The DC Extended Universe has been on a roll with solo superhero movies, and now coming off the franchise’s biggest global hit yet with Aquaman, they have another winner on their hands, according to the first reactions from critics on social media. Shazam! is smaller but arguably more fun, and it’s less connected to the DCEU than past installments, which makes it especially appealing. The real sell, though, seems to be how much heart there is in this installment. It sounds like it’s not just great but totally lovable.Here’s what the critics are saying about Shazam!:Does DC have another hit?Shazam! is another win for DC. Germain Lussier, io9DC is finally building a solid run. Shazam! is a delight! Eric Eisenberg, CinemaBlendShazam! is an absolute delight! Perri Nemiroff, ColliderI LOVED every second of it. A colorful, vibrant, vital addition to the DCEU. Courtney Howard, Fresh FictionHow does it compare to other DC movies?I absolutely loved Shazam! It s my favorite DC film yet. Dorian Parks, Geeks of ColorI m gonna go out on a limb and call Shazam! my favorite DCEU movie. Mike Ceccini, Den of GeekDC didn t try and make a movie that fits in perfectly with the larger DC Universe. They just focused on making a great Shazam movie and hit a home run. Steve Weintraub, ColliderShazam! is DC’s most joyful and sweet movie since the era of Christopher Reeve’s Superman… as liberated a comic book movie for DC as Deadpool was for Fox-Marvel. Jim Vejvoda, IGN Movies(Photo by Warner Bros. Pictures)What makes it stand out?Shazam! is the superhero film that you never knew you needed… This is what going to the movies is all about. Scott Menzel, We Live EntertainmentIt encapsulates the wish fulfillment and wonder of superhero comics in a way that will appeal to kids whilst being filled with non stop surprises for big comic book fans too. I loved it. Rosie Knight, NerdistIt is really well balanced, gets the magical wonder of the character and his world right, and somehow never feels like it s trying too hard. Mike Ceccini, Den of GeekIt doesn’t reinvent the superhero movie wheel, but it’s undeniably fun! Jim Vejvoda, IGN MoviesIt s basically the superhero version of Big, right?Shazam! is a super-powered Big… vivid character-driven action, heartrending central relationships and fully earned, totally satisfying emotional moments. Courtney Howard, Fresh FictionIt’s a superhero Big. (How did it take so long?) Drew Taylor, The PlaylistShazam! is parts Home Alone, parts Big, a crowd pleasing family-friendly joy-filled wish-fulfillment superhero film. Peter Sciretta, SlashfilmIt’s exactly what they set out to make: Big meets Superman. Steve Weintraub, Collider(Photo by Warner Bros. Pictures)Is it funny?Hilarious and cute. Rachel Heine, NerdistIt s funny and the tone is exactly right. Jenna Busch, Legion of LeiaFunny yet earnest. Jim Vejvoda, IGN MoviesEven funnier than the trailers make it look. Mike Ceccini, Den of GeekAn absolute blast from start to finish, full of heart and hilarity. My face hurt from smiling so much. Dan Casey, NerdistLoved Shazam! It s super fun, very funny (a few times people were laughing so loud I missed dialogue). Steve Weintraub, ColliderDoes it dare to go dark?Sometimes feels like if Joe Dante or Robert Zemeckis made a superhero movie in 1985. It s a family movie, but the villain and the magical stuff is just scary enough to give it that edge, and it never swings too far in either direction. Mike Cecchini, Den of GeekReminds of me of when kids’ movies were legitimately scary (in a good way). Dan Casey, Nerdist(Photo by Warner Bros. Pictures)Does it work as a family movie?Shazam! stands out because of the emotional, family story at its center… the family stuff is dynamic and powerful. Germain Lussier, io9Its familiar origin structure is forgivable because of all the new it brings to the table, primarily it s gleeful, childlike enthusiasm and heartfelt perspective on family. Eric Eisenberg, CinemaBlendSuper vibrant, tons of heart and a great fun-loving vibe. The family element is a big charmer. Perri Nemiroff, ColliderFantastic! Full of heart and pure childhood wish fulfillment. Jenna Busch, Legion of LeiaI was surprised at how much it wears its heart on its sleeve. Peter Sciretta, SlashfilmIt s an amazing family movie with dope fight scenes and great humor! You guys are going to love it. Dorian Parks, Geeks of ColorHow is Zachary Levi?Zachary Levi as Shazam was perfect casting. Dorian Parks, Geeks of ColorZachary Levi is perfectly cast. Steve Weintraub, ColliderIt s the role Zachary Levi was born to play. Eric Eisenberg, CinemaBlendZachary Levi is terrific! Drew Taylor, The PlaylistZachary Levi is perfect in the role, and so is Asher Angel. Jenna Busch, Legion of Leia(Photo by Warner Bros. Pictures)Are there any other standouts?Said this after IT but it s worth repeating: Jack Dylan Grazer is a star. Perri Nemiroff, ColliderThe kids absolutely steal the show. Dorian Parks, Geeks of ColorThe real surprise is Jack Dylan Grazer as Freddy Freeman. Steals the show. Steve Weintraub, ColliderAny complaints at all?I had some small issues with the hero/villain aspects. Germain Lussier, io9Gets a bit over the top and cheesy at times. Peter Sciretta, SlashfilmWhat does this mean for DC, then?Excited to see more fun superhero moves from DC. Rachel Heine, NerdistDC is def on a winning streak. Bring on Todd Phillips’ Joker! Steve Weintraub, ColliderShazam! opens everywhere on April 5. (Photo by Netflix)Move over, “Is Die Hard a Christmas movie?” The internet’s hottest new debate is about the Netflix movie that launched a thousand memes, Bird Box.The thriller stars Sandra Bullock as a woman tasked with ushering a pair of young, cherubic children over the river and through the woods. The catch? They’re blindfolded the whole time to protect themselves against supernatural entities that cause your death if you see them.In addition to inspiring people around the world to blindfold themselves and grievously injure their bodies in the name of memes — Netflix had to issue a warning against participating in the “Bird Box Challenge” because it is 2019 and we’re all doin’ it for the gram, even if it’ll cause us to trip over furniture and give ourselves massive bruises — the film has also sparked serious debate about whether or not it is actually a good movie.Just search “Bird Box” on Twitter to find the extremely divided discourse. It’s an argument that has spread to the Rotten Tomatoes staff, too, with some passionately pro and some vehemently against the film as a whole. In fact, we got so heated about it that we’ve outlined the two main arguments below. The Tomatometer is split: The movie is sitting at 62%.Help us settle another movie debate: Is Bird Box a suspenseful masterpiece, or just a boring, two-hour-long setup for memes? Below, we present an argument representing each side of the debate from a passionate RT staffer, but it’s up to you to make the call. Read on and vote below!Yes, Bird Box Is A Terrifying, Claustrophobic Masterpiece(Photo by Netflix)There’s a reason we’re entering 2019 with scraped knees and black eyes: Bird Box challenge! And there’s a reason we’re covering our eyes like fools and navigating the twists and turns of our own homes: Bird Box! Susanne Bier’s masterful little shocker is every bit as good as A Quiet Place — there, we said it — a suspense flick with a masterful conceit, killer set pieces, and something to say. What elevates Bird Box, however, are the performances: Sandra Bullock is incredibly compelling as the tough Malorie (“Boy! Girl!”) while John Malkovich keeps things tense in the house with big globs of smarmy menace. Also, Bird Box has just confirmed that Trevante Rhodes, whom many of us first met in Moonlight, is a superstar in the making (and that bod, though). The true measure of a horror flick is whether it sticks in the memory, if its disturbing imagery and spine-shattering scares linger. And by that measure — at least, going by the Internet — Bird Box is a classic.No, Bird Box is an Overrated, Scare-Free Mess(Photo by Netflix)There’s a reason we entered 2019 scratching our heads and going, “huh?” The Internet had been hijacked by a new Netflix flick called Bird Box and frankly, we just didn’t get it. Because… Bird Box is actually terrible. Full respect to director Susanne Bier, who’s done some really great stuff in the past, but the movie feels like it was made by someone wearing a blindfold. There’s almost zero suspense — how did they manage to botch even the scene with the car sensors! — and the central threat is about as menacing as The Happening’s threatening vegetation. When anything like tension starts to creep in, we’re suddenly back on the river for cinema’s most tedious white water rafting adventure. And don’t get us started on Bullock’s post-apocalyptic hair and makeup — impeccable and totally confounding. The only thing scary about Bird Box is the strong likelihood of a sequel.
Adjusted Score: -1% Critics Consensus: Nine seasons in, The Walking Dead feels more alive than ever, with heightened tension and a refreshed pace that rejuvenates this long-running franchise.九游会在线官网单纯的快餐手游在如今的市场上很难脱颖而出，而一个无法脱颖而出的手游意味着无法将宣发吸引来的玩家留下了=死。
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
In retrospect, it s easy to see why Unbreakable was not the box office hit that many were expecting from M. Night Shyamalan in the year 2000. The director had the impossible task of following The Sixth Sense, the second biggest movie of 1999 (behind only The Phantom Menace); he was making a comic-book movie at a time when the genre was out of favor (thanks largely to the silliness of the late- 90s Batman movies); and the studio had marketed it, misleadingly, as a Sense-style thriller. And yet, it s also easy to see why Unbreakable would go on to find a devoted audience on DVD and eventually streaming, and why it would start to pop up in Best Superhero Movies lists in the late 2000s: It s really, really good – and well ahead of its time. The dark, grounded, and refreshing take on the superhero genre also benefited from some incredible performances from Bruce Willis (as train crash survivor and reluctant hero David Dunn) and Samuel L. Jackson (as Elijah Price, a.k.a. Mr. Glass, whose friendly fascination with Dunn belies more villainous intentions). In this oral history of Unbreakable, Jackson tells Rotten Tomatoes about his first impressions of Night ( a little dictatorial ) and the appeal of his fragile villain Elijah, while Shyamalan reveals the origins of his tale and its journey from risky studio proposition to cult favorite.What follows is a history of Unbreakable (2000), and reflection upon it, drawn from sit-down interviews with M. Night Shyamalan and Samuel L. Jackson. ALSO WATCH: An Oral History of Split | An Oral History of Glass“I think you might be a real-life superhero.”M. Night Shyamalan: When I was editing Sixth Sense, I was writing Unbreakable, and the idea originally was a plane crashed and the guy survives and then someone says, “I think you might be a real-life superhero.” But then I put it into a train ’cause I love trains and I felt it was more comic book-y for me. It felt more reasonable that he would survive [a train accident] without a scratch, and so [it] could be dismissed as luck. But then Elijah s character comes to him and says, No, I think you might be a superhero. This idea of a regular person who doesn t have anything to do with superheroes in a world in which that doesn t exist is told: Hey, you know these fake things in comic books? I think they re actually based on people like you.(Photo by © Buena Vista)“He said, ‘Oh I just finished this movie with this kid, and he s writing a movie for us right now.’ Samuel L. Jackson: I was just finishing a job in Morocco and I had to go into Marrakesh. My wife was coming for few days, so we were gonna, I guess, take a holiday. I was in a casino, heard a voice – Bruce! – I turned around, we talked. He asked me what I was doing; I told him. I asked him where he d been, and he said, Oh I just finished this movie with this kid, and he s writing a movie for us right now. I was like, what movie was that, and he told me. I said, Oh, I read that movie. I wanted to be in it. He called Night on the phone, and Night says, Oh, I m writing one of your scenes right now. And we start talking, he tells me what the movie’s about. [I said] don t read it to me, I ll just read it when you send it.“It was really from Quentin that I grabbed that union of Sam and Bruce.”Shyamalan: One of my favorite movies is Pulp Fiction, and I really wanted that flavor that Sam and Bruce gave in Pulp Fiction for Unbreakable. Obviously, [it’s] a totally different story and all that stuff, but that kinda cool, edgy, grounded quality that they both had in that movie I thought [Willis’] quietness versus [Jackson’s] pizazz could be really fun. It was really from Quentin that I grabbed that union.(Photo by © Buena Vista)“His body s so fragile, but he had this great mane of hair like a lion – very strong.”Jackson: I love the character. I m a huge comic book fan. I like the fact that he had this great arc. [He’s] not a weak character at all; he s just fragile, physically fragile. It takes a certain kind of person to be able to accept that they have something like that, carry on and have a strong belief that, If I m this person, there must be some person out there that s opposite me that can justify the fact that God made somebody like me. He had these things that were wrong with him that made him stronger. That s what you want you want a character that definitely knows what he s about. I talked to the costume director about the color scheme; we had great talks about the color scheme and the kind of materials he wanted to use. I kind of brought the hairstyle idea to him and Night accepted it, and then okay, let s build it and see what happens and to give Elijah things that were very distinct. It has a level of strength to it that his body didn t have. His body s so fragile, but he had this great mane of hair like a lion, very strong.Shyamalan: Sam brought that Frederick Douglas look to the table. The hair kinda parted and [created a] big silhouette that I love so much. He definitely brought the pizazz, which is what you expect from Sam.“Those guys were icons and I was being very aggressive about the way we were making the movie.”Shyamalan: I think I was 29 when I was doing Unbreakable. Or maybe even 28 when I wrote it. I was still in the early stages of my career, and those guys were icons… And I was being very aggressive about the way we were making the movie. Long takes. Three-minute takes, two-minute takes, four-minute takes – really aggressive filmmaking. And they just had to trust me. There s no close-ups. There s no this, there s no that. And it s very play-like.(Photo by © Buena Vista)“We were kind of like his puppets in an interesting way.”Jackson: First impression [of Shyamalan]: young, strong ego, a little dictatorial when we first started working together. He had certain ways he wanted us to do things, and he would tell us to do them. I came up through the theater, and theater is essentially a dictatorship – the director tells you to do something, you do it, or they ask you a question, you have to have the right answer to justify what you re doing. Night went further than that. It was like, I already know what you re going to do, and I want you to do it this way. We were kind of like his puppets in an interesting kind of way. There were specific times he would say, “Okay, try not to blink. Just do the whole thing without blinking.” Or he would say, “Don t say the line that way, say it this way,” and I m one of those actors that hates being given line readings. But he was very adamant about it. Bruce and I have been around together for quite a bit, so… it was kind of easy for us to kind of listen to Night and look at each other and go, Yeah, wait till this kid finds out. “We re never gonna mention comic books, superheroes – any of that.”Shyamalan: I think for the studio at that time… it was seen as a fringe element of the movie – that this is about comic books. “Oh, those are those weirdos that hang out at those conventions.” Back then, there was just Comic-Con, and it was very niche at that time. People weren t aware of it. It was more cult-like. So, they said, Let s not make this a cult subject movie; let’s sell it more as a general thriller. We re never gonna mention comic books, superheroes – any of that. That meant you couldn t even [promote] the main plot of the movie because that s the plot of the movie: Hey, I think you re a real-life superhero. That couldn t be said in the ads. It was a really weird and ironic time that the thing that dominates the film industry now was the one thing they were running from. They thought that was the least commercial element of the film. Obviously, times have changed a great deal.(Photo by © Buena Vista)“Immediately as the DVD came out you started to feel the change.”Shyamalan: When the movie opened I think there was a disconnect because [audiences] were thinking it was kind of a sequel to Sixth Sense – it was me and Bruce and we sold it like that. So, there was confusion. People were coming to see a scary movie and that s not what they saw, you know? But immediately as the DVD came out, you started to feel the change in their perception of the movie. And… Oh, wait, this is about comic books? And then again, six months later, six months later, six months later… it just kept growing and growing until I would cross the street and, if you and I were hanging out, invariably someone would come up to us and say: “Unbreakable! I love it, man. When are you making the sequel?ALSO WATCH: An Oral History of Split | An Oral History of Glass
(Photo by Valerie Macon/AFP via Getty Images)It seems not even a pandemic can stop awards season. Some films like Dune are still a question mark to finish in time for a theatrical 2020 release, but with the Academy extending the window for eligibility and allowing films to bypass a theatrical roll-out, the show will go on even if the show is virtual. Bringing back our series of Ridiculously Early Oscar Predictions, we start the 2020-2021 awards season with the gentlemen. We admit it s a little early, but this isn t exactly a normal Oscar year.Our early Best Actor predictions list is still a bit tenuous, as several films have yet to be screened by critics groups and voters before the February deadline for Oscar submissions. No matter what happens, the upcoming season will make history as the first in which films will not have to screen in theaters to contend for Hollywood s top prize, which sets up some intriguing possibilities for what films could break through and snag a nomination. The Academy of Motion Picture Arts and Sciences (AMPAS) announced earlier this summer that the Oscars would be postponed by two months to April 25, 2021, and extended-release date eligibility rules to February 28, 2021, in addition to allowing streaming-only submissions and making all eligible films available on the Academy screening library, forgoing the typical Oscar voter screenings.Despite being already dubbed The Netflix Season by many of those in the know, fierce competition is a-brewing for 2020. A number of the films likely to be in the conversation have already screened and earned Tomatometer scores, and pundits are already singling out the major standout performances in them. Our list does include performances nobody has seen, but for which pre-release buzz and expectations are high. With that said, some on this list may end up in the Supporting Actor category.Whether we like it or not, the campaigns are quietly underway, the conversation has started, and we re now ready to join it. If history and basic math tell us anything, it is that most of these names won t make it to Oscar night, but we re pretty confident many of them will be right up there in awards chatter. So please read on as we break down our ridiculously early picks for 2020 Best Actor contenders.Don t agree with our picks? Have at us in the comments.Daniel Kaluuya and LaKeith Stanfield, Judas and the Black Messiah (2021) 96%LaKeith Stanfield and Daniel Kaluuya are two of the most electrifying young actors in Hollywood. Working with acclaimed directors like Denis Villeneuve, Rian Johnson, Destin Daniel Cretton, Jordan Peele, Steve McQueen, and Ryan Coogler (who serves as a producer on Judas and The Black Messiah), both actors have amassed impressive filmographies and varied work in just a few short years. After working together for Jordan Peele s Oscar-Winning masterwork Get Out, Stanfield and Kaluuya reunite here to portray two pivotal if not well-known names from the Black Civil Rights movement. Stanfield plays William O Neal, a petty criminal-turned-informant who agrees to work for the FBI to take down Fred Hampton (Kaluuya), the leader of the Illinois chapter of the Black Panther Party. Catapulted into the conversation by a fiery new trailer, the film has all the right pieces to make a deep run, come awards season. A tragic true-life tale with sociopolitical undertones featuring a former Best Actor nominee is the stuff Oscar campaigns are made of. The only question mark now is whether or not the film which has an unspecified 2021 release date will premiere before the February deadline to be eligible for 2020 accolades.Delroy Lindo, Da 5 Bloods (2020) 92%There have been dozens of Vietnam War films over the years to compete for Oscars, but none like Da 5 Bloods, Spike Lee s follow-up to his Oscar-winning hit BlacKkKlansman. The film features stand-out performances from Clarke Peters, Norm Lewis, Isiah Whitlock Jr., Chadwick Boseman, and Lovecraft Country star Jonathan Majors, but the most actorly performance belongs to Delroy Lindo, who s likely to compete for the Best Actor prize. As the bombastic member of Da 5 Bloods tasked with returning to Vietnam to bring home the remains of a comrade lost during the war and perhaps a hidden fortune Lindo is transformative. Despite a career that spans nearly five decades and over 70 credits, it s surprising that Lindo has never been in the awards conversation, and his role here as the Trump-supporting Vietnam vet with PSTD is his best shot. Spike Lee is coming off his Oscar win for BlacKkKlansman, and his cachet with voters has never been higher. With its timely message, the film could be a huge play for Netflix, which is assumed to do well in this streaming-friendly season.Timothée Chalamet, Dune (2021) 89%Jacqueline ColeyIn the four short years since he broke out into the mainstream with his Oscar-nominated performance in Call Me By Your Name, Timothée Chalamet s name has percolated in the awards conversation. This year he has the enviable position of having two films that could earn him a nomination: Wes Anderson s The French Dispatch and Denis Villeneuve s Dune. His turn in Dune, however, is what we re banking on for him and Arrival director Villeneuve to weave some Oscar magic, with a long-awaited adaptation of the award-winning science-fiction novel by Frank Herbert, poised to be a far cry from David Lynch s much-derided 1984 adaptation. Villeneuve has been on an unbeatable streak with critics and has a proven track record for crafting genre films that capture voters attention, scoring nominations for four of his last five Certified Fresh features, though he failed to secure an acting nomination for Amy Adams in Arrival. It stands to reason that if Dune lives up to even half of its hype, it could equal the accolades of George Miller s Mad Max: Fury Road and perhaps top it with an acting nomination for Chalamet. Starring alongside Oscar Issac, Zendaya, Jason Mamoa, and Javier Bardem, Chalamet is currently in Budapest filming re-shoots; a trailer is expected by the end of the month, and Villeneuve recently said that Dune could be this generation s The Lord of the Rings, so anything is possible.Anthony Hopkins, The Father (2020) 98%(Photo by Sony Pictures Classics)Since The Father s debut at the Sundance film festival earlier this year, Anthony Hopkins has been penciled in at the top of just about every Best Actor tip sheet by awards prognosticators. Still Fresh at 100% on the Tomatometer, the film, which is based on a French play, has seen acclaimed adaptations for Broadway, the London West End, and the French stage, and in each iteration, the actor playing the titular Father has taken home the best acting prize. Adapted and directed by the original playwright, Florian Zeller, the film is a poignant and disturbing journey through the deterioration of a man s mind. Suffering from Alzheimer s, an aging man stubbornly refuses his daughter s aid despite the grown evidence he is losing his grip on reality. A difficult watch, Hopkins work is incomparable with Gregory Ellwood of The Playlist calling it his best work this century. It should bring Hopkins back into the Lead Actor conversation following his supporting nomination last year playing retired Pope Benedict for The Two Popes, and it could be the role that brings him back to the winner s dais for the first time since he won in 1991 as the iconic and terrifying Hannibal Lecter in Jonathan Demme s The Silence of the Lambs.Andrew Garfield, The Eyes of Tammy Faye (2021) 66%Televangelists Tammy Faye Bakker and her husband Jim were two of the most salacious personalities of the 1970s and early 80s, and this drama, based on the award-winning documentary The Eyes of Tammy Faye Bakker, chronicles their rise and very public fall. The story, filled with drugs, fraud, sexuality, and, of course, Jesus, is as legendary as it is incredulous and should place both Jessica Chastain (as Tammy Faye) and Andrew Garfield (as Jim) on the lips of many prominent voices in awards punditry. It also doesn t hurt that it was directed by Michael Showalter, who was in the director s chair for the 2017 Oscar-nominated film The Big Sick. This is another film without a solid release date, so it could be pushed back to 2021, but it will likely still screen in time for the 2020 season. Keep an eye out for an I, Tonya-styled campaign strategy for the previously nominated Garfield and two-time nominee Chastain.Ben Affleck, The Way Back (2020) 84%Ben Affleck has been unfairly maligned as mediocre despite two Oscars and acclaimed work in award-winning films, including Shakespeare in Love, Argo, Good Will Hunting, Gone Baby Gone, and The Town. Following some personal and professional hardships, Affleck kicked off the year with a celebrated performance that mirrored his personal struggles. The newly single father of three plays Jack Cunningham, a former high school basketball phenom who never lived up to expectations and buried his pain at the bottom of a bottle. Forced to take a coaching job at his alma mater years later, he focuses himself on helping the young team, which might be his final shot for redemption. It was a surprisingly well-received entry during the typically lackluster releases of January, and critics raved about the film s feelgood story arc and Affleck s heartfelt performance. Currently rated Certified Fresh at 83% on the Tomatometer, the comeback drama has a built-in awards-friendly storyline, based on true events that are similar to the recently sober star s own personal battles with alcohol exactly the type of narrative strategists love to parrot to voters during the season.Eddie Redmayne and Sacha Baron Cohen, The Trial of the Chicago 7 (2020) 89%(Photo by Netflix)Produced by Steven Spielberg and written and directed by Oscar-winner Aaron Sorkin, The Trial of the Chicago 7 was thought to be a surefire awards contender for Paramount earlier this year. However, difficulties arising from COVID-19 prompted Paramount to sell the film to Netflix, giving the streaming giant yet more ammunition for an impressive haul in what many are dubbing the Netflix Season. The story of seven men charged with inciting a riot outside the Democratic convention in 1969 as part of a larger protest to the Vietnam War is another film tailor-made for awards in an election year. It features key figures from the time, including Black Panther Chairman Fred Hampton (the center of the aforementioned Judas and The Black Messiah) as well as political activist Bobby Seale and famed members of the Chicago 7 Abbie Hoffman and Tom Hayden. Hoffman and Hayden are played by Oscar nominee Sacha Baron Cohen and Oscar-winner Eddie Redmayne, respectively, and both men are poised to rise above the already stacked cast that includes Succession s Jeremy Strong, Micheal Keaton, Joseph Gordon Levitt, Yahya Abdul-Mateen II, and Willliam Hurt.John David Washington, Tenet (2020) 70%At several points in the past few months, there was some question whether or not Christopher Nolan s latest psychological action film, Tenet, would even reach theaters; as of now, it looks like it will, at least internationally. Never in doubt from a production standpoint, as the film has been long finished, the only question was if the global pandemic would prevent the film being screened in theaters. As Nolan is a staunch advocate of the theatrical experience, it was unlikely that it would shift over to a streaming platform or VOD, especially since Nolan has gone on record to say the films is most designed for the audience/big-screen experience. Appearing alongside our next Batman, Robert Pattinson, and Elizabeth Debecki in what seems to be a mind-bending Inception-style action flick, the star of the film is John David Washington, who looks to achieve what he was unable to garner for his breakout film, Spike Lee s BlacKkKlansman. The plot of Tenet has been kept tightly under wraps even the name of Washington s character, which is currently listed as the protagonist but expectations are high, as Nolan, like Dune s Denis Villeneuve, is a director known for his ability to rack up Oscar nominations for genre films. As last year s Best Actor prize went to a role-based off a comic book character, it s reasonable to believe that this year, an exceptional performance from a genre thriller could do the same.Tom Hanks, News of the WorldIf it s Oscar season and Tom Hanks is in a movie, he s likely in the conversation. However, his Supporting Actor Oscar nomination last year for A Beautiful Day in the Neighborhood was his first in nearly 20 years. After flirting with a nomination for Sully, The Post, and Captain Phillips, Hollywood s favorite dad is back in in the conversation with two pictures: Greyhound, in which he plays a captain for the third time, and News of the World, where you guessed it he plays yet another Captain. Hanks earned positive reviews for Greyhound, which he also wrote, but his best shot at a Best Actor nomination is likely for Paul Greengrass adaptation of the 2016 novel News of the World. Written by poet and author Paulette Giles, the novel set off a bidding war when it was optioned in 2017, eventually landing at Universal pictures. Unlike Netflix and smaller streamers, large-scale studios like Universal might be at a bit of a disadvantage at voting time, as their tried and true method for promotion cocktail parties, Q As, and craft showcase events will no longer be viable in the days of COVID-19. After three straight years with a favored film in the Best Picture race (Get Out, Green Book, and 1917), one of which was a winner, it will be interesting to see how Universal and the other large studios fare in the new landscape, and the Oscar push for News of the World and Hanks, in particular, will be a strong indication of whether or not they can stay nimble and adapt when forced to find innovative ways to reach voters.Also in contention: Gary Oldman MankLiam Neeson Ordinary LoveDenzel Washington The Tragedy of MacbethBenicio Del Toro The French DispatchMatt Damon StillwaterAnsel Elgort West Side StoryMichael Fassbender Next Goal Wins
The producers’ sense of humor led them to directly adapt one idea from a 2001 JLA story by introducing a villain called the Queen of Fables (voiced by Wanda Sykes in the series) in the exact state the Justice League left her at the end of the issue – stuck inside a paper copy of the United States tax code.“We just thought that was so funny and absurd,” Schumacker said. “And then we were like, ‘What s the next evolution of that?’ What can she do inside of that tax code? Well, she can become a CPA.”But beyond her humorous appearance, the Queen of Fables also serves a role in Harley’s ongoing story.“We wanted a very powerful, female supervillain to act as sort of the cautionary tale for Harley if she were to break [the Legion of Doom’s] glass ceiling, and the Queen of Fables felt like a perfect fit,” Halpern explained, noting that her relative obscurity meant the character could serve this role in an accessible way to viewers who may not have read the original JLA story. “Even if you don t know who she is, [you realize], OK, she s an evil sorceress who has Gumby-like power. Got it. “Also [the League’s] punishment for her was so much worse than their punishment for literally every other supervillain,” he added. “That s what I think jumped out to us. I think that that was our jumping off point.”Nonetheless, viewers will see a major difference between Harley and the Queen of Fables. One which Halpern called their “North Star” while developing the series.“Harley has her own moral code, he said. It definitely does not align with the moral code of most people on Earth. But in her mind, she s doing what she thinks is right.”(Photo by DC Universe)Viewers will also see that moral flexibility with Poison Ivy, who insists she’s not part of Harley’s crew and just doing her thing to protect the environment. Her unique worldview also makes Harley the one human being she considers a friend.Historically, the two have had a rapport since the 1993 Batman: TAS episode “Harley and Ivy.” In the comics, it eventually evolved into a romantic dynamic. But for the purposes of Harley Quinn’s first season, that element is being downplayed for an important reason.“If we re breaking her away from the Joker and we re telling a story of self-discovery, we didn t want that self-discovery to get wrapped up in yet another relationship,” Halpern explained. “We didn t want Harley to be defined by the person she was dating. We wanted her to be able to explore [the question] ‘What does my life look like and what do I actually want when I m not tethered to someone else?’”Nonetheless, their relationship may be teased here and there, and Halpern suggested it may come into play in a potential second season.In the meantime, their friendship is one of the show’s highlights. Ivy’s deadpan delivery and Daria-like outlook bounces off the energetic Harley, who Halpern described as a “consummate optimist.” Well, an optimist freed from “societal pressures and norms” anyway.When not cracking jokes, the series will explore a little bit of the divide between Harley and her life as Dr. Harleen Quinzel. Although, both Halpern and Schumacker agreed “the core [of her] was still the same,” with Halpern adding there was “probably a lot of work to keep Harleen Harleen. ”It is the sort of thing adult animated shows explore alongside the freedom to curse.Harley Quinn premieres Friday, November 29 on DC Universe
九游会在线官网 (Photo by Courtesy of IFC Films.)As a genre, the music documentary is premised on the promise of access. A concert doc hopes to bring audiences the immediacy of a live performance they may have missed (or wish to relive). A biographical doc, meanwhile, aims to take us past public personas and appearances and into the private world of a music act. Except, as Annie Clark – better known as the ever-alluring St. Vincent – found out when watching a whole slew of them, these promises are only ever illusory. There may be a semblance of access, but everything offered has been highly curated; any hint of authenticity is neutered by the very confines of the genre.The Nowhere Inn, a new film that finds Clark playing a heightened version of herself as she sets out to film a concert documentary, was first conceived as a concert doc meant to document St. Vincent’s Masseduction tour. But, as the meta-approach of this bare-bones synopsis suggests, such a straightforward tact was never going to work. Or rather, it wouldn’t have been as much fun as an all-out deconstruction of the genre and the very pop/rock stars it so often exalts.“Well, I didn t really want it to be just a straight concert,” she told Rotten Tomatoes recently, recalling the origins for this scripted project. “So I asked Carrie Brownstein if she would help me make some interstitials to go in between songs; have some cute way of framing it, I guess. And then that kind of dovetailed into conversations that Carrie and I have been having for years about authenticity and performance.”It was during those early talks about music docs that the two friends realized the genre at large (exceptions notwithstanding) was stuck in a rather rigid schema. You’d hear about humble beginnings and tragedies that marked an artist’s early life. You’d get a requisite going-home sequence and the attendant “I’m just a regular person, but I also happen to be massively famous” sensibility that couldn’t help but ring hollow.“Well, why don t we just make a crazy, meta-scripted, psychological absurd horror that deals with all of it?” Clark recalls asking herself. “And in a way that, oddly enough by scripting it, would make it more authentic than if I had tried and failed to perform authenticity?”The film begins like a straightforward mockumentary wherein Carrie tries to get Annie to make her backstage life less boring (less video games and more anything else, really). But soon, as Annie begins to take her St. Vincent persona off of the stage and into her real life, hoping to create more exciting footage, The Nowhere Inn takes a turn for the absurd. That Clark describes that turn – which finds Annie hiring a fake family out in the country to visit and later making Carrie and Annie twinned images of each other – by invoking the likes of Bertolt Brecht, David Lynch, and Peter Greenaway hints at the twisted, near-nightmarish logic that eventually overtakes The Nowhere Inn.(Photo by Courtesy of IFC Films.)But even before the Bill Benz-directed film all but splinters out into its Rubik’s cube of an ending, it cements itself as a probing satire that artfully skewers the performance of authenticity that so constitutes contemporary celebrity culture. Even the moments that supposedly humanize artists in music docs, to Clark, feel not just alien but outright disturbing. “I get confused because I see things celebrated that seem to me like just really terrible behavior – like inhuman-like narcissism to the next level,” she says. “But it s sort of lauded. And I wanted to do that in this movie and play with it.”Clark points to what is, in her mind, the funniest scene in the film. It’s a moment where a fan, having been brought backstage to meet with Annie, pours her heart out and tells the artist how her music helped her cope with a personal tragedy. There’s such a naked vulnerability on display that the sudden tears that overtake Annie at first feel not just earned but necessary. But there’s no empathy at work here. Just another instance of an artist unwilling (or unable) to let other people center themselves when she’s around. “I have to hijack it and make it about myself,” she explains. “Because I m so narcissistic that I can t even allow her the space to tell this heartbreaking story. And then she ends up consoling me, and it s just like – what a monster!”As Clark found out firsthand when attending a Sundance screening of the film back in 2020 (no one had the foresight to tell her or Brownstein that talent rarely sit in on these premiere screenings), the scene didn’t quite land with the raucous laughter she expected. That was an early sign that The Nowhere Inn may be more unintentionally baffling than she’d first anticipated. Or that the humor she finds in this narcissistic monster she created out of the on-screen Annie she plays may rightfully keep audiences in a sense of unease.(Photo by Courtesy of IFC Films.)“I needed to go down the complete narcissism rabbit hole for it to pan out,” she adds. “And not just down the narcissism rabbit hole, but also into this inkling that I was in control of the narrative the whole time. That s certainly a nod to the fact that really rock stars and pop stars, they are in control of the narrative the whole time. Make no mistake.”As Annie puts it late in the film when she’s become a laughably terrifying prima donna: “Ok. Let’s only document the things I can control.” It’s a line that epitomizes the fine line The Nowhere Inn walks, existing at the intersection of a comical threat and an existential joke.“It s a funny one because I think music is so intimate. And I ve talked about my whole life, all my fears and loves and concerns and tragedies through music. And so that is really deep. I just think that s a really deep connection that, even if you don t know what I ate for breakfast, it’s a kind of a deeper part of me. I really believe in that.”If The Nowhere Inn revels in poking fun at the very possibility of music documentaries offering any kind of authentic appreciation of the artists they profile, Clark doesn’t discount the way in which its outré tone may in fact give her fans newer insights into her own person – and persona.“I think they might get a better sense of my appreciation of absurdity – like that I don t take myself very seriously. And that identities are very malleable and we re just all playing with it all the time. That reality feels increasingly illusory.”The Nowhere Inn is in theaters and available on-demand from Friday September 17, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: © IFC Films / Courtesy Everett Collection
Going on nearly 20 years, the X-Men movie franchise has had many ups and downs. Now, with the release of Dark Phoenix, critics are declaring it the lowest of the low, and the Tomatometer score certainly affirms the dishonor. While some reviews claim it’s not really the worst X-Men sequel yet, even the most positive takes are far from excited. If this is the conclusion of what began back in 2000, it’s possibly a more disappointing series finale than anything on TV. Still, there’s reportedly some decent action, if that’s enough for you to finish out its run.Here’s what critics are saying about Dark Phoenix:Is this really the worst X-Men movie?The worst chapter of its long-running main series. Eric Eisenberg, CinemaBlendIt may very well be the worst X-Men movie ever made. Jordan Ruimy, World of ReelIt s more focused and less bloated than Apocalypse. Ian Sandwell, Digital SpyA tiny bit better than the worst X-Men films! Todd Gilchrist, Birth.Movies.Death.Dark Phoenix IS GOOD!… It’s more distinguishable and bares the identity of an X-Men movie that plays like a long episode of the animated series. Rendy Jones, Rendy Reviews(Photo by 20th Century Fox)Is it at least better than The Last Stand?The film is marginally better than the previous telling of the Phoenix saga. Jim Vejvoda, IGN[Kinberg] makes up for the single worst X-Men film… Chris Claremont and John Byrne would be proud. Danielle Solzman, Solzy at the Movies[Simon Kinberg] is a more sensual and intuitive filmmaker than Brett Ratner. Owen Gleiberman, VarietyWhile Dark Phoenix may have fewer embarrassing missteps than Ratner’s 2006 disaster, it replaces that embarrassment with something that feels devoid of personality. Kambole Campbell, Little White LiesMaybe X-Men: The Last Stand wasn’t an accurate adaptation of the Dark Phoenix comics, but at least it was a fun celebration of an ensemble of characters. Fred Topel, We Live EntertainmentWill die-hard X-Men fans enjoy it?Dark Phoenix is not the movie for fans of the comic book series. It’s arguable if Dark Phoenix is the film for hardcore fans of the franchise that’s existed in one form or another since 2000. Jeffrey Lyles, Lyles Movie FilesIt’s as though the audience is expected to be grateful that they are seeing most of the classic line-up of characters, without exploring what makes them interesting. Kambole Campbell, Little White LiesThis final Fox X-Men film also has a number of Easter eggs for comic fans… there’s also a cameo by writer Chris Claremont. Scott Chitwood, ComingSoon.net(Photo by 20th Century Fox)Is it a satisfying franchise finale, at least?Compared with the conclusions of other major franchises — the most recent being Avengers: Endgame — this one seems distinctly minor league. Todd McCarthy, Hollywood ReporterThis X-Men outing feels more like an afterthought than a climax. Larushka Ivan-Zadeh, MetroWith this final installment, the franchise goes out with a resounding thud. Katie Walsh, Tribune News ServiceDark Phoenix makes for a satisfying conclusion to the X-Men series. Danielle Solzman, Solzy at the MoviesUltimately a movie that understands its status as a farewell to characters who have thrilled audiences for two decades… It’s a fitting final chapter. Tom Beasley, Flickering MythHow is Sophie Turner?For Game of Thrones fans, it is tempting to imagine Turner as the all-powerful being she deserves to be…Dark Phoenix just doesn’t do [her] justice. Katie Walsh, Tribune News ServiceIf she deserved better than Game of Thrones finally gave her, she deserves even better here. Justin Chang, Los Angeles TimesTurner puts in the work, but the writing and sloppy direction does little to underpin the performance. Radheyan Simonpillai, NOW TorontoThe pleasure of Dark Phoenix is watching her emerge from the wreckage. Owen Gleiberman, Variety(Photo by 20th Century Fox)Is there a strong feminist message?It’s the women in this one who do most of the heavy lifting, and the film rises to another level because of it. Lisa Johnson Mandell, AtHomeInHollywood.comDark Phoenix takes blockbuster gender politics a step further… to forge an allegory of the rise of women that’s sharply compelling in its renegade/victim edge. Owen Gleiberman, VarietyIf Dark Phoenix was intended as a feminist statement, it plays out more like a male fear at women seizing power and wreaking havoc. Larushka Ivan-Zadeh, MetroHow is the rest of the cast?The excellent acting… is better than the Disney-run Marvel Cinematic Universe. Johnny Oleksinski, New York PostJames McAvoy is probably the standout… Jennifer Lawrence and Michael Fassbender, meanwhile, are practically checking their watches. Eric Eisenberg, CinemaBlendPerhaps the most affecting work is by Hoult as Hank, who etches a journey from loss to rage as the effects of Jean’s unravelling hit hard. Ian Freer, Empire MagazineDoes it have a villain problem?It’s a character so immensely boring that it doesn’t really deserve mention in the basic plot description of the film. Eric Eisenberg, CinemaBlendChastain is excellent as always, but her character is so underwritten that you’d be hard-pressed to remember its name. David Ehrlich, IndieWireChastain puts on an icy performance as the baddie… but the movie doesn’t seem to know what to do with her. Radheyan Simonpillai, NOW TorontoOne of the film’s biggest missed opportunities is its handling of the villains… with Chastain delivering a flat performance as a one-dimensional super-powered baddie. Jim Vejvoda, IGN(Photo by 20th Century Fox)What about the good parts?Kinberg actually puts together some very well done fight scenes. The film’s signature sequence on a train showcases the X-Men’s powers in a way we haven’t seen on the big screen in a long time. Jeffrey Lyles, Lyles Movie FilesOne diverting action sequence, set aboard a fast-moving train and goosed by an enjoyably bombastic Hans Zimmer score. Justin Chang, Los Angeles Times[It has] what may very well be the best on-screen train fight since Captain America: The First Avenger. Danielle Solzman, Solzy at the MoviesThere aren’t many action scenes in Dark Phoenix, but the few that there are end up being somewhat entertaining. Scott Chitwood, ComingSoon.netThe light-show effects have a mid-’90s fanciful cheesiness, and I dug them for that reason. Owen Gleiberman, VarietyThere’s a refreshing simplicity to Dark Phoenix at a time when superhero movies are becoming increasingly complex. Tom Beasley, Flickering MythAre we just ready for the X-Men to join the MCU?Now the legacy of the X-Men will pass into a new set of hands, and hopefully it will rise, like a certain mythological bird, again. Don Kaye, Den of GeekAs Disney and Marvel Studios take the reins, I hope they embrace the stakes, humanity and scrappiness of these special characters. Johnny Oleksinski, New York PostWhile the MCU may prove better… the property itself deservedly needs a good long rest before the X-Men return to the screen. Jim Vejvoda, IGNDark Phoenix opens in theaters June 7, 2019. 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
九游会在线官网 As television milestones go, it’s tough to top being on the air not just for a period of years but a period of decades. On December 17, Matt Groening’s deathless satirical masterpiece will achieve the remarkable feat of being on the air for three decades. Three decades! Thirty years! That’s real good.The Simpsons has helped define the comic sensibility of multiple generations of irreverent, pop-culture savvy smart-asses. Its run was first ground-breaking in its eviscerating and dark yet emotionally grounded look at the greed and cynicism at the heart of American society, and then record-breaking in the show’s unprecedented commercial success and staggering longevity.These 30 essential episodes of the preeminent American pop-culture institution illustrate the comedic perfection of the show during its glorious, radiant prime, and then the long, slow, inevitable slide in quality and relevance that followed. But it s worth noting that while we may not be in the Golden Age, the series still does hit hard – and funny – on occasion, so you will find some more recent eps in this list.Let us know your favorite Simpsons episodes in the comments.1. Simpsons Roasting On An Open Fire in The Simpsons: Season 1 (1989) 100%You never forget your first time! Accordingly, The Simpsons opened on a painfully relatable note of paralyzing Yuletide economic uncertainty with a special Christmas episode that finds Homer desperate to provide a merry Christmas for his family after being denied a holiday bonus. “Simpsons Roasting on an Open Fire” goes to audaciously dark places for the introductory episode of a cartoon pitched at families. It climaxes with Homer going with his son and alcoholic friend Barney to the racetrack, where he gambles away his money, yet still manages to deliver the requisite happy, or at least bittersweet, ending. From the very beginning, The Simpsons wasn’t just very funny. It was also emotionally real and grounded.2. Two Cars in Every Garage and Three Eyes on Every Fish in The Simpsons: Season 2 (1990) 100%Classic episodes like “Two Cars in Every Garage and Three Eyes on Every Fish” helped establish sinister arch-capitalist and power plant owner Montgomery Burns as a standout supporting player of tremendous depth and surprising complexity. He’s a figure of biblical, almost Satanic evil but also an oddly sympathetic figure when his God-like status is threatened. Burns is poignantly, unexpectedly human here after the discovery of a three-eyed mutated fish causes a government crackdown on the power plant and inspires the evil mogul to run for governor to protect his interests.3. Mr. Lisa Goes to Washington in The Simpsons: Season 3 (1991) 100%(Photo by 20th Century Fox Film Corp.)“Mr. Lisa Goes to Washington” adroitly typecasts Lisa as its pure-hearted Mr. Smith surrogate in a savagely satirical evisceration of political corruption, patriotic hokum, and the terminally mild song stylings of Mark Russell. As the show’s unyielding paragon of integrity, Lisa is a natural choice to earnestly inhabit the well-worn archetype of the idealistic innocent who uncovers the seedy underbelly of American politics. Lisa is an inherently political little muckraker and “Mr. Lisa Goes to Washington” ranks amongst her finest half hours.4. Homer at the Bat in The Simpsons: Season 3 (1991) 100%If you were a sports fan at the time, “Homer at the Bat” was no mere television episode: It was a seismic cultural event that brought together the best in entertainment and sports in a riotous riff on The Natural. In “Homer at the Bat,” a magic bat transforms Homer into a dinger-smacking dynamo before Mr. Burns hires a team of major league ringers to help him win a million-dollar bet on a company softball game with a fellow mogul. You don’t need to be a baseball fan to find “Homer at the Bat” hilarious, but it does help.5. A Streetcar Named Marge in The Simpsons: Season 4 (1992) 100%The perpetually long-suffering Marge gets an opportunity to not only express but sing her pain when she’s cast as Blanche Du Bois opposite a disconcertingly shredded Ned Flanders in a musical version of A Streetcar Named Desire that replaces the tragic melodrama of the original with something peppier and more upbeat. Marge’s onstage drama mirrors her offstage frustrations, which lends the episode surprising emotional weight.6. Marge vs. The Monorail in The Simpsons: Season 4 (1992) 100%(Photo by 20th Century Fox Film Corp.)Before he rose to talk show fame, Conan O’Brien wrote his way into The Simpsons history with “Marge Vs. The Monorail.” It’s an instant classic parody of The Music Man with Phil Hartman perfectly cast as its Harold Hill figure, a charismatic flim-flam man with a song on his lips and a scam in his heart who bamboozles the gullible people of Springfield into buying a monorail that causes the problems he promises it will solve.7. I Love Lisa in The Simpsons: Season 4 (1992) 100%It’s impossible not to feel poor Ralph Wiggum’s precocious romantic heartbreak when Lisa Simpson humiliates him after he publicly professes his love for her in this painfully hilarious and just plain painful exploration of puppy love gone awry. Watch closely and you can pinpoint the exact moment “I Love Lisa” rips the audience’s heart in half. Who knew Lisa could be such a heartbreaker and Ralph such a convincing tragic romantic hero?8. Last Exit to Springfield in The Simpsons: Season 4 (1992) 100%To fans of classic The Simpsons, the words “Lisa needs braces” must always be answered with “Dental plan?” and vice versa thanks to “Last Exit to Springfield. The episode pitted a deeply overmatched Homer against Mr. Burns in a labor-versus-owner skirmish that develops unexpectedly high, personal stakes that sees Homer’s dim-wittedness facing off against his family and co-workers’ needs.9. Krusty Gets Kancelled in The Simpsons: Season 4 (1992) 100%The stars REALLY come for poor Krusty after his place in children’s hearts is taken by sadistic dummy Gabbo. “Krusty Gets Kancelled” would make it into the pantheon of all-time great episodes on the basis of a guest voice roster that includes Johnny Carson, Elizabeth Taylor, and the Red Hot Chili Peppers alone, but it offers an embarrassment of riches even without a ridiculously stacked guest lineup.10. Cape Feare in The Simpsons: Season 5 (1993) 100%(Photo by 20th Century Fox Film Corp.)Kelsey Grammer’s sonorously duplicitous sidekick-turned-serial attempted murderer, Sideshow Bob, proved himself a worthy antagonist to Bart Simpson by slipping into the role of a vengeance-crazed ex-con in a Cape Fear spoof that contains the legendary sequence where the frustrated clown steps on a rake nine times – a gag that’s funny, then unfunny, then brutal, then hilarious all over again.11. Rosebud in The Simpsons: Season 5 (1993) 100%The Simpsons’ famous love for Citizen Kane, and pop culture pastiche in general. reaches a glorious crescendo with “Rosebud, which re-imagines Charles Foster Kane’s iconic nostalgia for the sled of his youth as miserly Mr. Burns similarly pining for a clumsily symbolic totem of childhood innocence, a ratty teddy bear that Maggie comes to own. “Rosebud” humanized a monster by exposing the child within.12. Itchy and Scratchy Land in The Simpsons: Season 6 (1994) 100%When FOX tried to appease censors by eliminating Itchy Scratchy, a duo that exists for the sake of gratuitous violence, The Simpsons impishly protested with the most uncompromisingly brutal Itchy Scratchy episode of all time. “Itchy and Scratchy Land” ratcheted the bloodshed up to hyperbolic and hilarious levels in a gut-buster that riffs merrily on Disney Land, Westworld, and Jurassic Park.13. Treehouse of Horror V in The Simpsons: Season 6 (1994) 100%(Photo by 20th Century Fox Film Corp.)The Treehouse of Horror, The Simpsons’ beloved annual Halloween ramble through treasured terror tales past, was never darker or more hilarious than in this fifth entry that focused on adults murderously terrorizing children. First Homer convincingly inhabits the murderous mind of Jack Torrance in a non legally-actionable parody of The Shining called “The Shinning.” Then Homer ruins things for civilization by futzing around with the timeline before a final segment finds teachers and lunch ladies enjoying a new “miracle meat” made of students that gives a deliciously literal meaning to “Eat my shorts.”14. Who Shot Mr Burns? Parts 1 and 2 in The Simpsons: Season 6 (1994) 100% and The Simpsons: Season 7 (1995) 100%The Simpsons delved into the pulse-pounding world of cliffhangers with “Who Shot Mr. Burns?”, a high-profile, much buzzed-about two-part parody of Dallas’ 1980 ratings bonanza “Who Shot J.R?”. Like the earlier pop-culture phenomenon, “Who Shot Mr. Burns?” focused on the shooting of a mogul so cartoonishly evil that just about anyone with a pulse who has interacted with them has reason to wish them dead.