Picking up just days after the events of the series finale of Power, spin-off/sequel series Power Book II: Ghost follows Tariq (Michael Rainey Jr.) as he begins to shape his own legacy separate from his father’s. The series features some returning favorites – among them Rainey Jr. and Naturi Naughton – as well as newcomers to the franchise, like Method Man, who plays a lawyer, and Mary J. Blige, who plays the maternal head of a powerful crime family. Ahead of the Starz series’ premiere, Rotten Tomatoes Editor Jacqueline Coley spoke with Rainey Jr., Naughton, Method Man, and producer 50 Cent about the big risks they took when they were Tariq’s age, why skeptical fans should embrace the newly unleashed Tariq, the people they admire who ve made the leap from the music world to TV and film, and how the Power saga is set to evolve. Method Man also reveals how Denzel Washington s Philadelphia performance helped shape his character.Power Book II: Ghost season 1 premieres on Sunday, September 6 at 9 p.m. on Starz.游戏王对战网页游戏Horror’s consistent focus on stories that double as morality tales often leads to protagonists who are dutiful and serious, leaving a big blank spot in charisma and personality. But that’s why god invented the sidekick. They are the color to the protagonist’s black-and-white, the fiery, funny fools who often drive the story’s complications, as the protagonist runs around putting out all the fires.Because a fair number of horror films feature female leads, many of these sidekicks are also female characters. Sometimes they bolster the protagonist’s confidence, sometimes tear it down. Occasionally they take on traits of a villain, only to be revealed as the true center of the film. Often they perish, and their deaths trigger an extra significance: If this person with quick wit and endearing flaws can die, then things are about to get serious.One of the greatest – to our mind – is Barb, played by Margot Kidder, in the original Black Christmas. As we prepare for the release of Blumhouse s Black Christmas remake this week, here are 15 of the most colorful sidekicks of horror cinema.Barb in Stranger in the House (1974) 71%(Photo by Courtesy Everett Collection )Played by Margot KidderVery few horror films possess the kind of joy Bob Clark’s Black Christmas emits when resident alcoholic and prankster Barb (Margot Kidder) patiently explains to a befuddled cop that her phone number begins with the word “fellatio.” Nor do they revel in a character’s tangential knowledge as much as when Barb interjects with some serious turtle-sex facts while a father is grieving his missing daughter. Barb may not be the final girl, but she fills our stockings with delightful coal.Tatum in Scream (1996) 79%(Photo by © Dimension Films )Played by Rose McGowanWes Craven consistently delivered some of the best female sidekicks, but Tatum (Rose McGowan) earns a spot for her 1990s “girl power” feminism that had her trying to convince her boyfriend, Casey (Matthew Lillard), that the new Woodsboro slasher could be a woman, because girls can do anything boys can do. Her kid-sister vibe – she’s literally Dewy’s kid sister – makes her a sparkling verbal sparrer, and she’s talking s t right up until the very garage-door end.Annie and Lynda in Halloween (1978) 96%(Photo by © Compass International Pictures/ Courtesy: Everett Collection)Played by Nancy Kyes and P.J. Soles Before slashers were a thing, John Carpenter and producer Debra Hill’s prototype for the genre showcased the possibilities for fully fleshed-out sidekicks with sporty Lynda and sarcastic Annie, the bad and badder devils on Laurie Strode’s shoulders. They poke fun at the latter’s virginal purity with the kind of ribbing realistic for angsty teen girls. Both act as comic relief, proving there can and should be more than one funnywoman in the group.Pam in The Texas Chain Saw Massacre (1974) 89%(Photo by Courtesy Everett Collection )Played by Teri McMinnTobe Hooper specifically asked for actress Teri McMinn’s costume to be backless and short to show off most of her “meat,” giving her a visually vulnerable feel in this slaughterhouse classic. Pam is a small role, but McMinn fills her out with a genuine openness and curiosity, a young woman of the perilous 1970s whose kind and trusting nature leads her to disaster.Juno Kaplan in The Descent (2005) 86%(Photo by © Lionsgate)Played by Natalie MendozaJuno is both the sidekick and the foil of Neil Marshall’s spelunking disaster. It’s her fiery, fierce, and selfish nature that draws her estranged best friend Sarah into the unexplored caves, but also the spirit that gives Sarah the will to leave her as bait and escape. Natalie Mendoza’s empathetic performance speaks to what one is capable of when scared, but not so much that her fate doesn’t seem a little fitting.Lambert in Alien (1979) 98%(Photo by © 20th Century Fox / courtesy Everett Collection)Played by Veronica CartwrightJoan Lambert (Veronica Cartwright) was the navigator of the USCSS Nostromo, and she spent just as much time trying to guide the crew of the ship in the right direction. She was the first to say exploring that distress call was a bad idea and the first to say they should “get the hell out of here.” Her hysterics are a natural and appropriate reaction to an alien attack and an extension of the audience’s reactions, so Lambert becomes the lens through which we view the film.Jeryline in Tales From the Crypt Presents Demon Knight (1995) 38%(Photo by MCA/Universal Pictures/ Courtesy: Everett Collection.)Played by Jada Pinkett-SmithJeryline (Jada Pinkett-Smith) may be a criminal on work release at a rural hotel, but she’s got more smarts and morals than many. Demon Knight is the rare horror movie willing to off its protagonist, and Jeryline steps up from sidekick to lead, showing off her cunning by using the demon’s Don Juan charm against him and ultimately saving the night.Tina Gray in A Nightmare on Elm Street (1984) 95%(Photo by © New Line Cinema)Played by Amanda WyssIf you’d only watched the first act of Wes Craven’s A Nightmare on Elm Street, you’d think Tina Gray (Amanda Wyss) were the protagonist of the film, but she’s in actuality the sidekick and catalyst for the film series. She exudes both vulnerability and strength, which is why her iconic demise and subsequent use as a puppet for Freddy Krueger’s mind tricks is a huge punch to the gut.Helen Shivers in I Know What You Did Last Summer (1997) 44%(Photo by © Columbia/courtesy Everett Collection)Played by Sarah Michelle GellarThe key to Helen Shivers’ success as a sidekick is her unabashed and shameless vanity. Sarah Michelle Gellar’s portrayal of the character paints her as the beauty queen with dept
Action superstar Jason Statham returns to the big screen this month in Guy Ritchie’s latest crime thriller, Wrath of Man, a revenge/heist mashup that sees the actor and director pairing up for the first time since 2005’s Revolver. Ahead of the movie’s release, Statham and Ritchie sat down with Rotten Tomatoes correspondent Erik Davis to talk about their long friendship and past collaborations, and why the crime genre endures. Plus, co-star Scott Eastwood shares his thoughts on Ritchie’s “impeccable taste” and why he’s so excited for this film to play on the biggest screens possible.Wrath of Man opens in theaters on May 7, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
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2.99.9 4月喜迎erfell" 92% was kept secret right up to the premiere on Sunday night. It s not like that title is a spoiler — we knew from the season 7 finale and from the first trailers that this ride was Next stop: Winterfell. Did anyone really think we were going to sail to White Harbor with the characters and brunch with House Manderly?In any case, the television event hit like a freight train, with each major character’s name trending on Twitter in the U.S. at once.“He’s never been a bastard. He’s the heir to the Iron Throne. He needs to know. We need to tell him.” So said Bran Stark (Isaac Hempstead Wright) of his cousin Jon Snow (Kit Harington) at the end of season 7, and we were here for it.But those weren’t the final words of season 7. The final words were: “Run! Run!” Thank Tormund Giantsbane (Kristofer Hivju) for that keen observation.Rewatching the final scene of the final episode of the season, I looked in the distance of the scene for the Umber family home in a morbid car-wreck-waiting-to-happen sort of way, and thought that after the dead decimate Last Hearth, they will run into the Last River. Since they can t swim, they’ll need to go around it, if the geography of the North in the series stays true to books here.The season 8 premiere settled some of those concerns with the new opening credits showing Last River and including a visit to Last Hearth to bear witness to the carnage. That moment and more were among the highlights of the episode.Take our poll below to tell us what your favorite moment was. Don t agree with our eight? Tell us in the comments.1. New Opening CreditsWere you paying attention or were you making a cocktail in the kitchen and singing along with the theme song when the opening credits played? They took us inside Winterfell and the Red Keep to their depths. The credits have always been a foreshadowing to one degree or another. The season 8 credits first show the Wall destroyed, then a rolling motion to Last Hearth, a pause in that motion at the river between. The perspective then flows down to Winterfell, a journey down into the depths of the crypt, then an image of the astrolabe with a lion with a fish in its mouth (remembering that Lannisters are the lions, Tullys are the fish, and the only Tully left is Edmure, so what could that mean – Cersei will control Riverrun?), a hung hound (THE Hound?) — or wolf — riddled with arrows, and what looks like the Night King with a wolf’s head and a dagger in his hand (if that’s a metaphor for Arya, I’m out, but maybe it’s literally a wolf, as both Nymeria and Ghost are still somewhere about).Next, to King’s Landing. The Red Keep rises, as we descend into its basements, where Balerion the Black Dread’s huge skull faces down the ballista (or scorpion ) that Cersei shot at it. Up to the throne room, where a lion rises above the Iron Throne, then back to the astrolabe where a four dragons and a shooting star (with what appears to be a dragon’s head) fly over uncertain geography (or are those skinny horses?).The main title is still surrounded by dragon, a lion, a wolf and a stag (with only one antler – Gendry?). The credits then reveal that the episode was written by Dave Hill and directed by David Nutter.2. Battle of the Sass: Sansa vs. Mother of Dragons(Photo by HBO)A collection of moments, really. Whenever Sansa Stark (Sophie Turner) was near Daenerys Targaryen (Emilia Clarke), they each let the sass fly.Upon first introduction, Daenerys tries flattery on Sansa, who is not having it: “The North is as beautiful as your brother claimed – as are you.”Sansa (eyeballs Daenerys with a tight grin): “Winterfell is yours, Your Grace.”Bran: “We don’t have time for all this.” (Preach, brother!)(Photo by Helen Sloan/HBO)Then, the major characters convene with the North’s bannermen. Tyrion Lannister (Peter Dinklage) attempts to soothe the concerns of Lyanna Mormont (Bella Ramsey) and smooth over tensions in the room, but makes matters worse mentioning how many men and beasts came with Jon and Daenerys.Sansa: “May I ask, how are we meant to feed ‘the greatest army the world has ever seen’? While I assured our stores would last through winter, I did not account for Dothraki, Unsullied, and two full-grown dragons. What do dragons eat, anyway?” she asks the air.Daenerys, staring out into the same air: “Whatever they want.”Jon stares forward as the two women exchange a glance across him.3. Theon Rescues Yara(Photo by Helen Sloan/HBO)Just that. Wasn’t a particularly flashy rescue, but that he was there and killed people to get to her – it means something between siblings. She gives him an affectionate headbutt in thanks. Sometimes just showing up is all that matters.4. Jon Rides Rhaegal(Photo by HBO)Jon accompanies Daenerys (after she notes that his sister doesn’t like her), ostensibly to see what’s wrong with Drogon and Rhaegal, who aren’t eating as much as they should. She climbs up on Drogon and prompts Jon, “Go on,” after Rhaegal noses at him. “I don’t know how to ride a dragon,” he warns. She replies, “Nobody does – until they ride a dragon.” He: “What if he doesn’t want me to?” She: “Then I’ve enjoyed your company, Jon Snow.” He successfully mounts the dragon: “What do I hold onto?” Daenerys: “Whatever you can.” Varys, Tyrion, and Davos’s mouths drop to the ground when they see Jon do a flyby of Winterfell on Rhaegal, who does not make it easy on his rider.We d celebrate the birth of a dragonrider, but remember season 7, episode 6 Beyond the Wall ? The Hound, Berric Dondarrion, Jorah Mormont, and even a wight all rode a dragon before Jon, so there s that.(Photo by HBO)When they land, Jon tells Daenerys, “You’ve completely ruined horses for me.” Drogon growls at Jon when he kisses Daenerys. Despite her encouragement to have no fear, Jon opens an eye to see Drogon staring laser beams at him. We love this relationship already.5. Daenerys Sort of, Kind of Admits to Sam That She Killed His Father and Brother(Photo by Helen Sloan/HBO)Daenerys ventures into the Winterfell library escorted by Ser Jorah to thank Sam for saving her advisor. When he gets to the part where he mentions he’s a Tarly, Daenerys does the right thing and begins telling him that his father wouldn’t bend the knee. Before she can fully confess, Sam guesses the rest, but then stumbles again when she notes that his brother stood with his father.Viewers had to be grateful that Sam is a smart guy and guessed what happened before Daenerys had to get into specifics. It was awkward and really uncomfortable, but a highlight because it had to be done, and she accepted her role and began to confess it as soon as she made the connection.6. Sam, Bran, and Jon in the Winterfell Crypts: “Now’s the Time”(Photo by Helen Sloan/HBO)Coming away from a tragic meeting with Daenerys, Sam runs into Bran sitting in his chair near the Winterfell crypts. Sam’s bummed about his father and brother and doesn’t want to have to tell Jon about his birth parents and that he’s heir to the Iron Throne. “He trusts you more than anyone,” Bran says. “Now’s the time.”Down in the crypts, Sam and Jon have a warm reunion. Sam informs Jon that his new girlfriend executed his father and brother. Then he gets to the real reason we’re gathered here today: “Your mother was Lyanna Stark. And your father – your real father – was Rhaegar Targaryen. You’ve never been a bastard. You’re Aegon Targaryen, true heir to the Iron Throne.” Wow. Let’s take a minute to let that settle in. “You’re the true king: Aegon Targaryen, Sixth of His Name, Protector of the Realm. All of it.”Excellent. But what s he going to do with that information?7. The Fate of the Umbers(Photo by HBO)A group of men march toward a snowy building. It’s Last Hearth, the Umbers’ castle. We see Tormund, Berric, and a small group of what must be Night’s Watch survivors from Eastwatch-by-the-Sea. It’s a slaughter in the central hall. They meet up with Edd Tollett and more Night’s Watch men. They go to a hall where the Night King has mounted young Lord Umber on the wall in the center of a swirl of human limbs. Stay classy, Night King!“It’s a message from the Night King,” Berric says. They propose heading down to Winterfell by doubling up on horses, which sounds like a terrible idea from the horses’ perspective. Just then, the Umber boy wights alive, screaming, and Berric sets him on fire with his flaming sword–torch combo. If someone in the scene has alcohol, now s the time to pass it around.8. Bran Stares Down Jaime Lannister(Photo by HBO)That look. Jaime looked like he d never faced a more fearsome foe. The reason it was so meaningful had more to do with what it promised for episode 2, than just the weight it carried as the attempted murderer faced his would-be victim.How Bran ended his staredown of Jamie approximately 2 hours after #GameofThrones ended. #focused pic.twitter.com/4tX4nFeThd Ava DuVernay (@ava) April 15, 2019And More (Photo by Helen Sloan/HBO)Some other stand-out moments: Tyrion’s reunion with Sansa, who promptly questions his smarts; Qyburn approaches Bronn to kill Jaime and Tyrion; Cersei awards Euron his prize, and he offers to put a prince in her belly; Arya’s exchanges with Jon and The Hound; and Arya flirting — flirting — with Gendry.Jon and Arya’s reunion is everything I needed to see today! #GameofThrones pic.twitter.com/cMlGfTOMeO Mimi △̶ (@Mimi_princess7) April 15, 2019Game of Thrones airs Sundays at 9 p.m. on HBOLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
(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
(Photo by ©Nickelodeon / Courtesy: Everett Collection)Four years after animated series Avatar: The Last Airbender finished its groundbreaking run, Nickelodeon premiered the sequel series The Legend of Korra. The anticipation around the show was immense, but no matter how much praise the show got for its mature themes and inventive animation, many saw both Avatar Korra and the show itself as a lesser successor to the tale of Avatar Aang.To mark the show s Netflix premiere, we re taking a look at how The Legend of Korra not only mastered all four elements, but in some ways improved upon its predecessor, enhancing it in the process, and brought balance to the world.IT TOOK EVEN MORE INSPIRATION FROM HAYAO MIYAZAKIWhere Avatar: The Last Airbender was heavily inspired by Asian cultures, landscapes and places, The Legend of Korra jumps forward 70 years in time and finds inspiration in 1920s New York City, Hong Kong, and Shanghai. The main setting in the show, Republic City, is experiencing rapid urbanization and extraordinary technological advances, with the steam-powered technology we saw in the first series giving way to electricity and even magnetism. Automobiles, airplanes, movie cameras, and even mecha suits become normal in the span of the show s run.But, this being Avatar, the setting is more than just window-dressing. The show takes a page out of Hayao Miyazaki’s playbook, particularly his film Princess Mononoke, to explore how rapid industrialization comes at the cost of the world losing its connection to nature. Like in the Studio Ghibli movie, Korra introduces a world that is so disconnected from its spirituality that giant spirits attack people in the second season of the show, bending went from a revered art form to a skill used for menial jobs and even pro-bending, a popular boxing-like sport.IT DID ORIGIN STORIES RIGHTEven though Avatar had a bigger focus on history and the past compared to Korra, the sequel series focuses more on mythology and the spiritual origin of the Avatar. Season 2 makes the spirit world and the Avatar s role as a bridge between the two worlds its central theme, and through it, Korra also explores the origin of the Avatar itself.The two-parter episode Beginnings, from the second season of Korra, is easily among the best storytelling in the entire franchise. The episode tells the story of the very first Avatar, named Wan, and how he fused with the spirit of light in order to battle the spirit of darkness that threatened to destroy both the physical and spirit worlds. Instead of simply using the episode to answer questions no one really wanted answered, Beginnings gave us a prequel story that added to the established mythology without contradicting what came before. The story of Wan directly reflects that of Korra: how by doing what they think is right, they end up creating more problems. The introduction of the light spirit as the cause of the Avatar s powers becomes a huge part of later seasons and one of the best additions to the world s mythology.IT GREW UP WITH ITS AUDIENCEJust as The Last Airbender’s audience grew up between the two shows, so did the themes of the show grow up and become more mature by the time Korra premiered.Korra transforms the subtext of the first show into text, making death an integral part of the story. There are several gruesome deaths shown on screen throughout the show, including a murder-suicide and the execution of a queen by suffocation — and it s not simply for shock value, but to show the consequences of death on the characters. Depression, PTSD, and grief become huge themes in the series, and Korra portrays this with respect to its younger audience, not shielding them, but making them understand the heavy weight of loss.Likewise, Korra isn t afraid to get political, especially through its excellent villains. Far from the sometimes black-and-white villains of Avatar, the show isn t afraid of making its villains sympathetic, or having Korra learn from them. The first villain, Amon, was the leader of a radical group who sought to bring equality to benders and non-benders, who are marginalized in the show s world. The second wanted to bring the world back into spirituality. Korra even dives into nationalism and how it evolves into fascism when left unchecked, leaving the audience to decide how much they d agree with such a leader, and how far they d go before realizing they are following the wrong person — a bold, yet very timely theme for an animated show.IT ALLOWED ITS HERO TO FAILIn interviews, co-creator Bryan Konietzko has talked about wanting Korra to be the polar opposite of Aang, a go-getter and hot-headed girl who s always dreamed of becoming the Avatar. Indeed, unlike the very Campbellian Aang, Korra is not a nobody who realizes she is a chosen one and grows to become more confident; she s the daughter of her tribe s chief who always believed she was special. What makes Korra special is how the show allows its hero to fail, repeatedly, and learn from her mistakes to become a better person.When her hot-headedness leads to Korra losing a big fight against Amon and nearly losing her powers, she spends the second season second-guessing herself and getting others to make decisions for her. When her faith in the wrong person backfired, season 3 saw Korra learn to trust her feelings and accept the consequences. Throughout the show, Korra fought and failed, but she always learned how to pick herself back up and became better because of it.More importantly, the show s more mature subject matter led to the third season ending with Korra in a wheelchair after losing a fight, and the fourth season saw Korra deal with crippling depression and PTSD. These are themes very rarely seen in kid s animation, let alone such a mainstream series as this, and it not only made Korra an exceptional experiment, but the character s journey adds gravitas to the world of the first show as well.IT HAD GLOBAL CONSEQUENCESGone are villain-of-the-week stories from Avatar, leaving Korra to deal with world leaders, bureaucrats, and entire Nations worth of critics instead.When she first arrives in Republic City, Korra realizes that being the Avatar doesn t mean she is instantly well-received by all. Because Aang had disappeared for 100 years and came back to a world engulfed in war, most of the people he encountered were happy to see him, help him in his quest and to accept his wisdom. Korra, on the other hand, realizes that the Avatar doesn t come before the local leaders, that getting involved in a Nation s inner conflict becomes an international incident with severe consequences, and that each Nation has its own way of dealing with issues and wars. This leads to the show exploring the fascinating idea that Korra finds herself in a world that has outgrown the need for an Avatar, that growing apart from spirituality means the world has no need for a spiritual leader.Likewise, Korra makes it very clear that the actions of its leading lady have huge consequences. When Korra deals with Amon and his Equalists ideals, Republic City evolves into the first democracy in the world. When Korra decides to leave the spirit portals open, spirits cross over and start living everywhere, and it restores an entire lost Nation. Just by being injured and out of commission, Korra s absence led to the rise of a fascist dictator that threatened to become the new Ozai.IT EMBRACED DIVERSITY AND QUEER REPRESENTATIONEven though Korra premiered in a post–Buffy the Vampire Slayer world, it was still rare to see a genre show with a female lead, let alone a female lead of color. But Korra not only pushed for diversity in its cast, it also gave us one of the most groundbreaking finales in an animated series.The series final image shows Korra and Asami walking hand in hand to a spirit portal, looking into each other s eyes with a deep emotion and longing that was beyond just a friendship, before drifting into the sunset together. The indication was very clear – these two women had a deep love for each other – and it didn t take long before the creators confirmed that the scene was the beginning of a romantic relationship.What made the moment so significant was not only that it was one of the first times a bisexual couple was shown on-screen on a children s cartoon, but how much it was built up. The show s last two seasons showed us significant glances, hand-holding, blushing, and other hints that Korra and Asami had a deeper relationship than any other two characters on the show. Not only did this image become significant in the context of kid s cartoons, breaking barriers for other shows to include explicitly queer characters and plotlines, but it also made the world of the first show richer by making it more diverse and lived-in.The Legend of Korra is now streaming on Netflix.
It s been said that it s all about the journey, not the destination — and that phrase is oftentimes used in conjunction with a lengthy discussion about the TV show Lost.Lost was truly like nothing else on TV, but most of the conversation around the show centers solely on its final episode. Nowadays it s generally accepted that the two-part final episode, unsubtly-titled The End, was divisive at best, but back when the finale aired on May 23, 2010, it earned mostly positive reviews, and was even nominated for an Emmy for both best directing and best writing.On its 10th anniversary, we have to go back to the island and revisit all the reasons The End worked as an encapsulation of everything that made Lost a great series.THE SHOW WAS ALWAYS BUILDING TO THAT ENDING(Photo by Reisig & Taylor/© ABC/Courtesy: Everett Collection)Though the grand mysteries involving magic corks and polar bears became the dominant narrative around Lost, what they say about the show being all about the characters remains true. Sure, we did get plenty of plot twists and surprises, but these revelations were always character-driven: from the show s first flash-forward being revealed through a trauma-ridden and beard-having Jack, or Desmond s time-traveling told as a love story between him and his constant, Penny. This continued all the way to the finale, which of course had the magical cork, and the flash-sideways being an allegory for the after-life, but both served to inform Jack s journey of learning to let go. Letting go of his need to fix everything, letting go of his obsession to do everything himself and not accepting help, and letting go of his father.This character-driven conclusion to the story was telegraphed to the audience for years. Showrunner Carton Cuse said in 2006, You have to watch because you’re enjoying the journey, not because you are waiting for the endgame. Lost always used its mystery as a way to dive into the characters psyche and advance their individual stories, not the other way around. There was never going to be a lengthy explanation about what everything meant, as showrunner and co-creator Damon Lindelof told The Verge in 2012, they were shooting for an ending that gave an explanation as to why the plane crash mattered to the characters and what they got out of it. The answer, as corny as it sounds, was the one that appealed to me the most: each other, Lindelof said. If they hadn t spent all that time on the island, then they would never have been able to forgive themselves for their past sins and break through to some sort of level of self-awakening and forgiveness. THE ENDING ENCAPSULATES THE SHOW S BIGGER IDEAS ABOUT PHILOSOPHY(Photo by Mario Perez / © ABC / Courtesy: Everett Collection)For all the times that Jack and Locke fought about science versus faith, neither able to fully convince the other, the Lost finale ultimately sided with faith being the answer, whatever form that takes. The questions regarding the origin of the polar bears or the electromagnetic properties of the island gave way to mythological tales of immortal 2,000-year-old entities and more abstract questions regarding whether there s a purpose behind suffering and what suffering we must go through to achieve grace.Indeed, the philosophical nature of the show has been there since the beginning. There are several characters named after known philosophers, and from early in the first season the characters discuss whether the island is purgatory and they re being punished by some higher power. This idea of punishment and sin carried on all the way to The End, with the characters learning from their past sins and move on having become better people. Though it dabbled in big battles between good and evil with the fate of the world on the line, Cuse said in 2014 at PaleyFest that Lost was metaphorically about lost people looking for meaning in their lives, so the ending had to be a spiritual one that explained these characters’ journey and destiny. This is why the flash-sideways are so meaningful for the show at large and especially the finale. As Jack gives his life to save both the island and his friends and the battle between good and evil comes to an end, the sideways characters remember their lives and achieve some kind of grace or bliss. They all needed each other to find themselves and some catharsis before moving on, living up to the title of the show itself: Lost.SIDE CHARACTERS GOT SATISFYING CURTAIN CALLS(Photo by Mario Perez/© ABC/Courtesy Everett Collection)While Jack fought to stop the Man in Black (who had taken Locke s body) on the island, Desmond was busy gathering everyone in the sideways afterlife. Though not incredibly important to the plot this was a fantastic way of letting the audience say goodbye to characters they hadn t seen in years.Whether it s Shannon reuniting with Sayid, Boone and Libby showing up one last time, Rose and Bernard revealing they ve been living a nice and quiet life on the island, or Vincent the dog returning and lying next to a dying Jack, the flash-sideways allowed Lost to shine a light on side characters we ve lost over the years for one last goodbye.THE CALL-BACKS ARE SPOT ON, AS IS THE FINAL SHOT(Photo by Mario Perez / © ABC / Courtesy: Everett Collection)The finale of Lost also makes it a point to revisit some of the show s greatest hits to have the story come full circle and underscore the changes the characters have gone through. Sawyer calls Jack doc in the sideways universe, while leading Desmond down a cave to pull out the cork from the heart of the island, the evil version of Locke points out that it feels nostalgic to stare down a hole in the ground with Jack (a callback to the hatch from season 1). The Man in Black s death is even shot to echo Jacob s death from season 5.Then there s Jack s death scene, which begins with him being stabbed in the opposite side of his abdomen as when he woke up after the crash in the pilot, before walking through the bamboo fields where Vincent the dog comes to greet him. The closing shot of the show, Jack watching the plane carrying his friends fly off as he closes his eye, the reverse of the opening shot of the show, is absolutely perfect.WE ALL FELT THE GIACCHINO Composer Michael Giacchino s work on the show was one of Lost’s secret weapons. Each episode, Giacchino would write the show s emotional, haunting, soaring music that accompanied the story for six seasons. In a move that was and remains rare on TV, Giacchino worked with a live orchestra instead of just with a synthesizer, which added to the gravitas and power of the show s score. Cuse and Lindelof coined the term The Giacchino to signal the feelings they wanted to convey through music. As Cuse once told the LA Times, We literally write Michael s name into the script in various places where we want to convey a sense of emotion. Sawyer and Juliet s reunion in the finale wouldn t work half as well without Giacchino underscoring the emotion of the scene, nor would the scene where Jack s father explains to him the nature of the sideways timeline, which becomes an instant tearjerker because of the score. If Lost is about the characters going on a journey, Giacchino s music takes the audience on a similar emotional journey.Lost is available to stream by subscription on Hulu and Amazon Prime Video (with ads), or rent or buy it at FandangoNOW, Vudu, and iTunes.
Adjusted Score: 64682% Critics Consensus: Marking a further escalation in David Lynch's surrealist style, Lost Highway is a foreboding mystery that arguably leads to a dead end, although it is signposted throughout with some of the director's most haunting images yet. Synopsis: From this inventory of imagery, Lynch fashions two separate but intersecting stories, one about a jazz musician (Bill Pullman), tortured... [More] Starring: Bill Pullman, Patricia Arquette, Balthazar Getty, Robert Blake Directed By: David Lynch
(Photo by Courtesy of Sundance Institute)Although the ongoing coronavirus pandemic continues have an impact on the film industry in 2021, the annual Sundance Film Festival remained determined to bring audiences the best new voices in indie cinema — and that extended to horror.Even from the comfort of your own home, you could experience a years-long tradition of great and unique horror and genre films from Sundance. In particular, the Sundance Midnight program has a bit of a reputation behind it; it s where we first saw films like His House, Hereditary, The Babadook, Get Out, and even The Blair Witch Project. This year, however, it was possible to find your favorite new genre film across the entire program, be it a documentary, an animated film, or a new Nicolas Cage extravaganza of weirdness.Let the fancy awards watchers worry about what movie from the festival will go on to win trophies. We re here to round up the weird, creepy, scary, bizarre genre movies from this year s program that are likely to make a big impression when they get released.
Chucky s back, and he s been updated for the 21st century. Director Lars Klevberg takes the helm for an all-new interpretation of the classic 1980s slasher Child s Play, which centers on a single mother (Aubrey Plaza) who buys a high-tech and secretly deadly toy doll for her lonely son (Gabriel Bateman). The latest trailer offers new details and a potent taste of the terror to come when the film opens on June 21, and luckily for us, Klevberg was on board to walk us through it. He explains what other iconic 1980s movie references we should be on the lookout for, what classic novel helped inspire the film, how Mark Hamill prepared himself to voice the killer doll (just a note: we don t recommend doing what he did), and a ton of other behind-the-scenes tidbits. 随着天刀端游一批氪金玩家流失，端游的人气已经大不如从前了。而手游的上线，更是让天刀的主创团队集体把重心放到了手游之上。因为天刀手游与端游的设计，实在是太过相像了。游戏历程与美术资源几乎都是微缩版的天刀，而且还搞起了双端互动，时装、活动等都在手游和端游同时推出。