bob体育高清直播下载采用百度引擎0（Baidu 7）This week s Ketchup brings you more headlines from the world of film development news, covering such titles as Dracula, Freedom Ride, UNO, and Wicked.This WEEK S TOP STORYNOMADLAND DIRECTOR CHLOE ZHAO TO REIMAGINE DRACULA AS FUTURISTIC, SCI-FI WESTERN(Photo by David Crotty/Getty Images)The Frances McDormand drama Nomadland (Certified Fresh at 95%) has otherwise been a leading contender for possible Academy Awards nominations. Director Chloé Zhao s next film will be Marvel Studios Eternals, which has been delayed a year by COVID-19 from November, 2020 to November 5, 2021, despite actually being filmed by Zhao concurrently with Nomadland in late 2018 and early 2019. Marvel has yet to release even a single still from Eternals, so we still don t know what that MCU movie might look like (other than that Kumail Nanjiani is ripped), but this week s news suggests that Universal Pictures has their sights on her. Chloé Zhao is attached to write, direct, and produce Universal Pictures latest reboot of their classic vampire franchise Dracula, which will reportedly be adapted as a futuristic, science fiction Western (we hope Zhao remembers to include vampires). In an interesting twist, Universal Pictures is also continuing to work with Blumhouse and director Karyn Kusama on another Dracula project (in which Sebastian Stan has expressed interest in starring), so that Universal now has two separate Dracula reboots in development at the same time.Other Top Headlines1. WICKED MOVIE FINALLY HAPPENING WITH CRAZY RICH ASIANS DIRECTOR (Photo by Priscilla Grant/Everett Collection)A recurring theme in The Weekly Ketchup involves reminders of exactly how long it takes some movies to finally get produced. The Wicked movie definitely falls into that territory, as Univeral Pictures has been developing an adaptation of the revisionist Wizard of Oz Broadway musical since 2009 (predating the similarly themed Oz: The Great and Powerful by four years). Repeatedly over the past decade, Universal Pictures has put Wicked on their release schedule, including most recently on December 20, 2019, which obviously didn t happen that specific slot went to another Broadway musical adaptation, Cats, instead. The Wicked movie seemed to hit a roadbump in October when Stephen Daldry (Billy Elliot, The Hours) dropped out as director, but the project is back up and active, with director Jon M. Chu (Crazy Rich Asians, Certified Fresh at 91%) now attached. Chu also has the Lin-Manuel Miranda musical In the Heights still awaiting release on June 18, 2021 after being pushed back from its original summer, 2020 release by the COVID-19 pandemic. He had recently become available after dropping out of directing the Willow sequel series which also got back into development with a new director for Disney+. There is no current release date for Wicked, but it is likely to be December of either 2022 or 2023, since that s the month Universal has previously slated Wicked for release.2. MICHELLE WILLIAMS TO CROON AS PEGGY LEE IN FEVER (Photo by Elizabeth Goodenough/Everett Collection)The impact of the popularity of rock and roll in the 1950s and 1960s, from Elvis Presley to the Beatles, was so strong that it s perhaps difficult for later generations to fully register that right before that all went down, it was still jazz, big bands, and the Rat Pack that dominated pop music. One such hit record from that period is jazz singer Peggy Lee s sultry cover of Fever in 1958. There has been talk about a Peggy Lee biopic for a while now (including from Billie Eilish, who might executive produce with her mother), and as it turns out, the star of Fever is going to be someone who also played 1950s sex idol Marilyn Monroe in My Week with Marilyn (Certified Fresh at 83%). Michelle Williams is now attached to reunite with director Todd Haynes (for whom she starred in both I m Not Here and Wonderstruck) as Peggy Lee in the biopic Fever, which MGM is now negotiating to distribute. Coincidentally, this news came just a week after Williams also signed to reunite with director Kelly Reichardt for a fourth film together, so this has been a busy fortnite for the Oscar-nominated actress. Fever is another movie that s been in development for some time, dating back at least to the early 2010s when Reese Witherspoon almost starred, until the death in 2012 of director Nora Ephron.3. WILL SMITH TO PLAY IT FAST LOOSE FOR DAVID LEITCH(Photo by Kristin Callahan/Everett Collection)Stunt coordinator-turned-action-director David Leitch (Deadpool 2, Atomic Blonde, Fast Furious Presents: Hobbs Shaw) is currently busy at work with Brad Pitt on his latest film, Bullet Train, but this week, Leitch and his representation already began studio negotiations for a project with another big movie star, Will Smith. That movie is a drama called Fast Loose, and it is now the subject of a heated bidding war between several studios, including MGM, Paramount, Sony, Warner Bros., and unspecified streamers (probably flicks on the Net). You can read a more detailed premise here, but the gist is that Will Smith would play a crime lord who wakes up in Mexico with amnesia and discovers as he puts his memories back together that he had two lives one as a powerful crime kingpin, and another as an underccover CIA agent, but without confirmation of which of those is his true identity.4. FREEDOM RIDE TO TELL TRUE STORY OF CIVIL RIGHTS LEADER JOHN LEWIS (Photo by Jeff Hutchens/Getty Images)In a sad coincidence, civil rights leader and U.S. Representative John Lewis died on July 17, 2020, just two weeks after the day-and-date debut of the documentary John Lewis: Good Trouble (Certified Fresh at 96%). The true story of the Freedom Riders, of whom John Lewis was one, is now going to be adapted as the drama Freedom Ride to be directed by Deon Taylor (Black and Blue, Meet the Blacks). Freedom Ride is set to be produced by several collaborators who are now seeking a distributor with hopes for filming to start sometime this summer on location in Atlanta, GA and Birmingham, AL. No announcements have been made yet about whom might be cast as Lewis or any of the leaders of the Freedom Riders movement.5. FOURTH CLOVERFIELD MOVIE NOW BEING DEVELOPED(Photo by ©Paramount courtesy Everett Collection)The Cloverfield franchise, which currently consists of three films (Cloverfield, 10 Cloverfield Lane, and The Cloverfield Paradox), is somewhat unique in that each film has been produced in relative secrecy, to the point where it was unclear they were even part of a single franchise until very late in their post-production. Specifically, both 10 Cloverfield Lane and The Cloverfield Paradox began their developments as standalone science fiction movies (titled The Cellar and God Particle, respectively), which were then later retooled to become part of the larger, looser Cloverfield narrative. That s an important distinction to note, because this week s news is actually about a new Cloverfield project being produced by J.J. Abrams that is being built from the ground up specifically as a Cloverfield movie (and not as something else being retrofitted to fit the franchise). Having said that, as with its predecessors, we don t actually know anything else about this project, except that it will not be a found-footage movie (like the original Cloverfield).6. SHAZAM! STAR ZACHARY LEVI TO STAR IN HAROLD AND THE PURPLE CRAYON (Photo by Warner Bros. Pictures)Prior to 2019, Zachary Levi was probably best known for starring in the NBC spy drama Chuck, but that was before he starred in the DC Comics superhero movie Shazam! (Certified Fresh at 90%). Warner Bros. is committed to producing the sequel Shazam! Fury of the Gods for release on June 2, 2023, but that isn t expected to start filming until late 2021 at the earliest. In the meantime, Levi has signed with Sony Pictures to star in a new project that is a live action adaptation of the classic children s book Harold and the Purple Crayon. The screenplay is currently being adapted by the writing team of David Guion and Michael Handelman, whose previous credits include Dinner for Schmucks (Rotten at 42%) and Night at the Museum: Secret of the Tomb (Rotten at 47%). There have reportedly been several attempts in the past to adapt Harold and the Purple Crayon as a movie, including a Sony Pictures animated film and a live-action version that would ve been directed by Spike Jonze (Her, Where the Wild Things Are).7. HOLLYWOOD JUMPS ON GAMESTOP MOVIE PROJECTS EN MASSE (Photo by Olivier Douliery/Getty Images)For context, it s important to note right at the beginning of this story that the GameStop short squeeze happened just last week, and it was only on January 28th that Robinhood and other brokerages halted trading of GameStop stock. Since then, however, there are now at least five different feature film projects in development based on the event (three narrative, two documentaries). One of those projects is called The Antisocial Network, and MGM has already acquired the film rights to the book proposal of the same title by writer Ben Mezrich, whose book Bringing Down the House was the inspiration for the Kevin Spacey gambling movie 21 (Rotten at 36%). The second narrative project is an untitled movie being developed by Netflix, with Noah Centineo attached to star. The third narrative project comes from r/wallstreetbets founder Jaime Rogozinski, who has sold his life rights to Brett Ratner s RatPac Entertainment. Finally, there are the two documentary projects (that we know about), one of which is being funded by a Kickstarter campaign, and the other of which is being produced by director Jonah Tulis of the recent video game documentary Console Wars (Fresh at 83%).8. THIS WEEK IN REMAKES: BREAKFAST AT TIFFANY S, BUCK ROGERS, FATHER OF THE BRIDE (Photo by Everett Collection)After a couple of slow news weeks to kick off 2021, Hollywood seems like it s back to business as usual, but since we like to keep the Ketchup to an even 10 stories, here s a three-in-one about a handful of remakes. First off (and this one may be much bigger news as it progresses), Paramount Pictures is now in the midst of a legal battle with the estate of late writer Truman Capote over the studio s rights to remake the classic Audrey Hepburn film, Breakfast at Tiffany s (Certified Fresh at 89%). The original 1961 film hasn t aged well in at least one respect, while at the same time, it also soft-pedals Holly Golightly s profession in the novella upon which the film is based, both of which might be good reasons for a remake. Speaking of estates and legal issues, we now apparently have two competing Buck Rogers adaptations, one of which will be a George Clooney TV series while the other is a feature film being produced by Skydance Media in collaboration with the estate of Buck Rogers creator Philip Francis Nowlan. The last time Buck Rogers was on the big screen was all the way back in 1979, when Universal Pictures expanded the pilot episode of the Buck Rogers in the 25th Century TV series into a theatrically released motion picture. Finally, Warner Bros. has hired director Gaz Alazraki for their remake of Father of the Bride with a Cuban American twist following the previous versions starring both Spencer Tracy and Steve Martin.9. LIL YACHTY WANTS TO MAKE A HEIST COMEDY BASED ON UNO (YES, THE CARD GAME) (Photo by MediaNews Group/Boulder Daily Camera via Getty Images)There are certainly games and toys that could make for good source material for a movie, usually because there is a narrative quality to them. G.I. Joe and Transformers, for example, both came to movies after long runs as both animated TV shows and comic books. The card game UNO, though, not so much. Despite that, Mattel Films and rapper Lil Yachty are now collaborating on a movie adaptation indeed based on the UNO card game. The UNO movie will reportedly be a live-action heist comedy set within the underground hip hop world of Atlanta, with Lil Yachty expected to star. This might at least be good news for anyone who s ever wanted to make movies based on Go Fish, Old Maid, or Crazy Eights.On an Apple device? Follow Rotten Tomatoes on Apple News.
The latest from Wes Anderson is unmistakably his, but it’s also something more. The writer/director’s tenth feature, The French Dispatch, premiered this week at the Cannes Film Festival, and the first reviews dispatched from the French Riviera are celebrating its mix of the familiar and the fresh. If you’re a fan of Anderson’s work, you won’t be disappointed. If you’re not partial to his quirks and constructs, you may still find something to appreciate in this anthology of stories that plays like a cinematic representation of an old issue of a literary magazine.Here’s what critics are saying about The French Dispatch:Will Wes Anderson fans be pleased?This is the Wes we know and love, with his artful considerations of love, liberty and what lives on after we die. Hannah Strong, Little White LiesIt’s a film that weaponizes whimsy in ways that will dazzle die-hard fans of the director. Jason Gorber, SlashfilmWas it worth the wait? Well, for fans of the American director’s idiosyncratic stylings, the answer is surely yes. James Mottram, South China Morning Post[It’s] a beguiling curio, and one that no other filmmaker could have created. David Rooney, Hollywood ReporterHow does it rank in his filmography?It’s one of Anderson’s very best. Ed Potton, TimesThis is Anderson in full flower, one that only grows in a rarified altitude. Todd McCarthy, DeadlineA work of such unparalleled Andersonian wit that at times the sheer level of detail that bedecked the screen was enough to make [my] jaw slacken. Jessica Kiang, The PlaylistEven by Anderson’s standards, this has to be the most ambitious film he’s ever produced. James Mottram, South China Morning PostAnderson’s most impressionistic and unusual film in quite some time… his most ambitious since his stop-motion adaptation of Fantastic Mr. Fox. Hannah Strong, Little White LiesThe Del Toro/Seydoux pairing stands out as Anderson’s most affecting love story since his 2007 short Hotel Chevalier. Eric Kohn, IndieWire(Photo by ©Searchlight Pictures)Which of his films is it most reminiscent of?The French Dispatch bears some of the DNA last glimpsed in The Life Aquatic With Steve Zissou, another portrait of a storyteller partly drawn from real life. Eric Kohn, IndieWireThe Grand Budapest Hotel [is] arguably The French Dispatch’s closest kin among Anderson’s previous films. David Rooney, Hollywood ReporterThe French Dispatch initially feels like a companion piece to The Grand Budapest Hotel… but it quickly reveals itself to be something else entirely. Robbie Collin, Daily TelegraphOne of the most labor-intensive films in existence. It makes The Grand Budapest Hotel look as if it was improvised over a weekend and shot with a smartphone. Nicholas Barber, BBCDoes it feel like his most signature work?The most Anderson of all Anderson films. It s Anderson distilled, Anderson squared, Anderson to the nth degree. Nicholas Barber, BBCThe ultimate Anderson movie because it’s everything he does whipped up into five jewel-box episodes… an Anderson sampler pack. Steve Pond, The WrapThe French Dispatch takes Anderson’s signature play with nested narrations and his love of midcentury culture to new heights. Pat Brown, Slant MagazineAnderson has found a close-to-ideal structure that flatters his mercurial, omnivorous tastes but also gets him out of any one storyline before its convolutions can convolute too much. Jessica Kiang, The PlaylistThe French Dispatch is a near-perfect encapsulation of Anderson s filmography and perhaps the best film to show to newcomers. Rafael Motamayor, ColliderIt might not be at the very zenith of what he can achieve but for sheer moment-by-moment pleasure, and for laughs, this is a treat. Peter Bradshaw, Guardian(Photo by ©Searchlight Pictures)Does it take Anderson in any new directions?Anderson employs too many new tricks in his tenth feature to keep track of them all…[it’s] original in a way that you can only marvel at so deep into a veteran’s filmography. Luke Hicks, Film School RejectsIt’s a significant breakthrough to see the director engaging with sexuality and violence as aspects of real life…[it] feels less safe than Anderson’s earlier work, and that’s a good thing. Peter Debruge, VarietyThe French Dispatch doesn’t have much of the sneaky sentimental undercurrent that makes Anderson’s films more than just intellectual exercises. Tim Grierson, Screen International[It’s] closer to a French New Wave experiment than the more controlled ensemble stories in his repertoire. Eric Kohn, IndieWireI was expecting something more from this gifted director: more maturity, more depth, more interesting storytelling. Jo-Anne Titmarsh, HeyUGuysWhat if you aren t a fan of Wes Anderson?Anyone previously unimpressed by Mr. Anderson’s peculiar sensibility should run a mile in the opposite direction, and then a mile further. Jessica Kiang, The PlaylistYou probably know whether you love his work or hate it. Well, The French Dispatch isn t going to change your mind. Nicholas Barber, BBCAudiences who in the past have found Anderson’s work precious and overly mannered… [may] accuse the new film of veering almost into self-parody. David Rooney, Hollywood Reporter(Photo by ©Searchlight Pictures)How does the film look?Boy, it sure looks pretty. Steve Pond, The WrapThere is certainly much enjoyment to be found in Anderson’s amazing visuals. Peter Bradshaw, GuardianAmong his most visually remarkable, each frame filled with meticulously crafted small details that add up to a dense, inviting cinematic jewel box. Tim Grierson, Screen InternationalFlicking between black-and-white and color, the level of detail in recreating 1960s-ish France is breathtaking, with production designer Adam Stockhausen excelling. James Mottram, South China Morning PostAdam Stockhausen s doll s-house production design is eye-wateringly precise, the black-and-white images of the city s ancient buildings deserve their own coffee table book. Nicholas Barber, BBCThe [black and white cinematography] stands up visually against the best Pawlikowski films thanks to the work of all-timer director of photography Robert Yeoman. Luke Hicks, Film School Rejects[It features some of] the most dizzyingly inventive shots Anderson has ever cooked up (which is saying something). Robbie Collin, Daily TelegraphEach frame [is] so drolly composed that its meticulousness itself becomes a joke. Pat Brown, Slant MagazineIs there more style than substance?While it is full to the hilt with stuff – so much stuff! – it sorely lacks any real substance. Jo-Anne Titmarsh, HeyUGuysThere isn t much going on beneath its extraordinary bejeweled surface. The film is – to use a French term – a jeu d esprit with no depth to its characters or edge to its satire. Nicholas Barber, BBCThe marvelous design can prove more engaging than the characters who populate it… leaving the viewer to focus on the packaging as opposed to the content. Tim Grierson, Screen InternationalAnderson overwhelms his film with so much detailed whimsy that dramatic conventions, narrative coherence and any deep meaning take a distant back seat to his entrancingly detailed doodling. Todd McCarthy, Deadline[It’s] series of exquisite miniatures — amusing, meticulously designed and impeccably executed but maybe not adding up to much more than the sum of their parts. Steve Pond, The WrapThe sentiment needed to really sell the wistful conclusion gets buried beneath all the cameos and stylistic flair. Pat Brown, Slant Magazine(Photo by ©Searchlight Pictures)Who stands out in the cast?Jeffrey Wright gives a wonderfully poised performance. Peter Bradshaw, GuardianWright’s performance may be the strongest selling point of The French Dispatch, and the one that brings it all home. Eric Kohn, IndieWireWright’s implacable authority is mesmerizing, Lea Seydoux as a prison guard/artist’s muse is a delightful enigma and Lois Smith almost steals the show as [a] wealthy art dealer. Steve Pond, The Wrap[Seydoux] brings a fierce, Fraco sullenness that’s particularly intoxicating, lending a kind of local credence with her role to Anderson’s entire folly. Jason Gorber, SlashfilmDel Toro and Seydoux’s scenes together are the closest this whirlwind movie comes to finding a human soul. Nate Jones, New York Magazine/VultureWhat is it like to experience The French Dispatch?The unconventional project succeeds in delivering that very particular hodgepodge pleasure of reading a well-curated issue from cover to cover. Peter Debruge, VarietyThe experience is akin to flipping through the eccentric pages of the publication in question, overwhelmed by the details streaming in. Eric Kohn, IndieWireWatching this anthology-style film is like leafing through an edition of the magazine, as Anderson takes us from Page 1 right through to Declines Deaths. James Mottram, South China Morning PostWatching Wes Anderson’s The French Dispatch is a delirious experience. It’s akin to being a guest at some amazing meal, with each course more stunning than the last. Jason Gorber, SlashfilmThe cinematic equivalent of a brakeless freewheel through a teeming bazaar – if said bazaar was stacked with beautiful vintage artifacts, all meticulously arranged. Robbie Collin, Daily Telegraph(Photo by ©Searchlight Pictures)Do you need to be a literary buff to appreciate the film?The winks come as dense and dizzying as guilty-pleasure movie references do in a Quentin Tarantino picture. Peter Debruge, VarietyAnderson has pointed to the New Yorker as his grand inspiration, and this shines through with plenty of references without ever feeling too insular or alienating to those with less affinity for the publication. Hannah Strong, Little White LiesUnapologetically literary, Anderson’s credits thank a pantheon of long-form writers, from Mavis Gallant to James Baldwin, immediately providing a bibliography to delve into to elicit some of the more subtle real-world references. Jason Gorber, SlashfilmIt will provoke the full range of reactions from the euphoric among pure art devotees to outright rejection by, shall we say, those not on speaking terms with ultra-refined tastes. Todd McCarthy, DeadlineWill it make us laugh?The French Dispatch is very funny. Peter Bradshaw, GuardianApart from Ernst Lubitsch or Jacques Tati, it’s hard to imagine another director who has put this level of effort into crafting a comedy. Peter Debruge, VarietyInspired physical comedy figures throughout the film. David Rooney, Hollywood ReporterThe script is a relentless hoot. Robbie Collin, Daily Telegraph(Photo by ©Searchlight Pictures)Does it have any major problems? The Concrete Masterpiece is the best of all the stories. By coming first, it sets the following stories up for some emotional misconnection. Luke Hicks, Film School RejectsIts sense of busyness keeps it from achieving the emotional impact that its finale is clearly aiming for. Pat Brown, Slant MagazineThe French Dispatch feels a bit emotionally distant compared to some of Anderson s other movies. Rafael Motamayor, ColliderWill we want to see it again?It’s a film I cannot wait to visit over and over. Jason Gorber, SlashfilmLike any print classic, it begs to be leafed over again and again so that new details emerge. Hannah Strong, Little White LiesAnderson seems to cram about 20 different movies into a two-hour runtime, and multiple viewings are definitely encouraged to even try and grasp half of what Anderson is trying to do. Rafael Motamayor, ColliderIt’s nearly impossible to follow everything on the first watch. Perhaps still so on the second and third… No doubt that will only make rewatches richer. Luke Hicks, Film School RejectsThere is just too much to take in… It is a film that would warrant multiple viewings just to absorb those fleeting, marvelous images. Jo-Anne Titmarsh, HeyUGuysSome viewers will watch it 100 times and spot new little details every time. Other viewers will walk out or switch off in a matter of minutes. Nicholas Barber, BBCThe French Dispatch releases in theaters on October 22, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News. 倩女幽魂手游和端游一样，结婚要先游行，穿着红袍带着玉簪，在其他游戏玩家羡慕的目光下秀恩爱。随后经过隆重的三生湖婚礼，拜堂、宴席最后步入洞房，掌上幸福时刻就在此时。
(Photo by Andrew Cooper/©Weinstein Compan)Updated: 10/4/21Sites like Crackle, IMDB, Tubi, Vudu, YouTube and now Peacock all have free movies online for you to stream. The only catch: You have to watch ads. On the plus side, while there are commercial interruptions, the movies are not edited for content like they are on broadcast channels. Which means you can still watch uncut movies and with fewer total interruptions than television airings.And did we mention the movies were free?Which movies should you watch, though, now that you know where to find them? Rotten Tomatoes did some digging and sorted through the free movie catalogs of Peacock, Vudu, Tubi, IMDB, YouTube, and Crackle to find the 200 best movies available to watch for free right now. These films, all Fresh on the Tomatometer, include Oscar winners, blockbusters, comedy classics, informative documentaries, and family favorites — all available to watch for free.Check out our list of the Freshest movies to watch free online to find something new without paying rental or subscription fees.Just added: The Aristocrats, Back to the Future Trilogy, The Big Short, A Boy and His Dog, Brick, Brokeback Mountain, Carol, Coming to America, Compliance, The Decline of Western Civilization, Django Unchained, Fight Club, Fish Called Wanda, Fury, Girl with a Pearl Earring, Half Nelson, History of Violence, Hoop Dreams, Ichi the Killer, The Imitation Game, John Wick 2, John Wick 3, Lion, Love Story, The Man from U.N.C.L.E., Man of Tai Chi, Megamind, Mr. and Mrs. Smith, Mr. Nobody, Moneyball, On Golden Pond, The Pianist, Predators, Pretty Woman, The Road, Seabiscuit, Southpaw, Sweeney Todd, The Wedding Singer, Whip Itbob体育高清直播下载另外，TVC结尾现身的斗鱼知名FPS游戏主播茄子将在7月12日举办使命召唤手游的线下水友赛。玩家可以参与欧莱雅男士天猫旗舰店福利抽奖，抽取茄子水友赛观赛门票及参赛资格。或者也可以通过参与欧莱雅男士官方微博互动、或者于7月4日至6日期间，登陆斗鱼TV观看茄子直播，抽取水友赛的参赛资格。通过选择茄子合作举办线下赛，使命召唤手游也在通过微博、斗鱼、天猫等多个不同渠道强化品牌在泛FPS人群中的认知度，并最终以此反哺游戏运营。
Netflix dominated the week with several big reveals, starting with the news that a Witcher prequel is in the works. Plus, get the low-down on Ratched, the Ryan Murphy origin-story series about a psychiatric-hospital nurse with her own issues. The streamer also reportedly has a Splinter Cell anime adaptation in the works, picked up seven classic Black comedies, and more in the week s top TV and streaming news.TOP STORYThe Witcher Gets a Prequel With Blood Origin(Photo by Netflix)Netflix has ordered a six-episode prequel limited series for The Witcher, called The Witcher: Blood Origin, and set 1,200 years before the events of the original series.Logline: Set in an Elven world 1200 years before the world of The Witcher, Blood Origin will tell a story lost to time — the origin of the very first Witcher, and the events that lead to the pivotal conjunction of the spheres, when the worlds of monsters, men, and elves merged to become one. The Witcher showrunner Lauren Schmidt Hissrich will serve as executive producer, with The Witcher writer Declan de Barra as executive producer and showrunner, and The Witcher author Andrzej Sapkowski as a consultant.“As a lifelong fan of fantasy, I am beyond excited to tell the story The Witcher: Blood Origin, De Barra said in a statement. A question has been burning in my mind ever since I first read The Witcher books: What was the Elven world really like before the cataclysmic arrival of the humans? I ve always been fascinated by the rise and fall of civilizations, how science, discovery, and culture flourish right before that fall. How vast swathes of knowledge are lost forever in such a short time, often compounded by colonization and a rewriting of history. Leaving only fragments of a civilization’s true story behind. The Witcher: Blood Origin will tell the tale of the Elven civilization before its fall, and most importantly reveal the forgotten history of the very first Witcher.”Ratched’s All-Star Cast, Led by Sarah Paulson, Unfolds the Backstory of One Flew Over the Cuckoo’s Nest Villain Nurse Mildred Ratched(Photo by Netflix)Ryan Murphy’s latest collaboration with Sarah Paulson (pictured), Ratched, will debut on Netflix on Sept. 18. The eight-episode season features an all-star cast that includes actors from other Murphy projects, like the American Horror Story and American Crime Story series.Paulson, an Emmy winner for her collaboration with Murphy on The People v. O.J. Simpson: American Crime Story and a multiple Emmy nominee for five seasons of Murphy’s AHS, will play the titular role of Mildred Ratched, the psychiatric hospital nurse who “presents herself as the perfect image of what a dedicated nurse should be … (but) Mildred’s stylish exterior belies a growing darkness that has long been smoldering within, revealing that true monsters are made, not born.”(Photo by Netflix)The suspenseful prequel to Ken Kesey’s 1962 novel One Flew Over the Cuckoo’s Nest and its 1975 film adaptation, for which Louise Fletcher won an Oscar for her portrayal of Nurse Ratched, also stars AHS and The Assassination of Gianni Versace: American Crime Story alum Jon Jon Briones as controversial Dr. Richard Hanover; Finn Wittrock (AHS, The Normal Heart, The Assassination of Gianni Versace) as serial killer Edmund Tolleson; Sharon Stone (pictured) as eccentric heiress Lenore Osgood; Judy Davis (Feud: Bette and Joan) as tough Nurse Betsy Bucket; Corey Stoll (The Normal Heart) as private detective Charles Wainwright; Cynthia Nixon as Gwendolyn Briggs, a political campaign manager; Alice Englert as hospital staffer Dolly; Vincent D’Onofrio as creepy Governor George Wilburn; Charlie Carver as hospital staffer Huck; Sophie Okonedo as Charlotte Wells; and Amanda Plummer as motel owner Louise.Don Cheadle, Rosanna Arquette, Brandon Flynn, Hunter Parrish, and Harriet Sansom Harris (AHS and Hollywood) are also among the cast.Paulson is also as executive producer on the series, which was given a two-season order from Netflix, as is Michael Douglas, who won his first Oscar as one of the producers of the 1975 Best Picture-winning One Flew Over the Cuckoo’s Nest movie.
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4.16.0 0月喜迎Hanna, Amazon Prime Video s new action series about a teenage assassin, is the second TV-to-film adaptation — after What We Do in the Shadows — to hit the small screen in the past week (with some of its original creative team intact, too). Like the 2011 Saoirse Ronan film of the same name, the show crosses the globe as Hanna, bent on vengeance, evades an off-book CIA agent. But it expands the world of the film as well, and provides much more
(Photo by ©Paramount Pictures, Zade Rosenthal/©Walt Disney Pictures, ©Walt Disney Studios Motion Pictures, ©Marvel Studios)The decade-long (and counting) grand experiment known as the Marvel Cinematic Universe has proven to be both a critical and commercial success, and with 23 movies to the franchise thus far, there are bound to be entries that were overshadowed or outright dismissed. With the next big Marvel movie Black Widow now delayed until November 6, effectively creating a domino effect and pushing back all other planned entries, fans are free to catch up on all the movies as they self-quarantine at home. But what are those unsung or underappreciated movies in the franchise?We asked staff members here at RT what they thought were the most underrated MCU movies, and a handful responded with some interesting selections. We should clarify that this isn t simply a list of the worst-reviewed movies in the franchise with arguments amounting to, It s secretly good! The five choices below represent films that either never managed to gain the kind of fanbase that others did, or irked audiences in one way or another, or became lost in the shadows of even bigger entries. Read on for the five most underrated MCU movies according to RT staff, and then vote in the poll below for which one you think deserves more love than it gets!Thor (2011) 77%When Thor was announced and Kenneth Branagh was tapped to direct it, many were more than little a skeptical. Branagh, who was best known for Shakespearean adaptations like Hamlet, Henry V, and Much Ado About Nothing, had never helmed a middle-range budgeted film, let alone a 0 million CGI-heavy fantasy flick for the Marvel Cinematic Universe. However, that inspired albeit risky choice in the director’s chair is why the film is better than it s often credited to be. In truth, Thor set a formula that would be repeated by many of the most beloved superhero films yet to come. Logan, Ant-Man, and Captain America: The Winter Soldier all borrowed from the blueprint set by Thor and thrived because of it. Thor proved that the heart of every successful superhero film had to be story and theme, and the superhero part is less important.Logan is a western but with superheroes; Ant-Man is a heist movie with superhero tech; and Captain America: The Winter Solider is a spy thriller with some really super soldiers. This is why Thor sticks out and feels slightly out of place with early MCU films and why it’s often dismissed as mediocre. Up to that point, putting Robert Downey Jr. in a suit or making Edward Norton go green was all the audience needed. Thor gave us more, including the pitch-perfect casting of Chris Hemsworth as the God of Thunder himself, Anthony Hopkins as Odin, Natalie Portman as Jane, and one of the best villains ever, Tom Hiddleston as Loki. You can’t get actors of that pedigree without a director like Branagh, who understood the film was, in fact, a Shakespearean drama more akin to Hamlet than Iron Man. Secret parentage, a path to succession, and a spoiled little prince in need of redemption sound more like an episode of The Tudors than a comic book movie, but a comic book movie it is, and one that deserves our respect. Jacqueline ColeyCaptain America: The First Avenger (2011) 80%Like Thor, this isn’t your typical superhero movie, and that’s why it s so great. It doesn’t have supersuits or alien invaders, or even cell phones. It’s an origin story of a good man becoming a great hero. The film feels like one of the old Hollywood serials that would have been popular during the era in which the film itself is set, which is part of its charm, and it celebrates the campiness of the Cap comics while also embracing the heart. We get to see a scrawny Steve Rogers turn into the mighty Captain America (with some not-so-bad CGI), some fun action sequences, a lot of Bucky bromance, a little Peggy romance (Agent Carter is the most underrated hero), and of course, the origins of one of the best MCU lines ever, I can do this all day. And if we hadn t seen how it all began, there s no way we would have been as invested in his character one of the linchpins of the entire franchise or as touched when he made his bittersweet exit. Jennifer JevonsIron Man 3 (2013) 79%Yes, we’re going there. And yes, we’re going to… deep breath… defend its take on the Mandarin. Iron Man 3 may only be the third-best threequel in the MCU – how could it compete with Ragnarok and Civil War? – but it’s never deserved the fury with which some fans greeted it back in 2013, nor the indifference with which many reflect on it today. Indeed, it belongs in the upper tiers of any fair MCU ranking for a whole host of reasons. First up, it continued arguably the most creatively rich trend in the franchise: the risky hiring of unique, auteur-type directors, not necessarily tested in the superhero genre, to helm these things. Without Shane “Kiss Kiss Bang Bang” Black putting his mark on Iron Man, you don’t get Taika Waititi’s take on Thor, James Gunn’s Galaxy, or Chloe Zhao helming The Eternals. In other words, you don’t get the current all-Fresh-no-Rotten, genre-bending shape of the MCU. Black made the film the most distinctive MCU offering up to that point, infusing it with many of his ticks and trademarks: a Christmas setting – yes, Iron Man 3 is a Christmas movie and we think we just won the argument right there – plus plenty of rapid-fire dialogue and some clever voice over. And he did it all while delivering some of the MCU’s best bang-bang set pieces, including the breathtaking destruction of Tony Stark’s home.Now, to address the simpering, British elephant in the room: Black and co.’s treatment of the Mandarin is, far from a crime against the character’s comic-book legacy, one of the best surprises Marvel has ever given us on screen. Precisely because it is that: a genuine, refreshing, hilarious surprise. After the battering we’d all received from The Avengers, and a string of grandiose to tedious villains (remember Malekith? Neither do we), the Mandarin bait-and-switch is an ingenious subversion, and one that showed a 0 million blockbuster from Disney and Marvel could still mess with our expectations. Oh, and Sir Ben Kingsley is great. So, yes, we get it: It wasn’t the Mandarin you wanted, but it was the Mandarin – and Iron Man 3 was the film – the MCU needed. And it’s time the movie was shown a bit more respect. Joel MearesAvengers: Age of Ultron (2015) 76%We already made a case here for why Avengers: Age of Ultron could be the most important movie in the MCU, but allow us to reiterate. While it sports one of the lower Tomatometer scores in the MCU and it s frequently cited as something of a disappointment in the franchise, it also happens to be the foundation upon which the latter half of the Infinity Saga is built. This is the film that sowed the seeds of Bruce Banner assuming some control over the Hulk, a story arc that came to full fruition in Endgame. It s also when the meet-cute between the two halves of WandaVision took place, as well as the first indication that Cap might be worthy to wield Mjolnir, a throwaway sight gag that would later pay off in a major way. We meet Hawkeye s family, see visions of potential futures that hint at the events of Infinity War and Thor: Ragnarok, and get a few pointedly ominous lines ( That s the endgame ). But perhaps the most crucial development in Age of Ultron is the rift that begins to develop between Tony Stark and Steve Rogers as they argue over ideology and literally come to blows over the creation of Vision. The cracks in their relationship would grow into giant fault lines when the final confrontation between the Avengers and Ultron here later ultimately leads to the events of Captain America: Civil War, and that division, in part, is what allows Thanos to succeed in his plan to the extent that he does. So while it may not be the most beloved film in the MCU, Age of Ultron absolutely deserves more respect than it regularly gets, even if only because it represents a crucial turning point in the Infinity Saga. Jacqueline ColeyAvengers: Infinity War (2018) 85%It s true that Avengers: Infinity War was a huge box office winner and a hit with critics, but its success was largely trumped by the film it served to set up, and we think its reputation deserves better than that. In Infinity War, we finally meet the big baddie of all the MCU villains. While Thanos goal — to wipe out half the galaxy — doesn t appear to be so different from that of any other major villain, he believes he’s saving the galaxy by destroying it, and he dispatches anyone who dares to stand in his way as a mere casualty in his “quest for good.” One of the overlooked strengths of Infinity War is that you walk in already knowing and loving the Avengers, but it’s Thanos you spend the most time with. He’s an unknown quantity, and that uncertainty immediately makes you afraid for the lives of your favorite heroes, because you don’t know exactly what this purple villain is capable of.In Infinity War, Thanos experiences something that’s usually reserved for heroes: a moment of personal sacrifice. From Tony in New York to Groot in the Dark Aster, our heroes have found themselves making choices that could end their own lives in order to save others, and Infinity War subverts this trope in an unexpected way. Throughout the film, the Avengers spend a lot of time telling each other to protect the Infinity Stones — and Earth — at all costs, but their initial unwillingness to accept loss of life in exchange for Thanos’ defeat limits their ability to effectively fight the Mad Titan. We’re left seeing them unable to come to grips with whether their choice was really for the greater good — or if it was for themselves. Meanwhile, unlike our heroes, Thanos makes the painful decision to sacrifice a life — that of his daughter Gamora — to obtain the Soul Stone. By the end, Infinity War leaves viewers debating whether the Avengers should have traded lives for the sake of the universe. That’s not how a Marvel movie “should” end. Yes, it’s a setup for Endgame, but it has prescience — and for a blockbuster studio film, it’s a hell of an ending to chew on. Daisy Gonzalez
(Photo by Eric Milner / Orion Pictures / Everett Collection)According to the “Horror Remake Tomatometer Predictor”™ (not a thing, and definitely not trademarked), the upcoming Child’s Play remake has a 43.2% chance of having a Fresh Tomatometer score. Why? The 1988 original, about a serial killer named Charles Lee Ray continuing his deadly rampage after his soul is voodoo d into a doll (made sense in the 1980s), sits at 67% on the Tomatometer. The Fresh score of the original means the 2019 remake has a better chance of achieving critical glory than a remake with Rotten source material, which only has an 11% chance of being Fresh.Yes, we’re getting nerdy.How do we know this? We did a deep dive into the Tomatometer and pulled the data on 91 horror remakes, reboots, and adaptations, so we could drop some fun Tomatometer stats on you. We’re hoping the Child’s Play remake can break the curse of the Rotten remakes, and do what the A Nightmare on Elm Street, Friday the 13th, Halloween, and The Texas Chainsaw Massacre remakes couldn’t do — be Fresh.Quick note: We included horror remakes, reboots, and second adaptations of novels (think Pet Sematary from earlier this year). To avoid using the confusing and super-hyphenated “remake/reboot/adaptations,” for every section, we’re using “remake” as a blanket term for all the movies.1. The Average Tomatometer Score for Horror Remakes is 44.4%(Photo by IFC Midnight/ Everett Collection)The Rotten 44.4% Tomatometer average is a long way away from the 79.2% Tomatometer average of the originals in our sample, and we’re not quite sure why that’s the case. However, after watching One Missed Call (0%, 2008), Cabin Fever (0%, 2016), and Flatliners (4%, 2017), we have a pretty good idea why the average for remakes is so Rotten.2. Fresh Horror Remakes Come from Originals with an 87.6% Tomatometer Average(Photo by 20th Century Fox Film Corp./Everett Collection)You are probably thinking, “So good remakes come from good originals? Duh, I could’ve told you that,” and that is reasonable. However, now you can add, “Rotten Tomatoes data backs it up.” The 33 Fresh remakes in our list came from originals with an 87.6% Tomatometer average. Also, remakes of horror movies with an 87%-plus Tomatometer score have a 55% Tomatometer average, which is higher than the 44.4% overall average for remakes. In other words, producers looking for some form of critical praise should consider remaking super Fresh horror classics.3. Rotten Horror Remakes Come from Originals with a 74% Tomatometer Average(Photo by Paramount Pictures)The 58 Rotten remakes we analyzed came mostly from Fresh, but not super Fresh, originals. Classics like Halloween (95%, 1978), House of Wax (95%, 1933), and Psycho (97%, 1960) did some heavy Tomatometer lifting, but, overall, only 20 of the 58 (or 33.8%) original horror movies in the set had Tomatometer scores over 90%. The strength of these classics kept the Tomatometer average Fresh, but they had to combat the 15 Rotten originals such as Prom Night (45%, 1980), When a Stranger Calls (31%, 1979), and The Amityville Horror (29%, 1979) for Tomatometer respectability.4. Only Two Fresh Remakes Came from the 17 Rotten Originals(Photo by New Line/ Everett Collection)If the source material is Rotten, odds are the remake will be Rotten as well. By all accounts, it seems obvious that Rotten movies would breed Rotten remakes. However, you’d think the writers, producers, and directors went into the remakes thinking they could easily improve upon the critically panned original. Only The Town That Dreaded Sundown (70%, 2014) and Willard (64%, 2003) were able to overcome their Rotten roots, but, even then, they weren’t able to achieve boss-level 90%-plus Tomatometer scores.5. Only Five Horror Remakes Have 90%-Plus Tomatometer Scores(Photo by United Artists/ Everett Collection)There are some 33 originals in our set with 90%-plus Tomatometer scores, but just five remakes that scored 90% and above. There is some good news though: the five super Fresh remakes are awesome (hyperbole intended). The Mummy (100%, 1959), Invasion of the Body Snatchers (94%, 1978), Nosferatu The Vampyre (95%, 1979), Evil Dead 2 (98%,1987), and The Fly (92%, 1988) are stone-cold classics that perfectly adapt, remake, or reboot-quel (Evil Dead 2) previous classics.6. Remakes of Classic 1970s and 1980s Slasher Movies Have a Frighteningly Rotten 26.1% Average
me.Buzz, Woody, and the Gang Just Got Put Back In Their Box(Photo by Annapurna Pictures)“Well, I’m flabbergasted,” admitted Missing Link co-director Chris Butler when he accepted the award for Best Feature – Animated with co-director Arianne Sutner. So were we. This was Toy Story 4’s award to lose: The Certified Fresh Pixar sequel is considered a lock for the Oscar in the category, and was a huge smash with audiences and critics. But it was the underseen Missing Link, the stop-motion Big Foot movie from Kubo and the Two Strings and Coraline studio Laika, that won the Golden Globe and made this year’s animation races a touch more exciting moving forward.Tom Hanks Doesn t Usually Get This Emotional, He SwearsTom Hanks proved why he’s the most liked person in Hollywood (the world?), delivering one of the night’s most moving speeches while receiving the Cecil B. DeMille award from Charlize Theron for “outstanding contributions to the world of entertainment.” Hanks started things off emotionally, struggling to speak as he shouted out his wife and five kids, then delivered some laughs (to Scorsese: “Boy, let’s see the outtakes from that movie, by the way”), before closing with a few more almost-tears (“I have checked the gate”). “I swear to God I’m not nearly this emotional at home,” he said at one point. We’re glad he let himself go this time.President Barack Obama Is on Fleabag s Naughty ListIn her acceptance speech for Fleabag’s win for Best Television Series – Musical or Comedy, series creator Waller-Bridge reminded everyone that she’s as much of a fan of President Barack Obama as he is of her show.“Personally, I’d like to also thank Obama for putting us on his list,” Waller-Bridge said, referring to the president s end-of-the year list. “And as some of you may know, he’s always been on mine. And if you don’t get that joke, please watch season 1 of Fleabag really, really quickly.”The NSFW scene she s talking about can be seen on YouTube.Next up are my favorite movies and TV shows of 2019. Of course, there’s also American Factory, a film from our own production company, Higher Ground, that was recently shortlisted for an Oscar. Here’s the full list: pic.twitter.com/PEcgwotcxm Barack Obama (@BarackObama) December 29, 20191917 Shakes Up Awards Season With Two Jaw-Dropping WinsThere was no direction needed for Sam Mendes to act genuinely shocked after winning Best Director – Motion Picture for 1917: he was visibly shook. So was much of the room, who were likely expecting Quentin Tarantino, Bong Joon-ho, or the man Mendes himself said in his speech stands above all others, Martin Scorsese, to take the prize. Mendes’ win for Best Director was only the beginning of a surprisingly good night for his WWI drama. The movie would go on to win for Best Motion Picture – Drama, too, beating out The Irishman and Marriage Story. Opening wide in theaters next week, a strong showing at the Box Office could put the film in the frontrunner seat for Best Picture at the Oscars.And Olivia Got A Little Boozy, AgainAfter confessing she got bladdered at last year s Oscars, Olivia Colman confessed – on stage – she was a bit boozy tonight when she won her award for Best Performance By An Actress In a Television Series – Drama for The Crown. We thank her for the helpful reminder – on behalf of a number of presenters and recipients this evening – the booze was flowing in the ballroom.Are you as obsessed with awards as we are? Check out our Awards Leaderboard for 2019/2020.
If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at firstname.lastname@example.org.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating with a series of features that look back at the brightest moments on screen of the past two decades – and one year – and the things that have us excited for the future.The Marvel Cinematic Universe has redefined the way viewers approach big budget, tentpole releases. Smartly adapting a philosophy which worked well in the comics, it created a living, breathing world for its inhabitants to populate, meet up, and fight common enemies in. It also created an unprecedented sense of momentum by constantly teasing the Next Big Thing – a tactic also borrowed from Marvel Comics’ event storylines crossing into various titles like X-Men and Thor. While the MCU may have only existed for roughly half of Rotten Tomatoes lifespan, it has created its fare share of memorable moments across 21 films – soon to be 22 with this week’s release of Avengers: Endgame. With that in mind, we present the 21 MCU moments we can never forget.Of course, narrowing down the list to just 21 was a challenge – there have been, after all, 21 films in the MCU so far, most of which are filled with dozens of memorable moments. We tried to choose those that were not just memorable, but which also showed how the MCU was working differently than other franchises – surprise twists and scenes that pushed the universe in different directions – and we tried to share the love among the different titles. Sacrifices had to be made: How could we not include Thor s extraordinary arrival in Wakanda? Or Okoye s wig-snatching excellence? Or Gamora s heartbreaking moment in Infinity War? That s what the comments section is for: so have at us down there, and let us know what moments you think should have made the list.Spoiler Warning: Key plot details about nearly every MCU movie follow. So, if you don t wanna know what happened, don t read on. 21. Peter Discovers Liz’s Father Is The Vulture in Spider-Man: Homecoming (2017) 92%In a film brimming with great moments for both Spider-Man and Peter Parker (both Tom Holland), the moment Peter arrives for his date with Liz (Laura Harrier) only to discover The Vulture (Michael Keaton) is her father is probably our favorite. It is the most unexpected revelation in the film and gives it a whole new energy as Peter and Spidey’s storylines collide, leaving the viewers with a sense anything could happen from that point forward.20. Agent Coulson Takes One For The Team in Marvel's the Avengers (2012) 91%(Photo by Zade Rosenthal/©Walt Disney Studios Motion Pictures/courtesy Everett Collection)The impact of this moment may be dulled now that Coulson (Clark Gregg) has been leading S.H.I.E.L.D. on television for the last five years, but it was the most heart-wrenching reversal in the Marvel Cinematic Universe’s first team-up movie. Without his sacrifice, the Avengers never would’ve got their act together. So though he ultimately survived, the films still honor his encounter with Loki by keeping his second life secret from the team.19. Carol Takes Full Possession Of Her Powers in Captain Marvel (2019) 79%(Photo by @ Walt Disney Studios Motion Pictures)In a film that reverses the traditional superhero origin arc, Carol (Brie Larson) discovers the power was within her all along. Casting off the limiter tech the Kree told her was the source of her abilities, she literately ignites with power. For anyone who grew up told their innate skills were personality flaws, the moment resonates and sets Carol apart as one of the mightiest – if not the mightiest – Avenger.18. Captain America Fights Hydra Agents In An Elevator Captain America: The Winter Soldier (2014) 90%(Photo by ©Walt Disney Studios Motion Pictures/courtesy Everett Collection)Marvel knew they had a winner in this scene, and it featured heavily in the trailers. While the fight is one of the most accomplished in any of the Marvel movies, it continues to resonate because Steve Rogers (Chris Evans) gave the Hydra agents a choice. For all the impressive battle choreography we ve seen, the scene is still about Steve’s inherent sense of goodness and fair play. Well, and that he can survive a multi-story fall.17. “I’m Mary Poppins, Y’all!”: Yondu Becomes A Guardian in Guardians of the Galaxy Vol. 2 (2017) 85%(Photo by @ Walt Disney Studios Motion Pictures)Yondu (Michael Rooker) was always a charismatic character, but he wasn’t really a Guardian until this ultimate quip toward the end of Vol. 2. Utilizing some of that powerful Disney corporate synergy, it also marks the moment the character chose a side and fully committed to defending Peter Quill (Chris Pratt). Combined with his presence in the big Guardian group shot a few moments later and some thoughtful words with Peter, it makes his death all the more bittersweet.16. Valkyrie Swaggers – And Staggers – Into Fans’ Hearts in Thor: Ragnarok (2017) 93%(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)Few people get to make an entrance like Valkyrie (Tessa Thompson). Long separated from her Asgardian sisters following their climatic battle with Hela (Cate Blanchett), she finds herself part of Sakaar’s strange society. And she survives with an unusual swagger which set plenty of fans’ hearts aflutter. When she steps off of her ship, tipsy and fierce at once, she s approachable, flawed, strong, and freakin awesome. No wonder she s joining the Endgame.15. Baby Groot Dances in Guardians of the Galaxy (2014) 92%(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)While the first Guardians was filled with unexpectedly endearing moments, none were more unexpected than Baby Groot jamming to The Jackson 5’s “I Want You Back.” In fact, it was so unexpected, Disney failed to produce a line of Baby Groot merchandise timed with the film s premiere, leaving resourceful fans and Etsy shops to initially fill the gap. It is a testament to the sort of magic Marvel and its creative partners can pull off and the best emblem of the way Guardians resonated with viewers.14. Doctor Strange Outsmarts Dormammu in Doctor Strange (2016) 89%(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)If there is one long-standing criticism of Marvel movies, it is their habit of pitting the heroes against dark mirror versions of themselves – particularly in their origin movies. Doctor Strange confronted this critique by having Stephen Strange (Benedict Cumberbatch) lock his ultimate adversary – the trans-dimensional death cloud Dormammu – in a time loop and bargaining with the entity to spare the Earth. That clever and innovative resolution is one we never stop citing as an MCU highlight.13. T’Challa Fails Killmonger’s Challenge At The Waterfall in Black Panther (2018) 96%(Photo by Matt Kennedy /© Marvel / © Walt Disney Studios Motion Pictures)Black Panther is something of a romp in its first half. Like other Marvel films, it is filled with quips, good-natured ribbing, and a really fun car chase. But then comes this moment when everything turns. Killmonger (Michael B. Jordan) trounces T’Challa (Chadwick Boseman) and asks the crowd watching on, “Is this your king?” It is both an indictment of our enjoyment of the king’s superhero antics and of his rule, taking the film in a new direction.12. Luis Tells A Story in Ant-Man (2015) 83%(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)Luis (Michael Peña) is a neo-cubist kind of guy. It is that sort of detail which makes Luis’s tendency to tell long-winded stories a delight. Between Peña’s ability to deliver the dialogue and actors like Anthony Mackie and Stan Lee learning to copy his cadence in expertly shot quick-cut flashbacks accompanying his stories, it is no wonder fans would like to see him recap the entire MCU from Iron Man to Infinity War.11. Hulk Smash in Marvel's the Avengers (2012) 91% and Thor: Ragnarok (2017) 93%(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)Pick your moment: The Hulk (Mark Ruffalo) punching Thor after they defeat the Chitauri ship. The Hulk turning Loki into a rag doll as he smacks him into the Stark Tower floor. The Hulk fighting Fenris on, over, and below the remains of the Bifrost. Even Loki’s panic when he realizes Sakaar’s champion is the Hulk. Sure, they are all punchlines – literally in some cases – but they all honor the character’s immense strength in ways no movie devoted to the Hulk by himself ever quite accomplished.10. Stan Lee Revealed As A Watcher in Guardians of the Galaxy Vol. 2 (2017) 85%(Photo by Gabriel Olsen/Getty Images)While all of the late Stan Lee’s cameos are memorable, we chose to single out this goofball Vol. 2 moment because it gives all of his scenes a context. Lee’s appearances – like the Hugh Hefner analogue in Iron Man, the postal worker looking for “Tony Stank” in Captain America: Civil War, and the school bus driver in Avengers: Infinity War – are all manifestations of a Watcher – cosmic entities who literally watch events unfold across the universe without interfering. It gives each jokey walk-on an added meaning and heartwarming meaning.9. Okoye, Scarlet Witch, and Black Widow Team Up in Avengers: Infinity War (2018) 85%(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)In terms of iconic and surprising team-ups, we often think of key male combos like Thor and Rocket, but Infinity War features a killer battle between Proxima Midnight (Carrie Coon) and the combined might of Okoye (Danai Gurira), Scarlet Witch (Elizabeth Olsen), and Black Widow (Scarlett Johansson). All fight fiercely, but it s Nat’s declaration “she’s not alone” when Proxima first threatens Wanda that keeps this epic Wakanda battle in our minds.8. The Berlin Airport Battle in Captain America: Civil War (2016) 90%(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)A good Marvel team-up generally sees the heroes fight among themselves before joining forces against a common foe. And in the larger MCU Infinity Saga, this is that moment. Filled with amazing action, great jokes, and Peter Parker’s debut as the MCU Spider-Man, it is the most memorable Marvel fight yet committed to screen. Sure, it brings the movie to a halt, but it is worth it just to see Peter inadvertently age-shame the rest of the Avengers.7. Thanos Smiles in Marvel's the Avengers (2012) 91%(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)Few mid-credit stingers have a lasting impact like Thanos’s (Josh Brolin) first MCU appearance. Initially there to “court Death,” his smile was the first indication that Marvel Studios would seriously attempt a long-term event storyline. It was such an unusual idea, many expected him to be the villain in the second Avengers movie. But his smile also created a sense of momentum which ultimately made Infinity War the most anticipated of Avengers stories. (Until Endgame, of course.) Note: The above image shows Thanos in Guardians, not The Avengers.6. “I Could Do This All Day” in Captain America: The First Avenger (2011) 80% and Captain America: Civil War (2016) 90%(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel)The MCU heroes are not big on catchphrases, but if Steve has one, it is “I could do this all day.” As seen in The First Avenger, it is his response to a bully who would like nothing more than to see the 98-pound Steve yield in a New York alley. It is also his response to the Red Skull s (Hugo Weaving) taunting some time later, proving Steve will never bend to a bully. Sadly, the line took on a new meaning in Civil War, when he used it against friend Tony Stark (Robert Downey Jr.), who was now, in his eyes, the bully.5. “Bury Me In The Ocean”: Killmonger’s Final Request in Black Panther (2018) 96%Joel MearesBlack Panther eventually turns Killmonger into a dark mirror version of T’Challa – which, as we’ve mentioned, is a well-worn MCU trope – but it does it in the service of something so powerful, raw, and genuinely startling for any film that it deserves special recognition. A defeated Killmonger refuses aid, but makes one request: “Bury me in the ocean with my ancestors that jumped from the ships, because they knew death was better than bondage.” That statement, and the history bursting from it, leaves all who hear it shaken to their core.4. “Mr. Stark, I Don’t Feel So Good : Peter Parker Turns To Dust in Avengers: Infinity War (2018) 85%(Photo by © Marvel / © Walt Disney Studios Motion Pictures)Every loss in Infinity War hits people differently, but none captured the collective feels of fans quite like Peter’s final moment with Tony. It all begins with that line just above, and some fans have theorized that his spider-sense gave him early warning about his own demise, making the scene all the more wrenching upon second viewing. Additionally, it is the ultimate expression of Tony’s failure. He spent whole movies trying to save the world in general and Peter in particular. Even when Peter inevitably returns, we expect this scene will always make people cry.3. “I’m Here To Talk To You About The Avengers Initiative : Nick Fury Makes His Debut in Iron Man (2008) 94%(Photo by © Marvel / © Walt Disney Studios Motion Pictures)Earlier, we mentioned Marvel Studios’ facility with generating interest in the Next Big Thing. And this is how it began: with Samuel L. Jackson making a 30-second cameo for those who thought to sit through Iron Man’s end credits. His few lines of dialogue proved to be a mission statement no one would expect – or believe – would lead to a sprawling portfolio of film franchises.2. “I Am Iron Man”: Tony Stark Reveals His Identity in Iron Man (2008) 94%(Photo by © Marvel / © Walt Disney Studios Motion Pictures)But before that larger world could exist, Iron Man had to score the goal by doing something no other marquee cinematic superhero had ever done before: reveal himself to the world. While the films of their Distinguished Competition made duality and secret identities key plot points, Marvel tossed it all aside after one film. It was a bold choice at the time, but now it seems so natural that we sometimes forget to refer to Tony, Steve, or Nat by their superhero code names. Engendering that sort of familiarity makes this a key moment in MCU history.1. The Avengers Assemble in Marvel's the Avengers (2012) 91%And yet, if there is one most memorable and most defining moment, it is the pan across a destroyed New York street revealing the Avengers assembled for the first time in common purpose. The entire film – and the five films preceding it – lead up to this moment in which six superheroes (three of whom already starred in their own films) shared the screen and proved this crazy idea of an interconnected lattice work of film franchises could work. It also helps that it is a kick-ass shot uniting the film’s key theme with all of the expectations outside of the narrative. The Avengers can work together, and so can all these stars and different interests. We wouldn’t be at Endgame without this memorable moment.
(Photo by © Universal)The National Board of Review (NBR) has announced its picks for the best films of 2018. An organization made up of film enthusiasts, industry professionals, academics, and filmmakers, the NBR s is one of the first winners lists announced in 2018, quickly following Monday night s Gotham Awards. Breaking from The Gothams and The Independent Spirit Awards smaller film focus, the National Board Review voting body favored studio awards features, with A Star is Born and Green Book sweeping the top categories – the latter was voted the Best Film of 2018. Last year, The Post swept the top awards categories but was shut out come Oscar night. Additionally, big winners The Shape of Water and Three Billboards Outside of Ebbing, Missouri were omitted entirely from the NBR picks, so exercise caution in placing too much stock in today s list for Oscar indictions. The full list of winners are below.Best Feature
bob体育高清直播下载 Writer-Director Isabel Sandoval translates her own gender confirmation journey with the marginalization of trans people and immigrants into the framework for an illuminating and timely story. While Filipina trans woman Olivia (Sandoval) is striving to secure a green card to stay in America, she unexpectedly begins a relationship with the son of the woman she works for, and issues around identity, civil rights, and immigration soon complicate the already fraught romance. Lingua Franca happens to shine a spotlight on transgender representation by way of a film that places a strong focus on immigration, according to Danielle Solzman of Solzy at the Movies. Rotten Tomatoes chatted with Sandoval about the film, her historic Venice premiere, working with Ava DuVernay, and using the president s voice.Let s talk about Venice. What was it like to screen there? Last year, there were few women directors with films playing at Venice fewer than Cannes or Berlin. It s such a gratifying feeling to know that I ve blazed a trail, but ultimately I hope we get to a point where diverse voices being presented at major festivals happen more often and stops being news. On a personal level, when Venice invited the film, I felt vindicated that we premiered at that major a festival. I had this feeling of relief that this risky, idiosyncratic work will be seen more widely and taken more seriously, and hopefully, become enough of a success that it allows me to continue making films that I want.Talk about working with Ava DuVernay and Array.Ava sees the merit in a fiercely personal work that could ve fallen through the cracks. It s a work that can be regarded as difficult because it doesn t pander to conventional, easy resolutions or film language. To paraphrase Hardy, It s difficult for a woman to define her feelings in language which is chiefly made by men to express theirs. In the same way, I m inventing my own cinematic language that I want the audience to put in the effort to understand. That s why I feel grateful that Lingua Franca was acquired by Ava and Array. The Array team has worked very hard and been stunningly creative in getting the word out about Lingua Franca, and I m honored to be part of the Array family. Apart from being a formidable filmmaker, Ava is a tireless maverick in Hollywood, one who continues to open doors for younger filmmakers. As busy as she is, I appreciate her still finding the time to check in, like calling me personally the day that Lingua Franca came out. I m a bit introverted, so it really takes quite a bit of effort on my part to be assertive or entrepreneurial. The delicate balance between creative focus and the energy to navigate the industry and champion underrepresented voices is one that Ava has mastered. It s something I d like to emulate; as a woman of color, Hollywood isn t going to just hand me opportunities easily.The Trump voice-over, was that there from the beginning? Why did it feel necessary to include that in the story?As anchored in reality as the film is, it s also impressionistic, evoking Olivia s emotional state as an undocumented immigrant. And in that space, Trump is a looming, oppressive presence. You might not see him, but you feel him, and sometimes you can t turn that feeling off. The Trump V.O. very succinctly evokes a specific mood and atmosphere, more than any musical score or effect can. It s almost Pavlovian; you can just feel your throat tighten.The film is on Netflix, which increases its reach. What do you hope viewers take from it?It s only on Netflix North America at the moment, but I hope it compels the audience to feel the complicated, fraught emotions that the film brings up. That s how you begin to empathize with Olivia and live in the world in her skin. It s not a social drama where you re emotionally coddled and everything is neatly resolved at the end. Reality is far too complex for that. I want the film to linger and haunt. But I don t think it s a bleak film; it s hopeful and tender.What is on your Indie Fresh List? What are you watching? Never Rarely Sometimes Always, a film of deep feeling; The Surrogate, an exquisitely layered moral drama, which more films should be these days; First Cow, classic Reichardt, humane and profound.Available to stream now on Netflix.
(Photo by Everett Collection, ©Lionsgate courtesy Everett Collection, ©Paramount courtesy Everett Collection, ©Fox Searchlight Pictures)In the 125 years between the 1896 release of Georges Melies’ three-minute supernatural ghost story The House of the Devil and this week s horror film The Conjuring: The Devil Made Me Do It, the horror genre has divided and conquered by telling stories about killers, monsters, ghosts, demons, genetically modified sharks (we love Deep Blue Sea), gaslighters, and Sam Neill going insane (Event Horizon, In the Mouth of Madness). What started with a three-minute story about a supernatural creature harassing people is now a multi-billion dollar enterprise that has produced thousands of horror films of all stripes.With the third installment of the primary Conjuring film series (and eighth Conjuring Universe movie overall) about to drop, we decided to hack up 1,000+ horror films into five principal subgenres to determine which of them has the best Tomatometer average.We used this handy flowchart that the horror-loving internet didn’t hate to define 1,038 horror films with at least 20 reviews into the following categories: Killer/Slasher, Paranormal, Psychological, Monster, and Gore/Violence. Why only five? We wanted to prevent a Russian nesting doll-esque situation in which we had subgenres of subgenres, like “monster movie musicals with a hint of angsty teenager elements” (think Anna and the Apocalypse).Here are the subgenres we used, with some examples to illustrate how we separated the movies:Killer (Halloween, Urban Legend, Black Christmas, I Know What You Did Last Summer)Paranormal (Paranormal Activity, The Others, Devil, The Uninvited, The Exorcist)Psychological (We Need to Talk About Kevin, Midsommar, Goodnight Mommy, Don’t Look Now, Creep, Berberian Sound Studio)Monster (The Descent, The Host, Frankenstein, The Wolf Man, Day of the Dead)Gore/Disturbing (Hostel, The Loved Ones, Green Inferno, A Serbian Film, Saw)We’re fully aware that there are a myriad of horror subgenres that have been left out there is no dark fantasy, splatterpunk, revenge, found footage, giallo, or horror comedy but many of these films fall under the five categories above. We also recognize that there are some films that would qualify for more than one of our subgenres, and in those cases, we went with the one that fit best.With all of that out of the way, here’s how our five subgenres ranked, according to the Tomatometer:5. Paranormal(Photo by ©Warner Bros. courtesy Everett Collection)Tomatometer Average: 46%Number of Films: 257Fresh Films: 95Rotten Films: 162Definition: Films that feature ghosts, spirits, or religious elementsWith the likes of The Exorcist, The Omen, The Evil Dead, The Dark and the Wicked, Drag Me to Hell, The Sixth Sense, The Uninvited, and House on Haunted Hill within the paranormal subgenre, it’s taken a lot of Rotten films to drop the Tomatometer average down to 46%. For every Personal Shopper or In Fabric there are Rotten movies like Brahms: The Boy II, The Turning, Fantasy Island, and The Grudge (all released in 2020) dragging the average down like the Lamia demon did to unlucky folks in Drag Me to Hell.Of the 257 films we considered, 162 (63% of them) are Rotten, which ties with the Killer subgenre for the highest percentage of Rotten films. Adding to the Rotten average is the fact that 25 of the films, like Flatliners (2017) and the aptly titled The Disappointments Room (2016) have Tomatometer scores below 10%. We can’t pinpoint a specific reason why paranormal movies are largely Rotten; we just know that the subgenre has been haunted by low scores since 2000, as the average went from a respectable 54% to a Rotten 42% in the years since.4. Killer/Slasher(Photo by Dimension Films courtesy Everett Collection)Tomatometer Average: 50%Number of Films: 188Fresh Films: 71Rotten Films: 117Definition: Films that feature killers who use bladed weapons (or similar) to murder/terrorize victimsWhile horror historians may never come to a full consensus on what the original slasher movie was, we can all agree that films like Peeping Tom, Psycho, Bay of Blood, The Texas Chainsaw Massacre (1974), and Black Christmas aren’t bad places to start. Since then, the Killer subgenre has become home to classics like A Nightmare on Elm Street, Halloween, Friday the 13th, and The Texas Chainsaw Massacre. The problem with the category is that it’s also home to the 32 Rotten sequels and remakes that were a direct result of their success; the 85% Tomatometer average of the originals isn’t enough to combat the 28% Tomatometer average of their less-than-stellar later installments. While every other genre has to deal with Rotten sequels, reboots, and remakes as well, they slashed the Tomatometer average of the Killer subgenre the most.These scores make us appreciate movies like Happy Death Day 2U, Red Dragon, A Nightmare on Elm Street 3: Dream Warriors, Cult of Chucky, Curse of Chucky, Wes Craven’s New Nightmare, and Child’s Play (2019) even more, as these Fresh sequels and remakes managed to buck the Rotten trend. The 81% Tomatometer-rated Scream 2 in particular deserves some love; it had to overcome script leaks, reshoots, and a rushed production (it went from script to screen in just one year), and the end result is possibly the best slasher sequel ever.3. Gore/Violence(Photo by ©Screen Gems courtesy Everett Collection)Tomatometer Average: 55%Number of Films: 72Fresh Films: 39Rotten Films: 33Definition: Films that feature excessive graphic violence throughout or build towards gratuitously gory conclusionsWhat makes the gore subgenre unique is its lack of super Fresh (90%+) and super Rotten (10% or below) films. In our data set, only The Loved Ones and Bone Tomahawk scored 90% or above on the Tomatometer, and only Strangeland (1998), Martyrs (2016), and the 2016 remake of Cabin Fever scored below 10%. It’s as if critics are afraid to universally praise films that feature graphic blood-dumping, but they also don’t dislike them enough to universally pan them. The category s Tomatometer average falls somewhere in the middle, as the majority of the films in our data set (53% of them, if you can believe it) are Fresh, but they aren’t quite bloody-good enough to achieve a Fresh average overall.Part of the blame falls on the Saw and Human Centipede franchises, whose 12 films have a 30.25% Tomatometer average and work against the positive scores of the brutal yet occasionally brilliant French films Inside, Frontier(s), and Martyrs. Even these “gore” classics didn’t set the Tomatometer ablaze, as they averaged just a respectably Fresh 68%; stepping outside of the horror genre bubble, this seems fair, considering their subject matter is polarizing. Takashi Miike’s bloody classic Audition remains an excellent example of gore done right; the film is violent, it’s directed wonderfully and burns slowly to a gut-punch finale you won’t soon forget.2. Monster(Photo by Everett Collection)Tomatometer Average: 58%Number of Films: 347Fresh Films: 191Rotten Films: 156Definition: Films that feature a monster (or monsters, large or small) hunting or killing/eating unlucky victimsWhile the monster subgenre isn’t Fresh overall, it’s loaded with wonderful films that feature genetically modified sharks (Deep Blue Sea), flesh-eating zombies (Night of the Living Dead), giant ants (Them!), and a creature who travels over 1,000 miles, slowly shuffling towards its prey (It Follows). Being that we included zombies, werewolves, vampires, aliens, and sea creatures here, it’s a loaded category with an impressive 347 films whose 58% average almost reached Fresh status, but films like the famously panned Jaws: The Revenge, a beautifully insane movie about a telepathic shark hunting down the people who killed its relatives, drag the score down.One of the most impressive aspects of this subgenre is that 48 of the 347 films (14% of the data set), including Train to Busan, Nosferatu (1922), The Bride of Frankenstein, The Host, and Let the Right One In, have Tomatometer scores above 90%, which proves that in the right hands, monster movies can be straight-up classics. The subgenre is also extremely flexible, as it allows for pure thrills like monsters eating coeds (Piranha 3D) and spelunkers (The Descent) just as easily as it can serve as a vehicle for thematic portrayals of consumerism (Dawn of the Dead), nuclear fallout (Gojira), and the dangers of toxic waste (The Host). Basically, monsters can fill in for any number of serious thematic allusions, or they can just be monsters.1. Psychological(Photo by ©IFC Midnight)Tomatometer Average: 69%Number of Films: 174Fresh Films: 124Rotten Films: 50Definition: Films that inspire dread or discomfort primarily by utilizing tone and atmosphere to dive into the darkness of humanityWith a 69% Tomatometer average, the Fresh psychological horror subgenre is the best of all the horror subgenres, according to the Tomatometer. With 124 Fresh films (a whopping 71% of them whoa) 35 of them at 90% or above on the Tomatometer it’s the clear victor here (we promise we’re not messing with your heads). The most impressive statistic is that there’s only one psychological horror film with a Tomatometer score below 10% in our data set, namely 2011’s The Roommate. This subgenre is also home to the 2006 remake of The Wicker Man, which features Nicolas Cage running around in a bear suit.With films like Don’t Look Now, The Lodge, Unsane, Goodnight Mommy, Midsommar, The Invitation, Mulholland Drive, Black Swan, Creep, and The Babadook, it’s easy to see why it has a Fresh average. Directors like David Lynch, Ari Aster, Karyn Kusama, Jennifer Kent, and Darren Aronofsky have thrived in the genre by creating dread-soaked worlds full of mystery, murder, and people leaping out from behind dumpsters. Considering the overall data set average is 55%, the 69% average is excellent, and it s perhaps not so surprising when you consider that psychological horror films depend so much more on an effective atmosphere and the performances of their actors. They tend to focus more on unsettling viewers and rely less on visceral thrills and carnival-ish trickery to shock audiences, and that generally makes for films that achieve a longer-lasting impact.Which horror subgenre do you prefer most? Let us know in the comments!On an Apple device? Follow Rotten Tomatoes on Apple News. 近日万众期待的LOL手游国服终于上线，不知各位是否下载体验了呢？相较于端游而言，LOL手游有着不小的改动，这就导致许多玩家上分不顺。虽然和端游有着一些差距，但是阻挡不住玩家上分的脚步，主要是因为这款游戏上线之后，官方给出了太多福利了，在经过了送12个英雄和5款皮肤之后，更是和端游进行了一次联动，送出了4个英雄还有两款皮肤，甚至连KDA的皮肤都拿出来了，所以。小伙伴们都对英雄联盟手游抱有积极的态度，纷纷加入战场和小伙伴们一起开黑。
Watch: Cinematographer James Laxton on the making of Moonlight above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, Moonlight cinematographer James Laxton shares how a surprise storm disrupted production, but added lasting richness to the film s most enduring scene. VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLTHE MOVIE: Moonlight (2016) 98%Moonlight is by any measure a landmark film: the first LGBTQ-themed movie to win Best Picture at the Academy Awards, the first film with a mostly black cast to win that prize, too, and, according to our Tomatometer, the best-reviewed LGBTQ film of all time. And yet beyond the accolades, and laurels, and Certified Fresh badges, the movie was and remains potent because the story it splashed onto the screen – in so many vivid hues – was one most viewers had never seen. That story began life in 2003 as the semi-autobiographical In Moonlight Black Boys Look Blue, an unpublished play by writer Tarell Alvin McCraney (whose Choir Boy is up for Best Play at this year s Tony Awards). Screenwriter and director Barry Jenkins would adapt it for the big screen some 12 years later, breaking out its tale of Chiron, a black man in Miami whose homosexuality is at war with his and his world s expectations of masculinity, into three distinct chapters: Little, Chiron, and Black. Each showed Chiron at a different age, played by different actors, at different points of his struggle. Jenkins enlisted college friend and cinematographer James Laxton, who had lensed the director s debut film Medicine for Melancholy, to give each section, and the film itself, a distinct look. Here, Laxton reveals how he worked to achieve Jenkins vision and tell Chiron s story.Trevante Rhodes as Chiron in Moonlight. (Photo by David Bornfriend, ©A24/courtesy Everett Collection) You start to think about what kind of films you want to make, and then for me, what those films look like. “I first met Barry Jenkins when I was 20. I think he was maybe 21. We were at Florida State University Film School in Tallahassee, Florida, two young kids who found our way into this film education world. We were really excited about trying to find new ways to express ourselves, and I think first bonded over the things that kids bond over all the time: similar tastes in music, or food. Once we became friends, we started talking about films, and all of a sudden also seemed to share a great interest in the kinds of films we were interested in watching. Then, as happens in film school, you start to think about what kind of films you want to make, and then for me, what those films look like. We started to realize we shared a great deal in aesthetics and in terms of how we wanted to visually tell stories. That friendship very quickly became a collaborative one. I don t know that much has changed, to be totally honest, in whatever it s been… 17, 18 years or so of this relationship. It s a really wonderful one.” Barry says he s working on something, and it s about kids in Miami. “Learning about what films Barry wants to make is an interesting thing. It s different than any other director I work with in that I find out about [projects in] whispery, secret-y sort of side conversations. He won t be all official like, ‘Let s have a meeting on Wednesday and let s sit down and read the script together, and hash it out.’ It evolves over long periods of time; over dinner, or at a friend s house, he ll mention he s working on something, and it s about kids in Miami, or he found a project he s interested in, and it sounds like we ll maybe make this in the near future. So it first starts there. I feel like I heard about Moonlight first in a very casual setting. It was sort of [the way] you might find out your friend is getting married in a few months, or is engaged.”Jharrel Jerome and Ashton Sanders in Moonlight. (Photo by David Bornfriend/ © A24 /courtesy Everett Collection) Images that would grab you by the scruff of your neck and take you inside this world and not let you look away from the screen. “I think we started to share imagery back and forth [in the lead up to Moonlight], which is what we often do: So I ll send him a series of photographs, he’ll send me a series of photographs. Very quickly after sharing of images back and forth, it became clear the movie wanted to have a very, very bold sensibility visually, and have images that would really grab you by the scruff of your neck and take you inside this world and not let you look away from the screen. To us, that had to do with strong color palettes with shooting in anamorphic aesthetics, where you re having these epic sensibilities apply to what in the material was very subtle and nuanced. That combination of epicness and intimacy is what Moonlight came to look like. That s how I see it, anyway, and that’s largely to do with just those early conversations about wanting those bold sensibilities to be at the forefront of our storytelling.”THE MOMENT: The Swimming LessonIn the first chapter of Moonlight, Little, Jenkins offers one of the most moving and often surprising relationships between a boy and a father figure we ve seen in cinema. Juan (played by Mahershala Ali, who would win the first of his two Best Supporting Actor Oscars for the role) is a drug dealer whose softer, nurturing side is drawn out by Chiron, known as Little here. In a scene that defines the relationship, and came to define the film for many, Juan takes Chiron out off of a Miami Beach and teaches him to swim. Laxton was in the water with Ali and young actor Alex Hibbert as the moment unfolded.Mahershala Ali and Alex Hibbert in the swimming instruction scene. (Photo by David Bornfriend/ © A24 /courtesy Everett Collection) Juan is one of these characters who really champions and gives this sense of trust to Little. One of the concepts in the film that s discussed is this idea of love generally, and more specifically trust in our parental figures. I think there s a lot of conflict within Moonlight s coming-of-age [story], of Chiron s journey finding adult figures that can help guide him through some difficult moments in his youth. Juan is one of these characters who really champions and gives this sense of trust to Little, or to Chiron. I think he does that specifically within this swimming scene, which for us had to have a sense of intimacy and a sense of struggle with it. There’s a lot of symbolism that is going on in that scene, especially visually. That iconic imagery that is epic in its sort of nature… we knew that was going to be part of the scene. Our approach in terms of camera work was to try to make the scene feel intimate, and as nuanced, and small, in a way, because the scene conceptually was going to be so big. If we could provide an intimate portrayal of it, in terms of how the scene is lensed, we felt like that would be the trick, so to speak. That would be the way into our audience s hearts and minds. That was how we came about this idea of, well, let s get the camera out into the water.” We wanted it to feel like a struggle, throwing me out there with this big camera unit, trying to fight the currents myself in the same way that Little is. “There are some pictures of me online struggling with this massive, behemoth underwater housing [a substantial camera case] – and we shot this film anamorphically, before some of these cameras that now are much smaller were available to us, so it was a very large contraption that you see me wrestling around the surf with. But I think that was in many ways part of it. Barry and I are so often trying to find ways to visually represent a character s perspective; [that’s] how we go about making choices photographically. It s all about character for us, and so for me, it was about trying to have a swimming lesson on my own in many ways, trying to learn how to use this camera in the water. I by no means am an underwater cinematographer. I mean, there are people who do that job specifically, and they re really great at it. We didn t necessarily want that, though. We wanted it to feel like a struggle… throwing me out there with this big thing and trying to fight the currents myself in the same way that Little is fighting the currents. We felt like there would be something in there, in the struggle between how it s being visually represented and then what the scene is about at its core – this sense of trust that Juan is giving this young man in the water.”Hibbert and Ali during the swimming lesson scene. (Photo by David Bornfriend/ © A24 /courtesy Everett Collection) Barry, who’s from Miami, is ankle deep in the surf looking out at the horizon. He quickly realized, ‘Oh, look. There s a storm coming.’ “I think we had scheduled at least half a day to shoot this scene, specifically the water, swimming portion of the scene; we thought we had about six hours or so. So, we re setting up the equipment, we re getting the camera into the water, which takes a little while. Meanwhile, Barry, who’s from Miami, is ankle deep in the surf looking out at the horizon. I m not from Florida myself, but he quickly, being native to the space, realized, ‘Oh, look. There s a storm coming.’ He might as well be a meteorologist. I think he said that we have about an hour-and-a-half to get this scene shot. He was probably about right: it was about an hour-and-a-half or so later we had to run for cover, because a massive rainstorm had come. We had to hide underneath all kinds of tents and take a very long break. I mean, it was hours before we got back out there. When Barry alerted us to the storm approaching, we gathered our equipment together as quickly as possible, ran out into the water, and in some respects… I don t want to say improvised, because what is in the script is on camera, if not in the exact way it was depicted. But we had a lot more shots in our shot list, and [were going to be] much more organized about capturing it. But I think because of the elements approaching, we had to really get out there and just specifically have a swimming lesson, and let Mahershala as Juan guide this young man, and [have] me out in the water, as well, trying to capture this swimming lesson as it came. It [was shot] almost like a documentary, less so like a film in some respects. I think in the end, all for the good. Sometimes your reaction to moments is as good as a well detailed plan might be. Sometimes it s even better.” By the end of the scene, these dark rainclouds have come over us. “The sky does change on us at some point. We begin the scene in beautiful, somewhat partially clouded skies, and by the end of it, these dark rainclouds have kind of come over us, and as we end that scene, it kind of alludes to what is coming in the journey of Chiron, this impending cloud. THE IMPACT: A Clearer HorizonMoonlight s success announced some major new talents. Ali, Trevante Rhodes, Ashton Sanders, Hibbert, and Janelle Monae would all become in-demand actors – especially Ali, who would win a second Academy Award for Green Book in 2019. McCraney would write a TV series for OWN and win stage acclaim on Broadway for Choir Boy. Jenkins follow-up film, the adaptation of James Baldwin s If Beale Street Could Talk, was one of the most anticipated movies of the fall last year, and would go on to become one of the best-reviewed films of the year (Jenkins would win Best Director at the 2019 Independent Spirit Awards and the film would win Best Picture that same night). Laxton was nominated for an Oscar for his work on Moonlight, and his work on Beale Street honored throughout last year s awards season. The cinematographer says he didn t expect all the red carpets when Moonlight wrapped its 21-day shoot in Miami back in 2015; he simply says the crew were proud of the work they d done. Today, he says he s proud that the work they did has connected with so many people, and continues to do so. Mahershala brings a number of things with him when he comes on to a set There s someone there who s ready for anything. “Mahershala definitely brings a number of things with him when he comes on to a set. There s a professionalism, of course, but there s a strength, and there s also a calmness; there s just someone there who is ready for anything. I don t know Mahershala really well; I know him from this experience filming the movie. But at the same time, he s such a giver. I think in a way he brought not just him as Juan [to the scene], but there s something of Mahershala in there, too. I don t think Alex knew how to swim, or at least proficiently swim in that moment, and so, I think, yeah, Mahershala, again, in the sense of really getting out there and us all, camera included, kind of going through a swimming lesson in real life, in real time, with the storm coming over us… I don t think that a different person could ve done that. I think it s so him. The part wasn t necessarily written for him, I don t believe, but he brought himself into that role in a way that I think very clearly comes out in that swimming scene.”Barry Jenkins and James Laxton at the 2017 Independent Spirit Awards. (Photo by Alberto E. Rodriguez/Getty Im
bob体育高清直播下载 Cinematographer Roger Deakins is a household name among film buffs. He s the genius behind the look and feel of landmark films like The Shawshank Redemption, The Assassination of Jesse James By the Coward Robert Ford, and Blade Runner 2049. His long-running relationship with the Coen Bros. has seen him create unforgettable imagery in Fargo, O Brother, Where Art Thou?, and more, and he has worked with Sam Mendes on Skyfall and Jarhead. This year, Deakins takes on his most ambitious project yet, Mendes 1917, an action-packed WWI thriller composed of long, elaborately choreographed segments edited together to give the story the feel of a single, unbroken shot. Ahead of the movie s release, Rotten Tomatoes sat down with Deakins to break down how he tackled the challenge of 1917 s single shot, as well as to walk us through some of the toughest assignments of his career, from Skyfall s epic fire to his Oscar-winning work on Blade Runner 2049. 1917 is in theaters December 25, 2019.