It’s been five years since moviegoers were gifted – and utterly befuddled by – a new Charlie Kaufman movie. In September, the mind behind Being John Malkovich, Anomalisa, and Eternal Sunshine of the Spotless Mind releases his newest film as director and writer, I’m Thinking of Ending Things, on Netflix. The adaptation of Iain Reed’s celebrated novel stars Jessie Buckley and Jesse Plemons as a young couple driving through a snowstorm to meet Plemons’ character’s parents, and Toni Collette and David Thewlis as the bizarre mom and dad they eventually encounter. As usual, nothing – time, space, memory, even the rooms – is what it seems. Ahead of the movie’s release, Rotten Tomatoes Editor-in-Chief Joel Meares jumped on a Zoom call with Kaufman, Buckley, Plemons, and Collette to talk through the challenge of bringing this dense, smart, and very Kaufman project to the screen.I m Thinking of Ending Things premieres on Netflix on September 4. 5. DANIEL CRAIG CONFIRMS THAT NO TIME TO DIE WILL BE HIS LAST FILM AS JAMES BOND (Photo by Francois Duhamel/©Columbia Pictures)After the four James Bond movies starring Daniel Craig all received Fresh Tomatometer scores (ranging from 63% for Spectre to a Certified Fresh 95% for Casino Royale), it might be easy to forget how the franchise was often received before 2006. Three of the four Pierce Bronsan Bonds (all but GoldenEye) received Rotten scores, and three of Roger Moore s films also received Rotten scores (Octopussy, A View to a Kill, and The Man with the Golden Gun). It s for that reason that we re a little sad but only a little, since it wasn t exactly a surprise about the confirmation this week from Daniel Craig that next year s No Time to Die (4/8/2020) will be his last Bond film. Although we hope that Craig s successor will continue Bond s Fresh streak, the history of the franchise also tells us that such an outcome is far from certain.6. HARRISON FORD S RUNAWAY HIT THE FUGITIVE IS GETTING REMADE(Photo by Warner Bros. Pictures)As we remarked in our coverage above of Channing Tatum revisiting The Maxx, we are entering an era when the lens of nostalgia is increasingly now focused on the 1990s. In film development news, nostalgia is most often a factor when we re talking about remakes (or reboots, revamps, reimaginings, etc), and Hollywood is definitely far from stopping their remake frenzy anytime soon. That brings us to the #3 box office hit of 1993 after Jurassic Park and Mrs. Doubtfire, which was the Harrison Ford thriller The Fugitive (an adaptation of the 1960s TV show). In 1998, Warner Bros. attempted to replicate that film s success with the spinoff U.S. Marshals, starring Tommy Lee Jones, but that film was a box office disappointment. We re now just under four years from the 20th anniversary of The Fugitive (8/6/1993), which might be why the studio is starting development on a reboot project being described as a new spin on the premise. Warner Bros. has hired director Albert Hughes to work on their reboot of The Fugitive, but Hughes brings a bit of a mixed bag of Tomatometers to the project, with only two (Menace II Society and Alpha) of his six films as director earning Fresh ratings.
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Now, the culprit is revealed and the scheme is in motion. But does Loki (Tom Hiddleston) truly see himself in it? Or is he as lost as the rest of us? The second episode of Loki continues to build the satisfying double act of Loki and Mobius (Owen Wilson) while offering a greater understanding of the Sacred Timeline. But it also adds a few more questions as the timeline itself is imperiled.Let s take a look at what we now know about Loki to see if we can gain some clarity on The Variant s plan.Spoiler Alert: The following reveals details of Loki season 1, episode 2. Stop here if you have not watched The Variant. The Variant Appears To Be a Lady Loki(Photo by Marvel Studios)Let s start with The Variant herself — she/her are the pronouns we ll use until the series offers greater clarification. As many suspected, Sophia Di Martino is the dangerous variant of Loki the TVA has been hunting. The clues have been there for a while, from Disney refusing to identify Di Martino s part to various outlets noting the established Lady Loki of Marvel Comics. Even Loki s own publicity materials seeded the notion that the God of Mischief is gender-fluid. Then there was the delightful touch of The Variant first speaking via the voice of Hunter B-15 (Wunmi Mosaku), all but confirming the later reveal.But even with The Variant seemingly presenting as female, there is always the possibility of misdirection — right down to her even being a variant Loki. For the moment, we re going to assume she is, in fact, a version of him. During the first mission briefing, Mobius and B-15 went out of their way to note Loki variants present with various forms and powersets. And, as we suggested last week, every choice from Loki s birth to Odin adopting him to his action through the first Avengers film (at least) offers a wide array of Lokis for the TVA to deal with. In fact, Loki variants are a constant part of their caseload.The Variant is peculiar, though, because she cannot be brought to book the way most variants or even our Loki has. Why is that?One option: The Variant is really the Loki who seemingly died in Avengers: Infinity War. If that s the case, her/their actions are meant to happen even if they seem to have a detrimental effect on the Sacred Timeline. It also means she is as much a prisoner of fate as the title variant; something we hope she is raging against. Another option, which we touched upon last week, is that she s a Loki from the Multiversal war who is somehow beyond the Time-Keepers awareness. Marvel Comics stories are filled with remnants of old mutliverses, from Galactus to He Who Remains — the consciousness who devised the Time-Keepers to begin with. The Variant could originate from the chaos before the Sacred Timeline. Restoring that chaos also seems like a good motivation for her actions.The Determinism of the Timeline(Photo by Chuck Zlotnick. ©Marvel Studios 2021. All Rights Reserved.)Before we look at The Variant s possibly motives, though, let s focus on the TVA itself for a moment. The determinism of the Sacred Timeline — and the way it seemingly has a religious pull on its staff — is important to one of the series key themes. Throughout the episode, Loki is reminded that he is a villain. The TVA s position on The Variant comes from the belief that her actions can only be motivated by evil. And although no one says it too loudly, the Sacred Timeline suggests a lack of free will in the universe.But is that the case? Last week, we mentioned that in a meta-narrative sense, the characters free will is an illusion because they are, ultimately, characters on a television show. Within the show s reality, though, the question of free will is seemingly answered by the very possibility of variance. If people are able to choose actions beyond the Time-Keeper s perception of the timeline, than free will is real. It also means someone like Loki can grow beyond their predetermined role. Considering the Loki of Marvel Comics lore has raged against the idea that he must be the villain, it seems likely the title character of this series and The Variant might be trying some other possibility than being the bad guy.Also, the seeming religious certainty the Sacred Timeline offers means TVA staff do not question their own origins. Like Loki, we have to wonder if it is true. Are they all creations of the Time-Keepers or are they variants themselves held over to function in an elaborate bureaucracy meant to preserve the purity of time? This is Marvel after all; mind-wipes and installing new personas are far from difficult.Hunter C-20 s (Sasha Lane) freak-out in the Roxxcart store gave us the impression she started to remember who she really was before the TVA, but her repeating of phrases may just be an after effect of whatever the Variant did to learn the location of the Time-Keepers. Also, Loki s questioning of Mobius interest in the jet skis also leaves us wondering if, perhaps, Mobius had a conventional existence as a jet ski retailer in some multiversal 1990s.Granted, we could easily be wrong here. Time travel shows allow for a lot of possibilities and this is just one we re entertaining as it ties into the thematic conflict between a deterministic universe and a Multiverse of options.Loki Within the Scheme(Photo by Marvel Studios)We are on Loki s side here. At least to the extent that we d like to believe our actions are our own and not the dictates of a trio of space lizards. And it seems The Variant s scheme is to destabilize the Sacred Timeline beyond repair using the TVA s own reset charges. The effect of the literal time-bomb is yet to be seen, but we imagine it is, at least in part, a distraction while The Variant pays the Time-Keepers a visit.And, oddly enough, isn t that exactly what Loki s been trying to do since he gave up on the Tesseract last week? But why reach their location? This is where The Variant s motive gets cloudy. She told Loki she has no interest in controlling the TVA. But then again, Loki lies, so overseeing the Sacred Timeline and running everything could be her objective. That would make her predictable, though, and therefore part of the Time-Keepers grand design.Simply killing them would, at the very least, allow for branching timelines going forward even the time-bomb seems to be attacking all of the Sacred Timeline. Then again, removing the Time-Keepers ability to perceive the correctness of the timeline would have tremendous tactical advantage. The Variant could win against the Avengers and rule Midgard, for example. But that still casts her in the villain s role; doomed to play antagonist even outside conventional time.Curiously, the Time-Keepers have occupied an antagonistic role in the comics from time to time, so their intentions here are always suspect. Their motive in these clashes with the Avengers and other protagonist is often just simple survival — they alter time to keep themselves in a position of power. That may be the case here. We only have the TVA s delightful Miss Minutes (Tara Strong) to go by, so her account of the Multiversal War may be highly skewed. If that s the case, is The Variant actually heroic here? For the moment, let s assume this is true. It is possible The Variant knows something about the war we ve yet to discover and that could be the reason for her attacks on the TVA?Since next week s episode will be the half-way mark, we expect some sort of pivot to occur and for Loki s understanding of the wider universe to change again. At that point, will he even be interested in ruling anything? Will The Variant be willing to ally with him at that point?Spoiler Alert: The following reveals details from the Marvel comics that some may consider spoilers for how the series may unfold. Stop here if you don t want to read possible future plot points.The Kang Connection(Photo by Marvel Studios)Speaking of the wider universe, it s time to talk about Kang the Conqueror (to be played by Jonathan Majors in Ant-Man and The Wasp: Quantumania) as this week s potential call to other parts of the Marvel Cinematic Universe. Last week, the episode closed with hunters identifying a 31st-century artifact as the branching anachronism — Kang originally hailed from that century. Then there is the resemblance of one of the Time-Keepers to Kang s best known visage. In the comics, he has a long association with Ravonna Renslayer (played by Gugu Mbatha-Raw on Loki). He is also a well-known time traveler, despite his despotic rule of 41st-century Earth, whose journeys led to variant Kangs polluting the timeline. He also has one other fantastic connection to an upcoming Marvel Studios project, but is his presence already being felt in this series?One possibility: Kang is one of the other operatives Ravonna mentioned while grilling Mobius about the failure of Loki s first field mission. He may even be the one who gave Ravonna that Franklin D. Roosevelt High School pen. Then again, that resemblance to one of the Time-Keepers may see him revealed as part of the trio, if not the sole Time-Keeper. Ruling the entire timeline may appeal to this version of Kang even if the Kang of the comics prefers to be out in the open. And as this is a time travel show, it is also possible the Kang we might see here is at the end of his journey and trying something more altruistic.Then again, Kang could just be Loki s Mephisto and another red herring generated by Internet speculation. But as Ravonna presents one solid connection to him — via the comics, anyway — it is possible he will matter before the end.And like Kang, the second episode of Loki gave us a lot of possibilities to ponder. Hopefully, more clarity will come as The Variant and Loki make their way to the Time-Keepers and they get their chance to offer testimony. In the meantime, we ll continue to wonder if any Loki can escape their seeming destiny as the villain.Loki episodes debut each Wednesday on Disney+.
To no one’s surprise, Frozen II led the Thanksgiving holiday with a five-day haul of 6.3 million, with .3 million of that coming over the weekend. That is the eighth-best second weekend of all time, wedged between Disney’s 2017 Beauty and the Beast (.4 million) and, well, Disney’s Incredibles 2 (.34 million). Overall, the film has grossed 7.6 million in 10 days, which is the 15th-best ever for 10 days, between Captain America: Civil War (5.96 million) and The Dark Knight Rises (7.11 million). It is the 25th film to have grossed over 0 million in its first 10 days of release. Only three of those films (Harry Potter and the Deathly Hallows Part 2, Furious 7, and Batman v Superman: Dawn of Justice) failed to reach 0 million total. Amongst the 12 other films to have million-plus second weekends, only one of them (Avengers: Age of Ultron) failed to reach 0 million total. However, only two of those movies opened in the holiday season (Star Wars: The Force Awakens and Avatar). Frozen II has already amassed another 1 million worldwide for a total of 8 million as it marches to become another billion grosser for Disney.Fresh Surprise: Knives Out Shows Original Films Can Still Murder At the Box Office It wasn t a total surprise for us at RT – we had placed it in the top 5 holiday earners in our winter box office preview – but Rian Johnson’s Knives Out surpassed all tracking service expectations by earning .7 million since opening Wednesday. The .7 million it earned over the weekend puts it amongst the top 20 Thanksgiving holiday weekends ever – and it is just the fifth film not rated “G” or “PG” to be on that list. Some 61 films have opened in November and grossed over million in their first five days; only four (Pokemon: The First Movie, Dumb and Dumber To, The Muppets, and Unbreakable) failed to reach at least 0 million total. That means Knives Out could join Hustlers, Once Upon a Time in Hollywood, and Us as the only films not based on a previous film or property to reach that milestone in 2019.The Top 10 and Beyond: Queen and Slim Gets a Solid Start, Word-of-Mouth Boosts Beautiful Day(Photo by © Universal)It was back and forth over the holiday for third place, but James Mangold’s Ford v Ferrari won the race with .22 million over the weekend and .99 million for the five days. No film opening in November to have grossed at least million in 17 days has failed to reach 0 million. Ford v Ferrari currently stands at million, but its magic number is still going to be around 0 million globally to find its way into profit. With just over 3 million internationally, it is still less than 60% of the way there.Marielle Heller’s A Beautiful Day in the Neighborhood got the word-of-mouth bump over the holiday we were expecting. It is now outpacing Roland Emmerich’s Midway, which just passed the million mark this weekend. Gothika, Starship Troopers, and The Nutcracker and the Four Realms are the only November films to have million after 10 days and not finish with at least million. Midway is looking to join that list given its third weekend (.95 million) was less than what those three films earned in their third weekend. Meanwhile, the Mr. Rogers film, which stands at just over million to date, had a better second weekend (.8 million) than any live-action film in November to have million or less by day 10 of wide release (aside from Jingle All the Way). This suggests that a final gross over million is still very possible for the million-budgeted film.The other newbie of the week was Melina Matsoukas’s Certified Fresh Queen Slim, which grossed .7 million over the weekend and .8 million over the full holiday. That is 0,000 more than what Widows had last year in its first five days before ultimately finishing with million. Last week’s cop thriller, 21 Bridges, is up to just .45 million after 10 days, which puts it in After the Sunset/Delivery Man territory. Its second weekend (.82 million) was about million less than the Vince Vaughn comedy and 21 Bridges may be up at around just - million when it leaves theaters. Finally, Todd Phillips’ Joker spent its eighth straight week in the top 10. It has passed 0 million domestic, .048 billion worldwide, and is Warner Bros. fourth-highest grossing film of all time. Joker also passed Pirates of the Caribbean: On Stranger Tides to become the 35th highest-grossing film of all time.This Time Last Year: Another Possession Could Not Scare Ralph From Top Spot(Photo by © Walt Disney Studios Motion Pictures)It was the weekend after Thanksgiving so grosses were down a bit, but still a lot of people were going to the movies. The only major new release was The Possession of Hannah Grace, which opened in seventh place with .4 million. Ralph Breaks the Internet was again on top with .56 million, passing the 0 million mark. The Grinch moved up to second with .92 million, enough to pass the 0 million line. Creed II fell back to third with .63 million and Fantastic Beasts: The Crimes of Grindelwald had the steepest fall in the top 10 (61.3%) to .36 million. The top 10 films grossed a total of 6.19 million and averaged 61.4% on the Tomatometer; this year’s top 10 grossed an estimated 6.98 million over the weekend and averaged 67.3% with critics.On the Vine: A Balloon Adventure and an Acclaimed Romance Set to Light Up Indie Box OfficeThe weekend after Thanksgiving is usually a dead zone for new releases and indeed only one film is going wide and that is the oft-delayed animated film from STX, Playmobil: The Movie. The million production was moved from January to April to August and then into December. It has grossed just .4 million in international waters to date, and may have trouble matching that here. In limited release, try to catch The Aeronauts on the biggest screen possible as it is not often you get a chance for a hot air balloon adventure with Felicity Jones and Eddie Redmayne – especially one that s Certified fesh at 84% on the Tomatometer to date. Even more acclaimed is the 98%-rated Portrait of a Lady On Fire. The beloved French romance was a hit at Cannes this year, winning Best Screenplay, and it is also nominated for Best International Film at the 2020 Independent Spirit Awards.The Full Top 10: November 29-December 1Frozen II (2019) 78% – .25 million (7.57 million total)Knives Out (2019) 97% – .02 million (.7 million total)Ford v Ferrari (2019) 92% – .22 million ( million total)A Beautiful Day in the Neighborhood (2019) 95% – .8 million (.31 million total)Queen & Slim (2019) 83% – .7 million (.81 million total)21 Bridges (2019) 54% – .82 million (.46 million total)Playing With Fire (2019) 24% – .2 million (9.2 million total)Midway (2019) 42% – .96 million (.28 million total)Joker (2019) 68% – .98 million (0.6 million total)Last Christmas (2019) 46% – .9 million (.66 million total)
"Rotten Tomatoes Is Wrong" About... Home Alone 2: Lost In New York Was moving the action to Manhattan and upping the "ow"-factor enough to justify a second Home Alone movie? We're tossing bricks and taking names in the latest ep of our podcast. by RT Staff | December 10, 2020 | Comments
Pixar’s latest, Soul, is heading to the streaming service Disney+ on Christmas Day, but the animated feature just premiered for its first audience at the London Film Festival, and the first reactions out of that social-distancing screening are unsurprisingly positive. Initial reviews aren’t in total agreement, however, on whether Soul is great or just pretty good.Directed by Up and Inside Out helmer Pete Docter, the movie is being praised for its visuals, soundtrack, and representation more than its storytelling, which follows a Black jazz musician (voiced by Jamie Foxx) prematurely experiencing an abstractly rendered afterlife and teaming up with another character (Tina Fey) who isn’t ready to move on to their next realm. Even if it’s not peak Pixar, we can apparently still expect better than much of the studio’s output, as well as most any other films out this year.Here’s what critics are saying about Soul:How does it rank as a Pixar movie?It’s one of the very best Pixar efforts in years. Kaleem Aftab, IndieWireTheir latest original story is their best work since 2015’s Inside Out. Hannah Woodhead, Little White LiesPerhaps the most ambitious film ever attempted by Pixar. Jason Solomons, The WrapIt’s a little Pixar-lite… For such big ideas, it’s surprisingly slight. Alex Godfrey, Empire MagazineWhat would have been one of Pixar’s best films had it been released a decade earlier now feels like one of their more formulaic efforts… Soul is a mid tier Pixar effort. Alistair Ryder, AwardsWatchDoes it feel related to any specific predecessor?Certainly, it will feel recognizable to those who have seen Docter’s prior film, Inside Out, and [it] may, indeed, be some kind of spiritual continuation. Joe Utichi, DeadlineIn many ways, Soul is an extension of his prior film [Inside Out], a similar examination of self doubt and existential insecurity. Alistair Ryder, AwardsWatchWhile Coco may have tread some of this turf first, Pixar’s latest life-after-death saga has its own distinctive twist. Kaleem Aftab, IndieWireIf Coco dealt with The Great Beyond and letting go, Soul is about grabbing what you’ve got with both hands and celebrating the joy of being alive. Hannah Woodhead, Little White LiesRyan FujitaniWill kids appreciate it?Although there’s plenty for kids to enjoy this feels like the most adult-themed Pixar movie yet. James Mottram, South China Morning PostSoul feels more consciously geared towards an older audience, which makes sense considering most of the children who grew up with Pixar’s earliest films are now in their thirties and forties. Hannah Woodhead, Little White LiesWhile this picture might skew towards a slightly older audience than Pixar’s usual demographic, a whole new generation of junior jazz fans could be created. Wendy Ide, Screen InternationalThis is a cartoon for children of all ages. Jason Solomons, The WrapShould we bring tissues?Adults will sob until their muscles ache. Clarisse Loughrey, IndependentThere won t be a dry eye in your living room and when you ve recovered from that, Soul hits you with a perfect final line that ll set you off again. Ian Sandwell, Digital SpyIt’s the emotion that overwhelms. Soul will leave you feeling warm – both inside and out. James Mottram, South China Morning PostIt remains a film with a deeply emotional core… In short, it has soul. Joe Utichi, DeadlineThe stakes seem strangely low, all things considered, without the big weepy gut punches you might hope for, certainly of the potency that Docter unleashed in Up and Inside Out. Alex Godfrey, Empire MagazineSoul lacks its promise of true heart-wrench and touch, the shredding of one’s heart isn’t there. Ben Rolph, Discussing Film(Photo by Pixar)How does the film look?The hand animation — fluttering, graceful, lightning-fast — will be studied by students of the medium with awe in years to come. Leslie Felperin, Hollywood ReporterThe animation – whether it’s the bustle of New York or the pastel-shaded celestial afterlife – is stunning. James Mottram, South China Morning PostSoul might be Pixar’s most exquisitely lit film – cinematographers Matt Aspbury and Ian Megibben fill both worlds with textures to die for. Alex Godfrey, Empire MagazineThe juxtaposition of the two art styles helps to distinguish the places in which the narrative shifts from one mode to the next… It provides a beautiful roadmap with which to navigate the mess. Liam Macleod, HeyUGuysDoes it do justice to the Big Apple?This New York is just a notch away from reality, and so authentically, lovingly executed, you can feel it. It’s all gloriously lived-in, which is fitting for a film that’s an ode to life. Alex Godfrey, Empire MagazineNew York has never looked as pretty as it does in the Pixar universe. Hannah Woodhead, Little White Lies(Photo by Pixar)And how about representation?Joe’s blackness isn’t relegated to a side issue; it’s baked into the essence of the character, and treated as a crucial aspect of his humanity. Kaleem Aftab, IndieWireSoul manages to avoid feeling tokenistic or patronizing… Racial identity isn t really the point; in the end, it s a movie more about jazz and spiritual essence — soul, if you will, in every sense of the word. Leslie Felperin, Hollywood ReporterHow s the music?With music at its core, it’s no surprise that the soundtrack is one of the company’s best… A dizzying combination of musical identities that underscore the movie’s layered trajectory. Kaleem Aftab, IndieWirePossibly the best soundtrack in a Pixar film since the first Toy Story. Leslie Felperin, Hollywood ReporterAnd the story?Soul manages to juggle the surreal humor of Inside Out in tandem with its most grounded, socially-conscious narrative ever, and it’s a real wonder to watch those ingredients congeal. Kaleem Aftab, IndieWireOnly in the final stages do the knots of plot complexity get the better of the characters, but audiences will have been well won over by then. Jason Solomons, The WrapThere is nothing in Soul that feels particularly original… with the story feeling cobbled together by an algorithm that’s been fed all of Pixar’s greatest hits. Alistair Ryder, AwardsWatchAfter its incredible first act, things start to stall in the second act after a critical story point. Ian Sandwell, Digital SpySmacking all of [the plot elements] together robs the film of any sense of thematic or tonal cohesion and constantly breaks the flow. Liam Macleod, HeyUGuys(Photo by Pixar)Are there any other problems?Some of the comedy leans towards the clumsy and juvenile and the lines between life and death seem to fall apart at the end, even outside of interventions from cosmic beings. Liam Macleod, HeyUGuysI felt some residual disappointment, a lingering tinge of regret that it doesn’t have the courage of all its convictions… What’s missing at the end, is a bit of soul. Jason Solomons, The WrapWill it satisfy viewers as a Disney+ release?The Disney+ move automatically makes it the best Disney+ movie yet – although you will wish you d seen it on the big screen. Ian Sandwell, Digital SpyWhat a pity for those living in regions where Soul will launch on streaming service Disney+ rather than in cinemas, where it truly belongs. James Mottram, South China Morning PostA pity, as it s a work that especially benefits from a theatrical-sized screen and a top-of-the-range sound system; immersion into its world is vital to the film s impact. Leslie Felperin, Hollywood ReporterSome of the gorgeous splendor of the computer-generated animation is bound to be lost on smaller screens. Jason Solomons, The WrapThis is a picture which cries out to be seen on the big screen. Wendy Ide, Screen InternationalSoul will debut on Disney+ on December 25, 2020.On an Apple device? Follow Rotten Tomatoes on Apple News.
皇冠正规welcome登录 (Photo by Universal Pictures /Courtesy Everett Collection)Horror’s resurgence into the mainstream in the 2010s has delivered a string of successful pictures both domestically and internationally. The American horror box office has been dominated by the Aussie James Wan and Blumhouse empires, producing such fan favorites as Ouija: Origin of Evil, The Conjuring, A Quiet Place, Lights Out, Insidious: The Last Key, The First Purge, Unfriended: Dark Web, and now Glass and Halloween. Their combined slates are endless, and yet there is a particular look and feel shared across most of their films, one of slick commercialism, high-def jump scares, and sound design pulled from the same library of ball-bearing-on-metal effects. In a sense, the bulk of these films would fall into the category of “kiddie gore,” that is, horror movies for beginners.And there’s absolutely nothing wrong with hitting the basics of horror with a clean and tidy approach. If anything, Wan and Blumhouse have whetted Americans’ appetites for more and better horror and hopefully something deeper — that Jordan Peele’s Blumhouse venture Get Out was met with such universal adoration signals this might be the case. That film took a serious, critical approach to the genre — even as it hit some laugh lines — drawing from the rich cinematic catalogue that acknowledges Peele’s predecessors, most evidently Rusty Cundieff (Tales from the Hood) and those who’ve adapted Stephen King’s work, i.e. Misery, The Shining, Pet Sematary, and Creepshow.Peele’s script seems so related to King’s work, because there’s something almost literary about his writing, a cadence and mastery of scope that produces the sense that this surreal world might have been an adaptation of a novel or short story. And though it’s likely the kiddie gore will continue to rule the box office — The Nun just became the most financially successful film of the Conjuring universe — more sophisticated genre fare is likely to flourish in the future. Horror fans, it seems, are ready for writers to reclaim the genre, which means things are only going to get weirder.IT AND OTHERS ARE HARDENING AUDIENCES(Photo by Warner Bros. /Courtesy Everett Collection)When Stephen King wrote IT in 1986, this book seemed the least likely of his to earn an adaptation. Kids learn ancient rituals from a turtle, hallucinate on a trippy spirit quest to view evil, give each other homoerotic hand jobs, and finally unite through an endless orgy that syncs their third eyes. King descended into the depths of his imagination, not ever thinking about how a director might commit these scenes to the screen. Taking on a King adaptation with the interiority of IT just isn’t the same as shoring up a narrative like The Dead Zone, which has a very clear trajectory and distinct scenes that can be conveyed easily in the physical world. So what does it mean that Andy Muschietti has tried his hand with this ultra-difficult novel? Well, everything.It means directors are open to expanding their visual language, to building a world around outrageous stories, rather than sticking to the three-act structure of scares that seems overly concerned with tying up all loose ends. (See: Rings and Lights Out.) But IT also means that horror audiences are hardening, craving something stranger, more inexplicably sinister that has no discernible end or beginning. Muschietti’s not going to explain how that ocean of blood gushed forth from Beverly’s sink and painted the pink tiles red or how only she and the boys could see it. There’s something satisfying and terrifying about the not knowing.It seems even Wan is going to enter the game of inexplicable terror, producing his own remake of a confounding King classic, The Tommyknockers. But King’s not the only prolific horror author out there, and if trends continue as they are, it’s highly likely that another writer — Clive Barker — may surpass King’s influence in the coming years.THE CLIVE BARKER FACTOR(Photo by RLJE Films /Courtesy Everett Collection)In an article for Film School Rejects, Matthew Monagle argued that cinema has cycled through its John Carpenter phase and is about to hit its Clive Barker renaissance. He s not wrong. Barker, whose most famous creation is the aptly named Pinhead cenobite from the Hellraiser series, has a style marked by unabashedly grotesque monsters and depictions of hell that draw heavily from Blake’s torturous illuminations of Songs of Innocence and Experience. Barker’s bleak and only obliquely comic. He’s the Christopher Pike to Carpenter’s R.L. Stine, the old testament to Carpenter’s new, something more adult, more devastating.As Monagle points
bygone family-focused adventure films like Honey I Shrunk The Kids than the first two films, there’s plenty here for viewers of all ages.” Marya E. Gates, Nerdist“One of those rare movies that’s a genuine four-quadrant treat… A film that will entertain adults as much as kids, fans and much as newbies.” Jane Crowther, Total FilmIs it funny?“The jokes are very funny.” Johnny Oleksinski, New York Post“[It] retains the other key aspect of the original formula: the deadpan drollery and sharp timing… Afterlife’s engaging cast has the comic beats down.” Sheri Linden, Hollywood Reporter“[It’s] sometimes amusing.” Sean O Connell, CinemaBlend(Photo by Columbia Pictures)Does it have heart?“Bring the tissues because you are going to need them.” Scott Menzel, We Live Entertainment“Jason Reitman, son of the original film’s director Ivan Reitman, injects a large helping of heart into the franchise.” Marya E. Gates, Nerdist“Certain moments, which I wouldn’t dare spoil, literally filled my heart to the brim…It’s the emotion of it all that works best, making a good flick great.” Joey Magidson, Awards Radar“The younger Reitman’s film resorts to extreme, and frankly questionable, measures to tug at the pre-existing fanbase’s heartstrings.” William Bibbiani, The Wrap“In its climactic sequence, the movie gives in to a more than a bit of self-congratulatory schmaltz — catnip for fans.” Sheri Linden, Hollywood ReporterHow is the screenplay?“Reitman and co-writer Gil Kenan have crafted a cheeky, witty, well-paced, and heartfelt script that constantly delights.” Rosie Knight, IGN Movies“The script as a whole doesn t just respect the source material, but it also respects the characters and the audience.” Kaitlyn Booth, Bleeding Cool“There’s so much plot, character, and backstory stuffed in, a few crucial connections get frustratingly pushed to the side or left way too vague.” Germain Lussier, io9.com“It takes nearly an hour (51 minutes, to be exact) for any ghosts to appear.” Peter Debruge, VarietyWhat about the special effects?“The special effects are again dynamite here.” Pete Hammond, Deadline“Special effects have advanced light-years since 1984, and yet Reitman (the younger) makes the respectable decision to stick to the look of the original film.” Peter Debruge, Variety“Those effects are certainly smoother this time around, even while keeping within the visual vernacular of the 1984 film.” Sheri Linden, Hollywood Reporter“The practical effects make the visuals in Ghostbusters: Afterlife far more like the films earlier in the franchise than most of today’s effects-heavy films.” Marya E. Gates, Nerdist(Photo by Columbia Pictures)Are there any standouts in the cast?“McKenna Grace as Phoebe walks away with pretty much the entire movie, which is really impressive considering the caliber of talent that we have here.” Kaitlyn Booth, Bleeding Cool“McKenna Grace is the kind of talent that only comes around once in a generation.” Rosie Knight, IGN Movies“Phoebe is by far the best thing about Ghostbusters: Afterlife. McKenna Grace… gives a truly revelatory, star-making performance here.” Germain Lussier, io9.com“Grace is just aces here…This is Grace’s show, and she really makes it a main event.” Joey Magidson, Awards Radar“You simply cannot look away from Grace when she is on screen. She’s funny and smart, but in a way that feels authentic and true.” Marya E. Gates, Nerdist“McKenna Grace gives the standout performance..if the franchise wanted to move forward with her in a leading role, I’d say we were in good hands.” Sean O Connell, CinemaBlendWhat about the rest of the cast?“Logan Kim as Podcast, Phoebe’s motormouth classmate who documents everything, is like a fun-size John Candy.” Olly Richards, Empire Magazine“Kim proves himself as a new comedic talent. His scenes with Grace are some of the best in the movie and deliver a few of its biggest laughs.” Rosie Knight, IGN Movies“[Paul Rudd] continues to prove himself a comedy MVP, earning half the movie’s big laughs.” Peter Debruge, Variety“[Carrie] Coon is wonderful as always.” Marya E. Gates, Nerdist“The excellent Carrie Coon is completely underused here.” Germain Lussier, io9.com(Photo by Columbia Pictures)Does director Jason Reitman do his father proud?“The real star here is Jason Reitman who, like Phoebe, rediscovers and reinvents his own family cinematic legacy.” Pete Hammond, Deadline“You can feel Reitman’s thrill in it, the enthusiasm of a man who has known Ghostbusters since he was six.” Olly Richards, Empire Magazine“Jason Reitman was literally born to make this movie… with all the love and affection of a fan, but with the moviemaking chops that have nearly won him an Academy Award.” Joey Magidson, Awards Radar“Reitman’s direction may be sharp and professional, but that’s only in the service of familiar material, so it falls to an excellent cast to make the most of a very repetitive situation.” William Bibbiani, The WrapWill we want another Ghostbusters movie?“When Ghostbusters: Afterlife ends, it leaves you wanting more.” David Crow, Den of Geek“The film does enough world-building that you leave hoping to see more from these characters in the future.” Germain Lussier, io9.com“If this serves as a launchpad for a new phase in the franchise, with such a dynamic lead as Phoebe at the helm, I’m willing to follow her anywhere.” Marya E. Gates, Nerdist“[Phoebe is] character I want to see busting ghosts in future installments.” Joey Magidson, Awards Radar“By the time the lights go up, one gets the distinct impression that all that really mattered was clearing the slate and setting this franchise up for future exploitation.” William Bibbiani, The WrapGhostbusters: Afterlife is in theaters on November 19, 2021. The story is also not a direct translation of Huxley’s 1932 novel. While this may dismay some AP English literature teachers, Ehrenreich is here for it.“I ve been a part of a few things now that are adapted from books and other source material, and I think the most important thing is to find a way to express the central essence of the thing,” he said. “A lot of times, just strictly, they’re different mediums. So just being overly faithful to it ends up being a pretty boring movie or series, because you can get across a feeling or an idea in a book in a way you can t in a film necessarily.“I think the best way to serve the original source material is to change it to make it vivid and alive for the medium it s now it,” he said.Working with the actor bring the material to life are costars Harry Lloyd (Game of Thrones) as grasping Alpha counselor Bernard Marx, Jessica Brown Findlay (Downton Abbey) as disillusioned Beta Lenina Crowne, Joseph Morgan as Epsilon CJack60, Kylie Bunbury (When They See Us) as Beta party girl Frannie, and Hannah John-Kamen (Ant-Man and the Wasp) as Alpha master of ceremonies Wilhelmina Helm Watson.(Photo by Steve Schofield/Peacock)The show also is one of several bullet points on Ehrenreich’s resume that highlight parts where he plays people who have fraught relationships with parents or authoritarian figures. See also: the movie Blue Jasmine or Matt Wolf’s documentary based on the Jon Savage (coincidentally) book, Teenage: The Creation of Youth Culture.Ehrenreich laughed when asked if this was intentional on his part and said he never thought about it much. But he also said it was almost inevitable because “if you’re playing a really deeply written and full character who’s under 35, their psychology, their worldview is very influenced” by parental figures and “it’s maybe more present in the story.”(Photo by © Lucasfilm/ © Walt Disney Studios Motion Pictures)Brave New World marks another major science fiction project for Ehrenreich. Does he have a particular passion for that genre?“Not in and of itself,” he said. “I love the universe of Star Wars; I think that world is this incredible, mythological-rooted and incredibly imaginative world that George Lucas created,” he said, adding that Brave New World is very different.“This is sci-fi being used to hold a mirror up to our world, he explained. This is not about an escape into another world. This is about exaggerating undercurrents of the world we live in so that we can see them and experience them more vividly.”Brave New World premieres on Peacock on Wednesday, July 15.
皇冠正规welcome登录 Stranger Things Binge Guide: 5 Shows To Watch If You Love the Horror/Fantasy Series Dark and Lovecraft Country are just two options you might want to check out if you can't wait for season 4 of the Netflix series. by RT Staff | January 19, 2021 | Comments