If you commit to releasing at least one new film on your streaming service every weekend in a given year, you have to accept the fact that not all of them are going to be winners. That isn t to say Netflix s latest genre film, Kate, failed to impress any writers at all; it just didn t quite reach the critical heights of its similarly themed Gunpowder Milkshake from just a couple months ago. Mary Elizabeth Winstead plays the titular character, an elite assassin who botches a hit on a yakuza boss in Tokyo and finds herself poisoned in the process. With only 24 hours to live, Kate goes on the hunt for her killers and unexpectedly forms a friendship with the young daughter of one of her former targets. Critics say Winstead does her best to hold Kate together, and the action is serviceable enough, but with the deadly female assassin out for revenge subgenre currently in full bloom, there just isn t enough to set the film apart. What movies motivate US soccer icons Julie Ertz and Megan Rapinoe? Which Tarantino flick does track and field star Vashti Cunningham watch almost every day? And who first saw Airplane! as a kid and still hasn’t found a movie that makes him laugh as hard? As they head to Tokyo, we caught up with members of the US Olympic Team to talk about their favorite movies: the films that make them laugh, blow their minds, and give them the drive to reach for that podium. Tune in above – or check out our guide below – to see their favorite movies, from Good Will Hunting and The Shawshank Redemption to Happy Gilmore and The Little Mermaid.
Notable films: Heavenly Creatures | The Frighteners | ContactDigital effects powerhouse Weta Digital is responsible for some of your favorite movie characters and worlds from the last 25 years. Trust us: Gollum, Caesar, Middle-earth, Pandora. Chances are if it blew your mind, it started at somewhere inside one of the thousands of computers at in Weta s Wellington, New Zealand headquarters. It s a mammoth operation, with the Weta Digital team currently working on post-production for the Avatar sequels, Jungle Cruise, and the final season of Game of Thrones, all as Universal releases Mortal Engines – a showcase for the company s newest and most innovative work – in theaters this December. And yet it all began very humbly in 1993 with Peter Jackson s Certified Fresh second film, Heavenly Creatures, for which the director wanted to tinker with digital effects almost for the sake of it. He founded the company with Richard Taylor and Jamie Serkik, got to work, and would eventually change moviemaking as we knew it.Here, Jackson – who co-wrote the screenplay for Mortal Engines with Philippa Boyens and Fran Walsh and is a producer on the film – walks us through the history of the company, from the moviegoing experience that turned him onto digital effects through to writing new programs for The Lord of the Rings and finally to the roaming predator cities that roam the Earth in Mortal Engines. In the early days, he admits, it was all about gnarly. What follows is a history of Weta Digital, drawn from an extended sit-down interview with Peter Jackson and Mortal Engines director Christian Rivers.SKIP TO: WETA MEETS TOLKIEN | MORTAL ENGINES“I really thought I was seeing a living, breathing, T-Rex.” The one event that happened is… Jurassic Park happened. We were getting into Heavenly Creatures and I went to see Jurassic Park, and, you know, the Tyrannosaurus Rex – I really thought I was seeing a living, breathing T-Rex. I just thought, my god. Whatever the future of visual effects is, it s now gotta be computers. Jurassic Park (Photo by © Universal / courtesy Everett Collection)“We started on Heavenly Creatures with one computer – I think we still have it, it s a doorstop now.” We started on Heavenly Creatures with one computer, one single box. I think we actually still have it, and I think it s a doorstop now – we ve sort of got our memorial doorstop. But that was so bloody expensive and it took us forever to save up and buy. We ve got probably six or seven thousand computers [now]. Right up to Heavenly Creatures I d done some horror movies and things, and we d always done our own effects, which was all prosthetics and props and zombie stuff and all that. We had done it ourselves – I love effects, I d never wanna give them to somebody else to do, because they re part of the fun of filmmaking. “We did the effects really just for the sake of doing some CGI, so we d actually just start to figure it out.” To tell you the truth, we didn t really need any CGI in [Heavenly Creatures]. But, we used the film as an excuse to buy one computer, just to put our toe in the water. And we had a guy, one guy, who could figure out how to work it, and we got a couple of bits of software, and we did the effects in Heavenly Creatures really just for the sake of doing some CGI effects so we d actually just start to figure it out. And then on The Frighteners, which was the next movie we [did], we went from one computer to 30 computers. It was a pretty big jump. Heavenly Creatures “Cloth was one of the things that people hadn t managed to figure out yet – when you look at it today, it s pretty gnarly.” The big nightmare for us on that movie was to do CGI cloth, because one of our characters was a grim reaper-type guy with a flying black robes. So we had to do CGI cloth flowing. Cloth was one of the things that people hadn t managed to figure out yet, so, we had code-writers writing our code to do cloth for us. When you look at it today it s pretty crude, pretty gnarly – it looks like stretchy pasty vinyl, it doesn t really look like cloth. [You can] buy a piece of software for a [cheap] that can do far better cloth now. “It usually involves water or fire.” First of all, [you’re] driven by what you have to do, you know? What is the result? We use a lot of readily available, not particularly expensive off-the-shelf programs [to create effects], but occasionally you do get something you would like to do – and it usually involves water, you know, splashing the water, or river water, or fire. That sort of thing that off-the-shelf software can t quite do. So at that point, you have to write your own software. Robert Zemeckis, Michael J. Fox, Peter Jackson, producer Steve Starkey for The Frighteners (Photo by © Universal Pictures)“The guys wanna do everything better than they did the last time It sort of drives me crazy.” Over the years, we’ve written about a hundred pieces of code for a wide variety of different things, and it drives me a little bit crazy because we keep writing code for the same things every time. Like, we do Avatar a few years ago, and we wrote software to create grass, and trees, leaves, that can blow with the wind, that sort of stuff. And then I come along with The Hobbit, and I want some grass or some shrubs or some trees, so I [ask], Why can t we use the stuff that we wrote [already]? I mean it was fine for the [prior] film, but we wanted to be better. I mean there was some kind of code, unspoken code – and it s not anything to do with the ownership of the software, because it belongs to us – but the guys themselves, wanna do everything better than they did the last time. So they don t want the Avatar grass, or the leaves; they want to do grass and leaves better than last time. They set about writing a whole new grass software, whole new leaf software, and it happens over and over again, all the time. It sort of drives me crazy. SKIP TO: WETA MEETS TOLKIEN | MORTAL ENGINES沙巴体育365下注(Photo by ABC/Craig Sjodin)The biggest question leading up to Oscar night wasn’t about the awards themselves. Following several months of indecisiveness that saw a Popular Film award announced then rescinded, Kevin Hart stepping down as host amid controversy, the decision not to feature performances of every original song, and the decision to relegate some craft awards to commercial breaks (also rescinded), the question was whether the Academy’s decision to forego a host altogether was smart or not.Rotten Tomatoes has a rundown of the biggest moments of the ceremony, from Adam Lambert and Queen’s opening performance to Green Book’s Best Picture upset. We’ve also rounded up critics’ reactions to the ceremony itself — the first host-less outing in three decades — to find out whether a host is needed.As of press time, the 91st Academy Awards ceremony is Fresh at 73% on the Tomatometer, which would put it in the top five Oscar ceremonies of the past decade by Tomatometer (the majority of which are Rotten). Below, read what critics thought about the host-less three hours and 17 minutes.No Host? No ProblemThe majority of critics wrote that going without a host allowed for a tighter ceremony with much less filler.May the Academy Awards never bother hiring an official host again, because this was the zippiest Oscar Night in years. No stupid montages, no dance sequences, no “give sandwiches to the audience” stunts, no moronic “this is what the magic of the movies means to me” clips, no “let’s ride the subway with Sting” comedy sketches. – Rob Sheffield, Rolling StoneWhat is the Oscars without a host? Better. It’s not just about the pacing. Though Lord knows, without the cumulative bloat — the monologue, the ad-libs, the in-the-audience bits, the jokey introductions to presenters who then do their own introductions — the 2019 Oscars were free to trip along at a brisk pace, and ended just 17 minutes past 11 p.m. ET. But beyond lending a rare efficiency to the proceedings, the lack of a host allowed the Academy and ABC — or should I say, forced them — to loosen the vice grip of habit and try some new things. – Kristen Baldwin, Entertainment WeeklyRight from that first, energetic musical performance by Queen and Adam Lambert, this year’s Oscars felt infused by an energy that did not flag throughout the three-hour(ish) event. The evening moved along at a steady clip, unencumbered by dragging comedic bits or jokes that just wouldn’t land. And was it just us, or did the presenters — perhaps because they assumed a greater responsibility for keeping the night on track — seem more committed to their duties than in years past? – Kimberly Roots, TVLineThe ceremony was over in record time because there was no host doing a long monologue or roasting various attendees. There were no cringeworthy bits involving unfunny songs or escapades with “normal” people. The presentations and speeches and performances flowed more or less seamlessly from one to the next. The telecast didn’t serve up as many viral or memorable moments as it might have with a host at the helm, but it was also refreshingly focused on the movies. Which seems like a real win for everyone involved. – Alissa Wilkinson and Todd VanDerWerff, VoxA Host Is NecessaryFor other critics, the idea of a host-less ceremony was potentially good in theory, but the execution made the ceremony feel like something was missing.It wasn’t as bad as everyone expected. It was worse. No cohesion, no gravitas, only a scattering of memorable moments, a slew of terrible wins, and a Best Picture winner so ridiculous that Crash suddenly looks like a masterpiece — the Academy Awards made its own case for the ceremony’s irrelevance. The most aggravating reaction an Oscars fan gets when they obsess about the awards year after year is the snarky scoff, “Who cares?” How sad that the show itself is making it harder to answer that question. – Kevin Fallon, The Daily BeastSo what would a probably male, probably comedic host have added by taking up air time and spewing Trump jokes that we ve all heard before? A thematic through line and entertainment element that this year s Oscars desperately needed. – Kelly Lawler, USA TodayThis was the first Academy Awards not to have a host or hosts since the all-time rock bottom ceremony of the Oscars of 1989 — and it really showed. … With a stage framed with what was either a Game of Thrones set reject or a Jeff Koons interpretation of Donald Trump’s hair, tonight’s bloated Oscars was a live ceremony that certainly lacked form, far too often function. – Dominic Patten, Deadline HollywoodYes, hosts can be sloppy, but that also gives the show a personality, and some banter. I like banter! And, apparently, I like my Oscars to be more sloppy than efficient. … It’s more like having some sort of authority figure who comes from the perspective of the audience. If something weird happens, it’s nice to have a host who can pop out and say, “That was weird, right?” Or if someone gets his or her speech cut off, but were in the middle of saying something important, it’s good to have a host who can come out and make sure that person can finish, as Jimmy Kimmel has done in the past. – Mike Ryan, UproxxSince so much of the night hinged on winners giving entertaining speeches, some worried that trying the same experiment again would fall flat. There is a kind of paradox at the heart of the Oscars, which is that people don’t really remember the show itself. They remember moments, maybe something the host did, but more often something the winners did — a spontaneous show of emotion, a turn of phrase. The Academy Awards is a huge, glamorous production that desperately wants to entertain you, but the long-term measure of whether a year was any good has to do with the details, which are mostly unplanned. – Willa Paskin, SlateNormally, the host is a warm body used as a buffer between the industry and the audience. The absence of a host this year was a reminder that this figure can take up an inordinate amount of space — space that isn’t always used particularly well or efficiently, and certainly space that might be better off given to others. … It felt like the People’s Oscars, even if some of the movies that won revealed serious flaws in the ongoing discussion about how media reflects and propagates broken narratives about race and sexuality. Not every Oscars will have such an unpredictable slate, sure. But doing without a host showed us a different kind of Hollywood: a Hollywood where the audience calls the shots. – Sonia Saraiya, Vanity FairGive Maya, Tina, and Amy the JobOne thing everyone agreed on is that the trio of Maya Rudolph, Tina Fey, and Amy Poehler, who delivered the show’s pseudo-monologue, could’ve hosted the whole thing and probably pleased everyone in the process.It couldn’t have happened without Maya Rudolph, Tina Fey and Amy Poehler, the hosts in all but name. The three amigas kept cracking that they weren’t really the hosts, but they did everything a host is supposed to do, i.e. welcome the crowd, set the comic tone, get out of the way. They crunched a whole night’s worth of host duties into three minutes, running through their gags at Ramones speed. – Rob Sheffield, Rolling StoneBy the end of the evening, I was fully convinced that the Academy should give up on hosts for good. But I reserve the right to change my mind if Tina, Amy and Maya agree to do it next year. – Judy Berman, TimePresenting Duos Were InspiredProducers paired celebrity presenters in incredibly interesting combinations, resulting in both hilarious and touching moments. The lack of a host made the success of those moments that much more important.John Mulaney and Awkwafina, two of the funniest people in the entertainment industry, commiserating over their first-time Oscar jitters? Divine. Michael B. Jordan and Tessa Thompson, followed by Constance Wu, a vision in yellow on the arm of a glittering Chadwick Boseman? #TrueDetectiveSeason4 vibes. The presenters didn’t waste time with endless stiff, scripted repartee, either. – Judy Berman, TimeBest Actress nominee Melissa McCarthy joined If Beale Street Could Talk’s Brian Tyree Henry for a blissfully silly presentation of Best Costume Design, a gag that combined elaborate wardrobe with the simplicity and perfect stupidity of a bunny puppet trying to open the red Oscar envelope. – Kristen Baldwin, Entertainment WeeklyLady Gaga and Bradley Cooper’s Chemistry SizzledWhile A Star Is Born took home just one award — for Lady Gaga’s original song “Shallow,” of course — its live performance by Gaga and her costar-director Bradley Cooper provided so much chemistry that it exploded into living rooms across the country.The much-anticipated, heavily hyped “Shallow” performance from Bradley Cooper and Lady Gaga somehow shattered those sky-high expectations. With a brilliant choice to show it in one uncut take, masterful blocking, and a raw yet honed turn from the two stars, the Oscar telecast burst to life and never looked back. – Ben Travers, IndieWire Shallow was the thing the show was building to. All of it. From the moment A Star Is Born premiered this fall, it was an inevitable winner and the inevitable cornerstone to this telecast. There was nowhere for the energy to go after that, and I wonder if the producers gave consideration to pushing it to closer to the end. Shot with theatrical intimacy that verged on uncomfortable — everybody I know was speculating about Gaga and Cooper s private lives and don t pretend that you weren t — Shallow was a lovely performance and a reminder of why you need these live musical moments in this show. – Daniel Fienberg, The Hollywood ReporterA dozen crew members emerged from the wings to place a piano and two microphones on the stage, and the camera swooped to the front row of the theater as Bradley Cooper led his A Star Is Born costar Lady Gaga to the stage. Their soulful duet on subsequent Best Song winner “Shallow” ended on an almost comically tight shot, as the two stars nuzzled each other through the final few bars — an unabashedly intimate moment in front of millions. It gave me chills, thinking of all the memes to come. – Kristen Baldwin, Entertainment WeeklyEmotional Speeches Saved the NightNo matter how critics felt about the hosting decision, they all agreed that the majority of the night’s speeches, which were alternately emotional and funny (and sometimes both), elevated the ceremony.Winners like Black Panther’s costume designer Ruth E. Carter and production designer Hannah Beachler gave thoughtful and inspiring speeches befitting the pathbreaking nature of their movie, and the relative rarity of women of color accepting prizes on moviedom’s biggest stage. – Daniel D’Addario, Variety[Regina King gave] a lovely speech, filled with the sort of graceful humility that, as a cynic, you know is only as good as it is because they re a great actor, but that, as a fan, you fall for because look how pretty they are in that dress and oh my god I have loved her since Friday. – Bobby Finger, TVGuide.comThere was also the sheer joy when — a minute after having to hold his nose with the Green Book award — Samuel L Jackson got to give best adapted screenplay to BlacKkKlansman s writer Spike LEEEEEEEEEEEEEEE! – Ben Sutherland, BBC News
4. 呼朋唤友 随心所欲
s some sort of meta shapeshifter who can take on the form of her adoptive brother and some sort of creature. Also, she may have an interesting diet to maintain her abilities. But as the final two episodes focused on Tobias, Jennifer (China Anne McClain) and Lala, Grace received little more than a name check in “The Book of the Apocalypse.” It leaves us to wonder who or what she might really be.Back in the comics, Grace was introduced in 2003 as an Amazon who joins a new Outsiders team and, eventually, begins a relationship with Thunder. But since she’s an Amazon in the comics, her powers include super-strength, endurance and an improved healing rate and is a far cry from the Grace evolving on screen. As it happens, her apparent real name – Shay Li Wylde – suggests a connection to the 1990s Outsiders character named Wylde. He was, to a coin a term, a “werebear” and much like Grace (we’re going to use her chosen name for herself), had limited control of his powers as well. Hopefully, the third season will focus more time on her secret and offer her the opportunity to become more than an occasional guest character.Will Tobias Be Running the Pit By the Season 3 Premiere?(Photo by Bob Mahoney/The CW)Watching Black Lightning and Lightning take down Tobias was a particularly satisfying moment of the program’s second season. But we’re already wondering how long it can last. Tobias is a slippery customer and subordinates are drawn to him – even if they should know better (R.I.P., Todd Green).To us, it suggests Tobias will soon be running the ASA’s black site despite everything the watch commander told him in the closing moments of season 2. The Pit, more than anything else, looks like the sort of crucible Tobias Whale thrives in. It is just a question of time.It is also a question of Tobias’s ill-defined abilities. While Dr. Jace (Jennifer Riker) created the serum which slowed his aging to a crawl, its side effects are not completely known. He seems to be bullet-proof and super strong, but it is unclear if these powers are derived from the serum – and therefore need a constant dosage to be maintained – or if they are inherent like Black Lightning’s abilities. If the latter, he will have no problem setting up a new empire from within the Pit. He may even find a new class of willing accomplices to throw at his arch enemy.How Will the Pierces Take to Being ASA Assets?(Photo by Eliza Morse/The CW)In the last moments of the finale, Odell deputizes Jeff, Jen, and Anissa into the ASA to fight the coming war against Markovia. Presumably, Freeland will be the battleground and the other surviving Pod Kids (and probably Khalil) will form a sort of ersatz Outsiders. Well, other Greg Berlanti–produced superhero shows on The CW would go that way, but Black Lighting eschews much of the Arrowverse’s rhyme and meter for its own storytelling style.Nonetheless, it is clear the Pierces, now known to the ASA as metas, will have to deal with the agency in order to retain some modicum of their freedom. It is probably the very thing Odell believes will keep them in line. He used a similar tactic on Lynn (Christine Adams) throughout the second season. One imagines it will work for a time, even on Jennifer, but eventually Odell may find he needs more extreme measures; much in the same way he forced Wendy (Madison Bailey) into exerting much more of her abilities during a test.Of course, the Lightning Family may still have one ace to play: Odell is seemingly unaware of Gambi (James Remar). He is still technically dead as he never found the culprits of the attempt on his life, which means the ASA may not have tabs on him. Assuming none of the Pierces addressed their man in the chair by name after Odell began spying on them, Gambi may prove vital to their escape from ASA control.These are just a few of the things Black Lighting left us to ponder. There are other issues like the corruption Henderson (Damon Gupton) still faces within the Freeland PD. If working for the ASA takes up more of his time, Jeff may have to leave Garfield High behind again, imperiling its future. And then there’s Lala, whose living Hell may actually lead to some sort of redemption in the end. Black Lightning introduced a lot of interesting ideas – even if they are not always served well – and we can’t wait to see what becomes of them next year.
5. HD 画质与高品质音讯
Death on the Nile (2022) Directed by: Kenneth BranaghStarring: Kenneth Branagh, Gal Gadot, Armie Hammer, Annette Bening, Rose Leslie, Letitia WrightOpening on: February 11, 2022 (formerly September 17, 2021)Kenneth Branagh will return as detective Hercule Poirot following the surprise success of 2017 s Murder on the Orient Express, which Branagh also directed. So far, big names like Gal Gadot, Armie Hammer, Annette Bening, Letitia Wright, and Rose Leslie have joined the whodunit. Uncharted (2022) Directed by: Ruben FleischerStarring: Tom Holland, Mark Wahlberg, Antonio Banderas, Sophia Taylor Ali, Tati GabrielleOpening on: February 18, 2022 (formerly February 11, 2022)This Indiana Jones-styled action-adventure film, based on the popular video game series of the same name, has been floating around in development for more than a decade, but it wasn t until June of 2019 that we got some solid forward movement on it. Tom Holland was confirmed to s
Almost 10 years to the day of Zombieland s 2009 release, the original director and cast are back in Zombieland: Double Tap. Is the sequel worth the wait? That s what we re asking movie critics Scott Mantz and Chauncey K. Robinson, as well as Rotten Tomatoes editor Alex Vo, in this deep and spoiler-heavy breakdown of the zom-com sequel. Do original cast members Woody Harrelson, Emma Stone, Jesse Eisenberg, and Abigail Breslin still have that chemistry that made the first film a hit? And what about newcomers Rosario Dawson and Zoey Deutch? Is Double Tap as funny and gory as the original? And should we expect a Zombieland 3 come October 2029? Host Mark Ellis is asking the tough and fun questions as we tear into the flesh of Zombieland: Double Tap. Zombieland: Double Tap is in theaters now.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
(Photo by Warner Bros./courtesy Everett Collection)All Harry Potter Movies Ranked by TomatometerThe Harry Potter film franchise ruled the box office for a decade, but it also managed the uncommon feat of earning Certified Fresh status for every single one of its installments. It remains one of the most successful movie sagas of all time, and it’s even spawned a spinoff series. But while the first Fantastic Beasts continue the Certified Fresh streak, the second became the first Rotten entry in this cinematic Wizarding World. As theaters prepare for a third film in 2021, we re ranking all Harry Potter movies by Tomatometer!
(Photo by David Giesbrecht/FOX)This week s biggest TV news comes from the five main broadcast networks — ABC, CBS, NBC, Fox, and The CW — which debuted their fall TV schedules for advertisers in New York City all week long. We rounded up the news from each network in the order of this week’s presentation, along with when you’ll be able to watch each of them. Find out what nights your DVR will be getting the biggest workout in our roundup below, watch some of the trailers for the new series, and stick around for a new trailer for His Dark Materials from HBO and some major casting news at the end.TOP STORY: Fall TV PreviewNews from the New York UpfrontsFollowing Disney’s acquisition of Fox and many of the company’s assets — but not the Fox network — the broadcast network is having a rebuilding year. The fall will see the debut of football and wrestling, along with the premieres of existing hits including 9-1-1, the final season of Empire, The Resident, the second season of reality hit The Masked Singer, and, of course, The Simpsons.The network’s three new shows for the fall include Prodigal Son, about the son of a notorious convicted serial killer who has made hunting murderers his life’s work (and starring The Walking Dead’s Tom Payne and Masters of Sex’s Michael Sheen); Not Just Me, about a woman who discovers that her fertility doctor father used his own sperm to conceive more than a hundred children, including two new sisters (starring Brittany Snow and Timothy Hutton); and Bless the Harts, an animated series about a hard-working Southern family and featuring voices from Maya Rudolph, Kristen Wiig, Ike Barinholtz, and Jillian Bell, among others.Fox is holding several of its hit series for midseason (when football and baseball will be finished), including The Orville and Last Man Standing. It will also debut a 9-1-1 spin-off set in Texas and starring Rob Lowe, the cop drama Deputy starring Stephen Dorff, the soapy drama Filthy Rich starring Kim Catrall, and the artificial intelligence–themed drama NeXt starring John Slattery. New comedies include sitcom Outmatched, about average parents raising genius children, and two animated series: Duncanville and The Great North.NBC is bringing back many of its biggest series too, including The Voice, This Is Us, and all of the Chicago procedurals. There are also new seasons of New Amsterdam, The Blacklist, and the record-breaking 21st season of Law Order: Special Victims Unit. (It’s now the longest-running live-action prime time series in history.) The fall’s new drama is Bluff City Law, about a father-daughter lawyer duo in Memphis.On the comedy side, Perfect Harmony, which stars Bradley Whitford as a former Princeton music professor who becomes the director of a small-town church choir, and Sunnyside, starring Kal Penn as a disgraced New York City councilman who becomes a champion for a group of people attempting to become American citizens, join Superstore and The Good Place on the network’s Thursday night lineup.At midseason, the network will bring back comedies Will Grace and Brooklyn Nine-Nine, and dramas Manifest, Blindspot, and Good Girls. Reality series America’s Got Talent (and spin off The Champions), Ellen’s Game of Games, Little Big Shots, World of Dance, and American Ninja Warrior will also return in the new year. New shows debuting in 2020 include tearjerking drama Council of Dads, crime procedural Lincoln (based on the book The Bone Collector), musical Zoey’s Extraordinary Playlist, comedy Indebted, and sitcom The Kenan Show (yes, starring Saturday Night Live’s longest-tenured cast member, Kenan Thompson).Another network that’s sticking with its existing properties is ABC, which will premiere new seasons of Dancing With the Stars, The Good Doctor, The Conners, Bless This Mess, Black-ish, The Goldbergs, Schooled, Modern Family, Single Parents, Grey’s Anatomy, A Million Little Things, How to Get Away With Murder, American Housewife, Fresh Off the Boat, and America’s Funniest Home Videos in the fall.New scripted series debuting in the fall include the drama Emergence, about a cop who takes in a mysterious little girl she finds at a crime scene only to become embroiled in a conspiracy that leads back to the girl’s unknown identity; Stumptown, about a military-veteran private investigator who clashes with criminals and cops, based on the graphic novel of the same name and starring the MCU s Agent Maria Hill Cobie Smulders; and Mixed-ish, a Black-ish spin-off about the childhood of Tracee Ellis Ross’ Bow. Tiffany Haddish will also head up a rebooted version of the classic variety show Kids Say the Darndest Things.At midseason, ABC will bring back American Idol, The Bachelor, Shark Tank, The Rookie, Station 19, and Marvel’s Agents of S.H.I.E.L.D., and debut the dramas The Baker and the Beauty, about a Cuban baker in Miami who is thrust into the spotlight when he falls in love with an international superstar fashion mogul, and For Life, about a prisoner who becomes a lawyer and litigates cases for other inmates while fighting his own wrongful conviction and life sentence for a crime he didn’t commit (inspired by the real life of Isaac Wright Jr.). The only 2020 new comedy debut for the network is United We Fall, about two parents who stick together while juggling their kids and their overly involved extended family.CBS is bringing back a whopping 24 new shows in the 2019-2020 season, including 14 in the fall. The 2019 returnees are standby procedurals, including NCIS, NCIS: New Orleans, NCIS: Los Angeles, Blue Bloods, Hawaii Five-0, FBI, SEAL Team, SWAT, Magnum P.I., God Friended Me, and the final season of Madam Secretary. The loss of The Big Bang Theory will be big for the network, which is bringing back comedies The Neighborhood, Young Sheldon, and Mom.The new series debuting this fall on CBS include the Chuck Lorre–created comedy Bob Hearts Abishola, about a man who falls in love with his Nigerian nurse; courthouse drama All Rise, a courthouse drama focusing on a black female district attorney as she begins her new career as a judge; The Good Wife creators Michelle and Robert King’s psychological mystery Evil, starring Katja Herbers and Mike Colter, about a psychologist, a priest in training, and a carpenter who join forces to investigate unexplained mysteries, supposed miracles, demonic possessions, and hauntings and ultimately discover whether there is a logical explanation or something truly supernatural is at work; comedy The Unicorn, about widower Wade (Walton Goggins) who’s finally ready to begin dating again but doesn’t realize what a catch he is; and sitcom Carol’s Second Act, starring Patricia Heaton as a divorcee who follows her dreams and goes to med school, becoming her hospital’s oldest intern in the process.The network’s midseason schedule will include returning series Criminal Minds, MacGyver, Man With a Plan, The Amazing Race, Undercover Boss, and Big Brother, along with newcomers FBI: Most Wanted, a spin-off of Law Order creator Dick Wolf’s FBI that focuses on the Fugitive Task Force that pursues the criminals on the Bureau’s Most Wanted List; Tommy, starring Edie Falco as a former NYPD officer who becomes Los Angeles’ first female chief of police; and Broke, about a single suburban mother whose estranged sister and wealthy brother-in-law move in when their fortune disappears.The CWThe CW renewed every single one of its series that wasn’t already announced as ending this season, 11 in all. Superheroes Supergirl, Arrow, The Flash, and Black Lightning will premiere as usual in the fall, and will be joined by their new colleague Kate Kane (Ruby Rose), a.k.a. Batwoman. Also returning are Legacies, Charmed, All American, Dynasty, and, of course, Riverdale, with DC’s Legends of Tomorrow, Roswell, New Mexico, The 100, and In the Dark held for midseason.In addition to Batwoman, which you can read more about here, the fall will bring the network’s newest mystery series, Nancy Drew, which has a supernatural bent. Riverdale spin-off Katy Keene, starring Lucy Hale as the titular fashion designer and Ashleigh Murray reprising her role as pussycat Josie McCoy, will debut in the spring.Related: The CW Teases Batwoman, ‘Crisis on Infinite Earths’ Crossover, and Its Comic Book Future Trailer Watch: His Dark MaterialsNot to be outdone by the tsunami of broadcast news, HBO released its trailer for His Dark Materials. The series adapts Philip Pullman s book trilogy of the same name. The first season follows brave young Lyra (Dafne Keen) as she journeys through various worlds searching for a kidnapped friend and uncovers a conspiracy in which children are being stolen. The series also stars Ruth Wilson, James McAvoy, Clarke Peters, and Lin-Manuel Miranda. The series does not yet have a release date.FX Miniseries Mrs. America Adds to All-Star Cast Led by Cate Blanchett(Photo by Steven Chee/courtesy of FX)FX has hired an all-star team to join Cate Blanchett in its upcoming miniseries Mrs. America, which follows the movement to ratify the Equal Rights Amendment and the backlash led by a conservative woman named Phyllis Schlafly (Blanchett). The story will be told through the eyes of the women of that era — including Gloria Steinem, Betty Friedan, Shirley Chisholm, Bella Abzug, and Jill Ruckelshaus — and explore how the American political landscape was forever shifted. It will debut on the network in 2020.Uzo Aduba will play Chisholm, Rose Byrne will play Steinem, Ari Graynor will play lawyer Brenda Feigen-Fasteau, Margo Martindale will play Abzug, Tracey Ullman will play Friedan, Melanie Lynskey will play Schlafly ally Rosemary Thomson, Sarah Paulson will play Schlafly’s best friend Alice (a fictional character), James Marsden will play conservative congressman Phil Crane, John Slattery will play Phyllis’ husband Fred Schlafly, and Jeanne Tripplehorn will play Phyllis’ sister-in-law Eleanor Schlafly.More Casting News: The New Pope, David Letterman Introduces New Guests, Captain Marvel Runs Wild(Photo by Gianni Fiorito/HBO)The upcoming second season of David Letterman’s Netflix talk show My Next Guest Needs No Introduction will feature a star-studded lineup of talent including Kanye West, Ellen DeGeneres, Tiffany Haddish, Lewis Hamilton, and Melinda Gates. All episodes of season 2 debut May 31.The new season of Running Wild With Bear Grylls, which moves from NBC to National Geographic this fall, will feature the host braving the elements with Captain Marvel herself, Brie Larson, and somehow-never-a-superhero Armie Hammer.Queer Eye’s Tan France will host a fashion competition series Next in Fashion with designer and model Alexa Chung. Eighteen designers will face off in challenges for a chance to win a 0,000 grand prize in the 10-episode series. Elizabeth Stewart and Eva Chen will be recurring guest judges with additional guest judges to be announced later. No date has been announced for the series.Finally, HBO announced that Sharon Stone and Marilyn Manson will guest star in The New Pope, the eight-episode follow-up series to The Young Pope, that will star John Malkovich and Jude Law — both as popes.Holy Father! Sharon Stone and Marilyn Manson will guest star in #TheNewPope, coming soon. pic.twitter.com/bMtNiVtMwq HBO (@HBO) May 17, 2019 (Photo by Claudette Barius/Universal Pictures)The SXSW Conference has announced its features lineup, adding to the previously announced opening night film US, Jordan Peele s follow up to his winning mega-hit Get Out. Film, interactive, episodic, and immersive media all converge during the 10-day film conference, known for Texas-sized crowds and raucous reactions, in March. Last year s opener, A Quiet Place, parlayed a glowing SXSW reaction into a 0 million juggernaut, and Us, we would assume, hopes for the same. This initial release of films is already stacked with a number of festival favorites like Seth Rogan and Matthew McConaughey and new offerings from first-time filmmakers Olivia Wilde and Logan-Marshall Green.In the documentary section, lookout for Stuffed, which chronicles the surprising world of taxidermy, and Running with Beto, a behind-the-scenes look at Beto O Rourke s 2018 breakaway campaign to unseat Ted Cruz in the US Senate. Not to be overlooked is the impressive Episodic slate, which has become a premier stop for new and continuing series. A highlight this year is Taika Waititi and Jemaine Clement s hotly anticipated What We Do in the Shadows series, an episodic continuation of their cult feature of the same name. Last year, HBO built an entire town to recreate Westworld in the Lone Star State, and with the final season of Game of Thrones premiering in April, don t be surprised if a larger-than-life installation pops up in the streets of Austin. The Headliners section and the Narrative Spotlight section include new films featuring Seth Rogen, Charlize Theron, Lupita Nyong o, and Winston Duke, and those titles are joined by SXSW regulars Jay Duplass, Ethan Hawke, and Robert Rodriguez.Films screening in Festival Favorites, Midnighters, Shorts, Virtual Cinema, Episodic Pilot Competition, Title Design Competition, Music Videos, and late-breaking Features will be announced on February 6. Read up on the full of SXSW Film Slate below:NARRATIVE FEATURE COMPETITIONAliceDirector/Screenwriter: Josephine MackerrasCast: Emilie Piponnier, Martin Swabey, Chloe BorehamShe did everything right until it all went wrong. (World Premiere)Extra OrdinaryDirectors/Screenwriters: Mike Ahern, Enda LoughmanCast: Maeve Higgins, Barry Ward, Will Forte, Claudia DohertyRose, a mostly sweet and mostly lonely small-town driving instructor, must use her supernatural talent to save the daughter of Martin (also mostly sweet and lonely), from a washed-up rockstar who is using her in a satanic pact that will reignite his fame. (World Premiere)Go Back to ChinaDirector/Screenwriter: Emily TingCast: Anna Akana, Richard Ng, Lynn Chen, Kelly Hu, Kendy Cheung, Aviva WangAfter spoiled rich girl Sasha Li (Anna Akana) blows through half of her trust fund, she is cut off by her father (Richard Ng) and forced to go back to China and work for the family toy business. (World Premiere)Mickey and the BearDirector/Screenwriter: Annabelle AttanasioCast: Camila Morrone, James Badge Dale, Calvin Demba, Ben Rosenfield, Rebecca HendersonFaced with the responsibility to take care of her addict, veteran father, headstrong teen Mickey Peck keeps her household afloat. When she has the opportunity to leave for good, she must choose between familial obligation and personal fulfillment. (World Premiere)Ms. White LightDirector/Screenwriter: Paul ShoulbergCast: Roberta Colindrez, John Ortiz, Judith Light, Carson Meyer, Zachary SpicerLex Cordova s business is dying. She has a unique ability to connect with her clients that are terminally ill. It s just everyone else that she has a problem with. Valerie is a no bullshit woman who loves living her life. Her only way out is thru Lex. (World Premiere)(Photo by Sam Probst)Pig HagDirectors: Sam Probst, Colby HoltScreenwriter: Colby HoltCast: Anna T Schlegel, Tony Jaksha, Pete Zias, Michael Henry, Nate Stoner, Maxwell Esposito, Amanda DeSimone, Alex Myerchin, Andrew KudlaJodie, a woman in her mid-thirties, struggles with the pressure to find a partner and have children. When she attends a Guns N Roses concert, she thinks she may have met a potential match — until he immediately ghosts on her. (World Premiere)PornoDirector: Keola RacelaScreenwriters: Matt Black, Laurence VannicelliCast: Evan Daves, Larry Saperstein, Jillian Mueller, Glenn Stott, Robert Tann, Bill Phillips, Katelyn Pearce, Peter ReznikoffWhen a group of naive teens working at a movie theater in a small Christ
沙巴体育365下注 Watch: Jon Favreau and will Farrell on the making of Elf above.In 2019, Rotten Tomatoes will turn 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In a special video series launching next year, we will speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. As a special preview of the series, we’re dropping our first ‘21 Most Memorable Moments’ video right now: Will Ferrell and Jon Favreau take us behind the scenes of Elf.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Elf (2003) 85%Fifteen years after its release, Elf is a bona fide Christmas classic – arguably the only Christmas movie released in the last 20 years to truly deserve that title. Don’t believe us? Turn on your TV this month. Or take a look at a T-shirt rack this week and marvel at the number Elf-inspired memes plastering the seasonal tees.A Christmas classic is exactly what director Jon Favreau, who initially came on board the project for rewrites, wanted to make. Inspired by Rankin Bass Christmas specials, as well as the joy and energy emanating from his fresh out-of-SNL star, Favreau hit the streets of New York City – less than two years after 9/11 – to craft a long-lasting piece of seasonal joy from the simple tale of an Elf named Buddy and his journey to the big smoke to find his dad.“My pitch was to make it feel like Buddy was a human that grew up in a ’60s Christmas special.”Jon Favreau: “I was actually hired on to do rewrites. There was an original script that was quite different in tone. It was a much harder comedy. My pitch when I was hired to write was to make it feel like Buddy was a human that grew up in a 60s Christmas special. And I brought it down from a harder PG-13 to a PG film. The innocence was something that I really wanted to lean into as I worked on it. He was always an innocent character, but he was a bit more of a foil to the action and to the comedy. I tried to strike a balance that was a bit sweeter.”(Photo by © New Line)“There s this impression where, when you leave a show like SNL, you just have all these things lined up – and I really didn t.”Will Ferrell: “I [had] left Saturday Night Live. I think there s always this impression where, when you leave a show like that, you just have all these things lined up – and I really didn t. I had Old School, that was finished, but they were holding onto it. They weren t releasing it quite yet, which is usually not a good sign. And then I had this script about a guy playing an elf…a human being raised by elves. And that was really all that was percolating. [But] this idea that a human is raised by elves at the North Pole, it just felt like something you d never seen before. A classic fish-out-of-water story.”“We shot a lot of that stuff independent-film–style with a van and a camera.”Favreau: “Instead of hiring a lot of extras, we shot a lot of that stuff [Buddy on the streets of New York] independent-film–style with a van and a camera. Went out there and then we got people to sign releases. Of course, Will has really good comedic concentration so he was able to stay in character the whole time, and we used what worked. He s really the key to the whole thing. He s got such a wonderful energy and presence, and just him wearing that outfit was so inherently funny anyway because of his size. (Photo by © New Line)“I was running around the streets of New York in yellow tights thinking to myself, Boy, I do hope this works.”Ferrell: “I was kind of known at Saturday Night Live for – yes, for sketches like the [Spartan] Cheerleaders and things like that – but also for a lot of really edgy stuff. For every grandmother that came up to me and said, I love this, I had the rowdy frat guy who was citing something he liked from the show. So here I was running around the streets of New York in yellow tights thinking to myself, Boy, I do hope this works, for a number of reasons. But this could easily be my last movie.”The Moment: “Santa, here? I know him!”Picking one moment from Elf was nearly impossible. Would you go with the scene in which Buddy tells the Gimbel’s mall Santa, “You sit on a throne of lies”? (We almost did.) Perhaps his syrup-and-spaghetti feast? (The look on James Caan’s face: Priceless.) We landed on the moment when Buddy hears that Santa will be arriving at Gimbel’s and just about explodes with excitement. Perhaps no other moment in the film better captures Buddy’s infectious joy and innocence.“We originally hoped to shoot in Macy’s…the one stipulation was that we could not say that there was a fake Santa in Macy’s.”Favreau: “We d originally hoped to shoot in Macy s. And Macy s was actually really open to the idea of us shooting there, and even saying that maybe we could participate in the parade. However, the one stipulation was that we could not say that there was a fake Santa in Macy s. So that s part of their brand and people go to their Santaland every year, and they didn t wanna blow it for young kids. Which I get. So, we kept thinking about, what could it be? [When] I grew up there was always Macy s and Gimbel’s. Of course, Gimbel’s is featured in Miracle on 34th Street, so it s a bit of an Easter egg for Christmas movie fans.”(Photo by © New Line)“I know that the first couple takes really took people by surprise, that I would go that big with it.” Favreau: “I remember the scene in Gimbel’s where Faizon Love makes the announcement that Santa is coming, and he just screams, ‘Santa!’. [Will] just loves to commit. He really knows where the laugh is in the scene. And then the reaction of [Faizon] being the manager, looking, thinking his employee is screaming in his face, is probably one of my favorite moments of the movie. Ferrell: “That kind of exclamation of ‘Santa! and screaming it, that was just my articulation of Buddy literally taking that piece of news [that Santa is coming] at face value and [thinking] what would be his literal reaction. A man without a country in this strange land finally getting to see someone he knows really well – it would just be the most jubilant reaction ever. I know that the first couple takes really took people by surprise, that I would go that big with it. And all of that, Santa, I know him, all of that playing around we did, that was all improvised there.”(Photo by © New Line)“My biggest job on that film was to sort through all the various takes.”Favreau: “Will just did lots of different choices for lots of different moments. My biggest job on that film, along with the editor Dan Lebental, was to just sort through all the various takes. We didn t have a lot of time, it wasn t a big-budget movie. But there was always room to play and to have fun and try different alts. And then [we had to] string all of the great different performances or improvisations together into a cohesive performance that served the story, while still taking full advantage of all the laughs that he was able to find.”Ferrell: “It s funny. James Caan, we were at the premiere, and I took this as a great compliment he was like, ‘Great job. I thought you were too over the top the whole time.’”The Impact: A Seasonal FavoriteGo online and you can buy Elf snow globes. And Elf jack-in-the-boxes. And Elf costumes, of course. And many, many Elf storybooks. Meanwhile, Elf: The Musical, which opened on Broadway in 2010 in a testament to just how popular the film had become, is still touring the country. Elf, it’s fair to say, has become a pretty big deal since it premiered in 2003. But you don’t need merchandise and musicals to tell you that – just ask a friend. Or go up to Will Ferrell or Jon Favreau on the street and ask them how frequently people go up to them on the street to talk about the movie? You probably won’t be the first to do so that day. The duo set out to create a seasonal hit with legs, and they hit their mark.“I can’t let everyone see me cry here at my own movie.”Ferrell: “[At the L.A. premiere] I knew it was working at that moment where Buddy is in the back of the sleigh and everyone s singing in Central Park and there s enough Christmas spirit to get it lifted off, and he s waving goodbye. I m like, Oh, I can t let everyone see me cry here at my own movie. I was like, Oh gosh, this is working on a level that I didn t anticipate, and that was pretty cool. I remember getting a call from Nora Ephron, because we were just starting the sit down to get to do Bewitched. And during that opening weekend, she was like, ‘You really should enjoy this because this doesn t happen a lot, where you have a movie that everyone is talking about.’ And she s like, I hope you enjoy it. Just really. So I remember her words, I was like, OK, yeah. You re right. This is crazy.' (Photo by © New Line)“It wasn t too long after 9/11, it was filmed in New York, I think it brought some nice energy to us at a challenging time.”Favreau: “When it came out what we really wanted a movie like that. It wasn t too long after 9/11, it was filmed in New York, I think it brought some nice energy to us at a time when – if you think back that far – it was a really challenging time and it was nice to bring a nice breath of innocence to the world and especially to the city at that time. I m really proud of it. If it s ever in a theater or playing on television, I love to check in on it. And I can tell through social media that it s something that people have made a tradition of. I ll see pictures online of people saying, ‘Hey I m introducing my son or my daughter to this movie for the first time.’ And they ll post a picture of Elf on television and there s a little three-year-old sitting there looking up at the screen. And that really makes me happy and it s the best part of the job.”Elf was released on November 7, 2003. Buy or rent it at FandangNOW.