梦幻诛仙感恩礼包采用百度引擎5（Baidu 6）In 2011, HBO’s Game of Thrones, the adaptation of George R.R. Martin’s popular A Song of Ice and Fire book series, was unleashed upon the seven continents with the 100% Tomatometer-rated episode “Winter Is Coming.” This episode was written by showrunners D.B. Weiss and David Benioff and directed by HBO vet Tim Van Patten, who set the chessboard for subsequent seasons as they introduced dozens of characters who would eventually be battling ice zombies, traveling between continents, and taking part in some horrifying weddings.In the world of Game of Thrones, there is a thin line between characters being good and bad. The same can be said for the current 67 episodes: 66 of them are Fresh, 21 have 100% Tomatometer scores, and the rest mostly fall into the 90-100% Tomatometer range. With the overall 67-episode average at 94.2%, we wanted to know what factors contribute to making an episode truly rōvēgrie (High Valyrian for “great”) at 95% or more — as opposed to just really, really good.In an effort to figure out what makes up the best possible episode of GoT, we channeled our inner Maester and consulted our local Three-Eyed Raven to guide us through our research, and now that our watch has ended, we’ve identified some patterns and trends that are important to crafting the perfect episode.Read on, but beware: Spoilers will be flowing like wine at a party thrown by Tyrion Lannister.Season 1 Is the Best(Photo by Helen Sloan/HBO)Season 1 averages a 98.1% score on the Tomatometer, making it the highest-scoring season. It’s followed by season 4 (97%), season 2 (96.7%), season 3 (93.2%), season 6 (92.6%), season 7 (91.6%) and season 5 (90.1%). Season 7 is also the only season without a 100%-rated episode.Fourth Episodes Have the Highest Critical Rating(Photo by Helen Sloan/HBO)Four is the lucky number in the GoT world, with fourth episodes averaging a 98.4% Tomatometer score. Three of the seven fourth episodes to date have 100% Tomatometer scores, with season 2’s “Garden of Bones” (96%), season 4’s “Oathkeeper” (98%), season 5 s Sons of the Harpy (98%), and season 7’s “The Spoils of War” (97%) coming close. We noticed while reading the fourth-episode reviews on Rotten Tomatoes that the following phrases appeared frequently: “cruising along,” “things are picking up speed again,” and “this episode moved the plot forward more than the previous three combined,” suggesting that critics must appreciate the pacing of these episodes, which may be one explanation why fourth episodes have the highest Tomatometer average.It’s worth noting that the only episode of seasons 6 and 7 to receive a 100% Tomatometer score is “Book of the Stranger” (season 6, episode 4). The episode was hailed as “Game of Thrones at its best” because it “got down to business” and featured Daenerys walking through fire and emerging naked, with hair and flesh perfectly untouched by the flame. The character similarly survived a massive fire in the 100%-rated season 1 finale, “Fire and Blood,” as well — with dragons no less.Which grouping of episodes have the lowest Tomatometer average? The average for sixth episodes is 86.4%, which, in the GoT world, is considered almost Rotten.Massive Battles Are Great (As Long as Major Characters Win — Or Lose, but Still Live)(Photo by HBO)In anticipation of the epic battles involving zombie dragons and massive armies that will surely occur in season 8, we looked at the highest rated battle episodes from prior seasons.“Blackwater” (100%; season 2, episode 9), “The Rains of Castamere” (100%; season 3, episode 9), and “Hardhome” (100%; season 5, episode 8) are perfect examples of episodes delivering massive battles that feature supposed heroes losing and major characters surviving to fight another day. In true GoT style, many supporting characters are slaughtered (R.I.P., Karsi). But despite losing the battle, characters like Jon Snow and Tyrion Lannister are kept on the chessboard to fight another day.In the show’s other battle-heavy episodes — including “The Watchers on the Wall” (91%; season 4, episode 9), “The Dance of Dragons” (89%; season 5, episode 9), “Battle of the Bastards” (98%; season 6, episode 9), “Stormborn” (98%; season 7, episode 2), and “The Spoils of War” (96%; season 7, episode 4) — the hero was victorious and secondary characters (Ygritte, Rickon Stark, a couple of Sand Snakes) were killed.There is, of course, an exception to the rule: dragons.Season 3 s fourth episode And Now His Watch Has Ended was the first in which the dragons took part in the fight — in this case, with the Unsullied against their former masters. Daenerys won the day, and the episode scored 100%. Similarly, season 7 s fourth episode, The Spoils of War, in which Daenerys took Drogon out to meet the Lannister army, scored a very high 97%. But in the same season s sixth episode, “Beyond the Wall” (82%; season 7, episode 6), the Night King killed Viserion, and the episode scored an 84% — he was resurrected(ish), but dead and mobile is still mostly dead. It was a Night King victory.It’s worth noting that director Miguel Sapochnik, who helmed both “Hardhome” and “Battle of the Bastards,” will be back to direct two episodes of season 8. For the sake of the Tomatometer score, the major characters will survive any new battle scenes (even if they lose) and there are no more dragon deaths!Related: Everything We Know About Game of Thrones Season 8”What Is the Ideal Number of Locations?(Photo by Helen Sloan/HBO)Each episode of GoT features an average of five locations, and it’s interesting to note that GoT is at its best when episodes are either scaled back to one or two locations — including “Blackwater,” “The Watchers on the Wall,” and “Battle of the Bastards,” averaging 97.3% — or spread to seven or more locations — like the excellent “The Pointy End” (100%; season 1, episode 8) or “Book of the Stranger” (100%; season 6, episode 4), averaging 94.4%. This is good news for season 8, which will bring dozens of characters from many locations together so they can battle the Night King (and his growing horde of undead warriors). We’re thinking the first few episodes will take place all over the Seven Kingdoms until the final showdown, which should take place on a massive centralized battlefield. Or a massive showdown will occur in the first few episodes, and the survivors will then fight skirmishes all over Westeros in the final episodes as wights overrun castle after castle and the Night King heads to King s Landing to teach Cersei some manners. This is Game of Thrones — anything can happen.Massive Weddings = 100% Tomatometer Scores(Photo by HBO)Five of seven GoT episodes featuring important weddings have 100% Tomatometer scores. What do these episodes have in common? They feature very expensive weddings that take place in front of large crowds. Episodes like “The Rains of Castamere,” “The Lion and the Rose” (season 4, episode 2), and “Winter Is Coming” (season 1, episode 1) go BIG with their weddings that end horribly for some.“Valar Morghulis” (91%; season 2, episode 10) and
(Photo by Chiabella James/Paramount Pictures)All Tom Cruise Movies, Ranked By TomatometerFrom his teen idol days in the early 80s to his status as a marquee-lighting leading man today, Tom Cruise has consistently done it all for decades — he s completed impossible missions, learned about Wapner time in Rain Man, driven the highway to the danger zone in Top Gun, and done wonders for Bob Seger’s royalty statements in Risky Business, to offer just a few examples. Mr. Cruise is one of the few honest-to-goodness film stars left in the Hollywood firmament, so whether you re a hardcore fan or just interested in a refresher course on his filmography, we re here to take a fond look back at a truly impressive career and rank all Tom Cruise movies by Tomatometer.
4. 呼朋唤友 随心所欲
At first, Tony Soprano s counterparts were big-screen mobsters from Martin Scorsese s Goodfellas — with which the series shared 27 actors — and the Harold Ramis–directed Analyze This. But while the HBO drama and the Billy Crystal–Robert De Niro comedy both featured a mob boss seeking psychiatric help, Gandolfini s exploration of Tony s crumbling interior was anything but funny. It not only helped change the way mental illness was portrayed in popular culture, his performance showed how deep and raw the actor was willing to go to tell this complex man s story.The role put Gandolfini s brilliance as an actor on full display, and in the process, inspired cinematic performers from the big screen to make the jump to television — a move that was unheard of prior to The Sopranos premiere — as a new influx of long-form narrative programming began to surface.It wasn t an immediate shift, though, as change can be slow in Hollywood. After the pilot for the series was finished, Chase shopped The Sopranos around to the big four broadcast networks.“Nobody went to cable, certainly not to pay cable. At that time ER was selling for an extraordinary amount of money in syndication, and I wanted to make a lot of money,” Chase explained to Vanity Fair. As he attempted to follow in the medical drama s footsteps, he was rejected every step of the way as execs continually complained that the series was too dark and too risky. “Television is really an outgrowth of radio, the creator told the publication, further explaining his negative perspective of the medium. And radio is just all yak-yak-yak-yak. And that’s what television is: yak-yak-yak-yak. It’s a prisoner of dialogue, film of people talking. Flashy words.”Thankfully, HBO was down to change all that.(Photo by HBO)The network originally began dipping its toes in the world of edgy scripted drama with 1997 s prison drama, Oz. But as morally ambiguous as that show was, its late-night time-slot and mature themes kept it firmly stuck under the radar of the masses. The show was chock full of antiheroes, but none of them really struck an empathetic chord with audiences. The Sopranos, however, took the baton from the prison drama and ran with it.Gandolfini, who was best known for his role as mafia tough guy Virgil in True Romance, set the standard for the way antiheroes would work on TV moving forward. With every dastardly deed Tony committed on screen, Gandolfini offset his evil with a flawed sense of hopeful humanity that audiences could relate to. His performance, as villainous as it was empathetic, flipped the script on the small-screen formula of how dramas could work.Sure, The Sopranos was a program about a mob boss — who came from a mob family and was embedded in a mob world of crime and murder — but taking a step back to view the bigger picture revealed many facets of the character and story in which audiences could see themselves. This was a story about your average, run-of-the-mill American man, doing his best to keep his business successful while struggling to keep his fracturing family life intact.Former head of original programming at HBO Chris Albrecht saw the relatability in Chase s program.“I said to myself, this show is about a guy who’s turning 40, Albrecht said, according to The Independent. He’s inherited a business from his dad. he’s got an overbearing mom. Although he loves his wife, he’s had an affair. He’s got two teenage kids he’s anxious; he’s depressed; he’s searching for the meaning of his own life. I thought: the only difference between him and everybody I know is he’s the don of New Jersey.
5. HD 画质与高品质音讯
1.48.7 9月喜迎Star Wars: The Rise of Skywalker is still four months away, but with a trailer, Vanity Fair magazine spreads, and a big showing at the D23 expo in August, the film is feeling much closer to release. And the story and characters are starting to come into focus. From early publicity for the film and the new revelations at D23 – WHAT is Rey doing with that red double-bladed lightsaber!? – we already know a decent amount about The Rise of Skywalker, which will conclude the trilogy that began with J.J. Abrams The Force Awakens in 2015. So let’s take a look at what we know and what it could potentially mean for the finished film. After all, the title itself offers a strange mystery: which Skywalker will rise after all this time?What A Difference A Year Makes(Photo by Walt Disney Studios)Up until Star Wars: The Last Jedi, Star Wars sequels traditionally took place 2-3 years after the preceding film (Star Wars: Episode II – Attack of the Clones took place 10 years after Star Wars: Episode I The Phantom Menace). TLJ eschewed the tradition by setting itself shortly after Star Wars: The Force Awakens. As a result, the usual off-screen character building did not occur. This time around, Lucasfilm is making it clear TLJ and The Rise of Skywalker take place further apart from each other; about a year or so. In that time, the Resistance has regrouped with Poe Dameron (Oscar Isaac) getting accustomed to a leadership role, Finn (John Boyega) dedicating himself to the cause, and Rey (Daisy Ridley) continuing her training in the Jedi arts.And yeah, that last one certainly sounds surprising, doesn’t it?To an extent, all three characters will have a newfound confidence as they’ve come to understand their place in the universe and what it means to fight the First Order. Since this is the final episode of not only the third Star Wars trilogy, but of the nine-film cycle first teased by creator George Lucas in the early 1980s, we’re going to presume they succeed in crushing the First Order and whatever Imperial remnant keeping it reinforced. At the same time, the characters face a greater challenge in helping to found some sort of galactic government which will last more than 20 years before a group aligned with the Dark Side can topple it. How director J.J. Abrams could make that element interesting is anyone’s guess.J.J. Abrams Is Back(Photo by Kristin Callahan/Everett Collection)Although the Star Wars Sequel Trilogy was meant to showcase three different directors as they resolved the Skywalker Saga, The Rise of Skywalker went through a troubled pre-production phase. Jurassic World’s Colin Trevorrow was originally signed to pick up the story after Rian Johnson’s The Last Jedi, but shortly before he was set to begin fully developing the film, Lucasfilm fired him. As always, “creative differences” were to blame. The search began anew for someone who could wrap the series up and do it to Lucasfilm’s specifications. And once again, they turned to Abrams, who infamously turned down the opportunity to direct The Force Awakens when it was first given to him.This time around, though, Abrams said he felt a certain freedom to expand beyond Star Wars storytelling grammar into something new. His comments suggest he listened to critics who mentioned The Force Awakens felt a little too much like the original Star Wars. Presumably, this means the series will not end with a rag-tag group of fighter aces launching an attack against a Death Star the size of a solar system. Which isn’t to say the Death Star will be absent from the film. The trailer offered fans a glimpse of wreckage from one of the destroyed Original Trilogy battle stations peacefully resting on an unknown planet.That shot, and Abrams comments, suggests he picked up some of TLJ’s “let’s blow up Star Wars!” attitude, even if the film includes the series third desert planet.New Planets, New Characters(Photo by Walt Disney Studios)Instead of Tatooine or Jakku, the desert world seen in the first trailer is called Pasanna, which now suggests desert planets are fairly common in the Star Wars galaxy. Another environment to be featured is a planet of ice and snow called Kijimi, where viewers will meet Keri Russel’s scoundrel character Zorri Bliss. At the D23 Walt Disney Studio presentation in August, Russell teased Zorri as “cool and shady,” before adding she is “an old friend of Poe’s.” Make your own guesses about what that means.Other new characters include a new droid called D-0, Richard E. Grant as First Order Allegiant General Pryde, Namoi Ackie as Jannah a character still shrouded in secrecy despite Ackie’s appearance at Star Wars Celebration and the Aki-Aki, inhabitants of Pasanna.The film will also feature the long-delayed debut of the Knights of Ren. Despite getting a big tease in The Force Awakens, the group did very little besides stand in the rain during Rey’s lightsaber flashback. Or was it a flash-forward? Either way, they will be part of her present situation in The Rise of Skywalker. Curiously, though, it is unclear if they will be taking orders from Kylo Ren (Adam Driver) or working to dethrone him as Supreme Leader of the First Order. And considering their absence from the story so far, were they ever really his disciples – as suggested in The Force Awakens and Star Wars: The Last Jedi – or do they serve a older, darker evil. The trailer released during Star Wars Celebration featured the distinctive laugh of Sheev Palpatine (Ian McDiarmid), which leaves us wondering if they are part of his latest phantom menace?(Photo by © Walt Disney Studios Motion Pictures, © Lucasfilm)Taking another look at the environments revealed so far – a desert world and a winter world – you might make the fair assumption The Rise of Skywalker might go to a forest world and complete a tour of classic Star Wars environments. One shot in the trailer even sees Kylo facing off against foes in a patch of dead trees. Some believe the story will take the characters back to the forest moon of Endor, where Palaptine’s first master plan was undone by a Jedi with incomplete training. Considering the film’s position as the grand finale, it seems reasonable to take things back to that first ending. But we’d also like the spirit of new ideas to prevail and see the final conflict take place in a new, as-yet-unrevealed setting.There Will Be Revelations(Photo by Walt Disney Studios)And while the film has to create new locales and characters, it also has to wrap up some longstanding plot threads. Reportedly, the origin of the First Order will be revealed. For those who remember the Thrawn Trilogy of novels or the 1990s Dark Empire comic book series, Palpatine’s involvement in those events seems almost assured. And in Star Wars: Episode III Revenge of the Sith, he told Anakin (Hayden Christensen) he was looking for a way to cheat death. Maybe he found it.Meanwhile, the connection Rey seemingly severed with Kylo at the end of The Last Jedi will reportedly turn out to be deeper than that film suggested. Fans of the Star Wars: Knights of the Old Republic games already noted the similarity between the characters’ connection and the idea of Force Bonds introduced in those games. Is it possible their bond will yet redeem Kylo and end the misery Palpatine inflicted on the galaxy? Considering the film promises to be the end of the conflict between the Jedi and the Sith going back millennia, we’re willing to bet on it.(Photo by © Walt Disney Studios Motion Pictures, © Lucasfilm)Then again, new material shown at D23 suggests something else. Quick cuts teased a resupplied and reinforced Resistance, a red-eyed C-3PO and, perhaps most disturbingly, Rey brandishing a double-sided red lightsaber. Considering she trained with a staff back on Jakku, the lightsaber variation makes sense. But the red blades suggests the Sith may finally win. Or, perhaps, she will have to fall in order for the Skywalker to rise.Or, it was just an excellent fake-out for the D23 audience. Either way, the final chapter in the Skywalker Saga will not be a simple retelling of Return of the Jedi.Old Friends Return(Photo by Walt Disney Studios)The film will see the return of Carrie Fisher, Mark Hamill, and Billy Dee Williams in their roles as General Leia Organa, Luke Skywalker, and Lando Calrissian. Despite Fisher’s tragic death on December 27, 2016, Lucasfilm resolved to maintain Leia’s existence in the ninth film even before Abrams signed on to direct. Once he did, he recalled scenes cut from The Force Awakens he could use to feature the character in The Rise of Skywalker. At Star Wars Celebration, he said editing her material into a new context felt like working with her again. And at D23, Abrams called Leia “the heart of the story.”Lando, meanwhile, returns to pilot the Millennium Falcon once again after he flew the fastest hunk of junk in the galaxy to defeat the Empire in Return of the Jedi. It is unclear why he’s back, but we’re happy to see him no matter the reason.And then there’s Luke. Though the character was seen dying in The Last Jedi, it is important to note the special Force ability allowing certain Jedi to remain conscious entities after the termination of the body. As Yoda put it in The Empire Strikes Back, Force-sensitives are “luminous beings” and not the “crude matter” of a physical form. And as revealed in Revenge of the Sith, Qui-Gon Jinn (Liam Neeson) was the first Jedi to return using this technique. That Luke would return in this manner to train Rey or advise Leia is hardly a surprise. What may be more surprising is the single photo of him released so far: seemingly corporeal, he stands next to R2-D2 amid a field in flames.The notion of a Jedi returning bodily to face the ultimate evil is not the craziest idea ever suggested in a Star Wars story. Early drafts of Return of the Jedi featured Anakin Skywalker returning to his human form to face Darth Vader and the Emperor. This, of course, predates the decision to make Anakin and Vader the same person, but the idea persisted for some time. It never came to pass for Jedi, but perhaps Abrams finally employed the idea for this final Skywalker Saga film.It Will Likely Feature John Williams’ Final Star Wars Film ScoreOffering the film one more sense of finality, composer John Williams stated in 2018 that it would feature his last Star Wars film score. If he truly decides to step down – Williams subsequently agreed to compose a music loop for the Disney Parks’ Star Wars: Galaxy’s Edge environments – it will mark the end of an incredible era. Williams’ themes are as indelible as classic lines like “I have a bad feeling about this,” lightsabers, and the jump to hyperspace. Though composers like Kevin Kiner (of Star Wars: The Clone Wars and Star Wars Rebels) and Michael Giacchino (of Rogue One: A Star Wars Story) maintained the musical grammar developed by Williams, every subsequent film from 2019 onward will be different. And should the film truly bring the Skywalker saga to a close, it is all the more fitting that Episode IX be the composer’s final bow.Unless, of course, he’s still with us when Disney breaks down and begins developing of Episode X.Star Wars: The Rise of Skywalker opens everywhere on December 20, 2019.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
The year was 1999. The summer movie season was about to kick off with one of the most anticipated films of all time. This would be the year that would see the return of the greatest franchise in cinema histo
If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at firstname.lastname@example.org.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
In our latest episode of Vs. we’re paying tribute to cinema’s greatest scream queens… by making them battle it out to the final reel! (To be fair, something each of them has some practice in.) It’s slasher icon Jamie Lee Curtis against sci-fi icon Sigourney Weaver against ghostface killer Neve Campbell against fisherman’s not-friend Sarah Michelle Gellar as we seek to crown horror’s ultimate portrayer of the “final girl.” How will the battle play out? Well, first we’re trapping them in a mansion with about 30 escaped-from-a-mental-hospital serial killers… Oh wait, no, not that, that would be illegal. We’re actually comparing their box office performance, Audience and Tomatometer Scores, and the quality of their enemies, and adding a bonus round for good measure. Will it be Ripley, Laurie, Buffy, or Sidney who lives to earn that sweet sequel paycheck? Watch along as Rotten Tomatoes Contributing Editor Mark Ellis breaks it down, then have at us in the comments.On an Apple device? Follow Rotten Tomatoes on Apple News.
梦幻诛仙感恩礼包 (Photo by Phobymo /© Universal Pictures )M. Night Shyamalan moves on from his Eastrail 177 Trilogy, the grounded superhero saga that began with Unbreakable two decades ago and concluded with 2019 s Glass, with his latest theatrical release, Old, an original thriller that has M. Night Shyamalan written all over it.For starters, there s the high-concept conceit, drawn from the graphic novel Sandcastle: a set of vacationing families find themselves trapped on a secluded beach, mysteriously unable to leave, and soon discover they re aging at a rapid pace. (Among the first clues? A small child notices her pants are suddenly very tight.) Then there s the usual Shyamalan touches, beloved by so many fans, since he broke through with The Sixth Sense: a cast of incredible actors asked to play it straight in some seriously outlandish circumstances (Alex Wolff, Vicky Krieps, Gael García Bernal, among others); elegant and disorientating cinematography courtesy of frequent collaborator Mike Gioulakis; several WTF moments that will stick with you long after the credits roll; a cameo from the man himself; and maybe even a twist. (Don t worry, though, this is a spoiler-free zone.)And yet, despite some sense of familiarity, there are ways in which Old feels like nothing Night, as those who work with him know him, has ever done before – and not just because it wasn t shot in his hometown of Philadelphia. There s a go-for-broke spirit to the movie that s invigorating to witness, a quality that has increasingly infused his work since his time on the low-budget and critically acclaimed The Visit rejuvenated his passion for moviemaking.Speaking to Shyamalan a couple of week s before Old s theatrical release, we found him in a reflective mood, sharing with us that he feels more like the director who made The Sixth Sense and Unbreakable, when he was in his late 20s and early 30s, than he does feel like himself at 40, when he says he was playing it safe. When I was 20-something, those movies I was making, Unbreakable and things like that, I remember distinctly not caring about that, Shyamalan said. Now I m not all the way back there, but I feel closer to that, to the young version of me that way – as Old goes out, the provocative nature of it, its dissonant nature, is something I love. With his latest provocation about to stir up audiences, Shyamalan spoke to us about kicking safety to the curb – while also developing actual safety protocols for one of the first films shot during the COVID-19 pandemic – plus his embrace of gothic horror elements, the fear of aging, and why his movies need to be seen on the big screen.Joel Meares for Rotten Tomatoes: You’ve spoken in the past about limitations and how limitations can force creativity – and that was the case when it came to the budgets on The Visit and Split – and it rejuvenated your filmmaking in some ways. On this film, it seems you had so many limitations: You were shooting under COVID, you were under the pump on time, you were shooting in the jungle in the Dominican Republic. What was the biggest filmmaking challenge with Old and how did that lead to innovation and creativity for you?M. Night Shyamalan: I had a thought when you were talking just now that the reason that limitations cause this interesting reaction is, in many ways – and it s what the characters went through [in the movie] – you go to this thesis of, “What is most important?” It is the most important thing that bubbles up. I only have this much money, this much time: What are we trying to achieve? Well, I need to have her do this. I need to have this feeling about it. I definitely need this shot What s important bubbles up and really those are the things that you need and everything else you can throw out the window. It strips you almost of your nonsense, or the things that are not important, by creating limitations. And that s what happens to the characters in Old, obviously, when they re thinking about time speeding up so much.For me – maybe this is the way my mind works and maybe others are like this – you get clouded by more options. There are those studies, where if you give people four things to choose from, they re pretty clear, everybody s kind of in agreement about which one is the best, if it s a strawberry jam or whatever it is. But if you give them 20, everybody s confused about what s what, and you can t hold that much. So, limitations actually give you a sense of place and time and being able to know what your opinion is. I think a little bit of that happens for me, so I try to limit it as much as possible. All of these things that happen made me razor-sharp.(Photo by Phobymo /© Universal Pictures )Rotten Tomatoes: You shot this during the pandemic, and quite early on. Were COVID protocols a pressure that you had trouble with or did you roll with them? What was the impact on the production? Shyamalan: We were so early in this – we were the first ones shooting [during the pandemic] – that I was making up the COVID protocols. It was my protocols that we were going by; I became like some kind of medical sleuth or something. Luckily, a lot of my family s doctors, so I had some basis of how to do this. So I was just making up this protocol. And then when we were done, other productions asked us how we did this because we had zero cases on our production. But it was dogmatic. I knew some things about human nature: I ll never stop that crew member and that crew member from hooking up, I m never going to be able to stop that. In fact, the more I say, Don t hook up, they re going to hook up, right?So how can I create an environment where everyone can be humans and ask them to do things that are reasonable to keep us safe? I said, Here s the hotel, here s our crew. We re all staying here. You re allowed to go from here to the set and back. I ll bring you the food. I ll bring you the entertainment. Everyone is staying with us. The concierge is staying with us – everyone. Then have fun in between. Knock yourself out, but don t leave your [bubble]. Can you do this for 10 weeks? That was kind of the equation. Those were the protocols and it created a theater-camp quality to what we were doing that didn t feel like work anymore. It felt special and I want to feel that way always about making movies.(Photo by © Universal Pictures)Rotten Tomatoes: You mentioned earlier that the important stuff bubbles to the surface, and you spoke about particular shots you needed to get. This film feels in many ways like your most ambitious visually, I think, just in terms of the number of intense tracking shots and the almost Altman-esque moments where you’re picking up action and dialogue as the camera is swirling around the beach. Can you talk about the visual style of Old and your decision to really go with these extreme camera angles and approaches that are pretty disorienting?Shyamalan: Yeah. Thank you for noticing it. I think I really wanted to push the cinematography. The way we tell the story, that language is critical to the experience of it, the disorienting quality of what they were feeling on that beach, the kind of almost nightmare, the ghoulish nightmare, that they found themselves in. [We wanted to] replicate that with the emotions that are evoked from the choices of cinema. We were very much influenced by Australian New Wave movies: Walkabout, Picnic At Hanging Rock. It s funny you mentioned Altman, because he s always an influence for me and Mikey [Gioulakis, cinematographer] when we make movies. Whatever [the camera] catches, it catches it seemingly, it’s catching things on the periphery and the layers of conversation and all.As always, every shot is drawn out [first], but I got to make the movie multiple times in hand form before we shot. The pandemic didn t allow me to shoot when I wanted to shoot, but I had already been ready. So I kept on redrawing and thinking of this shot and this shot. So it was probably, I would say, since Sixth Sense, actually, the most time I spent on the shots before we went to shoot.(Photo by Phobymo /© Universal Pictures )Rotten Tomatoes: I know you ve mentioned before that you don t necessarily set out to make horror movies per se, but I felt Old had elements – more than some of your other films – of horror, and body horror in particular. There are a few moments, without spoiling it, that we go maybe full Cronenberg-esque. How fun was it to create shocking body horror moments, which is something that I don t think you ve dabbled in quite as much as you do here?Shyamalan; No, I haven t. It s funny you should say that because, Cronenberg… it didn t strike me as that as much as, I don t know, the end of Raiders of the Lost Ark or something, or Poltergeist, where there are some Gothic elements at those moments of people melting or things like that, which I found as a child very, very evocative and my imagination, it went into another genre a little bit. I loved it tipping into Gothic horror for those moments that you re referencing, just touching it like that and then [coming] back to kind of a grounded place.Rotten Tomatoes: It certainly evokes a reaction in the audience! The movie deals with the ultimate fear for many people – and it s certainly the ultimate fear for Abbey Lee s character – aging. Is aging something that you think about consciously a lot? Shyamalan: I m strangely okay with aging. I don t go to my birthdays and feel like, Oh my God. Here we go. Okay. It s not like that, but I m fascinated with the way my mind is changing or my perception of my relationships and things is changing. It s definitely not the same as it was. I don t take in things the same way. I tried to reference that in the movie, that not only your body s changing, but you re taking in information in the world differently as you age.You were referencing Abbey s character, and for me she kind of represented a little bit of where society is going, the body image and [idea that] you re only valid because you re your own brand on Instagram. I m going to do this, I m going to filter this, and do this and do that stuff. Imagine somebody who was kind of a king at this, who was a goddess because of what she looked like, and then now on this beach it s going [away]: What bubbles up to her? What is important to her? What is important to her now that you know that [beauty] is going to get stripped from you and is of no value when time is moving this fast? So the character starts to think about other things.(Photo by Phobymo /© Universal Pictures )Rotten Tomatoes: The other question I had about aging is, how do you feel you ve changed as a director as you ve grown older? You re not an old man, of course, but you re certainly older than when you made The Sixth Sense.Shyamalan: I think I strangely feel closer to the way I was when I was late-20s and 30 now than I did when I was 40. At 40, I felt much more I wanted to be accepted. I wanted to be safe. I felt more value in finding stability and safety than in being a maverick or being like, Hey I m going to do this thing because I like it.” But when I was 20-something, those movies I was making, Unbreakable and things like that, I remember distinctly not caring about that. Now I m not all the way back there, but I feel closer to that, to the young version of me that way – as Old goes out, the provocative nature of it, its dissonant nature, is something I love.I think probably the difference now from that Unbreakable guy is that I know that that s what s going to resonate. I know it, no matter what happens in 10 days, I know that that s what s going to echo, that thing that s weird about it. Whereas the younger form of me, I felt almost ashamed of my instincts, that they were weird and different, and I was, Oh no, no, I ll do something that s easier to swallow. I remember me having that feeling like, God, those are your instincts, but people don t like that. Whereas now I m like, I know that that s the voice that they re going to remember. So there s a knowledge that came from time. So I hope I can continually risk and risk and risk and risk and not want to keep myself safe, which is what I felt when I was younger.(Photo by Phobymo /© Universal Pictures )Rotten Tomatoes: Last time we spoke, we were talking about your Apple TV+ series Servant, and you were saying that while that series is made for streaming, your movie projects are definitely intended for the big screen. And Old is coming out on the big screen – no streaming option. As we’re transitioning out of pandemic era, and everybody s watching the box office numbers, are you stressed about that at all? Also, it seems that genre films are the ones that are punching through with box office wins, like The Conjuring, A Quiet Place Part II. I wonder if you have any ideas as to why those are the kinds of films that are drawing audiences back to theaters, when others, say, aren t being as successful at this time.Shyamalan: I have two answers to that. So, first, the box office is absolutely fine. In fact, it s more buoyant and alive than ever. People want to be together. I don t buy for a second that the theater-going experience is damaged. Not for a second, no matter what corporation tells you that, complete lie. Complete lie. It is the best way to see a movie. Everyone wants to be in the best version of it. They want to experience it together. Now, there are certain genres that appeal more for that experience and one of them is when you re thrilled and you re scared. You want to see the gasps and experience it together. When you re alone and experiencing that, it feels almost bad. You want to be grabbing the person next to you or giggling because you got a scare. You want to share that experience; luckily, I m in a genre that leans towards that group experience even more.I have felt what you ve seen now, post-pandemic, is that the movies that are exclusively in the movie theater are doing extremely well and doing great. So I m very happy as we open up, the world s opening up, to come back and tell stories in the movie theater. That s my church. That s what I do for a living and the rest is a different type of experience; it s a great experience, but it s not the commitment that I m asking of you. You can t talk to your sister and make a taco. You can t do that.One of my friends was like, Oh, I love Servant. I saw that episode. It s fantastic. I was on the treadmill. I loved it. What? You watched it on the treadmill? I was like, Ah Old is in theaters from Friday July 23, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
Mary Poppins Returns has been showered with love on social media following the movie’s premiere last night, and while there were some critics for whom the spoonful of sugar wasn t quite sweet enough, everyone agrees that Emily Blunt is wonderful in the title role. Not only does she do the iconic character justice, but she’s looking to follow original Mary Poppins star Julie Andrews to Oscar recognition (but can she win, too?). Overall, the long-awaited sequel may not work for absolutely everybody, but in addition to awards favor, it’s sure to be a huge hit with many.Here’s the first wave of critical buzz, as drawn from Twitter reactions, on Mary Poppins Returns:Is the sequel worth the wait?I loved Mary Poppins Returns! Jenna Busch, Legion of LeiaMary Poppins Returns is an exquisitely made film. Germain Lussier, io9I was in delight the entire way through Mary Poppins Returns…it’s a lovely little spot of happy. Alisha Grauso, Film School RejectsMary Poppins Returns is absolutely delightful, packed with old school charm, and it keeps you smiling the entire time. Erik Davis, FandangoHow does it compare to the original?It felt SO similar to the original. New songs, better technology, same story and themes. I definitely recommend it, though. Germain Lussier, io9This isn t trying to be Creed or Rocky Balboa; it s aimed squarely at Rocky II: The first one, again effect. Bob Chipman, Geek.comIt s faithful to the original without being beholden to it. Alisha Grauso, Film School RejectsThe movie just attempts to recreate too much of the original and totally fails to recapture its magic. Ben Pearson, SlashfilmDoes everyone love it?I know I’m probably going to be in the minority but I didn’t love Mary Poppins Returns…has moments of greatness but mostly [is] not for me. Peter Sciretta, SlashfilmMary Poppins Returns has some great moments but [is] never consistent enough to be overall great. Clayton Davis, AwardsCircuit.comSigh. I didn t love Mary Poppins Returns. I was bored for the most part. Yolanda Machado, CosmopolitanI think it s a supremely average, loud, bombastic, hollow, mess, from the songs to the story. Robert Daniels, 812filmreviewsHow is Emily Blunt?The only redeeming quality is Emily Blunt. Robert Daniels, 812filmreviewsEmily Blunt is magical. Dirk Libbey, CinemaBlendEmily Blunt is fantastic. Yolanda Machado, CosmopolitanEmily Blunt is perfect. Courtney Howard, Fresh FictionEmily Blunt is practically perfect in every way! Jenna Busch, Legion of LeiaEmily Blunt is downright exquisite in a bundle-of-joy and bouquet-of-charm of a musical. Nguyen Le, Houston ChronicleTranscendent, beautiful work [from Blunt]. Clayton Davis, AwardsCircuit.comAs the heart, beat and look of Mary Poppins Returns, Emily Blunt has seared her name in the firmament among the all time greats. Brava! Jose Solís Mayén, The Film Stage(Photo by Walt Disney Studios)Are the new songs supercalifragilisticexpialidocious?As a HUGE musical theater geek, the music was so-so. It lacked a song that just sticks to your soul. Yolanda Machado, CosmopolitanIt s not the equal of the original, obviously — and even as it s doing the same beats, it s REALLY missing the one extra wallop of an equivalent to A Man Has Dreams. Bob Chipman, Geek.comOne of the songs is surprisingly bawdy! Matt Goldberg, ColliderIs Mary Poppins Returns a spoonful of sugar for our time?I d been having a rough day before I walked into screen it. Two hours later, I walked out in love with everything again. It s a happy-making movie. Alisha Grauso, Film School RejectsMary Poppins Returns [is] the warm, cozy comfort weight blanket we need right now — prescribed self-care that swaddles us in heartfelt sentiments. Courtney Howard, Fresh FictionI didn t realize how much I needed Mary Poppins back in my life until she arrived. Dirk Libbey, CinemaBlendIf you need this movie in your life, it is going to be the most fulfilling two hours of your year. I in no way expected to walk out on the high that I did. Erik Davis, FandangoIt anticipates and miraculously evades any cynicism and leaves you in a state of joy. Silas Lesnick, CinemaBlendJoy and happiness are all over Mary Poppins Returns. You leave on a pure high. Clayton Davis, AwardsCircuit.com(Photo by Walt Disney Studios)Should you bring a hanky?I spontaneously sobbed in Mary Poppins Returns. Kate Erbland, IndieWireDisney needs to make branded tissues for every showing! Jenna Busch, Legion of LeiaFinal thoughts?It s easily going to garner a few Oscar nods. Alisha Grauso, Film School RejectsKids will love it, and it will make a ton of money. Yolanda Machado, CosmopolitanHoly moly Mary Poppins Returns is going to be huge. Pure joy. Mike Ryan, UproxxMary Poppins Returns opens everywhere on December 19. 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.
梦幻诛仙感恩礼包 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.