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全民倒塔采用百度引擎6(Baidu 8)In a year chock full of musical adaptations, you d think that one based on a multiple Tony Award-winner would be a sure thing and you d be wrong. Stephen Chbosky s (The Perks of Being a Wallflower) Dear Evan Hansen, based on the 2016 Broadway musical of the same name, stars Ben Platt as the titular high school senior suffering from anxiety who s been tasked by his therapist to write encouraging letters to himself. When a troubled classmate named Connor (Colton Ryan) nabs one of those letters, then later commits suicide, Connor s parents believe Evan is the best friend they never knew their son had, and the misunderstanding quickly spirals out of Evan s control. Critics say that the central premise of the story, which was already problematic on stage, is even more egregiously toxic now, and instead of embracing its inherent darkness, Chbosky and Co. insist upon wringing inspirational platitudes from it, much to the film s detriment. The impressive cast also includes Kaitlyn Dever, Amy Adams, and Julianne Moore, and the musical numbers translate fairly well onto celluloid, but reviews say the whole enterprise feels a little tone deaf, which robs it of some of its power. It s still probably worth a watch for fans of the original, but be prepared for a different experience here.

1. 全民倒塔
The first trailer for Black Widow is out in the wild and it is tantalizing with its mix of Bourne Identity-style action and well-honed Marvel Cinematic Universe tropes. And as it sets out to fill in the gaps in Natasha Romanoff s (Scarlett Johansson) past and the time between Captain American: Civil War and Avengers: Infinity War, the film will present new ideas and at least one important concept going into the MCU s fourth phase.But for the moment, let s consider the setting, the new characters, and the apparent mystery at the heart of Black Widow. Here are five things we ll be pondering until the next trailer hits.It’s Set After Civil War(Photo by Marvel Studios)The trailer may obscure this point, but from the footage we saw at the D23 Expo back in August, it is clear the film takes place after Nat goes on the run at the end of Captain America: Civil War. This is key, as it means the film is, in some ways, a prequel to Phase Four of the Marvel Cinematic Universe.Then again, it is always possible the film does not take place after Civil War, but occurs inside that soul space on Vormir, and all of this is Nat working out her demons on a far off planet, suspended between life and death.For the moment, though, let’s assume these events are truly happening, and the hunt for Nat takes her back to Russia, where she decides to deal with old business. Namely, the intense training that made her the perfect spy and, as it happens, an Avenger.Created by Stan Lee, Don Rico and Don Heck, the character was originally an adversary of Iron Man. She was a Russian spy from the very beginning, even if her iconography took years to evolve. Nat continued to tussle with Iron Man and the Avengers until she defected to the U.S. in the late 1960s and eventually joined the team many years later. Her costume, red hair, and hourglass logo all evolved alongside her transition from antagonist to hero.Nat’s loyalties and how they changed in the MCU is still a source of conjecture; we only have the scant details from Captain America: The Winter Soldier and Avengers: Age of Ultron to go by. This lack of concrete backstory left many expecting the film to be set prior to her debut in Iron Man 2 and reveal how S.H.I.E.L.D. turned her against her former spymasters. Some of those ideas will clearly still be part of the film, as the trailer leans hard into her former spy “family. Their communal origin story will no doubt be key to solving the film s central conflict.The Red Room and Yelena Belova(Photo by Marvel Studios)As mentioned back in Age of Ultron, Nat is the product of a Soviet-era program known as The Red Room, implemented to create deep-cover spies. Its roots go back to World War II, as discovered on the Agent Carter television series, but the Red Room never seemed to make the impact of, say, Hydra. In fact, it is unclear if the program had any affiliation with Hydra or any of the other established covert agencies in the Marvel world. But one thing is clear from Nat’s flashbacks in Ultron – there were other Black Widows like her.One such Widow is Yelena Belova (played by Florence Pugh in the film). Created by Devin Grayson and J.G. Jones and fully introduced in 1999’s Black Widow miniseries, the character first served as a new foil for Nat before becoming a member of S.H.I.E.L.D. herself. As a Black Widow trained by the Russian Federation’s successor intelligence agency, Belova sets out to eliminate Nat so she can be the only Black Widow. Eventually, the character received her own Black Widow miniseries and became aligned with Hydra, who turned her into another Super-Adaptoid. She eventually became Black Widow once more and vowed to eliminate the remaining Hydra forces behind Nat’s apparent death.With her association to the Red Room – where both she and Nat were trained in the comics and in the films – and Hydra, it certainly feels like the film will take some cues from the fact that elements of the organization still operated after the fall of S.H.I.E.L.D. Will she turn out to be some sort of double agent? As Avengers: Endgame proved, there is still power in the phrase Hail Hydra, and it would not be a great shock to hear Belova say it either as a true allegiance or to cover herself in a sticky situation.Also, it is still unclear if the film will address the seeming incongruity of Johansson playing a woman trained in the U.S.S.R., where the Red Room treated its agents with a longevity serum – an idea which may finally come into play during the film. Additionally, the Red Room survived the collapse of the Soviet Union in the comics, so both Nat and Belova could have been trained to protect the interests of the successor Russian Federation.Behold A Red Guardian(Photo by Marvel Studios)Nat’s family also includes Alexi Shostakov (David Harbour), who Marvel comics fans will recognize as the second Red Guardian. Back in the comics, he was Nat’s husband – something we suspect may be played for laughs in the film – and a pilot of high regard before he was convinced to become the Soviet equivalent of Captain America. Nat believed him dead while he trained for his new role, but he was actually killed after revealing his identity to Nat, who had defected to the US by then. Curiously, a Life Model Decoy of Shostakov later emerged and took the name “Ronin” – the same name Clint Barton (Jeremy Renner) used during the five year gap in Endgame.From the trailer, we see the Red Guardian days are long behind him. In fact, it seems Nat and Belova need to break him out of prison before they can complete their new mission. Harbour gives him a playful, gregarious demeanor, which suits him even if his costume is a little snug.But also, we love anytime the MCU hints at a forgotten superhero history between WWII and the debut of Iron Man. See also: Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer) operating as Ant-Man and the Wasp in the 1980s. Red Guardian, with his more over Soviet iconography, totally plays into that lost era.Enter TaskmasterRyan FujitaniThough only glimpsed in a handful of moments during the trailer, Marvel Comics Taskmaster will make his debut in the MCU with Black Widow. Created by David Michelinie and George Perez, Taskmaster first appeared in 1980’s Avengers #195 and #196 as a mercenary capable of matching the Avengers powers and tactics, thanks to “photographic reflexes” that allowed him to replicate his opponents actions. Over the years, he’s trained other villains and even forcibly educated the heroes. Unfortunately, it comes at the cost of his personal memories, but as he and his wife both served in S.H.I.E.L.D., she acted as his external memory and handler in the criminal underworld.Considering the film s time frame, it is easy to imagine both Taskmaster and his wife as Hydra agents who survived the Avengers attempts to root them out of S.H.I.E.L.D. and other governments. It’s a good motivation to go after Nat, who revealed Hydra’s plot to the world back in The Winter Soldier. But considering the Marvel movies trade in big misdirects, the person potentially pulling Taskmasters strings must be a shocking reveal Nick Fury (Samuel L. Jackson) perhaps?Alternatively, it could be Melina Vostokoff (Rachel Weisz), who appears in the trailer as, seemingly, the mother in a family unit composed of Shostakov, Nat, and Belova. But the character, as designed by Ralph Macchio (not the actor) and George Perez, despised Nat during their time in the service of Mother Russia. She took on the name of Iron Maiden and became a freelance mercenary. Eventually, she joined a group of assassins paid to kill Nat, but was unsuccessful. As it happens, her costume in the comics is not dissimilar from the Taskmaster glimpsed in the trailer although, Taksmaster certainly has a more distinctive, theatrical flair so it could be possible she is the one under the mask. Or, at the very least, she is putting events in motion to serve her own ends.The Gap Between Civil War and Infinity War(Photo by Marvel Studios)So we need to talk about Thaddeus “Thunderbolt” Ross (William Hurt). His voice is heard in the trailer and he can be seen in one shot, but portrayed as a curiously younger man than he would be by the time of Civil War. This might be a flashback to Nat s first encounter with him maybe he aided in her original defection? but his questions to Nat in the trailer suggest Ross may actually prompt Nat to make her pilgrimage to Russia.That suggests Ross actually finds her while she’s on the run, and considering he was one of the Sokovia Accords’ biggest proponents, he must have a very good reason not to bring her in, make a public show, and put her in the Raft. Then again, Ross has always been a squirrely guy despite his dedication to protecting the United States, so maybe the Red Room is a larger direct threat to national interests than the trailer lets on. It is presented entirely from Nat’s point of view, so Ross s real ambitions will be quite ambiguous for the moment.But the outcome of Black Widow may fill in some gaps left in the story between Civil War and Avengers: Infinity War. Nat’s actions may help Clint and Scott Lang (Paul Rudd) cut their deals. It may also reveal why Nat ultimately met up with Captain America’s (Chris Evans) team in Europe. Also, with the legacy of the Red Room finally public, it will complete Nat s journey as set up in Age of Ultron.That leaves just one question this trailer cannot answer: how is it a Phase Four film? Considering Belova also operates under the name Black Widow in the comics, it is possible the film’s whole purpose is to set her up as Nat’s backup in the present day. Or, if this is all just some sort of phantasm occurring in that soul space, it may be setting up Nat’s eventual return to Earth. But considering how sneakily Captain Marvel set up ideas for both Avengers: Endgame and the seeming Phase Four conflict, we expect Black Widow s connection to future events in the MCU will be its biggest surprise.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 移动端游戏的泛滥,端游的逐渐稀缺,仿佛国产游戏就只剩下了手游,当年泛滥的网游端游仿佛都不见了踪影。如今的状况不禁让玩家浮想联翩,到底是手游的审核标准相对较宽松还是已经没有国产厂商会制作端游了?曾经多样化的游戏市场到底经历了什么,才会逐渐被手游全方面占领,作为玩家,你是否感受到了这份变化?这一次,我们就来聊聊手游占领市场的这些缘由。

2. 公平游戏环境
After a run of Rotten disappointments in the early 2000s, horror maestro Wes Craven released airplane thriller Red Eye in 2005. It was acclaimed as a smarter-than-average, skillfully made terrorist thriller at the time – a two-hander about two strangers who meet on a plane, one a dedicated hotel employee, the other a sinister suit with a secret and a terrifying mission – and would be the late director s final Certified Fresh film. And yet the movie has been largely forgotten by many, and is rarely mentioned among Craven s best works. It s easy to see why: The director is synonymous with Freddie, and Ghostface, and violent 70s and 80s terrors; Red Eye was in many ways a conventional thriller, well done if slight, bearing little of Craven s trademarks at least on the surface. Look closer and the movie has the director s bloody fingerprints all over it, from his ability to expertly read and reflect a nation s current fears to his fine work with young, on-the-verge actors. And yes, he even gives us a great Craven crescendo.So, hear us out: It s time we remember Red Eye for what it is – one of the master of suspense s best works. Here s why.It Marked A Triumphant Comeback For the Legendary Director(Photo by © Dreamworks)Horror fans rightly revere Wes Craven as a legend, a master of horror, the man who gave us iconic and genre-defining works like A Nightmare on Elm Street, Scream, and The Hills Have Eyes. If there was a Mount Rushmore for scary movie guys, his face would be on it. But in a 40-year career there are always going to be misses among the hits, and Wes Craven’s filmography is about as bumpy as a desert road trip in a Wes Craven movie. (Remember Vampire In Brooklyn? Or My Soul to Take? Or The Hills Have Eyes 2? We do.)The director hit a particularly rough stretch of road following the success of Scream 2 and 1999’s kinda-sorta-well-received play at Oscar glory, Music of the Heart, an earnest inspirational-teacher drama starring Meryl Streep. In 2000, he released Scream 3, the first and only Rotten entry in that franchise, and followed that up with Cursed, a so-bad-it’s-actually-fabulous-in-retrospect attempt by Craven and Scream writer Kevin Williamson to revive the werewolf genre… by making a Scream rip-off with snouts. (Production was a complete mess on the project, largely thanks to interference from the Weinsteins, and it shows.)By 2005, the only way for Craven was up, and – cue airplane metaphor – Red Eye allowed him to soar. Liberated from studio interference and overwhelming expectations – he wasn’t being asked to close out a beloved trilogy or kickstart another subgenre renaissance – Craven brought his formidable talent for suspense to a smart and self-contained script by Carl Ellsworth, and showed his often too-unsung ability to bring the best out of young actors. Critically lauded as one of the tightest, most nerve-racking thrillers to come along in years, Red Eye was a reminder that the master still had a knack for terror – no matter the altitude.It’s Anchored By Two Great Performances (Photo by © Dreamworks)It’s a testament to Cillian Murphy’s skill as an actor that we don’t dismiss him – or the film, really – the instant we learn his villainous character’s name is “Jackson Rippner.” Murphy, whose 2005 would include his entrée into the mainstream playing Scarecrow in Batman Begins, is all alluring mystery as he flirts in the check-in line and over drinks at an airport bar, and when the script turns, he makes a seamless transition to pure menace. But the movie ultimately belongs to this two-hander’s other hand, Rachel McAdams, fresh off of The Notebook, showing the same steeliness and pluck audiences loved in that film as she tangles with an altogether different kind of male pursuer. Like Rippner, her Lisa undergoes a transformation as the plane races towards Miami: From exhausted daughter allowing herself a little fun to terrified prey, and, ultimately, resourceful final girl, and McAdams delivers on every note. By the time the film devolves to a Scream-a-like in its house-bound finale – or ascends to it, depending on your tastes – you find yourself rooting for her just as you would a bloodied, bruised, but still-standing Sidney Prescott or Nancy Thompson.It Perfectly Captures the Nightmare of Post 9/11 Travel(Photo by © Dreamworks)Craven was an expert when it came to perfectly encapsulating an era s fears, and Red Eye is no exception. Flying in the years after 9/11 was a source of serious anxiety for many Americans onto whose brains the images of that tragic day were still freshly etched. That anxiety was stoked throughout the 2000s by reports of unsuccessful terrorist attempts – Richard Reid’s failed shoe-bombing among the earliest – involving commercial flights and airports. The palpable national fear around air travel led to many things: The time-consuming security measures we undergo when we fly; some awful racial profiling by passengers and authorities; and, of course, several movies that tried to mine that fear for cinematic thrills.In 2005, Red Eye did just that, along with the bigger-budget Flightplan, starring Jodie Foster as a mother who wakes up mid-flight to discover her six-year-old daughter has disappeared. (Author side note: On a flight back in 2005 I was awakened mid-flight BY Jodie Foster lightly bumping my shoulder as she took her child to the bathroom!) But Red Eye was the more successful of the two, critically if not commercially, because it hit the nerve harder and more directly. Where Flightplan’s tale was complicated, confused, and conspiracy-focused, Red Eye was born directly from the very simple questions many travelers were sweatily asking themselves as they took their seats: Who am I sitting next to? What if I’m on that flight? Would I fight back – or cower?The movie also gets the more general horrors of modern-day air travel spot on, with nods to the draconian security process – “Flying’s so much fun these days!” – and one of cinema’s most realistic renderings of coach class. Just watching Lisa squeeze herself down the aisle as other customers sardine themselves into the cabin, over-stuff the overhead, and, in one particularly visceral cutaway, slurp up a box of noodles… I shiver every time.It’s A Not-So-Veiled Dig At Corporate America(Photo by © Dreamworks)In one sense, Red Eye is a high-octane game of cat-and-mouse between a psychotic terrorist and a resourceful final girl; in another, it’s about two cogs in two different corporate machines trying to satisfy their employers and getting in each others’ way in the process. Because that really is the crux of what the two characters are doing: Lisa, the ever-diligent employee, who’s seen constantly solving problems for her mega hotel and its customers, is willing to risk her own father’s life to try to avoid harm coming to either; Jack is the mid-level manager who’s been given an assignment – get Lisa to change the room – and will stop at nothing to keep a client satisfied. The client just happens to be some sort of terrorist organization.Jack in particular becomes a kind of maniacal embodiment of make-the-sale-at-any-cost corporate culture – he’s the knife-wielding version of a Wall Street banker in some respects – and at one point leans in to tell Lisa they may not be so different. “I never lied to you, Leese,” he says, as she struggles for air. “Know why? ’Cause it doesn’t serve me. We’re both professionals. We have the will and means to follow through. ’Cause when we don’t, our customers aren’t happy. And when they’re not, we suffer and our lives go to s .” I swear I ve read that in a corporate training packet somewhere The Ending Is Bonkers, In a Good, Polarizing, and Craven-y WayAt the time of its release, a number of critics pointed out that the thriller’s finale feels out-of-step with the taut, disciplined film that precedes it; when the plane lands, the intimate suspense Craven built up in the fuselage is traded in for an elaborate chase sequence that takes us through the airport and eventually to Lisa’s father’s house where Rippner grabs a knife and gets all Ghostface on us. There’s hiding behind walls, and creaking doors, and falling while running away, and a pretty great he’s-behind-the-door jump scare. It s all a bit ridiculous.Why does it work? Because for all of its incisive mining of post-9/11 fears, its light social commentary, and its tight script, Red Eye has an air of the ridiculous right from the get-go. Everything in the film is heightened to an almost surreal, wink-wink level: Think Jayma Mays’ hilariously frazzled hotel receptionist; Colby from Survivor showing up as a cartoonishly stoic bodyguard; almost every other passenger on the flight rendered as if plucked from an SNL skit; and the overall terrorist plot itself. Just when you think that having a government official moved to a penthouse suite so that it’s easier for terrorists to blow up his room with a surface-to-air missile is straining credulity, said terrorists retrieve their missile by fishing it out of the water with… a few regular fishing rods.The movie’s climax is only out of step if you weren’t paying attention to the movie itself. It is excessive, and, yes, it has more than just echoes of Craven’s previous work, but it’s also a release; the director eschews a tighter, neater, subtler ending to give the audience what they want, making a meal of the tension he s built throughout and throwing on a second dessert of slasher fun just because he can.And Craven can, which is the other exciting thing about this finale. It is tense and scary and delicious. After two public failures, and with his ability to jolt us out of our skin in question, the master gives us 15 minutes of what he does best, reminding us he s indeed still a master. Just because he can.Red Eye was released on August 19, 2005.全民倒塔Adjusted Score: -1% Critics Consensus: As addictive -- and relevant -- as ever, Narcos: México's sophomore season is definitely more violent, but it never spoils the rich drama fans have come to love.

3. 激战团竞模式
(Photo by Courtesy of IFC Films. An IFC Films Release.)When the team behind Australian thriller The Dry – which includes its lead star and producer Eric Bana – decided to release the film into cinemas there on January 1, it was a risky call. While the country has been largely spared from the worst effects of the COVID-19 pandemic (one of the reasons so many Hollywood productions have set up shop there), audiences were still cautious about large indoor gatherings, and snap lockdowns to snuff out small COVID-19 outbreaks – even in the low single-digits – were a regular occurrence in major cities. But Bana, his fellow producers, and distributor Village Roadshow felt sure they had something special in their adaptation of Jane Harper s hugely popular book of the same name, the kind of Australian movie that might just bring Australian audiences back to cinemas in big numbers. And it turns out they were right.The Dry follows Bana s Melbourne-based detective, Aaron Falk, who returns to the rural town in which he was raised to attend the funeral of a childhood friend who appears to have killed his wife and child in a murder-suicide. Reconnecting with friends and sparring with enemies from his youth, Falk becomes sucked into the case which, it turns out, has links to another mystery from 20 years ago – one in which he may have played a part. These dual twisting threads, Bana s stoic and layered work as Falk, and an incredible look that splays the baked Australian landscape across the screen to stark and arresting effect, made The Dry a hit in Australia. In January and February, it became the movie to see there, a might-have-been-indie-thriller that tapped into the popular consciousness like a big-budget Hollywood action flick, and it now ranks as the 15th biggest Australian movie ever at the local box office. (Fun if unsurprising fact: Crocodile Dundee is number one.)Talking with Rotten Tomatoes, Bana is clearly chuffed with the film s success Down Under, and excited for American and international audiences now to be transported to Kiewarra, the fictional farming community in which The Dry s twin mysteries unfold. The movie opens in theaters here on May 21. From his home in Melbourne, the star of Troy, Munich, and Romulus, My Father – his last Aussie film before The Dry – opened up about the sudden popularity of Australian movies in Australian cinemas (The Dry was part of a high-earning crop of recent films including High Ground and Penguin Bloom), scouting the perfect locations to bring Kiewarra to life, and what he hopes will be the impact of so many overseas productions shooting in his backyard. Plus, he reacts to discovering that The Dry helped get this author s mother a date. Really.(Photo by Courtesy of IFC Films. An IFC Films Release.)Joel Meares for Rotten Tomatoes: I actually had a chance to see The Dry in theaters when I was back in Australia for two months over Christmas. It was a great experience and I have to let you know that you re actually responsible for getting my mother a date: we were in the lobby before the movie and I d gone to get popcorn and when I came back a man had come up to her with a notepad. She introduced me, and she said, This is John and he s giving me his number. Eric Bana: This might be my favorite theatrical story yet from The Dry.Rotten Tomatoes: She took the number and he walked away, but he also said, I had to say your mother was beautiful and I had to shoot my shot. And mom hadn t been to the movies in 10 years! There s not really a question there, but I guess: How do you feel making love happen?Bana: That is pretty spectacular. I love that story. It s in a lot of ways symbolic of, as you mentioned, so many people going back to the cinema for the first time. Not only I guess regular cinema goers, but we ve found that there are a lot of people who, for whatever reason, just really felt compelled to see this film on a big screen, which is so rewarding for us because it s exactly what our intention was. The way that that energy was picked up on by the Australian public was beyond what we had obviously expected, so it was amazing.Rotten Tomatoes: It was a very strange thing to be back in Australia and have the likes of network morning TV talking about this Australian film as a phenomenon. Our films sometimes struggle to cut through the clutter back home. And at the same time as The Dry, cinemas were filled with more Aussie films: Penguin Bloom and High Ground and Rams and all these other films were out. Was it a kind of exciting moment to see Australians going to the movies to see Australian films?Bana: Yeah, it was. It was exciting because it was a deliberate thing. We wanted the film to be commercial. We knew that it had the hallmarks of an indie – with dark themes. But on top of that, there was a potential to try and lure people in with a more commercial sell, which is why [distributor] Village Roadshow were such good partners for us.But you re right, it was the beginning. The release date was really scary when we got it, January 1. [Editor’s note: COVID-19 cases were down in low single and double-digits in Australia at the time, but cinemas were only newly operating at capacity and snap lockdowns were regular occurrences in Australian cities.] It was sink or swim. But we felt really confident in the film and that it helped set up this trend of people going, Yeah, we really want to get behind these Australian films. It has changed the language around theatrical releases for Australian films, which is the thing that I m most excited about and that all the producers are excited about: That we can start seeing the potential for Australian films and think about them differently.(Photo by Courtesy of IFC Films. An IFC Films Release.)Rotten Tomatoes: It s exciting to be here back in America now and seeing these films being released and embraced here. The Dry struck me, though, as quite particularly Australian in some ways – it deals with issues that we face, I think, more acutely than some other nations, like the drought and the problem of gambling; and it also gave me a lot of Wake In Fright vibes with the aggressive macho-ness that your character faces at the pub. But in what ways do you feel the movie is universal, and what are you hoping that international audiences are going to get from this film?Bana: Look, we were really lucky that Jane Harper chose to set the story in a fictitious Victorian town of Kiewarra. The key elements of the thriller/whodunit would have worked in any country, in any landscape, with her writing. But we felt like the worst thing we could have done was set this film in Texas, because the hyper-Australian-ess and the attention to detail of the characters and locations are what makes it so specific and is what makes it unique, and that s what made the book unique.That was playing to our strengths, because it was language we understood, it was characters we understood, it was locations and landscape that we understood. It enabled us, in terms of producers, directors, actors, crew, cinematography, to elevate our game to the highest possible level in a local landscape. By making it hyper-Australian in terms of its detail, I think it helps amp up all those other aspects of an already completely solid story and whodunit, which would have worked like I say in any landscape around the world, but fortunately for us it was set here.To answer your question, I hope the audience enjoys being transported. We re really excited about the idea that Americans will feel like they ve spent two hours in Kiewarra at the end of the film. I m really, really excited to see Americans reactions, because it s a depiction of – as you know – rural Australia that we don t always get in cinema. It s usually quite a caricature. It s usually the Outback. It s not usually these towns, which is how – I don t know about you – but how I identify with rural Australia is through these little country towns.Rotten Tomatoes: And they re towns that are changing, they re affected by a number of impacts. I found the choice for John Polson s character to live in that isolated McMansion/new monstrosity very interesting.Bana: Yeah.(Photo by Courtesy of IFC Films. An IFC Films Release.)Rotten Tomatoes: That said, we do also get these amazing vistas and we do get this beautiful – somewhat despairing if you think about the drought that underlies it – striking imagery. From what I understand, you were part of the location scouting for this film. What was that process like and visually what were you going for in terms of the locations?Bana: We really wanted to try and capture the essence of what Jane had written in the book. We knew that area, the Wheat Belt of Victoria, which is about five hours away from the city in which I am now, Melbourne. There was no one town that could do the job so we based ourselves in a place called Warracknabeal and then we had about an hour-and-a-half circle from there that we could cherry pick all these tiny little towns to stitch together our Kiewarra. So, we use the pub from Minyip, we ll use the main street from Beulah, we ll use the house from here, and so forth.It was a lot of different locations to get the greatest possible visual consistency with what was in the book. Stefan Duscio, our Director of Photography, did an amazing job. He is from the country and really understands that landscape. Because you had to believe that the dryness and the tension and the mental scarring that comes from people not only living through a severe drought, but also being dependent upon rainfall in order to survive financially and emotionally as well.We shot the beginning of 2019, at the peak of the drought and just as the bush fires were starting. It just felt, it did, it felt like it was never going to rain. It did rain after we left, which is traditional for film crews, of course, but it was very important to us.Rotten Tomatoes: You’ve spoken about what was important to you as the producer of this film. I m wondering, as you look at what you re going to produce next, and as you develop a body of work that you ve produced, is there a guiding principle or something you re looking to do with the projects that you want to shepherd now?Bana: They tend to be projects that I want to be very closely involved in myself. I don t want to be someone who just attaches their name to things for the sake of it. So, it will generally be stuff that I m intrinsically involved with. I was fortunate enough that in this case, Bruna Papandrea, the producer who acquired the rights some years ago, was someone that we knew well and wanted to get involved with. That was wonderful to learn from her and my co-producer, Robert Connolly, who is our director as well, who is just so experienced and fantastic.I guess, yeah, it s stuff that I really feel that I can have a solid contribution to and have a voice in. The Dry was a “gimme” because it was in my backyard. I knew the area; we were working out of our office and post-production was just a two-minute walk away, so it was fantastic in that sense.(Photo by Courtesy of IFC Films. An IFC Films Release.)Rotten Tomatoes: It s great to see Australian movies at the cinemas, but the other thing that s happening in Australia at the moment is that it feels like every American production in the world is currently based there on the Gold Coast or in Byron Bay – largely thanks to COVID being fully under control and some generous tax incentives. I m wondering, what do you hope the impact of all this activity that s happening now will be for the local industry? There is a fear I see when speaking to some people that everyone is going to pack up once the pandemic ends and things settle back to normal, and tax incentives won t be enough to keep this level of production in the country. Is there a hope you have or something you re thinking about in terms the impact of all this production happening right now?Bana: I think the volume is such that definitely there will be a slight legacy there – that more people will feel comfortable traveling to Australia to film. I m confident that there will be some kind of continual, residual value in people being comfortable with Australia as a shooting location, even when we lose our ultra-competitive edge due to COVID and the situation being back to normal. Obviously, the UK is a long way off being back online in that strong production sense. We will lose some production, eventually, so hopefully we can regain some of that.But it s really important that we strike the right balance and that we make the most of the theatrical energy that came out of this year with Australian cinema. We re starting to get government to really pay attention now, which is great, both on a state level here in Victoria and on a federal level with the offset remaining at 40% – which was super, super important.I hope that there is a long tail. I think we have to be prepared for that drop-off that you talk of, when the rest of the world goes back to normal and every other shooting location becomes available. But hopefully there will be a bit of a legacy here and people go, “Actually, it was great shooting down there. Studios were great in all the different cities. Australians made us feel welcome.”You d like to think it s not just a tax break that lures someone to a shooting location. And I ve been on the receiving end of that myself. I ve worked in a lot of international cinema that s shot in tax-break locations, so I get it and I ve benefited from that, so I can t criticize that process too much. But at the same time, what makes those locations something that you want to go back to are the crews and the conditions and how great those cities are to be in – it makes a really big difference.Hopefully, we can get our way into people s hearts and all these directors, producers, actors want to keep coming back here. That s what we have to try and concentrate on.(Photo by ©Dendy Films/Courtesy Everett Collection)Rotten Tomatoes: You hadn’t made an Australian film for quite some time before The Dry. Are you focused on staying there at the moment and working on Australian stories? Or are you still open to what tickles you, wherever it happens to be?Bana: It s not a driving principle for me. Since Romulus, My Father (pictured above), Rob [Connolly, who directed Romulus and The Dry] and I have been looking to find something to do at home because this is where we live and it s obviously hugely advantageous. I don t have to fly 24 hours to go to work; it was novel to shoot something at home!It has to compete with everything else on the pile. I don t feel like a patriotic sense of “I must do this many Australian films.” I d much rather do the greatest work I can possibly do here when it comes along. That, I think, is a more important contribution. I don t have a personal quota or anything like that. Obviously, if I found something else to do here that was of that quality, I d do it tomorrow.But the pool is much smaller here, obviously. The Australian pile is much smaller, and it s much harder for me to find films of that quality here at the same frequency as I do. So, there s no real priority given to it, but obviously it s hugely rewarding when it does come along.Rotten Tomatoes: And just finally, I know you said it s a very particularly Australian story and that s what elevates it. But also because of its interesting structure, this dual mystery, it has a hook where I can see it could be remade. They could take this idea and set it somewhere else as a remake. I m not saying that anyone s suggested that, but it did pop into my head. How would you feel about potentially having a remade version of this in another location or country?Bana: I m good with accents! [Laughs]. I ve had people ask me about a sequel; I haven t had people ask me about a version in another country. I ll just go play Aaron in Denmark or Germany! That s not something I ve heard, yet. Let s hope that the specific nature of this one means that people would rather experience the original and not have the accent subtitled even in English. Let s hope they can understand what the hell we re saying and enjoy. Enjoy our wonderful Australian accents for a change. It s not often Australians get to play Australians in international cinema. I m happy for them to get a real taste of Australia through this film.Rotten Tomatoes: My favorite accent moment in any film, by the way, happens to be Leslie Mann making fun of how you say No in Funny People.Bana: [Laughing] Yeah, it was pretty special. Gosh, she s funny.The Dry is in U.S. theaters May 21, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.

4. 呼朋唤友 随心所欲

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 3.46.42022-01-22

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(Photo by HBO)Chernobyl leads nominations for the 2020 British Academy of Film and Television Arts awards for television with 14 nods. BAFTA announced the full list of the Virgin Media British Academy Television Awards and British Academy Television Craft Awards nominations on Wednesday.Other top nominees included The Crown with seven, Fleabag, and Giri/Haji with six, His Dark Materials and The Virtues with five, and four nominations each for Killing Eve, Sex Education, and Top Boy.U.K. residents can vote on the Virgin Media Must-See Moment at virginmedia.com/bafta. The category nominees include:Coronation Street: The Death of Sinead OsbourneFleabag: Confessional sceneGame of Thrones: Arya kills the Night KingGavin and Stacey: Nessa proposes to SmithyLine of Duty: John Corbett’s DeathLove Island: Michael recouples after Casa AmorWinners of the Television Craft Awards will be revealed Friday, July 17 and the Television Awards on Friday, July 31.COMEDY ENTERTAINMENT PROGRAMMETHE GRAHAM NORTON SHOW Graham Norton, Graham Stuart, Jon Magnusson, Steve Smith – So Television/BBC OneTHE LAST LEG Production Team – Open Mike Productions/Channel 4THE RANGANATION Production Team – Zeppotron/BBC TwoTASKMASTER Alex Horne, Andy Devonshire, Andy Cartwright, James Taylor – Avalon Television/DaveCURRENT AFFAIRSGROWING UP POOR: BRITAIN’S BREADLINE KIDS (DISPATCHES) Production Team – True Vision East/Channel 4THE HUNT FOR JIHADI JOHN Anthony Wonke, Richard Kerbaj, Peter Lovering, Jane Root – Nutopia, Livedrop Media, HBO/Channel 4IS LABOUR ANTI-SEMITIC? (PANORAMA) Leo Telling, John Ware, Neil Grant, Rachel Jupp – BBC/BBC OneUNDERCOVER: INSIDE CHINA’S DIGITAL GULAG (EXPOSURE) Robin Barnwell, David Henshaw, Guy Creasey, Gesbeen Mohammad – Hardcash Productions/ITVDRAMA SERIESTHE CROWN Peter Morgan, Suzanne Mackie, Benjamin Caron, Michael Casey – Left Bank Pictures, Sony Pictures Television/NetflixTHE END OF THE F***ING WORLD Production Team – Clerkenwell Films, Dominic Buchanan Productions/Channel 4/NetflixGENTLEMAN JACK Sally Wainwright, Faith Penhale, Laura Lankester, Phil Collinson – Lookout Point, HBO/BBC OneGIRI/HAJI Production Team – Sister Pictures/BBC TwoENTERTAINMENT PERFORMANCEFRANKIE BOYLE Frankie Boyle’s New World Order – Zeppotron/BBC TwoGRAHAM NORTON The Graham Norton Show – So Television/BBC OneLEE MACK Would I Lie to You – Zeppotron/BBC OneMO GILLIGAN The Lateish Show with Mo Gilligan – Expectation, Momo G/Channel 4ENTERTAINMENT PROGRAMMETHE GREATEST DANCER Amelia Brown, Phil Harris, Nigel Hall, Louise Hutchinson – Thames, Syco Entertainment/BBC OneTHE RAP GAME UK Tom O Brien, Simon Andreae, Tom Whitrow – Naked TV/BBC ThreeSTRICTLY COME DANCING Production Team – BBC Studios/BBC OneTHE VOICE UK Production Team – ITV Studios, Talpa/ITVFACTUAL SERIESCRIME AND PUNISHMENT Emily Lawson, Bruce Fletcher, Jemma Chisnall, Mark Raphael – 72 Films/Channel 4DON’T F**K WITH CATS: HUNTING AN INTERNET KILLER Mark Lewis, Felicity Morris, Michael Harte, Dimitris Doganis –Raw TV/NetflixLEAVING NEVERLAND Dan Reed – Amos Pictures/Channel 4OUR DEMENTIA CHOIR WITH VICKY MCCLURE Production Team – Curve Media/BBC OneFEATURESJOE LYCETT’S GOT YOUR BACK Production Team Rumpus Media, My Options Were Limited/Channel 4THE MISADVENTURES OF ROMESH RANGANATHAN Emily Hudd, Morgan Roberts, Christopher Cottam Rumpus Media/BBC TwoMORTIMER WHITEHOUSE: GONE FISHING Bob Mortimer, Paul Whitehouse, Lisa Clark, Will Yapp Owl Power/BBC TwoSNACKMASTERS Production Team Optomen/Channel 4FEMALE PERFORMANCE IN A COMEDY PROGRAMMEGBEMISOLA IKUMELO Famalam BBC Studios/BBC ThreePHOEBE WALLER-BRIDGE Fleabag Two Brothers Pictures/BBC ThreeSARAH KENDALL Frayed Merman Television Ltd, Guesswork Television/Sky OneSIAN CLIFFORD Fleabag – Two Brothers Pictures/BBC ThreeINTERNATIONALEUPHORIA Sam Levinson, Ravi Nandan, Kevin Turen, Drake The Reasonable Bunch, A24, Little Lamb, DreamCrew, Tedy Productions, HBO/Sky AtlanticSUCCESSION Production Team HBO Entertainment in association with Project Zeus, Hyperobject Industries and Gary Sanchez Productions/Sky AtlanticUNBELIEVABLE Production Team CBS Television Studios, Timberman-Beverly Productions, Katie Couric Media, Escapist Fare, Sage Lane Productions/NetflixWHEN THEY SEE US Production Team Participant Media, Tribeca Productions, Harpo Films, Array Filmworks/NetflixLEADING ACTORCALLUM TURNER The Capture Heyday Television, NBC Universal/BBC OneJARED HARRIS Chernobyl – Sister Pictures, The Mighty Mint, Word Games, HBO/Sky AtlanticSTEPHEN GRAHAM The Virtues Warp Films, Big Arty Productions/Channel 4TAKEHIRO HIRA Giri/Haji – Sister Pictures/BBC TwoLEADING ACTRESSGLENDA JACKSON Elizabeth Is Missing – STV Productions/BBC OneJODIE COMER Killing Eve – Sid Gentle Films/BBC OneSAMANTHA MORTON I Am Kirsty – Me and You Productions/Channel 4SURANNE JONES Gentleman Jack – Lookout Point, HBO/BBC OneLIVE EVENTBLUE PLANET LIVE Production Team – BBC Studios Natural History Unit, Open University, BBC Learning/BBC OneELECTION 2019 LIVE: THE RESULTS Production Team – ITV News, ITN/ITVGLASTONBURY 2019 Production Team – BBC Studios/BBC TwoOPERATION LIVE Production Team – The Garden Productions/Channel 5MALE PERFORMANCE IN A COMEDY PROGRAMMEGUZ KHAN Man Like Mobeen – Tiger Aspect Productions, Cave Bear Productions/BBC ThreeJAMIE DEMETRIOU Stath Lets Flats – Roughcut TV/Channel 4NCUTI GATWA Sex Education – Eleven Film/NetflixYOUSSEF KERKOUR Home – Jantaculum, Channel X/Channel 4MINI-SERIESA CONFESSION Jeff Pope, Paul Andrew Williams, Tom Dunbar, Johnny Capps ITV Studios, Urban Myth Films/ITVCHERNOBYL Production Team – Sister Pictures, The Mighty Mint, Word Games, HBO/Sky AtlanticTHE VICTIM Rob Williams, Niall MacCormick, Sarah Brown, Jenny Frayn – STV Productions/BBC OneTHE VIRTUES Shane Meadows, Jack Thorne, Mark Herbert, Nickie Sault Warp Films, Big Arty Productions/Channel 4NEWS COVERAGEHONG KONG PROTESTS Production Team – Sky News/Sky NewsITV NEWS AT TEN: ELECTION RESULTS Production Team – ITV News, ITN/ITVPRINCE ANDREW THE EPSTEIN SCANDAL (NEWSNIGHT) Production Team – BBC News/BBC TwoVICTORIA DERBYSHIRE: MEN WHO LOST LOVED ONES TO KNIFE CRIME – BBC News/BBC TwoREALITY CONSTRUCTED FACTUALCELEBRITY GOGGLEBOX Tania Alexander, Leon Campbell, Stephen Lambert, Chris Hooker – Studio Lambert/Channel 4HARRY’S HEROES: THE FULL ENGLISH Production Team – Talkback/ITVRACE ACROSS THE WORLD Production Team – Studio Lambert/BBC TwoRUPAUL’S DRAG RACE UK Production Team – World of Wonder Productions/BBC ThreeSCRIPTED COMEDYCATASTROPHE Sharon Horgan, Rob Delaney, Jim O’Hanlon, Toby Welch Avalon Television, Birdbath, Merman/Channel 4DERRY GIRLS Lisa McGee, Michael Lennox, Sam Pinnell – Hat Trick Productions/Channel 4FLEABAG Production Team – Two Brothers Pictures/BBC ThreeSTATH LETS FLATS Jamie Demetriou, Tom Kingsley, Seb Barwell, Ash Atalla Roughcut TV/Channel 4SHORT FORM PROGRAMMEANYWHERE BUT WESTMINSTER John Domokos, John Harris – The Guardian/The GuardianBRAIN IN GEAR Gbemisola Ikumelo, Fergal Costello, Inez Gordon – BBC Studios/BBC iPlayerSOON GONE: A WINDRUSH CHRONICLE Roy Williams, Tinge Krishnan, Carol Harding – Douglas Road Productions, The Young Vic/BBC FourTONI_WITH_AN_I (BORN DIGITAL: FIRST CUTS) Marco Alessi, Ksenia Harwood, Mary Antony Plimsoll Productions, BFI/BBC FourSINGLE DOCUMENTARYTHE ABUSED Barbie MacLaurin, Napoleon Stratogiannakis, Malcolm Brinkworth, Benedict Adams Brinkworth Productions/Channel 5DAVID HAREWOOD: PSYCHOSIS AND ME Emma Hindley, Wendie Ottewill, Olivia Isaacs, David Harewood – Films of Record, Open University/BBC TwoTHE FAMILY SECRET Anna Hall, Sally Ogden, Luke Rothery, Brian Woods – True Vision Yorkshire/Channel 4THE LAST SURVIVORS Arthur Cary, Morgan Matthews, Katherine Anstey, Joby Gee – Minnow Films/BBC TwoSINGLE DRAMABREXIT: THE UNCIVIL WAR Production Team – House Productions, Baffin Media/Channel 4ELIZABETH IS MISSING Andrea Gibb, Aisling Walsh, Sarah Brown, Chrissy Skinns – STV Productions/BBC OneTHE LEFT BEHIND Alan Harris, Joseph Bullman, Aysha Rafaele, Tracie Simpson – BBC Studios/BBC ThreeRESPONSIBLE CHILD Karen Wilson, Elinor Day, Sean Buckley, Nick Holt – Kudos, 72 Films/BBC TwoSOAP CONTINUING DRAMACASUALTY Production Team BBC Studios/BBC OneCORONATION STREET Production Team – ITV Studios/ITVEMMERDALE Production Team – ITV Studios/ITVHOLBY CITY Production Team – BBC Studios/BBC OneSPECIALIST FACTUAL***8 DAYS: TO THE MOON AND BACK Production Team – BBC Studios, PBS/BBC TwoSEVEN WORLDS, ONE PLANET Production Team – BBC Studios Natural History Unit, BBC America, Tencent Penguin Pictures, ZDF, France Télévisions, CCTV9/BBC OneTHATCHER: A VERY BRITISH REVOLUTION Production Team – BBC Studios: The Documentary Unit/BBC TwoYORKSHIRE RIPPER FILES: A VERY BRITISH CRIME STORY Liza Williams, Jasmine McNabb, Nancy Bornat, Leanne Klein – Wall to Wall Media/BBC FourSPORT2019 RUGBY WORLD CUP FINAL: ENGLAND V SOUTH AFRICA Phil Heslop, David Francis, Mark Demuth, Paul McNamara – ITV Sport/ITVICC CRICKET WORLD CUP FINAL Production Team – Sky Sports, Sunset+Vine, ICC TV/Sky Sports CricketFIFA WOMEN’S WORLD CUP 2019 SEMI FINAL: ENGLAND V USA Frank Callaghan, Stu Hutchinson, Pete Burton – Input Media/BBC OneWIMBLEDON 2019 MEN’S FINAL Production Team – BBC Sport/BBC OneSUPPORTING ACTORJOE ABSOLOM A Confession ITV Studios, Urban Myth Films/ITVJOSH O’CONNOR The Crown Left Bank Pictures, Sony Pictures Television/NetflixSTELLAN SKARSGARD Chernobyl – Sister Pictures, The Mighty Mint, Word Games, HBO/Sky AtlanticWILL SHARPE Giri/Haji – Sister Pictures/BBC TwoSUPPORTING ACTRESSHELEN BEHAN The Virtues Warp Films, Big Arty Productions/Channel 4HELENA BONHAM CARTER The Crown Left Bank Pictures Sony Pictures/NetflixJASMINE JOBSON Top Boy Cowboy Films, Easter Partisan Films, DreamCrew, SpringHill Entertainment/NetflixNAOMI ACKIE The End of the F***ing World Clerkenwell Films, Dominic Buchanan Productions/Channel 4VIRGIN MEDIA’S MUST-SEE MOMENT (voted for by the public)CORONATION STREET The Death of Sinead Osbourne – ITV Studios/ITVFLEABAG Confessional Scene Two Brothers Pictures/BBC ThreeGAME OF THRONES Arya Kills the Night King – Bighead, Littlehead, Television 360, Startling Television, HBO/Sky AtlanticGAVIN AND STACEY Nessa Proposes to Smithy – Fulwell 73, Tidy Productions and Baby Cow Production for BBC OneLINE OF DUTY John Corbett’s Death – World Productions/BBC OneLOVE ISLAND Michael recouples after Casa Amor – ITV Studios, Motion Content Group ITV2* Entertainment Programme is given in honour of Lew Grade** Single Documentary is given in honour of Robert Flaherty*** Specialist Factual is given in honour of Huw WheldonBritish Academy Television Craft Awards Nominations (winners to be revealed Friday 17 July)BREAKTHROUGH TALENT sponsored by Sara Putt AssociatesAISLING BEA (Writer) This Way Up Merman TV/Channel 4ANEIL KARIA (Director) Pure (ep 3) Drama Republic/Channel 4 Top Boy (ep 10) Cowboy Films, Easter Partisan Films, Dream Crew, SpringHill Entertainment/NetflixLAURIE NUNN (Writer) Sex Education Eleven Film/NetflixSEAN BUCKLEY (Writer) Responsible Child – Kudos, 72 Films/BBC TwoCOSTUME DESIGNCAROLINE MCCALL His Dark Materials Bad Wolf/BBC OneJOANNA EATWELL Beecham House – Bend It TV/ITVMICHELE CLAPTON Game of Thrones Bighead, Littlehead, Television 360, Startling Television/HBO/Sky AtlanticODILE DICKS-MIREAUX Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticDIRECTOR: FACTUALARTHUR CARY The Last Survivors Minnow Films/BBC TwoDAN REED Leaving Neverland AMOS Pictures/Channel 4MARK LEWIS Don’t F**k with Cats: Hunting an Internet Killer Raw TV/NetflixROBIN BARNWELL Undercover: Inside China’s Digital Gulag (Exposure) Hardcash Productions/ITVDIRECTOR: FICTION sponsored by 3 Mills StudiosHARRY BRADBEER Fleabag – Two Brothers Pictures/BBC ThreeJOHAN RENCK Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticSHANE MEADOWS The Virtues – Warp Films, Big Arty Productions/Channel 4TOBY HAYNES Brexit: The Uncivil War – House Productions/Channel 4DIRECTOR: MULTI-CAMERA sponsored by JackshootBRIDGET CALDWELL The Royal British Legion Festival of Remembrance BBC Studios/BBC OneJANET FRASER CROOK Glastonbury 2019 BBC Studios/BBC TwoMATTHEW GRIFFITHS Six Nations 2019 Wales v England BBC Sport/BBC OnePAUL MCNAMARA ITV Racing: Cheltenham Festival ITV Sport/ITVEDITING: FACTUALANDY R. WORBOYS Untouchable: The Rise and Fall of Harvey Weinstein – Lightbox/BBC TwoJULES CORNELL Leaving Neverland AMOS Pictures/Channel 4KIM HORTON 63 Up MultiStory Media/ITVMICHAEL HARTE Don’t F**k With Cats: Hunting an Internet Killer Raw TV/NetflixEDITING: FICTIONDAN CRINNION Killing Eve (Episode 4) Sid Gentle Films/BBC OneELEN PIERCE LEWIS Giri/Haji – Sister Pictures/BBC TwoGARY DOLLNER Fleabag Two Brothers Pictures/BBC ThreeJINX GODFREY, SIMON SMITH Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticENTERTAINMENT CRAFT TEAM sponsored by HotcamAMBER RIMELL, BRONSKI, MISTY BUCKLEY, TIM ROUTLEDGE Glastonbury 2019 (Stormzy) – BBC Studios, Tawbox/BBC TwoDAVID BISHOP, VICKY GILL, ANDY TAPLEY, PATRICK DOHERTY Strictly Come Dancing BBC Studios/BBC OneMARK BUSK-COWLEY, STEVE KRUGER, IAIN STIRLING, JAMES TINSLEY Love Island ITV Studios, Motion Content Group/ITV 2NIGEL CATMUR, PATRICK DOHERTY, KEVIN DUFF, ANDREW STOKES The Royal British Legion Festival of Remembrance BBC Studios/BBC OneMAKE UP HAIR DESIGN sponsored by MAC CosmeticsDANIEL PARKER, BARRIE GOWER Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticINMA AZORIN The Trial of Christine Keeler Ecosse Films, Great Meadow Productions/BBC OneKIRSTIN CHALMERS Catherine the Great New Pictures, Origin Pictures/Sky AtlanticLOZ SCHIAVO Peaky Blinders Caryn Mandabach Productions, Tiger Aspect/BBC OneORIGINAL MUSICADRIAN JOHNSTON Giri/Haji – Sister Pictures/BBC TwoANDREW PHILLIPS War in the Blood – Minnow Films/BBC TwoDAVID HOLMES, KEEFUS CIANCIA Killing Eve – Sid Gentle Films/BBC OneHILDUR GUDNADOTTIR Chernobyl- Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticPHOTOGRAPHY: FACTUAL sponsored by The FarmBERTIE GREGORY, HOWARD BOURNE, JOHN SHIER Seven Worlds, One Planet BBC Studios/BBC OneDOUG ANDERSON, ROGER HORROCKS, GAVIN THURSTON Our Planet (Coastal Seas) Silverback Films/NetflixJAMIE MCPHERSON, HECTOR SKEVINGTON-POSTLES, BARRIE BRITTON Our Planet (Frozen Worlds) Silverback Films/NetflixPATRICK SMITH, NEIL HARVEY Untouchable: The Rise and Fall of Harvey Weinstein – Lightbox/BBC TwoPHOTOGRAPHY LIGHTING: FICTION sponsored by ScreenSkillsADRIANO GOLDMAN The Crown Left Bank Pictures, Sony Pictures Television/NetflixJAKOB IHRE Chernobyl Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticJOE ANDERSON Top Boy Cowboy Films, Easter Partisan Films, Dream Crew, SpringHill Entertainment/NetflixSUZIE LAVELLE His Dark Materials (Episode 3) – Bad Wolf, BBC Studios, HBO/BBC OnePRODUCTION DESIGN sponsored by MicrosoftLAURENCE DORMAN, LINDA WILSON Killing Eve Sid Gentle Films/BBC OneLUKE HULL, CLAIRE LEVINSON-GENDLER Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticMARTIN CHILDS, ALISON HARVEY The Crown – Left Bank Pictures, Sony Pictures Television/NetflixSAMANTHA HARLEY, MIRI KATZ Sex Education – Eleven Film/NetflixSCRIPTED CASTING sponsored by SpotlightDES HAMILTON Top Boy – Cowboy Films, Easter Partisan Films, Dream Crew, SpringHill Entertainment/NetflixLAUREN EVANS Sex Education – Eleven Film/NetflixNINA GOLD, ROBERT STERNE Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticYOKO NARAHASHI, SHAHEEN BAIG, LAYLA MERRICK-WOLF Giri/Haji – Sister/BBC TwoSOUND: FACTUAL sponsored by ShureGRAHAM WILD, KATE HOPKINS Seven Worlds, One Planet – BBC Studios/BBC OneGRAHAM WILD, KATE HOPKINS, TIM OWENS Our Planet (One Planet) – Silverback Films Production/NetflixNICK FRY, STEVE SPEED, JAMES EVANS, NICK ADAMS Formula 1: Drive to Survive – Box to Box Films/NetflixSOUND TEAM Battle of the Brass Bands – Two Four/Sky ArtsSOUND: FICTIONDILLON BENNETT, JON THOMAS, GARETH BULL, JAMES RIDGEWAY His Dark Materials – Bad Wolf, BBC Studios, HBO/BBC OneIAN WILKINSON, LEE WALPOLE, FRASER BARBER, STUART HILLIKER A Christmas Carol – FX Productions in association with the BBC, Minim UK Productions, Scott Free, and Hardy Son Baker/BBC OneSOUND TEAM Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticSOUND TEAM The Crown – Left Bank Pictures, Sony Pictures Television/NetflixSPECIAL, VISUAL GRAPHIC EFFECTSBEN TURNER, CHRIS REYNOLDS, ASA SHOUL The Crown – Left Bank Pictures, Sony Pictures Television/NetflixFRAMESTORE, PAINTING PRACTICE, REAL SFX, RUSSELL DODGSON His Dark Materials – Bad Wolf, BBC Studios/HBO/BBC OneLINDSAY MCFARLANE, CLAUDIUS CHRISTIAN RAUCH, JEAN-CLÉMENT SORET, DNEG Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticMILK VISUAL EFFECTS, GARETH SPENSLEY, REAL SFX Good Omens – Amazon Studios, BBC Studios, Narrativia, The Blank Corporation/Amazon Prime VideoTITLES GRAPHIC IDENTITYALEX MACLEAN The Durrells – Sid Gentle Films/ITVELASTIC Catherine the Great – New Pictures, Origin Pictures/Sky AtlanticELASTIC, PAINTING PRACTICE His Dark Materials – Bad Wolf, BBC Studios, HBO/BBC OneLIGHT CREATIVE Ghosts – Monumental Television, Them There/BBC OneWRITER: COMEDYDANNY BROCKLEHURST Brassic – Calamity Films/Sky 1JAMIE DEMETRIOU Stath Lets Flats – Roughcut TV/Channel 4PHOEBE WALLER-BRIDGE Fleabag – Two Brothers Pictures/BBC ThreeSAM LEIFER, TOM BASDEN Plebs – Rise Films/ITV2WRITER: DRAMACHARLIE COVELL The End of the F***ing World – Clerkenwell Films, Dominic Buchanan Productions/Channel 4CRAIG MAZIN Chernobyl – Sister Pictures, The Mighty Mint, Word Games/Sky AtlanticJESSE ARMSTRONG Succession – HBO Entertainment, Project Zeus, Hyperobject Industries, Gary Sanchez Productions/Sky AtlanticSHANE MEADOWS, JACK THORNE The Virtues – Warp Films, Big Arty Productions/Channel 4

NOTE: The free episode is available until 11:59pm Thursday May 23. Check out the full first episode of DC Universe s misfit superhero series Doom Patrol. It will be available on Rotten Tomatoes for a full week ahead of Doom Patrol s season finale.About the Series: Doom Patrol is a re-imagining of DC s most beloved group of outcast superheroes: Robotman, Negative Man, Elasti-Girl, and Crazy Jane, led by modern-day mad scientist Dr. Niles Caulder (The Chief). The Doom Patrol s members each suffered horrible accidents that gave them superhuman abilities — but also left them scarred and disfigured. Traumatized and downtrodden, the team found purpose through The Chief, who brought them together to investigate the weirdest phenomena in existence — and to protect Earth from what they find. Part support group, part superhero team, the Doom Patrol is a band of super-powered freaks who fight for a world that wants nothing to do with them. Picking up after the events of Titans, Doom Patrol will find these reluctant heroes in a place they never expected to be, called to action by none other than Cyborg, who comes to them with a mission hard to refuse, but with a warning that is hard to ignore: their lives will never, ever be the same.Starring: Diane Guerrero as Crazy JaneApril Bowlby as Rita Farr / Elasti-WomanJoivan Wade as Victor Stone / CyborgAlan Tudyk as Mr. NobodyMatt Bomer as Larry Trainor / Voice of Negative ManBrendan Fraser as Cliff Steele / Voice of RobotmanTimothy Dalton as Niles Caulder / The ChiefRiley Shanahan as Robot Man (on-set performer)Matthew Zuk as Negative Man (on-set performer)Doom Patrol’s remaining episodes are available to stream on DC Universe.
The first season of HBO’s road trip horror-fantasy, Lovecraft Country, is a hit with fans and critics, already coming in Certified Fresh. The show blends the terrifying monsters of H.P. Lovecraft’s universe with the horrors of racism in segregated 1950s America. Expanding on those themes, this week s Binge Guide includes more classic literary monsters, the unknown terrors of traveling, and much more.Recommended: The Best HBO Series RankedRecommended: The Best HBO Max Shows to Stream Now
The first trailer for It: Chapter Two dropped on Thursday morning and well, thanks yet again for the nightmares, Pennywise, Warner Bros., Andy Muschietti and Co. Really, thanks a bunch.The bulk of the first trailer is made up of a 2 minute and 15 second scene featuring Jessica Chastain s adult Beverly coming back to Derry to visit her childhood home and meeting its current occupant – the schvitzing Mrs Kersh who, of course, is not quite as she seems. After some exchanges of pleasantries ( No one who dies here ever really dies ), we start to see that something is amiss. As in moves-around-in-the-background-like-a-dancing-clown amiss.(Photo by @ Warner Bros. Pictures)Turns out Kersh is Pennywise s daughter or so she says.The rest of the trailer features a series of quick cuts that reveal the Losers Club is back together, Pennywise is back up to his old tricks (the red balloon budget has increased sizably), romance is in the air, and we will definitely get to see the original film s younger cast in multiple flashbacks. The flavor of the original, and of Stephen King s 1986 novel, all looks in place.There are hints this could be an origin story for Pennywise – there s Kersh, saying she s his daughter (though King fans will know Kersh is a form of IT); images of an un-made-up Pennywise with his traveling circus; and, a harrowing little shot of the clown seemingly tearing off his makeup.(Photo by @ Warner Bros. Pictures)The first It trailer back in March of 2017 was an event, and broke the record for most-watched trailer online in a day with 197 million views across the world. That figure smashed the previous record held by The Fate of the Furious (but has since itself been beaten by The Lion King, Infinity War, and two trailers for Endgame). The 2017 trailer s set of creepy images – red balloons floating through libraries, clowns appearing suddenly in drains – and that terrifying tagline ( You ll float too! ) got horror fans hyped for the movie, which would go on to become the highest-grossing horror movie ever, making more than 0 million worldwide.Will the first trailer for It: Chapter Two have the same impact? The goosebumps on our necks point to yes. But what did you think of the first trailer? Let us know in the comments. In the meantime, check out our picks for the five freakiest moments from the trailer. I was always daddy s little girl. (Photo by @ Warner Bros. Pictures)Holy hell. The extended sequence of Beverly in her childhood home ends with a bang, with Mrs. Kersh running jaggedly out of the dark towards her prey. The two minutes are a study in slow-building suspense – if this is the direction director Andy Muschietti is taking us in, we re definitely here for it.Pennywise Goes Full Carl from Up(Photo by @ Warner Bros. Pictures)Seems that Richie (Bill Hader) has an encounter with our dancing clown at a carnival, and Pennywise has taken that famous sequel directive bigger is better to heart, absolutely piling on the balloons. So he can fly now. Great.A Carrie Homage?(Photo by @ Warner Bros. Pictures)
Welcome to the gun show, movie fans: On this latest episode of Vs., two absolute titans of blockbuster cinema will go round for round (and bench-pressed pound-for-pound) to decide who is the quintessential action hero. Will it be the man who segued from Mr. Universe to Robot Who Wants To Destroy The Universe to Robot Who Wants To Save The Universe? (OK, the Terminator sets out to destroy/save “world,” but still, we were trying something…) Or will it be the eyebrow-raising onetime wrestling champ who went from the ring to the desert and on to the Jungle (where he has cruised and been “Welcomed” – twice if you watched The Rundown with its international title). Dwayne Johnson and Arnold Schwarzenegger battle it out over five categories – box office, Tomatometer and Audience Scores, iconic moments, franchisability, and a wild card topic – under the watchful eye of our own brawny action hero, Mark Ellis. Who will walk away with the championship belt? Tune in to find out.On an Apple device? Follow Rotten Tomatoes on Apple News.
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ven sort of hesitate to use the word “bad” ― you make choices that aren t necessarily going to provide you with a lifelong relationship.But I do think they have an immediate connection with each other, and that happens in life, too, and for me, the priest is flawed and he definitely is very conflicted, and I believe he is also very much in love.Sometimes people of the church are depicted as asexual or that they re not interested in or have no thoughts or feelings of intimacy regarding sex, and that just can t be true, because that s not true for any human. We all have a relationship with sex. And love. Even if you re asexual, you still have a sort of attitude towards it. I think that s a very interesting thing from my perspective about what actually do you do? What do you do with your sexuality?(Photo by Steve Schofield/Amazon Prime)Scott (cont.): I think sometimes in drama, we re told what we re supposed to feel because we make these sort of cartoonish characters, and I think the reason that Fleabag is unique, is that we don t. Sometimes they do things that are cruel and selfish, and sometimes they re very vulnerable, and sometimes powerful. And sometimes they re abusive and sometimes they re incredibly loving and kind. And that suggestion is in us all.I think it s a sort of lack of judgment and the fact that we can do that through comedy makes it special.The Priest is obviously so conflicted, and he has a problem with alcohol. Was that built in before he met her, or is that something he recently adopted?Scott: His relationship with alcohol is not healthy. It was sort of important not to overstate that in a sense ―let the audience do some work ― but I definitely think he has a longstanding unhealthy relationship with alcohol, like a lot of people.(Photo by Steve Schofield/Amazon Prime)I m going to be careful about spoilers, because the relationship is built on these very special moments, but the first fox talk,” I think, might also be the first time he asked her, “Where d you go?” when she breaks the fourth wall and looks at the audience. Did you guys talk about what her behavior in that moment would look like to him?Scott: The most important thing was, it s a deep connection. I think it shows how connected he is to her. I think they re both quite solitary characters, and Fleabag s friend is the audience and the relationship with the audience is sometimes helpful and sometimes destructive, and sometimes a way of just avoiding a life and relieving power. And the fact that he s able to see that, and solely him — he s the only character who can see that — speaks to me, not just as sort of exciting television or kind of convention, but just the idea that he, he sees her, he sees all of her, and he wants it from when they first spoke, he wants to talk about this extraordinary love. For my money, I feel like, they almost love each other right from the get go. I think they are definitely intrigued by each other and that sort of deepens, and I think they don t really know what it is. Like a lot of us when we first meet somebody that you connect to and you think, Well, is it love, or is it insanity?The café scene is also a very special moment. It was so real and very intense. First, does he see her behavior as mental illness? And is that tension built into the writing or is it something that gets fleshed out when you re working the scene?Scott: It s built to a certain degree into the writing. Phoebe and I have got a great chemistry going, and so I think we just sort of saw what happens on that day. Phoebe s very playful in that sense, in the relationship  At the beginning and certainly in that scene, it really genuinely is what it is Where are you going?  I don t think he knows, but it s like What is it that you re doing? And I think we can all sort of relate to that to a certain degree. When people are, to a certain degree are unknowable, and you go, “What is that thing? What is that look on your face?”Because the idea of playing with the format of breaking fourth wall is so exciting — I find it really exciting that that s developed in the second series There s a sort of metaphysical sort of vibe in the second series of pictures falling off walls and foxes following you at night   A little bit like love, it s completely unknowable if you re serious, and so it s hard to answer those questions. And the only thing we really do is to dramatize the question, rather than try to nail them down too much, because that then it becomes less interesting drama.(Photo by Steve Schofield/Amazon Prime)Speaking of the storytelling, the fox detail of the story is the kind of quirky detail that you don t see very often in film and in television. What are your thoughts on the writing for this series?Scott: I think the writing is extraordinary. I think somebody s hair looking amazing the day of their mum s funeral, or somebody wearing really tight jeans to the funeral, or a fox trying to break into a toilet, and you know, partnered with scenes about death and loss and pain, I think it s just so extraordinary, that she writes with such flair and such imagination and boldness, that s really a thing that I want to watch on TV. And to be part of it is really exciting ― it s original and audacious storytelling. And that has to start with the writing, and I think she s not afraid of the grand gesture and to push the boundaries of how we tell our stories. And I think that s why people really respond to her work, because, juxtaposed to that, is a great sense of humanity, fun, and a kind of kindness. I m truly in awe of her imagination, really.Fleabag season 2 is now streaming on on Amazon Prime.


全民倒塔 Secret Santas: Do You Know These Actors Who've Played Santa Claus? Tim Allen, Kurt Russell, Billy Bob Thornton, Paul Giamatti, and Mickey Rooney are just a few of the actors who've donned the red suit. by Sophie-Marie Prime | December 19, 2018 | Comments

Tom Hardy is the latest actor to portray notorious gangster Al Capone, and from the sound of it, nobody else ever needs to portray him again. Writer-director Josh Trank’s Capone is dividing critics, but everyone agrees that Hardy’s performance is out of this world, for better or worse. The movie itself sounds pretty crazy, too, as it depicts the criminal’s final year, when he was suffering from dementia. Right now, we can all use something out of the ordinary in our entertainment, and with Hardy shooting for the moon in the lead, Capone sounds like nothing we’ve ever seen before. Who isn’t enticed by that?Here’s what critics are saying about Capone:How crazy is Capone?It’s nuts, it’s a mess and it’s pretty damn entertaining if you don’t mind characters pooping the bed and getting stabbed in the neck.  Steve Pond, The WrapIs Capone a fascinatingly idiosyncratic twilight-of-the-mobster drama? Or is it a Saturday Night Live sketch with pretensions? It may be a bit of both.  Owen Gleiberman, VarietyTidal waves, CGI alligators, characters who cut their own eyeballs out of their skulls – when was the last time you saw a movie about mobsters that had any of this stuff?  Chris Evangelista, SlashfilmIt’s not pleasing, but it’s too weird to be boring… You sit there and wonder how bizarre this movie is going to get and, scene by scene, you find out.  Mick LaSalle, San Francisco ChronicleWhat begins as a gonzo lark quickly becomes exhausting.  Richard Lawson, Vanity FairIs it worth seeing as a fun diversion?As nutty as Capone gets as a karmic fever dream for its violent subject, it’s also really watchable in a break-your-brain sort of way. Brian Truitt, USA TodayAll hell breaks loose… and viewers have to make up their minds: Are you going to run from this whacked-out twilight of the gods, or give in to it? Steve Pond, The WrapThis hollow if perversely watchable exercise in self-annihilation builds to a violent finale that finally makes good on the biopic’s sordid potential. David Ehrlich, IndieWireStarved as we are for big, exciting diversion right now, I won’t blame you if you decide to give Hardy that attention. Maybe you’ll see something worthy in the raving crypt keeper. Richard Lawson, Vanity Fair(Photo by Vertical Entertainment)Is Tom Hardy the biggest reason to see the movie?The borderline self-parodying Method madness of Tom Hardy s performance does kind of demand to be seen. David Rooney, Hollywood ReporterHardy’s psychotic portrayal is compelling and worth the price of admission. Travis Hopson, Punch Drunk CriticsThe combination of Hardy’s performance and the energy Trank and his crew bring to these fever-dream sequences make the whole project worth it. Aaron Neuwirth, We Live EntertainmentHow is his performance?Hardy, all guttural growls and tics, seems to be vying for the prize of Most Acting. Leah Greenblatt, Entertainment WeeklyHardy’s performance is undoubtedly so unlike anything we’ve ever seen. Brian Truitt, USA TodayA career-best performance, which is never anything short of fascinating. Josh Wilding, ComicBookMovie.comHardy gets to go as big as he possibly can… He shuffles, he stumbles, he mumbles, he drools. Buried under make-up, there are shots here where he doesn’t even look human. Chris Evangelista, SlashfilmHardy’s on a roll with bonkers performances… if he cannot figure out a way to dial into the frequency of his directors, people will stop seeing a master performer at work. Marshall Shaffer, The PlaylistYes, Hardy chews the scenery… his over-the-top destructive nature comes across as cartoonish because we’re unable to contrast that malice with moments of calm, collective authority. Jared Mobarak, The Film Stage(Photo by Vertical Entertainment)Who does he remind you of?Hardy once again combines the fearless commitment of early Marlon Brando with the utter unintelligibility of much older Marlon Brando. David Ehrlich, IndieWireTom Hardy playing dying Al Capone is as if Nick Nolte were playing the First vampire from Buffy the Vampire Slayer. Richard Lawson, Vanity FairHardy s Fonse more than anything recalls Al Pacino s crazed mugging as the Capone-inspired Alphonse Big Boy Caprice in Dick Tracy. David Rooney, Hollywood ReporterWhat s this about him pooping himself?Hardy turns his cast into unwilling straight men for his routine, such as during a tense interview with FBI agents that ends with Capone loudly farting and defecating himself. Marshall Shaffer, The PlaylistCapone routinely soils himself, chomps on cigars and later carrots, accuses loved ones and employees of being assassins, shoots an alligator. Richard Lawson, Vanity FairHey, you haven’t seen Al Capone until you’ve seen him chomping on a carrot and wielding a machine gun while wearing a droopy diaper. Steve Pond, The WrapYou tell me if you want to see a movie featuring not one, not two, but three separate scenes in which the increasingly feeble Capone loses control of his bladder and/or his bowels. Richard Roeper, Chicago Sun-TimesNot only is he incontinent – yes, there are multiple, uncomfortably lengthy scenes where Al Capone sh s himself in this movie, folks – he’s also prone to hallucinations. Chris Evangelista, SlashfilmThis movie is not going to win points for its handling of the indignities of dementia. David Rooney, Hollywood ReporterIs this a comedy?Of course, it’s funny. Intentionally? How could it not be? Mick LaSalle, San Francisco ChronicleThere is a grotesque humor… Trank’s macabre humor never feels like mockery. Hope Madden, Columbus Underground(Photo by Vertical Entertainment)Are there any other great performances?Linda Cardellini flexes more in the role of Capone’s wife Mae than she has in her many other turns as put-upon spouse. She’s a great sparring partner for Hardy. Hope Madden, Columbus UndergroundLinda Cardellini is excellent as Capone’s devoted wife, and Matt Dillon (always underrated) has a solid role as one of Al’s old cronies. Of course, McLachlan is fun to watch as well. Chris Bumbray, JoBlo s Movie EmporiumHow does it compare to, say, The Irishman?Think Martin Scorsese’s The Irishman taken to the extreme. Travis Hopson, Punch Drunk CriticsImagine the last 10 minutes of The Irishman but as a 100-minute film. Chris Bumbray, JoBlo s Movie EmporiumYou could think of Capone as The Irishman as reimagined by David Lynch. Steve Pond, The WrapWhile Scorsese utilizes Frank Sheeran hanging on the brink of death to explore morality and mortality in the gangster genre, what Trank has to say about a similar era in a dying man’s life is more nightmarish fever-dream clouded by paranoia and dread. Marshall Shaffer, The PlaylistThe last half hour of The Irishman crossed with the doddering-legend parts of Citizen Kane, all mixed in with Hardy’s apparent desire to play the creature in Frankenstein. Owen Gleiberman, VarietyAre there other comparisons?This is primarily a head movie that unfolds in the sepulchral chambers of Capone s addled skull with a heavy load of woozy Lynchian weirdness and a dash of Kubrick s The Shining. David Rooney, Hollywood ReporterImagine a Ken Russell artist biopic, not one about Liszt or Mahler but about a befuddled blob. Mick LaSalle, San Francisco ChronicleA Twilight Zone riff on the This is Your Life template wherein the subject is transported through a Jacob’s Ladder-esque hole towards oblivion. Jared Mobarak, The Film StageCapone begins to feel like a riff on A Christmas Carol, with Scarface standing in for old Scrooge. But there’s no redemption here. Chris Evangelista, Slashfilm(Photo by Vertical Entertainment)Is it going to get any Oscar love?It would be a sign of a truly, truly broken year if this hideous indulgence of a film gained any of that kind of traction. Richard Lawson, Vanity FairIt may not be Oscar worthy, but it’s an odd duck that’s kind of a perfect change of pace flick during these strange times. Joey Magidson, Hollywood NewsIs it a good comeback for Josh Trank?An undeniable return to form which should put him back on the radar in a big way. Josh Wilding, ComicBookMovie.comCapone isn’t a knockout comeback, but it’s an undeniably striking and bold endeavor that transcends genre constraints and conventional molds. Jared Mobarak, The Film StageTrank attempts to do a David Cronenberg or David Lynch style movie, a move that’s a major reset for his career. Chris Bumbray, JoBlo s Movie EmporiumPut it this way… If his next movie is like Fantastic Four, I don’t want to see it. But if his next movie is as purely nuts as Capone, I’m there. Mick LaSalle, San Francisco ChronicleCapone will be released on VOD on Tuesday, May 12. (Photo by © Buena Vista Pictures/ Courtesy: Everett Collection)For many, Sister Act 2: Back In the Habit is a movie with pretty much everything: An incredible lead star in Whoopi Goldberg, rousing musical numbers to spare, next-gen talent destined for greatness (hello, Lauryn Hill!), and – with its triumph-over-adversity and pursue-your-dreams themes – so many feels.And yet at the time of its release, the critics weren t feeling it. The beloved comedy sequel, which came out just a year and a half after the super-successful original, was largely dismissed as a retread not just of that first film, but of the inspirational teacher inspires inner-city kids genre more generally. It has a current Tomatometer score of just 17%, and it s been much lower than that in the past.That score has not gone unnoticed. Not by Buzzfeed Australia, not by the latest guest on our new podcast, and not by a slew of 90s kids, who have told us in no uncertain terms in comments, Audience reviews, and at bars when we tell them where we work, that when it comes to Sister Act 2, Rotten Tomatoes Is Wrong. And so yes, we had to talk about it and record ourselves as we did.Listen Now:  Spotify |  Apple Podcasts  |  Stitcher  |  TuneIn  |  Google Podcasts | Radio Public | Deezer | iHeart | Art19In the latest ep of our new podcast, Rotten Tomatoes Is Wrong, we re bowing our heads in deep reflection and asking why this film that so many Millennials worship so adoringly was deemed by critics to be such a sin against cinema. Hosts Jacqueline Coley and Mark Ellis are joined by Maikiko James – Director of Programs at Women In Film and movie lover whose favorite film ever just happens to be Sister Act 2 – to sing the praises of the movie s soaring musical numbers, its deep bench of future superstars, and get into the Whoopi of it all. Crucially, they ll also ask whether Back In the Habit – a landmark for representation in mainstream American film at the time – ever stood a chance, given who was doing the reviewing for America s newspapers, radio stations, and networks when it was released.Be sure to check in every Thursday for a new episode of Rotten Tomatoes Is Wrong (A Podcast From Rotten Tomatoes). Each week, hosts Jacqueline and Mark and guests go deep and settle the score on some of the most beloved – and despised – movies and TV shows ever made, directly taking on the statement we hear from so many fans: “Rotten Tomatoes is wrong.”Check out episode one:  Rotten Tomatoes Is Wrong About  Spider-Man 3Check out episode two:  Rotten Tomatoes Is Wrong About  Mortal KombatCheck out episode three: Rotten Tomatoes Is Wrong About  Indiana Jones and the Kingdom of the Crystal SkullIf 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 rtiswrong@rottentomatoes.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.



全民倒塔 the Mind Stone. Now that we know that encounter was not quite what Wanda or Hydra believed — and that she had powers all along — that potential tie to the Aether may prove true.(Photo by Marvel Studios - episode 104)Or, the color scheme may be an coincidence. But considering the purple hue of Agatha s powers, and the yellow energies Doctor Strange (Benedict Cumberbatch) often commands, we believe the chromatics of magic will contain a deeper meaning after next week s finale.But that still leaves us with Agatha s ultimate aim. The flashback at the start of the episode suggests an involuntary need to consume magic; which would make her a less of a villain — and more like Wanda — if it is something she does not control. As we suggested earlier, it is still possible she is playing at being an evil witch to help Wanda finally process her grief.  She could also be genuinely afraid of what a Scarlet Witch can do or believes the Chaos Magic will allow her access to the Nexus of All Realities. Well, provided the Nexus commercial last week was really her invention.As it happens, Agatha s comic book history offers a few hints to her ambiguous morality. Though typically allied with heroes like the Fantastic Four, she allowed the 17th-century Salem witch trials to occur as it would cull the witch ranks of weaker elements. Her sometimes shadowy aims led to conflicts with some of the Marvel heroes, but her goals were never villainous. Curiously, though, in Marvel s Ultimate Universe, she is really the Dragon-of-Seven who destroyed Atlantis. Another name for the creature: the Hydra.Which, despite everything we learned this week, still makes her the wildcard. Is she the bad guy or is it, ultimately, Hayward who presents the true antagonism here?(Photo by Marvel Studios - episode 105)Since were already asking questions, let s just add these to the pile as we wait for the finale:• Who is fake Pietro?• How d that fight with Monica go?• Is there still room for Mephisto to appear at this point?• What other obstructions are keeping New Vision from getting home?• Are the twins real or just part of the Hex?• Is Jimmy waiting patiently at the border for a positive outcome?Hopefully, we ll get some concrete answers to these questions along with that often-teased special guest cameo next week.New episodes of WandaVision premiere on Fridays on Disney+.On an Apple device? Follow Rotten Tomatoes on Apple News.

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