剑网三的现状确有些令人唏嘘感慨，在端游方面西山居先入为主的概念太深，导致缺乏创新，玩法跟不上。手游方面既没有胆量搞创新也不敢大肆品类拓展，跟风又总是慢半拍，跟不上玩家脚步的产品也迟早会被玩家淘汰。 It’s estimated that between 75 and 90 percent of films made before 1929 are either lost or only exist in incomplete form. As part of our RT Archives project, we are collecting contemporaneous reviews for those films – see a full list here and read what critics said about them at the time – and shining a spotlight on the stories and people behind them.Recently, our tireless team of review curators were able to dig up new reviews for over 100 films that have been lost or destroyed over time, providing us with new and fascinating insights from contemporaneous critics for motion pictures we ll never get to see again. A fair number of those films featured real people portraying themselves on screen, as the line between documentary and narrative filmmaking wasn t so clearly defined in the earliest days of cinema. Of course, celebrity cameos are pretty common in today s Hollywood, but those celebrities are rarely the actual subjects of the films themselves, unless they re playing caricaturized versions of themselves. With that in mind, we ve put together a list of movies starring real people playing themselves, from a survivor of the Titanic disaster to Babe Ruth to the man who invented steer wrestling. Read on for the full list.Dorothy Gibson, Titanic Survivor Saved from the Titanic (1912)(Photo by Eclair Film)Although she enjoyed a successful career on stage and later appeared in several films, Dorothy Gibson is probably most famous for surviving the sinking of the Titanic and then starring as herself in the first film to be made about the tragedy. That film, Saved from the Titanic, was a 10-minute short that centered on Gibson, who also co-wrote the script, as she relayed the harrowing experience to her parents and fiancé; she even dressed in the same outfit that she wore the night of the sinking. Perhaps the most remarkable thing about the film, though, was that it was released less than one month after the Titanic sank. None of Gibson s other films survive to this day, with the exception of an adventure-comedy called A Lucky Holdup, which, incidentally, premiered while Gibson was on board the Titanic.Pancho Villa, Mexican Revolutionary The Life of General Villa (1914)(Photo by Everett Collection)Pancho Villa was, of course, one of the most well-known leaders of the Mexican Revolution, but it may surprise some to learn that he agreed to star in an autobiographical film in the middle of said revolution. Looking to secure funds for his wartime efforts, Villa signed a contract with Mutual Film Corporation, which would later become part of the renowned RKO Pictures, and producer D.W. Griffith (yes, he of Birth of a Nation and Intolerance). The film featured authentic battle footage, which wasn t unusual for newsreel films of the time, but also incorporated staged scenes to fill in the blanks and reportedly took instructions from the production company on how and when to fight those battles. The end result was allegedly so unbelievable that a major portion of the film had to be reshot on studio stages. The story behind these rumors and the others that swirled around other figures of the revolution are fascinating in their own right, but we ll never know what The Life of General Villa really looked like, because it s lost to time.Anna Howard Shaw, Suffragist Your Girl and Mine (1914)(Photo by Library of Congress/Getty Images)Born in England in 1847, Anna Howard Shaw emigrated to the US with her family when she was just four years old. She endured a difficult childhood but went on to live an accomplished life, first as a teacher, then as an ordained minister (the first female Methodist one, at that), and then as a doctor. But her most important achievements were in the women s suffrage movement, when she worked alongside Susan B. Anthony and Elizabeth Cady Stanton to advocate for the passage of the 19th amendment. In 1914, she would appear as herself the film Your Girl and Mine, a pro-suffrage film showcasing the kinds of problems an average, everyday woman would face in states without voting rights for women. Writing for the early trade publication Moving Picture World, critic James S. McQuade predicted, The near future, I firmly believe, will reveal to those who advocate equal suffrage that moving pictures, as shown in Your Girl and Mine, will accomplish more for the cause than all that eloquent tongues have done since the movement was started. Mary MacLane, Writer Men Who Have Made Love to Me (1918)(Photo by Perfection Pictures / Essanay Film Manufacturing Company / George Kleine System)There s nothing particularly revolutionary these days about people who air their dirty laundry in public; it seems, in fact, to power a significant chunk of reality entertainment. But back at the turn of the century the last century, that is it was outrageous and controversial especially for a woman to write frankly about her sexual desires and exploits, and that s exactly what Mary MacLane did. Fiercely independent and unusually raw and honest, MacLane s salacious writings and feminist ideas influenced a generation of young women and rankled conservative thinkers of her time, but they also inspired an autobiographical feature film in which she starred as herself. Based on an eponymous series of syndicated articles, the film is comprised of six vignettes depicting MacLane s various love affairs, in between which she smokes and addresses the audience in what is widely considered the earliest example of consistently breaking the fourth wall. It was the only film she made, but no copy of it survives to this day.Arshaluys Aurora Mardiganian, Armenian Genocide Survivor Ravished Armenia (1919)Arshaluys Mardiganian was only 14 years old when the Armenian Genocide in Turkey began in 1915, and as the daughter of a prominent Armenian family, she bore witness to atrocities no teen or human being, for that matter should ever be made to endure. Her father and brother were imprisoned, while she and the rest of her family were deported in a 1,400-mile death march, during which she was sold into slavery more than once. Mardiganian eventually escaped and found her way to the U.S., where a screenwriter named Harvey Gates caught wind of her story and helped her write a memoir of sorts, which then became the basis for the silent film Ravished Armenia. A dramatized chronicle of the horrific events of the Armenian Genocide, the film starred a 17-year-old Mardiganian as herself, requiring her to relive her past trauma in order to shed light on the situation back home. Though Mardiganian later took issue with some of the representations in the film, as well as the pay she earned for it, she became the de facto spokesperson at the time for the victims of the genocide, and the film helped raise million for the American Committee for Armenian and Syrian Relief. In modern times, there is an annual humanitarian award, the Aurora Prize for Awakening Humanity, named in her honor.Ormer Locklear, Stuntman and Daredevil The Great Air Robbery (1919)(Photo by Everett Collection)Technically speaking, The Great Air Robbery isn t specifically about real-life stuntman/daredevil Ormer Locklear s life, unless he was moonlighting as a U.S. Postal Service pilot caught up in a deadly rivalry with an archnemesis intent on stealing a shipment of gold. That said, the film was only made to showcase Locklear s incredible talents it was originally intended to be the first in a series of films featuring Locklear s aerial stunts so, in a sense, he was just doing what he did best. Though the film was a success, Carl Laemmle and Universal Studios opted not to continue the partnership with Locklear, which led to a lawsuit, and Locklear s next film, The Skywayman, was produced at Fox. During the filming of that movie, Locklear and his co-pilot died in a midair crash, and Fox kept the footage in the final cut, utilizing the tragedy to sell the film. Today, no copy of either The Great Air Robbery or The Skywayman exists.Bill Pickett, Rodeo Cowboy The Bull-Dogger (1921)It could be argued that The Bull-Dogger is less a narrative feature than a documentary showcase, but it s noteworthy if only because its subject s legacy lives on to this day. The subject in question is Bill Pickett, the son of a former slave and an internationally renowned rodeo cowboy whose unique ability to take a steer down with his bare hands otherwise known as bulldogging caught the eye of a silent filmmaker named Richard Norman. Norman filmed Pickett s exploits and performances for a wider audience, and although some places found the footage offensive on grounds of animal cruelty, Pickett also stood out as an African-American celebrity, and his bulldogging technique evolved into modern steer wrestling, a staple rodeo event. Only a few clips of The Bull-Dogger remain today.Babe Ruth, Baseball Legend Babe Comes Home (1927)In 1927, Babe Ruth had arguably the greatest season by any athlete, ever, in any sport. He hit for a .356 batting average, with 164 RBI and a slugging percentage of .772, and he hit a record-setting 60 home runs, which was more than the totals of 12 other teams. But before the season began, he also took some time to star in a goofy romantic comedy called Babe Comes Home, playing a star baseball player named Babe Dugan who falls in love with the woman who launders his uniform every week. In other words, while Ruth wasn t technically playing himself, it wasn t much of a stretch from his real-life persona. The film was notable for its use of an experimental and short-lived technological gimmick called Vocafilm, which provided a music and sound effects soundtrack, and according to critics of the era, it wasn t too shabby. Unfortunately, there are no surviving copies of the entire film, and all we have are snippets of footage.Thumbnail images by Everett Collection, Perfection Pictures/Essanay Film Manufacturing Company/George Kleine SystemOn an Apple device? Follow Rotten Tomatoes on Apple News.
With the push of the new year behind us and the spring TV slate just around the corner, February gives viewers a little more room to luxuriate and catch up on the series they have been sleeping on. Might we suggest five? These are all slated to return for new seasons this month, and you do not want to miss them!2 Dope Queens 94% (HBO)What it is: 2 Dope Queens creators and stars Phoebe Robinson and Jessica Williams, both actresses and comedians in their own right, turned their podcast of the same name into a series of comedy specials featuring standups and celebrity guests.Why you should watch it: Robinson and Williams — under the direction of Tig Notaro and alongside guests including Uzo Aduba, Tituss Burgess, Sarah Jessica Parker, and Jon Stewart — are grade-A entertainers. They re brash, fearless, smart, and, most importantly, hilarious while discussing topics including sex, romance, race, hair, and living in New York. Season 2 premieres the first of its four episodes Feb. 8 on HBO.Where to watch: Amazon, FandangoNOW, Google Play, HBO Now, Microsoft, VuduCommitment: Approx. 5 hours (for the first season)One Day at a Time 99% (Netflix)What it is: A remake of Norman Lear’s long-running 1975 sitcom of the same name, Netflix’s little comedy that could stars Justina Machado and West Side Story Oscar winner Rita Moreno and follows three generations of a Cuban-American family living under the same roof. Why you should watch it: Few series today are as un-cornily heartwarming, funny, and timely as this long-in-the-making reboot. Each new season renewal, however, has come with a photo-finish, down-to-the-wire announcement. With the promise of future seasons still in the balance, bingeing the first two seasons ahead of the third just to keep this excellent comedy going is reason enough to watch! Season 3 premieres in full Feb. 8 on Netflix.Where to watch: NetflixCommitment: Approx. 13 hours (for the first two seasons)At Home With Amy Sedaris 100% (TruTV)What it is: If At Home With Amy Sedaris is one thing, it’s a series that defies categorization — but in the best way. We ll try anyway: Centered on Amy Sedaris and inspired by her love of hosting and making crafts (not to mention the endless supply of Barefoot Contessa–like programs on the Food Network and HGTV), the Emmy-winning series is part variety, part talk show, part scripted comedy. We recommend you just watch it to get a taste.Why you should watch it: Sedaris has reached a point of cult comedy rockstardom in her storied career. The actress is as sharp, irreverent, whimsical, and committed as ever — all ingredients crucial to the recipe for this left-of-center laugh fest. Season 2 premieres Feb. 19 on TruTV. Where to watch: Amazon, Google Play, Microsoft, VuduCommitment: Approx. 4 hours (for the first season)Documentary Now! 94% (IFC)What it is: If you ve been known to unwind over the weekend by sitting down with a drink in front of an informative, entertaining, and sometimes even emotionally devastating documentary on Netflix, you re not alone. Documentary Now! perfectly satirizes the trend with episodic installments skewering different documentaries and filmmaking styles.Why you should watch it: Nowhere else on television can you get a creation from the minds of living comedy A-listers Fred Armisen, Bill Hader, Seth Meyers, and Rhys Thomas. Throw into the mix a writing assist from the likes of John Mulaney, and you have one of the most incisive entertainment parodies of the last decade. It’s been awhile since season 2 wrapped in 2016, so this marks a welcome return. Season 3 premieres Feb. 20 on IFC.Where to watch: Amazon, Google Play, Microsoft, NetflixCommitment: Approx. 5 hours (for the first two seasons)Better Things 97% (FX)What it is: The semi-autobiographical, humanistic half-hour dramedy is not new terrain for television (in fact, it’s become a bit of trend). But Better Things stands out from the pack thanks to Pamela Adlon, who stars as a version of herself, Sam Fox — a single mother to three daughters who is juggling life as a working actor in Hollywood.Why you should watch it: Adlon is an Emmy Award–winning voiceover artist for King of the Hill and Golden Globe and Emmy nominee for starring in and creating FX’s Better Things. Her series is an emotional concoction of dry witticisms and familial love unlike anything else on TV. The fact that it’s one of the most realistic portrayals of single motherhood to grace the small screen is just the cherry on top. Season 3 premieres Feb. 28 on FX.Where to watch: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 7.5 hours (for the first two seasons)亚博全站APP下载地址aming service — Apple TV+ — for the eight-episode adaptation of Lisey s Story, which King himself has penned. King has said the novel — which follows the widow of a famous novelist coping with his death, and which King wrote following his own serious car accident — is his favorite, so it makes sense that the author himself would shepherd it to the small screen.Julianne Moore stars as the titular character and Clive Owen as her late husband, Scott Landon, and the story goes back and forth in time from the past to Lisey s present, with a visit to dream world Boo ya Moon in between as an obsessive fan (Dane DeHaan) tries to gain access to Scott s unfinished manuscripts.Rotten Tomatoes spoke to Abrams about Lisey s Story, his past (and hopefully future) collaborations with King, and what else he and his team at production company Bad Robot have in the works.(Photo by Apple TV+)Jean Bentley for Rotten Tomatoes: You ve worked with Stephen King before, but he has said many times that Lisey s Story is very personal to him. Did you have a different experience this time around because of that?Abrams: Well, it was different in that he wrote all the episodes. I think that obviously speaks to how much it means to him. I had read over the years that this was his favorite book he d written, and it was when he said he wanted to write every episode that I realized he meant it. What was wonderful about it was that he really did adapt it, which is to say it s a very internal book. Instead of doing a kind of transcription to another form, he really did something that I think is far harder to do than it might seem: look at the work and figure out how to take what s so internal and translate it to a different medium. Pablo Larraín, our director, was super helpful with that as well. [Stephen was] all in on this one. What was wonderful was that he loved what not just Pablo but the cast was doing, and became our loudest cheerleader as the production was underway.Rotten Tomatoes: What about from your perspective? Was anything particularly different with this collaboration? How hands-on were you in this show?Abrams: Sometimes being a producer is putting out fires everywhere you look. In some cases, it s figuring out how to identify what the story really is or might be, or how to fix things that are evidently broken. In the case of this, it was really to help put together the team and be there to talk to any of the players at any time when necessary, but really to get out of the way and let them do their job. Stephen King is such a master of the form. Being the recipient of these drafts of the episodes that he was writing was really just a gift to all of us and Pablo. Again, there were always creative conversations about how to best do it. Lisey s Story is a very interpretable book, which is to say the idea of Boo ya Moon, this other world, this other existence, everyone who reads the book is going to have a slightly different vision. Pablo is responsible for making that a very specific and very photo-real thing. How do you do that best? What does that look like? How does it work?I was always nervous, of course, that somehow Stephen would feel like that character, that relationship, that world, that look didn t quite [translate]. He s been doing this a while, [so] he understands that a director s job is to interpret for all of us what it is he or she sees. What was great was that Stephen was as supportive as he was along the way.(Photo by Apple TV+)Rotten Tomatoes: From a wider perspective, where do you think Lisey s Story fits in with what you are doing at Bad Robot and the kinds of projects you re producing there?Abrams: We are producing all sorts of things and just recently getting into animation. We re doing some stories that are based on books — in some cases comic books, in some cases original ideas, which are some of my favorite things that we re working on. A lot of the strategy or planning of what one might think your job is or your company is going to be, frankly, I m doubtful that those strategic plans always make sense and work. The only litmus test I have for a project that we work on is does it have an ooh factor. Am I leaning in to that project? It could be a comedy, it could be a horror film, it could be science-fiction, it could be a straight drama, it could be a love story, it could be live-action or animated, TV or film. It could be a book, it could be a stage production. If there s something that makes me feel like I want to see that, I want to read that, I want to listen to that, that, to me, is the only litmus test. I m just a bit dubious about long-term plans that go beyond truly making the best decision that you can moment to moment, and signing on to work with people that inspire you. Certainly, in the case of Lisey s Story, that was true.Rotten Tomatoes: You ve named a lot of different genres, not just the ones you re best known for. But people don t only watch one genre, so it feels like you re running the whole gamut of what anyone would be interested in.Abrams: I know that it might seem like Bad Robot is, Oh, it s that place where they do the sci-fi movies. We re about to start shooting a movie with Allison Janney and Jurnee Smollett that is a great survival drama with these two women at the center. There s nothing science-fiction or otherworldly about it. It s a compelling story. I just feel like whenever we find something that we really can sink our teeth into, those are the kinds of stories that we would like to tell. All of us, I think, are open to any genre if the story is told well.Rotten Tomatoes: Like your other Apple TV+ show, Little Voice. It s just a nice drama.Abrams: It was a very sweet series. It reminded me a lot of back in the day when we were doing the show Felicity — it was just the idea of young people who were opening their hearts to each other and struggling with what it is to be alive in the world. There isn t a genre that I feel doesn t potentially fall into the category of something we would love to do.Rotten Tomatoes: Exactly, and then you move on to a show with Julianne Moore and Clive Owen traversing different worlds.Abrams: Yeah, totally. Again, I can t explain it other than to say I don t think any of us want to eat one meal every day for the rest of our lives.(Photo by Apple TV+)Rotten Tomatoes: Lisey s Story tackles the themes of toxic masculinity and entitlement and fandom in a really interesting way that I have not necessarily seen you tackle in your other work, and it s probably something that both you and Stephen King have experience with.Abrams: I think one of the reasons that this was so important to Stephen King is that it spoke to his real life. Not just his work, but his marriage. Not just his work that he does, but the result of the work that he does. I think anyone who is in the public eye, anyone who is putting out work that touches people in any way runs the risk of having the kinds of fans that you find, certainly, in this story. I think that that was one of the things that he was really wrestling with. If he were to be gone and Tabitha, his wife, were to be there, what would that be like if some of the fans [showed up] that he knows have acted in a certain way? It s a scary and wildly relatable thing to anyone who s in that and many other professions.The story is Lisey s, and this is ultimately a story of hope and perseverance, but also deep suffering. What that character goes through is so horrific, not only in the backstory and understanding what she s been through, but what she goes through in real time and having to basically bear the burden of what it is that her husband has left for her. I think that it is a frighteningly realistic aspect to this really unique combination of genres, but it s something that Stephen obviously had a lot of feelings about. I completely understand where he was coming from with it because it s clearly something that is probably on the mind of anyone who s in the public eye.Rotten Tomatoes: It feels like a lot of people in the past year have taken a step back and started to reflect on their lives and their life s work. It feels timely in that sense, too.Abrams: I know exactly what you mean. The truth is that for all of us this year has been a year of loss, a year of struggle, a year of introspection and reconsideration, and in many cases, a year of gratitude and re-prioritizing things. I feel like part of what the story is about, which I think is very much in line with what you re saying, is that when your life is going on, there is a sense of an autopilot mode. When things get interrupted, you cannot help but stop and reconsider. I think that s what, certainly, Lisey goes through about her life, her marriage, and then having to question, how do you handle this? How do you overcome this? Who are you going to be moving forward? I think, to some degree, we re all going through that.(Photo by Apple TV+)Rotten Tomatoes: Were there any really difficult aspects of this show from conception to finished product? You had to stop production in the middle of everything, but what else was just a real struggle?Abrams: There were things like how do you bring to the screen something that is so fanciful and as fantastical as Boo ya Moon? Clearly, that was Pablo Larraín, our amazing director s vision and work, very much alongside Stephen King. Weirdly, when I started to see what he was doing with Boo ya Moon, I felt like, Oh. Wow. That was what I saw in my head, even though everyone will have their own version. I think the hardest thing was what you mentioned, the fact that well into production we had to shut down as the world did. We were one of the first productions to get back up and running again, doing so both here and, unexpectedly but we had to, overseas in Germany. I m incredibly grateful to the production people at Bad Robot and Warners and the entire cast and crew who managed to complete this thing. At the end of the day, it s seamless, but I know what had to happen for this thing to be finished. It was certainly challenging and a lot. I m grateful to all of them for that.Rotten Tomatoes: In that same vein, is there something about this project in particular that you re really proud of?Abrams: Well, obviously, any time we get to work with Stephen King is a point of pride. I m incredibly honored to have gotten to be associated with him on this. The cast is remarkable. Julianne Moore, I can t say enough about her. What she has to do in this project is enormous. She s so good and she s so lovely as a human. She makes it seem weirdly inevitable and effortless, none of which it is. I think to the entire cast and crew, I m just deeply moved by what they were able to do.For me, one of the unsung heroes — but maybe he will be sung — is Dane DeHaan, who brings this bad guy to life in a way that is so weirdly dimensional, and real, and funny, and horrifying, and awful. He ends up being one of the villains for the ages. I m enormously indebted to him. But like I said, Pablo and Stephen, to me, are the two people who came together to be remarkably more than the sum of their parts. I m so grateful for that.The first two episodes of Lisey s Story premiere Friday, June 4 on Apple TV+, with new episodes released weekly.On an Apple device? Follow Rotten Tomatoes on Apple News.
Manuel Betancourt for Rotten Tomatoes: In terms of the prep for Sound of Metal, I know you spent months practicing drums and learning sign language. What surprised you the most about mastering both of those skills simultaneously?Riz Ahmed: I started down the road of learning how to play the drums and learning American Sign Language because that s what the character has to do. Darius wanted the drumming to be for real; he wanted us to be able to improvise with deaf actors on set. But actually what I got out of learning those two skills was more than just the skills themselves. I think they really opened me up in interesting ways. So I think of what Guy Licata [the Brooklyn-based drummer with whom he practiced] told me when I was learning how to play the drums: you can t play the drums, they have to play you. There s an element of surrender and submission and giving over to your body and your instinct that has to occur in order to successfully try and, you know, drum anything. That was a lesson for me in the same way that it s a lesson for Ruben in the movie about what you lose, sure, but also, what can be gained when you lose control. I kind of feel like there was a quite profound lesson in there. Then, with the American Sign Language, I feel like the deaf community taught me the true meaning of the word listening. And the word communication. Listening isn t something you just do with your ears. It s something you do with your whole body. It s about putting yourself in a state of receptive attention for someone else s energy. I think that members of the deaf community and the deaf cast on this project, for me, are some of the best listeners I have ever met in my life. And you know, [co-star] Jeremy [Lee Stone] would say that there s a trope in the deaf community that hearing people are emotionally repressed because they hide behind words. When I started becoming more fluent in ASL I understood what he meant, because when you communicate in sign language, you are doing it with your whole body in such a connected way that feels so visceral you find yourself getting much more emotional about things. At least I did signing them. (Photo by © Amazon Prime Video)There’s such a physicality to Ruben. He’s both so electric and so still at the same time. I wondered if this experience will affect not just future roles but also the way you approach your work.Ahmed: Well, again, I think it s more that the process of preparation worked on me. You know, it wasn t a matter of me kind of controlling this. It just happened, I think, by trusting the process of learning to play the drums and sign language which are both nonverbal communication that force you to communicate more with your body and place you more in your body. So I think the demands of the role technically ended up having other effects. They just kind of inform the performance.To be honest, I kind of feel like I went into this project looking for a new process and looking for a new way into my work. I think coming from a British background there can be a lot of onus on the text, and a lot of kind of cerebral analysis of texts and story and character. And that s great.
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Dark Phoenix is finally out in theaters and, well, it isn’t the greatest X-Men movie ever released. It’s currently Rotten at 23% on the Tomatometer although audiences seemed to appreciate it more than the critics – and a strange epitaph to 20th Century Fox’s 20-year relationship with Marvel’s Merry Mutants.But considering the film is Fox s second attempt to adapt the landmark Dark Phoenix Saga, we can t help but wonder if the story is just too big to be contained in one film. As with X-Men: The Last Stand, it feels like vital pieces were lost and, while the casts of X-Men films are always sprawling, this one was missing a number of key characters. Does the story require a trilogy of its own? The Marvel Cinematic Universe proves audiences will wait a long time for payoffs, but building these ideas and characters in a way that resonates like the comic book series may be asking too much of the X-Men movies. Perhaps television is the best place to tell this story we previously got versions of it on two different X-Men animated series and considering the way HBO and streaming services have pushed TV into feature quality, here are five reasons why Dark Phoenix is better suited for that format.It Can Build To Proper Payoffs And Endings(Photo by @ Twentieth Century Fox)Despite marketing the film as the end of the series, Dark Phoenix can t help but feel like connective tissue to another chapter. Of course, the same could be said for just about any X-Men project. It s baked into the concept, thanks to writer Chris Claremont, who made Uncanny X-Men the most important Marvel title in the late 1970s and early 1980s. Planning to stay on the book for a very long time, he seeded ideas he wouldn t pay off for years. One could call it soap opera plotting, as he provided enough hooks and payoffs to keep readers engaged while telling the ongoing tales of the X-Men as a whole.But in the case of the overall Phoenix Saga – a story comprising Jean Grey’s death, resurrection, and transformation into the Dark Phoenix – Claremont had an ending in mind. It was ultimately changed for reasons we will discuss later, but in its finished form, it offered a clear endpoint for a story told across nearly four years of comics.Tentpole filmmaking used to be comfortable with definitive endings. The first Matrix, for example, ends at a place that would have served as a satisfying conclusion had the film proven to be unsuccessful at the box office. And though we were promised a Star Wars Sequel Trilogy since 1980, Return of the Jedi is certainly an ending to the story begun in 1976. Nowadays, big movies more closely resemble the Claremont style than ever before, with endings teasing a subsequent hook for another story.In the case of Dark Phoenix, a prestige series would have the time to properly seed ideas like Xavier’s apparent mistake with Jean, the X-Men as celebrities a concept criminally underutilized in the film and one key idea not in the movie we’ll discuss in a moment. With room to breathe, these concepts would have greater weight and emotional resonance than a single two-hour film affords them. And as Claremont proved in the comics, the pace is essential.The Characters Can Be Characters(Photo by © Marvel / © Twentieth Century Fox Film Corporation)Despite Jean Grey appearing in films since 2000, what do we know about her? She was Xavier’s star pupil, she has extraordinary telekinetic abilities (with telepathy added at some point), and she has the hots for Wolverine despite dating Cyclops. It s thin characterization when an entire movie rests on her shoulders. And while Sophie Turner does a lot with that rough sketch, it s no accident Dark Phoenix re-frames her story in the context of Charles Xavier (James McAvoy) apparently making a mistake. He is, after all, the character all the films have invested in since X-Men: First Class. That’s not a bad thing, as someone has to anchor these films besides Wolverine. But once you come back to the Dark Phoenix Saga, you need more of an emotional investment in Jean (and Cyclops, for that matter) than X-Men: Apocalypse and Dark Phoenix afforded her (or Scott).A prestige X-Men series focusing on the Dark Phoenix Saga can actually frame the story around Jean and who she is besides Xavier’s greatest student and Cyclops girlfriend. Her struggle with the Phoenix Force would mean something, as viewers would know what would be lost if she let the Phoenix have complete control. In the film, these ideas are there, but rushed or inferred for the most part.And since we’re talking characters, a series also means we get to know Cyclops – a character the films have always shortchanged because he’s not as romantic as Wolverine – Storm, and Nightcrawler beyond their powers. As a result, deaths would also carry more weight, because the characters would genuinely matter to viewers.The Hellfire Club Could Be UtilizedKevin Bacon and January Jones as Sebastian Shaw and Emma Frost in X-Men: First Class (2011) (Photo by Murray Close/20th Century Fox)One set of characters criminally absent from both cinematic versions of the Dark Phoenix story is the Hellfire Club. Created by Claremont and artist John Byrne – though apparently inspired by a 1966 episode of the British spy series The Avengers – they debuted as a social club whose inner circle was made of mutants attempting to control the course of world events. Characters like Sebastian Shaw and Emma Frost (played by Kevin Bacon and January Jones, respectively, in First Class) first appeared as members of the inner circle, who try to take control of a Phoenix-addled Jean Grey.Jean’s flirtation with domination and control is a key element of the story and something definitely missing from Dark Phoenix. Jessica Chastain’s Vuk tries to fill the role of the Hellfire Club, but the change lacks the power it should have because Vuk is more of a cipher than an actual character. Consider the satisfying biblical allusions when Jean is presented with classic, decadent temptations in the Hellfire Club. And while we’re at it, Emma Frost could offer Cyclops a temptation of his own, considering their eventual relationship during one of Jean’s many dormant periods in the comics.Incorporating the Hellfire Club also offers the story a true, seductive evil compared to the poorly realized, grubby D’Bari of Dark Phoenix. It would also give Jean, as a character, the moment to revel in her power that she never really gets in the film, and that key pivot in Jean and the Phoenix s time together is crucial to setting up the story s conclusion.Mutants In Space!(Photo by Twentieth Century Fox Film Corp. / ©Marvel / Everett Collection)Because Marvel Comics featured alien species from nearly the beginning of its superhero universe, the Phoenix Force’s origin as an alien entity needed very little scaffolding. And when she left Earth following her time with the Hellfire Club, her feasting on the D’Bari star also needed little set-up; the alien race was established years earlier in an issue of The Avengers. But because neither of the Fox film cycles set up aliens, the culmination of the Dark Phoenix storyline could not be used.In the comics, the Dark Phoenix returns to Earth after destroying the D Bari home world, and a council made up of the Kree, the Skrulls, and the Shi’ar Empire determine the Phoenix is too dangerous. The Shi’ar arrive on Earth and pronounce a death sentence on Jean, but Xavier convinces the Shi’ar Empress to allow the X-Men to duel her Imperial Guard in an attempt to save Jean, whom Xavier has de-powered back to her original abilities. When Jean and Cyclops prove to be the last X-Men standing, she uses a Kree device to disintegrate her body and, seemingly, disperse the Phoenix Force.It’s a big ending. But without the time to establish the Shi’ar, both Dark Phoenix and The Last Stand eschew that development in favor of smaller ideas. A television show, on the other hand, would have that time. In fact, the scenario becomes more intense if the X-Men are confronted with the reality of what Jean could do as the Phoenix and try to find an ethical outcome with the Shi’ar. It s a moral dilemma completely absent from Dark Phoenix, as the D’Bari survivors led by Vuk never seem too broken up about the billions of dead brethren they left behind on the smoldering wreck of their world.(Photo by Twentieth Century Fox Film Corp. / ©Marvel / Everett Collection)And, really, that moral dilemma is part of what makes the Dark Phoenix Saga so compelling. Its ending was changed when Marvel’s then Editor-in-Chief Jim Shooter learned Jean and the Phoenix would face no real punishment for the D’Bari genocide. The Phoenix Force – meant to be a recurring X-Men villain in the story’s aftermath – was shelved for a time, and Jean was barred from returning until a writer could give Shooter a satisfactory way to absolve her of the crime. It eventually happened, as no one stays dead in the comics, but the implications gave the story a lasting importance across decades of subsequent X-Men comic book storylines.This is the weight Dark Phoenix should have. But without the careful planning of a Marvel Cinematic Universe or the build-up of a television series, the impact will always be lost. At this point, we would favor a television show, as it could give these ideas the chance to grow and give us a live-action X-Men team we genuinely care about as they face their greatest ethical conflict. Until that happens, if it ever should, we still have the comics, which offer the story in its grandest scale.Dark Phoenix is in theaters now.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
ven sort of hesitate to use the word “bad” ― you make choices that aren t necessarily going to provide you with a lifelong relationship.But I do think they have an immediate connection with each other, and that happens in life, too, and for me, the priest is flawed and he definitely is very conflicted, and I believe he is also very much in love.Sometimes people of the church are depicted as asexual or that they re not interested in or have no thoughts or feelings of intimacy regarding sex, and that just can t be true, because that s not true for any human. We all have a relationship with sex. And love. Even if you re asexual, you still have a sort of attitude towards it. I think that s a very interesting thing from my perspective about what actually do you do? What do you do with your sexuality?(Photo by Steve Schofield/Amazon Prime)Scott (cont.): I think sometimes in drama, we re told what we re supposed to feel because we make these sort of cartoonish characters, and I think the reason that Fleabag is unique, is that we don t. Sometimes they do things that are cruel and selfish, and sometimes they re very vulnerable, and sometimes powerful. And sometimes they re abusive and sometimes they re incredibly loving and kind. And that suggestion is in us all.I think it s a sort of lack of judgment and the fact that we can do that through comedy makes it special.The Priest is obviously so conflicted, and he has a problem with alcohol. Was that built in before he met her, or is that something he recently adopted?Scott: His relationship with alcohol is not healthy. It was sort of important not to overstate that in a sense ―let the audience do some work ― but I definitely think he has a longstanding unhealthy relationship with alcohol, like a lot of people.(Photo by Steve Schofield/Amazon Prime)I m going to be careful about spoilers, because the relationship is built on these very special moments, but the first fox talk,” I think, might also be the first time he asked her, “Where d you go?” when she breaks the fourth wall and looks at the audience. Did you guys talk about what her behavior in that moment would look like to him?Scott: The most important thing was, it s a deep connection. I think it shows how connected he is to her. I think they re both quite solitary characters, and Fleabag s friend is the audience and the relationship with the audience is sometimes helpful and sometimes destructive, and sometimes a way of just avoiding a life and relieving power. And the fact that he s able to see that, and solely him — he s the only character who can see that — speaks to me, not just as sort of exciting television or kind of convention, but just the idea that he, he sees her, he sees all of her, and he wants it from when they first spoke, he wants to talk about this extraordinary love. For my money, I feel like, they almost love each other right from the get go. I think they are definitely intrigued by each other and that sort of deepens, and I think they don t really know what it is. Like a lot of us when we first meet somebody that you connect to and you think, Well, is it love, or is it insanity?The café scene is also a very special moment. It was so real and very intense. First, does he see her behavior as mental illness? And is that tension built into the writing or is it something that gets fleshed out when you re working the scene?Scott: It s built to a certain degree into the writing. Phoebe and I have got a great chemistry going, and so I think we just sort of saw what happens on that day. Phoebe s very playful in that sense, in the relationship At the beginning and certainly in that scene, it really genuinely is what it is Where are you going? I don t think he knows, but it s like What is it that you re doing? And I think we can all sort of relate to that to a certain degree. When people are, to a certain degree are unknowable, and you go, “What is that thing? What is that look on your face?”Because the idea of playing with the format of breaking fourth wall is so exciting — I find it really exciting that that s developed in the second series There s a sort of metaphysical sort of vibe in the second series of pictures falling off walls and foxes following you at night A little bit like love, it s completely unknowable if you re serious, and so it s hard to answer those questions. And the only thing we really do is to dramatize the question, rather than try to nail them down too much, because that then it becomes less interesting drama.(Photo by Steve Schofield/Amazon Prime)Speaking of the storytelling, the fox detail of the story is the kind of quirky detail that you don t see very often in film and in television. What are your thoughts on the writing for this series?Scott: I think the writing is extraordinary. I think somebody s hair looking amazing the day of their mum s funeral, or somebody wearing really tight jeans to the funeral, or a fox trying to break into a toilet, and you know, partnered with scenes about death and loss and pain, I think it s just so extraordinary, that she writes with such flair and such imagination and boldness, that s really a thing that I want to watch on TV. And to be part of it is really exciting ― it s original and audacious storytelling. And that has to start with the writing, and I think she s not afraid of the grand gesture and to push the boundaries of how we tell our stories. And I think that s why people really respond to her work, because, juxtaposed to that, is a great sense of humanity, fun, and a kind of kindness. I m truly in awe of her imagination, really.Fleabag season 2 is now streaming on on Amazon Prime.
ought about it as much because they re watching and I m looking at them watching it. I m probably making something in the kitchen for them going in and out. So, when I watched it again the other day by myself – laughing out loud by myself, too – I thought the same thing. I was so impressed with it and I had just forgotten how elaborate that opening sequence is. They do such a great job.Rotten Tomatoes: So, when you were taking on this role, what did you want to bring to this new Boss Baby, Tina, that we meet in Family Business?Sedaris: Well, the tremendous amount of energy it took to play Tina! She s up, she talks fast, she s bossy. It was a lot. She s running around the room and… It s exhausting. It can be exhausting, and I can put out a lot of energy, but this one really wiped me out, to play a little bit of a bub. But I love anyone who wears a little suit or a little uniform. And, I just felt like I knew Tina. I was a lot like Tina when I was little. So, I could kind of really relate to Tina.Rotten Tomatoes: Well, I was going to say, we know a little bit about your family growing up thanks to your brother David’s writings. Who was the Boss Baby in the Sedaris household?Sedaris: The oldest sister s always the boss, right? Always – still to this day. You just roll your eyes. Everyone has their little positions. I was in the middle, so I kind of got along with both sides, the three above me and the two underneath me. But I was the boss of the two underneath me. With a family it s split. So, I got a shot at being boss as well.Rotten Tomatoes: You got to be the Tina.Sedaris: I got to be Tina. Yeah.(Photo by © Universal )
Join us weekly as Rotten Tomatoes reports on what s indie features are streaming. From promising releases by new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week.For the foreseeable future, the specialty box office and all theatrical releases will be on hold as we all make efforts to socially distance ourselves and reduce the spread of the COVID-19 coronavirus. With that in mind, we have reshaped our Indie Fresh List to reflect the specialty box office releases that are newly available on streaming services and VOD. This week in our Fresh picks we have a father-son road trip drama, a sci-fi thriller about a mysterious radio message, and a modern-day love story. In our Spotlight section, we have the final installment of Rob Brydon and Steve Coogan s comedy travel series, along with an interview with Brydon.Streaming This Weekend
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.
亚博全站APP下载地址 Are the Performances in Cursed Magical? Langford is an excellent choice for Nimue. She is strong and resilient yet somewhat trusting and naïve. — Allison Rose, FlickDirectTerell is brilliant as Arthur. A Black Arthur does feel radical, but he is a co-lead and sidekick to Langford s Nimue. Cursed is still a lot of fun, but don t expect anything too revolutionary from this safely subversive new Netflix show. — Rosie Knight, NerdistAlmost no one can act and those who can are taking it easy. — Lucy Mangan, GuardianIs Cursed’s Fantasy Believable?(Photo by Courtesy of Netflix © 2020)Cursed’s Fey, made up of snake-skinned, tusked and other hybrid humanoids, all with their own cultures, efficiently establishes them as a living, breathing species independent of their human relatives. — Hannah Collins, CBRIs Cursed Cheaply Made or Flashy and Stylish? (Photo by Netflix © 2020)Cursed does a fine job of stylizing its visuals, as well as building a complex story base (even if the latter feels too bulky at times). — Kimberly Ricci, UproxxCursed may not be the most serious or profound program that TV has to offer, but you won t find many shows more solidly built or satisfying. — Judy Berman, TIME MagazineWith twists and turns you might not see coming, no matter how well you know Arthurian Legend, Cursed delivers a fun and wild ride. It also has serious Game Of Thrones vibes. — Tessa Smith, Mama s GeekyFinal Thoughts? (Photo by Courtesy of Netflix © 2020)Featuring a lot of promise but failing in the execution tonally, Cursed is unfortunately a bit of a missed opportunity to breathe new life into the Arthurian legend. — Nicola Austin, We Have a HulkCursed makes complete its clumsy tightrope walk, but will need to build stronger support for any feminist goals it has for future seasons. — B.L. Panther, The SpoolCursed will do — it’s nowhere near perfect but its attempt to take on an alternative tale with a female, strong lead, makes the whole viewing worthwhile. — Daniel Hart, Ready Steady CutBloated yet entertaining, Cursed carves out a uniquely weird kitsch-fantasy niche for itself, even if it doesn t always quite know what it wants to be. — Shaun Munro, Flickering MythI never was able to fully give myself over to Cursed, but I never really got bored and I think there s a better show laying in wait for a second season. More Pym, please! — Dan Fienberg, Hollywood ReporterThe highs of the series far outweigh the lows, and Cursed manages to tell an exciting and surprisingly timely tale with Nimue and the rest of the Arthurian roster. It is sure to fill the void in the hearts of fantasy fans everywhere. — Charlie Ridgely, ComicBook.com
Deadly Class is an ambitious fiction for Syfy to risk airing now, one that asks a viewership shocked by multiple deadly school shootings in recent years to embrace a story about teens trained in the assassination arts – one is a sword wielder, another’s expertise is poison, and so on. It s one of the more twisted coming-of-age stories you ve ever read, filmmaker and producer Joe Russo has said of the graphic novel the series is based on. The Russo Brothers, Joe and Anthony, co-directors of Avengers: Infinity War and 2019’s upcoming Avengers: Endgame, are executive producers on the series.Lana Condor, who so recently charmed Netflix subscribers in high-school rom-com To All the Boys I’ve Loved Before, here plays Saya, master of the katana. Condor told Rotten Tomatoes that series creators Remender and Miles Orion Feldsott took pains to ensure that the violence wasn’t gratuitous and wasn’t gun-based.“It s definitely a conversation to have. I think one of the biggest things is, we don t have any guns in our school,” the 21-year-old actress said. “We absolutely do not and are not promoting any sort of gun violence in schools whatsoever … and it s very rare that you see violence between the children. A lot of the violence that comes out of our show is either outside of the school, where they genuinely — our villains are quite horrible people. And that part of the show, it s just a part of television, right?”True. Deadly Class is certainly not the first fiction to put children in peril: You can thank Charles Dickens for that trend. Or the Old Testament if you want to get Biblical about it (see “Binding of Isaac,” Genesis 22).On TV, we’ve seen The Gifted on Fox, Impulse on YouTube Premium, AMC’s The Walking Dead, FX anthology series American Horror Story, and another of this week’s releases, teen-vigilante series Wayne from Rhett Reese and Paul Wernick, the writer-producer duo behind the Deadpool films. (Speaking of movies, the X-Men films, The Hunger Games series, and virtually every horror film ever regularly threatened their youngest characters, and that’s just not going to change.)The difference may be that these kids are on the offense and many have very bad intentions. Self-defense is second-nature at King s Dominion, and its student body isn’t made up of fumbling innocents. They are well-trained and lethal, and takes “jaded” to new levels.(Photo by Katie Yu/SYFY)When Rotten Tomatoes recently visited the set, series co-creator Feldsott explained that Master Lin’s (Benedict Wong) great-grandfather founded King’s Dominion as a training ground to help the disenfranchised gain power over their oppressors.“For Master Lin, one of the big journeys that he has over the course of the season is that he is trying to figure out exactly what he stands for,” he said. “Originally, his great-grandfather had a very noble intention when they founded the school. He was going to give power to the oppressed, and now as time as gone on, that mission has been somewhat corrupted, and now these more powerful organizations are giving their kids training at the academy. So he is having a crisis of conscience in the first season. He s having this argument with the teacher that Henry Rollins plays, who s saying, ‘You were different when you were younger. What do you stand for now?’ And there s also a powerful organization that is above Master Lin that expects him to maintain order in this place.”Wong, whose recent role as Wong in Marvel blockbusters Doctor Strange and Avengers: Infinity War has put him in front of massive audiences, credits the Russo Brothers for bringing him to the new character.“I was fortunate to get a call from Joe Russo. He said, ‘Hey, I really want you to be in this, and I just immediately said yes, and then said, ‘What? Sorry, what do you want me to be in then?’ Because the brothers have got an incredible pedigree,” Wong told Rotten Tomatoes.Wong reveals that the influx of criminal organizations have fueled Master Lin s crisis. It’s also important to remember that it’s fiction.“We re in a world that is not like our own world, obviously,” Wong said. “It s a heightened world, and it s more about the repercussions of violence, really, and what would happen. We re in a make-believe world of what would we do if we threw [together] the cartel, the CIA, NASA, and they send their kids to this school, and this man is now having to uphold it all and watch every lid before it flips.”(Photo by Allen Fraser/Syfy)The young Deadly Class cast members are also clearly thrilled with their roles, even if some of the main characters are described as “rats,” including new student Marcus (Benjamin Wadsworth), who is also an orphan. His lack of connections puts him at a disadvantage; he has no formal fight training like his schoolmates, for one, though his life has been hard.“We re gonna see how violence has affected Marcus,” Wadsworth promised. “He experiences some forms of psychosis. Trauma does weird things to human beings. They find unhealthy coping strategies like alcoholism, chain-smoking, drug-addiction. So I think it would show that, ‘Hey, you probably don t wanna do this or you re gonna get messed up.’” 本来就不是什么辉煌的开局，反而成了巅峰。这样的结果，对于“LOL手游”这款众望所归的游戏来说，实在是太遗憾。
亚博全站APP下载地址 de).Explore all 25 fun, frightening, and groundbreaking films in our guide to the essential Black horror movies.Best Spanish-Language Horror Movies | Best Korean Horror Movies | Best Italian Horror Movies | Best French Horror Movies | Best Japanese Horror Movies2020’s Best Horror Movies | 200 Best Horror Movies Ever