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In June 2019, Disney’s Pixar will head to infinity and beyond, once again, with the release of Toy Story 4. Although it will be nine years since the last film in the franchise, bringing back the family favorite characters voiced by Tom Hanks, Tim Allen, and others will no doubt result in a box office smash that – if history repeats – will warm even the coldest critic’s heart (all three of the first Toy Story  have perfect or near-perfect Tomatometers, and Toy Story 3 was even nominated for the Best Picture Oscar). But surefire revenue and review predictions aside, what do we actually know about the new film? Let’s explore what’s already been revealed.HEY HOWDY HEY! SAY HI TO THE RETURNING CAST MEMBERS(Photo by © Walt Disney Pictures)Hanks and Allen are returning to rekindle the on-again/off-again bromance between their respective cowboy Woody and astronaut Buzz Lightyear, and the fourth Toy Story also welcomes back Joan Cusack as cowgirl Jessie, Wallace Shawn as Rex the dinosaur, John Ratzenberger as Hamm the piggy bank, Annie Potts as Woody’s main squeeze Bo Peep, Estelle Harris as Mrs. Potato Head, and more franchise favorites.Don Rickles, who played Mr. Potato Head in the first three films, passed away in April 2017 before he recorded any work for the new film. However, the character was seen in a teaser video released in November, suggesting that he is a part of the project in some way. A replacement voice actor has yet to be announced – if, in fact, someone is needed and the filmmakers won’t rely on Rickles’ unused dialogue from previous projects – but that hasn’t stopped the fan speculation.NEW CHARACTERS! NEW PLOT?That teaser also introduced a new character: Forky, a spork voiced by Veep’s Tony Hale. Although he started out as kitchenware, Forky’s found new life as a toy, thanks to the meddling hands of the young Bonnie (a.k.a. the little girl who inherited some of the toys from the now college-age Andy at the end of Toy Story 3). Needless to say, Forky’s not handling this life change well – especially when Woody and Buzz make him an unwitting participant in a road trip dedicated to the awesomeness of being a toy.Said adventure may also have something to do with tracking down Potts’ Bo Peep, who was absent from Toy Story 3. However, that plot detail was shared in 2015, and there have been some shifts at Pixar since then (see below for more on that).Another teaser trailer showcased the voices of Keegan-Michael Key and Jordan Peele as carnival toys Ducky and Bunny and who are pretty much plush versions of the valet characters the actors played in their Comedy Central sketch series, Key Peele. Perhaps Woody and Buzz’s joy ride includes a stop at a fair?During an appearance on NBC s The Tonight Show, Allen told host Jimmy Fallon that Keanu Reeves also has a tiny part in the film.There’s also a viral fan theory that puts a rather … adult … spin on the definition of which toys are allowed to have stories. There are slim chances any of that will make it into the movie.TOY STORY 4 HAS GONE THROUGH DRAFTS LIKE SID GOES THROUGH MATCHES(Photo by @ Walt Disney Pictures)While promoting Toy Story 3, director Lee Unkrich – who also worked on the first and second film – said that, although he was flattered by the suggestion, there were no plans for a Toy Story 4 and that he always considered the third film to be “the conclusion to one big story.” Continuing that thought, Pixar president Jim Morris has stressed that the fourth film will be a “separate story.”But writing that story? That’s been its own saga. Andrew Stanton, who co-wrote the previous Toy Story films, among countless other projects, wrote a treatment for the film with then-Pixar chief creative officer John Lasseter, Unkrich, and fellow Pixar regular Pete Docter.Rashida Jones and Will McCormack were also attached as writers but departed the project. When Lasseter left his post last year in the wake of sexual misconduct allegations, the duo stressed to The New York Times that they respect Pixar’s films but “it is also a culture where women and people of color do not have an equal creative voice.”In June of 2018, Potts told Radio Times that Pixar “threw out three-quarters of [the script] and rewrote” it, thus resulting in the film being pushed a year from its original June 15, 2018 premiere date. Stephany Folsom, who previously worked on Thor: Ragnarok and is now penning the Michelle Williams abortion drama This is Jane, stepped in to write the screenplay.PIXAR FAV JOSH COOLEY LANDS HIS FIRST FEATURE DIRECTOR CREDITLasseter’s departure also means that he is no longer co-directing Toy Story 4 with Josh Cooley, as originally planned. Cooley, whose credits also include serving as story supervisor on Pixar’s Inside Out and directing the short Riley’s First Date?, which included some of that film’s characters, is now the sole director on the film. It’s also his first credit as a feature film director.TOY STORY STILL HAS A FRIEND IN RANDY NEWMAN(Photo by @ Walt Disney Pictures)Musician Newman has an Oscar for writing the original song “We Belong Together” for Toy Story 3 and has nominations for writing the songs “You’ve Got a Friend in Me” for Toy Story and “When She Loved Me” for Toy Story 2. So it’s a no-brainer that he’s back with more original music for this film.Toy Story 4 is in theaters June 21, 2019. The latest on Gotham’s final season, Cameron Monaghan opens up about his return to Shameless, Marvel TV boss shares intel, a Lost reboot tops ABC chief s wishlist, and more TV news.TOP STORYWho Plays Batman in Gotham’s Finale?Young Bruce Wayne s transition into the Batman is almost complete, and reporters at Fox s Gotham panel at the Television Critics Association winter press tour in Los Angeles were treated to a sizzle reel including the first look at the series caped crusader in his final form. But is that star David Mazouz under the cowl? Yes and no, executive producer John Stephens said. While it s Mazouz s face you ll see and voice you ll hear, it wasn t physically him in the suit — simply because the suit was made to fit someone with a 6 4 frame.The series will see a 10-year flash-forward before it ends, when we ll see older versions of other Batman characters (rather than the developing versions Gotham has portrayed over the years). Camren Bicondova confirmed that a fully realized version of Catwoman will appear in the finale, along with full-on versions of Penguin and Riddler. As for the Joker, it s still up in the air.Producers have refused to confirm whether Cameron Monaghan s character will be the joker, but Stephens teased, If he’s not the Joker, then he’s someone who provides the origin story for who becomes the Joker. Another flash-forward tidbit: Ed and Oswald are still friends in the future. As Robin Lord Taylor (a.k.a. Oswald Cobblepot/The Penguin) said, Keep your friends close and your enemies closer. That s the dance between the two of them. Will ABC Get Lost Again?(Photo by Mario Perez/ABC/Courtesy Everett Collection)“We have to go back,” Jack famously pleaded to Kate on Lost. But does ABC have any interest in revisiting its seminal mystery series? Yes, I would like [a reboot] very much. That is a reboot I would be interested in seeing,” new ABC boss Karey Burke told reporters when asked whether she was planning to bring back the show. But unfortunately, it’s only a personal wish from a Lost superfan.Burke, just two months into her position as ABC Entertainment president, included the “we have to go back” scene in a clip reel for reporters demonstrating the types of shows she hopes to bring to ABC in her time at the network. It was not an indication of any actual plans to reboot Lost. It s literally at this point just what I dream about when I go to bed at night, she told The Hollywood Reporter. I have not spoken to [exec producers] Carlton [Cuse] or J.J. [Abrams] or ABC Studios about it. But I do often get asked the question what show would I reboot and often my answer is Lost — sometimes Alias. Nothing to report yet. Maybe ever. But it would be a fun thing to have a conversation about. Cameron Monaghan Explains His Shameless Return(Photo by Paul Sarkis/SHOWTIME)Fans were shocked when Cameron Monaghan exited Showtime s Shameless halfway through the series ninth season. But when the network announced the series renewal for a tenth season — without star Emmy Rossum, who departs at the end of season 9 — it revealed that Monaghan s Ian Gallagher would be returning to the series.The actor told Rotten Tomatoes and a small group of reporters that his decision to leave (and subsequently to come back) was a nexus of creativity and business. While he wanted to step away for creative and business reasons, after a chat with showrunner John Wells about Ian s future he decided to come back. We got to a place both creatively and financially where I felt comfortable coming back, and much of that had to do with what we were going to do with the story, he revealed. While the season hasn t been written yet, he hopes Ian will focus on himself in season 10. I think it s interesting that he worked his way up, got his life on track, and then completely wrecked it, unfortunately — and some of that wasn t even fully his fault, Monaghan said. But I think that seeing him learn to lead the family, take care of himself, and be on the straight and narrow and how to work with that would be a very interesting arc for him, so I d like to see something outside of just him searching and being single and hooking up with people, that kind of stuff. As for the loss of Rossum, Monaghan emphasized that the series, about a struggling Chicago family, is an ensemble show. And because of that, over the course of the last five to six years, characters have grown up and really branched out and the stories had become very separate. It was very rare that I would get the privilege of acting with Emmy anymore; it’s just one of those things. We’re going to lose that thread and that’s a loss for us, but that being said, I feel like we have enough other characters and storylines across the board that they can absorb and it won’t feel like too much of a change to the overall fabric of the show. Marvel Isn’t Looking for the Next Jessica JonesThe third and final season of FX’s Legion is debuting this year, and most of Marvel’s Netflix series have been retired. But in building up its TV library again – perhaps on new streaming service Disney+ – Marvel is not looking to repeat anything that’s been done before.“We aren’t looking for the next Jessica Jones. There is a Jessica Jones. So it’s being able to keep telling different stories,” Marvel TV boss Jeph Loeb told reporters on Legion’s final season TCA panel on Monday. “And if you’re a comic book fan, it actually is something that you really understand because comic book fans know that each comic has a different writer, has a different tone, has a different artistry, has a different look. So it’s usually not that case if you’re running a studio, but that’s what we try to do.”Loeb hopes that his studio has created an atmosphere in which showrunners feel that they have creative freedom to tell many different stories. Lauren Shuler Donner, Legion executive producer and a main driving force behind the X-Men franchise, said she and her colleagues want to make sure each X-Men story feels different and creative too.“After the first three X-Men, I started to get worried that people would get tired of the X-Men and feel like, ‘I’ve seen this before.’ So when we entered into X-Men: First Class, Matthew Vaughn approached it as a Bond movie,” she said. “So we tried to change the tone in every movie. Obviously, Logan is a Western, and Deadpool is a crazy comedy, and Gambit was going to be a heist and now rom-com, and New Mutants a horror film.”When Noah Hawley approached her with his take on Legion – which he described as the “dissection of a villain, “I thought, ‘OK. That is, then, good. Then we’re away from the X-Men movies. We’re not going to have a repeat, and this is going to be something very different,’” she said. “And that, I believe, is the only way to sustain continuing X-Men and Marvel properties. They must be unique and different every single time, or they’ll step on each other.”Party of Five Takes on 2019(Photo by Courtesy Everett Collection)Freeform has officially ordered a rebooted version of ’90s drama Party of Five. Instead of the Salinger kids, whose parents were killed in a car accident with a drunk driver, the new series will follow the Acostas, whose parents are deported.“This show is about grief in a slightly different way, because what is lost is not gone forever,” executive producer and original co-creator Chris Keyser told reporters at TCA.The series will tackle the current immigration debate head-on, which gives the show an advantage because “it’s real. It’s happening every day,” executive producer and original co-creator Amy Lippman said. Additionally, the new version’s added layer will include the parents struggling to care for their children from a distance.Ultimately, Lippman said, “It’s our intention to make it different, and yet at the same time, there are moments almost like Easter eggs. There’s a scene in the pilot that was a scene in the original Party of Five pilot 25 years ago. There’s enough for our fans of long ago to see echoes of the original series.”But will any original cast members show up? Perhaps in the future, but “not yet,” Lippman teased.

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Addison Wright’s Hiplet: Because We Can is part of the Scene In Color Film Series, presented by Target, which shines a light on incredible filmmaking talent. As part of the series, three emerging filmmakers will receive mentorship from producer Will Packer, and their films are available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App.They have the “sexy walk;” “the pretzel;” “the dougie;” “the Vivian.” These aren’t 1950s innuendoes. They’re the dance moves performed by a special Chicago-based ballet company. Founded by Homer Hans Bryant, hiplet is a combination of hip-hop and traditional ballet performed to dizzying, intoxicating effect by a collection of incredible local dancers. Director Addison Wright, another Chicago native, decided to make a film about these viral sensations after discovering the troupe on Instagram. His eight-minute documentary short, Hiplet: Because We Can, was an Official Selection at the 2020 South by Southwest Film Festival, later became a Vimeo Staff pick, and is now part of the Scene in Color Film Series. Wright’s film, titled after the dance, fuses together a choreographed music video feel with a precise documentary style for a lively exploration of this new invigorating movement style. Though the performers’ movements speak for themselves — their swaggering strides texture their powerful, beautiful Black forms, mesmerizing the frame with an undaunted spirit — Wright interviews them, too. The ebullient ballerinas explain the pushback they’ve experienced in a classically white-defined world for their unique artistic identity, their varying body types, and their Blackness. In Hiplet, Wright casts an immersive and empathetic lens toward these talented women. He demonstrates a nimbleness in his filmmaking, capturing the balletic patterns of the dancers while oscillating between striking colorful compositions and equally magnetic black-and-white filmed interviews. Hiplet is not just an exhilarating introduction to a new, evolving ballet style, but a perfect launching pad displaying Wright’s fresh, assured voice. Here, Wright talks to Robert Daniels, a Chicago-based Tomatometer-approved Top Critic. Robert Daniels for Rotten Tomatoes: How did you first get into filmmaking?Addison Wright: I grew up during the 90s, so I was glued to the TV watching MTV and BET. I ve always been mesmerized by music videos and by directors like Hype Williams and Spike Jonze, and Little X. So early on I knew I had a passion for it. I went to Simeon High School in Chicago, where I played football all four years. I ended up getting a scholarship to Delaware State University. I played football there, and my major was TV production. I didn t have a camera in high school or anything like that, but once I got to college I realized this was something I wanted to go after. I ended up getting hurt around my junior year in college. So I didn t play football, but the team would have me around so I traveled and filmed practice and the games. When there wasn t any practice or a game, I would borrow the camera and film music videos around campus. That s when I got into learning how to build narratives within music videos. So I was taking some of the stuff that I learned in some of my classes, and applying it to my videos. That s where my passion started.(Photo by Addison Wright)Daniels: Where and when did the idea for Hiplet first form?Wright: I was on Instagram and on my Explore page I saw these Black ballerinas doing ballet a bit differently. So I clicked on it and I heard the music and saw them in the dance studio and thought these girls are dope. I was scrolling up and began seeing them again and again. So I researched online about the Hiplet ballerinas and saw some of the commercials that they were in like Old Navy commercials and Mercedes-Benz and featured in Japan and some other places.Then I saw they were based here in Chicago and I was like, whoa this is a story that needs to be told. Initially the concept was me doing an entire music video of them. I wanted to shoot it in Chicago’s South Shore Cultural Center because that was a white-only establishment a hundred years ago. And I want to place Black girls in this beautiful cultural center, and just let them do their thing in a place they wouldn t have been able to a hundred years ago. But once we got the cost back for how much it was going to be to rent that space, I knew we couldn’t do that.So we ended up finding a gym on the south side, the Grand Ballroom, which is on 64th and Cottage Grove. You won’t even notice it if you drive or walk past, but if you look up you can see the beautiful terracotta. The story grew by me going, at least once a week, to the studio to film the girls and watch them rehearse and practice just to see how they move around and to see their personalities so I would know different angles and areas to pay attention to. Homer, he s the founder of Hiplet, and I were having a casual conversation and he told me how much these girls go through. Whenever they post something online, people are making fun of them but those same people are emulating what they do. It comes from within the dance community. People from different races look at them and see how they aren t doing traditional ballet, so they talk about them. So I decided to give the girls the floor: We ll film them, but we ll also let them talk about the adversity they often face. That s what kinda changed the path of the film being a music video. That s what made me realize how I wanted it to be a short and a documentary, but with the feel of a music video.Daniels: How long was the shoot?Wright: The shoot was about a 12-hour day. We started loading around eight in the morning and we wrapped with the girls around eight o clock at night. It was a bit longer for us, but the girls were there all day. It was a lot of rehearsing. When the girls showed up, they knew what they needed and we knew what we needed to do as far as setting up lights and blocking. Daniels: I want to get back to the blocking. I think what s so great about your film is you can feel the energy of the dancing. How did you get to that point where you got the right angles to bring the live energy onto camera?Wright: My DP, Dan Frantz, and I would go to the studio where girls would be rehearsing and we would film certain parts of the performance. That was a month out before we actually filmed. We would sit down and figure out the best angle for where the camera needed to be and lighting diagrams. We also went to the ballroom and took some pictures. I knew where I wanted to place the girls. I knew some of the angles that I wanted to hit just based off of their choreography. But it was a collaboration between him and me. We were rushing against the clock to get certain things because we only had the location for one day. But my goal was to really capture the energy of the ballerinas. Make sure they re making eye contact. Anytime the camera came around, I made sure that I told them to interact with the camera. If it s near you, look down at the lens, look through it just like you re on stage and somebody makes eye contact with you in a crowd. The camera is the crowd.Daniels: And now your film is part of the Scene in Color Film Series. How did you hear about the opportunity and what drew you to it?Wright: It s funny, I didn t know anything about it until they reached out to me. And I was completely blown away. Even when I talk about it right now, I m still in shock because it s all just surreal. They said they saw the film and they really loved it. And I was like: Me, really? That s dope that they love the film. About three weeks later they gave me the details and I found it incredible. I remember making the film public in February on Vimeo and it ended up becoming a Vimeo staff pick and then went viral. A month after that was when NBC reached out to speak with me.Daniels: How are you feeling about having a producer like Will Packer as a mentor?Wright: It s an incredible feeling having someone who is a powerhouse within the industry and within the Black community as a mentor. Even hearing myself say that, it sounds unreal. Just to be able to have opportunities to pick his brain and to have the opportunity to ask what to do in this situation, in certain situations, or do you think this is a good idea, can only help my career in an extremely positive way. He may be able to give some insight from his experience. He may be able to point me into a direction that may give me more exposure. I m extremely excited to be able to just chat with him.Daniels: What guidance or advice has Will given you so far?Wright: I asked him what s his favorite film that he’s ever done, the one that left him with the most memories. He said Stomp the Yard. In a nutshell, he wanted to do that film to provide inspiration to people. Being able to hear that from him let me know I m doing the right thing. My goal as a filmmaker is to inspire people through the lens. And if it can t change the world, at least I’ll open one person’s eyes. Will also said he enjoyed the film and I was where I was supposed to be. To hear that as an up-and-coming filmmaker, as a Black filmmaker, you know, to hear from Will Packer that I m where I m supposed to be, it s extremely crazy, man. It floored me. That solidified me as a filmmaker in my eyes and in my heart.Daniels: What do you hope people take from Hiplet?Wright: I m born and raised in Chicago, and Chicago always gets a negative light put on us. I want people to be able to see these Black girls on TV, on their phones, and on their computers to see how, number one, beautiful they are; number two, how they re taking ballet in a totally different direction by not changing ballet but by adding a twist to it. I want it to be motivational for Black boys and girls by seeing someone that looks like you, that s doing something that s changing the world of ballet by shaking things up.See more shorts and meet more filmmakers from the Scene in Color Film Series.ag九游会登陆入口Just like everything else in 2020, Comic-Con was on the verge of being cancelled, but that was before it pivoted to an entirely online, at-home-for-you experience. While you can t expect the same blitz of raucous Hall H audience reactions and robust cosplay galleries, the panels must go on, along with all the trailer drops. See all the movie and TV trailers from Comic-Con here, updated as they come in!Comic-Con Ketchup: The Boys Announces Season 3 Renewal with Action-Packed ClipComic-Con Ketchup: The Walking Dead Universe Ramps Up for Fall ReturnsThe 10 Must-See Panels of Comic-Con@Home 2020Movies | TVMovie TrailersAntlers (2021) 80%Searchlight Pictures released the final trailer for Antlers, produced by Guillermo del Toro and directed by Scott Cooper. It offers a glimpse of the Wendigo, the Native American myth that plagues Keri Russell in her small town.In theaters February 19.Antlers (2021) 80% Wendigo FeaturetteAntlers also shared an inside look at its main creature, the Wendigo. Watch Native American consultants explain the culture and meaning behind the creature, while producer and creature expert Guillermo del Toro chimes in too.In theaters Februrary 19.Phineas and Ferb the Movie: Candace Against the Universe (2020) 100%Disney+ released a clip from Phineas and Ferb The Movie: Candace Against the Universe featuring Candace singing Such a Beautiful Day. The catchy song, including it s headbanging metal interlude, is sure to be stuck in your head until the movie comes out.Phineas and Ferb The Movie: Candace Against the Universe premieres August 28 on Disney+The New Mutants (2020) 36%To coincide with the New Mutants panel at Comic-Con, we got a new teaser trailer showcasing the characters individual powers and the horror aesthetic of the film.In theaters on August 28, 2020.Opening Scene of The New Mutants (2020) 36%Director Josh Boone and stars Maisie Williams, Anya Taylor-Joy, Charlie Heaton, Alice Braga, Blu Hunt, and Henry Zaga were on hand for the New Mutants panel on Thursday, and towards the end, they debuted the first two minutes of the film in a sneak preview clip.In theaters on August 28, 2020.Bill & Ted Face the Music (2020) 82%Keanu Reeves and Alex Winter reunite for this third installment in the Bill Ted series, almost 30 years after Bill Ted s Bogus Journey in 1991, as Bill S. Preston, Esq. and Theodore Ted Logan are once again visited by a traveler from the future, this time to warn them that they must create a new song to save the world in 78 minutes.In select theaters and on VOD on September 1, 2020.Movies | TVTV TrailersLovecraft CountryHBO released a clip of their new series Lovercraft Country. In the scene, Michael K. Williams, Jurnee Smollett and Jonathan Majors investigate a darkened chamber. Williams reads the inscription, Beware all ye who tread the path, ever the tide shall rise. Ominous words for the new horror drama.Lovecraft Country premieres August 16 on HBO.The Right Stuff ClipDisney+ released a clip from its National Geographic miniseries The Right Stuff. The Tom Wolfe book about the first astronauts became a movie in 1983. Disney+ will give the story more hours of streaming time. The clip shows Alan Shepard (Jake McDorman) race to the first Mercury Space Program meeting.Coming this fall to Disney+.For All Mankind: Season 2 (2021)For All Mankind was one of the first original shows Apple TV+ launched in November, along with The Morning Show, See and Dickinson. It takes place in an alternate history where the U.S. lags behind Russia in the space race. The trailer for season two promises more scenes on the moon as U.S. astronauts battle cosmonauts, and more aerial dogfights in Earth’s atmosphere.For All Mankind season two is coming soon to Apple TV+.First Look at Rick and Morty: Season 5Adult Swim shared an early look at the new season of Rick and Morty, and when we say early, we mean the animation isn t finished yet. The rough sketches show Morty (Justin Roiland) carrying a bleeding, dying Rick (Roiland). They escape a hostile planet and get a peek at their badass adventures in an alternate universe. In his last moments, Morty gets some news that makes him want to survive, but his landing only makes matters worse.Season 5 is coming soon to Adult Swim.NEXTFox released the trailer to their cyber-thriller NeXt. John Slattery plays a tech giant who teams up with Cyber Crime Task Force against an artificial intelligence out of control. The A.I. called NeXt is using smart cars, drones and hospital monitors to take out its enemies. It also makes Slattery s character more than a little paranoid.NeXt premieres October 6 on Fox.Archer: Season 11 (2020)FXX s Emmy-winning animated comedy series returns in September, and cast members Aisha Tyler, Chris Parnell, Judy Greer, Amber Nash, and Lucky Yates joined executive producer Casey Willis for a Comic-Con@Home panel on Friday that debuted a new trailer.Season 11 premieres on September 16 on FXX.Marvel's Helstrom: Season 1 (2020)Tom Austen and Sydney Lemmon star in this dark fantasy series based on the Marvel comics characters, about a pair of siblings who are the children of a serial killer and hunt the worst of humanity. Austen, Lemmon, and co-stars Elizabeth Marvel, Robert Wisdom, Ariana Guerra, and more were on hand during their Comic-Con@Home panel to offer a preview of the upcoming new series.Season 1 premieres on October 16 on Hulu.Fear the Walking Dead: Season 6 (2020)Fear the Walking Dead is set to premiere on AMC on October 11 for its sixth season, and stars Lennie James, Alycia Debnam-Carey, Colman Domingo, and Rubén Blades were among the cast members who participated in the show s Comic-Con@Home panel on Friday. Together they introduced a new trailer, offering glimpses of what has happened to the main characters after being separated across several settlements at the end of Season 5.Season 6 premieres on October 11 on AMC.Opening Scene of The Walking Dead: Season 10 (2019) FinaleThe panel dedicated to The Walking Dead chose to focus on its upcoming Season 10 finale episode, A Certain Doom, with Norman Reedus, Melissa McBride, Jeffrey Dean Morgan, and Lauren Cohan among the cast members who made an appearance to talk about the final battle of the Whisperer War. During the panel, they also previewed the first three and a half minutes of the episode to help drum the anticipation.The Season 10 finale airs on October 4 on AMC.The Walking Dead: World Beyond: Season 1 (2020)The third and final Friday panel from the world of The Walking Dead focused on its latest spinoff series, The Walking Dead: World Beyond, which follows a group of teens who are the first generation of children to be born and raised during the zombie apocalypse. We ve already gotten a smattering of sneak peeks and teasers for the new show, but we got a new trailer from the panel featuring footage we haven t seen before.Season 1 premieres on October 4 on AMC.Sneak Peek of Vikings: Season 6 (2019)The first half of Vikings sixth season already premiered back in late 2019, but the second half is set to debut later this year on The History Channel. During Friday s Comic-Con@Home panel, cast members Michael Hirst, Travis Fimmel, Katheryn Winnick, and more talked about their favorite moments and fan interactions, and then premiered a preview clip from the latter half of the season.The second half of Season 6 premieres Fall 2020 on The History Channel.Lovecraft Country: Season 1 (2020)Underground creator Misha Green s horror-drama, Lovecraft Country, which premieres on HBO on August 16, released a new two-minute trailer ahead of the series Comic-Con@Home panel on Saturday. The series follows Atticus Black (Jonathan Majors) and friend Letitia Dandridge (Jurnee Smollett-Bell) as they road-trip across the Jim Crow America fighting racism and Lovecraftian monsters.Season 1 premieres on August 16 on HBO.Sneak Peek of The Boys: Season 2 (2020)Amazon Prime s hit superhero satire returns for a second season on September 4, but they ve provided a preview clip titled The Whale in which we see Billy, Hughie, and co. square off against the Deep and his whale.Season 2 premieres on September 4 on Amazon Prime.Truth Seekers: Season 1 (2020)This supernatural comedy series co-written by and starring Simon Pegg and Nick Frost centers on a team of paranormal investigators who become embroiled in a frightening conspiracy as they begin to uncover a string of unusual supernatural phenomena.Season 1 premieres in Fall 2020 on Amazon Prime.First Look at Star Trek: Lower Decks: Season 1 (2020)This animated comedy series from the Star Trek franchise and aimed at an adult audience follows the support crew of the U.S.S. Cerritos, one of Starfleet s least important ships. Created by Mike McMahan (Solar Opposites), the series features the voices of Tawny Newsome, Jack Quaid (The Boys), and Noël Wells (Master of None), among others.Season 1 premieres August 6 on CBS All Access.Wizards: Season 1 (2020)Guillermo del Toro s Tales of Arcadia trilogy of Netflix series all take place in the small fictional California town of Arcadia Oaks, where young heroes secretly do battle with supernatural enemies. The final series, which focuses on, well, wizards, follows Colin O Donoghue s Douxie and his friends as they time-travel back to the days of Camelot to fight in an apocalyptic battle. Emile Hirsch, Steven Yeun, Clancy Brown, Mark Hamill, and Lena Headey are among the returning voice cast, while Alfred Molina, Stephanie Beatriz, and John Rhys Davies join for the new season.Season 1 premieres August 7 on Netflix.Utopia: Season 1 ()Gillian Flynn, the best-selling author behind Gone Girl and HBO s Sharp Objects, brings a new take on the British conspiracy drama series of the same name to Amazon Prime. Jessica Rothe (Happy Death Day), Sasha Lane (American Honey), John Cusack, and Rainn Wilson are among the stars of this thriller that focuses on a group of comic fans who discover their favorite fictional series might not be so fictional after all.Season 1 premieres in Fall 2020 on Amazon Prime.His Dark Materials: Season 2 (2020)HBO s fantasy series based on the popular best-selling novels of the same name returns for its second season with new cast members Andrew Scott, Jade Anouka, and Simone Kirby, as Lyra (Dafne Keen) follows Lord Asriel (James McAvoy) to a new world and meets a new friend in an abandoned city.Season 2 premieres in Fall 2020 on HBO.Back to: Movies | TVThumbnail image by FXX

3. 激战团竞模式
How s the Artistry? Much of the series is beautiful to look at conceptually, but there s no getting around the sameness of the character design, the lack of expression in those big, soulless American-doll-style eyes, and the lifeless storytelling. Brian Lowry, Telling the puppet characters apart sometimes proves a daunting challenge, and it s difficult to mount much enthusiasm for the task given the first episode s plodding pace. Rob Owen, Pittsburgh Post-Gazette Like the original, it s an extraordinary technical achievement filled with stunning images and remarkable puppet work. And, also like the original, it won t appeal to everyone. Keith Phipps, TV Guide You can liken it to Lord of the Rings or Game of Thrones or any high fantasy series you like, but after ten magical hours it truly stands on its own as a gorgeous, innovative, emotional, joyous, and exceptional wonder. Allison Keene, Paste Magazine(Photo by Kevin Baker/Netflix)How s the Storytelling? A beauty with a fully realized world which seems to know where it s going and how to get there. Verne Gay, Newsday The thrilling, moving Age of Resistance marks an impressive pushback against the age of CGI. Sara Stewart, New York Post A good reminder that the fantasy genre is about taking a step toward something unfamiliar and then letting it take you away. Hank Stuever, Washington Post An astonishing achievement that will equally delight and disturb. Matt Fowler, IGN Movies The series (which has to fill five times as much screen time as the movie) is full of padding, especially in the tedious scenes of the vain, petty Skeksis squabbling with each other. The first episode opens with three and a half minutes of solid narration (Sigourney Weaver) to explain the fairly rudimentary set-up, and there are long, unnecessary detours that seem meant to expand the world of Thra, but are mostly just easily skippable filler. Josh Bell, CBR The film established a world that was strange and mysterious, but it barely skimmed the surface of its potential in its 90-minute runtime. The Age of Resistance writers are filling that blank space in a way that feels natural rather than superfluous. They’ve invented past conflicts, expanded the roles of characters from the film, and built a nuanced social order for the Gelflings that helps explain how the Skeksis came to power and maintained their grasp on Thra for a thousand years. The writers have also created numerous minor touches that add to the character of the world, like beautiful, somber rituals for the choosing of a new Gelfling leader, and a way of mourning that still embraces the show’s central philosophy that death is a necessary, important part of life. Samantha Nelson, The Verge(Photo by Kevin Baker/Netflix)How s The Voice Work? A few standouts in the impressively deep cast are worth mentioning here, and none more than Simon Pegg s incredible version of The Chamberlain. Fans will remember this devious opportunist from the original film, and Pegg is unrecognizably perfect taking over the role, becoming the most fascinating character in the series. Game of Thrones’ Nathalie Emmanuel also brings vibrancy and light to her unintentionally corpse-looking Gelfling, Deet, with her endlessly endearing voice work. Awkafina is a riot on the other end of the spectrum as The Collector, the pus-filled, whiny Skeksis along with Mark Hamill doing what he does best in a delightfully over-the-top performance as The Scientist. Kyle Wilson, The Lamplight Review Aside from the assurance of puppetry over CGI, the biggest draw to the series? Its incredibly stacked voice cast, which includes a who’s who of sci-fi/fantasy TV and film. They rise up to the challenge, with some of them clearly having a blast recording it. (On the Skeksis side, Mark Hamill, Jason Isaacs, and Simon Pegg are all highlights.) But in a season of television that has 180 speaking parts (many of them introduced at the same time), most of that celebrity voice cast gets a little lost in the shuffle. Michelle Jaworski, The Daily Dot(Photo by Kevin Baker/Netflix)Final Verdict? Simultaneously acts as a gift to fans packed with Easter eggs and a powerful primer for the uninitiated. Caroline Framke, Variety It s a rare and beautiful beast that s definitively an epic TV series, as well as feeling very easy to surrender to and bury oneself between luxuriously rich storytelling and gloriously beautiful pops of color. Kimberly Ricci, Uproxx One of the most remarkable productions in TV history, and one of the best modern fantasies ever made for the small screen. Erik Kain, Forbes Whether you re watching for fulfilled nostalgia or current pleasure, this is a whimsical, fun and entertaining series. Dan Fienberg, Hollywood Reporter Ultimately, The Dark Crystal: Age of Resistance prequel is a more than worthy successor to Henson s 1982 masterpiece while establishing itself as a master work in its own right. There is something for everyone in this exquisite offering. Nicole Drum, Dark Crystal: Age of Resistance is a triumph of creativity and entertainment. Chris Cummins, Den of GeekThe Dark Crystal: Age of Resistance season 2 launches Friday, August 30 on Netflix

4. 呼朋唤友 随心所欲
But I was looking for something that I could connect to more viscerally, and that I could experiment with a more physical and visceral process.Part of the message of the film, as you point out, is about slowing down and being at peace with the silence, being okay with recalibrating one’s priorities. Do you find it resonates differently now, in that sense, than when you first read the script and shot it?Ahmed: Yeah, I feel like it resonates differently for a few reasons. You know, one is that obviously when you re in the thick of something you can t see the edges of it. I knew that Darius had such a bold and such a specific vision; everything from wanting to shoot chronologically to the really unique sound design – which was put together in such an experimental and ambitious way, sampling sounds from my own internal body processes to create this very subjective effect – to the fact he wanted to shoot on film. I knew that he had a particular vision. But seeing it all come together is all the more mind-blowing. I m just a little bit in awe of what Darius has pulled together with such little time and money. And then I think why it resonates differently is because of the pandemic. I think the pandemic is a time where many of us have lost our routines and access to our work, through which many of us define ourselves, and have been forced to kind of sit with ourselves. Sit still and sit in silence. And that s absolutely what Ruben is forced to go through. So I kind of feel like everyone s going through their own version of Ruben s purgatory that he goes through in the film.(Photo by © Amazon Prime Video)Speaking of our current predicament, I wanted to ask how it feels to be promoting a film like this one without, say, theater screenings where you’d get more of an immediate connection with audiences. How does that feel on your end?Ahmed: Oh, it feels a bit heartbreaking, to be honest, because one of the joys, I think, of the Toronto premiere for this film was deaf and hearing audiences experiencing the film together, which is something you often can t do. There s open captions in every print of the film. That means that there is no screening of this where deaf audiences can t also watch the film alongside hearing audiences. That was really, really powerful. It s amazing how a piece of work can be a bridge in that way and create conversations between communities that might normally be quite segregated.I watched Mogul Mowgli recently and it strikes me that it and Sound of Metal are sort of sibling films. Mowgli follows a British-Pakistani rapper about to get a big break only to find himself coping with a debilitating autoimmune disease that stops him in his tracks and forces him to wrestle with his heritage and his legacy. They re so different, both in style and in theme, but they feel like they re speaking to one another. Do they feel that way to you? Ahmed: Yeah, it s interesting. I mean, Mogul Mowgli is something that I was kind of shaping with Bassam [Tariq] for a couple of years before we made it, and Sound of Metal came along in that moment. So I guess my headspace was already in this kind of zone where I was thinking about like, Why do we do what we do? And what s it for? What am I doing, basically? I think I was hitting a bit of a wall in my process where I kind of wanted to find a new way to work. I didn t feel I was growing as much as I could be.Alongside that, I was kind of wondering what the point of any of this is, you know, when the world seems to be falling apart all around us. I was interested in exploring this question, and I think, you know, for Ruben, it s coming from a place of: Why do I do what I do? Is it because it s a distraction from having to sit with myself? Is it a distraction from having to deal with my demons? That my relationship with my creative obsession is a way of staying busy and looking everywhere but inside? For Zed in Mogul Mowgli, it s coming at that question saying, Are we doing this for ego? Are we doing this for a sense of legacy? Are we doing this because we want to kind of come down from the mountain like Moses? I guess, a question I was just grappling with is: What s the point? Why are we doing what we re doing, as artists or creatives? (Photo by © Amazon Prime Video)Do you find yourself armed with better answers to those questions after working on these projects?Ahmed: Well, something I realized in the research for Sound of Metal, and being around these punk drummers and metal drummers with big scary tattoos and piercings and angry loud music, was understanding some of the traumas behind that music, some of the catharsis in that music. I think, for me, a big part of why I m doing this and something that has led me to create a more personal place is to try and name your pain. Name the pain that made you so you can heal others, you know? There’s this great kind of interlude somber start of this recent J. Cole track, “The Climb Back,” that says: What are you doing this for? Are you doing this to get things, or to let them go? — I like to think maybe I m trying to embrace the idea of letting go, and allowing that to inform the process.Which can be very hard, and it feels counterintuitive to how we ve normally understood ideas of success.Ahmed: Yes. And it s very tricky because the creative craft and the creative industry stand in opposition in terms of what they demand from you. A creative craft is about a state of flow where you negate your ego, transcend your ego, and are in a receptive state and a state of emptiness, really, so you can be an open vessel for what the canvas wants you to paint on it. Or what the beat wants you to rap onto it. And the creative industries are very much about enforcing and building up your ego and communicating a very kind of posterized self-image to the world, which isn t a receptive state. It s a state of pushing. It s a state of armor. And so, there s always this tension between the creative craft and creative careerism. They’re always kind of engaged in a bit of a dance.Finally, I wanted to talk about the way music is so central to these projects. I feel like when you’re talking about finding an artistry that feels personal I keep thinking about an album like The Long Goodbye, which you released last year, or a song like “Once Kings,” which was tied to Mogul Mowgli’s release. Is music a way to unlock these other aspects of your work?Ahmed: I think the way you do anything is the way you do everything. So I think there s been an evolution in the way I approach music, as well as acting recently. I think, that with music I might have thought more about what I can contribute to the wider culture or what my community or my people might want from me or what my 18-year-old self wished existed and kind of trying to cater to that from a place that felt authentic and honest to me, but very much with one eye on the outside. David Bowie says that younger artists play to the gallery. I think now I m thinking more about just what I need to get off my chest. I think there s a real shift even from the Swet Shop Boys to The Long Goodbye, which is more personal, more emotional. And then from The Long Goodbye even to “Once Kings,” in terms of thinking more about how you can name your pains and share them with others in a way that might be healing. Rather than try and represent others, just present yourself, which, I think, takes time.Sound of Metal is available now on Amazon Prime. On an Apple device? Follow Rotten Tomatoes on Apple News.

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 1.31.82022-01-19

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The bad streak for horror continues, as nobody came out for Brahms: The Boy II. STX withheld the movie from critics and got themselves 5,000 in Thursday night previews, which was a bit more than the 0,000 that The Lazarus Effect made back in 2015. Only, that film went on to gross .2 million that weekend and Brahms’ .9 million is much closer to Pride Prejudice and Zombies (.32 million) which had 0,000 in previews. When reviews started to trickle in on Friday, The Boy II was resting at 0% for much of the day, before it managed to get out of the single digits and currently sits at 11%. That is still in the territory of films like Rings (8%), Slender Man (7%), and the 2017 Flatliners remake (4%). Even the film’s light million budget isn t going to be recouped.The Top 10 And Beyond: The Call of the Wild Isn t Looking GoodThe Call of the Wild may actually be looking at more rotten returns than Brahms, but let’s at least start with a few positives. The new adaptation of Jack London’s classic novel with Harrison Ford opened to .8 million, higher than the -20 million projected for it. Among CGI dog movies, the number is not exactly Scooby-Doo (.15 million) or Scooby-Doo 2: Monsters Unleashed (.43 million), but it is still a higher opening than Eight Below (.18 million), which went on to gross over million when it opened in February of 2006. (Those numbers with inflation would be about .83 and 4.43 million today.) The problem is that The Call of the Wild’s budget has been reported as anywhere from 5-150 million. That is not far away from Dolittle, which began with .84 million and is up to million domestically and 4 million worldwide. Even if we split the difference on those budget numbers, The Call of the Wild is going to need to go north of 0 million to break even, and it s only made 10% of that worldwide in its opening weekend. This may not be Dark Phoenix bad, but it could still end up as one of the biggest losers in the long history of Fox not a great way to launch 20th Century Studios.Birds of Prey dropped another 59% this weekend to million, bringing its total up to .5 million. Last year’s Alita had less than Birds with .2 million but had a higher third weekend with .22 million. It finished with .7 million. That suggests Birds will finish somewhere between -92 million domestically. As of this weekend, after just another million overseas, it has grossed 3 million worldwide. It will need over 0 million just to break even.Sony’s Bad Boys for Life earned another .8 million, bringing its total up to 1.1 million after 38 days of release. That places it right in the middle of a group of films that includes World War Z, SPECTRE, The Mummy Returns, and Superman Returns, among others. What do they all have in common? Each got over the 0 million mark; Bad Boys’ global total is over 0 million. Sony’s Jumanji: The Next Level also continues to go strong, bringing its domestic total to 1 million and worldwide total to 7 million, while Fantasy Island  under the Blumhouse banner dropped 66% and is up over million.The films that were battling it out for Best Picture remain in the Top Ten, with Parasite drawing in another .2 million and bringing its total to nearly million, officially the fifth-highest grossing film not in the English language. It is less than million away from passing Hero for fourth place. Sam Mendes’ 1917 is also rising up a very specific chart, ranking up there with the highest-grossing films about war. Clint Eastwood’s American Sniper remains the chart-topper, while the next three films on the list are about the same war – Saving Private Ryan, Pearl Harbor and Dunkirk. Now in fifth place with almost 2 million, 1917 can boast it is the highest-grossing film ever about WWI. That’s good news for Universal, still staring down the losses of Cats and Dolittle, and they can add The Photograph to that list, as it dropped a whopping 77% in its second weekend down to .8 million. With a total under million, that is not going to be near enough to recoup its million budget.Focus’ new remake of Jane Austen’s Emma. (87%) did not exactly break any records this week, but it can brag about having the current best per-theater-average of the young year. In five theaters this weekend, the film starring Anya Taylor-Joy in the title role grossed 0,000 for a ,000 PTA. Amazon’s Seberg (38%), which was pushed back from its original December release, grossed ,487 in three theaters, giving it the second best PTA of the year. In 357 theaters, Impractical Jokers: The Movie (57%) just missed the top ten, grossing .60 million, a PTA just behind Oscilloscope’s CatVideoFest2020, which grossed 0,150 in 30 theaters. Magnolia’s Once Were Brothers: Robbie Robertson and the Band (77%) had the third best PTA of the week with ,500 in four theaters. Neon’s Portrait of a Lady on Fire (98%) expanded to 130 theaters and grossed 5,000. Its total stands at .45 million.

(Photo by courtesy of Disney. © 2021 Disney Enterprises, Inc. All Rights Reserved.)Another week, another opportunity to examine the effect of Premier Access on a same-day streaming-and-theatrical release. Standards have been set this summer by Disney, Universal, and Paramount while Warner Brothers has given the term front-loaded further meaning showing the effects of those that choose a trip to their couches for HBO Max over a trip to theaters. Disney’s flirtation with their home accessibility for an additional price on their streaming service Disney+ continued this weekend. We don’t know the full extent of their couch success aside from a couple of lofty debuts, so what can we glean from their box office numbers this weekend?King of the Crop: Smooth Waters for Jungle Cruise, But Can It Keep Chugging Along?Disney certainly got one headline they were hoping for this weekend. Jungle Cruise’s no. 1 opening was not a shocker, but getting to .2 million put it ahead of Space Jam: A New Legacy’s start of million. That number is also good enough for the fourth-best opening of the pandemic, better than even Godzilla vs. Kong’s .6 million first weekend (and that film had a two-day head start as well that helped its long-term prospects of eventually reaching 0 million). Jungle Cruise faces an uphill river going forward just based on the two biggest obstacles impeding nine-digit totals – family-oriented titles struggle to get there right now and day-and-date streaming options.Last week, Space Jam: A New Legacy, streaming for those with an HBO Max subscription, fell 69.1% in its second weekend and looks to still top out around million total. The week before, Disney’s Black Widow, available for .99 via Premier Access on Disney+, fell 67.8%. As the front-loaded grosses go up, the subsequent drops go higher as well. Second viewings in theaters are likely way down in this atmosphere and any good word-of-mouth may bring people more to the couch than the lounge seat in the theater. Disney may choose to point to Cruella (also a Premier Access title) having the best multiple (3.94) for a film opening to over million, but it is certainly an outlier. Only A Quiet Place Part II and Godzilla vs. Kong have made more than three times their opening weekend in that group of movies to open with more than million. The Conjuring: The Devil Made Me Do It is the only other title to get over 2.5x its start.Then again, it s debatable if Jungle Cruise getting to 0 million without some serious international and streaming numbers is a victory for a film budgeted at 0 million. F9 is the only film right now that has made enough theatrical revenue to cover that price tag, grossing over 1 million worldwide. No other film has crossed half-a-billion since 2019. Jungle Cruise reportedly grossed another .6 million internationally and “over million” from its Premier Access – or half of what Black Widow made in its debut. At present, Disney is not going to be releasing Shang-Chi and the Legend of the Ten Rings to Premier Access on September 3 – it will be available exclusively in theaters.Fresh Surprise: A24 Scores Some Big Personal Bests With The Green KnightA24 had a momentous weekend. For just the fifth time in its eight-year history, the indie darling opened a film in over 2,000 theaters. And it made some headlines. David Lowery’s The Green Knight – one of the best-reviewed wide releases of the year, Certified Fresh at 90% on the Tomatometer – opened to .7 million. While that may not seem like a big chunk of change, let’s look a little closer. That is higher than both Midsommar and It Comes At Night, making it the third-highest opening in A24 s history. This is also the first time a film of theirs ranked as high as second place on the weekend box office chart. Even if the estimates fall and Old barely bests it, A24 has never had a third place finish either; both The Witch and Hereditary opened in fourth in their respective weekends in 2016 and 2018. Surely the film was helped by a lackluster marketplace and big drops from last week’s films. Who knows how those grosses would have been altered (or boosted overall at home) with a streaming option, but the studio which has practically become its own brand at this point got a win this weekend by betting on cinephiles desire to see a touted masterpiece and its scope on a big screen.Rotten Returns: A Mixed Story for Focus Features  Matt Damon Thriller Stillwater(Photo by Jessica Forde / Focus Features)The numbers for director Tom McCarthy and Matt Damon’s American-abroad thriller Stillwater are not great. That said, they look good for Focus Features given their output since theaters began opening up. Instead of instituting a move to increase volume on their titles with instant streaming access, the studio has taken a full-steam-ahead theatrical approach to their releases going back to last September. The result has been a top opening weekend for Let Him Go ( million), a top final gross by Come Play (.4 million) – both from 2020 – and of their seven releases in 2021 so far, not one of them have matched either of those 2020 markers.Their eighth release of the year, Stillwater, did manage to break their opening ceiling with .1 million, giving it the likely odds to outgross Come Play as well. It has already bested Focus’s top release of 2021 in Boogie (.17 million). Note, however, that Stillwater s per-theater-average of ,000 is less than that for the opening weekend of their Anthony Bourdain documentary, Roadrunner (,145), and that is just their fourth film since the pandemic to have a PTA over ,000.What kind of revenue are they missing out on by not offering these films at home for a price tag? When you consider the films actually making theatrical revenue during the 2021 period of the pandemic, the only titles geared towards adults that are not a sequel, a prequel, or a reboot and which have grossed over million are Old, In the Heights, Wrath of Man, and Nobody. And only Old is cracking million. Pre-Stillwater’s opening, Focus’s seven films this year have grossed a total of less than million. Stillwater will finally get them over million for the year.The Top 10 And Beyond: Old Marks Biggest Second-Weekend Drop for M. Night Shyamalan Since The Happening(Photo by Phobymo /© Universal Pictures )Last week’s no. 1 film, Old, fell back to third place this weekend with just .7 million. The 60.3% fall is the worst drop for M. Night Shyamalan since The Happening fell 65.7% after a .5 million opening in 2008. When looking at the drops of 15 historical July openers that began between .5 million and .7 million, there are two standouts: Old now joins the ranks of Catwoman (-61.5%) and Valerian and the City of a Thousand Planets (-62.6%) in their second weekends. Those films finished with .2 million and .1 million, respectively, and it appears Old is headed into the same territory. If so, it could finish with less than Shyamalan s Lady in the Water’s .2 million in 2006.Marvel’s Black Widow, meanwhile, is now the subject of a potential precedent-setting lawsuit by star Scarlett Johansson over diminished profits stemming from its hybrid release in theaters and on Disney+ Premier Access. While we have not heard anything about the streaming numbers beyond its million debut on the service, its theatrical total rose to over 7 million this weekend. That puts it at around the totals of Men In Black II and Ice Age: Dawn of the Dinosaurs after 24 days, though it made around .5 million-to- million less than both of those films on its fourth weekend. The best hope for Black Widow is that the film can stretch to get into the 0 million range, which is where both those films ended up, but it is still likely headed to between 0 million-0 million as suggested last week. Still, unless James Gunn’s The Suicide Squad can break the HBO Max ceiling, Black Widow should end up being the domestic victor of the summer.(Photo by Ed Araquel/Paramount Pictures)Elsewhere, Snake Eyes: G.I. Joe Origins fell 70% from last week to just million. That’s the worst drop for a film exclusively in theaters this year and now ranks amongst the 10 worst drops for a film opening between million and million. We’re talking out of over 700 films, too: Jonas Brothers: The 3D Concert Experience (-77.40%), The Photograph (-77.10%), The Bye Bye Man (-74.60%), Land of the Dead (-73.40%), Endless Love (2014) (-70.20%), Snake Eyes: G.I. Joe Origins (70.0%), Skyline (-69.50%), The Grudge (2020) (-69.20%), Elektra (-69.00%), Child s Play (2019) (-68.60%).Though the studio behind Snake Eyes is citing concerns over the Delta variant spreading among the unvaccinated for its recent decision to pull Clifford the Big Red Dog from its September 17 release, could it be the action flick s underperformance – as well as the general underperformance of family titles – that spooked them? The film is still scheduled to premiere at next month’s Toronto Film Festival and Paramount’s Paw Patrol is still on the schedule for August 20. Could Paramount+ or a move to Amazon be on the table next for either of them?Finally, Sony Classics’ Nine Days had one of the best limited launches of the year earning ,455 in just four theaters for a ,614 per-screen-average. The only limited releases to start better were the Vietnamese film, Bo Gia, which made 0,000 in 20 theaters (,500 PTA) and Neon’s Ailey making ,091 in two theaters (,546 PTA).On The Vine: Acclaimed The Suicide Squad Puts Theatrical/HBO Max Release Strategy to the Test One of the last attempts for a potential blockbuster of the summer arrives with James Gunn’s The Suicide Squad. If Warner Brothers is feeling confident, they have reason: Early reviews have the movie already Certified Fresh at 96% on the Tomatometer (which is a big jump from the Rotten 26% Tomatometer score for the original). But can it overcome people’s desire to stay at home and watch it on HBO Max? We will find out next weekend Full List of Box Office Results: July 30-August 1
Just when you thought the Marvel Cinematic Universe was over or at least Phase 3, anyway here comes your friendly neighborhood Spider-Man with another solid MCU installment. Spider-Man: Far From Home screened for critics this week, and those who saw it have taken to social media with mostly gushes of praise for how it continues the franchise, particularly following the events of Avengers: Endgame. Some are even calling this the best Spidey movie yet.Here’s what critics are saying about Spider-Man: Far From Home:Has Marvel done it again?Spider-Man: Far From Home is wonderful. It’s funny and clever and filled with smart twists. Kate Erbland, IndieWireSpider-Man: Far From Home is jaw dropping. Sean O Connell, CinemaBlendSpider-Man: Far From Home is an absolute home run. It’s SO much fun. Brandon Davis, ComicBook.comAbsolutely loved Spider-Man: Far From Home. Captures the spirit of the comics and mixes in some amazing movie magic. Steve Weintraub, ColliderSpider-Man: Far From Home is an extremely fun, cleverly executed, and frequently hilarious culmination of the MCU’s wall-crawler’s journey so far. Jim Vejvoda, IGN MoviesWhat a fun, solid sequel. Kara Warner, PeopleHow does it compare to Spider-Man: Homecoming?Far superior to its predecessor and really delightful, with a terrific theme of trust well-threaded throughout.  Rodrigo Perez, The PlaylistI liked it a tad more than Spider-Man: Homecoming, which I loved.  Jim Vejvoda, IGN MoviesI liked it a smidge more than Homecoming.  Terri Schwartz, IGN MoviesIf you loved the teen-centric stuff in Homecoming, there s more where that came from.  Ben Pearson, SlashfilmDidn’t LOVE Spider-Man: Far From Home as much as Homecoming, but it’s still a rad take on bearing the weight of great expectations and a fun ode to teen romance.  Brian Truitt, USA TodaySpider-Man: Far From Home isn’t quite as wonderful as Homecoming, but it s a really strong, endearing sequel that delivers some excellent moments in its second half in particular.  Eric Goldman, IGN Movies(Photo by Sony Pictures)How does it rank against other Spider-Man movies?The best Spider-Man movie yet… Honestly, Spider-Man: Far From Home feels like the Spider-Man movie I ve waited all my life for. Josh Wilding, We Got This CoveredI haven’t decided if Far From Home is better than Spider-Verse yet, but it’s certainly the best live-action outing. Sean Keane, CNETSpider-Man: Far From Home had the difficult task of following two epic Avengers movies AND Spider-Verse and succeeds by telling a smaller, classical story about Peter Parker caught between what he wants and what responsibility demands. Pure cat(spider)nip for Spidey fans like me. Matt Singer, ScreenCrushWhat sets it apart from the previous ones?The BEST Spidey action ever. Most SHOCKING ending in a Spider-Man movie ever. Fans will flip out!  Sean O Connell, CinemaBlendBoth Sam Raimi and Marc Webb s movies did a lot of great stuff with the character but it s Jon Watts who has made him amazing AND spectacular. Josh Wilding, We Got This CoveredThe cast are better than Raimi’s. But the Raimi movies are pretty focused, and this is more sprawling with a bigger scope, so it’s a tough comparison. Ben Pearson, Slashfilm(Photo by Sony Pictures)Is it a worthy follow-up to Avengers: Endgame?Far From Home does a terrific job of balancing Avengers: Endgame fallout with a seriously fun and inventive Spidey adventure. Digital SpyThe movie is very clever (and funny) how it handles the fallout post Endgame in explaining how this world works now. Mike Ryan, UproxxThe coda we needed after Endgame, a glimpse of how the world looks now that the dust has settled. Angie Han, MashableIt’s pretty much the perfect Avengers: Endgame epilogue — reminding us that the MCU goes on in a joyous, emotionally fulfilling ride. Sean Keane, CNETThe way it builds off Endgame to to dive deeper into Peter’s emotions is really what make it soar. Germain Lussier, io9Far From Home is a great afterword for Endgame, closing out Marvel Phase 3 with a bang while also setting up new challenges and exciting stuff ahead. Jim Vejvoda, IGN MoviesAre there any surprises?Spider-Man: Far From Home had three legit ‘holy sh*t’ shocking moments. Mike Ryan, UproxxIt’s huge in itself and for the future of the MCU in the most surprising ways. Brandon Davis, by Sony Pictures)How is the movie s treatment of Mysterio?I’m a huge Mysterio fan and Gyllenhaal nails him… Obviously, with Mysterio involved, there are some pretty bizarre scenes. Honestly I always kind of assumed a Mysterio movie wasn’t really possible, but Jon Watts and company pulled it off. Mike Ryan, UproxxJake Gyllenhaal is fantastic as Mysterio.  Steve Weintraub, ColliderJake G’s an inspired choice for Mysterio.  Brian Truitt, USA TodayJake G = perfect casting.  Angie Han, MashableMajor kudos in particular to Jake Gyllenhaal for his super engaging performance as complex character Mysterio.  Sean Keane, CNETJake Gyllenhaal gets way more to do than expected, clearly had a ball doing it.  Kara Warner, PeopleJake Gyllenhaal is one of the MCU’s most entertaining characters ever. He’s so unpredictable and fun and brings A LOT to Spider-Man: Far From Home. The chemistry between Gyllenhaal and Tom Holland is top of the line.  Brandon Davis, ComicBook.comHow is the rest of the cast?Tom Holland pours his heart and soul into his best work as Peter/Spidey yet, with a more involving story and conflicts this time out. Don Kaye, Den of GeekTom Holland continues to be a perfect Spider-Man, and his chemistry with Zendaya is adorable. Digital SpyTom Holland continues to be amazing, Zendaya’s MJ is just as cool as Shuri. Brian Truitt, USA TodayZendaya brings depth in her massively expanded role as MJ. Sean Keane, CNET(Photo by Sony Pictures)Are there any problems?Some of the comedy falls flat, but this film has A LOT going on – ultimately beneficial because it mostly distracts from stuff that doesn t land quite as well. Ben Pearson, SlashfilmCould maybe have gone a bit harder on Peter s emotional arc. Angie Han, MashableShould we stay until the end?Do NOT miss the mid-credits scene because it s the biggest and best effort from Marvel Studios yet. Literally mind-blowing avoid spoilers at all costs! Josh Wilding, We Got This CoveredI can’t stress this enough: stay all the way through the credits for Spider-Man: Far From Home!!! There’s a couple of brilliant sequences waiting for you! Brandon Davis, ComicBook.comTwo of the best end credits scenes ever. Kevin McCarthy, WTTG-TVWill we want to see it again?The second the film ended I wanted to watch it again. Steve Weintraub, ColliderI don’t think I’ve been this excited to re-watch a film since Jordan Peele’s Get Out and Us. Watts masterfully layers incredible action, storytelling and character development into a film that will be a whole new experience on the second watch. Kevin McCarthy, WTTG-TVI love that Spider-Man: Far From Home is all sleight-of-hand. It begs to be seen multiple times. Jason Guerrasio, Business InsiderI can’t wait to see it again. Germain Lussier, io9I cannot wait to see this movie again. And again. Brandon Davis, ComicBook.comSpider-Man: Far from Home opens everywhere on July 2.
Watch: Director Baz Luhrmann and production and costume designer Catherine Martin on the making of Moulin Rouge! above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, director Baz Luhrmann and production and costume designer Catherine Martin break down how they created one of cinema s great entrances. VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Moulin Rouge (2001) 76%Baz Luhrmann s breakout success, the 1992 comedy Strictly Ballroom, announced the Australian director as a bold new filmmaking talent with a wild, colorful, fast-moving style that was unlike anything anyone else was doing at the time. BAFTA and Golden Globe nominations followed, and buzz began to build for what Baz would do next. That next was Romeo + Juliet – a modern retelling that would spawn a hit soundtrack, make a star of Leonardo DiCaprio, and become the definitive version of the story for 90s and 2000s teens. Then came the big one: 2001 s Moulin Rouge!, the tale of a courtesan named Satine (Nicole Kidman) and a poet named Christian (Ewan McGregor) who meet and fall in love at Paris s Moulin Rouge, a cabaret club famous as the birthplace of the can-can. The Luhrmann-y twist was that their story was told as a musical filled with modern songs and mashups (and one beautiful original, Come What May ). The ambition was grand – to give new life to the movie musical – and Luhrmann was aided in his mission by a mammoth team of filmmakers and actors that included his wife and longtime collaborator Catherine Martin, the film s costume designer (with Angus Strathie) and production designer. Here, Luhrmann and Martin reveal how the film began to take shape, from the initial idea to building the club itself.“While I was in India had the incredible experience of experiencing a Bollywood movie… you could have drama, then high comedy – like, literal physical gags – then a musical number, then high drama again.”Baz Luhrmann: “I was debating what my next work should be. I was thinking, ‘Should I look at Shakespeare as if Shakespeare was going to make a movie, or should I look at my other great passion, which is a way of finding the musical?’ – which I loved as a child growing up in a very small country town where we had a cinema and we got very old movies. Is there a way of making the musical work at this time and at this place? At the same time, we were creating an opera of Benjamin Britten s A Midsummer Night s Dream. I went off to India to do that opera and while I was there I had the incredible experience of experiencing what would be called a Bollywood movie. I went into a cinema and there was maybe 2,500 people in that cinema. And what was astounding in the language and in the form was that you could have drama, a dramatic scene, then high comedy like, literal physical gags then a musical number, then high drama again. And it influenced me in a couple of ways.In one regard, it was Shakespearean, and on the other hand, you went, like, ‘Wow.’ This is audience participation in cinema. You are meant, as an audience, not to be looking at reality through a keyhole, but you are meant to participate in the storytelling. You re meant to boo and hiss and laugh and cry and sing along, but then you re also meant to be emotionally engaged and moved. I thought in a strange way this was completely and totally fresh. So I went off and I actually did the Shakespeare film first, and then coming a second time round, I went like, ‘It must be time to have a go at trying to make the musical work.’”Luhrmann was influenced by Bollywood films. (Photo by © 20th Century Fox Film Corp. All rights reserved. Courtesy: Everett Collection.)“There was a serious moment when I was thinking of setting Moulin Rouge! in Studio 54 in the ’70s.”Luhrmann: “I was looking at what world to set it in and there was a serious moment when I was thinking of setting Moulin Rouge! in Studio 54 in the ’70s. The character [of] Toulouse-Lautrec, I guess, would have been Andy Warhol, and there would have been a young creative writer/singer who comes to New York and gets involved in the underworld of 54. What I found was that it s too close to us You ve got to remember, at the time, the 1890s the can-can and all of that imagery in that world, you couldn t think of anything less cool or less hip. I remember CM [Catherine Martin] waking up in the middle of the night one night and saying to me, ‘Oh my God, Baz. We re doing a can-can movie. I mean, how could we possibly make that, you know, in any way aesthetically interesting?’ And I said, ‘Through a perspective.’We went to Paris. I went with Craig Pierce, my long-term co-writer, and my team, and then we lived it. Like all the movies, I live them. I literally lived the life of a 1890s Bohemian. And then reading, of course, lots of literature and research and, you know, Émile Zola s Nana and Lady of the Camellias and all that, and then starting to DNA the story. And then looking at, ‘OK. How do you decode a musical language that s going to kind of smash through the barrier that says musicals are dead?’ So that was the mission.”“I didn t know Elton John, so I rang him up and he said, ‘Oh that sounds like a fantastic idea, darling. Of course, we re going to do it.’”Luhrmann: “The device that what comes out of Christian is music that we know in our universe, started this idea of being able to be both set in a period but also take leaps of faith into the future and into our world. I m going to use this word, which was totally not around, you know, 18 years ago when I made this movie: the ‘mashup,’ slicing, montage, like mashing different things together. People weren t talking about mashups 20 years ago. So that s kind of where we were coming from in terms of finding a musical and visual and storytelling language. Publishing-wise, you technically couldn t have done it before Moulin Rouge!. The only way that Anton [Monsted, the film’s executive movie producer] and I managed to get that together with Craig and I writing, was I had to ring the actual artist. I mean, I didn t know Elton John, so I rang him up and he said, ‘Oh that sounds like a fantastic idea, darling. Of course, we re going to do it.’ And then I reached out to David Bowie and ended up working with David Bowie and Bono and all these icons and they all just thought it was a great, daring idea. If they hadn t have supported it, it would never have happened, but it did change this idea of publishing. That you could take all kinds of pieces of music and make something new out of it.”Luhrmann and Nicole Kidman. (Photo by © 20th Century Fox Film Corp. All rights reserved. Courtesy: Everett Collection.)“Heath Ledger was very much emerging and so was Jake [Gyllenhaal, for the role of Christian].”Luhrmann: “One of the most touching and beautiful stories – and it s been put out there before – was that actually at one point Heath Ledger was very much emerging and so was Jake [Gyllenhaal, for the role of Christian]. And I remember Heath and Jake, the idea of Christian being a much younger character…both of them could have played it in different ways. It just became clear that this idea of the age difference was probably putting a pressure on that wasn t exactly right. But the beautiful story is, and they often tell it, is that they became great friends and bonded over almost getting that role. I mean, when I look at [the footage I have of them] and I look at Heath and Jake – they both sing beautifully. Jake s got a beautiful baritone, I think, but Heath sang beautifully as well, and you know, that s just one of those moments that happens in the journey where you go, like, ‘Wow. Well that would have been different, too.’ But Ewan and Nicole were just perfectly matched for that role. It was very like, it s a perfect match in Casablanca, you know, between Bergman and Bogart.”Luhrmann says Kidman and McGregor were a perfect pairing. (Photo by © 20th Century Fox Film Corp. All rights reserved. Courtesy: Everett Collection.)“We actually marked out the whole of the Moulin Rouge using the stick that people use to do surveying and police tape.”Catherine Martin: “One of the first things we did was build a scale model of what we believed was our version of the Moulin Rouge and filled it with scale people to see how that number of people would feel.  (Now, we would do all of this in 3D and computer.) And as a result, we shrunk the size down, because it just was huge. Then we went in front of the show grounds in Sydney, at Moore Park [where] there’s a big open area of grass. We went out with sticks and tape and we actually marked out the whole of the Moulin Rouge, using the stick that people use to do surveying and police tape, and we marked out the entire size of it. And we got every single person we could find in the production offices to come and inhabit the space. From then we tweaked the size of it again. The idea of the entrances – like the spinning mirrors for the Diamond Dogs entrance – came from a lot of research about very classical theatrical entrances. And it seemed like a great way of getting a surprising and explosive and an unexpected way of getting our cast into the body of the Moulin Rouge. I think, on our biggest day, we had like 350.”The Moment: The Sparkling DiamondLuhrmann knew he wanted to give Satine a memorable movie entrance. So it is that she first appears perched on a swing above the main dance floor of the Moulin Rouge, singing a slowed-down first verse of Diamonds Are A Girl s Best Friend before the horn section kicks in and Satine begins swirling around the room like a glittering circus performer. It s little wonder both the Duke (Richard Roxburgh) and Christian are entranced. The audience was, too, and the scene, along with Satine s costume, have become defining signatures for the film. Kidman did the whole scene stunt-free, Luhrmann and Martin explain, and executed it like a pro. (She would break a rib wearing one particular corset during shooting, and take a nasty stumble in her pink diamond costume – she handled both incidents like a trooper says Martin.) Here, the duo breaks down the moment, how they achieved it, and the many films and styles they drew on to create Satine s first look, the Black Diamond. Kidman performed the scene without a stunt double. (Photo by © 20th Century Fox Film Corp. All rights reserved. Courtesy: Everett Collection.)“The very, very last thing you see is the eyes and the face under the hat.”Martin: “Baz always starts from the storytelling of the scene, how he wants to stage it. His first question is always, Where are the entrances and exits?’ He is very technical in that sense and very exigent. You know, you can t have a doorway in the middle of the set that no one ever uses. Because the audience is always just looking at the door, wondering when someone is going to come in. All these things sound obvious. But you d be surprised how unobvious they are when you re designing something.”Luhrmann: “Film s best entrances, great film entrances, you could do a reel on it. Whether it s Lawrence of Arabia and Omar Sharif coming out of the desert, or the entrance of Marlon Brando in The Godfather, the reveal. One of the technical things about the reveal [of Satine on the swing in Moulin Rouge!], is that you see ka-bang! and then you see the flitter, and then you see the silhouette of her, and then you see her body, and then you see the hat, and then the very, very last thing you see is the eyes and the face under the hat. So it s a very slow curtain reveal: Then it’s like, the sparkling diamond. It’s quite technical.”“Nicole was like, ‘No way’… She was 100% stunt-free on that moment.”Luhrmann: “I thought, wouldn t it be great if we put her in a circus trapeze and we did a trapeze number, but we ll have to have a stunt person. But Nicole being Nicole was like, ‘No way.’ So she trained with a circus person for a good, I would say, two weeks to do that number and when you see her swing around that s her. It s her all the way through that footage. She s on the trapeze, she s being swung around, she comes down, she falls into all those guys. So she was 100% stunt-free on that moment. It was just a process of skillful circus rigging and we made the swing as simple as possible, because we wanted it to be all about her. And we also wanted it to be light and flexible and movable and to be a real piece of circus equipment, so that it would be safe as possible. Basically, it was a real stunt leap that we just decorated. I think what s great about it is that it s almost not there. It s all about Nicole and Nicole s entrance and her spectacular physical confidence.”Martin drew inspiration from the fish-scale pattern on Marilyn Monroe s dress in Bus Stop. (Photo by © 20th Century Fox Film Corp./courtesy Everett Collection)“We wanted to maintain that 19th-century feeling of being corseted, but at the same time we wanted to call on a myriad of classical movie heroines, whether it s Marilyn Monroe or Rita Hayworth.”Martin: “Nicole s costume, when she first appears on the swing, is called the Black Diamond outfit. It was very interesting, all our discussion about how to find, and make, Nicole kind of this quintessential and classical heroine. We wanted to maintain that 19th-century feeling of being corseted, but at the same time we wanted to call on a myriad of classical movie heroines, whether it s Marilyn Monroe or Rita Hayworth – that kind of classic movie glamour of musical movie stars of the ’30s through the ’40s into the ’50s. So the corset shape for Moulin Rouge was adjusted a little bit to have a slightly ’50s kind of bustier feel. You see that in Nicole s outfits. We then used, from Marilyn Monroe s costume in Bus Stop, the fish scale pattern as a little nod to her. One of the big great motifs in the design of Moulin Rouge! is the use of the tail coats and top hats, and you’ll see in the costume itself, it actually has tails in the back, and she is wearing a miniature top hat that s perched on the side. It was a big fashion in the late 19th century. It was considered very sexy and kind of lush for women to wear thin trousers and male costumes. It also plays with the idea of the equestrian, the sexual fetish about women riding horses, obviously. It’s all those things melded to create the ultimate showgirl costume. The first time I saw Nicole in the Black Diamond outfit, she was Satine. I mean Nicole is marvelous to dress for obvious reasons, but she always transcends her costume. She makes Satine who Satine is. The outfit is never as good on a dress stand as it is on her body.”The Impact: The Musical Is RebornMoulin Rouge! was something of a sensation in its time. Praise was not unanimous – while the movie is Certified Fresh at 76%, there were vocal detractors who could not get on board with its feverishness nor its earnestness – but it struck a chord with audiences who d been yearning for an  audacious new musical. The movie made 0 million globally and earned eight Oscar nominations, with Martin winning two for Costume Design and Art Direction. The movie s soundtrack, which included the Lady Marmalade cover by Christina Aguilera, Mya, Lil Kim, P!nk, and Missy Elliott, went two times platinum in the U.S. and spawned a second volume. The movie s lasting impact would take some time to materialize, however. Lurhmann did, in fact, help reignite interest in the movie musical, and in the next two decades we would see successful new entrants in the genre like Chicago, Hairspray, Dreamgirls, The Greatest Showman, and La La Land. Moulin Rouge! itself remains beloved by a hardcore group of fans to this day, a passion that Broadway producers are banking on: a big-budget stage show of the movie opens at the Al Hirschfeld theater this month. For Luhrmann and Martin it s a joyful full-circle moment.“Maybe we re just getting a little bit far there. We might have to tone that down.”Luhrmann: “We did open in Cannes and that was a spectacular opening, that went terrific. But there was a time when we screen-tested it in a place called Simi Valley, CA, and nothing against Simi Valley, but at that stage we were even wilder up front about the kind of things that could happen in the Moulin Rouge. Now, I m not going to go into detail, but it was a little bit more in-your-face about the let s say “menu,” of erotic possibilities at the Moulin Rouge. So we had this kind of opening sequence in it, and for example, I think there might even have been Grace Jones ‘Slave to the Rhythm’ at some point in the opening sequence – we were putting it out in front of an audience and it was meant to be slightly tongue-in-cheek, but I m pretty sure three quarters of the audience just walked out before the first 10 minutes [were over]. We went like, ‘Maybe we re just getting a little bit far there. We might have to tone that down.’”Catherine Martin and Baz Luhrmann at the 2002 Academy Awards. Martin would win for Best Costume Design and Best Production Design. (Photo by KMazur/WireImage)“I m just thrilled that the musical is now not a subject of, ‘Should you or shouldn t you?’ The subject is: What do you do with it next?”Luhrmann: “Chicago came along [a few years later] and it just meant that we kicked the door in. It took Chicago and a lot of great musicals that then followed afterwards to keep the language going. And I did a celebration of the musical in fact I can t remember when but for the Oscars, with Hugh Jackman and Beyoncé and a whole cast of hundreds as a celebration that the musical was back. Well, that was years ago. When I started out in movies, Star Wars, science-fiction, that was the dominant genre, and the idea that the musical would be commercially successful, I mean, just nobody believed that – nobody– and I only did it because I loved them. But now, for example, Beauty and the Beast I think, did like a billion dollars, and then you go, ‘Wow. The musical really is back.’ Nobody even thinks about musicals being a challenge anymore. I mean, look at The Greatest Showman, look at La La Land. I m just thrilled that the musical is now not a subject of, ‘Should you or shouldn t you?’ The subject is: What do you do with it next? How can you keep challenging the form? How can you keep the interest in it?”“It was quite controversial when it first opened and it created a lot of polemic discussion about the cutting style, its content, the mashups.”Martin: “I m very proud to have been part of the journey. I m proud that it s part of the body of work that I ve been involved in. And I m thrilled that it has stood the test of the time and I still meet people to this day that are as enthusiastic about it as they were in the first days of it being shown. In fact, the enthusiasm has kind of grown. And it was quite controversial when it first opened, and it created a lot of polemic discussion about the cutting style, its content, the mashups, all these things. And what s fantastic is that it truly has continued to capture people s imaginations. And it s viewed more fondly now probably than when it first opened. The affection that the audience holds for the title, I think, is extraordinary. [When I saw the new musical] there was every sort of person in the audience and every age group. There were like five standing ovations. Alex Timbers [who directed the musical] has done an amazing job. It s just great to see young fresh talent reinterpret something and make it relevant again to such a broad population. I mean, there s nothing to be said apart from the audience can t be wrong. You just cannot believe how the audience connects to the show. It s mind blowing.”The stage at the Al Hirschfeld Theatre in New York City, where the Moulin Rouge! musical opens in July. (Photo by Walter McBride/Getty Images)“It s like some child that I guess I conceived and was born and has grown up, and now it s run away and fallen in love with an audience, and occasionally it drops by and says, ‘Hi Dad.’”Lurhmann: “I think to myself, ‘Well, 20 years later, there s a live stage musical version now heading to Broadway.’ I m not doing that – I mean, I had something to do with selecting the young creative team and the new creative team, and they re not just reproducing the movie, they re doing radical interpretations of it. So I think to myself, ‘It s got a life of its own and it continues.’ And you know, when we did it, its impact on fashion and on music, the idea of the musical mashup, that elephant love medley, where they all sing on top of the elephant and all the different love songs are all mashed together… For it to still be around 20 years later, it s like some child that I guess I conceived and was born and has grown up, and now it s like run away and fallen in love with an audience, and occasionally it drops by and says, ‘Hi Dad.’ And I go, ‘How you going?’ It’s got a life of it s own. It really has.”Moulin Rouge! was released June 1, 2001. Buy or rent it at FandangoNOW.
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This week s Ketchup brings you more headlines from the world of film development news, covering such titles as Black Canary, The Matrix: Resurrections, and Nosferatu.This WEEK S TOP STORYANYA TAYLOR-JOY REUNITES WITH ROBERT EGGERS FOR A NOSFERATU REMAKE(Photo by James Devaney/Getty Images)Although most people first saw The Witch in 2016, the film actually had its world premiere at the Sundance Film Festival a year earlier in January, 2015, where it was very well received. In between that premiere and its theatrical release, director Robert Eggers was able to begin development on a dream project, a remake of the 1922 vampire horror film Nosferatu (Certified Fresh at 97%), which Werner Herzog previously remade in 1979 (Certified Fresh at 95%). Since then, Eggers has instead directed The Lighthouse (Certified Fresh at 90%) and the upcoming Vikings epic The Northman (4/8/2022), but it s sounding like his Nosferatu movie might finally start filming soon. Anya Taylor-Joy (The Queen s Gambit, The New Mutants), who first came to prominence as the star of The Witch, revealed this week that she will be reuniting with Eggers for Nosferatu.  More immediately, however, Taylor-Joy will be starring in the Mad Max: Fury Road prequel Furiosa (as Charlize Theron s character), for which she has been learning to do some of her own high-speed stunt driving.Other Top Headlines1. DISNEY CASTS YOUNG MUFASA AND SCAR IN THE LION KING PREQUEL (Photo by ©Walt Disney Studios Motion Pictures)The success of The Lion King (Certified Fresh at 93%) in 1994 led to an entire franchise consisting of sequels and TV shows. The CGI remake in 2019 (Rotten at 52%) was also a huge box office success with over .6 billion worldwide, but instead of a sequel, Disney is going the prequel route this time. The first two stars to be announced for the Lion King prequel are Kevlin Harrison, Jr. (The Trial of the Chicago 7) as the young Taka (aka Scar) and Aaron Pierre (The Underground Railroad) as the young Mufasa. Director Barry Jenkins (Moonlight, If Beale Street Could Talk) has started production on the prequel, which Disney describes as being live action, though it s probably more likely to be photorealistic CGI (since Disney also called the 2019 movie live action despite most of the movie actually being CGI animation).2. SPIDER-MAN: NO WAY HOME CONFIRMS RETURN OF DOC OCK AND OTHER VILLAINS (Photo by Marvel Entertainment)Marvel Studios boss Kevin Feige started the week by coyly telling Collider that the first trailer for Spider-Man: No Way Home (12/17/2021) would definitely come out before the movie does. What Feige couldn t have predicted was that within 24 hours, someone would leak a version of the trailer online, albeit filmed off someone s phone and missing most of the special effects. That led soon after to the Spider-Man: No Way Home trailer being officially released, special effects in place and everything. The trailer sets up the One More Day-style premise pretty clearly (which is also leading to a certain long-simmering fan theory), as Peter Parker seeks Doctor Strange s help after his identity goes public, ruining his life and that of those closest to him. The trailer also shows the return of Alfred Molina as Doctor Octopus, and also seems to tease the returns of other villains like the Green Goblin, Sandman, and others. The trailer proved extremely popular, as it even broke the 24-hour record previously held by Avengers: Endgame.3. THE MATRIX: RESURRECTIONS TITLE AND PREMISE REVEALED(Photo by ©Warner Bros.)We don t have a trailer yet for the long-awaited sequel known until this week as The Matrix 4, but at the CinemaCon event for theatrical exhibitors, Warner Bros. revealed that the title will be The Matrix: Resurrections, and by showing them the first trailer, we also got our first synopsis. As the trailer starts, Keanu Reeves is back to being Thomas Anderson again, who tells his psychiatrist (Neal Patrick Harris) that he s been having strange dreams, for which he starts taking blue prescription bills, until a mysterious man (Yahya Abdul-Mateen II) gives Anderson a red pill. Along the way, we also see Anderson meeting a woman played by Carrie-Anne Moss (Trinity), and that most of the people around him live their lives staring at their phones. Warner Bros. will likely release the trailer to the online public soon, but we don t know for sure when that will be yet. The Matrix: Resurrections is currently scheduled for release on December 22, 2021.4. CHRISTIAN BALE TO PREACH TO THE CHURCH OF LIVING DANGEROUSLY  (Photo by Jaap Buitendijk/©Paramount)Hollywood hasn t completely given up reading source material other than comic books. Every once in a while, we still hear about mid-range dramas adapted from magazine or newspaper articles, such as the 2019 Vanity Fair article The Church of Living Dangerously: How One of America s Biggest Pastors Became a Drug Runner for a Mexican Cartel. And in the spirit of the very best subtitles, that one also basically tells you exactly what the movie The Church of Living Dangerously is going be about. Christian Bale is now attached to star in the film adaptation as Oregon preacher John Lee Bishop, whose church became so large it took up an 8,500 square foot former K-Mart superstore, before he eventually became a drug smuggler. The Vanity Fair article will be adapted for the film by screenwriter Charles Randolph, who previously worked with Christian Bale on another true story, The Big Short (Certified Fresh at 89%).5. IN THE HEIGHTS STAR COREY HAWKINS JOINS THE COLOR PURPLE MUSICAL REMAKE (Photo by Steve Mack/Everett Collection)In 1985, Steven Spielberg directed the drama The Color Purple (Fresh at 81%), adapted from the novel of the same title by Alice Walker. Starting in 2005, The Color Purple was also adapted as a Broadway stage musical, which Warner Bros. is now adapting into a movie. Corey Hawkins, who recently starred in the movie adaptation of Lin-Manuel Miranda s In the Heights (Certified Fresh at 95%) is the first actor announced for the movie musical, reportedly as the character named Harpo, the character married to Oprah Winfrey s Sofia in Spielberg s film. (Side note: Harpo also happens to be Oprah spelled backwards, and it s the name of her production company.) Warner Bros. is now testing actresses opposite Corey Hawkins to play his wife. The Color Purple will be directed by Ghana-born filmmaker Blitz Bazawule, who previously directed Beyonce s Black is King (Certified Fresh at 94%).6. JAKE GYLLENHAAL JOINS ROBERT KIRKMAN S OBLIVION SONG (Photo by Anne Marie Fox/TM & ©Copyright Fox Searchlight)Comic book writer Robert Kirkman has also had success with the adaptations of both The Walking Dead (and its spinoffs) and the recent Amazon Prime animated series Invincible. Kirkman also created the comic book Oblivion Song, set in a world where 300,000 residents of Philadelphia suddenly disappear mysteirously. Jake Gyllenhaal is now attached to produce and star in an adaptation of Oblivion Song, as a man who makes daily trips to Oblivion , the part of Philadelphia from which the people went missing. Gyllenhaal has two wrapped films opening soon: The Guilty (10/1/2021) and Michael Bay s Ambulance (2/18/2022).7. BLACK CANARY TO GET HER OWN SPINOFF MOVIE AFTER LAST YEAR S BIRDS OF PREY (Photo by Claudette Barius/©Warner Bros.)One of the last major movies released just before movie theaters shut down last year was the DC Comics movie Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (Certified Fresh at 79%). It remains unclear if that film will ever get a direct sequel, but one of the characters is now likely to receive her own solo spinoff. Jurnee Smollett is attached to reprise her character for Black Canary, which is being developed by Lovecraft Country showrunner Misha Green for HBO Max. It s not yet known if any other Birds of Prey characters will return for Black Canary, or when the film might debut on the streaming service.8. TIFFANY HADDISH JOINS ANIMATED/LIVE-ACTION COMEDY ABOUT AN IMAGINARY FRIEND(Photo by Michele K. Short/Universal Pictures)Tiffany Haddish has been keeping so very busy and prolific that one could easily forget her big breakthrough role in Girls Trip (Certified Fresh at 92%) was only four years ago in 2017. Haddish has three wrapped films awaiting release (The Card Counter, Easter Sunday, and Nicolas Cage s The Unbearable Weight of Massive Talent), and is also attached to star in Disney s next Haunted Mansion movie. She isn t slowing down, either, as this week she signed with Universal Pictures to star in their animated/live-action hybrid family comedy I.F. (shot for Imaginary Friend), although it s unclear whether she s playing the imaginary friend or the human character. I.F. will be directed by Mike Mitchell (Shrek Forever After, Sky High) from a screenplay by Darren Lemke (Goosebumps; co-writer of Mitchell s Shrek Forever After). I.F. also has competition at Paramount with Imaginary Friends, a comedy with a similar premise that may co-star Ryan Reynolds and John Krasinski.9. JASON MOMOA AND DAVE BAUTISTA HOPE TO DO A BUDDY COP MOVIE WITH DAVID LEITCH(Photo by Elizabeth Goodenough, JA/Everett Collection)Most new movie projects are announced via the rather old fashioned route of press releases and articles in trade publications like Variety or The Hollywood Reporter. This week, Jason Momoa decided to go a very different route, as he broke some big news during an interview on The Late Late Show with James Corden while promoting Sweet Girl (Rotten at 16%). Momoa told Corden that he and Dave Bautista (who are both in the upcoming Dune remake) plan on doing a Lethal Weapon-style buddy-cop movie with director David Leitch (Deadpool 2, Atomic Blonde), who reportedly called the pitch interesting (though that is far from a confirmation that Leitch will actually direct it).On an Apple device? Follow Rotten Tomatoes on Apple News.


ag九游会登陆入口 Taylor (cont.): The scale of the scene was big for me, at the time, because I hadn t really done anything big and epic yet. That came later, and the show hadn t gotten its big budget boost until later. So, by the terms of the time, it was a bigger deal, and we didn t have much money, and we didn t have enough extras, and we couldn t afford the visual effects that we had planned, so it was all very sort of getting by by the seat of our pants. But I remember talking to my DP, Alik Sakharov, and both of us agreeing that the core, it was really a story about a father and his two daughters, and sticking to that dynamic guided us through how we handled the scene.In fact, the most emotional moments for me were some of the stuff between the way we crosscut between Ned and his daughters and, certainly, between Ned and Arya, who sort of inherits the narrative at the end of that episode. We hand off from Ned and take it to her in a way that I was happy with, because of course, her character, like all characters, has a long road ahead of them, and we re going to grow with them. But I remember being very conscious about saying, OK, we re finishing Ned, but the story continues and we re passing the narrative, passing the consciousness, passing the subjectivity to this young girl. So, we did that with pictures and with sound, and I was happy with how it turned out.(Photo by HBO)Can you also talk a little bit about the performances of your actors, in that moment?Taylor: Yeah. Again, it hung mostly on the three. Ned Stark was the linchpin, the centerpiece of the whole thing, and his performance I still think is just heartbreaking and beautiful. It s partly because I have daughters, and I sort of know what it d be like. I can t know, but I think I identify with him up there: a combination of anguish and shame and despair. His performance was perfect.Our two actresses were so young and were going to develop and build and grow so much, but I think they did amazing work, both of them, in that scene. Joffrey also is great as the consummate villain, with his pettiness and naiveté on display. I did watch it recently and was impressed with everyone, and when you go to a wide shot, everyone is absolutely in character. Cersei and Sansa, and even Varys and everyone is really playing their relationship to this moment, intensely. I was very happy.All anybody really wants to know is what Ned Stark was whispering when he was about to get his head chopped off, and that s the question I get a million times. I know I spoke to him about what would be going through his head and what he would be doing, and we agreed that he d be praying to his own gods and trying to make peace and trying to accept. So I know he came up with a prayer, probably talking to our language guy and our writers, but it was nothing scripted. It was really his invention, but it was to do with the prayers to his gods.(Photo by HBO)The series would have been so different if he had survived, and it seems obvious, but can you talk a little bit about how essential that moment is in the series overall?Taylor: I think it s true that it is the turning point. Some friends and I have talked about the show and one of the things we have come to believe is that it s an epic show that has a kind of the pilot episode is the first season. It s not like the first episode sets you up. It s such a scale of storytelling that really the whole first season is the pilot. It s the turning point of Ned being destroyed and the dragons being born. The stakes rise and chaos is initiated.The Starks and everyone is sort of scattered to the winds, and all the seasons that follow are about the slow reconnection of those people that were scattered. In that way, it really does launch the story forward and shape what s to come. [In] the eighth season, the culmination is everyone coming back together, everyone finding their place in the battle that will finish things, and much of that comes from what happened that day.What was your first experience watching Ned s beheading with people who weren t involved with the production and didn t know what was coming?Taylor: That was a revelation, partly because of that scene, and also because we didn t know when we were doing it the scale of the audience response to the series as a whole, so we had no idea that we would find this audience. I was most stunned by the way that Ned connected to every demographic and to every economic level. It was such effective storytelling and such a great performance on his part and doing what fantasy can do, which sort of transposes to an environment where everybody, I think, can relate.I was really taken aback and impressed that the people who seemed torn up by it really took Ned as their character. As I said, I was struck by [how] it cut across all categories, and frequently we re aware of how our society and our time is fractured along any number of measurable lines, and in that moment I was struck by how much everybody had taken that character into their hearts and identified with them and felt the loss of him, which was inspiring.I think that was the first moment that people started posting video reactions on the internet, right? Taylor: Yeah. I remember seeing something on YouTube, and one young man was watching and he was just beside himself. It was just devastating. He was so upset with us and stuff. It was the best audience response you could find.Going back, would you do anything differently with that moment?Taylor: Yes. Of course. I mean, I look at it now and I see the crudeness of some of it. Some I can blame on budget and time and stuff. But also I think I ve gotten better at handling scenes of that scale, so I think I might have done a better job with the camera. But I can t think of anything to change in terms of the performance the actors gave, and I can t argue with the emotional impact that it has, so in that way I m not trying to redo it in my head.Moment: Mother of Dragons(Photo by HBO)Next is the Mother of Dragons scene. Viewers watched Daenerys walk into the fire and everyone thinks she s sacrificing herself. She thinks she might be, too. Can you tell us about building that moment with your actors?Taylor: A lot was going on there, obviously. It s a tragedy, it s a funeral, it s the end of things, and as we discovered, it s the beginning of everything, too. I know — I ve heard this, and we spoke about it — that Emilia did not think her character expected to die in the flames. She didn t know what was coming, but whatever came she felt was right. So there s a wonderful look she gives to Iain Glen when he s all torn up. When she s about to walk in she looks at him, and it s such a forgiving, letting go look from such a place of wisdom. I thought it was really beautiful, and that, for me, was the attitude that Emilia had Daenerys take into the flames — that she knew the rightness of what she was doing.Partly it s a culture where when the King dies, the Queen goes with him, but she s a Targaryen. I think in her mind she knew flames were not going to be the problem, that something was going to happen, or that she was going to a place, that it wasn t necessarily her death that she was walking to. Certainly nobody, including her, expected the birth that happened with her three sidekicks.But that was the beginning of the new dawn. One detail that I was happy with and proud of was that I believe, in the book, that scene plays at night, and the dragons are born in the night. I remember pushing for the transition to be to dawn, so that when the dragons are born they re born into the dawn of a new day. It was partly a storytelling thing, to say that this has ended and now this is beginning, but it was also because we had that amazing location. I wanted to make sure that we saw it, and that we could back off and hear the dragons voices scaled. If it was night we couldn t have afforded to light it because we didn t have any money back then. I remembering being very happy with [it]. One of my favorite moments is the transition to dawn when Iain Glen s character walks in and we follow his feet and his sword in to discover her for the first time, and that transition to dawn meant a lot to me.(Photo by HBO)It was beautiful.Taylor: That location was in Malta and it s beautiful, right by the coast. It s all ocean on the right side of frame and desert on the left, but we had to erase the ocean and replace it with desert to make it look like we were in the right setting. It was funny to take such a beautiful image with this glistening sea and erase it all and put more sand in.I was going to ask about some of the effects in that moment, because obviously, the dragons. Can you just talk a little bit about coordinating to get the exact right baby dragon experience?Taylor: On the day Emilia did a great job of having nothing to work with, and none of us had seen the dragons yet. [Showrunners] David [Benioff] and Dan [Weiss] kept talking about [how] they wanted them to be absolutely biologically believable. In all the research they d done with dragons, they threw away anything that had four feet and wings. They wanted to go off physiognomy and physiology that was real, so they looked at bats and creatures where the forelimbs are the wings. That became a big part of the design of the creatures.Just the fact that these awesome beings would enter the story as tiny, fragile, squeaky dependent creatures was a hint, or a gesture toward the scale of where we were going — that eventually they were going to be the size of jumbo jets. But at this point they were nothing.That relates to another question I had about when you re building these moments to film, taking into consideration what s to come for the character. How much of that is part of your filmmaking process?Taylor: You always want to know, because a lot of it, the way you would weight a certain moment comes from knowing where you re headed and playing against that, sometimes, or being true to it but playing against it. Certainly Daenerys has one of the strongest arcs in television. She was basically chattel — she s an object being sold off at the beginning, and she rises to become the most powerful person in that world.I think we were all guided by a dim awareness of her overall arc, but I had no grasp of the details, certainly, of where we were going. I m sure she had had talks with David and Dan. They probably gave her a lot more insight to where her character was going than I was privy to at the time. I just knew that this was the beginning of something very, very big.In fact, I think even when we did that scene I was naive about the scale of the storytelling. I thought that in season 2 the dragons would be something substantial to contend with, but they were not even preteen by season 2. I ve always been impressed with how they were taking their time to build layer on layer of things, and the dragons are one case where David and Dan had a very clear idea of the long game they were playing.Moment: Viserion Becomes an Ice DragonSpeaking of dragons, that brings me to the third big twist. We lose one of those baby dragons. Well, he gets adopted.Taylor: He s co-opted, appropriated. Yeah. I remember when I had been away from the show and I was coming back to do one episode, because it worked out schedule-wise. I saw that I was getting the second-to-last episode, which usually, in HBO terms, means you re getting a big one because there s a season structure where the second-to-last episode pulls out all the stops, and frequently the last episode is kind of a denouement.I thought, Oh, that s great. But then I started seeing the other scripts and realizing that in that season, every episode was huge. Every episode had a major huge event or battle or something, so I realized that that was just the nature of the show that had grown so much since I had been away. But then, when I read my script, I got to that moment with the dragon and I knew the power of what is was, because partly [in] killing off any longstanding character, the incredible upheaval it means for the balance of power is major.But also the fact that you re basically killing a puppy. You know it s going to have a very strong resonance with the audience, so I was really grateful to be able to handle that moment. The reveal of the turn at the end, of course, was one of the yummiest episode-enders I d ever been given — when we see the blue eye open and know what that means. Mostly it was just gratitude being able to do it. I remember designing all the sequences with the dragon, and it was great to be able to work at the scale of storytelling that so much of the show has driven you to this point.

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