亚博APP在线采用百度引擎9（Baidu 5）reenlit the big-screen adaptation of Downton Abbey may be getting a nice bonus for the holiday. Brad Pitt and John Rambo were no match for the Crawley family this weekend, as Downton defied expectations and topped the box office with a cool million. The hit movie also grossed more this weekend than 109 of the Focus’s 133 releases grossed total since the company debuted with Billy Elliot back in 2000.King of the Crop: Downton Abbey Lords It Over the Competition, Sets Sights on 0 MillionJoel MearesThe numbers for Downton Abbey are pretty staggering. Tracking services had it lowballed to - million at first (only to later balloon up to around double that) but it seems its fanbase was loyal enough to show up and pay for something they got free from 2010-15. Focus really pulled something special off here. The studio has certainly put out a number of critically-acclaimed films over the years, including Atonement, Lost in Translation, and Eternal Sunshine of the Spotless Mind – and Downton is no exception, Certified Fresh at 85% on the Tomatometer – but their highest opening weekend until now was Insidious: Chapter 3, which grossed .6 million in 2015.Downton Abbey has already eclipsed that and now has its eye on Focus’s all-time grosser. Worldwide, that title belongs to the Gerard Butler sequel, London Has Fallen, which made over 5 million, but domestically it is the Oscar-winning Brokeback Mountain, grossing million. The only big-screen adaptations to start with over million and not reach that number are the comedies Bruno (.05 million) and The Dukes of Hazzard (.27 million) and if that is possible, could 0 million possibly be on the table too? For perspective, Hustlers opened to a similar .1 million last week and dipped 49% to million for a total of million after 10 days. That puts it roughly a million dollars ahead of the 2016 Magnificent Seven remake, which topped out at .4 million. Will Downton Abbey be frontloaded or do adults finally have a nice PG-rated film they can recommend to their friends?The Top 10 and Beyond: Ad Astra Made A Smart Move, Rambo Takes One Last (?) Go at Box Office Glory(Photo by 20th Century Fox)Industry watchers had one thing right about this week’s box office race: it was a crowded top five. Coming up with a narrow victory for second place was James Gray’s Ad Astra. Originally slated for a May release with nary a first trailer out there yet in April, Fox smartly moved it to a September slot. That likely made them a few more bucks as nearly everything was being swallowed up that month by Avengers: Endgame, though they were probably hoping for an opening in the million region. A .2 million start is in the middle of Pitt’s headliners and while critics are supporting the film (it s Certified Fresh at 83%), audiences may find its introspective approach to sci-fi challenging. We’ll set the first estimate for the film between million and million, which means the international audience will have to chip in to cover the reported million budget. The film has grossed an additional million outside North America.From one film challenging the notion of the alpha male to one that s the embodiment of it, Rambo: Last Blood in all its 78-minute glory (sans credits) hit theaters as well. (The film runs longer in international markets thanks to an opening prologue cut from American audiences.) If we consider inflation to chart the course of the series: First Blood back in 1982 would have opened to .6 million and go on to gross 5.5 million; things exploded in 1985 when Rambo: First Blood Part II opened with the equivalent of a .1 million first weekend and earned a 8 million final haul; Rambo III in 1988 would have started with .2 million in today’s dollars and finish with 6.4 million. Thirty years later, Rambo would equate to a .6 million start and a .9 million finish. Now in 2019, Last Blood has started with million and is likely to drop off with the same expediency as the fourth entry, which may get the film to between million and million.(Photo by Brooke Palmer/© 2019 WARNER BROS. ENTERTAINMENT INC.)In a strange coincidence – they re both movies about malevolent creatures terrorizing children – It: Chapter Two is right behind last year’s big-screen animated version of The Grinch after 17 days of release. With 9.17 million after a .25 million third weekend, the movie is more on par with Steven Spielberg’s War of the Worlds and Solo: A Star Wars Story than any of the animated and family films with a similar tally. We are dropping its final estimate slightly from last week down to 0-5 million; the film has grossed over 2 million worldwide to date. In milestones this weekend, Hobbs Shaw crossed the 0 million mark and Quentin Tarantino’s Once Upon a Time in Hollywood passed 0 million on the international market, bringing its worldwide total to 4 million.Finally, Amazon keeps trying but has not been able to get Brittany Runs a Marathon into the top 10, where it can get some further headlines. The film finished 12th this weekend in 1,033 theaters, grossing .5 million for a total of million, the studio’s third-highest domestic grosser to date. On the plus side, that is more than Warner Bros.’ The Goldfinch, which fell 71% this weekend and has made just .5 million to date.This Time Last Year: Audiences Chose PG Chills Over Political Thrills(Photo by © Universal Pictures)As The Nun was passing the 0 million mark, Eli Roth’s PG-rated children’s film, The House with a Clock In Its Walls, opened at number 1 with .6 million, while Michael Moore’s documentary about Donald Trump, Fahrenheit 11/9, was roundly ignored and opened in eighth place with just million. That is still better than two of the lowest per-theater-averages of the year that did not even make the top 10: Amazon’s Life Itself, which made just .12 million in 2,609 theaters for a 4 PTA and Neon’s Assassination Nation, which made .05 million in 1,403 theaters for a 8 PTA. The top 10 films grossed a total of .31 million and averaged 63.9% on the Tomatometer; this weekend’s top 10 grossed an estimated 3.91 million, which is good enough for the third-best September weekend ever for the top 10 films. The Tomatometer had a nearly identical average with 63.8%.
就在不久前，手游圈出了个大新闻——那就是FPS巨作使命召唤手游国服正式上线了。这款手游有多受欢迎呢？从它一上线就在AppStore的免费商店获得第一名的好成绩就足以看出。而游戏上线至今，仍然有众多玩家纷纷加入，也证明了这款游戏本身较高的素质。亚博APP在线tatement, I read Virginia’s novel in one sitting and was so captured by it I knew I had to make it and play Mrs. March. As a character, she is fascinating, complex, and deeply human and I can’t wait to sink my teeth into her. 2. BEN AFFLECK RETURNING AS DIRECTOR FOR CHINATOWN TELL-ALL (Photo by Universal Pictures)It has now been eight years since Ben Affleck directed the fact-based Argo (Certified Fresh at 96%), which went on earn multiple awards including three Oscars (Best Picture, Best Editing, and Best Adapted Screenplay). In the time since (partly because his role as Batman took up much of his time), Affleck has only directed one movie, Live by Night, which gave him his first Rotten score as director at 35% on the Tomatometer. This week, possibly hoping to attract the same critical acclaim that Argo earned, Affleck signed on with Paramount Pictures to direct another movie based on a true story in the 1970s. The movie is called The Big Goodbye, and it s described as a behind the scenes depiction of the 1974 neo-noir drama Chinatown (Certified Fresh at 99%), directed by Roman Polanski and starring Jack Nicholson. The source material is the recent non-fiction book by author Sam Wasson, The Big Goodbye: Chinatown and the Last Years of Hollywood. Affleck will also adapt the screenplay, and one of his producing partners will be Saturday Night Live showrunner Lorne Michaels. This deal comes in the year after both the death of former Paramount executive Robert Evans and the release of Quentin Tarantino s Once Upon a Time in Hollywood (Certified Fresh at 85%), in which director Roman Polanski was a character.3. THE CLASSIC STAR TREK EPISODE THAT INSPIRED QUENTIN TARANTINO S PROJECT(Photo by Francois Duhamel/©Weinstein Company courtesy Everett Collection)Speaking of Paramount Pictures, the studio has a new boss in Emma Watts, and Deadline reported this week that one of her top priorities is getting the Star Trek movie franchise going again. Watts, however, is also reportedly in the process of figuring out which way to go, and to that end, Paramount has put the brakes on the new Star Trek movie being produced by TV showrunner Noah Hawley (Fargo, Legion). Two other projects Paramount is still developing, however, are a time travel story involving Chris Hemsworth as Captain Kirk s father in an alternate reality and Quentin Tarantino s project. We also learned this week that Tarantino s project reportedly involves 30s gangster(s), which suggests that the classic episode Tarantino was inspired by was A Piece of the Action, which was set on a planet that adapted its culture based on Chicago in the 1920s. Within the context of Tarantino s career, it sort of makes perfect sense that he would want to work on a Star Trek movie that references gangster flicks, as that s a classic Hollywood genre he hasn t yet paid homage to (a la war movies in Inglourious Basterds, westerns in Django Unchained, and martial arts movies in Kill Bill Vol. 1).4. LULU WANG S NEXT FILM INSPIRED BY 2013 FILM LIKE FATHER, LIKE SON(Photo by Priscilla Grant/Everett Collection)Every once in a while in our social media world, you might see someone s reaction to a story before you see the original story. This week, for example, this Tweet from director Lulu Wang (The Farewell, Certified Fresh at 98%) in which she says, I don t believe in remakes without providing any context appeared in many people s feeds. What Wang was responding to were various trade stories that she is developing a film based on award-winning Japanese director Hirokazu Koreeda s 2013 film, Like Father, Like Son ( Certified Fresh at 87% ), many of which first used the word remake before changing it later to inspired by, etc. There are, of course, many ways in which a film can be inspired by, or even based upon, another film without being a direct adaptation (for example, George Lucas loosely based Star Wars upon Akira Kurosawa s The Hidden Fortress). The original Like Father, Like Son was about a couple who discover that their son was switched at birth, and the way they decide to address this new revelation. Lulu Wang could take that premise and do all sort of different things with it (including, for example, gender swapping so it s actually about a daughter).5. QUEEN LATIFAH AND JAMIE FOXX PRODUCING GOSPEL BIOPIC STARRING JILL SCOTT (Photo by Everett Collection)Jamie Foxx won an Academy Award for Best Actor for his depiction of musician Ray Charles in 2004 s Ray (Certified Fresh at 80%). Then, in 2015, Queen Latifah starred in the HBO biopic Bessie (Certified Fresh at 90%) as early blues singer Bessie Smith, which won four Emmy awards for HBO. Together, they are now teaming up to produce Mahalia!, based upon the life of gospel singer Mahalia Jackson (1911-1972). Grammy-winning singer Jill Scott is already attached to star in the film, which is based on the novel Mahalia Jackson by Darlene Donloe. Mahalia Jackson was reportedly an inspiration for both Aretha Franklin and for Martin Luther King Jr. s I Have a Dream speech. Incidentally, the Lifetime cable channel is also developing a Mahalia Jackson TV movie biopic.6. MADONNA NOT-SO-SECRETLY WORKING ON SECRET PROJECT WITH DIABLO CODY(Photo by Kristin Callahan/Everett Collection)As we ve mentioned several times in this column, musical biopics are all the rage right now; upcoming projects include Aretha Franklin and Respect, Baz Luhrmann s Elvis Presley project, I Wanna Dance With Somebody about Whitney Houston, and a Prince movie, not to mention the Mahalia Jackson movie mentioned just above. One of the biggest stars who has not yet ever been attached to a movie like this is Madonna, but this week, the singer teased at something via her Instagram account, where she posted a black and white video of her sitting on a couch with screenwriter Diablo Cody, apparently discussing an upcoming project, along with the text: with multiple injuries what do you do? Write a screenplay with Diablo Cody. Now, we don t actually know anything more than that, but Cody has worked on a number of films, most notably with director Jason Reitman on 2018 s Tully (Certified Fresh at 87%), 2011 s Young Adult (Certified Fresh at 80%), and 2007 s Juno (Certified Fresh at 94%), for which she won the Oscar for Best Original Screenplay (she was also nominated for Young Adult). Madonna later followed her post with a video with musical emojis suggesting that whatever this project is, it somehow involves music (possibly Madonna s own?).7. ANIMATED BLAZING SADDLES SPOOF BLAZING SAMURAI BACK IN DEVELOPMENT (Photo by Everett Collection)Movies sometimes take a long time to actually get made. For example, recent films like The Meg and Gemini Man actually both started development in the early 2000s, but didn t get produced and released until over 15 years later. Animated movies don t usually stew in development quite as long, but their actual production times can take much longer. Back in 2015, we first started to hear about an animated comedy called Blazing Samurai, which would feature the voices of stars like Samuel L. Jackson, Ricky Gervais, Mel Brooks, Michael Cera, and George Takei. As the title and Mel Brooks involvement would suggest, Blazing Samurai is inspired by Brooks classic 1974 cowboy satire Blazing Saddles (Certified Fresh at 88%), but no doubt softened up for kids. (In related news, HBO Max this week added an opening warning to Blazing Saddles to address the racial jokes throughout the film.) Five years later, it was starting to look like Blazing Samurai had been abandoned, but the project is back in active production now with a budget of million and an estimated completion date of late summer, 2021. Michael Cera voices a a loveable mutt with big dreams of becoming a Samurai. When he finds himself with a new job as sheriff of Kakamucho, he also finds he may have bitten off more than he can chew given the town is inhabited solely by cats. 8. FELICITY JONES TO STAR IN SWAN LAKE BALLET ADAPTATION(Photo by Jonathan Olley/©Walt Disney Studios Motion Pictures/Lucasfilm Ltd.)Following the success of The Invisible Man, Universal Pictures has several plans to revive their classic Universal monsters, but they are not the only classical reboots the studio is developing. It was confirmed this week that Universal is also developing a movie called Swan Lake, based upon the famous Tchaikovsky ballet. Possibly best known in recent years for being the inspiration for Darren Aronofsky s Black Swan (Certified Fresh at 85%), Swan Lake is the story of a princess turned into a swan by an evil curse. Felicity Jones, who earned a Best Actress Oscar nomination for her role as Jane Hawking in 2014 s The Theory of Everything (Certified Fresh at 80%) and starred in Rogue One: A Star Wars Story (Certified Fresh at 84%), is attached to star in Swan Lake, which is now being adapted by screenwriter Jessica Swale, who recently made her directorial debut with Summerland ( Certified Fresh at 76%).9. JASON BATEMAN AND GAME NIGHT WRITE REUNITE FOR SUPERHERO COMEDY (Photo by Hopper Stone/©Warner Bros.)The 2018 comedy Game Night (Certified Fresh at 84%), starring Jason Bateman and Rachel McAdams, may have been something of a sleeper hit, earning over 7 million worldwide. Now, Bateman and Game Night screenwriter Mark Perez are preparing to reunite for another action comedy, this time with possibly a more ambitious premise and budget. That movie is called Superworld, and it s an adaptation of a recent novel by author Gus Krieger. Superworld will be set in the near future of 2038 when every person on planet Earth now has superpowers, except one man (Jason Bateman), who gets his chance to prove himself when he takes on a corporate overlord whose power is neutralizing anyone with a superpower.
4. 呼朋唤友 随心所欲
With its fourth episode, Loki pivots beyond its initial conflict and introduces a handful of new shocking ideas. But just what is a nexus event so powerful that it threatens the Sacred Timeline by itself? And, for that matter, what was Sylvie s (Sophia Di Martino) great crime against the timeline? In an episode full of unmasking, introspection, loss, and a very special cameo, our own assumptions about the Marvel Cinematic Universe s reality are also once again in doubt. So let s start delving into variants, beings behind the curtain, and the nature of choice.Spoiler Alert: The following reveals details of the fourth episode of Loki season 1. Stop here if you have not watched The Nexus Event. Speculation includes information from Marvel comic books and may also be considered spoilers to some.Is Ravonna a Variant?(Photo by Chuck Zlotnick. ©Marvel Studios 2021. All Rights Reserved.)Perhaps a strange question to ask, but it feels pertinent going forward — is Ravonna Renslayer (Gugu Mbatha-Raw) a variant? Everyone else in the TVA is one, as both Hunter B-15 (Wunmi Mosaku) and Hunter C-20 (Sasha Lane) have now confirmed for us. And then there s the discovery that she was the hunter who brought Sylvie in when she was a child. Upward mobility is seemingly possible at the TVA, which seems strange if they are all mind-wiped variants.The early scene in which she encounters the Time-Keepers suggests she is a variant. Although, anything could have happen in the cutaway and her uncomfortable meeting could have been with the real power behind the TVA (more on that in a bit). See also how hard she worked to keep C-20 s discovery under wraps. Then there s her seemingly genuine affection for Mobius (Owen Wilson) and her sadness in pruning him. And while that would appear to make her an accomplice to whatever is really going on, there is still a modicum of doubt there. All of her actions could be those of a variant compelled to keep the secrets of the TVA at any cost without understanding their true implications.So, if she is a variant, what is the real Ravonna Renslayer up to in the Sacred Timeline?Of course, the answer to that depends on whatever info Sylvie obtains from Ravonna next week. Presumably, it will reorder everything.What Is Sylvie s Crime?(Photo by Chuck Zlotnick. ©Marvel Studios 2021. All Rights Reserved.)The episode s opening moments seemingly answers, once and for all, that Sylvie is Loki and not another character — like either of the Enchantresses — but it also brings up a new question: what crime against the Sacred Timeline could a 9- to 12-year-old Frost Giant commit? We think we have an answer: she presented as female.As we saw in episode 2 — and subsequently saw again here at the end of episode 4 — Loki variants tend to be present as male even if Loki (Tom Hiddleston) is technically genderfluid. As it happens, we ve really yet to see a Loki slip between genders, so it is possible female-presenting Lokis are pruned early on. Or, perhaps, Laufey himself deals with the problem back in Jotunheim shortly after their birth. No matter why female-presenting Lokis are a rarity, it leads to the new question: Why does the Sacred Timeline need a male Loki?Presumably, this goes back to one of the show s central themes: whether or not Loki (or anyone in the MCU) has free will. If we accept that the Sacred Timeline is preventing Multiversal chaos, then there is no free will as every wrong choice is clipped to ensure one outcome. Loki, for example, has been pruned to serve the exact purpose he serves in Thor, The Avengers, Thor: The Dark World, Thor: Ragnarok, and Avengers: Infinity War. His glorious purpose was to, ultimately, hand the Space Stone to Thanos and leave Thor with warm memories about his deceased brother.Well, provided that Loki actually died. Notice how often our Loki boasts of cheating death in this episode?But to bring it back to Sylvie, a female-presenting Loki is, seemingly, the ultimate expression of the chaos the Sacred Timeline strives to avoid. Sylvie says as much herself toward the beginning of the episode. Well, she frames it more as the universe attempting to break free of some stricture, but it still feels like part of her crime. Also, there is a fantastic meta-commentary buried in the narrative if her crime really was choosing her own gender expression. And it ties back into our belief that the show is ultimately about Loki s right to choose his/her/their role in the MCU.Is Love the Nexus Event?(Photo by Chuck Zlotnick. ©Marvel Studios 2021. All Rights Reserved.)Loki and Sylvie s heart-to-heart on Lamentis seemingly triggers a nexus event the likes of which no one in the TVA has ever seen before and, in all likelihood, made Sylvie s audience with the Time-Keepers possible. But what was it, really? Mobius seems to think it was a romantic bond between the two variant Lokis. As we would still like to see Loki become an aromantic character going forward, we are going to suggest something different: The nexus event is Loki caring about someone other than himself — even if the other person is still Loki.That change is key as Loki s selfless acts in the Sacred Timeline are meant to serve a different purpose. A Loki who discovers any sort of empathy years before the destruction of Asgard is a danger to the proscribed flow of time.And though we re weighing most of this toward Loki, a seismic change also occurs within Sylvie as simple survival is, for once, not her main thought. Those key changes to who they are meant to be could trigger an unprecedented nexus event just as easily as two Loki variants falling for each other.Then again, Mobius s description of the nexus event leads back to the joke about Loki only being capable of loving him/her/themself. Mobius almost even gets to that punchline.All that said, a power of love solution may draw the comparisons between Loki and Doctor Who even closer, but we hope the show is using that as another dodge before revealing the true nature of the TVA and the Sacred Timeline.Oh, also, it seems Sylvie s time bomb had no effect on the Sacred Timeline. We suppose the TVA had enough Hunters around to undo that damage.The Being Behind the Curtain(Photo by Marvel Studios)OK, we re ready to accept the Time-Keepers are just The Great and Powerful Oz. Their existence was always in doubt. But that leaves someone behind the curtains pulling the strings and securing the Sacred Timeline for an unknown purpose.Thankfully, the comics give us one key suspect — He Who Remains — who will serve as this week s candidate for a comics character the series might introduce. In Marvel Comics lore, He Who Remains was the final director of the TVA in the previous universe. Continuing on to the next cycle of creation, he created both the Time-Twisters and the Time-Keepers in the hopes of instructing the new multiverse in the correct path. His attempts lead to adversaries for Thor.Yeah, it s the heady, cosmic stuff you d expect from mid-to-late 1970s Thor comics (courtesy of Len Wein, John Buscema, and Joe Sinnott), but it is also a way forward for the MCU if He Who Remains is the man behind the curtain. For one thing, the notion of a previous Marvel Film Universe is fascinating. Galactus is also said to originate from an earlier multiversal cycle and that could matter when he finally appears in a Fantastic Four film. A previous universe could also be a nice way to include all of the Marvel films made before Iron Man while still giving Marvel Studios breathing room to recast the Fantastic Four and, eventually, Wolverine.But then there s also the apparent truth within the TVA: the Sacred Timeline. If He Who Remains is behind the curtain, then maintaining a complex sequences of decisions from the beginning of time to the end has to have some value beyond his own continued existence — he s already the ultimate survivor. Miss Minutes (Tara Strong) mention of that war in the Multiverse is a good place to start looking for clues. Although it could easily be another lie, there may be some more truth there, as He Who Remains could be the last survivor of that conflict. Forcing the MCU into a certain path may be preventing an number of sorrows and cataclysms beyond the things we ve seen in Marvel Studios pictures and shows thus far.Or it s just about control and cruelty. In which case, we ll add Kang (Jonathan Majors) and Mephisto to the list of suspects. And if we need a few other impossibly powerful to add as potential powers behind the TVA, there are Those Who Sit Above in Shadow — the beings who allegedly created the Asgardians and literally feed off the Ragnarok cycles — the Beyonder (an entity with a habit of kidnapping Marvel superheroes and villains), and One-Above-All, the apparent creator of the Multiverse itself. Loki taking on the ultimate authority does have a certain appeal.A Multitude of Lokis Invade the Stinger Scene(Photo by Marvel Studios)Then there s that whopper of a mid-credit stinger: An apparently pruned Loki wakes up to encounter Classic Loki (Richard E. Grant), Boastful Loki (Deobia Oparei), Kid Loki (Jack Veal), and Alligator Loki (an alligator) in the destroyed remains of New York. Presumably, they are also pruned variants, but their appearances suggest direct ties to Marvel history and possible story threads.Kid Loki, for example, seems to be a tip of the horns to the Marvel Comics Kid Loki — a manifestation of Loki who sought to be different, but was murdered by the older Loki to obtain a new body. A shred of Kid Loki remained to haunt Loki by shouting he is the crime that cannot be forgiven. He also, in the long run, symbolizes the way Loki cannot go against his nature.The Classic Loki, meanwhile, is a brave attempt to make Jack Kirby s design for the character work in a MCU context. Presumably, he will revel in being the villain — if he isn t the Old Loki we talked about last week — and is not to be trusted simply via the virtue of wearing Grant s face. Also, since we mentioned Doctor Who once already this week, Grant is also the face of a Doctor pruned from the show s canon and the face of one of the Doctor s long-standing foes.Oh, and what is he carrying in that bag?By virtue of holding a hammer and being called Boastful Loki in the credits, we re going to assume this is the variant who was deemed worthy of the power of Thor. Such an event has occurred in Marvel Comics history, but under wildly different circumstances and only for a brief moment. Taking a closer look at Boastful Loki s hammer, though, it is always possible the weapon is meant to mock the God of Thunder.And Alligator Loki feels like a reference to the time he manifested as Cat Thor in the pages of The Unbeatable Squirrel Girl or the time he turned Thor into a frog.But the quartet s purpose is a complete mystery. Are they the true power behind the TVA or are they just more refugee Loki variants because the power behind the agency needs Loki to be a certain person? Or, perhaps, they are remnants of the Multiverse trying to get their realities back.It remains to be seen, of course, but it at least gives us hope that Mobius will somehow be saved despite his apparent pruning.Loki episodes debut each Wednesday on Disney+.
5. HD 画质与高品质音讯
It was all quite silly, but that is one of the show’s key strengths. It finds a compelling through-line while turning its characters into puppets or action TV stars.The episode’s Charlie’s Angels pastiche, complete with another appearance by Amy Louise Pemberton as Gideon in human form, played up all the biggest, broadest 70s TV tropes to a tee. We definitely hope the series will find a way to play around with its format like this again next year.3. The Death of Ricardo Diaz(Photo by Robert Falconer/The CW)We’ll be honest, we were never all that fond of Arrow season 6 big bad Ricardo Diaz (Kirk Acevedo). He lacked for a good motivation, he was completely devoid of menace, and he had a nasty habit of evading death. In fact, he was the first Arrow nemesis to survive a season without dying or ending up incapacitated. He entered season 7 as a wanted man before getting locked up, briefly joining the ersatz Task Force X, and then finally dying at the hands of Oliver’s half-sister, Emiko (Sea Shimooka).Now, beyond the delayed satisfaction of seeing this bad guy finally getting his comeuppance, the poetic justice of his death makes it one of the more memorable Arrow moments this year. During one of Diaz s monologues in season 6, he revealed his greatest fear: dying in prison. While we’ll never know if Emiko knew this was the death he feared the most — although it’s reasonable to think The Ninth Circle may have had some intel on this issue — she definitely served him with a brutal end to his sad life.Of course, ending his life led Emiko to becoming another bland Arrow villain, but that s a discussion for another day.2. Barry and Nora confront Thawne in 2015(Photo by Sergei Bachlakov/The CW)The Flash’s 100th episode, “What’s Past is Prologue,” offered fans a lot of wonderful remembrances of previous seasons — from Cisco’s (Carlos Valdes) hoodies to Savitar’s (Gustin) emo take on Barry — but it also featured one haunting scene amid the Easter eggs and callbacks.After their escape from a time wraith damages a badly needed piece of tech, Barry realizes he and Nora (Jessica Parker Kennedy) will have to visit Eobard Thawne (Tom Cavanagh) when he was still pretending to be Harrison Wells to get the equipment fixed. He also knows the precise time to visit because he already visited Thawne on this particular day (January 27, 2015) a couple of years ago to get insights from the Reverse Flash on stopping Zoom (Teddy Sears). Yeah, time travel on The Flash can leave you with a headache.The scene itself, though, is a master class of acting from Cavanagh, Gustin, and Kennedy. Within seconds, Cavanagh reminds the viewer of the brilliance and menace he gave Thawne during The Flash’s first season as he uncovers the real reason for Barry’s second visit and the truth about Nora. She’s not the daughter Thawne expected to meet, and as it turns out, their conversation set into motion the plan that first sent Nora on her trip to visit her parents in 2018.Again, time travel on The Flash can be hard to keep straight sometimes.Besides Cavanagh’s ease with playing Barry’s true nemesis, the scene also provides Gustin a chance to let loose as Thawne is the only person Barry absolutely hates. The fear Kennedy displays throughout the scene comes more from Nora’s reaction to Barry than the cool menace of Thawne. All of it adds up to something unsettling and pivotal. Besides a top moment from this year’s Arrowverse, it might be a contender for an all-time best moments list.1. The Monitor Ends Earth-90(Photo by Jack Rowand/The CW)One moment stands above the rest — a true twilight of the superheroes. First seen at the end of The Flash’s 100th episode, this scene takes viewers to the heretofore unseen Earth-90. There, we see that heroes including Stargirl, a Smallville-like Green Arrow, the Ray, and many more have fallen. The last surviving hero is Barry Allen (John Wesley Shipp, reprising his role from the 1990s Flash TV series), who learns his attempts to change Earth-90 into a worthy planet have failed. The apparent judge in these matters is The Monitor (LaMonica Garrett), an impossibly powerful figure who offers the Book of Destiny to various Earths as a test. But just as The Monitor reclaims the book to end Earth-90’s existence, The Flash speeds away to another reality.While meant as a teaser for the 2018 crossover “Elseworlds,” it also manages to be a great tease for the next year s crossover, “Crisis on Infinite Earths.” The red skies and dead heroes evoke imagery straight from the original comic book. More importantly, it brings the story’s epic scale to television. Nothing in the Arrowverse has ever looked quite like that scene. And the Monitor’s subsequent cameos on Arrow, Supergirl, and Legends recall his first appearance in this scene as the apparent bad guy — another callback to the character’s earliest comic book appearances.It remains to be seen if the television version of “Crisis” will be as apocalyptic as this moment. But if it is, this scene will continue to echo throughout the crossover event.Of course, these are just our top 5 choices. Other memorable moments include Lex Luthor’s (Jon Cryer) rendition of Frank Sinatra’s “My Way” in the Supergirl season finale, Iris (Candice Patton) discovering she missed the battle between King Shark and Gorilla Grodd, and Mick Rory (Dominic Purcell) revealing himself as a beloved romance novelist to a convention hall full of fans. Then there s Nora s final goodbye, of course. But as all these moments prove, the Arrowverse never stops creating breathtaking, funny, or emotional scenes. And with its biggest crossover coming next season — five parts in all, as Batwoman gets in on the action — we expect to see even more incredible moments in the fall.
亚博APP在线 rs and streams on HBO Max on December 25, 2020.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by ©Columbia Pictures/courtesy Everett Collection)Shakespeare gave us to be or not to be, Puzo and Coppola gave us an offer we couldn t refuse, and the three writers of Venom – yes, three people are credited for this screenplay – gave us rolling down the street like a turd in the wind. Your thoughts on that now-iconic, symbiote-issued simile likely mirror your reaction to the film in which it s spoken. Did you, like so many critics, declare Eddie Brock s solo debut a poorly scripted and misguided mess? Or did you, like so many fans, bow down giddily to your new head-biting Marvel master, thankful for a superhero movie that stood out from the pack by being weird as hell, dark AF, and letting Tom Hardy do all of that?In the world of Tomatometer-Audience Score divides, director Ruben Fleischer s Venom gives us a canyon like few others, with just 30% of critics declaring it Fresh compared with 81% of the Audience. But you don t need us to tell you the film is beloved: The movie made a whopping 6 million at the global box office and fans are hotly anticipated the Andy Serkis-directed sequel, Venom: Let There Be Carnage, due out next year. (And yes, we ve heard you in our comments sections and in our DMs and in all those magazine-cut-out stalker-style letters we ve been receiving: you really, really think the critics got it wrong on this one.)So, of course, we had to do an episode of our new podcast Rotten Tomatoes Is Wrong devoted to lovable loser alien Venom and his Earthling host Eddie. Joining hosts Jacqueline Coley and Mark Ellis this week is pop-culture commentator and woman-who-would-absolutely-go-to-town-on-a-tank-full-of-live-lobsters, Roxy Striar, who is our official Voice of the People, arguing that Venom not only be Fresh, it should be somewhere in the 90th percentile. Is she right? Is RT wrong? Did lady Venom really need boobs? We re going deep, so be sure to tune in.Listen Now: Spotify | Apple Podcasts | Stitcher | TuneIn | Google Podcasts | Radio Public | Deezer | iHeart | Art19Check in every Thursday for a new episode of Rotten Tomatoes Is Wrong (A Podcast From Rotten Tomatoes). Each week, hosts Jacqueline and Mark and guests go deep and settle the score on some of the most beloved – and despised – movies and TV shows ever made, directly taking on the statement we hear from so many fans: “Rotten Tomatoes is wrong.”Episode one: Rotten Tomatoes Is Wrong About Spider-Man 3Episode two: Rotten Tomatoes Is Wrong About Mortal KombatEpisode three: Rotten Tomatoes Is Wrong About Indiana Jones and the Kingdom of the Crystal SkullEpisode four: Rotten Tomatoes Is Wrong About Sister Act 2: Back In the HabitEpisode five: Rotten Tomatoes Is Wrong About The BeachEpisode six: Rotten Tomatoes Is Wrong About Hocus PocusEpisode seven: Rotten Tomatoes Is Wrong About Vampire In BrooklynIf you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at email@example.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News. Horror movie fans will be familiar with the concept of the Final Girl. The term was originally conceived in 1992 by Carol J. Clover as a way to describe the traits of the sole female victim who remains alive to tell the story of a film’s violent crime – or many violent crimes. Clover’s central idea was that, in the films where the trope is evident, the viewer initially sees the Final Girl through the killer’s perspective, but that partway through the movie, they begin to identify directly with her instead.Final Girls illustrated the moral split between the chaste and the virtuous. You know the deal – the hard-drinking, promiscuous girl dies first, and the demure, virginal girl survives to take down the murderer. She s the final one standing. Pop culture is replete with characters that fit the bill – Jess Bradford in the original Black Christmas, Sally Hardesty in The Texas Chainsaw Massacre, Nancy Thompson in The Nightmare on Elm Street – and their existence has become as integral to the slasher genre as the killers themselves.(Photo by Lionsgate/Courtesy Everett Collection)But that was then and this is now. The original Final Girl is slowly but surely being crowded out by a newer, more progressive iteration that acknowledges the restrictive ideas that initially gave birth to her. Over the last couple of decades, and particularly in the last 10 years, the last girl standing has looked a lot different from the final girls of the past. Progressively, in films like Scream, The Cabin In The Woods and It Follows, final girls have complicated the existing frame of the trope by pushing against its restrictions. Whether it’s by having sex, refusing to be constricted by archaic ideas of femininity, or simply by teaming up to fight together, these women now survive despite leading lives the genre used to consider wholly immoral and in need of corrective punishment – they’re a new kind of Final Girl. The Final Girls who were introduced in the 1970s and 1980s have become more nuanced over time, and that progress paved the way for the Finals Girls of Ready or Not and 2019’s Black Christmas who directly confront issues of misogyny and sex negativity.In some ways, the New Final Girl is almost the original Final Girl’s polar opposite. Rather than surviving because of her innocence, naïveté or virginity, the New Final Girl is the woman who makes it to the end of the film alive specifically because of her rejection of the old norms about what makes a woman morally deserving. The New Final Girl embraces drink, drugs, and sex and defends her engagement in each of them. She insists on being seen as a full human being and actively, often violently defends her right to do so. Most of all, the New Final Girl is still an active participant in her own survival – she knows the original Final Girl shouldn’t have had to sand off her edges to stay alive. The New Final Girl is not a virginal survivor but an intentional fighter who asserts her right to exist despite perceived moral flaws.(Photo by © Universal /Courtesy Everett Collection)In the 2019 sequel slasher Happy Death Day 2U, Tree Gelbman (Jessica Rothe) finds herself once again stuck in the murderous time loop of the first film. Over and over, she relives the same day, and it ends when she is brutally murdered by a serial killer known as Babyface. In the first film, the culprit is Tree’s sorority sister and roommate Lori (Ruby Modine). The two women are both having an affair with the same married professor, and Lori’s jealousy puts Tree in her crosshairs. In the sequel, Babyface is none other than the philandering professor himself, trying to eliminate any evidence of his transgressions.What makes Tree’s Final Girl status so interesting is that she begins the story as one of the “immoral women” who would usually die in a thriller. Tree is, by all accounts, a typical sorority mean girl. When we meet her, she is recovering from a night of partying and on her way to meet the professor she’s carrying on with. And in fact, she does die, over and over again, punished for her ruthlessness, immorality, and general misbehavior. But through the mechanics of the film itself, she evolves into a New Final Girl through sheer determination. (Photo by © Universal /Courtesy Everett Collection)In both films, Tree breaks her loop and returns to her life not by becoming more virtuous, but by becoming a more compassionate and considerate person. She improves and grows as a character – including ending her affair – not because those things make her unworthy of redemption, but because they are not the best choices for her as a person. She undergoes significant character growth without ever placing a moral frame on her sexuality or femininity. And through each of the infinite deaths it takes her to get there, she plots and schemes to find her killer and thwart them, determined to prevent her eventual death and save herself. Tree is a novel subversion of the trope because it’s her death itself that furthers her character growth. Several times, she intentionally kills herself in service of a larger goal; sometimes to gather more information about her situation and sometimes to undo the murders of other characters. As a result, her deaths then become an intentional sacrifice that signals her increasing virtue, instead of confirming its absence. It’s a large departure from the way the original Final Girls functioned in films like these.Cate YoungSimilarly, the evolution of Halloween’s Laurie Strode (Jamie Lee Curtis) into a New Final Girl in the film’s 2018 sequel of the same name is particularly notable because the character’s first iteration was in many ways the definitive final girl – most other examples are direct descendants of her legacy. In the first film, Strode is left as the sole survivor of the serial killer Michael Myers murder spree – the only young woman in the film who chose to abstain from the usual vices. Her survival largely conformed to expectations for women in horror at the time, and helped to cement the trope in the genre.But in the film’s most recent sequel – which retcons several that had come before –Laurie is now an older woman, driven to extremes by her fixation on stopping Myers return. In the 40 years since the events of the first film, Laurie has grown into an obsessive, battle-worn veteran of the war in her own mind. She may not be having sex or doing drugs, but she s far from the pure, likable babysitter we met decades earlier. She is convinced that Myers will return and has devoted her life to preparing for that eventuality. In the process she has lost custody of her daughter and become estranged from her daughter’s family. She is perceived as a lonely old woman too traumatized by her past to move on. Cate YoungOf course, Myers does eventually return. But this time Laurie is ready for him, having rigged her entire house to trap and kill him. Whereas in 1978 she was permitted to survive by virtue of her moral purity, in 2018 she fights like hell for that survival, taking active steps to make sure that Myers can no longer victimize her. She takes the lead in tracking Myers down and trapping him on her home turf. After spending years contemplating and preparing for the return of his torment, Laurie has transformed herself into the Ultimate Final Girl through sheer force of will. She has no intention of being defeated yet again.Critically, Laurie must also protect her daughter Karen (Judy Greer) and granddaughter Allyson (Virginia Gardener) this time around, folding them into a generational legacy of victimization and defense. When the threat they have dismissed for so long reveals itself to be real, they join forces with Laurie to fight and eliminate it – Myers is now a specter that haunts them all, the source of their estrangement and the origin of their familial trauma. Defeating Myers together connects the women as Final Girls of a new generation, forcing them all to overlook their own and each other s flaws in order to face the embodiment of their fractured relationships. Laurie leads the charge, but her family takes up her mantle. This isn’t to say that the old trope never survives. In fact, Allyson’s best friend Vicky is killed during a babysitting job soon after letting her wayward boyfriend into the house. It wouldn’t be a stretch to interpret her death as the same kind of stark moral judgement that historically happened in slasher films. This is especially true given the contrast with Allyson’s own encounter with Myers. After her boyfriend’s best friend inappropriately propositions her, he is immediately murdered while she survives. His overeager instinct to breach her consent should absolutely have been corrected, but death is a disproportionate response. The message couldn t be clearer: all sexual impulses exist along the same punishable continuum, regardless of how welcome they might be to the participants involved.(Photo by © Neon /Courtesy Everett Collection)One of the starkest examples of this shift in recent years is 2018’s Assassination Nation, which explored the trope in thrilling style. Set in conservative Salem, the movie focuses on a group of teen girls who find themselves at the center of a small-town lynch mob when they are blamed for the release of the community s private information. The girls are not guilty of the mass doxing, but their reputations as “loose women” make them ideal targets for the ire and anger of the town’s men and boys. The girls — Lily (Odessa Young), Sarah (Suki Waterhouse), Bex (Hari Nef), and Em (Abra) – are known at their high school for their skimpy outfits, their questionable choices in boys, and their perceived promiscuity. They are open about and proud of their burgeoning sexuality and enjoy exploring their relationships to the men in their lives. Lily is dating an abusive high school boy and carrying on an illicit affair with a married neighbor. Bex is trans and keeping her relationship with the popular football player a secret at his request. Sarah and Em are living with their mother Nance, who is implied to be operating a brothel out of her home. When the community devolves into ultraviolence, the citizens hunt the girls across the town, determined to punish them for being forced to confront their own once-private sexual shames. As the balance of power shifts, the horror genre tropes follow in quick succession. From a coordinated home invasion to a horde of masked killers to the use of guns and baseballs bats — the most American of weapons — the girls suddenly find themselves in the middle of their very own slasher film.(Photo by © Neon /Courtesy Everett Collection)At another time, all four of these women would be fated to die before the credits rolled. Their proximity to vice marks them as fallen women, and only the morally pure survive the transformative power of abject terror. But as New Final Girls, all four of them not only survive but continue on to restore order to the town. The girls rescue each other from the outsized violence the men are trying to inflict on them (including an attempted rape and hanging) and take up arms to defend themselves both literally and in abstract. The film ends as they deliver a call to action to the town’s girls, surrounded by bodies and covered in glitter, both claiming the righteousness of their femininity and rejecting the ubiquity of patriarchal terror. Through female solidarity they all survive and mete out the violence necessary to do so. Assassination Nation is unique in that the girls are explicitly targeted because of their sexuality – usually, this aspect of the genre is left as subtext. But here, the trope is almost deconstructed by bringing both the reasons for their attack and subsequent defense to the surface. They become New Final Girls because, given the plot constraints, their only options are to transform themselves or die. (Photo by © Universal Pictures / courtesy Everett Collection)The New Final Girl is a natural evolution of the original trope. Stories are becoming more egalitarian, and with that comes a necessary examination of the moral dimension of the traditional way women are depicted on film. But in the end, all these Final Girls aren’t as different from each other as we might think. The virtuous distinction that we make between them is largely based on an old patriarchal frame that divides women into Madonnas and Whores, then kills the whores. Part of making the genre more progressive – or dare I say feminist – is rejecting that binary entirely.Teenaged Laurie Strode and college-aged Tree Gelbman might have led different lives and made different choices, but when it came down to it, they both survived because they resolved to fight and refused to die. The haunting specter of violent masculinity came for all the women mentioned here, and they all triumphed, even under the restrictive gaze of a society that expects feminine perfection. But no matter how stark the contrast may be, these changes are progressive strides that honor the history of the slasher genre in inventive ways while bringing them into the contemporary moment. The Final Girl survived, but the New Final Girl thrives, and she’s ready to fight again another day.Follow Catherine Young on Twitter @battymamzelle
亚博APP在线 (Photo by Kristian Dowling/Getty Images)Grab the popcorn and cozy into some stadium seating because the 2019-20 award season is now in full swing. And while some of the niche film critics awards dates are still TBD, we do know that it s time to set calendar reminders for the Golden Globes, Film Independent Spirit Awards, SAG Awards and, of course, the 2019 Academy Awards.You can keep track of these and others nomination announcements and awards ceremonies with the below schedule, which will be updated with more news and information as it happens. Good luck on your Oscar pool! (And your Gotham Independent Film Awards Nominations pool – if you re that hardcore.)September 2019Sunday, September 22 Emmy Awards (NBC, 8 p.m. ET / 5 p.m. PT)October 2019Monday, October 14 Critics Choice Documentary NominationsWednesday, October 23 International Documentary Association Awards NominationsThursday, October 24 Gotham Independent Film Awards NominationsWednesday, October 30 British Independent Film Awards NominationsNovember 2019November 3 Hollywood Film AwardsSunday, November 10 People s Choice AwardsSunday, November 10 Critics’ Choice Documentary AwardsMonday, November 11 Makeup and Hairstyling Guild NominationsTuesday, November 19 Producers Guild of America Documentary Nominations Wednesday, November 20 Grammy Awards NominationsThursday, November 21 Film Independent Spirit Awards NominationsThursday, November 28 – Satellite NominationsDecember 2019Sunday, December 1 British Independent Film AwardsMonday, December 2 Gotham Independent Film AwardsMonday, December 2 Annie Awards NominationsTuesday, December 3 National Board of Review Winners AnnouncedWednesday, December 4 New York Film Critics Circle AwardsWednesday, December 4 AACTA AwardsWednesday, December 4 AFI Awards Honorees AnnouncedThursday, December 5 Writers Guild of America TV NominationsSaturday, December 7 New York Film Critics Online AwardsSaturday, December 7 International Documentary Association AwardsSaturday, December 7 European Film AwardsSaturday, December 7 International Documentary Association AwardsSunday, December 8 Critics Choice Film + TV NominationsSunday, December 8 Los Angeles Film Critics Circle AwardsSunday, December 8 Black Film Critics Circle AwardsSunday, December 8 Washington DC Area Film Critics Association Awards (8 p.m. ET)Monday, December 9 Golden Globe Nominations (5 a.m. ET / 8 a.m. PT)Monday, December 9 Art Directors Guild NominationsMonday, December 9 Philadelphia Film Critics Circle AwardsMonday, December 9 Seattle Film Critics NominationsTuesday, December 10 African-American Film Critics Association AwardsTuesday, December 10 Costume Designers Guild Awards NominationsTuesday, December 10 Cinema Audio Society NominationsWednesday, December 11 Screen Actors Guild NominationsWednesday, December 11- Black Reel Awards NominationsWednesday, December 11 Association of Cinema Editors Eddie NominationsFriday, December 13 Las Vegas Film Critics Society AwardsFriday, December 13 Motion Picture Sound Editors Golden Reel NominationsSaturday, December 14 Chicago Critics AwardsSunday, December 15 Boston Society of Film Critics AwardsSunday, December 15 San Francisco Film Critics Circle AwardsMonday, December 16 Oscar Shortlists AnnouncedMonday, December 16 Seattle Film Critics AwardsMonday, December 16 Dallas-Fort Worth Film Critics AssociationTuesday, December 17 Phoenix Film Critics Society AwardsWednesday, December 18 USC Scripter NominationsFriday, December 20 Alliance of Women Film Journalists’ EDA Awards NominationsMonday, December 23 Online Film Critics Society NominationsFriday, December 27 North Carolina Film Critics Association NominationsJanuary 2020Thursday, January 2 American Society of Cinematographers NominationsThursday, January 2 Houston Film Critics AwardsFriday, January 3 AFI Awards 2019 LuncheonFriday, January 3 GALECA: The Society of LGBTQ Entertainment Critics Dorian Awards NominationsFriday, January 3 North Carolina Film Critics Association Winners AnnouncedSaturday, January 4 National Society of Film Critics AwardsSunday, January 5 Golden Globe AwardsMonday, January 6 Writers Guild of America Film NominationsMonday, January 6 Online Film Critics Society Winners AnnouncedMonday, January 6 Directors Guild of America TV + Documentary NominationsMonday, January 6 Visual Effects Society NominationsTuesday, January 7 BAFTAs NominationsTuesday, January 7 Producers Guild of America Award NominationsTuesday, January 7 New York Film Critics Circle AwardsTuesday, January 7 Directors Guild of America Film NominationsWednesday, January 8 National Board of Review AwardsWednesday, January 8 GALECA: The Society of LGBTQ Entertainment Critics Dorian AwardsWednesday, January 8 GLAAD Awards Nominations AnnouncedThursday, January 9 Los Angeles Online Film Critics SocietyFriday, January 10 Alliance of Women Film Journalists’ EDA AwardsSaturday, January 11 AARP Movies For GrownupsSaturday, January 11 Makeup and Hairstyling Guild AwardsSaturday, January 11 Los Angeles Film Critics Association AwardsSunday, January 12 Critics Choice Film + TV AwardsMonday, January 13 Academy Awards NominationsFriday, January 17 Association of Cinema Editors Eddie AwardsSaturday, January 18 Producers Guild of America AwardsSunday, January 19 Screen Actors Guild AwardsSunday, January 19 Online Film Television Association Film NominationsSunday, January 19 Motion Picture Sound Editors Golden Reel AwardsMonday, January 20 Latino Entertainment Journalists Association Winners AnnouncedSaturday, January 25 Directors Guild of America AwardsSaturday, January 25 Annie Awards NominationsSaturday, January 25 American Society of Cinematographers AwardsSaturday, January 25 Cinema Audio Society AwardsSaturday, January 25 USC Scripter AwardsSunday, January 26 Grammy AwardsTuesday, January 28 Costume Designers Guild AwardsWednesday, January 29 Visual Effects Society AwardsFebruary 2020Sunday, February 1 Writers Guild of America AwardsSaturday, February 1 Art Directors Guild AwardsSunday, February 2 BAFTAsSunday, February 2 Online Film Television Association Film Winners AnnouncedThursday, February 6 Black Reel AwardsFriday, February 7 – Satellite AwardsSaturday, February 8 Film Independent Spirit AwardsSaturday, February 8 Razzie Nominations AnnouncedSunday, February 9 92nd Academy AwardsTuesday, February 18 BRIT AwardsMarch 2020Saturday, March 28, 2020 NAACP Image Awards2020 TBDDATE TBD Ariel AwardsLike this? 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