bob娱乐app采用百度引擎7（Baidu 0）Although superhero shows make up the bulk of Comics on TV options, the format can get a little tiresome at times. Whether it be repeated plot points or uninspired antagonists – we’re looking at you, Ricardo Diaz – the grind of a superhero show can lead to a certain amount of fatigue. This goes double for a casual viewer less interested in the crossover potential of the Arrowverse or the late, lamented Marvel universe on Netflix.But the first half of 2019 has seen a number of startling and well-produced superhero shows redefine and revitalize what the genre can be. Instead of season-long big bads strung across 22-episodes, the heroes face existential crisis in shorter seasons. And in at least one case, Amazon’s adaptation of The Boys, the supers are anything but heroes. In fact, the series, and its unique take on super-powered people, has revitalized the superhero show as a whole in just 8 episodes thanks to its adventurous storytelling.So let’s take a look at some of the ways it uses capes, heat vision, PTSD, and old-fashion love stories to give the superhero genre a fresh perspective.Spoiler Alert: The following discusses plot points from the entire first season of Amazon series The Boys. Stop now if you haven t watched every episode.It Adapts Finite Source MaterialOne of the key things setting The Boys – and some of the other 2019 debuts, in fact – apart from an Arrowverse or a Marvel show is its source material, the 72-issues series (and some special releases) by Garth Ennis and Darick Robertson. The finite nature of the original comic book makes it more like a novel than the never-ending battle in the pages of The Flash or X-Men. This means the show has a sense of direction even the Marvel series on Netflix could not necessarily claim beyond the first season of Jessica Jones and, to a certain extent, the third season of Daredevil. And it is the sort of thing unheard of in the shows of the Distinguished Competition.Knowing the shape of the full story ahead of time means the chance to properly plot it. In the case of The Boys, this is best illustrated in the way Hughie (Jack Quaid) comes to know the other members of Billy Butcher’s (Karl Urban) team, how they all meet the Female (Karen Fukuhara), and how most them come to rely on a super in critical moment. It is different from the books, but it delivers characters precisely when they are need — particularly Frenchie (Tomer Capon). Yes, not every plot point is expertly timed across the first season, but for the most part, The Boys asks questions and answers them with a rare precision.It Knows When To Walk Away From That AdaptationModern finite comics share more in common with novels than the ongoing travails of Superman and Spider-Man. It is a definite benefit to comic book storytelling overall, but it means fans of titles like The Boys will expect certain moments to appear in the series almost verbatim. When Rotten Tomatoes talked to executive producer Eric Kripke about key scenes, he said balancing those expectations with the understanding that TV is a different format is key to producing a good adaption.“Luckily, I m a huge fan of the material, so the scenes that are important to the fans, and that the fans love, I love too,” he explained.At the same time, it was important to break down the comic and determine “what scenes fit in the particular version of the story we re telling and fit the tone and fit the style.” Kripke expected at the time that “there will inevitably be fans that are unhappy with some things that I didn t include. But, he continued, “it s my responsibility to tell the best story that I know how to tell, and I try to use as many of the pieces of the book as I can, but some of them just don t fit in our version of the story.”Sometimes, elements of a story change for more practical reason, like Butcher’s dog Terror. Glimpsed in one or two flashbacks on the television series, Terror was almost an extra appendage of Billy’s in the comic. But when facing the realities of having a dog on set among all the other technical challenges of a superhero show, Kripke made a tough decision. “It literally would have been impossible to finish the show on our schedule with our ambition if, on top of everything else we were doing, we had a dog,” he explained.Of course, at Comic-Con, Kripke suggested there may be a chance for Terror to be part of Billy’s present-day life in season 2.Beyond purely practical concerns regarding Terror, readers of The Boys will note a change in tone. The darkness and despair beautifully rendered by Robertson in the pages of the comic book have been toned down for a brighter world. It also introduces Starlight (Erin Moriarty) in a position of strength, re-casting her as the story s heart from the get-go. That greater focus on the light in the initial episodes counterpoints the darkness in the hearts of characters like Homelander (Antony Starr) and A-Train (Jessie T. Usher), while making Hughie’s entry into Butcher’s world more inviting. At least, inviting to viewers ready to look at the violence Hughie witnesses with a more satirical slant.It Quickly Complicates the CharactersThanks to that strong sense of direction, characters accrue a level of complication at A-Train’s pace. Consider how corrupt he seems at the onset or when he kills his secret girlfriend. But the sense he is a one-note character is soon shattered when a reality show producer asks him to omit the painful gang-related truth in his origin story. And as his body continues to break down from the effects of Compound V, we see he is as much of a victim of Vought’s machinations as Annie (Moriarity) or Hughie. Sure, a viewer might walk away from the season still hating A-Train’s guts, but at least it comes from a richer understanding of his situation. He is getting ground inside the machine.As the season progresses, we see the caricatures of episode 1 give way to more complex characters with each passing scene. Queen Maeve (Dominique McElligott) goes on an odyssey to realize her lost optimism. She may not resemble the hero Annie is turning into, but even those few words of encouragement she offers at the end of the season indicate a positive change. Or, at least the sort of positive change we can hope to see from these characters. But that also means Maeve could easily fall back into her old ways when we see her again next year.Meanwhile, Butcher defies traditional classifications of hero and anti-hero. He’s doing this all in memory of his wife, but at some point, one gets the impression he just needed the excuse in order to start killing. He may not grin the way Homelander does while offing an enemy, but a similar satisfaction is present. And considering the season ends with the two of them at the same place, we can expect some discussion of their commonalities during an uncomfortable backyard barbecue.
Gretel & Hansel (2020) 63% We haven t even spent an entire month in 2020 yet, but we re already getting our fourth big horror release of the year in this week s Gretel Hansel. Like last week s The Turning, this one is also rooted in classic literature, as it offers a new take on the well-known fairy tale by the Brothers Grimm. Sophia Lillis plays 16-year-old Gretel, who, along with her brother Hansel (Samuel Leakey), has been sent into the woods in search of a convent to take them in, since their destitute mother can no longer provide for them. Of course, as anyone familiar with the source material might predict, the pair happen upon a mysterious cabin en route and, tempted by the feast they spy inside, decide to pull up a couple of chairs and hang out with the creepy woman who lives there and who might be a witch looking to fatten them up and eat them later. Director Oz Perkins is no stranger to horror his previous films include I Am the Pretty Thing That Lives in the House and The Blackcoat s Daughter and he does his best to craft an atmosphere-driven arthouse chiller, but most critics say Gretel Hansel is far too leisurely paced and devoid of real terror that it loses steam quickly and never quite recovers. There are bright spots here: Sophia Lillis s acting chops are on full display, Alice Krige is suitably unsettling as Holda the witch, and pretty much everyone even those who generally didn t like the film has nothing but great things to say about the film s lush imagery and stunning cinematography. Ultimately, though, fans of traditional horror fare may find the film s deliberate pacing and third-act liberties with the source material a bit too much to swallow. Before he won an Academy Award with Parasite, director Bong Joon-ho made the politically-charged sci-fi thriller Snowpiercer, which followed a non-stop bullet train filled with the last remnants of humanity as the rest of the planet got turned into an uninhabitable icy wasteland. The result was a widely celebrated film starring Chris Evans, so it s not surprising that we d get a TV adaptation.The first season of TNT s version of Snowpiercer adds a murder mystery on top of the sci-fi tale of class warfare from the movie and the graphic novels by Jacques Lob and Jean-Marc Rochette. The show takes place seven years after the world became a frozen wasteland and the perpetually moving train started going around the globe with the last 3,000 survivors aboard. Andre Layton (Daveed Diggs) is the world s last homicide detective, the de facto leader of the low-class tail-section of the train and the person tasked with solving a murder so the people at the front of the train can keep him in check before he goes and starts a revolution. The person that hires him? Melanie Cavill (Jennifer Connelly), the voice of the train and the right-hand woman of the train s builder, the mysterious Mr. Wilford.Does the series live up to the original movie? Here’s what critics are saying about Snowpiercer season 1:JENNIFER CONNELLY SHINES AS A COMPLICATED FIGURE(Photo by TNT)Playing someone more human than Tilda Swinton did in the film, Connelly nicely juggles Melanie’s icy, passengers-facing facade with the MIT and Yale grad’s warmer private life.– Matt Webb Mitovich, TV LineAs the co-lead, Connelly s Melanie is compelling in a way that is subtly genius, and will probably provoke discourse and political parallels as audiences watch the series. While her character could easily serve as a sort of patron saint for white feminism, her nuances and flaws are peeled back in a fascinating way as the season goes along.– Jenna Anderson, ComicBook.comThe Academy Award winner for A Beautiful Mind is magnificent playing this many-faceted woman. She can be warm and welcoming, commanding and authoritarian or simply menacing in a matter of instants. It s a role that proves, once again, that TV tends to reward established actresses with opportunities hardly found in movies.– Patricia Puentes, CNETTHERE S A MURDER-MYSTERY PLOT, AND IT S KINDA DULL(Photo by Justina Mintz/TNT)Snowpiercer the TV show is a murder mystery — and not an intriguing one by any means — for a large part of its first season, with revolution on the back burner until Layton can figure out who s trying out for an arc on Criminal Minds by hacking people to pieces.– Tim Surette, TV GuideThough Season 1 does revolve around the same tail section rebellion as the film, it takes a half-season detour when Layton, a former homicide detective, gets escorted up-train to solve a grisly execution. For about four episodes, “Snowpiercer” veers way too close to becoming a TNT police procedural, a la “Murder on the Polar Express.”– Ben Travers, IndieWireIt takes the same core concept and expands on it, replacing inexplicable mystery with dull exposition. Some of that was probably necessary in order to sustain an ongoing series, but it misses the point of adapting such strange, singular source material.– Josh Bell, CBREVERYTHING LOOKS MORE SPACIOUS IN THE SERIES(Photo by Justina Mintz/TNT)Snowpiercer definitely captures the aesthetic established in the film, albeit in a largely less-surreal way. The set designs and costumes are an authentic blend of grounded and avant-garde, again contributing to the feeling that the train is truly lived-in. The cinematography also actively helps the series feel less claustrophobic than it could be, which is a blessing for those who are hoping to spend 10 hours with the series.– Jenna Anderson, ComicBook.comAs episodes further explore the train, giant stages, generous lighting, and plenty of wide shots give the impression of more room than there could possibly be, while illustrating admirable production design, vivid costuming, and skillful world-building of its own. This isn’t Bong’s “Snowpiercer,” it’s TNT’s.– Ben Travers, IndieWireVisually, TV’s Snowpiercer is not as claustrophobic as the big-screen version; the individual sets all seem to be as narrow or spacious as they need to be, though always within a certain amount of reason (especially if you are able to buy into the notion of a 1,001-car train).– Matt Webb Mitovich, TV LineTHERE IS PLENTY OF BLOODY ACTION(Photo by Justina Mintz/TNT)The action scenes are efficiently staged, if a little jarring as they are dropped in. There are violent riots, battles between the rebels and the security force, and a stunt in which an unlikely crew member makes a repair while hanging upside down under the train in protective gear that looks like a space suit.– Caryn James, BBCWhat will really keep the audience returning to Snowpiercer week after week are the widely varied action sequences, which will either glue the viewers to the edge of their seats or have them leaping up and shouting at their televisions as the tensions mount.– Michael Ahr, Den of GeekUNLIKE THE MOVIE, IT S WEIRDLY OPTIMISTIC(Photo by Justina Mintz/TNT)In direct opposition to the film, the show Snowpiercer tries to make humanity thrive on one narrow, icy railroad, hurtling toward the future.– Sonia Saraiya, Vanity FairIt bakes in a very earnest sense of hope and optimism. It s clear that many within Snowpiercer are mourning the world that no longer exists, while also hoping that their new normal can be rebuilt into something greater and ideologically better.– Jenna Anderson, ComicBook.comWILL IT PLEASE FANS OF BONG S FILM?(Photo by Radius-TWC)It s a clearly inferior version of something that was already great and never needed to be revisited again. But even without taking the film s existence into consideration, it lacks a certain edge that s needed to stand out.– Tim Surette, TV GuideIf the movie ever left you wanting to dive deeper into the various train sections, or learn more about the how of sustaining a society aboard a perpetually moving vehicle, the series (which is already renewed for Season 2) promises to answer such questions.– Matt Webb Mitovich, TVLineIt doesn’t stay with you the way that Bong’s Snowpiercer did, but where the film was so eager to tear through the train to root out the truth, the show savors the details of life onboard, dissecting personal compromises and minor rebellions.– Sonia Saraiya, Vanity Fair
On this, the weekend of the most prestigious awards ceremony in Hollywood, we also take a moment to look at the worst that cinema had to offer in 2018, courtesy of the Golden Raspberry Awards, or Razzies. With such worthy contenders as the misguided biopic Gotti, the farcical take on Holmes and Watson, and the soft and plushy vulgarity of The Happytime Murders, it was anyone s guess who would take home the big prizes. Read on for the full list of winners. Worst Picturebob娱乐appIf you were poking around RT a week and a half or so ago, you might have come across a little poll we were taking on the site to try and determine the Scariest Movie Ever. Based on other lists and suggestions from the RT staff, we pulled together 40 of the scariest movies ever made and asked you to vote for the one that terrified you the most. As it happens, a British broadband service comparison website decided to conduct a science experiment to determine the same thing, and their results were surprising, to say the least. Did Rotten Tomatoes readers agree with the findings? Read on to find out what our fans determined were the 10 Scariest Horror Movies Ever.1. The Exorcist (1973)(Photo by ©Warner Bros. courtesy Everett Collection)You may not agree that The Exorcist is the scariest movie ever, but it probably also isn t much of a surprise to see it at the top of our list with a whopping 19% of all the votes cast. William Friedkin s adaptation of the eponymous novel about a demon-possessed child and the attempts to banish said demon became the highest-grossing R-rated horror film ever and the first to be nominated for Best Picture at the Oscars (it earned nine other nominations and took home two trophies). But outside of its critical and commercial bona fides, the film is well-known for the mass hysteria it inspired across the country, from protests over its controversial subject matter to widespread reports of nausea and fainting in the audience. Its dramatic pacing and somewhat dated effects may seem quaint compared to some contemporary horror, but there s no denying the power the film continues to have over those who see it for the first time.2. Hereditary (2018)(Photo by ©A24)Writer-director Ari Aster made a huge splash with his feature directorial debut, a dark family drama about the nature of grief couched within a supernatural horror film. Toni Collette earned a spot in the pantheon of great Oscar snubs with her slowly-ratcheted-up-to-11 performance as bedeviled mother Annie, but the movie s biggest shock came courtesy of Well, we won t spoil that here. Suffice it to say Hereditary struck such a nerve with moviegoers that it instantly turned Aster into a director to watch and shot up to second place on our list.3. The Conjuring (2013)(Photo by Michael Tackett/©Warner Bros. Pictures)James Wan has staked out a place among the modern masters of horror, directing films like Saw, Dead Silence, Insidious, and this inspired-by-true-events chiller based on the experiences of real-life paranormal investigators Ed and Lorraine Warren. The Warrens, best known for their work on the strange case that inspired the Amityville Horror movies (which played a part in The Conjuring 2), were portrayed by Patrick Wilson and Vera Farmiga, who grounded the effective jump scares and freak-out moments with a believable world-weariness. Together, Wan and his co-leads found fresh terror in familiar genre tropes, and the end result is a sprawling cinematic universe that only continues to grow.4. The Shining (1980)(Photo by ©Warner Brothers)Literally dozens of Stephen King s novels and stories have been adapted for the big screen, and several of those films are considered classics today, like Carrie, Misery, and Pet Sematary (and that doesn t even account for non-horror stuff like The Shawshank Redemption and Stand By Me). But the mother of them all is easily Stanley Kubrick s adaptation of The Shining. A marvel of set and production design and a genuinely unnerving take on the traditional haunted house story, The Shining features a host of memorable images and an iconic Jack Nicholson performance. The film s relatively few jumps scares are still absolutely chilling, but its true power lies in the way it crawls under your skin and makes you experience Jack Torrance s slow descent into madness. It s rightfully considered one of the greatest horror films ever made, and it ranked fourth in our poll.5. The Texas Chainsaw Massacre (1974)(Photo by Everett Collection)While the top four movies on this list collectively garnered 42% of the total votes counted, they were followed by six films that all earned around 3% of the vote each. In other words, these last six films were separated by no more than 60 votes. The first of them is this low-budget slasher directed and co-written by Tobe Hooper, very loosely inspired by the crimes of Ed Gein. Texas Chainsaw s grimy aesthetic helped lend it an air of authenticity, which made it all the more frightening ( This could actually happen, you guys! ), and the massive, menacing presence of Gunnar Hansen s Leatherface paved the way for other brutes like Michael Myers and Jason Voorhees. Multiple attempts have been made to breathe new life into the franchise and we have another one on the way but none have equaled the original in sheer, over-the-top, power tool-inspired terror.6. The Ring (2002)(Photo by ©DreamWorks courtesy Everett Collection)It s always a tricky proposition to take something that works well for one culture and try to translate that formula successfully for another, but Gore Verbinski managed that with The Ring. A remake of Japanese director Hideo Nakata s acclaimed thriller about a cursed videotape, Verbinski s take kept the original film s striking visual imagery the ghost of a young girl in a white dress with long black hair covering her face and found that it scared the hell out of audiences no matter where they were from. While the film wasn t as well-regarded as its predecessor, it features a committed performance from a then up-and-coming Naomi Watts, and for many, it served as an introduction to East Asian horror cinema.7. Halloween (1978)(Photo by ©Compass International Pictures)Coming in at the seventh spot on our list is the film that introduced the world to all-time scream queen Jamie Lee Curtis and put John Carpenter on the map. Halloween is frequently cited as one of the earliest examples of the slasher genre as we know it today, and while it may not feature the same kind of realistic gore we ve come to expect of films in that category, it packs a lot of tension and some inventive thrills in a relatively small-scale package. The film s legacy is also fairly untouchable: Michael Myers mask has become the stuff of legend, and the giant, unstoppable killer and the final girl have become ingrained in the horror lexicon. There s a reason the franchise is still going after more than 40 years.8. Sinister (2012)(Photo by ©Summit Entertainment)For those who didn t read the scientific study mentioned at the top, we ve finally come to the film it crowned the scariest. Before he joined the MCU with 2016 s Doctor Strange, director Scott Derrickson had racked up a few horror films, a couple of which earned cult followings. One of them was this small-scale haunted house/possession story about a true-crime writer (Ethan Hawke) who moves his wife and kids into a house where a family was murdered, only to discover the new place might already have a rather evil tenant. Writer C. Robert Cargill was reportedly inspired to pen the script based on a nightmare he had after watching The Ring, and the story does share a minor similarity with that film, what with the creepy snuff film angle. But for many who saw it, the dramatic reveals and creepy set pieces far outweighed any recycled genre tropes that might have been present. Plus, there s at least one report out there that says it s the scariest movie ever made, so that must count for something.9. Insidious (2010)(Photo by ©FilmDistrict courtesy Everett Collection)James Wan has already shown up higher on the list, but before he and Patrick Wilson made The Conjuring, they worked together on this supernatural thriller about a young boy who falls into a coma and begins to channel a malevolent spirit. The bare bones of the story weren t the most groundbreaking, but frequent Wan collaborator Leigh Whannell infused it with a compelling enough mythology that it spawned three more installments. Wan also stated that Insidious was meant to be something of a corrective to the outright violence of Saw, which compelled him to craft something on a more spiritual level, and the end result is an effective chiller featuring what is frequently regarded one of the best jump scares ever put on screen.10. IT (2017)(Photo by Brooke Palmer/©Warner Bros.)The fear of clowns is a very real thing, even if it s become so commonplace to announce it that it feels disingenuous. If you needed any further evidence, we direct you to the box office haul of 2017 s IT, based on the Stephen King novel of the same name, which went on to beat The Exorcist s 44-year record as the highest-grossing horror film ever. Oh, and of course, its 10th-place finish on this list. Andy Muschietti s big-budget adaptation drew on nostalgia to tell its story of children scarred by trauma, while Bill Skarsgard s take on Pennywise the evil, shapeshifting clown was bizarre and unsettling in all the right ways. Add a healthy dose of jump scares, a handful of impressive set pieces, and some top-notch CGI, and you ve got a recipe for a horror film that s both fun and full of scares.Thumbnail image by ©FilmDistrict courtesy Everett CollectionOn an Apple device? Follow Rotten Tomatoes on Apple News.
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(Photo by CJ 4DPLEX)What s more MAX than IMAX? To answer that, we take a quick look back to 1986. That s right, 32 years ago, the future was already being written by an intrepid explorer in a theme park. That explorer s name? Captain EO. That theme park? The happiest place on earth, Disneyland. At the time, Disney and Michael Jackson put on a show they labeled a 4D presentation, a space opera in 3D augmented by in-theater laser light effects, smoke machines, and more.Sure, the 3D was a little hokey, with things jumping out at viewers just to show off the technology, but it was so much more than that. The in-theater effects extended the reach of the 3D film and worked to fully immerse audiences in EO s world for 17 minutes. Having experienced Captain EO firsthand when I was a lad, I can tell you that I have fond, very clear memories of it. EO was event entertainment, a moviegoing experience that was extraordinary, worth the price of admission, something you put on your calendar and looked forward to.Fast forward to 2018, and it s been a good year for the cinemas, but that s relative to the steady decline in box office that American movie theaters have seen over the past few years. People aren t going to the movies like they used to, and theater owners are trying everything they can to put butts in seats. IMAX alone isn t cutting it, and many IMAX experiences aren t even the four-to-seven-story screens with 70mm film that places like Los Angeles Universal Citywalk boasts it s 57 feet high by 80 feet across. Projected on an enormous screen with the sound to match, blockbusters are an event there. Companies like CJ 4DPLEX are trying to match or better that experience, hoping to pique moviegoers interest and create those Captain EO event entertainment feels.(Photo by D-Box Technologies Inc.)Before we get into what CJ has, though, let s go over some of the other options currently available. You could spend your movie money on D-Box seats, which we first told you about here. I really wasn’t impressed with them, and even less so now, having experienced 4DX. For a quick recap, they re basically rumble seats. They have some movement, but I found them to be more of a distraction than a compliment to the film I saw; at the time, I thought their best feature was the ability to disable them.If rumble seats aren t your thing, many AMC theaters are now equipped with Dolby Cinema auditoriums. Think of amenities like Dolby Cinema and Cinemark s XD screens as elevated theater experiences. The former gets you Dolby Vision HDR with dual-laser projection and Dolby Atmos for sound, while the latter gets you true IMAX-size entertainment with its 70 foot-high screen. I know, I know, English motherf er! Do you speak it?! Yes, Mr. Jackson, I do.Think of Dolby Cinema and Cinemark XD like upgrading your 10-year-old flat screen TV to today s OLED 4K HDR panels. It s brighter, you re going to see more colors and definition, and the sound will be an upgrade as well. I was impressed with the punch of the bass the Dolby Cinema experience delivered, for example. You could feel the bottom end in movie scores and effects as if the theater had planted subwoofers right under your seats. These are elevated experiences no doubt, but still not the event entertainment that a true IMAX screen or Captain EO s 4D experience provided.(Photo by ScreenX)Ever heard of ScreenX? It s relatively new to the scene. Created by the same company that brought you 4DX, ScreenX wraps the theater in 270 degrees of immersive cinematography. As you can see in the image above, what you get is your standard front screen, but added to that are up to four additional projectors in the auditorium, two on each wall. CJ 4DPLEX s wizards work with the film s technical staff to take a movie like Fantastic Beasts: The Crimes of Grindelwald and convert certain scenes to expand out onto the wings of the theater, producing a more immersive experience. And for the most part, it is exactly that. Right now, only portions of the film extend onto the wings, which some may find jarring, but I found the transitions very subtle the expanded footage would fade in and fade out slowly and instead of pulling me out of the moment, they rather immersed me in the scene.Also the brainchild of CJ 4DPLEX is 4DX, and it is probably the closest we currently have to the Captain EO experience. Let me put it this way: I was not enchanted by The Crimes of Grindelwald. Frankly, it had been a long day and I was a bit tired at the time of the screening, and that may have factored into my enjoyment of it (or lack thereof). However, watching the same movie in 4DX was delightful. The opening sequence includes a Potter-style chase scene complete with a flying carriage and a thunderstorm, which were perfect for 4DX. How does all of this equate to better? The seats in the 4DX theater are more roller coaster than motion chair they have air jets and water misters, and the theater itself has some lighting effects to add to the atmosphere. During the chase scene I felt fine droplets of water hit my head (you can turn water effects off, if you choose); during certain moments the air jets hit me, augmenting on-screen action; and of course, there were the motion seats. Like I stated, it s much more than just haptics (the rumble seat stuff), though it does feature some solid haptic effects, too. The best way I can describe the seat is energetic. It pitched and yawed and tilted, and at times it did so somewhat jarringly, though not in a bad way. The level of activity, the sharpness, was commensurate with the on-screen action.(Photo by CJ 4DPLEX)Additionally, you might think the seat s action would be tied exclusively to the action sequences, but you d be wrong. During moments in the film when there were sweeping camera moves, the chairs panned and tilted right along with the camera, and though that took some getting used to at first, it pulled me into the moment as if I were right there on the set, behind the camera with the cinematographer. Let me be clear: It is very active, and I can see some moviegoers not liking it at all. But I ve been telling friends with young children about it, and I plan to take my wife next time.So what does the future look like? A few things. I think we ll see CJ 4DPLEX combine ScreenX with 4DX a natural progression in my opinion and give theatergoers the ultimate in immersion. Well, maybe penultimate mixing 4DX with VR and something called binaural audio would be the ultimate experience. Imagine watching a horror film with that level of immersion, for example. It would be so powerful that it could prove overwhelming for some viewers, just as the original theatrical release of The Exorcist was. Imagine Saving Private Ryan as a VR/3D audio experience, plunging viewers into the middle of WWII like never before. Imagine dodging bullets alongside Keanu Reeves as you quite literally explore The Matrix. It will no doubt come with a pricey admission fee, but it will truly be event entertainment in the vein of Captain EO.I’d love to know what you think of 4DX, D-Box, binaural audio, or even your Captain EO memories, so let me know in the comments below!ScreenX | 4DX | Dolby Cinema | Cinemark XD | D-Box | Binaural Audio
ck Stewart in the upcoming untitled series that will explore the next chapter of Star Trek: The Next Generation’s Jean-Luc Picard.Live From New York (Photo by Universal Pictures)NBC announced that Adam Sandler, Emma Thompson, and Paul Rudd are the final three Saturday Night Live hosts for the sketch comedy series’ current 44th season. Former cast member Sandler will return to the show to host for the very first time on May 4, with musical guest Shawn Mendes; Thompson will make her debut on May 11, with musical guests the Jonas Brothers; and Rudd will close out the season on May 17 with musical guest DJ Khaled.And the Peabody Awards Go To…(Photo by BBC America)The winners of the 78th annual Peabody Awards, which honor excellence in broadcasting and electronic media, were announced this week. TV recipients include Barry, Pose, The Good Place, Killing Eve, The Americans, The End of the F ing World, Hannah Gadsby s Nanette, Patriot Act With Hasan Minhaj, Random Acts of Flyness, and Steven Universe.On the documentary side, PBS cleaned up with six out of the eight programs honored. They include HBO’s A Dangerous Son, a view into the myriad challenges parents face when raising children with mental health issues; Hulu’s Minding the Gap, the Oscar-nominated film about generational abuse and growing up as told through the eyes of a group of midwestern skateboarders; and PBS’ entries: Independent Lens: Dolores, an exhilarating portrait of activist and community organizer Dolores Huerta; Independent Lens: The Judge, a profile the Middle East’s first female Sharia law judge, Kholoud Faqih; Lorraine Hansberry: Sighted Eyes/Feeling Heart, a tribute to the essayist, journalist, playwright, and fearless advocate for social justice; POV: The Apology, a portrait of the personal journeys of three “comfort women” forced into institutionalized sexual slavery during World War II; Frontline: The Facebook Dilemma, an in-depth investigation into the Silicon Valley giant; and The Jazz Ambassadors, look at the important contribution of jazz music and musicians to Cold War diplomacy, American race relations, emerging black identities, and newly independent developing nations around the world.From Stage to Screen with Ryan MurphyRyan Murphy is bringing another recent Broadway hit to Netflix: The Boys in the Band. The mega-producer announced last week that he’s bringing current show The Prom to the streaming service for a “movie event,” and this week he revealed that he’s also reuniting the cast of 2018’s The Boys in the Band over the summer for a film. View this post on Instagram Last summer, THE BOYS IN THE BAND were on Broadway, breaking house records at The Booth. THIS summer, The Boys In the Band will be filming a Netflix movie event. The incomparable Joe Mantello, who directed the Broadway revival, will direct the film adaptation. The Broadway cast of BOYS was so important to me, and as equally groundbreaking as Mart Crowley s seminal work. Everyone in the cast was out and proud and feeling so blessed to mark the 50th anniversary of Mart s landmark play. The entire Broadway cast will reprise their roles in the film. I can t wait to be on set with Joe and Jim Parsons, Zachary Quinto, Andrew Rannells, Matt Bomer, Charlie Carver, Robin de Jesus, Tuc Watkins, Michael Benjamin Washington and Brian Hutchison. I will be producing the film with David Stone and Ned Martel. Look for THE BOYS on Netflix in 2020.A post shared by Ryan Murphy (@mrrpmurphy) on Apr 17, 2019 at 10:46am PDT
Manuel Betancourt for Rotten Tomatoes: How did Bad Trip begin?Eric Andre: Well it s been seven and a half years since we first started talking about it. October 2013 is when Bad Grandpa came out. I was on season two of The Eric Andre Show and my agent called me up and he goes, Hey man, you re going to go see Bad Grandpa this weekend? I was like, Hell yeah. And he goes, Dude, I think it s gonna make like 100 million bucks. It s, like, testing through the roof. And then he was like, You should make one of those movies. Still to this day, I don t know how to write a movie. All I know are jokes and pranks. I m a joke writer, not a story writer. I didn t know the importance of story. So we were throwing spaghetti at the wall for years, developing the idea and building it up and bringing it down and building it up. It was like we went to film school without going. We just had to educate ourselves on how to read a story, and then we teamed up with [Bad Grandpa’s director] Jeff Tremaine, and then we just kept cracking away at it. But it was an ongoing process until the very end of editing, and we finished editing the movie 2019. So it was a long and winding road.RT: What was the most terrifying scene to shoot? I was terrified for you during so many of them.Andre: Yeah, I mean we shot a lot in Georgia and it s an open carry state so…There s a scene where Rel and I, we have our penises stuck in a Chinese finger trap — you know, as it s known to happen. And we went into a really hood barber shop in Atlanta and this dude took out a knife and chased us, trying to kill us. That was Rel’s not only day one of filming the movie, but the first hidden camera prank he ever filmed.RT: And he stuck with it!Andre: Barely! He quit the movie that day. He told me, just in the interview before this, that his kids talked him back into doing the movie. And because he almost got killed, he called Tiffany Haddish later that night to vent, and was like, Hey, Eric Andre put me in a stupid prank movie and he’s gonna get me killed. This guy took a knife out! I want to quit. So she starts dying laughing and calls me five minutes later and goes, You almost got Rel killed? And I was like, Yeah. And she goes, I wanna be in your movie. I live for that s t. So in a weird way, that got us Tiffany in the movie.Bad Trip is available on Netflix from March 26, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: Jesse Grant/Getty Images for Disney, 20th Century Fox (Borat), Courtesy the Everett Collection