron Fist, and team-up miniseries The Defenders, is on its way out. While not initially announced as a limited event, The Defenders turned into a “miniseries,” and on successive Fridays in October, the streaming service canceled Luke Cage and Iron Fist. Daredevil followed about two months later. (By the way, while critics panned Iron Fist upon its debut, earning the first season a Rotten 19%, the second season saw a vast improvement, breaking a Tomatometer record for the biggest season-over-season bump ever at a nearly Fresh 57%. And both seasons of Luke Cage were Certified Fresh at 94% and 83% respectively.) The only two series that remain are the already-filmed third season of Jessica Jones and season 2 of Daredevil spin-off The Punisher, set to be released in 2019.He Just Wants To Take Another Look at You(Photo by © Warner Bros. Pictures)Anyone skeptical that Bradley Cooper was hiding serious directing chops or that Lady Gaga was a movie star in the making was likely converted into true believer when A Star Is Born opened in theaters in early October. After debuting at Venice and playing Toronto, the movie immediately jumped to the front of many awards pundits’ “most likely” lists, and is still heavily favored in the Best Picture, Best Director, and Best Actress categories. Star had box office legs, too, opening with a huge million, despite being up against Venom that first weekend, and eventually crossing the 0 million mark. But perhaps the biggest measure of the movie’s success is its level of meme-ification. We watched on here at Rotten Tomatoes HQ as Gaga stans @-ed us on Twitter with bizarre and hilarious GIFs showing Gaga with dancing Fresh tomatoes, while the internet did its work with the “Just wanna take another look at you” line, and that Gaga smile. It only takes one GIF-maker to believe in you, we guess.Halloween Rejuvenates Slasher GenreWhen Jamie Lee Curtis took the stage following the world premiere of Halloween at the Toronto Film Festival in September, she got a rousing standing ovation. It wasn’t just her typically awesome greeting – “Happy Halloween, motherf—kers!” she said, strutting onto the stage – nor was it the late-night delirium that follows a scary midnight screening (the audience was still amped). It was that the movie had delivered. Director David Gordon Green had created a direct sequel to John Carpenter’s original that was scary, funny (some would say too funny), and which ultimately drove a stupidly large kitchen knife through the heart of toxic masculinity, as wielded by three generations of tough-as-f k Strode scream queens. The movie would eventually be Certified Fresh, and open to nearly million. That was, Curtis pointed out in a viral tweet, the biggest ever opening for a horror movie with a female lead, the second biggest October opening ever, and the biggest opening ever for a movie with a lead over 55. No dou
Canadian comedy Schitt s Creek went out with a bang this year, finishing its run with a final-season Certified Fresh Tomatometer score of 100% – and leaving teary fans wondering how to fill the Rose Family Void that just entered their lives. The story of an obscenely wealthy family that loses it all and is forced to move to a small rural town was something of a sleeper hit for a long time, discovered by many on Netflix (it s second home after PopTV) and only gaining awards traction in the last few years. And just as the world was discovering it poof, it went away! We re here to help you get over the loss. If you re looking for more kooky small-town laughs (with some big feels) and hilarious family-focused antics – or just want more Catherine O Hara and Eugene Levy – we ve got you covered with our guide to five shows to watch if you love Schitt s Creek (OK, one is a movie, but you ll love it). Join Rotten Tomatoes correspondent Naz Perez and get ready to binge.
游戏平台十大排名 Although women were present at the birth of cinema and helped pioneer a great many discoveries, women from marginalized backgrounds and communities had a tougher time breaking in the fledgling industry. Sadly, it’s an inequality that persists in the film world today. Despite these barriers, a number of Latina and Hispanic women in Hollywood and South America broke through biases, starting their own production companies, forging their own paths. They created opportunities where there were none, they landed their movies in festivals and challenged the male-dominated industry to take notice. Sadly, not all enjoyed the long illustrious careers their male counterparts did, but whether it was just one film or two, these nine filmmakers left their mark on film history and on screens far and wide. (Photo by Public Domain)Beatriz Michelena (1890–1942) Originally an opera singer, Beatriz Michelena made the leap from the stage to the screen becoming one of the first Hispanic silent movie stars with the movie Salomy Jane. On the side, she wrote an advice column for girls interested in becoming actresses like herself. After her first studio went bankrupt, Michelena formed her own production company with her husband, George E. Middleton, and produced her next movies, effectively becoming one of the first Hispanic women to do so. Sadly, like many upstart companies in the early days of cinema, it did not last, and most of Michelena’s film work was destroyed in a fire. Mimí Derba (1893–1953)When Herminia Pérez de León first entered showbiz as a teenager, the Mexican singer chose the stage name Mimí Derba. It would become one of the most recognized names in her country’s movie history. After the Mexican Revolution, Derba co-founded the Azteca Film Company, which produced five movies in its first year – two of which were written by Derba, including The Tigress, which she also directed. Her star was on the rise when financial setbacks interrupted her career and shut down her film company. She returned in the sound era opposite Lupita Tovar for Santa in 1931, which restarted her film career that ran through the Golden Age of Mexican Cinema. Emilia Saleny (1894–1978)Although accurate details about her are scarce, Argentine director Emilia Saleny began her career as an actress, traveling between the Italian community in Buenos Aires and her family’s home country of Italy. She began teaching early in her career, founding one of the first film and acting schools in South America in the 1910s. She also pioneered children s films, movies made for younger audiences that followed stories told from a child’s point-of-view. Because of her collaborative approach to filmmaking and working with students, as well as early film’s less stringent standards of record-keeping, there is disagreement among scholars about her exact credits, but there’s no disputing she had an effect on Argentina’s early film scene. Adriana (1894–1972) and Dolores Ehlers (1896–1983)Mexican sisters Adriana and Dolores Ehlers worked as a team making documentaries, processing film, and creating political movies. At first, they began their careers as photographers, and their work won them a grant to study in the United States. After they made military films during World War I and completed more training, they returned home to Mexico, where they sold cameras and projection equipment and eventually landed jobs in the Mexican government overseeing a lab that processed film and censorship, flagging racist stereotypes in Hollywood movies. After more political upheaval, the sisters returned to making films independently, selling projectors and training projectionists. María Luisa Bemberg (1922-1995)Like Lucrecia Martel today, Argentine director María Luisa Bemberg had much to say about her country’s social issues through inventive movies. After beginning her artistic career creating feminist theater, Bemberg wrote scripts for other directors in the 1970s, but soon decided to make them herself, as she did with the scandalous period piece Camila, throughout the 80s and 90s. Many of her movies featured feminist themes and centered on strong women challenging men’s authority. (Photo by Fair use of copyrighted material in the context of Elena Sánchez Valenzuela)Elena Sánchez Valenzuela (1900–1950)Mexican filmmaker Elena Sánchez Valenzuela wore many hats in her lifetime as a documentarian, journalist, archivist, and actress. Her screen career began in the silent era, but soon her focus shifted to journalism in the 1920s, and she soon began her writing for Mexico City newspapers, which led to assignments in Los Angeles and Paris. In the 1930s, Sánchez Valenzuela moved into documentary filmmaking with a feature on the Mexican state of Michoacán. She made one more career change in the 1940s when she helped found the Mexican National Film Library to preserve and promote films from Mexico and South America.Gabriela Von Bussenius Vega (1901–1975)Chilean writer Gabriela Von Bussenius Vega got her first taste of cinema when her new husband, Salvador Giambastiani, adapted her story The Agony of Arauco. While Giambastiani took over directing duties, Von Bussenius Vega handled the story and art direction, becoming one of the first women to have a hand in making a Chilean film. After Giambastiani’s death, Von Bussenius Vega stepped away from filmmaking and returned to writing books, essays, film criticism and plays.Sara Gómez (1942–1974)When Sara Gómez began working in the Cuban Institute of Cinematographic Art and Industry, she was the only woman and only one of two Black filmmakers in the government-sanctioned profession. Despite being the only woman in the Cuban film industry, she worked as a directors assistant to Tomás Gutiérrez Alea and Agnès Varda, made a number of documentary shorts about Afro Cubans and women, and challenged sexism, classism, and racism with her one and only feature, the documentary and narrative film hybrid One Way or Another.Margot Benacerraf (1926–)Although Venezuelan documentarian Margot Benacerraf may only have two documentaries to her name – Reverón, a short study on Venezuelan painter Armando Reverón, and Araya, a feature on mining practices at a salt marsh – both of her works made it to international festivals. Reverón premiered at the 1953 Berlin International Film Festival, and Araya shared the Fipresci Critics’ Award with Alain Resnais’s Hiroshima Mon Amour at the 1959 Cannes Film Festival. Later, she founded the National Film Library of Venezuela and co-founded the Latin Fundavisual with Gabriel Garcia Márquez. On an Apple device? Follow Rotten Tomatoes on Apple News.