Summer is almost over, and as we enter the month of August, the big-name blockbusters are much fewer and farther between. The middle of the month boasts a whopping 10 new wide releases across just two weeks, but few of them would be considered must-see entertainment by most. That said, we ve still got a smattering of noteworthy films on the way, including the Fast Furious spinoff starring Dwayne Johnson and Jason Statham, a horror flick produced by Guillermo del Toro, and a raunchy coming-of-age comedy. Read on to find out the five most anticipated movies of August, as voted by Rotten Tomatoes users and our fans on social media.1. Fast & Furious Presents: Hobbs & Shaw (2019) 67%3,845 Want-to-See Votes#1 pick by our Instagram and Facebook fans, #2 pick by our Twitter fansOpens August 2It ll likely surprise no one that this film is the most anticipated of the month. Not only is the Fast Furious franchise one of the most popular and profitable around the world, but Hobbs Shaw unites two of its most bankable stars, gives them plenty of scenery to chew and one-liners to spout at each other, and pits them against a superpowered Idris Elba, with copious mayhem and vehicular pyrotechnics to boot. It also helps that this August, like so many Augusts past, is chock-full of second-tier summer fare all jostling for a slice of the box office pie. Hobbs Shaw knows what it is a hypertuned injection of adrenaline for thrill-seeking audiences and doesn t pretend to be anything more, which is exactly how fans like it.2. Scary Stories to Tell in the Dark (2019) 77%1,514 Want-to-See Votes#1 pick by our Twitter fans, #2 pick by our Facebook and Instagram fansOpens August 9Fan favorite director Guillermo del Toro s name is all over the marketing for Scary Stories, even though he s not the one behind the lens for this one. While André Øvredal is the man at the helm, the film fits rather neatly into del Toro s wheelhouse, so fans are excited to see what he is able to bring to the project as a producer. Of course, the main inspiration for the film is the series of children s horror books written by Alvin Schwartz, most notable for illustrator Stephen Gammel s terrifying artwork, and brought to life on screen as the manifestation of a young girl s secret writings. Scary Stories ranked at the top of the list for our Twitter fans this month, while our Facebook and Instagram fans voted it the second most anticipated.3. Good Boys (2019)1,271 Want-to-See Votes#3 pick by our Instagram and Twitter fans, #4 pick by our Facebook fansOpens August 16Coming-of-age films usually come in two varieties: the heartfelt drama and the raucous comedy. Good Boys fits squarely into the latter category, setting a trio of almost-teens (Jacob Tremblay, Brady Noon, and Keith L. Williams) loose on a caper to replace a damaged drone that takes them to places and through situations they ve never experienced before. It also happens to be rated R, implying these kids will get up to some very adult shenanigans. The film premiered earlier this year at South by Southwest to fairly strong reviews, and its promise of outlandish comedy was enough to propel it to #3 in our Instagram and Twitter polls.4a. Ready or Not (2019) 88%天天酷跑刷分《射雕英雄传》作为金庸大师的经典武侠巨著之一，今年通过游戏改编的形式再度在国内游戏市场登台，《射雕英雄传之铁血丹心》作为一款手游产品、完美还原了那个家国天下的武侠世界。
4. 呼朋唤友 随心所欲
Golden Globes 2020 Red Carpet Arrivals See all the stars, celebrities, and artists who showed up on one of the biggest nights in Hollywood! by RT Staff | January 5, 2020 | Comments
5. HD 画质与高品质音讯
4.18.9 2月喜迎WARNING: MASSIVE SPOILERS!Want to know how many bad guys fall by John Wick s hands in Chapter 3 Parabellum? (We’re including death by horse, by the way.) How about that Iron Chef shout-out with Mark Dacascos? And haven t we seen that pair of assassins from a certain Indonesian action classic? Find out all that and more, including references to Andrei Tarkovsky, Keanu Reeves 90s alternative band, and callbacks lots of callbacks to The Matrix.
(Photo by Merie Weismiller Wallace/©Focus Features)The Los Angeles Film Critics Association (LAFCA) announced the winners of their 2020 awards this morning on Twitter. Killing Eve Showrunner Emerald Fennell s Promising Young Woman, Netflix s Ma Rainey s Black Bottom, and Steve McQueen s anthology series Small Axe all took home two prizes each with the latter also taking home Best Picture.LAFCA awards are chosen by a group of critics from daily newspapers, weekly newspapers, magazines, and qualifying online general-interest publications. Last year, Parasite took the Best Picture award on its way to an eventual Best Picture win at the Academy Awards.Read through for the full list below, and if you re as obsessed with awards as we are, make sure to check out the complete Awards Leaderboard to keep up to date on the accolades bestowed on the best movies of 2020/2021 from the press, fans, and members of the film industry.Best Picture:Small Axe Anthology Steve McQueen (96%)Best Director:Chloé Zhao Nomadland (96%)Best Screenplay:Emerald Fennell Promising Young Woman (92%)Best Actress:Carey Mulligan Promising Young Woman (92%)Best Actor:Chadwick Boseman Ma Rainey s Black Bottom (98%)Best Supporting Actress:Youn Yuh-Jung Minari (99%)Best Supporting Actor:Glynn Turman Ma Rainey s Black Bottom (98%)Best Cinematography:Shabier Kirchner Small Axe Anthology (96%)Best Score: Trent Reznor and Atticus Ross Soul (98%)Best Editing: Yorgos Lamprinos The Father (100%)Best Production DesignDonald Graham Burt Mank (84%)Best Animated Film:Wolfwalkers (98%)Best Non-Fiction Film (Documentary):Time (99%)Best Foreign Film:Beanpole (98%)New Generation Award: Radha Blank The Forty-Year-Old Version (98%)Douglas Edwards Prize: John GianvitoThumbnail image by © Focus FeaturesOn an Apple device? Follow Rotten Tomatoes on Apple News.
1997 Special Edition. The music and the muppet-ness of the original band give a certain authenticity even as it remains one of the cheesiest things in the Original Trilogy.31. Tarkin Takes Credit for Krennic’s Work – Rogue OneOrson Krennic (Ben Mendelsohn) is a wonderful view into the way the Empire truly operated. Dogged and relentless, he proves the Death Star s main weapon will work after years of delays only to see Grand Moff Tarkin (a CGI Peter Cushing) assume command and take the credit. His composure melts as he screams about “my work” to an unimpressed gaggle of moffs and generals. It might be Mendelson’s talent for playing officious middle managers, but Krennic became one of our favorite Imps in this moment.30. Bail Organa Gets Involved – Revenge of the SithFrom his appearance in Attack of the Clones, Bail Organa (Jimmy Smitts) is a nameless anomaly in a film comprised of awkward introductions. But he makes his mark in RotS by investigating a fire at the Jedi Temple. In doing so, he becomes a leading figure in the Rebellion and the adoptive father of one of its most important heroes. His actions prove to be quietly heroic, but have far reaching effects.29. Leia Strangles Jabba the Hutt – Return of the Jedi(Photo by 20th Century Fox Film Corp.)Among the chaos Luke Skywalker (Mark Hamill) sowed to rescue Han from Jabba the Hutt, he left dealing with the gangster to the capable hands of Leia Organa (Carrie Fisher). In using the very chain Jabba employed to make her his pet, she made a statement at least one member of Jabba’s retinue understood before the end. Never shy to make statements, it is one of Leia’s most impressive and direct scenes of action in the Original Trilogy.28. Han Fails To Fool The Empire – Star WarsThough known for his swagger, Han’s dopiness keeps him from being an insufferable character. And this may be the greatest example of his dopiness getting the best of him. Thanks to his time in the Imperial Army, he should know the proper procedure to keep the Imps at bay during the jailbreak, but the ruse collapses thanks to a hasty “how are you?” It’s funny, character-revealing, and a great way to ratchet up the tension.27. Leia Senses Luke Is In Trouble – The Empire Strikes BackWhile it is clear Lucas decided to make them siblings after Empire was released, it is almost impossible to read this late moment in the film as anything but foreshadowing of Luke and Leia’s true relationship. If you can see it another way, it reveals Leia as someone who may not be Force-sensitive, but attuned enough to receive Luke’s telepathic call. Or, as it now text, she is also strong in the Force, but untrained. In any of these readings, it is a powerful moment for Leia with a nice slice of comedy at the end thanks to Lando Calrissian’s (Billy Dee Williams) reaction to her orders.26. Palpatine vs Yoda – Revenge of the Sith(Photo by 20th Century Fox Film Corp.)The better of the Prequel Trilogy’s two Yoda battles, this one derives its power from actor Ian McDiarmid going full cackling Republic serial villain. He has the high ground and relishes it with each laugh and each Force-push of a delegate conveyance. The symbolism of Palpatine smashing the Senate might be a little too on the nose, but he’s not worried about subtlety here. He’s won, which also makes Yoda’s retreat surprisingly poignant and their fight all the more important.25. “We Would Be Honored If You Would Join Us.” – The Empire Strikes BackIn a film stuffed with reversals, Darth Vader’s (voiced by James Earl Jones) dinner date with Leia, Han, and Chewbacca (Peter Mayhew) is one of the best. Lando’s duplicity is revealed. Boba Fett proves Han cannot escape his grasp. And in their only direct confrontation, Han learns he’s definitely no match for a Sith Lord. It’s quick, it’s punctuated by blaster fire and Chewie’s growls, and it’s just a great scene.24. R2-D2 Reactivates The Hyperdrive – The Empire Strikes BackThroughout most of the saga, astromech droid R2-D2 (Kenny Baker) has had plenty of chances to save his humanoid friends. Without him, the Naboo delegation would never have made it to Tatooine. But this may be his most heroic action because of the stakes involved and C-3PO s (Anthony Daniels) nagging about his leg. Without R2 reconnecting one cable, the history of the galaxy might be very different.23. Luke Finds Uncle Owen and Aunt Beru’s Remains – Star Wars(Photo by 20th Century Fox Film Corp.)The most gruesome scene in Star Wars overall is also one of its most pivotal. According to the principles of screenwriting, Luke has refused the call to action. He needs a powerful motivator to accept the call and go on his adventure. In this case, it is the sight of his uncle and aunt’s charred remains among the blasted ruins of their homestead. It is a shocking moment worthy of its unsettling imagery. Short of a bloody arm a few minutes later, Star Wars films would never do something this graphic again.22. Rey Pulls The Lightsaber Through The Air – The Force AwakensIn a film filled with fan wish-fulfillment, this may be most fans’ fondest – to reach out with the Force, pull a lightsaber through the air, activate it, and hold their own against a Sith Lord. Yes, Kylo Ren (Adam Driver) may not be a true Sith – and Rey (Daisy Ridley) is no Jedi here – but that’s beside the point. This is a moment every Star Wars fan has played out in their backyard, schoolyard, or imagination, and it suddenly lives inside a Star Wars movie.21. Boba Fett’s Entrance – The Empire Strikes Back“No disintegrations.” With this directive from Vader, bounty hunter Boba Fett became Star Wars’s greatest man of mystery. Surrounded by intriguing bounty hunters like IG-88, Bossk, and Zuckuss, Fett stood out – and not just because he was an early release Empire action figure. His response, “As you wish,” suggests disintegrations have been a problem in the past, or something Vader specifically hired Fett to do previously. Either way, it gave Fett a mystique so powerful, it rivals Vader’s.20. Vader Promotes Piett To Admiral – The Empire Strikes Back(Photo by 20th Century Fox Film Corp.)Many fan theories online suggest Admiral Ozzel (Michael Sheard) was revealed as an Alliance spy as a way to explain his gross negligence in the search for Luke. But whether an enemy saboteur or a grossly incompetent Imp who peter-principled his way to the admiralty, his death is both hilarious and disturbing thanks to the reaction of his junior officer, Captain Piett (Kenneth Colley), who Vader immediately elevates to command the fleet. We like to imagine Piett spent his entire career waiting for his superiors to anger Vader so he could accept these quick promotions. Call it the Piett Principle.19. Vader Attempts To Board The Tantive IV – Rogue OneVader as Jason Voorhies. A late addition to the film during its infamous reshoots, Vader’s attempt to secure the Death Star plans from the Rebels as they raced to the blockade runner Tantive IV is the best example of what the Sith Lord looked like to rank-and-file members of the Alliance. He’s a horror movie slasher with a laser sword and magic powers. But most importantly, he’s unstoppable. Consequently, it is one of the most effective scenes in the film despite the lack of the entire main cast.18. Obi-Wan’s Debut – Star WarsFirst, he convinces the Tusken Raiders that a Krayt Dragon is nearby. Then he attends to the unconscious Luke. When R2-D2 comes out of the shadows to investigate, Obi-Wan Kenobi (Alec Guinness) removes his hood and offers a warm, bemused “Well, hello there.” With each expansion of the character’s past, this moment – and the following scene with Luke – takes on more meaning, but these three words offer so much of the character: his wisdom, his playfulness, and the prototype image of a Jedi we use to this day.17. Vader Force-Chokes General Motti – Star Wars(Photo by 20th Century Fox Film Corp.)While Obi-Wan made the Force sound amazing a few scenes earlier, Vader gave it its visceral power with this moment. As Lucas would later claim, this is Vader’s lowest point. He is below Tarkin in the Imperial power structure and faces a gaggle of disbelieving generals like Motti (Richard LeParmentier), who mocks the Sith Lord’s “sad devotion” to the Force with every muscle in his face. Vader chokes him from afar and the soundtrack offers a haunting rumble. And in that moment, every kid wanted to wield the power of the Force.16. Lando’s Introduction – The Empire Strikes BackFeigning anger at the arrival of the Millennium Falcon in Cloud City proves a key thing about Lando Calrissian: he is a shrewd sabacc player. It makes Han feel at home and sets up Lando s later betrayal when Vader reveals himself to the rebels. But it also reveals Lando’s playful side. More than any other character in the Original Trilogy, he wants to have fun. Even if he has to sell out a friend, he will find a way enjoy it. Well, at least until the deal is altered.15. Obi-Wan vs. Darth Maul – The Phantom MenaceAs the first glimpse of Jedi and Sith in a live-action duel, this was one of The Phantom Menace’s defining sequences. Maul (Ray Park) meets his match in Ewan McGregor s Padawan, who uses his anger to counter the Sith Lord. But Maul is ultimately unprepared for Obi-Wan’s awareness of the environment around him – the “Living Force” Qui-Gonn wanted him to be mindful of at the start of the film. Between the great choreography and the story point, it proves to be one of the best fights in the whole series.14. Luke Brushes Dust Off His Robe – The Last Jedi(Photo by Walt Disney Studios)For all the might the Force gives a Jedi, there was always the suspicion a true master could defeat his enemy with just a few gestures. This is that moment for Master Jedi Luke Skywalker. The boy who sought swashbuckling adventure was always destined for the sort of composure and interior strength required for this sickest of burns. It puts his opponent off his footing and allows the Resistance to escape – the real victory to be found in this confrontation.13. “Judge Me By My Size, Will You?” – The Empire Strikes BackYoda’s view of the Force was proof there was more to it than lifting rocks. But it would take this dramatic moment, in which the Jedi Master raises Luke’s X-Wing from the muck, to prove the energy field binding the universe defies all underlying perceptions about reality. A hyperdrive-capable snub fighter is no heavier than a pebble to one truly allied with the Force. That this lesson is offered by one of Star Wars’s smallest characters gives this line of thinking its exclamation point.12. “This Is How Liberty Dies To Thunderous Applause” – Revenge of the SithPalpatine’s first public appearance as Emperor is filled with strange moments. He looks like bleached hamburger. He calls out the Jedi as would-be usurpers. He announces the Republic will be “reorganized” into the First Galactic Empire in lieu of a complete change in the government. And he promises a more “secure society.” Despite the odd framing and phrasing, it is a genuinely chilling moment punctuated by Padme’s comment: a warning of just how easily republics can fall.11. “It s Time to Let Old Things Die” – The Last Jedi(Photo by Walt Disney Studios)While Kylo’s speech to Rey could still be a dodge about her true parentage, his repudiation of the Jedi and the Sith in that moment speaks to anyone who sees the absolutism of those philosophies as the root of the galaxy’s problems. Sure, the Jedi are generally in the right, but they did nothing to alleviate slavery in the Outer Rim. And that surely contributed to Anakin Skywalker’s (Hayden Christensen) fall as much as any of his own actions. Outside of the film, it is also a call to the future of Star Wars – provided they stick the landing with The Rise of Skywalker.10. Luke And the Emperor’s Verbal Sparring Session – Return of the JediLuke’s “Your overconfidence is your weakness,” immediately followed by Palpatine’s “Your faith in your friends is yours” may not only be the best exchange in Episode VI, it may also be the key to understanding the difference between the Sith and, well, everyone else. Evil in the Star Wars galaxy is about being uniform even though it proves to be the very reason the Sith and the Empire fall. A sense of fellowship, meanwhile, allows the Alliance to thrive. Luke and Emperor become the embodiment of these philosophies and it is ultimately Anakin who must choose between them.9. Leia Saves Their Skins – Star WarsPresuming her to be a damsel in distress, Luke quickly learns Leia just needs a blaster and a window of opportunity to save herself. Oh, and she helps out these dopes who barged into the Death Star detention block. And much to Han’s dismay, she takes immediate control of a situation he thought was his. It may have led to the garbage smasher, but it was still a successful strategy. Also, her quick wit and quick thinking prove why she will always be our princess.8. The Alliance Attacks Scarif – Rogue One(Photo by Walt Disney Studios)The concluding fight above Scarif is, without a doubt, the best space-fight realized in a live-action Star Wars project thus far. Taking all of the techniques learned since 1977, it brings us back to that general look, but ups the ante with colliding Star Destroyers, callbacks to both Red and Gold Leaders, and a cameo by key Star Wars Rebels spaceship the Ghost. All the while, terrific photography and editing give it an exceptional verisimilitude. In many ways, it is the battle kids who grew up with Star Wars have been dreaming about since the 1980s.7. Palpatine Tempts Anakin In the Opera Hall – Revenge of the SithThe most accomplished scene in the film centers on Sheev Palpatine tempting Anakin Skywalker (Hayden Christensen) with the power to save Padme (Natalie Portman) and teasing the audience with the answer to Anakin’s parentage. Told as a parable on the dangers of Sith power, McDiarmid is at his subtlest – even if Sheev is a cartoon villain – as he relishes a well-written speech. It is also here that we finally see the seductive allure of the Dark Side Yoda eventually warned Luke about.6. The Trench Run – Star WarsA triumph of model work, editing, score, and scripting, the original Star Wars trench run is the battle scene from which nearly all other Star Wars space fights derive. Itself inspired by battles in World War II movies (and footage from the conflict itself), the sequence also proved Luke was a more accomplished pilot than his father. Although, viewers just wouldn’t know it for twenty years.5. “You were my brother, Anakin! I Loved You.” – Revenge of the Sith(Photo by 20th Century Fox Film Corp.)While the long-awaited duel between Anakin and Obi-Wan fails to be one of the great fights, its immediate aftermath may be the most emotionally resonant moment in the whole Prequel Trilogy. Obi-Wan watches, heartbroken, as Anakin succumbs completely to the Dark Side. Slding toward a lava flow, the tortured Anakin shouts “I hate you!” And just before the heat sets Anakin aflame, Obi-Wan reminds him of their bond. In a literal sea of CGI lava, it is the most human moment to be found in the first three episodes.4. “I Know.” – The Empire Strikes BackHarrison Ford’s well known skepticism of Star Wars dialogue gave rise to Han’s best moment of swagger. Facing the carbonite freezer, he breaks away for one last kiss with Leia. She finally admits her love to him and instead of telling her to remember that (as scripted), Ford uttered the swagger-filled “I know” during one take. It impressed director Irvin Kershner and cemented Han’s cool factor for generations. It also gets a worthy callback when Leia says it to Han in the next film.3. The First Jump To Light Speed – Star WarsAs an early critic of the film noted, Star Wars brought speed to science fiction. Previously, spaceships lumbered slowly across the screen, but here they darted at impossible speeds. Thankfully, the Industrial Light Magic geniuses were able to visualize this sense of velocity with one of the greatest visual effects in all of cinema; it propels the viewer as much as it takes the Falcon to hyperspace and became the only way for the rest of us to imagine lightspeed.2. The Mos Eisley Cantina – Star WarsFor as much as Star Wars is about the Hero’s Journey and the creation of a modern mythology, it is also about exotic creatures. Before Lucas realized he could sell that imagery to kids in the form of action figures, he and the talents at ILM worked long and hard to sell this first major reveal of aliens from a thousand worlds. Backed by composer John Williams’ now-classic Cantina Band song, it offered viewers their first glimpse into a larger world.1. “No, I am your father.” – The Empire Strikes Back(Photo by 20th Century Fox Film Corp.)Not just the best Star Wars moment overall, but one of the great twists in all of cinema. The entire Skywalker saga revolves around this moment in which Vader tells Luke the truth about his paternity. And Luke responds in the exact way we would: an ugly cry. In terms of classical screenwriting, it is the protagonist confronting his lowest point. But the emotion involved – including the sense of betrayal involved – speaks to people at a genetic level. It is the single greatest Star Wars moment for a reason and we doubt it will ever be topped.Like this? 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ing Race halted production on its 33rd season, and European content conference MIPTV 2020 has been canceled. Now SWSW — which lost presenters in Apple, Netflix, Amazon Studios, Twitter, WarnerMedia, Facebook, and TikTok and celeb attendees including Trent Reznor and Ozzy Osbourne — also canceled its March events. We are devastated to share this news with you, SXSW organizers wrote in an event update on SXSW.com. “ The show must go on is in our DNA, and this is the first time in 34 years that the March event will not take place. We are now working through the ramifications of this unprecedented situation. Fox News has canceled its upfront presentation for later this month in New York. Disney has canceled its European launch of Disney+ in London. And Japan’s Olympic minister has suggested the Summer Games could be postponed until later in 2020. (Deadline)As of now, PaleyFest 2020 – featuring cast members and showrunners from The Mandalorian, The Boys, Star Trek: Picard, Schitt’s Creek, Outlander, Ozark, and more – is still on for March 13-22 in L.A.Read Also: No Time to Die Gets Pushed Back to November, and More Movie NewsA Triple Dose of Courteney Cox Coming Back to TV: Friends Reunion, Game Show, and a Horror-Comedy Series(Photo by Jordin Althaus/E! Entertainment/NBCU Photo Bank/NBCUniversal via Getty Images)Courteney Cox is headed back to primetime via Starz’s Shining Vale, a horror-comedy series from Divorce creator Sharon Horgan and Jeff Astrof, co-creator of NBC’s Trial Error. Cox will play the mom of a dysfunctional family who leaves the city to move to a small town. They take up residence in a house where a lot of bad things have happened, but mom Pat is the only one who notices. That leads her to believe she’s either possessed or depressed — the symptoms are the same for both.And two sure-thing C.C. sightings ahead: that Friends reunion we’re all living for on HBO Max, and, as part of its Red Nose Day fundraiser, NBC will air the special Celebrity Escape Room, with Jack Black hosting contestants Cox, Lisa Kudrow, Ben Stiller, and Adam Scott. The special will air on May 21, followed by a two-hour variety show telethon that will raise money for childhood poverty charities.Oprah Creates Apple TV+ Special To Address American Dirt Book ControversyIt’s Oprah Winfrey’s multimedia world we live in, and she’s going the Apple TV+ route to address the recent controversy surrounding author Jeanine Cummins’ bestseller American Dirt, and Oprah’s own role in the literary drama. At midnight ET on March 6, Winfrey will premiere a two-part interview with Cummins, plus authors Reyna Grande, Julissa Arce and Esther Cepeda, and members of the Latinx community, followed by a discussion with Latinx people “who saw themselves reflected in the book and share their insights into real-life migrant experiences,” according to Apple.American Dirt, which tells the story of a Mexican mother and son who try to make their way to the American border after the rest of their family is murdered by a cartel, has drawn the ire of readers who accuse Cummins – who identified as white before revealing she has a Puerto Rican grandmother, Vulture reports – of being “appropriative” in telling the story. The book has sparked discussion about who has the right to tell stories outside their own cultures and experiences, and Winfrey found herself pulled into the mix (and the target of anger from some of those readers) after she selected the book for her Oprah’s Book Club.New Trailers: Hugh Jackman Dishes Up Some Bad Education on HBOMore trailers:Penny Dreadful: City of Angels, season 1, starring Natalie Dormer (Showtime)I Know This Much Is True, drama starring Mark Ruffalo (HBO)Stranger Things, season 4 table read (Netflix)Killing Eve, season 3, starring Sandra Oh (BBC America)What We Do in the Shadows, season 2 teaser (FX)The English Game, season 1, from Downton Abbey creator Julian Fellowes (Netflix)Breeders, season 1, family comedy starring Martin Freeman (FX)The Last O.G., season 3, starring Tracy Morgan and Tiffany Haddish (TBS)Belgravia, limited series based on the Julian Fellowes novel (EPIX)Home Before Dark, season 1, starring Brooklynn Prince and Jim Sturgess (Apple TV+)Transformers: War For Cybertron Trilogy: Siege, season 1, animated series (Netflix)Boomerang, season 2, with all episodes directed by women of color (BET)Elite, season 3, Spanish teen drama (Netflix)Future Man, season 3, starring Josh Hutcherson (Hulu)On My Block, season 3, teen comedy (Netflix)Tales From the Loop, season 1, starring Rebecca Hall (Amazon Video)Go Karts, coming-of-age racing movie (Netflix)For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.Casting News: Silicon Valley Star Thomas Middleditch Needs a Kidney in Chuck Lorre s B Positive(Photo by Michael Kovac/Getty Images for 101 Studios)Silicon Valley star Thomas Middleditch will star in Chuck Lorre’s CBS comedy pilot B Positive, about a recently-divorced dad, Drew, who needs a kidney donor. Sara Rue – a vet of three Lorre series: The Big Bang Theory, Mom, and Two and a Half Men – and You’re the Worst star Kether Donohue will also star in the series. Rue will play Drew’s ex, while Donohue will play a party girl friend of Drew, and the previously announced Annaleigh Ashford (Masters of Sex) will play the woman who donates a kidney to Drew. (Variety)The Handmaid’s Tale star Ann Dowd has been cast as the titular POTUS in Showtime’s pilot for the adaptation of The President Is Missing, the novel by James Patterson and Bill Clinton. Dowd plays President Jillian Stroud, who goes missing halfway through her first term in office, thrusting her veep, played by David Oyelowo, into her job. (Deadline)Orange Is the New Black star Lorraine Toussaint will play the aunt of Queen Latifah’s Robyn McCall on the CBS reboot of drama The Equalizer.ra Sedgwick is starring in the ABC comedy pilot My Village, about a recently widowed Midwestern woman who moves to Los Angeles to be near her adult children, but doesn’t exactly fit in with the hipster L.A. lifestyle.Warcraft star Ben Schnetzer has replaced Barry Keoghan as main character Yorick Brown in FX’s drama Y: The Last Man. The series adaptation of Brian K. Vaughan’s comic revolves around Yorick’s quest to find out what wiped out all male chromosomes on the planet, leaving him … what the title says. The rest of the cast includes Diane Lane, Marin Ireland, and Amber Tamblyn. (THR)Without a Trace star Anthony LaPaglia will play Trevor, the widower who moves in with his son, Jim Jeffries’ character, in the NBC comedy pilot Jeffries. (Deadline) Veep star Reid Scott will star in the high-concept NBC drama pilot Echo, about a team of undercover FBI agents who go into the past, assume the identities and bodies of the victims, and try to prevent crimes before they happen. Scott will also be a producer on the series, which has signed True Blood star Janina Gavankar as the female lead, playing a cop. (Deadline)Schitt’s Creek star Emily Hampshire has been cast as the co-lead in EPIX’s Chapelwaite, opposite Adrien Brody. The 10-episode drama is based on Stephen King’s Jerusalem’s Lot, and is planned for a fall 2020 premiere. Hampshire will play Rebecca, an aspiring writer who applies for the job of governess to Captain Charles Boone’s (Brody) children, and hopes to use them as inspiration for the book she’s writing. “In doing so,” according to EPIX, “Rebecca will not only craft the next great gothic novel, she’ll unravel a mystery that has plagued her own family for years.”Taxi and Back to the Future star Christopher Lloyd is guest starring on NCIS, playing a Navy veteran of the Pearl Harbor attack who gets caught up in a Gibbs (Mark Harmon) investigation. (TVLine)The Facts of Life and Living Single star Kim Fields has joined the cast of the Netflix comedy The Upshaws, about a working class African American family in Indiana. Fields will play a mother of three, married to a character played by Mike Epps and sister of a character played by Wanda Sykes.Succession star Ashley Zukerman will star in NBC’s drama pilot Langdon, about the Robert Langdon character at the center of Dan Brown’s The Da Vinci Code novel and its sequels. Tom Hanks played the character in the movie versions of Brown’s books.Brandon McKnight, who plays Chester P. Runk on The Flash, has been promoted to series regular for season 7 of The CW series. (Deadline)(Photo by Claudio Lavenia/Getty Images)R B star Usher will executive produce and serve as a judge on the Quibi dance competition series The Sauce. (Deadline)Doctor Who and Years and Years star Maxim Baldry has been cast in Amazon’s Lord of the Rings series. No details about his role have been announced, but the series has already been renewed for a second season before the first premieres.Suits alum Gina Torres will play one of the titular roles in the ABC drama pilot The Brides, a “sexy, contemporary reimagining of the Dracula story.” From producer Greg Berlanti and Riverdale creator Roberto Aguirre-Sacasa, the series revolves around three immortal women – led by Torres’ Cleo Phillips – who go to great lengths to maintain their family’s power.Wayward Pines and Sleepy Hollow star Shannyn Sossamon will play the lead in the Fox drama pilot The Cleaning Lady, about a doctor who moves to the U.S. from the Philippines to get medical treatment for her son. When things go badly, she has to go into hiding, and becomes the on-call cleaning woman for the mafia. (Variety)Rumer Willis has been cast in a “pivotal” role on Fox’s firefighter drama 9-1-1. No specifics are available on who she’ll play, but the Empire and Masked Singer alum, and Dancing with the Stars champion, is said to be involved in “one of the show’s biggest emergencies yet.” (TVLine)Tony-nominated Broadway star Hailey Kilgore (Once on This Island) has signed on for the Power prequel series Power Book III: Raising Kanan, where she’ll play Jukebox, the Kanan Stark corrupt cop confidant played by Anika Non-Rose in the original series. The teenage version of Jukebox is one of Kana’s best friends, and an aspiring singer.HBO Max has cast its Gossip Girl reboot stars: Whitney Peak (Chilling Adventures of Sabrina), Eli Brown (Pretty Little Liars: The Perfectionists), Emily Alyn Lind (Code Black), Johnathan Fernandez (Lethal Weapon), and Jason Gotay (Peter Pan Live!). Kristen Bell will return as the narrator, a role she performed in the original CW series. Lind will play a character with a long-time boyfriend whose eye may start wandering, but the rest of the characters’ descriptions are being kept under wraps.How to Get Away with Murder vet Kendrick Sampson will play Brad, the boyfriend of Odette Annable’s Janey Steadman in ABC’s pilot for the thirtysomething sequel, thirtysomething(else).The Good Doctor star and executive producer Daniel Dae Kim will join New Amsterdam in the recurring role of the hospital’s new head trauma surgeon. He debuts in the April 7 episode. (TVLine)Brett Gelman, whose conspiracy theorist and Hopper pal Murray Bauman was introduced during season 2 of Stranger Things, has been promoted to series regular for season 4.Kirstie alum Eric Petersen will play the title role in AMC’s Kevin Can F*** Himself, about the secret life of what we think of as the typical sitcom TV wife (played by Schitt’s Creek star Annie Murphy). Mary Hollis Inboden (The Real O’Neals) has also been cast as the couple’s neighbor, Alex Bonifer (Superstore) plays Kevin’s best friend.Pitch star Kylie Bunbury will star with Katheryn Winnick (Vikings) in David E. Kelley’s ABC thriller The Big Sky, about a PI and an ex-cop who partner to locate two sisters who have been kidnapped by a truck driver in Montana. Ryan Phillippe and Chicago P.D. alum Brian Geraghty also star. (Variety) (Deadline)Star Trek: Discovery alum Jason Isaacs has joined the cast of the Sophia Bush CBS medical drama pilot Good Sam. He’ll play the surgeon father of Bush’s Sam, and, after waking up from a month-long coma, he finds out Sam is now his boss. (Variety)Grace Gummer (Mr. Robot) and Prodigal Son’s Molly Griggs will join Alec Baldwin, Jamie Dornan, and Christian Slater in the Peacock limited series Dr. Death, based on a podcast about a sociopathic doctor (Dornan). (Deadline)Burn Notice star Coby Bell will play Texas Ranger captain Larry James on The CW’s Walker, Texas Ranger reboot, Walker, with Jared Padalecki. (Deadline)Read More: Premiere Dates Calendar: Quibi Announces Launch Line-upDave Chappelle, Ali Wong, David Letterman Headline Netflix s First Comedy FestNetflix will host its first comedy festival – the Netflix Is a Joke Fest — in Los Angeles in April and May, including performances by Dave Chappelle, David Letterman, Jerry Seinfeld, Jane Fonda, Lily Tomlin, Amy Schumer, Jamie Foxx, Ali Wong, Wanda Sykes, Sebastian Maniscalco, Mike Birbiglia, and Hannah Gadsby. Tickets for the weeklong, multiple venue fest go on sale on March 6.Development News: Disney+ To Reunite LeFou and Gaston for Beauty and the Beast Prequel Series(Photo by Laurie Sparham /© Walt Disney Pictures /courtesy Everett Collection)Josh Gad and Luke Evans will reprise their roles as LeFou and Gaston, respectively, for a six-episode musical prequel to Beauty and the Beast on Disney+, EW reports. Once Upon a Time creators Eddy Kitsis and Adam Horowitz will develop the project and showrun the series along with Gad. Producers are reportedly in talks with composer Alan Menken to return.Podcasting with Christafuh: Fans of The Sopranos will soon have the opportunity to get new, behind-the-scenes scoop on the classic HBO drama, straight from the mobsters’ mouths, when stars Michael Imperioli and Steve Schirripa — that’s Christopher and Bobby — launch the Talking Sopranos podcast. The two will bring fellow cast members, writers, and directors into the mix as they break down each episode of the show — that’s 85 installments before we get their opinions about whether or not Tony survived the series finale. Talking Sopranos will debut in April on Apple, Spotify, and YouTube.A E has scheduled a two-night salute to country music superstars. On April 12, the network will debut Biography: Dolly, documenting the life of the legendary Dolly Parton, followed by Willie Nelson: American Outlaw, a Nashville concert in honor of Nelson, featuring performances by George Strait, Chris Stapleton, Dave Matthews, Jack Johnson, Emmylou Harris, Sheryl Crow, Norah Jones, and Vince Gill. The following night, Biography: Kenny Rogers unfolds the life and career of the singer best known for his hit song “The Gambler.”British novelist and Chaplin screenwriter William Boyd is writing a miniseries about the 2019 fire in the Notre-Dame cathedral in Paris, based on The New York Times coverage of the devastation. (Variety)Fresh Off the Boat writer and co-producer Cindy Fang and executive producers Melvin Mar and Jake Kasdan are developing the comedy Asian Descent for Freeform. The dark comedy is about an aspiring musician who has to move back home with her immigrant parents when her dreams aren’t working out. (Variety)Jessica Alba will host the docuseries Parenting Without Borders for Disney+. Based on the 2014 book of the same name written by Christine Gross-Loh, the series will find Alba travelling all around the world to spend time with families and learn about their parenting customs. Deadline says the series is described as “Anthony Bourdain: Parts Unknown for parenting.” (Deadline)Quibi has ordered a trio of non-scripted series: Sex Next Door, which will follow the lives of four sex workers in Seattle; Hot Off the Mic, a daily show where comedians will give their takes on the headlines of the day; and How We Met, which will follow a new couple’s origins story each episode. (Deadline) (Deadline)Judge Judy will end after its upcoming 25th season, but Judith Sheindlin announced she’s developing a new series, Judy Justice, which will premiere the following year.Comedian Atsuko Okatsuka will host the Quibi game show Let’s Go, Atsuko! A Woke Japanese Game Show. Two contestants will be asked to name something they love and something they fear, which will be used to tailor challenges for them that take place in the “surreal universe inside [Okatsuka’s] grandma’s fridge.” (Deadline)
ViacomCBS busted out its Paramount+ goodies like a content piñata during the company s investor day this week: more Avatar, a Halo series update, Star Trek expansion, Rugrats revival and more top news in streaming and TV.TOP STORYFresh Avatar Series Part of a Slew of New Plans For Paramount and Paramount+, Including Rebooted Frasier and Criminal Minds, Halo Series, and Series Adaptations of The Italian Job and Fatal Attraction(Photo by Nickelodeon)ViacomCBS delivered great news to Avatar: The Last Airbender fans this week: Nickelodeon’s Avatar Studios was created to launch new animated TV series and movies in the franchise, to air on Nick, in theaters, and on Paramount+, the company announced during its investor day on Wednesday.The new studio will be run by Avatar: The Last Airbender creators Michael DiMartino and Bryan Konietzko, who left Netflix’s live-action Avatar movie last summer. Their first project for Avatar Studios is an animated Last Airbender theatrical movie that will begin production before the end of this year.In other Paramount+ news as ViacomCBS prepares to debut its rebranded streaming service on March 4:• Kelsey Grammer has signed on for a reboot of his 1993-2004 Emmy-winning NBC comedy Frasier, in which he’ll play Dr. Frasier Crane, the psychiatrist who first debuted on Cheers. The series, which has so far has not added any of Grammer’s original co-stars, is scheduled to debut in 2022 on Paramount+.• CBS hit Criminal Minds wrapped up its 15-season run in 2020, but Paramount+ is ready to bring it back. No specific cast members have yet been announced, but showrunner Erica Messer will resume that role for the streaming reboot.• Pablo Schreiber is starring as Master Chief, with Bokeem Woodbine and Natascha McElhone co-starring, in the Halo TV series that is moving from Showtime, another Viacom company, to Paramount+.Related: Everything We Know About the Halo TV Series • Jeremy Renner will star in Mayor of Kingstown, from Yellowstone creator Taylor Sheridan. The drama, originally set at Paramount Network but moved to Paramount+, revolves around the McLusky family, the most powerful in a small Michigan town. Antoine Fuqua is an executive producer, as is Renner and Sheridan.
(Photo by Josh Ethan Johnson / © A24 / Courtesy Everett Collection)Many who saw Steven Yeun as the suave, stylish playboy Ben in Lee Chang-dong’s Burning were shocked not to see him among the Academy Award nominees for Best Supporting Actor in 2019. The Korean-born American actor, just a few years out from leaving his star-making turn as Glenn on The Walking Dead – the episode still crushes us to this day – had delivered the kind of charismatic, sinister, and layered performance that, had it not been in a foreign film, would have all but assured him a solid awards-season run. Yet, despite some serious campaigning from writers and industry folks who heralded his turn as the almost Ripley-esque figure, it was not to be.Burning was just one within a streak of exciting post-Walking Dead projects that have marked Yeun as one of the most interesting and unpredictable actors of his generation – and one of the Freshest. Since leaving the AMC series in 2016, he has popped up in Bong Joon-ho’s Okja and Boots Riley’s Sorry To Bother You, and he s played the lead in the ultra-violent action/horror/comedy Mayhem, all Certified Fresh; add to that some great TV voice work in acclaimed animated series Tuca Bertie and Wizards. And then there’s this year’s Minari, in which he plays an immigrant father chasing the American dream in the rural South – and dragging an unwitting family along with him – and which won top honors at last year’s Sundance Film Festival.Minari arrives in theaters with three Screen Actors Guild Nominations, including for two for Yeun for Lead Actor and as part of the ensemble, and a controversial Golden Globe nomination for Best Foreign Language Film, despite being a decidedly American production and story. (Pundits predict the Academy won’t be making another Burning-level oversight of his performance when Oscar nominations are eventually announced, either.) Yeun, of course, isn’t focused on the hype, but on the work, and what Minari’s success could mean for American audiences and American stories moving forward.Ahead of the movie’s release, Yeun sat for an extended chat with Rotten Tomatoes to talk about how he has charted his unique career path, playing Minari’s single-minded Jacob, and why he seeks collaborators who are like nobody else.Jacqueline Coley for Rotten Tomatoes: I really wanted first of all to congratulate you on the SAG nominations, both your individual one and the ensemble one, and again, the film s just getting so much great praise. I checked this morning – I didn t know until today – but you re on a five-film Certified Fresh hot streak. Steven Yeun: Really?Yeah. There must have been a lot of offers after The Walking Dead and you could have gone a lot of different directions, but looking at the films you did – everything from Okja and Mayhem to Sorry To Bother You and now Minari – those are specific choices. How did you decide to do those films, and why did you want to work with those filmmakers?Yeun: It s strange, because you re asking me now from a kind of a retrospective lens, and maybe I ve by this point kind of compiled a story to tell about what happened and how I made these choices, but in those moments, I don t know if I had agency like that. I probably did. I certainly said no to things that I felt were just other versions of things that I ve tried before.But I think a lot of it is, for me, I was really trying to find myself. I was really trying to find out who I was and kind of get to play in roles that allowed me the space to express the fullness of, not me per se, but of a character. As an Asian-American actor, prior to Walking Dead, if I had any opportunities at all, it was really mostly to service larger narratives or kind of be a plot point by which to weave the main character around. So I wanted to be the main character that gets to have the plot points to weave around. With Mayhem, I m so thankful to them for giving me my first chance at a leading role. It wasn t a big budget and we shot it in Serbia, but we had some really wonderful people with us. Samara s [Weaving, his co-star] incredible, Joe [Lynch, the director] is great. To flex that muscle was attractive to me.Steven Yeun in Burning. (Photo by © Well Go USA / courtesy Everett Collection)And, then Okja… who wouldn t work for director Bong? I m a huge fan. And so, him reaching out and giving that part to me was extraordinary – and painful, because K was very much something that I was at the time, just somebody straddling two worlds and being unable to service either one. And I think going through that experience – I wasn t necessarily super conscious of what I
天天酷跑刷分 (Photo by Neilson Barnard/Getty Images)Alan Silvestri has composed the music for 17 of Robert Zemeckis movies, which sounds like a perpetual golden ticket to Oscar glory. Instead, Silvestri has only been nominated once for Best Original Score: for 1994 s Forrest Gump, which fell to The Lion King. Silvestri will have to take cold comfort in the fact his scores are among the most beloved and remembered in contemporary movie history, a body of work including the Back to the Future trilogy, Predator, The Polar Express, and now the Avengers theme.He entered the Marvel Cinematic Universe scoring Captain America: The First Avenger, returning a year later for 2012 s The Avengers, introducing a now iconic theme that has carried into Age of Ultron, Infinity War, and now Endgame. With the dust settling on the MCU s blockbuster emotion-wringer, Silvestri spoke on the origins of the Avengers theme, the temptation of using themes for every superhero, and his favorite Endgame musical moment.Spoiler warning for Avengers: Endgame!Alex Vo for Rotten Tomatoes: What were the origins of the Avengers theme? When did you start working on it, and when did you know you had it?Alan Silvestri: I had done Captain America for Marvel and got a call from Kevin Feige and Joss Whedon about Avengers. And they were very interested in exploring some possibility of [what] would become the Avengers theme. Time went on and I started to work my way into the film. When the mission is something like [coming up] with an overall theme, I try to find some place in the film that is going to be the quintessential spot where whatever the theme is, it s going to have to work here.I wound up going to that place in the film where they re all gathered and they re in the midst of this battle, and it s right after Banner arrives on a motorcycle. And it was such an interesting place in that film because these folks are in the middle of this big battle and it s all terrible and dangerous. All of a sudden they re in the town square, shoulder to shoulder, and nobody s moving. They re just literally posing. And it was the iconic Marvel still of the Avengers. And so the theme, whatever it was going to be, had to really carry that moment and help. I knew it had to be something heroic. Long, heroic, brass-filled notes in this melody, but we were also in the middle of this battle. So we needed to keep the energy up. So there s this string ostinato that that keeps the sense of drive. One thing led to another and that that s what came out, and it has lived on through the Avengers films, which has been fantastic.(Photo by Marvel Studios)Rotten Tomatoes: Iconic superhero themes usually serve one person, like Batman or Superman. What was the challenge in scoring a group?Silvestri: We talked early on in Avengers, and we also revisited the conversation in Infinity War and Endgame, about how you actually approach the characters thematically. Or how you don t approach them. I mean, clearly the Avengers experiment had to do with this collection of superheroes now fighting together as a team. And so, the conversation would come up: Are we going to really play a theme for each of the individuals and then have an Avengers theme or not? Certainly in Endgame, because of the sheer number of characters, we felt like the music had to hold things together and unify the film, and that if every one of these characters had their own signature themes, it could wind up doing just the opposite and become too distracting and fragmented.So again, the theme had to work for the collective, for the Avengers as a group, even though we did some call outs in all the films to some specific characters. Natasha had her bit of a theme in the original Avengers. Thanos clearly had his theme in Infinity War and Endgame. We tried to view the film musically from the point of view of the group. And the other interesting thing we found: With the Avengers theme, a little goes a long way. It’s a very simple, identifiable piece of thematic material, and you can abuse it just as easily as you can use it. So we knew we had to be very judicious in when and how we used the theme.Rotten Tomatoes: The actors don t get the full script for these movies. At what point are you brought in the process, especially for Infinity War and Endgame? Do you know all the story beats ahead of time?Silvestri: Yeah, I actually do. I actually know everything, and I have everything as it s being recorded. I have to be looking at the entire arc of the film all the time. Otherwise you really couldn t have the kind of overview, a sensibility that the score has to really bring to the film.Rotten Tomatoes: There’s an Endgame track called “The How Works” which I think is vital to the movie: It plays as the movie sells to the audience it s going all-in on time travel. Then the song has a flute rendition of the Avengers theme. Then it goes into crime jazz, a heist theme. Are there any limitations on where you can go on these movies?Silvestri: No, and I think that s one of the fun parts of the letting the movie take you to where it wants to go. And it s one of the nice things about having a simple, identifiable theme: It can be dressed in many, many different ways. And Marvel is known for having fun and for having humor in their films. And you used the word: heist. We just knew that we would have some fun with those traditional sounding, caper-type movies. And yet, our theme had to travel along with those kinds of settings. So we re using bongo drums and flutes and triangles and all of these rhythms. And it s kind of like a spy movie, but at the same time we have our Avengers theme being there. So we had a lot of fun.Rotten Tomatoes: Due to the emotional nature of Endgame, there were a lot of soft moments: Tony floating in space, Cap seeing Peggy, or Tony giving Cap his shield back, which uses a reprise of The First Avenger theme. Did you find there were more opportunities for the music to breathe in Endgame compared to Infinity War or the other Avengers?Silvestri: I think absolutely. I think that was really what Endgame was going to be about. It was going to be about resolution of 21 films worth of characters. It’s why the film was as long as it was. I think that the Russo brothers knew, and the writers knew, that it was going to take some time to resolve these relationships. Hawkeye and Natasha, Tony and Pepper… So there was a lot more air and a lot of these quiet scenes. Even with a scene like Thor and his mother. Just spectacular emotional moments. And so it was an opportunity, in what at face value would be considered a big action superhero film, to have a lot of quiet emotional places for music. And for the performances of the actors as well.(Photo by Marvel Studios)Rotten Tomatoes: Infinity War s fallen reappearing on the battlefield is going to be a defining image for a generation of moviegoers. How did you approach “Portals” for this?Silvestri: “Portals” was one of those scenes that the filmmakers identified early on as being a key moment, and potentially an historic moment in the entire Marvel universe. There were a number of different approaches that we took. And it took us a little while get a sense of what was really happening there. Again, you have that temptation with the reveal of all of these magnificent historic Marvel characters, there s this temptation to kind of become too segmented, and for every entrance to be doing something special and something different. And the more we worked on it and tried that actually, we saw that it just really wasn t working. It needed to be seen with much more of an overview and much more of a celebratory and promising sensibility, [rather than], “Here s this one and here s this one, and now this one.” The audience understands that.But the overriding emotion is, “Look what s happening. They re all coming, we re seeing them all, they re all coming back. They ve all come back to life.” So it wound up with much more of an overview. And then [we used a] new theme there because there was really nothing else that was gonna really take care of it. And it s one of those pieces where it s the same theme repeated a number of times, keys changing, getting bigger and more grand. And we knew that at the end of all this, we had to really set up the original Avengers theme after Cap delivers that amazing Avengers assemble line, which he almost whispers. Then we come in full bore with the original Avengers theme when the charge begins. So it took a while for us to find what would be the most satisfying approach. And I think we finally arrived at something that s working pretty well.Rotten Tomatoes: Do you have a favorite musical moment from Endgame?Silvestri: Well, I think that that almost falls into the category of which is your favorite child. It was interesting when I was early on working on the film. There’s the end of the film when Tony has left us and we have now maybe five or six minutes, with basically everyone who s been in the Marvel films attending the ceremony. That was a very challenging place, wondering what am I going to do for that. It needed to have a sense of reverence, a sense of gravity, yet it had to have a sense of beauty and promise and resolution. It was almost too terrifying to go there and work on it. I was working on the cue in the beginning of the film when Tony s stranded in space and finishes his message to Pepper. He puts his jacket on and he lies down, and there s just a very kind of simple, electronic, single instrument playing this theme that carries us from there, through Tony being put in the chair by Nebula.When I found that, I somehow knew that that was going to be the key to that amazing ceremony at the end of the film. And we never hear that again until the end of the film. But it was one of those things that was so great when I found it, to know that I don t have to be as terrified of the end of the movie now because I think I may have found a key in the very first reel. So that was very exciting to be sure.(Photo by Marvel Studios)Rotten Tomatoes: Before we go, I have to tell you: Even before I knew I was doing this interview, I re-watched Flight of the Navigator a few days ago.Silvestri: Wow! Haha!Rotten Tomatoes: It made me realize your theme was the first piece of music I connected with on an emotional level. I must’ve been 6 or 7. Thank you for that. Do you have any particular memories or stories from that movie?Silvestri: I remember I did that all electronically. And that I think was really driven by the budget for the the film. And I just have to say it s wonderful for you to say nice things about that, because every time I do a film I try to do the best I can. And I ve done a tremendous range of films and some people would say, “Well, that wasn t the best film you ever did,” and “Why did you do that?” and “Why did you do this film?” Clearly, Flight of the Navigator was a well-made film. But it was not a big budget film. It was very sweet, charming. I can only say I m trying to do the same job there as I was trying to do on Endgame, from the point of view of doing the best I can with what I m doing today.
In 2017, It, the Certified Fresh adaptation of Stephen King’s 1986 bestselling 1,138 page epic, used every second of its 135-minute running time to make sure paper boats would never be played with again. The Andy Muschietti-directed horror film was a box office hit, pulling in 0 million worldwide, which made it the highest-grossing horror flick of all time and ensured a sequel would be green-lit. Now, in just a few days, the 169-minute It: Chapter Two – which adapts the sections of King’s book focused on the adult Losers Club – is looking to collect more critical accolades and gobble up money the way Pennywise gobbles up fear (and tiny children’s arms).Oh, and yes, you read that right: It: Chapter Two clocks in at 169 minutes, or 2 hours and 49 minutes. (That runtime may seem excessive, but, when compared to the 45 hours it takes to get through the It audiobook, we’re thinking it could have been a lot worse.)The movie opens just months after Quentin Tarantino’s epic Once Upon a Time in Hollywood (2 hours and 40 minutes), and just a week after the release of the Midsommar director’s cut (2 hours and 51 minutes).In October, Netflix will release The Irishman – it will run for 3 hours and 30 minutes.All these minutes – and anticipated bathroom breaks – got us thinking: How does the length of a film affect its quality? Are longer movies, on average, better or worse than shorter movies? To find out, we analyzed the running times of the 1,431 movies that received wide theatrical releases since 2010. (We classified wide releases as 500-plus screens; we didn’t include documentaries.) To break down the data, we divided the films into four categories: Movies less than 100 minutes; movies between 100 and 120 minutes; movies between 120 and 140 minutes; and those epic 140 minute-plus movies whose company It: Chapter Two is about to join.Ultimately, we wanted to know if movies were better off going the longer It: Chapter Two or Once Upon a Time in Hollywood route, or if shorter movies like Crawl, The Farewell, or Eighth Grade averaged higher Tomatometer scores with critics. You can find super Fresh movies in all four categories: The 63-minute Winnie the Pooh (2011) and 182-minute Avengers: Endgame (2019), which are the longest and shortest movies in the data set, both have Tomatometer scores above 90%. But there were clear trends and the results, at least for those who bemoan bloated runtimes, might be surprising.So let s get into the data Less than 100 minutes: The Most Likely to Be Rotten ovides Dorothy a reprieve. It s a nice little bit of hope amid the chaos.Shapiro: It s a beautiful moment of women helping women. I feel like you don t see that very often, that kind of specific bond. That s definitely a beautiful moment and Dorothy realizes she s not alone. That everyone goes through [something like] this.(Photo by DC Universe)Niles just wants to protect Dorothy, but he also wants to protect the world from Dorothy. How do you think The Candlemaker s arrival, which is teased at the end of this episode, impact their relationship moving forward?Shapiro: I can t say too much because I don t want to spoil anything … I feel like there s definitely regret on not being completely honest. But I feel like, just that moment of the candle wax exploding and The Candlemaker emerging is everything she s been hiding, everything she s been holding deep down inside her for so long. It s just bursting at the seams. All those emotions she was holding in are just exploding.The Candlemaker is all about granting wishes because, after the third one, he becomes real. What do you think Dorothy s biggest wish is?Shapiro: I think her biggest wish is really anyone s biggest wish: just to be accepted, to have a family, and to be loved.Doom Patrol season 2 is now streaming on HBO Max and DC Universe.
(Photo by Katie Yu/The CW)Life happens at warp speed for Barry Allen (Grant Gustin) — but it also seems true of The Flash itself, as this week marks the CW series 100th episode. The episode s story sees Barry and his daughter, Nora (Jessica Parker Kennedy), revisiting some key moments in the show’s history. And at a celebration in Vancouver to commemorate the historic episode, Rotten Tomatoes asked members of the cast about their fondest memories working on five seasons of The Flash.Parker, who joined the series this season after a few brief cameos as Nora last year, said her favorite aspect of working on the show collides with her worst moments on set: preparing to “zoop.” The term refers to those moments when a speedster runs off screen in a burst of lighting. On set, it requires the actor to freeze in a running stance for a surprising amount of time.“Grant is a dancer and he looks the coolest [doing it.] No one looks worse at those moments than me,” Kennedy admitted, adding that a surprising number of zoop shots occur “at 4 in the morning, outside” with her “falling over take after take. I giggle so hard every time that happens, and I just go, ‘My God, my job is so silly. I’m so happy to be here.’”(Photo by Jeff Weddell/The CW)Candice Patton, who plays Kennedy s TV mom Iris West, points to the lasting friendships she s made with costar Jesse L. Martin and former castmates Keiynan Lonsdale and Rick Cosnett.“These are people for me that will be friends of mine for a lifetime. You gain such amazing relationships on shows like these because you spend so much time with people, she said, and I’m really grateful for those people who’ve made this experience for me, these last five years, safe and comfortable.”Said season 4 newcomer Hartley Sawyer (a.k.a. Team Flash addition Ralph Dibny): “The best days are when we’re all in the Cortex — or wherever we are — and we’re doing scenes [together]. Sometimes I’m driving home and laughing and wiping tears about it because the stuff that happens is so much fun. We have such a great time together.”Carlos Valdes, whose Cisco Ramon has been there from day one shares Sawyer and Patton s sentiments.“In general, it tends to be whenever Tom Cavanagh and I start making music out of nowhere, out of gibberish, out of clapping, out of the Notre Dame fight song, out of anything,” he said. “We will take anything and create an annoying 14-minute jam out of it. The crew hates us for it.”(Photo by Jeff Weddell/The CW)Executive producer Todd Helbing’s favorite moment comes from the first-season episode Out of Time. “It’s when Thawne (Cavanagh) is circling around Cisco and does the vibrating hand thing [for the first time], he said. The episode as a whole stands as a highlight for him, because it’s the first time we introduced time travel. It also featured Iris revealing her feelings for Barry, Barry telling her that he is The Flash, and a tidal wave which threatens to destroy Central City.Star Gustin, meanwhile, will always recall working on Flash Back, the second-season episode in which he travels back in time to ask for help from Cavanagh s Thawne, who was still pretending to be Harrison Wells at the time. Gustin enjoyed playing opposite Cavanagh as the villain again. He also said the pilot and the first-season finale, which both prominently feature the death of Barry’s mother Nora (Michelle Harrison), are “seared into my memory as the most visceral and emotional experiences The heart of what drives Barry Allen is built into the those two episodes.”It should then come as no surprise that filming Nora’s death scene forms a key memory for Harrison’s time on the show. Though she enjoyed getting to play Nora as the mother of an adult son in the Flashpoint storyline, “as an actress, doing that [death] scene over and over” is something she loves about the show.Of course, thanks to Barry’s mucking with time, he appears in that scene at various stages in his life and his career as The Flash. Joked Gustin, “before the series is over, the amount of Barrys at the murder scene will multiply.”The Flash s 100th episode, What s Past Is Prologue, airs Tuesday, Dec. 4 at 8 p.m. on The CW.
天天酷跑刷分 (Photo by ABC/Craig Sjodin)The biggest question leading up to Oscar night wasn’t about the awards themselves. Following several months of indecisiveness that saw a Popular Film award announced then rescinded, Kevin Hart stepping down as host amid controversy, the decision not to feature performances of every original song, and the decision to relegate some craft awards to commercial breaks (also rescinded), the question was whether the Academy’s decision to forego a host altogether was smart or not.Rotten Tomatoes has a rundown of the biggest moments of the ceremony, from Adam Lambert and Queen’s opening performance to Green Book’s Best Picture upset. We’ve also rounded up critics’ reactions to the ceremony itself — the first host-less outing in three decades — to find out whether a host is needed.As of press time, the 91st Academy Awards ceremony is Fresh at 73% on the Tomatometer, which would put it in the top five Oscar ceremonies of the past decade by Tomatometer (the majority of which are Rotten). Below, read what critics thought about the host-less three hours and 17 minutes.No Host? No ProblemThe majority of critics wrote that going without a host allowed for a tighter ceremony with much less filler.May the Academy Awards never bother hiring an official host again, because this was the zippiest Oscar Night in years. No stupid montages, no dance sequences, no “give sandwiches to the audience” stunts, no moronic “this is what the magic of the movies means to me” clips, no “let’s ride the subway with Sting” comedy sketches. – Rob Sheffield, Rolling StoneWhat is the Oscars without a host? Better. It’s not just about the pacing. Though Lord knows, without the cumulative bloat — the monologue, the ad-libs, the in-the-audience bits, the jokey introductions to presenters who then do their own introductions — the 2019 Oscars were free to trip along at a brisk pace, and ended just 17 minutes past 11 p.m. ET. But beyond lending a rare efficiency to the proceedings, the lack of a host allowed the Academy and ABC — or should I say, forced them — to loosen the vice grip of habit and try some new things. – Kristen Baldwin, Entertainment WeeklyRight from that first, energetic musical performance by Queen and Adam Lambert, this year’s Oscars felt infused by an energy that did not flag throughout the three-hour(ish) event. The evening moved along at a steady clip, unencumbered by dragging comedic bits or jokes that just wouldn’t land. And was it just us, or did the presenters — perhaps because they assumed a greater responsibility for keeping the night on track — seem more committed to their duties than in years past? – Kimberly Roots, TVLineThe ceremony was over in record time because there was no host doing a long monologue or roasting various attendees. There were no cringeworthy bits involving unfunny songs or escapades with “normal” people. The presentations and speeches and performances flowed more or less seamlessly from one to the next. The telecast didn’t serve up as many viral or memorable moments as it might have with a host at the helm, but it was also refreshingly focused on the movies. Which seems like a real win for everyone involved. – Alissa Wilkinson and Todd VanDerWerff, VoxA Host Is NecessaryFor other critics, the idea of a host-less ceremony was potentially good in theory, but the execution made the ceremony feel like something was missing.It wasn’t as bad as everyone expected. It was worse. No cohesion, no gravitas, only a scattering of memorable moments, a slew of terrible wins, and a Best Picture winner so ridiculous that Crash suddenly looks like a masterpiece — the Academy Awards made its own case for the ceremony’s irrelevance. The most aggravating reaction an Oscars fan gets when they obsess about the awards year after year is the snarky scoff, “Who cares?” How sad that the show itself is making it harder to answer that question. – Kevin Fallon, The Daily BeastSo what would a probably male, probably comedic host have added by taking up air time and spewing Trump jokes that we ve all heard before? A thematic through line and entertainment element that this year s Oscars desperately needed. – Kelly Lawler, USA TodayThis was the first Academy Awards not to have a host or hosts since the all-time rock bottom ceremony of the Oscars of 1989 — and it really showed. … With a stage framed with what was either a Game of Thrones set reject or a Jeff Koons interpretation of Donald Trump’s hair, tonight’s bloated Oscars was a live ceremony that certainly lacked form, far too often function. – Dominic Patten, Deadline HollywoodYes, hosts can be sloppy, but that also gives the show a personality, and some banter. I like banter! And, apparently, I like my Oscars to be more sloppy than efficient. … It’s more like having some sort of authority figure who comes from the perspective of the audience. If something weird happens, it’s nice to have a host who can pop out and say, “That was weird, right?” Or if someone gets his or her speech cut off, but were in the middle of saying something important, it’s good to have a host who can come out and make sure that person can finish, as Jimmy Kimmel has done in the past. – Mike Ryan, UproxxSince so much of the night hinged on winners giving entertaining speeches, some worried that trying the same experiment again would fall flat. There is a kind of paradox at the heart of the Oscars, which is that people don’t really remember the show itself. They remember moments, maybe something the host did, but more often something the winners did — a spontaneous show of emotion, a turn of phrase. The Academy Awards is a huge, glamorous production that desperately wants to entertain you, but the long-term measure of whether a year was any good has to do with the details, which are mostly unplanned. – Willa Paskin, SlateNormally, the host is a warm body used as a buffer between the industry and the audience. The absence of a host this year was a reminder that this figure can take up an inordinate amount of space — space that isn’t always used particularly well or efficiently, and certainly space that might be better off given to others. … It felt like the People’s Oscars, even if some of the movies that won revealed serious flaws in the ongoing discussion about how media reflects and propagates broken narratives about race and sexuality. Not every Oscars will have such an unpredictable slate, sure. But doing without a host showed us a different kind of Hollywood: a Hollywood where the audience calls the shots. – Sonia Saraiya, Vanity FairGive Maya, Tina, and Amy the JobOne thing everyone agreed on is that the trio of Maya Rudolph, Tina Fey, and Amy Poehler, who delivered the show’s pseudo-monologue, could’ve hosted the whole thing and probably pleased everyone in the process.It couldn’t have happened without Maya Rudolph, Tina Fey and Amy Poehler, the hosts in all but name. The three amigas kept cracking that they weren’t really the hosts, but they did everything a host is supposed to do, i.e. welcome the crowd, set the comic tone, get out of the way. They crunched a whole night’s worth of host duties into three minutes, running through their gags at Ramones speed. – Rob Sheffield, Rolling StoneBy the end of the evening, I was fully convinced that the Academy should give up on hosts for good. But I reserve the right to change my mind if Tina, Amy and Maya agree to do it next year. – Judy Berman, TimePresenting Duos Were InspiredProducers paired celebrity presenters in incredibly interesting combinations, resulting in both hilarious and touching moments. The lack of a host made the success of those moments that much more important.John Mulaney and Awkwafina, two of the funniest people in the entertainment industry, commiserating over their first-time Oscar jitters? Divine. Michael B. Jordan and Tessa Thompson, followed by Constance Wu, a vision in yellow on the arm of a glittering Chadwick Boseman? #TrueDetectiveSeason4 vibes. The presenters didn’t waste time with endless stiff, scripted repartee, either. – Judy Berman, TimeBest Actress nominee Melissa McCarthy joined If Beale Street Could Talk’s Brian Tyree Henry for a blissfully silly presentation of Best Costume Design, a gag that combined elaborate wardrobe with the simplicity and perfect stupidity of a bunny puppet trying to open the red Oscar envelope. – Kristen Baldwin, Entertainment WeeklyLady Gaga and Bradley Cooper’s Chemistry SizzledWhile A Star Is Born took home just one award — for Lady Gaga’s original song “Shallow,” of course — its live performance by Gaga and her costar-director Bradley Cooper provided so much chemistry that it exploded into living rooms across the country.The much-anticipated, heavily hyped “Shallow” performance from Bradley Cooper and Lady Gaga somehow shattered those sky-high expectations. With a brilliant choice to show it in one uncut take, masterful blocking, and a raw yet honed turn from the two stars, the Oscar telecast burst to life and never looked back. – Ben Travers, IndieWire Shallow was the thing the show was building to. All of it. From the moment A Star Is Born premiered this fall, it was an inevitable winner and the inevitable cornerstone to this telecast. There was nowhere for the energy to go after that, and I wonder if the producers gave consideration to pushing it to closer to the end. Shot with theatrical intimacy that verged on uncomfortable — everybody I know was speculating about Gaga and Cooper s private lives and don t pretend that you weren t — Shallow was a lovely performance and a reminder of why you need these live musical moments in this show. – Daniel Fienberg, The Hollywood ReporterA dozen crew members emerged from the wings to place a piano and two microphones on the stage, and the camera swooped to the front row of the theater as Bradley Cooper led his A Star Is Born costar Lady Gaga to the stage. Their soulful duet on subsequent Best Song winner “Shallow” ended on an almost comically tight shot, as the two stars nuzzled each other through the final few bars — an unabashedly intimate moment in front of millions. It gave me chills, thinking of all the memes to come. – Kristen Baldwin, Entertainment WeeklyEmotional Speeches Saved the NightNo matter how critics felt about the hosting decision, they all agreed that the majority of the night’s speeches, which were alternately emotional and funny (and sometimes both), elevated the ceremony.Winners like Black Panther’s costume designer Ruth E. Carter and production designer Hannah Beachler gave thoughtful and inspiring speeches befitting the pathbreaking nature of their movie, and the relative rarity of women of color accepting prizes on moviedom’s biggest stage. – Daniel D’Addario, Variety[Regina King gave] a lovely speech, filled with the sort of graceful humility that, as a cynic, you know is only as good as it is because they re a great actor, but that, as a fan, you fall for because look how pretty they are in that dress and oh my god I have loved her since Friday. – Bobby Finger, TVGuide.comThere was also the sheer joy when — a minute after having to hold his nose with the Green Book award — Samuel L Jackson got to give best adapted screenplay to BlacKkKlansman s writer Spike LEEEEEEEEEEEEEEE! – Ben Sutherland, BBC News