法师职业任务采用百度引擎1（Baidu 1）(Photo by Phobymo /© Universal Pictures )M. Night Shyamalan moves on from his Eastrail 177 Trilogy, the grounded superhero saga that began with Unbreakable two decades ago and concluded with 2019 s Glass, with his latest theatrical release, Old, an original thriller that has M. Night Shyamalan written all over it.For starters, there s the high-concept conceit, drawn from the graphic novel Sandcastle: a set of vacationing families find themselves trapped on a secluded beach, mysteriously unable to leave, and soon discover they re aging at a rapid pace. (Among the first clues? A small child notices her pants are suddenly very tight.) Then there s the usual Shyamalan touches, beloved by so many fans, since he broke through with The Sixth Sense: a cast of incredible actors asked to play it straight in some seriously outlandish circumstances (Alex Wolff, Vicky Krieps, Gael García Bernal, among others); elegant and disorientating cinematography courtesy of frequent collaborator Mike Gioulakis; several WTF moments that will stick with you long after the credits roll; a cameo from the man himself; and maybe even a twist. (Don t worry, though, this is a spoiler-free zone.)And yet, despite some sense of familiarity, there are ways in which Old feels like nothing Night, as those who work with him know him, has ever done before – and not just because it wasn t shot in his hometown of Philadelphia. There s a go-for-broke spirit to the movie that s invigorating to witness, a quality that has increasingly infused his work since his time on the low-budget and critically acclaimed The Visit rejuvenated his passion for moviemaking.Speaking to Shyamalan a couple of week s before Old s theatrical release, we found him in a reflective mood, sharing with us that he feels more like the director who made The Sixth Sense and Unbreakable, when he was in his late 20s and early 30s, than he does feel like himself at 40, when he says he was playing it safe. When I was 20-something, those movies I was making, Unbreakable and things like that, I remember distinctly not caring about that, Shyamalan said. Now I m not all the way back there, but I feel closer to that, to the young version of me that way – as Old goes out, the provocative nature of it, its dissonant nature, is something I love. With his latest provocation about to stir up audiences, Shyamalan spoke to us about kicking safety to the curb – while also developing actual safety protocols for one of the first films shot during the COVID-19 pandemic – plus his embrace of gothic horror elements, the fear of aging, and why his movies need to be seen on the big screen.Joel Meares for Rotten Tomatoes: You’ve spoken in the past about limitations and how limitations can force creativity – and that was the case when it came to the budgets on The Visit and Split – and it rejuvenated your filmmaking in some ways. On this film, it seems you had so many limitations: You were shooting under COVID, you were under the pump on time, you were shooting in the jungle in the Dominican Republic. What was the biggest filmmaking challenge with Old and how did that lead to innovation and creativity for you?M. Night Shyamalan: I had a thought when you were talking just now that the reason that limitations cause this interesting reaction is, in many ways – and it s what the characters went through [in the movie] – you go to this thesis of, “What is most important?” It is the most important thing that bubbles up. I only have this much money, this much time: What are we trying to achieve? Well, I need to have her do this. I need to have this feeling about it. I definitely need this shot What s important bubbles up and really those are the things that you need and everything else you can throw out the window. It strips you almost of your nonsense, or the things that are not important, by creating limitations. And that s what happens to the characters in Old, obviously, when they re thinking about time speeding up so much.For me – maybe this is the way my mind works and maybe others are like this – you get clouded by more options. There are those studies, where if you give people four things to choose from, they re pretty clear, everybody s kind of in agreement about which one is the best, if it s a strawberry jam or whatever it is. But if you give them 20, everybody s confused about what s what, and you can t hold that much. So, limitations actually give you a sense of place and time and being able to know what your opinion is. I think a little bit of that happens for me, so I try to limit it as much as possible. All of these things that happen made me razor-sharp.(Photo by Phobymo /© Universal Pictures )Rotten Tomatoes: You shot this during the pandemic, and quite early on. Were COVID protocols a pressure that you had trouble with or did you roll with them? What was the impact on the production? Shyamalan: We were so early in this – we were the first ones shooting [during the pandemic] – that I was making up the COVID protocols. It was my protocols that we were going by; I became like some kind of medical sleuth or something. Luckily, a lot of my family s doctors, so I had some basis of how to do this. So I was just making up this protocol. And then when we were done, other productions asked us how we did this because we had zero cases on our production. But it was dogmatic. I knew some things about human nature: I ll never stop that crew member and that crew member from hooking up, I m never going to be able to stop that. In fact, the more I say, Don t hook up, they re going to hook up, right?So how can I create an environment where everyone can be humans and ask them to do things that are reasonable to keep us safe? I said, Here s the hotel, here s our crew. We re all staying here. You re allowed to go from here to the set and back. I ll bring you the food. I ll bring you the entertainment. Everyone is staying with us. The concierge is staying with us – everyone. Then have fun in between. Knock yourself out, but don t leave your [bubble]. Can you do this for 10 weeks? That was kind of the equation. Those were the protocols and it created a theater-camp quality to what we were doing that didn t feel like work anymore. It felt special and I want to feel that way always about making movies.(Photo by © Universal Pictures)Rotten Tomatoes: You mentioned earlier that the important stuff bubbles to the surface, and you spoke about particular shots you needed to get. This film feels in many ways like your most ambitious visually, I think, just in terms of the number of intense tracking shots and the almost Altman-esque moments where you’re picking up action and dialogue as the camera is swirling around the beach. Can you talk about the visual style of Old and your decision to really go with these extreme camera angles and approaches that are pretty disorienting?Shyamalan: Yeah. Thank you for noticing it. I think I really wanted to push the cinematography. The way we tell the story, that language is critical to the experience of it, the disorienting quality of what they were feeling on that beach, the kind of almost nightmare, the ghoulish nightmare, that they found themselves in. [We wanted to] replicate that with the emotions that are evoked from the choices of cinema. We were very much influenced by Australian New Wave movies: Walkabout, Picnic At Hanging Rock. It s funny you mentioned Altman, because he s always an influence for me and Mikey [Gioulakis, cinematographer] when we make movies. Whatever [the camera] catches, it catches it seemingly, it’s catching things on the periphery and the layers of conversation and all.As always, every shot is drawn out [first], but I got to make the movie multiple times in hand form before we shot. The pandemic didn t allow me to shoot when I wanted to shoot, but I had already been ready. So I kept on redrawing and thinking of this shot and this shot. So it was probably, I would say, since Sixth Sense, actually, the most time I spent on the shots before we went to shoot.(Photo by Phobymo /© Universal Pictures )Rotten Tomatoes: I know you ve mentioned before that you don t necessarily set out to make horror movies per se, but I felt Old had elements – more than some of your other films – of horror, and body horror in particular. There are a few moments, without spoiling it, that we go maybe full Cronenberg-esque. How fun was it to create shocking body horror moments, which is something that I don t think you ve dabbled in quite as much as you do here?Shyamalan; No, I haven t. It s funny you should say that because, Cronenberg… it didn t strike me as that as much as, I don t know, the end of Raiders of the Lost Ark or something, or Poltergeist, where there are some Gothic elements at those moments of people melting or things like that, which I found as a child very, very evocative and my imagination, it went into another genre a little bit. I loved it tipping into Gothic horror for those moments that you re referencing, just touching it like that and then [coming] back to kind of a grounded place.Rotten Tomatoes: It certainly evokes a reaction in the audience! The movie deals with the ultimate fear for many people – and it s certainly the ultimate fear for Abbey Lee s character – aging. Is aging something that you think about consciously a lot? Shyamalan: I m strangely okay with aging. I don t go to my birthdays and feel like, Oh my God. Here we go. Okay. It s not like that, but I m fascinated with the way my mind is changing or my perception of my relationships and things is changing. It s definitely not the same as it was. I don t take in things the same way. I tried to reference that in the movie, that not only your body s changing, but you re taking in information in the world differently as you age.You were referencing Abbey s character, and for me she kind of represented a little bit of where society is going, the body image and [idea that] you re only valid because you re your own brand on Instagram. I m going to do this, I m going to filter this, and do this and do that stuff. Imagine somebody who was kind of a king at this, who was a goddess because of what she looked like, and then now on this beach it s going [away]: What bubbles up to her? What is important to her? What is important to her now that you know that [beauty] is going to get stripped from you and is of no value when time is moving this fast? So the character starts to think about other things.(Photo by Phobymo /© Universal Pictures )Rotten Tomatoes: The other question I had about aging is, how do you feel you ve changed as a director as you ve grown older? You re not an old man, of course, but you re certainly older than when you made The Sixth Sense.Shyamalan: I think I strangely feel closer to the way I was when I was late-20s and 30 now than I did when I was 40. At 40, I felt much more I wanted to be accepted. I wanted to be safe. I felt more value in finding stability and safety than in being a maverick or being like, Hey I m going to do this thing because I like it.” But when I was 20-something, those movies I was making, Unbreakable and things like that, I remember distinctly not caring about that. Now I m not all the way back there, but I feel closer to that, to the young version of me that way – as Old goes out, the provocative nature of it, its dissonant nature, is something I love.I think probably the difference now from that Unbreakable guy is that I know that that s what s going to resonate. I know it, no matter what happens in 10 days, I know that that s what s going to echo, that thing that s weird about it. Whereas the younger form of me, I felt almost ashamed of my instincts, that they were weird and different, and I was, Oh no, no, I ll do something that s easier to swallow. I remember me having that feeling like, God, those are your instincts, but people don t like that. Whereas now I m like, I know that that s the voice that they re going to remember. So there s a knowledge that came from time. So I hope I can continually risk and risk and risk and risk and not want to keep myself safe, which is what I felt when I was younger.(Photo by Phobymo /© Universal Pictures )Rotten Tomatoes: Last time we spoke, we were talking about your Apple TV+ series Servant, and you were saying that while that series is made for streaming, your movie projects are definitely intended for the big screen. And Old is coming out on the big screen – no streaming option. As we’re transitioning out of pandemic era, and everybody s watching the box office numbers, are you stressed about that at all? Also, it seems that genre films are the ones that are punching through with box office wins, like The Conjuring, A Quiet Place Part II. I wonder if you have any ideas as to why those are the kinds of films that are drawing audiences back to theaters, when others, say, aren t being as successful at this time.Shyamalan: I have two answers to that. So, first, the box office is absolutely fine. In fact, it s more buoyant and alive than ever. People want to be together. I don t buy for a second that the theater-going experience is damaged. Not for a second, no matter what corporation tells you that, complete lie. Complete lie. It is the best way to see a movie. Everyone wants to be in the best version of it. They want to experience it together. Now, there are certain genres that appeal more for that experience and one of them is when you re thrilled and you re scared. You want to see the gasps and experience it together. When you re alone and experiencing that, it feels almost bad. You want to be grabbing the person next to you or giggling because you got a scare. You want to share that experience; luckily, I m in a genre that leans towards that group experience even more.I have felt what you ve seen now, post-pandemic, is that the movies that are exclusively in the movie theater are doing extremely well and doing great. So I m very happy as we open up, the world s opening up, to come back and tell stories in the movie theater. That s my church. That s what I do for a living and the rest is a different type of experience; it s a great experience, but it s not the commitment that I m asking of you. You can t talk to your sister and make a taco. You can t do that.One of my friends was like, Oh, I love Servant. I saw that episode. It s fantastic. I was on the treadmill. I loved it. What? You watched it on the treadmill? I was like, Ah Old is in theaters from Friday July 23, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
Horror’s consistent focus on stories that double as morality tales often leads to protagonists who are dutiful and serious, leaving a big blank spot in charisma and personality. But that’s why god invented the sidekick. They are the color to the protagonist’s black-and-white, the fiery, funny fools who often drive the story’s complications, as the protagonist runs around putting out all the fires.Because a fair number of horror films feature female leads, many of these sidekicks are also female characters. Sometimes they bolster the protagonist’s confidence, sometimes tear it down. Occasionally they take on traits of a villain, only to be revealed as the true center of the film. Often they perish, and their deaths trigger an extra significance: If this person with quick wit and endearing flaws can die, then things are about to get serious.One of the greatest – to our mind – is Barb, played by Margot Kidder, in the original Black Christmas. As we prepare for the release of Blumhouse s Black Christmas remake this week, here are 15 of the most colorful sidekicks of horror cinema.Barb in Stranger in the House (1974) 71%(Photo by Courtesy Everett Collection )Played by Margot KidderVery few horror films possess the kind of joy Bob Clark’s Black Christmas emits when resident alcoholic and prankster Barb (Margot Kidder) patiently explains to a befuddled cop that her phone number begins with the word “fellatio.” Nor do they revel in a character’s tangential knowledge as much as when Barb interjects with some serious turtle-sex facts while a father is grieving his missing daughter. Barb may not be the final girl, but she fills our stockings with delightful coal.Tatum in Scream (1996) 79%(Photo by © Dimension Films )Played by Rose McGowanWes Craven consistently delivered some of the best female sidekicks, but Tatum (Rose McGowan) earns a spot for her 1990s “girl power” feminism that had her trying to convince her boyfriend, Casey (Matthew Lillard), that the new Woodsboro slasher could be a woman, because girls can do anything boys can do. Her kid-sister vibe – she’s literally Dewy’s kid sister – makes her a sparkling verbal sparrer, and she’s talking s t right up until the very garage-door end.Annie and Lynda in Halloween (1978) 96%(Photo by © Compass International Pictures/ Courtesy: Everett Collection)Played by Nancy Kyes and P.J. Soles Before slashers were a thing, John Carpenter and producer Debra Hill’s prototype for the genre showcased the possibilities for fully fleshed-out sidekicks with sporty Lynda and sarcastic Annie, the bad and badder devils on Laurie Strode’s shoulders. They poke fun at the latter’s virginal purity with the kind of ribbing realistic for angsty teen girls. Both act as comic relief, proving there can and should be more than one funnywoman in the group.Pam in The Texas Chain Saw Massacre (1974) 89%(Photo by Courtesy Everett Collection )Played by Teri McMinnTobe Hooper specifically asked for actress Teri McMinn’s costume to be backless and short to show off most of her “meat,” giving her a visually vulnerable feel in this slaughterhouse classic. Pam is a small role, but McMinn fills her out with a genuine openness and curiosity, a young woman of the perilous 1970s whose kind and trusting nature leads her to disaster.Juno Kaplan in The Descent (2005) 86%(Photo by © Lionsgate)Played by Natalie MendozaJuno is both the sidekick and the foil of Neil Marshall’s spelunking disaster. It’s her fiery, fierce, and selfish nature that draws her estranged best friend Sarah into the unexplored caves, but also the spirit that gives Sarah the will to leave her as bait and escape. Natalie Mendoza’s empathetic performance speaks to what one is capable of when scared, but not so much that her fate doesn’t seem a little fitting.Lambert in Alien (1979) 98%(Photo by © 20th Century Fox / courtesy Everett Collection)Played by Veronica CartwrightJoan Lambert (Veronica Cartwright) was the navigator of the USCSS Nostromo, and she spent just as much time trying to guide the crew of the ship in the right direction. She was the first to say exploring that distress call was a bad idea and the first to say they should “get the hell out of here.” Her hysterics are a natural and appropriate reaction to an alien attack and an extension of the audience’s reactions, so Lambert becomes the lens through which we view the film.Jeryline in Tales From the Crypt Presents Demon Knight (1995) 38%(Photo by MCA/Universal Pictures/ Courtesy: Everett Collection.)Played by Jada Pinkett-SmithJeryline (Jada Pinkett-Smith) may be a criminal on work release at a rural hotel, but she’s got more smarts and morals than many. Demon Knight is the rare horror movie willing to off its protagonist, and Jeryline steps up from sidekick to lead, showing off her cunning by using the demon’s Don Juan charm against him and ultimately saving the night.Tina Gray in A Nightmare on Elm Street (1984) 95%(Photo by © New Line Cinema)Played by Amanda WyssIf you’d only watched the first act of Wes Craven’s A Nightmare on Elm Street, you’d think Tina Gray (Amanda Wyss) were the protagonist of the film, but she’s in actuality the sidekick and catalyst for the film series. She exudes both vulnerability and strength, which is why her iconic demise and subsequent use as a puppet for Freddy Krueger’s mind tricks is a huge punch to the gut.Helen Shivers in I Know What You Did Last Summer (1997) 44%(Photo by © Columbia/courtesy Everett Collection)Played by Sarah Michelle GellarThe key to Helen Shivers’ success as a sidekick is her unabashed and shameless vanity. Sarah Michelle Gellar’s portrayal of the character paints her as the beauty queen with dept 不仅画面精美，英雄联盟手游的其他方面的品质也绝对是过硬的，英雄联盟手游不仅得了苹果设计大奖，另一家手机大厂OPPO也颁发给了英雄联盟手游“拾趣奖”，玩家们也对英雄联盟手游的品质给予了超高的好评，各大平台评分稳定，可以说是moba手游的天花板了！
Which decade from the last 40 years had the fetchest high school movies? (We’re going to make this happen.) That’s what we’re deciding in a very special episode of Vs. that’s slowly walking down the stairs armed with warm apple pies, blaring boom boxes, and an occasional break of the fourth wall. How exactly, though, can you compare a decade like the 1980s, which gave us everything from Say Anything… to Ferris Bueller’s Day Off to a decade like the 2010s, with its whip-smart Lady Bird and adventurous Dope? RT Contributing Editor Mark Ellis has a way… four ways in fact. In this episode of Vs. he compares each decade’s high-school movie output based on Tomatometer and Audience Scores, box office performance, memorable moments and characters, and one wild card round to declare which 10-year stretch is the movies’ equivalent to your high school’s Prom King, Valedictorian, or that ultimate hero: The Person Dating a College Guy.On an Apple device? Follow Rotten Tomatoes on Apple News.法师职业任务With nine seasons and countless one liners, the U.S. version of The Office has cemented itself as one of the most popular shows of all time. Sure, you could rewatch it for the third fourth 10th time, or you can try something new. Here are five titles we think you’ll love if you love The Office.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.On an Apple device? Follow Rotten Tomatoes on Apple News.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
(Photo by Warner Bros. / courtesy Everett Collection)All Margot Robbie Movies Ranked by TomatometerIt only took two years after an eyebrow-raising entrance in The Wolf of Wall Street for Margot Robbie to become a big-enough known entity to cameo in movies as herself, like she did in 2015 s The Big Short. And by 2018, she was an Oscar-nominated actress thanks to I, Tonya. She ll also be a fixture at this year s ceremony: Robbie was nominated for Best Supporting Actress for Bombshell, while her portrayal as Sharon Tate was one of the sentimental cruxes of Once Upon a Time in Hollywood, which is up for Best Picture.In-between all of this, Robbie also became one of the shining stars of the DC Extended Universe as Harley Quinn, stealing the show in Suicide Squad, with an upgrade to lead status in Birds of Prey. And she was again one of the best parts of The Suicide Squad. Now, we re ranking all Margot Robbie movies by Tomatometer!
n co-writer Dan O’Bannon was engaged to help with special effects and eventual Alien concept artist H.R. Giger designed the look of the Harkonnen homeworld, Giedi Prime. Pink Floyd was also set to score the film, which would take many liberties with Herbert’s story. To hear Jodorowsky tell it, the film would have expanded consciousness itself, but when he could not secure the needed funds to complete it, he was forced to abandon it; elements of his story ultimately ended up in his Incal and Metabarons comic books.The next director to attempt folding space was Ridley Scott in 1979. Intended to be his follow-up to Alien – a film that comes up a lot in the history of Dune – he left the project following the sudden death of his older brother Frank, realizing it would take more of him than he was willing to give. He would end up transferring his energies to Blade Runner a few years later.(Photo by ©Universal/courtesy Everett Collection)But as producer Dino De Laurentiis was loathed to let the money spent on developing Dune go to waste, he hired up-and-coming director David Lynch to remount the film. The resulting production, released by Universal in 1984, is staggering, weird, and often compelling – even if Dune fans questions certain liberties taken by Lynch to condense some of its plot, reshuffle some of its characters, and recast Paul in the messiah role he is expressly against in the novel. Nevertheless, we’re fond of the film, which featured early appearances by Kyle MacLachlan as Paul, Patrick Stewart as his loyal instructor Gurney Halleck, and even Alicia Witt (age 8 at the time) as Paul’s preternaturally gifted and deadly sister Alia.The film was not a hit, though it would find a following by airing on television, where Syfy would later adapt Dune and Children of Dune into two three-hour miniseries in the early 2000s. But any further Dune films would be relegated to a distant possibility for decades. Paramount Pictures picked up the rights in 2008, with directors Peter Berg and Pierre Morel attached at various points, but Paramount walked away from it in 2011. Legendary Entertainment picked up the rights in 2016 and Villeneuve was in talks to direct by the end of that year.The history of Dune on film should give you some idea of just how anticipated this adaptation is for fans of the novel, its sequels, and the resulting franchise.The People of Dune(Photo by Chiabella James/©Warner Bros. Entertainment Inc.)Villeneuve inspired confidence early on with a succession of incredible casting announcements. Starting with House Atreides, Oscar Issac will play Duke Leto while Rebecca Ferguson plays his concubine, Lady Jessica, a character who is much more than her title in fact, during a Twitter chat prior to the first trailer s debut, Ferguson mentioned Jessica s choices create a fracture with far-reaching consequences. Their son, Paul, will be played by Timothee Chalamet. Josh Brolin will play Gurney Halleck and Stephen McKinley Henderson takes the role of Thufir Hawat. Jason Momoa will also appear as Duncan Idaho, another of Paul’s teachers whose seemingly insignificant presence here will turn into something quite epic should Dune spawn a successful film series.Though assigned to House Atreides, Dr. Wellington Yueh (Chen Chang) is a physician of the Suk School conditioned to make him safe and incorruptible while attending to the health of nobleborns. His loyalty is, theoretically, to the principles of medicine.Over on Giedi Prime, Stellan Skarsgard is a Baron Harkonnen for the 21st Century, and Dave Bautista plays his sadistic nephew, Glossu Rabban (A.K.A. The Beast). A second nephew, Feyd-Rautha, will seemingly make his debut in a later Dune film as the trailer only alludes to the Baron and the Beast. The Baron also has his own Mentat, Piter De Vries, played by David Dastmalchian.(Photo by Chiabella James/©Warner Bros. Entertainment Inc.)Once on Arrakis, Paul and Leto will meet members of its (seemingly) indigenous population, the Fremen, which includes Javier Bardem as Stilgar and Zendaya as Chani. There are other Fremen who will matter to the story, like the Shadout Mapes and the Reverend Mother Ramallo, but it is currently unknown who might be playing them. Babs Olusanmokun, meanwhile, will play the Fremen fighter Jamis – a character with key ties to Paul – and Gloria Obianyo will play his wife, Harah. The Atreides will also meet Dr. Liet Kynes (Sharon Duncan-Brewster), the imperial ecologist and judge of the change in regards to the noble house s control of Arrakis. She also, presumably, carries the same important secrets her book counterpart held, though portraying Dr. Kynes as female is a departure from the novel and the various attempts at adapting it on film. During the recent Twitter chat, Duncan-Brewster noted Kynes s gender is less important than the character s role in the story; Kynes connects the Atriedes, the Harkonnens, the Imperium, and the Fremen.Other parts include Shaddam IV, his daughter Irulan, Reverend Mother Mohiam (Charlotte Rampling) and – if time permits – Count Hasimir Fenrig and his wife Lady Margot, both of whom were deleted entirely from David Lynch’s Dune. And while it makes total sense to cut them (and a few other people) for a two-hour-and-thirty-five minute film, we presume Villeneuve will have the time for almost everyone mentioned by Herbert in Dune, because Two Parts(Photo by Chiabella James/©Warner Bros. Entertainment Inc.)Unlike every other attempt to adapt Dune, Villeneuve’s production is actually two films. Considering the way the novel is structured, there is a natural place for the film to end, complete with a rousing action scene, should Villeneuve be so inclined. Judging from the trailer, Dune fans will know exactly where the movie pauses and why. And to offer one more clue, it is no accident that Jamis and Harah appear in part one.Granted, part of what makes Dune so tough to adapt is its tendency to avoid certain storytelling tropes. Much of the book is set in quiet rooms where people discuss action occurring between chapters while drinking Spice Coffee and trying to ascertain what the other person is hiding by analyzing minute changes in facial expressions. Big battles happen, to be sure, but Herbert was more interested in what they meant for his world than focusing on the action itself. Of course, Villeneuve has proven with films like Sicario and Blade Runner 2049 that he can make compelling cinema out of two people talking or trying to kill each other. That Dune offers him scenes in which both are happening simultaneously – and sometimes surreptitiously – may be part of the appeal for him.Other members of the crew include co-writers Eric Roth and Jon Spaihts, director of photography Greig Fraser, production designer Patrice Vermette, editor Joe Walker, and producers Mary Parent, Cale Boyter, Joe Caracciolo, and Villeneuve. Composing the film’s score will be Hans Zimmer, who is said to have a special love of the original Dune novel.As Villenueve noted during the Twitter chat, much of the film was shot in the deserts of Jordan as he needed the real thing to make Dune work. They didn t shoot Jaws in a swimming pool, he said. Chalamet mentioned he shot two or three scenes against a green screen while the rest took place on practical sets, and Isaac, ever ready to poke fun at Star Wars, said working on a life-sized Millennium Falcon paled in comparison to the enormity of Dune s production. Creating that sense of reality is important, as Dune s far-flung future can easily look cheap if accomplished via digital sets.The Golden Path(Photo by Chiabella James/©Warner Bros. Entertainment Inc.)In an era of long-term film franchises, getting Dune to work on screen would give Warner Bros. access to five additional novels written by Herbert and a raft of spin-off material written by his son Brian and sci-fi author Kevin J. Anderson. Indeed, Herbert’s longer Dune cycle spans thousands of years and eventually shifts its focus from Paul to his son Leto II and eventually to… Well, let’s just say someone we mentioned in the cast list above could find themselves appearing in Dune films for decades.As it happens, Legendary is already convinced Dune will work this time and are developing a spinoff television show, Dune: The Sisterhood, for HBO Max. Spaihts wrote the pilot with Dana Calvo stepping in as showrunner. Villeneuve is expected to direct the first episode and serve as an executive producer alongside Spaihts, Brian Herbert, Byron Merrill, and Kim Herbert. Centering on the Bene Gesserit sisterhood, it will find more ways to illustrate the political intrigues of Dune’s Imperium and, potentially, their dealings with Paul after the events of Dune.Of course, those who have read Children of Dune or God Emperor of Dune may wonder how Legendary and Warner Bros. can pave a golden path of franchise wealth from the Golden Path that Leto II sets for humanity in the Dune sequels. The philosophical elements of Herbert’s world amp up even as more traditional dramatic narratives recede. And the conclusion of the story realized by Brian Herbert and Anderson takes an unexpected and almost pulpy direction; it’s not exactly Marvel, Lord of the Rings, or Star Wars by any stretch of the imagination.Then again, it wouldn’t be Dune if it didn t prove difficult for Hollywood to crack.Dune is currently set for release on December 18, 2020. It is unclear when the second part will materialize.Thumbnail image by Warner Bros. Pictures and Legendary Pictures
(Photo by Anna Kooris courtesy of Sundance Institute)One of the most anticipated movies of the 2020 Sundance Film Festival, partly because it’s the sophomore effort from Lemon director Janicza Bravo, but mostly because it’s based on a Twitter thread that went viral, Zola seems to live up to expectations as a clever adaptation filled with exceptional performances. The first reviews following the premiere are mostly positive, celebrating the appropriately disjointed and fleeting entertainment of this road trip comedy involving a stripper, a sex worker, her boyfriend, and her pimp through the wilds of Florida.Here’s what critics are saying about Zola:Does the movie feel like a Tweet adaptation?[It’s] as laugh-out-loud funny and nail-bitingly wild as Wells original Twitter thread. Angie Han, MashableThe script retains the humor of the original thread, again framing an increasingly dark story with a light touch. Benjamin Lee, GuardianOne of the greatest pleasures of the original series of tweets, which is preserved here, is the inherently humanist observation that everybody is a messy, dramatic bitch in their own way. Jessica Kiang, The PlaylistZola often unfolds at the fragmented clip of the feed that inspired it. That sometimes means that it struggles to fit into the constraints of a linear story. Eric Kohn, IndieWireAs Twitter is to great literature, Zola is to the cinematic masterpieces that have come before: It’s superficial and relatively thin on substance. Peter Debruge, VarietyDoes it ever go deeper than that?Zola is a fascinating status update for our time. David Bax, Battleship PretensionZola is operating on a level more aesthetic and cerebral, using these quirks to tell a parallel story about the stories we tell about ourselves on the internet, inviting us to consider who s framing them, and how, and why, and to what end. Angie Han, MashableThe sound effects might be a little gimmicky, but there is something maybe profound about the way Zola features in the film. Richard Lawson, Vanity Fair[Bravo] and Harris never try to push Zola into some kind of big statement about Who We Are Today Like Twitter itself, it might not offer much substance, but someone who knows what she s doing can make it a hell of a fun diversion. Scott Renshaw, Salt Lake City Weekly(Photo by Dia Dipasupil/Getty Images)How is the movie s pacing?Bravo puts so much effort into keeping the rapid-fire pace in flux, while her small ensemble throw themselves into the unseemly hedonistic energy on display. Eric Kohn, IndieWireI had expected Zola to be a frenzy… but a lot of the film is muted, making so much of the sordid things that Zola encounters seem almost prosaic. Richard Lawson, Vanity FairZola suffers from some pacing issues, particularly in the second half as Bravo tries to strike a balance between the film’s shifting tones. Brent Hankins, The Lamplight ReviewAt a swift 90 minutes, the film has some pacing issues. Benjamin Lee, GuardianWhat is Zola reminiscent of?Zola lands somewhere on the glitter-neon spectrum between Spring Breakers and Hustlers – which is to say: it’s pretty much a blast. Jessica Kiang, The PlaylistIt’s not prurient Spring Breakers, nor flashy, righteous Hustlers. It’s more meditative than that. Richard Lawson, Vanity FairThe movie doesn’t have the clear-eyed smarts of a grifter fairy tale like Hustlers, much less the hypnotic power of a girls-gone-wild classic like Spring Breakers. Justin Chang, Los Angeles TimesSpring Breakers might seem like the obvious aesthetic comparison, though Bravo’s energetic style has more in common with early Guy Ritchie movies. Eric Kohn, IndieWireIt makes Hustlers look like a Disney movie. David Rooney, Hollywood Re