枪神纪激活码领取采用百度引擎1（Baidu 5）(Photo by Frazer Harrison/Getty Images)On Monday morning, NBC announced that it would not broadcast the 2022 Golden Globe Awards in what was seen as a crippling blow to the Hollywood Foreign Press Association (HFPA), the organization that hands out the annual prizes and which has been mired in bad headlines over the past several months. The statement from NBC, which is a part of Rotten Tomatoes parent company NBCUniversal, read: We continue to believe that the HFPA is committed to meaningful reform. However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023. Though many entertainment insiders have long derided the HFPA for its lack of diversity, unprofessional actions by its members, and the extravagant gifts those members receive, most believed the group was immune to any real reform. However, today’s announcement from NBC, which comes on the heels of fallout from a bombshell LA Times report back in February that detailed decades of self-dealing, unethical actions, homophobia, sexism, and racism by several members, may prove to be the end of the organization as we know it.But why exactly is NBC – along with entertainment powerhouses like Netflix, Amazon, Warner Bros., and Tom Cruise(!) – cutting ties with the once-coveted awards show? Here’s a breakdown (Photo by Valerie Macon/Getty Images)First, let’s talk about the organization itself. The Hollywood Foreign Press Association is a small group of around 90 journalists who cover entertainment for international audiences while based in Southern California. The group, which has been around since 1944, has been the subject of several controversies, criticized for everything from a poor selection of nominated films to blatant bribery. Some say that some of the HFPA’s members have tenuous ties to Hollywood and/or lack journalistic bona fides, and in the Times report, it was confirmed that the group had not had a Black member in over 20 years. The report also noted that several seemingly qualified journalists have been rejected for membership, with one applicant suing the organization just last year, dubbing them an entertainment “cartel.”Five-time Golden Globes host Ricky Gervais himself once compared the Globes unfavorably to the Oscars in 2012, saying the former was a bit louder, a bit trashier, a bit drunker, and more easily bought – allegedly. His comments drew big laughs and big applause on the night because many in the room judged the quip to be all too true.(Photo by NBC/Getty Images)The questionable nominations had also been the talk of the industry since well before the Times report. This year, pop star Sia s controversial film Music earned two nominations despite being blasted by critics to the point that its Tomatometer score stands at just 8%. (Its Audience Score is a similarly paltry 13%.) The assumed justification for this is that, because Sia is very camera shy, the nomination would compel the musician to make herself available for interviews and selfies something the HFPA has become notorious for asking of every celebrity. In 2017 after Tom Ford, the fashion-designer-turned-director of Nocturnal Animals, gifted HFPA members a swag bag of his own branded fragrances, his star Aaron Taylor Johnson was chosen as Best Supporting Actor over eventual Oscar winner Mahershala Ali (Moonlight), a decision that left many scratching their heads and some crying foul. The backlash was so loud the group was told to return the gifts by the HFPA board. In any given year, pundits point to a handful of confounding nominations that are attributable less to the quality of performances and more to the HFPA’s desire to have certain famous faces show up for their red carpets.Still, despite the constant controversy and silly choices, the show was considered a fun watch by most; organizers choices of tables instead of theater seats allowed A-listers to mingle together and perhaps tip a glass with Oprah, Beyoncé, Tom Hanks, or Lady Gaga all while we watched, looking for fun, meme-able moments. It’s worth noting too, that the Globes have also managed a relatively consistent viewership, save its Zoom-filled event this year, which came just weeks after the LA Times piece but was still on par with an Oscars ceremony that boasted full attendance and a red carpet. (Hosts Tina Fey and Amy Poehler, as well as HFPA members, had to address the controversy during the show.) All the glitz of the event, plus those ratings, are largely why many Hollywood players have begrudgingly played along, hoping to help their Oscar chances with a win or good moment and boost awards-season ticket sales and ratings for the nominated films and TV shows.(Photo by Kevin Mazur/Getty Images)Studios have been all too happy to participate in pricey private HFPA press conferences, send members glitzy swag (sometimes), host dinners for them, and even fly them out to set visits at luxury locales. Last year, for example, the entire HFPA was flown to Paris to visit the set of Emily in Paris and treated to a stay at a 5-star hotel, which was brought up quickly after the group gave the widely panned Netflix series two nominations. Netflix, however, was not the only or the most egregious offender; in fact, that was how most of the town operated – because the incentives outweighed the downside. That was until now.After the LA Times story broke, the HFPA was quick to say a change was coming. The membership, which had long bristled at adding new members and diversifying its ranks – in order to guarantee predictable results, according to the LA Times – was now under immense pressure to do just that or risk losing its lucrative television contract, the group s primary source of revenue. The HFPA quickly hired a diversity consultant and crisis PR management team to help facilitate the change they announced was coming, first via a statement and again during the live awards show broadcast.(Photo by Carole Bethuel/©Netflix)As the talks happened behind the scenes, the industry s most powerful PR agencies banded together on March 15th with a pointed warning that they would no longer engage with the group unless the changes were substantial, quick, and long-lasting. This was significant, as PR firms typically try to avoid weighing in on such controversies, but as the gatekeepers to the top talent in Hollywood, they hold immeasurable power over whether the HFPA can have those desirable A-listers attend their show. Moreover, the idea of high-powered competitors banding together on anything like this is a clear illustration of how frustrated they are with the situation and how committed they are to fixing the underlying issues. The HFPA replied that they were taking time to consult various stakeholders, including NBC, the awards show s producers, Dick Clark Productions, and industry leaders, and their plans would be announced on May 5.The proposed reforms and the new timeline they released after NBC pulled the TV Contract are as follows:Week of May 3Members meet, consider, and overwhelmingly vote to approve and implement the Board’s plan for transformational changeBoard continues to meet with advocacy groups to develop initiatives to fulfill the HFPA’s commitment to add at least 20 new members by August 2021 and increase membership by 50% in 18 monthsEradicating the new member one-year moratorium on voting; all new members will have all voting rights on day oneBoard and members approve the hiring of Ropes Gray to amend and restate bylaws and other governing documents to implement a member-approved plan for transformational changeWeeks of May 10 and 17Revise and approve new Code of Conduct in consultation with publicists and studiosContinue outreach to potential new member candidatesPublish Code of Conduct and establish hotline for reporting of violationsEngage independent third-party investigator to review and respond promptly to all hotline claimsInterview candidates and engage new Diversity, Equity and Inclusion (“DEI”) consultantIdentify and recruit independent, outside professionals and non-board members and form Accountability/Oversight Board (“Advisory Board”) to oversee HFPA Board in implementing a plan for transformational changeInterview executive search firms to commence search for Chief DEI/HR Officer and identification of potential CEO/CFO and other executives to lead HFPAHFPA website to be continuously updated to show progress against plan and to list promised member information (biographies, publications, affiliations, etc.)Weeks of May 24 and 31New DEI Consultant and other outside experts conduct mandatory member training for DEI and sexual harassmentBoard and Advisory Board continue work on the identification of applicants to fulfill commitment to add at least 20 new members by August 2021Grants Officer and subcommittee of members continue work to increase support of internship, mentorship, and scholarship programs for students from underrepresented backgrounds interested in international journalismIdentify and recruit independent, outside professionals for new Credentials Committee, which will oversee new membership application process and reaccreditation of current members based on same criteria as new membersContinue review of committee structure/compensationFirst reading of Bylaw Amendments at General Membership Meeting (“GMM”)Weeks of June 7, 14, and 21Focus groups with members, Advisory Board, and Ropes Gray to review amendments to Bylaws and other governing documentsBoard assesses and evaluates recommendations of Executive Search Firm for new Executive Officer teamForm new Credentials CommitteeAll above workstreams on training, mentorship, and recruitment continueWeek of June 28Second reading of Bylaw Amendments at GMMBallots for voting on Bylaw Amendments mailed to membersImplement new policies on Gifts, Travel, Conflicts of Interest, and Press ConferencesWeek of July 5Members vote on Bylaw Amendments by ballotWeeks of 12 and 19Approved Bylaw Amendments become effectiveNew Officer and Board elections under amended and restated BylawsNew membership process opens per new criteria enacted in amended and restated BylawsAll existing members required to meet same standards as new members for re-accreditation of their membershipWeek of July 26New member process continuesReaccreditation continuesWeek of August 2New members admitted to HFPANew Board elected, including independent members, in accordance with amended and restated BylawsNew CEO/CFO and other Executive Team approved and engaged to manage HFPAExisting Board and Officers resign upon election of New Board and hiring of Executive TeamThe initial proposals were leaked before the deadline without a clear timeline, and the reaction throughout Hollywood was a swift and immediate chorus of “do better.” No word yet on how the new timeline will be received, but the HFPA was clear these measures would be enacted regardless of the 2022 television broadcast. Still, many are unsatisfied primarily because, more than the membership and self-dealing, the HFPA has been accused of shameful bouts of unprofessionalism over the years. Stories from Ava DuVernay, Shonda Rhimes, and Brendan Fraser have detailed abuses that many viewed can t be fixed by the initial proposals, which were also considered too slow-moving to address the membership issues.(Photo by Kevork Djansezian/NBC/Getty Images)Inclusivity activist organization Time s Up released a statement that decried the proposed changes as window dressing, while the PR firms
Wow, now that was unexpected. Bohemian Rhapsody producer Graham King summed up the entire 76th Annual Golden Globes Awards program Sunday night in its final moments as his film took the Motion Picture Drama award.It was a night of big surprises on both the film and TV front, as the Hollywood Foreign Press handed out its 2019 honors. The night s big, emotional wins came from leading drama actress Glenn Close for film The Wife (an upset, considering many expected Lady Gaga to take the award for her role in A Star Is Born), top drama actor Rami Malek for his starring role as rock icon Freddie Mercury in the night s top film, and, on TV, Richard Madden for his actor in a drama series win for Bodyguard, reaction to The Kominsky Method s various upsets, and The Americans snagging the Best Television Series Drama award for its final season. (See the full list of winners here.)Read on to learn about those big wins and more of the best moments of the night.Film s Biggest Moments | TV s Biggest MomentsSandra Oh Makes an Emotional Opening StatementAfter a well-received opening monologue built around the idea of the two nicest people in Hollywood trying their hardest to be mean – and failing – Oh took a moment to acknowledge the history she was making by hosting as an Asian-American. Oh told the audience, “I said yes to the fear of being on this stage tonight because I wanted to be here and look out onto this audience and witness this moment of change. I’m not fooling myself. Next year could be different and probably will. But right now, this moment is real. Because I see you. I see you. All of these faces of change. And now, so will everyone else.”FILMBest Motion Picture Drama – Bohemian Rhapsody(Photo by Paul Drinkwater/NBC)Once Rami Malek got his Golden Globe for Best Performance by an Actor in a Motion Picture Drama, the Bohemian Rhapsody star clutched onto it like the statue was going to make a break for it (see his speech here). At just 62% on the Tomatometer, Bohemian Rhapsody was not the movie the RT office was expecting to win Best Drama. And yet, in a massive upset that leaves A Star Is Born’s Oscar prospects positively shaken, the movie took at the top prize on Sunday night, and, though somewhat less of a surprise, Malek took best actor. Will it be enough to get the film an Oscar nod? We’ll be able to tell later this month.Regina King Wins Best Supporting Actress, Makes Powerful PledgeRegina King’s win for Best Supporting Actress in a Movie for If Beale Street Could Talk was no big surprise – she’s favored to take out the Oscar, too – but her speech was one of the most powerful of the evening. After a touching tribute to director Barry Jenkins for making a film that her son said “was the first time he saw himself on screen,” King made a pledge that every project she produces in t枪神纪激活码领取Summer Movie Scorecard 2019Welcome to the Summer Movie Scorecard for 2019, where we weekly rank the biggest and buzz-worthy by Tomatometer! Just a wide release (600+ theaters) and/or 80 critics reviews gets you on the list – beginning with movies released from April 26 and onward. Why then? Because that s when Avengers: Endgame came out, kicking off the summer slate. Yes, Disney even controls the seasons now.By the time August closes, we ll have seen the likes of superheroes (Dark Phoenix, Spider-Man: Far From Home), horror hopefuls (Child s Play, Annabelle Comes Home, Midsommar), action blockbusters (Hobbs Shaw, Men in Black International, Godzilla: King of the Monsters), new stuff from Quentin Tarantino (Once Upon a Time in Hollywood), and Richard Linklater (Where d You Go, Bernadette), and plenty in family-friendly fare (Toy Story 4, Dora and the Lost City of Gold).Check back as we update with the best 2019 movies of the summer (and the worst) every week and see where your favorites rank!Updated 8/26: Angel Has Fallen, Overcomer, Ready or Not
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Do the stars of aspiring holiday classic Last Christmas know their classic holiday movies? We put Emilia Clarke and Henry Golding, who headline Paul Feig s new Christmas flick, to the test with a special edition of our game, Name the Review. The game is straightforward enough: The duo reads one-liners from movie reviews of holiday classics and have to guess which movies are being reviewed. Simple right? Not as simple as it sounds. Check out Clarke and Golding as they struggle – hilariously – to guess Yuletide classics from It s A Wonderful Life to The Santa Clause.
In 2018, Jordan Peele’s Get Out jolted the Oscars status quo by earning nominations for four awards, including a Best Actor nod for Daniel Kaluuya. It’s not totally uncommon for prestige to pluck a horror performance from the dirt and see it as the radiant flower it is: Ruth Gordon won an Oscar for her eerie turn in Rosemary’s Baby; Bette Davis got a nod for her freaky What Ever Happened to Baby Jane? role; and Jodie Foster, Natalie Portman, and Kathy Bates all took home Oscars for Silence of the Lambs, Black Swan, and Misery, respectively. But even when a horror performance is honored, a whole lot of people twist themselves into knots trying to say a film wasn’t actually horror — Kaluuya was nominated for a Golden Globe in the Musical or Comedy category.Ever since the premiere of Peele’s sophomore feature Us at SXSW, Lupita Nyong’o’s stunning performance as Adelaide and Red — two distinctly different but complementary versions of the same character — has been earning her high praise. Not since Jeremy Irons’ turn in David Cronenberg’s Dead Ringers has an actor in a horror film rendered such a complex psychological study of the self through twinning. Nyong’o’s transformation is physical and visceral and — pretty clearly — the caliber for awards consideration. So Peele kindly settled any debate before it began by tweeting: “Us is a horror movie.”In honor of all the actors who’ve toiled away in horror, either to be forgotten or snubbed, here are 13 horror performances we’ve adored – but which the major awards ignored.Essie Davis in The Babadook (2014) 98%(Photo by ©IFC Midnight)Before Jennifer Kent’s The Babadook premiered in 2014, Essie Davis was best known in America for her roles in The Matrix films and her portrayal of master sleuth Phryne Fisher in Miss Fisher’s Murder Mysteries (check it out on Netflix – it s a lot of fun). But grieving single mother Amelia was an opportunity for Davis to shine as a complex, terrifying anti-heroine haunted by a ghoulish children’s book character, and the death of her husband. Davis was so committed to the role that she lost her voice for three days after performing a wrenching 11-second scream on set. She told the Guardian, “It didn’t matter if I looked like s t and felt like s t every day, because that’s what it needed.” Her face — often in closeup — is puffy, with wild eyes darting in response to every creak in the house. Amelia is creepy and dangerous, and yet Davis imbues her with a sensitivity that makes her circumstance relatable and that much more horrifying.Toni Collette in Hereditary (2018) 89%When we look back on the scariest mothers of movie history, Toni Collette’s performance as Annie will likely hover around the number-one spot for a long while. Annie is unabashedly selfish with her time and art, quite different from so many of the doting mothers on film who give up their lives for their children. She both has pain and inflicts pain — indicative of the generational trauma of their family — which means she can’t really be boiled down into Good or Bad. Collette slams her whole body and being into this character for a riveting, histrionic performance that lays waste to restraint. Annie’s grief, laughter, and anger show themselves on the screen with Shakesperian levels of gravity and calculated artifice, and no one will soon forget the horrific contortions of Collette’s face as she wails in mourning for the dead. Also, against all odds, Collette somehow finds little slices of humor and humility in Annie. Miraculous. (Miraculous, too, that she was snubbed last awards season.)James McAvoy in Split (2016) 77%How many completely different characters does a guy gotta play in the same movie to get any awards talk? In Split, McAvoy embodies 23 separate personalities, ranging from a literal beast who can crawl up walls to a prim, post-menopausal woman in heels and pearls named Patricia. McAvoy said his favorite character of the bunch was actually a 9-year-old boy named Hedwig, who’s got a slight speech impediment and a whole lot of saliva when he talks. In that role, McAvoy chewed up the scenery, shoulders slumped like a bored child, bouncing off the walls with the energy of a kid who’s seen way too many shoot- em-up movies. McAvoy’s greatest craft trick, however, was in finding the silliness amid the horror, keeping the tension taut throughout those laugh lines, and then searching his way back to a more tender performance as Kevin Wendell Crumb, a broken man lost in his many identities.Nicolas Cage in Mandy (2018) 90%(Photo by © RLJE Films)It’s no secret that Nicolas Cage is known for throwing himself deeply into his roles, creating a kind of fun dance of them, seeing how far he can take the character with spontaneous emotional outbursts. Too many filmmakers simply rely on that Cage-iness when they cast him in their movies, but director Panos Cosmatos offered the actor real motivation with the character of devoted and then heartbroken Red Miller, whose quiet, sensitive side embraces his love, Mandy, with all his heart, before she is brutally ripped from him. Despite Cage’s character having to smelt his own battle axe, Cage himself is actually appropriately restrained and then only unhinged in rare moments when the narrative calls for it, but every emotion is grounded in grief and then wild and painful revenge. Cage co-star Andrea Riseborough as Mandy deserves more than a mention here, as well, having delivered an equally stellar performance that ranges from philosophical monologues to maniacal laughter.Betty Gabriel in Get Out (2017) 98%Betty Gabriel was filming a low-budget action movie called Beyond Skyline when co-star Frank Grillo recommended her for a role in Blumhouse’s The Purge: Election Year. Word had it that Jordan Peele was going to direct his debut feature and was looking to fill out a couple of roles. Gabriel showed up, and the rest is history. As housekeeper Georgina, Gabriel locates the heart of this supporting character — both the woman she was and the new woman who’s inhabiting her body. In one pivotal scene, her voice quakes as she says, “No. No-no-no-no-no-no,” her eyes — filled with tears — at odds with the smile on her face, as though she’s a dummy puppet and either part is being manipulated by a different puppeteer. This chasm in Georgina’s personality becomes her central tension and the source of so many skin-crawling scenes, with the underlying message that the scariest thing is not knowing yourself.Gong Yoo in Train to Busan (2016) 94%Yeon Sang-ho’s ultra-violent zombie action film earned a place in America’s hearts, not just because of its thrilling and bloody chase sequences, but because it’s really the story about a father’s sacrifice for his child. Gong Yoo plays Seok-woo, a busy, divorced dad whose young daughter has asked him to take her to be with her mother in Busan. Before he even gets on the fateful train with the girl, he already feels like a failure, unable to properly show love. Gong Yoo’s performance of this sad dad finding his way grounds an otherwise flighty narrative. Even in busy action sequences populated by hundreds of zombified extras, Yoo exudes a kind of nervous strength focused singularly on the survival of his daughter. Sang-ho also includes another dad in the film, Sang-hwa, played by Ma Dong-seok, who offers an extremely complementary performance to Yoo’s, displaying a kind of earnest courage, which Yoo feeds off of for the transformation of his character.Tony Todd in Candyman (1992) 77%(Photo by ©TriStar Pictures)Who can make you jump out of your skin and also yearn for his fateful embrace? The candyman can! Tony Todd’s presence in this frightfully ridiculous story rises above the material. The convoluted urban fairy tale features Todd as its boogeyman, called from his grave when his name is said in the mirror three times. Todd said he was immediately taken with the role, despite some misgivings around race in the story, simply because the imagery of gore in the city was something he hadn’t seen before. In 2015, he told IGN: “I’ve always wanted to find my own personal Phantom of the Opera.” That desire is evident in Todd’s melodrama and theatricality. He embodies and flaunts the grotesque, a mythically imposing figure with sweeping grand gestures that become impossibly romantic — even though the Candyman’s got a rib cage of bees! Todd’s resonant voice, wide smile, and mesmerizing eyes add up to one tempting, unforgettable villain.Jeff Goldblum in The Fly (1986) 93%(Photo by 20th Century Fox Film Corp. )It’s galling that, at first, the studio couldn’t see Jeff Goldblum as Seth Brundle, the brilliant scientist destroyed by his own teleportation creation. But perhaps they didn’t know that Goldblum would work out like a madman and drink coffee every waking minute of his days to embody the maniac his character would become — the Brundlefly. Cronenberg knew. As Brundle, Goldblum s natural charisma perfectly matches Geena Davis’ Veronica, a journalist who’s come out to a stranger’s apartment to check out his weird machines. Veronica’s inquisitiveness puzzle-pieces together with Brundle’s excitement, and the two settle into a lovely, if short-lived, romance. Where Goldblum shines is when he transforms into a wild man capable of snapping off a strongman’s arm in a bar. In one scene, the actor ad-libbed an entire caffeine-fueled, buzzy monologue about philosophy and science while Davis played off his energy as the straight-man. Even under pounds of goopy makeup, Goldblum makes his Brundlefly a sympathetic monster of circumstance.Sissy Spacek and Piper Laurie in Carrie (1976) 93%Director Brian De Palma was adamant that Carrie’s telekinetic outbursts were simply about teenaged angst, but young actor Sissy Spacek latched onto the idea that Carrie was “really about a young girl who is an artist who just wants to be normal,” and that the girl dreamed of expressing herself through poetry one day, but her fascist mother took it away from her. Spacek’s mythology of her character was so deep that De Palma at times just let her run off with the role, while he focused on specific shots. Her mannerisms equally evoke an innocent naïf and an all-powerful goddess, and her performance is matched only by that of Piper Laurie, who didn’t at first understand what would be required of her from the script, until she read it with the eyes of Lady Macbeth. The result of Laurie’s work is an unrivaled whites-of-her-eyes performance of Biblical intensity, glimmers of it present in Toni Collette’s Annie of Hereditary.Mia Farrow in Rosemary's Baby (1968) 96%Though Ruth Gordon was honored by the Academy Awards for her part as the nosy neighbor attempting to lure Rosemary into an orgy with the devil, Mia Farrow sadly was not, despite the arc of her emotions anchoring this nightmarish tale. Director Roman Polanski himself said he didn’t really have to direct her. He trusted her to come to these emotions herself, and he didn’t pre-plan or storyboard any shots, instead watching how Farrow approached the scene and setting up around that. Rosemary transforms from shy, childlike cheerleader wife to pregnant paranoid prisoner of a cult. The way she moves between gullibility and strength becomes so relatable, while the gaslighting becomes more and more absurd an accurate, if frightening, portraiture of a woman at the whims of her man and the devil he’s made a deal with. Her performance is so affecting that the calm and resolute demeanor she strikes when she’s made peace with her destiny is both surprising and inevitable.Isabelle Adjani in Possession (1981) 88%(Photo by Courtesy the Everett Collection)Three words: Subway tunnel scene. Andrzej Zulawski’s tale of an unearthly sex monster who’s taken hold of a Berlin housewife turns into high art because of Isabelle Adjani’s dedication to self-annihilation over the course of the film. Here, she plays Anna, one half of a marriage that’s suddenly imploding in hysteria and intrigue. Anna’s husband, played by an impeccable Sam Neill, attempts to search out where and with whom she’s been spending her time. When she is in the house, she’s erratic, cutting herself and her husband with an electric knife, eyes possessed. But in that tunnel scene is where the audience gets the full indication of how much Anna’s body is not her own, as Adjani flagellates herself with a milk carton, ramming her tiny frame into the tile walls, bathing in the spilled milk as though she’s communing with a higher, violent spirit. She barks and gasps with laughter until her body erupts with blood and green goop, and, holy wow, is it unnerving.Linda Blair in The Exorcist (1973) 83%Linda Blair earned an Oscar nomination for her role as possessed little Reagan, thank God, but lost out to another young actor, Tatum O’Neil, in the Supporting Actress category. Famously, writer William Blatty blasted George Cukor for leading a campaign to denigrate horror films as undeserving of an Academy Award, but Blair’s performance lives on, award or not. As the lovable Reagan (pre-possession), she gleams with innocence and precociousness, which makes that moment when she stands with blank eyes, cursing her mother’s fancy guests and urinating on the carpet, so shocking. The emotional flexibility it takes for a child to then be strapped to a bed, globbed with green makeup, hurling incredible insults at adults, is otherworldly, not to mention the physicality required of her to constantly thrash on the bed and yank at the straps on her wrists and ankles. Oh, lord, and then there’s the crucifix… We’ll just say it’s a tour de force performance most adult actors wouldn’t have the maturity to do, let alone a child.Jack Nicholson/Shelley Duvall in The Shining (1980) 84%Jack Nicholson and Shelley Duvall as Jack and Wendy Torrance are two sides of a terrifying coin. Jack is all action, while Wendy is reaction, their push and pull and friction grinding this film into brutal horror. One gets the sense that Nicholson was born to play his role of a sadistic alcoholic narcissist who blames his wife and children for his writerly failures, even though they’ve uprooted their lives to fulfill his dream of finally getting some free time to work on that novel. Nicholson is wild-eyed and untethered, some of his greatest lines (“Here’s Johnny!”) resulting from a multitude of takes meant to wear the actors down into lunacy. Duvall embodies pure, unadulterated fear, lip quivering, earth quaking beneath her. Nicholson’s performance lives on for its horror only because Duvall can deliver the uncertainty and panic, her arms limply but dutifully swinging a baseball bat at an approaching monster Wendy always knew lurked beneath.
After a run of Rotten disappointments in the early 2000s, horror maestro Wes Craven released airplane thriller Red Eye in 2005. It was acclaimed as a smarter-than-average, skillfully made terrorist thriller at the time – a two-hander about two strangers who meet on a plane, one a dedicated hotel employee, the other a sinister suit with a secret and a terrifying mission – and would be the late director s final Certified Fresh film. And yet the movie has been largely forgotten by many, and is rarely mentioned among Craven s best works. It s easy to see why: The director is synonymous with Freddie, and Ghostface, and violent 70s and 80s terrors; Red Eye was in many ways a conventional thriller, well done if slight, bearing little of Craven s trademarks at least on the surface. Look closer and the movie has the director s bloody fingerprints all over it, from his ability to expertly read and reflect a nation s current fears to his fine work with young, on-the-verge actors. And yes, he even gives us a great Craven crescendo.So, hear us out: It s time we remember Red Eye for what it is – one of the master of suspense s best works. Here s why.It Marked A Triumphant Comeback For the Legendary Director(Photo by © Dreamworks)Horror fans rightly revere Wes Craven as a legend, a master of horror, the man who gave us iconic and genre-defining works like A Nightmare on Elm Street, Scream, and The Hills Have Eyes. If there was a Mount Rushmore for scary movie guys, his face would be on it. But in a 40-year career there are always going to be misses among the hits, and Wes Craven’s filmography is about as bumpy as a desert road trip in a Wes Craven movie. (Remember Vampire In Brooklyn? Or My Soul to Take? Or The Hills Have Eyes 2? We do.)The director hit a particularly rough stretch of road following the success of Scream 2 and 1999’s kinda-sorta-well-received play at Oscar glory, Music of the Heart, an earnest inspirational-teacher drama starring Meryl Streep. In 2000, he released Scream 3, the first and only Rotten entry in that franchise, and followed that up with Cursed, a so-bad-it’s-actually-fabulous-in-retrospect attempt by Craven and Scream writer Kevin Williamson to revive the werewolf genre… by making a Scream rip-off with snouts. (Production was a complete mess on the project, largely thanks to interference from the Weinsteins, and it shows.)By 2005, the only way for Craven was up, and – cue airplane metaphor – Red Eye allowed him to soar. Liberated from studio interference and overwhelming expectations – he wasn’t being asked to close out a beloved trilogy or kickstart another subgenre renaissance – Craven brought his formidable talent for suspense to a smart and self-contained script by Carl Ellsworth, and showed his often too-unsung ability to bring the best out of young actors. Critically lauded as one of the tightest, most nerve-racking thrillers to come along in years, Red Eye was a reminder that the master still had a knack for terror – no matter the altitude.It’s Anchored By Two Great Performances (Photo by © Dreamworks)It’s a testament to Cillian Murphy’s skill as an actor that we don’t dismiss him – or the film, really – the instant we learn his villainous character’s name is “Jackson Rippner.” Murphy, whose 2005 would include his entrée into the mainstream playing Scarecrow in Batman Begins, is all alluring mystery as he flirts in the check-in line and over drinks at an airport bar, and when the script turns, he makes a seamless transition to pure menace. But the movie ultimately belongs to this two-hander’s other hand, Rachel McAdams, fresh off of The Notebook, showing the same steeliness and pluck audiences loved in that film as she tangles with an altogether different kind of male pursuer. Like Rippner, her Lisa undergoes a transformation as the plane races towards Miami: From exhausted daughter allowing herself a little fun to terrified prey, and, ultimately, resourceful final girl, and McAdams delivers on every note. By the time the film devolves to a Scream-a-like in its house-bound finale – or ascends to it, depending on your tastes – you find yourself rooting for her just as you would a bloodied, bruised, but still-standing Sidney Prescott or Nancy Thompson.It Perfectly Captures the Nightmare of Post 9/11 Travel(Photo by © Dreamworks)Craven was an expert when it came to perfectly encapsulating an era s fears, and Red Eye is no exception. Flying in the years after 9/11 was a source of serious anxiety for many Americans onto whose brains the images of that tragic day were still freshly etched. That anxiety was stoked throughout the 2000s by reports of unsuccessful terrorist attempts – Richard Reid’s failed shoe-bombing among the earliest – involving commercial flights and airports. The palpable national fear around air travel led to many things: The time-consuming security measures we undergo when we fly; some awful racial profiling by passengers and authorities; and, of course, several movies that tried to mine that fear for cinematic thrills.In 2005, Red Eye did just that, along with the bigger-budget Flightplan, starring Jodie Foster as a mother who wakes up mid-flight to discover her six-year-old daughter has disappeared. (Author side note: On a flight back in 2005 I was awakened mid-flight BY Jodie Foster lightly bumping my shoulder as she took her child to the bathroom!) But Red Eye was the more successful of the two, critically if not commercially, because it hit the nerve harder and more directly. Where Flightplan’s tale was complicated, confused, and conspiracy-focused, Red Eye was born directly from the very simple questions many travelers were sweatily asking themselves as they took their seats: Who am I sitting next to? What if I’m on that flight? Would I fight back – or cower?The movie also gets the more general horrors of modern-day air travel spot on, with nods to the draconian security process – “Flying’s so much fun these days!” – and one of cinema’s most realistic renderings of coach class. Just watching Lisa squeeze herself down the aisle as other customers sardine themselves into the cabin, over-stuff the overhead, and, in one particularly visceral cutaway, slurp up a box of noodles… I shiver every time.It’s A Not-So-Veiled Dig At Corporate America(Photo by © Dreamworks)In one sense, Red Eye is a high-octane game of cat-and-mouse between a psychotic terrorist and a resourceful final girl; in another, it’s about two cogs in two different corporate machines trying to satisfy their employers and getting in each others’ way in the process. Because that really is the crux of what the two characters are doing: Lisa, the ever-diligent employee, who’s seen constantly solving problems for her mega hotel and its customers, is willing to risk her own father’s life to try to avoid harm coming to either; Jack is the mid-level manager who’s been given an assignment – get Lisa to change the room – and will stop at nothing to keep a client satisfied. The client just happens to be some sort of terrorist organization.Jack in particular becomes a kind of maniacal embodiment of make-the-sale-at-any-cost corporate culture – he’s the knife-wielding version of a Wall Street banker in some respects – and at one point leans in to tell Lisa they may not be so different. “I never lied to you, Leese,” he says, as she struggles for air. “Know why? ’Cause it doesn’t serve me. We’re both professionals. We have the will and means to follow through. ’Cause when we don’t, our customers aren’t happy. And when they’re not, we suffer and our lives go to s .” I swear I ve read that in a corporate training packet somewhere The Ending Is Bonkers, In a Good, Polarizing, and Craven-y WayAt the time of its release, a number of critics pointed out that the thriller’s finale feels out-of-step with the taut, disciplined film that precedes it; when the plane lands, the intimate suspense Craven built up in the fuselage is traded in for an elaborate chase sequence that takes us through the airport and eventually to Lisa’s father’s house where Rippner grabs a knife and gets all Ghostface on us. There’s hiding behind walls, and creaking doors, and falling while running away, and a pretty great he’s-behind-the-door jump scare. It s all a bit ridiculous.Why does it work? Because for all of its incisive mining of post-9/11 fears, its light social commentary, and its tight script, Red Eye has an air of the ridiculous right from the get-go. Everything in the film is heightened to an almost surreal, wink-wink level: Think Jayma Mays’ hilariously frazzled hotel receptionist; Colby from Survivor showing up as a cartoonishly stoic bodyguard; almost every other passenger on the flight rendered as if plucked from an SNL skit; and the overall terrorist plot itself. Just when you think that having a government official moved to a penthouse suite so that it’s easier for terrorists to blow up his room with a surface-to-air missile is straining credulity, said terrorists retrieve their missile by fishing it out of the water with… a few regular fishing rods.The movie’s climax is only out of step if you weren’t paying attention to the movie itself. It is excessive, and, yes, it has more than just echoes of Craven’s previous work, but it’s also a release; the director eschews a tighter, neater, subtler ending to give the audience what they want, making a meal of the tension he s built throughout and throwing on a second dessert of slasher fun just because he can.And Craven can, which is the other exciting thing about this finale. It is tense and scary and delicious. After two public failures, and with his ability to jolt us out of our skin in question, the master gives us 15 minutes of what he does best, reminding us he s indeed still a master. Just because he can.Red Eye was released on August 19, 2005.
枪神纪激活码领取 Further Shadows of The TruthOur guess that Dr. Karl Malus might be the source of the Super Soldier Serum proved incorrect as Sam, Bucky, Zemo, and Sharon quickly found their way to Dr. Wilfred Nagel (Olli Haaskivi). In The Truth, the character successfully recreated the serum for the experiment conducted on Isaiah Bradley. So, it makes total sense that he would appear here and claim a blood sample from Isaiah (Carl Lumbly) was the key to unlocking the Erksine formula.Although, if Nagel is correct and he is the first person to crack Erksine s code, where did the stable sample used on Isaiah come from? Someone in the 1950s must ve cracked the code. Our uneasy band may not follow that path, but it would interesting to get some clarity on the matter. If we never get it, we ll just blame Loki (Tom Hiddleston).The First MCU Mutant?(Photo by Marvel)As teased earlier, it is possible that we ve seen the first Mutant in the MCU. One can make the case Selby (Imelda Cocoran), Zemo s contact in Madripoor, is based on the Mutant Liberation Front member who appeared in a couple of Excalibur issues in 1996. That character had the ability to speak with computers in binary code. Sure, it s a rather slim possibility, but it is a fun Easter Egg nonetheless as it means the creative team is at least willing to be playful with X-Men connections.Also, considering Selby was quickly killed, it could just be a huge false Mutant flag.More meaningful is the cover identity Zemo gives to Sam. With a name like Conrad Mack, the Smiling Tiger, you know you re dealing with a proper Marvel Comics character — but is he a Mutant? Born to a Vietnam vet and a member of the Dragon s Breadth cult, the comics Conrad (pictured) would use his feral nature and hand-to-hand combat skills as a member of a group called the Folding Circle. They became part of Madripoor s criminal element after crash landing on the island. So his bona fides in the region are pure Marvel. Curiously, though, Conrad is listed as a human mutate — a character who comes by their abilities via some post-utero means; as opposed to Mutants, who are born with powers which unlock when they hit puberty. The character is an oddly deep pull, although fans of the Thunderbolts comics may see this as a possibility that their favorite characters will soon appear in the MCU.But it also continues the program s world building as Mack and the Folding Circle have deep ties to Southeast Asia. A subsequent series (or film) could follow up on that.Is John Walker s Problem a Lack of Structure?(Photo by Marvel Studios)As seen in this episode, Russell s John Walker is still not inspiring confidence as the new Captain America. When we talked to Russell earlier this week, he suggested the superhero rules of engagement — and a lack of command structure — may be putting him on the wrong foot with Sam, Bucky, and the audience. It s like these guys are all kind of independent contractors in a way, and they need to work together, he explained. But there s no system that was in place — or is in place, like the military — to dictate what those terms are. So I think that he s having a very difficult time leading the way he wants to lead and is finding out that one size does not fit all. He may come off more confident when ordering the GRC troops —and why does the GRC have troops? — or conferring with Lemar (Clé Bennett), but it s clear those situations are more familiar for a career soldier. In terms of working with Sam and Bucky, despite their own military experience, the lack of clear structure will create conflict. When you go outside of that and you have to create your own. But, if you don t amend that to the people that you re currently working with, you re going to have a very difficult time being a good leader, Russell said. And so you always need to shift your abilities to talk to people and to get the best out of people. And I don t think he s quite figured that out yet. It seems, in fact, like Walker has figured out that letting The Falcon and the Winter Soldier do the work may be the most efficient means of intercepting the Flag Smashers and, presumably, acquiring the missing serum vials.Zemo Claims His Title(Photo by Marvel Studios)And, as it turns out, Helmut Zemo is a baron. The clarification is useful as it means he has resources and he more closely resembles his comic-book counterpart. Also, by making him Sokovian royalty, the lines of demarcation get further muddled. In his eyes, the superheroes are an emerging aristocracy. Yet, he takes to aristocratic airs quite easily once aboard his private plane. At the same time, we cannot exactly disagree with anything he says in this episode. The muddiness, though, keeps the series fascinating as everyone espouses noble goals. Sure, the Power Broker may just be in it for control and, possibly, the chance to be cruel, but all the characters we ve seen state ideals which are, on their face, worthy.Nevertheless, Baron Zemo is an antagonist and unlikely ally. And while it would be interesting to see him remain on Sam and Bucky s side through the remainder of the series, his betrayal is always just a few moves away. But what sort of goal will he have in the end? Hook up with the Flag Smashers? They certainly express a certain philosophical similarity he could exploit. Does he even want to destroy the serum vials? Bucky is operating under the impression that he wouldn t want more Super Soldiers in the world, but would that be the case if those troops were loyal to him?One clue to his ultimate plot: the dissolution of Sokovia. According to Zemo, the country no longer exists. So what is a baron to do when his barony is gone? Maybe the play is to re-establish the country or something very much like it. The Dora Milaje may have a few problems with Zemo being in a position of power, however. They are clearly already mad he escaped custody and sent Ayo (Florence Kasumba) to investigate.The Falcon and the Winter Soldier premieres new episodes on Fridays on Disney+.
nd masculinity. Nichols walks a fine line between finding Val’s request and the subsequent comedy of errors it precipitates as preposterous and hilarious, insulting and entertaining. And while Albert may look like a fey stooge, it is his sensibility which runs through the film; it’s his drag which saves the day and reveals the Keeleys’ (and Val’s) hang-ups as utterly laughable. In its campy theatrics, The Birdcage encourages us all to be more like Albert, to see in his gay femininity a kind of strength we all too often mock and disparage. Sometimes even within ourselves.Manuel Betancourt is a culture writer and film critic interested in all things queer and Latinx. www.mbetancourt.comLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. How do you turn yourself into the world’s most formidable chess prodigy when you barely know how to play the game yourself? That was the question facing Anya Taylor-Joy as she prepared to step into the mind of Beth Harmon, the protagonist of Walter Tevis’s novel The Queen’s Gambit and its lavish Netflix adaptation, which arrives on the service this month. Set in the 1950s and ’60s, the limited series follows Harmon’s rise from orphan with a talent to teen prodigy to national champion, all as she deals with addiction to tranquilizers – crippling, but sometimes useful when she’s plotting her moves alone at night – and the men of the chess-world boys’ club who want to keep her out. Ahead of the series’ release, Taylor-Joy sat down with us to break down how she tapped into Harmon’s pain, why she relates to her solitary pursuit, and how her dance training helped her feign a mastery of pawns, rooks, and knights. (Thumbnail image courtesy of Netflix)The Queen s Gambit is available on Netflix from Friday, October 23, 2020. On an Apple device? Follow Rotten Tomatoes on Apple News.
Summer is behind us and the fall season is picking up where it left off. It: Chapter Two may not have broken the fall nor even the September record for opening weekend, but it is the best opener since The Lion King back in July, even if it missed becoming the second film ever in September or October to begin with over 0 million. The question now is: How far will the tepid response to the nearly three-hour-long horror film take it now? But It certainly helped contribute to what was the second-biggest Top 10 weekend in September ever.King of the Crop: It: Chapter Two Has Fourth-Highest R-Rated Opening(Photo by Brooke Palmer/Warner Bros. Entertainment)The two Deadpools and the two It films now represent the four best R-rated openings of all-time. It: Chapter Two, now fourth on that list, began its run with million, million less than the first chapter. Just for a little perspective, the now third-best opening in September ever was last year’s The Nun and that was .8 million. No other film to open this month has ever achieved 0 million total, let alone the 7.48 million than the first It did back in 2017. Chapter Two is going to be No. 1 for at least another week. Then we will see if word-of-mouth drops it enough for Ad Astra or even Downton Abbey to beat it on September 20. Critics have not been as on board with the second film with the Tomatometer dropping from 85% on its first reviews to 64% now. This is Warner Bros.’ 16th -plus million opening and the numbers are against it reaching 0 million, but they still have every reason to be celebrating what was accomplished with these two films, as they will combined soon reach the billion-dollar mark.The Top 10 and Beyond: Angel Has Fallen Dips to No. 2, Spider-Man Drops Out(Photo by Simon Varsano / © Lionsgate / courtesy Everett Collection)Much of the Top 10 remained the same, with only one new release this week pushing Spider-Man: Far From Home off the list (again) and seeing another title — the surprise of the late summer — return.Angel Has Fallen could be seen as a surprise itself as folks continue to go see it, and it aims to surpass the domestic gross of London Has Fallen. Good Boys may finally pass it next week, as it was just a few hundred thousand behind. The well-received R-rated comedy remains on a path to surpass million.Other big hits on the list naturally include The Lion King, the seventh-highest-grossing film of all time is making a run for .6 billion in global receipts. Hobbs Shaw has collected over 0 million worldwide for Universal, still far less than the previous two films, but more than enough to turn a profit.But the big surprise is Roadside’s The Peanut Butter Falcon, which is becoming the indie success story of the summer. The film added another 61 theaters and .4 million to drive its total to .4 million. A24’s The Farewell officially passed Late Night to become the highest-grossing Sundance film of the summer with over .7 million. Falcon, which premiered at SXSW, has a real shot to become the overall fest champion of the season.This Time Last Year: The Nun Trounced Peppermint(Photo by Warner Bros.)September opened with the Conjuring universe in a big way as The Nun started with .8 million, handily taking the weekend from Jennifer Garner’s vigilante actioner, Peppermint, which grossed .42 million for second place. It just barely beat Crazy Rich Asians in its fourth week, which drove its total to over 5 million. The 6.33 million made by the top 10 films actually amounted to the fifth best September weekend of all-time. The low Tomatometer scores of both The Nun (26%) and Peppermint (12%) still were not enough to drag down a number of 90%-plus film in the top 10 including Crazy Rich Asians, Searching, Mission: Impossible – Fallout, and BlacKkKlansman, resulting in an average Tomatometer score of 67.3%. This year’s top 10 grossed an estimated 5 million and averaged 69.8%.On the Vine: Adaptations Not Expected to Top It’s Second WeekendA Pulitzer Prize–winning book goes up against a New York Magazine article in a battle of the adaptations next week. In the film based on the article, Jennifer Lopez and Constance Wu play strippers who try to one-up their wealthy clientele in Hustlers, which some are expecting to have a very strong opening weekend — unlikely to top It: Chapter Two in its second weekend, but more than enough to best the fictional, book-based The Goldfinch about a boy who survives a terrorist incident at an art museum and steals a valuable painting in his escape. The film, from the director of Brooklyn, should perform well enough for third place.The Full Top 10: September 6–8It: Chapter Two (2019) 62% – million ( million total)Angel Has Fallen (2019) 39% – million (.46 million total)Good Boys (2019) 80% – .39 million (.85 million total)The Lion King (2019) 52% – .19 million (9.11 million total)Overcomer (2019) 56% – .75 million (.71 million total)Fast & Furious Presents: Hobbs & Shaw (2019) 67% – .72 million (4.25 million totalThe Peanut Butter Falcon (2019) 95% – .28 million (.28 million total)Scary Stories to Tell in the Dark (2019) 77% – .28 million (.1 million total)Ready or Not (2019) 88% – .23 million (.63 million total)Dora and the Lost City of Gold (2019) 85% – .17 million (.16 million total)