其实有专业人士表示，LOL手游团队目前都会参考一些主播和玩家对于英雄的反馈，对于一些强势的会进行削弱，也许九岁用她太过于强势惨遭削弱。 Pixar is such a quality brand that even its “lesser” products prove to be essential for fans of their animated output. The studio’s latest feature, Luca, is arguably on that lower tier, according to critics — not among Pixar’s best but still better than most alternatives — hence the high Tomatometer score we’ve come to expect, even if there isn t quite as much of the excitement we usually find in the reviews themselves. Some critics think that it’s too basic, while others believe its lack of complexity is a good thing. And some critics trust that there’s more to the movie than what’s on the surface and it requires repeat viewings to properly appreciate it. Fortunately for anyone hoping to find out, Luca can be watched over and over on Disney+ starting this Friday, June 18.Here’s what critics are saying about Pixar’s Luca:How does it compare to other Pixar movies?Luca leans far lighter in tone and effect, but it’s no less memorable. Rob Hunter, Film School RejectsLuca is easily Pixar’s most intimate and laidback effort since Ratatouille. Keith Watson, Slant MagazineThe last fifteen minutes of Luca might go down as one of the best endings Pixar has ever produced. Ryan McQuade, Awards WatchThis might be Pixar’s most childlike and cartoony offering. Brian Roan, The Film StageMore of The Good Dinosaur or Onward level for me, Luca doesn’t quite reach the potential that I have grown to expect from Pixar. Christie Cronan, Raising WhasiansWhile some material may hit with younger audiences, Luca makes for Pixar’s least enchanting, least special film yet. Robert Daniels, RogerEbert.com(Photo by Pixar)Is it just a simpler Pixar movie than we re used to?Luca is nowhere near as complex or deep as other Pixar fare and there’s absolutely nothing wrong with that. Doug Jamieson, The Jam ReportAll the more satisfying for its simplicity… the rare Pixar movie that doesn’t feel like it’s been thought to death. David Ehrlich, IndieWireIt is rigorously unphilosophical in a way that proves to be its greatest strength. Clarisse Loughrey, IndependentBy going back to basics, we get a real connection with these characters. Ryan McQuade, Awards WatchLuca has the look and feel of a more disposable flick, but that’s just on the surface. Beneath, it has the beating heart of a classic family tale in the making. Joey Magidson, Awards RadarLuca never quite rises beyond being adorable — and hey, these days, adorable is fine —there’s something that just isn’t there. Moira MacDonald, Seattle TimesHow are the visuals?The real magic of Luca is its visuals… The richness of the settings in both realms is a constant source of pleasure. David Rooney, Hollywood ReporterLooking like a hand-drawn fairy tale book come to animated life, Luca has a captivating visual style with every detail popping. Richard Roeper, Chicago Sun-TimesThe gorgeous animation of Luca… is unlike other Pixar movies you ve seen. Ian Sandwell, Digital SpyIt’s been a while since they’ve done anything visually distinct and felt vastly different from the rest of their fare. Thankfully, Luca is that breath of fresh air. Rendy Jones, Rendy ReviewsPixar’s Luca is proof once again that cartoon movies keep getting better and better with the technology. Christie Cronan, Raising WhasiansRyan FujitaniDoes it bring on the usual waterworks?For much of this film, you’ll be thinking Luca will be one of the rare Pixar movies not to make you cry. But… [it] may just leave you in a puddle of tears. Doug Jamieson, The Jam ReportYeah, it’s cliched to say “I got misty-eyed in a Pixar movie,” but damn by the way they invest you with the friendship, it’s difficult not to find yourself feeling all warm and fuzzy. Rendy Jones, Rendy ReviewsHappy tears at how lovely it all is, fortunately, we re not talking Toy Story 3 or Inside Out trauma here. Ian Sandwell, Digital SpyI watched twice and no Inside Out or Up equivalent eye watering… Luca misses the Pixar emotional pull for me. Christie Cronan, Raising WhasiansAre the characters memorable?Giulia s lovable father Massimo, who instantly goes into the all-time list for best animated dads. Ian Sandwell, Digital SpyA translucent anglerfish who Sacha Baron Cohen turns into one of Pixar’s funniest characters in less than two minutes of screen time. David Ehrlich, IndieWireAs always, the Pixar magicians create a wonderfully populated world: I particularly enjoyed the cat character, who stares fixedly as only cats can. Moira MacDonald, Seattle Times(Photo by Pixar)How is the screenplay?With all of its wit and perfectly interwoven story threads and running gags, [the script] bears all the hallmarks of the best of Pixar’s story trust. Brian Roan, The Film StageThe script… like all the best Pixar movies, laces touching life lessons and delicate helpings of sentiment into what’s essentially a caper. David Rooney, Hollywood ReporterWhy do another narrative about a girl stuck in the middle of two best friends?… The primary story flows through the motions. Robert Daniels, RogerEbert.comUnfortunately, there’s also an episodic, shaggy-dog quality to the plotting that undercuts Luca’s emotional beats. Keith Watson, Slant MagazineAre its themes up for interpretation?This really is a metaphorical film. The sea monsters could be any of us who feel different. Maybe they’re a metaphor for the LGBTQ community. Danielle Solzman, Solzy at the MoviesIt’s the kind of metaphor that could be applied to a hundred different situations, but there’s an inherently queer subtext bubbling beneath the surface. Doug Jamieson, The Jam ReportVery relatable for anyone who is within the LGBTQ+ community… [and also] works for a universal audience who may not identify as LGBTQ+ but can relate to someone who is. Ryan McQuade, Awards Watch[It] serves as a kind of all-purpose allegory, where audiences are free to narrow in on its queer subtext, its rebuke of xenophobia, or its triumph against any facet of small-mindedness. Clarisse Loughrey, IndependentIts themes of coming-of-age resemble too much of Pixar’s existing catalog — and without a narrative that really makes these themes feel fresh. Nicole Clark, IGN MoviesIt never settles on exactly what it wants to say… It never makes a cohesive, powerful point. Germain Lussier, io9.comWho is Luca ultimately for?While Disney and Pixar’s Luca is fun for the whole family, there are some very important messages for children laced throughout the film. Tessa Smith, Mama s GeekyLuca is entertainment for all ages as its bright colors and fast-moving action will appeal to the kids while the humor and themes should speak to older viewers. Rob Hunter, Film School RejectsWhile there are a few moments that may be a little tense for younger kids… I recommend Pixar’s Luca for kids as young as 5-6 years old. Christie Cronan, Raising WhasiansWill it remind us of any other films?Luca is the closest that Pixar has ever come to capturing the ineffable spirit of a Studio Ghibli film. David Ehrlich, IndieWireThe smooth, rounded character designs are something more akin to the stop-motion work of Aardman Animations. Doug Jamieson, The Jam ReportThere are obvious shades of The Little Mermaid in this fairy tale-like story… but Luca plays like a deliberate inversion of that Disney classic. Keith Watson, Slant MagazineLuca is The Little Mermaid without the heart, Cloudy with a Chance of Meatballs without the laughs. Roger Moore, Movie Nation(Photo by Pixar)Is it rewatchable?Expect to visit this destination more than once. Rob Hunter, Film School RejectsSince it’s so dense and layered, my guess is it’ll only improve, solidify and blossom with multiple viewings… I do want to watch it again. Germain Lussier, io9.comIt’s also so fabulously summery that you shouldn’t be surprised if you return to it over and over for that sunny feeling. Deirdre Molumby, entertainment.ieWill Luca leave us hopeful for Pixar s future?Luca should be the model going forward for Pixar, with character driving entertaining stories instead of big concepts that fail to execute and leave you feeling hollow by the end (looking at you Soul). Ryan McQuade, Awards Watch[It] hopefully anticipates how the monolithic animation house will continue to create more intimate fare now that it can use Disney+ as a safety net. David Ehrlich, IndieWireLuca releases in theaters and streams on Disney+ on June 18, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Niko Tavernise, © Warner Bros. )Moviegoers are about to go Joker crazy when the film, directed by Todd Phillips and starring Joaquin Phoenix, arrives in theaters this October. The character is one of the masterworks that comics gave to the literary canon, and his on-screen development into a lead divorced from Batman was inevitable. He has fascinated readers for decades, and as Phillips and Phoenix prepare to finally unleash their character study on audiences, we thought we’d take a look at some the best comic-book stories featuring the Clown Prince of Crime – a kind of homework guide for Joker enthusiasts leading up to release.And to make things interesting, we’re taking Batman: The Killing Joke out of the running. (Because, well, you already know that one back to front.) Alan Moore and Brian Bolland’s 1988 masterpiece is the definitive Joker story. It purports to tell you the 100 percent true origin of the Joker – a failed comedian who turned to crime – only for the Joker to reveal he’s forgotten who he used to be beyond knowing one bad day made him Batman’s greatest enemy. And he plans to give Jim Gordon that one bad day, but utterly fails to break anyone in the process. Bolland’s art, with colors by John Higgins, is absolutely exquisite with its dual sense of realism and cartooning. The whole package is the inspiration for The Dark Knight and Joker, even if Phillips set out to create a new origin for the character. It is always the top of any list of Joker stories.But what else stands out when we enshrine The Killing Joke as the unimpeachable best Joker story? Take a look below and find out.10. “The Man Behind The Red Hood” from Detective Comics #168(Photo by DC Comics)For roughly 11 years, the origin of the Grim Jester was not really an issue in the pages of DC Comics. Co-creator Bill Finger and other writers were pretty happy with him the way he was. Flash forward to 1951, when the decision was made to introduce a slice of the Joker’s history.In the story, Batman agrees to teach a criminology class at “State University.” As his students become better detectives, he challenges them to determine the identity of the Red Hood, a criminal he faced 10 years prior but never defeated. News of the homework assignment brings the Red Hood out of retirement to steal the university’s payroll fund. The robber is stymied by Batman and eventually apprehended after some more high jinks, revealing the Joker under the Red Hood.Despite some silly 1950s comic book conventions – and the problematic rendering of Hawaiian criminology student Paul Wong by artists Lew Sayre Schwartz, Win Mortimer, and George Roussos – the story is gripping, with the narrator challenging readers to find the clues to the Red Hood’s identity. In hindsight, references to the hood obscuring “the shape of the chin” and Robin’s use of a “botched” chemical process to uncover a green hair from the Red Hood’s discarded hat are really clever tells. You could imagine a reader either missing these details (despite Batman’s insistence to look closer) or getting excited as the story begins to confirm their hypothesis. Even if you know the answer already, the tension ramps up in an unexpected and pleasing way.The story also has a legacy in introducing the Joker’s early, less inspired, criminal persona. By doing so, it acknowledged that his true identity was a mystery Batman never cracked.9. “The Joker’s Comedy of Errors” from Batman (Vol. 1) #66Sixty five issues into Batman’s run, the Joker’s early days as a laughing killer were behind him. Instead, he was Gotham City’s most flamboyant bank robber. But we’ll be honest, this story is famous – or infamous – thanks to the way language changes, making a single word used throughout the story seem like the title character is playing a long-game practical joke on readers across the decades. That word? “Boner.” At the time, it was synonymous with “a screw-up,” not “an erection.” We’re not sure when the meaning completely changed (although we suspect it was sometime in the 1980s), but it seems writer Bill Finger was unaware of its randy connotation back in the 1950s.Then again, maybe he was having a laugh alongside the Joker.In the story, the Joker commits a silly blunder during a robbery, which makes him the butt of a running joke around town, with even newspaper headlines referencing his boner. Aggravated, he sets out to make Gotham “rue the day they mentioned the word ‘boner’” by committing crimes based on famous blunders in history. His primary target is, of course, Batman, who falls for the trap in order to find Joker’s hideout and take him into custody.Published the same year as “The Man Behind the Red Hood,” there’s something archly mid-century about the whole thing, particularly in the innocence surrounding the now-ribald term. But it is also a window into what the Comics Code Authority-sanctioned version of Joker looked like. Without his original murderous drives, these were the sorts of shenanigans he concerned himself with for almost 25 years before homicide returned to his tight five-minute act.But for all the latter-day guffawing over the Joker’s boner, the story is also a prime example of the character’s incredible ego and how it often gets the better of him.8. “The Joker’s Millions” from Detective Comics #180The Joker’s egotistical imperative would be the cause of his downfall in this story from writer David V. Reed (as David Vern) and artists Dick Sprang and Charles Paris. The plot sees Joker inheriting a vast fortune from a rival mob boss only to discover most of it was counterfeit. At the same time, an IRS agent arrives at his new home to tell him he owes million in inheritance tax. Unfortunately, the Joker’s ego prevents him from telling the agent that the fortune is a sham. If word got out that he had been hoodwinked, he’d be the laughingstock of the criminal underworld!To pay the taxman and avoid suspicion, he sets out to commit “ordinary” crimes, but fate keeps making the crimes seem more fabulously theatrical and Joker-esque. It proves to be the key in aiding Batman to foil his foe. Joker s tax problems, though, are never resolved.The Joker’s increasing need to save face propels this story past a lot of other tales from the era because of the way it plays Joker’s fears straight. The last thing he wants to reveal to his contemporaries is flopsweat. While far from the murderous Grim Jester of the Golden Age, it is one of the best character studies of the “Crime Clown” ever published in 20th Century Detective. In fact, the story would later be adapted into an episode of 1998’S The New Batman Adventures.7. The Batman Adventures: Mad Love(Photo by DC Comics)How can a list of great Joker stories not feature at least one with Harley Quinn? Adapted from an episode of The New Batman Adventures by the show’s executive producers, Paul Dini and Bruce Timm, Mad Love reveals the twisted adoration Dr. Harleen Quinzel felt for Joker when he became one of her patients at Arkham Asylum. But beyond serving as Harley’s origin tale, Mad Love introduces a new, sinister side to the Joker – he’s an abuser. While Timm’s wonderful illustrations give the story more of a cartoon air, Joker’s treatment of Harley features all the classic signs of abuse. And because Timm portrays the violence more directly than in the animated episode, it is hard to look at panels in which “Mistah J” browbeats her with verbal slings or straight-up hits her without wincing.As with many of the great Joker stories, he is undone by his ego. But here, the lovely twist involves Harley and the Joker’s fears that he would become a punchline if she killed Batman. It not only saves Batman from a death by piranha, but it allows him to defeat the Joker with one word: puddin’.Mad Love really set the tone for Joker and Harley’s twisted affair, and while it has been over for a long time in the comics – and little more than backstory for the cinematic Harley – this foundational moment forever altered the character into something both more brutal and charismatic.6. Batman #1In his first appearance from Batman #1’s untitled feature story, the Joker arrives fully formed with design and gimmick already firmly established. Even his penchant for using the media to announce his crimes debuts in this story. Curiously, though, this version of the murderous clown is light on humor – the puns in the story are delivered by Batman and Robin – while high on an unsettling grin he both wears himself and leaves on the faces of his victims. Nonetheless, he proves to be an adversary even Batman has to admit is worthy.While very much a Golden Age story in terms of plot and character, its enduring legacy is the look of Joker himself. Unlike the initial Bob Kane/Bill Finger design of the Bat-Man, which evolved quite a bit across his first few years, Kane and ghost artist Jerry Robinson (credited as inker here) had a clear picture in terms of color, clothes, and Joker s rictus face, which overwhelms any panel he appears in. The character would immediately reappear in the issue’s second story and become the Dark Knight’s true arch foe.5. “The Joker’s Five Way Revenge” From Batman (Vol. 1) #251(Photo by DC Comics)After a long absence in the late 1960s and early 1970s, Joker returned to comics under the direction of writer Denny O’Neil and artist Neal Adams. The pair had been revamping Batman for some time, removing the campier elements accrued from the 1950s. Batman became his own narrator and a truly dynamic adventurer on the page, thanks to Adams s style and O’Neil’s plots.They gave Joker the same treatment in a fairly simple tale of revenge. Knowing one member of his gang turned state’s evidence on him, he resolves to kill them all. Batman has mere hours to stop him and pretty much fails. But so does Joker in a scene that recalls some of his Silver Age screw-ups but also plays on the slicker, darker tone O’Neil and Adams were bringing to Batman.The story also presents a lasting legacy for the character: the affirmation that he is a killer. The Joker may have spent decades attempting zany clown-themed robberies, but at his heart, he is something far more grotesque. From this point on, he would always be a murderer.4. Batman: The Man Who LaughsEd Brubaker and Doug Mahnke’s 2005 retelling of the Batman #1 story benefits from all the advancements in comics over the course of 66 years. Mahnke’s art underscores the unsettling nature of the Joker’s laughing gas while giving the villain a wide range of expressions. Brubaker’s script, meanwhile, highlights how far both Batman and Commissioner Gordon have come in terms of characters since 1939. In this telling, Gordon is still a Gotham City Police Captain while the Batman is a year-and-change into his career when the murderous clown destroys their footing. Both narrate their own parts of the story – as opposed to the omniscient narrator, Bill Finger, in the original tale – and Joker uses television instead of radio to announce his arrival.Consequently, the story gets reframed as the week both Batman and Gordon realize Gotham will never be the home of simple, predictable crime ever again. Batman may stop Joker from poisoning the city aqueduct, but the floodgates are opened to costumed crazies. In this, Joker is very much an “unknowable force of nature” and a thrill to see on the page.3. Batman: A Death in the Family(Photo by DC Comics)Running from Batman #426-429, A Death in the Family by Jim Starlin, Jim Aparo, and Mike DeCarlo was a major turning point in DC Comics history. Jason Todd, the second Robin, finally tracks down his long-lost birth mother, but their happy reunion turns sour when he learns she’s in league with the Joker. She quickly hands him over to the clown, who savagely beats Jason within an inch of his life, ties up his mother, and blows them both up. To read those scenes again in Batman #428 is to see the Joker fully unleashed. It is surprisingly brutal for a mainline DC Comic of the late 1980s.But as great Joker stories often see him murder or brutalize members of the Batman cast, it takes a little more to make this the representative of that type of tale. And that something more is what Joker does after Batman finds Jason s corpse: He returns to the U.S. as a United Nations dignitary from Iran (!), and because he has diplomatic immunity, Superman warns Batman not to interfere with his UN duties. His ambassadorship turns out to be another murderous plot – the Iranian government hired him to kill the UN General Assembly – which Superman foils even as Batman prepares to pursue the Joker across New York. It ends with a helicopter crash and the apparent death of the Joker. But he eventually returns to hassle Jason’s replacement, Tim Drake.Besides the wild ending reflecting American attitudes toward the Middle East at the time, we also see Joker’s callousness and theatricality on display. He works with people as long as they amuse him, but as soon as he learns one of his accomplices is Robin’s mother, she becomes an added bonus in his suddenly murderous scheme. Jason would eventually return from the dead, but Joker will always count killing a Robin as one of his greatest hits.2. “Fool’s Errand” From Detective Comics #726This 1998 story is an absolutely brilliant tale by Chuck Dixon and Brian Stelfreeze in which Joker does his best Hannibal Lecter impression. Batman is forced into the Will Graham role as he turns to his greatest nemesis for clues about a child abduction case on the anniversary of Jason Todd’s death. The kidnapper served next to Joker at Arkham Asylum and it is clear the whole caper was devised by the clown to get at the Bat.For most of the issue, the two spar in Joker’s cell – although their discussion is counterpointed with scenes of Batman tearing through a mob-controlled ferry to get to the victim. Finally, the Joker claims boredom and just straight up tells Batman where the missing girl is. The Dark Knight returns to Arkham shortly thereafter to learn the why the Joker was willing to offer a life-saving tip. His answer is one of the cruelest and most ingenious punchlines the failed comedian ever devised so much so, we don’t want to spoil it other than to say it may actually be the archfiend’s masterpiece.The story may not have a lasting legacy, but it is a prime example of the character’s intelligence and tenacity. He crafts a long game (in which no one gets killed) to deliver a punishing blow upon his nemesis.1. Batman: White KnightThere have been a handful of “Joker goes straight” stories over the years, but none are as sprawling, effective, or as richly detailed as Sean Murphy’s 2017-2018 miniseries, Batman: White Knight. In it, an increasingly unhinged Batman forces the Joker to ingest a mysterious antipsychotic drug at a disused lab. Video of the incident goes viral, causing Gotham to lose faith in its Dark Knight. Meanwhile, the drug suppresses Joker and allows his original persona – Jack Napier – to take control. Their methods may be quite different, for the most part, but Jack and Joker want the exact same thing: command of Gotham. And so Jack sets out to amass legal and political power to become its white knight. The premise leads to sublime character studies of the Joker, Batman, and a few other members of the Batman cast. The story is also filled with great action sequences and big emotions. It may also be the best Harley Quinn story to date.Murphy’s art sets his Gotham apart from any other you’ve seen. But as he also draws inspiration from the Batman feature films, Batman: The Animated Series, and 80 years of Batman comics, the world feels immediately familiar. His decision to make Jack Napier the person under the Joker’s greasepaint – and his decision to make Jack one of the story’s two surprising heroes – makes absolute sense by page 20. In some ways, it serves as the reverse of The Killing Joke. Where that story sets out to make Joker an unknowable force – his real memories are a mystery to him – White Knight offers an intimate look at the man inside and reveals a possibility for redemption. Besides being a cracking great Joker story, it may be the best Batman story told since the turn of the century.Like this? 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Comic-Con 2019 Cosplay Gallery Comic-Con is celebrating its 50th birthday: See who came dressed for the occasion! by RT Staff | July 20, 2019 | Comments
(Photo by Marvel Studios)As revealed in last week s episode of WandaVision, the sitcoms recreated in its earliest episodes truly mattered to Wanda (Elizabeth Olsen). The homages to The Dick Van Dyke Show, Bewitched, The Brady Bunch, and Malcolm in the Middle literally recall a suitcase her father carried around Sokovia. The shows continued to offer her solace into her adulthood, as seen in the moment when she and Vision (Paul Bettany) first bonded at Avengers HQ. Although there is some discussion as to when the DVD box sets in the suitcase were available at the time, and a few other questions about the timeline, this thematic connection is key to the overall story. And, as the program’s director of photography Jess Hall told Rotten Tomatoes recently, it was there from very early on. It was in the first draft of [showrunner] Jac Schaeffer’s episode eight script that I read early in pre-production, he said. So it was in my mind and informed my approach from the beginning. In the flashback to her Sokovian child, viewers learned Dick Van Dyke was Wanda s favorite of the old American sitcoms exported to the Eastern European country. Naturally, it was the one the series took the greatest pains to recreate.Although, as Hall explained, It was never simply about recreating specific shows; we were also interested in eras and the stylistic and technical approach that defined specific periods in the history of television sitcoms, which led to many more visual departures in subsequent episodes. It also created a mission for Hall to find the line between completely recreating the visual look of a 1950s sitcom and that of the contemporary story the series is actually telling.(Photo by Marvel Studios)One vintage look the show avoided, for example, was that of the kinescope. Prior to the adoption of 2 videotape in 1957, many live programs were recorded by simply pointing a film camera at a TV monitor. The resulting image garbled the intended contrasts and warped the overall image, but created a “good enough” copy for these programs to be shipped off to affiliate broadcasters outside of, say, the New York area. For WandaVision, it would ve been distracting. But even in terms of series originally shot on film, like Bewtiched, Hall noted it is still rare to actually see the original quality of the recording.“One of the things in going back to the original [broadcast of shows] was you re obviously not looking at an ‘original original,’ because you re looking at something that was shot on film and then transferred to video,” he said. “What I was able to do on the early footage [of WandaVision] was get some prints of some of the early sitcoms on film. I got some from the original negative and I then projected those and I looked at those.”The research led to the first episode’s recreation of The Dick Van Dyke Show’s lighting scheme and camera angles. Although, thanks to the rare negatives he looked at, the WandaVision footage is sharper than most people’s memories of that vintage program.(Photo by Marvel Studios)Creating that clearer-than-you-remember image became the working philosophy for the subsequent recreations of shows like Bewitched, The Brady Bunch, and even Family Ties – itself now a vintage program to the horror of many viewers.“In my mind, the reference was actually much closer to the original, not necessarily what had been seen by viewers on the televisions of the period,” he said. “I think once you go to that level, you re potentially degrading the image so much that you re losing some of the original characteristics. So our objective was not quite that.”He added the aim of the photography was to look at the [vintage] material and then create something that somehow has a modernity to it.”That modernity matters as, ultimately, The Brady Bunch and Malcolm in the Middle prove to be what Wanda was watching at pivotal moments in her life. Presumably, Bewitched and Family Ties held similar positions her memories for traumas yet to be explored.Series director Matt Shankman identified shows that were iconic both in terms of era and integral to Wanda s history via an emotional connection established in her childhood, Hall explained. Thus, recreating the camera movements of Family Ties became important on both the technical and thematic levels. And, as it happens, those details would create a strong connection for the audience young enough to remember when that show aired on NBC or when some of the older programs ran in syndication — to say nothing of the people who may remember when Dick Van Dyke first aired!(Photo by Marvel Studios)To younger viewers, though, notions of fuzzy images caused by poor antenna reception, overworked videotape sources, and even the lower resolution of television in the 20th century would require explanations all their own and had the potential to get in the way of the story. In situations like those, Hall, Shankman, and the rest of the crew would look critically at what they could do with the image and judge whether it was too much. This is maybe [correct for] the era, but does it really serve the dramatic purposes of our narrative? was the question Hall would ask. That s what really leads the choices, he said. This is why the boxier aspect ratio of the first three episodes gives way to the wider 16:9 frame of HDTVs in episode five.The cinematography adds a dimension to Wanda’s story — something Hall called “the difference between an original and the memory of an original.”“The reality that Wanda s creating is quite fragile. So I think absolute replication was definitely not the goal. It was more about kind of whirring the audience into this kind of comfortable sitcom reality that was vaguely nostalgic,” he said.Creating that comfort also meant the visuals could be disrupted to “bring in some of the more sinister aspects of the narrative.” A great example of this in episode one when Mr. Heart (Fred Melamed) starts choking; the Dick Van Dyke–inspired staging and lighting gives way to more modern photography for the series’ first chilling moment.(Photo by Marvel Studios)But even with the elements he wanted to recreate – the filmic look of 60-year-old sitcoms shot on 35mm film, for example – technical limitations still appeared by virtue of the changes in filmmaking technology. Hall called it an “inherent challenge” as the 4K resolution High Dynamic Range digital cameras used to capture WandaVision result in a substantially different image than a film camera from the 1960s.“You re taking that highest level of quality and then trying to degrade it. There s a kind of contradiction there,” he said. “But it s a really interesting way to approach it. If someone asked me to do [a show like WandaVision] five years ago, I might ve said, ‘Oh we should shoot that on 35 mil,’ or ‘Let s shoot that shoot on 16 mil, let s get an old video camera to do that.’ With this show, I really decided to do the whole show on one camera and to really try and use the technology to actually create the different looks.”In fact, a whole field of filmmaking is devoted to making the qualities of specific vintage film stocks available to cinematographers like Hall. The results can be striking, as seen in the first three episodes of WandaVision.“There was a lot of in-depth color science work that I did with Technicolor to place a huge-bandwidth, raw high-quality camera signal in an envelope, which restricted the signal down to a 1950s black-and-white look, or an early color film look, or an early video look. There are plenty of algorithms and lots of computer tech behind that color science, but Hall said he really relished exploring the digital platform to its full capabilities. That was really one of the exciting things about this project and sort of appropriate to Marvel, who I feel are always kind of at the cutting edge technologically. And by shooting the entire series in 4K HDR, Hall delved into the higher end of what can be captured on the format.“The potential to have richer colors is actually technically a possibility now,” he said. “That really opened up a whole world for me in terms of what I looked at on the comic book reference, which had this incredibly vivid color.”(Photo by Marvel Studios)The results lead to the dynamic contrast in scenes set outside Wanda’s Hex, the colors on display when Monica steps through the barrier in episode seven, and the beauty of the images within Wanda s recreation of classic sitcoms.Of course, recreating sitcoms led to one more challenge for Hall: the three-camera set-up itself. Unlike movies, which typically light and shoot one angle of a scene at a time, sitcoms typically light an entire stage with three cameras following the actors as they play out a scene. In many productions, the job of editing the shots was done on the fly as a videotape recorded the resulting program. Other shows would take the material caught be the three cameras to the editing room and build the episode there. For WandaVision’s debut episode, the production mounted a full live-to-tape recording in front of a studio audience. episode five — the Family Ties-inspired episode — was also shot in the three camera set-up, but lacked a studio audience, a difference sure to please fans of television production.Nevertheless, lighting for three simultaneously running cameras taught Hall — a veteran of single-camera productions — a new set of skills.“You ve got to light for the 180 [degrees of the stage]. You re shooting a wide shot and two medium shots at the same time or you re shooting a two shot and two close ups at the same time,” he said. That means finding a lighting scheme which serves several cameras at once while still conveying the intent of each shot. He credited Shankman, a veteran sitcom actor from shows like Just The Ten of Us, with putting him through a “sitcom bootcamp” to hone the multicamera discipline. As a result, they wound up shooting scenes outside the Hex with multiple cameras.“There were action sequences that required coverage. And if you ve got a stunt, you might as well put a third camera on it because it might not be replicated again,” he said. Nevertheless, he admitted there were times he was happy to be out of the studio and on location with the S.W.O.R.D. crew or in Westview’s beautifully manicured exteriors. “I think the location work definitely provided some light relief from the set work, which became quite intense,” he said. “But this show had so much diversity in it, you never had a chance of getting bored because every day was different.”(Photo by Marvel Studios)Near the end of episode eight, Hall had the opportunity to turn the camera at his own lights just as Wanda came to understand why she started recreating old TV shows in the first place. As he put it, it s a self-reflexive moment that exposes the constructed reality of a show which thematically features a constructed reality at its core. And though we may not yet know the full extent of what Wanda, as the Scarlet Witch, can construct, the moment stands as one of the most fascinating in terms of what it took to tell her story. We are revealing the mechanisms of the medium itself and illustrating to the spectator that their perception of reality is manufactured, subject to change and transformation, Hall said.With one episode or revelations yet to be transmitted, we can t wait to see how Hall and his team photograph WandaVision s conclusion.The WandaVision season 1 finale premieres on Friday, March 5 on Disney+.On an Apple device? Follow Rotten Tomatoes on Apple News.
Great news: it s the time of year where it s completely socially acceptable to spend any and all free time curled up in front of the TV with a cup of hot cocoa and keep warm with some of the best that TV has to offer. Luckily, December has that in spades with 10 returning programs that we can’t wait to catch up on in time for new episodes later this month. Among our recommendations: Amazon s award-winning comedy The Marvelous Mrs. Maisel, J.K. Simmons sci-fi spy drama Counterpart, the return of the animated superheroes of Young Justice, and more.The Marvelous Mrs. Maisel 88% (Amazon)What it is: In 1950s New York City, Midge Maisel’s (Rachel Brosnahan) husband, Joel (Michael Zegen), admits to having an affair and leaves her. Rather than getting back, she gets even, and decides to pursue his dream of becoming a stand-up comedian — which makes sense, because she was the funny one all along.Why you should watch it: Certainly the runaway comedy hit of the past year, Maisel won top honors at both the Emmys and Golden Globes and is well-positioned to do it again this award season. Brosnahan s star-making performance (and her scene-stealing costars like Tony Shalhoub and Alex Borstein) anchor a series that is smart, funny, and full of heart — not to mention super timely. Quite simply, it’s a home run. Season 2 streams in full on Amazon Prime Dec. 5.Where to watch: AmazonCommitment: Approx. 7.5 hours (for the first season)Counterpart 100% (Starz)What it is: From creator Justin Marks, Counterpart is a sci-fi drama centered on Howard Silks, a low-level employee at a nondescript agency in Berlin who comes to learn his employer is actually guarding and operating an underground tunnel that connects to a parallel world that mirrors his own. The catch is that everyone has an identical-but-different counterpart in this parallel dimension, and his is a top-level spy intimately involved in the brewing war between both sides of the tunnel.Why you should watch it: Counterpart is probably one of the great new shows that you’re not watching — and this is the perfect time to change that. Among the best-reviewed dramas of the past year, this espionage thriller is tense, gripping, and altogether unexpected in the best of ways. Plus, J.K. Simmons is in top form, pulling double duty as the central Howard and Howard Prime and offering a revealing study of cause, effect, and how our choices have repercussions out of our immediate control. Season 2 premieres on Starz Dec. 9.Where to watch: Amazon, FandangoNOW, Google Play, Microsoft, VuduCommitment: Approx. 10 hours (for the first season)Chilling Adventures of Sabrina 81% (Netflix)What it is: Based on the beloved Archie comic and from creator Roberto Aguirre-Sacasa, this iteration of Sabrina the teenage witch has a dark and spooky twist, charting the titular witch’s (Kiernan Shipka) coming of age as she’s forced to choose between human normalcy and her magic’s haunting lore.Why you should watch it: Sure, Chilling Adventures of Sabrina may have just made its big Netflix debut this Halloween, but will premiere an hourlong Christmas special, “A Midwinter’s Tale,” this month. That makes it a perfect time to binge the first 10 episodes of season 1, which was an immediate sensation with lovers of Riverdale and the original Melissa Joan Hart–starring series alike. “A Midwinter’s Tale” premieres Dec. 14.Where to watch: NetflixCommitment: Approx. 10 hours (for the first season)Timeless 91% (NBC)What it is: From creators Eric Kripke and Shawn Ryan, Timeless stars Abigail Spencer, Malcolm Barrett, and Matt Lanter as a trio (a professor, a soldier, and an engineer) tasked with traveling through to save the world — and history — as we know it.Why you should watch it: Christmas is coming early for the devoted fans of NBC’s sci-fi action drama that was resuscitated not once but twice. Though the network canceled the series after its first season, it quickly reversed the decision days later. The cancellation after season 2 stuck, but after more fan outcry NBC decided to bring the series back for a two-hour installment to wrap up loose storylines. Thrilling, entertaining, and featuring dazzling set and costume design pieces across its many time periods, Timeless is the kind of series that lives up to its name. Catch its anticipated final installment on Dec. 20.Where to watch: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 18 hours (for the first two seasons)Marvel's Runaways 84% (Hulu)What it is: Creators Josh Schwartz and Stephanie Savage leave their mark on the Marvel Cinematic Universe with this hit Hulu series based on the comic of the same name, which follows a motley group of super-powered teens who unite to stop their supervillian parents.Why you should watch it: By this point, you know what you’re getting with an MCU project — but Runaways still manages to have a few surprises up its sleeve. Led by a cast of a excellent young actors and featuring a unique spin on the hero-villain narrative (and exploring relationships between friends and family in the process), the streaming series is a welcome addition to the already well-trod Marvel empire. We can’t wait to see what season 2 has in store when it premieres Dec. 21. Where to watch: Amazon, FandangoNOW, Google Play, Hulu, VuduCommitment: Approx. 8.5 hours (for the first season)A Series of Unfortunate Events 96% (Netflix)What it is: Those poor, poor Baudelaire orphans — always getting caught up in events that are, well, unfortunate. Netflix’s whimsically dark series follows Violet, Klaus, and Sunny who, after their parents’ death, are put in the care of an evil distant cousin, Count Olaf, who’s set on getting his hands on their sizable inheritance.Why you should watch it: Neil Patrick Harris is doing more than just stealing the show (as he did for nine seasons on How I Met Your Mother) — he is the show, making each of Olaf s master-of-disguise getups more beguiling than the one before. It’s just an added bonus that the sets, music, and just about everything else about this series are technically dazzling. Season 3 premieres in full Jan. 1.Where to watch: NetflixCommitment: Approx. 13 hours 9for the first two seasons)grown-ish (Freeform)What it is: A spinoff of Kenya Barris’ beloved and award-winning black-ish, grown-ish charts eldest daughter Zoey Johnson’s next big journey: college.Why you should watch it: We already expect the Johnson family of black-ish to fearlessly deep dive into hot topics with heart and humor, and grown-ish carries the torch on to the college campus. Plus, if Yara Shahidi s take on Zoey in the former series didn’t make it clear enough, she gives an absolutely star-making turn as the leading lady on this spinoff. Season 2 premieres Jan. 2.Where to watch: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 4.5 hours (for the first season)Gotham 77% (Fox)What it is: The city of Gotham was a mess well before Batman had anything to do with it, and this Fox hit depicts exactly how and why in this origin story of Commissioner Gordon’s rise to prominence and Bruce Wayne s transformation into Batman — and the varied ne er do wells they dealt with along the way.Why you should watch it: Now that Gotham is rounding the bend into its fifth and final season, this is the perfect time to binge and catch up on all the DC Comics fun of this gritty and endlessly entertaining series. An assortment of characters both known and new, it’s especially grounded by Benjamin McKenzie’s take on a young Det. James Gordon. Season 5 premieres Jan. 3.Where to watch: Amazon, FandangoNow, Google Play, Hulu, Microsoft, Netflix, VuduCommitment: Approx. 65 hours (for the first four seasons)Young Justice 95% (DC Universe)What it is: Before Runaways was charting the lives of teen superheroes coming into their own, there was the beloved (and until recently, much-missed) Young Justice, a Cartoon Network animated series from Brandon Vietti and Greg Weisman that follows teen superheroes and sidekicks as they try to prove their worthiness of the Justice League.Why you should watch it: It is with a great sigh of relief that the fan-favorite Young Justice returns from its elongated hiatus for an adventure-filled third season, titled Young Justice: Outsiders. This outing has the likes of Nightwing, Superboy, Wonder Girl, Kid Flash, and others taking on meta-human teen trafficking, and even appears to have the team venturing off into space. Season 3 premieres on streaming service DC Universe on Jan. 4.Where to watch: Amazon, FandangoNow, Google Play, Microsoft, VuduCommitment: Approx. 19 hours (for the first two seasons)The Blacklist 91% (NBC)What it is: To reveal very much about the twists and turns of this complex cat-and-mouse drama would spoil the fun, but the impetus of the series is rooted in its pilot, in which FBI agent Elizabeth Keen (Megan Boone) is called to a peculiar case where the highly pursued fugitive Raymond “Red” Reddington (James Spader) turns himself in and demands to speak to her — and only her. Promising that he has intel on some of the world’s most dangerous underground terrorists, they build an unlikely partnership.Why you should watch it: The guarantee for first-time viewers of the long-running and much-loved Blacklist is that you’re in for one heck of a rollercoaster ride. Led by a stellar performance from Spader as the central criminal mastermind, the series has time and again reinvented itself and upped the ante with each outing. It’s a safe bet that season 6, which premieres Jan. 4, will do the same.Where to watch: Amazon, FandangoNow, Google Play, Microsoft, Netflix, VuduCommitment: Approx. 80 hours (for the first five seasons)
亚博网站下载 With literally hundreds of films released in any given calendar year, not even professional critics who watch movies for a living can catch everything that comes down the pipe. As for general audiences, there are countless movies that open in just a few theaters in the biggest markets (i.e. Los Angeles and New York) before transitioning unceremoniously to home video, eluding the notice of most casual moviegoers entirely. Luckily, the staff at RT are here to offer up some recommendations for films we personally loved that quite possibly came and went from your local theater or never arrived at all without much fanfare. Maybe you re familiar with some of these and simply never got around to seeing them, or maybe this is the first time you ve heard of them; either way, there s a good chance you ll find something new and interesting in our list of compelling 2019 limited releases below.The Biggest Little Farm (2018) 91%It s difficult to describe the documentary The Biggest Little Farm without feeling as though you’re pitching a quirky sitcom: John and Molly Chester are an adorable married couple living in Los Angeles who, sick of the urban grind, decide to hatch a manic scheme: they’ll sink their savings into starting a farm! What the film offers, though, is a beautifully woven story of a family investing not merely money, but also their faith literally into the ground as they slowly construct a 213-acre biodynamic farm. Apricot Lane Farms was founded on a holistic approach, meaning every element on the property serves a connective purpose in the entire farm’s growth and survival (for example, the animals’ manure nurtures the soil, which then sustains the ground plants that feed their sheep, and so forth). Spanning an eight-year timeline, The Biggest Little Farm allows us an intimate look at the complex ecosystem at a working farm, depicting the high points – adorable animals, of course, including the marvelous Emma the pig – but also the low, such as the ongoing struggle with natural hardships and the impact of climate change on the Chesters’ utopian vision. Although it wanders into too-cute territory at times, The Biggest Little Farm is, at its core, an inspired look at the impact of humans purposely learning to coexist with nature. The perseverance and sincere aim of the Chesters is a heartening reminder that if we don’t give up on the Earth, she won’t give up on us. Jenny JedinyAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduFast Color (2018) 81%Julia Hart s Fast Color deserves your attention. The multigenerational family drama about a black woman with unexplainable powers played in just 25 theaters this year and had almost no marketing to speak of, but still managed to be one of the most poignant looks at the superhero narrative in the last decade. Instead of going bigger, Fast Color made everything smaller, keeping the stakes to the realm of the family, and exploring how the vast possibilities presented by superhuman abilities might be exploited in a dying world. Lorainne Toussiant and Gugu Mbatha-Raw give incredible performances as Bo and Ruth, an estranged mother and daughter bonded by trauma and their love of Ruth s daughter Lila (Saniyya Sidney). This Certified Fresh original film is a nuanced take on responsibility, guilt, and grief, effectively built inside a genre we all know and love. Cate YoungAvailable on: Amazon Prime, FandangoNOW, Google Play, iTunes, VuduGreener Grass (2019) 81%Welcome to a twisted vision of American suburbia as if there s any other interesting kind in the movies. Greener Grass takes a pillowy sledgehammer to the trappings of upper-middle-class home life to a repellent extreme. There s courtesy : Neighbors spend minutes at four-way stop signs, imploring everyone else to go first. There s looking good : Everyone unnecessarily wears braces. There s jealousy : A woman puts a soccer ball under her dress for the pregnancy attention, and then gives so-called birth to it later. There s being disappointed in your kids : A dad thinks his son is a loser until his problem is solved after he falls in a pool and turns into a golden retriever. And there s being neighborly : A woman gives her friend her newborn baby for the hell of it of course, there s the matter of what happens when she wants it back Jocelyn DeBoer and Dawn Luebbe pull off triple duty as stars, writers, directors, the Tim and Eric of this placid, candy-coated nightmare. Comedies of this head-scratching and disgusting variety often fall under the direction of men, and they re normally repulsive to look at and listen to from the top down. That s their, uh, charm. But DeBoer and Luebbe use a more fanciful touch: The sets are carefully arranged and presented, the colors pop, and there isn t really the threat of imminent violence which of course makes this demonic comedy of manners all the more pressurized and chaotic. Alex VoAvailable on: Amazon, Google Play, iTunes, VuduHer Smell (2018) 84%I love Alex Ross Perry movies, but I’ve never been sure whether or not the writer-director has much love for people. Gifted at writing memorably vicious put-downs and mining agonizing tension from passive aggression, the indie filmmaker has made a name for himself with caustic chamber pieces about acerbic characters who are confronted by their own narcissism, only to emerge from the tumult even more misanthropic than before. Not so with Her Smell, the enfant terrible’s most redemptive film yet. Elisabeth Moss stars as tempestuous rocker Becky Something, whose abuse of her body and all of those within her proximity blazes a steady march towards self-immolation in the film’s first half. The slow-motion train wreck gives way to shaky optimism as Becky slowly rebuilds her life, haunted by past mistakes. This marks the director and star’s third collaboration, and Moss is astonishing as a musical dynamo who is too enthralled by the demons raging inside her mind to ever consider the damage she is wreaking upon colleagues and family. Her Smell is not just a vehicle for one of this generation’s greatest actresses, however; the ensemble is rich with some of the year’s best performances, from Agyness Deyn as a bandmate at the end of her rope to Eric Stoltz’s indefatigably patient manager. Perry’s evident affection for punk rock also infuses the set-pieces which are almost exclusively confined to green rooms and recording studios with an anarchic energy. Her Smell is an exhausting and rewarding testament to Moss’ power as a performer and evidence that Perry may be developing a soft spot for people after all. Rob FowlerAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduHigh Life (2018) 82%The last few years, we have been gifted with a glut of space films that have taken great pains to explore the way humans love and find meaning in the galaxy, but none will disgust and mystify you the way that Claire Denis’ High Life will. Anchored by an arresting performance from Robert Pattinson and haunting work from Juliette Binoche, the film follows a group of prisoners sent on a space mission to explore a black hole and jumps back in forth in time filling us in on how its passengers were taken out. Denis dismisses the sleek and lavish looks of films like 2014’s Interstellar or this year’s Ad Astra in favor of a minimalist design, and unlike those films, High Life chooses to retain its focus inward on the existential dread that pervades those aboard. In space, no one can hear you cry? Denis explores what really lies underneath the surface of human nature with poetic rigor. High Life is angry. It’s ugly. But it’s beautiful and even hopeful. You will see nothing else like this, and its hypnotic allure will draw you in and never let go. Daisy GonzalezAvailable on: Amazon Prime, FandangoNOW, Google Play, iTunes, VuduThe Last Black Man in San Francisco (2019) 92%Change is inevitable, but that doesn’t make it any easier to swallow. The Last Black Man in San Francisco deftly captures the uncomfortable truths of change, both environmental and internal. The story follows Jimmie (Jimmie Fails) and his best friend Mont (Jonathan Majors) as they attempt to save the most precious thing in San Francisco: the house Jimmie’s grandfather built with his own two hands, now unlovingly left to rot by its new owners. Though his methods are not always… by the book, Jimmie is determined to do whatever he can to ensure the home of his dreams and the dreams of his forefathers aren t lost to the endlessly hungry monster that is gentrification. It’s a story of love and devotion, obsession and mythology, and above all, how difficult and disorienting change can be. It’s a familiar message to many living in quickly changing metropolitan areas: As money moves in, places once sacred are quickly consumed and repurposed for the new tenants. The Last Black Man in San Francisco explores the feeling of that change with poise, beauty, and of course, a lot of heartache. Visually, the film is stunning; shots are composed like paintings, with rich light bouncing off of deep saturation to create tableaus that look like oil paintings come to life. Fails and Majors’ easy chemistry and charming idiosyncrasies make it easy to root for them, even when they make questionable choices, while Rob Richert and Joe Talbot’s script gives them plenty to play with and surrounds them with an equally compelling cast of characters. But more than anything, The Last Black Man in San Francisco captures the beauty and suffering that is watching something you love die and become something entirely new, for better or worse. Haña Lucero-ColinAvailable on: Amazon Prime, FandangoNOW, Google Play, iTunes, VuduLittle Woods (2018) 95%Enjoying debut films tends to be an exercise in forgiveness. They re made with limited resources, yet are under tremendous pressure to strive for perfection. They need to stand out long after the festival buzz has died down and hopefully become a career stepping stone for the filmmaker. As far as premiere films go, Little Woods definitely has a leg up, with stars Tessa Thompson, Lily James, and Lance Reddick. However, the film ends up being a showcase for filmmaker and native New Yorker Nia DaCosta s poised voice as she puts forth a tense, emotionally honest look at what it means to be a woman living in rural poverty. Little Woods sometimes brushes up against romanticizing said poverty. The grit, rust, and long stretches of road at times feel poetic, rather than a harsh reality, but that s almost unavoidable with DaCosta s use of the gorgeous scenery that surrounds the film. The environment is a constant reminder that just outside of truck stops, fracking sites, and homeless encampments are natural riches the characters are rarely able to enjoy. Like Frozen River and Winter s Bone, these wide open spaces are both awe-inspiring and threatening. Tessa Thompson s Ollie and Lily James Deb are facing homelessness and an unwanted pregnancy unless Ollie manages to make some quick cash smuggling prescription pills across the Canadian border. However, Ollie is still on probation from a previous drug-running charge. Part heist and part rural noir, the film is still, at its core, an evocative, moving, family drama. If all this doesn t make you want to see Little Woods, maybe this will: DaCosta s been tapped to direct the upcoming Candyman reboot produced by Jordan Peele. Sara AtaiiyanAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduLuce (2019) 90%In 2018, director Julius Onah gave us The Cloverfield Paradox, which came in at 19% on the Tomatometer; in 2019, he released Luce, which stunned at Sundance and went on to land at a Certified Fresh 93% – and just happens to be one of my favorite films of the year. Talk about a turnaround. Luce did well enough at the specialty box office when it was released in September, and has earned three Independent Spirit Award nominations – for Onah, for Kelvin Harrison Jr., who plays the titular overachieving high school student, and for Octavia Spencer, who plays the teacher who sees something off in him. Yet it confounds me that this complex drama (almost a thriller, in some ways) isn’t lighting up awards seasons and top 10 lists. Based on a play by J.C. Lee, who also wrote the screenplay, the story centers on teenaged Luce, a star athlete and student, who was adopted as a young child after spending his early years in war-torn Eritrea; when his teacher brings a troubling essay he’s written to the attention of his adoptive parents (a harrowed and perfectly cast Tim Roth and Naomi Watts), they’re forced to wonder if their son is as perfect – and level-headed – as he seems. It’s the kind of set-up that could get silly if overplayed by any of the actors or oversteered by the director, but the work here is subtle, the audience left to guess at the truth and various motivations. Harrison Jr., who many will have seen in Waves this year, is great as the terrify-er/charmer at the movie’s center, and Octavia Spencer gives one of the best supporting performances of any man or woman on screen this year as the teacher who seems to see him for what he is. Seriously: Nominate her. It’s a small story, contained, and at times it can’t shake off its stage roots, but it’s also somehow big and bold and about everything happening in America right now. Onah didn’t need to go to space to make his mark – he found liftoff in a drab suburban high school. Joel MearesAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduThe Nightingale (2018) 86%Jennifer Kent followed up her critically acclaimed horror film The Babadook (Certified Fresh at 98%) with this war story set in 1825 colonial Australia. Aisling Franciosi (Game of Thrones) plays Clare, an abused convict who has served out her seven-year sentence and is desperate to be free of her overseer, Lieutenant Hawkins (Sam Claflin) of the British military. When her husband Aidan (Michael Sheasby) retaliates for Hawkins refusal to release Clare, Hawkins and his men commit atrocities against her and her small family. Left for dead, Clare then finds herself on the road to vengeance, chasing the lieutenant and his men north, where Hawkins hopes to secure a promotion. Clare faces more brutalities along the road, with Aboriginal tracker Billy (Baykali Ganambarr) as the reluctant guide and unwilling protector of the traumatized and hostile young woman. A limited release in the States, the harrowing film was nominated for the Golden Lion at the Venice Film Festival, won several festival and critics awards, and took six Australian Academy of Cinema and Television Arts awards, including best film, screenplay, direction, lead actress, supporting actress, and casting. The Nightingale is also Certified Fresh at 87% on the Tomatometer with 220 reviews. “Jennifer Kent s The Nightingale is a film that bruises the soul,” wrote critic Clarisse Loughrey of the UK’s Independent. “One of the most powerful films yet seen about the country s colonial foundation and the cruelties that were an indelible part of it,” Sydney Morning Herald critic Sandra Hall wrote. Rolling Stone’s Pete Travers praised Franciosi: In Jennifer Kent s pulverizing revenge tale, Aisling Franciosi delivers a tour de force as an Australian woman determined to put a stake through the heart of toxic masculinity. You won t know what hit you. Debbie DayAvailable on: Amazon, Google Play, iTunes, VuduEsto no es BerlÃn (2019) 82%Director Hari Sama’s This is Not Berlin is a coming-of-age story through the lens of 1980s Mexico City’s underground arts scene. It follows 17-year-old Carlos (Xabiani Ponce de León) as he falls in love with punk music, discovers drugs, explores his sexuality, shaves himself an undercut, sheds his shame, and challenges the world around him. When the film begins, Carlos is quiet, the least inclined of his classmates to engage in violent brawls, despite the fact that his masculinity appears to depend on it. When he discovers a space filled with eyeliner and protest art, he’s all-in. And the rest of the film sees him navigating his place in that space, where his talents as an engineer can be leveraged to amplify his voice. Carlos’ transformation is beautiful, and Sama’s direction places us right there with him through every peak and valley. This is Not Berlin paints a gritty, deeply felt portrait of teenage angst — the pressures, the temptations, the desire to be understood and heard by the world. Sophie-Marie PrimeAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduVillains (2019) 85%Writer-directors Dan Berk and Robert Olsen s darkly comedic third feature is exactly the kind of oddball treat I tend to seek out when I m exhausted from heavy Oscar contenders and numb from blockbuster pyrotechnics. It s a fairly contained cat-and-mouse game of a thriller that makes the most of its dedicated cast, who all get individual moments to shine and look like they re having a blast with their characters. The setup isn t especially revolutionary: Petty criminals Mickey and Jules (Bill Skarsgård and Maika Monroe from It and It Follows no relation) break into what looks like an ordinary house in search of a getaway vehicle, only to be confronted by the homeowners, George and Gloria (Jeffrey Donovan and Kyra Sedgwick), a disturbed married couple who just happen to have a young girl chained up in their basement. The tables quickly turn, before they turn again, and then again, but the moments in between are populated by off-kilter humor and little touches that almost almost make you root for everyone involved, particularly thanks to a quartet of no-holds-barred performances. It s not the most subversive thriller, nor is it without a handful of predictable moments, but it s just weird enough, funny enough, and vicious enough to scratch multiple itches for me. Plus, Jeffrey Donovan s George, with his lazy drawl and mannered affectations, is the most charming psychopath this side of Ted Bundy, and he is just so much fun to watch. Ryan FujitaniAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image: LD Entertainment, IFC Films, A24
The coffee cup that stole Game of Thrones spotlight on Sunday night might have dominated the conversation on Twitter, but it looks like most of the first critics to review The Last of the Starks either missed the cup s cameo or were too enthralled with that dramatic dinner scene to care.In a statement released later, the network said: “In response to inquiries from those who saw a craft services coffee cup in Sunday night’s episode of Game of Thrones, HBO states, The latte that appeared in the episode was a mistake. Daenerys had ordered an herbal tea. ”News from Winterfell.The latte that appeared in the episode was a mistake. #Daenerys had ordered an herbal tea. pic.twitter.com/ypowxGgQRl Game of Thrones (@GameOfThrones) May 6, 2019(Photo by HBO)Update: By Tuesday, the cup was scrubbed from the scene in the streaming version.Despite the cup s explosion on the Twitter-verse, with the controversy trending under Starbucks cup (though HBO indicates the cup was a craft services item), critics weren t distracted by the contemporary set piece in last night s episode. Instead, some critics were captivated for positive reasons, but many others — not so much.The eighth and final season of Game of Thrones 89% is not faring as well as its predecessors. Granted, the season just passed its halfway mark, but it s still scoring about 10% lower than any season before. After Sunday s The Last of the Starks, season 8 is hanging in the 80th percentile — every other season is at 91% or higher on the Tomatometer. Still, season 8 is well on its way to being Certified Fresh. (The final two episodes would have to have dancing Starbucks cups to fully derail the season.)Last week, The Long Night drew criticism for its darkness, the lack of consequential deaths, and that the battle literally lasted only one night. At 74%, it became the second-lowest ranking Game of Thrones episode ever. But now, it appears that title will be taken by episode 4 — and that now-infamous Starbucks cup.(Photo by Kevin Winter/Getty Images for AFI; HBO)This week s The Last of the Starks is even lower on the Tomatometer, currently at 63% with 63 reviews so far (updated at 2:45 p.m. PT on May 6). And that s despite a cameo by the series showrunners D.B. Weiss and David Benioff (pictured above at a 2018 event and in costume in the episode) in the feasting scene. The only episode ranked lower than these two most recent installments is season 6 s Unbowed, Unbent, Unbroken and it s Rotten.Read on to find out what critics had to say about season 8 Episode 4: "The Last of the Starks" 58%.First Impressions (Photo by Helen Sloan/HBO)Odd oversight of letting in a Starbucks cup cameo — Dominic Patten, DeadlineWell, at least no one will complain about the darkness in this latest Game of Thrones episode. — Verne Gay, NewsdayLast week was an emotional rollercoaster and tonight took us off the track! — Jamie Broadnax, Black Girl NerdsMaybe we don t have a hero on this show anymore, at least not in the game for the Iron Throne. — Dave Gonzales, ThrillistRead more: Sex, Death and Relationship Drama Feature in Game of Thrones The Last of the Starks Top Moments A Little Out of Character?(Photo by Helen Sloan/HBO)Not every character- or plot-based story decision feels earned, but at least the rapid momentum toward the series’ end has kept the eyes of Game of Thrones somewhat on the present, however volatile and fatal it may be. — Steve Greene, indieWireCharacter-driven errors were committed and the war for the Iron Throne ignited in a highly emotional and often devastating episode — have there ever been so many tears and kisses and hugs on this show? — James Hibberd, Entertainment WeeklyThe Jon/Dany conflict cuts to the heart of Game of Thrones‘ biggest problems in its final few seasons – in its zeal to set up these foregone conclusions, they’ve had to roll back significant character development to do so. — Clint Worthington, The SpoolCritics Predict It ll All Come Down to Dany, Cersei, and Sansa(Photo by Helen Sloan/HBO)We’re only a week past the deadly Battle of Winterfell, and Daenerys has already reached the sixth stage of grief: world domination. — Kimberly Roots, TV LineThis is an interesting episode because Daenerys is so bad in so many ways throughout, and yet she s also clearly not as vile as Cersei. — Erik Kain, ForbesHolding within herself the power for acts of desperation, grasping need, human connection, and inhuman cruelty, Cersei represents the show at its most painfully complicated. She’s back in full force for the show’s last two episodes — just in time. — Daniel D Addario, VarietyIt’s obvious now from the conversation among the characters and the closeups of Clarke, Sophie Turner, who plays Sansa Stark, and Lena Headey, who plays Cersei Lannister, that the battle for the Iron Throne will come down to these three women. — Robert Rorke, New York PostWho Do Critics Want to See Win the Iron Throne?(Photo by Helen Sloan/HBO)For the first time, I know who I’d like to see on the Iron Throne at the end: Sansa. I think she’d be a great Queen. I want to see Tyrion at one of her sides and Arya at the other. Maybe it’s time to place my bets? — Leona Laurie, Geek Girl AuthorityI’m afraid Jon Snow — sorry, Aegon Targaryen — is going to somehow stumble his way onto the Iron Throne. Yes, I do mean accidentally bumbling his way onto it, like he bumbles absolutely everything else, and everyone will just yell, “King in the south!” If that happens, I’m going to riot. — Tasha Robinson, The VergeRead more: All Game of Thrones Episodes, Ranked by TomatometerFinal Verdict? Complaints Outnumber Raves(Photo by Helen Sloan/HBO)As has been the pattern for two seasons now, the episode was filled with lapses in logic that were too irritating to ignore, plus a plague of idiocy on the part of most of its supposed heroes. — Kelly Lawler, USA TodayIt was a bad week for the Dragon Queen, the latest in a fairly regular string of tragedy and indignity that began roughly when she started hanging out with Jon and doesn’t suggest much in the way of a happy ending. — Jeremy Egner, New York TimesAs impressive as last week s spectacle was, none of it felt as engaging as this week s smaller moments of politicking and intrigue of Tyrion and Varys contemplating treason. — Stephen Kelly, BBC.comI suspect that when we all look back on the final season of “Game of Thrones” with the benefit of some hindsight (and when some of us are not in the position of speed-writing recaps late on a Sunday night), the pacing of these final six episodes is going to seem at least a little off But in the moment, I was delighted to see all of these characters loose and wonderfully, vitally alive. — Alyssa Rosenberg, Washington PostGame of Thrones airs Sundays at 9 p.m. on HBO. 在摩尔庄园手游公测前，奥比岛和洛克王国这两款童年游戏IP分别于4月29日和5月26日发布了手游化的预告。摩尔庄园公测消息登顶热搜榜的时候，洛克王国出手游的消息也在榜上占据了一席之地。
We know the first episode will revolve around Geralt and Ciri’s journey to the Witcher fortress. And from clips unveiled during the September Tudum event, it’s clear the pair will spend at least one night as Nivellen’s keep before they arrive at Kaer Morhen.On a more macro level, the Northern Kings will have either won the war against Nilfgaard or remained in a saber-rattling stance after witnessing the Battle of Sodden Hill from afar. Considering a second war with Nilfgaard breaks out in the narrative of the novels, we expect the television show may just turn the two conflicts into one – a war they can actually dramatize (budget permitting) as Ciri continues her training.(Photo by The Witcher season 2 - Netflix)Meanwhile, the trailer released at the end of WitcherCon seemingly resolved Yennefer’s disappearance. Nevertheless, her next move will no doubt inform the tensions outside Kaer Morhen. For one thing: the Brotherhood is still up for grabs, even if there is considerable support of Nilfgaard at this point. But Yennefer may not rejoin that conflict at first. She’s captured [and] she has to survive being a prison of war, Chalotra teased during the TCA event.Hissrich also added Yennefer’s journey is one of self-exploration. It was a note Chalotra agreed with. The choices she makes in Season 2 will resonate with people a lot more, she said. She makes some unlikely alliances and it changes her way of thinking. It really changes her. It remains to be seen, though, how much material The Witcher plans to cover in its second season. Considering the first year covered many of the short stories and Ciri’s recollections of life on the run following the Nilfgaard attack, we can safely assume Season 2 will follow the shape of Blood of Elves — the new additions to the cast almost guarantee it.Read Also: The Witcher Showrunner Tells Us How To Build a Monster SeriesThen again, events from the stories and novels have already been remixed and there is no guarantee we ll see all of Ciri s time at Kaer Morhen or the Temple School before season 2 concludes.But no matter what map the series follows in its second year, one theme has been virtually guaranteed by Hissirch — the waning of monsters. As in the novels, fantastical creatures are becoming rarer as the Continent (a loosely European realm) marches closer to modernity. The disappearance of monsters also means Witchers are becoming fewer in number. And while referenced in passing during the first season, this change in the world will be addressed in the upcoming episodes.Who Will Direct Season 2 of The Witcher?(Photo by Katalin Vermes/Netflix)As with season 1, the second year will consist of eight episodes — the seeming new standard for genre shows on streaming services. Directors include Umbrella Academy’s Stephen Surjik, Cursed’s Sarah O’Gorman, The Last Kindgom’s Ed Bazalgette, and Meet the Patel’s Geeta Patel. Hissrich remains the program’s showrunner and executive producer.During WitcherCon, Netflix provided most of the episode names. Only the final title was held back, but the others suggest the timelines may be more or less aligned throughout the season.Episode 1: “A Grain of Truth”Episode 2: “Kaer Morhen”Episode 3: “What Is Lost”Episode 4: “Redanian Intelligence”Episode 5: “Turn Your Back”Episode 6: “Dear Friend”Episode 7: “Voleth Meir”Episode 8: “????”Some of the titles, like A Grain of Truth Kaer Morhen and Redanian Intelligence are quite evocative for Witcher fans, while What Is Lost and Turn Your Back offer fewer clues in terms of plot. Splitting the difference, Dear Friend appears to be a pointed reference to Yennefer s sarcastic use of the term following Geralt s own use of it while writing a letter asking for her help training Ciri. Voleth Meir apparently refers to a new character who will reportedly play a big role in Ciri s ongoing story. And the name of the finale? Feel free to guess.When Does Season 2 of The Witcher Premiere on Netflix?(Photo by Netflix)The long wait is nearly over. The Witcher returns December 17 on Netflix. It will feature more monsters, more intrigue, and more songs. But, according to Cavill, it will not have another bath scene like the one pictured above. He teased the season will have more manflesh on display, though.What About Season 3?During its TUDUM even on September 25, 2021, Netflix announced the program will continue for a third season. Lost’s Javier Grillo-Marxuach took to Twitter the same day to reveal he will join the program as a producer and writer for the third year. Hopefully, that season will arrive a little bit quicker than Season 2.THERE’S A THIRD SEASON OF THE WITCHER AND THANK GOD SINCE I AM ONE OF THE NEW ADDITIONS TO THE WRITING STAFF! https://t.co/XjsfPQuEkc javier grillo-marxuach (@OKBJGM) September 25, 2021Season 2 of The Witcher premieres on Netflix on December 17, 2021.
亚博网站下载 The latest from auteur filmmaker Noah Baumbach, his second for Netflix, premiered at the Venice Film Festival on Thursday to a combination of discomfort and laughter. Marriage Story is a tale of divorce starring Adam Driver and Scarlett Johansson that’s clearly semi-autobiographical, and to the majority of critics in attendance, it’s also a personal triumph for the director. This is likely to be an awards contender for at least members of the ensemble cast, and maybe the screenplay. Still, if you’re not a fan of Baumbach, this might not change your mind.Here’s what critics are saying about Marriage Story:How does it compare to Baumbach s other work?Arguably Baumbach’s opus, his best film to date. Rodrigo Perez, The Playlist[It’s] easily the wisest film of his career, one that’s only sharpening. Joshua Rothkopf, Time OutIt is Baumbach’s funniest, most fine-grained picture since 2012’s Frances Ha. Robbie Collin, Daily TelegraphWith Marriage Story, Baumbach cements his reputation as one of this generation’s leading humanist filmmakers. Alonso Duralde, The WrapThis is the work of a filmmaker in full command of his powers. Jon Frosch, Hollywood ReporterMarriage Story is the Noah Baumbach movie we’ve been waiting for. It’s better than good; it’s more than just accomplished… this, at long last, is Baumbach’s breakthrough into the dramatic stratosphere. Owen Gleiberman, VarietyWill his fans like it?[It] develops a unique tone that even Baumbach fans may not fully recognize at first… Marriage Story reflects a new level of narrative sophistication. Eric Kohn, IndieWireYes, this is another movie about the misadventures of relatively wealthy, straight white people. That may, understandably, put some people off. Richard Lawson, Vanity FairThose who find themselves impatient with Baumbach’s cozy self-reflective world of pampered middle-class intellectuals will not take any comfort here. Fionnuala Halligan, Screen International(Photo by Netflix)How is the script?Baumbach’s brilliant screenplay never falters or hits a wrong note… he writes scenes that are like verbal arias. Owen Gleiberman, VarietyExpertly scripted by Baumbach as a showcase for subtle, natural monologuing. Joshua Rothkopf, Time OutMarriage Story is at its best when it just the two leads talking in a room. David Jenkins, Little White LiesBaumbach has a real knack for witty, eccentric and yet natural-sounding dialogue something which Marriage Story definitely lives up to. Thomas Humphrey, ScreenAnarchyIs it reminiscent of any other films?Kramer vs. Kramer, Scenes from a Marriage, and Shoot the Moon… Marriage Story makes a worthy addition to that canon. Owen Gleiberman, VarietyYou may be reminded of Kramer vs. Kramer, but that movie, for all its fireworks, was lopsided. Joshua Rothkopf, Time OutNot since David Fincher’s Zodiac has a movie placed such absorbing emphasis on the jigsaw puzzle of searching for solutions that may never fully resolve themselves. Eric Kohn, IndieWireThe film that came to mind while watching Noah Baumbach’s punishingly incisive dissection of a messy break-up and divorce was… in fact Steven Spielberg’s Jurassic Park. David Jenkins, Little White LiesI was often reminded of Arnaud Desplechin’s A Christmas Tale, a film I can watch multiple times and always find myself siding and empathizing with a different member of a combative, dysfunctional family. Alonso Duralde, The WrapLike Ingmar Bergman’s Scenes from a Marriage — an inevitable influence — this is a tough piece of work, steeped in pain. Jon Frosch, Hollywood ReporterWill it make us all feel miserable?Somehow, in spite of the bleakness of the subject matter, it feels more redemptive than despairing. Geoffrey Macnab, IndependentIt’s wrenching stuff to be sure, but it’s also excruciatingly funny, loaded with empathy, compassion, and understanding. Rodrigo Perez, The PlaylistTonally, the film is mostly upbeat: Adam Driver makes for the nicest, friendliest, most lovable gaslighter in the history of cinema. David Jenkins, Little White LiesBaumbach seeks to mine his material for laughs, no matter how desperate the situation becomes. Xan Brooks, GuardianMarriage Story puts you through the wringer, but leaves you exhilarated at having witnessed a filmmaker and his actors surpass themselves. Jon Frosch, Hollywood ReporterDoes Baumbach do a good job mixing tones?Baumbach performs a brilliant balancing act. Alonso Duralde, The WrapSometimes the film’s erratic zaniness undermines the gnarly vérité of its darker moments, but mostly Marriage Story is well balanced. Richard Lawson, Vanity FairBaumbach finds the perfect blend of humor, humanity, heart and yes, suffering, to create an utterly compelling, harrowingly three-dimensional portrait of divorce. Rodrigo Perez, The PlaylistSpeaking of balance, is the story one-sided?Marriage Story may often resemble a tug of war between its stars, but it’s on both of their sides. Robbie Collin, Daily TelegraphSome will say Marriage Story favors Charlie… but Baumbach is at once hard on, and forgiving of, the two characters, and audience sympathies will likely seesaw. Jon Frosch, Hollywood ReporterPut it this way, in its core DNA, when it drifts off to sleep at night, Marriage Story’s true heart is in New York (Baumbach’s home), not L.A. Rodrigo Perez, The PlaylistThere’s a way in which Baumbach seems to want to tip the scales of sympathy toward the guy in the story—Nicole’s behavior sometimes comes off as a little too ruthless. Stephanie Zacharek, TimeIt ll be interesting to see what side you come out on… whether or not you come out feeling that one side wins too heavily over the other in the war for your sympathy. Thomas Humphrey, ScreenAnarchyHow are the performances?Johansson delivers brilliantly textured work. Xan Brooks, Guardian[Johansson’s] ability to carry some of the movie’s more frustrating showdowns illustrate her capacity to look stern and fragile at once. Eric Kohn, IndieWireDriver, in particular, the stand-out MVP if you had to name just one of the leads. Rodrigo Perez, The PlaylistProps especially go to Adam Driver, who at times is the best I have yet seen him. Thomas Humphrey, ScreenAnarchyDriver gives a bold performance… his choices add great depth to the role as written: he would seem a natural for awards attention here. Fionnuala Halligan, Screen InternationalBoth manage to outdo themselves. Alonso Duralde, The WrapThe sensational leads deliver the deepest, most alive and attuned performances of their careers. Jon Frosch, Hollywood ReporterBoth have major awards potential. Richard Lawson, Vanity Fair(Photo by Netflix)Are there any other standouts?A phenomenal Laura Dern. Rodrigo Perez, The PlaylistOne of the pleasures here lies in three tremendous performances from Laura Dern, Alan Alda and Ray Liotta as the LA lawyers who represent the couple. Geoffrey Macnab, IndependentAlda’s real-life Parkinson’s tremors fuel what may be his saddest performance. Eric Kohn, IndieWireAll hail Julie Hagerty, utterly sublime as Nicole’s ditzy pant-suited wine mom. David Jenkins, Little White LiesRobertson eschews any and all artificial cute-kid tics and delivers a genuine performance. Alonso Duralde, The WrapAre there any big complaints?The film can sometimes manipulate events into scenarios which aren’t entirely convincing. Fionnuala Halligan, Screen InternationalMarriage Story definitely doesn t always get it right. It s not entirely tonally pitch perfect. Thomas Humphrey, ScreenAnarchyWill it affect our own marriage?It’s well worth your time. Maybe don’t watch it with your spouse, though. Richard Lawson, Vanity FairMarriage Story also serves as a kind of horror movie preview, an inadvertent cautionary tale, that leaves you rushing to get home to your partner and treat them as well as possible for as long as possible. Rodrigo Perez, The PlaylistMarriage Story premiered at the Venice Film Festival on August 29, 2019. It will open in limited theatrical release on November 6 and be available to stream on Netflix on December 6.