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亚博网页手机登录采用百度引擎1(Baidu 9)(Photo by Walt Disney Studios)This month, Mary Poppins Returns has the Herculean task of recapturing the magic and music of the beloved original. Not possible, right? Well, according to many of the critics and industry folks who saw it at last week s premiere, it might just come close. Early social reactions saw the majority of critics praising the film and Emily Blunt in particular, for her turn in the iconic blue coat. Germain Lussier of i09 was typical of the praise thrown her way and the movie s way when he tweeted: Mary Poppins Returns is an exquisitely made film with delightful music, excellent performances (especially by Emily Blunt) contagious optimism. But, could the movie – like its predecessor – be an Oscar contender?There is no Tomatometer score as of yet – reviews will release soon on December 12th, and as you know, anything can happen – but reading the tea leaves, Mary Poppins Returns looks to be a perfectly timed holiday hit, and one that has shot to the top of many Oscar prognosticators lists. And not just for Blunt. Variety s awards editor Kristopher Tapley set the tone a few weeks back following a very early screening, going as far as to say,  Mary Poppins Returns will be a massive hit, which will drive the point home all the more: Audiences want a movie like this right now. Critics, even the most cynical of them (whether they admit it or not), want a movie like this right now. Surely, Oscar voters want a movie like this right now. As we enter December, with Golden Globe nominations just days away and Oscar ballots almost on their way to voters, let’s take a look at the competitive awards categories for Mary Poppins Returns and why this unlikely late-season entry could just shake things up.It s the Film We Need Right Now(Photo by Walt Disney Studios)We hate the thing we need right now hot-take framing as much as you do, but in this case, there s some truth to it. Like a high-flying kite – scratch that: a balloon – Mary Poppins Returns has brought a huge dollop of joy to a pretty dour awards-season field. Of all the major contenders – think Roma, If Beale Street Could Talk, Vice, The Favourite, or Green Book – Poppins is the most unapologetically joyful film, which might be exactly what audiences and voters are drawn to in the dying days of 2018. Despairing at the state of the world? Then perhaps you want to see Emily Blunt and Lin-Manuel Miranda singing and dancing around London more than another dark examination of the nature of humankind. Just saying. Director Rob Marshall seems to have tapped into something that s hard to quantify yet wholly disarming, especially for adults. As Dame Angela Lansbury says towards the end of the film, most grownups forget what it s like to be a child. Don t think that s enough to convince voters? It s the same kind of infectious optimism that La La Land inspired in Academy voters back in 2016.Below the Line, Poppins is TopsRyan FujitaniLooking for nomination sure bets? Look straight to below-the-line categories like costumes, make-up, visual effects, and production design. But you already knew that from the trailers. Having seen the film, we would add Best Editing and the sound categories to that list. One sequence that takes place on the surface of a porcelain bowl highlights the best elements of all of the aforementioned trades: careful sound mixing and effects seamlessly integrate the characters into a delicate ceramic and animated world, while Sandy Powell s costumes for the sequence are a mix of materials and appear as a blend of soft fabrics and watercolor paints that would crumple upon touching. Powell could go up against her contemporary rival Colleen Atwood for Fantastic Beasts: The Crimes of Grindelwald, Black Panther costume designer Ruth E. Carter, and, in an interesting wrinkle, herself; Powell has a second bite at the Oscar apple with her equally impressive work on Yorgos Lanthimos  The Favourite.To achieve the vivid 2-D animation sequences that are a particular highlight of the porcelain bowl scene, Marshall went to painstaking lengths. These days, Disney animators work primarily in the digital format the studio s last hand-drawn animation was back in 2004, long before most of the current crop of animators joined the company. It required calling former animators out of retirement to achieve the signature mix of live action and 2-D animation, while implementing innovations for both formats. Marshall had to merge two animation mediums that were never intended to coexist; the results could earn the movie consideration in the effects categories. Shallow May No Longer Be a Lock for Best Original Song(Photo by Walt Disney Studios)Lady Gaga and Bradley Cooper’s Shallow from A Star is Born has seemingly been a lock for the Best Original Song Oscar for months. A bona fide chart-topper that has been streamed over 10 million times since its September 27th release, it has long looked unstoppable. But last week The Place Where Lost Things Go, sung by Blunt, and Trip a Little Light Fantastic, sung by Miranda, were released, marking them as the two songs Disney seems to be backing for the category – and they may just cause an upset.As in recent years, the “hit” may not prove to be the eventual winner come ceremony time. Back when Sam Smith won for Spectre s  Writing s on the Wall, he beat The Weeknd’s “Earned It” from Fifty Shades of Grey – which people had actually, you know, heard of. Everyone remembers La La Land being favored with “City of Stars,” but do you remember that in the same year it beat out Trolls infectious four-time platinum smash Can’t Stop The Feeling by Justin Timberlake? Keeping with the trend, last year the quiet and sentimental “Remember Me” from Coco won over The Greatest Showman’s  This is Me, a song that is still charting as part of the film s soundtrack more than a year after the movie exited cinemas. So don’t be surprised if Blunt’s “The Place Where Lost Things Go” topples the Gaga-liath Shallow. Acting Nods and (Maybe) A Best Picture Chance (Photo by Walt Disney Studios)For acting, it s all down to Miranda and Blunt. They get the lion s share of screen time and perform the narrative heavy lifting. At the Globes, Miranda has more than a decent shot of a nomination, with the categories being split between Comedy and Drama, but it s unlikely he will prove a challenge to Christian Bale and Viggo Mortensen. Blunt fares slightly better in the Best Actress – Musical or Comedy race. It will likely be a three-way race between Blunt, Constance Wu for Crazy Rich Asians, and Olivia Colman for The Favourite, and while most think Colman is a shoo-in, Blunt has a history with the Hollywood Foreign Press Association that shouldn t be dismissed (she is a five-time nominee and one-time winner). Even Mary Poppins herself would have a hard time magicking an Oscar nomination for Miranda, but Blunt has the pedigree and delivers a performance that may squeeze her into contention before the Academy announces its nominees.For Best Picture, things will likely come down to how many nominees we get. At least five percent of first-place votes must go to a particular film in order for it to contend for Best Picture as one of the final nominees. With the race still wide open, it s not unreasonable to think the Academy could have a strong preference for more than five films; Mary Poppins Returns will stand a strong chance if the Best Picture field stretches to eight or ten nominees.

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前不久仿DNF手游阿拉德之怒官方发布公告,将下架停运仿DNF手游阿拉德之怒手游,百万阿拉德玩家正在担心何去何从之际,在贴吧传出,仿DNF阿拉德手游SF即将开放,消息一出阿拉德玩家们视乎看到的希望,但是也有人认为这是假消息。但是就在前不久,仿DNF阿拉德手游SF真的出了,小编进去看瞄了一眼,人还真多。难道这真的会是DNF阿拉德粉的最终容身之所吗?其他不多说,下面小编来试玩下这款游戏。如果对这个游戏感兴趣的小伙伴,可以关注小编私小编哟! (Photo by Summitt Entertainment/courtesy Everett Collection.)All Twilight Saga Movies, Ranked by TomatometerRe-visit the series that launched Kristen Stewart and Robert Pattinson (not to mention vegetarian vampires) into the international spotlightlight! From 2008 and 2012, The Twilight Saga was a pop culture fixture, with the hype, secrecy, and buzz for each movie on par with the latest comic book blockbuster. The critics may not have been on board for each one, but audiences sure showed up, and now we re looking back on everything from the original Twilight to Breaking Dawn as we rank all Twilight Saga movies by Tomatometer!

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(Photo by Jonny Cournoyer/©Paramount Pictures)Leading into Memorial Day, many were saying that million for A Quiet Place Part II this weekend would have been a nice pandemic number for sure; but even that would not be nearly what the industry really needed after the health-induced drought theaters had seen since March 2020. However, after the box office made over million this weekend (the best since the .4 million from March 6-8, 2020), with the horror sequel accounting for an estimated million of that (plus another -plus million on Monday), we got our dream Movies Are Back! headlines. Though let’s not get ahead of ourselves just yet King of the Crop: A Quiet Place Part II s Epic Weekend Suggests The Corner May Be TurnedJohn Krasinski’s A Quiet Place Part II was the first film to delay itself when the COVID-19 scare began last March. It was a sequel to a film that made over 8 million after opening to .2 million in April 2018: that’s 3.74 times its opening, which is the best multiple for a film opening in April to more than million. For comparison, Godzilla vs. Kong was the follow-up to Godzilla: King of the Monsters, which was anything but a word-of-success after opening to .77 million in May 2019 and only cleared 2.31 times that start. GvK still managed to be the first truly breakout film of the pandemic era, grossing .1 million from Wednesday to Easter Sunday, or March 31 to April 4. That was when the vaccination rate across North America was around 28%-29%; by Memorial Day weekend, we are at double that (with folks who have received at least the first dose), theaters are opening wider, and A Quiet Place Part II is not available on any streaming service and is exclusive to theaters. (GvK was available on HBO Max upon its release). All of this shows why a million holiday weekend opening would not have been too much cause for celebration.Thankfully, as already mentioned, we have very good news to report: million and counting. That may not be record-breaking Memorial Day number (it s the 21st-best Memorial Day opening overall), but this is completely a glass half-full kind of weekend. People are showing up in theaters still socially distancing. We are not at maximum capacity just yet, but it feels like we have turned a corner. In four days, A Quiet Place Part II has grossed more than all but three films during the pandemic (GvK, Tenet, The Croods: A New Age) and it will be passing those latter two by Tuesday. The budget for the film is about three times the original ( million), and with it not being available on streaming at the same time as its theatrical release – and therefore its total numbers not being obscured, as they are for some streaming releases – this is in many ways the first film in a long time that we can declare an honest-to-goodness hit.The Top 10 And Beyond: Cruella Opens Strong, But It s Complicated

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Fans starving zombie-like for a second helping of Zombieland will get their fill this week when the 10-years-in-the-making sequel to the 2009 hit finally lands in theaters. The original Zombieland cast – Woody Harrelson, Emma Stone, Jesse Eisenberg, and Abigail Breslin – all return, along with original director Ruben Fleischer. And for Double Tap, they re joined by newcomers Rosario Dawson and Zoey Duetch. With the movie lurching into theaters on Friday, Rotten Tomatoes correspondent Mark Ellis sat down with the cast to talk about the new film and their own tips for surviving a zombie apocalypse. It turns out the best places to hide might be your local foodcourt – or Woody Harrelson s house.

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8.95.5 0月喜迎(Photo by Warner Bros. Pictures)What is your favorite classic film?Casablanca.Is there a movie that you ve watched more than any other?Casablanca.Can you guesstimate how many times you ve seen it?No, I really can t. Certainly 20 to 25 times.What do you think is the biggest misconception about critics?We re lucky to get paid for what we do. And that is also a truism.Yeah, we are lucky. We re not digging ditches, we re not doing manual labor, but we get paid to watch bad movies. I found out particularly when I started getting recognized from being on television and people would stop me and say, You got the best job in the world. I said, Well, it s a great job, but you know, some days it feels like a job. Then people s eyes glaze over. When you get paid to watch movies, no one wants to hear complaints, and I get that.What do you think makes a good movie?They say a smart person can hold two opposing thoughts in their mind at the same time. On the one hand, I m tempted to say originality and freshness, and yet there s some movies I like a lot, very good movies, that follow a ritual for a genre and wind up being really good.What is your preferred seat in a movie theater?Aisle seat, midway down the aisle.What is your favorite screening snack?Popcorn. No butter.When reviewing, do you go in cold?The only way I go. I actually studiously avoid reading or seeing anything about a movie. I don t even watch the trailers. The less I know about a movie going in, the better experience I have.Are you pro- or anti- note-taking?Neither. There are times when note-taking is crucial. I don t write lengthy reviews, so I find as long as I log-in either that night or the next morning when I get home, that does it for me.What is your personal record for most movies watched in a day?Seven. May I add with an asterisk: That was the day I discovered definitively that it s not the eyes that go first, it s the tush.What s your favorite film from your childhood?Oh gosh, so many. No one has ever asked me that.At age seven, my parents took me to see a film called The Golden Age of Comedy, which was a compilation of great moments from silent film comedies with Laurel and Hardy and Charlie Chaplin and others. I even remembered the theater where I saw it in Manhattan, and it literally changed my life.
deason 2 finale seemingly resolves this by severing Djarin from his cub. But considering all the times we heard about their bond — and the marketing slam dunk surrounding Grogu — we doubt it will be too long before they are reunited.What is the Book of Boba Fett? As the stinger scene came to a close, it revealed The Book of Boba Fett will begin in December 2021. Presumably, this will be the program s third season with a new focus on the infamous bounty hunter as he takes Jabba s place in the galactic underworld. But is that all we ll get? Season 2 left Djarin with a lot to process, and we d hate to go a whole season without seeing him working through it. At the same time, we d love to see Fett round up bounty hunters like IG-88, Dengar, and Bossk to enact whatever plans he has in mind. We also need to see the infamous crime-ridden world of Nar Shaddaa realized in live action. Also, the instant disdain Kryze and Fett had for one another is worth exploring. Fett s claim to be recognized as a Mandalorian in Chapter 14 is pretty strong. Perhaps resolving his status — a point of contention which even predates the Expanded Universe — will also be an aspect of the story.Of course, there is some confusion about The Book of Boba Fett being its own standalone series. Until we get a clarifying press release, we will assume it is the program s next phase.UPDATE: Favreau appeared on GMA to give a few details, including the news that The Book of Boba Fett is a full series arriving in December 2021.READ MORE: Everything We Know About The Book of Boba Fett”Will Djarin and Kryze actually fight? It is curious to see Kryze sticking to the letter of the law this time. Back on Star Wars: Rebels, Sabine Wren (Tiya Sircar) was able to hand her the Darksaber without even so much as a verbal sparring session — although, the two women certainly had enough arguments in the past to count as a fair fight. This time, though, it appears she needs to win the Darksaber. It seems Gideon may have undermined her authority in the past by revealing how she came into possession of the weapon. Now, she s taking no chances. But if Djarin continues to wear his armor after revealing his face to Grogu and Luke, Kryze is now the inflexible adherent to a Way, which only undermines her cause. Will she learn not to be as hidebound or will the two have to fight for the throne? As Sackhoff told us recently, Just because she thinks that she is the rightful ruler and just because she thinks she’s ready to lead doesn’t mean she is. Will Djarin sit the throne of Mandalore? Then again, Djarin s destiny may be something he definitely doesn t want: the throne of Mandalore itself. As he was a foundling brought up in the Way of the Mandalore, he is not Mando by blood or a member of one of the clans. It both makes him a good candidate for leadership and someone who will find nothing by conflict in taking on those duties; nevertheless, it seems clear the series is headed toward the liberation of Mandalore and, for the moment, he holds the Darksaber.Will Gideon weaken the New Republic with the power of his voice? As seen in the finale, Gideon is a threat even when bound. As an ex-ISB officer, it seems unlikely any counterpart in New Republic intelligence will be able to break him; in fact, it seems possible his presence in an interrogation cell could undermine the Republic to such an extent that it sets up in the ineffectual government seen in the Sequel Trilogy. At the same time, Esposito told reporters earlier this year that viewers will learn more about him in the next few seasons: will he use his background as means of weakening his adversaries?Where is Grogu in the Age of Resistance? Some thirty years after the events of Chapter 16, Luke will neglect to tell Rey (Daisy Ridley) about Grogu. In our reality, there are practical reasons for this  The Mandalorian was only beginning development when Star Wars: The Last Jedi was filmed but now that we know Luke will train him, the child s whereabouts in the Sequel Trilogy will have to be accounted for at some point. Of course, this could change if training goes badly and we know Luke isn t the best tutor. It is possible events in the short term will drive Luke and Grogu apart; meaning he would never consider the child a Jedi or his pupil.From a certain point of view, of course.The Mandalorian season 2 is now streaming in its entirety on Disney+On an Apple device? Follow Rotten Tomatoes on Apple News.
Manuel Betancourt for Rotten Tomatoes: In terms of the prep for Sound of Metal, I know you spent months practicing drums and learning sign language. What surprised you the most about mastering both of those skills simultaneously?Riz Ahmed: I started down the road of learning how to play the drums and learning American Sign Language because that s what the character has to do. Darius wanted the drumming to be for real; he wanted us to be able to improvise with deaf actors on set. But actually what I got out of learning those two skills was more than just the skills themselves. I think they really opened me up in interesting ways. So I think of what Guy Licata [the Brooklyn-based drummer with whom he practiced] told me when I was learning how to play the drums: you can t play the drums, they have to play you. There s an element of surrender and submission and giving over to your body and your instinct that has to occur in order to successfully try and, you know, drum anything. That was a lesson for me in the same way that it s a lesson for Ruben in the movie about what you lose, sure, but also, what can be gained when you lose control. I kind of feel like there was a quite profound lesson in there. Then, with the American Sign Language, I feel like the deaf community taught me the true meaning of the word listening. And the word communication. Listening isn t something you just do with your ears. It s something you do with your whole body. It s about putting yourself in a state of receptive attention for someone else s energy. I think that members of the deaf community and the deaf cast on this project, for me, are some of the best listeners I have ever met in my life. And you know, [co-star] Jeremy [Lee Stone] would say that there s a trope in the deaf community that hearing people are emotionally repressed because they hide behind words. When I started becoming more fluent in ASL I understood what he meant, because when you communicate in sign language, you are doing it with your whole body in such a connected way that feels so visceral you find yourself getting much more emotional about things. At least I did signing them. (Photo by © Amazon Prime Video)There’s such a physicality to Ruben. He’s both so electric and so still at the same time. I wondered if this experience will affect not just future roles but also the way you approach your work.Ahmed: Well, again, I think it s more that the process of preparation worked on me. You know, it wasn t a matter of me kind of controlling this. It just happened, I think, by trusting the process of learning to play the drums and sign language which are both nonverbal communication that force you to communicate more with your body and place you more in your body. So I think the demands of the role technically ended up having other effects. They just kind of inform the performance.To be honest, I kind of feel like I went into this project looking for a new process and looking for a new way into my work. I think coming from a British background there can be a lot of onus on the text, and a lot of kind of cerebral analysis of texts and story and character. And that s great.

Following the recent success of his recut of Justice League, the rebound of Zack Snyder continues with Army of the Dead, a Las Vegas-set zombie movie crossed with a heist film that hits theaters on Friday, May 14, and then Netflix one week later. It’s also a return to a specific kind of feature that kickstarted his directorial career, calling to mind his 2004 debut with the Dawn of the Dead remake. The first reviews of Army of the Dead lean positive with appreciation for the usual Snyder visual flair and dependable zombie carnage, even if the story isn’t tight enough.Here’s what critics are saying about Army of the Dead:Is Zack Snyder in full comeback mode?The film is a triumph for a director whose career has been mired by polarizing opinions… If this is what Snyder looks like without studio control, please, sir, may we have some more?  Charlie Ridgeley, ComicBook.comIt’s refreshing to see Snyder reignite his first love with this romp of a genre mash-up that lets Snyder loose with his most gleeful indulgences, almost as much as his worst excesses.  John Nugent, Empire MagazineNever have the Snyderisms come so relentlessly, and never have they felt more welcome.  Bilge Ebiri, New York Magazine/VultureIt’s the best I’ve seen from Snyder since Watchmen.  Aaron Neuwirth, We Live EntertainmentWhat if you re not typically a Snyder fan?Will Army of the Dead change the minds of Snyder critics? Probably not. But for Snyder fans and anybody in the mood for bloodthirsty zombie action, the movie hits the jackpot. Ian Sandwell, Digital SpySnyder’s army of fans will devour it whole; others might find it by turns bland and flavorsome, and will certainly experience some bloating. Jamie Graham, Total FilmThe whole thing is a blast that hooked even this Snyder skeptic. David Rooney, Hollywood Reporter(Photo by Netflix)How does it compare to Dawn of the Dead?[It’s not] on par with his unassailable, killer remake Dawn of the Dead, but it’s entertaining enough. Courtney Howard, Fresh FictionIt feels like Snyder is doing exactly what he wants, and that early 2004 promise comes right back into focus. John Nugent, Empire MagazineDawn of the Dead had real stakes, honest performances… Such camaraderie, sense of discovery and community is missing in his latest return to zombie cinema. Nate Adams, The Only CriticWill it please zombie movie fans?It s easily the most exciting zombie film in years. Charlie Ridgeley, ComicBook.comIt’s the best video game movie zombie movie I’ve ever seen. Kate Sánchez, But Why Tho? A Geek CommunityThere’s enough gore, mayhem, and decay in Army of the Dead to make for a satisfying zombie-movie experience. Alonso Duralde, The WrapSnyder’s myth-making skills feel sharply honed and fresh. David Rooney, Hollywood ReporterWe get a zombie king, and a zombie queen. There’s a zombie tiger. A zombie horse. Even a zombie baby. These details should seem fresh, but they get lost in all of the mayhem. Chris Evangelista, SlashfilmThere is something weirdly and oppressively uninspired in this CGI world, a continuous two-and-a-half hour splurge of generic zombie content which itself feels a bit zombie-ish. Peter Bradshaw, GuardianArmy of the Dead is by no means a must-watch zombie or heist movie, and folks uninterested in this film would be fine to skip it. Molly Freeman, Screen Rant(Photo by Clay Enos/Netflix)How s the visual spectacle?The movie always looks terrific with Snyder acting as the cinematographer too, so you can t question that you re getting the full Snyder experience. Ian Sandwell, Digital SpySnyder is best known for his stunning visuals and his technical mastery is on full display in Army of the Dead. The fact that he shot the film himself in addition to directing is beyond impressive. Charlie Ridgeley, ComicBook.comVisually, the set pieces are fantastic to look at, and there are individual moments of splendor but nothing which stood out. Dewey Singleton, AwardsWatchSnyder stages long stretches of Army of the Dead like a video game, with our characters moving down hallways and wordlessly blowing away zombies. These are technically action scenes, but there’s no grace; no style. Not even a blunt realness. Chris Evangelista, SlashfilmJulie Berghoff’s production design deserves its own star billing. David Rooney, Hollywood ReporterHow is the ensemble cast?[Dave Bautista] proves a catchy leading brute with a Doc-Savage-as-teddy-bear quality he doesn’t overplay. Owen Gleiberman, VarietyMatthias Schweighöfer steals the show as German safe cracker Ludwig Dieter. Ian Sandwell, Digital SpyOmari Hardwick and Matthias Schweighöfer [are] the clear-cut standouts. Their chemistry is off the charts and they bring the biggest laughs, as well as the heaviest emotional punches. Charlie Ridgeley, ComicBook.comThe only real standouts are [Tig] Notaro’s chopper pilot and Schweighöfer’s hapless safecracker. Chris Evangelista, Slashfilm[Tig] Notoro is the biggest standout of the cast insofar as she s the only one having fun with the material. Molly Freeman, Screen RantIs the portrayal of women problematic?The film s portrayal and desecration of women s bodies in particular is incredibly frustrating… Even in their destruction, women exist solely to serve men. Molly Freeman, Screen RantThere are times when Army of the Dead feels mean-spirited. It s not helped that most of these moments involve the female characters, where the male characters get the larger share of Heroic Sacrifice moments. Ian Sandwell, Digital SpyHow is the writing?Stop and think too hard and Army of the Dead risks falling apart, but Snyder keeps a pace in which logic often feels like a lost cause. Eric Kohn, IndieWireThough Snyder, Hatten and Harold attempt to complicate the plot of the movie by including various twists, most of them are trite variations on old standbys. Molly Freeman, Screen RantThe overly-convoluted plot tends to be its own worst enemy at times, leading to a perceptible imbalance. Courtney Howard, Fresh FictionSeveral subplots and red herrings exist to inflate an already elongated runtime, when all I wanted was Ocean s 11 with zombies. Nate Adams, The Only CriticWhat about the pacing and runtime?Almost breezy, even at a characteristically extended 2 1/2 hours…This is a long movie, but it doesn’t feel long. It moves. A.A. Dowd, AV ClubAfter the bloated excess of Snyder’s extended Justice League cut, Army feels lean and brisk. Alonso Duralde, The WrapAfter his four-hour Justice League cut, two-and-a-half hours might seem relatively thrifty, but there are pacing issues. John Nugent, Empire MagazineIt’s all very exhausting, and at 148 minutes, Army of the Dead more than overstays its welcome. Chris Evangelista, SlashfilmIt s overlong and labored in places, but worth a bite for the money-shot set-pieces. Jamie Graham, Total Film(Photo by Clay Enos/Netflix)Is there the typical zombie movie social commentary?The contemporary social context is hammered home… The concept of borders alone now takes on weighted significance in the film’s world. David Rooney, Hollywood ReporterIf you are aiming to make a statement then mere glancing in the direction of social injustice isn’t going to cut it. Hannah Strong, Little White LiesSnyder’s zombies might think and run to shake things up, but they aren’t placeholders for anything other than the scary-fun of watching their mangled corpses wreak gory havoc. Eric Kohn, IndieWireThat the film doesn’t belabor or over-stress its political conscience is vintage Romero, in the best sense. A.A. Dowd, AV ClubIs this just a fun time at the movies?Snyder has fashioned for us delicious, pure camp. Courtney Howard, Fresh FictionArmy Of The Dead is best when Snyder leans into the fun, and allows himself moments of pure silliness. John Nugent, Empire MagazineArmy of the Dead is a wild ride of a film… a good time at the movies. Aaron Neuwirth, We Live EntertainmentArmy of the Dead — which, let me reiterate, is a Vegas heist flick set during a zombie apocalypse — should be a lot more fun than it is. Bilge Ebiri, New York Magazine/Vulture(Photo by Clay Enos/Netflix)How does the film s surprising sweetness play?[Especially] audacious is the unexpected infusion of heart. Courtney Howard, Fresh FictionWhen he aims for more emotional territory we start to feel the weight of that running time. John Nugent, Empire MagazineTonally, the film is all over the place. At different points, Army of the Dead is all heart while others it is pessimistic and bleak. Dewey Singleton, AwardsWatchWill this leave us wanting more?Army of the Dead is too long while still leaving much unexplained – animated series Army of the Dead: Lost Vegas and prequel movie Army of Thieves will take care of that. Jamie Graham, Total FilmIt represents a wider problem with modern blockbuster filmmaking – to fully understand one film you have to watch a litany of adjacent films and TV crossovers. Hannah Strong, Little White LiesWhether or not Army of the Dead spawns an actual sequel, somehow it’s just not that exciting of a prospect. You kind of already know where it’s going to go, what notes it’s going to hit. K. Austin Collins, Rolling StoneArmy of the Dead releases in select theaters on May 14, 2021 and streams on Netflix on May 21, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
Fox s family comedy The Moodys was never intended to be an ongoing series. When it premiered in 2019, it was dubbed a holiday event series: six episodes about a Chicago couple, played by Denis Leary and Elizabeth Perkins, whose three adult children all come home for Christmas. But then, ya know, 2020 happened.With productions halted around the globe and the traditional pilot season — where TV networks make single episodes of new shows before deciding which ones to turn into full series — out the window, an already-established series with a solid cast sounded like a pretty good idea for the network. Denis and I just went, Oh, this will be a fun thing to do for six episodes, and we had a ball, Perkins told Rotten Tomatoes ahead of the second season premiere. It was great; we shot it really quickly; it was fun; and then when they came back to us and said, Hey, how would you guys feel about doing this as a regular TV show? We were like, Hey, this could work. (Photo by Kharen Hill/FOX)A few months later, they were back on set as Ann and Sean alongside their TV children (Jay Baruchel, Chelsea Frei, and François Arnaud). While season 2 of The Moodys ditches the Christmastime premise, it s still a snowy winter in Chicago when the series returns — and the family is still under the same roof months later thanks to Sean Jr. s (Baruchel) house arrest, middle daughter Bridget s (Frei) divorce, and youngest son Dan s (Arnaud) cross-country move.Below, Perkins shares five more things to know about the family comedy, which premieres Thursday, April 1 at 9 p.m. on Fox and airs Thursdays at 9:30 after that.1. Ann Moody is no sitcom wife.(Photo by Philippe Bosse/FOX)Just because Perkins is playing the matriarch of a TV comedy doesn t mean her character falls into easy sitcom tropes. In fact, that s something she and the creators worked hard to avoid. After 30 years as a stay-at-home mom, Ann decided to pursue her own dreams and go back to school. It was completely based on my own mother s experience, Perkins said. When she and her sisters finally left the house, her mother went back to school and got her master s and became an alcohol and drug rehabilitation counselor. I pitched this idea to the creators and they were like, We love it. It s nice to see a 60-year-old woman on television who s still pursuing a dream and still putting herself out there to new experiences that take her outside of the home. 2. Ann and Sean are not a frigid sitcom couple.(Photo by Philippe Bosse/FOX)Forget the punchlines about a sexless marriage, because it was also important to Perkins that Ann was a well-rounded, fully realized woman. That includes a healthy professional life, a healthy emotional life, and a healthy sex life. Even though [Sean and Ann] are in our 60s, we re still very sexually active, Perkins said. So often, particularly with women my age, that whole part of our life has somehow disappeared in film and television. It was really important to me to portray her as a realistic woman in her 60s who s still very active in her marriage and active in her love life. I think that s a really positive thing and a very realistic thing to put out there. It s not necessarily subversive for your long-married main characters to have a loving marriage, but it s also not something typically seen on screen. If you can see it, you can be it, Perkins said. That s what the Geena Davis Institute tells us all the time, and it s nice to be able to work with creators who are willing to explore the facets of a 60-year-old woman and not just cast her to the side. I m really grateful to them for that. 3. The Moodys COVID safety protocols were legit.Thanks to the diligence of the cast, crew, and their COVID safety officers, they finished the season with precisely zero outbreaks on set. We made it through an entire season without one person getting COVID, Perkins said. It s really challenging and it s expensive. There s extra time, there s extra resources that are needed and a lot of shows didn t make it. One of those shows is GLOW, which Perkins had just joined before it was canceled altogether due to pandemic-related complications. I feel so grateful to even be working during all of this. I have so many actor friends and producers, so many people in this industry who are just in limbo. I have friends whose shows started up and then were shut down. I have camera assistant friends whose shows started up and then COVID shut them down, Perkins said. But, you know, a lot of people didn t make it. I m just grateful that I got this far. 4. The Moodys is an antidote to the darkness of the past year.(Photo by Philippe Bosse/FOX)One of Perkins most recent TV credits is the dark, Golden Globe– and Emmy-nominated miniseries Sharp Objects, where she played a boozy, vaping busybody with a seriously impressive collection of kaftans. (They re from Australian brand Camilla, for those wondering — and Perkins said she partially modeled her character on the show after Patricia Altschul from Bravo s Southern Charm.)Her character was a bright spot in a very dark show. Similarly, for Perkins, The Moodys is a bright spot in a very dark time. It s been a really strenuous, difficult time, and it s nice to be able to work on something that was light and fun and spreading joy around. I hope that the people watching it can take away a little bit of that because I think it s pretty needed right now, she said.5. Perkins herself turned to sitcoms during the pandemic.(Photo by Philippe Bosse/FOX) I watched Mary Tyler Moore, she said. Full on Mary Tyler Moore, and then it was Everybody Loves Raymond. I did Cheers; I did Golden Girls. I got into this French series called Call My Agent. I was just looking for anything lighthearted and humorous. I watched all the really dark stuff too, but after a while I just wanted something that was fun and made me feel good. I really feel like that s The Moodys. I m really proud that we re putting it out there. The Moodys season 2 premieres with two back-to-back episodes at 9 p.m. and 9:30 p.m. on Thursday, April 1 on Fox.On an Apple device? Follow Rotten Tomatoes on Apple News.
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Ghcxuf Spanish-language animation along with Spanish-language TV, horror, and cinema at large   is on the rise. Over the last 15 years animators from all over the Latinx diaspora have emerged to tell stories in a variety of animated mediums: traditional 2D animation, 3D computer-generated graphics, stop-motion, rotoscoping, and beyond. And while many of their names aren t as synonymous with animation as Disney, Miyazaki, or even Bakshi and Bluth, with such an abundance of talented creators in the game it’s high time more viewers became familiar with their work. That said, spoiler alert, there is a Disney film on this list. Gotta give props where they’re due.Like the Latinx diaspora itself, the movies on this list come from all over the world and tell all kinds of stories from fantastical dreamland adventures, to horrifying stories of survival, to every coming-of-age beat in between all styled to their creator’s unique visions. Some are geared toward children, others should never be viewed by a child. But they are all fantastic pieces of work that any animation (or movie) lover should know. Buñuel in the Labyrinth of the Turtles (2018) 98%Country: SpainSet in the 1930s, Buñuel in the Labyrinth of the Turtles is a surreal journey through the making of director Luis Buñuel’s documentary Land Without Bread. Following the fallout of his first film, Buñuel is stranded without a project. When a bet backfires, he finds himself traveling with anthropologist Maurice Legenre through the Las Hurdes region of Spain, filming a documentary. Buñuel borrows from its titular director’s life and work, but is primarily based on Fermín Solis’ graphic novel Buñuel en el laberinto de las tortugas. It’s currently Certified Fresh, with many critics praising its innovative, surrealist imagery, and its ability to do a l 😈😈


亚博网页手机登录 (Photo by Marvel Studios)As revealed in last week s episode of WandaVision, the sitcoms recreated in its earliest episodes truly mattered to Wanda (Elizabeth Olsen). The homages to The Dick Van Dyke Show, Bewitched, The Brady Bunch, and Malcolm in the Middle literally recall a suitcase her father carried around Sokovia. The shows continued to offer her solace into her adulthood, as seen in the moment when she and Vision (Paul Bettany) first bonded at Avengers HQ. Although there is some discussion as to when the DVD box sets in the suitcase were available at the time, and a few other questions about the timeline, this thematic connection is key to the overall story. And, as the program’s director of photography Jess Hall told Rotten Tomatoes recently, it was there from very early on. It was in the first draft of [showrunner] Jac Schaeffer’s episode eight script that I read early in pre-production, he said. So it was in my mind and informed my approach from the beginning. In the flashback to her Sokovian child, viewers learned Dick Van Dyke was Wanda s favorite of the old American sitcoms exported to the Eastern European country. Naturally, it was the one the series took the greatest pains to recreate.Although, as Hall explained, It was never simply about recreating specific shows; we were also interested in eras and the stylistic and technical approach that defined specific periods in the history of television sitcoms, which led to many more visual departures in subsequent episodes. It also created a mission for Hall to find the line between completely recreating the visual look of a 1950s sitcom and that of the contemporary story the series is actually telling.(Photo by Marvel Studios)One vintage look the show avoided, for example, was that of the kinescope. Prior to the adoption of 2 videotape in 1957, many live programs were recorded by simply pointing a film camera at a TV monitor. The resulting image garbled the intended contrasts and warped the overall image, but created a “good enough” copy for these programs to be shipped off to affiliate broadcasters outside of, say, the New York area. For WandaVision, it would ve been distracting. But even in terms of series originally shot on film, like Bewtiched, Hall noted it is still rare to actually see the original quality of the recording.“One of the things in going back to the original [broadcast of shows] was you re obviously not looking at an ‘original original,’ because you re looking at something that was shot on film and then transferred to video,” he said. “What I was able to do on the early footage [of WandaVision] was get some prints of some of the early sitcoms on film. I got some from the original negative and I then projected those and I looked at those.”The research led to the first episode’s recreation of The Dick Van Dyke Show’s lighting scheme and camera angles. Although, thanks to the rare negatives he looked at, the WandaVision footage is sharper than most people’s memories of that vintage program.(Photo by Marvel Studios)Creating that clearer-than-you-remember image became the working philosophy for the subsequent recreations of shows like Bewitched, The Brady Bunch, and even Family Ties – itself now a vintage program to the horror of many viewers.“In my mind, the reference was actually much closer to the original, not necessarily what had been seen by viewers on the televisions of the period,” he said. “I think once you go to that level, you re potentially degrading the image so much that you re losing some of the original characteristics. So our objective was not quite that.”He added the aim of the photography was to look at the [vintage] material and then create something that somehow has a modernity to it.”That modernity matters as, ultimately, The Brady Bunch and Malcolm in the Middle prove to be what Wanda was watching at pivotal moments in her life. Presumably, Bewitched and Family Ties held similar positions her memories for traumas yet to be explored.Series director Matt Shankman identified shows that were iconic both in terms of era and integral to Wanda s history via an emotional connection established in her childhood,  Hall explained. Thus, recreating the camera movements of Family Ties became important on both the technical and thematic levels. And, as it happens, those details would create a strong connection for the audience young enough to remember when that show aired on NBC or when some of the older programs ran in syndication — to say nothing of the people who may remember when Dick Van Dyke first aired!(Photo by Marvel Studios)To younger viewers, though, notions of fuzzy images caused by poor antenna reception, overworked videotape sources, and even the lower resolution of television in the 20th century would require explanations all their own and had the potential to get in the way of the story. In situations like those, Hall, Shankman, and the rest of the crew would look critically at what they could do with the image and judge whether it was too much. This is maybe [correct for] the era, but does it really serve the dramatic purposes of our narrative? was the question Hall would ask. That s what really leads the choices, he said. This is why the boxier aspect ratio of the first three episodes gives way to the wider 16:9 frame of HDTVs in episode five.The cinematography adds a dimension to Wanda’s story — something Hall called “the difference between an original and the memory of an original.”“The reality that Wanda s creating is quite fragile. So I think absolute replication was definitely not the goal. It was more about kind of whirring the audience into this kind of comfortable sitcom reality that was vaguely nostalgic,” he said.Creating that comfort also meant the visuals could be disrupted to “bring in some of the more sinister aspects of the narrative.” A great example of this in episode one when Mr. Heart (Fred Melamed) starts choking; the Dick Van Dyke–inspired staging and lighting gives way to more modern photography for the series’ first chilling moment.(Photo by Marvel Studios)But even with the elements he wanted to recreate – the filmic look of 60-year-old sitcoms shot on 35mm film, for example – technical limitations still appeared by virtue of the changes in filmmaking technology. Hall called it an “inherent challenge” as the 4K resolution High Dynamic Range digital cameras used to capture WandaVision result in a substantially different image than a film camera from the 1960s.“You re taking that highest level of quality and then trying to degrade it. There s a kind of contradiction there,” he said. “But it s a really interesting way to approach it. If someone asked me to do [a show like WandaVision] five years ago, I might ve said, ‘Oh we should shoot that on 35 mil,’ or ‘Let s shoot that shoot on 16 mil, let s get an old video camera to do that.’ With this show, I really decided to do the whole show on one camera and to really try and use the technology to actually create the different looks.”In fact, a whole field of filmmaking is devoted to making the qualities of specific vintage film stocks available to cinematographers like Hall. The results can be striking, as seen in the first three episodes of WandaVision.“There was a lot of in-depth color science work that I did with Technicolor to place a huge-bandwidth, raw high-quality camera signal in an envelope, which restricted the signal down to a 1950s black-and-white look, or an early color film look, or an early video look. There are plenty of algorithms and lots of computer tech behind that color science, but Hall said he really relished exploring the digital platform to its full capabilities. That was really one of the exciting things about this project and sort of appropriate to Marvel, who I feel are always kind of at the cutting edge technologically. And by shooting the entire series in 4K HDR, Hall delved into the higher end of what can be captured on the format.“The potential to have richer colors is actually technically a possibility now,” he said. “That really opened up a whole world for me in terms of what I looked at on the comic book reference, which had this incredibly vivid color.”(Photo by Marvel Studios)The results lead to the dynamic contrast in scenes set outside Wanda’s Hex, the colors on display when Monica steps through the barrier in episode seven, and the beauty of the images within Wanda s recreation of classic sitcoms.Of course, recreating sitcoms led to one more challenge for Hall: the three-camera set-up itself. Unlike movies, which typically light and shoot one angle of a scene at a time, sitcoms typically light an entire stage with three cameras following the actors as they play out a scene. In many productions, the job of editing the shots was done on the fly as a videotape recorded the resulting program. Other shows would take the material caught be the three cameras to the editing room and build the episode there. For WandaVision’s debut episode, the production mounted a full live-to-tape recording in front of a studio audience. episode five — the Family Ties-inspired episode — was also shot in the three camera set-up, but lacked a studio audience, a difference sure to please fans of television production.Nevertheless, lighting for three simultaneously running cameras taught Hall — a veteran of single-camera productions — a new set of skills.“You ve got to light for the 180 [degrees of the stage]. You re shooting a wide shot and two medium shots at the same time or you re shooting a two shot and two close ups at the same time,” he said. That means finding a lighting scheme which serves several cameras at once while still conveying the intent of each shot. He credited Shankman, a veteran sitcom actor from shows like Just The Ten of Us, with putting him through a “sitcom bootcamp” to hone the multicamera discipline. As a result, they wound up shooting scenes outside the Hex with multiple cameras.“There were action sequences that required coverage. And if you ve got a stunt, you might as well put a third camera on it because it might not be replicated again,” he said. Nevertheless, he admitted there were times he was happy to be out of the studio and on location with the S.W.O.R.D. crew or in Westview’s beautifully manicured exteriors. “I think the location work definitely provided some light relief from the set work, which became quite intense,” he said. “But this show had so much diversity in it, you never had a chance of getting bored because every day was different.”(Photo by Marvel Studios)Near the end of episode eight, Hall had the opportunity to turn the camera at his own lights just as Wanda came to understand why she started recreating old TV shows in the first place. As he put it, it s a self-reflexive moment that exposes the constructed reality of a show which thematically features a constructed reality at its core. And though we may not yet know the full extent of what Wanda, as the Scarlet Witch, can construct, the moment stands as one of the most fascinating in terms of what it took to tell her story. We are revealing the mechanisms of the medium itself and illustrating to the spectator that their perception of reality is manufactured, subject to change and transformation, Hall said.With one episode or revelations yet to be transmitted, we can t wait to see how Hall and his team photograph WandaVision s conclusion.The WandaVision season 1 finale premieres on Friday, March 5 on Disney+.On an Apple device? Follow Rotten Tomatoes on Apple News.

网易首个海洋末日废土手游,游戏世界观围绕末日海洋展开,玩家们将在浩瀚无垠的海洋世界里探索未知的旅程。游戏目前未公开核心玩法,但可知融合了射击玩法元素。 Director Guy Ritchie returns to his roots with new gangster flick, The Gentlemen, and he s brought an all-star cast of big-name Brits and Americans with him. The movie, which sees a marijuana kingpin (Matthew McConaughey) attempting to sell off his empire to a fellow drug lord – and facing a ton of complications and F-bombs in the process – is already shaping up to be one of Ritchie s best-reviewed movies in years. Ahead of the release of The Gentlemen, Rotten Tomatoes sat down with McConaughey and co-stars Hugh Grant, Michelle Dockery, Charlie Hunnam, and Henry Golding to discover what drew them to Ritchie s latest project, how they pivoted with the director s on-set changes to scenes, and what they think makes the perfect gentleman. Plus: Golding gave us some fresh new details on the upcoming G.I. Joe spin-off, Snake Eyes.


As we approach the end of this experimental summer movie season and look ahead through 2021, this weekend was truly the last chance for Warner Brothers to prove that their hybrid HBO Max was not going to be a total bust. (Everyone should know that Dune has a very specialized audience, and, okay, maybe fans have shrugged off whatever beefs they have with the Matrix sequels to give the fourth one a shot.) It is conceivably possible that Godzilla vs. Kong is going to be the only film on the studio s slate to hit what is shaping up to be a very exclusive 0 million club this year. This weekend was the studio’s best shot at a second slot in that club and as the dust settles it s starting to look like no film was probably held back more from its potential this summer than James Gunn’s The Suicide Squad.King of the Crop: The Suicide Squad Tops Weekend, But Subdued Performance Raises Questions(Photo by © Warner Bros.)The spin began as early as Friday when the .1 million that The Suicide Squad grossed in Thursday night previews was touted as the best “R”-rated start for a film during the pandemic. The problem is that it is hard to measure that kind of championship when the only other “no one under 17 will be admitted with a guardian (of another galaxy or otherwise)” films to get previews in 2021 were The Forever Purge (.3 million) and The Green Knight (0,000). So that title is not super impressive. However, there was still hope given that a number of other films including 2009’s Star Trek, Captain America: The First Avenger, Mission: Impossible – Rogue Nation, and The Wolverine all started with million in previews and went on to opening weekends between million and million. (Granted those were non-pandemic/non-new-variant times.) But even those on the low spectrum of those Thursday numbers, including last year’s pre-pandemic Birds of Prey, opened to million. The Suicide Squad did not even hit that.So .5 million is the number the film is looking at for its opening weekend. That is the best “R”-rated opening of the pandemic, barely edging out The Conjuring: The Devil Made Me Do It (.1 million) and Mortal Kombat (.3 million), the latter from way back in April when we were still right in the middle of steady vaccination numbers. (The top Thursday previews for an “R”-rated film is still Deadpool 2, which made nearly as much in just a third of a day – .6 million – as The Suicide Squad made in an additional three full ones.)So where does the lion’s share of the blame for the movie s underperformance go? Don’t blame the critics. They are mostly in lockstep recommending the film (Certified Fresh at 92% on the Tomatometer) compared to how much they disliked the 2006 version (Rotten at 26%). Are moviegoers showing their concern over the rising numbers among the unvaccinated due to the Delta variant? And did an option to subscribe to HBO Max make their decision easier? How did The Suicide Squad manage to do million less than Black Widow on its Thursday launch? Is it because HBO Max decided to offer the DC film on Thursday night while Disney+ held back their .99 Premier Access option until Friday?So is HBO Max entirely to blame? Giving 100% culpability to any single entity would be foolish. Quality matters, even if the calculations of word-of-mouth have been redefined this year. Interest matt

亚博网页手机登录 One of two things could be happening this weekend: Either Vin Diesel is somewhere smiling thinking that The Fast and the Furious series is not as big without him or the entire series itself is starting to wane – at least here in America. Hobbs Shaw actually had an opening that both Dwayne Johnson and Jason Statham can brag is higher than any of their previous starring vehicles, but as part of this particular franchise, its domestic numbers are not nearly as impressive.King of the Crop: Hobbs Shaw Leads Weekend But Trails Franchise Numbers(Photo by Universal)Fast Furious Presents: Hobbs Shaw opened to .8 million this weekend. That is higher than either Johnson’s San Andreas (.58 million) or Statham’s The Meg (.40 million), but it is lower than any of the films since 2009, when both Diesel and Paul Walker returned for the first time together back to the series. That started this cinematic phenomenon that began with a .95 million opening that increased to .19 million in 2011, then .37 in 2013. After Walker’s untimely death, the series had the same kind of bump in interest that The Dark Knight had in 2008. Nolan’s film opened to 8.41 million six months after Heath Ledger’s passing. After a delay in the release for Furious 7, it opened in April 2017 to the highest Tomatometer score in the series (81%) and a weekend of 7.18 million, which at the time was the ninth biggest opening ever. That opening is now 24th best, but it is still the eighth-highest ever worldwide with .516 billion.The Fate of the Furious was to continue its global dominance with .236 billion (good for 17th all-time – though will soon be passed by The Lion King) but its domestic gross of 6 million fell behind the sixth and seventh chapters. If Hobbs Shaw followed in sync with the rest of the series, it should have had no worse than the third-best August opening ever. Alas, it will have to settle for s

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