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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(Photo by Magnolia Pictures, New Line Cinema, Sony Pictures Classics, Columbia Pictures, Warner Bros. / courtesy Everett Collection)The 30 Essential Vampire Movies To Watch Right NowWerewolves, mummies, and cobbled-together lab freaks have been around since the earliest decades of film, but no monster was perhaps more camera-ready than the vampire. Those counts and lords who love to mug and menace for the camera, mesmerize with their fancy capes, and whose pale skin glows in the luminous flicker of old film cameras. So no surprise that some of the best vampire movies back then are some of the best vampires now, like Dracula, Nosferatu, and Vampyr, even as they approach their centennial anniversaries. That s the bar that s been set for our guide to the essential and best vampire movies, and still we found plenty worthy to follow in their fang-steps.Across legend, we know vampires for their allure and seductive properties. (Or at least, just their property who wouldn t be charmed by a 600-bedroom castle?) The sex appeal of the vampires has especially been played up in movies since the 80s: As the sexy suburban neighbor (Fright Night), the upper-strata socialites (The Hunger), and a smoulderer s row of hot guys (Interview with the Vampire) and leather jacket rebels (The Lost Boys).Or if you just want some action, see From Dusk Til Dawn, Daybreakers, Underworld, and 30 Days of Night.So, looking for something to watch on your next open-coffin-and-chill night? Then go to bat with our 30 Essential Vampire Movies!
That is roughly an average of a .8 million opening weekend for these 15 films that opened between .55 million and .1 million in previews. Not to be found on that list, of course, is any film to open during the pandemic; The Invisible Man is the closest film we have to that and it opened less than two weeks before things truly started shutting down. Thursday-night previews began coming back in April and have come back more full-time since Memorial Day weekend. In that time we have seen Old start with .5 million and open with .8 million and other horror films bringing in smaller numbers such as The Forever Purge (.33 million/.5 million), Escape Room: Tournament of Champions (.2 million/.8 million), and Don’t Breathe 2 (5,000/.6 million).Candyman, which like all of those films is a theatrical exclusive, bested all of them on Thursday and found itself with a .4 million opening weekend. That puts it more in line with the general average we had seen for horror movies prior to the pandemic. Certainly, this is also a one-off that is benefiting from significant name recognition, as did A Quiet Place Part II and The Conjuring: The Devil Made Me Do It (which, even with HBO Max status, began with .1 million), so even the science of numbers suggests we have to wait for more patterns to emerge. Between this strong late-summer start and the continuing success of Free Guy, we may not be back to full pre-pandemic strength but the numbers do not appear to be going in the wrong direction either.The Top 10 And Beyond: The Free Guy Success Story Continues As Jungle Cruise Crosses 0 MillionFree Guy continues to be one of the most positive stories of the summer box office. It dropped just 27% this weekend, earning another .6 million. How positive is that? It is only the best third-weekend of any film during the pandemic, ahead of A Quiet Place Part II ( million), Black Widow (.6 million), and F9 (.4 million). Free Guy is not going to approach the loftier grosses of those movies and still trails the pace of Jungle Cruise by about .5 million overall. But its third weekend bested Cruise’s (.1 million) and that film just crossed the 0 million line after making million this weekend. (That itself the second-best fifth weekend behind A Quiet Place Part II (.1 million) and ahead of F9 (.8 million)). Free Guy may take a bigger hit with Shang-Chi opening next weekend, but with .3 million in the coffers so far, it should remain ahead of Godzilla vs. Kong’s pace this week and remain on track to cross 0 million. Its global total stands at 9 million.Last week’s minor breakout success, Paw Patrol: The Movie, fell back 50% and brought in another .6 million this weekend. How does that stack up with fellow kids movies also streaming during their theatrical runs? There’s HBO Max s Space Jam: A New Legacy (fell 69.1% down to .5 million in its second weekend) and Tom Jerry (fell 53.9% to .5 million), as well as Peacock’s The Boss Baby: Family Business (fell 44% down to .8 million). Peter Rabbit 2, a theatrical exclusive, dropped 39% to million in its second weekend. Paw Patrol’s 10-day haul of .1 million puts it ahead of Tom Jerry’s .8 million, but it will likely fall short of the March release’s million total.On The Vine: Shang-Chi Offers a Test for Theatrical Exclusives The all-time best Labor Day weekend is about to become another of Disney’s conquests as Marvel’s Shang-Chi and the Legend of the Ten Rings opens. The film will be the first of Disney’s slate not made available with Premier Access on Disney+ since the pandemic began. Though, even with theatrical exclusivity, Shang-Chi is unlikely to beat Black Widow’s current total of 0 million, even though it could top the box office for three-to-five weeks straight.Full List of Box Office Results: August 27-29, 2021
If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at firstname.lastname@example.org.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by 20th Century Fox)When we last saw the final images of James Cameron’s blockbuster 2009 film Avatar, all humans, with the exceptions of Jake Sully (Sam Worthington) and a select few others, had been expelled from the Na’vi planet of Pandora and sent back to Earth. Lucky Jake was then transferred permanently into his avatar with the aid of the Tree of Souls.In the decade since, children have grown up and parents have welcomed grandchildren waiting for sequels that never arrived. Snapchat launched. The Cubs won a World Series. Why the interminable delay? Cameron, a renowned perfectionist, had to wait until the technologies for underwater CGI caught up to his ambitious visions of a world completely submerged in H2O. Now that it finally has, Cameron’s master plan is in place: he’s shooting four sequels back to back, two at a time.To say this is the longest anticipated wait for a sequel in movie history would not be an understatement: Avatar remains the highest-grossing movie of all time with .8 billion worldwide at the box office.Speaking at a Vivid event in Sydney, Cameron told vfxblog, I guarantee one thing: Avatar 2, 3, 4, and 5 are all going to be in 3-D and they will look sumptuous… they will be, to the best of my ability, the best 3-D that’s possible to make.”Who’s In Them?(Photo by 20th Century Fox)Sam Worthington, Zoe Saldana, and CCH Pounder will reprise their original roles, with Sigourney Weaver, who played Dr. Grace Augustine in Avatar, expected to return in a different role. Notable newcomers include Titanic star Kate Winslet, Game Of Thrones’ Oona Chaplin (granddaughter of Charlie Chaplin), David Thewlis (the Harry Potter films), and Cliff Curtis (Fear The Walking Dead).If your favorite character died in the first film, not to worry. Cameron is bringing back Stephen Lang as Col. Quartich, last seen expiring from two arrows embedded in his chest, for all four films. The director sounds pretty excited about it, as he told Empire Online: The interesting conceit of the Avatar sequels is it’s pretty much the same characters…. There are new characters and a lot of new settings and creatures, so I’m taking characters you know and putting them in unfamiliar places and moving them on this greater journey. But it’s not a whole bunch of new characters every time. There’s not a new villain every time, which is interesting. Same guy. Same motherf ker through all four movies. He is so good and he just gets better. I know Stephen Lang is gonna knock this out of the park. What Are They About?(Photo by 20th Century Fox)Plotlines are being kept under wraps, but we know the films will be set on Pandora. A year ago, Cameron gave a thematic overview to Gizmodo: “I found myself as a father of five starting to think about what would an Avatar story be like if it was a family drama, if it was The Godfather… So, that’s really what it is. It’s a generational family saga. And that’s very different from the first film.”And way back in 2010, Vulture quoted Cameron discussing his plans for Avatar 2. “Part of my focus in the second film is in creating a different environment — a different setting within Pandora. And I’m going to be focusing on the ocean on Pandora, which will be equally rich and diverse and crazy and imaginative, but it just won’t be a rain forest. I’m not saying we won’t see what we’ve already seen; we’ll see more of that as well.”What Were The Technical Challenges?(Photo by Mark Fellman/20th Century Fox)Shooting with complicated underwater motion-capture technology is, as you might expect, difficult. Cameron told Collider, “The problem with water is not the underwater part, but the interface between the air and the water, which forms a moving mirror… Basically, whenever you add water to any problem, it just gets ten times harder.”While Cameron says that water will be a part of Avatar 4 and 5, the real emphasis will be on 2 and 3.When Will They Come Out?(Photo by 20th Century Fox)As reported in May of 2019, Avatar 2 is currently still set to premiere on December 17, 2021, almost 12 years to the day after the original’s premiere, although production in New Zealand was put on hold in March of 2020 due to coronavirus concerns. Sequels 3, 4, and 5 will roll out December 2023, December 2025, and December 2027 respectively.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Joel Meares for Rotten Tomatoes: I was reading that you didn t actually see Larry, the monster in Come Play, until the first time you interacted with it on set. What was your reaction to first seeing the creature?Azhy Robertson: It was pretty terrifying. The puppet looks a lot like it does in the movie. There was a scene where Gillian [Jacobs] and I were hiding under the bed and Larry just jump scared us! The first few takes, it really scared me. It was so surprising.For viewers who haven t seen the film yet, what is so terrifying about the look of Larry? Robertson: He s basic, he s not super detailed or anything, but I think that makes him a little scarier. He s just this huge tall lanky dude. He s actually humanoid, and I feel like that reflects into the message of the movie about loneliness, and how he just wants some friends. That was very interesting to me.(Photo by © Focus Features )You watched Poltergeist in the lead up to this at the director’s suggestion. Were there other movies that you watched to get the vibe of what the filmmakers were going for? What did you think of Poltergeist and those films?Robertson: I didn t really watch any other films, because I m literally a huge scaredy cat, so I didn t want to watch any more horror films. But Poltergeist is pretty similar to Come Play, because they both involve an invisible and mysterious entity-slash-ghost, and they re doing strange and horrible things to a family.Right. And both involve entities coming through screens – in Poltergeist through the TV, and in Come Play Larry’s coming from iPads, phones, TVs… anything around. Robertson: Yeah.Speaking of… do your parents have strict rules for your laptop and iPad usage? They might get stricter after seeing this movie! Robertson: Now, in quarantine, I really don t have anything to do other than that, so I don t really get very many limits, but they stop me if I m on it for way too long. Before quarantine, it was only four hours a week. Playing with my friends doesn t really count, though, only playing by myself.Preparing for this role, you also spent some time in New York being with kids with special needs and autism to get a sense of your character. How did that experience help prepare you to play Oliver?Robertson: I sat in on some classes and observed some of the common characteristics between some of the kids, because, if you ve met one kid with autism, then you ve only met one kid with autism. They re not all the same. I just wanted to see some common things that they do. For example, stimming was one, where you just do something with your body, your hands, your joints, because if there s too much sensory detail, then you focus on what you re doing with your hands or your joints or your body. [Editor s note: Oliver does a version of this in the film.](Photo by © Focus Features )You ve worked with some really incredible actors in your very short career. Obviously, Adam Driver and Scarlet Johansson in Marriage Story, and then Winona Ryder and Zoe Kazan in The Plot Against America, and here with Gillian Jacobs and John Gallagher Jr. What did you learn from your co-stars in this movie?Robertson: I ve learned a lot. Gillian, she taught me that if you need to be emotional She gave me a lot of space to be emotional, and she told me how you can help get teary and sad: You isolate yourself. That s something that I use to this day. When I need to be very sad or emotional, I isolate myself from everyone else to concentrate.One last question before I let you go. There’s one sequence that really stands out in the movie, a terrifying scene set in a parking booth that is also in director Jason Chase’s short. The invisible monster attacks. It looked incredibly intense and wild. What was that like to shoot?It was both scary and fun. Playing with that laser thing, that was pretty cool. Getting picked up by an invisible ghost – that was really intense and terrifying. Using the sticky-hand thing, without going into too much detail, that was pretty insane as well. That whole sequence of scenes was really cool.Have you seen the finished film?Robertson: Yeah I have.Scary? Robertson: Very.Come Play is in theaters October 30, 2020. On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: Priscilla Grant/Everett Collection, Jasin Boland/© Warner Bros. Pictures, © Columbia Pictures, © Neon, © Columbia Pictures 十大必玩手游合集2021年十大必玩手游推荐、动作、战斗、策略、塔防、生存逃亡等。，可以满足不同玩家的喜好，无论是注重游戏体验还是剧情。拥有今年最受欢迎的手游。同时也将不断更新最新最热门游戏资讯，最好玩最热门游戏，喜欢的小伙伴可以点击下载体验！
Behind the Zero(Photo by 20th Century Fox)The story behind the notorious adaptation of Martin Amis’ 1989 novel London Fields is infinitely juicier and more dramatic than the one on-screen, but that’s setting the bar exceedingly low. It s a lurid, salacious show-business melodrama involving a novel overflowing with sex and murder and the legal intrigue it inspired when an attempt was made to adapt it. The latter pitted a director eager to take his name off a picture he felt no longer represented his vision against producers he accused of adding incendiary elements against his will and a glamorous movie star couple (Johnny Depp and Amber Heard) whose marriage would explode publicly in a flurry of abuse allegations in the long years between the time London Fields was made and when it was finally released.The movie was supposed to screen at the 2015 Toronto International Film Festival until director Matthew Cullen, a music video hotshot, sued the producers for non-payment and failure to allow the promised creative control. Amber Heard, meanwhile, was sued by producers for million for failing to promote the film and publicly siding with Cullen. Heard, in turn, counter-sued, alleging that the producers used a body double to get around a nudity clause in her contract.Cullen, Heard, and several of the male leads all objected to a producer adding postmodern elements into the film, including 9/11 imagery and pornographic sequences that suggested an Asylum knock-off of the orgy scenes in Eyes Wide Shut. For years, the movie existed in a state of creative and legal limbo as different cuts were produced and legal issues were very publicly hashed out, giving the movie the kind of terrible publicity that would sink a film even if it was not as staggeringly awful as London Fields is.London Fields was finally released in 2018 to universally withering reviews (including the notorious zero rating here) and near-record box-office lows, grossing a paltry 9,000 over its opening weekend, the worst tally for a film released in over 600 theaters since 2008’s Proud American. By that time, Heard and Depp, who has an uncredited role as a peacocking dandy of a loan shark/darts champion, had gone through an ugly, public divorce that cast an ominous shadow over the already troubled film.How toxic is London Fields? Director Matthew Cullen told The Hollywood Reporter of the movie’s seething pans, I ve read the reviews. I agree with them. The Zero(Photo by Paladin)Heard stars in London Fields as Nicola Six. She’s less an unusually sexy woman than sex incarnate, a black widow of a seductress who enjoys toying mercilessly with the schmucks caught up in her web before going in for the kill.She’s a ridiculous cartoon of heavy-breathing, vampish old-school sexuality. She’s a dame to kill for, a sex bomb with the ability to reduce grown men to drooling children. She s Jessica Rabbit if she really were bad, not just drawn that way. But Nicola has another gift as well: she’s clairvoyant, albeit only to the degree that the movie needs her to be at any moment she can see far enough into the future to know that she will be murdered by one of three men unhealthily obsessed with her.First up is a rail-thin, dead-eyed Billy Bob Thornton as Sam Young, our hard-boiled narrator, a world-weary failed writer with a dark secret involving his own imminent death. Sam lucks into a decidedly one-sided apartment swap with Mark Asprey (Jason Isaacs), an obscenely successful hack writer who lives in the same posh London building as Nicola.Sam knows that Nicola is going to die, violently, in ostensibly dramatic fashion. He believes he can get a best-seller out of lightly fictionalizing his own British misadventures, but only if he’s actually there to watch the death happen. So the scribe makes Nicola a rather curious proposal: he wants permission to be there during her demise for creative and artistic reasons, of course, in addition to a desire to make loads of money. Nicola grants it, seemingly without giving the matter any consideration.(Photo by Paladin)Thornton is uncharacteristically terrible as one of the most exhausted cliches in fiction: the desperate writer who functions as the all-powerful God of the world they’ve created but who can’t begin to figure out the complexities of real life. Thornton possesses extraordinary charisma in the right roles, and he s famously an award-winning screenwriter in real life, but he s a thin, grey mist of a man here, a burnt out “intellectual” who whispers wall-to-wall narration full of nuggets of unbearable pretension like, “Love is blind, but it makes you see the blind man. It makes you search him out with eyes of love.”Then there’s Keith Talent (Jim Sturgess), a right proper soccer hooligan/Andy Capp type who seems to have staggered in drunkenly from a lesser Guy Ritchie crime comedy. He’s a broad caricature of a boorish, ignorant working-class bloke what enjoys downing a pint or twelve at the pub, watching footie with his mates, and shagging fit birds. Nicola is, of course, the fittest of fit birds. She cannot enter a man’s life without completely overtaking it, and Keith’s all-consuming desire to shag Nicola takes precedence over everything.Last and certainly least in the three-way contest to either win Nicola’s heart and/or murder her is Guy Clinch (Theo James). Guy has the manners, breeding, and expensive attire of a proper member of the educated bourgeoisie, but Nicola’s teasing manipulation transforms him into a preposterously gullible half-wit.For example, Nicola enlists Guy s help to locate two desperate people known only as Enola Gay and Little Boy the names, of course, of the plane that dropped the first atomic bomb on Hiroshima and the bomb itself. In a more knowing film, that would qualify as a sly joke about the way Guy’s desire for Nicola clouds his judgement and renders him hopeless against even the most transparent of ruses. Instead, London Fields plays this development completely straight, and Guy learns the true nature of Enola Gay and Little Boy via a book and erupts with rage at Nicola’s trickery. In order for the film s idiotic plot to work, everyone other than Nicola has to be as stupid as the filmmakers assume the audience is.At the core of London Fields’ staggering awfulness lies a fundamental confusion about the nature of its material. Is this a parody of the heavy-breathing, sex-saturated, melodramatic, viciously misogynistic cliches of erotic thrillers, neo-Noir, and crime fiction? Or is it a straightforward, moody, pretentious exploration of sex and death and art and destiny?(Photo by Paladin)The film is at its best when it embraces the trashy, delirious comedy lurking just under the surface, like Keith dancing for joy in the rain to Dire Straits’ “Money for Nothing” after receiving, you guessed it money for nothing from Nicola. Or the fact that the flamboyant world of professional darts figures so prominently in the plot.Speaking of which, Depp overacts with trademark brazenness here in a hammy star turn as a big shot in the overlapping worlds of darts and organized crime. As is almost invariably the case with late-period Depp, ninety percent of the character comes through baroque sartorial choices. He is essentially nothing more than a walking wardrobe here, and at this point, encouraging Depp to overact is a recipe for disaster.For Nicola and Sam, death lurks in the very near future, so at least they get to leave this hell eventually, and in the meantime, they ve got something to do. They’re lucky in that respect.In the most groan-inducing self-referential touch in a meta-narrative positively teeming with them, Nicola, who could only ever be a fictional character (an obscenely, broadly drawn one at that) indignantly tells Sam, “I’m not one of your one dimensional characters, Sam.” That’s true only in the sense that Nicola would need to be fleshed out further to qualify even as one-dimensional.In an even clumsier reference to the characters in this appalling fiction knowing, on some level, that they are characters in a very bad movie, Sam tells Nicola, “I’m pretty worried that the critics are going to call you a male fantasy figure.”The critics would call her, and the movie, much worse. Even the film s own director did.Final Verdict(Photo by 20th Century Fox)Believe the hype! London Fields is an impressively idiotic insult to the noble, shadow-laden legacy of classic film noir and its contemporary bastardization, the neo-noir. It seldom rises even to the level of passable neo-noir: it’s closer to a heavy-breathing “erotic” thriller, the kind that fills Cinemax’s nighttime programming, albeit with an inexplicably prestigious, star-studded cast and an unlikely literary pedigree.London Fields’ path to the big screen was long, complicated, and fraught, but it might have worked out better for everyone involved, particularly Heard, if this boondoggle had never been released at all.Nathan Rabin is the author of six books and the proprietor of Nathan Rabin’s Happy Place.Follow Nathan on Twitter: @NathanRabin
bob最新活动 In 2018, Jordan Peele’s Get Out jolted the Oscars status quo by earning nominations for four awards, including a Best Actor nod for Daniel Kaluuya. It’s not totally uncommon for prestige to pluck a horror performance from the dirt and see it as the radiant flower it is: Ruth Gordon won an Oscar for her eerie turn in Rosemary’s Baby; Bette Davis got a nod for her freaky What Ever Happened to Baby Jane? role; and Jodie Foster, Natalie Portman, and Kathy Bates all took home Oscars for Silence of the Lambs, Black Swan, and Misery, respectively. But even when a horror performance is honored, a whole lot of people twist themselves into knots trying to say a film wasn’t actually horror — Kaluuya was nominated for a Golden Globe in the Musical or Comedy category.Ever since the premiere of Peele’s sophomore feature Us at SXSW, Lupita Nyong’o’s stunning performance as Adelaide and Red — two distinctly different but complementary versions of the same character — has been earning her high praise. Not since Jeremy Irons’ turn in David Cronenberg’s Dead Ringers has an actor in a horror film rendered such a complex psychological study of the self through twinning. Nyong’o’s transformation is physical and visceral and — pretty clearly — the caliber for awards consideration. So Peele kindly settled any debate before it began by tweeting: “Us is a horror movie.”In honor of all the actors who’ve toiled away in horror, either to be forgotten or snubbed, here are 13 horror performances we’ve adored – but which the major awards ignored.Essie Davis in The Babadook (2014) 98%(Photo by ©IFC Midnight)Before Jennifer Kent’s The Babadook premiered in 2014, Essie Davis was best known in America for her roles in The Matrix films and her portrayal of master sleuth Phryne Fisher in Miss Fisher’s Murder Mysteries (check it out on Netflix – it s a lot of fun). But grieving single mother Amelia was an opportunity for Davis to shine as a complex, terrifying anti-heroine haunted by a ghoulish children’s book character, and the death of her husband. Davis was so committed to the role that she lost her voice for three days after performing a wrenching 11-second scream on set. She told the Guardian, “It didn’t matter if I looked like s t and felt like s t every day, because that’s what it needed.” Her face — often in closeup — is puffy, with wild eyes darting in response to every creak in the house. Amelia is creepy and dangerous, and yet Davis imbues her with a sensitivity that makes her circumstance relatable and that much more horrifying.Toni Collette in Hereditary (2018) 89%When we look back on the scariest mothers of movie history, Toni Collette’s performance as Annie will likely hover around the number-one spot for a long while. Annie is unabashedly selfish with her time and art, quite different from so many of the doting mothers on film who give up their lives for their children. She both has pain and inflicts pain — indicative of the generational trauma of their family — which means she can’t really be boiled down into Good or Bad. Collette slams her whole body and being into this character for a riveting, histrionic performance that lays waste to restraint. Annie’s grief, laughter, and anger show themselves on the screen with Shakesperian levels of gravity and calculated artifice, and no one will soon forget the horrific contortions of Collette’s face as she wails in mourning for the dead. Also, against all odds, Collette somehow finds little slices of humor and humility in Annie. Miraculous. (Miraculous, too, that she was snubbed last awards season.)James McAvoy in Split (2016) 77%How many completely different characters does a guy gotta play in the same movie to get any awards talk? In Split, McAvoy embodies 23 separate personalities, ranging from a literal beast who can crawl up walls to a prim, post-menopausal woman in heels and pearls named Patricia. McAvoy said his favorite character of the bunch was actually a 9-year-old boy named Hedwig, who’s got a slight speech impediment and a whole lot of saliva when he talks. In that role, McAvoy chewed up the scenery, shoulders slumped like a bored child, bouncing off the walls with the energy of a kid who’s seen way too many shoot- em-up movies. McAvoy’s greatest craft trick, however, was in finding the silliness amid the horror, keeping the tension taut throughout those laugh lines, and then searching his way back to a more tender performance as Kevin Wendell Crumb, a broken man lost in his many identities.Nicolas Cage in Mandy (2018) 90%(Photo by © RLJE Films)It’s no secret that Nicolas Cage is known for throwing himself deeply into his roles, creating a kind of fun dance of them, seeing how far he can take the character with spontaneous emotional outbursts. Too many filmmakers simply rely on that Cage-iness when they cast him in their movies, but director Panos Cosmatos offered the actor real motivation with the character of devoted and then heartbroken Red Miller, whose quiet, sensitive side embraces his love, Mandy, with all his heart, before she is brutally ripped from him. Despite Cage’s character having to smelt his own battle axe, Cage himself is actually appropriately restrained and then only unhinged in rare moments when the narrative calls for it, but every emotion is grounded in grief and then wild and painful revenge. Cage co-star Andrea Riseborough as Mandy deserves more than a mention here, as well, having delivered an equally stellar performance that ranges from philosophical monologues to maniacal laughter.Betty Gabriel in Get Out (2017) 98%Betty Gabriel was filming a low-budget action movie called Beyond Skyline when co-star Frank Grillo recommended her for a role in Blumhouse’s The Purge: Election Year. Word had it that Jordan Peele was going to direct his debut feature and was looking to fill out a couple of roles. Gabriel showed up, and the rest is history. As housekeeper Georgina, Gabriel locates the heart of this supporting character — both the woman she was and the new woman who’s inhabiting her body. In one pivotal scene, her voice quakes as she says, “No. No-no-no-no-no-no,” her eyes — filled with tears — at odds with the smile on her face, as though she’s a dummy puppet and either part is being manipulated by a different puppeteer. This chasm in Georgina’s personality becomes her central tension and the source of so many skin-crawling scenes, with the underlying message that the scariest thing is not knowing yourself.Gong Yoo in Train to Busan (2016) 94%Yeon Sang-ho’s ultra-violent zombie action film earned a place in America’s hearts, not just because of its thrilling and bloody chase sequences, but because it’s really the story about a father’s sacrifice for his child. Gong Yoo plays Seok-woo, a busy, divorced dad whose young daughter has asked him to take her to be with her mother in Busan. Before he even gets on the fateful train with the girl, he already feels like a failure, unable to properly show love. Gong Yoo’s performance of this sad dad finding his way grounds an otherwise flighty narrative. Even in busy action sequences populated by hundreds of zombified extras, Yoo exudes a kind of nervous strength focused singularly on the survival of his daughter. Sang-ho also includes another dad in the film, Sang-hwa, played by Ma Dong-seok, who offers an extremely complementary performance to Yoo’s, displaying a kind of earnest courage, which Yoo feeds off of for the transformation of his character.Tony Todd in Candyman (1992) 77%(Photo by ©TriStar Pictures)Who can make you jump out of your skin and also yearn for his fateful embrace? The candyman can! Tony Todd’s presence in this frightfully ridiculous story rises above the material. The convoluted urban fairy tale features Todd as its boogeyman, called from his grave when his name is said in the mirror three times. Todd said he was immediately taken with the role, despite some misgivings around race in the story, simply because the imagery of gore in the city was something he hadn’t seen before. In 2015, he told IGN: “I’ve always wanted to find my own personal Phantom of the Opera.” That desire is evident in Todd’s melodrama and theatricality. He embodies and flaunts the grotesque, a mythically imposing figure with sweeping grand gestures that become impossibly romantic — even though the Candyman’s got a rib cage of bees! Todd’s resonant voice, wide smile, and mesmerizing eyes add up to one tempting, unforgettable villain.Jeff Goldblum in The Fly (1986) 93%(Photo by 20th Century Fox Film Corp. )It’s galling that, at first, the studio couldn’t see Jeff Goldblum as Seth Brundle, the brilliant scientist destroyed by his own teleportation creation. But perhaps they didn’t know that Goldblum would work out like a madman and drink coffee every waking minute of his days to embody the maniac his character would become — the Brundlefly. Cronenberg knew. As Brundle, Goldblum s natural charisma perfectly matches Geena Davis’ Veronica, a journalist who’s come out to a stranger’s apartment to check out his weird machines. Veronica’s inquisitiveness puzzle-pieces together with Brundle’s excitement, and the two settle into a lovely, if short-lived, romance. Where Goldblum shines is when he transforms into a wild man capable of snapping off a strongman’s arm in a bar. In one scene, the actor ad-libbed an entire caffeine-fueled, buzzy monologue about philosophy and science while Davis played off his energy as the straight-man. Even under pounds of goopy makeup, Goldblum makes his Brundlefly a sympathetic monster of circumstance.Sissy Spacek and Piper Laurie in Carrie (1976) 93%Director Brian De Palma was adamant that Carrie’s telekinetic outbursts were simply about teenaged angst, but young actor Sissy Spacek latched onto the idea that Carrie was “really about a young girl who is an artist who just wants to be normal,” and that the girl dreamed of expressing herself through poetry one day, but her fascist mother took it away from her. Spacek’s mythology of her character was so deep that De Palma at times just let her run off with the role, while he focused on specific shots. Her mannerisms equally evoke an innocent naïf and an all-powerful goddess, and her performance is matched only by that of Piper Laurie, who didn’t at first understand what would be required of her from the script, until she read it with the eyes of Lady Macbeth. The result of Laurie’s work is an unrivaled whites-of-her-eyes performance of Biblical intensity, glimmers of it present in Toni Collette’s Annie of Hereditary.Mia Farrow in Rosemary's Baby (1968) 96%Though Ruth Gordon was honored by the Academy Awards for her part as the nosy neighbor attempting to lure Rosemary into an orgy with the devil, Mia Farrow sadly was not, despite the arc of her emotions anchoring this nightmarish tale. Director Roman Polanski himself said he didn’t really have to direct her. He trusted her to come to these emotions herself, and he didn’t pre-plan or storyboard any shots, instead watching how Farrow approached the scene and setting up around that. Rosemary transforms from shy, childlike cheerleader wife to pregnant paranoid prisoner of a cult. The way she moves between gullibility and strength becomes so relatable, while the gaslighting becomes more and more absurd an accurate, if frightening, portraiture of a woman at the whims of her man and the devil he’s made a deal with. Her performance is so affecting that the calm and resolute demeanor she strikes when she’s made peace with her destiny is both surprising and inevitable.Isabelle Adjani in Possession (1981) 88%(Photo by Courtesy the Everett Collection)Three words: Subway tunnel scene. Andrzej Zulawski’s tale of an unearthly sex monster who’s taken hold of a Berlin housewife turns into high art because of Isabelle Adjani’s dedication to self-annihilation over the course of the film. Here, she plays Anna, one half of a marriage that’s suddenly imploding in hysteria and intrigue. Anna’s husband, played by an impeccable Sam Neill, attempts to search out where and with whom she’s been spending her time. When she is in the house, she’s erratic, cutting herself and her husband with an electric knife, eyes possessed. But in that tunnel scene is where the audience gets the full indication of how much Anna’s body is not her own, as Adjani flagellates herself with a milk carton, ramming her tiny frame into the tile walls, bathing in the spilled milk as though she’s communing with a higher, violent spirit. She barks and gasps with laughter until her body erupts with blood and green goop, and, holy wow, is it unnerving.Linda Blair in The Exorcist (1973) 83%Linda Blair earned an Oscar nomination for her role as possessed little Reagan, thank God, but lost out to another young actor, Tatum O’Neil, in the Supporting Actress category. Famously, writer William Blatty blasted George Cukor for leading a campaign to denigrate horror films as undeserving of an Academy Award, but Blair’s performance lives on, award or not. As the lovable Reagan (pre-possession), she gleams with innocence and precociousness, which makes that moment when she stands with blank eyes, cursing her mother’s fancy guests and urinating on the carpet, so shocking. The emotional flexibility it takes for a child to then be strapped to a bed, globbed with green makeup, hurling incredible insults at adults, is otherworldly, not to mention the physicality required of her to constantly thrash on the bed and yank at the straps on her wrists and ankles. Oh, lord, and then there’s the crucifix… We’ll just say it’s a tour de force performance most adult actors wouldn’t have the maturity to do, let alone a child.Jack Nicholson/Shelley Duvall in The Shining (1980) 84%Jack Nicholson and Shelley Duvall as Jack and Wendy Torrance are two sides of a terrifying coin. Jack is all action, while Wendy is reaction, their push and pull and friction grinding this film into brutal horror. One gets the sense that Nicholson was born to play his role of a sadistic alcoholic narcissist who blames his wife and children for his writerly failures, even though they’ve uprooted their lives to fulfill his dream of finally getting some free time to work on that novel. Nicholson is wild-eyed and untethered, some of his greatest lines (“Here’s Johnny!”) resulting from a multitude of takes meant to wear the actors down into lunacy. Duvall embodies pure, unadulterated fear, lip quivering, earth quaking beneath her. Nicholson’s performance lives on for its horror only because Duvall can deliver the uncertainty and panic, her arms limply but dutifully swinging a baseball bat at an approaching monster Wendy always knew lurked beneath.