而游戏品牌效应的增长，除了官方的经营外，更多来自用户的主观认同。《原神》等破圈游戏的成功案例表明，随着手游行业进入红海，研发周期、研发成本的递增正在成为一项重要趋势，与此对应的游戏品牌建设重要性也将进入上升周期。擅于构建品牌生态的产品，将在行业竞争中占据更大优势。 Since its stellar start back in 2013, the Conjuring Universe has been a bumpy ride with critics. Even the Annabelle spin-offs have been met with a mix of positive and negative reviews. Now the third of that specific series, Annabelle Comes Home (the seventh in the overall cinematic universe), is itself garnering a mixture of responses. Some think its variety of monsters make for a fun outing, while others see the concept as too gimmicky and not scary enough for this brand of horror movie. One thing all seem to agree on, though, is that it’s full of more franchise fodder.Here’s what critics are saying about Annabelle Comes Home:How does it fit into the Conjuring Universe?A breath of fresh air for the Conjuring Universe that both surprises with a lighter touch and demonstrates the incredible potential for the expanding continuity. Eric Eisenberg, CinemaBlendAnnabelle Comes Home is textured differently than the other films in the Conjuring Universe, yet it fits comfortably right into the legacy. Courtney Howard, Fresh FictionAnnabelle Comes Home never loses the streak of genuine humanity that sets the Conjuring movies apart from many of its horror franchise counterparts. William Bibbiani, Bloody DisgustingCheekily reflects the drive-in popcorn thrillers from the period in which the movie is set more than it does the other films in the series. Oliver Jones, ObserverIt s a mix of high points and low points, much like the overall series itself. Rafer Guzman, NewsdayDespite being a perfectly fine addition to the series, Annabelle Comes Home is just not as inventive or creepy or even scary as some of the other Conjuring films. Edward Douglas, The Beat(Photo by New Line Cinema)How does it compare to the other Annabelle movies?Easily the best film in the Annabelle franchise. Alyse Wax, ComingSoon.netAnnabelle Comes Home cements the Annabelle trilogy as a rare series that gets better with every installment. Eric Eisenberg, CinemaBlendPure joy… better than ever. Courtney Howard, Fresh FictionMaybe the most hyper and generic. Owen Gleiberman, VarietyIf Annabelle Comes Home should be the last Annabelle-centric film in the series, it feels like a perfect final chapter. Juliet Bennett Rylah, IGN MoviesIs there too much to this installment?Name your fear trigger, and it’s probably there, somewhere, in Annabelle Comes Home… it’s really the horror equivalent of speed dating. Owen Gleiberman, VarietyIt felt a lot like Scooby-Doo: Monsters Unleashed.. Whatever you’re creeped out by, Annabelle Comes Home has got you covered. Patrick Cavanaugh, The Wolfman ComethIf the Conjuring franchise has run low on original methods of making ghosts jump-out-of-your-seat scary, then Dauberman has found a workaround in diversity. Andy Crump, Paste MagazineStarts to feel like a stack of random ideas. Rafer Guzman, Newsday(Photo by New Line Cinema)Does it just feel like it’s made to introduce more spin-offs?Annabelle Comes Home suffers, I think, from a mercantile quality, the sense you’re watching multiple elevator pitches crammed into feature shape. Darren Franich, Entertainment WeeklyIt kind of feels like we are getting a preview of what the next handful of films in the Conjuring Universe will be. Alyse Wax, ComingSoon.netThere are more than a couple of evil entities featured that could eventually generate their own special branch of the Conjuring Universe. Eric Eisenberg, CinemaBlend
于是在产品研发上，我们发现主要有两个核心方向，一是对现有题材和玩法的持续纵向优化，二是App?Annie大中华区负责人郑伟达Jeffery在《全面布局：为游戏品牌出海续航》线上直播峰会的“出海蓝图：游戏立项与受众洞察”主题活动中提到的多元化混合玩法。此外，高质量的游戏画质、对流行IP的改编、新题材和新玩法的尝试也是助力手游厂商破局的利器。亚博YOBOBest Action Adventure Movies 2019 December 30, 2019
4. 呼朋唤友 随心所欲
Endgame vs. the MCU: After three days, the Fifth Biggest MCU Movie – and Coming for the CrownAt 0 million, Avengers: Endgame immediately becomes the 50th highest-grossing domestic film of all-time. That is already more than Aquaman grossed in 105 days. It also took Captain Marvel 24 days to gross what Endgame did in three; and Endgame is now the fifth highest-grossing film in the MCU. In a remarkable bit of solidarity, Captain Marvel moved up to second place at the box office this weekend, dropping just 11% for an eighth-weekend haul of million. That’s the 10th best eighth weekend of all time (up from last week’s 15th best seventh weekend) and the fifth best this for the current century, behind Avatar (.8 million), Frozen (.7 million), Jumanji: Welcome to the Jungle ( million), and Black Panther (.7 million).And let s get super math-y for a minute. If we were playing the Take Two game from The Price is Right – where you have to pick the cost of two prizes that add up to a specific amount – the only MCU title one could pick to combine with another for a total less than Endgame’s opening weekend is The Incredible Hulk. Take that movie s 4.8 million, match it with Captain America: The First Avenger (6.6 million), Ant-Man (0.2 million), Thor (1.0), or Thor: The Dark World (6.3 million) and you have the only pairings that come up less than Endgame’s 0 million start. Only eight films in the MCU have grossed more in their entire run than Endgame did in three-and-a-third days.There has been no fatigue with the MCU, as frequently as that myth has been told. Endgame had already grossed 5 million outside of the U.S. before even opening here. Through Sunday, Endgame has grossed 9 million internationally (14th all-time) and .2 billion globally (the eighth MCU film to reach that milestone and the fastest ever to pass it). Those numbers make Endgame the 18th highest-grossing film of all time internationally. And it s done that since Thursday.Records on the Horizon: Endgame Sets its Sights on Avatar, The Force Awakens(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Domestically, Avengers: Endgame is now beyond targeting the totals of the two mega-grossing James Cameron films, Avatar and Titanic – because it is going for the big dog. Star Wars: The Force Awakens, the highest-grossing film ever domestically, earned 6.7 million here and Endgame is already blowing past all of its early records. Avatar is the all-time world champ with .78 billion – and that s going to be a tough number to beat, even for a film expected to become just the fifth film ever to gross billion worldwide. Other records that Endgame has its eye on for next week include:Biggest 10-Day Gross: Star Wars: The Force Awakens (0 million)Biggest Second Weekend: Star Wars: The Force Awakens (9.2 million)Smallest Drop For A Film Opening To Over 0 million: Star Wars: The Force Awakens (-39.8%)Fifth Highest Worldwide Gross Ever: Jurassic World (.671 billion)It would take a drop of more than 57.4% for Endgame to not break the second-weekend record held by The Force Awakens. Thirteen of the 21 previous MCU films had drops lower than that. We predict that at least two of the records above will fall next week. Though highly unlikely, it would be remarkable if it bests the 39.8% drop of Star Wars: The Force Awakens. And if it does, one should expect just about every record to fall after that.This Time Last Year: It All Began With a Record-Breaking First Weekend for Infinity War(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Getting a sense of déjà vu? On this same weekend last year, Avengers: Infinity War grossed 7.6 million, breaking the record for the highest opening weekend ever – a record that lasted officially one year minus a day. Its per-theater-average of ,599 was still second to The Force Awakens, and it would not go on to outgross the all-time champ, nor its Marvel counterpart, Black Panther. That film got a similar boost to what Captain Marvel got this week, dropping just 4% from the previous weekend and finishing in the top five. The rest of the Top 10 grossed a combined .31 million for a grand total of 3.01 million, and the films averaged 59.3% on the Tomatometer. This year’s Top 10 grossed an estimated 7.5 million and averaged 69.5% on the Tomatometer.On the Vine: Long Shot Set To Top Newcomers, At a Distant SecondJoel MearesIt takes a brave rom-com to go up against a juggernaut, but next week s has the critics on its side. Jonathan Levine’s Long Shot, with Charlize Theron and Seth Rogen, is at 84% on the Tomatometer after its SXSW premiere in March. Look for it to lead the newcomers handily. Among those newcomers are STX’s first foray into animation with UglyDolls, based on the line of plush toys. In The Intruder Dennis Quaid pulls a reverse Cold Creek Manor as the previous owner of a home terrorizing the new couple (Michael Ealy and Meagan Good) who have moved in.The Full Top 10: April 26-28Avengers: Endgame (2019) 94% – 0 million (0 million total)Captain Marvel (2019) 79% – .05 million (3.58 million total)The Curse of La Llorona (2019) 28% – .5 million (.28 million total)Breakthrough (2019) 63% – .30 million (.11 million total)Shazam! (2019) 90% – .52 million (1.15 million total)Little (2019) 46% – .44 million (.85 million total)Dumbo (2019) 46% – .24 million (7.01 million total)Pet Sematary (2019) 57% – .29n (.61 million total)Dumbo (2019) 46% – .14 million (2.84 million total)Penguins (2019) 92% – .05 million (.72 million total)
5. HD 画质与高品质音讯
(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
(Photo by Focus Features)Yes, we know what you’re thinking: Just days after one of the most drama-filled awards seasons in recent memory, we are already looking ahead to next year. Best Picture winner Parasite is still in theaters, and we are several months away from the unofficial kick-off of the awards season in September. Still, we are already eyeing a list of hopefuls we think can go the distance in 2021. With Cannes re-emerging as a launching pad for contender films (Oscar winners Once Upon A Time in Hollywood and Parasite both premiered at Cannes last year, where the latter won the Palme d Or), the “Oscar movie” starting line continues to shift to earlier and earlier in the year. And following huge wins for genre-defying, foreign-language underdog-turned-Best Picture-winner Parasite, the very notion of an awards movie is ever-changing.After a fresh crop of films that premiered at Sundance in January, a number of new trailers from movies likely to be in the Oscar conversation, and festival circuit stops announced by others, we are starting to get excited. Read on to see our picks for Oscar contenders in 2020/2021 and why we are betting on them early.Don’t agree with our picks? Have at us in the comments.Mank (2020) 83% Cast: Gary Oldman, Amanda Seyfried, Charles Dance, Lily CollinsWhat it is: A biopic about Herman J. Mankiewicz, the co-screenwriter of Citizen Kane, and his battles with co-writer Orson Welles.Why it could win: Director David Fincher has earned at least one Oscar nomination for each of his last four pictures, including the two-time Academy Award winner The Social Network. Following the success of his Netflix show Mindhunter and earlier films like Zodiac, many voters and critics are excited to see what Fincher the new master of the historical thriller has in store for this Hollywood tale of betrayal, inspiration, and intrigue.Promising Young Woman (2020) 90%Cast: Carey Mulligan, Bo Burnham, Alison Brie, Connie Britton, Adam Brody, Jennifer CoolidgeWhat it is: A revenge thriller/dark comedy about a young woman who moonlights as a vigilante, feigning helpless drunkenness at bars to bring justice to would-be sexual predators, until she meets an old classmate who helps her shift focus and confront her past.Why it could win: Carey Mulligan has been consistently serving award-worthy performances for the past few years (Wildlife, Suffragette, Mudbound). After a successful nomination campaign for Cynthia Erivo in Harriet, we are betting Focus Features has a plan to get the previously nominated Mulligan back in contention. Writer-director Emerald Fennell is also a threat for a screenplay award following her Emmy-nominated success with TV series Killing Eve.The White Tiger (2021) 91%Cast: Rajkummar Rao, Priyanka ChopraWhat it is: A man s rags to riches tale of self-determination comes to life in this adaptation of the Man Booker Prize-winning novel from India.Why it could win: Aravind Adiga s 2008 novel The White Tiger was an international bestseller, and director Ramin Bahrani has been a darling on the festival circuit since his breakout with 99 Holmes. With the addition of Priyanka Chopra in her first English-language lead role in a feature film, we are motivated to keep our eye on this one for end-of-year accolades.Nomadland (2020) 93%(Photo by Searchlight Pictures)Cast: Frances McDormand, David StrathairnWhat it is: A woman in her sixties loses everything and takes off on an exploration of the West, living in her van as a modern-day nomad.Why it could win: After the critical success of The Rider, we automatically signed up for anything Chloe Zhao wanted to do next. Before she set off to shoot Eternals for Marvel, Zhao filmed Nomadland, starring two-time Best Actress Oscar-winner Francis McDormand, who also shows up elsewhere on this list. We are similarly excited for what McDormand will do, and #Vanlife seems ripe for actorly drama.Dune (2021) 89% Cast: Dave Bautista, Javier Bardem, Rebecca Ferguson, Timothée ChalametWhat it is: An epic sci-fi adventure that chronicles the lives of the royal Atreides family as they strive to protect the most valuable resource in the universe.Why it could win: Dune has been at the top of just about every most anticipated film list since it was announced in late 2017. It may be a stretch as an awards contender, but the fact that Denis Villeneuve is one of the few directors capable of producing pure genre films that still appeal to Academy voters does work in his favor. Add the internet s boyfriend and voter favorite Timothée Chalamet, and it would not shock us if it became a serious contender for above- and below-the-line honors.The Forty-Year-Old Version (2020) 98% (Photo by Courtesy of Sundance Film Festival)Cast: Radha Blank, Peter Y. KimWhat it is: An aging playwright battling with the choice to stay broke or sell out turns to rapping about her life as a 40-year-old as a way to reclaim her identity.Why it could win: Radha Blank was a well established playwright within the theater community when she made her stunning debut at Sundance earlier this year. The film, which delighted critics, was quickly snapped up by Netflix. It s a no-brainer to compete for Best Original Screenplay, so we fully expect a fall roll-out and a heavy awards push from the streaming giant.Benedetta (2021) 85%Cast: Charlotte Rampling, Virginie Efira, Lambert WilsonWhat it is: A 17th-century nun beset by erotic visions forms a relationship with her caregiver, and the two women become engulfed in a passionate love affair.Why it could win: Paul Verhoeven, the director of Elle, is making an erotic lesbian nun love story based on a true story. Need we say more? If, by chance, you think this premise is too much for Academy Voters, we would remind you that Isabelle Huppert was nominated for Oscar and won a Golden Globe for Elle a dark rape/revenge love story.Respect (2021) 68% Cast: Jennifer Hudson, Audra McDonald, Forest Whitaker, Tituss Burgess, Marc Maron, Marlon WayansWhat it is: A biopic profiling legendary singer-songwriter Aretha Franklin.Why it could win: Musical biopics have worked out rather well, particularly recently, for people like Renee Zellweger and Rami Malek, as well as past Oscar winners like Jamie Foxx, Reese Witherspoon, Barbra Streisand, and Sissy Spacek, so it could do the same for Jennifer Hudson as Aretha Franklin in Respect. Hudson had previously sung her way to an Oscar in 2007 s Dreamgirls, so the long-awaited feature about the Queen of Soul has promise, and thankfully, we expect it won t need much CGI like her last musical offering, Cats.The Eyes of Tammy Faye (2021) 66%Cast: Jessica Chastain, Vincent D Onofrio, Andrew GarfieldWhat it is: A drama charting the rise and fall of televangelists Jim and Tammy Faye Bakker, particularly through the lens of the latter. The film is a narrative adaptation of the 2000 documentary of the same name.Why it could win: Televangelists Jim and Tammy Faye Bakker were reality stars before the Kardashians, and they came with more baggage. They were two of the richest, most popular personalities on television at the height of their success, and their fall from grace was tabloid fodder for decades and tailor-made for awards consideration. Throw in two-time Oscar nominee Jessica Chastain and Best Actor nominee Andrew Garfield, as well as director Michael Showalter, who directed the Oscar-nominated The Big Sick, and there s plenty of reason to think this will resonate with the Academy.In the Heights (2021) 94% Cast: Anthony Ramos, Corey Hawkins, Jimmy Smits, Lin-Manuel Miranda, Stephanie Beatriz, Marc Anthony, Dascha PolancoWhat it is: The big-screen adaptation of Lin-Manuel Miranda s Tony-winning Broadway musical about life in the Washington Heights neighborhood of Manhattan, New York.Why it could win: The fact that the original musical won a Tony is reason enough to get excited about In the Heights, but with the addition of Crazy Rich Asians director Jon M. Chu, we have had a hard time picturing anything topping one of the new songs from this film for Best Original Song in 2020. The colorful visuals and production design we spied in the trailer also had us instantly buzzing.Hillbilly Elegy (2020) 25%Cast: Amy Adams, Glenn Close, Haley Bennett, Freida PintoWhat it is: The film adaptation of J. D. Vance s acclaimed memoir chronicling three generations of his Appalachian family.Why it could win: He has not been in the Awards conversation for over a decade, but double Oscar winner Ron Howard is always a threat, and Netflix is betting big on the memoir s long-awaited adaptation. With the inclusion of two actresses (Amy Adams and Glenn Close) who have 13 Oscar nominations but zero wins between them, there will be a lot of eyes on Hillbilly Elegy come fall.Tenet (2020) 70%Cast: John David Washington, Robert Pattinson, Elizabeth DebickiWhat it is: A mindbending sci-fi tale about time travel and a race to save the world.Why it could win: Christopher Nolan behind the camera alone should be enough for anyone, but Robert Pattinson, Elizabeth Debicki, and John David Washington make Tenet a must-see, albeit a risky bet, for nominations morning, as Tenet might be too genre to capture Oscar voters attention. Still, Nolan earned nominations for Inception and Memento, so his latest, which looks like a cross between the two, is difficult not to picture on the Oscar stage.Greyhound (2020) 79%Cast: Tom Hanks, Elisabeth Shue, Rob Morgan, Karl GlusmanWhat it is: In WWII, 37 Allied ships cross the treacherous North Atlantic while hotly pursued by a fleet of Nazi U-boats during the lead captain s first command.Why it could win: It s hard to bet against a Tom Hanks war movie. After Hanks broke a nearly 20-year Oscar nomination drought with his Best Supporting Actor nom for A Beautiful Day in the Neighborhood, we like his chances for this based-on-true-events story, which he both wrote and leads on screen.The French Dispatch (2021) 80% Cast: Benicio Del Toro, Adrien Brody, Tilda Swinton, Timothée Chalamet, Frances McDormand, Bill Murray, Owen Wilson, Saoirse Ronan, Léa SeydouxWhat it is: A film anthology of the stories from the final issue of an American magazine published in a fictionalized version of 20th century France.Why it could win: Wes Anderson has been nominated for seven Academy Awards and has never won not even for the beloved The Grand Budapest Hotel, which seems a downright tragedy. However, with this cast of Oscar winners and an expected glitzy debut on the festival circuit later this year, The French Dispatch is an early favorite to lead all nominations next January.Passing (2021) 86%Cast: Alexander Skarsgård, Tessa Thompson, Ruth NeggaWhat it is: Two white-presenting Black women are forced to confront their own choices, and each other, after they reunite to learn one is living as a white woman and the other as Black.Why it could win: Based on Nella Larson s award-winning novel, the premise alone has critics and film fans intrigued. Written and helmed by Rebecca Hall (an actress who s a magnet for stellar scripts built for powerhouse performances), we are anticipating a story that gives stars Tessa Thompson and Ruth Negga plenty of material for an awards highlight reel.Minari (2020) 98% (Photo by A24 films)Cast: Steven Yeun, Han Yeri, Youn Yuh-JungWhat it is: A family drama seen through the eyes of a seven-year-old Korean-American boy whose father moves the family from California to rural Arkansas to learn to farm and make a better life.Why it could win: A24 s Minari left Sundance riding high on praise from critics and, as of today, it s still Fresh at 100%. A quiet story about an Asian-American family with an eccentric grandmother is what earned Lulu Wang s The Farewell the top prize at the Independent Spirit Awards this year, even if it didn t break through with Oscar voters. Starring indie darling Steven Yeun in the lead role, Minari could succeed where The Farewell and Yeun s previous awards contender Burning fell short.Thumnail images by Warner Bros. Pictures, Searchlight Pictures, Focus Features
ng of the West, the Indian-American War, that was a different mindset. And all these people have a certain amount of baggage that they bring.Woodson was the son of a slave, so his vulnerabilities are different than, say, Atticus [in Lovecraft Country]. Atticus came from Chicago, Atticus has always been a free man, and his journey up to that point was that of isolation, even within a majority group. And so he goes to war, he also has to find this video file, so he s an imaginative character. But in Korea, what you see in Korea, that climate was different, that conflict was different. Or coming out of the Vietnam War. So he has all that stuff bagged up too.The cheat sheet is they re people first. First, they re people and they have all their baggage, they have all their circumstances. And then they enter into the war. So how they fight is how they fight, but all that is dependent on where they came from. And it’s contemporary, because everybody has those things — everybody has a father, everybody grew up in some type of community. And that s when it s contemporary. You re just playing the moment without any context around it.(Photo by David Lee/Netflix)Speaking of fathers, your characters also have complicated parental relationships. The relationship between Paul and David in Da 5 Bloods (pictured) and Atticus looking for your missing father in Lovecraft Country are prime examples. As both a parent and a son, do you source from your personal experiences to shape these performances?Majors: Yes, and I continue to. It s right there. The best type of acting is when you don t have to act. You can just say someone else s lines with your experience in it. And so yes. I mean, with David in particular — my father being a military man, my personal relationship with him of mystery, chasing, wondering and some feelings of abandonment — all those things David shares. David shares those steps, and we’re alike in that way. And so I’m pulling directly from my life, and then you take that raw material and you got to say, OK, yes, but we re also in a Spike Lee joint, so let s shift this here, move this here. David s from New Orleans, I m from Texas — let s shift this here. But everything that s inside the character is coming from my personal experience. There are things that you have to pull from. I m not a teacher, I don’t teach Black studies like David did. That s homework. I ll just go get that, you know what I mean?And then when it comes with Atticus, the way he is — that s a different element. And one of the things I do often is to try to think of what s like the ideal situation to be with your father or with your child. And usually the play or the film is not going to give you that, right? And so that s what you re pushing for in the scene. With Montrose [Atticus’ father], Atticus is always trying to get some affection, some approval from him. That s the perfect world for Atticus; that s what he wants.And so I also look at my child and I see that that s what she wants from me. So I m 30 years old now, and I think I ve got my own s going on. I know what I want; I don t need anybody s approval. But the truth is you need your parent s approval at some point in your life. And when you re stuck in that relationship, and that s your primary relationship — father-son, child-parent — that is, to the Nth degree, important.(Photo by Elizabeth Morris/HBO)It seems like you gravitate towards visceral, male familial relationships in your roles as well, such David and Paul in Da 5 Bloods, Mont and Jimmie in The Last Black Man in San Francisco, and Atticus and George in Lovecraft Country. What draws you characters like this?Majors: I think, for me, I work from what I know and what I ve experienced. I grew up playing sports; I grew up in the South. For better or for worse it s a very masculine culture, it s a very gendered culture, unfortunately. But I am a son of that, I grew up there, that s where my people come from, and I m proud of that.And so in just living those relationships, the men in my life, I ve bumped up against them a lot, a whole lot. Whether it d be homies that you meet in detention or your classmates or your coaches Now, as a Black man, I do find that in cinema we don t get portrayed fully. Something that Delroy Lindo has been saying a lot is that it’s a corrective; Da 5 Bloods is a corrective to the American-Vietnam War conflict. And so I m not here to teach nothing, but I do want to enlighten folks. You can enlighten a group of people who aren t a part of that group, right? That gives them intelligence, where they say, Oh, OK. This group is not just this. As Mont says, We re not just one thing. And then you enlighten them and then you empower your own group, because you begin to expand the scope of that group s identity.And so I understand it deeply. As I said, I d grown up skinny, a theater nerd, played on the B team for a while, I finally made it to varsity. I understand the ins and outs of it. And I think [these relationships are] quite romantic. When I say romantic, I mean Roman in that way, that fraternal love that men have for each other without any pejorative ideas placed on it. Men are capable of great affection with each other. They re capable of great aggression towards each other. And I think when you show both of those, you enhance the entire human experience.(Photo by Stammtisch.604)Community is important now more than ever. You’re an alumni of Yale School of Drama along with Black actors such as Lupita Nyong’o, Brain Tyree Henry, Winston Duke, Yahya Abdul Mateen II, and many more. How have those relationships helped you navigate your career?Majors: Each actor is individual. And that community I mean, you kind of spread out of home. There s a phrase or a passage that says, A prophet that has no dignity in his hometown. You got to get the f out of school and you enter into the world. And so I found myself to be more akin and more on the shoulders of Courtney B. Vance, who plays George [in Lovecraft Country], or Angela Bassett, the work of August Wilson, the pedagogy of Lloyd Richards.I think the cool part about it is that we re all in the game now. And that s for the world to talk about, where the Black Yalie is, what an actor from Yale is. But I think we re all clearly individual, and have very different approaches to the work. Again, like the characters, we all come from different backgrounds, but there is a shared DNA as we all spent three years in New Haven. They’re all like siblings of mine. Like, you already checked to see what they re doing because you re doing your own thing.But it means a lot, though, because we all don t live together now. We actually have spread out. I m in Santa Fe, Yahya s wherever he is, being somewhere else, being someplace else. We re all over the world, all over the country. So [it’s a] long web. Because regardless of what your experience was at the school, et cetera, you re connected. So that community does happen. And the people looking up, it s like, Oh, wow. If I want to be an actor If I want to be a young Black actor, as I did, you look to see where the guys went. And so it s a privilege to continue the lineage of Courtney B. Vance and Angela Bassett, we can keep going. But it s a privilege.It is best that we stay separate in order to continue to build out our community. We have fun together, whatever party we get to go to, whatever reunion there is.(Photo by Lorey Sebastian /© Entertainment Studios Motion Pictures /Courtesy Everett Collection)Is there any role that you wanted but didn’t get?Majors: In drama school there s a play, Coriolanus, the Shakespeare play, and I was in the class to play Coriolanus, allegedly. And it didn t land on me, and it broke my heart because I was like, Oh, I got this, sure. I got this, sure. But my first year in the profession I got very, very, very close to playing a role in Detroit, Kathryn Bigelow’s film. And I had flown out — I was shooting When We Rise; it was my first show ever and I had flown down to LA. I was in San Francisco; I d flown down to LA, and I did a table read with Bigelow.I mean, I love the cast who s there, [but] it seemed as if I had the role It was me. I had to fly back — I was still in school at the time — I d fly back to New Haven to graduate. And the day before I graduated, I got a phone call from my agent saying, “We don t know what happened, but they re going to go in a different direction.”And I was completely just destroyed. I mean, it was great. It was Kathryn Bigelow, I was doing a TV show, it was like a huge feature. I then went off to do Hostiles [pictured above], which I don t regret at all. But, yeah, that was a kick in the gut.Lovecraft Country premieres on Sunday, August 16 at 9 p.m. on HBO
By 1994, the video games Street Fighter (1987) and Street Fighter II (1991) had already sold over 10 million copies on the Super NES and Sega Genesis game systems. Street Fighter II in particular became a worldwide smash hit, and Capcom, its creator and publisher, wanted to capitalize on its success by adapting it into a film. The problem is, they wanted the movie to be written, location-scouted, cast, filmed, edited, and marketed in the span of one year (which is insane), so it could be released in time for Christmas in 1994.In an unconventional move, they hired prolific screenwriter Steven E. de Souza (48 Hrs, Die Hard, Commando, The Running Man), a first-time feature film director who came up with the idea for the story during an all-night writing session, to helm a -million budgeted James Bond-style action film about a Warlord threatening world destruction and the good guys who thwart him. What followed was a year of script rewrites, large explosions, scorching temperatures, reshoots, production delays, and a limited budget due to the casting of Jean-Claude Van Damme and Raul Julia.It’s a miracle that Street Fighter actually makes any sense, and it s perhaps more surprising that, even after second, third, and fourth viewings, it s still a lot of fun. Though it’s full of unremarkable street fights and stealth boats that aren’t very stealthy, it is in no way self conscious (“All I want to do is rule the world; is that so much to ask?”), and it features a legitimately great performance by Raul Julia. Here are five reasons why we love Street Fighter and aren’t afraid to admit it.It s A Much Better Movie than Its Reputation Implies(Photo by Universal)Skimming through the reviews for the 11% Tomatometer-rated Street Fighter, you’re likely to read things like, “It’s an empty exercise in hyper-stimulation,” and it’s “a picture only an arcade junkie could cheer.” On the surface, Street Fighter may feel like an “empty exercise,” but upon closer inspection, it s clear that de Souza, cinematographer William Frakin (Rosemary’s Baby, Tombstone, Bullitt), costume designer Deborah Kramer, and production designer William Creber (Towering Inferno, The Poseidon Adventure) did their best to create an interesting world, full of cheeky PA announcements (What do you do when a Bison trooper throws a grenade at your face? Pick it up, pull the pin and throw it right back at him), massive sets, and production design that is legitimately funny.In the Blu-ray commentary, de Souza mentions several times that “it’s clearly supposed to be funny,” and the evidence is plain as day, especially when you look at the private sanctum of General M. Bison (Raul Julia). Bison is a megalomaniac who plans to create a Bisonopolis with expansive food courts, Bison swag, and towering skyscrapers with slanted roofs. In his private room, the fireplace and the swizzle sticks for his mixed drinks have Bison logos, and there’s an odd clown painting that must have been painted by Bison himself (and that fans wish they could own). Watch this clip, and look closely at everything on display; the production design is pretty inspired, and yeah, we wouldn t mind owning that massive portrait of Bison on a horse, either.Street Fighter wasn’t the movie audiences were expecting (zero Hadoukens ), but if you can get past that, you’ll have a blast. Go back and listen to the weird PA announcements, pay attention to the one-liners, marvel at all the Bison tchotchkes, and try not to crack a smile.The Convoluted Plot Is Part of Its Charm(Photo by ©Universal courtesy Everett Collection)Early on in the pre-production phase in 1993, the Capcom folks and de Souza decided they didn’t want to make a simple fighting movie in the vein of Bloodsport, The Quest, or Lionheart (all JCVD movies, by the way). In a bout of naiveté, de Souza originally chose to include only seven characters from the game in the script, which would allow him to put more focus on each one but meant at least 10 of the video game s other characters would be excluded. Capcom understandably didn t want to exclude any of the characters, because they were running a multi-billion dollar empire capable of selling mass quantities of merchandise, and more characters = more money-making opportunities.Throughout the writing process, as de Souza was forced to add more and more characters, the script quickly got out of hand. Each new addition comes with a new subplot, and the film does its best to bring everyone together. Ryu (Byron Mann) and Ken (Damian Chapa) are huckster arms dealers who team up with Colonel Guile (Van Damme), Cammy (Kylie Minogue), and T-Hawk (Gregg Rainwater). Sagat (Wes Studi) and Vega (Jay Tavare) are real arms dealers who also run an underground fight club, while Dhalsim (Roshan Seth) is a doctor who creates super soldiers against his will, one of whom is Blanka (Robert Mammone). Dee-Jay (Miguel A. Núñez Jr.) and Zangief (Andrew Bryniarski) are cheeky henchmen who work for Bison (Julia). Chun-Li (Ming-na Wen), Balrog (Grand L. Bush), and E. Honda (Peter Tuiasosoppo) are reporters (and fighting legends) who want revenge by working their way up through various media outlets (it’s weird). During their interactions, there are staged deaths (Guile “dies” three times), Allied Nation bureaucracy subplots, billion ransoms, enjoyable torture, food court discussions, a henchmen wage debate, and at least five speeches.Normally, including 45 subplots in a video game adaptation would be a horrible idea, but here, it makes Street Fighter all the more endearing. It Was Tuesday. Before we get into one of the greatest lines in the history of cinema (it is, admit it), we want to point out that Raul Julia delivers it while holding two mixed drinks with orange garnishes and wearing a tailored silk robe and a nighttime hat (which means he has a daytime hat). The entire setup is silly, yet Julia nails the absurdity of the moment with a knowing confidence that only an actor of his caliber could muster. Also, his performance becomes infinitely more awesome when you consider he had recently undergone intensive treatment and surgery for stomach cancer, and he took the role because his kids loved the game.Julia makes a meal of each syllable, and the slight smile on his face proves he’s in on the absurdity around him. After Chun Li unleashes a passionate speech about how Bison killed her father when he was an up-and-coming drug czar, he replies with one of the greatest burns in cinema history: For you, the day Bison graced your village was the most important day of your life. But for me, it was Tuesday. It belongs on the Mount Rushmore of underappreciated lines, right alongside Skeletor’s “loneliness of evil” moment in Masters of the Universe and Andrew Scott’s “It’s like kick ass or kiss ass, and I’m busting heads” monologue in Universal Soldier.Jean-Claude Van Damme s Lines are Pure, Cheesy Gold(Photo by Universal)Prior to Street Fighter, Jean-Claude Van Damme was known for action-heavy performances that put more emphasis on punches, splits, and training montages than dialogue. In movies like Kickboxer, Bloodsport, Cyborg, Lionheart, Universal Soldier, and Hard Target, JCVD’s physicality and snake punching skills do most of the acting. However, since the screenplay for Street Fighter was written by de Souza, the man who wrote the quip-heavy Commando ( Let off some steam, Bennett. ) and The Running Man (“Killian, here’s your Subzero, now plain zero.”), Van Damme was asked to make speeches, drop one-liners, and do the best he could with de Souza’s dialogue and very little preparation time (which may or may not have been JCVD’s fault).The Muscles from Brussels” ventured a bit outside his comfort zone, and he did an admirable job unleashing all the ridiculous dialogue. For instance, he nailed his big “Who wants to go with me?” speech in one take, but he also says “This is the collection agency, Bison. Your ass is six months overdue, and it’s mine,” with a straight face.Need more proof? Here are some of his best lines:Guile: Four years of ROTC for this s t!Bison: You have made me a very happy man.Guile: And next, I ll make you a dead one.Guile: I’m okay; I’m just half dead.Cammy: And Bison?Guile: All dead.Needless to say, de Souza didn’t win an Academy Award for his screenplay, but he gave the world an immensely quotable video game adaptation, and we re all better for it.The Final Moments Are EpicAfter Bison has been defeated and Guile comes back from the dead (again), the remaining characters celebrate their victory by busting out variations of their popular poses from the video game. It’s an easter egg moment for fans of the game, and it highlights the international cast, which nowadays feels refreshing.Shortly before they pose and break the fourth wall, though, a temple explodes in front of them. In a wonderful Street Fighter oral history done by The Guardian, the first assistant director of the second unit, Keith Haygate, admitted that only a quarter of the temple was supposed to explode. However, the whole thing blew up and destroyed 0,000 worth of scaffolding and styrofoam that was built over four acres. The cheeky posing and the unexpectedly massive explosion define the movie, because it’s a knowingly tongue-in-cheek film that had an explosive production. The film was rushed, and it suffered a number of setbacks, but it still pulled in 0 million worldwide on a million budget. Street Fighter will never be mistaken as quality cinema, but it s a lot of fun, and you shouldn’t feel guilty about loving it.What is your favorite Street Fighter moment? Let us know in the comments.Street Fighter was released on December 23, 1994.
Norman Reedus Torments Marilyn Manson in an Exclusive Sneak Peek from the Ride with Norman Reedus Season 3 Finale The Walking Dead’s Daryl takes a rocker for a ride for his AMC motorcycle series. Join them as they travel to Nashville. by Debbie Day | March 15, 2019 | Comments
亚博YOBO (Photo by Weinstein Company/Courtesy Everett Collection)The Best French Horror MoviesFrance has had a long history with horror that dates back to 1896, when Georges Meilies directed the original horror movie, The Haunted Castle. It had bats, and spooky skeletons! Jean Epstein s The Fall of the House of Usher is one of the early horror masterpieces from the 1920s. And in the 1950s, France produced two of what many consider the greatest horror movies ever: Diabolique and Eyes Without a Face. Not to be outdone by the past, the aughts-bred New French Extremity movement set the new standard in brutality with the likes of Martyrs and Inside, continuing into Julia Ducournau s 2016 Raw.And now we ve collected every French horror movie with a Fresh Tomatometer score, and ranked them in our guide to the Best French Horror Movies of All Time.Best Spanish-Language Horror Movies | Best Korean Horror Movies | Best Italian Horror Movies2020 s Best Horror Movies | 200 Best Horror Movies Ever
What a year 2020 has been! After the severity of the COVID-19 coronavirus became evident, countries around the world effectively went into lockdown some more strictly than others and most of us quickly had to adjust to the so-called new normal. As we sat at home, trying to self-soothe by any means available, a handful of heroes and in some cases, anti-heroes emerged, helping us to take our minds off of things, bringing us some much-needed positive vibes, and giving us a taste of the entertainment we were asked to live without. Of course, we aren t out of the woods just yet, but after more than half a year spent under stay-at-home orders, here are the 12 (online) conversation-starters, powerful performances, and iconic pop culture moments that ruled Quarantine.Joe Exotic and Tiger King(Photo by Netflix)If there was any doubt that the idea of water cooler conversation would still exist in an era of widespread lockdowns, Tiger King removed it almost immediately. Premiering on Netflix on March 20, just as swaths of the U.S. received stay-at-home orders, the docuseries about a larger-than-life animal caretaker and his personal holy war against an industry competitor became the first must-see binge of the quarantine. At the center of it all was Joe Exotic, the proprietor of the G.W. Zoo in Oklahoma, and Carole Baskin, the CEO of Florida s Big Cat Rescue and a self-purported animal rights activist who took issue with Exotic s business practices. But as with any compelling real-life story, Tiger King was full of unbelievable twists and turns, ranging from Exotic s bizarre love life to his run for President of the United States and not one but two murder conspiracies. While much of the country struggled to adapt to the new normal, Tiger King helped take our minds off the crisis with a bit of deliciously scandalous entertainment.John Krasinski and Some Good News(Photo by Some Good News)Just as the severity of the pandemic began to dawn on everyone and stay-at-home orders were being issued everywhere, a likable actor-director used his considerable influence to spread some positive vibes. On March 29, when most people were just beginning to settle into their quarantine routines, The Office and Jack Ryan star John Krasinski surprised everyone with the first installment of a newscast/talk show he decided to call Some Good News on YouTube. Running for just eight episodes, SGN featured Krasinski sharing the most uplifting, inspirational, feelgood stories from around the world, talking to celebrities, and usually doing something a little special for lucky fans. This included a Zoom reunion of the Hamilton cast, a virtual prom with performances from Billie Eilish, the Jonas brothers, and Chance the Rapper, and a high school graduation celebration with keynote speakers like Steven Spielberg, Oprah Winfrey, and Jon Stewart. Now, Krasinski did catch some flak for eventually selling the show to CBS, but it took a lot of work to put the show on, and it s understandable that he would want to go back to making kickass movies and TV shows. In the meantime, the eight episodes of SGN that we did get helped us all to remember how much good is still in the world, even if everything is a little off balance right now, and for that much-needed dose of optimism, we salute Mr. Krasinski.Everyone in Schitt s Creek(Photo by Jamie McCarthy/Getty Images)For a long time, Schitt s Creek was that underground comedy you recommended to everyone as the best show ever if you were a fan. Most of the time, the people you recommended it to would come back to you and say, It totally is! The series, originally broadcast on Canada s CBC and the cable channel Pop TV, gained even more exposure when its first three seasons were made available to stream on Netflix, and by the time it began airing its sixth and final season earlier this year, it was a bona fide cult sensation. As it happened, the show s series finale premiered smack dab in the middle of quarantine, on April 7, and despite its fervent fanbase, it seemed destined to go down as one of the all-time underappreciated sitcoms. Then came the Emmys in September. As if to say, Yes, Schitt s Creek fans, you were always right!, the series made history by sweeping all seven of the comedy categories, including the four for acting Lead Actor for Eugene Levy, Lead Actress for Catherine O Hara, Supporting Actor for Dan Levy, and Supporting Actress for Annie Murphy. If you ve never watched the show, all six seasons are now on Netflix, so get cracking. You ve probably got the time.Michael Jordan and The Last Dance(Photo by ©ESPN/Netflix)One of the things many of us missed the most, at least in the early days of the lockdown, was live sports. After all of the major leagues shut down operations, folks even resorted to watching reruns of old broadcasts or, after the country had cleared some hurdles, baseball in Japan. In the midst of all this, ESPN saw an opportunity to give fans an addictive dose of sports nostalgia in the form of The Last Dance, an extensive look at the career of Michael Jordan and specifically the 1997-1998 season of the NBA s Chicago Bulls, which would go on to win their second three-peat of championships in eight years. Originally planned for release in June, the 10-part docuseries was fast-tracked to premiere almost two months earlier on April 19, and it became an instant hit, thanks to its compelling narrative, never-before-seen footage, and surprisingly candid new interviews with Jordan himself. It brought millions of fans and meme-makers together in a shared piece of sports history and gave us a bit of real-life drama and pulse-pounding action to look forward to every week.Jonathan MajorsRyan FujitaniJonathan Majors breakout role came in 2019 s indie darling The Last Black Man in San Francisco, a small, powerful drama that went criminally underseen. Luckily for Majors, he had a few more things on his docket that were set to premiere this year he just didn t know at the time that they would be released in the middle of a pandemic. The first was Spike Lee s Da 5 Bloods, a harrowing adventure-drama in which Majors played the pivotal role of David, the son of Delroy Lindo s central character Paul. Majors held his own against Lindo and a cast of heavyweights that included Clarke Peters and Isiah Whitlock Jr., and the film remains high on the list of Oscar hopefuls. Then, in August, the highly anticipated HBO series Lovecraft Country premiered, placing Majors at the center of an inventive horror series with a sociopolitical edge or is it the other way around and earning the up-and-coming actor all kinds of praise from critics. To top off the summer, he also landed himself a gig in the MCU, signing on to play the villain in the next Ant-Man and the Wasp movie.Lin-Manuel Miranda and HamiltonLin-Manuel Miranda s Tony- and Pulitzer Prize-winning hip-hop musical about the life of one of America s founding fathers has been the must-see Broadway hit for several years now, and scoring a ticket to the show has become something of a status marker. Even if you lived in New York or one of the cities on its tour schedule, there was only a slim chance you d be able to see the show, either because tickets were scarce or because they were maddeningly expensive. Then Disney decided to share the magic of Hamilton with the world, planning a theatrical release of a filmed version of the musical in 2021. Of course, the pandemic changed all of that, and much to the joy of everyone confined to their sofas, Disney chose to move the release up more than a year and plop Hamilton directly on Disney+ for no extra charge. Finally, those of us who had only heard our more fortunate friends gloat about seeing the production were able to watch Hamilton for ourselves and see if it lived up to the hype. Disney+ saw a massive increase in downloads the weekend it was released, and fans of live theater got a little taste of it at home a win-win all around.Beyoncé and Black Is King(Photo by Disney+)Look, Beyoncé is Beyoncé, and it s virtually guaranteed that anything she does is going to be interesting, to say the least. Of course, it helps when the thing she does happens to be incredible, and that s exactly what she gave us in Black Is King. Like 2016 s Lemonade, Black Is King is a musical film, a series of stunning visuals and choreography set to the music of an accompanying album in this case, the album was The Lion King: The Gift, a compilation featuring several artists produced and curated by Beyoncé as a companion to the Disney film. Critics and audiences alike swooned over Black Is King, struck by the imagery and the music, and dubbed it yet another masterpiece from Queen Bey. Not only did she provide a big-budget surrogate concert experience for fans to enjoy in their living rooms, she also managed to convey a vivid message of Black empowerment during a time when the world needed it the most.Zendaya(Photo by HBO)Quarantine provided the perfect time for people to catch up on shows they had heard about from their friends, or had been putting off watching until they had more time, and with the Fall TV season fast approaching, one of those shows was HBO s Euphoria. The series stars Zendaya as a high school student who struggles with mental illness and drug addiction, and it earned both glowing reviews from critics and widespread audience approval. Zendaya wasn t kicking back during lockdown: In June, she actually shot a film – in compliance with strict COVID-19 safety protocols – for two weeks, written and directed by Euphoria creator Sam Levison and co-starring John David Washington. Malcom Marie was the first post-pandemic film to complete production and by all accounts it s very good. (At least, good enough to Netflix to fork out million for it.) Then, in September, during a unique presentation of this year s Emmy awards, Zendaya made history when she became the youngest person ever to win the Emmy for Best Actress in a Drama Series, proving that she s versatile enough to deliver powerful performances in stark dramas and have fun in the Marvel Cinematic Universe.Drive-In Theaters(Photo by Bloomberg/Getty Images)Put your hand up if you went to the drive-in theater for the first time in, like, forever this year? You weren’t alone. From mid-March, America’s 305 drive-in theaters saw business tick up in some cases by 90-plus percent as movie lovers sought out big screen thrills while socially distancing in the safety of their cars. The drive-in became such a 2020 phenom that pop-up drive-ins began to emerge, many in stadiums and carparks; several distributors held ritzy movie premieres in drive-ins, too, including for Antebellum. While the ’50s faves mainly played golden oldies, some new flicks benefited from their newfound popularity, in particular indie horror breakouts like Relic and The Wretched, which topped the box office a record five weeks in a row off the back of drive-in buzz, a record it shares with Black Panther and Titanic.Sitcom and Movie Reunions(Photo by Community YouTube)If you never heard of Zoom before, say, March of this year, you definitely heard the remote meeting software mentioned everywhere once the stay-at-home orders were in place. And while most of us have our share of embarrassing Zoom stories to share, one of the great things we got out of it was a surge of interest in cast reunions for some of our most beloved movies and TV shows. There were literally dozens of them, whether they came in the form of Josh Gad hosting chats with the casts of Back to the Future, Ghostbusters, and The Lord of the Rings or Instagram meet-ups between the casts of Scandal and Twin Peaks or full-on table reads by the stars of Scott Pilgrim vs. The World, Orphan Black, and Community. Some shows, like NBC s 30 Rock and Parks and Recreation, even brought their casts back to film brand new quarantine-themed episodes. With so much of Hollywood production stalled at the moment, a lot of entertainment has focused on the hits of the past, and we got to bathe in a whole lot of nostalgia.Streaming Services(Photo by HBO Max)This one is admittedly pretty obvious, but as most of us were stuck at home, we spent a lot more time watching TV than we normally would, and yes, that allowed us to catch up on some of the stuff we d been putting off watching. Lucky for us, though, all of the existing streaming services and a couple of new ones did their damnedest to keep us entertained with lots of new content. HBO Max officially launched in May, offering a giant library of content from the premium cable network and its parent studio, Warner Bros., plus new titles like the Seth Rogen film An American Pickle, the Ridley Scott sci-fi series Raised By Wolves, and the true-crime docuseries I ll Be Gone in the Dark. Hulu gave us new series like Solar Opposites and High Fidelity, as well as the Certified Fresh, quarantine-appropriate comedy Palm Springs. Disney+ sent Onward to streaming early and took a chance on making Mulan a premium VOD purchase, but it also gave us Beyonce s Black Is King and Lin-Manuel Miranda s Hamilton. Then, of course, there s streaming giant Netflix, which basically piled on series after series, from guilty-pleasure reality shows (Tiger King, Love Is Blind, Selling Sunset, Emily In Paris) to high-concept fantasy shows (Cursed, Warrior Nun, the second season of The Umbrella Academy). And this doesn t even include all the stuff we got from Amazon Prime, Apple TV+, and Peacock, among others. Suffice it to say, if you were bored with TV these past six months, you just weren t looking very hard for the good stuff.Shudder(Photo by AMC Networks)While we re spreading the love around the various streamers, we did want to give a shoutout to one in particular which seemed to really come into its own over the year: the horror- and genre-focused Shudder, which is owned by AMC Networks. Launched in 2015, the service has been rolling out a steady supply of Shudder Originals for years, but delivered some of its best and scariest yet during the pandemic, which was good news for horror fans who d been through their Netflix/Hulu/Prime/Max supplies and were looking for new places to get their fill of guts and ghouls. This year, Shudder gave us Mexican socio-political thriller La Llorona, indigenous-focused zombie flick Blood Quantum, creepy anthology The Mortuary Collection, and Host, shot during the pandemic and focusing on a group of friends holding a seance over Zoom. The latter is the best-reviewed horror movie of 2020. The service also began expanding its library, where you ll find the likes of the original Halloween, Re-Animator, and The Changeling, and entered the southern hemisphere, launching in Australia and New Zealand in August.On an Apple device? Follow Rotten Tomatoes on Apple News. After two improbably excellent seasons, the smash hit Karate Kid spin-off Cobra Kai made its move to Netflix in mid-2020, where it immediately dominated the month of September on the streaming service. With countless fans now caught up on the decades-old rivalry between Johnny Lawrence (William Zabka) and Daniel LaRusso (Ralph Macchio), as well as the new generation of karate students under their guidance, Season 3 takes the story even further with new alliances and old enemies. Ahead of the third season s Netflix release on January 1, 2021, Rotten Tomatoes chatted with Zabka, Macchio, and their young co-stars Xolo Maridueña (Miguel), Jacob Bertrand (Hawk), and Mary Mouser (Sam) to talk about diving deeper into Mr. Miyagi s world, the contrasting styles between Daniel and Johnny, reuniting with familiar faces, and where the series can go next.Season 3 of Cobra Kai is currently available to stream on Netflix.On an Apple device? Follow Rotten Tomatoes on Apple News.
亚博YOBO In 2015, Sylvester Stallone passed the torch to Michael B. Jordan, as Creed successfully introduced the world to another scrappy underdog in the Rocky saga, Adonis Creed. That film was a critical and commercial success, but it was just the first chapter of Adonis Creed s journey. This week, the franchise returns to one of its most iconic moments the tragic fight between Russian boxer Ivan Drago and Adonis Creed s father Apollo in Rocky IV for Creed II, a tale of revenge and redemption that bridges the generations and ties the new champ s story to Rocky s legacy.RT editor Jacqueline Coley sat down with director Steven Caple Jr. and stars Michael B. Jordan, Tessa Thompson, Dolph Lundgren, and Florian Munteanu to chat about the new film; talk about the growth of Adonis, Bianca, and their relationship; explain how difficult a language Russian is; and discuss training montages and music collaborations. Also, we learn about Sylvester Stallone s on-set shenanigans.Creed II opens in theaters on November 21.