(Photo by Warner Bros. Pictures, ©2020 Disney/Pixar)For some, December 25th movie releases have traditionally offered an escape from uncomfortable family time while providing theater employees a chance to make that sweet holiday pay. Most of us won t be heading to cineplexes on Christmas Day this year, though, due to the ongoing COVID-19 pandemic and the widespread business closures associated with it. Like a lot of things in 2020, it s an unprecedented situation, and movie lovers looking for something to pass the time will instead likely turn to HBO Max s Wonder Woman 1984 or Disney+ s Soul to fill that gap. All of this got us thinking about the movies of Christmas Past, and we thought it might be both fun and enlightening to look back at every film ever released on December 25th and try to figure out if one rises above all the rest.One might understandably assume the list would be littered with holiday classics, but since they re typically released earlier than, you know, Christmas Day, we ended up with a hodgepodge of just about anything you could imagine. Considering they include titles as diverse as Magnum Force, Tombstone, An American Werewolf in Paris, and that most celebrated of yuletide standards, 47 Ronin, it s clear that there isn t any rhyme or reason to Christmas Day releases beyond Let s cross our fingers and hope this makes a lot of money. (Photo by Frank Connor/©Universal Pictures)Before we jump in, though, we need to clarify a few things about the process. First, our data set includes films that received wide releases on December 25th and have Tomatometers, Audience Scores, and reliable box office numbers. Regarding the latter, we had to stick to domestic box office earnings due to reliability issues with global market totals. Unfortunately, this meant older films like There Was a Crooked Man and Friday Foster failed to make the cut due to incomplete or insufficient data. Once we collected the relevant information, we ranked all the movies by Tomatometer, Audience Score, and Domestic Box Office (adjusted for inflation), added up their ranking numbers, and arranged the results in descending order so that the film with the lowest rank total would take the top spot. We know; it s a lot to digest.With the logistics out of the way, let’s get to why you’re here. After compiling all the statistics and ranking all 124 movies we looked at, we were able to narrow the list down to a Top 10. Will the top spot go to a bloody revisionist Western, an all-timer heist flick, or a stylish take on a legendary sleuth? Check out the full list below, along with each film s rank in our three data categories and a little bit of context, to find out which one is the Best Movie Released on December 25th!10. Tombstone (1993) 50 Points(Photo by ©Buena Vista Pictures courtesy Everett Collection)Tomatometer Score (Rank): 74% (21st)Audience Score (Rank): 94% (4th)Domestic Box Office (Rank): 5 million (25th)While we have no evidence of this, it’s safe to assume that many adults would’ve been O.K. to receive tickets from Santa to go watch Tombstone when it was released on December 25, 1993. The thought of watching legendary lawman Wyatt Earp (Kurt Russell) go to war against an outlaw gang of red-sashed murderers, led by Powers Boothe and Michael Biehn, is simply too epic to pass up. Not only was Tombstone a hit in 1993, but it’s grown in stature since then as its memorable mustachioed characters, epic gun fights, and iconic lines ( I’m your Huckleberry ) have become more and more popular. It also doesn’t hurt that the cast also includes – deep breath – Val Kilmer, Bill Paxton, Sam Elliott, Billy Zane, Michael Rooker, Charlton Heston, Stephen Lang, Thomas Haden Church, Billy Bob Thornton, and Dana Delaney, and they re all excellent. Tombstone is a rollicking good time, and despite some behind-the-scenes friction and director swaps, it s still a fan favorite that boasts an outstanding 94% Audience Score.It’s tough to single out the best moment, as the movie features a plethora of memorable scenes. Whether it’s Wyatt Earp’s takedown of a bully (Billy Bob Thornton in a fun cameo) or Doc Holliday s “I’m your Huckleberry” right before he puts one in Johnny Ringo s forehead, Tombstone has a deep bench of epic moments and characters, which is why it’s on our list.9. Sherlock Holmes (2009) 49 Points (Tie)(Photo by Alex Bailey/©Warner Bros. courtesy Everett Collection)Tomatometer Score (Rank): 69% (25th)Audience Score (Rank): 77% (20th)Domestic Box Office (Rank): 0 million (4th)Riding high off the success of 2008’s Iron Man, Robert Downey Jr. stepped into the well-worn shoes of another famous brilliant person, Sherlock Holmes. The end result was an intriguing modern-day update of the character created by Arthur Conan Doyle in 1887. Rather than simply using his brain, Holmes uses his brawn as well, engaging in underground fist fights that showcase his six-pack abs and uncanny ability to anticipate his foe s moves, which allows him to exert maximum pain on his bare-knuckle boxing opponent (is that cheating?).The Guy Ritchie-directed film about Sherlock’s hunt for an aristocratic serial killer would go on to collect 4 million worldwide and spawn a sequel two years later, Sherlock Holmes: A Game of Shadows, which also cleared the 0 million mark at the global box office.Fans and critics alike were fairly impressed with the performances by A-listers Downey, Jude Law, Rachel McAdams, and Mark Strong, as well as the stylized directing of Ritchie, which breathed new life into an old character. We re even scheduled to get a third entry in the franchise in December of 2021.9. Magnum Force (1973) 49 Points (Tie)(Photo by Everett Collection)Tomatometer Score (Rank): 72% (23rd)Audience Score (Rank): 77% (20th)Domestic Box Office (Rank): 1 million (6th)As the second entry in the five-film Dirty Harry franchise, Magnum Force had the luxury of trading on the blockbuster success of its predecessor, but it also carried the expectations of the popular film that featured San Francisco Police Department Inspector Harry Callahan (Clint Eastwood) asking people if they felt lucky. Focusing on Harry s hunt for corrupt cops who take the law into their own hands, Magnum Force features explosions, murder, blood, profanity, and more explosions – you know, typical holiday movie stuff – which thrilled 1973 audiences who were looking for all of those things. Director Ted Post, who also worked with Eastwood on the well-received 1968 Western Hang ‘em High, knew what he was doing (making an action sequel), and there is no better evidence of that than in the opening credits: the cast and crew list is played over Harry’s .44 Magnum gun, which he then points towards the screen and shoots (think American James Bond) in a bonkers breaking of the fourth wall that tells the audience immediately what they re in for.7. Broadcast News (1987) 48 Points(Photo by ©20th Century Fox Film Corp.)Tomatometer Score (Rank): 98% (2nd)Audience Score (Rank): 79% (18th)Domestic Box Office (Rank): 6 million (28th)Written and directed by James L. Brooks, the workplace comedy Broadcast News was nominated for seven Academy Awards and is considered to be one of the greatest movies ever about journalism. Holly Hunter, William Hurt, and Albert Brooks all received Oscar nominations for their lively performances, and it would be tough to find a more likable and well-written comedy about three people who love/hate making television together. Hunter famously joined the project shortly before production started, and she’s so good you’d think Brooks wrote the role just for her. Also, if you’ve never watched Broadcast News, go ahead and check out Aaron s (Albert Brooks) sweating scene; it’s an uncomfortable moment that features an excellent reporter absolutely bombing on camera, and Brooks plays it to perfection. Glancing at the reviews, you’ll see the phrases “uproariously funny,” “warm and heartfelt,” and “enormously entertaining” pop up time after time, and for good reason. Broadcast News gave audiences a lot to cheer for on December 25, 1987.6. The Aviator (2004) 47 Points(Photo by Warner Bros. Pictures)Tomatometer Score (Rank): 86% (11th)Audience Score (Rank): 79% (18th)Domestic Box Office (Rank): 7 million (18th)Directed by Martin Scorsese, and starring Leonardo DiCaprio, Cate Blanchett (who won a Best Supporting Actress Oscar), and Kate Beckinsale, among others, The Aviator focuses on the early life of director/aviator/entrepreneur Howard Hughes and his legendary antics. Much like Hughes, The Aviator is larger than life as Scorsese loads it with glamour, plane crashes, and excellent visual effects that blend seamlessly into the period setting. The Aviator was the second (of the now five) collaborations between DiCaprio and Scorsese, and it netted DiCaprio his first Best Actor Academy Award nomination (he was previously nominated for Best Supporting Actor for What’s Eating Gilbert Grape); it also happens to be the first of three – yes, three – appearances on this list by Leonardo DiCaprio. The 0 million-budgeted drama won five Oscars (of a total 11 nominations) and still holds up beautifully, as the work of editor Thelma Schoomaker and cinematographer Robert Richardson give the 170-minute biopic an epic feel.5. Little Women (2019) 42 Points(Photo by Sony Pictures)Tomatometer Score (Rank): 95% (5th)Audience Score (Rank): 92% (6th)Domestic Box Office (Rank): 8 million (31st)Powered by Greta Gerwig’s Academy Award-nominated script and direction, the million-budgeted Little Women pulled in 6 million worldwide and was met with near universal praise. The feat is all the more impressive (and not altogether unexpected, since Gerwig loves the novel) considering Louisa May Alcott’s iconic story about sisters growing up in Massachusetts during the civil war has been adapted for the screen multiple times, dating all the way back to 1917. What makes this adaptation stand out among the rest is the way Gerwig includes a nonlinear storyline and a different ending to offer audiences something fresh and unexpected. Also, bringing back her Lady Bird star Saoirise Ronan to play the pivotal role of Jo March was a smart idea, as the two work wonderfully together, and Ronan received Academy Award nominations for both films. Plus, Gerwig didn t stop with Ronan; she and producer Amy Pascal also landed the immense talents of Meryl Streep, Florence Pugh (who received a Best Supporting Actress nomination), Emma Watson, Laura Dern, Timothée Chalamet, and a host of other incredible actors, lending the film the kind of A-list shimmer you d expect to see in a prestige picture.4. To Kill A Mockingbird (1962) 30 Points(Photo by Everett Collection)Tomatometer Score (Rank): 92% (7th)Audience Score (Rank): 92% (6th)Domestic Box Office (Rank): 8 million (17th)Since its release in 1960, Harper Lee s Pulitzer Prize-winning novel To Kill a Mockingbird has been an American institution that has sold over 40 million copies and been discussed and re-evaluated in classrooms across the country. Two years after its publication, director Robert Mulligan brought To Kill a Mockingbird to the big screen, and it was a smash hit that won three Academy Awards and eventually earned the 25th spot on the American Film Institute’s Top 100 Films list. Anchored by Gregory Peck’s Oscar-winning performance and Horton Foote’s faithful screenplay, Mockingbird tells the story of Atticus Finch (Peck), a lawyer in the depression-era South defending a Black man named Tom Robinson (Brock Peters) who has been put on trial for an undeserved rape conviction.Putting aside the important cultural discussion that continues to this day, To Kill a Mockingbird is an example of a book adaptation done right. Mulligan and Foote knew they had excellent source material to work from, so they stuck to it (mostly), and with the help of Harper Lee presented a faithful adaptation that struck a chord with audiences who saw the movie as a gift when it opened on Christmas Day of 1962.3. Django Unchained (2012) 28 Points(Photo by Andrew Cooper/©Weinstein Company)Tomatometer Score (Rank): 87% (10th)Audience Score (Rank): 91% (7th)Domestic Box Office (Rank): 1 million (9th)Between Four Rooms, Jackie Brown, and The Hateful Eight, Quentin Tarantino sure loves releasing movies on December 25, but his biggest Christmas Day hit came from Django Unchained, a super R-rated revisionist Western featuring a final gunfight that leaves a Mississippi plantation estate flooded with blood. The movie pulled in a whopping million its opening day (Catch Me If You Can only pulled in million) and ended up earning 1 million domestic, winning Academy Awards for Tarantino (Best Original Screenplay) and Christoph Waltz (who won his second Best Supporting Actor Oscar after earning his first for another Tarantino collaboration, Inglourious Basterds).Django Unchained tells the story of a freed slave named Django (Jamie Foxx) who teams up with an eccentric German bounty hunter named Dr. King Shultz (Waltz) in exchange for Shultz s help freeing Django’s wife Broomhilda (Kerry Washington) from the vile clutches of plantation owner Calvin Candy (Leonardo DiCaprio, making his second appearance on this list). Normally, hard R-rated exploitation films with 165-minute running times wouldn’t be nominated for five Academy Awards (and win two). Yet under Tarantino’s supervision, Django delighted audiences around the world and provided Christmas counterprogramming with silver-tongued devils, flesh-ripping torture, and Leo DiCaprio monologuing about skulls.2. Catch Me If You Can (2002) 15 Points(Photo by ©DreamWorks courtesy Everett Collection)Tomatometer Score (Rank): 96% (4th)Audience Score (Rank): 89% (9th)Domestic Box Office (Rank): 7 million (2nd)It wasn’t a hard sell to get audiences into theaters to watch Catch Me If You Can in 2002. Directed by Steven Spielberg and starring Tom Hanks and Leonardo DiCaprio (and that makes three!), Catch Me If You Can is a rollicking film about Frank W. Abagnale Jr. (DiCaprio), a likable con man being chased around the world by Carl Hanratty (Hanks), a likable FBI agent who really wants to, well, catch him. During the globe-trotting caper, we also get to spend time with the very likable Frank Abigaile Sr., played by Christopher Walken, whose performance was so warm and welcoming he received an Academy Award nomination for Best Supporting Actor.We’re not trying to be reductive about how likable the movie is, either. The expertise of Spielberg, the skill of his cast, and the Oscar-nominated score by John Williams make this 141-minute film fly by faster than a Pan Am airliner. Its appeal to people of all ages can’t be argued because it’s the rare film to receive nominations from the AARP, MTV, and Teen Choice Awards, which essentially makes it the Tom Hanks of movies.1. The Sting (1973) 10 Points(Photo by Universal Pictures)Tomatometer Score (Rank): 94% (6th)Audience Score (Rank): 95% (3rd)Domestic Box Office (Rank): 5 million (1st)Looking to build off the blockbuster success of 1969 s Butch Cassidy and the Sundance Kid, which grossed 1 million domestically and won four Academy Awards, director George Roy Hill and stars Robert Redford and Paul Newman reteamed for The Sting. With an “if it ain’t broke, don’t fix it” mantra in place, The Sting once again showcased Redford and Newman’s unbeatable chemistry, playing lovable criminals who plan on swindling money from a shifty character played by Robert Shaw in 1930s Chicago (and hopefully avoid a freeze-framed death via a barrage of bullets). The Sting might be one of the most enjoyable films to ever to win Best Picture at the Academy Awards (it won a total of 7 Oscars from its 11 nominations). It also boasts an 5 million domestic box office haul, which would make almost any Marvel film jealous, and it s currently the 21st highest domestic grossing film of all time. If you haven’t watched The Sting, do yourself a favor and check it out, because the A-list star power, the beautiful Oscar-winning costumes, and the charisma of Redford and Newman together are undeniable.On an Apple device? Follow Rotten Tomatoes on Apple News.cod9攻略(Photo by Columbia, Madhouse, and Warner Bros.)“Know Your Critic” is a column in which we interview Tomatometer-approved critics about their screening and reviewing habits, pet peeves, and personal favorites.After quitting her day job to focus on entertainment writing full-time on /Film, Hoai-Tran Bui has since become one of their lead critics. Like most young Vietnamese-Americans, she is of the first generation to be born here, her parents having left Vietnam after the Fall of Saigon in the 1970s and the communist takeover of the country. Bui s mother s upbringing in a French-speaking school in Vietnam translated to bookshelves in America filled with Western classics like Jane Eyre, Les Miserables, and Little Women. Those, along with Studio Ghibli films like Castle in the Sky, Kiki s Delivery Service, Spirited Away, and Princess Mononoke ( A lot of blood and gore in that one for an eight-year-old child ) were the foundations of Bui s writing aspirations, and making it onto the Tomatometer as a film critic. Bui talks now about a movie world transitioning back to something approaching normalcy, along with the things she watched during quarantine that she would ve liked to have seen in theaters, and settling long-running Disney debates.Hoai-Tran Bui is a staff critic at /Film, and co-hosts the Trekking Through Time and Space podcast. Find her on Twitter: @htranbui.Theaters are opening up again. Have you been back yet?Quiet Place II was my first one, and then In the Heights was the next day. So I went from not going to theaters for over a year to going to the theaters twice in a row. Actually, the day that I went to see In the Heights, I went to see the Wong Kar-wai retrospective special that they re doing at the Lincoln Center in New York. Then the In the Heights screening showed up, and I was like, I ll just do both. So I went to see three movies in theaters within two days.It was great, but it was surreal. Still doing social distancing, but because these are both just press screenings, they re just like, Sit where you want, but also don t sit next to people. That was nice, although I feel like it kind of diminished some of the effects of seeing both of these movies in theaters. Because A Quiet Place was very much about that communal theater experience, everyone gasping and holding their breath at the same time, but as for Quiet Place II, and I feel like this also led into my thoughts on the movie, which I think were also lightened up on that aspect, it felt less like that communal experience because we re all just kind of far apart and there s only six other people in theater.What movie did you watch last year during quarantine that you wish you saw in theaters?I would ve liked to see Bill Ted Face the Music in theaters, less so for seeing on the big screen and more so for seeing the people, just because it s a movie that, like a lot of comedies, it demands being seen with a bunch of people, and laughing by yourself with your computer on your lap isn t as fun as laughing with a group of people with the same jokes. I think Face the Music came at such a specific time that it was this hopeful movie about coming together, about facing the odds as humanity, and that felt very resonant during the pandemic and during quarantine. That one made me a little emotional, even. But I feel like even seeing that together with a bunch of people would ve been even more impactful. I don t even know how it would play now, just because I feel like the timing of it was so specific to the fatigue that we re feeling during COVID. But I feel like that one, I would ve liked to see with people, just to share in our misery together and our hope for something that can come through and still make us laugh.(Photo by Columbia/Everett Collection)What s required viewing for you?The Before trilogy. They have such great, effortlessly written scripts, and one that feels so natural and organic and yet also is rife with so much character drama and building and dynamics within it. There s an ebb and flow within the movie, within the dialogue, and even though it s completely plotless, there is a plot within what these characters are saying to each other and how they re interacting with each other. Every movie is such an interesting snapshot of each age, too, that altogether they become this experiment with time that I think Richard Linklater has tried to recapture with a lot of his later movies, with Boyhood, for example.What s the hardest review you ever had to write?One that was more recent and which I just spent a lot of time on because it was something that was so personal to me. That s Raya and the Last Dragon. I spent a couple of days writing that. That one I kind of turned into part review, part personal essay. Raya and the Last Dragon, in particular, because it was Disney s big Southeast Asian animated movie. It was going to have Disney s first Southeast Asian princess, it had Kelly Marie Tran, who s a Vietnamese-American actress, so there s just a lot riding into that movie. I had a lot of complicated feelings with it because I thought it was good to an extent, but it didn t quite fulfill all of the promises of diversity and representation that it was billed to do and, in the process, I think lost a lot of what could ve made it good by trying to be so big and universal and ended up being nothing very specific.So I spent a couple days just picking that apart, both the movie itself and my own personal feelings about it. I think I wrote something pretty good. Before I started writing film criticism, I remember my journalism class, they always talked about how you shouldn t put yourself into the story. It should be as unbiased and as distant as possible. Of course, going into film criticism, it s all about your own personal opinions and beliefs and your own personal relationship and how this movie affected you. I can t help but making a lot of the reviews that I write very personal, deeply personal at that. I think often the better ones I write are the personal ones, the ones where I draw on some of that experience.I do feel kind of weird sometimes because I feel like I m exploiting my own personal life for other people s entertainment in a way, other people s pleasures, and it always feels a little weird to me that I m just putting little pieces of myself out there in these tiny personal essays about movies. But I think that that s the way that people interact with art anyways, the best way to communicate how something moves me or something affects me. So Raya and the Last Dragon, for sure, was one that I spent a lot of time thinking of.Then another one that was deeply personal, too, but wasn t really a review, was this piece I wrote about Da 5 Bloods. The depiction of Vietnamese characters in that movie, honestly, were the best attempt by any Hollywood movie so far, but still falls extraordinary flat because it tries to, I think, connect the Black Lives Matter movement and effects and legacy in a way that doesn t totally cohere. I wrote about that, and I wrote about my own personal thoughts watching that movie with my mom, actually, and the kind of mixed feelings I had, and her thoughts on the Vietnam War and about the American response and involvement in the Vietnam War. That was always really interesting to me, and it was something that was a little bit tangled and knotty, and I don t think I fully picked it apart and untangled it as much as I could ve. I haven t gone back to read it because a lot of pieces that I find deeply personal, I don t like to read again and be like, Oh, well, I could ve written that better, because now it s out there, I don t want to think about it anymore. But, at the same time, it s something that I put a lot of thought and care into.(Photo by Warner Bros./Everett Collection)What s a Rotten movie you love?I feel like there s a lot of cooler answers, but Wonder Woman 1984. I gave it a positive review, and I was one of the first wave of people to give it a positive review. Then the Rotten Tomatoes score slowly went down and then nose-dived. But I stand by my positive assessment of it. I think that it is a movie that moved me, and I acknowledge the flaws that it had, but I feel like those were minimal compared to how the movie itself worked for me. Speaking of Bill Ted Face the Music, I feel like it falls in the similar vein of being a movie that comes at a certain time that it feels very important and optimistic and has that bent during the quarantine times. So that obviously affected me a lot because of that. But I think, even so, it s a fun, optimistic, loud, very goofy movie, and that s the kind of movie that I unapologetically enjoy.What s a Certified Fresh movie you don t like?I didn t love Once Upon a Time in Hollywood. I m actually a fan of Quentin Tarantino, and I actually really liked Hateful Eight, which is a movie that most people disliked. Hateful Eight is such a nasty, mean movie that I felt like was Tarantino looking inwards at how his displays of violence are seen in the general public and saying, Hey, this is actually awful, and I m going to make you look and make you feel terrible about it, and I loved that. I thought that was so self-aware and interesting.Once Upon a Time in Hollywood, I actually don t mind the lightness of it. I don t mind the hangout element of it. I think that that part of that was actually my favorite part of it, and the idea of these men who are on the cusp of being redundant and no longer being a part of that big cultural core was really interesting and also kind of this self-aware thing that a lot of auteurs like Quentin Tarantino and Martin Scorsese are doing in their late stages of their career. They re looking back at their lives and their careers, and they re saying, Oh, we re no longer viable anymore. That was interesting.I feel like the Manson stuff and how that looms over the entire movie and casts a whole shadow over the movie doesn t really work for me and, as a result, just makes that final act feel so intensely out of left field that I left the movie with a bad taste in my mouth. I ve also never felt that kind of same interest and fascination with the Manson family murders as I think a lot of American people do. Coming from Vietnam, we kind of came after that whole 1969 cultural touchstone pivot, and it s not something that s part of my own cultural memory. I ve always thought that the fascination with the Manson family has been a bit on the ghoulish side, so painting Charles Manson as this big monstrous villain and making 1969 this big cultural turning point and these murders this big cultural turning point is not really interesting to me and just doesn t work as well for me as I think that the movie wants it to.And, of course, there s the whole Bruce Lee scene, which I thought was completely unnecessary. I think that they could ve used any other New Age Hollywood actor in that. They could ve used Chuck Norris, for example. I felt like it would have the same effect versus Bruce Lee, whereas when I was watching it in the theater and everyone was laughing at everything that the Bruce Lee character said, it just felt very uncomfortable to me. I did not like that, although that itself didn t tank the movie for me. It was just the entire, I guess, approach to this being the center of the world, this being this big turning point. That just didn t feel like, to me, something so exciting and interesting as I think the movie and a lot of its lovers feel.(Photo by Madhouse./Courtesy Everett Collection)What was the movie that made you want to be a critic?Satoshi Kon s Millennium Actress was a movie that just opened my eyes to what movies can do and be because it s sort of this non-linear movie that plays with both reality and fiction. It follows this young girl who meets this man in World War II Japan, and she s a young child, and she falls in love with him, and she decides that she s going to spend her whole life trying to find him. To do that, she decides that she s going to become an actress and be on the biggest stage so that he ll find her again. The movie is so interesting about it. It s framed around these two documentary filmmakers who are interviewing her as she s an older actress, having retired, and she s talking about her life. The entire movie plays through this story that she s telling, and it goes between her real life and the movies that she stars in, in which she always stars as a young woman who s pining after someone and always trying to find someone, so it s this reflection of her reality and her fictional career.The way that it switches between both and the way that the line blurs between that reality and fiction was so interesting and eye-opening for me. Of course, the ending in that movie is so quick and easy and something that you can t even do in a lot of live-action, too, because there are shots that linger for a fraction of a second, and in live-action, that would be something that you have to set up. It takes a lot more time to do it. But in animation, you can just throw it in there, and that s fine. I think that that to me not only opened me up to filmmaking and movies but also to the potential for animation, which I m a big flag-bearer for. But, yeah, that movie itself was like, Wow, movies can do this. Stories can be told out of order, and things can be this reality-blurring thing. I was really enamored with that movie, and that kind of set me on that path.On Rotten Tomatoes, readers are currently voting on their favorite Disney animated movies. So: Lion King or Hercules?The Lion King, for sure. It s the gold standard for Disney renaissance movies, and Hercules kind of comes in that late era where it s very self-effacing and self-referencing, which is fun but doesn t age nearly as well.Beauty and the Beast versus Little Mermaid.Ooh, that s actually an interesting one because Beauty and the Beast is my personal favorite. Little Mermaid is the one that did kick off the entire Disney renaissance of the 90s, but I m going to have to go with Beauty and the Beast. I think it s a masterpiece.A lot of people went nostalgic with their movie-watching during quarantine. Did you re-watch something that surprised you?Happy Feet. The George Miller movie before Mad Max: Fury Road. I was shocked by how dark that movie is. I thought it was just, as I remembered, a movie about a tap-dancing penguin, but it gets dark. It starts to be about pollution, and it becomes this epic Lord of the Rings-style journey across the Arctic, and it almost ends on this extremely bleak note where the penguin is stuck inside this aquarium and thinks he s never going to leave, and you re like, What is this movie? Why is it terrifying? Hoai-Tran Bui is a staff critic at /Film, and co-hosts the Trekking Through Time and Space podcast. Find her on Twitter: @htranbui.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
7.93.9 4月喜迎The CW’s Black Lightning has always been a world apart from its superhero cousins on the network. Originally developed as a show for Fox, it always took the concepts of superpowers and the DC Comics metahumans a metaphor for something much closer to our reality. Its inciting incident — the deployment of a vaccine said to prevent a virulent disease, but truly design to stimulate the metagenes in the population of Freeland — has its origins in things like the Tuskegee Study and the CIA’s alleged introduction of crack cocaine into the inner cities in the 1980s.In the world of Black Lightning, the meta-vaccine operation was conducted by a shadowy government agency known as the ASA, and their tactics have left a lasting mark on Freeland as a whole and central character Jefferson Pierce (Cress Williams) in particular. Even as the series sprawled out to tell the tales of Jefferson’s family, his arch-rival Tobias Whale (Marvin “Krondon” Jones III), and Jefferson s mentor Peter Gambi (James Remar), it’s never lost sight of the ASA. In fact, it is possible they are Black Lightning’s ultimate adversaries.But at the moment, they also have Freeland in lockdown – an occupation officially meant to keep Freeland’s meta population safe from agents of a foreign power, Markovia, desperate to snatch up metas in a latter-day arms race. The story may echo the CIA’s activities during the later parts of the Cold War, but in illustrating the effects of an actual military occupation on U.S. soil, the show enters unprecedented ground. The stakes have never been higher. As Williams put it when Rotten Tomatoes visited the Atlanta soundstages where the show is produced, “It s much more than just corner boys and Tobias trying to just take over the city for his own power. In fact, we got the distinct impression Freeland’s old normal will never be restored.But, as Williams told us, “The ‘back to normal’ Freeland was never like this idealistic place It was always, you know, it was flawed. There was crime. It s why [Jefferson] had to originally put the suit back on in the first place.” Nonetheless, Williams felt it is important for the Occupation to end, even if “we get back to just that” because Freeland is ultimately part of the United States and rights are being trampled on in the current situation.Granted, the ASA Agent-in-Charge, Odell (Bill Duke), would disagree. When we spoke to Duke, he mentioned Odell firmly believes the Occupation is ultimately protecting Americans from a rogue nation. His methods, though, leave much to be desired. For instance, he kept both Jefferson and his wife, Dr. Lynn Stewart’s (Christine Adams) in a mandatory hold at a secret facility for months and once he had to let them go, he planted subliminal messages in Lynn s living space suggesting she experiment with Green Light, the power-enhancing drug taking the place for crack in the program’s ongoing storyline.When it was suggested manipulating Lynn was evil, Duke said, What really is evil? It is a question the show is gearing up to address, but in the interim, Lynn is abusing Green Light.“You’re definitely going to see Lynn in a way you ve never seen her before,” Adams said of Lynn under the drug’s influence. Her first few attempts to synthesize a safe, non-addictive Green Light gave her increased brain efficiency and allowed her to find a cure for a Markovian virus meant to kill Freeland s meta population. But it’s also made her obsessive about her work and created another rift between her and Jefferson.Then again, the fragility of their marriage is another one of the show’s ongoing plots.“I think it definitely makes sense for their relationship to go like this,” Adams said. But she added the Occupation is putting a very specific stress on them. “They know too much. They ve seen too much. I mean, they would have to be PTSD if nothing else … like, put them all in therapy. That s what I would do.”Their time at The Pit, the ASA’s black site in Freeland, also put Black Lightning off his footing, but Williams suggested the change in outlook may ultimately be beneficial.“I think he s angrier, and I think he has the right to be,” he said. “Going from season 1, his school was successful, his daughters were safe, and then you progress to being locked up for over a month and then coming out to an occupation and nobody s safe. He s tried to do things the right way and play by the rules and sees the repercussions of that.”At the moment, an agreement with Odell means he cannot act against the ASA, but it is only a matter of time before he learns the full scope of the agent’s machinations and, perhaps, joins the Resistance.And then there’s Tobias. Though he is locked up in The Pit, Williams said that Jefferson’s feelings about Tobias haven t changed.The feeling is mutual. Though Jones was unwilling to suggest when or how Tobias might escape The Pit, he said Black Lightning is the only person who should worry if and when that prison break occurs.“I think it s always going to be Black Lightning,” he added, though he said another confrontation between Tobias and the unkillable Lala (William Catlett) is inevitable. “[They’re] almost like Kobe and Shaq, where they re on the same team, kind of, but then again they re not. You know? One has a way of doing things, and the other one doesn t. It s kind of like I need the other one to get out of the way so I can do my thing the way I do it. I think they ll always conflict and run into each other.”Jefferson and Lynn’s detention at The Pit also left their children Anissa (Nafessa Williams) and Jennifer (China Anne McClain) to figure out life in the Occupation on their own. Anissa chose to formalize her alternate persona of Blackbird as a hero of the burgeoning Resistance — and establish an underground railroad of sorts for metas trying to escape Freeland — while Jennifer tried her best to be a “normal” teenager.According to Nafessa Williams, Blackbird and Anissa’s earlier hero persona of Thunder represent two sides of the character.“[Blackbird] doesn t have it all together and she doesn t always do the right thing the way Thunder does, but she does it her way because she thinks it s the right way and she thinks it s what Freeland needs right now.”The impulsiveness of Blackbird may cause problems down the line – particularly with the Perdi in South Freeland – but Williams sees the alter-ego as part of Anissa coming into her own.“She s really seeing herself as an adult and realizing that she runs her life,” Williams said. Nevertheless, expect some mistakes as Anissa finds her way to adulthood.But one aspect of Anissa’s life that will be on firmer ground during the Occupation is her relationship with shapeshifter Grace Choi (Chantal Thuy) – a romance teased since the early episodes of the show, but finally a real thing in season 3.“I think Anissa is really happy to have found someone who understands her,” Williams said of the relationship. “She hasn t told anyone really who she is other than her family, so to be able to open up and trust someone else and let them in on who she really is and understand them for who they are, I think it s a match.”And, as it happens, Grace has also proved her abilities will aid Anissa in getting out of tight scrapes, like Odell’s ill-timed visit in last week’s episode.Jennifer, meanwhile, has acclimated to curfews, traffic stops, and the ASA’s stated mission a little too well. Bizarrely, the confines of the Occupation gave Jennifer an added sense of independence – something Odell hopes to utilize for his own ends.“He s counting on being able to take her humanity and use it,” McClain said. The shadowy agent has already helped her discover new powers which may indicate she is stronger than her father. Also, “[Odell’s] telling her, ‘Your father s wrong here, your father s methods aren t working. You know what I m saying? They haven t worked for years.’”Those sorts of poisonous words could lead to a confrontation between Jennifer and Jefferson before too long.McClain also teased Lynn’s preoccupation with work at The Pit will beco
In an animated scene from the The Blacklist season 7 s season finale, The Kazanjian Brothers, Liz Keen (Megan Boone) chases down suspects with Agent Donald Ressler (Diego Klattenhoff). The Blacklist was midway through filming the episode in New York when production across TV and film was halted due to COVID-19. Producers solved the dilemma by adding graphic novel– style animation to existing live-action scenes. Cast members recorded dialogue from their homes for the animated scenes, as editors and animators completed their work remotely, having to complete around 20 minutes of animation in only five weeks.About the episode: The Task Force investigates an accountant who works for lucrative criminals in order to find the violent and thuggish brothers hired for his protection. Liz must make a momentous decision.The Blacklist episode The Kazanjian Brothers airs Friday, May 15 at 8/7C on NBC.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
In all the best teen TV series, the love triangle is a staple. Brenda/Dylan/Kelly and Brandon/Kelly/Dylan. Joey/Dawson/Jen and Dawson/Joey/Pacey. Archie/Betty/Jughead, Dean/Rory/Jess, Spike/Buffy/Angel and Willow/Oz/Tara … so many messy triangles.Never Have I Ever introduced us to another one during its debut season last year, so it’s not spoiling anything to tell you that the Paxton/Devi/Ben trio opens the Netflix dramedy’s second season, which has just launched on Netflix.But it would be a spilling a major spot of scoop to tell you just how out of control the love triangle action spirals in just the first two episodes, the many twists the teen romances take, and where all the players stand at the end of the season. What we will say: Devi is most definitely, officially with one of her equally delicious (hey, that’s what makes it so fun to watch!) love interests by the time the credits roll on the season 2 finale. But …(Photo by Isabella B. Vosmikova/Netflix)“The love triangle is yet to be sealed,” Paxton portrayer Darren Barnet (which is in no way a hint as to who Devi chooses, or who chooses her, at season’s end) told Rotten Tomatoes. “As much as (everything) in season 2 is answering it, you don’t know what is going to happen. This is high school, folks. People change their minds and get crazy every single day, so we’ve gotta wait and see.”OK, so you might have guessed that would be the case. And though the series has not yet been renewed for a third season, its massive success with season 1 during the pandemic (40 million households, internationally, watched the season) and the anticipation for its sophomore season return would make a lack of renewal shocking. Almost as shocking as what Devi (star Maitreyi Ramakrishnan) does when she becomes jealous of the new girl and …(Photo by Netflix)Nope, not spoiling it. Suffice it to say that season 2 is such a winner because the writers, including series creator Mindy Kaling, introduced us to all these endearing characters in season 1, and they continue to allow their talented cast to flesh them out in ways both big and subtle, and in ways that allow them to grow, and remain endearing, in the new episodes.“Who is this guy? Is he someone who really genuinely does care, or is he someone who just has these little moments, but most of the time he’s a name-dropper, a bit overconfident, and rich and all that kind of stuff?” Ben portrayer Jaren Lewison said he wondered about his character. “I think season 2 does a really great job of showing that he does really genuine care, but he still is that person … he still is Ben Gross, he still likes to talk a lot about what his father does and his clients and some of his money. Sometimes you just shake your head and wanna say, ‘Ben why would you say that right now?’ But I think that’s part of what’s endearing about him … he’s a goofball who really cares, and sometimes he just says the wrong stuff.”(Photo by Netflix)Devi, and again, not a spoiler, undergoes the most growth, as the center of the love triangle and the entire series, but not without a lot of drama throughout the season. There’s tension with Aneesa (Megan Suri), the new girl at Sherman Oaks, Mrs. Vishwakumar’s (Poorna Jagannathan) plan to move Devi to India, and a falling out with her friend Eleanor (Ramona Young). And as therapist Dr. Ryan (Niecy Nash) points out to her, Devi is still mourning the death of her father, which is manifesting itself in ways that continue to unmoor her.“In the words of (Devi’s friend) Fabiola (Lee Rodriguez), Devi’s sort of always fighting with someone,” Ramakrishnan said. “I will say, it is very fun to play a hot mess, but it requires a lot of figuring out why she s being a hot mess. Like, even though Devi is doing some crazy lashing out, she s doing that because there s something else going on. Not to excuse her crap, but (it’s about), ‘Why do you think this is reasonable?’ And then understanding that why, because I have to make it convincing for the audience.”All of Devi’s pals are also going through teen trials, from Eleanor’s own love triangle to Fab feeling pressure to change to fit in with her girlfriend Eve and Eve’s friends. And Aneesa, well, that’s a spoiler, but there is a reason she left her private school to transfer to Sherman Oaks.(Photo by Netflix)Inside Casa Vishwakumar, Devi’s cousin Kamala (Richa Moorjani) is working with a shady colleague who won’t give her respect or credit for an important medical discovery she makes, while Devi’s mom, Nalini, butts heads with a very handsome fellow doctor, played by Common, and sparks fly. But Nalini, too, is still dealing with the loss of her husband, Mohan (Sendhil Ramamurthy).“Season 2 is such a huge lesson about grief, and that moving forward is just not the same thing as moving on,” Jagannathan said.The bottom line on season 2 is that there is plenty of drama and comedy to send you breezing through 10 episodes (including one, episode three, devoted to Paxton and his backstory). And it’s going to have you hankering for another dose of Devi and the gang ASAP.
anything I had read It was a period piece, but it felt very modern and had a very modern sense of thinking,” Steinfeld told Rotten Tomatoes recently in New York City. “To play this literary icon felt like an opportunity that I couldn t pass up.” (Photo by Apple TV+)Steinfeld s Emily has another intimate relationship with a guy named Death, whose smokey coolness is personified by rapper and singer Wiz Khalifa. Smith revealed that, in the series, Emily comes to have a more mature relationship with death when she loses someone close to her. In the beginning she is fantasizing that death will come and take her away from this life that s driving her crazy. In the end, she lived into her old age, so death didn t come for a long time, the series creator noted of the poet, who died at age 55. But we wanted whoever played Death to be kind of larger than life and to bring a sense of just incredible playfulness and wild coolness to the role, and I think Wiz was just the dream of who would do that. And then as soon as he read the script, he just really connected with the humor and the just the vibe of the show, and it was kind of amazing to me how easily he just slipped in to the whole thing. (Photo by Apple TV+)Considering she’s playing a young women who didn’t find literary fame until after her death, Steinfeld also relished the opportunity to explore Dickinson in a way that hadn’t been done before — to give voice to the young woman s thoughts and to act out the dark, fantastical elements of her poems in a way that’s not entirely expected. “I fortunately and unfortunately knew very, very little [about her] before this project. I loved that I could do my deep dive into her with the little facts that are known that are out there, but we got to dig even deeper and basically tell this story of what we think the inside of her mind might look like or feel like or sound like,” the one-time Oscar nominee said. (Photo by public domain image)“The whole fun of making this show was taking this person that had this unbelievable imagination, Steinfeld continued. I mean, you could make an entire series off of one poem, and we had all of these poems and it was so great to pull from that and from her imagination and sort of combine it with ours.”Smith was reading a biography of the poet when inspiration hit. I was so struck by, I guess, the ironies of her life and the fact that this woman was so passionate and fierce in writing almost 2,000 of the greatest, strangest poems ever written, but practically none of them were ever seen or appreciated or published while she lived, the series creator said. In our millennial era of everyone seeking attention for everything they do. There s something very inspiring in that story of Emily working in secret. (Photo by Apple TV+)More than just the story of a brilliant artist, the series specifically explores the limitations Dickinson would have encountered in the 1850s due to her gender and presents this as the main reason she was only taken seriously as a master poet posthumously. The series also relates that she was expected to marry and become a dutiful housewife, social norms that Emily of the series refuses. Gender parity — in everything from the pay gap to #MeToo and Time’s Up — is a conversation that continues today, particularly in creative fields and entertainment. Steinfeld could relate to Dickinson’s circumstances. “I think that there are so many themes in this show that are wildly similar to events that we go through today in life, especially women,” she said. “But I do think that this is a character who fought against every constraint. And I do find that as a young woman today, we re constantly fighting to be heard and understood. We have come a very long way and I m very thankful for that, but I think the show will sort of open a lot of people s eyes to the reality of what we re still dealing with.”(Photo by Apple TV+)These themes also appealed to 30 Rock and Unbreakable Kimmy Schmidt star Jane Krakowski, who here plays Emily’s domineering, by-the-book mother (also named Emily). “It had such parallels to today s young modern women, and that really surprised me,” she told Rotten Tomatoes, but for her role, she was the enforcer of such limiting expectations. “I think the parents represent the times, the world that we were living in, that patriarchal world.” Krakowski recounted how playing a stern-but-dutiful housewife herself isn’t exactly a glass-slipper fit. Her Mrs. Dickinson practically lives in the kitchen, an arena in which she’s not a natural. “First of all, this part was a real stretch for me because I can t cook anything in a kitchen,” Krakowski joked. “She is known as the greatest homemaker of Amherst, in all of New England. My friends who know me very well are like, ‘We can t believe 90 percent of your scenes are in a kitchen.’” Fortunately, she was up for the challenge, not only spending most of her time in the kitchen, but even getting down and dirty in the house work.“We did it so real. We actually were plucking those chickens…. It s really hard to get it off your fingers…. You weren t just a housemaid [back then], you weren t just dusting; you were going out and killing dinner and then bringing it inside. (Photo by Apple TV+)Dickinson seems primed for the Instagram-savvy generation, but more than a history lesson, Steinfeld hopes that it empowers viewers in the way it did for her while making it. “I feel like I have this newfound fearlessness that I always knew was inside of me,” she said. “After playing this character, I feel like there s nothing wrong with saying what s on your mind and speaking your truth. I hope that young girls can see the show and feel that sense of fearlessness and bravery and wit and beauty that comes with doing what makes you feel good.”Dickinson season 1 is now available on Apple TV+.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
cod9攻略 he next two years will involve 50 percent women. As many in the crowd stood up to applaud, King challenged those in positions of power, and not just in the entertainment industry, to do the same.Green Book Wins Best Screenplay and Best Film – Musical or Comedy Leaves Some Heads ScratchingIn one of the biggest surprises of the night, Green Book took Best Screenplay over Vice, If Beale Street Could Talk, The Favourite, and Roma, all of which were favored over the Peter Farrelly film. Especially Roma, which would go on to win Best Foreign Language Film. Farrelly co-wrote Green Book with Brian Hayes Currie and Nick Vallelonga. And then, in an arguably equally big surprise, the movie won the Best Film – Musical or Comedy Award, beating out The Favourite, which had been, well, the favorite.Christian Bale s Burrito and Banana Get Internet GooglingIn one of the night s most entertaining speeches, Christian Bale accepted his Best Actor – Drama award for Vice and thanked his children Burrito and Banana (he also thanked Satan, for the inspiration). Burrito and Banana? His kids? The Internet was confused, but excited. Bummer that it turns out they re not the actual names of his kids, but nicknames.I really want Christian Bale’s kids to be named Banana and Burrito, but sometimes life’s not fair. #GoldenGlobes Franklin Leonard (@franklinleonard) January 7, 2019Jeff Bridges gets Cecile B. deMille Award, Goes Full “The Dude,” And Makes “Tag, You’re It” a New MemeWe ll just leave this here without comment (make sure you have some time in your hands).
(Photo by Universal Pictures)What s better than a love story set against the backdrop of the holiday season? How about 10 interconnected love stories set against the backdrop of the holiday season, populated by an A-list ensemble cast and directed by the man who brought us charmers like Four Weddings and a Funeral and Bridget Jones s Diary? Thanks to Richard Curtis and stars like Hugh Grant, Colin Firth, Keira Knightley, Emma Thompson, Alan Rickman, Laura Linney, and many more, 2003 s Love Actually has bred a generation of adoring fans who count the film among their regularly scheduled holiday programming. That said, the movie s collection of romances has inspired no small amount of criticism over the years, and not just from joyless Grinch types, either. Some of the characterizations and relationships portrayed are, let s say, questionable in nature, and for some, no amount of cheeky Christmas-themed cheer is going to cut through that.Of course, this means it s up to us and you to settle another Christmas movie debate here on RT. Is Love Actually a modern Christmas classic, or is it just a problematic mess of a film? We present an argument representing each side of the debate from a passionate RT staffer, but it s up to you to make the call. Read on and vote below!Yes, Love Actually Is All Around!(Photo by Universal Pictures courtesy Everett Collection)Let’s first get this out of the way: Love Actually is at times terrible, actually. And it is, almost all the time, problematic. We will not go point-for-point refuting the online thinkpieces that break down all the ways it is so, because we agree. Does it fat-shame Martine McCutcheon’s Natalie and Aurelia’s sister (a.k.a. “Miss Dunkin’ Donut 2003” and woman no one could ever possibly marry)? Abso-bloody-lutely. Is Andrew Lincoln’s Mark really just a terribly dressed stalker? Yes: Call Scotland Yard! Does just about every thread contain some iffy, arguably misogynistic undertones? Kinda, actually.But here’s the thing: as the Internet has taught us, all your faves are problematic – but that doesn’t mean we have to cancel them in their entirety. Rather, as Molly Ringwald showed in her recent essay for the New Yorker on The Breakfast Club, enlightenment allows us to grapple with past pop culture, to criticize and dissect it and call out its failings, even as we remain attached to elements of it. These things are complex. Because for all the glaring issues with Love, Actually, the movie has huge globs of earnest heart (we’ve all been as lovesick as Sam), soaring moments of joy (spontaneous wedding performance!), and Emma Freaking Thompson giving us all the feels. Plus Bill Nighy. Plus the nude couple. Plus “All I Want For Christmas Is You.” Plus Mr. Bean. And on and on. And most of all, it makes a sh ton of people happy as hell every December – people of all backgrounds and shapes. Should we consign it to the trash, like so much torn-up wrapping paper? To do so would be to deny people their annual Love, Actually pleasure, and to shut down the exact kinds of healthy conversations about art that have led the world to reassess its merits.No, It s a Festering Turd(Photo by Universal Pictures)Before anyone starts pointing fingers, it’s not feminism that made Love Actually unsexy. It’s the film’s own misunderstandings of romance and attraction that make it problematic and, in many ways, revolting. Despite what Love Actually tries to tell you, it’s not cute to stalk your best friend’s beau, or your secretary (or your boss), or your housekeeper. Nor is it romantic to objectify your crush, or funny to fat-shame anyone. Also, it’s absolutely uncool to shame men for having emotions. (The next person to call anyone a “sissy” is getting coal in their stocking.)“Who do you have to screw around here to get a cup of tea and a chocolate biscuit?” is an actual line spoken by the Prime Minister in Love Actually. But never fear, his assistant is right around the corner to answer his demands for snacks! Later, he goes to her house to profess his love for her — but “he” is Hugh Grant, so it’s… supposedly less creepy? (Hint: It’s still inappropriate; he’s her boss.)And don’t even get me started on the British boy seeking a “good shag” in the United States. Maybe Love Actually was trying to make a point about hyper-sexualization in American media (British pot, meet American kettle), but in order to pose such a critique, it would have had to actually be critical. Instead, it lets predatory men gawk at cardboard women — stand-ins for women with professional lives and actual personalities — over and over again. It’s meant to be funny, but again, it’s just cringeworthy.Love Actually so desperately tries to create endearing plots for each of its celebrated cast members that it reduces each of them to outdated, now-embarassing tropes. Love Actually is no classic; it’s a relic of problematic rom-coms past. I watched every BOND film multiple times, expect SPECTRE.Even the very worst Bond films were highly watchable and mostly enjoyable, not in any particular order:DIAMONDS ARE FOREVER (might be my least favorite)LIVE AND LET DIE (felt low budget, but I enjoyed the silliness)NEVER SAY NEVER AGAIN ( a poor remake of my favorite THUNDERBALL)OCTOPUSSY-(Silly but kind of fun)VIEW TO A KILL-( kind of slow and boring but some good stunts and Roger Moore was impressive considering his age here)FOR YOUR EYES ONLY (Serious to the max, ski sequences, reminiscent of the superior ON HER MAJESTIE S SECRET SERVICE)MOON RAKER- (silly fun, and enjoyable, but considered one of the worst)LIVING DAY LIGHTS (Dalton was a very serious BOND, especially after MOORE, a bit slow, but still liked it)LICENSED TO KILL ( Very tough Dalton, fast moving, but felt like a really good cop show on TV not a Bond movie)TOMORROW NEVER DIES- (A bit dull , but enjoyable nonetheless)WORLD IS NOT ENOUGH- ( Over the top , but again quite likeable)QUANTUM OF SOLACE- (Some boring stretches, but again watchable)My favorites again not in any particular order:DR NO Very satisfying debut , even without the high budget and gadgets. Featuring my favorite Bond girl Ursula Andress. Connery looked quite young, but looked experienced already.FROM RUSSIA WITH LOVE- Epic entry, the higher budget shows. Considered by some as the most original BOND film ever. Well it was only the second film so it should be original. GOLDFINGER- Most overrated Bond film. I enjoyed it to a point, but the hype for it let me down. Too slow and dull. I liked the action much more in every other 60 s Bond Film. But this is considered the best by many. Connery looked very handsome here and the female villains were extremely sexy.THUNDERBALL- My personal favorite, exactly for the reason some found it slow. The underwater action was stunning. And the action on land was fantastic. Connery never looked more handsome and he was simply the perfect BOND here. The girls were gorgeous too. Scenery of the Bahamas was magnificent.YOU ONLY LIVE TWICE- My least favorite of the good Connery Bond films, but still fun. Connery did not look handsome here, strange because its only 2 years after his peak THUNDERBALL.He didn t look so interested. I guess that s why he wanted to end it here.ON HER MAJESTIE S SECRET SERVICE- Lazenby was solid as Bond and the film was well made, but had ta bit too many slow spots. But the action sequences were best yet and more than compensated for the few slow spots. . Loved it all in all. Very underrated.MAN WITH THE GOLDEN GUN- A bit slow, but enjoyable.SPY WHO LOVED ME-Fastest and most impressive Bond film starring Moore. I would say my second favorite Bond film after THUNDERBALL Fun Fun Fun, every minute.GOLDEN EYE- Fantastic action, great debut for Brosnan.DIE ANOTHER DAY-My favorite starring Brosnan, and better than any of Bond 90 s movies Lots of fun and felt like the most expensive budget for a Bond film to this point. Great way to start the new century. CASINO ROYALE- Tough Craig was impressive. Not light or humorous like previous entries, but fast moving and enjoyable. SKY FALL-Epic in the way DIE ANOTHER DAY was. One of my all-time favorite Bond films.
cod9攻略 (Photo by 20th Century Fox.)All Alien Movies RankedEver since 1979, when Ridley Scott blasted the haunted house formula into deep space, the Alien franchise has been synonymous with brooding atmosphere, strong female leads, eye-covering gore, grotesquely magnificent set design (as originally envisioned by H.R. Giger), and films that just overall ooze with style, along with whatever else that drips out of a Xenomorph s mouth. In 1986, James Cameron turned the series into an action epic; subsequently, any sequel that tries the same route now gets called the Aliens of whatever franchise. David Fincher and Jean-Pierre Jeunet had their controversial and trouble moment in the series, and then two Rotten Predator-related spinoffs convinced Scott to return with mythological prequel Prometheus and back-to-basics Covenant. See how they all stack as we rank all Alien movies by Tomatomter!