(Photo by Universal/courtesy Everett Collection)All Fast Furious Movies RankedFrom bursting out the nose of an exploding plane, to skipping skyscraper to skyscraper, to gently guiding a bank safe across public roads and additional civil engineering, the Fast Furious franchise has made its mission delivering more outrageous action than the previous movies could ever muster. And as the stunts got crazier for Dom (Vin Diesel), Brian (Paul Walker), Letty (Michelle Rodriguez) and the whole F F-in family, critics were just as willing to go along for the ride. It was finally the fifth Furious film that earned the franchise s first Fresh. And since then it s been on a skyward trajectory, like a souped-up Karmann Ghia ramping off an Arrakis sandworm and barrel rolling between a fleet of nuclear dirigibles (you know we re heading in this direction). Furious 7 reached a high emotional crescendo in the wake of Walker s death, while follow-up F8 saw a dip, though stayed in the Fresh lane.The latest include spin-off Hobbs Shaw and the long-delayed F9. Now that the whole family s here, see all Fast Furious movies ranked by Tomatometer! ers. The pandemic matters. While we can probably expect another strongly-worded “I told you so” from the National Association of Theatre Owners (NATO) this week, the numbers do not lie. Streaming or not, since the end of June, when F9 opened, only two films have grossed more than 2.5 times its opening weekend: The Boss Baby: Family Business (3.42x), which was also streaming for free on Peacock, and The Forever Purge (3.47x), which was exclusively in theaters. Here is a breakdown of the rest.THEATER EXCLUSIVEF9 (2.43 / 7 weeks)Old (2.27 / 3 weeks)Snake Eyes: G.I. Joe Origins (1.94 / 3 weeks)Escape Room: Tournament of Champions (2.51 / 4 weeks)The Green Knight (1.77 / 2 weeks)Stillwater (1.92 / 2 weeks)DISNEY PREMIER ACCESSBlack Widow (2.16 / 5 weeks)Jungle Cruise (1.86 / 2 weeks)HBO MAX (SINCE GODZILLA VS. KONG)Mortal Kombat (1.81)Those Who Wish Me Dead (2.59)The Conjuring: The Devil Made Me Do It (2.70)In the Heights (2.58)Space Jam: A New Legacy (2.08 / 4 weeks)But let’s not let the HBO Max decision off the hook either. Repeat business seems to be at a stand still until we get a true all-clear on COVID and Delta, and streaming only doubles down on that. So the opening weekend is more crucial than ever before. The Suicide Squad is just the seventh film during this time to start with over million, joining HBO Max compatriots Godzilla vs. Kong and Space Jam: A New Legacy. The former stretched its legs through a still-wide open marketplace while vaccine hope was at its peak; the latter dropped like a stone and may end up with the worst multiple for a family film this year.We could just drop all the variables and statistics and know that in our hearts, Gunn’s film goes nowhere south of million in normal times. And that is as conservative as it gets. The top “R”-rated opening in August is still Straight Outta Compton, with .2 million, so it s hard to even suggest that a high-profile DC film whose almost universally-maligned “PG-13” effort is the highest opening weekend ever in August with 3.68 million wouldn t make million or more. Not when both Deadpools opened to over 5 million, Joker to over million, and Logan with .4 million.The only thing we know for sure is that this year, in our current circumstances, The Suicide Squad will not be joining the 0 million club and the odds are very much in favor that nothing from the rest of Warner Brothers lineup for 2021 will be invited in either.The Top Ten And Beyond: Jungle Cruise Sailing Towards 0 Million Last week’s no. 1 film is showing some potential to eventually join the 0 million club. Jungle Cruise fell 55% to .7 million this weekend. In this environment that actually constitutes a victory given that it is the lowest drop for a no. 1 film in its second weekend since Spiral fell 47.5% from a meager start of .7 million. That puts Jungle’s 10-day toll at million, which is ahead of Godzilla vs. Kong’s .05 million at 10 days, though with that film’s Wednesday opening it only had four weekend days to accumulate that total compared to Jungle’s six. Nevertheless, it is still a better second weekend than GvK’s .88 million, so we’ll give Jungle Cruise a puncher’s chance of breaking that ceiling.M. Night Shyamalan’s Old fell back just a single spot for the third straight week. It is right in line with The Forever Purge’s third weekend of .1 million. Overall, it is still ahead of that film’s pace by almost million, so look for Old’s final tally to be in the range of million, just getting over Lady in the Water’s total and avoiding being the lowest-grossing film of Shyamalan’s post-Sixth Sense career. Black Widow dropped to fourth place with million, which is the third-best fifth weekend this year behind A Quiet Place Part II (.19 million) and F9 (.82 million). Still, it did pass F9 this week and now certainly has a lock to claim the crown of summer champion, not to mention fairly decent odds to compete for the highest-grossing film of the year, with possibly No Time to Die and Spider-Man: No Way Home as its biggest challengers.(Photo by © A24)Amongst last weekend’s adult entries, Stillwater dropped 45% to .86 million and stands total at million. It looks like Focus Features, which has put every one of its 13 films into theaters since Kajillionaire last September, is going to have its highest-grossing film of the pandemic – but just its second to pass million and one which is unlikely to hit million. The Green Knight is just A24’s third theatrical release during this time and their numbers have actually gone up. From Oscar nominee Minari (.1 million) to Zola (.1 million) and now to David Lowery’s film (the first in the company s history to start in third place), which has earned million so far.On The Vine: A Background Player and the Queen of SoulThings get a little more crowded in theaters next week. Delayed multiple times since last year, audiences can finally see Ryan Reynolds as a video game character trying to escape in Free Guy (which critics are digging). More folks are trying to rob Stephen Lang’s abusive blind guy in Don’t Breathe 2, and Jennifer Hudson takes on the role of Aretha Franklin in the biopic, Respect. All three films will be exclusive to theaters.Full List of Box Office Results: August 6-8, 2021
I m very proud of my movie, Nebraska. I don t really know what a great film is. I don t know what the ingredients should be. But I certainly think Nebraska is a credit to the industry of filmmaking and it s done very, very well. And both he [director Alexander Payne] and Quentin [Tarantino, with whom Dern has worked three times] can make a f king movie, trust me. Alexander said to me the first morning, Do you see anything here, you ve never seen before? I went looking around – we were in Nebraska in some little town in the middle of October, cold, freezing – and I said, Yes I do. I said, It seems like everybody here is putting their oar in before 8am. And he said, Well hopefully, that s because we have 91 crew members here and 78 have worked every day on every film I ve ever made. He put his hand on my shoulder and he said, So you, sir, can go take a risk. And he said, This is Phedon Papamichael; he s your cameraman. I met him the day before. And he said, I wonder if you d do something for Phedon and I, that we re not sure you ever did in your career. I said, Well what s that? And he said, Never show us anything. Let us find it. And I knew for the first time in my life I had a partner.Al Pacino came up to me I d never met him at a party and said, You know, I ve not seen your movie yet, Nebraska. But everybody back at the Actors Studio – cause we re both members – is talking about your performance. So Brad Grey is at the party, and he ran Paramount then, and I said, You know, Al Pacino has not got a screener, cause it was Christmas time. So he said, Tell him he ll have one tomorrow morning with his newspaper. At noon the next day my phone rings and I pick it up and he says, Bruce, Al Pacino. I said, Oh wow. He said nothing for about 10 seconds, and then he said, How did you do that? I told him what Alexander told me about “let us find it.” And he said, I have tears in my eyes, because you knew you had a partner. I ve never had a partner. He said, Bruce, I never ever saw the work. You were just the character. And that s the greatest compliment to me I ever had.
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Few films have left their mark on the popular culture the way that 1984 s The Karate Kid has. Even kids who didn t rush to see it in theaters in June of that year, or didn t grow up wearing down the tape on their VHS copy of the film, can recite the movie s most famous lines – Sweep the leg! – and recall its most indelible images. But more than iconic one-liners and memorable fights, what sticks with us about The Karate Kid are its key relationships, namely those between Daniel LaRusso (Ralph Macchio) and mentor Mr. Miyagi (the late Pat Morita) and Daniel and Johnny Lawrence (William Zabka).So fierce and so memorable was the rivalry between Daniel and Johnny that more than three decades after the first Karate Kid movie was released, YouTube Originals re-ignited it for the streaming series Cobra Kai, the second season of which has just dropped online. Except now the tables had turned, and one-time-bully Johnny was the sympathetic anti-hero.As we gear up for another round with Daniel and Johnny – and if their coy responses to our questions indicate, a potential slew of cameos from fans favorite characters – we sat down with Macchio and Zabka to go back to the beginning. In this oral history of The Karate Kid, the two men recall the time they met as kids, their pre-Karate Kid experience with martial arts ( I had no technique, I had no idea ), working with Pat Morita, and the impact the movie would have on their teen years and their lives. From audition to their climactic on-screen showdown, this is Macchio and Zabka s story of the time they became the world s most famous karate kids.What follows is a history of The Karate Kid (1984) and reflection upon the film, drawn from a sit-down interview with Macchio and Zabka.ALSO WATCH: ORAL HISTORY OF COBRA KAI WITH RALPH MACCHIO AND WILLIAM ZABKA“As a kid, you re jumping around and fighting imaginary bad guys, you know?”Ralph Macchio: “When I was about 10 or so, for Christmas I got a certificate for the local jiu-jitsu school of self defense — obviously, mom and dad said, ‘We gotta help this guy out a little bit,’ I don t know — for me and my brother. So we went, and I took a handful of lessons. I liked it.”William Zabka: “My relationship with karate before Karate Kid was all in my imagination. As a kid growing up, I would just run around and do fake fights, and I d be in the backyard with sticks, but I had no technique, I had no idea. I took no classes before Karate Kid. I was a wrestler in high school, so I was limber, and I had a lot of conditioning, so I was prepared to learn the training for karate, and martial arts but I didn t know any real [moves]. It was all in my mind. As a kid, you re jumping around and fighting imaginary bad guys, you know?” I can t guarantee you anything right now, but if I were you, I d take some karate lessons. Macchio: “My first conversation about being Daniel LaRusso was with our director John Avildsen, who I auditioned for, and … it s the first time ever I ever read the words to that character. It s Avildsen explaining the character, explaining what he s going through, explaining the story leading up to my audition scene, which was the scene from the film where Daniel wakes up after the skeleton fight at the fence and Miyagi saves the day, and he s asking all these questions.(Photo by ©Columbia Pictures/Courtesy Everett Collection)That’s my earliest memory of the character. I didn t have the part yet, but I did remember John Avildsen saying to me, ‘I can t guarantee you anything right now, but if I were you, I d take some karate lessons.’ Which doesn t often happen. That was a pretty exciting moment. And then a couple more hoops to jump through, and here I am, I got to be Daniel LaRusso.” Watch your mouth, asshole. Zabka: “Through my manager, I got a phone call to come in, they want to talk to you. So I went to Columbia Pictures at that time, and drove through the gate and went to a bungalow. I just came directly from the gym, and I was in my tank top, probably wearing a headband or something. I went in and they said, ‘There s this movie called Karate Kid. We think you d be great for this part of Johnny. Go home and read it, and come back and audition tomorrow for John Avildsen.’So I went home and read the script, and Johnny s this karate master and he s a motorcycle gang leader. He s the bad guy. I m like, ‘Oh, my gosh, I don t know karate. I don t know how ride motorcycles.’ But there was one scene in the script that I really connected to, and somehow I just connected to the character. I ran it through in my living room a bunch of times, and then the next day went and met John Avildsen. He was sitting in a chair. He had his camera. He always had his video camera filming everything. And it was a scene cut out of the movie, where I hand Daniel a death certificate at the water fountain. And he said, ‘What s this for?’ And I go, ‘You gotta get your mommy to sign it so you could be in the tournament with the big boys.’ And he says, ‘I thought it was supposed to be no contact.’ And I say, ‘Accidents happen.’(Photo by ©Columbia Pictures/Courtesy Everett Collection)And then I walk away, and he goes, ‘Hey, you think he might be wrong?’ And I go, ‘Who?’ And he goes, ‘Your instructor, your sensei, you think he might be wrong?’ And then my line is, ‘Watch your mouth, asshole.’ So on that line, that s when I walked over to John Avildsen and grabbed him — which you don t do — and I said, ‘Watch your mouth, asshole.’ And I pushed him back, and the room was still. And that s where the scene was supposed to end, but everybody was still watching me, so I improv’d and went to the door. I said, ‘Read it and weep. I ll see you in the tournament.’ And went out in the waiting room, and came in, took my headband off, which I was wearing, and I said, ‘I m sorry, I m sorry. That was Johnny. I m Billy.’ He goes, ‘So how old are you?’ He got kind of interested, and he goes, ‘You re a little taller than our karate kid.’ And I m like, ‘Yeah, well, Bruce Lee was smaller than Kareem Abdul Jabbar.’ He goes, ‘Well, you got a point. All right, thanks, kid.’ And that was that.”“We were friendly, but we weren t [best friends].”Macchio: “[Zabka and I] trained differently. We both trained with Pat Johnson, who did all the fight choreography. He s the referee in The Karate Kid film. He would train myself and Pat Morita in a classic Okinawan style, and he would train Billy and the Cobra Kai guys in a more aggressive style of martial arts. Most of the scenes we did together we were either yelling at each other or I was getting my ass kicked. So we were friendly, but we weren t [best friends]. I had the whole Miyagi side of the story, and the romance side of the story. The movie was always in three sections for me. We ve become closer friends over the years and certainly when Pat passed away we became closer friends just through the loss of him and moving forward, and the fact that this film has stood the test of time. It s a big part of not only American cinema, but also pop culture. And then here we are back again in tandem. So it s been quite a journey.”Zabka: “My memory of working with Ralph was we were best friends instantly. I m surprised to hear you say that we were separated. We have to talk after this.I think John Avildsen really created the chemistry by casting all the right people for this. He cast the right Tommy, Bobby, Dutch, and Jimmy. … It was almost like he created this little universe for us. We hung around all the time. We went to lunch every day. We rode motorcycles together, we trained together. We really got into a pack mentality. Ralph and I did our fight scene for the tournament every day we could for three months, so we were working together constantly. I mean, feet and fists were flying, so we had to take care of each other in that way. But the Cobra Kais, they were like my brothers, and they still are in real life.”“It s like a strawberry shortcake and a cannoli. Macchio: “Ali with an ‘i.’ That character is arguably what starts the rivalry, the feud, if you will. Like all good wars, a beautiful woman, and that s the end of that. [Elisabeth Shue] was just coming out of the gate at that point. And John Avildsen would see me and Lisa — Lisa Shue was what we called her — and he would say, ‘You
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Writer-director Jordan Peele has avoided the sophomore slump with Us, the critically acclaimed horror follow-up to his Oscar-winning Get Out. According to critics, the movie is a terrifying head f k and like no horror film we ve seen. Ahead of the movie s opening, Rotten Tomatoes sat down with Peele, as well as co-stars Lupita Nyong o and Winston Duke, to talk about why Us stands out from the horror pack, and what Peele is trying to say with his new socially-minded slasher. Plus, all three weigh in on the movie s unique position as major mainstream horror film centered around Black characters – what that means to them as actors and filmmakers as well as to the millions of horror fans who will experience Us when it hits theaters.Us opens in theaters on March 22Thumbnail photo by Claudette Barius / © Universal Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at firstname.lastname@example.org.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. 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.
Best-Reviewed Action Adventure Movies 2020A revisionist romp through Victorian England awaits adventurous movie thrill-seekers in Enola Holmes, which fashions young star Millie Bobby Brown, a budding sleuth hot in the footsteps of her famous older brother. Then, the military movie canon gets another medal with The Outpost, depicting the most brutal American conflict out of the Afghanistan War. Tom Hanks Greyhound is nearby in the wings, though its presentation of the war movie is in a more decidedly classical mode. Meanwhile, the post-apocalypse is still going strong in Love and Monsters, and the surprise hit Bad Boys For Life is the best kind of action movie throwback.The order of the rank below reflects the Adjusted Score as of February 28, 2021. Scores might change over time.« Previous Category Next Category »
(Photo by Amazon Prime)Podcasts are invading the TV medium in earnest with adaptations of top series dropping across broadcast and streaming — and even more on the way.It used to be that the only way to experience a hit podcast was to pop in your earbuds. But now, it’s just as easy to plop yourself down on the couch and turn on the TV. Three podcast adaptations made their television debuts in November 2018 alone — Amazon’s Homecoming, Bravo’s Dirty John, and Oxygen’s Up and Vanished. The first two are now up for Golden Globe awards on Sunday for best drama series and best performance by and actress in a TV drama (Julia Roberts) for Homecoming and best actress in a limited series or TV movie for Connie Britton s Dirty John performance.Though the three shows are hardly the first podcasts to make the jump to TV, they do seem to be indicative of the growing trend.“This year was a big pivotal moment because you had very aggressive formal interest from television and film studios, as well as coordinated and formalized attempts by podcast companies to build that pipeline,” explains Nicholas Quah, a journalist who covers podcasts and writes a newsletter about the industry, Hot Pod. Quah credits one outlet in particular, Gimlet Media, for jumpstarting the adaptation process. The ambitious company’s non-fiction, real-time account of its founding, Startup, became the ABC sitcom Alex Inc., starring Zach Braff.While the saccharine ABC comedy was quickly canceled (its 40% Tomatometer score reflects its critical appeal), the company’s second attempt has been a resounding success. The Julia Roberts–starring Amazon Prime Video series Homecoming, based on the fiction podcast of the same name, is Certified Fresh with a glowing 98% Tomatometer score. That these two podcasts from the same company had such drastically different fates once they reached the small screen speaks to how variable the podcast-to-TV trend is.Good podcasts don’t inherently make great TV. There are some things that podcasts can do that TV can’t, and the reverse is certainly true as well. Rotten Tomatoes spoke to the creators of all three of November’s shows to learn about what went into adapting these podcasts, and what that means for the future.Homecoming’s New Televised HomeEven as a podcast, something about Homecoming always felt cinematic. The scripted radio drama, a psychological thriller about a facility whose purported mission of helping returning veterans transition to civilian life might mask something more nefarious, featured top-tier talent from the start. Actors Catherine Keener and Oscar Isaac voiced main characters, and the dialogue-driven script resembled the flow of a TV show or film. It was a natural fit for television, and many of its characteristics stayed the same when it jumped mediums. The podcast’s creators and writers, Eli Horowitz and Micah Bloomberg, oversaw the TV show as well, with Mr. Robot creator Sam Esmail executive producing and directing. There were some changes, though, like a new, possibly even more star-studded cast (Julia Roberts!), and the whole “adding visuals” thing.“In the podcast, we really had complete control of information, the questions, and the scope of the story,” Horowitz tells Rotten Tomatoes, noting how the audio-only version of the story didn’t have room for background details or questions. If a character didn’t mention something, it didn’t exist. On a TV show, though, the way objects are arranged on a character’s desk can be telling.“In the podcast, the whole world is based on voices and ambient tones and when people are speaking to another person,” Bloomberg adds. “When you go to script format or visual, there’s a way to communicate stuff faster and more precise when you can see it.”He cites the opening of the Amazon show’s fourth episode, a wordless montage of a drug manufacturing process, as a prime example.“That’s the type of communication that is totally unavailable to the podcast,” he says,” [that] you get so much story from in this two- or three-minute scene.”Then again, there are other things a podcast does that a television show can’t.“Audio offers this real immediacy and authenticity and connection with the characters,” Horowitz says. “You can really sink into these conversations and listen to the way you would any conversation. Television, I don’t think, has that. There’s a greater sense of artifice, a greater sense of separation between you and it.”Horowitz and Bloomberg say they were both focused on making a story that was right for the specific medium when working on both versions of the show. Neither is “the definitive” version, they say. Some people will like both, some might prefer the podcast, and others, like Bloomberg’s mom, will prefer the show.“My mom couldn’t listen to the podcast,” Bloomberg recalls. “She was bored to tears by it, but she watched the show all in one sitting, got to the end, and was crying. I think they offer different people different stuff, so I think they’re both great in different ways.”Dirty John Gets the Bravo TreatmentDirty John, now approaching its series finale, is a different sort of adaptation than Homecoming. Bravo’s series dramatizes the popular true-crime podcast from the Los Angeles Times, which followed the exploits of John Meehan, a serial liar who conned his way into a dangerous, abusive relationship with well-off Orange County designer Debra Newell.Bravo’s scripted dramatization casts Eric Bana and Connie Britton as the main characters, and retells the story with an uncanny mix of ridiculousness and creepiness. It’s akin to a ripped-from-the-headlines version of Desperate Housewives, which makes sense, given that one of t
bob综合app官网 Best Sci-Fi Movies of 2019 (And The Worst)2019 is one of those movie years that sees cosmic superheroes, unstoppable syndicate assassins, and crime-solving pocket monsters with regularity, making it harder for science-fiction films to dazzle us with their subversions of the norm. That means they ll just have to be more creative in this day and age, and you ll find the ones up to task on our list of the best sci movies (and the worst) of 2019! ( The worst implying you ll also find the ones that aren t). The offerings this year include big-budget spectacles (Godzilla: King of the Monsters), mid-budget mindblowers (I Am Mother), a Michael J. Fox-featured time travel joint (See You Yesterday), and even something from genre wanderer Keanu Reeves (Replicas). As with our other genre lists (2019 s best in horror, comedy, and action),each sci-fi movie needed at least 20 reviews for inclusion. Distribution method was not a factor. It s the future, baby!Last updated 10/28: Terminator: Dark FateBest Movies of 2019 | Best Horror Movies of 2019Best Comedies of 2019 | Best Sci-Fi Movies of 2019Best Action Movies of 2019