John Rambo. John McClane. John Wick. The last one joined the other two in the Action Hero Hall of Fame with just his first movie back in 2014. Now he’s up to a trilogy with John Wick: Chapter 3 — Parabellum heading to theaters this month. The question is, will this threequel match Chapter 1 and Chapter 2 in the eyes of critics (87% and 89% on the Tomatometer, respectively) and fans? From the first reactions on social media, it sounds like yes to both parties. If you love this franchise, its intense action, and its love for dogs, sounds you shouldn’t be disappointed.Here’s what the critics are saying about John Wick: Chapter 3 Parabellum:So, is it as good as the first two John Wick movies?“Action wise, it’s the best of the franchise with a great mix of gun and hand to hand combat.” Josh Tapia, Screen Junkies Fanny and Alexander (1982) 100% I d like to say that the television version that s longer is better than the version that was in movie theaters. Bergman s my favorite filmmaker, if I had to choose. It s very much a culmination of most of the themes and motifs of his career that appears as a physical personification in the very beginning of the film, similar kinds of ghosts that Bergman explored in the past. He has his love for the theater and puppetry and there s moments of hope and joy, but it also just reminds you that humans have certain demons that they can t ever escape. It s really rich and it touches on so many things about what it is to be human that it s really quite remarkable. And as with every Bergman movie, there s not a moment of bad performance to be found.But I think that the first episode, if you were to watch the TV version, is just Christmas with a family. A long episode of getting to know a family at Christmas. And I was talking with [Home Alone director] Chris Columbus about Christmas in movies and he was explaining how it s just a time of heightened emotions for everyone. So that s a really clever way to learn about this family and all of their dynamics super deeply, by beginning at Christmas. And the first time you watch it, you re kind of like, Where is the story? What is this? This is just Christmas. And then the next episode, the plot begins but you ve gotten to know this family incredibly closely and so then you re just so invested with them through the rest of the film.Also, like The Lighthouse, it has some fart jokes.
2018 was a big year at the box office – perhaps the biggest ever – and a big year on the Tomatometer, with the likes of Cobra Kai, Paddington 2, and more scoring 100%, and hundreds of movies and TV seasons going Certified Fresh. It was also a big year for movie and TV news – the Academy threatened to add a new category and Stan Lee passed, while scandal threw the Guardians of the Galaxy franchise into disarray and kicked Roseanne out of her own show. And it was a big year for movie and TV news-makers: Crazy Rich Asians, Black Panther, and more all made history. With an eye on the Tomatometer, as well as the headlines, the box office, the streaming wars, and the titles that captured people s imaginations and hearts, we vee rounded up the biggest and best moments in the year for film and TV. Check them out below, and let us know the big moments you think we ve missed in the comments.Sundance Kicks Off a Huge Year for First-Time Directors(Photo by © A24)It was a strong year for first-time directors, with Bo Burnham kicking things off at Sundance with the premiere of Eighth Grade. The at-times hilarious, at-all-times excruciatingly awkward story of eighth-grade outcast Kayla sits at 99% on the Tomatometer and star Elsie Fisher recently earned a Golden Globe nomination for Best Actress in a Musical or Comedy. Boots Riley’s bizarre, Kaufman-esque comedy Sorry To Bother You also premiered at Sundance, along with Blindspotting, directed by Carlos Lopez Estrada and co-written by Hamilton’s Daveed Diggs and Rafael Casal; both films went on to win continued acclaim and accolades for their casts and filmmakers. Actors Bradley Cooper (A Star Is Born) and Paul Dano (Wildlife) made impressive debuts, while Pitch Perfect writer Kay Cannon showed she’s as strong behind the camera as she is behind the laptop with the comedy Blockers. Meanwhile, two of the year’s most skillful suspense-drivers – horror hit Hereditary and missing-girl techno-thriller Searching – came to us via first-timers Ari Aster and Aneesh Chaganty, respectively, while Night Comes On (100% on the Tomatometer) marked the arrival of Jordan Spiro.It s “Wakanda Forever” at the Box Office(Photo by © Marvel Studios)In mid-to-late January, box office watchers began to notice that Black Panther was tracking well. Really, really well. They began to predict an million opening. And then a 0 million opening. By the week of its release, with online pre-sales soaring beyond expectations, some prognosticators were predicting a bigger opening than Thor: Ragnarok. And indeed, they were right. But BP opened even bigger than that, launching with a 2 million weekend – and 1.9 million across the full four-day President’s Day weekend – and going on to earn 0 million domestically, .347 billion globally, and become the ninth highest-grossing movie ever. It was huge. The film was also good: Black Panther sat at 100% on the Tomatometer for a solid stretch in the days before its release, leaving some to hope it might be the first “perfect” superhero movie. Alas, it would go on to land a handful of Rotten write-ups, but its eventual 97% Certified Fresh score still makes it the best reviewed superhero movie of all time. Eight months later, with the catchphrase “Wakanda Forever” firmly a part of pop culture and director Ryan Coogler signed on for a sequel, the film is generating serious Oscar buzz. “First superhero movie to be nominated for Best Picture”? We wouldn’t bet against this record-breaker.A Quiet Place is the best and biggest horror movie of the yearSouth By Southwest audiences have a reputation for being a little extra: they whoop and holler at screenings and occasionally bring a little too much inflated hype home with them from Austin. So you could have been forgiven for dismissing the “OMFG” reactions to A Quiet Place coming out of the festival. But the hype was real. John Krasinski’s horror film, hinging on that ingenious “don’t make a sound” conceit, was a game-changer: a terrifying no-holds-barred action-horror ride; the fourth highest grossing horror movie ever at the U.S. box office; and, at 95% and Certified Fresh, the best-reviewed horror film of the year. Naturally, Krasinski is busy writing the sequel, which early reports suggest could focus on a different group of survivors.“Mr. Stark, I don’t feel so good…”Eight months later and we’re not over it Thanos s universe-halving snap. Bring on Endgame.Cobra Kai Certified Fresh at 100%YouTube began producing its own original scripted content in 2016, but it didn’t reach mainstream status until the launch of Karate Kid sequel series Cobra Kai — and its universal praise from critics — in May 2018. (That it was called “YouTube Red” until that same month, when it became the less-porny “YouTube Premium,” probably didn’t help.) Cobra Kai’s first season is Certified Fresh at an impressive 100% on the Tomatometer, putting the platform’s other series, including the cheeky comedy Ryan Hansen Solves Crimes on Television, director Doug Liman s Impulse (based on the Jumper book series), and the Tom Felton–starring sci-fi drama Origin on the critical map.The title s first season was only one of 12 TV seasons Certified Fresh at 100% in 2018 (of 79 overall), but its impact on the perception of YouTube as a serious scripted-series producer was huge.Netflix Becomes the Rom-Com KingThe resurgence of romantic comedies in 2018 is indisputable (see: Crazy Rich Asians), and while there are plenty of outside reasons why the genre is beginning to thrive again (a turbulent worldwide political atmosphere, an alternative to tentpole releases with sky-high budgets, etc.), the surge has also been helped in large part thanks to Netflix’s investment in it. The streaming service, in an attempt to beef up its own original film offerings, leaned in to the rom-com this year — to varying degrees of success. Its first breakout hit of 2018, The Kissing Booth, is Rotten at 13%, while summer sensation To All the Boys I’ve Loved Before is Certified Fresh at 96%. Similarly, Kristen Bell’s Like Father is Rotten at 48% (though it s less a rom-com than a daughter-dad–com), at while the hit Set It Up (starring Lucy Liu, Taye Diggs, Zoey Deutsch, and Glen Powell) is Certified Fresh at 90%. Other Fresh 2018 rom-coms from Netflix to add to your queue: The Guernsey Literary and Potato Peel Pie Society, Alex Strangelove, Happy Anniversary, Ibiza, and Sierra Burgess Is a Loser.Brooklyn Nine-Nine, The Expanse, and More Fan Favorites Saved from CancellationIt didn’t take a mass-mailing of hot sauce or nuts to TV executives (see: early 00s canceled-too-soon series Roswell and Jericho) to save series in 2018 — just deeply passionate fan bases with Twitter accounts (and some advantageous behind-the-scenes business dealings). During TV’s annual May culling, Fox canceled fan-favorite comedy Brooklyn Nine-Nine after five seasons — and massive social media outcry followed. Mere hours later, NBC — whose studio, Universal Television, produces the series — announced it had picked up the show for season 6. Similarly, a month after Fox axed its comic book dramedy Lucifer, Netflix announced it had picked up the series for a fourth season. And Syfy’s cancellation of space drama The Expanse lasted only a few weeks, with Amazon founder, chairman, and CEO Jeff Bezos announcing at May’s International Space Development Conference that the series will return on Amazon Prime for season 4.Roseanne Fired, The Connors Is Born(Photo by ABC/Robert Trachtenberg)ABC’s decision to revive one of its biggest-ever sitcoms sounded, on the surface, like a no-brainer. Roseanne’s massive season 10 ratings seemingly reinforced that decision (it ended the 2017-2018 TV season as the No. 3 show in overall viewers and No. 3 in the advertisers’ most coveted 18-49 demographic). But the titular star’s history of racist statements raised a gigantic red flag for many in discussing the revival, though did not prevent the series from moving forward. It was a May tweet about former senior White House staffer Valerie Jarrett that proved to be the line for the Disney-owned company, which immediately canceled the series. Weeks later, it greenlit a Roseanne Barr–less spin-off, The Conners (Barr does not have any involvement in the new series, financial or otherwise) that debuted to solid, though not Roseanne-level, ratings.Mr. Rogers Heralds the Year of the Doc(Photo by Jim Judkis/© Focus Features)This was the biggest year for documentaries at the box office since 2004. Back then, the big driver was a single film, Michael Moore’s incendiary anti-Bush documentary, Fahrenheit 9/11; in 2018, the was shared among a large crop of critically-acclaimed biographical documentaries, the highest-earning of which was the Fred Rogers bio-doc, Won’t You Be My Neighbor?, released in June. (That film was also one of the best-reviewed features of the year, currently sitting Certified Fresh on 99%.) Other big earners were RBG, the Ruth Bader Ginsberg documentary (94% on the Tomatometer); CNN Films’ Three Identical Strangers (96%); rock-climbing thriller Free Solo (98%); and Kevin Macdonald’ Whitney (88%), which dives into the life of late pop singer Whitney Houston and which made headlines for its shocking revelations of child abuse.James Gunn Out of Guardians FranchiseOne minute, writer-director James Gunn was Instagramming the cover of his just-finished Guardians of the Galaxy Vol. 3 script; the next Disney was booting him from the project and throwing the future of the mega franchise into doubt. You will likely recall the reasons: A series of Gunn’s years-old inappropriate tweets resurfaced in July and, under pressure from various groups and in an effort to maintain that squeaky-clean Mouse House image, Disney and Marvel decided to cut ties. Guardians cast members came to Gunn’s defense, but it was not enough; fans are still none-the-wiser as to whether the project is moving forward, and if it is, whether Gunn’s script will be used. Marvel’s loss would ultimately be DC’s gain, with Gunn jumping on board Suicide Squad 2 as writer just a few months later, a move many fans applauded. If anyone can work magic on the story of a rag-tag bunch of shouldn’t-be-heroes, it’s Gunn.Crazy Rich Asians Has a Gold Run(Photo by © Warner Bros. Pictures)Writer Kevin Kwan and director Jon M. Chu turned down offers from Netflix to adapt Kwan’s books for the streaming service, saying they felt the movie had to be shown in theaters – they wanted Asian audiences to see themselves reflected on the big screen. The gamble paid off. Not only was Crazy Rich Asians — the first wide-release mainstream film with a largely Asian and Asian-American lead cast in 25 years – a landmark event for representation, it was a huge financial success for Warner Bros. In the lead-up to the movie’s release, the filmmakers and cast had been encouraging audiences to turn out and create a “gold open,” and the film topped the box office with .3 million over its first five days in early August. And then the fans kept coming; CRA was one of the leggiest movies of the year, making 4 million domestically. The movie also made instant stars of Awkwafina – who would go on to be just the second Asian-American woman to host SNL – as well as Henry Golding, whom audiences got a second helping of in Paul Feig’s A Simple Favor, and who has now been cast in Feig’s forthcoming Last Christmas and Guy Ritchie’s Toff Guys. Meanwhile, the movie’s star, Constance Wu, is up for a Golden Globe Award for Best Actress in a Musical or Comedy, and Michelle Yeoh is considered an outside chance for a Best Supporting Actress nomination at the Oscars.The New Oscar Category That Wasn’tIn August, the Academy announced a number of big changes, including a shortened ceremony, the removal of a number of categories from the live broadcast, and, most controversially, the introduction of a new category that would honor excellence in popular film. The outcry was immediate and loud, with many shellacking the Academy for further ghettoizing popular filmmaking just as it seemed we were starting to see worthy blockbusters and genre movies, like last year’s Get Out, getting traction in top-of-the-line categories. It felt like a particularly poor move for this year, given that Black Panther and Crazy Rich Asians are being seen as serious contenders for Best Film nominations. Eventually, the Academy saw the light, and quietly announced they would not be moving forward with the new category. Since then, the Academy had a super-smooth year, not having to deal with any more controversies whatsoever.Shirtless Jason Statham + Giant Shark = Huge Hit(Photo by © Warner Bros. Pictures)For whatever reason, the world was in the mood for a giant shark movie in 2018. The Meg, riding a wave of clever tongue-in-cheek marketing – the “Pleased to eat you” poster was our favorite – made 0 million worldwide, making it the highest-grossing Chinese-American co-production ever. Producers behind the film have hinted that a sequel is in the works, and there are plans for a Meg-inspired theme park in China.Nic Cage Gets Wilder (Even Wilder Than Usual) in MandyThe Cage-aissance continued apace in 2018, with everyone’s favorite wild man kicking off the year as one half of a child-killing couple in Mom and Dad and following that up in September with his best performance since Bad Lieutenant: Port of Call New Orleans in horror-flick–slash-fever-dream, Mandy. The movie, which co-stars Andrea Riseborough, came out of Sundance with some well-deserved buzz and would go on to be Certified Fresh at 92%. It was Cage’s highest Tomatometer score since 1997’s Face/Off, until another film came along this December DC Universe Streaming Service LaunchesDC Comics launched its own streaming service with a big FU to Batman and the debut of its dark, violent action series Titans. The first season is Certified Fresh at 82%, and the series was renewed for a second season ahead of its debut. On the slate for 2019: live-action dramas Doom Patrol (introduced in an episode of Titans), Stargirl, and Swamp Thing, animated comedy Harley Quinn, and the return of animated hit Young Justice (Outsiders premieres January 4, 2019).Venom and Bohemian Rhapsody Divide Critics and Audiences, Conquer Box OfficeThose who sniggered at the Venom trailers – and yes, that includes a couple of us here at RT – might have to eat wind-swept turds come New Year’s Eve. That’s because the film, which many critics have called a total mess when it opened in early October, is now one of the biggest movies of the year, making 4.5 million worldwide (so far). It is also one of the most divisive movies of the year, with a Tomatometer of just 28% but an Audience Score of 85%. As we said in one recent article, we’re not picking sides – Venom was kind of a blast, thanks in no small part to the efforts and charm star Tom Hardy, and we’re as excited for any potential sequels as you are. Another film that split critics was Bohemian Rhapsody, which hovered in Rotten territory until around the time of its release in November, and remains just barely Fresh at 62%. Audiences however, have dubbed it a triumph, giving it an Audience Score of 90% (!) and helping the film make 7.1 million at the global box office so far.The Spectacularly Spooky Haunting of Hill HouseIn a TV landscape with nearly 500 scripted series airing in 2018, a seemingly low-profile horror drama series based on a 1959 novel isn’t necessarily the first natural candidate for one of the biggest breakout series of the year. But Netflix s tense, spooky take on Shirley Jackson’s Gothic horror novel The Haunting of Hill House from genre vet Mike Flanagan combined a top-notch ensemble cast and groundbreaking filmmaking techniques for a genuinely scary haunted-house tale.Netflix Axes Its Marvel Series(Photo by Sarah Shatz/Netflix)With Disney’s streaming service, Disney+, set to launch in 2019, the company has begun to streamline the platforms where its content is offered. That means the Marvel-Netflix partnership, which included Daredevil, Jessica Jones, Luke Cage, Iron Fist, and team-up miniseries The Defenders, is on its way out. While not initially announced as a limited event, The Defenders turned into a “miniseries,” and on successive Fridays in October, the streaming service canceled Luke Cage and Iron Fist. Daredevil followed about two months later. (By the way, while critics panned Iron Fist upon its debut, earning the first season a Rotten 19%, the second season saw a vast improvement, breaking a Tomatometer record for the biggest season-over-season bump ever at a nearly Fresh 57%. And both seasons of Luke Cage were Certified Fresh at 94% and 83% respectively.) The only two series that remain are the already-filmed third season of Jessica Jones and season 2 of Daredevil spin-off The Punisher, set to be released in 2019.He Just Wants To Take Another Look at You(Photo by © Warner Bros. Pictures)Anyone skeptical that Bradley Cooper was hiding serious directing chops or that Lady Gaga was a movie star in the making was likely converted into true believer when A Star Is Born opened in theaters in early October. After debuting at Venice and playing Toronto, the movie immediately jumped to the front of many awards pundits’ “most likely” lists, and is still heavily favored in the Best Picture, Best Director, and Best Actress categories. Star had box office legs, too, opening with a huge million, despite being up against Venom that first weekend, and eventually crossing the 0 million mark. But perhaps the biggest measure of the movie’s success is its level of meme-ification. We watched on here at Rotten Tomatoes HQ as Gaga stans @-ed us on Twitter with bizarre and hilarious GIFs showing Gaga with dancing Fresh tomatoes, while the internet did its work with the “Just wanna take another look at you” line, and that Gaga smile. It only takes one GIF-maker to believe in you, we guess.Halloween Rejuvenates Slasher GenreWhen Jamie Lee Curtis took the stage following the world premiere of Halloween at the Toronto Film Festival in September, she got a rousing standing ovation. It wasn’t just her typically awesome greeting – “Happy Halloween, motherf—kers!” she said, strutting onto the stage – nor was it the late-night delirium that follows a scary midnight screening (the audience was still amped). It was that the movie had delivered. Director David Gordon Green had created a direct sequel to John Carpenter’s original that was scary, funny (some would say too funny), and which ultimately drove a stupidly large kitchen knife through the heart of toxic masculinity, as wielded by three generations of tough-as-f k Strode scream queens. The movie would eventually be Certified Fresh, and open to nearly million. That was, Curtis pointed out in a viral tweet, the biggest ever opening for a horror movie with a female lead, the second biggest October opening ever, and the biggest opening ever for a movie with a lead over 55. No dou亚博游戏客服Part of what marginalization from cinema does to the self-perception of an underrepresented community is that it tricks us into believing we were absent from its larger history. But though equity remains distant – especially when thinking about the greater diversity within a single ethnic group – our work has long uplifted and helped evolve the art form.Pioneers of Hispanic descent in the United States have been lending their wide-ranging talents to the medium of film since its earliest days in ways that have impacted the dominant culture. On the occasion of Hispanic Heritage Month (September 15-October 15), we are celebrating some of these groundbreaking mavericks who, through their craft and vision, accomplished boundary-pushing firsts in their field or dared to go against the current of established conventions and laid the foundation for others to follow in their steps.These 10 names can’t fully encompass the breadth of more than a century of contributions, but their momentous triumphs provide a sense of our outsized contribution to and influence on cinema. Read about their accomplishments, and then see what critics have had to say about their work.This article was done in conjunction with the RT Archives project, for which our curators dig through historical catalogs and other sources to find contemporaneous reviews for movies released since the birth of cinema. Beatriz Michelena(Photo by Public Domain)While her career in the movies was brief, Venezuelan-American star Beatriz Michelena captivated both the press and audiences during the silent film era, specifically in the 1910s. Her debut performance in 1914’s Salomy Jane, as a woman after revenge, launched a streak of successes. Before the decade was out, she had starred in 16 features playing roles that challenged the conventions for women at the time that featured horseback riding and fight scenes. Beyond her allure in front of the camera, she was also an entrepreneur, deeply involved in the moviemaking process, who eventually became the co-owner of a studio, the California Picture Company, with husband George E. Middleton. No picture since motion pictures came into being has more of beauty, action and heart interest than this masterpiece at a single bound Beatriz Michelena, the star of the Western idyl, has assumed a place second to none as a motion picture actress. Review of Salomy Jane from San Francisco Chronicle, Dec. 8, 1914Bill Melendez(Photo by © Ted Streshinsky/CORBIS/Corbis via Getty Images)An animation legend like few others, Bill Melendez was born in Hermosillo, Sonora in northern Mexico but raised in Arizona. Early in his career as an animator, he was involved in some of Walt Disney Animation Studios most iconic 1940s features, including Pinocchio, Bambi, and Dumbo. Yet, his most substantial contribution to the medium and culture at large was ushering Charles Schultz’s Peanuts comic strip characters from the pages to the screen with the blessing of the creator. Over a 50-year career, he directed numerous television specials featuring the gang, most notably the classics A Charlie Brown Christmas and It s the Great Pumpkin, Charlie Brown. (He is directing young voice actors for the latter in the photo above.) Director Bill Melendez concentrates on atmosphere more than anything else; he sets up unrelated jokes, or simply enjoys watching the autumn leaves fall gently to the ground. Review of It s the Great Pumpkin, Charlie Brown by Jeffrey M. Anderson, Combustible CelluloidRoberto Gavaldón(Photo by courtesy the Everett Collection)A prolific director during the Golden Age of Mexican Cinema who worked with some of the era’s most prominent stars, Roberto Gavaldón began his career in film as an extra for studio productions in Los Angeles. Upon returning to Mexico in the 1930s, he climbed his way to the director’s chair wearing many hats behind the scenes. In 1955, after success at home, Gavaldón directed his only American film, The Littlest Outlaw, which was a Disney production with an all-Mexican cast lead by Pedro Armendáriz. His 1960 effort Macario, grounded in the Day of the Death tradition, became the first Mexican film to be nominated for the Best Foreign Language Film Oscar. Director Roberto Gavaldón takes this basic situation and weaves skillful action, centering his story on Andres Velasquez, whose performance has seldom been equaled by a child thesp in point of appeal. Review of The Littlest Outlaw by Whitney Willaims, Variety, Dec. 21, 1955George A. Romero(Photo by © Orion/courtesy Everett Collection)The influence of Night of the Living Dead in horror cinema is so immeasurable that it’s difficult to conceive it was George A. Romero s first film. Considered the father of zombie movies, the visionary artist, whose father was Spanish, made that defining production with a minuscule budget through a production company he founded with friends: Image Ten. With his subsequent output in the genre, Romero built a catalogue of brilliantly disturbing fantasies that includes The Crazies, Dawn of the Dead, and Creepshow. Presumed lost for decades, his 1973 film The Amusement Park was ultimately undead : Restored from a 16mm print unearthed in 2017, it was finally released earlier this year, almost half a century later. Night of the Living Dead gets through by tapping some real apprehensions A true piece of modern American gothic, the film has the wit to use horror instead of being used by it. Review of Night of the Living Dead by Penelope Houston, The Spectator, June 20, 1970Gregory Nava(Photo by ©New Line Cinema/courtesy Everett Collection)Responsible for some of the most emblematic and beloved movies about Hispanics in the U.S., director Gregory Nava has repeatedly broken new ground. Although best known for My Family, an ensemble epic across borders that deals with the mass deportations of people of Mexican descent in the late 1920s and 1930s, and Selena, a biopic on the late Texan singer that catapulted Jennifer Lopez’s acting career, his 1984 drama El Norte made history. The lyrical story of two Guatemalan immigrants in Los Angeles was nominated for an Academy Award for Best Original Screenplay, and it’s one of the few films by a U.S.-born Hispanic director to be part of the National Film Registry and the Criterion Collection. The film is sweet but never cloying. The continuity doesn t break because the actors all excellent convincingly resemble the others who played the same characters in the past. [Full review in Spanish] Review of Mi Familia by Rene Jordan, El Nuevo Herald (Miami), May 9, 1995Joseph B. Vásquez(Photo by © New Line/courtesy Everett Collection)For Afro-Latino writer-director Joseph B. Vásquez, filmmaking came into his life when he got his hands on a Super 8 camera at the age of 12. Fighting his own battles with mental illness as a child raised around addiction, he turned his creative lens to the complexities of life in the South Bronx, first with projects he developed by sheer determination. The pinnacle of this thematic exploration came with Hangin with the Homeboys, a semi-autobiographical work produced by New Line Cinema that drew from his own experiences as a biracial young man in NYC. (A portrait of the cast is seen above.) The comic drama, which won the Screenwriting Award at the 1991 Sundance Film Festival, starred John Leguizamo in one of his first major roles and follows a diverse group of friends. Vasquez open-hearted view toward his characters redeems even the hoariest clichés of this otherwise engaging and admirable addition to the guys-night-out sub-genre. Review of Hangin with the Homeboys by Gene Seymour, Newsday, May 24, 1991Lourdes Portillo(Photo by Amanda Edwards/WireImage)Straddling the culture line between Mexico and the United States, documentary filmmaker Lourdes Portillo has aimed her inquisitive gaze at social justice issues across the Americas since the late 1970s. For her 1985 feature, The Mothers of the Plaza de Mayo, which focuses on a group of fearless women demanding answers from the Argentine government about their disappeared loved ones, she received an Academy Award nomination for Best Documentary as co-director with Susana Blaustein Muñoz. Portillo’s profoundly personal and artistically bold work The Devil Never Sleeps, which chronicles the mysterious death of her uncle, premiered at the Sundance Film Festival in 1995. [Lourdes Portillo] manipulates her film intercutting it with Mexican soap operas, projecting interviews onto the frames of sunglasses to point to the melodrama her family mystery has become. The effect is breathtaking. Review of The Devil Never Sleeps by Hazel-Dawn Dumpert, L.A. Weekly, Nov. 2, 1995Patricia Cardoso(Photo by eff Kravitz/FilmMagic, Inc)A native of Bogota, Colombia, Patricia Cardoso had a previous existence as an anthropologist before venturing into cinematic storytelling. In 1996 she became the first Hispanic woman to win a Student Academy Award for her short film The Water Carrier. That milestone was followed by what would become her most notable work to date, the coming-of-age story Real Women Have Curves. Telling a cross-generational saga centered around Mexican-American women, this landmark film – recently added to the National Film Registry – was based on the play by Josefina Lopez and gave America Ferrera her first-ever role. (The director is pictured with Ferrera above.) Cardoso also became the first Hispanic woman to win the Sundance Audience Award for this singular take on womanhood. Firmly entrenched in Mexican American culture without the insistent need to be about the culture, it s one of the best Latino films ever made. Review of Real Women Have Curves by Omar L. Gallaga, Austin American-Statesman, Oct. 25, 2002Ramón Menendez(Photo by © Warner Bros. / courtesy the Everett Collection)Cuban-American director Ramon Menéndez s first behind-the-scenes credit was as an assistant director on Oliver Stone’s Salvador. His breakthrough came in 1988, helming Stand and Deliver, a moving drama about real-life teacher Jaime Escalante that earned Edward James Olmos an Oscar nomination. For his work, Menendez won two Independent Spirit Awards for Best Director and Best Screenplay (with co-writer Tom Musca). This inspirational tale, now in the National Film Registry, also won the prize for Best Feature and has become a staple at schools across the nation. Menendez was also one of the screenwriters behind Tortilla Soup, a heartfelt comedy about a Hispanic chef and his three daughters that became a box-office success. Director Menéndez has skillfully captured both the school and the kids home environments. Nothing is prettified. We are given barrio life in its beautiful-ugly rawness. Casting choices for the kids are generally brilliant. Review of Stand and Deliver by Ruben Martinez, L.A. Weekly, Mar. 17, 1988Robert Rodriguez(Photo by ©Columbia Pictures/courtesy Everett Collection)Back in the early 1990s when El Mariachi was released, the story of its making (with a jaw-droppingly modest price tag of ,000) instantly put the spotlight on Robert Rodriguez for being a fiercely resourceful talent in independent cinema. The feat had even greater value considering his action-packed debut was in Spanish and shot in Mexico. Since then, the Mexican American director has continued to dismantle preconceptions about what Hispanic stories can be with the success of the Spy Kids franchise and titles such as Sin City and Machete. Throughout his many projects, he’s made it a mandate to cast U.S. born Hispanics as well as Latin American and Spanish talent, helping names like Salma Hayek and Antonio Banderas break into the Hollywood machine. [Robert Rodriguez s] brio is infectious – not just because he s so willing to try anything but because he has a born comedian s superb sense of timing. For all its gunplay and dead bodies, his movie works like an expertly honed stage farce. Review of El Mariachi by Eleanor Ringel Cater, Atlanta Journal-Constitution, May 14, 1993With additional research by Tim Ryan and Sara AtaiiyanOn an Apple device? Follow Rotten Tomatoes on Apple News.
Birds of Prey (And The Fantabulous Emancipation Of One Harley Quinn) has been something of a question mark since filming first began. Would it continue ideas from 2017’s Suicide Squad? Would it be the quiet reboot of DC’s film universe that began in Wonder Woman? And, perhaps the most important question to fans of the Birds of Prey comic, would Harley take Barbara Gordon’s place as the founder of the team?Many of these questions are answered in the first proper trailer for the upcoming film, in which Harley (Margot Robbie) returns to Gotham City and finds a group of women also in search of a new direction. And since Robbie used Harley to get the Birds of Prey film out of development hell, the trailer is definitely more skewed toward her character. Nevertheless, we may have picked up a few things about the other Birds of Prey. Let’s take a look at what we uncovered from the trailer.Harley and Mistah J Are Kaput(Photo by Warner Bros. Pictures)While we’ve always known the film would focus on the end of their relationship, the trailer seems to confirm the split will take place off screen. It makes a certain amount of sense, as Joaquin Phoenix’s Joker is about to supplant Jared Leto’s take on the clown in moviegoers memories. At one time, their break-up was planned to span the Suicide Squad sequel, a Harley and Joker film, and separate films of their own. Bird of Prey moves all of that to a nice, nebulous past. Which, honestly, is for the best.For readers of DC s main comics universe, the pair have not been together for a good long time. But as the pop culture perception of these characters is always a reboot or two behind, a movie entirely about Harley discovering she can stand on her own is a genuinely compelling idea, even if it is taking place inside a Birds of Prey film. It also echoes the character’s ascent from Joker’s gun moll on Batman: The Animated Series to a strong presence in her own right with a long-standing comic book series and a dedicated legion of fans.Hopefully, those fans will want to see the story of Harley’s emancipation told this way.Black Mask Wants To Possess Harley(Photo by Warner Bros. Pictures)But as the break-up is clearly still fresh, Harley will be going through the stages of grief as the film begins. Her explanation to Black Canary (Jurnee Smollett-Bell) of what it means to be a harlequin reflects a sense of loss – even if Harley is better off without the Joker – suggesting she may want to find some sort of salve or rebound. Enter Roman Sionis (Ewan McGregor), a Gotham City mobster also known as Black Mask.From the trailer, it is clear he becomes fascinated with her right quick. Whether that’s because she’s already inadvertently foiled one of his schemes or because he spots her in that nightclub with Canary remains to be scene. Harley’s interest in Sionis also remains to be seen, but we imagine if it happens at all, it will be short lived and it will irk Sionis’s vanity.It makes him a rather well-suited adversary for Harley. A would-be claimant to Harley’s heart is, in a screwed up way, a claimant to Joker’s place in the Gotham City underworld. And for her part, Harley would have no interest in being property in this twisted (even for her standards) game of Catan. The trailer even features her declaring that she’s the one the city should fear. But it s easy to see Sionis not taking no for an answer and escalating things to a street war in Gotham.What that means for the other Birds – as they are announced as targets by the trailer’s end – will no doubt become the focus of another trailer.The Film Maintains The Brighter Suicide Squad Aesthetic(Photo by Warner Bros. Pictures)Earlier photos and posters – and that costume test video from last year – suggested the film would continue many of the visual elements of Suicide Squad’s more striking color palette. But the trailer declares, rather boldly, that the more extreme (and Harley-inspired) tones will form the core look in Birds of Prey. And, frankly, it looks fantastic.The bursts of color in Suicide Squad were centered around Harley anyway, so the neon bright purples and intense golds totally have a place in her solo adventure. At the same time, it makes Gotham City look totally different as theme parks, night clubs, and even the Gotham City Police precinct glimpsed in trailer live in that bolder, brighter world. Additionally, we couldn’t help but notice several shots in the trailer were filmed in and around Los Angeles. Other than a handful of brief shots in The Dark Knight Rises, LA has not properly played Gotham City since the 1960s, and its immediately identifiable sprawl makes for a markedly different Gotham, one that coalesces with Harley’s poppier look quite nicely. It may not square with Gotham s traditional East Coast vibe, but it reflects her new outlook.We also imagine that aesthetic will be quite a contrast for characters like Sionis and the Huntress (Mary Elizabeth Winstead) – characters known for being a little more monochrome. You can just about see Sionis’s aesthetic in the white suit glimpsed during the shots where he has Harley and some of the other Birds strung up. Huntress, for her part, is the only person dressed predominately in black throughout the trailer.Harley Has A Sidekick (After A Fashion)(Photo by Warner Bros. Pictures)Okay, Huntress isn’t the only person in dark clothes. At various points in the trailer – most notably at the end – Harley appears to have a sidekick. The character is Cassandra Cain, an established DC Comics entity with storied ties to the Batman Family – she’s a Batgirl.Introduced during the 1999 “No Man’s Land” storyline, the character was the mute daughter of one of Batman’s mentors. After Huntress took over and subsequently gave up the Batgirl identity (for reasons too long to discuss here), Cassandra took it for herself, impressing every member of Batman’s team along the way. She eventually found her voice and continued to be Batgirl for a few years before handing the persona off to fan favorite Stephanie Brown. But that’s a story for another day.In the context of Birds of Prey, Cassandra (Ella Jay Basco) will seemingly serve as a sidekick to Harley, which sort of honors her past in the comics. But we also imagine the sidekick thing will not last long, as Cassandra finds her own identity among these would-be heroes, even if it is tempting to say concepts like heroes and villains may be too simplistic for Birds of Prey. Cassandra s history in the comics supports the possibility Harley s inadvertent tutelage may lead Cassandra in a new direction.At the same time, it is important a Batgirl be part of the Birds of Prey film in some way because, after all, it was originally a Batgirl idea.The Birds of Prey Is Harley’s Idea(Photo by Warner Bros. Pictures)About half-way through the trailer, Harley announces the only way to defeat Sionis is for her, Cassandra, Black Canary, Huntress, and GCPD Detective Renee Montoya (Rosie Perez) to team up. This may end up being the biggest point of contention for fans of the Birds of Prey comic, as the person who originally suggested the team-up to these characters was Barbara Gordon, the original Batgirl.In DC Comics continuity at the time, Barbara never recovered the use of her legs after being shot by the Joker in The Killing Joke. She retired as Batgirl, but soon found a new identity as the information broker known as Oracle. With her real identity known only to Batman, she eventually formed an informal strike team comprised of Huntress and Black Canary. As the group became more solidified – and the three shared their secret identities – other females heroes like Lady Blackhawk and Dove began working with the group.But as Batgirl does not yet exist – in any form – in the DC film universe, she cannot serve as the unifying spark for the Birds of Prey. Harley replaces her here, and while it works within the context of the film, some fans may be left wondering where Barbara is and what she is doing.And since Birds of Prey screenwriter Christina Hodson is also developing a Batgirl film for Warner Bros, it is possible Birds of Prey will tease her existence in some way.Also, while we’re talking about these characters and the comic book links, we couldn’t help but notice the first shot of Montoya featured her walking out of a squad room with what appeared to be a “last day” box of personal effects (or it could just be full of evidence). A reboot or two ago, the character infamously quit the force in disgust and began a journey which saw her becoming a vigilante known as The Question. Will the film Montoya also find herself behind a mask? As it happens, she is wearing The Question s colors throughout the trailer.Hopefully, the next trailer will tell us more about the other Birds of Prey.Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) opens on February 7, 2020.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
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6.27.5 8月喜迎His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
For All Mankind introduced a devastating tragedy with its eighth episode, “Rupture.” It was not the first of the freshman Apple TV+ series – and surely won’t be the last.Spoiler Alert: The following contains plot points from For All Mankind season 1, episode 8. The alternate-reality sci-fi series poses the question: “What might have happened if Russia had won the race to the moon?” It stars Joel Kinnaman as NASA astronaut Edward Baldwin and Shantel VanSanten as his homemaker wife Karen Baldwin. An accident strands Ed on the moon, worrying Karen to distraction and leaving his preteen son Shane (Tait Blum) lonely, eager for attention, and rebellious. In one defiant act, Shane disobeys his mother, who has grounded him, and takes off on his bike to play in a basketball game. Karen later finds out that Shane was hit by a car during that ride and must deal with the life-threatening injury without her husband.The series also stars Michael Dorman as Gordo Stevens, Sarah Jones as Tracy Stevens, Wrenn Schmidt as Margo Madison, Jodi Balfour as Ellen Waverly, Krys Marshall as Danielle Poole, Sonya Walger as Molly Cobb, Chris Bauer as Deke Slayton, Arturo Del Puerto as Octavio Rosales, and Olivia Trujillo as Aleida Rosales.The death of a child is a particularly heartrending moment in a TV show, so we caught up with series co-creator and executive producer Ronald D. Moore (Outlander, Battlestar Galactica) to hear about Shane’s death and how it folds into his plans for series, which has two more episodes left in its first season, starting with Friday’s “Dangerous Liaisons.”(Photo by Apple TV+)Debbie Day for Rotten Tomatoes: “Rupture” was a very emotional episode, and it occurred to me that in your work, you feature extraordinary people in ordinary circumstances. It flips that screenwriting convention – “an ordinary person in extraordinary circumstances” – on its head.Ron Moore: Ed Baldwin is doing this extraordinary thing … He s on the moon and he s by himself and he s in this situation and the Soviets are out there and he has no one else to deal with. And what would be the consequences of something very common a car accident killing his son back on Earth, and how that would rock his world In that sense, we were just interested in the human quality of it, that he s on another planet or he s on a moon, he s 200,000 miles away from home, and yet this very pedestrian accident happens and that it would devastate him. And that the entire sort of massive team would have to come together to figure out what to do, and do they tell him and do they not? We just really liked the idea that at the heart of it was something that just happens to people every day, that it s such an everyday occurrence. And yet to put it in this extraordinary context would be kind of unique and interesting.I like that the flight director comes up with the brilliant idea of asking his wife whether or not they should tell him.Moore: Yeah. It says something about the time, and it said something also I think even about our own kind of bias in terms of just watching it. Because you kind of assume all these official people should make that call and you kind of forget the human component of, Well what about his wife or his spouse? What about his family? How did they feel about it? Cause they re the ones going through the tragedy. And then it s not just about official NASA policy, it s about these people. And then there s an underlying current of there were three men standing in that office looking at Margo and not one of the three of them even occurred to them to talk to the wife first. And that was sort of an interesting comment on gender and roles at that time and notions that persist today as well.(Photo by Apple TV+)Margo, for me, is a really interesting character. Maybe I just identify with her being kind of a workaholic, but she s a character out of time in the opportunities that she s made for herself in that environment. And I was just wondering if you could talk a little bit about building those female characters that flout the conventions of that period?Moore: It goes back to the original concept of the show, which was, We re going to do an alternate history, and we re going to change things. And we re going to say that by losing the race to the moon, ironically good things happen to the United States and the world, and let s make it not just technological progress, let s make it societal change and cultural change and what does that mean? And he said, All right, let s tell the story of this young woman that you meet as a version of Wernher von Braun, and let s see her climb the ladder in a way that wasn t possible in that era. Who would that be? What would the qualities that you would need to thrive in the 1960s and into the ’70s and make that kind of climb? And especially if she was tutored by someone like Wernher von Braun. And we kind of said, well, She would have to literally be a workaholic. Margo said, I think in episode 8 says, You ve got to be better than the boys in order to advance the society at the time. You kind of start with that premise and then you carve out the particular character and you just say, “Who is Margo and where she s from and what are her values and what are the things that matter to her?” And this program is very important to Margo and she invests a lot of herself and self-worth into the success or failure of the space program. In her opening scene, she s sleeping in her office, and she s not just crashing on the couch; she has built an entire structure in that office that allows her to sleep. Mirrors that turn into plaques, and she s got all her things figured out in a way that they vanish and no one even knows.And she s given a lot of thought and time and energy to creating that structure for herself. And that was just an interesting comment to sort of, that s how we introduce her. And it kind of says almost everything you need to know about Margo in season 1. That s sort of where it all began.(Photo by Apple TV+)There are many extraordinary female characters in the show. Even the journey that Karen Baldwin takes. At the beginning, she embodies that ’50s/’60s housewife model. Can you talk about what showing her path means when you ve got all these extraordinary, accomplished women around her?Moore: It was an interesting question we talked about a lot in the room. If you take the stereotypical astronaut wife that we ve come to know, right? And books and television, even the magazine articles — Time certainly painted a portrait of who that person was. And now we re going to say, The world changes radically and it s going down this other path, and people like Tracy Stevens are going to become astronauts, and Margo Madison is going to ascend the ranks. OK, what happens to Karen Baldwin? What would she do and what does she hang on to? And you know, how was she forced to change? And you ll see as we get into the last couple of episodes how the death of Shane really does dynamite that whole world. At first, she was just trying to hold on to what she knew back when at the very beginning Ed’s career’s in trouble, because of what he said to the magazine.And then Karen clicks into Karen-planning-mode. Well then, you re going to go back to the Navy and this and this and this and this, because that s how Karen copes and deals with things. Then when her friend Tracy enters the program, that kind of is the fi
It is rare that the box office has an upset of the magnitude of this weekend s. It s even rarer that such a surprise victory does not come with the normal spoils one might expect from it. All the projections showed the adaptation of Stephen King’s Doctor Sleep leading the pack with a haul in the mid-20s to as much as million. Roland Emmerich’s WWII FX-laden updating of Midway was trailing even behind Last Christmas among most projections. Nevertheless, Midway bucked the odds – or the typically wrong tracking services – and pulled out a victory with .5 million, albeit one that is the lowest-grossing number 1 in November since 2012 when The Twilight Saga: Breaking Dawn Part 2 – in its third weekend and in the doldrum weekend post-Thanksgiving – grossed .4 million.King of the Crop: Midway Causes Major Upset, But Faces A Battle to Profit(Photo by © Lionsgate)Midway s surprising victory at the box office does come with some caveats. Aside from the Twilight statistic noted above, Midway’s .5 million is the lowest opening weekend for Roland Emmerich since Stargate in 1994 (.6 million) and it seems unlikely to stretch to .5 million as that film did. (Though if this weekend taught us anything, it s that we should prepare for surprises.) That would then make it Emmerich’s lowest-grossing wide release since 1992’s Universal Soldier made .2 million. It will gross more than that but in the history of November only two wide releases – not rated “G” or “PG” – have ever opened to less than million and grossed over million. They were Martin Scorsese’s Cape Fear (.09 million) and A Bad Moms Christmas (.11 million).Lionsgate can surely promote Midway as “the number 1 film in the country” this week but it is still staring down a 0 million price tag with not a lot of international appeal for its American victory tale. Michael Bay’s Pearl Harbor grossed 0 million in international dollars. Lionsgate has only had nine films make as much as 0 million overseas: four were Hunger Games films and one was the final Twilight film. (The other four Twilights were released by Summit before Lionsgate acquired them.)Rotten Returns: Dark Fate indeed, for Terminator, but its Tomatometer score is rising (Photo by © Paramount Pictures)Paramount is not having the greatest of weeks. Their family film, Playing With Fire, is the worst-reviewed (24% on the Tomatometer) of the new releases this week; the nearly million-budgeted film grossed .8 million, which is hardly a disaster – and better than some projections – but not a rousing success, either. It is last week’s release of Terminator: Dark Fate, though, that is just not looking good; it dropped 63% to .8 million in its second week. A solid haul is not unheard of from here: Dark Fate is just a million behind Paramount s own Daddy’s Home 2’s 10-day gross (.21 million) just two years ago as it went on to squeak out over 4 million. But its second weekend is over .5 million less than what the Farrell/Wahlberg sequel earned in its second weekend. Dark Fate is also about a half-million ahead of The Muppets, which had a massive fallback in its second weekend back in 2011 and grossed over million. Terminator’s second weekend is also slightly behind that one (.08 million). However, an optimistic million finish means nothing without a stronger international showing and to date it sits at just 0 million when it is going to need more than 0 million outside the U.S. to break even. On the plus side, Dark Fate is one of those rare films whose Tomatometer score is actually getting better as it expands and more critics see it: it is currently Fresh at 72% after spending time in the 60s.The Top 10 And Beyond: Doctor Sleep Fails to Shine, Joker Enters The All-Time Top 50Doctor Sleep this week became the victim of too-lofty expectations. The numbers are truly disappointing though, which has pundits asking if Warner Bros. should have sold its connections to The Shining more forcefully – and whether there was an appetite for more Shining in the first place. Only four Stephen King adaptations have ever opened to over million – and two of them were this year with It: Chapter 2 and the Pet Sematary redux. (1408 and the first It were the others.) Inflation notwithstanding, Doctor Sleep had the 10th best opening for a King adaptation and at 73% on the Tomatometer ranks as the 11th best-reviewed theatrical release of a film based on the author s work.1980’s The Shining grossed approximately 9.5 million in adjusted dollars. Doctor Sleep’s .1 million start trails behind even Dreamcatcher, which opened to .02 million back in 2003. If you gave The Lawnmower Man an inflation boost from 1992, it would have grossed million today, right around what Mike Flanagan’s Ouija: Origin of Evil sequel opened to (.06 million) – though we should note that was 10 days before Halloween in 2016. The trouble for Doctor Sleep might have been with the release date. Horror is not a popular genre in November these days. Not a single horror film has grossed over million from a November start since before 2000. The Mist, a 2007 Stephen King adaptation released over Thanksgiving (and the 12th-highest–rated King adaptation at 72% on the Tomatometer) took in what equates to about million in ticket sales today on its first weekend.Also not a great genre in November: romantic comedies. At least, successful November rom-com releases have been pretty sparse. There have been some moderate numbers over the years for films like The American President (.07 million) and Love Actually (.69 million). Shallow Hal grossed .8 million, but that was sold more on its high-concept premise than as a traditional rom-com. Paul Feig’s Last Christmas began with .6 million this weekend. That puts the film likely in the - million range. As for those who are surprised Universal put out a Christmas movie in November, rather than December, it s not uncommon practice – and has worked well for some releases in the past. These November releases with Christmas in the title show the release strategy can succeed wonderfully, and fail spectacularly:How the Grinch Stole Christmas (.08 million opening / 0.04 million total)A Christmas Carol (2009) (.05 / 7.85)Four Christmases (.06 / 0.14)Christmas with the Kranks (.57 / .78)A Bad Moms Christmas (.75 / .1)This Christmas (.95 / .12)Arthur Christmas (.06 / .46)Almost Christmas (.13 / .15)A Very Harold Kumar 3-D Christmas (.95 / .06)Ernest Saves Christmas (.71 / .2)A Christmas Story (.07 / .29)All I Want For Christmas (.64 / .81)One Magic Christmas (.66 / .67)I’ll Be Home For Christmas (.89 / .21)The Man Who Invented Christmas (.35 / .52)In better news for Warner Bros. this week, Todd Phillips’ Joker has passed more milestones. Its 3 million domestic and another 0 million internationally gives the film 4 million. That means it has now joined the list of the 50 highest-grossing films of all-time. Say goodbye to Pirates of the Caribbean: At World’s End (and say it soon to Jumanji: Welcome to the Jungle and The Jungle Book once Frozen II and The Rise of Skywalker open) as Joker enters the list this weekend at 44th place; it is also headed soon to become the 44th film ever to reach billion.Maleficent: Mistress of Evil has had a bit of a rebound lately. It is going to pass 0 million at home sometime this week and it is now over 0 million worldwide. But it is still going to need about another 0 million before getting out of the red. The Addams Family is now well into profit with over 4 million worldwide, million of that domestically. United Artists Releasing (a combo of Annapurna, MGM, and Orion) had some rough box office results earlier this year with Booksmart and Laika’s Missing Link, but they have been more recently putting out movies that have been turning profits, like their remakes of Dirty Rotten Scoundrels (a.k.a. The Hustle) and Child’s Play. The Addams Family will be their biggest earner to date.Check out Harriet star Cynthia Erivo s Five Favorite FilmsHarriet dropped 38% and made .2 million in its second weekend. Between that and its .46 million gross to date, the film is in the vicinity of Allied and Stranger Than Fiction, which each managed to just get over the million line. That could make it just the 18th film in Focus Features history to reach that mark.Fox Searchlight expanded Taika Waititi’s Jojo Rabbit from 256 theaters into 802 and it just missed hitting the top 10 with .9 million. That puts the film squarely between the studio’s (500) Days of Summer, which went from a third weekend of .77 million in 266 theaters to .73 million in 817 theaters, and Greta Gerwig’s Lady Bird, which made .51 million in 238 theaters in weekend three and jumped into 791 theaters the next week to gross .05 million. Those films had .35 and .72 million, respectively, after 24 days. Jojo Rabbit is at .1 million.Bong Joon-Ho’s Parasite moved into an “official” wide release this week, expanding into 602 theaters. It grossed another .5 million, which is better than The Farewell’s move to wide release from 409-to-704 theaters in its fifth weekend, where it grossed .09 million. The Neon release also has a slightly better per-theater-average (,152) than Boyhood had (,900), when it jumped in the same period from 310-to-506 theaters. The Farewell had .2 million after 31 days; Parasite has .2 million (and another .5 million internationally); Boyhood had .5 million and grossed over million. I, Tonya is Neon’s highest-grossing domestic film to date with .9 million.Check out Parasite star Song Kang-ho s Five Favorite FilmsFinally, in limited release news, Amazon’s release of Shia LaBeouf’s autobiographical Honey Boy grossed 8,825 in four theaters. That is the second-best per-theater-average (,206) for Amazon to date, ahead of both Late Night (,576) and Beautiful Boy (,722), also each released in four theaters. The 2018 Suspiria remake had a ,019 average in just two theaters. It is also the fourth-best PTA of 2019 behind Parasite, The Farewell, and Avengers: Endgame.This Time Last Year: The Grinch Kicks Off Holiday Season With Plenty of GreenThe second weekend of November 2018 brought us Dr. Seuss’ The Grinch, from Illumination. The feature-length animated version of the classic story opened to .57 million. Hanging strong was Bohemian Rhapsody, grossing .2 million and just getting over its first 0 million in 10 days. In third place was the Nazi monster film, Overlord, with .2 million and back in sixth place was Claire Foy taking over the role of Lisbeth Salander in The Girl In the Spider’s Web, which made just .8 million. Just before the weekend, Venom passed the 0 million mark. A Star is Born rose to 8 million and David Gordon Green’s Halloween was at 6 million. The top 10 films grossed a total of 2.58 million and averaged 59.2% on the Tomatometer; this year’s top 10 grossed an estimated .7 million and averaged 55% with critics.On the Vine: Ford, Ferrari, and A Trio of AngelsNext week a pair of new challengers for the number 1 spot emerge and most are betting on James Mangold’s Ford v Ferrari with Christian Bale and Matt Damon to be victorious. The true-life racing drama is Certified Fresh at 91% on the Tomatometer after a successful festival run. The box office must also find room for Elizabeth Banks’ new reboot of Charlie’s Angels with Kristen Stewart, Naomi Scott, and Ella Balinska. The previous big-screen iterations both grossed over 0 million, but will this one draw the same nostalgic interest? Warner Bros. is also releasing Bill Condon’s latest, The Good Liar, with Ian McKellen and Helen Mirren, which is expected to come in on the low-end of the charts. Then, finally, in limited release is Trey Edward Shults’ Waves, which is Certified Fresh at 88% from its festival run and which is being touted as a potential awards contender.The Full Top 10: November 8-10Midway (2019) 42% – .5 million (.5 million total)Doctor Sleep (2019) 78% – .1 million (.1 million total)Playing With Fire (2019) 24% – .8 million (.8 million total)Last Christmas (2019) 46% – .6 million (.6 million total)Terminator: Dark Fate (2019) 70% – .8 million (.46 million total)Joker (2019) 68% – .2 million (3.49 million total)Maleficent: Mistress of Evil (2019) 39% – million (.3 million total)Harriet (2019) 73% – .23 million (.46 million total)Zombieland: Double Tap (2019) 68% – .32 million (.66 million total)The Addams Family (2019) 45% – .2 million (.47 million total)
Seminal NBC comedy The Office premiered 15 years ago to, well, mixed reviews. But you know how the story goes from there: A stellar second season cemented the U.S. remake of Ricky Gervais’ British series into a must-watch, and the series went on to become a landmark of modern TV. (You can read about just how it did that here.)One of the show s signatures are its cold opens – those hilarious sequences that opened the show and which led into the series notoriously earwormy theme song. But which was the best Office open of them all? We re asking you to help us decide. Take a look at our pick of the 40 best Office cold opens below, and rank your favorites. Let us know, too, which are your absolute faves in the comments below.
(Photo by Buena Vista Pictures courtesy Everett Collection)Is there anything more meta than a flop about making flops? Ed Wood, Tim Burton’s biopic on “the worst director of all time,” may have been the critical darling its subject could only dream of (it’s Burton’s highest-rated directorial effort at 92% on the Tomatometer), but it hardly caught on. The comedy took in less than a third of Burton’s comparatively small -million budget, whereas the filmmaker’s predecessor, Batman Returns, skyrocketed to become the then-highest-grossing opening weekend of all time. To give an idea of the comedies the public did pine for in 1994, Jim Carrey starred in three movies in the top 20 that year. Ed Wood was decidedly nothing like a Jim Carrey movie.Dark, sweet and restrained (by Burton standards, anyway), Ed Wood chronicles the life of Edward D. Wood Jr. (Johnny Depp), a crossdressing wannabe auteur in the 1950s who befriends his hero, a washed-up and drug-addled Bela Lugosi (Martin Landau), and makes schlocky B-movies with a misfit crew. Here are just a few reasons why it remains a high-watermark for Burton and pretty much everyone involved — and warrants some serious reassessment if you shrugged it off 25 years back.IT S BURTON S SMALLEST MOVIE(Photo by Buena Vista Pictures courtesy Everett Collection)Wait, so where did the guy go who wowed with the visual feasts Pee-wee’s Big Adventure and Beetlejuice and the thrilling art direction in Edward Scissorhands and Batman? He’s Mostly absent here. There are some nifty, Burtonesque flourishes — a cheesily spooky title sequence that harkens back to ’50s horror and sci-fi sets the tone perfectly — but overall, Burton puts a simple story over any distinct style. It’s him at his least showy, a move that lets the comedy’s quickfire script breathe and doesn’t muddy up its already arresting performances. Besides, when you have black-and-white cinematography (thanks to cinematographer Stefan Czapsky) this beautiful, why complicate things? Burton, in fact, was so adamant about the film being monochrome that Columbia dropped the picture (Disney picked it up later). AND HIS MOST PERSONAL(Photo by Buena Vista Pictures courtesy Everett Collection)It’s not hard to understand why Burton would relate to a story about an energetic young director bonding with his childhood idol. Burton famously adored Vincent Price, casting him in the stop-motion Disney short “Vincent” and as The Inventor in Edward Scissorhands, and, like with that relationship, the one between wide-eyed Wood and an aging Lugosi boasts a delightful mutual appreciation. While Ed Wood capitalizes on the odd couple for comedic effect (it’s tough not to laugh as an Energizer Bunny-like Wood shepherds around a moribund, ever-frowning Lugosi), the bromance always comes off as weirdly sweet. Ed Wood was a labor of love for him — in fact, Burton, who demanded creative control, even waived a paycheck.THE PERFORMANCES ARE ACE(Photo by Buena Vista Pictures courtesy Everett Collection)The success of any buddy comedy — and boiled down, Ed Wood is one — rests on the chemistry of its stars. Depp upped his game, giving a performance that’s all gusto and unrelenting optimism and over-the-top tics yet still somehow grounded. Wood’s ridiculous, but you pull for him. Landau, too, imbues what could be a cartoonish Lugosi essentially, his Dracula character thrown into ’50s California, complete with the accent, mannerisms, and gait with some real emotional heft, and he rightfully nabbed a Best Supporting Actor Oscar. Sarah Jessica Parker is a great comedic foil as Wood’s encouraging (and later disapproving) girlfriend, and Bill Murray is brilliantly deadpan as aspiring transsexual John Bunny Breckinridge.THE SCRIPT SIZZLES(Photo by Buena Vista Pictures courtesy Everett Collection)“We envisioned Ed Wood as more of an indie-style picture, because we had written two big Hollywood hits that we were very unsatisfied with,” co-writer Larry Karaszewski told Medium, referencing the Problem Child movies. You can see what he means: He and Scott Alexander’s script, written in a mere six weeks after the go-ahead from Burton, has a quirky, left-field, character-driven quality that doesn’t scream “huge studio” (like, say, Disney) or “big-deal director” (like, say, Burton). So Burton reining in the very sensibilities that made him a name is necessary, especially with a script packed with this much snappy dialogue. Just take this exchange between Wood and Breckinridge, during the filming of Plan 9 from Outer Space:Breckinridge: What about glitter? When I headlined in Paris, audiences always loved it when I sparkled.Ed Wood: No.Breckinridge: Cats eyes?Ed Wood: No!Breckinridge: Well, I m going to need some antennae.Ed Wood: No! You re the ruler of the galaxy — show a little taste!IT WAS AHEAD OF ITS TIME(Photo by Buena Vista Pictures courtesy Everett Collection)Ed Wood may have not saturated the zeitgeist and spawned copycats the way Pulp Fiction did in ’94, but it’s not too much of a leap to suggest it helped open the door for other love letters to ragtag groups of outsider filmmakers with questionable tastes. Paul Thomas Anderson’s Boogie Nights a few years later similarly embraced the freak-flag spirit of the early porn industry. Interestingly, Wood’s line about Plan 9 from Outer Space (“This is the one I’ll be remembered for”) is echoed by Nights’ Burt Reynolds, talking about his directorial opus (“This is the film I want them to remember me by”). (Also interesting: Wood helmed porn in ’70s.) Wes Anderson’s seafaring adventure-comedy The Life Aquatic with Steve Zissou and The Disaster Artist, a big-screen retelling of the making of “the worst movie ever,” also have traces of Ed Wood. And Wood’s spirit was alive and well in documentaries about enthusiastic, unfazed, unrealistic dreamers — be they about aspiring filmmakers (American Movie) or rock bands (Anvil! The Story of Anvil).Ed Wood opened nationwide on October 7, 1994.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
手游给了游戏厂商极低的门槛，目标用户的庞大也给了他们坚持下去的信心，游戏内容方面的单一，却是一直被各大游戏厂商忽视的问题。市面上什么题材热门做什么，内容机制要足够碎片化才能留住玩家，角色必须要通过卡池机制来获取才能让玩家氪金，这些千篇一律的手游模式让整个手游市场产品样式逐渐单一化。 Another adaptation of Little Women? Louisa May Alcott’s classic novel has been made into a number of movies, and most of them have been highly regarded — by critics, fans, and awards organizations alike. Greta Gerwig’s new version, which just received a standing ovation at a guild screening, is no different. Well, it is apparently different in that it’s a unique take on the material, mostly for the better, according to the first wave of critics’ social reactions to the movie. Still, we can expect the usual Oscar-worthy performances and a generally enjoyable adaptation.Here’s what critics are saying about Little Women on social media:Have we gotten another great adaptation?It’s lovely. Hannah Woodhead, Little White LiesIt’s inventive and wonderful. Sean Fennessey, The RingerWonderful. A loving, meticulously-crafted adaptation that exceeded my expectations. Heartfelt, moving and a terrific showcase for its extremely talented cast and beloved source material. Kara Warner, People MagazineLittle Women is charming just like the novel/prior versions…Rousing score. Timely as ever. Hard not to cheer. Scott Feinberg, Hollywood ReporterSomeone, please, invent a word stronger than “masterpiece” so I can amply describe Greta Gerwig’s Little Women. More-than-a-masterpiece? Masterpiece 2.0? David Jenkins, Little White LiesIt rules. David Sims, The AtlanticDoes it elicit particularly personal reactions?Jo s lines in Little Women resonate with me completely differently now as a 33 year old single writer. Wanting to remain independent but wanting to be loved. Greta s take on the story made me connect with Jo in a way I never had. As a girl, I just thought she was crazy to reject Laurie. Amy Kaufman, Los Angeles TimesI ve seen Little Women twice now and it s one of my very favorite movies of the year. David Canfield, Entertainment WeeklyOne of the most pleasurable cinema experiences of my life. David Jenkins, Little White Lies(Photo by Sony Pictures)How is this one different from past adaptations?Greta Gerwig takes the straightforward story of Little Women and boldly scrambles it, starting two-thirds of the way through and retelling most of what you remember via flashbacks and cross-cutting. Call it Louisa May Alcott meets 21 Grams. Kyle Buchanan, New York TimesLittle Women has a very strong last third… and a modern interpretation of the novel that shines brightly. I liked her take on it even when it is hard to follow regarding flashbacks. Sasha Stone, Awards DailyWill fans of the book appreciate it?Greta Gerwig delivers a both passionately faithful and gorgeously original take. David Canfield, Entertainment WeeklyThere’s nothing to disparage and many reasons to be pleased with Little Women. Especially, I’m thinking, for those who know the book and have a profound affection for this 19th Century saga about choices, tough terms, romance, heartbreak, love, struggle and artistic aspiration. Jeffrey Wells, Hollywood ElsewhereHow is the ensemble cast?Each role [is] perfectly cast. Scott Feinberg, Hollywood ReporterSaoirse is a fierce Jo, Chalamet/Dern/Streep especially are great in support, and Florence Pugh is astonishing. David Canfield, Entertainment WeeklySaoirse Ronan and Florence Pugh are the standout performances. Gregory Ellwood, The PlaylistExcellent performances from Saoirse Ronan and Florence Pugh. Jeffrey Wells, Hollywood ElsewhereFlo Pugh and Streep are standouts. Sasha Stone, Awards DailyFor my money, the MVP in Little Women is Florence Pugh…She’s hilarious and winning as Amy, the character best served by Gerwig’s structural gambits. Kyle Buchanan, New York TimesFlorence gets a lot of great notes to play as Amy March and she plays each one pretty much perfectly. As we’re seeing over and over again, she has a screen presence and performing instincts that are pretty god damn incredible. Jordan Crucchiola, Vulture(Photo by Sony Pictures)What about the men?Timothee Chalamet is the best thing about Little Women. He lights up the screen in every scene he’s in. Jazz Tangcay, Awards DailyBest part of Greta Gerwig’s Little Women is the idea that Louis Garrel as a heartthrob will soon be implanted in mainstream American brains. As he should be. Ryan Lattanzio, IndieWireWhat about the contributions behind the camera?Greta Gerwig, writer/director of the new version of Little Women [got] a standing ovation. And it was well deserved! Pete Hammond, Deadline HollywoodFervent, top-notch direction by Greta Gerwig; superb lensing and set design. Jeffrey Wells, Hollywood ElsewhereAre there any problems?Little Women is charming if not a wee bit long…for such a pretty score it’s overscored? There are moments you just want to hear the girls banter but… nope. Gregory Ellwood, The PlaylistAt best, it’s a fresh approach that makes you rethink familiar material. But it can also make simple plot and character developments a bit harder to locate. Kyle Buchanan, New York TimesI have to say that it didn’t quite grab me as I’d hoped. Flashbacks, curious dream sequences, confusing here and there. Handsome and lusciously authentic, but feels in-and-outish. Jeffrey Wells, Hollywood Elsewhere(Photo by Sony Pictures)Is it an awards contender?Best Picture nominee… maybe? Gregory Ellwood, The PlaylsitThe last three Best Picture winners end happily and portrayed the world as ultimately hopeful. Greta Gerwig’s Little Women is the first movie of the year that does just that. So front runner? Sean Fennessey, The RingerWe’ll see as far as Oscars — nice to have an upbeat option. The 36-year-old actress turned auteur could become the first female two-time best director Oscar nominee. Scott Feinberg, Hollywood ReporterI’m not saying Jo March is Saoirse’s Oscar, but truly her only issue as an actress is that she’s so good makes her roles look so effortless and genuine and complete that she might fall into the Amy Adams camp of being so simply good it’s like Academy voters take her for granted. Jordan Crucchiola, VultureAn award-season cherry. Jeffrey Wells, Hollywood ElsewhereLittle Women is in theaters December 25.
亚博游戏客服 This week s Ketchup brings you more headlines from the world of film development news, covering such titles as Gilgamesh, Peaky Blinders, Thor: Love and Thunder, and Wonka.This WEEK S TOP STORYA WILLY WONKA PREQUEL FROM PADDINGTON DIRECTOR PAUL KING IS COMING IN 2023(Photo by Everett Collection)Few movie characters may cause quite the generational dispute as Willy Wonka, with older movie fans possibly preferring Gene Wilder s take in Willy Wonka and the Chocolate Factory (Certified Fresh at 90%), and younger fans being more familiar with Johnny Depp s portrayal in Charlie and the Chocolate Factory (Certified Fresh at 83%). The latter is also now over 15 years old, so that may explain why Warner Bros. is preparing for a third movie for yet another generation to embrace. This time around, the film will be a prequel called Wonka, which will ostensibly delve deeper into the backstory of how the young Willy Wonka became a candy company impresario and met the Oompa-Loompas (though Depp s movie did address some of that). Wonka is now scheduled for release on March 17, 2023, and the prequel will be directed by Paul King, who directed both Paddington (Certified Fresh at 97%) and its critically beloved sequel Paddington 2 (Certified Fresh at 100%). No official casting announcement has been made yet, but Warner Bros. is reportedly considering either Tom Holland (the MCU s Spider-Man) or Timothée Chalamet (the star of Warner Bros. Dune reboot, due later this year). Several years ago, when the Wonka prequel first entered into development at Warner Bros., other actors who were reportedly being considered included Donald Glover, Ryan Gosling, and Ezra Miller (who will soon be busy starring in WB s The Flash). Other Top Headlines1. MATT DAMON RETURNING FOR THOR: LOVE AND THUNDER (Photo by ©Walt Disney Studios Motion Pictures)Director Taika Waititi came to Thor: Ragnarok (Certified Fresh at 93%) from a career rooted in comedy (Eagle vs Shark, What We Do in the Shadows), and one of the funnier early bits in Thor: Ragnarok was the revelation that the Asgardian actor playing Loki in a stage production was none other than famous actor Matt Damon. It was something of an impressive get for Marvel Studios, because Damon remains one of the bigger movie stars who hasn t yet appeared as a superhero (unlike his pal Ben Affleck, who s played both Daredevil and Batman). This week, we learned that Damon and his family had arrived in Sydney, Australia so that he can participate in the filming of Thor: Love and Thunder (5/6/2022). It s currently unclear whether Damon will be playing the same actor he played in Thor: Ragnarok or someone else, but he was reportedly quoted as saying he would be in Australia for the next few months, which suggests a role bigger than a mere cameo. Damon joins a cast that also includes Chris Hemsworth (of course), Natalie Portman, Tessa Thompson, Jaimie Alexander, and Chris Pratt, with Christian Bale as the film s villain Gorr the God Butcher.2. PEAKY BLINDERS MOVIE PLANNED AFTER THE SHOW S FINAL SEASON (Photo by Netflix)Peaky Blinders is an award-winning crime drama BBC TV (and Netflix) series currently in its fifth season that is based upon a real street gang that operated in England from the 1890s to 1910. Earlier this week, the announcement was made that Peaky Blinders would end after its upcoming sixth season, but that news was followed the very next day by the story that applies here. Showrunner Steven Knight elaborated that Peaky Blinders will indeed continue past the TV series with with a movie That is what is going to happen. Nothing else is known yet about what form a Peaky Blinders movie might take, and it s also worth noting that both a ballet and a stage musical have been considered. Like many other long-running TV shows, Peaky Blinders has had a large ensemble cast that has included Cillian Murphy (as the gang s leader), Paddy Considine, Aiden Gillen, Tom Hardy, Sam Neill, and Anya Taylor-Joy.3. R B SINGER LEDISI JOINS THREE WAY RACE TOWARDS MAHALIA JACKSON BIOPIC(Photo by Everett Collection)This August will mark the 58th anniversary of the the March on Washington and Martin Luther King Jr s famous I Have a Dream speech. One of the performers that day was gospel singer Mahalia Jackson, and she was the one who called on King to tell them about the dream that he had told her about. The world is still waiting for a full Martin Luther King, Jr biopic (that Steven Spielberg may still have the rights to produce), but in the meantime, it appears that Mahalia Jackson may get one first, as she is now the subject of three separate biopics. The first project we heard about last August was a Lifetime TV movie produced by Robin Roberts; that one has already been produced, and it even has a trailer. Within 10 days, the news also broke that Queen Latifah is producing a feature film called Mahalia! with Jill Scott attached to star. That brings us, then, to this week s news, which is that R B and jazz singer Ledisi has signed on to star as Mahalia Jackson in a third biopic project to be titled Remember Me: The Mahalia Jackson Story and directed by actress Denise Dowse in her feature film debut. Remember Me: The Mahalia Jackson Story will focus on the key Civil Rights Movement years of 1956 to 1963, with Columbus Short co-starring as Martin Luther King, Jr. It s also unclear when that film or the Jill Scott movie that it s now in direct competition with will be produced, and specifically, which project might be produced first.4. HUGH GRANT AND JOSH HARTNETT TO BOTH REUNITE WITH DIRECTOR GUY RITCHIE (Photo by Priscilla Grant, John Paul Melendez/Everett Collection)British director Guy Ritchie is managing to continue working right through the COVID-19 pandemic at basically his normal rate, but there s an argument to be made that his latest crime thriller, Wrath of Man, is one of those films currently left in a sort of pandemic-induced limbo. That film features long-time Guy Ritchie collaborator Jason Statham, who will also be the lead in his upcoming spy thriller (currently untitled after previously being called Five Eyes) opposite American actress Aubrey Plaza, and this week, we learned that the film will feature two others actors reuniting with Ritchie. Josh Hartnett, who is also one of the stars of Wrath of Man, will also co-star in the spy thriller in an unknown role, while Hugh Grant will also co-star in what will be his next film working with Guy Ritchie after last year s The Gentlemen (Certified Fresh at 75%).5. MAKERS OF FORTNITE EXPAND INTO MOVIES WITH ANIMATED GILGAMESH (Photo by Epic Games)Hollywood has obviously been adapting the tales of Greek mythology (Hercules, Jason and the Argonauts, Clash of the Titans) for decades, but many other cultural mythologies are adapted at varying levels. One such culture that is almost never adapted is ancient Babylonian mythology, but that s about to change, and it s coming from a surprising source. Hot off the continuing success of their online game Fortnite, the video game developer and publisher Epic Games is preparing to move into the realm of animated feature films using the same Unreal technology that is used both in their games and in current productions like The Mandalorian on Disney+. The first animated film to be produced as part of this new initiative will be Gilgamesh, based on the ancient Mesopotomanian Epic of Gilgamesh. Gilgamesh is being produced by animation companies in Argentina and elsewhere in Latin America, but the film will also be adapted with an English language cast yet to be announced.6. JOSH DUHAMEL REPLACES ARMIE HAMMER IN J.LO ROM-COM (Photo by Priscilla Grant/Everett Collection)One of the most intriguing recent stories was revealed last week when we learned that Armie Hammer had dropped out of the romantic comedy Shotgun Wedding just a few weeks before filming was scheduled to start on location in the Dominican Republic. (We won t get into the alleged details why.) Film productions frequently have back-up plans (mostly because of scheduling conflicts, such as the situation that WandaVision star Elizabeth Olsen explained in this piece), and we now have a good guess at who has also been in the running when producers were considering an Armie Hammer type. Las Vegas and Transforrmers franchise star Josh Duhamel is now in talks to replace Armie Hammer opposite Jennifer Lopez in the romantic comedy Shotgun Wedding. If the deal goes through, Duhamel and Lopez will play a couple who gather their friends and family for a destination wedding in the Caribbean that goes awry when the wedding party is held hostage. Lionsgate will distribute Shotgun Wedding, which will be directed by Jason Moore (Pitch Perfect, Sisters).On an Apple device? Follow Rotten Tomatoes on Apple News.