概要：骰子传奇无限钻石是一款非常经典的传奇手游，破解了无限钻石，玩家上线即可领取，玩家在游戏中可以根据不同的场景去选择合适的英雄角色，不断的冒险闯关解锁更多的关卡，游戏画风暗黑，感兴趣的小伙伴赶紧下载来体验吧。 (Photo by CJ 4DPLEX)What s more MAX than IMAX? To answer that, we take a quick look back to 1986. That s right, 32 years ago, the future was already being written by an intrepid explorer in a theme park. That explorer s name? Captain EO. That theme park? The happiest place on earth, Disneyland. At the time, Disney and Michael Jackson put on a show they labeled a 4D presentation, a space opera in 3D augmented by in-theater laser light effects, smoke machines, and more.Sure, the 3D was a little hokey, with things jumping out at viewers just to show off the technology, but it was so much more than that. The in-theater effects extended the reach of the 3D film and worked to fully immerse audiences in EO s world for 17 minutes. Having experienced Captain EO firsthand when I was a lad, I can tell you that I have fond, very clear memories of it. EO was event entertainment, a moviegoing experience that was extraordinary, worth the price of admission, something you put on your calendar and looked forward to.Fast forward to 2018, and it s been a good year for the cinemas, but that s relative to the steady decline in box office that American movie theaters have seen over the past few years. People aren t going to the movies like they used to, and theater owners are trying everything they can to put butts in seats. IMAX alone isn t cutting it, and many IMAX experiences aren t even the four-to-seven-story screens with 70mm film that places like Los Angeles Universal Citywalk boasts it s 57 feet high by 80 feet across. Projected on an enormous screen with the sound to match, blockbusters are an event there. Companies like CJ 4DPLEX are trying to match or better that experience, hoping to pique moviegoers interest and create those Captain EO event entertainment feels.(Photo by D-Box Technologies Inc.)Before we get into what CJ has, though, let s go over some of the other options currently available. You could spend your movie money on D-Box seats, which we first told you about here. I really wasn’t impressed with them, and even less so now, having experienced 4DX. For a quick recap, they re basically rumble seats. They have some movement, but I found them to be more of a distraction than a compliment to the film I saw; at the time, I thought their best feature was the ability to disable them.If rumble seats aren t your thing, many AMC theaters are now equipped with Dolby Cinema auditoriums. Think of amenities like Dolby Cinema and Cinemark s XD screens as elevated theater experiences. The former gets you Dolby Vision HDR with dual-laser projection and Dolby Atmos for sound, while the latter gets you true IMAX-size entertainment with its 70 foot-high screen. I know, I know, English motherf er! Do you speak it?! Yes, Mr. Jackson, I do.Think of Dolby Cinema and Cinemark XD like upgrading your 10-year-old flat screen TV to today s OLED 4K HDR panels. It s brighter, you re going to see more colors and definition, and the sound will be an upgrade as well. I was impressed with the punch of the bass the Dolby Cinema experience delivered, for example. You could feel the bottom end in movie scores and effects as if the theater had planted subwoofers right under your seats. These are elevated experiences no doubt, but still not the event entertainment that a true IMAX screen or Captain EO s 4D experience provided.(Photo by ScreenX)Ever heard of ScreenX? It s relatively new to the scene. Created by the same company that brought you 4DX, ScreenX wraps the theater in 270 degrees of immersive cinematography. As you can see in the image above, what you get is your standard front screen, but added to that are up to four additional projectors in the auditorium, two on each wall. CJ 4DPLEX s wizards work with the film s technical staff to take a movie like Fantastic Beasts: The Crimes of Grindelwald and convert certain scenes to expand out onto the wings of the theater, producing a more immersive experience. And for the most part, it is exactly that. Right now, only portions of the film extend onto the wings, which some may find jarring, but I found the transitions very subtle the expanded footage would fade in and fade out slowly and instead of pulling me out of the moment, they rather immersed me in the scene.Also the brainchild of CJ 4DPLEX is 4DX, and it is probably the closest we currently have to the Captain EO experience. Let me put it this way: I was not enchanted by The Crimes of Grindelwald. Frankly, it had been a long day and I was a bit tired at the time of the screening, and that may have factored into my enjoyment of it (or lack thereof). However, watching the same movie in 4DX was delightful. The opening sequence includes a Potter-style chase scene complete with a flying carriage and a thunderstorm, which were perfect for 4DX. How does all of this equate to better? The seats in the 4DX theater are more roller coaster than motion chair they have air jets and water misters, and the theater itself has some lighting effects to add to the atmosphere. During the chase scene I felt fine droplets of water hit my head (you can turn water effects off, if you choose); during certain moments the air jets hit me, augmenting on-screen action; and of course, there were the motion seats. Like I stated, it s much more than just haptics (the rumble seat stuff), though it does feature some solid haptic effects, too. The best way I can describe the seat is energetic. It pitched and yawed and tilted, and at times it did so somewhat jarringly, though not in a bad way. The level of activity, the sharpness, was commensurate with the on-screen action.(Photo by CJ 4DPLEX)Additionally, you might think the seat s action would be tied exclusively to the action sequences, but you d be wrong. During moments in the film when there were sweeping camera moves, the chairs panned and tilted right along with the camera, and though that took some getting used to at first, it pulled me into the moment as if I were right there on the set, behind the camera with the cinematographer. Let me be clear: It is very active, and I can see some moviegoers not liking it at all. But I ve been telling friends with young children about it, and I plan to take my wife next time.So what does the future look like? A few things. I think we ll see CJ 4DPLEX combine ScreenX with 4DX a natural progression in my opinion and give theatergoers the ultimate in immersion. Well, maybe penultimate mixing 4DX with VR and something called binaural audio would be the ultimate experience. Imagine watching a horror film with that level of immersion, for example. It would be so powerful that it could prove overwhelming for some viewers, just as the original theatrical release of The Exorcist was. Imagine Saving Private Ryan as a VR/3D audio experience, plunging viewers into the middle of WWII like never before. Imagine dodging bullets alongside Keanu Reeves as you quite literally explore The Matrix. It will no doubt come with a pricey admission fee, but it will truly be event entertainment in the vein of Captain EO.I’d love to know what you think of 4DX, D-Box, binaural audio, or even your Captain EO memories, so let me know in the comments below!ScreenX | 4DX | Dolby Cinema | Cinemark XD | D-Box | Binaural Audio
(Photo by Netflix. Thumbnail: Dark Sky/courtesy Everett Collection)The Best Horror Movies on NetflixLooking for the best scary movies on Netflix? After a guided map of the most terrifying dingy dungeons, creaky manors, home-invaded houses, and deeply dark woods you can find on the streaming service? Then your search has led you to your glorious streaming doom: The Best Horror Movies on Netflix!Not only does Netflix have a strong rotating library of scary movies, they sit along their horror original efforts, like Gerald s Game, Fear Street, and Bird Box.How did we whittle down our list of horror? We took every last scary movie on Netflix that had at least 20 reviews. What emerges is a portrait of which films unnerved and spooked out critics, have the potential to get audiences heart racing, and maybe even broke new ground and bones for the genre. So enough delaying the inevitable: Here are the best Netflix horror movies to stream and scream right now!亚博yabo888vip官网As home to the premieres of Hereditary, The Babadook, and Get Out, Sundance s Midnight program has developed a reputation among genre fans. And this year s lineup – on paper at least – looked set to hold up that legacy. There were a number of second features from directors who d shown scary-good talent with their debuts – including the second film from Under the Shadow s Babak Anvari and the duo behind Goodnight Mommy – and a film that had already been picked up by A24, the distributor that has become a kind of stamp of approval for fans of quality indie chillers. But did Sundance s 2019 horror offering live up to expectations? Will this year s fest gift us with another Hereditary? We checked out the films, and rounded up what the critics were saying, to give you the heads up on which Sundance horror films are most likely to make a splash when they hit screens later in the year.Little Monsters (2019) 79%Release date: TBDThis “Shaun of the Dead Down Under” zombie comedy is (so far) the best-reviewed movie from the festival’s Midnight Program. It’s sitting at 100% on the Tomatometer after early reviews and being declared “a new cult classic” by the likes of Nerdist’s Dan Casey. Time will tell whether that kind of talk is just hype, but this story of a group of Australian kindergarteners trying to survive a zombie attack during a field trip to a petting zoo certainly has its early fans. Most of them are singling out Lupita Nyong’o s performance as ukulele-plucking “kindy” teacher Miss Caroline, who – even as the groaning zombies close in – remains doggedly dedicated to convincing her troop of kids that it’s all just a game, and not at all the beginning of the apocalypse. (This gambit involves Nyong’o singing “Shake It Off” in what will be no doubt become a seminal moment in the zombie genre.)“Little Monsters is a testament to the fact that Nyong’o is a force of a nature who should absolutely be in more comedies,” writes Casey. Even critics who didn’t wholly fall for the movie’s charms sang the actress’s praises: “[Nyong’o] sings, gets laughs, talks tough, wields a shovel and pitchfork, and expertly navigates a big monologue about Neil Diamond,” writes Jason Bailey for The Playlist. “She’s so good, in fact, that the pleasure of her performance makes Little Monsters worth seeing. But just barely.” Meanwhile, Josh Gad gives an “unhinged” and totally un–Olaf-like performance as a foul-mouthed American childrens’ entertainer (and literal motherf—ker) who finds himself mixed up in the gory action.While many critics have noted the film can feel very familiar (you’ve seen this profane take on the undead in Shaun, Zombieland, and New Zealand flick Black Sheep), they also say its bigheartedness helps it stand out from the pack. The charming romance between Miss Caroline and slacker Dave (Alexander England), and Dave’s growing protectiveness of his nephew, are genuinely moving. (We re not going to say we cried, but we re not going to say we didn t either.) Katey Stoetzel at The Young Folks puts it best: “Little Monsters will be one of the best feel good movies of the year.”Sweetheart (2019) 95%Release date: TBDThis lean mean Blumhouse gem – “82 diamond-sharp minutes,” as Vulture’s Bilge Ebiri puts it – was one of the true highlights of the Midnight program. The plot is simple by-the-campfire stuff: a young woman (Kiersey Clemons) washes up on a deserted island and is forced to survive. By day that means gathering wood and food and tending to camp; by night that means steering clear of a mysterious sea creature that comes ashore after sunset with food and terror on its mind. It’s the kind of film that rests on the strength of its central performance and on its director’s ability to build tension then ratchet it up, and early reviews say it succeeds on both fronts.Clemons, who starred in last year’s Certified Fresh Hearts Beat Loud, is a dynamite and ferocious final girl (only girl?); “In mostly a one-woman show, Clemons does a great job being vulnerable and also tough as she faces off against the monster,” writes critic Rachel Wagner. Meanwhile, director J.D. Dillard (whose first film Sleight is Certified Fresh at 77%) constructs what Ebiri calls “an ingenious affair, a no-nonsense monster movie that uses its limitations effectively and tells its story cinematically.” Critics are split on the creature design, though – “cheesy” says Wagner; “well-designed” says the Hollywood Reporter’s John DeFore – but we can confirm the movie does feature one of the best monster reveals we’ve seen in years.The Hole in the Ground (2019) 83%(Photo by Courtesy of Sundance Institute )Release date: March 1 (limited)When a horror flick comes to us via A24, expectations are high – this is, after all, the distributor that in recent years has assaulted audiences with Hereditary, The Witch, and It Comes At Night. For some, “A24 horror” has become its own genre: unconventional and elusive family terror that digs right under the skin. On paper, The Hole in the Ground, which A24 acquired along with DirecTV before Sundance, mostly fits that bill.Director and co-writer Lee Cronin’s film focuses on a broken family – a mom and her young son living in remote Ireland – their dank and shadowy home, and the mysterious forest it backs onto (which contains the foreboding crater of the film’s title). The scares kick off when young Chris (James Quinn Markey, giving off serious young Haley Joel Osment vibes) starts acting differently and mom Sarah (Seána Kerslake) begins to question if he really is her son – and if that mysterious hole has something to do with it? Cue creepy kid antics and lots of menacingly innocent “Mommy, are you OK?” inquiries.If that all sounds familiar, it’s because it is: there is little in Cronin’s movie that you haven’t seen before – particularly if you’ve watched The Babadook, The Shining, or The Descent any time recently. For some, it s all a bit unexpectedly conventional for an A24 acquisition. “The Hole In the Ground is less subversive than we’ve come to expect from the indie distributor’s genre fare,” Variety’s Guy Lodge wrote in his review. “Compared to Ari Aster’s penetrating family nightmare Hereditary, which likewise debuted in a buzzy Midnight slot at Sundance last year, Cronin’s film is more of a straight-up spookhouse ride: jolting in the moment, but less likely to linger in the bones long after viewing.” Similarly, Nick Allen at rogerebert.com writes: “This is a story that errs toward the familiar instead of embracing strangeness, its freaky kid becoming the distraction when you just want more time with the hole in the ground.”Nearly all early reviews have noted that however familiar the story is, Cronin does do wonders with mood and delivers some effectively chilling scars (arachnophobics be warned: this one is not for you). The movie s excellent craft explains its current 91% Tomatometer. Writing for Digital Spy, Ian Sandwell went so far as to declare Hole the “first great horror of 2019,” and writes: “For the most part, Cronin avoids jump scares – although a couple of vivid nightmare sequences do go for the quick shock – and crafts an atmosphere of pure dread, combined with astonishing and immersive sound design.”The Lodge (2019) 74%(Photo by Courtesy of Sundance Institute | photo by Thimios Bakatakis. )Release date: TBDDirectors Veronica Franz and Severin Fiala continue to mine mommy issues for scares with The Lodge, their English-language follow-up to Certified Fresh genre slow-burn, Goodnight Mommy. There are parallels to that film in The Lodge – an impenetrable and potentially dangerous mother, for starters – but critics have been pointing to another film when considering the pair’s latest work. “The film frequently recalls the atmospheric, strings-heavy A24 horror house-style,” A. A. Dowd writes in the AV Club. “In fact, its foreboding establishing shots, deliberate pacing, and dollhouse imagery specifically bring to mind Hereditary.” Emily Yoshida at Vulture similarly writes that “the eerie rhythms of the universe that gave us Deep Impact and Armageddon, Antz and A Bug’s Life, and Fyre and Fyre Fraud have conspired to make The Lodge exist in Hereditary’s shadow, but while some tonal and iconographic similarities exist, the two films jump off their shared diving board into very different corners of the psycho-mom pool.”The “psycho-mom” in question here is actually a stepmom and the lone survivor of a cult suicide; when circumstances put her alone with her two stepchildren in the titular lodge, the scares and psycho-mom freakouts begin. Critics have been unanimous in praising Riley Keough in the lead role, with The Hollywood Reporter’s David Rooney writing that the actress “goes all in with fanatical-evangelical whack-job fervor” and Yoshida writing that “Keough’s performance walks a tricky line skillfully.” It’s not quite enough to put the film at the level of Goodnight Mommy, nor Hereditary, but it delivers on scares – particularly in its opening moments. As Rooney writes, The opening 15 minutes alone is must-see stuff.”Wounds (2019) 47%Release date: March 29, 2019Armie Hammer had been leaving plastic cockroaches all over Park City in the lead-up to the midnight premiere of Wounds, a brutal little Cronenbergian body-horror piece from Under the Shadow director Babak Anvari. (Your RT correspondent got a rude shock when he sat down at the Library screening room and stepped on one.) See the film and you’ll get the gag: This is one roach-filled movie. And a scare-filled one. And a very Armie Hammer-filled one (he’s essentially in every scene). In Wounds, the actor plays a New Orleans bartender who unlocks a cellphone left behind by a group of kids, discovering some disturbing videos and images stored in the camera roll; things get worse for him when the texts start coming. It all has to do with “wounds,” and portals, and yes, roaches.Most critics agree that Wounds is probably the most surprising of Sundance’s horror offerings: Mashable’s Angie Han wrote in her review, “What this movie is about, what it’s trying to do, I couldn’t tell you. But it is never boring.” And many are praising Hammer for a big, Nic Cage-esque performance as the bartender increasingly on the verge of some kind of breakdown. For Film Threat, Norman Gidney writes, “Hammer’s performance is unhinged, insane, and totally relatable,” while David Rooney at The Hollywood Reporter writes that Hammer “gamely loses himself in the sweaty panic of the role, subverting his golden matinee-idol persona to explore the gnawing sense of inadequacy eating away at Will and steadily filling him with overwhelming rage.”Is the movie scary? At times it s plain terrifying; one late-night kitchen sequence was the freakiest thing we saw at the fest. But as many critics are noting, Wounds doesn’t quite live up to Anvari’s Certified Fresh first feature, which sits at 99% on the Tomatometer. As Rooney concludes: “There s nothing here that comes close to the fascinating cultural specificity, the sobering political perspective or the elevating personal connection of Anvari s first feature, set in the Tehran of his childhood, near the end of the protracted Iran-Iraq War. But the director nonetheless remains a skilled craftsman, subtly tapping into the flavorful history of New Orleans as a hub of dark magic, while wrapping the entire action in a soupy soundscape of ambient dread.”Corporate Animals (2019) 25%(Photo by Courtesy of Sundance Institute.)Release date: TBDCorporate Animals arrived at Sundance with big horror-comedy pedigree: writer Sam Bain was a co-creator of beloved British TV comedy Peep Show and director Patrick Bice gave us Netflix’s acclaimed low-budget chillers Creep and Creep 2. Plus, Animals features Demi Moore in a rare comedic role, playing the head of a company whose employees get trapped in a cave during a corporate retreat and resort to cannibalism – as you do.Still, in early reviews, many critics aren’t feeling it. The Hollywood Reporter’s DeFore writes that “Bain’s script is about as fresh as the air in a cave nine people without toothbrushes have shared for a week,” while Screen International’s Anthony Kaufman wondered whether the horror-comedy elements were working together as seamlessly as they should: “On an episode of Parks and Recreation, there might be instances of office politics, insults lobbed at the quirky intern, and general backstabbing, but it’s not remotely credible coming from a group of people who are trapped, starving, and dying of thirst.” Others, however, were digging Animals’ absurdist vibe and Moore’s comedic turn: The cast is full of comedians who deliver but they all orbit around Moore,” writes Fred Topel at Monsters and Critics. “She has never been this funny. I hope Corporate Animals is the beginning of a Demi Moore comedy renaissance.”The Sundance Film Festival runs January 24-February 3, 2019.
rst thing that starts to sort of threaten her worldview: Well, wait a minute, wait a minute. Women are doing this? Because that wasn t something that I thought was possible and no one told me that that was an option. And you see … she s somewhat hostile to the idea, but as time passes she gets over that, she copes again, she makes new plans, she figures out how to keep her world intact. She s helping out with raising the Stevens children and her friendship with Tracy survives it all and she s moving on. She s a survivor, Karen, she moves on and she s going to cope.Now the death of her son really does sort of start a whole new chapter for Karen. So it was really sort of plotting out how do we evolve that character while at the same time being true to her and the women that were like her at that period? It didn t seem fair to just say that Karen would wake up one day and just be a completely different person or that she would just jettison her entire upbringing and her entire worldview. It felt like that would have to be an evolution. And then you would have to justify how those changes are made for a character like her.(Photo by Apple TV+)Can we talk about how 109 deals with grief in all of its forms?Moore: Yeah. 109, we had to sort of face it directly. Two characters like Karen and Ed dealing with a profound loss and not being able to be there for each other and how they would individually do that. And a lot of us in the writers’ room, we had either gone through similar things or we knew close relatives who had, so we drew on a lot of that, of personal experience of people s responses to grief. And it did feel like once Karen had gotten over the planning of Shane s funeral arrangements and all that, that then she would be sort of left at loose ends. Like once that was complete, she had nothing left; there would be an emptiness there and she retreat, would try to retreat as far as she possibly could away from the world and away from everyone else.And on Ed, lone, isolated, tired, had been told he was being rescued over and over and over again. And had to hear about this over the phone, that he would just shut down. He would just shut down, turn off the phone, refuse to talk, and he would just be alone with his grief. And that each of them in their own way was kind of doing the same thing. That they were both retreating from the world and they both just wanted to be left alone and manage their grief in their own way. And again, it seems like that s who the characters were in that era, and they weren t seeking therapy and they weren t trying to talk through their feelings. They didn t have any of those skills and those tools, and if they didn t have each other, if they weren t able to comfort each other, they didn t want to be comforted by anybody, and they just started to step back from their lives.The character of Aleida Rosales she’s the kind of character that, in a big cast like this, could get lost. What was the intention behind making a storyline out of that family s journey?Moore: It was an initial impulse at the very creation of the show to have a young character that we could watch grow up over the seasons, because the show is multigenerational. It goes through many decades, and I wanted someone at the outset who was very young and then it became, “Let s make it an immigrant story. Let s make it a story of how broad the space program is, that it s not just inspiring people in the United States. It s actually inspiring people around the world, and here s this young girl who comes to the United States from Mexico.” It becomes an immigrant story. Then the challenge became how do you keep her on the show? Because she obviously can t impact a big story for a very long time. And it was a lot of work, and we did struggle with at times to be honest, to figure out how to keep her relevant to the show when so many of the things were going on.But we did have a belief that ultimately this is a clearly critical character in the life of the show later on. In a way it s almost an origin story. It s an origin story of a superhero or something: start at the beginning, see how she got involved with NASA, see who she knew and what the challenges are and then throw a curve ball in her world towards the end of the first season and then come back second season and see what happened to her a decade or so later.(Photo by Syfy)For All Mankind, you re back in space. Was that intentional? Were you re looking to go back to space?Moore: Well, I was certainly open to the idea. I mean I do love space and science fiction. It s just been part of me since I was a child. So you do it for a long time. It s Star Trek and then Battlestar and you need to get away and not do it continuously. But then I kind of felt sort of ready to come back and there were new things to do and new things to say in the field and so it was really fun to come back and do a space show again. And I hope it won’t be my last.Yeah, I hope it won t either. I don t know if you know, but Battlestar took like top spot in our list of the best sci-fi shows.Ron Moore: I did see that. I couldn t believe it. I was very touched by that. It was like, Wow. Really? Yeah, I m not sure. I m not sure I would have voted it that high. I don t know that the child in me can actually put Battlestar above the original Star Trek series, but I do appreciate the honor.See, I would agree with you if you d said The Next Generation, but the original Star Trek, really?Moore: The original, it s brilliant. It changed the genre.One of the things that I really liked about Battlestar and one of the things that weighed in its favor for that ranking was just the amount of time spent on developing character, and they re not just red shirts or blue shirts or yellow shirts. Each character has an intention, and it s something that I ve seen more lately. I d say it shows how influential you ve been in this medium, that you see, for instance, in The Expanse, this focus on character and a lived-in quality for the show.Moore: I appreciate that. It s very kind. I would love to think that we had that kind of influence, and those qualities were very important to us in Battlestar, and we spent a lot of time focusing on them and saying that this is really what matters and this is really what will distinguish the show and this is what you re capable of doing in science fiction. It d be great to think that that’s influenced others. And that it continues to go in that direction.(Photo by Starz)Now Outlander was a little bit of a detour. I was surprised to see you on that title. Similarly, I think you ve given the story more heft than some other people might ve.Moore: Diana [Gabaldon] had created a great universe in Outlander the books. And I just thought once you translate that to television, one of the first things you have to realize is that, Yes, you re going to see the universe” and Yes, you re going to see the world, Scotland.” That s all fascinating stuff, but what the television audience really cares about are the characters because that s who they get attached to. That s really what they re all about. That s what they want to see. How does this week s event impact my favorite characters? So again, at Outlander, we also made it a concerted effort to really try to get inside Claire and Jamie and Frank.We certainly played a lot more of Frank in the show than really the books did, because I kind of felt that there was an opportunity there to really show the triangle and to really get inside Claire a little bit more, to understand who she was, because her whole journey in the first season was about trying to get back to Frank. And so you had to kind of understand and really buy into the notion that Frank was an important character in order to really understand Claire.Outlander does really well on the Tomatometer, too. Is there anything you can say about the new season that we can look forward to?Moore: Getting closer to the American Revolution, the split between Jamie and Murtaugh is going to come to a head and be very difficult for both parties. You’re going to see more of Stephen Bonnet, Jocasta, and all the characters who set up season 1, and there ll be another character returning in the next season that we said goodbye to last season. There s a lot of fun stuff. It s just sort of a big, sprawling epic really is what it is —what it always has been.For All Mankind is now streaming on Apple TV+; Outlander season 5 premieres on Sunday, February 16 on Starz.
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Adam Sandler could be eyeing his first Oscar nomination if the buzz out of Telluride and the Toronto International Film Festival for his newest film, Uncut Gems, is anything to go by. Reviews for the Safdie brothers (Good Time) latest are glowing, with critics singling out Sandler for career-best work as a jewelry dealer in Manhattan’s Diamond District who finds himself pursued by criminals when a precious gem goes missing. Rotten Tomatoes Editor Jacqueline Coley spoke to Sandler and co-stars Idina Menzel, Lakeith Stanfield, and Julia Fox in Toronto, where the raves were still pouring in. The four talk about working with the Josh and Benny Safdie, two of cinema’s most sought-after and buzzed-about directors; sharing the screen with NBA legend Kevin Garnett and musician The Weeknd; and finding pockets of calm on the set of such a kinetic film.
January has come and gone, bringing us one legitimate Best Picture contender (1917), one surprise hit (who knew Bad Boys for Life would actually be good?), and a handful of duds, which is pretty much par for the course at this time of year. As we enter the month that celebrates romance, Black history, and American presidents, the movie slate doesn t look like it s going to set the world on fire, but there s still a few notable titles to consider. We ve got the latest DC Comics movie, for starters, and a Cannes Film Festival winner, a video game-based adventure, a children s movie based on a classic novel, and a horror remake. But what did RT users and our fans on social media vote to the top of the list? See below for the most anticipated movies opening in February.1. Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) 79%3,681 Want-to-See Votes#1 pick by our Facebook, Instagram, and Twitter fansOpens February 7Margot Robbie sheds the Suicide Squad for her own marquee film sort of as she takes center stage as Harley Quinn in this DC Comics adaptation. Here, she and her cohort of fierce lady friends (played by Mary Elizabeth Winstead, Jurnee Smollett-Bell, and Rosie Perez) take on a Gotham City crime lord (Ewan McGregor) who s out to get a young girl named Cassandra Cain (Ella Jay Basco). This movie racked up the most Want-to-See votes by far and rocketed to the top of all of our social polls as the most anticipated film of the month, and early word on social media has been overwhelmingly positive. We ll see if the film retains that heat when it opens the first week of February.2. Sonic the Hedgehog (2020) 63%1,650 Want-to-See Votes#2 pick by our Facebook, Instagram, and Twitter fansOpens February 14Remember when the first trailer for Sonic the Hedgehog premiered and the internet did a collective spit-take at the inexplicably malformed character design? Remember when the studio then backtracked and redesigned Sonic to match the original character more closely? Whether or not it was all a clever marketing ploy (all press is good press, right?) to convince nostalgic moviegoers that the people behind the film were on their side, it s resulted in a fairly healthy anticipation for the film, which finds the blue speedster an alien from another planet teaming up with his newfound human bestie (James Marsden) to take on a gleefully unhinged Jim Carrey in the form of the original game s classic nemesis, Dr. Robotnik. This one also unanimously took second place in all of our social polls and earned the second-most Want-to-See votes on RT.3. Portrait of a Lady on Fire (2019) 98%1,252 Want-to-See Votes#3 pick by our Twitter fans, #4 pick by our Facebook fans, #5 pick by our Instagram fansOpens February 14Sure, the top two vote-getters in February are broadly marketed Hollywood fare, but if there was any doubt that RT users are a diverse group who flock to all sorts of films, this should help alleviate some of it. Earning a spot in the top five in all of our social polls, as well as the third-most Want-to-See votes, is this French romantic drama from celebrated director Céline Sciamma that took home both the Queer Palm and the award for Best Screenplay at the Cannes Film Festival last year. The story follows an artist who is hired to secretly paint the portrait of a reluctant bride-to-be; as the two spend more time together, a growing attraction becomes apparent and threatens to upend both their lives.4. The Invisible Man (2020) 91%1,009 Want-to-See Votes#3 pick by our Facebook and Instagram fans, #4 pick by our Twitter fansOpens February 28H.G. Wells seminal science-fiction novel has been adapted or borrowed from on several occasions since its publication in 1897, most notably in 1933 as part of Universal Pictures stable of monster movies. Now, with the studio s desire to update their classic horror pictures (formerly as part of a Dark Universe ), we re getting a new version starring Elisabeth Moss as a woman who may or may not be imagining the unseen presence of her abusive ex, a brilliant scientist who apparently committed suicide but might have actually discovered a way to turn himself invisible instead. Encouraged by a fairly effective trailer, initially skeptical moviegoers have turned the corner to cautious optimism, making the film February s fourth-most anticipated title.5. The Call of the Wild (2020) 62%1,116 Want-to-See Votes#4 pick by our Instagram fans, #5 pick by our Facebook fansOpens February 21Speaking of celebrated literature brought to the big screen, our last entry on the list adapts a Jack London masterpiece with the help of modern technology. While previous iterations of The Call of the Wild were content to work with live St. Bernards, this film stars a computer-animated Buck alongside Harrison Ford as John Thornton, who encounters the canine hero after he s been dognapped from his domestic life in California and sold as a beast of labor in the Alaskan Yukon. This one made into the top five of our Facebook and Instagram polls, and it earned the fourth most Want-to-See votes of all movies this month.Thumnail image by Warner Bros. PicturesLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
亚博yabo888vip官网 (Photo by Josh Ethan Johnson / © A24 / Courtesy Everett Collection)Many who saw Steven Yeun as the suave, stylish playboy Ben in Lee Chang-dong’s Burning were shocked not to see him among the Academy Award nominees for Best Supporting Actor in 2019. The Korean-born American actor, just a few years out from leaving his star-making turn as Glenn on The Walking Dead – the episode still crushes us to this day – had delivered the kind of charismatic, sinister, and layered performance that, had it not been in a foreign film, would have all but assured him a solid awards-season run. Yet, despite some serious campaigning from writers and industry folks who heralded his turn as the almost Ripley-esque figure, it was not to be.Burning was just one within a streak of exciting post-Walking Dead projects that have marked Yeun as one of the most interesting and unpredictable actors of his generation – and one of the Freshest. Since leaving the AMC series in 2016, he has popped up in Bong Joon-ho’s Okja and Boots Riley’s Sorry To Bother You, and he s played the lead in the ultra-violent action/horror/comedy Mayhem, all Certified Fresh; add to that some great TV voice work in acclaimed animated series Tuca Bertie and Wizards. And then there’s this year’s Minari, in which he plays an immigrant father chasing the American dream in the rural South – and dragging an unwitting family along with him – and which won top honors at last year’s Sundance Film Festival.Minari arrives in theaters with three Screen Actors Guild Nominations, including for two for Yeun for Lead Actor and as part of the ensemble, and a controversial Golden Globe nomination for Best Foreign Language Film, despite being a decidedly American production and story. (Pundits predict the Academy won’t be making another Burning-level oversight of his performance when Oscar nominations are eventually announced, either.) Yeun, of course, isn’t focused on the hype, but on the work, and what Minari’s success could mean for American audiences and American stories moving forward.Ahead of the movie’s release, Yeun sat for an extended chat with Rotten Tomatoes to talk about how he has charted his unique career path, playing Minari’s single-minded Jacob, and why he seeks collaborators who are like nobody else.Jacqueline Coley for Rotten Tomatoes: I really wanted first of all to congratulate you on the SAG nominations, both your individual one and the ensemble one, and again, the film s just getting so much great praise. I checked this morning – I didn t know until today – but you re on a five-film Certified Fresh hot streak. Steven Yeun: Really?Yeah. There must have been a lot of offers after The Walking Dead and you could have gone a lot of different directions, but looking at the films you did – everything from Okja and Mayhem to Sorry To Bother You and now Minari – those are specific choices. How did you decide to do those films, and why did you want to work with those filmmakers?Yeun: It s strange, because you re asking me now from a kind of a retrospective lens, and maybe I ve by this point kind of compiled a story to tell about what happened and how I made these choices, but in those moments, I don t know if I had agency like that. I probably did. I certainly said no to things that I felt were just other versions of things that I ve tried before.But I think a lot of it is, for me, I was really trying to find myself. I was really trying to find out who I was and kind of get to play in roles that allowed me the space to express the fullness of, not me per se, but of a character. As an Asian-American actor, prior to Walking Dead, if I had any opportunities at all, it was really mostly to service larger narratives or kind of be a plot point by which to weave the main character around. So I wanted to be the main character that gets to have the plot points to weave around. With Mayhem, I m so thankful to them for giving me my first chance at a leading role. It wasn t a big budget and we shot it in Serbia, but we had some really wonderful people with us. Samara s [Weaving, his co-star] incredible, Joe [Lynch, the director] is great. To flex that muscle was attractive to me.Steven Yeun in Burning. (Photo by © Well Go USA / courtesy Everett Collection)And, then Okja… who wouldn t work for director Bong? I m a huge fan. And so, him reaching out and giving that part to me was extraordinary – and painful, because K was very much something that I was at the time, just somebody straddling two worlds and being unable to service either one. And I think going through that experience – I wasn t necessarily super conscious of what I
联动飞智品牌推出“智霸三国”款合作游戏手柄，响应资深无双系列玩家手柄畅快搓招的“传统美德”，打破手游搓玻璃的束缚。选中意武将无CD畅快搓招，体验深度完美复刻的无双技能。不仅有飞智“智霸三国”游戏手柄，还搭配了专属活动称号“智霸三国”及头像框，携手更多玩家从主机跃迁手机，畅快割草、智霸三国。 (Photo by Fox Searchlight / courtesy Everett Collection)20 Movies To Watch If You Loved Jojo RabbitWhen director Taika Waititi isn t busy making Thor the funniest character in the MCU, he takes the time to stay true to his quirky indie roots, releasing movies like Jojo Rabbit. It s about a young Nazi boy with an imaginary Hitler friend, whose mother is hiding a Jewish teenaged girl in their home. It s also up for Best Picture in this year s Oscars race.It s a high-wire act mining jokes out of World War II, and when the film came out there were immediate and mostly favorable comparisons to Jojo s forebears like Charlie Chaplin s The Great Dictator, To Be or Not to Be, Life Is Beautiful, and the original The Producers. And speaking of Mel Brooks, he lends his wisdom for documentary The Last Laugh, which explores the boundaries of humor in the face of human horror and catastrophe. Meanwhile, Train of Life is just as funny as any of the movies mentioned so far, and remains criminally underseen.Using a child s perspective to explore the origins and horrors of World War II is an evocative yet risky technique. If successful, it creates empathy in the viewer. When it fails, critics and audiences will deem it exploitative. Come and See is arguably the most memorable of this type of film, but be warned it is not a comedy and will mess you up. It s also a masterpiece. Forbidden Games and Au Revoir Les Enfants are gentler classics, and just about as affecting and powerful. If you re not a blubbering mess by the end of those and want even more World War II movies from kids point of views, try The Tin Drum, The Diary of Anne Frank, or The Boy In the Striped Pajamas.Beyond World War II, there have been a lot of great films as seen through the eyes of youth that unearth truths for people across all ages. Peter Brook s adaptation of The Lord of the Flies explores how authoritarian tendencies develop organically when left unchecked. Pan s Labyrinth uses fantasy to help a young girl engage with and escape the darkness of reality. Beasts of the Southern Wild, Where the Wild Things Are, and The Florida Project all use the power of imagination to create better worlds for their young heroes.And if you re just looking for a rousing adventure of young lovers on the run (and also in scouting uniforms), see Moonrise Kingdom by Wes Anderson. Waititi shares the same comedic sensibility and timing as Anderson, as seen in Jojo Rabbit and his earlier efforts, Boy and Hunt for the Wilderpeople.
(Photo by Clay Enos / © Netflix)We re not even six months into 2021 and director Zack Snyder has already enjoyed back-to-back triumphs: the epic superhero corrective, Zack Snyder s Justice League, which landed on HBO Max in March after years of fan campaigning, and now Army of the Dead, his long-awaited return to the zombie genre, which opened in theaters last week and arrives on Netflix this Friday. The movies – with Tomatometer scores of 71% and 76% respectively – are his best reviewed works since his debut, Dawn of the Dead, back in 2004.While Army is no direct sequel to Dawn – different characters, different kinds of zombies here – it s clear Snyder is relishing playing with the undead again, and this time with a totally original story. A heist movie/zombie movie mashup, Army sees a ragtag group of soldiers and mercenaries, led by Dave Bautista s Scott Ward, heading into a walled-up Las Vegas that s teeming with zombies to pull off one last heist. As critics have noted, it s Snyder unfettered: full of gore, awesome soundtrack choices, plenty of slo-mo, and heart-on-your-sleeve, earnest emoting even from the zombies.Ahead of the movie s release on Netflix, Snyder spoke to Rotten Tomatoes about the most fun movie-making experience of his life, building a new kind of zombie lore (and getting audiences to root for Team Zombie ), and his no-holds-barred plans to expand the Army of the Dead world with more films and a very adult animated series. (Warning: the below interview contains minor spoilers for Army of the Dead.)Joel Meares for Rotten Tomatoes: Congratulations on the movie, Zack, and congratulations on the surprise theatrical run. Why is this a good film for audiences to see on the biggest screen they possibly can – if it s safe – right now?Zack Snyder: By the way, if that big screen happens to be in your living room, by all means [watch it there]. But being at the theater, it s a fun movie to see. Listen, when I made the film, there was no vision of this movie being in a theater. I didn t even care to ask. I was like, No, I appreciate you, Netflix, saying yes to this idea, and so I will honor you and your platform by making a movie specifically for this world. And it was Netflix that came to me and said, Hey, is it cool if we release the movie on the big screen as well? And I said, Absolutely, that would be amazing. And it s worked out great. The movie plays really well on a giant screen. In a lot of ways, it s a lot of movie on a big screen. We went bigger than we normally would because it was going to be this big [gestures a small TV size], so I was like we might as well just blow the doors off it since you re going to watch it at home. So in the theater it plays awesome.(Photo by Clay Enos / © Netflix)Rotten Tomatoes: It does so from the moment it starts with that credits sequence. When the social media embargo lifted, and then we were reading the reviews, everyone was like: This is the biggest credits sequence I think I ve ever seen, or at least the biggest Zack Snyder credit sequence. Why did you want to go so big and put so much into that montage – and how challenging was that to pull off?Snyder: It was pretty challenging. I will say though that, like anything, I wanted to make sure that this Well, this was a movie about veterans. These are veterans. The old gunslingers. They go for one last mission. That was the movie, and it always was, but I wanted to tell the story of their journey and their war story in the title sequence. I just felt like it was important that we let you know in the title sequence that they had suffered trauma and they d gone all the way into the heart of darkness with their journey in the zombie fall of Vegas.I also wanted to trick you a little bit with it, like the movie does. It s a small metaphor for the actual experience of the movie. It looks like a lot of zombie fun and there s a lot of hijinks, and then suddenly you find yourself caring about these guys. And there s a lot of drama and there s a lot of heartbreak. But then in the end, you realize that you re in this “let s do it again” kind of a world. That was something I wanted to express on a small scale in the title sequence.Rotten Tomatoes: I think the film really does that balance so well, between the spectacle and the gore, and then these emotional relationships, particularly between Dave [Bautista] and Ella [Purnell], and then also between Matthias [Schweighöfer] and Omari [Hardwick], which I absolutely loved. Why was it so important for you to home in on and really develop these strong bonds between certain characters?Snyder: That’s the “why” of the movie in a lot of ways – in the end you can go on a zombie romp, but what is the “why” of it? And I think that in the end, it s those human relationships that make us care and make it important, and the characters you want to see live, and the ones that sacrifice, and the ones that you want to see not make it, you start rooting in all different directions. And I think that in the end this is the “why” of making a big movie and going on this big journey. It s really a fun and exciting place to be if you care.(Photo by Clay Enos / © Netflix)Rotten Tomatoes: You went even further than that in some ways. There are certain zombies we come to care for!Snyder: Yes, it was important to me that [we cared about the zombies], if it was possible. I remember when we were talking about this at the early days, I was like, I want people to be Team Zombie at some point. I want there to be people that are like, I really hope that Zeus makes it. That s what I want. Or him and his queen to start a new world somewhere. I think that would be amazing. And I just think that s the rare thing in a zombie film: empathy for the zombies.Rotten Tomatoes: Yeah, because it s a completely new spin. I mean we ve had empathy for zombies, but generally because you see the previous character that was there and you know the relationship between the person who s alive, but we hadn’t really seen society-forming, thinking zombies. And it s almost a Planet of the Apes development here. Snyder: Yeah, I really love the Planet of the Apes reference because that s what I was going for in a lot of ways. I love the idea that Zeus… he cries, frankly, in the movie. And I know it sounds like a joke when I say a zombie cries in this film, but I think when you see it in context that you don t bat an eye. It s just, like, of course he would. Who wouldn t? And I think that even just the notion that the switching of the thing where you go into that world thinking we re just going to kill any zombie we see, but then you realize that in the end, the humans are double crossing, and they re not honoring the deal, and all of that. I just think that s super fun to wonder who s the honorable one in the scenario.(Photo by Clay Enos / © Netflix)Rotten Tomatoes: It was really refreshing, and that all came from you, because, if I m correct, this is your second project after Sucker Punch that s entirely original as opposed to an adaptation. What s the difference in the experience between adapting something that is beloved and trying to do that justice, and doing something where you have free rein and it s all come from your own mind?Snyder: First, I mean just to say, Sucker Punch – and I loved the movie and it s awesome – but it was one of those things we pitched as a hard R, crazy, R-rated movie. And the studio asked us to make a PG-13 and we were like okay, to do it, we ll do it. And Army of the Dead is a movie where Netflix has been 100% with us. I go, It s an R-rated movie all the way, and they were like, Awesome, go for it. I think it just allows the true original vision of the movie to keeps it integrity. And you can feel that when you watch the movie, that it s singular. I think the singularity of it is the thing that makes it so you go into that world and you buy it at every turn.And when you re dealing with something like the DCEU, which is such hyper-focused IP where the studio is doing a lot of the decisions out of playing defense with the idea, they re constantly just trying to protect their back, it s hard to score when you play defense. It s just difficult. You can see it. A lot of the decisions feel like they re made in a I mean that s the one thing about what I got to do with Justice League, finally it’s just like okay, just go and do it. And that was fun for me.(Photo by Clay Enos / © Netflix)Rotten Tomatoes: So, would you say this is one of the most free experiences you ve had making a film?Snyder: Yeah, I would say for sure it was the most fun I ve had making a movie. I mean pure fun every day, day in and day out. These actors, these scenarios – we knew it was crazy, and so it s fun to do. When you re having Dave Bautista run down across the tables in a casino firing a machine gun and zombies are diving all over the place, I mean, I d say “cut” and I would literally be laughing, like, okay, this is ridiculously awesome. Or even just taking Garret [Dillahunt] and throwing him around on these wires, and that s going to be a zombie shaking him to death