亚博APP下载官网下载安装采用百度引擎6（Baidu 7）(Photo by Netflix)With Netflix s Chilling Adventures of Sabrina offering a darker take on the fresh-faced teenage witch — and Certified Fresh on the Tomatometer with a 91% score to boot — and a new version of Suspiria spooking it up on the big-screen, witches have been working some epic magic on audiences lately.Need more proof that vampires and zombies have moved on from the spotlight? Take a look at American Horror Story: Apocalypse, which is revisiting its season 3 witches from the Certified Fresh Coven, or The CW’s rebooted Charmed, which has introduced a new generation to the power of three.Dark magic and sorcery have cemented their place in episodic entertainment over the years, which is why we thought it was the perfect time to concoct a list of TV s very best witches. Among these magic-doers, you ll find two very different Sabrina Spellmans, Game of Thrones sinister Melisandre, a whole gang of fabulous American Horror Story women, and a teenage vampire slayer s loyal best friend. In addition to these icons, wand-twirlers from Penny Dreadful, True Blood, Once Upon a Time, and Bewitched also make an appearance.So break out the bubbling cauldrons and dust off that flying broom as it s time to rank these TV witches from best to worst below. And if you don’t see your favorite magic-conjurer on our list, tell us in the comments!
Star of upcoming Apple TV+ series The Morning Show Jennifer Aniston shut down Instagram when she joined the social media site on Tuesday by posting a selfie of herself with her Friends costars. In a followup post featuring a video from her new series, she wrote, I swear I didn’t mean to break it Thank you guys for the kind, glitchy welcome. She also broke the record for the fastest time to reach one million followers on the site — in just 5 hours and 16 minutes — Guiness World Records reported in a post congratulating the actress.Casting News: Patton Oswalt Joins The Boys Season 2 in Secret RoleThank you @pattonoswalt, that was AMAZING! #TheBoysTV #Season2 #SecretRole@TheBoysTV #TheBoys @PrimeVideo #SPNFamiIy pic.twitter.com/y47quxLCgR Eric Kripke (@therealKripke) October 17, 2019Supernatural creator Eric Kripke took to Twitter to announce the latest addition to The Boys season 2 cast, Patton Oswalt.Aidan Turner (Poldark) will play Leonardo da Vinci in a new Frank Spotnitz series that will focus on the artist and inventor s many achievements. (via Variety)Postapocalyptic saga Station Eleven has cast Mackenzie Davis (Halt and Catch Fire) and Himesh Patel (Yesterday) as its leads. The 10-episode drama about survivors of a pandemic flu is based on the international bestseller by Emily St. John Mandel. (via Deadline)USA anthology series Dirty John has added Missi Pyle (Impulse) and Holley Fain (The Frontier) to season 2, The Betty Broderick Story. Amanda Peet and Christian Slater star. (via Deadline)Tony Award–winner Renée Elise Goldsberry will appear in a multi-episode arc on CBS Evil as a Catholic Church attorney with a personal connection to David (Mike Colter). (via Deadline)Austin Abrams and Midori Francis will lead the cast of Netflix holiday romantic comedy series Dash Lily based on young adult book series.Natalie Morales will join season 2 of Netflix series Dead to Me, which stars Linda Cardellini and Christina Applegate. Morales Michelle will befriend Cardellini s Judy. (via Variety)CBS All Access series The Stand has added Greg Kinnear to the latest Stephen King adaptation. Alexander Skarsgard, James Marsden, Amber Heard, and Whoopi Goldberg also star. (via Variety)Shameless actor Richard Flood has joined Grey s Anatomy as key new character, Dr. Cormac Hayes, the new head of Pediatric Surgery at Grey Sloan. (via Deadline)Las Culturistas podcast co-host Matt Rogers and stand-up comedian Dave Mizzoni will host Gayme Show on Quibi. (via Deadline)Development News: Clueless Reboot in the Works(Photo by Paramount courtesy Everett Collection)CBS Television Studios will reboot Clueless for 2020 with a series that focuses on Dionne instead of Cher an 好吧，或者看完整篇文章，你都还没对这款游戏提起兴趣？没关系，哪怕是非玩家也照样有福利：现在微信搜索‘#英雄联盟手游’，就能够领取限量红包封面。在英雄联盟S11世界总决赛举办以及《英雄联盟手游》上线的当儿，你总有办法加入到这场玩家的狂欢之中。
My family and I are devastated today, by the loss of our young and amazing friend, Cameron Boyce. Years before I was blessed to play his father on JESSIE, we were blessed to know him and his wonderful family at the elementary school our kids all attended together./1 Charles Esten (@CharlesEsten) July 7, 2019They take them from us so soon 💔 I love u little bro u cute little weirdo. So weird ur gone now there’s just emptiness 💔💔💔💔💔💔 BITCHIMBELLATHORNE (@bellathorne) July 7, 2019亚博APP下载官网下载安装Life Day and Boba Fett’s pulse rifle from the reviled Star Wars Holiday Special suggests there may yet be a place for one of the Engines of Destruction to make his mark. Since we’re being hopeful, maybe Kyle Katarn could sneak back into the universe as well.Expect Awesome End Credits(Photo by Disney+)At nearly every press event from last April’s Star Wars Celebration to Wednesday’s premiere, cast members like Pascal and Carl Weathers have been effusive about the artwork they saw in Favreau’s office when first meeting him about the show.“It was wall-to-wall [with] story illustrations of what they were creating and [it was] instantly the most gorgeous Star Wars images you could possibly imagine, Pascal said.From the get-go, Favreau wanted to celebrate and share the art. A few weeks ago at a press conference, it seemed as though this would take the form of an art book or bonus features on the show’s Disney+ page, but at the premiere, Filoni confirmed those design illustrations will form the graphics accompanying the end credits of each episode.“Each week you re going to see some of the images [Pedro] saw, developed by the little team of ours from Lucasfilm,” he said of the artwork, some of which lucky premiere attendees saw in the end credits of the very well received episodes 2 and 3.The Mandalorian airs Fridays on Disney+.
4. 呼朋唤友 随心所欲
Jensen Ackles jumps from Supernatural to supes and will play Soldier Boy in the upcoming third season of The Boys, Amazon’s hit based on the sardonic comic book series. Speaking of Amazon series and comics, the digital channel has also released a trailer and premiere date for its adaptation of the U.K. smash Utopia. And, in other TV news, Starz’s The Girlfriend Experience is one of the first scripted series back to work since the pandemic, and Vida creator Tanya Saracho is hoping to prop up more Latinx talent through a new overall deal. Learn about these and more casting, development and trailer news that happened in TV this week.TOP STORYJensen Ackles Suits Up for The Boys Season 3#Supernatural star Jensen Ackles has officially joined the cast of #TheBoys for Season 3. pic.twitter.com/Sn6LE0KbTx Rotten Tomatoes (@RottenTomatoes) August 17, 2020The second season of Amazon’s The Boys isn’t even out until September 4, but creator Eric Kripke has already let us know that he’s called in an old friend for season 3. Jensen Ackles, who has spent 15 seasons co-starring in the Kripke-created The CW stalwart Supernatural, will join the Amazon superhero-themed dark comedy next season. He’ll play Soldier Boy, a World War II vet and the first “super celebrity” in this series based on the Garth Ennis and Darick Robertson comics.Related Video: The Boys Character Deep Dive: Cast Breaks Down The Seven, The Boys, and MoreNetflix Issues Apology After Serious Marketing Fail on Sundance Award-Winning FilmNetflix raised hackles this week when the streamer marketed Cuties (Mignonnes), a film by French Senegalese Black female director Maïmouna Doucouré that denounces the sexualization of preadolescent girls, with keyart that did exactly that. Social media took a stand, forcing Netflix to retract the art and issue an apology.The issue:Left: The poster for Mignonnes, a French movie by a Black director that comments on hyper-sexualisation of girls in modern culture.Right: How Netflix is marketing it. pic.twitter.com/7MEMxAsW5i Beth Elderkin (@BethElderkin) August 20, 2020Marvel Valkyrie Tessa Thompson was among those standing up for the film itself, describing it as a beautiful film that gutted her when she saw it at Sundance:#CUTIES is a beautiful film. It gutted me at @sundancefest. It introduces a fresh voice at the helm. She’s a French Senegalese Black woman mining her experiences. The film comments on the hyper-sexualization of preadolescent girls. Disappointed to see the current discourse. 😞 Tessa Thompson (@TessaThompson_x) August 20, 2020Netflix responded: We re deeply sorry for the inappropriate artwork that we used for Mignonnes/Cuties. It was not OK, nor was it representative of this French film which won an award at Sundance. We’ve now updated the pictures and description. The film will premiere on Netflix on September 9.New Trailers: Amazon Hopes to Find a Perfect UtopiaAmazon has released a trailer for Utopia, its highly anticipated adaptation of the hit British series about a group of internet friends obsessed with a comic book who meet IRL — and find themselves in grave danger. Gone Girl author Gillian Flynn is overseeing this project, which stars John Cusack, Rainn Wilson, Sasha Lane, Desmin Borges, Javon Wanna Walton, Ashleigh LaThrop, Dan Byrd, Christopher Denham, and Cory Michael Smith. Utopia premieres on September 25.More trailers and teasers released this week:A Teacher, creator Hannah Fidell’s television adaptation of her film that stars Kate Mara as an educator accused of having an affair with her student. It will air on FX on Hulu.The Christopher Plummer thriller Departure has lift-off. It lands on September 17 on Peacock.Of course a movie called The Binge is on a streaming site. The Hulu comedy premieres August 28.Love, Guaranteed, Netflix’s latest rom-com, premieres September 3 and stars Rachael Leigh Cook, Heather Graham, and Damon Wayans Jr.HBO’s comedy Coastal Elites has a slew of famous faces — Issa Rae! Sarah Paulson! — and premieres September 12.The FX comedy Archer returns for an 11th season on September 16 and it seems like the spy is having trouble keeping up with the times.Samuel L. Jackson narrates Enslaved, Epix’s documentary miniseries about victims of the slave trade. It premieres September 14.For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.Casting News: Guillermo del Toro Finds His Pinocchio(Photo by mandraketheblack.de/NETFLIX © 2020)Oscar winner Guillermo del Toro’s stop-motion animated musical adaptation of Pinocchio has found its real boy: Newcomer Gregory Mann will play the titular wooden child while Game of Thrones’ David Bradley will play his maker, Geppetto. Other cast members include Tilda Swinton, Christoph Waltz, Finn Wolfhard, Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, and Ewan McGregor as Pinocchio’s pal, Cricket. The film, a passion project of del Toro’s, will debut on Netflix and in theaters.The Night Manager’s Elizabeth Debicki will play Diana Spencer in the fifth and sixth seasons of Netflix’s The Crown. We still have some time before we see the Emmy-winning series’ take on the eventual princess, though. Season 4 premieres on November 15 and is said to cover the late 1970s through 1990.Sophie Okonedo and Kae Alexander join The Wheel of Time, Amazon’s adaptation of Robert Jordan’s best-selling fantasy novels. They will play Siuan Sanche and Min Farshaw, respectively, in this story set in an epic world where magic exists — but only certain women are allowed to access it.Aloha, Mr. Hand! Jimmy Kimmel and Brad Pitt are just some of the stars participating in a virtual table read of the seminal high school comedy, Fast Times at Ridgemont High. The event, which is part of Dane Cook’s Feelin’ A-Live fundraiser and (fittingly) raises funds for a humanitarian organization co-founded by Fast Times star Sean Penn, will take place on Facebook Live and TikTok on a date and time to be announced after the project experienced technical difficulties on Friday.Production and Development News: Girlfriend Experience Is Rolling(Photo by Starz)The Starz anthology series The Girlfriend Experience is one of the first scripted shows to test the waters of filming in a post-COVID-19 world. The prestige channel announced this week that it has commenced production on the third season of the show — and photos from set suggest that masks are very much in use. This installment stars The Affair and Bunheads’ Julia Goldani Telles and is written and directed by She’s Lost Control’s Anja Marquardt.Seth MacFarlane, Chadwick Boseman, and others are executive producing a project about the Little Rock Central Nine for studio UCP. The miniseries, which will be written and executive produced by writer-actress Eisa Davis, is based on Carlotta Walls LaNier’s memoir, A Mighty Long Way. Walls LaNier was the youngest of the nine Black students who were the first to integrate Little Rock, Arkansas’ Central High School in 1957 after the landmark Supreme Court decision Brown vs. Board of Education ruled that “separate educational facilities are inherently unequal.”Vida creator Tanya Saracho has signed an overall deal with UCP. As well as allowing her to create her own content for television and podcasts, Saracho will also get to establish a lab and incubator program that — according to the press release — is meant “to nurture, amplify, guide, and empower intersectional Latinx voices.”Apple has ordered the series My Kind of Country, which it says will be a “ground-breaking global search for unconventional and extraordinary country music talent.” Producers include noted Southerner Reese Witherspoon’s production company, Hello Sunshine.
5. HD 画质与高品质音讯
1.66.2 9月喜迎What the 91st Academy Awards lacked in hosts, it certainly made up for in surprises – at least at the tail-end of the night. (Yes, your ears and eyes were working: that was Julia Roberts naming Green Book as Best Picture and not Roma.) It was also a night for history to be made, with the likes of Spike Lee winning his first Oscar, and Ruth E. Carter and Hannah Beachler becoming the first African Americans to win awards for Costume and Production Design, respectively. Read on for our picks of the night s biggest moments, and check out our full list of the 2019 Oscar winners.Adam Lambert and Queen Open the Show(Photo by Ethan Miller/Getty Images)Queen biopic Bohemian Rhapsody may be lowest on the Tomatometer among the Best Picture nominees, but the band was top of the night. Joined by Adam Lambert, Queen opened the show performing “We Will Rock You” and then “We Are the Champions,” forcing all actors caught on camera to rock out enthusiastically/awkwardly (Javier Bardem for the win).Fey, Rudolph, Poehler Show they Would Have Made the Perfect HostsSome viewers got their hopes up that perhaps we would get hosts after all when Tina Fey, Maya Rudolph, and Amy Poehler entered the stage following a montage of moments from the year in film. And while they did not stick around to guide us through the night, their introduction to the Best Supporting Actress showed the Academy might be wise to let them next year. Particular highlights: Rudolph’s sultry “Wakanda plans you got later?” to Chadwick Boseman, and her perfect Gaga wail.Regina King Wins Best Supporting Actress for If Beale Street Could Talk (2018) 95%If Beale Street Could Talk co-star Regina King was named Best Supporting Actress, and – after an assist getting to the stage from Captain American himself – delivered a heartfelt speech, celebrating her mother, who accompanied her to the awards. “I’m an example of what it looks like when support and love is poured into someone,” said a teary King. She is the first winner in any acting category to win the Oscar without being nominated for a SAG or BAFTA since Marcia Gay Harden in 2000.Brian Tyree Henry and Melissa McCarthy Wear All the CostumesBrian Tyree Henry (If Beale Street Could Talk, Spider-Man: Into the Spider-Verse) and Melissa McCarthy (Can You Ever Forgive Me?) introduced the Best Costume Category wearing outfits inspired by all five nominees. We will never forget the image of McCarthy opening the envelope with a rabbit puppet.Ruth E. Carter and Hannah Beachler Make History With Wins for Black Panther (2018) 96%Black Panther costumer Ruth E. Carter became the first Black woman to win an Oscar for Best Costume Design, beating out favorite Sandy Powell who was nominated twice for Mary Poppins Returns and The Favourite. The 30-year veteran began her acceptance speech by thanking fellow nominee Spike Lee; the BlacKkKlansman director gave Carter her first job on School Daze, and they later collaborated for her Oscar-nominated work on Malcolm X. Next up was the award for Best Production Design, and in back-to-back historic Black Panther wins, Hannah Beachler became the first Black woman to win for Production Design. The production designer behind Beyonce’s Lemonade and all of director Ryan Coogler’s movies gave an emotional speech during which she thanked Coogler for believing in her.Mahershala Ali Wins Second Best Supporting Actor Oscar for Green Book (2018) 77%Some pundits thought Can You Ever Forgive Me? co-star Richard E. Grant was set to cause an upset here, but favorite Mahershala Ali took home the prize for his portrayal of pianist Don Shirley. The win makes Ali only the second ever Black actor to win two acting Oscars (the other being Denzel Washington). Ali dedicated his award to his grandmother, “who has been in my ear my entire life telling me, if at first I don’t succeed, try, try again.”Lady Gaga and Bradley Cooper Generate Jackson-Ally Magic with “Shallow”(Photo by Kevin Winter/Getty Images)They didn’t even need an intro… The Best Song favorites performed the final song of the night, semi-recreating A Star Is Born’s memorable concert scene: camera lingering behind them, epic build, that wail. “Shallow” – of course – went on to win Best Song.Spike Lee – Finally – Wins His First OscarBOOM-SHAKA-LACKA! Spike Lee won his first competitive Oscar after five nominations. (He was awarded an honorary Oscar in 2016). Accepting the Best Adapted Screenplay award for BlacKkKlansman – along with Kevin Willmott, David Rabinowitz, and Charlie Wachtel – the Brooklyn native stayed on brand: bombastic and honest. During his speech, he drew attention to the date of his historic win, 400 years almost to the day since the first slaves arrived in the United States. In February, Black History Month, the country s most celebrated Black filmmaker was handed the award from Brie Larson and his longtime friend Samuel L. Jackson. It is the third year in a row that a Black writer has won for screenwriting: Jordan Peele won Best Original Screenplay for Get Out last year and Barry Jenkins won Best Adapted Screenplay in 2017 for Moonlight.A Best Actress Mega SurpriseThe Oscars proved it still has the capacity to surprise, saving one of the biggest shocks of the night to almost the very end: The Favourite star Olivia Colman upset favorite Glenn Close in the Best Actress category. Less of a shock: Colman gave arguably the best and funniest speech of the night, opening with “It’s genuinely quite stressful” and ending by simply exclaiming, “Lady Gaga!”Alfonso Cuarón Continues Hot Streak for Mexican DirectorsAlfonso Cuarón’s win for Best Director means that Mexican directors have won the category five times since 2014: Alejandro González Iñárritu for Birdman and The Revenant, Guillermo del Toro for The Shape of Water, and Cuarón for Gravity and, now, Roma.Green Book (2018) 77% Beats Out Favorite Roma to Win Best PictureIf the Best Actress win was one of the biggest wins of the night, it’s closest competition was in the Best Picture category, where Green Book won ahead of favorite Roma. Some pundits had a feeling this could happen, particularly given the Oscars’ preferential voting system, but it was inconceivable to others that any film could stand in the way of Cuarón s masterpiece. Netflix will have to wait another year, at least, before it can take the top honor.Thumbnail image courtesy Kevin Winter/Getty ImagesWhat were your biggest highlights of the night? Tell us in the comments.
American Horror Story has come a long way since its latex-bodysuit early days. Co-creators Ryan Murphy and Brad Falchuk established the genre anthology series with the 2011 FX premiere of Murder House, an edgy take on the classic haunted-house horror trope.Since then, the show has run the gamut from Nazis and aliens wreaking havoc in Asylum to the cultural chaos inspired by the 2016 presidential election in Cult. Through it all, Murphy and Falchuk have built a small-screen television universe, intricately connecting characters and narrative components from one season to the next.Every season has had its share of story twists, and a tradition eventually formed, with the sixth episode of each season containing a big reveal. Episode 6 of AHS: 1984 is also the 100th episode of the series and packs some extra weight behind its narrative punches.As we wait to see how AHS: 1984 plays out, let s take a look back at other seasons game-changing sixth episodes and see how episode 100 measures up.Murder House Season 1, Episode 6: "Piggy Piggy" 89%(Photo by FX)Halfway through the first season of American Horror Story it felt like Murphy and company were still finding their groove. That s not to say that Piggy, Piggy doesn t deliver the goods. On the contrary, there are a number of gut punches in the episode that help to add emotional clarity to the season s story.The most important component to this episode is the explanation behind Tate Langdon s (Evan Peters) death. Violet Harmon (Taissa Farmiga) may be in love with the ghost, but the reveal, which shows Langdon in skull-themed face paint and Columbine-inspired trench coat shooting up his high school, is one of those gut-punches we mentioned.It s the first time American Horror Story really goes there in tackling social commentary in its subject matter; in this case, shining a light on America s issue of gun violence and school shootings. And as difficult as it is to watch, the unflinching sequence adds an unexpected layer to Peters brooding blond teenager — and gives TV audiences a nudge into some uncomfortable, but necessary, talks about mental health.Asylum Season 2, Episode 6: "The Origins of Monstrosity" 91%(Photo by FX)There are two important components at play in AHS: Asylum’s sixth episode: Dr. Thredson s (Zachary Quinto) backstory, explaining how he became serial killer Bloody Face and the bombshell that Dr. Arden (James Cromwell) may very well be a WWII Nazi doctor — who s trying to create superhumans through creepy medical experiments — named Hans Gruper. That second plotline may sound a bit kooky, but it all goes with the territory as season 2 of AHS seemingly throws a whole array of genre tropes at the wall to see what sticks.The Thredson storyline is the strongest one in Origins of Monstrosity, as we not only dig into the doctor s past, but his present situation plays out in a cringe-filled scenario that finds Lana Winters (Sarah Paulson) held captive by the madman. Through her will to survive, and his need for connection, the two form an odd bond as Lana offers to be Oliver s new mother figure. They consummate this new relationship, which ultimately sets things up for Lana s escape — including her murder of Bloody Face — putting her in the position to rise as an investigative journalist, only to confront her psychotic child, the result of her union with Oliver, years later, on live TV.Coven Season 3, Episode 6: "The Axeman Cometh" 87%(Photo by Michele K. Short/©FX Networks/courtesy Everett Collection)The thing you should know about the sixth episode of Coven is that, as much as The Axeman Cometh is a cool entry in the season, it s kind of unnecessary. That s not to say that the episode isn t at all entertaining or worthwhile. The contrary can be said. Danny Huston makes his debut as the aforementioned Axeman — a character inspired by a real-life serial killer who stalked the streets of New Orleans in 1919.Here, he s got the creepy suaveness we ve come to expect from Murphy s psychopaths. And his attraction to Fiona Goode (Jessica Lange) comes with a hidden disdain the killer has for witches — we get a glimpse into his backstory, which totally includes his death by stabbing inside Miss Robichaux s Academy for Exceptional Young Ladies, the modern day location of Fiona s coven. So yes, he has a chip on his shoulder. And once he s unleashed back into the world of the living, that rage turns into violent action. The Axeman Cometh is the first half of a two-part story that bridges the gap between the front and back halves of the season. And while the episode mostly acts as a set-up for the Axeman s storyline to play out, ultimately leaving some story threads dangling, his introduction was a nice palate cleanser to the season and gave Jessica Lange a dastardly romantic interest to play against.Freak Show Season 4, Episode 6: "Bullseye" 54%(Photo by FX)Let s cut to the chase: Bullseye is the worst sixth episode of any American Horror Story season. Which isn t saying much, since Freak Show, overall, was a subpar installment of the anthology series. That s not to say that Murphy and company didn t accomplish anything here. Casting relative unknowns, a bunch of talented actors with an array of physical abnormalities, helped position Murphy as a champion for on-screen diversity.Adding a musical carnival vibe to the mix — Jessica Lange and others performing modern-day pop songs under a 1950s circus tent was definitely a choice — helped separate this go-round from every other installment to the series. But the storylines explored here, in one of the country s last-remaining traveling circus shows, feel under-developed.This comes through with Stanley s (Denis O Hare) continued attempt at procuring Elsa s (Lange) attractions (while promising her Hollywood fame) and Dandy s (Finn Wittrock) murderous serial killer graduation to becoming the Bringer of Death, thanks to some gruesome inspiration from Twisty the Clown (John Carroll Lynch). On paper, both ideas sound compelling, but it all played out as if each plotline was buckling under the weight of heavy expectations and thinly thought-out ideas.Hotel Season 5, Episode 6: "Room 33" 67%(Photo by Ray Mickshaw/©FX/courtesy Everett Collection)Midway through its fifth season, American Horror Story gave its audience a backstory for Lady Gaga s Countess. But, as cool as it is to get this type of insight into a powerful vampire and to understand why she collects children and blindly murders innocent people, Room 33 was mostly just dull.The saving grace through it all was the introduction of the killer baby that the Countess keeps hidden in the Hotel Cortez. In a flashback to 1926, Mrs. Johnson — a.k.a. a pre-vampire Countess — heads to the Murder House to get Charles Montgomery (Matt Ross) to perform a basement abortion. Of course, it doesn t work. And throughout the episode, we re reminded of that as Bartholemew, the murder baby, is randomly shown, here and there, running around the room like an infant maniac.Roanoke Season 6, Episode 6: "Chapter 6" 93%The big reveal in American Horror Story: Roanoke is a twist within a twist within a twist. What started as a familiar-feeling haunted house horror story following Shelby and Matt Miller (Sarah Paulson and Cuba Gooding Jr.), a married couple who moved into a troubled house in Roanoke, Virginia, made a 180-degree turn in its sixth episode. Up until that point, we watched them recall their battle against ghosts, a murderer wearing a pig s head, and community of crazed cultists — led by their ax-wielding leader Agnes Mary Winstead (Kathy Bates) — in the docu-series, My Roanoke Nightmare.And then, in Chapter 6, the script was flipped as the camera perspective changed, revealing the cast and crew behind the show s production. Suddenly, the audience was introduced to the actors playing the characters in the series, giving the AHS cast a whole cavalcade of details to work with as they cycled from their on-screen actor personas to the characters their on-screen actor personas were playing.That isn t the end of it, either. Producer Sidney (Cheyenne Jackson) decides to make Return to Roanoke: Three Days in Hell — a reality show-style sequel to the highly successful docu-series — leading AHS: Roanoke to pivot into found-footage territory. The actors, not the characters, return to the real Roanoke house — which gets rigged with a bunch of hidden cameras — only to be traumatized during a three-day period called the Blood Moon, where the veil between the living and the dead disappears, allowing one grisly murder after another to take place.While the episode continually changed perspective and narrative styles, this overall reveal ended up feeling a bit gimmicky. Still, Chapter 6 succeeded at disrupting expectations and paved the way for some of the grittiest and goriest episodes of the series.Cult Season 7, Episode 6: "Mid-Western Assassin" 82%Another American Horror Story episode, another depiction of a gun-wielding mass-shooter. Six seasons after the school massacre scene in AHS: Murder House, the sequence that transpires in Mid-Western Assassin is the one that got the most attention after the episode aired. It was unfortunate timing, given the shooting that transpired in Las Vegas, Nevada, in October 2017. And while edits were made to the episode, FX didn t delay its airing.AHS: Cult explores the rise of a manic, threatening leader amid a fractured cultural landscape. The season s narrative was inspired by the 2016 presidential election. But while there were a few references to Donald Trump s win — which may have been a bit too soon to process for many — the overall focus here was on humanity s need for connection and the ramifications that can be born out of isolation and pain, leading to the rise of people like Charles Manson or David Koresh (both played by Evan Peters in the season).In the episode, Meadow (Leslie Grossman), one of Kai s (Peters) followers, attempts to murder him during a political rally — per the cult leader s request, we find out later — as his public persona continues to get national attention. The massacre bookends the episode, showing two different perspectives of the action, giving the audience both the actual truth of what went down, and the spun lies which bolster the rising political star s celebrity.Apocalypse Season 8, Episode 6: "Return to Murder House" 100%Murphy knows how to deliver fan service and his talent for doing so is on full display in the sixth episode of American Horror Story: Apocalypse. The fate of the world and all of humanity lay with some heroic witches, setting up Return to Murder House to deliver answers to lingering questions, taking viewers back to the season that started it all.As Michael Langdon (Cody Fern) grew into his antichrist powers, straddling the moral line between good and evil, good witch duo Chablis (Billy Porter) and Coven s Madison Montgomery (Emma Roberts) purchase Murder House to investigate Langdon s past. Yes, the boy grew up within these walls and was raised by Constance Langdon — prompting Jessica Lange s glorious, albeit brief, return to the series.Connie Britton and Dylan McDermott reprise their roles as Vivien and Ben Harmon. While they re definitely ghosts here, we get flashbacks showing Ben giving Langdon therapy, trying to guide him down the right path. Evan Peters brings back brooding teen mass murderer, Tate Langdon, adding even more nostalgia to the mix. And with Sarah Paulson directing the episode, and returning as psychic Billie Dean Howard, the American Horror Story universe expanded in a truly satisfying way.1984 Season 9, Episode 6: "Episode 100" 93% AHS: 1984, the series ninth installment, takes viewers back to the 80s with a retro horror tale that hits all the gory notes one would expect. The season takes a literal stab at the Friday the 13ths and Sleepaway Camps of the decade, giving a nod to the slasher icons of the genre. When a group of young people gets trapped at Camp Redwood — a camping retreat stained by the monstrous legend of a serial killer named Mr. Jingles (John Carroll Lynch) — they re killed-off one-by-one, revealing sinister secrets, ulterior motives, and a few evil twists along the way. Episode 100 took viewers outside of Camp Redwood and jumped forward in time, showing just how much can change for our core group in five years. In 1989, Camp Counselor Margaret Booth (Leslie Grossman) has gotten away with the murders she committed at the camp. (Spoiler: she s the real monster, not Mr. Jingles.) In turn, the woman is now a wealthy real estate mogul who buys up properties connected to some of America s most notorious killers — John Wayne Gacy s house, Charles Manson s Spahn Ranch, and even Asylum’s Briarcliff Manor are some of the examples given.Meanwhile, we see Benjamin Richter living a relatively normal life in Alaska with a wife and newborn child, attempting to put his Mr. Jingles life behind him; Brooke (Emma Roberts) is on death row, framed for Margaret s crimes; Richard Ramirez (Zach Villa) is incarcerated and literally has the powers of Satan on his side; and the ghosts of Montana (Billie Lourd), Xavier (Cody Fern), and Ray (DeRon Horton) are tethered to Camp Redwood — the same way the spirits were stuck in Murder House and Hotel — where passers-by keep getting killed.There s a double-sided message in Episode 100 as it seems that Murphy and Falchuk — who co-wrote the episode — are exploiting America s fascination with true crime, while turning that focus on themselves as well. On one hand, you have Margaret profiting off a collection of serial killers legacies only to add to her riches. On the other, there s Murphy acknowledging his habit of paying a glamorized tribute to real-life murderers like Gacy (Carroll Lynch), Aileen Wuornos (Lily Rabe), and Ramirez (previously played by Anthony Ruivivar).At what point does pop culture attention directed at these criminals’ bloody misdeeds become glorification? It s an interesting moral quandary that resonates throughout society today. With just three episodes to go this season, the bloody events of Episode 100 will hopefully set up the final set of dominoes to fall, to push things right along to a satisfying climax.American Horror Story: 1984 airs Wednesdays at 10 p.m. on FX.
(Photo by Warner Bros. Pictures, ©2020 Disney/Pixar)For some, December 25th movie releases have traditionally offered an escape from uncomfortable family time while providing theater employees a chance to make that sweet holiday pay. Most of us won t be heading to cineplexes on Christmas Day this year, though, due to the ongoing COVID-19 pandemic and the widespread business closures associated with it. Like a lot of things in 2020, it s an unprecedented situation, and movie lovers looking for something to pass the time will instead likely turn to HBO Max s Wonder Woman 1984 or Disney+ s Soul to fill that gap. All of this got us thinking about the movies of Christmas Past, and we thought it might be both fun and enlightening to look back at every film ever released on December 25th and try to figure out if one rises above all the rest.One might understandably assume the list would be littered with holiday classics, but since they re typically released earlier than, you know, Christmas Day, we ended up with a hodgepodge of just about anything you could imagine. Considering they include titles as diverse as Magnum Force, Tombstone, An American Werewolf in Paris, and that most celebrated of yuletide standards, 47 Ronin, it s clear that there isn t any rhyme or reason to Christmas Day releases beyond Let s cross our fingers and hope this makes a lot of money. (Photo by Frank Connor/©Universal Pictures)Before we jump in, though, we need to clarify a few things about the process. First, our data set includes films that received wide releases on December 25th and have Tomatometers, Audience Scores, and reliable box office numbers. Regarding the latter, we had to stick to domestic box office earnings due to reliability issues with global market totals. Unfortunately, this meant older films like There Was a Crooked Man and Friday Foster failed to make the cut due to incomplete or insufficient data. Once we collected the relevant information, we ranked all the movies by Tomatometer, Audience Score, and Domestic Box Office (adjusted for inflation), added up their ranking numbers, and arranged the results in descending order so that the film with the lowest rank total would take the top spot. We know; it s a lot to digest.With the logistics out of the way, let’s get to why you’re here. After compiling all the statistics and ranking all 124 movies we looked at, we were able to narrow the list down to a Top 10. Will the top spot go to a bloody revisionist Western, an all-timer heist flick, or a stylish take on a legendary sleuth? Check out the full list below, along with each film s rank in our three data categories and a little bit of context, to find out which one is the Best Movie Released on December 25th!10. Tombstone (1993) 50 Points(Photo by ©Buena Vista Pictures courtesy Everett Collection)Tomatometer Score (Rank): 74% (21st)Audience Score (Rank): 94% (4th)Domestic Box Office (Rank): 5 million (25th)While we have no evidence of this, it’s safe to assume that many adults would’ve been O.K. to receive tickets from Santa to go watch Tombstone when it was released on December 25, 1993. The thought of watching legendary lawman Wyatt Earp (Kurt Russell) go to war against an outlaw gang of red-sashed murderers, led by Powers Boothe and Michael Biehn, is simply too epic to pass up. Not only was Tombstone a hit in 1993, but it’s grown in stature since then as its memorable mustachioed characters, epic gun fights, and iconic lines ( I’m your Huckleberry ) have become more and more popular. It also doesn’t hurt that the cast also includes – deep breath – Val Kilmer, Bill Paxton, Sam Elliott, Billy Zane, Michael Rooker, Charlton Heston, Stephen Lang, Thomas Haden Church, Billy Bob Thornton, and Dana Delaney, and they re all excellent. Tombstone is a rollicking good time, and despite some behind-the-scenes friction and director swaps, it s still a fan favorite that boasts an outstanding 94% Audience Score.It’s tough to single out the best moment, as the movie features a plethora of memorable scenes. Whether it’s Wyatt Earp’s takedown of a bully (Billy Bob Thornton in a fun cameo) or Doc Holliday s “I’m your Huckleberry” right before he puts one in Johnny Ringo s forehead, Tombstone has a deep bench of epic moments and characters, which is why it’s on our list.9. Sherlock Holmes (2009) 49 Points (Tie)(Photo by Alex Bailey/©Warner Bros. courtesy Everett Collection)Tomatometer Score (Rank): 69% (25th)Audience Score (Rank): 77% (20th)Domestic Box Office (Rank): 0 million (4th)Riding high off the success of 2008’s Iron Man, Robert Downey Jr. stepped into the well-worn shoes of another famous brilliant person, Sherlock Holmes. The end result was an intriguing modern-day update of the character created by Arthur Conan Doyle in 1887. Rather than simply using his brain, Holmes uses his brawn as well, engaging in underground fist fights that showcase his six-pack abs and uncanny ability to anticipate his foe s moves, which allows him to exert maximum pain on his bare-knuckle boxing opponent (is that cheating?).The Guy Ritchie-directed film about Sherlock’s hunt for an aristocratic serial killer would go on to collect 4 million worldwide and spawn a sequel two years later, Sherlock Holmes: A Game of Shadows, which also cleared the 0 million mark at the global box office.Fans and critics alike were fairly impressed with the performances by A-listers Downey, Jude Law, Rachel McAdams, and Mark Strong, as well as the stylized directing of Ritchie, which breathed new life into an old character. We re even scheduled to get a third entry in the franchise in December of 2021.9. Magnum Force (1973) 49 Points (Tie)(Photo by Everett Collection)Tomatometer Score (Rank): 72% (23rd)Audience Score (Rank): 77% (20th)Domestic Box Office (Rank): 1 million (6th)As the second entry in the five-film Dirty Harry franchise, Magnum Force had the luxury of trading on the blockbuster success of its predecessor, but it also carried the expectations of the popular film that featured San Francisco Police Department Inspector Harry Callahan (Clint Eastwood) asking people if they felt lucky. Focusing on Harry s hunt for corrupt cops who take the law into their own hands, Magnum Force features explosions, murder, blood, profanity, and more explosions – you know, typical holiday movie stuff – which thrilled 1973 audiences who were looking for all of those things. Director Ted Post, who also worked with Eastwood on the well-received 1968 Western Hang ‘em High, knew what he was doing (making an action sequel), and there is no better evidence of that than in the opening credits: the cast and crew list is played over Harry’s .44 Magnum gun, which he then points towards the screen and shoots (think American James Bond) in a bonkers breaking of the fourth wall that tells the audience immediately what they re in for.7. Broadcast News (1987) 48 Points(Photo by ©20th Century Fox Film Corp.)Tomatometer Score (Rank): 98% (2nd)Audience Score (Rank): 79% (18th)Domestic Box Office (Rank): 6 million (28th)Written and directed by James L. Brooks, the workplace comedy Broadcast News was nominated for seven Academy Awards and is considered to be one of the greatest movies ever about journalism. Holly Hunter, William Hurt, and Albert Brooks all received Oscar nominations for their lively performances, and it would be tough to find a more likable and well-written comedy about three people who love/hate making television together. Hunter famously joined the project shortly before production started, and she’s so good you’d think Brooks wrote the role just for her. Also, if you’ve never watched Broadcast News, go ahead and check out Aaron s (Albert Brooks) sweating scene; it’s an uncomfortable moment that features an excellent reporter absolutely bombing on camera, and Brooks plays it to perfection. Glancing at the reviews, you’ll see the phrases “uproariously funny,” “warm and heartfelt,” and “enormously entertaining” pop up time after time, and for good reason. Broadcast News gave audiences a lot to cheer for on December 25, 1987.6. The Aviator (2004) 47 Points(Photo by Warner Bros. Pictures)Tomatometer Score (Rank): 86% (11th)Audience Score (Rank): 79% (18th)Domestic Box Office (Rank): 7 million (18th)Directed by Martin Scorsese, and starring Leonardo DiCaprio, Cate Blanchett (who won a Best Supporting Actress Oscar), and Kate Beckinsale, among others, The Aviator focuses on the early life of director/aviator/entrepreneur Howard Hughes and his legendary antics. Much like Hughes, The Aviator is larger than life as Scorsese loads it with glamour, plane crashes, and excellent visual effects that blend seamlessly into the period setting. The Aviator was the second (of the now five) collaborations between DiCaprio and Scorsese, and it netted DiCaprio his first Best Actor Academy Award nomination (he was previously nominated for Best Supporting Actor for What’s Eating Gilbert Grape); it also happens to be the first of three – yes, three – appearances on this list by Leonardo DiCaprio. The 0 million-budgeted drama won five Oscars (of a total 11 nominations) and still holds up beautifully, as the work of editor Thelma Schoomaker and cinematographer Robert Richardson give the 170-minute biopic an epic feel.5. Little Women (2019) 42 Points(Photo by Sony Pictures)Tomatometer Score (Rank): 95% (5th)Audience Score (Rank): 92% (6th)Domestic Box Office (Rank): 8 million (31st)Powered by Greta Gerwig’s Academy Award-nominated script and direction, the million-budgeted Little Women pulled in 6 million worldwide and was met with near universal praise. The feat is all the more impressive (and not altogether unexpected, since Gerwig loves the novel) considering Louisa May Alcott’s iconic story about sisters growing up in Massachusetts during the civil war has been adapted for the screen multiple times, dating all the way back to 1917. What makes this adaptation stand out among the rest is the way Gerwig includes a nonlinear storyline and a different ending to offer audiences something fresh and unexpected. Also, bringing back her Lady Bird star Saoirise Ronan to play the pivotal role of Jo March was a smart idea, as the two work wonderfully together, and Ronan received Academy Award nominations for both films. Plus, Gerwig didn t stop with Ronan; she and producer Amy Pascal also landed the immense talents of Meryl Streep, Florence Pugh (who received a Best Supporting Actress nomination), Emma Watson, Laura Dern, Timothée Chalamet, and a host of other incredible actors, lending the film the kind of A-list shimmer you d expect to see in a prestige picture.4. To Kill A Mockingbird (1962) 30 Points(Photo by Everett Collection)Tomatometer Score (Rank): 92% (7th)Audience Score (Rank): 92% (6th)Domestic Box Office (Rank): 8 million (17th)Since its release in 1960, Harper Lee s Pulitzer Prize-winning novel To Kill a Mockingbird has been an American institution that has sold over 40 million copies and been discussed and re-evaluated in classrooms across the country. Two years after its publication, director Robert Mulligan brought To Kill a Mockingbird to the big screen, and it was a smash hit that won three Academy Awards and eventually earned the 25th spot on the American Film Institute’s Top 100 Films list. Anchored by Gregory Peck’s Oscar-winning performance and Horton Foote’s faithful screenplay, Mockingbird tells the story of Atticus Finch (Peck), a lawyer in the depression-era South defending a Black man named Tom Robinson (Brock Peters) who has been put on trial for an undeserved rape conviction.Putting aside the important cultural discussion that continues to this day, To Kill a Mockingbird is an example of a book adaptation done right. Mulligan and Foote knew they had excellent source material to work from, so they stuck to it (mostly), and with the help of Harper Lee presented a faithful adaptation that struck a chord with audiences who saw the movie as a gift when it opened on Christmas Day of 1962.3. Django Unchained (2012) 28 Points(Photo by Andrew Cooper/©Weinstein Company)Tomatometer Score (Rank): 87% (10th)Audience Score (Rank): 91% (7th)Domestic Box Office (Rank): 1 million (9th)Between Four Rooms, Jackie Brown, and The Hateful Eight, Quentin Tarantino sure loves releasing movies on December 25, but his biggest Christmas Day hit came from Django Unchained, a super R-rated revisionist Western featuring a final gunfight that leaves a Mississippi plantation estate flooded with blood. The movie pulled in a whopping million its opening day (Catch Me If You Can only pulled in million) and ended up earning 1 million domestic, winning Academy Awards for Tarantino (Best Original Screenplay) and Christoph Waltz (who won his second Best Supporting Actor Oscar after earning his first for another Tarantino collaboration, Inglourious Basterds).Django Unchained tells the story of a freed slave named Django (Jamie Foxx) who teams up with an eccentric German bounty hunter named Dr. King Shultz (Waltz) in exchange for Shultz s help freeing Django’s wife Broomhilda (Kerry Washington) from the vile clutches of plantation owner Calvin Candy (Leonardo DiCaprio, making his second appearance on this list). Normally, hard R-rated exploitation films with 165-minute running times wouldn’t be nominated for five Academy Awards (and win two). Yet under Tarantino’s supervision, Django delighted audiences around the world and provided Christmas counterprogramming with silver-tongued devils, flesh-ripping torture, and Leo DiCaprio monologuing about skulls.2. Catch Me If You Can (2002) 15 Points(Photo by ©DreamWorks courtesy Everett Collection)Tomatometer Score (Rank): 96% (4th)Audience Score (Rank): 89% (9th)Domestic Box Office (Rank): 7 million (2nd)It wasn’t a hard sell to get audiences into theaters to watch Catch Me If You Can in 2002. Directed by Steven Spielberg and starring Tom Hanks and Leonardo DiCaprio (and that makes three!), Catch Me If You Can is a rollicking film about Frank W. Abagnale Jr. (DiCaprio), a likable con man being chased around the world by Carl Hanratty (Hanks), a likable FBI agent who really wants to, well, catch him. During the globe-trotting caper, we also get to spend time with the very likable Frank Abigaile Sr., played by Christopher Walken, whose performance was so warm and welcoming he received an Academy Award nomination for Best Supporting Actor.We’re not trying to be reductive about how likable the movie is, either. The expertise of Spielberg, the skill of his cast, and the Oscar-nominated score by John Williams make this 141-minute film fly by faster than a Pan Am airliner. Its appeal to people of all ages can’t be argued because it’s the rare film to receive nominations from the AARP, MTV, and Teen Choice Awards, which essentially makes it the Tom Hanks of movies.1. The Sting (1973) 10 Points(Photo by Universal Pictures)Tomatometer Score (Rank): 94% (6th)Audience Score (Rank): 95% (3rd)Domestic Box Office (Rank): 5 million (1st)Looking to build off the blockbuster success of 1969 s Butch Cassidy and the Sundance Kid, which grossed 1 million domestically and won four Academy Awards, director George Roy Hill and stars Robert Redford and Paul Newman reteamed for The Sting. With an “if it ain’t broke, don’t fix it” mantra in place, The Sting once again showcased Redford and Newman’s unbeatable chemistry, playing lovable criminals who plan on swindling money from a shifty character played by Robert Shaw in 1930s Chicago (and hopefully avoid a freeze-framed death via a barrage of bullets). The Sting might be one of the most enjoyable films to ever to win Best Picture at the Academy Awards (it won a total of 7 Oscars from its 11 nominations). It also boasts an 5 million domestic box office haul, which would make almost any Marvel film jealous, and it s currently the 21st highest domestic grossing film of all time. If you haven’t watched The Sting, do yourself a favor and check it out, because the A-list star power, the beautiful Oscar-winning costumes, and the charisma of Redford and Newman together are undeniable.On an Apple device? Follow Rotten Tomatoes on Apple News.
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亚博APP下载官网下载安装 The Marvel Cinematic Universe is a wonder for many reasons, not least of which is the way it wove together an intricate continuity across all of its movies. Throughout 23 films (and counting), there are crossover characters, intersecting storylines, and resonant names, locations, and even brands. Of course, when you step back, you realize that the MCU was only doing what comic books have been doing in print for decades. Take another step back, and you’ll notice that what they’ve done isn’t all that unique to movies, either. Because Quentin Tarantino, for one, has been doing it for decades, too.From his earliest days as a struggling screenwriter to his iconic and era-defining films, Tarantino has built his own world of interconnected characters and original brands. In honor of the 25th anniversary of his legendary opus Pulp Fiction (released October 14, 1994), let’s take a look at the QTCU the Quentin Tarantino Cinematic Universe. () A short film co-written, directed, and starring Tarantino while he was famously working at Video Archives in Manhattan Beach, California (it’s no longer there, so don’t plan a visit), My Best Friend’s Birthday only exists in a truncated 36-minute cut because large parts of it were destroyed in a fire. Still, the seeds of the QTCU are there. For one, Quentin plays a character named Clarence who, early on, discusses his love of Rockabilly music and Elvis’ acting ability. This would, of course, foreshadow Christian Slater’s character in True Romance, a script written by Tarantino but directed by the late Tony Scott. In Birthday, Tarantino’s Clarence hires a call girl to show his friend a good time on his special day a sequence of events that would be flipped in True Romance, when Slater’s Clarence finds himself on the receiving end of a birthday call girl surprise.Reservoir Dogs (1992) 92%Tarantino s signature work, the movie that launched him as a filmmaker. In this tale of a jewel heist gone wrong, the audience is treated to flashbacks that fill in the stories of each of the movie’s black clad, code-named criminals. We find out that Mr. White (Harvey Keitel) used to run with a partner named Alabama. Of course, a woman named Alabama Whitman (later, Worley) is seen getting a taste for a life of crime in True Romance, the Tony Scott film that Tarantino wrote (see below). We also learn that Mr. Blonde (Michael Madsen) is named Vic Vega, as in the brother of John Travolta’s Vincent Vega in Pulp Fiction.True Romance (1993) 93%(Photo by Warner Bros. courtesy Everett Collection)Apart from the obvious connections to earlier films the Rockabilly-loving Clarence and call girl-turned-crook Alabama there is a more subtle cinematic link in Tony Scott s Tarantino-penned action adventure. The movie climaxes with a drug deal in the hotel suite of big time movie producer Lee Donowitz (Saul Rubinek, channeling real life producer Joel Silver). Donowitz is a producer of war movies fitting because his father, Donny Donowitz, fought in WWII as part of the Inglourious Basterds. You might remember him as the baseball bat-wielding avenger known as “The Bear Jew” (played by Eli Roth).Pulp Fiction (1994) 92%(Photo by Miramax Films)Pulp Fiction, which celebrates its 25th anniversary this year, is arguably the Iron Man of the QTCU, because it’s really the one that takes the threads and begins to weave them together. The film introduces us to several brand names that would become central players in Tarantino’s world, starting with “that Hawaiian burger joint” Big Kahuna Burger Samuel L. Jackson’s Jules takes the world’s most intimidating bite of one of these burgers and washes it down with a tasty beverage from the place early in the movie. Later, Bruce Willis’ Butch Coolidge orders a pack of Red Apple cigarettes, a brand that shows up in just about every subsequent QT movie. Finally, Christopher Walken’s Captain Koons he of the legendary “gold watch” speech is also a descendant of “Crazy” Craig Koons, one of Django’s bounties in Django Unchained.Natural Born Killers (1994) 49%(Photo by Warner Bros. Pictures)Although Natural Born Killers was directed by Oliver Stone, the script was pure Tarantino. We mentioned earlier the brother connection between Vic and Vincent Vega, but there is another set of brothers that was first introduced in Reservoir Dogs, too. In Dogs, Vic complains about a pain-in-the-ass parole officer named Seymour Scagnetti (we never actually see him), whose own brother, Jack, would show up in Natural Born Killers (played by Tom Sizemore).Four Rooms (1995) 14%In the Tarantino-written and -directed segment of this anthology film, the characters are seen smoking Red Apple cigarettes. Tarantino’s character also refers to his drink as a “tasty beverage,” which echoes the same colorful turn of phrase Jules used in Pulp Fiction.From Dusk Till Dawn (1996) 62%Tarantino wrote the script for this Robert Rodriguez-directed horror film and peppered in some of his signature touches. There are Red Apple cigarettes present and accounted for, and George Clooney’s Seth Gecko at one point makes a run for Big Kahuna Burgers. The movie also introduces gravelly-voiced, no-nonsense Texas Ranger Earl McGraw (played by Michael Parks), who would become a key player in the QTCU. It’s also worth noting that the movie features yet another pair of brothers (Seth and his brother, Richie, played by Tarantino) who have a thing for black suits.Jackie Brown (1997) 87%(Photo by Miramax Films)Beware of people who claim that, because it was based on an Elmore Leonard novel and not an original Tarantino idea, there are no overt connections to the QTCU in Jackie Brown. They’re just not paying attention. Midway through the film, we see Jackie in the Del Amo Mall food court, enjoying a meal from Teriyaki Donut the same fictional fast food franchise whose food Ving Rhames’ Marcellus Wallace is carrying when Butch Coolidge runs him down in Pulp Fiction. In a second food court scene not long after, we not only see Jackie indulging in Teriyaki Donut again, but her accomplice Sheronda (LisaGay Hamilton) sits down at her table with a tray full of food from Acuña Boys, which would later be referenced in Kill Bill Vol. 2 and appear a couple of times in Grindhouse.Kill Bill: Vol. 1 (2003) 85% and Kill Bill: Vol. 2 (2004) 84%(Photo by Miramax Films)We’ll treat this kung fu-inspired magnum opus as one film, with plenty of easter eggs to link it to the larger QTCU. For one, if you look at The Bride’s (Uma Thurman) old gang, the Deadly Viper Assassination Squad, you’ll notice that they all fit a little too easily into Mia Wallace’s description of her failed TV pilot, Fox Force Five the blonde leader, the Japanese kung fu master, the black demolition expert, the French seductress, and Mia’s. character, the deadliest woman in the world with a knife (or sword?). The first cop on the scene after the Bride’s wedding day massacre is, of course, Earl McGraw, and Red Apple and Big Kahuna also make appearances. And remember Acuña Boys from Jackie Brown? In Vol. 2, they happen to be the name of the gang that Michael Parks Esteban Vihaio runs.Grindhouse (2007) 84%(Photo by The Weinstein Co./Dimension)In both the Tarantino portion of this double feature homage, Death Proof, and the Rodriguez portion, Planet Terror, there are connections to the QTCU. Big Kahuna burgers are mentioned, and Red Apple cigarettes are smoked. On top of that, an ad for Acuña Boys Authentic Tex-Mex Food first glimpsed in Jackie Brown pops up during intermission, and one of Stuntman Mike s early victims, Vanessa Ferlito s Arlene, can be seen sipping from an Acuña Boys cup. Texas lawman Earl McGraw also reappears, along with his son, Ed, and we learn there is a sister named Dakota, too, who features in Planet Terror. As kind of a bonus, Rosario Dawson’s Abernathy has a familiar ringtone on her phone it’s the same melody whistled by Elle Driver (Darryl Hannah) in Kill Bill Vol. 1.Inglourious Basterds (2009) 89%(Photo by Francois Duhamel/©Weinstein Company)In addition to Donny Donowitz, Michael Fassbender’s English soldier-turned-spy Archie Hicox has deep ties to the QTCU, it turns out. Late in the old west-set Hateful Eight, it is revealed that Tim Roth’s Oswaldo Mobray is actually a wanted man named “English Pete” Hicox, Archie’s great-great-grandfather.Django Unchained (2012) 87%(Photo by The Weinstein Co.)We’ve already mentioned “Crazy” Craig Koons, but there is another deep cut reference to Django hidden in an earlier Tarantino movie. In Kill Bill Vol. 2, Bill’s brother Budd (played by Michael Madsen also another pair of QT brothers!) buries the Bride alive in the grave of Paula Schultz. This is the lonely final resting place for the wife of bounty hunter Dr. King Schultz (Christoph Waltz) in Django. The Hateful Eight (2015) 74%(Photo by The Weinstein Company)In addition to the Hicox family tree, Red Apple tobacco the early version of the soon-to-be ubiquitous (in the QTCU, anyway) cigarette brand makes a couple of appearances here. Demián Bichir s Bob smokes a Manzana Roja right after the intermission, and Channing Tatum gets a custom-rolled Red Apple cigarette his favorite from Dana Gourrier s Miss Minnie.Once Upon a Time... In Hollywood (2019) 85%(Photo by Columbia Pictures)At one point in Kill Bill Vol. 2, The Bride drives a blue Volkswagen Karmann Ghia. That same car shows up (driven by Brad Pitt’s Cliff Booth) in Hollywood. And not only do Booth and Leonardo DiCaprio’s Rick Dalton smoke Red Apples (of course), but there’s an end-credits scene in the movie that shows Dalton doing a TV commercial for the cigarette brand.Pulp Fiction was released in theaters on October 14, 1994.
Addison Wright’s Hiplet: Because We Can is part of the Scene In Color Film Series, presented by Target, which shines a light on incredible filmmaking talent. As part of the series, three emerging filmmakers will receive mentorship from producer Will Packer, and their films are available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App.They have the “sexy walk;” “the pretzel;” “the dougie;” “the Vivian.” These aren’t 1950s innuendoes. They’re the dance moves performed by a special Chicago-based ballet company. Founded by Homer Hans Bryant, hiplet is a combination of hip-hop and traditional ballet performed to dizzying, intoxicating effect by a collection of incredible local dancers. Director Addison Wright, another Chicago native, decided to make a film about these viral sensations after discovering the troupe on Instagram. His eight-minute documentary short, Hiplet: Because We Can, was an Official Selection at the 2020 South by Southwest Film Festival, later became a Vimeo Staff pick, and is now part of the Scene in Color Film Series. Wright’s film, titled after the dance, fuses together a choreographed music video feel with a precise documentary style for a lively exploration of this new invigorating movement style. Though the performers’ movements speak for themselves — their swaggering strides texture their powerful, beautiful Black forms, mesmerizing the frame with an undaunted spirit — Wright interviews them, too. The ebullient ballerinas explain the pushback they’ve experienced in a classically white-defined world for their unique artistic identity, their varying body types, and their Blackness. In Hiplet, Wright casts an immersive and empathetic lens toward these talented women. He demonstrates a nimbleness in his filmmaking, capturing the balletic patterns of the dancers while oscillating between striking colorful compositions and equally magnetic black-and-white filmed interviews. Hiplet is not just an exhilarating introduction to a new, evolving ballet style, but a perfect launching pad displaying Wright’s fresh, assured voice. Here, Wright talks to Robert Daniels, a Chicago-based Tomatometer-approved Top Critic. Robert Daniels for Rotten Tomatoes: How did you first get into filmmaking?Addison Wright: I grew up during the 90s, so I was glued to the TV watching MTV and BET. I ve always been mesmerized by music videos and by directors like Hype Williams and Spike Jonze, and Little X. So early on I knew I had a passion for it. I went to Simeon High School in Chicago, where I played football all four years. I ended up getting a scholarship to Delaware State University. I played football there, and my major was TV production. I didn t have a camera in high school or anything like that, but once I got to college I realized this was something I wanted to go after. I ended up getting hurt around my junior year in college. So I didn t play football, but the team would have me around so I traveled and filmed practice and the games. When there wasn t any practice or a game, I would borrow the camera and film music videos around campus. That s when I got into learning how to build narratives within music videos. So I was taking some of the stuff that I learned in some of my classes, and applying it to my videos. That s where my passion started.(Photo by Addison Wright)Daniels: Where and when did the idea for Hiplet first form?Wright: I was on Instagram and on my Explore page I saw these Black ballerinas doing ballet a bit differently. So I clicked on it and I heard the music and saw them in the dance studio and thought these girls are dope. I was scrolling up and began seeing them again and again. So I researched online about the Hiplet ballerinas and saw some of the commercials that they were in like Old Navy commercials and Mercedes-Benz and featured in Japan and some other places.Then I saw they were based here in Chicago and I was like, whoa this is a story that needs to be told. Initially the concept was me doing an entire music video of them. I wanted to shoot it in Chicago’s South Shore Cultural Center because that was a white-only establishment a hundred years ago. And I want to place Black girls in this beautiful cultural center, and just let them do their thing in a place they wouldn t have been able to a hundred years ago. But once we got the cost back for how much it was going to be to rent that space, I knew we couldn’t do that.So we ended up finding a gym on the south side, the Grand Ballroom, which is on 64th and Cottage Grove. You won’t even notice it if you drive or walk past, but if you look up you can see the beautiful terracotta. The story grew by me going, at least once a week, to the studio to film the girls and watch them rehearse and practice just to see how they move around and to see their personalities so I would know different angles and areas to pay attention to. Homer, he s the founder of Hiplet, and I were having a casual conversation and he told me how much these girls go through. Whenever they post something online, people are making fun of them but those same people are emulating what they do. It comes from within the dance community. People from different races look at them and see how they aren t doing traditional ballet, so they talk about them. So I decided to give the girls the floor: We ll film them, but we ll also let them talk about the adversity they often face. That s what kinda changed the path of the film being a music video. That s what made me realize how I wanted it to be a short and a documentary, but with the feel of a music video.Daniels: How long was the shoot?Wright: The shoot was about a 12-hour day. We started loading around eight in the morning and we wrapped with the girls around eight o clock at night. It was a bit longer for us, but the girls were there all day. It was a lot of rehearsing. When the girls showed up, they knew what they needed and we knew what we needed to do as far as setting up lights and blocking. Daniels: I want to get back to the blocking. I think what s so great about your film is you can feel the energy of the dancing. How did you get to that point where you got the right angles to bring the live energy onto camera?Wright: My DP, Dan Frantz, and I would go to the studio where girls would be rehearsing and we would film certain parts of the performance. That was a month out before we actually filmed. We would sit down and figure out the best angle for where the camera needed to be and lighting diagrams. We also went to the ballroom and took some pictures. I knew where I wanted to place the girls. I knew some of the angles that I wanted to hit just based off of their choreography. But it was a collaboration between him and me. We were rushing against the clock to get certain things because we only had the location for one day. But my goal was to really capture the energy of the ballerinas. Make sure they re making eye contact. Anytime the camera came around, I made sure that I told them to interact with the camera. If it s near you, look down at the lens, look through it just like you re on stage and somebody makes eye contact with you in a crowd. The camera is the crowd.Daniels: And now your film is part of the Scene in Color Film Series. How did you hear about the opportunity and what drew you to it?Wright: It s funny, I didn t know anything about it until they reached out to me. And I was completely blown away. Even when I talk about it right now, I m still in shock because it s all just surreal. They said they saw the film and they really loved it. And I was like: Me, really? That s dope that they love the film. About three weeks later they gave me the details and I found it incredible. I remember making the film public in February on Vimeo and it ended up becoming a Vimeo staff pick and then went viral. A month after that was when NBC reached out to speak with me.Daniels: How are you feeling about having a producer like Will Packer as a mentor?Wright: It s an incredible feeling having someone who is a powerhouse within the industry and within the Black community as a mentor. Even hearing myself say that, it sounds unreal. Just to be able to have opportunities to pick his brain and to have the opportunity to ask what to do in this situation, in certain situations, or do you think this is a good idea, can only help my career in an extremely positive way. He may be able to give some insight from his experience. He may be able to point me into a direction that may give me more exposure. I m extremely excited to be able to just chat with him.Daniels: What guidance or advice has Will given you so far?Wright: I asked him what s his favorite film that he’s ever done, the one that left him with the most memories. He said Stomp the Yard. In a nutshell, he wanted to do that film to provide inspiration to people. Being able to hear that from him let me know I m doing the right thing. My goal as a filmmaker is to inspire people through the lens. And if it can t change the world, at least I’ll open one person’s eyes. Will also said he enjoyed the film and I was where I was supposed to be. To hear that as an up-and-coming filmmaker, as a Black filmmaker, you know, to hear from Will Packer that I m where I m supposed to be, it s extremely crazy, man. It floored me. That solidified me as a filmmaker in my eyes and in my heart.Daniels: What do you hope people take from Hiplet?Wright: I m born and raised in Chicago, and Chicago always gets a negative light put on us. I want people to be able to see these Black girls on TV, on their phones, and on their computers to see how, number one, beautiful they are; number two, how they re taking ballet in a totally different direction by not changing ballet but by adding a twist to it. I want it to be motivational for Black boys and girls by seeing someone that looks like you, that s doing something that s changing the world of ballet by shaking things up.See more shorts and meet more filmmakers from the Scene in Color Film Series. 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.
With the success of series like The Terror, The Haunting of Hill House, and American Horror Story, television has never been a better medium for creators interested in telling spooky stories on a regular basis. The latest entry into the genre is Creepshow, a TV anthology version of the Stephen King/George A. Romero horror film that debuts today on genre-focused streaming service Shudder.Spearheaded by The Walking Dead boss Greg Nicotero, the series pays tribute to its roots by telling frightening stories of many ilks (gory, suspenseful, silly, unsettling). The first episode features the installments “Gray Matter,” based on the King story of the same name about an alcoholic whose booze of choice might affect him in more nefarious ways, and “The House of the Head,” about a girl who discovers a killer severed head in her dollhouse.Earlier this year, Rotten Tomatoes visited the series’ Atlanta set, where we walked through blood-soaked sets, saw creatures being made, and saw a werewolf decapitate a Nazi. Here are six things we learned about the show while we were there.1. It’s in good hands with superfan Greg Nicotero(Photo by Priscilla Grant/Everett Collection)The Walking Dead boss is a lifelong horror fan who got his start working on special effects makeup with Romero and Creepshow’s effects mastermind Tom Savini on Romero s Day of the Dead.With this Creepshow reboot, “I want to embrace the spirit of the original movie,” Nicotero said from his windowless office in an Atlanta production facility. “I’m not rebooting anything. It’s not like, ‘Oh we’re going to upgrade it and retell it.’ It’s really like you’re picking up another issue of Creepshow, and these are the stories.”The stories include works from King, one from King’s son, Joe Hill, plus more adaptations of existing stories and a few original tales. Nicotero was so dedicated to the project that he began working on it during The Walking Dead, taking just a week off before flying back to Atlanta to begin pre-production on Creepshow.2. The series was filmed in an uber-short time frame(Photo by Shudder)Each of the six episodes contains two stories, and each story has just three and a half days to film.“You can’t stop filming for 12 hours. You can’t eat, you can’t go to the bathroom, and you’ve just got to keep filming and go crazy,” Nicotero said in a short break while filming the final two installments.On one stage, special effects experts prepared a dummy for its impending decapitation — the fake blood spurting everywhere meant they had just one take (or risk spending hours cleaning up the blood only to set it all up again. On the other, the production team used a forklift to place a massive monster they created on the set of the story they’d begin filming the next day.Originally, Nicotero wanted to film even more stories, but with a packed production schedule spanning from the beginning of January through the end of March, it wasn’t enough time to fully realize that many tales.“I was pretty greedy at first. I was like, ‘We should do three stories per episode, and each story should be like 17 minutes,’ and then we got into production and I was like, ‘What the f was I thinking? We should do two, ” he admitted.3. For practical effects, Nicotero brought in the experts.(Photo by Shudder)Special effects guru Savini worked closely with Romero on many of his films, including the original Creepshow. So it was only natural Nicotero would hire him to helm a story of his own (Joe Hill’s “By the Silver Water of Lake Champlain”).“It’s 98 percent practical effects — all the creature work, all the makeup, the werewolves, the puppets,” Nicotero said.Evidence of that mandate is strewn about the production spaces that once held Gabrielle Union’s BET drama Being Mary Jane — cardboard boxes loaded with fake animal carcasses are piled next to busts of various creatures. (And sets from s
亚博APP下载官网下载安装 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