九游会ag登陆入口采用百度引擎7（Baidu 5）The American Film Institute (AFI) announced its official selections of the top 10 movies and TV shows for 2020 this morning. Among the honorees are some of the buzziest television series of 2020, with streaming giant Netflix dominating both the film and television categories with four picks in each.The steamy period drama Bridgerton and Anya Taylor-Joy starrer The Queen s Gambit joined Unorthodox and The Crown on the TV side while Spike Lee s Da 5 Bloods, Aaron Sorkin s The Trial of the Chicago 7, David Fincher s Mank, and Chadwick Bosseman s final film, Ma Rainey s Black Bottom, were singled out by the institute as top films of the year.As expected for this strange VOD/streaming-heavy awards season, other streamers also appeared on the annual list, including Amazon with Sound of Metal and Regina King s One Night in Miami, the Disney+ flagship show The Mandolorian, and Pixar s Soul. Lin-Manuel Miranda s Hamilton, which made its global premiere on Disney+ this summer, was also designated for a special honor in addition to the 20 honorees. Read below for the full list of AFI winners, and if you re as obsessed with awards as we are, check out our Awards Leaderboard for 2020/2021.Top 10 Movies(Photo by Amazon Studios, Joshua Richards/©Searchlight Pictures)
(Photo by Courtesy of Sundance Institute | photo by Kasia Ladczuk. )Five years after The Babadook made Jennifer Kent a household name – at least within the homes of adventurous filmgoers with a thirst for smart and terrifying horror – the Australian director returns with a brutal, controversial, and Certified Fresh surprise. For her second feature film, The Nightingale, Kent moves away from the horror genre and jumps back in time to 1825 Tasmania, the small island at the base of southeast Australia from which some of the darkest stories of the nation s colonization have emerged. It s a bleak setting for a brutal story. Irish convict Clare (Aisling Franciosi) seeks revenge on a British officer (Sam Claflin) after he and two other men rape her and kill her husband and baby. Her chase takes her through the wilderness of Tasmania as the officer and his crew head north to the city of Launceston; to navigate the woods, she enlists – steals, really – Aboriginal man Billy (Baykali Ganambarr) to work as her tracker. At Sundance in January, where the film had its U.S. debut, a number of audience members walked out of the premiere screening, mirroring reactions at other film festivals where the film has screened. There are multiple scenes of rape, two of them extended, and moments of extreme violence. But there is also an unflinching honesty that drives the film, a rage, and a refusal to turn away from the brutality of colonial history that many are hailing as an overdue corrective to more sugarcoated readings of the period. Rotten Tomatoes met with Kent the day after the Sundance premiere at a hotel lobby in Park City, Utah, to talk about reactions to the film and the director s determination to throw a torch into dark corners, no matter how uncomfortable it makes those who have to look.Joel Meares for Rotten Tomatoes: When you introduced the film last night, you said you didn’t necessarily think of it as a period film, but a contemporary film. What did you mean by that?Jennifer Kent: I mean, I think of it as a myth. Not in that it s untrue, but just, I love myth. I love mythical stories, but I don t really love period dramas that kind of focus on costumes and sweeping images. I guess I meant that the concerns of the film are modern. You know? Charlie says, ‘It s a really brutal time.’ But I think [the time] where we re living now is brutal.Rotten Tomatoes: Watching with an American audience, when you made the comment about it being a brutal time, I think everyone sort of chuckled assuming it was a reference to U.S. politics. But being at that screening so close to Australia Day [which marks the day the first fleet of British settlers arrived to colonize the country], it felt much more directed at Australia and the debate around Indigenous rights and history there. It hit hard. Kent: Yeah, well I m really happy to hear. Not happy to hear it hit you, but I mean, I am, because I feel I have so much to say. I went to the Adelaide Film Festival, and I was really scared about how the Australian audience would take it to be honest. I just thought, we ve had such a blind spot in the past historically. And I think we went in with such sensitivity to that, but we couldn t not tell [certain parts of the story]. You can t not include those things in 1825 Tasmania because that is what happened. But also I think in order for this to change we need to shine a light on the darkness. Then we will really start to move forward, I think, have some kind of reconciliation and evolution together.(Photo by Matt Nettheim, © IFC Films)Rotten Tomatoes: How was the reaction at that first Australian screening in Adelaide?Kent: So yeah, I was really scared. And at the end of the screening no one left, no one clapped in the credits. It was dead silence for the whole, I don t know, those credits were four minutes or something. Then after the music ended and the screen went black, they stood up and gave a standing ovation for several minutes. And it really felt real – because Australians don t give standing ovations.Rotten Tomatoes: The film contains some brutal scenes, including two extended rape scenes and then there’s a smashing of a man’s head, shown graphically. How sensitive are you in shooting and editing in terms of how far to take it and how much an audience will be able to take? Kent: I mean yes that s violent, but no more violent than, say, Game of Thrones. But I don t think that s what disturbs people. I think it s all context. For example, if you sat and broke down that big long scene in the hut [in which Franciosi’s character Clare is assaulted by three men], there are only faces. It s just human emotion. That blows my mind that that s what really angers people. And you know, I ve been asked, ‘Do you feel you have the right to put this on screen?’ Well I don t believe in artist censorship for one, but I also think, ‘What are you asking me to censor? Human emotion? Is that what you want me to take out? Human hatred and rage?’ No, I won t do that. A person [at the Q A] last night had said, ‘How are you going to get this film seen across the world, because you show a baby being murdered?’ And I said, ‘No I don t.’ I said, ‘Your mind saw that. I don t show that on screen.’ I ve seen it thousands of times, I know I don t show it.I could tell you all sorts of terrible stories that are documented historically that happened in that period that would just shock you to your core. And I think the only thing I think I can say is, I ask the idea, ‘How far do I need to go?’ And the idea tells me. I m in service to the story. I try with all my heart to tell the purest story I can. It s not about me.(Photo by © IFC Films)Rotten Tomatoes: The film gives audiences an incredibly blunt, unfiltered portrayal of the way indigenous Australians were treated in that period – and for a long time after. It’s like no film I’ve seen in that way. There are rapes; Billy is treated like an animal. You don’t turn away from anything. And it’s confronting and hard to watch at times.Kent: It is. It is. I mean all I can say is the Aboriginal people who worked on the film are so proud of it. You know I wish Baykali [Ganambarr, who plays Billy] was here. He s doing a tour, a world tour with his dance group, but he always says, ‘It s not sugar coated. It s as it was.’ And I m really proud of it.Rotten Tomatoes: Baykali’s performance is incredible in this film. It’s a shock to hear it’s his first role. Kent: He hasn t acted before, but he s an experienced dancer, so he understands performance. I can t speak highly enough of Baykali. I love him and he s a genius actor. Incredibly bright, emotional intelligence. So dedicated. So easy to work with. He just was Billy. He really understood the character. You write a character like that and I thought, ‘How the hell am I gonna, A, find them and, B, direct them?’ It was just meant to be.Rotten Tomatoes: He’s well matched by Aisling. I remember seeing her in The Fall a few years ago and thinking that she stood out. And the character of Clare is fascinating: She’s sympathetic because of what happens to her at the beginning, but then she loses some of our sympathies because of the way she treats Billy initially. She’s racist and brutal in the same way as the British officers. Was there any temptation to smooth those edges down?Kent: No. I mean it s what I tried to do with Essie [Davis], who played Amelia and The Babadook, as well. For example, Amelia going, ‘Oh, my sick kid, I ve got to go home and look after him,’ and then she goes to the shopping center, has ice cream, and sits. She doesn t want to be with her child. It s really important when I m creating characters to find, you know, a human being. We re all complex. And I think Clare is a product of her time. And people were racist. That old man towards the end, there were people like that and that s why he s in there, because there were people who understood that this system was wrong. It wasn t a collective blind spot. There were people like him; he wasn t just a fantasy or hope of mine. People like that existed in history books. They re there. Just not many.(Photo by Matt Nettheim )Rotten Tomatoes: Speaking of horror, because that audience does know you from The Babadook. The movie has a kind of horror structure starting out; something like I Spit On Your Grave or Last House on the Left, with a big brutal thing happening and us expecting then some sort of satisfying revenge. But it doesn’t stick to that at all, and doesn’t give us that.Kent: If you love those movies you ll be terribly frustrated by this film, really, don t you think? Be like, ‘What s going on? What s this with the, you know, compassion and empathy?’ No. I don t want that. But you know it s a backdrop. It s not a right revenge film. It s not.Rotten Tomatoes: [SPOILER WARNING for the end of The Nightingale]. Indeed. She doesn’t even get to be the one who gets to do the avenging in the end. Was there any temptation to have her do the killing and give the audience that catharsis?Kent: Only from the financiers, not from me. I m not interested in giving an audience satisfaction. I think often we re fed stories that are comforting and for all the wrong reasons. And more and more it s happening. I think that s not personally my job to spoon feed people, or make them feel safe, or make them feel better about the world.Rotten Tomatoes: What do you see as your job?Kent: I think my job is to serve the story that comes to me, hopefully on a deeper level. And to move people in some direction. And I can t be responsible. It s like, you put a painting on the wall, but you can t be responsible for how people feel about it. I know in my own life, for example, it s the story I always remind myself of: I saw Mulholland Drive and I hated it. I was so angry, you know, it s two-and-a-half hours long, nearly three hours long, and I was so pissed off. I was like, ‘This is stupid stuff with the box.’ And really irritating. Even though I loved her performance, it really irritated me. Then I ve seen it like 10 times since then. Now I realize it was no problem with the film, it was me that was the problem. I appreciate so much more his vision. And I love it, it s a masterpiece. I never thought that I could change my opinion or feeling about a work of art, but you can. So, we can t as artists bow to what we think people [want], you know. You can t want to be liked.The Nightingale opens in limited release August 2, 2019. 这里的驯兽玩法并不是传统手游的养宠玩法，这里被驯服的生物，都是需要玩家制作麻药将其击倒再驯化，被驯化的生物可以帮助玩家作战，可以成为玩家坐骑，甚至还能帮助玩家完成生活上的琐事，像盾面犀就可以帮助玩家砍树，大角羊可以帮助玩家采集果子，如果你也想在《黑暗与光明手游》世界中驯养一个忠实伙伴，可以关注官网预约获取游戏激活码体验这款游戏。
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7.50.2 7月喜迎After all the puzzlement, wonder, and possible curses, HBO’s Watchmen is finally out in our world. Exquisitely produced and full of the sort of heady content the prestige cable channel favors, it is easy to see how people will be commenting on its cops-vs.-white supremacists A-plot for the next nine weeks.But as these ideas are only just percolating in the first episode, fans of the original graphic novel have another viewpoint to grapple with: how Watchmen builds on the tangential world of the original 1986 comic book maxiseries by Alan Moore, Dave Gibbons, and John Higgins. As it is now clear this is a story set in that same world with the potential to become a direct sequel, it is fair to examine how executive producer Damon Lindelof (The Leftovers) and his team used the iconography devised by the comic book s creative team to put their treatise on race relations in the Watchmen context.Let’s take a look at what the season premiere revealed about the program’s world so far and how it draws from the comic book to establish its reality.Points of Departure(Photo by Mark Hill/HBO)Any good piece of fiction set in an alternate reality must address the point in history where its world diverges from our own, as Amazon’s The Man in the High Castle, for example, communicates easily. The point at which Watchmen diverges is a little more subtle, as it is not based in a historical event but a movement in fictional storytelling. Considering Moore and his collaborators were working for DC Comics, we’ll use June of 1938 – the publication date of Superman’s first appearance in Action Comics #1 – as the rough moment at which Watchmen s world and our own diverge. If the Watchmen comic book is an examination of a world in which costumed heroes had a real effect on U.S. history, then it is reasonable to assume they first debuted during that pre-war summer.While the point of departure is not addressed in the episode itself, it is worth making that assumption as the episode’s opening scene – a depiction of the Tulsa Race Riot – takes place in 1921, a good decade and change prior to the arrival of masked crusaders. Opening on that tragedy, and the racial motivations behind it, is very much a statement of intent from Lindelof. The Watchmen comic contains a wide number of themes, but race is only partially addressed. In the television series, it is the foundation of its major plotline. In using a real historical event, in which the most affluent black community in the U.S. at the time was leveled, and setting the series in the same city, Watchmen reminds the audience that both our reality and it share an abiding wound despite very different outcomes for Watchmen s World War II and Vietnam War — as well as other conflicts altered thanks to the mere existence of Dr. Manhattan and the other Minute Men.Since the riot took place prior to our presumed point of departure, the legacy of those events simmer under the other, more fantastical events of the Watchmen world. The program’s opening moments – a silent film detailing the exploits of real life U.S. Marshal Bass Reeves – suggests the world of Watchmen may have other points of departure predating 1938.Rorschach’s Mask As a Symbol of White Supremacy(Photo by HBO)Back in Watchmen, it is easy to see Rorschach’s journal as a manifesto more aligned with extremist ideologies. Of course, nothing is truly black and white in that story – which is, in many ways, the whole point – so it is doubly interesting to see his iconography so closely related with the Seventh Kavalry, the unambiguous bad guys of the Tulsa storyline. For readers of the original comic, the journey his mask makes following his death could be one of the most interesting elements of the series fictional history.Spoiler alert: If you haven’t read Watchmen, the following contains spoilers.(Photo by Mark Hill/HBO)In the comic book, Rorschach is the first of the still-active Minute Men to learn of the Comedian’s death, and his investigation brings the others together and eventually leads them to the culprit, Adrian Veidt. But, again, nothing is black and white, so his reasoning for the murder (and the subsequent annihilation of New York) is something most of the characters find they can live with: He intends to scare the world into an age of peace and prosperity. The only one among them who cannot accept murder on this scale as the price of peace is Rorschach himself. And it costs him his life.That reversal is one of the great literary tricks of the original comic book series. Just about every major character has a moment where they are the protagonist and the antagonist, and, as it happens, a reader can find themselves agreeing with Veidt because this is just a story and it is all quite academic (see also: Thanos grim calculus in Avengers: Infinity War). For those readers, Rorschach becomes the bad guy in the story s final pages and, on some readings, you can even see his acceptance of death as a heroic play to stop himself from spoiling Veidt’s golden age.We glimpse that world of peace for a page or two before Rorschach’s journal, which he sent to a conservative-leaning magazine called New Frontiersman, seemingly undoes everything Veidt tried to achieve. At least, we hope subsequent episodes will offer concrete details as to why the paradise the heroes agreed to did not stick. But at the moment, we can infer that the magazine published Rorschach’s journal and made Veidt the enemy of the world (note the newspaper reporting Veidt’s death as “confirmed”). It also, presumably, made Rorschach himself something of a hero among New Frontiersman s readership and, across the decades, he became a central figure of white separatist movements as he was white himself and espoused a certain type of moral purity often popular among extremists — the very one the Seventh Kavalry quote from his journal in their video to the Tulsa police.Rorschach would not necessarily have aligned with the Seventh K during his lifetime — though, we admit, he espoused a lot of their ideas — making it a curious legacy for the character. Again, nothing is black and white in the Watchmen comic, but passing decades have a habit of flattening notable people to a handful of key details and the nuance of Rorschach’s life disappears as he becomes part of the Seventh Kavalry’s mythology. The only thing black-and-white about the representation is the character’s mask, which here has transformed into that group s most powerful symbol.Squid Storms(Photo by Colin Hutton/HBO)The squid looms large in Watchmen history and is the key omission from the 2009 film adaptation. Veidt’s ultimate plan was to unleash an allegedly alien squid on Manhattan, killing all around it and scaring the nations of the world into peace. The creature was the product of the finest minds Veidt could corral – and at least one comic book creator. Until the publication of Rorscach’s journal, the plan worked – as evidenced in the comic’s second-to-last page – but the series introduces unintended consequences, which the book had no interesting in addressing.Watchmen’s debut episode suggests squid storms occur regularly. Much smaller versions of the original creature rain from the sky and are hazardous enough for cities to invest in warning sirens (a newspaper tells us deaths do sometimes occur during these storms). The way Angela Abar (Regina King) deals with the mess the storm leaves on her car shows they are also an annoyance. It may be the program’s best usage of the time gap between the original comic book series and the modern television show, as time has turned Veidt s attempted legacy into an occasional moment of inclement weather.Of course, the Lord of a Country Estate’s (Jeremy Irons) squid-themed anniversary cake suggests Adrian Veidt may have another legacy in the works for the world.One has to wonder if that new legacy will tempt Dr. Manhattan back from Mars. When we last saw him in the comic book, he was unwilling to tell Veidt if the terror he unleashed on New York was worth it in the end. Instead, Manhattan merely says Nothing ever ends. He also mentions leaving Earth s corner of the universe for some place else, but as the first episode reveals, he may have spent the last few decades making sandcastles on the red planet. Will he finally have an answer to Veidt s question?Police-Issue Archies(Photo by Mark Hill)With all that background world building in place, the first episode of Watchmen devotes most of its run-time to its real premise: in 2019 of the Watchmen world, cops dress like superheroes to protect their identities. Angela is known as Sister Night, a Tulsa PD detective who works with Looking Glass (Tim Blake Nelson), Red Scare (Andrew Howard), and the curiously-named Pirate Jenny (Jessica Camacho). They are all distinctive (though rank-and-file offers remain in customary police blues augmented with Watchmen yellow half-masks), suggesting detectives on the Tulsa police force have a major say in their costumes. It also suggests Red Scare did not put a lot of money or effort into his persona.But will all the eye-catching looks, it may have been easy to miss the coffee cup Angela drank from while talking to police chief Judd Crawford (Don Johnson). It had an owl-design which will tip off any and all Watchmen readers that Dan Dreiberg, aka Night Owl II, may have had something to do with Tulsa’s implementation of masks in law enforcement. When we last see him in the comic book, he is one of the few to seemingly thrive in the paradise Veidt tried to create. Is it possible he survived the tumult after Rorschach’s journal went public to become this world’s version of a tech giant?RELATED: What Critics Are Saying About WatchmenThe fact the police use a vehicle very similar to his flying Owlship suggests he or his decedents are profiting from the current climate. Although, it may just be evidence of Crawford s abiding love for all things Nite Owl — he also had a copy of Nite Owl I s autobiography on his desk.But should it turn out that Dan supports or supported police departments after 1986, it also reflects one of the major differences between Watchmen’s world and our own: the lack of the internet. Though not a major idea in this first episode, we hope the lack of a near-instantaneous global communication tool factors in as the series progresses.Or, maybe, the Internet is Veidt’s next attempt at a legacy. Will the Watchmen world be able to handle it?Watchmen airs Sundays at 9 p.m. on HBO.
With Stephen King s name behind it and a resurgence of interest in nostalgia-fueled entertainment, 2017 s It was probably always going to be successful, but few could have predicted that it would earn widespread critical acclaim (Certified Fresh at 86%) and break box office records when it first opened. The runaway success of the film, which covered just half of King s behemoth source novel, only further guaranteed that the sequel necessary to complete the story would be produced in short order, and that s what we got this past weekend. As it turned out, fewer critics were on board with It: Chapter Two, resulting in a 64% on the Tomatometer, but it debuted right behind its predecessor to achieve the second-highest grossing horror film opening and second-highest grossing opening in September ever.So we know audiences absolutely turned out to see the film, but what did they think of it? Based on over 12,000 verified audience reviews, It: Chapter Two currently holds an Audience Score of 80%, just a few points shy of the first film s 84% Audience Score, even though the critics found it far less satisfying. With that in mind, we decided to dig into the audience reviews themselves to see what it was that regular moviegoers saw in Chapter Two that the critics didn t. Check out the user reviews of It: Chapter Two and let us know what you thought of the film, and these reviews, in the comments. (Note, some of the reviews have been slightly edited for length and grammar/spelling.)(Photo by Brooke Palmer/© 2019 WARNER BROS. ENTERTAINMENT INC.)How does it compare to the first chapter?My first thought when it was over was, There was no need for this film. It basically tells the same story as the first one, except with adults. Anne M, 3 starsIf you like chapter 1, you ll like this. The Weasel, 4 starsI personally loved it more than the first. Cody A, 5 starsJust as fantastic as chapter one!– Simon B, 5 StarsAnd what about the 1990 TV miniseries?Loved it. Almost as good as the original, but no one can beat Tim! Didn’t even feel that long. Ross K, 4.5 starsI felt I had way more closure and understanding of the story once the end came than I did over the original version of It. Michael, 4.5 stars(Photo by Warner Bros. Pictures)Is it scary?Felt like it was dragged out, and it wasn t scary at all. Joey, 1.5 starsCouldn t figure out if it was trying to be funny or be a parody of itself, but it broke up any intensity it could have had. Adam R, 2.5 starsIt didn t scare me, but it was sure funny. I could not stop laughing! It was good. Trenton S, 3.5 starsThis one actually scared me. At some times I was literally on the edge of my seat. Altogether a good film. Kyle, 4.5 starsI haven’t seen a scary movie in years I mean years, maybe a decade or so that made me wanna go get baptized, christened, I mean, some type of soul-saving. Seriously. Now I’m scared of the following things: Baby hands, pomeranians, lumberjacks, old people (sorry, grandmom), fortune cookies you know, everyday s t. Thanks, Stephen. Stevie P, 5 starsIs it emotional?It tried to be heartwarming in the end but fell short of that. It was kind of caught between fantasy and reality and couldn t figure out where it wanted to rest. Adam R, 2.5 starsIt: Chapter Two brought a heartfelt ending to the 2-part story but fell short. It just feels like a movie I’d only watch one time and forget about later. Christian A, 2.5 starsI wasn t planning on crying in two separate scenes during this movie. Chris S, 5 stars(Photo by Warner Bros. Pictures)Is it faithful to the source material?A gorgeous, wonderfully acted, fluidly directed, faithful, and emotionally satisfying second half (NOT SEQUEL ask King and Muschietti) to what is possibly the first true horror epic. Andy S, 4.5 starsI thought it followed the book really, really well, and it was a lot scarier. Hanna, 4.5 starsTrue to the book. Loved seeing the kids again in chapter two. Pennywise is creepily good 🎈🎈😆😆. ScoobyDoo, 5 starsIs the length a problem?Way too long and drawn out. Lucinda, 1 starMovie was way too long. Boring. Carlos, 1.5 starsIt was too long. It was too slow. It was too cliche. It was too predictable. It was too repetitive. It would do something once. Then It would do it again. Then It would do it again. Then It would do it again. It often seemed more like a hackneyed action movie than a horror movie. Pat C, 2 starsBecause it was so similar to chapter 1, I kept glancing at my watch. It felt slow, perhaps because they wanted to give each actor some time to shine in their own mini-story. Anne M, 3 starsIt didn t feel like it was nearly three hours long. Hanna, 4.5 starsCould have been edited down a bit; a lot of unnecessary scenes for a movie that s almost three hours long. All in all, a good movie. Mike M, 4 stars(Photo by Brooke Palmer/© 2019 WARNER BROS. ENTERTAINMENT INC.)And how is the cast?It did have James McAvoy, who was good. It had Bill Hader, who was great. It also had a red-headed chick, a furrowed-eyebrow guy, a buff guy, and a token guy. Mostly though, It was just disappointing. Pat C, 2 starsWell-acted, true, but the kids were just as good. Anne M, 3 starsBill Hader was easily the best character in this movie! Trenton S, 3.5 starsIt is well acted by all. Big props to Bill Hader s wisecracking, yet not overdone, performance. Could have used a little more Pennywise, but definitely one of the better Stephen King adaptations. Allen L, 4 starsThe casting was perfect and the ending was beautiful. Hanna, 4.5 starsCheck out all of the user reviews for It: Chapter Two. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
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 email@example.com.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.
The Marvel Cinematic Universe hasn’t had a Rotten movie yet, and the franchise isn’t about to go south with its 21st installment. Captain Marvel is another success for the studio, though according to the first reviews of the movie, it may not quite qualify as top-tier Marvel. Many critics say the story and action are somewhat disappointing, but we’re introduced to many great new characters in a good-enough entry into the superhero genre canon.Here’s what the critics are saying about Captain Marvel:Does it meet expectations?Captain Marvel is the female-driven Marvel film that we’ve been waiting for. Danielle Solzman, Solzy at the MoviesThere are a lot of expectations riding on Marvel’s first female-led (and first female co-directed) feature, and I am happy to report that the film does indeed live up to the hype. Kate Gardner, The Mary SueCaptain Marvel is a must-see for superhero fans, especially those who have craved more female-led stories. Molly Freeman, ScreenRantEngaging, entertaining and empowering, this new and terrific iteration spotlights a strong, complex, fearless woman finding her voice, power and place in the universe. Courtney Howard, Fresh FictionAll-in-all it’s fine, but nothing to get too excited about. And it could have and should have been so much better. Lindsey Bahr, Associated PressHow does it compare to others in the MCU?I do wish there was more of a “wow” factor throughout. There just wasn’t enough at stake. Catalina Combs, Black Girl NerdsThe picture is not dull, exactly, just mundane, marked by unimaginative plotting, cut-rate villains, a bland visual style and a lack of elan in every department. Todd McCarthy, Hollywood ReporterAs generic and retrograde as Black Panther was specific and revolutionary, Captain Marvel is a frustrating disappointment. David Ehrlich, IndieWireCaptain Marvel is one of the studio’s better offerings…[but] It feels less visionary and divergent next to Black Panther. Hannah Woodhead, Little White LiesLuckily, Captain Marvel doesn t have to be better than all of the MCU s previous films to be something enjoyable. Kayti Burt, Den of Geek(Photo by Marvel Studios)What will women think of it?This film gives us the very definition of girl power with a female-led superhero story that encourages and celebrates women empowerment, independence, and confidence. Catalina Combs, Black Girl NerdsThere are plenty of moments where the target market (and beyond) will see themselves reflected. Wholly satisfactory one-liners she drops in the climax provide inspiration – specifically for female filmgoers’ liberation from guilt and doubt. Courtney Howard, Fresh FictionCaptain Marvel doesn’t quite become the powerful feminist movie it purports to be, but it is empowering. Hoai-Tran Bui, SlashfilmHow is Brie Larson in the lead?Larson is a damn near perfect Carol. She’s funny, tough, and deeply compassionate. Larson conveys so much through a twitch of the lips or a change in expression. Kate Gardner, The Mary SueLarson manages to capture a fiery but playful sense of humor in her character that deftly avoids the tropes associated with naive, superpowered outsiders making first contact with humans. Meg Downey, IGNLarson s performance is key to the success of Captain Marvel and the actress shoulders that burden exceptionally, nailing the cocky and snarky but ultimately good-hearted hero. Molly Freeman, ScreenRantLarson effortlessly displays the full range of emotions of a woman grappling with her own identity and self-worth…there’s an ease to Larson’s performance and easy chemistry with every character she comes in contact with. Hoai-Tran Bui, SlashfilmThe performance is fine, if not exciting or inspiring. Todd McCarthy, Hollywood ReporterAnd the character herself?I spent over two hours with Captain Marvel/Carol Danvers and I still have no idea what her personality is. Lindsey Bahr, Associated PressCaptain Marvel is far and away the least compelling thing about Captain Marvel…Not since Edward Norton’s Hulk has the MCU offered such a two-dimensional title hero. David Ehrlich, IndieWireCaptain Marvel gives us the rare female action hero who is funny, knows she’s funny, and enjoys it. Susana Polo, Polygon(Photo by Marvel Studios)What about the supporting characters?The buddy cop dynamic of Fury and Carol is easily the strongest relationship. Kayti Burt, Den of GeekThe relationship between Carol and Maria Rambeau… is the team up we want more of. It’s the type of female relationship we don’t get to see regularly on screen. Catalina Combs, Black Girl NerdsThe best female friendship the MCU has ever seen…it is the strength of Maria and Carol’s relationship that elevates the film to another level. Yolanda Machado, io9The film’s busy third act would be a mess if not for its deep bench of supporting characters, who connect to each other in a number of warm and wonderful ways. David Ehrlich, IndieWireHow is Ben Mendelsohn s Villain?He s a far cry from a traditional MCU villain, but what he lacks in deviousness he makes up for in a genuinely charming sense of humor. Meg Downey, IGNAll too often, great actors kind of get lost in these type of alien/villain roles, but Mendelsohn brings a humanity (Skrullanity?) to this role I was not at all expecting. Mike Ryan, UproxxThe film’s MVP is without a doubt Ben Mendelsohn…He’s given much more to do here than in his last high-profile Hollywood gig and appears to be having an absolute blast doing it. Hannah Woodhead, Little White LiesWhat s this we re hearing about a scene-stealing cat?Goose is the real MVP and I need him in every MCU film from now on. Yolanda Machado, io9Get that cat a spinoff. Kate Gardner, The Mary Sue(Photo by Marvel Studios)What s with all the Star Wars comparisons?This is a full-on, strange, sci-fi film. Some of the scenes reminded me of Rey snapping into the endless mirrors during The Last Jedi. Mike Ryan, UproxxTaking a look at the Kree capital for the first time on screen is similar to the first time we saw Coruscant in Star Wars: Episode 1- The Phantom Menace. Danielle Solzman, Solzy at the MoviesCaptain Marvel makes Solo: A Star Wars Story look bright and cheerful in comparison. Matt Singer, ScreenCrushExperiencing the film s final moments is not unlike the experience of watching the final moments of Rogue One, so cleverly does the film weave its way into existing canon. Kayti Burt, Den of GeekThe climactic sky battle is a spectacular vision, a Star Wars-style dogfight that takes place over sun-washed canyons. Owen Gleiberman, VarietyHow are the action scenes?The action in Captain Marvel is on autopilot — all rapid cuts and no rhythm, and very clearly shot by a second unit who were well-versed in the technical aspects of such a scene. Hoai-Tran Bui, SlashfilmWith the added troubles typical to Marvel Studios movies in terms of their CGI, Captain Marvel s action is lacking at times. Molly Freeman, ScreenRantDoes Captain Marvel make us hopeful for the future of the MCU?If Captain Marvel is indicative of the future of the Marvel Cinematic Universe, then the franchise is more vital and impressive than it has ever been. Brandon Zachary, CBRLarson and Carol are both welcome additions to the massive shared universe with what we can only hope are bright futures ahead of them. Meg Downey, IGNIf our new core characters for the franchise will be T’Challa, Peter, and Carol, then the universe is in good hands. Kate Gardner, The Mary SueIf Captain Marvel is any indication, these movies are about to get a little more weird. Mike Ryan, UproxxI came out of the film not caring all that much about her beyond what her dazzling powers might mean for the next Avengers film, which is perhaps the lamest way of all to experience these movies. Lindsey Bahr, Associated PressCaptain Marvel opens everywhere on March 8.
Do the stars of aspiring holiday classic Last Christmas know their classic holiday movies? We put Emilia Clarke and Henry Golding, who headline Paul Feig s new Christmas flick, to the test with a special edition of our game, Name the Review. The game is straightforward enough: The duo reads one-liners from movie reviews of holiday classics and have to guess which movies are being reviewed. Simple right? Not as simple as it sounds. Check out Clarke and Golding as they struggle – hilariously – to guess Yuletide classics from It s A Wonderful Life to The Santa Clause.
九游会ag登陆入口 Disney’s live-action remakes have made collective billions at the box office. Although it’s early, the latest entry, Tim Burton’s dark take on Dumbo, could be the first failure among the recent films. Meanwhile, Harmony Korine s latest film fails to make a Spring Breakers-level splash, and Us and Captain Marvel continue to impress.King of the Crop: Dumbo Leads But Is Still Very Far Behind(Photo by Disney)While Jon Favreau’s The Jungle Book and Bill Condon’s Beauty and the Beast made a collective billion-plus worldwide, it was Burton’s Alice In Wonderland that really began the live-action remake trend back in 2010. That film remains Burton’s biggest success, a billion-dollar spring hit that was also the second-biggest opening in Disney’s history at the time. (It is now the 17th.) Though Dumbo was not expected to challenge that 6.1 million start, it was also expected to do a lot better than million this weekend.With a 0 million production budget, Dumbo is clearly counting on the international dollar to save it. Even with optimistic projections domestically, no live-action film opening between -49 million stateside has ever reached 0 million. (Disney’s Wild Hogs came closest with 8 million.)Don’t blame critics on this one, as Dumbo’s 50% score on the Tomatometer is not much lower than Alice in Wonderland’s 51%. But that film was also able to market a very bankable (at the time) Johnny Depp, putting him front and center on every poster. Meanwhile, the trailers for Dumbo almost went out of their way to reveal more of the circus than the film’s high-flying star. We’ll update its progress next week.Rotten Returns: The Beach Bum(Photo by NEON / VICE)Neon had a great little story this year with the documentary Apollo 11. With .65 million in the bank, it is the company’s third-highest-grossing title after I, Tonya ( million) and the documentary Three Identical Strangers (.3 million). Harmony Korine s The Beach Bum (51% on the Tomatometer) is likely to become the fourth-highest-grossing film in its catalog, but the 1,005-theater launch only produced .8 million this weekend. That’s the fourth-worst per-theater average for Neon ahead of just Borg vs. McEnroe, Revenge, and the million Sundance pickup Assassination Nation, which had the studio’s widest launch (1,403 theaters) and opened to just .05 million for a per-theater average of 3. In March 2013, A24 released Korine’s last film, Spring Breakers, into 1,104 theaters in its second weekend, where it grossed .85 million on its way to .1 million total.The Top Ten And Beyond: Captain Marvel and Us Continue to Impress(Photo by @ Universal)Last October, Blumhouse released David Gordon Green’s Halloween, which grossed 6 million in its first ten days. Last week, the company released Jordan Peele’s Us, which has now grossed 8 million in its first ten days. Halloween finished its run with just 9.3 million even as it grossed .4 million in its second weekend. However, Us second weekend made .6 million — a smaller drop (52.7 percent) than Michael Myers’ (58.8 percent). Of the 21 films to have grossed between 3-133 million in their first ten days, only six have failed to reach 0 million. Halloween was one of them. Us is forging a path to another incredible milestone, and it has already grossed 4 million worldwide.Captain Marvel maintained its impressive pace with another million this weekend, the 27th-best fourth weekend ever for a wide release. With more than 3 million, it is the 21st best-performing film of all time after 24 days and well on its way to 0 million. Every film to have grossed 0 million in 24 days has reached 0 million, and Captain Marvel’s fourth weekend was higher than six of them (The Dark Knight Rises, Captain America: Civil War, Iron Man 3, Jurassic World: Fallen Kingdom, The Hunger Games: Catching Fire, and Transformers: Revenge of the Fallen.) In other milestone news, How To Train Your Dragon: The Hidden World passed 0 million worldwide this weekend.PureFlix’s abortion film Unplanned made the top five with .1 million, the second-largest opening in the Christian-based company’s history after God’s Not Dead 2. Five Feet Apart continues to enjoy a rather healthy stay in the top five, dropping just another 26.9 percent to .2 million for a running total of nearly million — not bad for a million production. Tyler Perry’s A Madea Family Funeral passed million and may just have enough in the tank to surpass Boo! A Madea Halloween to become the second-highest-grossing film of his directorial career.Finally, Bleecker Street expanded its harrowing true-life terrorist drama Hotel Mumbai to 924 theaters, and it grossed .1 millon. Where does that rank among the company’s wide launches in more than 650 theaters?A solid fifth, following Logan Lucky (.6 million, 3,031 theaters), Eye in the Sky (.9 million, 1,029 theaters), Megan Leavey (.8 million, 1,956 theaters) and Unsane (.7 million, 2,023 theaters). Hotel Mumbai (.1 million, 924 theaters) finishes ahead of The Lost City of Z (.8 million, 866 theaters), Beirut (.7 million, 755 theaters), Danny Collins (.4 million, 739 theaters), Pawn Sacrifice ( million, 781 theaters), and Trumbo (1,068, 660 theaters).This Time Last Year: Audiences Were Ready For Player One(Photo by Warner Bros)Steven Spielberg’s Ready Player One had the second-highest opening of 2018 to date with .7 million. Tyler Perry’s Acrimony placed second with .1 million. Black Panther passed 0 million, and Isle of Dogs for the second straight week had the top per-theater-average (,839), grossing .9 million in just 165 theaters. The top ten films grossed 5.25 million and averaged 55.2% on the Tomatometer. This year’s top ten grossed an estimated 8.30 million and averaged 58.7% with critics.On the Vine: Shazam! To Lead, But Pet Semetary Could Surprise(Photo by Warner Bros. Pictures)The latest offering from the DC side of the aisle opens with some glorious reviews so far. Shazam has 93% to date on the Tomatometer just three weeks before Avengers: Endgame opens. That’s certainly enough to take the top spot at the box office — and audiences can take it from there. Also blessed with strong early reviews is the new adaptation of Stephen King’s Pet Sematary. It boasts a 91% thanks to reviews from closing night of SXSW, and with a solid opening weekend could end up becoming the third-highest-grossing King adaptation to date. Finally, STX releases the educational drama The Best of Enemies with Taraji P. Henson and Sam Rockwell, but in fewer than 2,000 screens.The Full Top 10: March 29-31Dumbo (2019) 46% – million ( million total)Us (2019) 93% – .60 million (8.22 million total)Captain Marvel (2019) 79% – .50 million (3.80 million total)Five Feet Apart (2019) 53% – .25 million (.87 million total)Unplanned (2019) 42% – .11 million (.11 million total)Wonder Park (2019) 34% – .94 million (.88 million total)How to Train Your Dragon: The Hidden World (2019) 90% – .23 million (2.96 million total)Hotel Mumbai (2018) 76% – .16 million (.27 million total)Tyler Perry's A Madea Family Funeral (2019) 11% – .70 million (.03 million total)The Beach Bum (2019) 57% – .80 million (.80 million total)
This Week s Ketchup brings you more headlines from the world of film development news, covering such titles as Dungeons Dragons, Excelsior!, and Revenge of the Nerds.This WEEK S TOP STORYCHRIS PINE ROLLS A NATURAL 20 ON DUNGEONS DRAGONS (Photo by Clay Enos/©Warner Bros.)One lesson we can take from film history is that trends change over time, and a failed concept decades ago could be a success today. Consider, for example, the Marvel Cinematic Universe. Back in 1990, the first Captain America movie (Rotten at 13%) didn t even get a theatrical release in the USA, and it went direct-to-video two years after it was made. Similar to the contemporary popularity of comic books, the role-playing game Dungeons Dragons is much more in vogue now than it was in 1990, when the first Dungeons Dragons movie (Rotten at 10%) was released. Warner Bros. had been trying for several years to get a new Dungeons Dragons movie produced, including periods when actors like Ansel Elgort and Vin Diesel were either in talks or were approached about starring. Since then, the rights to the Dungeons Dragons movie moved to Paramount Pictures, which also has the rights to other Hasbro properties like Transformers, Micronauts, and G.I. Joe. The Dungeons Dragons reboot appears to draw closer to actually happening this week with the news that Chris Pine is now in talks to star and also produce the adaptation. It s not super surprising that Pine is being eyed by Paramount, as he was also their Captain Kirk in the most recent Star Trek films. The premise and setting of the new Dungeons Dragons movie are not yet known, except that hopes of it possibly being a Dragonlance adaptation appeared to be dashed earlier this year (Forgotten Realms, though, is still totally possible). What we do know is that Dungeons Dragons will be directed and written by the team of John Francis Daley and Jonathan Goldstein, who co-directed Game Night (Certified Fresh at 85%), and also co-wrote Horrible Bosses and Spider-Man: Homecoming. Daley also starred in Freaks Geeks, which memorably had a very special Dungeons Dragons episode. In addition to Wonder Woman 1984 (12/25/2020), Chris Pine will also soon be seen in the thriller Violence of Action, Olivia Wilde s Don t Worry Darling, and the spy film All the Old Knives.Other Top Headlines1. MILLIE BOBBY BROWN JOINS THE RUSSO BROTHERS ELECTRIC STATE(Photo by Elizabeth Goodenough/Everett Collection)After directing four films for Marvel Studios (the two most recent Captain America and Avengers films), Joe and Anthony Russo are next directing films for two streaming apps: Cherry for Apple+ and The Grey Man for Netflix. We now know what film might be the duo s return to theatrically targeted feature films, as they are now signed to direct and produce a science fiction film for Universal Pictures. Stranger Things star Millie Bobby Brown is attached to star in Electric State, which will be an adaptation of the graphic novel of the same title. Brown will play a teenage girl who goes on an adventure with a toy robot to discover what happened to her missing brother in an imaginative world of humans mixing with robots, uncovering a grand conspiracy in the process. The Electric State screenplay is being adapted by screenwriting partners Christopher Markus and Stephen McFeely, who previously worked with the Russo brothers on all four of their Marvel movies, as well as The Grey Man. Directly addressing the theatrical or streaming question, Joe and Anthony Russo said in their announcement that, We’re thrilled to have this deal with Universal who has committed to a theatrical release of Electric State. In addition to season 4 of Stranger Things, Millie Bobby Brown will also soon be seen in the monster movie sequel, Godzilla vs Kong (5/21/2021), which will premiere both in theaters and on HBO Max.2. FLORENCE PUGH JOINS MYSTERY THE MAID (Photo by A24)After decades of relative absence from mainstream box office prominence, the mystery genre appears to be coming back, following the 0+ million takes of both Murder on the Orient Express (2 million worldwide) in 2017 and Knives Out (1 million worldwide) in 2019. The de facto sequel to that first film, Agatha Christie s Death on the Nile would have come out by now if not for the COVID-19 pandemic, but is now scheduled for September 17, 2021. We can also add a film called The Maid, which Universal Pictures is adapting from a novel to be published in 2022 (possibly after the movie comes out to avoid spoilers). Florence Pugh (Midsommar, Black Widow) is now signed to produce and star in The Maid as the title character, who works at a fancy hotel where she uses her access to learn the dirty secrets of every one of the guests (the novel is also being compared to 2017 s Eleanor Oliphant is Completely Fine). In addition to Black Widow (5/7/2021), Pugh will also soon be seen in Olivia Wilde s Don t Worry, Darling, and in the Disney+ series Hawkeye (reprising her Black Widow character).3. RISE OF SKYWALKER COSTAR SAYS I WANNA DANCE WITH SOMEBODY (Photo by Jonathan Olley/©Walt Disney Studios Motion Pictures)When most American fans saw last year s Star Wars: The Rise of Skywalker (Rotten at 51%), they were probably unfamiliar with Naomi Ackie, who played Jannah, the leader who assists our heroes on Kef Bir. Ackie is better known in the U.K., however, where she has won the 2017 British Independent Award for Most Promising Newcomer for Lady MacBeth (Certified Fresh at 88%) (starring the aforementioned Florence Pugh, by the way), and this year, won a BAFTA TV Award for Best Supporting Actress in The End of the F***ing World (Fresh at 93%). The British actress is about to have a much higher profile among American moviegoers, though, as she is in final negotiations with Sony Pictures to star as the late pop superstar Whitney Houston in the musical biopic, I Wanna Dance with Somebody (which takes its title from the hit single I Wanna Dance with Somebody (Who Loves Me) off Houston s second album). I Wanna Dance with Somebody will be directed by Stella Meghie, whose most recent film was this year s The Photograph (Fresh at 74%), starring Issa Rae and LaKeith Stanfield. Meghie will be directing from a screenplay by screenwriter Anthony McCarten, who also wrote the Queen biographical musical Bohemian Rhapsody (Fresh at 60%). About casting Naomi Ackie, Meghie said, I was moved by her ability to capture the stage presence of a global icon while bringing humanity to her interior life. 4. SETH MCFARLANE BACKING REBOOT OF 1980S COMEDY HIT REVENGE OF THE NERDS (Photo by ©20th Century Fox Film Corp. courtesy Everett Collection)Like some other 1980s comedies, there are scenes in the 1984 hit Revenge of the Nerds that have glaringly not aged well at all in our post-#metoo era. Now, as many other movies from the era continue to be rebooted, Family Guy creator Seth McFarlane is preparing to do the same thing for Revenge of the Nerds, which he ll be producing for 20th Century Studios. The project already has its comedy leads lined up, as identical twin brothers Keith and Kenny Lucas, who costarred in 22 Jump Street (Certied Fresh at 84%), are set to both star and write the adapted screenplay. The only brothers in Revenge of the Nerds were of the fraternity variety, so if they play actual brothers in the remake, that alone will be a significant departure from the original premise (though the film is reportedly more of a reboot than a direct remake anyway, so the entire premise might be significantly different). As Variety puts it, instead, the contemporary reimagining will pontificate about today’s nerd culture and what even constitutes a geek in the 21st century. It s worth noting that this is not the first attempt at rebooting Revenge of the Nerds, which almost happened in 2006 until officials at Emory University in Atlanta objected to some of the raunchy hijinx in the script. 5. SAM ROCKWELL TO STAR IN MOVIE ABOUT NISSAN-CEO-TURNED-FUGITIVE (Photo by Elizabeth Goodenough/Everett Collection)Although he is far from a household name in the USA, the story of former Nissan CEO Carlos Ghosn really does read exactly like a movie script. Following an arrest in 2018 for charges of misuse of company assets, Ghosn proceded through a series of legal ins-and-outs and evasion of arrest ultimately leading in 2019 to his becoming an internationally wanted fugitive still sought by Interpol. MGM is going all in on adapting the life story of former Green Beret Michael Taylor, the American security contractor who assisted Ghosn in his evasion from arrest and capture. Sam Rockwell is now attached to produce and star as Michael Taylor in a feature film about Ghosn s escape, which will be developed concurrently to an MGM TV series which will also adapt Taylor s earlier life story (with a different actor to be cast as the younger Michael Taylor). Both the Sam Rockwell movie and the prequel TV series are being adapted from a Vanity Fair article about Michael Taylor and Carlos Ghosn, which you can read right here.6. BEN MENDELSOHN JOINS SHAILENE WOODLEY IN MISANTHROPE(Photo by JA, Priscilla Grant/Everett Collection)Anything pre-COVID-19 feels like decades ago, even if it s only been months, but this story starts back in May of 2019 at the the Cannes Film Festival, when a serial killer film called Misanthrope was first announced. Shailene Woodley has since then been attached to star as a police officer recruited by the FBI to assist in the tracking down of a serial killer, and now we know that the lead cop in Misanthrope will be played by acclaimed Australian actor Ben Mendelsohn. Mendelsohn is currently filming the latest version of Cyrano (de Bergerac), starring Peter Dinklage, and he was also announced by Disney last week to be reprising his Skrull character in the Disney+ series Secret Invasion, along with Samuel L. Jackson as Nick Fury.7. THIS YEAR S BLACK LIST INCLUDES STAN LEE AND JACK KIRBY MOVIE EXCELSIOR!(Photo by Gabriel Olsen/Getty Images)At the end of every year since 2005, The Black List of Unproduced Screenplays has served as a survey of hundreds of film industry executives to find which screenplays appear on the highest number of most liked screenplay lists. The Black List takes those results and publishes the titles and premises of all of the screenplays that received at least 7 mentions. This year s top pick, with 29 votes, is a cannibal drama called Headhunter about a serial killer who uses Instagram to find their next victim, until the latest target turns out to be someone totally into it (gross). #2 with 28 votes is a basketball comedy called Chang Can Dunk, and #3 with 26 votes is Neither Confirm Nor Deny, which tells the true story of a secret CIA operation that acquired a nuclear-armed USSR submarine in 1968. One of the most intriguing projects, coming in with 9 votes is Excelsior!, which tells the true story of the friendship and collaborative partnership between Marvel Comics editor and writer Stan Lee and artist Jack Kirby, who together created such characters as Fantastic Four, Iron Man, The Incredible Hulk, Thor, and The X-Men. Other projects on this year s Black List include Ripper (as in Jack The), Enemies Within (about Senator Joseph McCarthy and the HUAC), and Gusher (about Anna Nicole Smith). You can browse through the entire Black List of this year s screenplays (in PDF format) right here.8. SHE S ALL THAT STAR RACHAEL LEIGH COOK JOINS REMAKE HE S ALL THAT (Photo by Miramax)While Rachael Leigh Cook fans are left still awaiting the (probably unlikely) Josie and the Pussycats sequel, as it turns out, they will at least have the remake of She s All That (Rotten at 41%) called He s All That. That s because we can now report that Rachael Leigh Cook has indeed joined the cast of the gender-swapped remake, although not as the character she played in the first film (since it s a remake and not a direct sequel). Instead, Cook will play the mother of the female lead (played by Addison Rae) who, in this version, oversees the makeover of an awkward teenage boy (played by Tanner Buchanan), whereas in the original film, those two roles were the opposite genders. He s All That will be directed by Mark Waters, whose filmography includes notable Lindsay Lohan vehicles like Mean Girls (Certified Fresh at 84%) and Freaky Friday (Certified Fresh at 88%).9. YAHYA ABDUL-MATEEN II JOINS JAKE GYLLENHAAL IN AMBULANCE (Photo by Warner Bros.)Michael Bay immediately followed his run as the director of several Transformers movies with the Netflix project 6 Underground (Rotten at 36%), starring Ryan Reynolds. For his next project as director, Michael Bay is returning to a theatrically-distributed action thriller in the form of a remake of a 2005 Danish film called Ambulancen, which unsurprisingly translates to English as Ambulance. Jake Gyllenhaal has been attached to star in Ambulance since the project was first announced, but this week, we learned who two of his costars will be. Yahya Abdul-Mateen II, who recently has starred in two different DC Comics adaptations (as Black Manta in Aquaman, and in a role-we-won t-spoil in HBO s Watchmen) has joined the cast in an undisclosed role. The premise of the original film involved two fugitive brothers hijacking an ambulance, and it appears that the female ambulance driver they inadvertently kidnap will be played by Eiza Gonzalez, who will also soon be seen in Godzilla vs Kong, when it premieres in theaters and on HBO Max (5/21/2021).On an Apple device? Follow Rotten Tomatoes on Apple News. 怀念忘忧手游是一款刺激十足的传奇闯关类游戏，全新的热血对决还有大量的关卡可以尝试了解，许多不同的竞技体验以及大量的特色战斗玩法可以参与，多元化的故事剧情以及更多的挑战可以了解，解锁出更多的职业完成挑战吧。
(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)In the short term, Black Widow is set to appear in her own feature film within the next few years. And just about every line between Nat and Clint (Jeremy Renner) in Endgame suggests Hawkeye will be along for that ride. Consequently, our early guess that the film will be a prequel focusing on her recruitment by S.H.I.E.L.D. seems more and more likely. Unless, in some bizarre twist, it will also feature Clint trying to rescue her from her fate. As it will be a Phase 4 film, it has to tie to something in the present-day story. Nat’s Endgame death makes Black Widow all the more exciting because we now have this question: how does it fit into the post-Infinity Saga tapestry?Similarly, the continued end states for Vision and Loki would seemingly impact their upcoming Disney+ limited series. Will they be set in the Infinity Saga era or define new places for them in Phase 4? Considering Elizabeth Olsen’s recent tease that WandaVision will see the characters in a “1950s” setting, it is easy to image the program will take its cue from Tom King and Gabriel Hernandez Walta s phenomenal 2017 Vision series and see Wanda (Olsen) recreate the android for an anachronistic, domestic life. But considering that series ends with all of Vision s dreams broken or on fire, we imagine Wanda’s dream life will end in similar flames.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Loki, on the other hand, presents a more interesting case. While the MCU version we met in the first Thor picture is still dead, the one who escaped with the Tesseract in the middle of Endgame is presumably out in the wild and is the one we will see in the forthcoming Loki series, which is reportedly set to feature the the God of Mischief creating trouble across history. This version of the character is still a villain lacking the emotional growth of the character we saw in Thor: Ragnarok and Infinity War. If he does prove to be the focus of the limited series, it will certainly be more interesting. And considering audiences forgive him for a lot of heinous acts, the program could even attempt to test their gracious attitudes toward the charming trickster.And while not a death, we imagine Steve Rogers (Chris Evans) ultimate Endgame state will precipitate a title change for Disney+ s Falcon and the Winter Solider to something more succinct, like Captain America.Oh, and Tony? Let’s just assume we’ll see him again in 2028 for the 20th Anniversary Marvel Studios film, resurrected to counter whatever threat the collective heroes are facing in that moment.Time Is Immutable, Except When It Isn’t: Time Travel Just Changed EverythingWith all its joking criticism of Back to the Future, Endgame seemingly sides with the notion that time is an immutable series of events, and changes to the past will create a new timeline while the time-traveler causing those changes returns to their original, unchanged present.OK, yeah, that’s confusing. To simplify: Loki’s Endgame escape does not change Thor’s experiences with him in Thor: The Dark World, Ragnarok, or Infinity War because time cannot be altered. The escaped Loki in Endgame is part of one of those tangent realities the Ancient One (Tilda Swinton) warned Hulk about. This is why Tony could unmake the Thanos from 2014 without erasing the events of Guardians of the Galaxy or any of the subsequent films. All of it still happened. This is also why Nebula could shoot her past self without it affecting her present-day form.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)If you can wrap your head around the notion of an unchangeable past, Endgame s rules about time travel are simple enough. Certainly simpler than the temporal mechanics of film and television series like The Terminator, The Flash, DC’s Legends of Tomorrow, Doctor Who, or even various X-Men stories across comics, television, and film.And then we get to Endgame’s closing moments, with an aged Steve Rogers, who clearly took the slow path back to his friends after dropping off the Infinity Stones in their original places in time. If time is immutable, then he gets to live his life with Peggy (Hayley Atwell) without altering the timeline. Like Loki, he creates another tangent reality. But his very appearance to hand off his shield and identity to Sam Wilson (Anthony Mackie) means the timeline is not as secure as Hulk, Tony, or even the Ancient One assumed it to be. Unless, of course, he found a way to use Loki s Tesseract (in combination with the Time Stone) to cross timelines.But it seems more likely that Scott Lang (Paul Rudd) was right all along and the rules from Back to the Future are in play (it s no accident the team breaks all of them across the plot of Endgame). Back in Marvel Comics, time travel only ever delays the inevitable. The dark reality from “Days of Future Past” always threatens to reappear in the X-Men s future while Cable’s many attempts to prevent Apocalypse’s reign some centuries from now only leads to some other character taking the External’s place in that grim future. But in almost all cases, time travel does indeed alter the timeline.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)The older Steve’s presence in Endgame indicates that time in the MCU is also malleable. To borrow a line from The Flash, the timeline can be changed and that may prove to be as big of a threat as the Infinity Stones themselves – especially as all you need is some Pym Particles and a little know-how to invade the past and alter history. And even if time is solid, those tangent realities the Ancient One feared could pose some threat in Phase 4.No Stinger Scenes? Like, Forever?Now this one was a big shock for anyone who was ready for just a little bit more MCU after 183 minutes: Endgame features no mid-credit or post-credit stinger scenes, a first for a Marvel Studios picture. Considering the stinger scene’s proliferation across other studios, it is possible Marvel will drop them entirely from here on out. It would be a bold move and make all our Phase 4 speculations wilder, because Marvel would not be teasing the Next Big Thing as soon as its current release ends. Imagine an Ant-Man without that Captain America: Civil War moment or Thor: Ragnarok without the cut to Thanos’s massive ship. And even without the Next Big Thing to tease, post-credit stingers offer a nice final thought – like the shawarma scene at the end of Marvel’s Avengers or Captain America’s speech about patience after the Spider-Man: Homecoming’s credits.In some ways, it’s fitting, then, that Spider-Man: Far From Home will answer this meta-cliffhanger. If it features a stinger, then we know the practice is here to stay in Phase 4. And, presumably, that stinger will itself be the first few moments of that new phase.Avengers: Endgame is in theaters everywhere (but you already knew that)