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澳博投注网采用百度引擎0(Baidu 7)(Photo by Daniel Power / Focus Features)Actress Robin Wright makes her feature directing debut this February with Land, the moving and extraordinarily scenic story of a woman who goes off grid to disconnect from society and reconnect with nature and herself after a tragedy almost breaks her. Testing herself against the elements, isolation, and at one point a very curious (and hungry) bear, she once again finds herself at a breaking point – until a stranger, played by Oscar-nominee Demián Bichir, stumbles into her life and the two begin to put the pieces back together.Talking to Rotten Tomatoes shortly after the film debuted at the 2021 Sundance Film Festival, Wright – who directed 10 episodes of House of Cards during her time on the show – says she drew inspiration from a number of the directors she s worked with across her career, an enviable roster of big names and auteurs that ranges from Zack Snyder to Anthony Minghella. In fact, over the years she would write down the things she liked about their directing style for safe keeping – beautiful gifts that you re given from other directors, she says.Critics have so far lauded Wright s assuredness behind the camera and a typically commanding performance in front of it, and noted that the film – shot largely on 8,000-foot Moose Mountain in Calgary, where the crew was whipped around by rapidly changing, dramatic conditions – is a visual treat. As she prepares to share Land with the world, Wright talked with us about why this was the right project to kick start her feature directing career, discovering the talent and friendship of Bichir, and the possibility of an all-Amazon, all-Themyscira-set Wonder Woman movie. (Spoiler: She s into it.)Joel Meares for Rotten Tomatoes: I read that you ve had a lot of projects come across your desk over the years as potential first features for you to direct. What was it about Land and this story that spoke to you and made you say, This is the one I want to do”?Robin Wright: It fell into my lap about two-and-a-half, three years ago, when we were all experiencing random shootings that were happening almost biweekly. And I was just thinking about the amount of loss and grief and tragedy that was going on in our world. Then to have this last year that we ve all been suffering, enduring This movie just resonated with me because, yes, it s about a woman s journey through her grief, this unfathomable event that happens to her life and changes her life forever, and she goes to live off the grid, but in the end, it’s just a beautiful stranger, human kindness, that allows human resilience in Edee and a renewed sense of hope and faith. So, you get to the end of this film and it was just so uplifting to me. I felt like that was a message we needed out there right now: That we can get through and we do need the help of others. We do need human connection.(Photo by Daniel Power / Focus Features)The film looked like it would have been challenging to shoot, just the physicality of it, the locations, the weather. What was it like shooting on Moose Mountain, up there in Calgary?Wright: It was incredible and difficult because the unpredictable weather patterns there, they re wicked. We were prepared by the Calgary film crew [who told us] you have no idea what it can become, and we experienced all of that. We had 29 days to shoot the movie, and we didn t think we were ever going to get snow because we were shooting from part of September through part of October. And we got four seasons in 29 days. It was pure luck because they had never experienced having four feet of snow at the end of September.That luck obviously worked for the film because you ve got this beautiful and varying imagery – and plenty of snow. But I was watching the moment where Edee breaks down on the floor and says, This isn t working, and I wondered, with the wild conditions and the short shoot, if you had any “this isn t working” moments as a director?Wright: No, but I think I was probably sometimes going to an emotion as an actor that s going, This isn t working. This take isn t working! I think I was using that one instead.(Photo by Daniel Power / Focus Features)So you never wanted to hit the floor and scream, Damn, this weather! Wright: No, gosh, no, no. Really we thanked the weather gods because while they were dangerous sometimes, the winds – we d have to shut down for a portion of the day and everybody had to get off that part of the mountain because the winds were too strong – those kinds of things were definitely things you prepared for. And then you had to be prepared to potentially lose a scene that you wanted in the movie because you just didn t have time to shoot it because the weather took you elsewhere.In House of Cards and here you directed yourself, and oftentimes in this film you re the only person in the scene. What are the challenges of directing yourself when the focus is so squarely on you?Wright: It s a job we do. What it entails, being in front of the camera and behind the camera, is that you don t have to describe [what needs to happen], you don t have to express verbally, “This is what I want to achieve in a scene, or If you could do this take in this way.” You already have it in your head. I already knew who this character was. We d been developing the script for over a year and talking about the character and the dynamic between Edee and Miguel – what that should be. So, you re already immersed in it. You don t really have to talk about it so much. You just do it.(Photo by David Giesbrecht / ©Netflix / courtesy Everett Collection)You’ve worked with some incredible directors over the years – Patty Jenkins, Rob Reiner, Anthony Minghella, David Fincher… Were there any that have stood out when drawing inspiration for your own directing projects?Wright: Multiple, I would say. You find that little nugget that you love that that director did – I love this style, the way that director shot that scene. And I would just take notes over the course of my years as an actor. And I saved those notes: I really loved this, that Anthony Minghella did; I loved what David Fincher did with Season 1 of House of Cards… You just kind of compile all those things and then you find your own style. But yes, for sure, they re beautiful gifts that you re given from other directors, just watching their originality.Your primary co-star in this film is Demián Bichir, and it s a beautiful performance and a lovely dynamic and great chemistry between the two of you. How did you land on Demián for the role of Miguel?Wright: I had never heard of him. And when this role called for a Hispanic man, you re given a couple of people on a list, and I watched him in A Better Life and I was blown away, and you could just see his soul on screen. I loved how much played in his eyes when he wasn t speaking and I knew Miguel needed to be that: very frugal with his words, very straightforward, only spoke when it s necessary. Then I saw Demián in The Hateful Eight and I thought he was hysterically funny. And I was like, This is perfect. Because we knew Miguel was going to be funny. This character needed to be funny. Demián walked into my house to have our first meeting and we instantly connected, just like we do in the movie.(Photo by Daniel Power / Focus Features)That is our relationship. It was like we d known each other our whole lives. We didn t really talk about the movie very much or the roles together. It’s this relationship between two people from two completely different cultures, completely different environments, and they have this incredible bond and connection, and they don t have to talk about it or have the classic monologue in a movie about, “Well, what s your life? What was your life like?” It s just, they re in the present. They re in there together. And he is the saint that rescues this woman on her journey and gives her life again.You mentioned the humor and I was wondering, was Tears for Fears’ “Everybody Wants to Rule the World” written into the script, or was that a choice you and Demián made? It was a lovely touch.Wright: Erin [Dignam], the other writer, who s one of my dearest and oldest friends, she put that in the stage directions. She was just like, You just start singing a well-known 80s song. So, when we re on the movie, you are given two choices: this is how much money we have, and these are the two songs you can choose from. And that one, just metaphorically, it was perfect. “Welcome to your life.” Yep, welcome.(Photo by Focus Features)There s a moment in this film that I think will resonate with a lot of people. It s a very small moment, near the beginning, when Edee throws a phone in the trash. Have you ever done that or had a moment where you just want to throw your phone in the trash?Wright: Oh, I ve done it before. I ve thrown it out the window on a freeway.Really?Wright: Just angry at the phone not working. Can you hear me? Can you hear me now? Nope! Throw the phone out!But you’ve never done it to disconnect in the way Edee does?Wright: I’ve never disconnected like that. I don t know if I could do it for that long, but we kind of got a sense of that kind of disconnection when we were shooting the movie. One of the producers and I, Allyn Stewart, decided to sleep in our trailers at base camp on the top of the mountain, behind the cabin. So we didn t go back to the city every night. We were in nature. We barbecued outside our trailers every night, and we had a bear whisperer in his trailer down the way, protecting us from bears. Like, Okay, it s time to get in your trailers, girls, because I m going to lock you in. (Because they can open doors.) And so we kind of lived in the nature while we shot. And our DP slept in Edee s trailer so he could capture all of those beautiful vista shots and all that weather – he just would grab his camera and shoot.Is there a vista in the world or a particular natural place that inspires you? Somewhere that has had a real impact on you in your life?Wright: There are so many beautiful places. But you say, Are you a mountain person? Are you a water person? I m definitely more inclined to the ocean; I need it. I go through withdrawals if I can t be near an ocean frequently, because it s medicine. It s got healing properties. And that is also a message in this movie, that nature is a character in this movie and how brutal it can be and how you do have to respect it. You have to understand and respect how to live with it before it accepts you.A little bit slightly off topic, but a lot of people watched the opening sequence of Wonder Woman 1984 this winter and it has a lot of people thinking: We want a movie about you and the Amazons. We want Connie Nielsen and Robin Wright, and we want a full movie set in this place with these characters. (Obviously, it would have to be in the past.) But is that something that you would be interested in exploring – a movie set completely in Themyscira?Wright: Oh, I would jump at that in a second if that was ever to come to fruition. That was so much fun, making those movies.Amazing! Wright: That s a great idea – the whole youth of Diana. You should propose that. Let s make an Amazon movie!Land is in theaters February 12, 2021. Thumbnail image: Clay Enos / © Warner Bros. / Courtesy Everett Collection, Daniel Power / Focus Features

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Robert Pattinson is our new Batman, but who is the best Caped Crusader among his predecessors? That s what our contributing editor Mark Ellis is asking in the latest episode of Vs., the show where we use Tomatometer and box office data, among other considerations, to settle some of popular culture s biggest debates. In our battle of the Batmen, we restricted our field to those who have appeared on the big screen: Is the greatest Dark Knight the moody Christian Bale? The quirky Michael Keaton? Perhaps the original, Adam West, who starred in Batman s first big-screen adventure? Or the man whose voice work made Batman: The Animated Series a landmark, Kevin Conroy, and who also voiced the Bat in Mask of the Phantasm and The Killing Joke. Those four actors go up against other past Bats of the big screen: Ben Affleck, Val Kilmer, George Clooney, and Will Arnett, who put a hilarious spin on the character in The Lego Movie, its sequel, and his own solo spinoff. Who comes out on top? Check out the video above – and then check out our Vs. episode on the Joker.Disagree with our winner? Let us have it in the comments. And be sure to check out our ranking of Batman movies by Tomatometer. 不过不管玩什么位置玩什么英雄,只有对游戏机制和全局把握了解充分,才可以更好的参与LOL手游中去,不管各位玩家有什么不理解的,ks清风主播都会在直播间或者评论留言中给出详细的解答,真的是一位良心主播了!小伙伴们,你在玩LOL手游上单位的时候,都用哪些英雄冲分的呢?返回搜狐,查看更多

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Version 5.21.32022-01-24

7.26.4 4月喜迎Adjusted Score: -1% Critics Consensus: Anchored by the incomparable Patrick Stewart, Picard departs from standard Starfleet protocol with a slower, serialized story, but like all great Star Trek it tackles timely themes with grace and makes for an exciting push further into the final frontier.
(Photo by Quibi)The Best Quibi Shows to Stream NowUpdated as of October 1, 2020New mobile-only streaming service Quibi launched in April with an all-star lineup to rival any other player in the streaming wars: Sophie Turner, Lena Waithe, Liam Hemsworth, Chrissy Teigen, Chance the Rapper, and LeBron James are all in new Quibi shows, with more big names on the way (Steven Spielberg and Zac Efron among them). But did the new service from Jeffrey Katzenberg and Meg Whitman bring an A-game to match all those A-listers?Critics have now weighed in on Quibi s current offering of shows and movies in chapters, and as would be expected, Tomatometers are running the gamut from the super Fresh (hilarious slice of variety Gayme Show) to the middling (Turner s big-budget thriller Survive) to the very Rotten (treacly Thanks A Million, executive-produced by Jennifer Lopez). Some of the big-name bets are definitely paying off – the horror critics are really digging the Sam Raimi–produced epic anthology series 50 Shades of Fright, and James documentary series, I Promise, is currently Fresh at 100%. Others, not so much: Migos rapper Offset s Skrrt is currently stuck in the green end of the Tomatometer.As well as grappling with the content in the new programming, critics across the board are adjusting to Quibi s novel approach to streaming: No show or episode available on Quibi runs more than 10 minutes — thus the Quick Bites — and each can be watched in two formats, vertical and horizontal, with each giving you a different perspective on the action.So far, critics have mostly focused on two of Quibi s programming streams: Its prestige movies in chapters, which include Survive and The Most Dangerous Game, starring Hemsworth, as well as its unscripted originals, which include Teigen s Chrissy s Court and Gayme Show. None of Quibi s news and lifestyle Daily Essentials shows — which include The Rotten Tomatoes Watch List — have received Tomatometer scores as yet.We ll be updating as new shows are released and more scores become available, so stay tuned to this page to keep on top of the best shows Quibi has to offer. As the list grows, we will narrow it down to only the very best, but for now here are all the Quibi shows we have Tomatometer scores for, ranked from Rottenest to Freshest.

(Photo by Herb Ball/NBC/NBCU Photo Bank via Getty Images)FALL 2019 TV SURVEY: 20 TV Shows That Defined the 1980sFor Rotten Tomatoes’ annual Fall TV Survey, we asked thousands of our users what they’re most looking forward to in the coming TV season and to reflect on the best shows from seasons past.Cheers to Cheers! Rotten Tomatoes users selected the show about a bar where everybody knows your name and they re always glad you came as the top show of the 1980s. The series was truly an ensemble effort with Ted Danson, Rhea Perlman, John Ratzenberger, George Wendt, Kelsey Grammer, Woody Harrelson, Kirstie Alley, and Shelley Long as the principal cast.Cheers took top spot with 66% of the vote, followed by The Cosby Show at 53%, The Golden Girls at 47%, Magnum, P.I. with 46%, and the 1980s edition of Saturday Night Live taking fifth place with 45%.Which star ruled the 1980s? Your vote went to SNL star Eddie Murphy with 16%, followed by The Golden Girls cast with 14%, and Tom Selleck with 12%. Bruce Willis was at No. 4 with 12%, and Don Johnson took fifth with 7%.Disagree with the survey results? Tell us in the comments who you think should have made the list or have been ranked higher.
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(Photo by © A24)2019 has been such a strong year for wide-release horror films that the upcoming Black Christmas remake could receive a 0% Tomatometer score and the average for the 23 horror films released in 2019 would still be a Fresh 60%. This may not seem all that important, but this is big news for horror fans. Why? Because in the modern era of horror (which we’ll define as from 1980 forward), there hasn’t been a year with a Fresh overall Tomatometer score.This Fresh average shouldn’t come as a surprise to those paying attention to the genre this year – Certified Fresh hits like Us, Crawl, Ready or Not, and Midsommar have won over critics and audiences alike. Even remakes/adaptations are over-performing critically as Child’s Play (63%) and Pet Sematary (57%) are Fresh and very close to it, respectively, when historically horror remakes average a Rotten 44% Tomatometer average.In honor of this Fresh year of theatrically released horror, we pulled the Tomatometer data on the 644 horror movies that received wide releases (defined here as 600+ theaters) in the United States since 1980. We wanted to know how the preceding 40 years of horror films matched up against 2019, and if any year had a higher Tomatometer average.Quick Note: We chose 1980-2019 because there is greater consistency in Tomatometer data than in earlier years. The 1970s were the bomb though.THE OVERALL AVERAGE FOR HORROR FILMS RELEASED SINCE 1980 IS A ROTTEN 43.8%(Photo by Lions Gate / Everett Collection )The overall Tomatometer average for the 644 horror movies that received wide theatrical releases since 1980 is a Rotten 43.8%, and 438 of those movies (or 68%) have scores below 60%. The Rotten far outweigh the Fresh, and for every Green Room, The Descent, The Thing, and Scream 2 , there are movies like Jaws: The Revenge, House of the Dead, I, Frankenstein, Godsend, The Roommate, and Dream House bringing down their average.Another interesting fact (for data nerds and horror movie lovers who are also data nerds) is that since 1990, only five years have had more Fresh horror films than Rotten: 1982 (7 4), 1983 (8 7), 1987 (10 7), 2013 (7 6), and 2019 (12 10). This data makes 2019’s Fresh score even more impressive.On a side note, the years 1997-1999 have a seriously high number of Rotten horror movies that we at RT actually love. Between Anaconda, Halloween H20: 20 Years Later, The Faculty, Idle Hands, Blade, Deep Rising, The Relic, The Mummy, Lake Placid, and the king of all Rotten horror movies, Event Horizon (you can read more about Event Horizon as well as Blade in our book Rotten Movies We Love), the years are stacked with Rotten movies that are pretty awesome.THE BEST DECADE FOR HORROR IS THE 1980s. No Surprise there. (Photo by New Line Cinema)Despite having no single year with a Fresh Tomatometer score, the 1980s have the highest overall average with a groovy 52.5%. Buoyed by A Nightmare on Elm Street, Near Dark, The Fly, The Thing, and Fright Night, the 1980s slaughtered the 1990s (43.6%), 2000s (32.2%), and the 2010s (47.1%).Six of the top 10 years in our data set come from the 1980s, and 1987 came close to being Fresh, but the 0%-rated Jaws: The Revenge and the 9% House 2 kept it at a Rotten 57%. A big reason for the 1980s being the highest-rated decade is that it has only one year in the bottom 10 Rottenest years on the list (1989, with a Tomatometer average of 34.4%).2006 HAS THE LOWEST TOMATOMETER AVERAGE, AND THE MOST ROTTEN DECADE IS THE 2000s(Photo by © Warner Bros. )The worst year in our entire data set is 2006, which currently has a Rotten 31.1% average. The distinction is dubious, but at least 2006 kept it interesting with movies like Pan’s Labyrinth, The Descent, Slither, Hostel, Snakes on a Plane, The Hill Have Eyes, and The Wicker Man remake, an amazingly bonkers movie that features Nicolas Cage running all over the place while wearing a bear suit. Also, the first Black Christmas remake was released in 2006, and with a 14% Tomatometer score, the less said, the better.The 2000s as a whole weren’t much better, as the decade averaged a 32% Tomatometer score. Four of the five lowest Tomatometer years in the data set are from the 2000s, and only 33 of the 189 theatrically released movies in that decade have a Fresh Tomatometer score. The numbers may look bad, but on a positive note, the 2000s are responsible for bona fide classics like Shaun of the Dead, 28 Days Later, The Mist, and Zombieland. Plus, movies like Jennifer’s Body, 28 Weeks Later, 30 Days of Night, Constantine, Frailty, Eight Legged Freaks, and The Happening (it’s awesome, get over yourself), are starting to gain their due popularity.Random Tomatometer Fact: Imogen Poots, the star of the upcoming Black Christmas remake, made her horror debut in 2007, appearing in the Fresh 28 Weeks Later (the opening scene is awesome). Since then, she’s crushed it the underrated Fright Night remake and in Green Room, which is one of the best-reviewed horror films of recent memory.2019 HAS THE HIGHEST TOMATOMETER AVERAGE FOR HORROR MOVIES OF ANY YEAR SINCE 1980, AND IS THE ONLY FRESH YEAR,WITH A 63% AVERAGEWhat makes 2019 the only Fresh year in our data set might surprise you. While movies like Us, Doctor Sleep, The Lighthouse, and Scary Stories to Tell in the Dark helped greatly, it’s the remakes, prequels, sequels, and adaptations that greatly contributed to the overall Freshness. 2019 has been a lot of fun because of movies like Annabelle Comes Home, a sequel to a prequel (Annabelle: Creation) of a prequel (Annabelle), which has a Fresh 64% Tomatometer score. Normally, a horror movie so far removed from the original is almost always Rotten. Toss in the Certified Fresh Crawl (82%), a movie about rampaging alligators, and 3 From Hell, Rob Zombie s 50%-rated sequel to The Devil’s Rejects, and you have movies that are over-performing critically when compared the likes of Lake Placid (46%), Primeval (18%), 31 (47%), and Lords of Salem (46%) from past years.The 25% Tomatometer-rated Countdown, a movie about a ‘killer’ phone app, has the lowest score of any wide-release horror movie in 2019. Typically, a 25% score isn’t reason to celebrate – but when compared to the Rottenest horror movie of each year in our data set, it’s the least Rotten (the closest is 1984’s 23%-rated C.H.U.D.). In fact, the 10 Rotten horror movies released in 2019 have a 46.3% average, which is the highest average for the Rotten films of all the years in our data set. 2019 has the best of the worst, and that’s why it’s Fresh.What is your favorite year for horror? Let us know in the comments.Like this? 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游戏时长 0.8小时

Ghcxuf (Photo by Universal Pictures)What s better than a love story set against the backdrop of the holiday season? How about 10 interconnected love stories set against the backdrop of the holiday season, populated by an A-list ensemble cast and directed by the man who brought us charmers like Four Weddings and a Funeral and Bridget Jones s Diary? Thanks to Richard Curtis and stars like Hugh Grant, Colin Firth, Keira Knightley, Emma Thompson, Alan Rickman, Laura Linney, and many more, 2003 s Love Actually has bred a generation of adoring fans who count the film among their regularly scheduled holiday programming. That said, the movie s collection of romances has inspired no small amount of criticism over the years, and not just from joyless Grinch types, either. Some of the characterizations and relationships portrayed are, let s say, questionable in nature, and for some, no amount of cheeky Christmas-themed cheer is going to cut through that.Of course, this means it s up to us and you to settle another Christmas movie debate here on RT. Is Love Actually a modern Christmas classic, or is it just a problematic mess of a film? We present an argument representing each side of the debate from a passionate RT staffer, but it s up to you to make the call. Read on and vote below!Yes, Love Actually Is All Around!(Photo by Universal Pictures courtesy Everett Collection)Let’s first get this out of the way: Love Actually is at times terrible, actually. And it is, almost all the time, problematic. We will not go point-for-point refuting the online thinkpieces that break down all the ways it is so, because we agree. Does it fat-shame Martine McCutcheon’s Natalie and Aurelia’s sister (a.k.a. “Miss Dunkin’ Donut 2003” and woman no one could ever possibly marry)? Abso-bloody-lutely. Is Andrew Lincoln’s Mark really just a terribly dressed stalker? Yes: Call Scotland Yard! Does just about every thread contain some iffy, arguably misogynistic undertones? Kinda, actually.But here’s the thing: as the Internet has taught us, all your faves are problematic – but that doesn’t mean we have to cancel them in their entirety. Rather, as Molly Ringwald showed in her recent essay for the New Yorker on The Breakfast Club, enlightenment allows us to grapple with past pop culture, to criticize and dissect it and call out its failings, even as we remain attached to elements of it. These things are complex. Because for all the glaring issues with Love, Actually, the movie has huge globs of earnest heart (we’ve all been as lovesick as Sam), soaring moments of joy (spontaneous wedding performance!), and Emma Freaking Thompson giving us all the feels. Plus Bill Nighy. Plus the nude couple. Plus “All I Want For Christmas Is You.” Plus Mr. Bean. And on and on. And most of all, it makes a sh ton of people happy as hell every December – people of all backgrounds and shapes. Should we consign it to the trash, like so much torn-up wrapping paper? To do so would be to deny people their annual Love, Actually pleasure, and to shut down the exact kinds of healthy conversations about art that have led the world to reassess its merits.No, It s a Festering Turd(Photo by Universal Pictures)Before anyone starts pointing fingers, it’s not feminism that made Love Actually unsexy. It’s the film’s own misunderstandings of romance and attraction that make it problematic and, in many ways, revolting. Despite what Love Actually tries to tell you, it’s not cute to stalk your best friend’s beau, or your secretary (or your boss), or your housekeeper. Nor is it romantic to objectify your crush, or funny to fat-shame anyone. Also, it’s absolutely uncool to shame men for having emotions. (The next person to call anyone a “sissy” is getting coal in their stocking.)“Who do you have to screw around here to get a cup of tea and a chocolate biscuit?” is an actual line spoken by the Prime Minister in Love Actually. But never fear, his assistant is right around the corner to answer his demands for snacks! Later, he goes to her house to profess his love for her — but “he” is Hugh Grant, so it’s… supposedly less creepy? (Hint: It’s still inappropriate; he’s her boss.)And don’t even get me started on the British boy seeking a “good shag” in the United States. Maybe Love Actually was trying to make a point about hyper-sexualization in American media (British pot, meet American kettle), but in order to pose such a critique, it would have had to actually be critical. Instead, it lets predatory men gawk at cardboard women — stand-ins for women with professional lives and actual personalities — over and over again. It’s meant to be funny, but again, it’s just cringeworthy.Love Actually so desperately tries to create endearing plots for each of its celebrated cast members that it reduces each of them to outdated, now-embarassing tropes. Love Actually is no classic; it’s a relic of problematic rom-coms past. 😈😈


澳博投注网 (Photo by Liam Daniel/HBO)Chernobyl seemed to come out of nowhere. Hot on the heels of Game of Thrones final episodes, the five-part HBO miniseries from creator/writer Craig Mazin and director/co-executive producer Johan Renck goes deep into the multi-layered, almost unbelievable story of how the accident at Ukraine s now-infamous nuclear power plant became one of the worst man-made calamities the world has ever seen.The groundbreaking series which features stellar performances by Jared Harris, Stellan Skarsgård, and Emily Watson doesn t just explore the accident, it touches on the far-reaching ramifications that followed it, telling the stories of the many citizens who made unfathomable sacrifices, and gave their lives, in order to save the continent from imminent doom.To give further insight into the terrifying story being told, director Johan Renck spoke at length with Rotten Tomatoes about his creative vision for the project. During our chat, he explained the challenges in telling a Russian story with a large cast of British actors, the filmmaking importance of using sound and silence to convey the appropriate tone, and the enduring relevance of the Chernobyl disaster all these years later.(Photo by Liam Daniel/HBO)Aaron Pruner for Rotten Tomatoes: You directed all five episodes of Chernobyl, which sounds like a massive undertaking. What was your vision going into the production?Johan Renck: The first and foremost thing for me was that I wanted to make it experiential, rather than sort of on display, so to speak. This is not a diorama in which you get this world presented to you. To me, it was much more about finding within some kind of very long-gone authenticity, finding a way to shoot this and to deal with this so that you feel immersed. You almost feel like you were there. There s this sort of experiential side of it. So I think that was my agenda, so to speak, from the onset of this project.Has there been any pushback from viewers or complaints regarding accuracy in the story being told?Renck: There are some people who find it really hard to understand why this is in English and not Russian. And also some people who have difficulties with dealing with the British accents in there. On the other hand, I get tons of messages from people who live in Belarus, Ukraine, or Russia, saying like, this is so authentic, I sort of relate to every thought that goes into the apparel or in a suit or a trashcan or a whatever it is, everything is so minutely accurate. So then, you know, all we can do is try to be accurate and authentic.(Photo by Liam Daniel/HBO)Well, let s talk about working with the British cast. I can understand how some people may take issue with the accents or the fact that the actors you cast weren t Russian or Ukrainian, but, for me, it didn t take long for the Britishness of the cast to fall away. Were there any methods in trying to tamp down the variety of dialects featured in the show?Renck: Having a British actor portray a Russian character is almost like taking an Italian actor to do a Russian. The British are, you know, very expressive in their facial language, very sort of courteous and apologetic. Whereas the Russian and the Eastern European persona and again, I come from Sweden, I come from that part of the world is drastically different. It s much more of a sort of underhanded, almost stone-faced type of behavior. There is no willingness, there s no desire to appease somebody else or please somebody else by the way you communicate. It s very straightforward. And, added to that, you have this Slavic flamboyance that comes out in heated moments.In a dream world, we would have had a year of rehearsals with our 104 speaking roles, to try to shave off some of the local edges of the accents, you know? Because you have Scottish actors, Irish actors, Welsh actors, Southern England, Northern Ireland, and all those accents are drastically different from each other. The agenda was, originally, to kind of shave off all those edges to an extent that it became some weird form of neutral English. But that task was just unobtainable given the time and given the amount of cast we had.(Photo by Liam Daniel/HBO)You talked about coming from an experiential place with this. Let s talk about the end of Episode 2 where we are following the divers into the tunnels under the plant. That scene was darkly lit, had basically no dialogue and relied mostly on the stakes of their mission which was signified by the constant ticking of their radiation detectors. What are the challenges in presenting a story like this, in this scene and in the grander scheme of things, without going too far and exploiting the moment?Renck: You know, there is a bunch of challenges in there, but they re all good fun challenges. You mentioned the divers, and that to me was a very tricky scene on paper because you re dealing with three people in pitch darkness, who are cannot talk to each other and you can t see their faces because they re wearing masks. You can t really gather body behavior because of their outfits and all of that.To some extent, you go back to the founding principle of filmmaking, which is: we re translating psychology and behavior. We ve got to try with most of the tools that you would use normally there s no terrified eyes, there s not a gasp or sound or scream, or anything like that. That particular scene, during the shoot, it was clear this is a sound-driven thing. The one thing that will help us understand what these guys are feeling inside is the sound of the dosimeter increasing in intensity, the deeper this tremendously contaminated water gets. Of course, it s scary enough to just see a couple of guys fumble around in the dark. But that s just sort of superficially scary you have to find it find the profound scariness. And that was then channeled through sound design more than anything else.(Photo by Liam Daniel/HBO)And one of the most important aspects in telling the story here is the use of sound, the use of silence, and the organic nature of the score. Composer Hildur Guðnadóttir was recently interviewed and she talked about visiting the power plant in Lithuania where the series was shot and using the actual plant as a source of the show s music.Renck: She had this guy with her who used special equipment to record sound from things that you would never think even emit a sound. For instance, one of the recurring themes in there is something she always called the door. It s where they just put the microphone on a door and the weirdly intricate sounds coming from a static door, there s these little weird sounds of metal and tension and just buzzing that you would have no idea existed. Those are the types of sounds she recorded, as well as an atmospheric sound. And from those elements, she used those as her sounds for her instruments.Even further, though, the use of sound, and music, is starkly different here from most dramatic TV shows or movies. Usually, the audience would get a sweeping score or jarring music cue to let us know a big moment is happening, to tell us how to feel. But you didn t do that here.Renck: Both Hildur and I are firmly, firmly against underscoring, in which the music is there to guide you on what you re to feel. You know, somebody opens a door and there s something scary about to happen and then the music starts coming out to tell you it s scary. All of that is something that both Hildur and I deeply loathe. That s sort of underhanded, and also you don t need it. There s this permeating sub-current of dread and hopelessness and harrowingness in it already. You don t need to put another layer on that cake, it is at capacity now.(Photo by HBO)In HBO s Chernobyl podcast, show creator Craig Mazin talks about his visit to the infamous power plant before production on the show began. Have you visited Chernobyl?Renck: Well, here s the thing: When we were shooting in Ukraine, we planned a day off on the schedule so that I could go to Chernobyl, which was obviously what I wanted to do. On the day of my departure to Chernobyl, we get a phone call from The Exclusion Zone. Last summer was very, very hot, it was the hottest and driest summer in Europe for 300 years or something like that. So on the morning of my departure, we get a phone call from The Exclusion Zone saying we have seven or nine or whatever forest fires raging and you can t come. By now, I m some kind of nuclear expert because of everything that I ve sort of delved into, so I go, Oh, yes, I understand the burning trees obviously release contaminated organic material. Yeah, that seems not good. And they went like, Yeah, I don t know about that. It s just f king burning everywhere. So I couldn t go but I m going to go this summer and production, obviously, you know, they owe me that trip.(Photo by Liam Daniel/HBO)In the final episode, we finally get to a trial which finds Dyatlov, Bryukhanov, and Fomin being judged for their crimes. It s here that we learn of the truth that has been eating away at Legasov this whole time, he knew on some level that the power plant s fail-safe button was faulty and that, ultimately, it was the final lynchpin that caused the explosion. How important was it to get this scene right? And what, if any, were the dramatic liberties taken in depicting how the drama played out?Renck: The trial is, to some extent, not from a factual point of view. From the event s point of view, it s the least accurate thing. Legasov and Shcherbina weren t at that trial, they weren t even there in the real life thing. And that trial was a complete show trial in which nothing was revealed at all. It was just getting those three scapegoats Dyatlov, Bryukhanov, and Fomin to get their guilty sentences and for the Soviet state to wash their hands of the whole thing. In real life, this event took place over several instances. We first had this conference at Vienna, then we had the show trial, and then, you know, nothing came out until after Valery Legasov s suicide, and the tapes got sent out.This was just a way, from Craig s point of view, to sort of wrap this up. We can t make a six-hour episode out of this and we have to find a way to truncate things and turn them into what they were. A lot of it is based on court transcripts. A lot of what was said from the participants is absolutely real, of course. But the event is a little bit of an amalgamation of a few things happening. It s sort of a multi-layered thing. To the state, it s a grandstanding thing it s a staged show trial to start out with. They set that trial in Chernobyl town, which is not to be confused with Pripyat. The town is an old city that is located about 20 miles or so from the Chernobyl Power Plant. It was staged there because the state was clearly saying there s nothing dangerous here and everything s good, so we should have the trial right here.(Photo by Liam Daniel/HBO)It s filled with emotion and an intense scientific explanation of what caused the explosion. And that element of truth is what we ve been driving towards this whole time. Not to mention, with the whole set-up and placement of the judges and jury, the whole thing is quite odd.Renck: I love that court scene. I love shooting a lot of stuff. I love shooting dark harrowing stuff in the underbelly of the nuclear power plant, but I also love a good trial scene. And here we got to make a trial scene that does not in any way look like any trial scene we ve seen before. Or feel like it. It has to feel like a different type of dynamic in which the witnesses and the juries are all scripted, to some extent. And everything that s being said and done is just grandstanding no matter which way you look upon it. So we have to create a climax and a tonality in there that supports this. And that, I think, is mainly reflected through Khomyuk s defiance, and then Legasov s nervousness, because he doesn t know Should I go all the way here? Or should I not? Or should I tell the truth? All of that.(Photo by Liam Daniel/HBO)Now that the reviews are in and people are talking, I m curious what you are hoping people will take away from the show. Renck: The one thing I kept thinking that I want is that somebody like Lyudmilla Ignatenko, who is still alive to this day, would see this and feel that her voice has been heard, that she s been truthfully portrayed and that the sacrifice she and several hundred thousand other people went through, in order to sort of save the f king planet, or almost, is something that everybody understands, realizes and embraces. I don t want to sound melodramatic, but that s completely what it is, for me. Those stories, those people, what they went through and experienced, and are suffering the consequences of to this day.For instance, there is a hospital in Cuba, in which hundreds and hundreds of surviving children from Pripyat, and from the area around, were sent to because of the close ties between Cuba and the Soviet Union. That hospital is still up and running today and still dealing with the aftermath. This was not an overnight thing. This was not a catastrophe that happened and then ended. This is a story that will continue to spread and have ramifications. That is the main thing: to let those voices be heard and have those stories be shared and that, hopefully, everybody feels that.Chernobyl is available to watch, in its entirety, on HBO and its streaming platforms, HBO GO and HBO Now.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image by Liam Daniel/HBO

Today s Ketchup brings you another 10 headlines from the world of film development news, covering titles like the sequels to Bad Moms, Ghostbusters, and A Quiet Place.This WEEK S TOP STORYRACHEL WEISZ AND DAVID HARBOUR IN TALKS FOR BLACK WIDOW(Photo by John Lamparski, Jeff Kravitz/Getty Images)Marvel Studios is preparing to shoot their next two films this summer for likely 2020 releases. It was just last week that we heard about Angelina Jolie being in talks for a lead role in The Eternals, but that s not actually the next film in the works. Marvel is closer to starting production on the Black Widow solo film, starring Scarlett Johansson, with filming scheduled to begin in June. Florence Pugh (Fighting with My Family, Lady MacBeth) was announced last month for Black Widow, and this week, it was revealed that two more stars are in talks. Rachel Weisz (The Favourite) is now in talks for a role in Black Widow. David Harbour (Stranger Things), who will star later this month in the Hellboy, is also in talks for a Black Widow role. We don t yet have any clue what the Black Widow movie is about (including whether it s a prequel or is set after Avengers: Endgame), or what characters Pugh, Weisz, or Harbour might be playing. (This writer s guess for Rachel Weisz is long-time HYDRA leader Viper.) Black Widow may be the Marvel Studios movie scheduled for May 1, 2020.Fresh Developments1. CILLIAN MURPHY JOINS A QUIET PLACE 2(Photo by Anthony Harvey/Getty Images)Last year s monster/suspense movie A Quiet Place (Certified Fresh at 95%) was a surprise box office hit, with over 0 million worldwide from a budget of just million. Paramount quickly greenlit a sequel for next year (May 15, 2020), with real life married couple Emily Blunt and John Krasinski returning (as actress and writer/director, respectively). This week, it was confirmed that the the two surviving kid actors (Noah Jupe and Millicent Simmonds) would be returning for the sequel, and also the first new cast member for the sequel. Frequent Christopher Nolan collaborator and Peaky Blinders star Cillian Murphy will join Emily Blunt in the A Quiet Place sequel as a character who is described as a man with mysterious intentions who joins the family unit. The other movie scheduled against A Quiet Place 2 is the animated Scooby-Doo reboot Scoob, featuring the voices of Zac Efron, Tracy Morgan, and Amanda Seyfried.2. EMMA STONE AND RALPH FIENNES MAY STAR IN HORROR COMEDY THE MENU(Photo by Sabrina Lantos/Sony Classics)After six Academy Award nominations, and two wins (for Adapted Screenplay), Alexander Payne had his first Rotten film as director with 2017 s Downsizing. For his next film, Payne is reportedly recruiting Emma Stone (three Oscar nominations, one win) and Ralph Fiennes (two Academy Award nominations). Described as a comedic horror-thriller, the movie is called The Menu, and is about a couple who travel to a remote island to attend an exclusive restaurant where the acclaimed chef (Fiennes) has prepared a lavish tasting menu, along with some shocking surprises. Although Alexander Payne won both of his Academy Awards as screenwriter, The Menu was instead written by late night TV show staff writers Will Tracy (Last Week Tonight with John Oliver) and Seth Reiss (Late Night with Seth Meyers). Emma Stone will next co-star in the sequels Zombieland: Double Tap (10/11/2019) and The Croods 2 (9/18/2020), and Ralph Fiennes has at least three films scheduled for 2020 as well.3. MARK HAMILL TO VOICE CHUCKY IN NEW CHILD S PLAY(Photo by Walt Disney Pictures)Enough fans of the Child s Play franchise have been talking about Brad Dourif not voicing Chucky in this summer s Child s Play reboot (6/21/2019) that no Brad Dourif is a top autocorrect result on Google search. Curiously, for a movie that is just over two months away from release, however, we didn t actually know for sure who would be voicing Chucky instead. As it turns out, the actor taking on the role is the one famous for voicing the Joker in dozens of video games and animated TV shows. Mark Hamill is obviously best known for his role as Luke Skywalker in the Star Wars franchise, and he can now add Child s Play to the list of franchises he s associated with. Hamill announced his participation in a video that debuted at this past weekend s WonderCon in Anaheim.4. VIOLA DAVIS, JAI COURTNEY TO RETURN IN THE SUICIDE SQUAD(Photo by Warner Bros.)When director James Gunn s The Suicide Squad (8/6/2021) was first announced, it was quickly described as a soft reboot with a new cast of supervillains. That, however, was before it was confirmed that Margot Robbie would indeed be returning as Harley Quinn. (We also thought Deadshot would be returning, albeit in the form of Idris Elba instead of Will Smith, though it later turned out that s not the character Elba would be playing.) This week, we learned of two more actors from the 2016 version who are returning in the same roles. Viola Davis will once again play Amanda Waller, the government agent who brings together the various super villains, and Jai Courtney also talked this week about returning as Captain Boomerang (although it s possible that his character won t survive).5. STERLING K. BROWN TO STAR AS JANITOR-TURNED-COACH IN RISE (Photo by Priscilla Grant/Everett Collection)Chrissy Metz of NBC s This is Us will star in the faith-based drama Breakthrough later this month, and this week, one of her co-stars also signed on for his own faith-based drama. Sterling K. Brown is in talks with Sony s AFFIRM Films (Miracles from Heaven, Heaven is for Real) to star in their inspirational sports drama called Rise. If he signs on, Brown will portray Louisiana middle school janitor Willie Davis, who took over his school s basketball program and went on to compete in the state championship. Rise is based on Davis true life story, which has previously been reported on by HBO s Real Sports. Sony has already scheduled Rise for release a year from next week, on April 10, 2020 (up against James Bond 25). nt when it comes to an epic face off between these two legendary Titans!  Jimmy O, JoBlo s Movie NetworkGodzilla vs. Kong is ok I guess, sorta. Lots of cool s**t if that’s your bag.  Rodrigo Perez, The PlaylistHow does it compare to the others in the franchise?Easily the best in the series! John Nguyen, Nerd ReactorDefinitely the best of the MonsterVerse. Megan Peters, ComicBook.comGodzilla vs. Kong is the best of all the recent Godzilla and Kong films. Scott Menzel, We Live EntertainmentThe final battle is the most satisfying brawl we’ve had from this franchise yet, putting the camera where I’ve always wanted to see it in Godzilla movies. Brad Gullickson, Film School RejectsWay more entertaining than the two previous MonsterVerse movies with Godzilla in the title. Eric Goldman, IGN MoviesThe plot, human characters, and the lore explanations are the weakest in the modern franchise unfortunately. Rob Keyes, Screen RantKong: Skull Island Godzilla King of the Monsters Godzilla vs. Kong. Germain Lussier, io9.comRyan FujitaniWill diehard kaiju fans love it?I had a total blast with this movie. It gets wonky and weird in all of the places a monster movie like this should. Sean O Connell, CinemaBlendIt absolutely delivers on the Kaiju thrashing. Brad Gullickson, Film School RejectsHow does it look?Godzilla vs. Kong is a visual spectacle featuring jaw-dropping fight scenes between the two iconic titans…this film is a blast! Shannon McGrew, Nightmarish ConjuringsThis movie is selling a spectacle, and that’s exactly what audiences will get. Sheraz Farooqi, ComicBook DebateThe visual effects along with the fight scenes are absolutely spectacular in every way. The film feels like an amusement park ride. Scott Menzel, We Live EntertainmentThe colors! This world is so bright and colorful that it s hard not to love looking at it. One scene feels like something out of a top tier theme park simulator; and that s a huge compliment. Mike Reyes, CinemaBlendHere’s the utmost praise I can give a movie like Godzilla vs. Kong: it is a coherent movie with daytime fights and I could always see what was going on. I truly mean that as a compliment. Mike Ryan, Uproxx(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)What about the plot?The story is crazy ambitious and at times achieves some unique sci-fi-coolness. I’d watch it again for that stuff. Germain Lussier, io9.comWe re getting closer to a balance between story and spectacle, and I m optimistic of what the MonsterVerse future could bring. Mike Reyes, CinemaBlendThere’s one storyline that feels very extraneous, but otherwise I was into it. Eric Goldman, IGN MoviesWill we care about the humans?The human story complements the monsters adventures, allowing them to shine. John Nguyen, Nerd ReactorGenuinely affecting (the little girl’s relationship with Kong is the most emotional aspect of any of these movies). Drew Taylor, ColliderNewcomer Kaylee Hottle is the heart and soul of the film. Scott Menzel, We Live EntertainmentSome of the human characters actually work. Sean O Connell, CinemaBlendGodzilla vs. Kong spends a little more time with the human characters than I cared for, but it never really tries too hard to take them or anything else too seriously. Brandon Davis, ComicBook.comStill don t think they ve nailed how to incorporate human characters, but the top-notch ensemble helps. Perri Nemiroff, ColliderThe human parts are still bafflingly bad. Vinnie Mancuso, ColliderMost of the human angles are so overstuffed, illogical and pointless, it constantly took me out of it. Germain Lussier, io9.com(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)What if we re only interested in the giant monster battles?The fights are epic. Mike Reyes, CinemaBlendAs expected and probably as it should be the titan fights are the best parts of Godzilla vs. Kong. Perri Nemiroff, ColliderThe kaiju action is what fans have begged for and will fulfill their need for action. Megan Peters, ComicBook.comJust seeing the two iconic monsters battling each other is worth it alone. John Nguyen, Nerd ReactorIf you’re chiefly looking forward to seeing Godzilla and King Kong collide in a fight for the ages, you won’t be disappointed! Adam Holmes, CinemaBlendThe parts where one giant monster wallops the other giant monster in the face are incredibly good. Vinnie Mancuso, ColliderThe Tokyo scene, in particular, which features lots of neon lights is fantastic. Scott Menzel, We Live EntertainmentDoes one of the titans shine more than the other?The heart of the story is Kong. John Nguyen, Nerd ReactorKong feels more central and man did I love him in it. Eric Goldman, IGN MoviesThis movie proves Kong lovers right. The far superior character. Rodrigo Perez, The PlaylistThey each have scenes that showcase their power. Steve Weintraub, Collider(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)Are there any other major problems?It feels like some stuff is missing, and it flies by on a greased rail. But that s part of why I love it so much. Mike Reyes, CinemaBlendWish it felt more like a MonsterVerse capstone, but I like it for the movie it is. Eric Eisenberg, CinemaBlendMore time could have been used to explore this franchise’s deeper mythology. Adam Holmes, CinemaBlendIt s another retrofitted and pared-down for the masses course correction, with most of the world building absent and little reason for its existence beyond preemptive promises. Scott Mendelson, ForbesWill it leave us wanting more?I am going to watch this movie every day it is available on HBO Max, turning the volume on my television up a little bit every time. Vinnie Mancuso, ColliderI will be watching Godzilla vs. Kong many more times. Megan Peters, ComicBook.comGive us more Monster Verse movies! Mike Reyes, CinemaBlendGodzilla vs. Kong opens in theaters and streams on HBO Max on March 31, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.

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更新时间 2022-01-24
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