亚博-登陆采用百度引擎5（Baidu 9）According to Convery, the series is very much “a magical adventure with friends saving the world.”That description may surprise fans of Lemire’s comic, which the author described as “a little more violent and darker, in general.” But as Mickle developed the series alongside Arrow veteran Schwartz, he kept Lemire apprised of the tonal change, which he came to appreciate as apocalyptic stories became a larger TV genre in the 10 years since he completed the Sweet Tooth comic. “Just to do it like that again might feel like the same thing we d seen a thousand times. And so I think reinventing the tone a little bit to reflect today rather than where we were even a decade ago was the right move.”Part of that reinvention is the regular presence of James Brolin’s voice as an unseen narrator. In the first part of the season, he appears to bookend the episodes and offer some commentary as new characters are introduced. Brolin’s older, relaxed voice definitely sets a tone, although Mickle once again credited Lemire with the notion of a narrator. “Jeff uses every tool in the toolbox in terms of telling stories: voiceover, elliptical storytelling, poetry, seriality, dreams. He does everything,” he explained.In the original comic, that narration could switch among the various characters or even an omniscient voice presiding over everything. That latter voice appealed to Mickle as it allowed him to tie the journey of Gus and Jeppard – and their emerging bond – to the stories of characters they may not meet for awhile. “With the nature of all this, it felt like there was a storybook and a fairy tale thing coming from the story that we could pull out of the comic book. And that felt like an opportunity to kind of unify it or help guide us through that. Schwartz added: “It helps set the tone as well for this fairy tale dystopia that we re telling, and it gives a slight magical element to it.” But It Still Has Room For Suburban Horror(Photo by © Netflix)While Gus’s journey has that magic to it, Dr. Aditya Singh (Adeel Akhtar) faces something more akin to suburban horror. He has memories of the old world and he is surrounded by a stitched-together community trying to preserve some sense of it, providing for a dystopian atmosphere with its own forms of terror. Meanwhile, he is also tasked with researching the disease which led to the fall of civilization – a role he shares with his comic book counterpart.“I do love what they did with Singh,” Lemire said. As he recalled, the Singh of the comics was much further along on his “path” when he becomes part of its narrative. “In the comic, we needed him at a point where he s already on the path, but I never really told his origin story so much.” That origin story as presented on the television series may surprise readers, but according to Lemire, it gives him such an emotional breadth and his relationship with his wife, Rani, is so rich on screen.” He even admitted he wished he had the time to explore the Singhs the way the show does. It s such a rich story line that it s probably my favorite as well, he added.But worry not fans of Singh or his place in the comics: Lemire said the character will likely find himself in similar circumstances and the suburban horror he faces may change out for another horrific situation.Its Main Antagonist Will Be Familiar Voice Even If His Face Is Unrecognizable(Photo by © Netflix)Someone who may put Singh on that path is General Abbot, played by a nearly unrecognizable Neil Sandilands. He looks more like REM’s Michael Stipe than the polished Thinker fans of The Flash will remember, but his voice work will recall that other DC villain s brilliance. “Everything about it was the right choice for this part,” Schwartz said.At the same time, the actor’s chameleon-like ability to become another person was also advantageous to the producers as it gave the “left-of-field” character an intriguing new look. Also, as Mickle explained, “this kind of showmanship quality” appeared which solved a problem they were having with casting the part. “[The character] has the gravitas, but also, your hero is a kid with antlers and [deer] ears. So, how do you find someone that can match the visual panache of that?”And so Sandilands gave the character a long beard, which may or may not have been the actor’s own lockdown beard. “When we saw him, we were like, whoa, he s exactly what we didn t realize we want for the character,” Schwartz said.Of course, it is important to recall that Abbot is an antagonist and not necessarily a DC Universe-style villain. But his real reasons for finding hybrid children like Gus will nevertheless chill viewers when it comes to light.It’s Hopeful… And Younger People Can Watch It, Too(Photo by © Netflix)Despite the darker corners of the world Singh and Abbot inhabit, the series is meant to be hopeful. “The show really touches your heart in a way that gives you hope and positivity in dark times,” Convery said when asked about its unexpected tone.For Anozie, there was an added irony in becoming part of Sweet Tooth in the midst of a pandemic. “I think it s key to recognize that Sweet Tooth was written a decade ago and it s a coincidence that it helps us relate to it more having gone through the pandemic in the last year, he said. Nevertheless, he agreed with Convery that it does convey a message of hope [and] that we can do anything if we rely on each other.”That sense of hope definitely lends the show a broader appeal to a younger set of viewers, with Convery saying its sense of adventure makes it “more of a PG to PG 13 situation.” Anozie suggested the show could be watched by viewers as young as 8 or 9, “at the parents discretion as to whether those kids can watch,” of course.(Photo by © Netflix)“We definitely wanted to make a show that you could watch with your kids,” Schwartz added. “There are some dark moments, but the themes I feel are all skewed towards hopefulness.”To Mickle, the tone of the show not far from classic kids’ movies like E.T.: The Extraterrestrial or The Goonies – films made for kids, but which were nonetheless “frigging dark.”And, as it happens, Lemire is looking forward to sharing the show with his own son, who is roughly the same age as Gus: “I m excited to watch it with him and have it be something that kind of just walks the line between what I m comfortable showing him and certain things that I know will frighten him a little. I think when you can walk that line, you probably got it right.Sweet Tooth premieres June 4 on Netflix.On an Apple device? Follow Rotten Tomatoes on Apple News.
苍岚卷是一款神魔大陆的魔幻背景的修侠类的手游，游戏中画面呈现的是魔幻风格的神魔大陆，多种职业角色玩家可以自由选择，炫酷的技能任你尽情释放，还等什么，喜欢的玩家赶快下载试试吧！ Red Carpet Pictures: The 2019 SAG Awards See the latest looks and fashion seen on the red carpet this year! by RT Staff | January 27, 2019 | Comments
What happens when a professional journalist goes free-range as a podcaster with no checks on her work? That s just one question Truth Be Told creator Nichelle Tramble Spellman (Justified, The Good Wife) tackles in the new Apple TV+ legal drama.Based on Kathleen Barber s 2017 novel Are You Sleeping, Truth Be Told stars Aaron Paul as Warren Cave (Paul), a young man sent to prison 18 years ago for a murder he may not have committed, and Octavia Spencer as Poppy Parnell, a journalist and podcaster who initially helped put him behind bars only to realize two decades later that she may have contributed to the incarceration of an innocent man.Exploring topics of race, privacy, and the way we consume and are influenced by media, Spellman flips the true-crime genre on its head in Truth Be Told, which premieres also stars Lizzy Caplan, Mekhi Phifer, Michael Beach, and Elizabeth Perkins.True-crime podcasts have been the rage for some time. Yet, as addictive as they can be, there are also concerns about the lack of oversight in the way information is researched, collected, and delivered to the public. What is true one week, can be debunked in the next episode. And that can be tough for audiences to keep up with, especially if the show has already done its part in swaying public opinion.Just how harmful can unchecked journalism be, especially in this fast-paced cancel-culture period we re currently living in? And what are the consequences that may lie behind the public justice that can unfold after consuming popular episodic true-crime entertainment like the hit podcast Serial or Netflix s docu-series Making a Murderer?(Photo by Apple TV+) I like the idea of this woman who s a trained journalist with really great credits, who is now in a field where there are no checks and balances. There are no bosses — she s her own boss, Spellman explained during the show s press junket. As she goes down this rabbit hole, there s no editor, there s no publisher, there s no one to pull her back in. She goes against the first rule by making it personal. That s how we sort of got into the story, asking if there s a ripple effect in crime. The person at the center of it, how does her ambition couple with her guilt? Spellman and Spencer both share an obsession with the true-crime genre and the armchair-detective aspect of shows like the ones mentioned above, as well as Snapped, Cold Case Files, and Forensic Files. That listener-as-participant element of the story drew the Oscar-winner to the project. I was just excited to get to play something very close to how my mind works as an investigator, Spencer revealed. The only thing is, I like working from behind the screen, you know? The idea of actually being out in the real world asking questions, investigating in that way is a little scary. For the Shape Of Water actress, the biggest allure of the project was being able to play a character with a flawed moral compass. Sure, Poppy wants to discover the truth, but is it her guilt or the ever-present threat to her professional reputation that is driving the podcaster on this dangerous mission? That s what I love about Poppy, she answered. Her ascent into greatness — or fame or money — came on the back of whether or not this affluent young kid would get a fair trial. Would he be found guilty? For her, everything pointed at guilty. Fast forward 20 years, when you now have the cancel culture with social media and people are listening to her podcast. There s this fervor around it, an excitement, and she realized: Could she have been wrong? And what are the implications of her being wrong? (Photo by Apple TV+)This all brings us to the man on the other side of the argument: Warren Cave. When Poppy decides to re-examine his murder case for her podcast, the two eventually reunite, and the results, at least at the beginning, are a bit upsetting. Not only did Poppy possibly have a hand in putting an innocent man in jail, but his survival in prison meant Warren took some drastic measures. He was pushed into a corner, Aaron Paul said, discussing the reason his character became a white supremacist. He was thrown in prison at a very young age and he had to pick a side — that s the only way to really survive. Otherwise, he s just a punching bag 24/7. The side he picked was the Aryan Nation Brotherhood, which is a really terrifying sort of just dangerous place to be. Truth Be Told may be inspired by Are You Sleeping, but Spellman takes liberties with the story being told here. Not only did she pivot a bit from the original subject matter — according to the showrunner, Poppy Parnell was an ancillary character in the book — she also kept the outcome of the series a secret from the actors. At the very beginning of the shoot, my first burning question was, Well, did he do it?' Paul revealed. And Michelle was like, I m not telling you. And then I go, But I m the actor playing the guy, I should know if he did it or not! I honestly did not know whether or not he was innocent until the very end, truly. How does an actor play a convict who may be innocent of the crime he was imprisoned for? Especially if you, as the actor, don t know if he is in fact innocent? I always try to bring heart to any character I m playing whether it s a very bad person or a good person, Paul said. I just had to play him as honest as I saw him. Putting the actors pursuit of the truth of their characters onscreen may be tricky, but created an intriguing push-and-pull dynamic between the honesty of the roles and the show s overall quest for truth. In the criminal world, in the true-crime world, one of the things that they tell you that you can t rely on is the eyewitness because the truth is always malleable, Spencer said. To an eyewitness, you may not see or remember the same thing that I see or remember. So truth is sadly, it s perception and how we all remember this moment. I think truth is shaped by whatever lens you view the world. And whatever your truth is will inform what you think the truth is. A much as fans of the genre yearn to do their own investigative work in between episodes of their own favorite podcast, there s a largely not-talked-about component to the popularity of true-crime reporting and dramatization: the impact on the families involved. I was watching Making a Murderer, Spellman said. There was one point in the first season where I was thinking, God, this must be awful for the woman s family. You know what I mean? That this has become something that s like watercooler talk. And that idea that, if you had this tragedy in your past, and it s been personal, and it s something that your family has dealt with, and then it becomes this thing, where maybe your coworkers are talking about it. Maybe that s a secret that you didn t tell at work, because it s too painful. And then we have this discussion, this back-and-forth about these very real people as if they re fictional characters. (Photo by Apple TV+)Take cinematic stories like Netflix s Mindhunter, Quentin Tarantino s Once Upon A Time In Hollywood, Conversations With a Killer: The Ted Bundy Tapes, and the Zach Efron–starrer Extremely Wicked, Shockingly Evil and Vile, for instance. The bloody exploits of serial killers like Charles Manson and Ted Bundy have become a part of our pop culture lexicon, but their violent deeds caused very real pain for their victims and their victims families. It just becomes a story after a while, Spellman explained. Other people s pain is just a story. It s now a shorthand story, but that pain was real and it s still real for all of those families. So we touch on it when we go to Warren s family, Poppy s family [there s a] ripple effect there. Which brings us back to Poppy s podcast that threads it all together. As gimmicky as it may sound to have a voiceover narration guide an audience through the mystery that is slowly unfolding, that component works for Truth Be Told. And one of the reasons why, according to Spellman, is the unreliability of its host. The podcast is kind of an unreliable narrator, she said. We don t know Poppy s agenda. And we don t know when or if we can believe her. Truth Be Told episodes 1-3 are now streaming on Apple TV+.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.亚博-登陆Though the requisite French fashion designer–diva in Emily In Paris might consider the show s title basic, Americans might instead call it forthright. The name of the new Netflix rom-com starring Lily Collins tells you exactly what you re going to get: the story of a successful young American and her fabulous new life in Paris.From Sex and the City and Younger creator Darren Star, the show follows Collins Emily, a twentysomething marketing manager who gets a promotion and moves to the City of Lights to run social media for a luxury French marketing agency. Culture clashes abound, both in the office and in her personal life. While she quickly makes friends in her French chef neighbor (Lucas Bravo), Chinese ex-pat Mindy (Ashley Park), and stylish Parisian Camille (Camille Razat), Emily finds it much harder to fit in at work, where her all-American effervescence and inability to speak French aren t exactly appreciated.(Photo by Carole Bethuel/Netflix)The series, which was originally commissioned for Paramount Network, but moved to Netflix after some corporate shuffling, is Star s first streaming series. I love the idea that people can binge this show, and they re not waiting for next week and next week and next week, Star told Rotten Tomatoes over Zoom ahead of the Emily In Paris premiere.Before you grab some champagne and chocolate and settle in for a binge, read on to find out what else you need to know about the fizzy rom-com.1. Living In Paris(Photo by Carole Bethuel/Netflix)The first thing to know about the series, which was filmed in Paris late last summer and fall, is that living the Parisian life is just as dreamy as you d expect. I wish for jealousy s sake that I could say it wasn t the best time ever, Park told Rotten Tomatoes, but that just wasn t the case: I couldn t have had more fun if I tried. Days off included strolling along the Seine, trying new restaurants, and sipping plenty of wine. Park got an apartment in the historic 4th arrondissement neighborhood of the Marais, and it was exactly what Emily is going through, but I was living it in real time, Park said. There is a wine bar that I took almost everyone who visited me that had the best orange wine and was about the size of this little living room — it s the best. Lucas Bravo and Camille Razat, they would take me out to their favorite French spots, she said.Of course, moving anywhere new is a difficult and isolating experience, and it takes Emily a little while to feel comfortable. Then there s the fact that although the historic buildings in Paris are beautiful, they do have some downsides; for one, the frequent need of repair.Collins experienced the personality of the city s aging infrastructure first hand. Though she said she had a similarly blissful time exploring Paris — her first time in the city for more than a handful of days — she also had some less-than-idyllic experiences like her character. I had a lot of meta experiences as Lily and Emily, like, where my hot water didn t work for two weeks, or my heating stopped working or just funny things where I was like, OK, this is Lily, but it s also very Emily, Collins said.2. Working in Paris(Photo by Carole Bethuel/Netflix)Like all of Star s series, there s a fantasy element at work in this show. First of all, Emily is described as a marketing executive at the ripe old age of not-even-30, which is a bit of an exaggeration even if she was a wunderkind who worked her way up the corporate ladder quickly. But even so, the culture clash at her new company is very extreme, with the buttoned-up French staff not at all receptive to Emily s over-eager, bubbly personality and ask for forgiveness, not permission work style.Emily is a fish out of water careening forward without first assessing how her new colleagues operate (a rookie mistake). It s an interesting situation for Emily because she was sent there last minute, Collins explained. So the office is expecting someone older who speaks French, and she arrives and she s someone younger who doesn t understand the language at all. So right away, it s like, Oh, wait, this is not gonna work. Emily is very passionate, loves her work, and is very articulate, and quite loud and obvious. And so when she comes bustling in to prove herself right away, it can seem like a lot, Collins said. Her youthful boldness, her youthful passion, at the beginning is like a full train rolling, going straight ahead 20 miles an hour too fast. 3. Romance in Paris(Photo by Stephanie Branchu/Netflix)Paris is also called the City of Love for a reason — it is tres romantic, especially the version of Paris captured by this breezy 30-minute show. Emily has a boyfriend back home, a fancy client who s extremely into her, and sizzling chemistry with neighbor Gabriel, who s also a chef at the bistro downstairs from their apartments.But above all, Collins said, I think this is a romantic comedy where mostly Emily s trying to find love within herself. The City of Love is teaching her so much about finding love within herself, and then obviously with these people that she s meeting. It shouldn t be too much of a spoiler to tease that perhaps something explosive will happen between Emily and her hot chef neighbor — come on, you ve seen a romantic comedy before, right? The situation is very complicated on both ends, Bravo said, but Gabriel ultimately can t resist the sparks between them. He s wearing that charming self-confidence mask, but he s really lost, the Nice-born actor said. And when Emily comes around, and at his doorstep — he is not looking for her, she really steps into his life — he sees this very curious character; he sees an opportunity. It s like, OK, what I m feeling right now, I need to experience it because I felt kind of dead all this time and lost, and I feel something right now so I need to experience it. 4. Cooking (and Eating) in Paris(Photo by Roger Do Minh/Netflix)While Park is Tony-nominated for her work in Broadway s Mean Girls musical and Collins has been a big-screen star for years, American audiences won t be as familiar with Bravo. The actor was born in the South of France but lived all across Europe as the son of a professional soccer player, settling in Paris to finish his studies. After a five-year stint in Los Angeles, he moved back to Paris, where he s worked in TV and film for the past few years.As someone who moved around a lot as a kid, Bravo said he s comfortable in all sorts of situations, and that includes his professional life. But his role as a chef isn t necessarily that big of a stretch, since he s got his own skills in the kitchen from his stint working as a chef. I was bartending, and at some point, I was like, I don t think I can learn anything more about bartending. So I asked the chef, because the sous chef just left, I asked him if I could step in and he said yes, Bravo said. And so I started learning and cooking the little plates at first and then he made me part of the bigger process. And the kitchen was open so the customers could see us, and I was totally overplaying it. Sometimes the omelet didn t have to jump so high, but I would just [do it] just for the sake of it. I discovered what it is to be a chef and the food was actually good! 5. Season 2 in ParisEmily and Gabriel s burgeoning relationship, of course, gets complicated as the season progresses, leaving lots of potential storylines should the series get picked up for a second season.While Netflix typically takes a month or two to decide whether to renew a show, Star said that he has ideas ready should they get the green light. So although he hasn t formally started working on a second season, there s a lot of roads to take. So that s the idea: to have a lot of possibilities. Collins is also excited about further exploring that Emily-Gabriel dynamic and said: Hopefully we get to go to a season 2, because we can kind of maximize on that since we are left with a cliffhanger in the last episode, we don t know how it ends yet. Emily In Paris launches on Netflix on Friday, October 2.On an Apple device? Follow Rotten Tomatoes on Apple News.
hip.”“The relationship [between Ellie and Carl] was drawn largely from both Bob Peterson s relationship with his wife and my own relationship. There s high points and low points, difficulties and successes, and so we really wanted to portray the full wide breadth of that relationship. [There were] two relationships in particular that we focused on. Marc Davis was one of Disney s nine old men. He and Alice have a sort of fabled marriage and getting to know them was amazing. We got to visit their studio and talk about a little bit of their life together. And, actually, the two of them traveled to Papua, New Guinea. They went on these fantastic adventures as well as both being artists. So they were a great inspiration. [The other relationship was that of] Joe Grant, who was a guy that was head of story basically on Dumbo. He developed Fantasia, all these amazing films, was second in position down with Walt Disney in the 30s and 40s. And I got to know him late in his life as well and he had a wonderful relationship with his wife. So just looking around us at all these great role models and people, you realize, OK, nobody s perfect. Everybody has their bumps. I think that s what makes the sequence feel a little bit more real for people.”Pete Docter says he knew Carl had to have a reason to go on his adventure. (Photo by ©Walt Disney Co./courtesy Everett Collection)THE MOMENT: Carl and EllieOver the last three decades, the animator-tormenters at Pixar have been jerking the tears from our eyes with precision. Think of Jessie s When Somebody Loved Me sequence from Toy Story 2, or the moment Bing Bong fades away in Inside Out. Or the final moments of Toy Story 3. Or any of the other dozens of times the studio has turned on our waterworks. Chief among these moving moments is the opening sequence of Up, which sees Carl and Ellie meet cute as roughhousing kids, then court, marry, and persevere through some very dark times, ultimately living out a happy life until eventually Ellie dies, leaving Carl alone. It s beautiful and wrenching stuff, and goes to places few expect a family movie to go (at one point, we see the couple visit a doctor and learn that they cannot have children). Docter says the sequence underwent a number of changes before taking its final form. An original slapstick-style approach was ditched, as was most of the dialogue, and the filmmakers debated just how far they could push their audience when it came to the darker side of life.Ellie and Carl meet as kids at the beginning of the sequence. (Photo by ©Walt Disney Co./courtesy Everett Collection)“[Originally] Carl was, in the very first bit, trying to catch a bird and Ellie came to the bird s defense and punched him. Now Carl was out for revenge.”“The first draft of this was showing how their relationship [started]. So we introduced the characters to each other. We saw them as kids when they first saw each other. And it became kind of a battle. In fact, Carl was, in the very first bit, trying to catch a bird and Ellie came to the bird s defense and punched him. So now Carl was out for revenge. It became a back-and-forth of punching contests in the most unlikely places; in the middle of a Christmas pageant or taking the trash out. These very innocent scenes – the characters would surprise each other and punch each other. We thought it was hilarious, but [then] we showed it to the audience – we do a screening here at Pixar as we re making the films, we screen them about every three months – and it just kind of went over like a lead balloon. Nobody really laughed. So we thought, Well, this has to be shorter anyway because it s taking too long to get to the main action of our film. As it turned out that sequence really reduced down to about four-and-a-half minutes. It’s really not too long but it also becomes the emotional bedrock on which the rest of the film relies to move forward.”“Ronnie del Carmen, who was our head of story, came to me and said, ‘I think this would work better with no dialogue.’”“That sequence started fully scripted. We wrote multiple short little scenes where they were finishing each other s sentences and discussing stuff. Then as we started to storyboard it, Ronnie del Carmen, who was our head of story, came to me and said, ‘I think this would work better with no dialogue.’ And I said, ‘No, I think you re wrong. I think we should continue with the direction we set.’ But he eventually talked me into it and boy, the further we went We initially had sound effects and we took those out. We basically stripped it down just to music. My theory is, and it’s a somewhat crackpot theory probably, but I grew up watching Super 8 films that my parents had taken of all of us, and there s something about stripping away some element that makes it more emotional. Similarly, I have some audio cassettes that my parents recorded of us when we were kids and you can t see but you can hear. Something about having something lacking makes the audience have to fill in. They have to be an active participant and get involved in a way.”Ellie and Carl as their relationship progresses in the opening sequence. (Photo by ©Walt Disney Co./courtesy Everett Collection)“The pain and loss of that situation bonded those characters together and made you empathize more with them.”“There s one moment in that montage where Ellie has to go to the doctor and it s sort of implied that they can t have children for whatever reason. We didn t spell it out because we didn t feel like that was necessary. That raised some eyebrows even here at work as we were developing the film. Someone – it was an anonymous person – it must have hit too close to home and [they] got very upset. So, we did experiment with taking it out. And we thought, Well, maybe [the sequence] could still work [without it] because there s some really charming stuff. But the strange thing was, not only did we not feel the emotion as strongly in that one little sequence, but as we watched the rest of the film the whole film lost a little bit. I can t really fully explain that other than to say it was a real dark, low moment for them that I think made that relationship feel more real. The sort of pain and loss of that situation bonded those characters together and made you empathize more with them.”THE IMPACT: Life s Complexities, DistilledThe accolades came quickly for Up. The movie became at the time only the second animated movie ever to be nominated for Best Picture at the Academy Awards (it would take home Best Animated Feature, as well as Best Original Score for Michael Giacchino, whose composition, Married Life, is so key to the success of the opening sequence). Just as quickly, it entered the canon of Pixar greats, right alongside Finding Nemo, Toy Story, Wall-E, and the rest. But for Docter, the real lasting legacy of Up is felt in the form of letters and fan interactions, not shiny awards, when he sees first-hand how the moving moment that he helped create has affected and helped others.“She said it was very cathartic and that she felt as though she got to spend some time with her husband in a weird way.”“When we start out making these films, we re just trying to make something funny and entertaining and hopefully with a bit of heart and emotion to it. But they sometimes really tap into people s own lives in ways that are completely unexpected. There was a woman who wrote to me who said her husband had just died and so she went to the film just needing a break from life to get away from the sorrow. As I m reading the letter I m thinking, ‘Oh no’ – the wife dies and so it s mirroring her own life experience. But in the long run she said it was very cathartic and that she kind of felt as though she got to spend some time with her husband in a weird way. Even though this is a bunch of pixels on the screen and none of it actually exists. Part of what I really love [about] making animated films is that none of it exists. It s all a big trick. And yet when done well we can really make the audience care about these characters, believe in them as though they re real people.”Pete Docter at the Los Angeles premiere of Up in 2009. (Photo by Michael Germana/Everett Collection)“These films are dress rehearsals for life for a lot of people.”“These films in a way are dress rehearsals for life for a lot of people. I know when kids play house or cars or whatever, they re kind of acting out what they re looking [at] around them. They re kind of trying this suit on, and I think films are a little bit the same way. It s a way of understanding the world. We’ve had a lot of people respond, both on Up and especially on Inside Out, talking about how their autistic children really use these films in very significant ways to understand emotion, to understand interaction, relationships. I think because you can watch it over and over. This is something animation does; we try to distill down all the complexity and nuance and messiness into something clean and easy to see. It s like a caricature. In three lines, Al Hirschfeld would do these amazing caricatures of people that looked more like them than their own face did. That’s what we re striving to do with animation: to take all the messiness of life and make it more pure and easy to understand.”Up was released on May 29, 2009. Buy or rent it at FandangNOW.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
4. 呼朋唤友 随心所欲
Season 2 of The Kominsky Method has the reunion Michael Douglas fans have been waiting for. Kathleen Turner guest stars as Sandy Kominsky s (Douglas) ex-wife. The actors co-starred in Romancing the Stone, The Jewel of the Nile, and The War of the Roses.Unfortunately, their Kominsky Method scene occurs over the phone. They do not share screen time.“I’m hoping, if we go to a third year, that we will see more of her,” Douglas said. “That was so much fun, because obviously, the phone conversation, you both are entirely separate. So I did my whole thing without her being there. But then, because we worked together so much, when she heard my end of the conversation, she just settled right in and did a great job.”Jane Seymour joins the cast of season 2
5. HD 画质与高品质音讯
in Nicole, idobi.com Audiences new to the work are about to be introduced to a darker interpretation of what it means to grow up in a family of superhumans. The Incredibles this is not. — Alexandra August, CBR As much as I love the original Umbrella Academy comics, I must admit: the series is more coherent, so newbies to the story will feel right at home. — Samantha Puc, The Mary Sue(Photo by Netflix)What s to love (or hate) about these heroes? It’s one of those shows where the characters are at their best when they’re all together, bickering and bantering, but the plot keeps them separated just for the sake of dragging out the big reveals. — Sam Barsanti, AV Club The majority of The Umbrella Academy is marred by fumbled attempts at character development and stilted performances. The protagonists rarely transcend the broadest strokes as the Netflix series dwells on the same few character beats and displays of sibling bickering and mind-numbing romance. — Steven Scaife, Slant Magazine There s plenty of good material to mine here, from Vanya s desperation for being loved, Luther s want for approval, Allison s insecurity, Klaus shielding himself from feeling, Diego thinking he has a point to prove, and Five untrusting of anyone else, in addition to the foster siblings collective parental issues. But the writing is too threadbare and inconsistent to bring that up in an affecting manner. — Akhil Arora, Gadgets360 [Luther] is fucking boring, and that’s a problem. Through the first five episodes, he does nothing spectacular. He’s plain, he doesn’t go against the grain. He probably eats unseasoned grits. The women of this series seem to be the saving grace. — Kenneth Broome, Black Nerd Problems The actors succeed to varying degrees — Hopper and Raver-Lampman, who share a flirtation that’s both troubling and sweetly revealing of their mutual isolation, are probably the best of the bunch, while Page ultimately feels marooned by the dourness of her material and a character evolution that’s written in a muddled and unclear way. — Daniel D Addario, VarietyAction-fantasy, family drama, or both? The Umbrella Academy is a murder mystery wrapped in an apocalyptic drama with a wild plot which takes in time travel, a talking chimp and the end of the world. — Henry Northmore, The List The Umbrella Academy is ostensibly about superheroes trying to save the world, but they’re so caught up in personal conflicts that very little world-saving takes place. — Gavia Baker-Whitelaw, The Daily Dot The show may be wrapped in superheroics and action, but it’s really about a group of people who have to work through their painful pasts and realize that forgiving one another is far tougher than the bigger task (saving the world, I guess) at hand. — Alex Abad-Santos, Vox The cleverest part of it, though, is that this isn’t really a Watchmen-style deconstruction of the superhero genre; it’s about a weird family that has drifted apart for various reasons and must now come back together, baggage and all, in order to save the world one more time. — Sam Barsanti, AV Club(Photo by Netflix)How s the tone? It’s pure comic book through and through. It doesn’t care about being great nearly as much as it does about being fun and exciting. — Merrill Barr, Forbes Umbrella Academy embraces its comic book origins, balancing cartoonish worldbuilding and visual flourishes with a sincere emotional arc. The overall vibe is a lot like an adult version of Netflix’s Series of Unfortunate Events. — Gavia Baker-Whitelaw, The Daily Dot It sounds melancholy in a Six Feet Under kind of way, and it can be, but the series also boasts a sardonic sense of humor to keep things light. Doom and gloom this is not. — Brandon Katz, Observer Its composition, like a giant dollhouse cut open, is reminiscent of a Wes Anderson flick (think a more emo, gothic Royal Tenenbaums), but there s little of that offbeat charm elsewhere. — Akhil Arora, Gadgets360Final verdict? Critics can t agree. The Umbrella Academy offers something new and unique in an already crowded genre and is a rare example of an adaptation that might actually surpass the source material. — Henry Northmore, The List After a while, endless stylization for its own sake comes to feel cluttered and, worst of all, dull. — Daniel D Addario, Variety Basically: This is the apocalypse we’ve been waiting for! — Sherin Nicole, idobi.com Despite such an audacious premise, The Umbrella Academy quickly slumps into mopey mediocrity, unable to render any of the visual imagination the material practically begs for. — Steven Scaife, Slant Magazine The joy of Umbrella Academyis that you can never predict the path the show will take as a superhero-tinged TV show, it gets everything right. — Allison Keene, Collider
Charlie's Angels (2019) 52% Elizabeth Banks did a pretty respectable job when she made her feature directorial debut with Pitch Perfect 2 in 2015, so for her sophomore effort, she decided to help revive and reinvent a classic franchise with similar female bonding themes. Charlie s Angels began as a television series back in the mid- to late-1970s and found new life in a pair of cheeky, early 2000s action flicks starring Cameron Diaz, Lucy Liu, and Drew Barrymore both revolved around a trio of female agents who specialized in investigation and espionage and were commanded by a mysterious man named Charlie. In this modern update, the angels (or would-be angel, in one case) are played by Kristen Stewart, Ella Balinska, and Naomi Scott, and they comprise just one team of many around the world who all take orders from various Bosleys their own is played by Banks herself. When one of the trio discovers the company she works for is developing a potentially dangerous technology, she unwittingly stumbles upon a conspiracy that the Angels must work to unravel. Critics say Charlie s Angels is an earnest effort from all involved, with a particularly sprightly performance from Kristen Stewart, but it s also a little disappointingly rote, as far as action fare goes, and it doesn t make the greatest case for why it was revived. That said, it s energetic, breezy, and appropriately cheeky, even if it is formulaic, and it may be just fun enough to pass the time for most.
While COVID-19 continues to impact the TV industry in big ways, talk show hosts try to keep giving us things to laugh about (including a brief comeback from Rosie O Donnell to help her fellow entertainers), Netflix gives us a new way to be socially less distant, and more in the week s top TV news.TOP STORYNetflix Party Makes It Possible to Have a Group Bingewatch (and Not Just a Virtual One)(Photo by Chris Haston/NBCU Photo Bank/NBCUniversal via Getty Images via Getty Images)Binge-watching episodes of The Office for the 37th time just got more fun. Thanks to a new Google Chrome extension called Netflix Party (available here), you can have movie nights and group TV viewing parties of your favorite Netflix programming.And not only does the extension allow you to watch programming at the same time on your computers, but Netflix Party also features a chat room, so you can quote Michael Scott’s wackiest words to each other, or debate whether or not “Scott’s Tots” is the worst Office episode of all time. We kid. There’s no debate. It is absolutely the worst Office episode of all time.Hopefully you stashed away plenty of snack fare, because COVID-19 social distancing just got the tiniest bit more bearable.Update: Netflix also announced that the company has created a 0 million emergency support fund for entertainment industry workers. Netflix Chief Content Officer Ted Sarandos said in a statement:The Covid-19 crisis is devastating for many industries, including the creative community. Almost all television and film production has now ceased globally leaving hundreds of thousands of crew and cast without jobs. These include electricians, carpenters, drivers, hair and makeup artists and more, many of whom are paid hourly wages and work on a project-to-project basis.This community has supported Netflix through the good times, and we want to help them through these hard times, especially while governments are still figuring out what economic support they will provide. So we’ve created a 0 million fund to help with hardship in the creative community.Most of the fund will go towards support for the hardest hit workers on our own productions around the world. We’re in the process of working out exactly what this means, production by production. This is in addition to the two weeks pay we’ve already committed to the crew and cast on productions we were forced to suspend last week.Beyond helping workers on our own productions, we also want to support the broader film and television industry. So million of the fund will go to third parties and non-profits providing emergency relief to out-of-work crew and cast in the countries where we have a large production base.Netflix will provide million each to the SAG-AFTRA Covid-19 Disaster Fund, the Motion Picture and Television Fund, and the Actors Fund Emergency Assistance in the U.S., and million between the AFC and Fondation des Artistes. Additional allocations worldwide will be announced next week.Lord of the Rings, The Witcher Among the Latest Coronavirus-Related Production HaltsAmazon Prime s The Lord of the Rings series was shut down March 16, according to a memo acquired by The New Zealand Herald. This is done in an environment where travel restrictions directed at the control of Covid-19 are issued daily by New Zealand and most other countries we are doing this to minimise stress on the resources and infrastructures around us by doing our part to reduce population density in our communities and daily activities, in efforts to help reduce the spread of the virus, the memo read in part.Netflix similarly shut down production on season 2 of The Witcher for two weeks, Deadline reported, noting that crew will continue to be paid during the hiatus. The show is filmed around 40 miles west of London at Arborfield Studios. Meanwhile, another Netflix production, The Crown was so near completion on season 4 that filming continued this week; though the production wrapped early, according to EW.Plus, that Friends reunion special that was going to be a highlight of HBO Max’s debut month in May might have to wait. THR.com reports the show, which will feature Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc, Matthew Perry, and David Schwimmer getting together for an unscripted celebration of the 10-season sitcom, was scheduled to tape next week, but now could be pushed off for a May tape date, because of coronavirus concerns. HBO Max will be the streaming home for the series when it launches.In other coronavirus-related TV rescheduling news:American Idol suspended production and sent contestants home for now. Taped episodes will continue to air through the middle of April, when live episodes were scheduled to begin. (TV Line)Because of a delay in production on the fourth season of Fargo, starring Chris Rock, FX has postponed the premiere of the season, which was scheduled to debut on April 19.New episodes of Saturday Night Live have been postponed until at least the middle of April. John Krasinski had been scheduled to host the March 28 episode, with musical guest Dua Lipa.ABC has temporarily replaced its daytime talk show Strahan, Sara and Keke with a daily coronavirus update special. Pandemic: What You Need to Know is hosted by Amy Robach, and will include news updates, interviews with experts, and conversations with service workers, corporate CEOs, and others deeply impacted by the pandemic.The Kelly Clarkson–hosted Billboard Music Awards, scheduled to air live from Las Vegas on April 29, have been postponed indefinitely.Netflix has postponed its first-ever, all-star Netflix Is a Joke comedy festival, originally planned for April 27–May 3.WrestleMania 36 will continue as a pay-per-view event, with no audience, and spread across two nights: April 4 and 5.The British Academy has postponed its TV awards, originally scheduled for May 17, and its TV craft awards, originally scheduled for April 26, indefinitely.Several TV series that have shut down production during the pandemic have donated goods to hospitals whose medical supplies are running dangerously low. EW reports The Resident, The Good Doctor, and Station 19 have donated boxes of masks, gloves, and gowns to hospitals in Atlanta, Vancouver, and Los Angeles.TV writers rooms have found a way to keep working – offering hope that new series will launch and that we’ll see new seasons of our favorite shows – thanks to virtual meetings via the Zoom app. (THR)The Kentucky Derby has been postponed for the first time since World War II. Usually run on the first Saturday in May, it is now rescheduled for the Saturday of Labor Day weekend, Sept. 5.With studio production on The Late Show With Stephen Colbert shut down, CBS has moved the production of CBS This Morning to Colbert’s home at the Ed Sullivan Theater in Times Square, as the network has moved operations out of two of its buildings in NYC.MIPTV, the international television market that was originally scheduled for the end of March in Cannes, has created a digital alternative. MIPTV Online+ will launch on March 30 and be available free to those who were registered for the Cannes event.The Dr. Oz Show will be filmed remotely, after a staffer on Dr. Mehmet Oz’s daytime series tested positive for coronavirus. (Page Six)Nervous about conflicting information about the pandemic, Whoopi Goldberg began performing her co-hosting duties on The View from from home this week. Meanwhile, Today host Savannah Guthrie and weatherman Al Roker are also performing their morning show duties from home.Showtime will begin airing just one new episode of its Don Cheadle comedy Black Monday, instead of two, per week, beginning on March 22.Vice TV’s Vice News Tonight series has gone on hiatus for an indefinite time.In the rare piece of good news in TV land this week: ABC, CBS, Fox, and NBC saw a three percent increase in viewership for the week ending March 15, when working at home and social distancing became a reality for many viewers. The week’s top shows: NCIS with 10.7 million viewers, 60 Minutes with 10.4, Young Sheldon with 8.8, The Voice with 8.7, and The Bachelor with 8.4.But The New York Times warns that while social distancing has led to an uptick in viewers across network, cable, and streaming services, as the economic impact of the coronavirus pandemic grows, viewers could soon be looking to cut the cord and cancel their streaming subscriptions.Talk Shows Keep the Home Fires Burning on DigitalJimmy Fallon is also promising a nightly YouTube version of The Tonight Show: Home Edition, with his wife as camera person, songs and jokes, a spotlight on a different charity each night, and guest appearances by his kids. Jimmy Kimmel is also offering fans episodes of Quarantine Minilogues from his home, The Daily Show host Trevor Noah launched The Daily Social Distancing Show from his home (specifically, his couch), and Stephen Colbert is also dropping bon mots from various locations in his house, including the bathtub.Samantha Bee has launched a daily digital series – Beeing at Home with Samantha Bee! – in which “Sam has relocated to a rustic woodshed to teach everyone how to chop their own wood for warmth while practicing social distancing,” according to TBS. “She gives an answer to the question of how much wood would a late-night host chop? It’s one, one piece of wood.”Conan O’Brien announced he will resume his TBS late-night talk show Conan on March 30, making the show the first late-night show to return to a regular schedule. He will be filming via iPhone, without an audience. His staffers will work from home, and guests will appear via video. In a release, O’Brien joked, “The quality of my work will not go down, because technically, that s not possible. The Rosie O’Donnell Show is back … for one night only, and only online. But O’Donnell, whose Emmy-winning talk show ran for six seasons in 1996-2002, has gathered a line-up of A-listers to appear via social distancing-friendly video from their homes. The special, which will raise money for The Actors Fund to benefit entertainment and performing arts professionals who are out of work because of the coronavirus, will include appearances by Beth Behrs, Nate Berkus, Tituss Burgess, Norbert Leo Butz, Kristin Chenoweth, Darren Criss, Gloria Estefan, Jesse Tyler Ferguson, Harvey Fierstein, David Foster, Morgan Freeman, Neil Patrick Harris, Judith Light, Barry Manilow, Audra McDonald, Katharine McPhee, Idina Menzel, Brian Stokes Mitchell, Billy Porter, Andrew Rannells, Chita Rivera, and Ben Vereen, plus dozens more. The show will air live on YouTube and Broadway.com at 7 p.m. ET on Sunday, March 22. (THR)Queer Eye star Antoni Porowski has launched a new quarantine-era cooking show on Instagram. Quar Eye: Cooking Lessons from Quarantine has so far included a how-to on making a “Keep Calm-lette.”New Trailers: Harley Quinn Season 2 Offers More Raunchy Animated VillainyMore trailers:Billions, season 5, starring Paul Giamatti, Damian Lewis, Maggie Siff, and Corey Stoll (Showtime)Upload, season 1, a new comedy from The Office creator Greg Daniels, starring Robbie Amell (Prime Video)Reno 911! revival (Quibi)Insecure, season 4, starring Issa Rae (HBO)One Day at a Time, season 4, starring Justina Machado (Pop)Bosch, season 6, starring Titus Welliver (Prime Video)Wynonna Earp, season 4, starring Melanie Scrofano (Syfy)Liar, season 2, starring Joanne Froggatt and Ioan Gruffudd (SundanceTV)Vice revival (Showtime)Dismantled, reality cooking competition hosted by Tituss Burgess (Quibi)The Platform, a horror satire movie, starring Ivan Massagué (Netflix)Nailed It!, season 4, hosted by Nicole Byer (Netflix)Murder House Flip, reality series about renovating homes that were crime scenes (Quibi)For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.R B Star Kelis Will Host New Cannabis-Themed Cooking Competition on Netflix“Milkshake” singer Kelis will co-host a cooking competition series that challenges chefs to create a three-course meal featuring cannabis. Cooked with Cannabis premieres on Netflix on April 20.I m really excited to announce my new
亚博-登陆 After the pandemic brought the industry to a halt, delaying multiple release dates for the studio, Marvel has finally returned with limited series WandaVision, kicking off the beginning of its Phase 4 slate. It s also the studio s first foray into delivering some original programming to Disney+, with the first two episodes of the series premiering to the streamer on Friday, January 15.The highly-anticipated series puts Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) and her synthezoid boyfriend Vision (Paul Bettany) in the spotlight. A 1950s-style sitcom spotlight, to be specific. On the surface, WandaVision looks to be unlike anything Marvel has done within the 13-year framework of its Marvel Cinematic Universe.But does the program work? Here s what critics are saying about WandaVision:HOW DOES THE SITCOM NARRATIVE WORK?(Photo by Marvel Studios/Disney+) Each new episode replicates a different decade of yesteryear sitcoms beginning with 1950s I Love Lucy and The Dick Van Dyke Show in the premiere episode. The second episode tackles series like Bewitched and I Dream of Jeannie, and the third shadows The Mary Tyler Moore Show, and so on. —Megan Vick, TV Guide It’s played almost as a straight tribute to those ancient shows, but there are tiny touches, here and there — beyond the employment of superpowers — that suggest that something is very wrong. — Helen O Hara, Empire Online In a break from the traditions of the ’50s and ’60s, the faux-sitcom vehicles of the first two episodes go out of their way to cast people of color, and to poke at the blatant misogyny that turned shows like Leave It to Beaver into symbols of a bygone era. When actress Teyonah Parris pops up in episode 2 as one of Wanda’s new neighborhood pals, Geraldine, WandaVision has its cake. Old shows never had Black women playing this type of role to chipper perfection, but “Geraldine” clearly knows she isn’t supposed to be there. — Matt Patches, Polygon With each installment, a few more cracks in the sitcom facade appear, but the bigger mystery is unveiled at an excruciatingly slow pace. In the second episode, Teyonah Parris is introduced as mysterious neighbor Geraldine, but those who have been following Marvel casting news will know there s more to her than that. The third offers some tantalizing peeks at what might really be going on but stops short of explaining it. As a weekly series, it s an aggravating and unsuccessful structure. — Kelly Lawler, USA Today WandaVision isn’t just another story about superheroes; WandaVision is a love letter to the history of sitcoms, one that sharply dissects how and why the format endures and why it remains culturally significant. Yep—WandaVision is a superhero show (a genre that’s frequently dismissed by critics) that analyzes sitcoms (a format frequently overlooked by critics). — Brett White, DeciderHOW IS THE PRODUCTION QUALITY? (Photo by Marvel Studios/Disney+) The set design, the performances, and the specific feel of a multi-camera sitcom — WandaVision’s pilot was filmed in front of a live studio audience — reflect a love for these indelible shows. — Alex Abad-Santos, Vox The look and feel of each episode is true to the spirit of its respective sitcom era as much as to any one show, as it’s clear everyone did their homework(*). — Alan Sepinwall, Rolling Stone Though it gets off to a slow start, the show has plenty going for it, from gorgeous, extremely expensive-looking production design and breathtaking special effects to punchy performances, a trippy mood and a plot that does eventually become quite absorbing. — Judy Berman, TIME Magazine Christophe Beck nails the jaunty sitcom score interstitials that bookend scenes, while Frozen songwriters Robert Lopez and Kristen Anderson-Lopez gift our leads with period-appropriate jingles that befit whatever decade they’re trapped in now. — Clint Worthington, The Spool HOW DOES IT CONNECT TO THE MCU? (Photo by Marvel Studios/Disney+) As the saturation drains from the title card, and the opening notes of WandaVision’s first theme song begins to play, the episodic nature of the series jumps out, and reminds you that this debut Marvel series on Disney’s streaming service isn’t quite trying to conjure up your traditional MCU shock and awe. — Charles Pulliam-Moore, io9.com These Disney+ series, though, expand the story of characters we know from the movies in way that the movies simple did not have time to do. It also allows WandaVision creator Jac Schaeffer and director Matt Shakman to put a uniquely stylized and deeply emotional spin on a story that would have (had this been a movie) otherwise been shackled by the mandated aesthetics of the overall MCU. — Allison Keene, Paste Magazine There is an overarching story to the series, one that will presumably explain how these very surreal events connect back to the lives (and deaths) of matter-and-mind manipulating Wanda Maximoff (Elizabeth Olsen) and the artificial “synthezoid” known as Vision (Paul Bettany) from the more cinematic entires of the Marvel Cinematic Universe. Through the first third of WandaVision’s season, though, its Marvel mythology remains in the background. — Matt Singer, ScreenCrush What s really going on here, given where movie-goers saw these Avengers last? That s the fundamental mystery, one the producing team is clearly in no hurry to divulge. Patience becomes a virtue, taking in the sitcom homages while maintaining a watchful eye for sly Marvel references and cleverly placed dollops of color, presenting possible cracks in the black-and-white veneer. — Brian Lowry, CNNHOW ARE ELIZABETH OLSEN AND PAUL BETTANY? (Photo by Marvel Studios/Disney+) Olsen and Bettany are delightful as they channel sitcom performers of the 1950s, 1960s, and 1970s, demonstrating their sharp comedic timing. It s a testament to their strengths as actors that they don t come across as doing imitations of the old shows WandaVision draws from, which helps immerse viewers in each new period. — Chris Agar, ScreenRant If you were looking for charming stars to convey a Mary Tyler Moore/Dick Van Dyke vibe, you couldn t do much better as Olsen and Bettany get to spell out the sweet chemistry that the movies have only hinted at. — Dan Fienberg, Hollywood Reporter Bettany has had a few comedic roles in the past, but none that demanded this level of full-on slapstick commitment — yet his follow-through makes him feel like a pro with 100+ episodes of syndicated hilarity under his belt. And it s not just that he can deliver some killer punchlines, it s how fiercely he throws himself into the relevant archetypes of each era while always allowing the glimmer of artifice to stand out. — Liz Shannon Miller, ColliderWHAT ABOUT THE SUPPORTING CAST? (Photo by Marvel Studios/Disney+) The leads aren’t left alone to do all the heavy lifting thanks to a terrific supporting cast of character actors that wouldn’t normally find their way into a Marvel Studios production. Notably, Kathryn Hahn uses her comedic skills to great effect as the precocious neighbor Agnes and That 70’s Show alum Debra Jo Rupp, as the wife of Vision’s boss, is a perfect addition to add to the period feel of the show. — Kyle Wilson, Lamplight Review Alongside Olsen and Bettany is Kathryn Hahn as a nosy neighbor, whose comic relief develops and darkens as the show moves into the 1970s. She’s as invaluable in WandaVision as she is in most things, perfectly capturing the series’s mood of perky, tireless energy slowly being consumed by paranoid sci-fi dread. — Richard Lawson, Vanity Fair The supporting cast is also a delight, with hints of further meaning yet to be unveiled, with the impeccable Kathryn Hahn bringing the sass as the couple s helpful neighbour Agnes and Mad Men’s Teyonah Parris as the mysterious Monica Rambeau. — Lewis Knight, Daily Mirror (UK)ANY FINAL THOUGHTS? Unabashed, off-kilter, and unlike anything Marvel has ever attempted, WandaVision is a reality-warping joy that promises a new beginning of the MCU. — Lauren J. Coates, Consequence of Sound Stretched out into three (and likely more) episodes, the stuck-in-a-TV-show premise starts to seem like a better idea for an interlude within something larger, rather than a whole thing unto itself. — Richard Lawson, Vanity Fair Working as both a love letter to classic sitcom television and a modern comic book mystery, WandaVision is just weird and charming enough to work. — Kyle Wilson, Lamplight Review Consider WandaVision an unusual first step for this new Marvel phase. The best parts lovingly conjure the mood of very old television shows. The worst parts feel like just another movie. — Darren Franich, EW WandaVision premieres its first two episodes on Friday, January 15 on Disney+.
Joel Meares for Rotten Tomatoes: I was reading that you didn t actually see Larry, the monster in Come Play, until the first time you interacted with it on set. What was your reaction to first seeing the creature?Azhy Robertson: It was pretty terrifying. The puppet looks a lot like it does in the movie. There was a scene where Gillian [Jacobs] and I were hiding under the bed and Larry just jump scared us! The first few takes, it really scared me. It was so surprising.For viewers who haven t seen the film yet, what is so terrifying about the look of Larry? Robertson: He s basic, he s not super detailed or anything, but I think that makes him a little scarier. He s just this huge tall lanky dude. He s actually humanoid, and I feel like that reflects into the message of the movie about loneliness, and how he just wants some friends. That was very interesting to me.(Photo by © Focus Features )You watched Poltergeist in the lead up to this at the director’s suggestion. Were there other movies that you watched to get the vibe of what the filmmakers were going for? What did you think of Poltergeist and those films?Robertson: I didn t really watch any other films, because I m literally a huge scaredy cat, so I didn t want to watch any more horror films. But Poltergeist is pretty similar to Come Play, because they both involve an invisible and mysterious entity-slash-ghost, and they re doing strange and horrible things to a family.Right. And both involve entities coming through screens – in Poltergeist through the TV, and in Come Play Larry’s coming from iPads, phones, TVs… anything around. Robertson: Yeah.Speaking of… do your parents have strict rules for your laptop and iPad usage? They might get stricter after seeing this movie! Robertson: Now, in quarantine, I really don t have anything to do other than that, so I don t really get very many limits, but they stop me if I m on it for way too long. Before quarantine, it was only four hours a week. Playing with my friends doesn t really count, though, only playing by myself.Preparing for this role, you also spent some time in New York being with kids with special needs and autism to get a sense of your character. How did that experience help prepare you to play Oliver?Robertson: I sat in on some classes and observed some of the common characteristics between some of the kids, because, if you ve met one kid with autism, then you ve only met one kid with autism. They re not all the same. I just wanted to see some common things that they do. For example, stimming was one, where you just do something with your body, your hands, your joints, because if there s too much sensory detail, then you focus on what you re doing with your hands or your joints or your body. [Editor s note: Oliver does a version of this in the film.](Photo by © Focus Features )You ve worked with some really incredible actors in your very short career. Obviously, Adam Driver and Scarlet Johansson in Marriage Story, and then Winona Ryder and Zoe Kazan in The Plot Against America, and here with Gillian Jacobs and John Gallagher Jr. What did you learn from your co-stars in this movie?Robertson: I ve learned a lot. Gillian, she taught me that if you need to be emotional She gave me a lot of space to be emotional, and she told me how you can help get teary and sad: You isolate yourself. That s something that I use to this day. When I need to be very sad or emotional, I isolate myself from everyone else to concentrate.One last question before I let you go. There’s one sequence that really stands out in the movie, a terrifying scene set in a parking booth that is also in director Jason Chase’s short. The invisible monster attacks. It looked incredibly intense and wild. What was that like to shoot?It was both scary and fun. Playing with that laser thing, that was pretty cool. Getting picked up by an invisible ghost – that was really intense and terrifying. Using the sticky-hand thing, without going into too much detail, that was pretty insane as well. That whole sequence of scenes was really cool.Have you seen the finished film?Robertson: Yeah I have.Scary? Robertson: Very.Come Play is in theaters October 30, 2020. On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: Priscilla Grant/Everett Collection, Jasin Boland/© Warner Bros. Pictures, © Columbia Pictures, © Neon, © Columbia Pictures 绿茵信仰最新版下载，这是一款全新的网易足球手游，游戏运用3D技术，带给玩家最真实的足球比赛画面，绿茵信仰手游的造型非常精致，采用面部捕捉技术，完美再现了多名球星的真实面貌，感兴趣的玩家快来特玩网预约下载吧！