环球体育app官网采用百度引擎4（Baidu 9）(Photo by ©AV Pictures/Courtesy Everett Collection)The Best Australian Horror MoviesYou might expect a list of Australian horror films to be teeming with the beasties people associate with the continent: poisonous snakes, deadly spiders, mammoth crocs. Yet while this collection of essential Aussie horror flicks does contain several of those Down Under biters – two crocodile movies, one shark movie, and one about a giant wild boar (didn t see that coming, did ya?!) – it also features works that tap into something just as threatening: the vast land itself, from the mystery of its desert center to the dark possibilities of its cities sprawling suburbs. Movies like Wolf Creek and Road Games play with our anxiety about who, and what, we might encounter dare we venture into the endless Outback, while Hounds of Love and The Babadook explore what might lie behind your neighbor s door.Recent international breakouts like Jennifer Kent s Babadook and Natalie Erika James atmospheric haunted house chiller Relic traffic in the slow-building dread of today s elevated horror, but Australian genre films have been largely marked by a certain hard brutality over the years. Consider Wolf Creek and its sequel, or the more recent Killing Ground, which tell ripped-from-the-headlines slasher tales of terrorized backpackers and campers, but do so with an almost merciless insistence on graphic, real-feeling violence. And while we re talking brutal, check out The Loved Ones, a darkly comic tale of obsession that found new ways to drill into the torture porn trend of the 2000s.To be included in the list, movies had to be made and set in Australia, by a predominantly Australian crew. They also had to have more than 10 reviews – which is why the great maybe-horror Bad Boy Bubby, with only nine Tomatometer-approved reviews, didn t make the cut; ditto the excellent anthology Dark Place. We then culled the selection down to the 20 highest-rated movies, which included a couple of Rotten-but-fun (Bait) or seminal flicks (Patrick), and even a Jamie Lee Curtis sort-of-slasher. (Yes, Curtis s Final Girl phase even took her to entirely different hemispheres.) Purists may quibble with the choice to include Phillip Noyce s Dead Calm, a twisty and taut three-hander with Sam Neill, Nicole Kidman, and Billy Zane – it s not horror in the traditional sense, perhaps, but it will have you squirming. As will Justin Kurzel s The Snowtown Murders (released as just Snowtown in Australia), a crime drama with grisly horror elements you won t soon forget. Take shots at us in the comments if you must, but won t regret watching them.With all that said, here are the 20 highest-rated Australian horror films, according to the Tomatometer.Best Spanish-Language Horror Movies | Best Korean Horror Movies | Best Italian Horror Movies | Best French Horror Movies | Best Japanese Horror Movies2020’s Best Horror Movies | 200 Best Horror Movies Ever
对一款手游来说，通过AI技术来打造生物系统无疑是一种较大的创新。《黑暗与光明手游》以此突破了传统沙盒手游的桎梏，给玩家带来了全新的游戏体验。同时，由于生物的反应更为真实自然，玩家在游戏世界中获得的反馈也显得更加真实，有效加强了玩家的代入感。环球体育app官网Cinematographer Roger Deakins is a household name among film buffs. He s the genius behind the look and feel of landmark films like The Shawshank Redemption, The Assassination of Jesse James By the Coward Robert Ford, and Blade Runner 2049. His long-running relationship with the Coen Bros. has seen him create unforgettable imagery in Fargo, O Brother, Where Art Thou?, and more, and he has worked with Sam Mendes on Skyfall and Jarhead. This year, Deakins takes on his most ambitious project yet, Mendes 1917, an action-packed WWI thriller composed of long, elaborately choreographed segments edited together to give the story the feel of a single, unbroken shot. Ahead of the movie s release, Rotten Tomatoes sat down with Deakins to break down how he tackled the challenge of 1917 s single shot, as well as to walk us through some of the toughest assignments of his career, from Skyfall s epic fire to his Oscar-winning work on Blade Runner 2049. 1917 is in theaters December 25, 2019.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
Charlie Heaton, Blu Hunt, Alice Braga, Henry Zaga, and Josh Boone go deep on their genre-bending take on the Demon Bear saga. by RT Staff | July 23, 2020 | Comments
As we inch closer to the beginning of the summer movie season, we are starting to see a few more big-name properties show up on the release calendar, and March features not only a hotly anticipated sequel to a surprise horror hit, but also a new entry from Pixar and the latest live-action remake of an animated Disney classic. Beyond those titles, we also have a comic book adaptation starring Vin Diesel and a new interpretation of a Jane Austen novel just to round things out. See below for the most anticipated movies opening in March.1. A Quiet Place Part II (2021) 91%2,769 Want-to-See Votes#1 pick by our Facebook, Instagram, and Twitter fansOpens March 20Director John Krasinski had a hit on his hands with 2018 s A Quiet Place, in which he starred alongside his real-life wife Emily Blunt as a married couple with two children (after a tragic and horrifying opening scene) who live their lives in complete silence in an attempt to avoid detection by the bloodthirsty monsters who navigate by sound that have taken over the world. This month, we get the sequel, which finds Blunt s Evelyn Abbott traveling with son Marcus (Noah Jupe), daughter Regan (Millicent Simmonds), and her newborn infant until they come across other survivors and discover there s more to worry about than just the monsters. This film made it to the top of all of our social media polls and racked up the second-most Want-to-See votes among all March releases.2. Mulan (2020) 73%3,650 Want-to-See Votes#2 pick by our Facebook and Twitter fans, #3 pick by our Instagram fansOpens March 27Disney released three live-action remakes of their classic animated films in 2019 namely Dumbo, Aladdin, and The Lion King and while none of them exactly set critics hearts aflutter, the latter two especially made big splashes at the box office. With that context in mind, March brings us their latest effort, Mulan, starring Liu Yufei as the titular heroine who defies her father s wishes and joins the Imperial Chinese Army disguised as a man to represent her family. The supporting cast includes such renowned actors as Jet Li, Donnie Yen, and Gong Li, and fans on our social media accounts were excited enough about the movie to vote it into second place on Facebook and Twitter, and third place on Instagram. It also racked up the most Want-to-See votes of any March release on RT.3. Onward (2020) 88%1,252 Want-to-See Votes#2 pick by our Instagram fans, #4 pick by our Facebook and Twitter fansOpens March 6Part of Mulan s appeal is undeniably the nostalgia factor for adults who remember seeing the animated original more than 20 years ago, but Disney offshoot Pixar is also coming out with a new animated film that s ostensibly aimed at younger audiences but plays on some mature themes. MCU stars Chris Pratt and Tom Holland voice two elf brothers who live in a suburban fantasy world populated by trash unicorns and pet dragons where technology has pushed magic into obsolescence. When the two of them receive a magical gift from their deceased father that will allow them to resurrect him for 24 hours, and it only summons his lower half, they embark on a journey to find a way to bring back the rest of him before time runs out. This one made it into the top five of all of our social polls and garnered the third-most Want-to-See votes on RT, and on top of all that, it s already Certified Fresh.4. Bloodshot (2020) 30%1,099 Want-to-See Votes#3 pick by our Facebook and Twitter fansOpens March 13The vast majority of superhero movies made these days belong to either the MCU or the DCEU, but the landscape is slowly changing as other players join the fray. Enter Bloodshot, a murdered soldier who is resurrected by scientists and given superhuman abilities thanks to nanotechnology. The Valiant Comics anti-hero is played by Vin Diesel here, and reports have stated that the film is intended to be the first in its own cinematic universe. We ll have to wait and see how that goes after the film is released, but for now, moviegoers are looking forward to seeing the big-screen adaptation of the comic, as it ranked third in our Facebook and Twitter polls.5. EMMA. (2020) 87%1,391 Want-to-See Votes#5 pick by our Facebook fansOpens Wide March 6The last film on this month s list actually opened in limited release back on February 21, but it s expanding wide in the first week of March, thanks to a positive reception. Anya Taylor-Joy stars as Jane Austen s eponymous matchmaker, who discovers that maybe she s not as good at bringing people together as she thought she was, all while her own romance bubbles up and takes her by surprise. Director Autumn de Wilde s debut feature is already Certified Fresh, and critics say it s a whimsical adaptation that takes some time to get going but blossoms into a delightful treat. The film made it to fifth place in our Facebook poll and earned the fourth-most Want-to-See votes on RT.Thumnail image by Paramount PicturesLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
(Photo by © Warner Bros. )While the comic-book superheroes made the leap to filmed entertainment very quickly – Superman appeared in animated shorts within three years of his first appearance in Action Comics #1 and precursor pulp heroes were already in Saturday morning movie serials by 1938 – it took decades for the superhero movie to truly coalesce into a genre. After the Superman cartoons, characters like Batman, the original Captain Marvel, and Captain America joined the pulp heroes as movie serial stars, and Superman himself would finally be featured in his own serial in 1948. But more often than not, these films followed the established serial format with the 1948 Superman innovating only enough to use a piece of animation to denote the character s flying ability. After the serials went extinct, the superheroes returned to comic books.In 1966, Batman: The Movie and its parent television show defined for generations what comics on screen should be: campy. And while that film is great on its own merits (and 77% Fresh on the Tomatometer), it made it difficult for movie producers to ever take a costumed superhero seriously until the mid 70s.At that point, producer Ilya Salkind and his father Alexander optioned the rights to Superman from DC Comics. The plan was to make a lavish two-part film in the vein of their recent successes, The Three Musketeers and The Four Musketeers, with The Godfather author Mario Puzo writing a 500-page script comprising Superman and Superman II. The intent was to engage Goldfinger director Guy Hamilton and shoot both films concurrently in Italy. DC Comics had suggested stars like Steve McQueen and Dustin Hoffman for the title role. When writers Robert Benton, David Newman, and Leslie Newman came in to revise Puzo s script, the project’s tongue was firmly in its cheek as scenes called for super-puns and a cameo by Telly Savalas in his then-famous television role as Kojak.But as fate would have it, forces intervened and the irreverent tone were dismissed when Richard Donner, fresh from his success on The Omen, took over as director after the production moved to England. Little did anyone know at the time, but Donner and his collaborators would go on to define the superhero genre as it exists today in ways both large and sublime. Here is a look at just five of the ways Superman: The Movie – released December 15, 1978 – laid out the superhero film blueprint.1. By Emphasizing The Origin(Photo by © Warner Bros. )While Superman’s origin story is one of the most fascinating elements about the character, productions like the 1948 Superman serial and the 1950s The Adventures of Superman television series rushed through the Krypton and Smallville aspects of the story to get mild-mannered Clark Kent into his Superman persona. Clearly, that’s where the action is and the kids want to see Superman rough up some crooks or bend a gun with his bare hands.But Donner and creative consultant Tom Mankiewicz – who wrote an uncredited draft of the film for the director – saw the value in examining Superman’s early life. The resulting film has a three-part structure featuring the most realized presentation of Krypton seen by audiences up to that point. Where the earlier productions presented a very generic sci-fi world of silver shoulder pads and headbands, Donner and production designer John Barry reframed Krypton as a world where humanoids lived in crystalline structures more grown than built. Costume designer Yvonne Blake fabricated the robes worn by Marlon Brando and the other performers which would glow when exposed to a lightsource perched on cinematographer Geoffrey Unsworth s camera.The lavish details of Krypton served a number of purposes. As the Salkinds paid Brando a then-absurd .7 million and 11.75% of the gross for just 12 days of shooting, Donner devised additional material for Brando to perform just in case. Secondly, the early Krypton scenes would also establish the conflict of Superman 2, necessitating Krypton make a last impression on the viewer.And as the Smallville material was also thematically important, Donner and his team embraced those scenes with equal passion. In doing so, Superman does not appear in his costume until minute 47 of the movie s 142 runtime. It was a script decision which would have a lasting impact on the superhero genre as it emerged. Today, holding back the scene in which the hero first gets his or her costume until minute 47 (or thereabouts) is a standard plotting convention. Tony Stark (Robert Downey Jr.) is not seen in the Mark I Iron Man suit for a good 40 minutes in the first Iron Man – and it is nearly an hour before the more familiar Mark III suit debuts. Same goes for Bruce Wayne (Christian Bale) in Batman Begins and Clark Kent (Henry Cavill) in Man of Steel. While not yet a screenwriting convention when Batman was released in 1989, 21st Century superhero films relish the origin story and hold back the character’s completed costume identity for a long time, a technique first realized in Superman.2. By Honoring The Spirit Of The Character(Photo by © Warner Bros. )As mentioned before, the conventional wisdom about superheroes, such as it was, was to treat the characters as figures of camp. Batman 66 was fondly remembered for that tone. Donner, who idealized Superman as a core pillar of Americana, refused to treat the character that way in favor of honoring the spirit of Superman comics.To be fair to the Salkinds and the producers of Batman ’66, both characters went through a campy phase in which the characters colors were brighter than ever before and their stories saw them face goofy sci-fi threats instead of intense street thugs. Those tales were also light on characterization, with Batman, Superman, and their associated casts resetting back to their established status quo at the end of every story. But by 1975, a younger crop of writers was treating the DC superheroes with a greater sense of gravitas and emotional fidelity. Though not an avid reader of Superman comics at any point in his life, Donner decided Superman needed a similar emotional truth to be credible on screen.That sense of emotional truth led to the single most important decision made in the entire production: casting Christopher Reeve in the title role. He wowed casting director Lynn Stalmaster, who kept suggesting him to Donner and the producers until the offered him an audition opposite The Omen’s Holly Palance. Though clearly perspiring at the armpits of an early Superman costume, Reeve instantly transformed into the stalwart servant of justice. The scene – the interview with Lois Lane seen in the finished film – also reveals a playful side, and Reeve perfectly embodied the way Superman has fun with his persona. He proved capable of the sort of intensity the comic-book Superman was facing at the time with equal precision.Though he looked the part, the Reeve Superman is not a 1:1 interpretation of any one creative direction of the character – from the comics to George Reeve’s portrayal on The Adventures of Superman – but it is the idealized personification of him as Donner sought to put on screen. Modern superhero films continue to choose spirit over exacting recreation, leading to performances like Gal Gadot in Wonder Woman and Chris Evans in his appearances as Captain America. Neither may look as exactly right as Reeve does, but they create a version of the characters which are still faithful.3. By Embracing the Real World (Verisimilitude! )(Photo by © Warner Bros. )Much like his choice to imbue Superman with an honest emotional range, Donner s decision to give the film’s world verisimilitude was key to making the film work. While Batman: The Movie before it and Batman after it featured heightened realities of pop art madness or expressionist extremes, the bulk of Superman takes place in a Metropolis not so much designed as borrowed from New York in the late 1970s. While Batman’s lack of powers make him easier to believe in a cartoon world, Superman’s fanciful abilities almost require the world around him to be more mundane. And so the Daily Planet’s famous ornamental globe ends up relocated to the lobby as the New York Daily News s entrance doubles for the great metropolitan newspaper. The newsroom set was also inspired by the look of the Daily News’s offices. The grime and grit of New York at the time gives Metropolis an authenticity it would never have again, as subsequent Superman movies used backlots to realize city streets. A DC Comics city would not feel this lived in again until Chicago played Gotham City in Christopher Nolan’s Dark Knight cycle.By grounding the world Superman inhabits in the reality of late 1970s New York, the film’s more fanciful aspects feel closer to our world. To paraphrase the poster s tagline, the film must make you believe that a man can fly. Selling that illusion was not just a feat of special-effects wizardry, but also the responsibility of the world to make it seem as natural as possible.As it happens, Richard Donner has a plaque of Superman flying a banner in his office. It reads “verisimilitude!” It is the philosophy which makes his better films work and the thing other filmmakers strive for when they say they want to make a “grounded” superhero movie. The Marvel Cinematic Universe, for example, has more outlandish concepts like Asgard and the worlds of Guardians of the Galaxy, but in films like Ant-Man and Captain America: The Winter Soldier, the setting retains the verisimilitude of the years in which they were made. Or, at least, verisimilitude is their starting point, making later scenes like the crash of the Helicarriers or the implosion of a San Francisco building seem more plausible.4. By Giving it a Poppy Sense Of Fun(Photo by © Warner Bros. )Once Clark Kent (Reeve) arrives in Metropolis, both the measured, articulate dialogue of the Krypton sequence and the bucolic feel of the Smallville section give way to the rapid-fire verbal sparring of the Daily Planet newsroom. Conducting that orchestra is Jackie Cooper as editor Perry White. The man would be at home in a movie like His Girl Friday with the sly quips coming at six-or-seven per minute. Characters talk over each other, confuse one another, and build to comedic crescendos. In a word, the whole thing pops. Consider Lex Luthor’s (Gene Hackman) initial scene in which he and Miss Teschmacher (Valerie Perrine) trade insults. The snappy dialogue comes from an older tradition, but it fits so well with the characters that it seems like the most natural way for people in Metropolis to relate to one another.That poppy sense of fun would be borrowed wholesale by the MCU, with Robert Downey Jr’s facility for quippy ad-libbing setting the pace. But you also see it in films like Spider-Man: Homecoming and Thor: Ragnarok. Both are so comfortable with their realities that they can poke fun at the self-seriousness that superheroes attained after The Dark Knight Returns and Watchmen were released in the mid-1980s.Curiously, that tension between seriousness and comedic agility forms some of the conflict between Superman and Lex. In their first encounter, when Superman pushes the door to Lex’s bunker off its hinges, he responds with a wry “It’s open, come in,” and orders Otis (Ned Beatty) to “take the gentleman’s cape.” Though capable of having fun with his own Boy Scout persona in earlier scenes, Superman is having none of it and refuses to spar with Lex. The greatest criminal mind of the age, though, continues to try to engage him in that style of patter. It lasts until the moment Lex finally puts the kryptonite medallion around Superman’s neck, proving that the quipster is a legitimate threat to the Man of Steel and California.5. By Getting Romantic(Photo by © Warner Bros. )Sure, Lois Lane’s (Margot Kidder) interior monologue during the “Can You Read My Mind?” flying sequence may be one of the most cornball things every committed to film, but the romance between Lois and Superman – a thing de-emphasized in the serials and The Adventures of Superman – makes such a stunning return in Superman that just about every subsequent superhero movie felt honor-bound to include the character’s original romantic entanglement for good (Captain America: The First Avenger) or ill (Thor: The Dark World, Green Lantern). There are exceptions, of course: Batman paramour Julie Madison predated Vicki Vale in the comics by almost 10 years, but would not be seen on film until Batman Robin. But even in cases where the romance is not the one true pairing, most comic-book movies emphasize a romantic plot as key to the movie.In Superman’s case, Donner and Mankiewicz felt it was more central to the piece than any exterior foe Superman would face. Mankiewicz, in particular, wanted to make sure filmgoers “wanted to see these two kids get together.” It s a will-they-or-won t they chemistry. As Kidder later put it, Lois was as immune to most men as Superman is to bullets; therefore she treats Clark with a dismissive authority. But Superman literally sweeps her offer her feet and all of her sarcasm and bravado falls away. On screen, it leads to a powerful chemistry subsequent films desperately hoped to emulate, even in stories where a romance may not actually serve the movie. We re looking at you, Batman Begins.Of course, there as so many more things to consider, like the iconic Superman theme by John Williams. Then there are the little moments which will always stand out: the man on the street who calls Superman’s costume a “bad outfit”; Lois’s stunned “You’ve got me? Whose got you?” when he rescues her from plummeting to her death a few moments later; and Lex’s angered scream of “Miss Teschmacher!” In building such a genuinely grounded platform from which Superman could soar, Donner and his partners designed the format from which all big budget superhero movies derive. Sure, they can react against the formula (Blade, Hellboy, The Dark Knight) or embrace it, but Superman will always serve as the baseline from which to examine how successfully they bring beloved comic-book superheroes to the screen.Superman: The Movie was released December 15, 1978
My motto is, no matter what, if a film moves me, there is no shame in turning on the waterworks. I ugly cried in the theater during Disney’s Coco, I sobbed through the second half of Titanic, and I bawled my eyes out for the third and fourth installments of Toy Story. But I’ve been known to get teary-eyed during scary movies, too when I say I ll cry if a film moves me, I do mean any film, including horror.It may seem odd to get emotional during horror films, but they can do so much more than just be terrifying. Some can inspire sadness, hope, or even happiness. The first one I remember getting me in my feelings is Candyman (1992); I was nine years old and begged my father to take me to see it. While the film terrified me throughout, a dramatic tear rolled down my cheek during the last 15 minutes. There was something about sacrifice and children that got to me, even at a young age it still gets me to this day.As Halloween approaches, we revisited some of the films that include a little slashing, a little bashing, and a little sensitivity. Got suggestions of horror movies that made you weep? Let us know in the comments. [Warning: Major spoilers follow below.]
环球体育app官网 Breakthrough (2019) 63% Faith-based movies are being made and released more frequently than ever, but they rarely come with the kind of mainstream-friendly cast that Breakthrough boasts, and you can go a long way when you ve got solid, experienced performers on board. Chrissy Metz (This Is Us) and Josh Lucas play Joyce and Brian Smith, adoptive parents to John (Marcel Ruiz), a 14-year-old from Guatemala. They re also Evangelical Christians, so when John falls into a coma after suffering a near-death drowning accident, they set about praying for his recovery alongside their community, who has rallied around them. The film is based on a true story, and inspirational Christian movies never end sadly, so you can guess how everything turns out, but critics don t entirely seem to mind. They say the story is appropriately uplifting and the cast, which includes Mike Colter (Luke Cage), Topher Grace, and Dennis Haysbert, all put in strong work. It s all a little predictable, and it s not especially nuanced, but the right performances from a capable cast can do a lot to make up for some narrative and thematic shortcomings.
从实际的体验来看，《PlugHead》的玩法相较于同类的火柴人跑酷手游，拥有更加丰富的障碍与互动道具设置，在关卡内更注重角色的互动而非同类游戏养成的属性，尽管会降低玩家在养成角色时收获的乐趣，却也通过更加丰富多彩的游戏体验，带给玩家更多的快乐与欢笑。 Addison Wright’s Hiplet: Because We Can is part of the Scene In Color Film Series, presented by Target, which shines a light on incredible filmmaking talent. As part of the series, three emerging filmmakers will receive mentorship from producer Will Packer, and their films are available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App.They have the “sexy walk;” “the pretzel;” “the dougie;” “the Vivian.” These aren’t 1950s innuendoes. They’re the dance moves performed by a special Chicago-based ballet company. Founded by Homer Hans Bryant, hiplet is a combination of hip-hop and traditional ballet performed to dizzying, intoxicating effect by a collection of incredible local dancers. Director Addison Wright, another Chicago native, decided to make a film about these viral sensations after discovering the troupe on Instagram. His eight-minute documentary short, Hiplet: Because We Can, was an Official Selection at the 2020 South by Southwest Film Festival, later became a Vimeo Staff pick, and is now part of the Scene in Color Film Series. Wright’s film, titled after the dance, fuses together a choreographed music video feel with a precise documentary style for a lively exploration of this new invigorating movement style. Though the performers’ movements speak for themselves — their swaggering strides texture their powerful, beautiful Black forms, mesmerizing the frame with an undaunted spirit — Wright interviews them, too. The ebullient ballerinas explain the pushback they’ve experienced in a classically white-defined world for their unique artistic identity, their varying body types, and their Blackness. In Hiplet, Wright casts an immersive and empathetic lens toward these talented women. He demonstrates a nimbleness in his filmmaking, capturing the balletic patterns of the dancers while oscillating between striking colorful compositions and equally magnetic black-and-white filmed interviews. Hiplet is not just an exhilarating introduction to a new, evolving ballet style, but a perfect launching pad displaying Wright’s fresh, assured voice. Here, Wright talks to Robert Daniels, a Chicago-based Tomatometer-approved Top Critic. Robert Daniels for Rotten Tomatoes: How did you first get into filmmaking?Addison Wright: I grew up during the 90s, so I was glued to the TV watching MTV and BET. I ve always been mesmerized by music videos and by directors like Hype Williams and Spike Jonze, and Little X. So early on I knew I had a passion for it. I went to Simeon High School in Chicago, where I played football all four years. I ended up getting a scholarship to Delaware State University. I played football there, and my major was TV production. I didn t have a camera in high school or anything like that, but once I got to college I realized this was something I wanted to go after. I ended up getting hurt around my junior year in college. So I didn t play football, but the team would have me around so I traveled and filmed practice and the games. When there wasn t any practice or a game, I would borrow the camera and film music videos around campus. That s when I got into learning how to build narratives within music videos. So I was taking some of the stuff that I learned in some of my classes, and applying it to my videos. That s where my passion started.(Photo by Addison Wright)Daniels: Where and when did the idea for Hiplet first form?Wright: I was on Instagram and on my Explore page I saw these Black ballerinas doing ballet a bit differently. So I clicked on it and I heard the music and saw them in the dance studio and thought these girls are dope. I was scrolling up and began seeing them again and again. So I researched online about the Hiplet ballerinas and saw some of the commercials that they were in like Old Navy commercials and Mercedes-Benz and featured in Japan and some other places.Then I saw they were based here in Chicago and I was like, whoa this is a story that needs to be told. Initially the concept was me doing an entire music video of them. I wanted to shoot it in Chicago’s South Shore Cultural Center because that was a white-only establishment a hundred years ago. And I want to place Black girls in this beautiful cultural center, and just let them do their thing in a place they wouldn t have been able to a hundred years ago. But once we got the cost back for how much it was going to be to rent that space, I knew we couldn’t do that.So we ended up finding a gym on the south side, the Grand Ballroom, which is on 64th and Cottage Grove. You won’t even notice it if you drive or walk past, but if you look up you can see the beautiful terracotta. The story grew by me going, at least once a week, to the studio to film the girls and watch them rehearse and practice just to see how they move around and to see their personalities so I would know different angles and areas to pay attention to. Homer, he s the founder of Hiplet, and I were having a casual conversation and he told me how much these girls go through. Whenever they post something online, people are making fun of them but those same people are emulating what they do. It comes from within the dance community. People from different races look at them and see how they aren t doing traditional ballet, so they talk about them. So I decided to give the girls the floor: We ll film them, but we ll also let them talk about the adversity they often face. That s what kinda changed the path of the film being a music video. That s what made me realize how I wanted it to be a short and a documentary, but with the feel of a music video.Daniels: How long was the shoot?Wright: The shoot was about a 12-hour day. We started loading around eight in the morning and we wrapped with the girls around eight o clock at night. It was a bit longer for us, but the girls were there all day. It was a lot of rehearsing. When the girls showed up, they knew what they needed and we knew what we needed to do as far as setting up lights and blocking. Daniels: I want to get back to the blocking. I think what s so great about your film is you can feel the energy of the dancing. How did you get to that point where you got the right angles to bring the live energy onto camera?Wright: My DP, Dan Frantz, and I would go to the studio where girls would be rehearsing and we would film certain parts of the performance. That was a month out before we actually filmed. We would sit down and figure out the best angle for where the camera needed to be and lighting diagrams. We also went to the ballroom and took some pictures. I knew where I wanted to place the girls. I knew some of the angles that I wanted to hit just based off of their choreography. But it was a collaboration between him and me. We were rushing against the clock to get certain things because we only had the location for one day. But my goal was to really capture the energy of the ballerinas. Make sure they re making eye contact. Anytime the camera came around, I made sure that I told them to interact with the camera. If it s near you, look down at the lens, look through it just like you re on stage and somebody makes eye contact with you in a crowd. The camera is the crowd.Daniels: And now your film is part of the Scene in Color Film Series. How did you hear about the opportunity and what drew you to it?Wright: It s funny, I didn t know anything about it until they reached out to me. And I was completely blown away. Even when I talk about it right now, I m still in shock because it s all just surreal. They said they saw the film and they really loved it. And I was like: Me, really? That s dope that they love the film. About three weeks later they gave me the details and I found it incredible. I remember making the film public in February on Vimeo and it ended up becoming a Vimeo staff pick and then went viral. A month after that was when NBC reached out to speak with me.Daniels: How are you feeling about having a producer like Will Packer as a mentor?Wright: It s an incredible feeling having someone who is a powerhouse within the industry and within the Black community as a mentor. Even hearing myself say that, it sounds unreal. Just to be able to have opportunities to pick his brain and to have the opportunity to ask what to do in this situation, in certain situations, or do you think this is a good idea, can only help my career in an extremely positive way. He may be able to give some insight from his experience. He may be able to point me into a direction that may give me more exposure. I m extremely excited to be able to just chat with him.Daniels: What guidance or advice has Will given you so far?Wright: I asked him what s his favorite film that he’s ever done, the one that left him with the most memories. He said Stomp the Yard. In a nutshell, he wanted to do that film to provide inspiration to people. Being able to hear that from him let me know I m doing the right thing. My goal as a filmmaker is to inspire people through the lens. And if it can t change the world, at least I’ll open one person’s eyes. Will also said he enjoyed the film and I was where I was supposed to be. To hear that as an up-and-coming filmmaker, as a Black filmmaker, you know, to hear from Will Packer that I m where I m supposed to be, it s extremely crazy, man. It floored me. That solidified me as a filmmaker in my eyes and in my heart.Daniels: What do you hope people take from Hiplet?Wright: I m born and raised in Chicago, and Chicago always gets a negative light put on us. I want people to be able to see these Black girls on TV, on their phones, and on their computers to see how, number one, beautiful they are; number two, how they re taking ballet in a totally different direction by not changing ballet but by adding a twist to it. I want it to be motivational for Black boys and girls by seeing someone that looks like you, that s doing something that s changing the world of ballet by shaking things up.See more shorts and meet more filmmakers from the Scene in Color Film Series.
Expanding to wide release this week is a film industry-adjacent biopic that opened in just a few theaters a few weeks ago at the end of 2018. Steve Coogan and John C. Reilly star in Stan Ollie, a look back at the twilight years of the famous comedy duo Laurel and Hardy. Set in the 1950s, the story follows the pair as they embark on a British music hall tour and attempt to put together their final film. Along the way, old resentments resurface and drive a wedge between them, even as they commit themselves to their public obligations on the tour. Critics say Stan Ollie is a worthy tribute to the legendary comedians, bolstered by strong performances from Coogan and Reilly and a script that treats the movie s core relationship thoughtfully and with tenderness.