Riverdale’s fourth season opens with an uncharacteristically straightforward, emotional episode. It’s a tribute to the beloved star Luke Perry, who died earlier this year following a massive stroke, and it’s also a tribute to the actor s similarly adored character Fred Andrews, father to Archie (KJ Apa) and all-around good guy.Perry passed just weeks before the third season was scheduled to wrap, so had filmed most of his scenes already. Rather than shoehorn in a plot to write out the character then, creator Roberto Aguirre-Sacasa said he and his writers wanted some time to think about how to properly honor their fallen friend.“We didn t want to rush it. We didn t want to sandwich it in between all the other plot lines. And we just wanted to take our time and think about it,” he told Rotten Tomatoes and a small group of reporters after a screening of the season premiere. Taking time, he said, “allowed us to absorb what had happened and really think about what kind of story we wanted to tell. That that s how we started — by not thinking about it for a while.”But although the tragedy turns into a beautiful tribute in the standalone episode that starts off the season, business in Riverdale is just as nutty as usual. Archie will be grieving his father throughout the season, but he’ll also have to contend with plenty of deranged criminals and other figures who involve high school students in their shady business dealings way more than adults should. Put simply, Riverdale’s insane storylines are not going away.Here’s what else to expect from season 4 of the often-mental series.1. Archie Andrews Hits Major Milestones(Photo by Diyah Pera/The CW)The Riverdale writers hadn’t really begun to brainstorm what would happen in season 4 before Perry’s death, so there’s no alternate path the character could’ve taken. Instead, the season will see the redhead figure out what life looks like without his role model and main parental figure.“When this happened, it did suggest a path for Archie, which is about growing up a little more quickly than he would have and giving senior year this almost melancholy feel,” Aguirre-Sacasa said.While the season premiere takes place over the July 4 Independence Day holiday, the second episode picks up a few months later, in September. That time gap allows the characters time to have grieved off-screen, but they will have in no way moved on from Fred’s death.“The shadow Fred s death cast is on episode two. And honestly, we re about 10 episodes into the season and we re still feeling that. The truth is something like that, Archie will be wrestling with that for the rest of his life, other characters less so,” he said. “I think one of the things that s been interesting is when a tragedy like that happens, everyone grieves and then people move on at different points. But for the person who s at the core of it, they live with it every day. So we don t pretend it didn t happen. It s still very much permeating Archie s story.”2. Riverdale Kids Go Back to School in Season 4(Photo by Colin Bentley/The CW)Though the season opener is front-to-back emotional — watch with tissues handy or risk soaking your shirt with tears — episode 2 opens on “a little bit of a lighter note.” The main gang is back in high school, and storylines this season are going to focus (at least a little bit) on their adventures as normal high school students — well, normal for Riverdale at least.As Aguirre-Sacasa said on the show’s San Diego Comic-Con panel back in July, “This year, the kids are seniors. They’ve always been too busy hunting serial killers. We haven’t dug deep into the high school world. We’re really playing the senior year.”3. Molly Ringwald Returns to Riverdale(Photo by Robert Falconer/The CW)Former guest star Molly Ringwald returns “more or less” full time, as Aguirre-Sacasa announced at Comic-Con, as Archie’s mother, Mary. Coming from Chicago, she’s “not quite aware of what a rough town Riverdale is so we re having some fun with that,” the creator said last week.“I think that it s really great that Archie has Mary there for him, and I think Mary loves being able to be there for her son. I do still think there s no replacing his dad, but Mary s doing great, and I d really be worried for Archie if not for Mary,” he said.Mary will of course be supporting Archie first and foremost, but she’ll get her own storylines too. Aguirre-Sacasa is particularly proud of the season’s Thanksgiving episode that “reminds us that this is Archie s first Thanksgiving without his father. It’s kind of Mary and Archie shoulder to shoulder. There s typical craziness that happens, but I think there s a real, true emotional core there as well.”Other guest stars include Perry’s real-life friend and former costar Shannen Doherty in a role in the tribute episode, and Dawson’s Creek star Kerr Smith as new principal Mr. Honey.4. Riverdale’s High-Wire Act(Photo by Robert Falconer/The CW)Balancing the craziness of the series with its more grounded plots has always been the “high-wire act” Aguirre-Sacasa and his writing team contended with, and in the past two seasons the crazy maybe has overwhelmed the grounded. But in season 4, the balance will be a little more even.“A lot of people said, Oh, season 1 was much more grounded and all that stuff. So we ve used season 1 a little bit as a template. We definitely still have crazy stories. But instead of let s say four crazy stories per episode, we have two crazy stories per episode two that are a little more emotional or psychological or real,” he said. “In episode two, we have this great story with Archie and Reggie, and it s about Reggie s father, and therefore it s about the memory of Fred as well, but it feels like a very straightforward coming-of-age friendship story. So I think we re finding our way back to some of the stuff in season 1. You know, the truth is you can never go back, but there were things that I know the fans missed and that we missed and are trying to write to.”5. Did We Mention Crazy?(Photo by Marc Hom/The CW )Still, that trademark Riverdale insanity remains. Episode three, in particular, will bring a particular brand of nuts to the series.“That s the resolution of the of the Farm storyline, and I remember when we turned it in the network was like, yep good to know that s still in there. That s kind of a crazy one,” Aguirre-Sacasa said. “We have a really fun Halloween episode that is both grounded and heightened, I would say. And the Blossoms can always be counted on for some craziness. There are some really great mysteries in there, they re just a little less — I mean, we had, like, two serial killers running around and the killer cult and bear attacks. By the way, all stuff I stand by and loved. It s still out there. It s still out there for sure. Episode 3, it s as crazy as we ve gotten.”6. Speaking of the Blossoms…(Photo by Colin Bentley/The CW)Cheryl Blossom (Madelaine Petsch) is bringing the wacky in a storyline that’s both touching and completely mental as she continues to keep her dead twin brother’s corpse around to communicate with.“As heightened and weird and macabre as it is to have Jason in the crypt, I think the truth of that story is she loved her brother dearly,” Aguirre-Sacasa said. “She never got a chance to say goodbye to him and she doesn t want to. In a weird way her arc over the first movement of episodes is learning how to finally say goodbye to Jason and it s quite moving.”7. The Rest of the Gang’s Here, Too(Photo by Dean Buscher/The CW)The rest of the core gang — Veronica (Camila Mendes), Betty (Lili Reinhart), and Jughead (Cole Sprouse) — will keep busy with their own plot twists.First up for Betty is the fallout of her friendship with Kevin (Casey Cott) over his Farm ties. Aguirre-Sacasa also noted that Betty will also have to deal with her and Jughead s half-brother Charles Smith (Wyatt Nash), who was the undercover FBI agent at the Farm and is the offspring of Betty s mom, Alice (Mädchen Amick), and Jughead s dad, FP (Skeet Ulrich). (Got that?)“Kevin was a big part of the Farm. He dragged her by her ankles into the lobotomy room or whatever, so we kind of try to pick up the pieces of their friendship,” Aguirre-Sacasa said, adding that “Charles is very much a part of the first chunk of the season.”Veronica will deal with the knowledge that maybe her father Hiram (Mark Consuelos) isn’t completely evil thanks to his kind gesture paying for Fred’s funeral.“[That’s] a gesture that mafiosos do,” the creator said. “Even amongst mobsters, there s a sense of honor. I think that s a hint that Hiram isn t all bad. He’s a villain, but underneath that he s also a human being and her father. I think Veronica and her father, they ll always be in conflict. But I do believe that underneath all that stuff there is a bond and a love there and that s a hint to that.”And Jughead’s main storyline will involve his new school, a fancy Gossip Girl–esque private school that, as Sprouse revealed on the Comic-Con panel, will provide the backdrop for the flash-forward from the season 3 finale that saw Archie, Betty, and Veronica covered in blood and burning their clothes.Said Aguirre-Sacasa on that panel, “That s one of our big mysteries, obviously, what happened to Jughead and the kids that night, and we are building up [to] it. Our midseason finale is going to be that night depicted in the flash-forward. And in episodes leading up to it we re going to flash forward to other events from that night and immediately after that night, so you ll start to piece it together, I think.”Riverdale season 4 premieres on Wednesday, October 9 at 8 p.m. on The CW.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. Prequels are tough. From Indiana Jones and the Temple of Doom to Gotham, setting a story before the events of a well-known saga leaves a lot of fans wanting, while others embrace the unexpected choices creators make in telling the story before the story. But whenever a prequel movie or series is announced, you will hear one recurring (but fair) piece of criticism: Is this really necessary?And for the creators of Syfy’s Krypton, it was a question forever at the heart of its long development process. Originally intended to tell the tale of the world destroyed 40 minutes into 2013’s Man of Steel, the series changed direction when that film failed to become its own franchise. Without that anchor, the question of its necessity became even more apparent. When Rotten Tomatoes talked to executive producer and showrunner Cameron Welsh last year, he asked potential viewers to keep an open mind and teased a key aspect of the way forward for the series by mentioning the entire space/time continuum has actually changed. From the pilot, though, it was unclear if Welsh had discovered that change in the show s reality, but by the time the Voice of Rao was unmasked and Adam Strange (Shaun Sipos) jumped on a grenade to save his friends, the series had found a reason to exist in its own right. Like the World of Krypton comic book miniseries thatinspired it, it finally knew the story it wanted to tell.Now that season 2 is in full swing, there are plenty more reasons to jump back in and see how time travel and Superman’s grandfather make for fun TV. Here are five reasons why Krypton is the most surprising prequel series on television.1. The Characters(Photo by Steffan Hill/SYFY)Though the initial hook for the series was its introduction of Superman’s grandfather, Seg-El (Cameron Cuffe), Krypton quickly built an interesting cast of characters. Sometimes, they re even more interesting than Seg.In the halls of power, we met the scheming Daron-Vex (Elliot Cowan) and his daughter Nyssa (Wallis Day), whose loyalties seemed to change once she encountered Seg’s sense of justice. He also influenced the passions of Lyta-Zod (Georgina Campbell), who wanted to dutifully serve the House of Zod, succeed her mother Jayna (Ann Ogbomo) as Primus of the Kandor police force, and earn her mother s love. Jayna, meanwhile, fought an internal battle over her fondness for Lyta and the brutal rigor of the Zod philosophy, which also led to her leaving her brother to die in the wastes when they were adolescents. All of their lives are touched by the Voice of Rao, a religious potentate who managed to turned the Kryptonia city-state of Kandor into a theocracy just before the series began. His quiet menace eventually gives way to something far more unsettling.Seg, meanwhile, is equipped with that El sense of justice and a biting wit. Although initially pulled along by the forces around him, he eventually made a choice and turned into a heroic presence. He still has his doubtful moments, of course, but it makes him a far more interesting and rounded character than he initially seemed.And at some point, nearly all of the characters encountered the time-lost Adam Strange, a scoundrel of some ill-repute who is nonetheless obsessed with preserving the timeline from which he came. He may eventually become the hero of the planet Rann if he learns anything from Seg, but that remains to be seen.2. The Villains(Photo by Steffan Hill/SYFY)Throughout its first season, Brainiac (Blake Ritson) served as an inevitable menace even as Daron-Vex and Jayna-Zod tried to maintain order under the Voice of Rao’s dominance. At first, we only saw a glimpse of him before his avatar — a Kryptonian forced to do his bidding — began to appear around Kandor. Quickly, that person was identified with tragic results, setting up one of the series long-game ideas as Brainiac can literally be anybody.One great side benefit, though, was the revelation that Ritson was playing the Voice of Rao in addition to Brainiac. His initial cult leader performance was unnerving enough, but it was only amplified once Brainiac’s avatar discovered the Voice was the best person to inhabit while examining Kandor for collection.But as it happens, Brainiac was not the only villain from Superman’s rogues gallery to make his way to Krypton. While wandering the caves outside Kandor, Seg encountered members of the Black Zero terror organization and their seeming commander. Soon, he learned from Adam that the commander was none other than General Zod — yes, the Zod who wants everyone to kneel before him. Krypton slightly re-imagines him as Dru-Zod, Lyta’s son and Jor-El’s best friend.And thanks to a wonderful performance by Colin Salmon, Dru-Zod nearly steals the show from everyone else. Instead of the would-be dictator, Salmon presents him as an orphan looking to restore his home by preventing the first of a series in cascading tragedies. It leaves the viewer wondering if, perhaps, they had Zod all wrong — well, at least for a little while. A nature versus nurture question still remains to be solved with Zod in season 2 as he and his mother work out a way to co-exist.3. It Reinvents Itself(Photo by Steffan Hill/SYFY)Presenting new ideas, like the Zod family dynamic, is part of Krypton s need to reinvent itself at a constant rate. While set some 200 years before Superman’s debut on Earth, that concept falls away as conflicts develop.An example: when we first meet Adam, he tells Seg that he traveled through time to stop Superman’s “greatest enemy” from disrupting the timeline. Seg assumed this enemy was Brainiac, and the series operates from that directive for half of the first season. Then, with the introduction of Dru-Zod, Seg and Adam learn that this is the era in which Brainiac originally stole Kandor City from Krypton and disrupted the planet’s stability, leading to its destruction 200 years later. The series changes as Seg and Adam come into conflict over whether to stop Brainiac or to preserve history. Also, if you’re thinking General Zod is Superman’s greatest enemy, the series probably agrees with you, making Adam s original mission moot — even more so by the first season s finale.Beyond Brainiac, the first season of Krypton features a Game of Thrones–style plot of political coups and would-be kingmakers. Daron-Vex, from almost his first scene, hopes to topple the Voice of Rao and his theocracy. Down in the lowest parts of the city, the rankless masses toil in despair with Black Zero as one of their few options for hope. The tensions would have eventually shattered Kandor if Brainiac had passed Krypton by. And, surprisingly, Nyssa emerges as the viewpoint character of this struggle — well, at least until it all falls apart during Brainiac’s attack. In the fallout, Dru-Zod assumes control of Kandor, unties the planet’s other city states, and gives the rankless a position in his new order. The political intrigue that could ve fueled two or more seasons of a different show was satisfyingly swept away.Those upheavals reverberate back into the timestream, with Superman’s cape losing its S-shaped House of El shield in favor of the more intricate House of Zod emblem. Presumably, Kal-Zod grows up continuing Dru-Zod’s vision for a galaxy under Krypton’s boot, a reality Adam sees firsthand when that grenade explosion sends him back to a Detroit conquered both by Zod and, later, Brainiac.Even as the second season begins, it has a new of premise. Seg and Adam must make their way back to Krypton while escaping a notorious bounty hunter. And back on Krypton, Dru-Zod faces a rebellion led by Seg’s grandfather, Val-El (Ian McElhinney). Considering the speed at which the series eats story — Seg and Adam made it back to the Kryptonian wastes in episode 3 — we expect to the series to be in a very different place a few weeks from now.4. Deep Pulls From DC Comics MythologyThat bounty hunter we mentioned above? It’s Lobo, a.k.a. The Last Czarnian, a.k.a. “Da Main Man,” one of DC Comics most popular characters in the 1990s. Created by Keith Giffen in a 1980s issue of Omega Men (a team of alien dissidents we fully expect to show up on Krypton at some point), the character was re-imagined by writer Alan Grant and artist Simon Bisley as a parody of the decade s “grim-n-gritty” characters in 1991. The parody was such a success, though, that fans soon embraced Lobo for his outrageous antics. And thanks to actor Emmett J. Scanlan, the character is proving popular enough for Syfy to develop a spin-off centered on the meanest Bastich in the galaxy. He also gives the show a more humorous edge it desperately wants to embrace.But he is only one of the characters Krypton pulls from deep in the library of DC Comics. Characters like Dev-Em (Aaron Pierre) and even Seg-El appeared in comics like Legion of Superheroes, World of Krypton, and Starman. The latter titled even featured time-lost main character Jack Knight meeting Seg’s son Jor-El during a time when their relationship was rocky at best. Meanwhile, Val-El’s fellow resistance leader Jax-Ur (Hannah Waddingham) is another name steeped in DC lore as one of the Kryptonian criminals imprisoned in the Phantom Zone.The city states of Kandor, Argo, and even Kryptonopolis all derive from Krypton maps seen in comics over the years, while details like the Jewel Mountains and Krypton s moon Wegthor point to obscure stories published in 1960s issues of Action Comics and Superman.Even Doomsday, a character who is anything but obscure, hearkens to the lesser-known 1997 miniseries Superman/Doomsday: Hunter/Prey, in which Superman learns the creature is of Kryptonian origin. Although, on Krypton, the blame for the unstoppable menaces is shared by the Houses of El and Zod, who joined forces to create the killer. His full role in the program s tale has yet to be revealed, but looks remarkable.Unlike some of the other shows based on DC Comics characters, Krypton is uniquely suited to feature stranger, space-faring characters like Lobo. At one point in its development, Hawkwoman was meant to be featured before she proved to be one element too many. Perhaps with its wider scope in the second season, the characters will find their way to Thanagar and meet Shayera Hol at last.5. It Stepped Out of Superman’s Shadow(Photo by Steffan Hill/SYFY)Perhaps the most surprising element of the series is the way it escaped Superman’s shadow. Sure, the series used his cape as a countdown timer and the primary icon of the first season, but in altering the timeline to favor Zod, it also allowed the series to become its own thing. Instead of a tale of Superman’s grandpappy growing up on the mean streets of Kandor, it is a complex epic of competing philosophies for the soul of a planet. It is also the story of two buds trying to get home. We’re also going to assume from developments in Nyssa’s story that it is also about how Jor-El’s mother influenced her iconoclastic son — yeah, we think Kor-Vex is really Jor-El. And now that we’re talking about families, it is also the most deeply realized depiction of the House of Zod to ever grace the screen with three generations facing off and trying to define what they really stand for.All of it adds up to a series that is far more interesting than a mere Superman prequel. In order to get there, it had to let Superman go (at least a little bit) and, to be honest, the show is better for focusing on the characters and stories it can put on the screen. Now, we are invested in the characters and their immediate plights. Re-establishing the original timeline is nowhere near as interesting as watching Seg and Adam get one over on Lobo or Jayna’s journey back to Kandor.It all reflects a certain confidence as Krypton evolves away from a Superman prequel into a genuinely interesting science fiction tale that happens to feature DC Comics characters. The fact that it works is the best surprise of all.Krypton airs Wednesdays at 10 p.m. on Syfy.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
James Wan’s Aquaman may have started with the lowest opening ever in the DC Universe, but seven days later, it is looking more like Michael Phelps than some lowly dog paddler. The film is entering very exclusive territory this weekend just as two more December releases join the 0 million club by the time the clock strikes midnight on New Year’s Eve. That makes 32 for 2018 with at least two more films still hoping to surpass last year’s (and 2014’s) total of 33 to become second only to 2013’s 35 0 million-plus films. That record may come up short, but Hollywood has shot past its previous ticket sales record (.37 billion in 2016) and is now eyeing a billion year at the box office.King of the Crop: Aquaman Joins Impressive Club of December Releases(Photo by Jasin Boland/ ™ & © DC Comics)After its first weekend, Aquaman was million behind Justice League. After weekend two it is now million ahead and climbing. How high? Quite actually. Because as of this Sunday, Wan’s film is now the sixth highest grossing December release after 10 days, behind five little films: Star Wars trio The Force Awakens, The Last Jedi, and Rogue One, as well as Avatar and Lord of the Rings: The Return of the King. All seven December films to have made 0 million by this point have reached the 0 million mark, and Aquaman is million ahead of The Two Towers. Peter Jackson’s film opened on a Wednesday, so that pace will tighten over the next couple of days. But Return of the King made .8 million in its second weekend and ended with 9.7 million. Aquaman grossed .5 million and is likely looking at a final gross in that vicinity, which would surpass both Suicide Squad and Batman v Superman for second highest grossing feature film in the DC Universe behind Wonder Woman. With 8 million worldwide, it is the seventh highest grossing film of 2018 and will be passing Mission: Impossible – Fallout and Venom soon with its eye then on a billion dollars.Fresh Surprise: WWI Documentary Out-Performs New Releases(Photo by Warner Bros. Pictures)Speaking of Peter Jackson, his WWI 3D documentary, They Shall Not Grow Old, has become one of the top-grossing documentaries of the year. After just two nights. Fathom Events held special single-night screenings on December 17, when it broke the company’s record with .3 million, and then again this past Thursday, when it broke it again with another .37 million. That was more than this week’s openers, Holmes Watson and Vice, grossed on Thursday with a full day of screenings. With .7 million in two nights it has made nearly as much as partisan documentaries, Death of a Nation (with a 0% Tomatometer score) from pardoned felon Dinesh D’Souza (.88 million) and Michael Moore’s Fahrehheit 11/9 (.35 million). Warner Bros. will open the film in a few cities on January 11, and you can expect it to rise from the seventh highest grossing documentary of 2018 into the top five – and maybe even higher.Rotten Returns: Holmes Watson (aka the Anti-Aquaman)(Photo by Columbia Pictures)Holmes Watson opened in theaters without being screened for critics. Hey, Disney did the same thing for Christmas opener, Tombstone, back in the day, too. How bad could it be? Well, it is currently just the third wide-release of the year to score lower than 10% on the Tomatometer after Slender Man and Death of a Nation’s golden doughnut of 0%. That is where Holmes was with its initial set of reviews, but folks were already in the midst of paying good money to see it on Christmas Day. Around .4 million and 24 hours later, some were already calling it a “commercial flop” on Twitter despite the fact that only four of 23 films to open on Christmas to more than million failed to reach million.That still would not have been enough to cover its million budget in domestic dollars, but it’s not like it was Mortal Engines or Welcome to Marwen this month; however, Holmes Watson’s audience numbers have been scaling down to its current Rotten Tomatoes score of 9%. Though .7 million after its first six days still has it pacing for somewhere between -60 million, its numbers are diminishing at the pace of Aliens Vs. Predator – Requiem, which finished with just .7 million after it opened on Christmas. So it will depend on international audiences to determine whether the film is “a commercial flop” or not.The Top Ten and Beyond: Poppins Bumblebee To Join 0 Million Club Soon(Photo by Walt Disney Studios)Mary Poppins Returns just missed becoming the 26th film opening in December to reach 0 million in its first 12 days; though it will do so on New Year’s Eve. Of the films in its 12-day company that had between million to 7 million at this point, Poppins’ -million weekend is second only to Daddy’s Home’s .2 million. (Poppins is likely to fly past Daddy’s Home’s 0 million.) The next crop of films above them (sans Marley Me) are all 0 million grossers. So as long as Rob Marshall’s film maintains its current pace it should rise high enough to be one of the three highest grossing films of the season.Spider-Man Into the Spider-Verse did join the 0 million club this weekend. At 3.6 million it is in the company of Catch Me If You Can, Les Miserables (2012), Into the Woods, True Grit (2010), and Unbroken, but its third weekend of .3 million surpasses all of theirs, suggesting the film is headed for north of 0 million — an estimate that could continue to rise with the word-of-mouth it is receiving.Bumblebee, with another million this weekend, is also headed for 0 million like every other film from December to have million after 10 days. Clint Eastwood’s The Mule, on the other hand, took 17 days to hit the million mark, but it is not out of the running to become the 34th film of 2018 to reach 0 million. For a film that needs around 0 million to break even, million seems to be the worst-case domestic scenario at this moment. As it is pretty closely aligned with the 0.7 million–grossing The Pelican Brief, there is still a possibility this will be Clint’s sixth film as a director to reach that height.While Holmes and Watson was grossing .4 million on Christmas Day, Adam McKay’s award hopeful, Vice, was gathering up .7 million and a 64% score on the Tomatometer. It has made million in its first six days and eyes somewhere around million final domestic gross, but is already Annapurna’s highest grossing film to date surpassing this summer’s Sundance pickup, Sorry To Bother You. Ralph Breaks the Internet has fallen behind the pace of last year’s Coco, but is still million ahead of Tangled, which keeps 0 million very much in the picture. It only takes Ralph and Poppins to break the single-year record of most films to reach the milestone in any year. A 0 million final gross may be out of reach for Illumination’s The Grinch, but its 6 million makes it undoubtedly one of the biggest hits of the season, even while it could end up being the company’s third-lowest grossing film to date; albeit one with still over 0 million in profit.Beyond the Top Ten you will find both The Favourite (.2 million) and Mary Queen of Scots ( million) doing decent business in less than 850 theaters each. Both continue to do better than Robert Zemeckis’ Welcome to Marwen, which has grossed .7 million. There are still seven films this year further in the red than Marwen (including Ralph Breaks the Internet), though it is still little comfort being among the 10 biggest financial losers of 2018.In further limited release news, we have the three best per-theater-averages of the week: The Ruth Bader Ginsburg drama, On the Basis of Sex (74%) averaged ,909 this weekend and has made .5 million in 33 theaters since Christmas. Destroyer (76%) has been in three theaters since Christmas and has made 5,661. It averaged ,491 this weekend. Then there is Stan Ollie (89%), which opened on Friday in five theaters, averaging ,935 for a total of ,674. Aquaman had the fourth best average with ,497, and Barry Jenkins’ If Beale Street Could Talk was fifth, adding 60 theaters (for a total of 65). It averaged ,686 and has grossed nearly million.This Time Last Year: The Last Jedi Held Off Jumanji for the Last Time(Photo by Walt Disney Pictures)Star Wars: The Last Jedi maintained the top spot for a third straight week (and passed the 0 million mark), though Jumanji: Welcome to the Jungle closed the gap with a .5 million-to- million showdown. Christmas day openers, All the Money in the World and Molly’s Game made .7 million and .3 million, respectively, in their first full week of release. Steven Spielberg’s The Post and Paul Thomas Anderson’s Phantom Thread led the per-theater-average list with ,342 (nine theaters) and ,124 (four theaters). The Top Ten films grossed a total of 3.3 million over the weekend, which included New Year’s Eve, and they averaged 65.1% on the Tomatometer. This year’s Top Ten grossed 3.1 million and averaged 65.6%.On the Vine: There Is No Escape From Horror in 2019(Photo by Columbia Pictures)The new year kicks off with horror about domains from which there appears to be no safe room, though do not expect to see a Tomatometer score for either until later in the week. The PG-13 Escape Room with Taylor Russell, Deborah Ann Woll, and Tyler Labine should get a score just before it opens. Then Eli, from the director of Sinister II, will get reviews from critics brave enough to check out the tale of a boy with auto-immune issues stuck in a dangerous home when it opens on Friday.The Full Top 10: December 28-30Aquaman .5 million (8.7 million total)Mary Poppins Returns .0 million (.9 million total)Bumblebee – .5 mi亚博最新手游带给众玩家的高度便利和特殊性，使得各种游戏厂商不得不让端游变得手游化，但是有一些端游手游化之后，却因游戏本身特点不明显等问题而没有取得好成绩，不过，这对于英雄联盟手游而言不是问题，如今看来官方显然已经做好了准备，它的上线，也将会打破moba游戏的平衡。
Join us weekly as Rotten Tomatoes reports on what s indie features are streaming. From promising releases by new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week.For the foreseeable future, the specialty box office and all theatrical releases will be on hold as we all make efforts to socially distance ourselves and reduce the spread of the COVID-19 coronavirus. With that in mind, we have reshaped our Indie Fresh List to include VOD and select drive-in releases. This week we have an Irish crime thriller, a World War II tearjerker, and a documentary about ACLU lawyers. In our Spotlight section, we have a new sex comedy featuring Stranger Things star Natalia Dyer, and we have new trailers featuring Stranger Things Joe Keery, Sense8 s Tuppence Middleton, and Rome s James Purefoy.New This Weekend
4. 呼朋唤友 随心所欲
(Photo by Everett Collection)Our new Classic Film Catch-Up feature connects you with classic films to put on your watchlist – beloved favorites and hidden gems alike. With more time at home, there s no better opportunity to finally watch these titles that helped define cinema as we know it.The current situation of social distancing has many of us thinking of ways to maximize the time we spend at home. We re also eating several times a day and annoying our pets, but being productive does cross our minds from time to time. Puzzles, long-abandoned books, craft projects, and New Year s resolutions have suddenly jumped to the top of our to-do lists. In the RT comments, many of you have shared how you re catching up on classic films, and we happen to agree that now is the perfect time to increase your classic film viewing.Concentrating on films released before 1980 (both well-known titles and hidden gems), we re producing new guides to essential classic films curated by theme, filmmaker, actor, genre, or style – all for your classic catch-up needs. Want to see our picks for the best French farces? How about a curated list of Fresh picks from Alfred Hitchcock, Peter Sellers, or Billy Wilder? As well as curating watch lists, we re breaking down the films, telling you where you can watch them, and giving you some more recent and/or well-known films the classics might remind you of so you can gauge which movies are right for you.This week in the Classic Film Catch-Up, we re ready to dance and sing about lesser-known or forgotten musicals – some classics, and some should-be-classics. The 50s and 60s were truly the golden ages of movie musicals; Best Picture winners like The Sound of Music, West Side Story, My Fair Lady, and An American in Paris made stars out of Natalie Wood, Leslie Caron, and Rita Moreno, while established stars like Julie Andrews, Gene Kelly, and Audrey Hepburn catapulted to icon status on the backs of musical roles during this period. Later years saw rock musicals like Jesus Christ Superstar, Grease, and Tommy break into the mainstream – however, countless gems have been largely forgotten by modern audiences. And we re here to fix that.Some titles on this list found cult-like followings in later years while others were unfortunate victims of too-close comparisons with their Broadway inspiration – either way, we think the films make up an eclectic roster of must-watch musicals. Read below for our list of hidden gem classic musicals you need to see or revisit.Got another favorite hidden gem classic musical you d add to our list? Have a suggestion for a future theme or classic film to feature in the column? Let us know in the comments. The Unsinkable Molly Brown (1964) 78% What is it? A rags to riches musical about a famed socialite who survived the sinking of the Titanic.Why you need to see it: Debbie Reynolds is widely known for her role in Singin in the Rain – and for being Carrie Fisher s mother. However, if you want to see the triple-threat performer at her peak you must watch The Unsinkable Molly Brown. Reynolds plays the famed Denver socialite from humble beginnings who survived a flood as an infant and then the Titanic disaster as an adult. The film follows a fictional Molly from her years as a saloon girl to her eventual fame as one of the richest women in the country. Nominated for eight Academy Awards, the film was a hit for MGM, but is not as familiar to modern audiences as some of its glossy contemporaries. Filled with humor and show-stopping numbers, the movie will have you humming ditties like I ll Never Say No and Belly Up to the Bar, Boys as soon as the credits roll.Watch it if you like: Singin in the Rain, Princess Diaries, The Great Gadsby, Lawless, Funny Girl, My Fair LadyWhere to watch: Stream on TCMWatch app. Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.Man of La Mancha (1972) 50% What is it? A musical biopic about Don Quixote author Miguel de Cervantes, using his most famed literary creation as a plot device.Why you need to see it: It s hard to understand why the film adaptation of The Man from La Mancha starring Peter O Toole and Sophia Loren was not a critical and commercial hit. The original stage production was a smash on Broadway and took home five Tonys, but audiences were none-too-impressed with the film version: It failed to earn back its production budget and Time thought so little of it that the magazine didn t even publish a full review. Most of the problems with the adaptation are a result of its troubled production; a revolving door of directors and a heated debate over whether to make the film a musical at all crippled any effort to do justice to the source material. The dreary costumes, laughable sets, and indifferent cinematography may mar the overall product, but the music remains incredible, and Toole and Loren give it their all despite the challenges. So it s still worth a watch.Watch it if you like: The Man Who Killed Don Quixote, Don Juan Demarco, Monty Python, and the Holy Grail, The Mask of Zorro, The Three MusketeersWhere to watch: Stream now on HooplaDigital. Rent or buy on FandangoNOW, Vudu, Amazon, and iTunes.Carmen Jones (1954) 77% (Photo by Courtesy of 2Oth Century Fox)What is it? George Bizet s Carmen is re-imagined with an all-Black cast.Why you need to see it: Carmen Jones is another Broadway hit to get the Hollywood treatment. Dorothy Dandridge, Diahann Carroll, Pearl Bailey, and Harry Belafonte are mesmerizing in this story of the misadventures of a troublesome seductress living in America during World War II. Playing Carmen, Dandridge made her mark on history, becoming the first African American woman to be nominated for Best Actress in a Motion Picture. Nominated for two Oscars, the film is well-known but not frequently watched. The performances, costumes, and rich Technicolor landscapes make watching the film a truly transformative experience that is almost enough to forgive the choice to dub the voices of famed singers in the production.Watch it if you like: Porgy Bess, Introducing Dorthy Dandridge, Carmen: A Hip-Hopera, Rent, Les MiserablesWhere to watch: Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.The Wiz (1978) 42% What is it? The Wizard of OZ is remade with a contemporary story, new music, and an all-Black cast.Why you need to see it: As many Twitter users pointed out during NBC s The Wiz Live! in 2015, many movie fans have not seen The Wiz. Beloved in the Black community, the film was a commercial disaster despite starring icons Diana Ross, Richard Pryor, Michael Jackson, and Lena Horne. A modern imagining of Dorothy s trek along the yellow brick road – with music from Quincy Jones and Luther Vandross, direction by Sidney Lumet, and words by Joel Schumacher – the film was one of the most expensive musical productions ever made, and lost million at the box office. The film s popularity never matched its ambition outside of the Black community, where it s still lauded as a cult classic. And it s easy to see why when you watch it today. With some of the most gifted musicians of our time in front of and behind the camera, The Wiz is a soulful crowd pleaser that showcases these artists at the height of their popularity and powers.Watch it if you like: The Wizard of OZ, Oz, The Great and Powerful, Return to Oz, Moonwalker, Idlewild, LabyrinthWhere to watch: Stream now on Starz app. Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.There's No Business Like Show Business (1954) 67% (Photo by Courtesy of 20th Century Fox)What is it? Chronicles the lives and loves of The Donahues, a family vaudeville act.Why you need to see it: In a way, this is the original jukebox movie musical – all of the songs from There s No Business Like Show Business were previously penned by Irving Berlin for other works. Stacked with stage powerhouses like Ethel Merman and Dan Dailey, as well as film stars like Mitzi Gaynor and Donald O Connor, the film was primarily a vehicle to showcase Marilyn Monroe, who had just married Joe DiMaggio and was one of the biggest names and box office draws in Hollywood. However, with a near two-hour runtime (a rare feat for musicals of that era), audiences found the film to be a little too Broadway and lacking in story. Monroe, who famously only took the role to ensure her casting in The Seven Year Itch, didn t shine in any of her musical numbers and was lambasted by critics. Despite all this, however, There s No Business like Show Business does have some of the most incredible and lavish musical numbers ever committed to screen, and further highlights Berlin s incomparable musical catalog.Watch it if you like: A Chorus Line, Gypsy, Funny Girl, Some Like it Hot, The Greatest ShowmanWhere to watch: Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.Cover Girl (1944) 95% (Photo by Courtesy of Sony Home Entertainment)What is it? A young chorus girl wins a cover girl contest, is thrust into stardom, and must choose between her career or love.Why you need to see it: Rita Hayworth became one of only a handful of women who had the enviable honor of dancing with both Gene Kelly and Fred Astair on screen with her role in Cover Girl. Dancing alongside Kelly in her first role with top billing, Cover Girl was one of Hayworth s final films before Gilda solidified her as a film icon. Shown briefly in The Shawshank Redemption, Hayworth s iconic entrance and overall performance here was also the inspiration for Jessica Rabbit in Who Framed Roger Rabbit. A massive hit at the time, this story of a showgirl-turned-star has been sadly dwarfed in later years by Kelly s and Hayworth s more memorable roles like Singin in the Rain and The Lady From Shanghai, respectively.Watch it if you like: Gilda, Showboat, A Chorus Line, Almost Famous, A Star is Born, RockstarWhere to watch: Rent or buy on FandangoNOW, Vudu, Amazon, Google Play, and iTunes.Hair (1979) 88% What is it? An anti-war rock musical set within the hippie counter culture.Why you need to see it: Though many will know Hair s catchy opening number Aquarius, the musical itself is a bit of a lesser-known treasure outside of musical theater obsessives. The first film directed by Milos Forman after his critical and commercial smash One Flew over the Cuckoo s Nest, Hair had critics raving about his skill in adapting the controversial and stylized musical. Roger Ebert said of Forman: He brings life to the musical form in the same way that West Side Story did. Still, some contemporaries – including the musical s creators – argued it diluted the musical s anti-war message was diluted on the journey from stage to screen.Watch it if you like: Jesus Christ Superstar, Across the Universe, Sgt. Pepper s Lonely Hearts Club Band, Fear Loathing in Las VegasWhere to watch: Stream now on Hoopla and PrimeVideo. Rent or buy on FandangoNOW, Vudu, Google Play, and iTunes.
5. HD 画质与高品质音讯
(Photo by Courtesy the Everett Collection)It s estimated that between 75 and 90 percent of films made before 1929 are either lost or only exist in incomplete form. As part of our RT Archives project, we are collecting contemporaneous reviews for those films – see a full list here and read what critics said about them at the time – and shining a spotlight on the stories and people behind them. Learn more about the RT Archives project here. In the early 20th century, the name Annette Kellermann elicited an awe reserved for a select few. A screen siren in the most literal of terms, Kellermann (often credited as Kellerman, with a single n ) was a swimmer-turned-actress who arguably stands now as a precursor for the kind of crossover success that has marked the careers of the likes of fellow former athletes Dwayne ‘The Rock’ Johnson and Arnold Schwarzenegger. Indeed, like those two Hollywood stars, Kellermann’s physique was instrumental to her entry into and success in cinema, making her a pioneer of the jock film star that seems all too common today.Kellermann was first seen on the big screen in short films like Miss Annette Kellerman (1909), where she showed off her swimming technique and her then-famous high dives. But it would be her work on feature films like Neptune’s Daughter (1914) and A Daughter of the Gods (1916), the first ever million dollar picture, that cemented her as a marquee name in the budding film industry. Only a few of Kellermann’s 30-odd film appearances survive to this day – both Neptune s Daughter and A Daughter of the Gods have been lost – but they’re enough, along with her cultural impact as a health advocate, a one-piece swimsuit trailblazer, and an intrepid athlete, to have made her an indelible part of early film history.Born in 1886 in Sydney, Australia to a pair of musicians (her father was a violinist, her mother a pianist), Kellermann needed to wear steel braces on her legs as a child. Likely due to polio, this is what first pushed her to take up swimming at age 6, as a way of strengthening her legs. By the time she was 13 she’d completely rehabilitated those future money-earners and by the time she was 16 she’d taken up swimming in earnest, winning meets and breaking records in New South Wales state championships.(Photo by Hulton Archive / Stringer / Getty Images)Kellermann soon became a sensation in Australia, alternating between participating in swimming and diving exhibitions as well as breaking more records during competitions. In 1905, she and her father moved to England where her long-distance swims earned her plenty of press; she was even sponsored by The Daily Mirror to attempt to swim the English Channel, a feat she’d try two more times in those years without ever being wholly successful. Moving away and eventually retiring from long-distance swimming, Kellermann set her eyes on more lucrative ventures that still made great use of her talents.That’s how Kellermann ended up across the Atlantic. Oft-advertised as “The Perfect Woman” – posters for her appearances usually included measurements that showed her body metrics matched the Venus de Milo’s – Kellermann was a vaudeville sensation in the early 1910s. Her elaborate synchronized swimming performances attracted audiences in Chicago, Boston, New York, and eventually all over Europe and in her native Australia. It was during this time that Kellermann gained even more notoriety for an alleged 1907 arrest on a Boston beach. While contemporary women’s swimwear consisted of a rather bulky dress/pantaloon combination (often accompanied by long black stockings and bathing slippers), Kellermann had opted to wear a fitted one-piece costume that ended in shorts above her knees – the kind she wore during her exhibitions – which led to her being cited for indecency. (Photo by Courtesy the Everett Collection)The incident, which remains disputed, nevertheless speaks to Kellermann’s advocacy against such strictures on women’s bodies. Advocating for sleeker swimsuits that were less restricting, she led the way toward relaxing Victorian-era norms on what was appropriate beachwear, eventually selling her own branded “Annette Kellermann Sun-Kist’ swimsuits” in U.S. stores from around 1914 to the late 1930s, all but making her name synonymous with the one-piece swimsuit we know today. A savvy entertainer keyed into a rapidly changing audience, Kellermann knew she had the wherewithal to diversify into other potentially lucrative endeavors. While her first foray on the stage (in the short-lived London production of Undine) in 1912 wasn’t a good fit, her eventual move into feature-length films soon turned her into a bona fide movie star. Her first feature film, Neptune’s Daughter, was produced by Carl Laemmle of Universal Film Producing Company; based on an idea pitched by Kellermann herself, the Captain Leslie T. Peacock-scripted and Herbert Brenon-directed adventure film followed a young mermaid intent on avenging her sister, who died when caught by fishermen’s nets. With a fantastical background and even a romantic subplot that echoed a certain Hans Christian Anderson folk tale, Neptune’s Daughter was crafted around Kellermann’s talents. Not only were her swimming and diving skills front and center in elaborate underwater set pieces, but that same “perfect body” that had lured vaudeville audiences to her shows was here yet again presented as a selling point. As Variety noted in its review of the film, men were likely to watch the film several times, “if only for the purpose of having another flash at the divine form of Kellermann, in this instance draped only by her hair, as the mystic power of the Witch s shell transforms her from a mermaid into a regular girl.”(Photo by Courtesy the Everett Collection)Her second feature, A Daughter of the Gods – reportedly the first ever million-dollar film production – further established Kellermann as a performer whose sheer physicality could command the screen. Yet again playing a water-based creature, the Australian swimmer-turned-actress turned heads for what’s considered the very first nude scene by a major star. Still, critics at the time admired her acting as much as her physicality: “Miss Kellermann aside from her daring feats, acted with great skill and gave a most creditable impersonation,” Moving Picture World noted in its review of A Daughter of the Gods.Kellermann’s creative input on these early productions, as well as later films like Queen of the Sea (1918), What Women Love (1920), and Venus of the South Seas (1924), put her in a league of equally influential film screen stars like Charlie Chaplin and Mary Pickford. The many death-defying stunts she performed – including jumping into pools with live crocodiles and diving from rocky cliffs, often shooting on location in Jamaica and Bermuda – established her as an action star whose showmanship and athleticism always went hand in hand. It’s no surprise to find that, decades later, another swimmer-turned-actress (MGM’s Esther Williams) would star in a musical biopic on her life in 1952’s Million Dollar Mermaid. Kellermann was a legend in her own time, a true pioneer who managed to make a name for herself with her body but never let herself be reduced to it. While most of her films have been lost, her extraordinary stunts surviving only in film reviews and printed features, she remains a pivotal figure in early cinema that deserves to be better known and appreciated. What Critics Said About Kellermann s Lost Films When They Were Released: A revelation (Photo by Courtesy the Everett Collection)“In several of the scenes Miss Kellerman, in white, close-fitting tights, gives entertaining exhibitions of swimming and diving, her graceful form standing out against the brushwood like a marble statue as she poses before she dives.” – The Daily Telegraph (Sydney)“[Kellerman] proves herself an accomplished actress, a mistress of the terpsichorean art, and an expert swordswoman, well worthy to be wooed and won by the King of the country she lands in.” – The Age (Melbourne) “There is one scene that particularly will live in the memory. Annette, a mortal, feels the lure of the water. Behind a bush in the forest she discards her peasant dress. Out darts a white-tighted figure. From a vegetation-faced cliff over an inland bit of still water Annette performs the evolutions that have thrilled her audiences in settings far different.” – George Blaisdell, Moving Picture World “Miss Kellerman, in a recent interview, said she did not wish to go in for swimming and diving any longer. She wanted a play in which she could have a dramatic part so she might be judged for her histrionic merits. In this production she has proven her right to such consideration.” – A. Danson Michell, Motion Picture News“The usual spectacular dives Miss Kellermann has become famed for are performed during the picture, and she gives visual evidence also of her remarkable ability to swim and of endurance, always in the water with a fish-tail (as a mermaid) that prevents the employment of her feet for assistance, swimming only with her hands. As a picture actress, Miss Kellerman is a revelation.” – Variety(Photo by Courtesy the Everett Collection)“Some admirable light and shade effects are revealed in the photographed scenery during the progress of the story, which has been ingenious ly developed and produced, and the performance throughout of Miss Kellermann as the child of the seas is as skillful as it is graceful and refined.” – The Daily Telegraph (Sydney)“Miss Kellermann aside from her daring feats, acted with great skill and gave a most creditable impersonation.” – Moving Picture World“Herbert Brenon placed his confidence in the appeal of the mass scene and Miss Kellermann s physical charm and skill in diving and swimming to carry the fanciful story along to success. His confidence, it would seem, was well placed.” – Motography“The beautiful figure of Annette Kellermann and her matchless skill as an amphibienne are made the most of in A Daughter of the Gods, the elaborate, spectacular and somewhat monotonous photofable which was unfolded for the first time last evening at the Lyric Theatre.” – The New York TimesOn an Apple device? Follow Rotten Tomatoes on Apple News.
After a successful run in U.K. theaters late last year, the critically acclaimed – and sometimes controversial – Blue Story has landed in the U.S. and heralded the arrival of a bold new filmmaking talent in its writer-director, Rapman. The London rapper and filmmaker drew largely from his experiences growing up among gangs in South East London for the movie, which mixes ripped-from-the-headlines incidences of knife and gun violence with a moving and gripping tale of two best friends driven apart by the people and forces with which they ve grown up. It s a morality tale, but one that critics are calling raw and riveting. Rapman came to the attention of BBC Films and Paramount, who are both backing the new film, following the release of his three-part YouTube series Shiro s Story, which was set in the same world as Blue Story and became a sensation, racking up more than 20 million views to this date. (It also caught the attention of Jay-Z, who quickly signed Rapman to ROC Nation.) As he did in Shiro s Story, Rapman himself appears sporadically on screen in Blue Story, providing a rapped Gre
Marvel Vs. DC on TV: Which Comic Book Giant Reigns Supreme? Find out which comic book TV universe comes out on top and which series fans prefer in the results from Rotten Tomatoes' Fall TV Survey. by Jean Bentley | November 2, 2018 | Comments
亚博最新 Another adaptation of Little Women? Louisa May Alcott’s classic novel has been made into a number of movies, and most of them have been highly regarded — by critics, fans, and awards organizations alike. Greta Gerwig’s new version, which just received a standing ovation at a guild screening, is no different. Well, it is apparently different in that it’s a unique take on the material, mostly for the better, according to the first wave of critics’ social reactions to the movie. Still, we can expect the usual Oscar-worthy performances and a generally enjoyable adaptation.Here’s what critics are saying about Little Women on social media:Have we gotten another great adaptation?It’s lovely. Hannah Woodhead, Little White LiesIt’s inventive and wonderful. Sean Fennessey, The RingerWonderful. A loving, meticulously-crafted adaptation that exceeded my expectations. Heartfelt, moving and a terrific showcase for its extremely talented cast and beloved source material. Kara Warner, People MagazineLittle Women is charming just like the novel/prior versions…Rousing score. Timely as ever. Hard not to cheer. Scott Feinberg, Hollywood ReporterSomeone, please, invent a word stronger than “masterpiece” so I can amply describe Greta Gerwig’s Little Women. More-than-a-masterpiece? Masterpiece 2.0? David Jenkins, Little White LiesIt rules. David Sims, The AtlanticDoes it elicit particularly personal reactions?Jo s lines in Little Women resonate with me completely differently now as a 33 year old single writer. Wanting to remain independent but wanting to be loved. Greta s take on the story made me connect with Jo in a way I never had. As a girl, I just thought she was crazy to reject Laurie. Amy Kaufman, Los Angeles TimesI ve seen Little Women twice now and it s one of my very favorite movies of the year. David Canfield, Entertainment WeeklyOne of the most pleasurable cinema experiences of my life. David Jenkins, Little White Lies(Photo by Sony Pictures)How is this one different from past adaptations?Greta Gerwig takes the straightforward story of Little Women and boldly scrambles it, starting two-thirds of the way through and retelling most of what you remember via flashbacks and cross-cutting. Call it Louisa May Alcott meets 21 Grams. Kyle Buchanan, New York TimesLittle Women has a very strong last third… and a modern interpretation of the novel that shines brightly. I liked her take on it even when it is hard to follow regarding flashbacks. Sasha Stone, Awards DailyWill fans of the book appreciate it?Greta Gerwig delivers a both passionately faithful and gorgeously original take. David Canfield, Entertainment WeeklyThere’s nothing to disparage and many reasons to be pleased with Little Women. Especially, I’m thinking, for those who know the book and have a profound affection for this 19th Century saga about choices, tough terms, romance, heartbreak, love, struggle and artistic aspiration. Jeffrey Wells, Hollywood ElsewhereHow is the ensemble cast?Each role [is] perfectly cast. Scott Feinberg, Hollywood ReporterSaoirse is a fierce Jo, Chalamet/Dern/Streep especially are great in support, and Florence Pugh is astonishing. David Canfield, Entertainment WeeklySaoirse Ronan and Florence Pugh are the standout performances. Gregory Ellwood, The PlaylistExcellent performances from Saoirse Ronan and Florence Pugh. Jeffrey Wells, Hollywood ElsewhereFlo Pugh and Streep are standouts. Sasha Stone, Awards DailyFor my money, the MVP in Little Women is Florence Pugh…She’s hilarious and winning as Amy, the character best served by Gerwig’s structural gambits. Kyle Buchanan, New York TimesFlorence gets a lot of great notes to play as Amy March and she plays each one pretty much perfectly. As we’re seeing over and over again, she has a screen presence and performing instincts that are pretty god damn incredible. Jordan Crucchiola, Vulture(Photo by Sony Pictures)What about the men?Timothee Chalamet is the best thing about Little Women. He lights up the screen in every scene he’s in. Jazz Tangcay, Awards DailyBest part of Greta Gerwig’s Little Women is the idea that Louis Garrel as a heartthrob will soon be implanted in mainstream American brains. As he should be. Ryan Lattanzio, IndieWireWhat about the contributions behind the camera?Greta Gerwig, writer/director of the new version of Little Women [got] a standing ovation. And it was well deserved! Pete Hammond, Deadline HollywoodFervent, top-notch direction by Greta Gerwig; superb lensing and set design. Jeffrey Wells, Hollywood ElsewhereAre there any problems?Little Women is charming if not a wee bit long…for such a pretty score it’s overscored? There are moments you just want to hear the girls banter but… nope. Gregory Ellwood, The PlaylistAt best, it’s a fresh approach that makes you rethink familiar material. But it can also make simple plot and character developments a bit harder to locate. Kyle Buchanan, New York TimesI have to say that it didn’t quite grab me as I’d hoped. Flashbacks, curious dream sequences, confusing here and there. Handsome and lusciously authentic, but feels in-and-outish. Jeffrey Wells, Hollywood Elsewhere(Photo by Sony Pictures)Is it an awards contender?Best Picture nominee… maybe? Gregory Ellwood, The PlaylsitThe last three Best Picture winners end happily and portrayed the world as ultimately hopeful. Greta Gerwig’s Little Women is the first movie of the year that does just that. So front runner? Sean Fennessey, The RingerWe’ll see as far as Oscars — nice to have an upbeat option. The 36-year-old actress turned auteur could become the first female two-time best director Oscar nominee. Scott Feinberg, Hollywood ReporterI’m not saying Jo March is Saoirse’s Oscar, but truly her only issue as an actress is that she’s so good makes her roles look so effortless and genuine and complete that she might fall into the Amy Adams camp of being so simply good it’s like Academy voters take her for granted. Jordan Crucchiola, VultureAn award-season cherry. Jeffrey Wells, Hollywood ElsewhereLittle Women is in theaters December 25.
(Photo by Warner Bros./ courtesy Everett Collection)All King Kong Movies RankedAaaaaand in this corner: The Eighth Wonder of the World! Since 1933, King Kong has shown just how big the movies can really get, starting with the iconic original and its legendary image of our misunderstood gorilla atop the Empire State Building swatting away pew-pewing biplanes. Like his monster brethren over at the Universal lot, Kong spawned a sequel: Son of Kong, released a mere nine months later.The big ape has also gotten the reboot treatment multiple times. There was Peter Jackson s 2005 King Kong, and a King Kong of the 70s, which got a direct 80s sequel: King Kong Lives, the worst-reviewed movie in the franchise.2017 s Kong: Skull Island meant Kong officially stomping into the MonsterVerse ring, setting up a deathmatch for the ages in 2021 s Godzilla vs. Kong. However, this isn t the first time he s limbered up against the lizard: 1962 s King Kong vs. Godzilla was the third movie in Toho s kaiju franchise. A sequel, 1967 s King Kong Escapes, saw the big galoot wrestling with a giant robot version of himself.And with the arrival of Godzilla vs. Kong, heralding a return to theaters after a world-devastating pandemic, we re ranking all King Kong movies by Tomatometer! (And don t forget to check out all Godzilla movies ranked!) “我觉得可以复制一部分吧，《摩尔庄园》对我来说就是养老游戏和回忆童年，对于我这样忠实的不氪金选手，我还挺喜欢从种地到开餐馆这种从无到有的收获感。”同样是快要研究生毕业的老玩家Doki（化名）也告诉《商学院》记者，出于身边好朋友力荐《摩尔庄园》，也想回忆童年的原因在上线几日后就下载了该款手游。但Doki表示之后玩的频率会降低。“因为每次任务时长太长，且总是单纯的点击，没有一点技术含量的循环做任务让我新鲜感会很快消失。”
Cinematographer Roger Deakins is a household name among film buffs. He s the genius behind the look and feel of landmark films like The Shawshank Redemption, The Assassination of Jesse James By the Coward Robert Ford, and Blade Runner 2049. His long-running relationship with the Coen Bros. has seen him create unforgettable imagery in Fargo, O Brother, Where Art Thou?, and more, and he has worked with Sam Mendes on Skyfall and Jarhead. This year, Deakins takes on his most ambitious project yet, Mendes 1917, an action-packed WWI thriller composed of long, elaborately choreographed segments edited together to give the story the feel of a single, unbroken shot. Ahead of the movie s release, Rotten Tomatoes sat down with Deakins to break down how he tackled the challenge of 1917 s single shot, as well as to walk us through some of the toughest assignments of his career, from Skyfall s epic fire to his Oscar-winning work on Blade Runner 2049. 1917 is in theaters December 25, 2019.