Subjective reality is still a key element of the series, and while audiences may still end up sympathetic to David’s pain, Hawley hoped viewers “realize over the course of the season how this need for love — that he feels is solely about him — begins to distance us from David a bit [and think,] ‘Oh, he s a very ill man.’”But even in that, his illness does not necessary equal villainy in the Golden Age comic book sense. David’s selfishness may, however, lead some to see him that way. “We expect our characters to learn and to be redeemed, but there are some people who aren t really capable of that,” Hawley said.Meanwhile, Amahl Farouk is, in fact, trying to redeem himself. Though, as Negahban put it, “it s more about saving the world and also saving David. He really cares about David.” Despite being the unambiguous evil orbiting David’s life in the first season, Farouk is a changed person when we meet him at the beginning of Season 3. “He s trying to be a good boy,” the actor said. “There has been a struggle for him to kind of determine whether [that is] right or wrong for him. And he s trying to discover that through his journey.”In some ways, the journey, as Negahban relayed it, parallels David’s major internal conflict. “He came from nothing. He became somebody, he had the power. He got lost in his power; he didn t know what to do with it. And his rage and anger took over,” he explained. “It goes full circle and it gets to the point that he realizes that that rage and anger is what is destroying him. So if he can get rid of that, he can redeem himself. He can redo everything.”(Photo by Pari Dukovic/FX)To some extent, Hawley said the conflicts mirror the tension between childhood and adulthood, adding that at least some of David’s issues go back to the moment his birth parents gave him up for adoption. And David’s attempt to stop Farouk in the past means he may run into his father, X-Men founder Charles Xavier (Harry Lloyd).Lloyd told us not to expect the “straight-laced Charles we know” from the X-Men films or animated television series.“It s trippy stuff,” said Stevens, adding there is “a lot of confusion and hurt, obviously” in regards to David s feelings on Xavier.“It is nice to finally to have this string that ties our crazy balloon to the main raft of the X-Men stories,” he continued. “And I think that will be satisfying to people who know and love X-Men and Legion. He also suspected Legion viewers not well-versed in X-Men lore will become curious about the Professor and his Merry Mutants: [It] might cause them to go and watch some other X-Men-y type things.”Of course, it remains to be seen if David will follow in his comic book counterpart s footsteps and end the world as viewers have known it. That story was ultimately resolved when somewhat familiar mutants from the new timeline learned about David s actions and prevented Xavier s death. It is a pretty out-there idea and, yet, fits pretty well into the framework of Legion. No one on set was willing to divulge if the ending resembles David s most infamous comic book turn, but Stevens said the end gives the whole story a meaning not readily apparent before. It s really delicately done, I think. And very beautiful, he said.Legion season 3 premieres Monday, June 24 at 10 p.m. on FXLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 希望猪厂和鹅厂能尽早明白这一点，尽早推出真正有竞争力的手游作品，倒逼《原神》改变骗氪手段，给玩家多发原石，那么这篇文章也不算白写了。
(Photo by Aidan Monaghan/NETFLIX © 2020)British director Remi Weekes’ 2016 short film Tickle Monster was the perfect calling card for an up-and-coming genre filmmaker: the story of an aspiring grime artist haunted by the titular handsy entity, it was a terrifying four-minutes of expertly crafted suspense and jump scares that somehow also managed to say something meaningful in its minuscule running time. Publications began spotlighting Weekes as a “star of tomorrow,” the short got a premiere slot at South By Southwest, and eventually he was tapped to write and direct his first feature, His House, a novel twist on the haunted house genre centered on two new-to-the-U.K. asylum seekers.In His House, which arrives on Netflix this week, South Sudanese refugees Rial (Wunmi Mosaku) and Bol (Sope Dirisu) are released from a government facility and assigned a rundown house in a rundown estate in greater London where they must serve a kind of probation period: they can t work, can t move, and can t rock the boat. Slowly, the couple realizes all is not as it appears in their new home, but with the state’s eye fixed firmly on them, and the pressure to be “good immigrants” pressing down, they can’t simply flee the terror – and so they must face it.With His House, Weekes shows his successful short was no fluke: Critics at the 2020 Sundance Film Festival, where the movie premiered and Netflix scooped it up, heralded the arrival of a new horror force in the young writer-director, one who could blend scares that out-Conjuring-ed anything that universe was serving with trenchant and fresh-feeling social commentary. Ahead of the movie’s streaming release, we spoke with Weekes about crafting some of the year’s best scares and telling ghost stories focused on people and spirits we rarely see walking the corridors of haunted movie homes.(Photo by © Netflix)Joel Meares for Rotten Tomatoes: One of the really compelling things about this movie is that, unlike a lot of haunted house movies, the characters can t really leave their situation – there are so many different non-supernatural forces keeping them stuck. Why did you decide to focus on this aspect of the immigrant experience?Remi Weekes: During the development of the story, we did a lot of research and I was reading about the asylum-seeking process in this country, and not just that, but also the experiences of asylum seekers. One thing that I really latched onto was this thing we have in the U.K., where we give an asylum seeker a house, but then we also try and enforce these very draconian rules that they have to abide by. They can t just leave the house, and then they can t get a job, and they get a very small allowance. But mostly they have to stay put. When you hear asylum seekers experiences of this, it can be quite a re-traumatizing moment for them. They are in a new and confusing world and they re almost forced to park any kind of sense of progress or moving on; I guess they are unable to take the next step forwards in their new life. They re forced to park everything and be re-traumatized all over again. It seemed, as a storyteller, a really perfect way to tell the story was around that.The house itself is also interesting, because it s not the kind of house we re used to seeing in a traditional haunted home movie – there s no gothic staircase or anything like that. You really emphasize how rundown and shabby this house is. It s scarier, in a sense, but I m wondering why you decided to go for that look and for this particular house?Weekes: This is definitely a fictional story, but we tried to base everything within the film on some kind of truth and some kind of real experience. So the house in the film is based on the kinds of suburban places that asylum seekers would be taken to. We filmed in Tilbury, which is in Essex. It s by the coast, and so it’s one of the places that many immigrants go through, so it had a particular resonance to the story. And so that s why [we shot there].Another reason why we picked that house was that, I guess, historically England or the U.K. has used its soft power to export a certain image of itself to the rest of the world, and it s usually a very boastful image. I guess it s part of the reason many people migrate here – this image that we project out to the world. So for a lot of people who come here, especially asylum seekers, it can be such a disorientating experience: everything they see and where they end up is not at all the image that they thought they were going to get. A lot of people, when they are given accommodation, they re not really told where they re going and where they re being placed, and so it can really feel incredibly isolating and confusing. That was another reason why we picked that location, because it doesn t scream British in all the classical ways you expect “British” to be.(Photo by Aidan Monaghan/NETFLIX © 2020)Right. You seem to use that idea to explore different reactions asylum seekers have to confronting that reality. Bol, the husband, is determined to dig his heels in and stay and integrate – go to the pub, and follow football, and all this kind of stuff. Rial sees the house and you can kind of see the reaction instantly: She wants out. You’re giving us two distinct perspectives there and characterizations, and often times, migrants in films, particularly those told by Westerners, are kind of flattened and perceived as a monolith. Was that something you were really wanting to do in this film – show the richness and diversity of opinion and thoughts about those who come to the country?Weekes: Yeah, totally. I think another thing that was incredibly important to me when I pitched the story was that I really wanted it to be about these two people and for them to be the story, and no one else, and it be told be through their eyes and their perspective. Mostly because this whole conversation about immigration usually takes place between politicians and activists and whatnot, and it s rarely from the perspectives of the asylum seekers themselves. I really wanted to make sure to keep the focus on them and only them. With that, hopefully we create really distinct and really complicated characters who won t behave in a cartoony way, as often they can be portrayed.The movie is taking on a lot of issues, but it’s also just a very terrifying film. It s really scary. You’ve said that you wanted to sort of “remix” some of the traditional horror fare that you d grown up with. What was the horror you grew up loving, and what classics did you bring to bear on this particular film?Weekes: I guess the biggest influences on this film were definitely the ghost stories – haunted house stories. The Innocents, for example, and The Others. The Shining was a big influence. There s a Thai filmmaker called Apichatpong Weerasethakul, and he does ghost stories as well, in a way, but set in Thailand. What I love about his stuff is that it s all very banal and set in very normal spaces, but then ghosts come and stuff. I really liked that juxtaposition, and so I felt it influenced me a lot. (Photo by Aidan Monaghan/NETFLIX © 2020)There are a lot of in-camera practical effects sequences that are very effective and chilling, and also beautiful at times. What was the most challenging of those sequences to shoot for this film?Weekes: I think all the kind of spooky sequences were challenging in a way. I came up as a director doing quite visual pieces. So what s important to me about filmmaking is the craft of it and the building of it. It was really important to me that the sequences were scary and interesting, but – and this was really the difficult thing – not only do they have to work as scare sequences, but they all had to be in service of the character, and conceptually they all have to fit in with the story and what I was trying to say and what the character learns in that moment.It was really challenging to me as a filmmaker, because on one level your job is to scare an audience, and when you re using your imagination, you can think of all sorts of fun and crazy ways you can scare someone. But then you always have to think, Well, am I just scaring them? Am I really serving the character? Am I moving the story forward? What am I saying? Is this enlightening of the character in any way? Putting those two things together, that was challenging. I mean, sometimes it just was like, Can we just have a ghost? Or a spider – could they get a spider? You have to have the why, what does that mean? It was hard.This is a bit of a broad question. We were interviewing Rapman, who made Blue Story, earlier this year, and discussing the need for new voices and different kinds of stories to get funding in the U.K. There seems to be some positive change with his film, yours, and others. Are you sensing that as well? Is there any shift in who is getting to tell stories in the U.K. or does more work need to be done?Weekes: For me personally, it s too early to say. I think I would be cautious of optimism, because culturally there s always been peaks and troughs. There s always been moments where there seems to be real energy in terms of changing of the guard, but there s also been times where it s fizzled out. I think the history of cinema has proven that there s moments when Boyz n the Hood and Menace II Society or Do the Right Thing become huge films and people think, Oh, is this new wave sustainable? and then you wait another 10 or 15 years before something else comes. Idealistically, I d hope that the film industry puts in the time and effort to make a real diverse film culture. However, I would wait to see the data to see if there s any real evidence of this.(Photo by Aidan Monaghan/NETFLIX © 2020)What do you want people to take away from seeing His House this weekend?Weekes: I guess empathy. I hope that our job as filmmakers and storytellers is to help audiences empathize with people that they might not normally empathize with. And so I hope that this brings some more empathy into the world.And terror.Weekes: And terror. That too. Empathy and terror – that s me.His House is available on Netflix from Friday, October 30, 2020. On an Apple device? Follow Rotten Tomatoes on Apple News.格斗之皇激活码礼包With studios and distributors loading up on a pre-launch campaign against Disney’s dominance at the box office – something that will be amplified with next week’s release of The Lion King – there were not a lot of alternatives for moviegoers to get behind this weekend. Marvel and Pixar both led the way again and the two newcomers could barely combine to beat the film in second place. For those in a Chicken Little panic over supposed dwindling ticket sales this year, this weekend certainly gave fuel to that fire with the top 10 films adding up to the lowest July weekend total since 2009.King of the Crop: Spider-Man Not Far From the Billion Club (Photo by © Columbia Pictures / © Marvel Studios/ Courtesy Everett Collection)Spider-Man: Far From Home took the lead again to no surprise for a second straight week. With 9.2 million on Thursday, it ranked as the 32nd highest-grossing film ever after 10 days in theaters. However, the drop to .3 million this weekend has put its numbers closer to Sam Raimi’s Spider-Man 2 than many of the top-tier MCU films. Raimi’s film had 5.1 million after 10 days and a .1 million second weekend. It finished its run with 3.5 million. Spider-Man: Homecoming made .2 million in its second weekend. Just remember that Far From Home also had a Tuesday opening (and the biggest one of all-time). Amongst the 35 films to have reached 5 million domestic, only Transformers: Revenge of the Fallen, Titanic, and Frozen made less in their second weekends than Far From Home. (Titanic’s .4 million in 1997 would be about .5 million today.) Worldwide the film has grossed over 7 million and will soon become the ninth film of the MCU to gross over a billion dollars.Rotten Returns: Stuber Disappoints with Million Start(Photo by Mark Hill/ © TM & copyright © Twentieth Century Fox Film Corp.)Stuber may not be a mega-budgeted production at million, but unless you are a true indie or working under the Blumhouse margin, an million opening is just not going to cut it. Thirty six films in 2019 have opened in 3,000 theaters or more and only Missing Link (.9 million) and Fox’s The Kid Who Would Be King (.1 million) – both Certified Fresh at 89% on the Tomatometer, incidentally – grossed less in their opening weekends. (A Dog’s Journey made .03 million.) Stuber, with a Tomatometer score of 46% currently, joins Winnie the Pooh, Ramona and Beezus, Monte Carlo, and Katy Perry: Part of Me as the films this past decade to open between million and million in July. They all posted final tallies between .1 million and .7 million. None of those films were rated “R” though.Top 10 and Beyond: Crawl Takes Small Bite as Disney Offerings Show LegsToy Story 4 crossed the 0 million line worldwide this weekend. Plus, the once-dubbed “disappointment” from burned analysts is only the 23rd highest-grossing film ever after 24 days with over 6 million at the domestic box office. Though the film is right in line with Toy Story 3’s fourth weekend of million, it did slip slightly behind during the week from being million ahead of the third film’s pace to just around million. No worries, however, as it is still on pace for a 0 million haul in North America. The fim is over 1 million worldwide.To finish up the Disney dominance news this week, their live-action version of Aladdin has officially become one of the 50th highest-grossing films of all-time in the world with over 0 million. The Lion King is already gearing up to join that list having grossed .7 million in China this weekend. Then, of course, Avengers: Endgame grabbed an additional .8 million across the globe and is now less than million away from capturing Avatar’s all-time record with .780 billion.(Photo by © Paramount Pictures / courtesy Everett Collection)Over to the horror side of the top 10, Paramount chose not to screen Alexandre Aja’s alligator horror film, Crawl, for critics this week. Nevertheless those that reviewed it gifted it with an 88% on the Tomatometer and it s already Certified Fresh. It may have bested Stuber for the newcomer crown this weekend, but its million start is not entirely a cause for celebration, even with just a .5 million budget. That is more than the .9 million that another mid-July alligator film called Lake Placid opened to back in 1999. That film would have opened to about .7 million in today’s dollars and finished with .7 million. The smart money is on Crawl finishing with less, unless word-of-mouth – which again, is good – pushes it further.Ari Aster’s Midsommar has .4 million after 12 days, which puts it between fellow Wednesday openers No Escape, the 2015 terrorist thriller, and the 2004 remake of Around the World in 80 Days. That may suggest a finish in the - million range. Except Midsommar’s .5 million weekend was less than either of theirs. The film would need .2 million to pass A24’s first wide opener, The Witch, for fifth place on their all-time chart. Midsommar is nevertheless going to finish no worse than right behind it in sixth place with more than The Disaster Artist’s .1 million. Annabelle Comes Home is now over million, placing the film firmly between the third weekend grosses and totals of The First Purge (.10 million, .48 million) and Rocky Balboa (.01 million, .27 million), so figure a final tally in there while it currently stands at over 3 million worldwide – far less than either of the previous films but more than enough to turn a profit.Coincidences in box office are always fun to find and this week’s example comes with Danny Boyle’s Yesterday, which has become the director’s second highest-grossing film ever. That has nothing to do with coincidence though. Actually the .75 million it grossed this weekend and a total at .3 million puts the film in league with another tale of a singer from the U.K. that opened in June and was released by Universal some nine years ago. That film was Get Him To The Greek. It grossed .1 million in its third weekend and had .8 million after 17 days on its way to .9 million.On the Specialty Box Office: The Farewell Shows Signs of Being a Breakout HitFinally, in limited release news, Bleecker Street’s The Art of Self-Defense (Certified Fresh at 92%) grossed 1,000 in seven theaters. That per-theater-average of ,285 is just a bit less than Late Night’s ,593 average in 14 theaters when it first opened. Amazon expanded that film into over 2,200 theaters in weekend two and it has grossed more than million to date. Bleecker will expand Art into over 500 theaters next weekend and it is the ninth film in Bleecker’s history (out of 32 releases) to score 90% or higher on the Tomatometer.But the developing story may be that of Lulu Wang’s The Farewell, with Awkwafina. One of the most beloved films out of Sundance this year grossed 1,330 this weekend in just four theaters. That is the 15th best opening ever for a film launched in just four venues and the third best for A24. Moonlight (2,075) and Lady Bird (4,437) opened just a bit stronger and they, respectively, rank third and first amongst all A24 releases. The Farewell also maintains a perfect Certified Fresh score of 100% on the Tomatometer. It is the 28th A24 film to score 90% or higher out the distributor s 77 releases.This Time Last Year: Hotel Transylvania 3 Bests Skyscraper(Photo by © Sony Pictures Releasing)Adam Sandler’s ghoulish animated series showed no signs of wavering as Hotel Transylvania 3: Summer Vacation got its first taste of the box office outside of September and opened at number 1 with million. Ant-Man and the Wasp dropped 61% to second place, but that was still good enough to keep back Dwayne Johnson’s attempt at Die Hard in Skyscraper, which opened to just .9 million. In limited release, Bo Burnham’s Eighth Grade opened to 3,797 in just four theaters. The Top 10 films grossed 4.03 million and averaged 67.7% on the Tomatometer. This year’s Top 10 did an estimated 3.04 million and averaged 66.9%. It was actually the lowest Top 10 total for a weekend in July since the July 31-August 2, 2009 weekend when Funny People led the way with .65 million and a top 10 total of 7.14 million.
This Week s Ketchup brings you another 10 headlines from the world of film development news (those stories about what movies Hollywood is working on for you next), covering up-and-coming titles like Akira, John Wick: Chapter 4, and Chip n Dale: Rescue Rangers.This WEEK S TOP STORYTenet Sets a Release Date, Brings Taylor-Johnson, Caine, Kapadia on Board(Photo by @ Warner Bros. Pictures, @ Walt Disney Studios Motion Pictures)Except for movies like Dunkirk and his Dark Knight trilogy (where obviously we knew it was about Batman), director Christopher Nolan frequently keeps the details of his films relatively secret during the early phases of development and production. For example, both Inception and Interstellar were relative mysteries for a long while (and that s even though Nolan took over directing Interstellar from Steven Spielberg). This week, we learned that Nolan s next film will be called Tenet when it s released next summer (July 17, 2020), which Merriam-Webster defines as, a principle, belief, or doctrine generally held to be true. Tenet is described variably as an action epic and/or globetrotting adventure to be filmed in seven different parts of the world. John David Washington (BlacKkKlansman) will lead an ensemble cast including Robert Pattinson (Twilight) and Elizabeth Debicki (Guardians of the Galaxy Vol. 2). That ensemble grew this week with the additions of Aaron Taylor-Johnson (Quicksilver from Avengers: Age of Ultron), Kenneth Branagh, Dimple Kapadia, Clémence Poésy, and frequent Nolan costar Michael Caine. Tenet is scheduled for July 17, 2020, up against Bob s Burgers: The Movie, the week after Ghostbusters 3 and The Purge 5, and the week before Disney s Jungle Cruise. Speculation about Tenet is just getting started, including this piece that suggests that the premise may involve time travel.Fresh Developments1. Catwoman, Penguin Named as The Batman Villains, Giving Us a Sense of Deja vu(Photo by @ Warner Bros. Pictures)Since Tim Burton s 1989 Batman, we ve seen a few of the villains of Gotham City depicted more than once, including Bane, The Joker, and Two-Face. The Burton/Schumacher villains that weren t included in Christopher Nolan s Dark Knight trilogy include Mr. Freeze, Poison Ivy, The Riddler, and The Penguin, but now we re hearing that one of them will return to the movies for the first time in 29 years. That s because the two main villains in The Batman (June 25, 2021) will reportedly be Catwoman and the Penguin, which also makes it a de facto return to 1992 s Batman Returns, in which those villains were played by Michelle Pfeiffer and Danny De Vito. No casting has been announced for either role yet, but Frozen star Josh Gad has been posting online about his interest in playing The Penguin for years now.2. John Wick: Chapter 4 Set for 2021Joel MearesJohn Wick: Chapter 3 Parabellum (89% Certified Fresh) hadn t even been out for a week when a teaser was dropped for the next chapter in the franchise, titled for now, unsurprisingly, John Wick: Chapter 4. The next film in Keanu Reeves high-body-count franchise is now scheduled for just two years from this week, on May 21, 2021. We obviously don t know what the fourth film might entail (though the ending of Parabellum does suggest some hints). This release date announcement did have one immediate response, however, from Warner Bros., which quickly bumped their animated superhero movie DC Super Pets from May 21, 2021 back a full year to May 22, 2022. The DC Comics superheroes expected to be featured in DC Super Pets include Ace the Bat-Hound, Krypto the Super-Dog, and Streaky the Super-Cat. With this move, DC Super Pets will now come after Joker (October 4, 2019), Birds of Prey (February 7, 2020), Wonder Woman 1984 (June 5, 2020), The Batman (June 25, 2012), and The Suicide Squad (August 6, 2021). There s no word yet on when Marvel Studios might ever release a Pet Avengers movie.3. Taika Waititi s Akira Adaptation Due in Just Under Two Years(Photo by @ Walt Disney Studios Motion Pictures)There was a time when movie blogs were awash regularly with screeds against the potential evils of a live-action Akira (whether based on the 1988 anime classic, or the original mang
4. 呼朋唤友 随心所欲
Best Sci-Fi Movies of 2019 (And The Worst)2019 is one of those movie years that sees cosmic superheroes, unstoppable syndicate assassins, and crime-solving pocket monsters with regularity, making it harder for science-fiction films to dazzle us with their subversions of the norm. That means they ll just have to be more creative in this day and age, and you ll find the ones up to task on our list of the best sci movies (and the worst) of 2019! ( The worst implying you ll also find the ones that aren t). The offerings this year include big-budget spectacles (Godzilla: King of the Monsters), mid-budget mindblowers (I Am Mother), a Michael J. Fox-featured time travel joint (See You Yesterday), and even something from genre wanderer Keanu Reeves (Replicas). As with our other genre lists (2019 s best in horror, comedy, and action),each sci-fi movie needed at least 20 reviews for inclusion. Distribution method was not a factor. It s the future, baby!Last updated 10/28: Terminator: Dark FateBest Movies of 2019 | Best Horror Movies of 2019Best Comedies of 2019 | Best Sci-Fi Movies of 2019Best Action Movies of 2019
5. HD 画质与高品质音讯
6.79.0 0月喜迎Bond, James Bond, is headed back to the big screen for 007’s 25th movie, due for a release right before Thanksgiving in November (exact dates vary depending on where you live). As is befitting a secret agent, there aren’t many details about the film that are public knowledge yet, but here’s what we do know. [Updated March 4]It Finally Has a TitleFor a long time, Bond 25 was known simply as Bond 25. Fans were hoping that the official title might be revealed on April 25 of 2019, during a live-streamed presentation about the film broadcast from the Jamaican villa where Bond author Ian Fleming wrote all the original novels, but that was not the case. Instead, we all had to wait until late August before the official James Bond Twitter account announced that the new entry will be called No Time to Die.The First Trailer is OutThe first trailer for the film dropped on December 4, 2019, and it shows Bond leaping from aqueducts, getting trapped under ice, and withstanding a barrage of gunfire in his bullet-proof, classic Aston Martin DB5. He also faces possible betrayal from Dr. Madeleine Swann (Léa Seydoux) after settling down with her at the end of Spectre, a (friendly?) rivalry with a fellow 00 agent Nomi (Lashana Lynch), and a dangerous new villain — Rami Malek’s scarred, masked Safin.“History isn’t kind to men who play God,” Bond warns Safin in one of the trailer’s best lines, so it seems safe to assume that the latter s evil plan is quite ambitious and very dangerous.It Has an Official SynopsisThere were very few details about the plot before the trailer came out, and while it hints at a globe-trotting story of betrayal and friends and foes — both new and old — the synopsis explains a little bit more.“In No Time To Die, Bond has left active service and is enjoying a tranquil life in Jamaica. His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.”Cary Fukunaga is DirectingCary Fukunaga, known for True Detective Season 1, Beasts of No Nation, and Maniac, will direct No Time to Die. Fukunaga, who said that Daniel Craig is his favorite Bond, signed up to direct in September 2018 after original director Danny Boyle left the picture in August, citing “creative differences.” The switch in directors pushed back the film s release date, as it was initially set to come out in November of this year.“I want to make sure that this run of films, which has been fantastic, has a great next chapter and just keeps upping the ante,” Fukunaga said at the event.In addition, Neal Purvis, Robert Wade, Scott Z. Burns, and Fleabag’s Phoebe Waller-Bridge are writing the script.Daniel Craig is Returning(Photo by Francois Duhamel/Columbia Pictures)It was touch-and-go there for a while, though: Craig told Time Out London back in 2015 that he d rather break this glass and slash my wrists than play the suave spy one more time. But he s back for his fifth outing, havi
Joel MearesCertified Fresh is a sponsored partnership with Rotten Tomatoes and Netflix that includes a series of interviews with the showrunners and creatives behind some of the streamer’s Freshest hits – all conducted by Tomatometer-approved critics.Season 3 of Netflix s crime drama, Ozark, felt like the moment the world collectively realized what the series most ardent fans had known since the beginning: that this story of a middle class money launderer, his family, and their new life away from the city, was something truly special.And Certified Fresh at 97% on the Tomatometer, it was one of the most acclaimed seasons of television to hit our screens in 2020.Talking to NPR TV critic Eric Deggans for the second of our Certified Fresh interviews, Ozark showrunner Chris Mundy said the creative team behind the series were in our strides this year. I think two things happened, simultaneously, in season three, Mundy said. One, we were a little lighter in places; we intentionally played a little more dark comedy than we had in season two. Then the other is we burrowed down into family. That burrowing led to the heartbreaking storyline between Laura Linney s Wendy Byrde, and her estranged bipolar brother Ben (a landmark performance from Tom Pelphrey), and increasing tensions between Wendy and Marty (Jason Bateman) as they took different approaches to the family business.In the interview, Mundy also talks about Linney s widely acclaimed performance this year, comparisons between the series and Breaking Bad, and teases what s to come in the fourth and final season, due for release in 2021.Watch the full interview above or at Netflix s FYSEE TV site.Ozark is now streaming on Netflix.Eric Deggans is a Tomatometer-approved critic and the first full-time TV critic at NPR.
ian town discover a mysterious film hidden in its basement, they unleash an alluring succubus who gives them a sex education written in blood. (World Premiere)Saint FrancesDirector: Alex ThompsonScreenwriter: Kelly O SullivanCast: Ramona Edith-Williams, Kelly O Sullivan, Lily Mojekwu, Charin Alvarez, Jim True-Frost, Max Lipchitz, Mary Beth Fisher, Francis Guinan, Bradley Grant SmithAt the start of the summer, Bridget has an abortion just as she lands a much-needed job in affluent Evanston, Illinois — nannying a six-year old. (World Premiere)South MountainDirector/Screenwriter: Hilary BrougherCast: Talia Balsam, Scott Cohen, Andrus Nichols, Michael Oberholtzer, Naian Gonzalez, Midori Francis, Macaulee Rusnak Cassaday, Isis Masoud, Violet Rea,Guthrie MassWhen her teenagers head off to camp and her husband abruptly leaves her to begin a new family, Lila is left to her own curious and chaotic devices for a summer in her rural home in the Catskill mountains. (World Premiere)Yes, God, YesDirector/Screenwriter: Karen MaineCast: Natalia Dyer, Timothy Simons, Wolfgang Novogratz, Francesca Reale, Susan Blackwell, Parker Wierling, Alisha Boe, Donna Lynne ChamplinAfter an innocent AOL chat turns racy, a Catholic teenager in the early 2000s discovers masturbating and struggles to suppress her urges in the face of eternal damnation. (World Premiere)DOCUMENTARY FEATURE COMPETITION(Photo by Waad al-Kateab)Ernie JoeDirector: Jenifer McShaneErnie Joe follows two officers with the San Antonio Police Department mental health unit who are diverting people away from jail and into mental health treatment — one 911 call at a time. (World Premiere)For SamaDirectors: Waad al-Khateab, Edward WattsFor Sama tells the epic story of a young woman’s journey through love, war and motherhood across five years of the uprising in Aleppo, Syria. (World Premiere)Museum TownDirector: Jennifer Trainer, Screenwriters: Noah Bashevkin, Pola Rapaport, Jennifer TrainerFrom the ashes of a deserted factory, an ambitious center for contemporary art has emerged. With MASS MoCA, a familiar story of deindustrialization in a rural American town finds an unconventional route to recovery. (World Premiere)Nothing Fancy: Diana Kennedy (United Kingdom, U.S.)Director: Elizabeth CarrollAward-winning cookbook author, diehard environmentalist and feisty British nonagenarian Diana Kennedy reflects on an unconventional life spent mastering the cuisines of Mexico. (World Premiere)StuffedDirector: Erin DerhamStuffed is a documentary feature film about the surprising world of taxidermy and the passionate artists across the world who see life where others only see death. (World Premiere)(Photo by Jan Balster)TreadDirector: Paul SoletPushed to his breaking point, a master welder in a small town at the foot of the Rocky Mountains quietly fortifies a bulldozer with 30 tons of concrete and steel and seeks to destroy those he believes have wronged him. (World Premiere)Vision PortraitsDirector/Screenwriter: Rodney EvansA feature-length documentary that chronicles the creative paths of blind and visually impaired artists including a photographer (John Dugdale), dancer (Kayla Hamilton), writer (Ryan Knighton) and the film s director, Rodney Evans. (World Premiere)We Are The Radical MonarchsDirector: Linda Goldstein KnowltonMeet the Radical Monarchs, a group of young girls of color at the front lines of social justice. Set in Oakland, the film documents the journey of the group as they form, grow, and earn badges for units like Black Lives Matter and Radical Beauty (World Premiere)Well GroomedDirector/Screenwriter: Rebecca SternWell Groomed travels the humorous, visually stunning world of Competitive Creative Dog Grooming alongside the colorful women transforming their beloved poodles into living sculptures. (World Premiere)Why Can t I Be Me? Around YouDirectors/Screenwriters: Harrod Blank, Sjoerd DijkRusty, a male race enthusiast, decides at 53 to get breasts. His father cuts his pay, his motorcycle friends abandon him and the women he dates all reject him. Rusty pursues her new identity and only hopes to gain acceptance from others. (World Premiere)HEADLINERS(Photo by NEON / VICE)The Beach BumDirector/Screenwriter: Harmony KorineCast: Matthew McConaughey, Snoop Dogg, Isla Fisher, Stefania Lavie Owen, Jimmy Buffett, Zac Efron, Martin LawrenceThe Beach Bum follows the hilarious misadventures of Moondog (Matthew McConaughey), a rebellious rogue who always lives life by his own rules. Co-starring Snoop Dogg, Zac Efron, and Isla Fisher, The Beach Bum is a refreshingly original and subversive. (World Premiere)BooksmartDirector: Olivia WildeScreenwriters: Emily Halpern, Sarah Haskins, Susanna Fogel, Katie SilbermanCast: Kaitlyn Dever, Beanie Feldstein, Jessica Williams, Will Forte, Lisa Kudrow, Jason SudeikisOn the eve of graduating high school, two academic superstars and best friends realize they should have worked less and played more. Determined to not fall short of their peers, the girls set out on a mission to cram four years of fun into one night. (World Premiere)Good BoysDirector: Gene StupnitskyScreenwriters: Lee Eisenberg, Gene Stupnitsky, Beth Stelling, John PhillipsCast: Jacob Tremblay, Keith L. Williams, Brady Noon, Molly Gordon, Midori Francis, Josh CarasThe writers of Superbad and the producers of Sausage Party take on sixth grade in Universal Pictures’ Good Boys, an R-rated comedy about three friends on an epic one-day odyssey of bad decisions. (World Premiere)The HighwaymenDirector: John Lee HancockScreenwriter: John FuscoCast: Kevin Costner, Woody Harrelson, Kathy Bates, Kim DickinsonTexas Ranger Frank Hamer reflects on what made him a great lawman as he comes out of retirement to hunt down Bonnie and Clyde. (World Premiere)Untitled Seth Rogen/ Charlize Theron ComedyDirector: Jonathan LevineScreenwriter: Dan SterlingCast: Seth Rogen, Charlize Theron, O’Shea Jackson Jr., Andy Serkis, June Diane Raphael, Ravi Patel and Alexander SkarsgårdAn ambitious diplomat with a spotless reputation and a hard-partying journalist hilariously redefine “international relations” as they try to keep their red-hot romance under wraps. (World Premiere)UsDirector/Screenwriter: Jordan PeeleCast: Lupita Nyong o, Winston Duke, Elisabeth Moss, Tim Heidecker, Yahya Abdul-Mateen II, Anna Diop, Evan Alex, Shahadi Wright-Joseph, Madison Curry, Cali SheldonAn original nightmare from Oscar-winner Jordan Peele (Get Out), starring Lupita Nyong’o and Winston Duke, Us pits an average American family against a terrifying opponent: doppelgängers of themselves. (World Premiere)NARRATIVE SPOTLIGHT(Photo by Nolwen Cifuentes)Adopt a HighwayDirector/Screenwriter: Logan Marshall-GreenCast: Ethan Hawke, Elaine Hendrix, Diana Gaeta Marshall-Green, Betty Gabriel, Mo McRae, Chris Sullivan, Nate Mooney, Christopher Heyerdahl, Anne Marie JohnsonAfter being released from prison following a twenty year sentence for a minor offense, an ex-con must learn to navigate the world while coming to terms with his own life which has moved on — all while caring for an abandoned baby he finds in a dumpster. (World Premiere)The Art of Self-DefenseDirector/Screenwriter: Riley StearnsCast: Jesse Eisenberg, Alessandro Nivola, Imogen PootsThe Art of Self-Defense stars Jesse Eisenberg and is set in the world of karate. Eisenberg plays a man who is attacked on the street and enlists in a local dojo, led by a charismatic Sensei (Nivola), in an effort to learn how to defend himself. (World Premiere)Come As You AreDirector: Richard WongScreenwriter: Erik LinthorstCast: Grant Rosenmeyer, Hayden Szeto, Ravi Patel, Gabourey Sidibe, Janeane Garofalo, C.S. Lee, Jennifer Jelsema, Martha Kuwahara, Delaney Feener, Asta PhilpotThree young men with disabilities embark on a road trip to a brothel in Montreal catering to people with special needs to lose their virginity and embrace their independence. Inspired by a true story and remake of the Belgian film Hasta La Vista. (World Premiere)The Day Shall Come (United Kingdom, U. S.)Director: Chris MorrisScreenwriters: Chris Morris, Jesse ArmstrongCast: Marchánt Davis, Anna Kendrick, Danielle Brooks, Denis O HareAn impoverished preacher who brings hope to the Miami projects is offered cash to save his family from eviction. He has no idea his sponsor works for the FBI who plan to turn him into a criminal by fueling his madcap revolutionary dreams. (World Premiere)(Photo by Carmen Hilbert)Frances FergusonDirector: Bob ByingtonScreenwriter: Scott KingCast: Kaley Wheless, Nick Offerman, Keith Poulson, David KrumholtzA small town s reaction to scandal. (World Premiere)I m Just F*cking With YouDirector: Adam MasonScreenwriters: Gregg Zehenter, Scott BarkanCast: Keir O’Donnell, Hayes MacArthur, Jessica McNameeA young man and his sister endure a night of increasingly frightening practical jokes while spending the night at a secluded motel. (World Premiere)Mother s Little HelpersDirector/Screenwriter: Kestrin PanteraCast: Breeda Wool, Melanie Hutsell, David Giuntoli, Sam Littlefield, Kestrin PanteraWhen Joy Pride, a groovy 70’s burn-out on the caboose of the flower power movement learns she has weeks to live, her estranged children come together to do right by a mother who always did them wrong. (World Premiere)Olympic DreamsDirector: Jeremy Teicher, Screenwriters: Alexi Pappas, Jeremy Teicher, Nick KrollCast: Nick Kroll, Alexi Pappas, Gus Kenworthy, Morgan Schild, Jamie AndersonIn the Athlete Village at the Olympic Winter Games, Penelope (Alexi Pappas), a cross-country skier, befriends Ezra (Nick Kroll), a volunteer dentist, after a disappointing finish in her race. Penelope and Ezra share a special but limited time together. (World Premiere)The Peanut Butter FalconDirectors/Screenwriters: Tyler Nilson, Michael SchwartzCast: Shia LaBeouf, Dakota Johnson, Zack Gottsagen, John Hawkes, Bruce Dern, Thomas Haden Church, Jon Bernthal, Jake The Snake Roberts, Mick FoleyA young man with Down syndrome runs away from the retirement home where he lives to chase his dream of becoming a professional wrestler. (World Premiere)(Photo by Nigel Bluck)Pink WallDirector/Screenwriter: Tom CullenCast: Tatiana Maslany, Jay DuplassSix scenes. Six years. Six moments that shaped the relationship of Jenna and Leon. Pink Wall examines what defines us, the pressures of gender expectations, and our perpetual struggle between life and ambition. (World Premiere)Run This TownDirector/Screenwriter: Ricky TollmanCast: Ben Platt, Nina Dobrev, Mena Massoud, Damian Lewis, Jennifer Ehle, Scott SpeedmanA political aide tries to corral his brash, outspoken boss when a young researcher at a newspaper gets word of a scandal that could make or break both of their careers. (World Premiere)Sword of TrustDirector: Lynn SheltonScreenwriters: Lynn Shelton, Mike O BrienCast: Marc Maron, Jon Bass, Michaela Watkins, Jillian Bell, Toby Huss, Dan Bakkedahl, Tim Paul, Whitmer ThomasA curmudgeonly pawnshop owner and his man-child sidekick team up with an out of town couple to cash in on a family heirloom: a sword believed by alt history conspiracy nuts to be proof that the South won the Civil War. (World Premiere)VillainsDirectors/Screenwriters: Dan Berk, Robert OlsenCast: Bill Skarsgard, Maika Monroe, Kyra Sedgwick, Jeffrey DonovanWhen a pair of amateur criminals break into a suburban home, they stumble upon a dark secret and two sadistic homeowners who will do anything to keep it from getting out. (World Premiere)The Wall of MexicoDirectors: Zachary Cotler, Magdalena ZyzakScreenwriter: Zachary CotlerCast: Jackson Rathbone, Esai Morales, Marisol Sacramento, Carmela Zumbado, Alex Meneses, Moises Arias, with Mariel Hemingway, and Xander BerkeleyA young white handyman, hired by a wealthy Mexican-American family to upkeep their ranch, finds himself caught between disgruntled locals and the family s outrageously decadent daughters and discovers that something quite unusual is happening at the ranch. (World Premiere)DOCUMENTARY SPOTLIGHTAny One Of UsDirector: Fernando VillenaThrough the inspiring journey of a recovering athlete, Any One of Us offers an unprecedented glimpse into the traumatic world of spinal cord injuries. (World Premiere)AutonomyDirector: Alex HorwitzA feature documentary about the emerging technology of self-driving vehicles and the big questions they raise: what is control and who do we become as we relinquish it to machines? (World Premiere)Bellingcat — Truth in a Post-Truth WorldDirector/Screenwriter: Hans PoolBellingcat — Truth in a Post-Truth World explores the exclusive world of Bellingcat, a highly-skilled and controversial collective of “citizen investigative journalists” dedicated to redefining breaking news in the 21st century. (North American Premiere)BreakthroughDirector/Screenwriter: Bill HaneyBreakthrough tells the story of a renegade, blues-playing, Nobel prize-winning Texas scientist who created a cure for the world’s deadliest disease. Narrated by Woody Harrelson with a country-blues soundtrack. (World Premiere)Building the American DreamDirector: Chelsea HernandezIn Texas, construction workers face the deadliest conditions in the country. Building the American Dream follows three immigrant families who are rising up to seek justice and equality in an industry rife with exploitation. (World Premiere)Community First, A Home for the HomelessDirector: Layton BlaylockCommunity First, A Home for the Homeless is a feature documentary about a totally unique concept for mitigating homelessness. Conceived and created in Austin, Texas, Community First! Village is truly transforming the lives of homeless people. (World Premiere)(Photo by Derek Reich)Human NatureDirector: Adam BoltScreenwriters: Adam Bolt, Regina SobelA once-in-a-lifetime scientific discovery called CRISPR gives us the power to change what it means to be human. Now it’s up to us to decide how far we should go. (World Premiere)I Love You, Now Die: The Commonwealth Vs. Michelle CarterDirector: Erin Lee CarrTeen Michelle Carter s actions shocked a nation — but what really happened behind closed doors? This HBO special showcases the prosecution s point of view and alternately the defense s. Which side do you fall on? (World Premiere)It Started As a JokeDirectors: Julie Smith Clem, Ken DruckermanIt Started As a Joke documents the decade-long run of the Eugene Mirman Comedy Festival. The film celebrates Eugene s unique brand of humor and reminds us of the healing properties of comedy – even in the most challenging of life’s circumstances. (World Premiere)Jump ShotDirector: Jacob Ryan HamiltonJump Shot uncovers the inspiring true story of Kenny Sailors, the developer of the modern day jump shot in basketball, and how he defined the game, but why the game never defined him. (World Premiere)Kathy Griffin: A Hell of a StoryDirector: Troy MillerScreenwriter: Kathy GriffinIn her first ever comedy concert film, Comedian Kathy Griffin details the aftermath of lost work and being the subject of a federal investigation following the release of her now infamous photo depicting President Donald J Trump. (World Premiere)(Photo by Charlie Gross)QualifiedDirector: Jenna RickerIn the world of motorsports, the Indianapolis 500 has long been considered the only race. In May 1977, Janet Guthrie — the first woman to attempt Indy — earned herself a spot in the prestigious field of 33. (World Premiere)Red DogDirectors: Casey Pinkston, Luke DickIn the early 1980s, the only family that toddler Luke knew were the strippers, bouncers, and outcasts that made OKC s rowdiest strip club their home. (World Premiere)The River and the WallDirector: Ben MastersFive friends venture into the unknown wilds of the Texas borderlands to document the environment before a wall is built. As the wilderness gives way to the bustling Rio Grande Valley, they encounter the unexpected and enter uncharted emotional waters. (World Premiere)Running with BetoDirector: David ModiglianiFollow Beto O Rourke behind the scenes of his breakaway campaign to unseat Ted Cruz in the US Senate. With intimate access to the candidate, his family and team, the film captures Beto s rise from a virtual unknown to a national political sensation. (World Premiere)Sunset over Mulholland DriveDirector: Uli GaulkeScreenwriters: Uli Gaulke, Marc PitzkeThe vital power of creativity — a behind the scenes look into Hollywood s retirement home. (North American Premiere)VISIONS(Photo by Tim Pipe)Becoming LeslieDirector: Tracy FrazierScreenwriters: Sandra Guardado, Tracy FrazierBecoming Leslie reveals the inner and bizarre world of Leslie Cochran, a cross-dressing homeless misfit who became the most iconic and unlikely civic symbol of Austin, Texas. (World Premiere)The Garden Left BehindDirector: Flavio AlvesScreenwriters: John Rotondo, Flavio AlvesCast: Michael Madsen, Ed Asner, Carlie Guevara, Danny Flaherty, Alex Kruz, Anthony Abdo, Dawn Young, Tamara M. Williams, Miriam Cruz, Brock YurichA Mexican trans woman struggles to build a life for herself as an undocumented immigrant in New York City. (World Premiere)J.R. Bob Dobbs and The Church of the SubGeniusDirector: Sandy K BooneScreenwriters: Sandy K Boone, Jason WehlingThis film explores the underground movement that has galvanized the imaginative, the artistic, the nerdy, even the deranged – to examine the simmering dystopia in their culture, and do absolutely nothing about it except, maybe, poke fun at it all. (World Premiere)JezebelDirector/Screenwriter: Numa PerrierCast: Tiffany Tenille, Numa Perrier, Stephen Barrington, Bobby Field, Brett Gelman, Rockwelle Dortch, Zoe Tyson, Dennis Jaffee, Jessa ZarubicaA true story. In the last days of her mother’s life, 19-year-old Tiffany crashes with five family members in a Las Vegas studio apartment. In order to make ends meet, her sister, a phone sex operator, introduces her to the world of fetish cam girls. (World Premiere)Leave the Bus Through the Broken Window (Hong Kong, U.S.)Director: Andrew HeviaA broken-hearted filmmaker navigates an unfamiliar city, an international art fair and his personal baggage in this intimate, playful and unexpectedly comedic documentary. (World Premiere)(Photo by Robert Rodriguez)One Man Dies a Million Times (Belarus)Director/Screenwriter: Jessica OreckCast: Alyssa Lozovskaya, Maksim BlinovSet in the future, a story about seeds and genetic diversity, about growth and decay, about love and war, and about hunger of all kinds. (World Premiere)Red 11Director: Robert RodriguezScreenwriters: Robert Rodriguez, Racer RodriguezCast: Roby Attal, Lauren Hatfield, Carlos Gallardo, Alejandro Rose Garcia, Rebel Rodriguez, Racer Rodriguez, Eman Esfandi, Steven Brudniak, Brently Heilbron, Pierce Foster BaileyRob, an independent filmmaker, loses his investor’s money only to find out his investors are the Cartel. He checks himself into a medical research facility to pay off his debt, but quickly realizes it won’t be that easy. (World Premiere)Romantic Comedy (United Kingdom)Director: Elizabeth SankeyMusician and writer Elizabeth Sankey investigates the past, present and future of romantic comedies, assisted by a chorus of critics, actors and filmmakers. (World Premiere)SakawaDirector/Screenwriter: Ben AsamoahWhat human story lies behind the phenomenon of ‘internet fraud’? In Sakawa we meet three Ghanaian youngsters who, out of desperation, turn to internet scamming with the help of black magic. (North American Premiere)TitoDirector/Screenwriter: Grace GlowickiCast: Grace Glowicki, Ben PetrieA desperate man seeks refuge from the predators hunting him by befriending a cheerful intruder. (World Premiere)EPISODIC PREMIERESDavid Makes ManShowrunner: Dee Harris-LawrenceScreenwriter: Tarell Alvin McCraneyCast: Akili McDowell, Nathaniel McIntyre, Isaiah Johnson, Ade Chike Torbert, Cayden Williams, Jordan Bolger, Travis Coles, Phylicia Rashad, Alana ArenasA richly layered, deeply personal work about a 14-year-old prodigy from the projects who is haunted by the death of his closest friend. Set in South Florida, the series is inspired by events in McCraney’s own life, exploring childhood trauma and the power of imagination. (World Premiere)NOS4A2Showrunner/Screenwriter: Jami O BrienCast List: Zachary Quinto, Ashleigh Cummings, Jahkara J. Smith, Olafur Olafsson, Virginia Kull, Ebon Moss-BachrachNOS4A2 introduces Vic, a young woman who has a supernatural ability to find lost things. This ability puts her on a collision course with the evil and immortal Charlie Manx, a supernatural villain who feeds off the souls of children. (World Premiere)RamyShowrunner: Bridget BedardScreenwriter: Ramy YoussefCast: Ramy Youssef, Mohammed Amer, Hiam Abbass, Amr Waked, May Calamawy, David Merheje, Laith Nakli, Steve WayRamy, a first generation American Muslim on a spiritual journey, explores the challenges of being caught in between an Egyptian community that thinks life is moral a test, and a millennial generation that thinks life has no consequences. (World Premiere)ShrillShowrunner: Alexandra RushfieldScreenwriters: Alexandra Rushfield, Lindy West and Aidy BryantCast: Aidy Bryant, Lolly Adefope, Luka Jones, Ian Owens, John Cameron MitchellFrom Executive Producers Lorne Michaels and Elizabeth Banks comes Shrill, a comedy series starring Aidy Bryant (Saturday Night Live) as Annie, a fat young woman who wants to change her life — but not her body. Annie is trying to start her career while juggling bad boyfriends, a sick parent, and a perfectionist boss. (World Premiere)What We Do in the ShadowsShowrunners: Jemaine Clement, Paul SimmsScreenplay: Jemaine ClementCast: Matt Berry, Kayvan Novak, Natasia Demetriou, Harvey Guillén, Mark ProkschBased on the feature film of the same name from Jemaine Clement and Taika Waititi, FX’s new comedy What We Do in the Shadows follows vampire roommates who have lived together for hundreds and hundreds of years. (World Premiere)24 BEATS PER SECOND(Photo by Jacques Cheuiche)Amazônia GrooveDirector/Screenwriter: Bruno MurtinhoLeaving Belem and crossing much of the Para State Amazon region, its towns and riverside villages, Amazônia Groove reveals artists and their traditions, faith and mysticism, music and life that pound in the northern region of Brazil. (North American Premiere)BluebirdDirector: Brian LoschiavoDiscover the origin stories of megastars like Garth Brooks and Taylor Swift while following emerging singer-songwriters as they chase their dreams inside The Bluebird Cafe, Nashville’s accidental landmark that has altered the course of music history. (World Premiere)The Boy Band Con: The Lou Pearlman StoryDirector: Aaron KunkelThe Boy Band Con: The Lou Pearlman Story charts the life and crimes of boy band impresario Lou Pearlman. The film tracks his life from discovering NSYNC and Backstreet Boys, to his perpetration of one of the largest ponzi schemes in US history. (World Premiere)Boy Howdy! The Story of CREEM MagazineDirector: Scott CrawfordScreenwriters: Scott Crawford, Jaan UhelszkiRipping back the curtain on legendary rock rag CREEM Magazine s wild and disruptive newsroom; a dysfunctional band of unruly outsiders who weren’t all that different from the artists they covered. (World Premiere)Brainiac: Transmissions After ZeroDirector: Eric MahoneyThe film explores the seminal 90s band Brainiac from Dayton, OH and its creative force Tim Taylor. Just days before signing a major record contract Taylor was killed in a bizarre auto accident leaving his family and bandmates to pick up the pieces. (World Premiere)Carmine Street GuitarsDirector: Ron MannScreenwriter: Len BlumFive Days in the life of Greenwich Village guitar shop Carmine Street Guitars.(Photo by Herman Nijhof courtesy of New Zealand Film Commission)The Chills: The Triumph and Tragedy of Martin PhillippsDirector: Julia Parnell, Rob CurryNew Zealand music genius Martin Phillipps fights his creative demons, conquers the music world, inspires a generation, and then retreats into depression, addiction and anonymity. (World Premiere)David Crosby: Remember My NameDirector: A.J. EatonDavid Crosby reflects on his life of music stardom, while forging new paths to relevancy at his age of 77 in this deeply personal documentary. (World Premiere)Everybody s EverythingDirectors: Sebastian Jones, Ramez SilyanEverybody’s Everything is the story of artist Lil Peep (Gustav Ahr) from his birth in Long Island and meteoric rise as a genre blending pop star style icon, to his death due to an accidental opioid overdose in Arizona at just 21 years of age. (World Premiere)The Gift: The Journey of Johnny CashDirector: Thom ZimnyScreenwriter: Warren ZanesJohnny Cash stands among the giants of 20th century American life. But his story remains tangled in mystery and myth. This documentary brings Cash the man out from behind the legend. (World Premiere)Mr. JimmyDirector: Peter Michael DowdDowd Akio Sakurai has dedicated his life to honoring Jimmy Page. For 30 years he recreated vintage Zeppelin concerts note-for-note in small Tokyo clubs. Moving to L.A. to pursue his tribute dream, cultures clash and Akio s idyllic vision meets reality. (World Premiere)Nothing Stays The Same: The Story of The Saxon PubDirector: Jeff SandmannScreenwriters: Jeff Sandmann, Jeffrey Brown, Lisa Kay PfannenstielNothing Stays the Same celebrates the last 30 years of live music in Austin, while also examining the challenges faced by musicians and music venues in one of the fastest-growing cities in the country, all through the lens of the legendary Saxon Pub. (World Premiere)(Photo by Courtesy of Nothing Stays The Same: The Story of The Saxon Pub)Show Me The Picture: The Story of Jim MarshallDirector: Alfred George BaileyJim Marshall was a maverick with a camera. An outsider who captured the heights of Rock’N’Roll music and the seismic changes of an era, from the Beatles and Jimi Hendrix, to the civil rights movements and some of the most iconic moments of the 60s. (World Premiere)Strange NegotiationsDirector: Brandon VedderA documentary exploring the existential, artistic and family life of musician and former evangelical, David Bazan (Pedro The Lion), set against America’s own crisis of faith highlighted during the 2016 presidential election. (World Premiere)Teen SpiritDirector/Screenwriter: Max MinghellaCast: Elle FanningThe film follows Violet, a shy teenager who enters an international singing competition with the help of an unlikely mentor. Driven by a pop-fueled soundtrack, Teen Spirit is a visceral and stylish spin on the Cinderella story. (U.S. Premiere)Who Let The Dogs OutDirector: Brent HodgeScreenwriters: Brent Hodge, John Diemer, Jasleen KaurThe origin story of the smash hit Who Let the Dogs Out goes back further than anyone could have imagined; steeped in legal battles, female empowerment and artist integrity, which beckons the question: will we ever know who let the dogs out? (World Premiere)Wild RoseDirector: Tom HarperScreenwriter: Nicole TaylorCast: Jessie Buckley, Julie Walters, Sophie OkonedoA musician from Glasgow dreams of becoming a Nashville star. (U.S. Premiere)GLOBALAleksiDirector/Screenwriter: Barbara VekarićCast: Tihana Lazović, Goran Marković, Sebastian Cavazza, Nataša Janjić, Jason Mann, Aljoša Vučović, Neda Arnerić, Leon LučevA character piece about funny and troubled girl in her 20s, forced to move back in with her overbearing family. (North American Premiere)AuroraDirector/Screenwriter: Miia TervoCast: Mimosa Willamo, Amir Escandari, Oona Airola, Hannu-Pekka Björkman, Miitta SorvaliAurora, a commitment-phobic party animal, meets Iranian Amir one night at a hot-dog stand in Lapland. Amir is running from death and Aurora is running from love. They need each other in order to finally stop running. (North American Premiere)Being ImpossibleDirector: Patricia OrtegaScreenwriters: Patricia Ortega, Enmanuel ChávezA young woman discovers she was submitted to several surgeries to correct her intersexual body as a baby. She has to find her own self outside gender binaries. (North American Premiere)Cachada: The OpportunityDirector/Screenwriter: Marlén ViñayoFive Salvadoran saleswomen want to take their cruel life stories to the stage. During the rehearsal process of their play, they’ll discover themselves as victims and victimizers in a cycle of violence that has plagued their families for generations. (World Premiere)Days of the WhaleDirector/Screenwriter: Catalina Arroyave RestrepoCast: Laura Tobón, David Escallón, Carlos Fonnegra, Christian Tappan, Julián Giraldo, Natalia Castaño, Margarita RestrepoTwo young graffiti artists of Medellín defy a criminal gang when they decide to paint the mural of a whale over a threat written in a wall. (World Premiere)La Mala NocheDirector/Screenwriter: Gabriela CalvacheCast: Nöelle Schönwald, Cristian Mercado, Jaime Tamariz, Ariana FreireShe is the perfect woman until she decides to be free. (World Premiere)VaiDirectors: Nicole Whippy, ‘Ofa-Ki-Levuka Guttenbeil-Likiliki, Matasila Freshwater, Amberley Jo Aumua, Mīria George, Marina Alofagia McCartney, Dianna Fuemana, Becs ArahangaVai is a portmanteau feature film by nine Polynesian directors and filmed on seven different pacific islands. It is about the journey of empowerment through culture, over the lifetime of one woman, Vai. (World Premiere)X YDirector: Anna OdellScreenwriters: Anna Odell, Jakob BeckmanCast: Anna Odell, Mikael Persbrandt, Trine Dyrholm, Vera Vitali, Shanti Roney, Sofie Gråbøl, Jens Albinus, Thure LindhardtSwedish director and visual artist, Anna Odell (The Reunion), conducts a social experiment in which she aims to challenge the gender roles that men and women have in the society of today. (North American Premiere)SPECIAL EVENTS(Photo by Kurt Volk)How Rednecks Saved Hollywood with Joe Bob BriggsDirector/Screenwriter: Joe Bob BriggsAmerica s drive-in movie critic uses 200 video clips and photos to tell the 500-year history of the American redneck in a multimedia comedy performance.Love, Death RobotsShowrunners: David Fincher, Tim Miller, Josh Donen, Jennifer MillerLove, Death Robots, an animated anthology series presented by Tim Miller and David Fincher, is a genre orgy of Not-Suitable-For-Mainstream shorts. (World Premiere)Followed by extended Q A with with Tim Miller and David Fincher.Ra: Path of the Sun GodDirector: Lesley KeenAustin based electronic and experimental label Holodeck Records is partnering with Austin Film Society for a special live re-score screening of the 1990 animated film Ra: Path of the Sun God, a beautiful re-telling of one of Ancient Egypt s most famous myths.Rebel Without A Crew: Filmmaking Master Class with Robert RodriguezJoin Robert Rodriguez as he gives a master-class in micro-budget guerilla filmmaking, featuring behind the scenes moments from his new ,000 film, RED 11. The event will be followed by the World Premiere of RED 11.Shangri-LaDirectors: Morgan Neville, Jeff MalmbergAn intimate look at the creative process through the lens of legendary music producer Rick Rubin.True StoriesDirector: David ByrneScreenwriters: Stephen Tobolowsky, Beth Henley, David ByrneDavid Byrne s 1986 musical comedy, inspired by theater director Robert Wilson, tabloid newspapers, and filmmakers Robert Altman and Federico Fellini, remains a unique artistic vision that celebrates the singular citizens of a fictional Texas town. David Byrne will appear in-person for Q A following a screening of new 4K restoration.
(Photo by Priscilla Grant/Everett Collection)J.J. Abrams and Stephen King didn t actually work together until 2016, when Abrams signed on to executive produce the Hulu adaptation of the author s alternate history time travel novel 11.22.63. But it was a partnership that was clearly meant to be: the literary captain of the supernatural and horror joining forces with TV and film s leading purveyor of grounded sci-fi was a match made if not in heaven, then in some parallel universe or dream world.After collaborating again on the King anthology series Castle Rock, the duo have set up shop at a different stre
In the waning days of the winter season in March 2011, the Matthew McConaughey star vehicle The Lincoln Lawyer was released into theaters and opened with a credits sequence featuring a Lincoln Town Car traveling through the sun-drenched streets of Los Angeles. The end-of-winter release date and the bright LA streets kicked off a metaphorical heatwave for McConaughey’s career that led to blockbuster hits, R-rated gems, and a Best Actor Oscar at the 2014 Academy Awards.After stumbling a bit in the films Ghosts of Girlfriends Past and Surfer Dude, McConaughey surprised viewers by fully inhabiting the role of Michael “Mickey” Haller, a Defense Attorney (who never gets car sick) whose office is a Lincoln Town Car driven by a former client named Earl (Laurence Mason). Adapted from the 2005 book by Michael Connelly, the R-rated film collected million worldwide on a million budget and was adored by critics and audiences who declared it guilty of being an excellent courtroom thriller. McConaughey is in nearly every second of the Brad Furman-directed film, and the fly-on-the-wall camerawork full of pans and zooms by cinematographer Lukas Ettlin follows him around the streets of LA as he works on a high-profile case involving a rich maniac named Louis Roulet (Ryan Phillippe).Later in 2011, the Richard Linklater-directed Bernie and William Freidkin-directed Killer Joe erased the bad taste of Ghosts of Girlfriends Past and catapulted Failure to Launch out of people’s memories, ushering in the “McConaissance.” McConaughey followed these up with The Paperboy, Mud, Magic Mike, Dallas Buyers Club (which won him the aforementioned Oscar), The Wolf of Wall Street, True Detective, and the 0 million-grossing worldwide blockbuster Interstellar. In other words, McConaughey was doing “alright, alright, alright,” as everything he touched turned to gold (well, except for Gold, which, after Fool’s Gold and Sahara, proved he should avoid treasure hunting).Here’s five reasons why The Lincoln Lawyer was the perfect film to put McConaughey on the expressway to the McConaissance.1. McConaughey Is an Excellent Movie Lawyer(Photo by ©Lionsgate courtesy Everett Collection)While many consider McConaughey’s breakthrough performance in Dazed and Confused to be his launching pad, it was the 1996 film A Time to Kill that pushed his career into orbit. The John Grisham book adaptation featured McConaughey as a defense attorney for Carl Lee Hailey (Samuel L. Jackson), a man who murdered his daughter s rapists and injured a cop in the process. The film killed it at the box office, bringing in 2 million worldwide, and McConaughey was awarded the “Most Promising Actor” distinction from the Chicago Film Critics Association. A year later, McConaughey starred in Steven Spielberg s Amistad, which was based on the true story and 1987 book Mutiny on the Amistad: The Saga of a Slave Revolt and Its Impact on American Abolition, Law, and Diplomacy. McConaughey once again played an attorney, this time defending a group of Africans who took control of the slave ship bound for the Americas that they were imprisoned on. Both films were Fresh successes, and proved he could excel in courtroom dramas.After a decade of romantic comedies and Reign of Fire which is awesome, by the way; McConaughey is swallowed whole by a dragon The Lincoln Lawyer and Bernie saw his return to the courtroom and reminded everyone of his rakish charm and acting prowess. Mickey is in almost every frame of The Lincoln Lawyer, and you can tell McConaughey loves playing the character. Whether it’s his off-the-charts chemistry with Marisa Tomei or the way he sucks the life out of Ted Minton (Josh Lucas), the overmatched state’s attorney, McConaughey thrives in the slimy-yet-likable role. When Earl asks Mickey if he’ll still have a job after Mickey gets his license back (he lost it due to a DUI), Mickey says he’s already had it for three months; the two smile, say nothing, and continue on with their day. It’s at this exact moment you realize you actually kind of like Mickey, the divorced alcoholic attorney hated by so many because he’s so good. After 10 years, this scene still hits us every time.2. The Film Gave Him His Edge Back and Allowed Him to ResetIf you saw Dazed and Confused as a teenager, McConaughey’s character Wooderson may have come across like a mythical figure. In hindsight, though, it probably dawned on you that Wooderson is an older dude who kind of creeps on high school girls, and you probably wouldn’t want him hanging out with your children or their friends. That’s the magic of McConaughey: he can find the charm in people you’d probably want nothing to do with otherwise. While he certainly earned his share of fans in rom-coms like How to Lose a Guy in 10 Days and The Wedding Planner, many forget he got his start playing sleazy or mysterious figures in movies like Dazed and Confused, Lone Star, and Frailty.McConaughey is at his best in films like Killer Joe, Magic Mike, and The Gentleman, when he can embody a square-jawed menace. His speech about the laws of the jungle in The Gentlemen and every second of his Killer Joe screentime are laced with unpredictable anger and a “don’t come at me” vibe that had been lost in movies like Surfer, Dude. In The Lincoln Lawyer, he’s a bad dad and a terrible husband, and he s responsible for destroying an innocent man’s life (Michael Peña) after he refused to listen and fight for him. However, despite these glaring flaws, he’s still exceedingly likable, and he still possesses something of a moral compass. When Mickey visits Peña s character to confirm a suspicion, you see in the course of just a couple minutes that McConaughey is nervous, shaken, and desperate as he tries to right a prior wrong.Reviews for The Lincoln Lawyer use phrases like “very refreshing,” “never-better,” and “the only actor in Hollywood who can swagger while sitting down.” This performance hit the reset button for McConaughey, who admitted in an interview with Cigar Afficionado magazine (of course) that the so-called McConaissance was more a case of him saying “f*** the bucks” and taking roles that scared him after a decade of easy, lucrative rom-coms. While he enjoyed giving audiences “90-minute breezy romantic getaways,” he wanted to be an actor again, going as deep as you can in a role, and The Lincoln Lawyer marks the beginning of that journey.3. McConaughey Soars in R-Rated Films(Photo by Everett Collection)It’s also fitting that The Lincoln Lawyer marked Matthew McConaughey s comeback because the Tomatometer scores in his filmography reveal an interesting trend. His R-rated films boast a Fresh 60.2% average, whereas his PG-13 films sit at a Rotten 40.9% average. In other words, he has thrived in more adult-oriented fare, as 14 of his 15 best-reviewed films are rated R (Kubo and the Two Strings is the lone exception). McConaughey won his Oscar for the Dallas Buyers Club, and most recently, The Gentleman collected a 75% Tomatomometer and an 84% Audience Score en route to earning 5 million worldwide. Basically R = McC glory with the exception of Texas Chainsaw Massacre: The Next Generation, Tiptoes, and Surfer, Dude, but even those three have cult followings of their own.Though it was a television program, the HBO crime drama True Detective sported a similar TV-MA rating, which is appropriate for a show that features brutal murder, copious profanity, and a sense of dread that weighs on you like a Lincoln Town Car. McConaughey’s performance in the first season of the series earned him Golden Globe and Emmy nominations for his turn as “Rust” Kohle, a Lone Star-swigging detective who goes through super dark times while hunting for a serial killer.Now, his PG-13 films have made much more money at the box office Interstellar (that crying scene…) and How to Lose a Guy in 10 Days in particular were giant hits. But movies like Mud, Killer Joe (which actually received an NC-17 rating), and Magic Mike were low-budget marvels that found him hitting new gears and allowed him to work with people like Steven Soderbergh and Jeff Nichols. Yes, 2019 s famously panned Serenity is also rated R, but it’s insane, and we love that it exists — because it’s insane.What’s wild is that between 2003 and 2011, McConaughey s only Fresh film was Tropic Thunder, the R-rated comedy epic that saw him dueling with Tom Cruise and throwing TiVos in the air to stop deadly rockets. The role is a minor one, but Rick Peck, Hollywood Agent, is another cocky creation who is just as dedicated as Mickey Haller is to his clients.4. He s at His Best Playing Characters Whose Names Begin with M(Photo by ©STX Films, Jim Bridges/©Roadside Attractions, Saeed Adyani/©Lionsgate)Bear with us here: Between Mud, The Gentlemen, The Beach Bum, The Wolf of Wall Street, Frailty, and The Lincoln Lawyer, R-rated movies in which McConaughey s character s first or last name begins with an “M” have a 76.5% Tomatometer average. This is well above the 60.2% average of his R-rated films in general. During the McConaissance, five of his best films have him named Mud, Mickey, Moondog, Michael, and Mark. Is this mere coincidence, or is there some other cosmic force at work?Two of McConaughey’s most underrated performances are in The Beach Bum and Frailty (which isn’t part of the McConaissance, but it’s legit). In The Beach Bum, Harmony Korine’s follow-up to Spring Breakers, he returned to Florida and cast McConaughey as a pleasure-loving author who gets entangled in shenanigans that involve great white sharks, cannabis, and explosions. Moondog is a peculiar entity who feels like an alternate version of McConaughey himself from a different timeline. The film moves at a leisurely pace, and it s kept together by a dedicated McConaughey who knows he’s in a singular role of a lifetime. In Frailty, the Bill Paxton-directed horror film, McConaughey plays a guilt-ridden man named Adam/Fenton Meiks who believes he is on a mission from God to eliminate demons that walk among the living. He also tells excellent stories about past murders and family trauma, which he would do again in True Detective.5. The Film Boasts a Deep Bench of Supporting Characters(Photo by Saeed Adyani/©Lionsgate courtesy Everett Collection)While The Lincoln Lawyer may feature McConaughey in every scene, it helps that he’s surrounded by a supporting cast that s deeper than the bench of the 2002-2003 San Antonio Spurs. It’s a treat watching John Leguizamo, Marissa Tomei, Josh Lucas, Laurence Mason, Michael Peña, William H. Macy, Shea Whigham, Frances Fisher, Ryan Phillipe, and Bryan Cranston act against McConaughey. It feels like their energy made him raise his game, and you can see it on the screen.His chemistry with Tomei s Maggie, Mickey s ex-wife, is palpable, and Michael Peña gives him pure gold to work with as an innocent man doomed to decades in prison. It also helps that Ryan Phillipe oozes menace and gives viewers a villain who desperately needs to be found guilty. The ensemble is instrumental to the success of the film; he’s surrounded by an embarrassment of riches, which makes the film infinitely rewatchable.That’s another reason why McConaughey has flourished in the decade since The Lincoln Lawyer s release: Between Interstellar, The Wolf of Wall Street, Mud, Dallas Buyers Club (Jared Leto also won an Oscar for this film), Bernie, and Magic Mike, he’s been surrounded by A-listers doing A+ work. It s part of the conscious decision he made back in 2011 to seek out challenging, rewarding material and work with talented individuals at the top of their game, and it reflects his newfound commitment to his craft. Would the McConaissance have still happened if he didn t choose to star in The Lincoln Lawyer? Maybe, probably, but thanks to a number of factors both obvious and esoteric there couldn t have been a more appropriate vehicle. Also, we like to imagine it led to this.The Lincoln Lawyer was released in theaters on March 18, 2011.On an Apple device? Follow Rotten Tomatoes on Apple News.
How many film franchises go for as long and for as many installments as the Marvel Cinematic Universe has and still keep delivering critical favorites? The first reviews of Shang-Chi and the Legend of the Ten Rings are calling it one of the best MCU entries yet. And those most qualified to speak on such elements offer particular praise toward the Asian representation and martial arts action as being exceptional for Hollywood blockbuster cinema in general.Here’s what critics are saying about Shang-Chi and the Legend of the Ten Rings:Will Marvel fans love it? “The movie full on delivers the Marvel theatrical experience you’ve been jonesing for.” Rohan Patel, ComicBookMovie.com“Shang-Chi joins the ranks for me [with] Winter Soldier, Thor: Ragnarok and Infinity War as some of the best that Marvel has to offer… This is the best solo film in years.” Jon Nguyen, Flickering Myth“One of the best origin stories in the MCU.” Rachel Labonte, ScreenRant“Would rank it pretty high when it comes to Marvel origin stories. I’d say maybe only the first Iron Man and Black Panther movies do it better.” Brian Frederick, Pop Culture Leftovers“As Marvel remixes go, Shang-Chi is one of the more successful ones. Maybe not as stylistically strong as Black Widow and certainly not as much of a watershed moment as Black Panther.” Hoai-Tran Bui, Slashfilm“[It] puts to bed any concern fans might have had about a drop off in Phase IV of the sprawling Marvel Cinematic Universe.” Brandon Katz, ObserverDoes it feel unique in the franchise?“Marvel breaks its own mold on multiple fronts… Shang-Chi is the most energized the MCU has been in years.” Jeffrey Zhang, Strange Harbors“Shang-Chi and the Legend of the Ten Rings is most enjoyable when it shakes off the tedious franchise imperatives and forges its own path.” Justin Chang, Los Angeles Times“As familiar of a superhero origin story as Shang-Chi is, the film blessedly feels like the least Marvel of the solo films we’ve had lately.” Hoai-Tran Bui, Slashfilm“Shang-Chi barely feels like a superhero movie at all. If anything, it veers closer to the wistful grandeur of Disney’s live-action fairy tale adaptations.” Angie Han, Hollywood Reporter“At its most basic level this is very much another MCU affair. From a critical point of view, there is no reinvention of the wheel.” Therese Lacson, The BeatRyan FujitaniHow well does it handle the Asian representation?“Getting to see myself reflected in a Marvel blockbuster flick, despite its flaws, makes me excited for what more we might see from Shang-Chi.” Therese Lacson, The Beat“Cultural authenticity abounds in Shang-Chi.” Nancy Wang Yuen, io9“Shang-Chi makes major strides in representation; more than just plastering Asian faces on a screen, the film dives particularly deep into the Asian American experience.” Jeffrey Zhang, Strange Harbors“This film often feels like an actual reflection of the Asian American experience versus an uninspired Hollywood imitation.” Rohan Patel, ComicBookMovie.com“It’s a bit tiring to see another dragon trope involved in an Asian-led film. Which is a shame as there are subtle nods for the Asian diaspora to relish.” Laura Sirikul, Empire MagazineHow are the fight scenes?“You’ll be happy to hear the best parts of Shang-Chi are its elevated fight scenes.” Nancy Wang Yuen, io9“The action is fantastic… The choreography is the best yet in the MCU.” Laura Sirikul, Empire Magazine“Shang-Chi’s action conveys the one thing so many superhero films are missing: flavor… [It’s] the studio’s best action to date by a country mile.” Jeffrey Zhang, Strange Harbors“The best action I’ve seen in the MCU.” Jon Nguyen, Flickering Myth“Shang-Chi and the Legend of the Ten Rings doesn’t just boast the best action of the MCU, it manages to do it with two (two!) eye-popping action sequences that unspool before the film’s first act is over.” Kate Erbland, IndieWire“I’m no fan of fighting sequences but I enjoyed most of the ballet-like style Cretton devised for his movie.” Patricia Puentes, Ask(Photo by © Marvel Studios, © Walt Disney Studios Motion Pictures)Does it live up to its influences?“The movie may not live up to [its influences and] ambitions — the action is still too aesthetically anonymous, too CG-polished — but it’s nice that it has them to begin with.” Justin Chang, Los Angeles Times“It still only manages pale imitations of its influences: the wuxia-inspired sequences feeling more weightless than anything out of Crouching Tiger, Hidden Dragon, and the Jackie Chan-inspired fight scenes feel more like the Hollywood takes on Chan’s work.” Hoai-Tran Bui, SlashfilmHow is Destin Daniel Cretton as director?“He directs the film with such an infectious energy, always putting his characters first, and making you so invested in their individual journeys.” Rohan Patel, ComicBookMovie.com“At last, here is a director who knows martial arts is the core of the material, so Cretton ensures Shang-Chi’s action department will get full credit.” Nguyen Le, JumpCut OnlineHow does the movie look?“Wait until you see the gorgeous design of Ta-Lo in this film. Tons of eye candy and amazing creature designs.” Brian Frederick, Pop Culture Leftovers“There are stunning wuxia-inspired sequences that are as gorgeous as they are impressive.” Eric Eisenberg, Cinema Blend“[Cretton] manages to at least keep the film visually coherent (and in many of the wuxia-inspired moments, quite beautiful) even as it descends into CGI bombast.” Hoai-Tran Bui, SlashfilmHow is Simu Liu as Shang-Chi?“Liu knocks it out of the park as Shang-Chi, adding a tad of levity to the known-to-be-serious comic book character.” Laura Sirikul, Empire Magazine“Simu Liu gives a charismatic, nicely understated performance, which helps mitigate the muddled storytelling.” Tim Grierson, Screen International“He’s responsible, respectful, charming, and carefree, making him instantly relatable to Asian-Americans across the country.” Rohan Patel, ComicBookMovie.com“As magnetic as Liu is in action, he struggles in quieter moments with a script that gives the character more backstory than personality.” Angie Han, Hollywood Reporter“Shang-Chi seems to have inherited much of his father’s martial-arts prowess but not nearly enough of his charisma.” Justin Chang, Los Angeles Times(Photo by Jasin Boland/©Marvel Studios)What about Awkwafina?“Awkwafina in particular becomes a vital source of levity for the script, and a welcoming audience surrogate as the film ramps up to a large battle.” Nick Allen, RogerEbert.com“Awkwafina, who has proven to be effortless in a layered role with The Farewell… isn’t allowed to go beyond ‘funnywoman’ here.” Nguyen Le, JumpCut Online“Awkwafina is, well, Awkwafina, for both better and worse… A few scenes allow her shtick to go on a beat or two too many.” Rob Hunter, Film School RejectsAnd Tony Leung as the villain?“The Marvel Cinematic Universe’s best ‘villain’ yet… Leung effortlessly proves he’s one of our greatest screen actors of the past 40 years.” Hoai-Tran Bui, Slashfilm“One of the MCU’s best villains… Perhaps the best MCU villain to-date.” Jeffrey Zhang, Strange Harbors“Tony Leung delivers one of the finest performances we’ve ever seen in the MCU and should go down as one of the franchise’s greatest antagonists.” Rohan Patel, ComicBookMovie.com“It’s the best performance from the Marvel Cinematic Universe, because the passion and grief it expresses is appropriately Leung-sized.” Nick Allen, RogerEbert.com“His performance anchors the film and expands the potential of the comic-book villain.” Shirley Li, The Atlantic“Leung as Wenwu provides depths of character in what could be a one-dimensional bad guy. However, the film’s real villain is grief.” Laura Sirikul, Empire Magazine(Photo by ©Marvel Studios)Are there any other standouts?“The dark horse is Meng’er Zhang’s Xialing… In a lesser film, she would be discarded to the sidelines, but there’s remarkable shading to her character that gives her some of the film’s best moments.” Jeffrey Zhang, Strange Harbors“Michelle Yeoh also plays a pivotal role, and is absolutely wonderful.” Rohan Patel, ComicBookMovie.comHow is the film s representation of women?“The strongest fighters depicted are the women…[but] even as Shang-Chi presents more badass women than most Marvel films, they exist to support a man’s journey.” Nancy Wang Yuen, io9“In drawing attention to Xialing’s personal history of neglect, Shang-Chi and the Legend of the Ten Rings insistently telegraphs its awareness of its own shortcomings.” Justin Chang, Los Angeles Times“Zhang’s Xialing has the most compelling backstory, but at times, it feels she is just there as set dressing for the main hero. It’s unfortunate she isn’t given more to do.” Laura Sirikul, Empire MagazineDoes the screenplay do the rest of the movie justice?“The script, by Cretton, Dave Callaham, and Andrew Lanham, charts a familiar enough origin story and journey of self-discovery, but there s fun and heart in the details.” Rob Hunter, Film School Rejects“Shang-Chi does have some pacing issues where the story, at times, becomes convoluted with so much information to set up the world of Ta Lo and how it relates to the MCU as a whole.” Laura Sirikul, Empire Magazine“The film’s middle sags with exposition and backstory, as its screenwriters attempt to maneuver around a few finicky problems.” Kate Erbland, IndieWireRyan FujitaniIs the movie funny?“The funny in Shang-Chi seems to reflect a millennial sensibility, making the mixture of action and comedy feel fresh for the MCU.” Nancy Wang Yuen, io9“Shang-Chi’s brand of humor almost reminded me of Taika Waititi’s Thor: Ragnarok.” Patricia Puentes, Ask“The cast manages to carry a strong sense of tongue-in-cheek humor throughout the film, with one later surprise character hailing straight from the Taika Waititi school of comedy.” Hoai-Tran Bui, Slashfilm“The jokes keep Shang-Chi from tipping over into self-importance, but they also rob it of some of its wonder.” Angie Han, Hollywood ReporterWhat about its themes of family?“They ve never quite been handled with the nuance and emotion granted the relationship between Shang-Chi and his father.” Rob Hunter, Film School Rejects“Liu infuses these struggles with a real believability and charm.” Kate Erbland, IndieWire“Black Widow is like the MCU worst family vacation scenario for superheroes, while Shang-Chi is a family reunion and a long-lost relative revelation.” Jana Monji, Age of the GeekIs Shang-Chi sexier than your typical Marvel movie?“This might be Marvel at its steamiest.” Nguyen Le, JumpCut Online“In a swerve uncharacteristic of superhero films… Shang-Chi’s prologue cranks up the sexiness and romance [with] one of the most passionate and distinct set-pieces Marvel has ever placed on film.” Jeffrey Zhang, Strange Harbors“Leung, one of our best cinematic romantic leads and devastatingly handsome to boot, manages to inject sex appeal into a Marvel film with merely a look.” Hoai-Tran Bui, Slashfilm(Photo by ©Marvel Studios)Does it stick the landing?“The finale of Shang-Chi is truly unlike anything that’s come before. It’s pure unadulterated spectacle, and so fantastical, it’s very much like watching a comic splash page come to life.” Rohan Patel, ComicBookMovie.com“Though it falls victim to the dreaded Marvel third-act CGI muddle, Shang-Chi‘s is one of the more forgivable ones, if only because it verges on full fantasia.” Hoai-Tran Bui, Slashfilm“One of my biggest complaints is the heavy use of CGI in the final third of the film, which often felt clunky and ended up overshadowing the emotional scenes.” Therese Lacson, The Beat“Shang-Chi employs its muddled third act with reckless, disappointing abandon…[the] final act demolition derby is an MCU weakness writ large.” Jeffrey Zhang, Strange HarborsWill it make us excited for the MCU s future?“Shang-Chi and the Legend of the Ten Rings presents a bright future for Marvel Studios and the expanded cinematic universe.” Danielle Solzman, Solzy at the Movies“Given what’s on show here, the future for Shang-Chi and Asian representation in the MCU looks bright.” Laura Sirikul, Empire Magazine“Shang-Chi is a step in the right direction, but we’ll have to see how Phase Four plays out to see if the MCU is really embracing diversity in a way that includes people of Asian descent.” Jana Monji, Age of the GeekShang-Chi and the Legend of the Ten Rings is in theaters on September 3, 2021.
ng of the West, the Indian-American War, that was a different mindset. And all these people have a certain amount of baggage that they bring.Woodson was the son of a slave, so his vulnerabilities are different than, say, Atticus [in Lovecraft Country]. Atticus came from Chicago, Atticus has always been a free man, and his journey up to that point was that of isolation, even within a majority group. And so he goes to war, he also has to find this video file, so he s an imaginative character. But in Korea, what you see in Korea, that climate was different, that conflict was different. Or coming out of the Vietnam War. So he has all that stuff bagged up too.The cheat sheet is they re people first. First, they re people and they have all their baggage, they have all their circumstances. And then they enter into the war. So how they fight is how they fight, but all that is dependent on where they came from. And it’s contemporary, because everybody has those things — everybody has a father, everybody grew up in some type of community. And that s when it s contemporary. You re just playing the moment without any context around it.(Photo by David Lee/Netflix)Speaking of fathers, your characters also have complicated parental relationships. The relationship between Paul and David in Da 5 Bloods (pictured) and Atticus looking for your missing father in Lovecraft Country are prime examples. As both a parent and a son, do you source from your personal experiences to shape these performances?Majors: Yes, and I continue to. It s right there. The best type of acting is when you don t have to act. You can just say someone else s lines with your experience in it. And so yes. I mean, with David in particular — my father being a military man, my personal relationship with him of mystery, chasing, wondering and some feelings of abandonment — all those things David shares. David shares those steps, and we’re alike in that way. And so I’m pulling directly from my life, and then you take that raw material and you got to say, OK, yes, but we re also in a Spike Lee joint, so let s shift this here, move this here. David s from New Orleans, I m from Texas — let s shift this here. But everything that s inside the character is coming from my personal experience. There are things that you have to pull from. I m not a teacher, I don’t teach Black studies like David did. That s homework. I ll just go get that, you know what I mean?And then when it comes with Atticus, the way he is — that s a different element. And one of the things I do often is to try to think of what s like the ideal situation to be with your father or with your child. And usually the play or the film is not going to give you that, right? And so that s what you re pushing for in the scene. With Montrose [Atticus’ father], Atticus is always trying to get some affection, some approval from him. That s the perfect world for Atticus; that s what he wants.And so I also look at my child and I see that that s what she wants from me. So I m 30 years old now, and I think I ve got my own s going on. I know what I want; I don t need anybody s approval. But the truth is you need your parent s approval at some point in your life. And when you re stuck in that relationship, and that s your primary relationship — father-son, child-parent — that is, to the Nth degree, important.(Photo by Elizabeth Morris/HBO)It seems like you gravitate towards visceral, male familial relationships in your roles as well, such David and Paul in Da 5 Bloods, Mont and Jimmie in The Last Black Man in San Francisco, and Atticus and George in Lovecraft Country. What draws you characters like this?Majors: I think, for me, I work from what I know and what I ve experienced. I grew up playing sports; I grew up in the South. For better or for worse it s a very masculine culture, it s a very gendered culture, unfortunately. But I am a son of that, I grew up there, that s where my people come from, and I m proud of that.And so in just living those relationships, the men in my life, I ve bumped up against them a lot, a whole lot. Whether it d be homies that you meet in detention or your classmates or your coaches Now, as a Black man, I do find that in cinema we don t get portrayed fully. Something that Delroy Lindo has been saying a lot is that it’s a corrective; Da 5 Bloods is a corrective to the American-Vietnam War conflict. And so I m not here to teach nothing, but I do want to enlighten folks. You can enlighten a group of people who aren t a part of that group, right? That gives them intelligence, where they say, Oh, OK. This group is not just this. As Mont says, We re not just one thing. And then you enlighten them and then you empower your own group, because you begin to expand the scope of that group s identity.And so I understand it deeply. As I said, I d grown up skinny, a theater nerd, played on the B team for a while, I finally made it to varsity. I understand the ins and outs of it. And I think [these relationships are] quite romantic. When I say romantic, I mean Roman in that way, that fraternal love that men have for each other without any pejorative ideas placed on it. Men are capable of great affection with each other. They re capable of great aggression towards each other. And I think when you show both of those, you enhance the entire human experience.(Photo by Stammtisch.604)Community is important now more than ever. You’re an alumni of Yale School of Drama along with Black actors such as Lupita Nyong’o, Brain Tyree Henry, Winston Duke, Yahya Abdul Mateen II, and many more. How have those relationships helped you navigate your career?Majors: Each actor is individual. And that community I mean, you kind of spread out of home. There s a phrase or a passage that says, A prophet that has no dignity in his hometown. You got to get the f out of school and you enter into the world. And so I found myself to be more akin and more on the shoulders of Courtney B. Vance, who plays George [in Lovecraft Country], or Angela Bassett, the work of August Wilson, the pedagogy of Lloyd Richards.I think the cool part about it is that we re all in the game now. And that s for the world to talk about, where the Black Yalie is, what an actor from Yale is. But I think we re all clearly individual, and have very different approaches to the work. Again, like the characters, we all come from different backgrounds, but there is a shared DNA as we all spent three years in New Haven. They’re all like siblings of mine. Like, you already checked to see what they re doing because you re doing your own thing.But it means a lot, though, because we all don t live together now. We actually have spread out. I m in Santa Fe, Yahya s wherever he is, being somewhere else, being someplace else. We re all over the world, all over the country. So [it’s a] long web. Because regardless of what your experience was at the school, et cetera, you re connected. So that community does happen. And the people looking up, it s like, Oh, wow. If I want to be an actor If I want to be a young Black actor, as I did, you look to see where the guys went. And so it s a privilege to continue the lineage of Courtney B. Vance and Angela Bassett, we can keep going. But it s a privilege.It is best that we stay separate in order to continue to build out our community. We have fun together, whatever party we get to go to, whatever reunion there is.(Photo by Lorey Sebastian /© Entertainment Studios Motion Pictures /Courtesy Everett Collection)Is there any role that you wanted but didn’t get?Majors: In drama school there s a play, Coriolanus, the Shakespeare play, and I was in the class to play Coriolanus, allegedly. And it didn t land on me, and it broke my heart because I was like, Oh, I got this, sure. I got this, sure. But my first year in the profession I got very, very, very close to playing a role in Detroit, Kathryn Bigelow’s film. And I had flown out — I was shooting When We Rise; it was my first show ever and I had flown down to LA. I was in San Francisco; I d flown down to LA, and I did a table read with Bigelow.I mean, I love the cast who s there, [but] it seemed as if I had the role It was me. I had to fly back — I was still in school at the time — I d fly back to New Haven to graduate. And the day before I graduated, I got a phone call from my agent saying, “We don t know what happened, but they re going to go in a different direction.”And I was completely just destroyed. I mean, it was great. It was Kathryn Bigelow, I was doing a TV show, it was like a huge feature. I then went off to do Hostiles [pictured above], which I don t regret at all. But, yeah, that was a kick in the gut.Lovecraft Country premieres on Sunday, August 16 at 9 p.m. on HBO