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bob体育下载app采用百度引擎6(Baidu 8)Best-Reviewed Comedies 2020Fresh talent stormed comedies this year, starting with top comedy of the year: The Forty-Year-Old Version, with the defiant and hilarious Radha Blank doing quadruple duty as writer, director, producer, and star in the story of a middle-aged New York playwright who reinvents herself as a rapper. Four more of the best comedies of the year (Saint Frances, Extra Ordinary, Why Don t You Just Die!, Yes, God, Yes) also represent the feature debuts of their directors. But don t count out the veterans: The Coppolas, the Vinterbergs, the Julys, and the Iannuccis of the comedy world all got their Certified Fresh movies to chart. And, finally, Sacha Baron Cohen s surprise return as Borat produced the biggest, most outrageous laughs of the year.The order of the rank below reflects the Adjusted Score as of February 28, 2021. Scores might change over time.« Previous Category Next Category »

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DNF手游对于期待的勇士们来说,我想应该是心中放不下去的那股执念。最吸引人的并不是游戏多好玩,而是就像我们说的那位玩家一样,只想走到熟悉的地方,听一听那熟悉的音律,找一找曾经的那个自己……! James Wan’s Aquaman may have started with the lowest opening ever in the DC Universe, but seven days later, it is looking more like Michael Phelps than some lowly dog paddler. The film is entering very exclusive territory this weekend just as two more December releases join the 0 million club by the time the clock strikes midnight on New Year’s Eve. That makes 32 for 2018 with at least two more films still hoping to surpass last year’s (and 2014’s) total of 33 to become second only to 2013’s 35 0 million-plus films. That record may come up short, but Hollywood has shot past its previous ticket sales record (.37 billion in 2016) and is now eyeing a billion year at the box office.King of the Crop: Aquaman Joins Impressive Club of December Releases(Photo by Jasin Boland/ ™ & © DC Comics)After its first weekend, Aquaman  was million behind Justice League. After weekend two it is now million ahead and climbing. How high? Quite actually. Because as of this Sunday, Wan’s film is now the sixth highest grossing December release after 10 days, behind five little films: Star Wars trio The Force Awakens, The Last Jedi, and Rogue One, as well as Avatar and Lord of the Rings: The Return of the King. All seven December films to have made 0 million by this point have reached the 0 million mark, and Aquaman is million ahead of The Two Towers. Peter Jackson’s film opened on a Wednesday, so that pace will tighten over the next couple of days. But Return of the King made .8 million in its second weekend and ended with 9.7 million. Aquaman grossed .5 million and is likely looking at a final gross in that vicinity, which would surpass both Suicide Squad and Batman v Superman for second highest grossing feature film in the DC Universe behind Wonder Woman. With 8 million worldwide, it is the seventh highest grossing film of 2018 and will be passing Mission: Impossible – Fallout and Venom soon with its eye then on a billion dollars.Fresh Surprise: WWI Documentary Out-Performs New Releases(Photo by Warner Bros. Pictures)Speaking of Peter Jackson, his WWI 3D documentary, They Shall Not Grow Old, has become one of the top-grossing documentaries of the year. After just two nights. Fathom Events held special single-night screenings on December 17, when it broke the company’s record with .3 million, and then again this past Thursday, when it broke it again with another .37 million. That was more than this week’s openers, Holmes Watson and Vice, grossed on Thursday with a full day of screenings. With .7 million in two nights it has made nearly as much as partisan documentaries, Death of a Nation (with a 0% Tomatometer score) from pardoned felon Dinesh D’Souza (.88 million) and Michael Moore’s Fahrehheit 11/9 (.35 million). Warner Bros. will open the film in a few cities on January 11, and you can expect it to rise from the seventh highest grossing documentary of 2018 into the top five – and maybe even higher.Rotten Returns: Holmes Watson (aka the Anti-Aquaman)(Photo by Columbia Pictures)Holmes Watson opened in theaters without being screened for critics. Hey, Disney did the same thing for Christmas opener, Tombstone, back in the day, too. How bad could it be? Well, it is currently just the third wide-release of the year to score lower than 10% on the Tomatometer after Slender Man and Death of a Nation’s golden doughnut of 0%. That is where Holmes was with its initial set of reviews, but folks were already in the midst of paying good money to see it on Christmas Day. Around .4 million and 24 hours later, some were already calling it a “commercial flop” on Twitter despite the fact that only four of 23 films to open on Christmas to more than million failed to reach million.That still would not have been enough to cover its million budget in domestic dollars, but it’s not like it was Mortal Engines or Welcome to Marwen this month; however, Holmes Watson’s audience numbers have been scaling down to its current Rotten Tomatoes score of 9%. Though .7 million after its first six days still has it pacing for somewhere between -60 million, its numbers are diminishing at the pace of Aliens Vs. Predator – Requiem, which finished with just .7 million after it opened on Christmas. So it will depend on international audiences to determine whether the film is “a commercial flop” or not.The Top Ten and Beyond: Poppins Bumblebee To Join 0 Million Club Soon(Photo by Walt Disney Studios)Mary Poppins Returns just missed becoming the 26th film opening in December to reach 0 million in its first 12 days; though it will do so on New Year’s Eve. Of the films in its 12-day company that had between million to 7 million at this point, Poppins’ -million weekend is second only to Daddy’s Home’s .2 million. (Poppins is likely to fly past Daddy’s Home’s 0 million.) The next crop of films above them (sans Marley Me) are all 0 million grossers. So as long as Rob Marshall’s film maintains its current pace it should rise high enough to be one of the three highest grossing films of the season.Spider-Man Into the Spider-Verse did join the 0 million club this weekend. At 3.6 million it is in the company of Catch Me If You Can, Les Miserables (2012), Into the Woods, True Grit (2010), and Unbroken, but its third weekend of .3 million surpasses all of theirs, suggesting the film is headed for north of 0 million — an estimate that could continue to rise with the word-of-mouth it is receiving.Bumblebee, with another million this weekend, is also headed for 0 million like every other film from December to have million after 10 days. Clint Eastwood’s The Mule, on the other hand, took 17 days to hit the million mark, but it is not out of the running to become the 34th film of 2018 to reach 0 million. For a film that needs around 0 million to break even, million seems to be the worst-case domestic scenario at this moment. As it is pretty closely aligned with the 0.7 million–grossing The Pelican Brief, there is still a possibility this will be Clint’s sixth film as a director to reach that height.While Holmes and Watson was grossing .4 million on Christmas Day, Adam McKay’s award hopeful, Vice, was gathering up .7 million and a 64% score on the Tomatometer. It has made million in its first six days and eyes somewhere around million final domestic gross, but is already Annapurna’s highest grossing film to date surpassing this summer’s Sundance pickup, Sorry To Bother You. Ralph Breaks the Internet has fallen behind the pace of last year’s Coco, but is still million ahead of Tangled, which keeps 0 million very much in the picture. It only takes Ralph and Poppins to break the single-year record of most films to reach the milestone in any year. A 0 million final gross may be out of reach for Illumination’s The Grinch, but its 6 million makes it undoubtedly one of the biggest hits of the season, even while it could end up being the company’s third-lowest grossing film to date; albeit one with still over 0 million in profit.Beyond the Top Ten you will find both The Favourite (.2 million) and Mary Queen of Scots ( million) doing decent business in less than 850 theaters each. Both continue to do better than Robert Zemeckis’ Welcome to Marwen, which has grossed .7 million. There are still seven films this year further in the red than Marwen (including Ralph Breaks the Internet), though it is still little comfort being among the 10 biggest financial losers of 2018.In further limited release news, we have the three best per-theater-averages of the week: The Ruth Bader Ginsburg drama, On the Basis of Sex (74%) averaged ,909 this weekend and has made .5 million in 33 theaters since Christmas. Destroyer (76%) has been in three theaters since Christmas and has made 5,661. It averaged ,491 this weekend. Then there is Stan Ollie (89%), which opened on Friday in five theaters, averaging ,935 for a total of ,674. Aquaman had the fourth best average with ,497, and Barry Jenkins’ If Beale Street Could Talk was fifth, adding 60 theaters (for a total of 65). It averaged ,686 and has grossed nearly million.This Time Last Year: The Last Jedi Held Off Jumanji for the Last Time(Photo by Walt Disney Pictures)Star Wars: The Last Jedi maintained the top spot for a third straight week (and passed the 0 million mark), though Jumanji: Welcome to the Jungle closed the gap with a .5 million-to- million showdown. Christmas day openers, All the Money in the World and Molly’s Game made .7 million and .3 million, respectively, in their first full week of release. Steven Spielberg’s The Post and Paul Thomas Anderson’s Phantom Thread led the per-theater-average list with ,342 (nine theaters) and ,124 (four theaters). The Top Ten films grossed a total of 3.3 million over the weekend, which included New Year’s Eve, and they averaged 65.1% on the Tomatometer. This year’s Top Ten grossed 3.1 million and averaged 65.6%.On the Vine: There Is No Escape From Horror in 2019(Photo by Columbia Pictures)The new year kicks off with horror about domains from which there appears to be no safe room, though do not expect to see a Tomatometer score for either until later in the week. The PG-13 Escape Room with Taylor Russell, Deborah Ann Woll, and Tyler Labine should get a score just before it opens. Then Eli, from the director of Sinister II, will get reviews from critics brave enough to check out the tale of a boy with auto-immune issues stuck in a dangerous home when it opens on Friday.The Full Top 10: December 28-30Aquaman .5 million (8.7 million total)Mary Poppins Returns .0 million (.9 million total)Bumblebee – .5 mi

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(Photo by © Paramount)Ryan Spahn is a New York City-based actor, writer, and director. His next feature film is Nora Highland, which was shot during the COVID-19 pandemic and explores the issue of casting straight actors as LGBTQ+ characters in the theater. Here he reflects on seminal Thanksgiving movie, Home for the Holidays.TV series My So-Called Life ended prematurely on January 26, 1995, and my 14-year-old life ended as well. Full stop. I stalked the halls of my public high school, clutching the tattered ends of my flannel. I cowered in the shadows of the parking lot, inhaling Camel Lights like it was my damn job. I would never see the character of Angela Chase ever again. Ahhh! I was an outlier. She was my best friend. My happiness depended on her staying alive. What was I gonna do? Distraught beyond teenage comprehension, I buried myself in my Entertainment Weekly. What was my red-haired, Manic-Panic-dyed Angela Chase/Claire Danes going to be in next? I had to know. My life depended on it. The Spring issue of the magazine spoke of a new film she was starring in; it was hitting cinemas in the Fall. It was going to be PG-13. I would then be 15, which meant I could go alone. Booyah! (Photo by © Paramount)The blurb said something like, “Home for the Holidays is about a Thanksgiving gone awry.” Sweet! Coming from a broken home, family holidays were always these harrowing battlegrounds; a painful tightrope test of love, and – most importantly – loyalty. I was legit dying for this movie to open. I knew it would be my jam. Home for the Holidays came out nine months later, on November 3rd, 1995. The film was directed by Oscar winner Jodie Foster. In addition to starring Angela Chase, the movie also had Oscar winners Holly Hunter and Anne Bancroft in it. (I mention the Oscars because I was profoundly obsessed with the Academy Awards.) I hadn’t heard of anyone else in the cast.Alone in the theater with a small popcorn and a rackety bag of Sour Patch Kids, my imagination was totally game-on. The lights dimmed. Here we go. Angela-Chase-as-Claire-Danes-as-Kitt-Larson was one of the first characters to arrive on screen. I gasped. My best friend was back. Gosh, I’d missed her. But then, something unexpected happened…(Photo by © Paramount)Full disclosure: I was a budding gay boy. I just didn’t know it yet. You see, living in the suburbs of Detroit, I had never even met a gay person. There was a queer kid in My So-Called Life, but back in January, I wasn’t ready to see myself reflected in him. But now, it’s November – things changed. Enter the character of Tommy Larson, uncle to my beloved Angela Chase.Tommy was gay and he was just… huh he was just living his life. Walking around. Being gay. Being funny. Being even, like, a role model. And he was not dying of AIDS. But I thought all gay people died of AIDS – that’s what the movies had told me, right? This guy was totally alive, and – shut the front door – he was totally married. To a man. I didn’t even know that was a thing. My family certainly hadn’t brought that pearl up while hurling a Thanksgiving turkey across the dinner table. (Yes, that happened. In my real life. Not unlike what happened in the film.) (Photo by © Paramount)His marriage was actually a movie plot point that I should fill you in on: Uncle Tommy is played by scene-stealer Robert Downey Jr. An actor I’d never seen before. And his family isn’t totally on-board with his gayness, so he keeps his recent beachfront marriage on the down-low. Okay, so, after Thanksgiving dinner is done, after the tipsy Great Aunt Glady (Geraldine Chaplin) confesses her love for her brother-in-law (Charles Durning), after Uncle Tommy’s sister Joanne (Cynthia Stevenson) is showered in turkey gizzards, the now profoundly upset Joanne decides to blast-out Uncle Tommy’s personal life: “You’re calling me a drama queen! Mr. Pervert! Let’s talk about secrets! May you and your husband live happily ever after, Mrs. Gordon!” I dropped my Sour Patch Kids. He was exposed – my worst nightmare. He had no armor. If that happened to me, I wouldn’t have the vocab to combat. But then, with effortless aplomb and profound confidence, Uncle Tommy shrugs off what would have shattered me: “Dessert looks pretty good,” he says with a wry smile. (Photo by © Paramount)He could give a f k what his sister thought. What anyone thought. I realized then that my own happiness was a personal decision I could make. My family didn’t have control over it. I had assumed they had. Feverishly smoking my Camel Lights, I waited in the movie theater parking lot for mom to pick me up. I doused myself in my Drakkar Noir. I chomped on my Big Red gum. How was I gonna be happy like Uncle Tommy?Mom arrived in her white minivan. We drove in silence. I was silent for days – at least, that’s how I remember it. How was I gonna be happy like Uncle Tommy? But then, one night, I bolted up in bed. I knew what I had to do. I had to leave. I had to get out. But how? I know! A boarding school! Interlochen Arts Academy is in my state. I secretly applied and I secretly got in. On a late submission. I raised the tuition money. By myself. Against unrelenting pushback from my family, I declared my departure.(Photo by © Paramount)Upon arrival at Interlochen, I entered the boy’s dormitory. I took a deep breath. Then, I noticed a quiet sophomore named Conrad standing in front of the mailboxes. He was from Amman, Jordan. He was a drama major. He was cute. He became my first boyfriend. He became my first love. He became my gateway to being happy. Just like Uncle Tommy. It took me six years to finally come out to my family, which proved to be its own nightmare. To this day, I cling to Home for the Holidays annually. It’s my reminder that no family is perfect. We’re all just doing our best. As Claudia Larson (Holly Hunter) so perfectly states, “We don’t have to like each other. We’re family.”  As Thanksgiving rolls around, I look forward to my return to the Larsons. Because if it wasn’t for them, for Home for the Holidays, for Angela Chase, for the timing of Uncle Tommy in my life, I would’ve – quite literally – never survived high school. Full stop.Home for the Holidays was released November 3, 1995.Ryan Spahn s new film, Nora Highland, is playing various festivals. You can check out the trailer here. On an Apple device? Follow Rotten Tomatoes on Apple News.

After years in the making, James Cameron’s pet project – the dystopian manga adaptation Alita: Battle Angel – is finally on its way to theaters, albeit with Robert Rodriguez in the director’s seat. Is it worth the wait? The first wave of reviews are leaning negatively, but the gist is pretty clear that, once again, Cameron and Co. are delivering big, eye-candy spectacle with a script that doesn’t do the visuals justice. Whether the effects and action and even the breakout performance-capture performance by Rosa Salazar are worth a ticket anyway varies from critic to critic, and may also differ from moviegoer to moviegoer.Here’s what the critics are saying about Alita: Battle Angel:Is this another must-see James Cameron spectacular?“Alita: Battle Angel is the old school blockbuster the world has needed for some time now.” Mike Reyes, CinemaBlend“Alita: Battle Angel is the first great live-action manga adaptation.” Karen Han, Polygon“Alita: Battle Angel is a mesmerizing feat of filmmaking — and stunning in 3D.” Molly Freeman, ScreenRant Alita: Battle Angel is a solid, visually stunning blockbuster that doesn’t pretend to be something it’s not.” Hoai-Tran Bui, Slashfilm“Like the titular character, the film is a visually impressive technical marvel that lacks substance under its glossy shell.” Matt Maytum, Total Film“Calling this movie junk does a disservice to the authenticity of trash.” Dennis Franich, Entertainment WeeklyDoes Rosa Salazar give a star-making performance?(Photo by © 2018 Twentieth Century Fox Film Corporation)“Salazar is the breakout of Alita: Battle Angel, portraying her character’s optimistic naïveté and lust for life with an enthusiasm that rarely grates.” Hoai-Tran Bui, Slashfilm“Salazar brilliantly navigates the character’s emotional journey.” Beth Elderkin,“Tremendous…her ability to make the viewer believe in Alita in turn helps us believe in the world of Alita: Battle Angel all the easier.” Mike Reyes, CinemaBlend“To Salazar’s credit there’s something likable and determined about Alita, but the CGI puts an emotional forcefield around her.” Matt Maytum, Total Film“It’s possible Salazar gives a good performance, and I hope to see it someday. Her sensitive line readings clash madly with Alita’s digitally juked bot face.” Dennis Franich, Entertainment WeeklyWhat about those big eyes, though?“No, they did not need to be that big. But yes, I still love them.” Karen Han, Polygon“The impressive thing about the CGI is that the viewer soon gets used to these saucer-sized peepers.” Nicholas Barber, The Wrap“I found I had completely forgotten about them by the second scene she’s in.” Emily Yoshida, Vulture/New York Magazine Alita’s eternally uncanny eyes are actually a great analogue for the film itself: a heightened visual gimmick that better delivers the film’s outsized emotions.” Hoai-Tran Bui, Slashfilm“Her smoothed features and dewy, supersized peepers may be a direct nod to manga character design, but they make her look more like an android imagined by Margaret ‘Big Eyes’ Keane.” Guy Lodge, VarietyHow are the rest of the visual effects?“Alita: Battle Angel is a special effects marvel that raises the 3D bar.” Julian Roman, MovieWeb“With Jackson s Weta Digital handling animation and visual effects, the first act is a sumptuous sensory experience shot in warm colors and radiant, super-crisp 3D. Many of the film s 1,500 CGI shots are magnificent.” Stephen Dalton, The Hollywood Reporter“The detail put into Alita: Battle Angel‘s world-building is a feast for the eyes.” Vinnie Mancuso, Collider“The motorball sequences, in particular, are whooshing Big Mac cinema of the most jittery, adolescent order.” Guy Lodge, Variety“[They] might look cool now but won’t hold up.” Beth Elderkin, io9.comBut the script ruins it?(Photo by © 2018 Twentieth Century Fox Film Corporation)“Its umpteen story threads and endless mythology-meets-tech-porn jargon finally pound the interest out of you.” Philip De Semlyen, Time Out“There are so many plates spinning in Alita: Battle Angel, but all are vital to truly building the world we could potentially return to.” Mike Reyes, CinemaBlend“Too much of the movie is spent having characters over-explain things to people.” Beth Elderkin,“That the story isn’t particularly interesting is occasionally a drag, but, again, that’s not the point here.” Karen Han, Polygon Did we really need a love story here? The cyborg romance is sappy and uneven…the valleys to the action peaks.”- Julian Roman, MovieWeb“A dreary slab of boilerplate young-adult soap opera…Johnson is a charisma vacuum of white-bread boy-band blandness.” Stephen Dalton, The Hollywood Reporter Why does Alita need a love interest? He just slows her down.” Anne Cohen, Refinery29Is there some good action at least?“The action, which arrives loudly and often, is so coherent, and that makes it consistently thrilling.” Vinnie Mancuso, Collider“Rodriguez seems to be one of the only directors working who has figured out how to coherently stage a blockbuster action sequence.” Karen Han, Polygon“Dazzling and dizzying, the fight sequences in Alita: Battle Angel capture the dynamism of watching an anime without feeling so cartoonish that there are no stakes.” Hoai-Tran Bui, Slashfilm“A scene where the unarmed Alita single-handedly takes on a bar room full of thugs recalls Joss Whedon s far superior sci-fi Serenity, which way back in 2005 executed a similar scene with far greater panache.” Chris Hunneysett, Daily MirrorShould we see it in 3-D?(Photo by © 2018 Twentieth Century Fox Film Corporation)“The movie’s action is phenomenal, especially in 3D.” Samantha Nelson, The Verge“No doubt best experienced in the highest quality format possible…if moviegoers have to choose only one 2019 release to see in IMAX 3D, Alita: Battle Angel is it.” Molly Freeman, ScreenRant“Visually Alita: Battle Angel is an experience well-worth that extra 3D cash.” Vinnie Mancuso, ColliderWill we leave wanting more?“[It] paves the way for potentially more compelling tales to come…hopefully, it s successful enough to warrant a sequel.”   Molly Freeman, ScreenRant“If there s any justice in the world, this won t be the last time we ll see the battle angel herself taking the big screen by storm; because Alita kicks all of the ass.” Mike Reyes, CinemaBlend“For the first time in a long time, I’m happy to stay on this wild, visually dazzling ride for a few more stops.” Vinnie Mancuso, Collider“This is a crashing bore, which doesn t need a sequel, and certainly not a reboot.” Chris Hunneysett, Daily MirrorAlita: Battle Angel is in theaters everywhere February 14, 2019.
What would you do if you woke up in the body of the local town serial killer – and he woke up in yours? That’s the body-swap twist in Blumhouse’s new slasher comedy Freaky, which stars Vince Vaughn as the Blissfield Butcher and Kathryn Newton as a final girl, who both find their lives upended after an incident involved an ancient knife. From Happy Death Day director Christopher Landon, Freaky is already being heralded as one of the most inventive slashersto come around in ages and, in this exclusive clip – where the Butcher and his victim come face to face (in their different faces) – you can see why.Freaky is in theaters November 13, 2020. On an Apple device? Follow Rotten Tomatoes on Apple News.
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Ghcxuf Christopher Markus and Stephen McFeely (Photo by Jesse Grant/Getty Images for Disney)When Avengers: Infinity War writers Christopher Markus and Stephen McFeely dusted half of the universe – and half of the Avengers – at the end of the film, audiences the world over suddenly knew: anything was possible now. The duo had done what few other blockbuster film writers had done before: massacred multiple popular characters in the blink of an eye (or, as it were, the snap of some fingers).While most fans knew some of those deaths were likely to be reversed, the countdown to Avengers: Endgame has been filled with as much dread as excitement. The question on everyone’s mind: Who else were Markus and McFeely going to off?The writers were, as expected, not going anywhere near that question when they both spoke with Rotten Tomatoes ahead of Endgame’s release. But they did reveal the places where they’ve drawn some deadly inspiration.Joel Meares for Rotten Tomatoes: You guys have totally broken the world’s hearts, and fans expect you might do it again. But what TV or movie deaths have affected you the most?Christopher Markus: I mean, the most prominent killers of our popular culture today – they re not killing the popular culture – but it’s Game of Thrones. I still feel disturbed about… what’s his name?Stephen McFeely: Pedro Pascal.Markus: When Pedro Pascal died versus the Mountain. Yeah, that wasn t supposed to happen. That was very disturbing.McFeely: The easy answer for me is the Han Solo in Carbonite. I was not quite prepared for the movie to end that way.Rotten Tomatoes: You guys have adapted C.S. Lewis with the Narnia films, and worked with the characters of Stan Lee, Jack Kirby, and Marvel here. What’s your approach to working with such storied and beloved works? McFeely: As you said we sort of dealt with it in Narnia. We try to put aside the pressure and the obligation in a way and just try to satisfy us as fans and writers. Assuming that the 12-year-old Steve would appreciate this, then perhaps other 12-year-olds would – or 82-year-olds.Markus: I think if you have respect for the underlying material then you just have to go forward and trust that you re not going to betray it. If you find yourself with a writing gig where you don t respect the underlying material, you might want to think about not doing it.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Rotten Tomatoes: The beloved character you’ve worked with the most is Cap’. [The duo co-write all three Captain America movies.] Did you want to give him – regardless of what happens in the movie – some kind of special moment, sendoff, or closure? Markus: I mean, I definitely have a special affinity for him. He s a guy who we ve put through a lot of hell and [Chris] Evans does a great job of showing that on his face. He certainly I don t want to say he looks tired, [but] I want to say he looks like there s is a battle-weariness to him. And I find it very satisfying to sort of think of all of that while putting him through yet another trial, like Hercules.Rotten Tomatoes: So, we know that the movie is just over 3 hours long, which makes us wonder: How many pages was your screenplay?Markus: Well, [the length of the script] varies depending on how elaborately we described the action. The script actually gets longer as we re in production, because we need – for the service of various departments – to really describe things that we wouldn t ordinarily describe. So it does tend to balloon at a certain point in an unrealistic manner. I would say the operating script was, what, 130 pages?McFeely: 130, yeah.Markus: Yeah, that s probably where we started. We generally assume a page a minute and so we try not to turn in things that are much more than 120 pages. It just was everyone understood it was going to be perhaps a little bigger. Our first drafts were undoubtedly bigger than that, you know? But as we got closer to production and we made hard choices it was probably 130.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Rotten Tomatoes: Speaking of the script… there was a lot of talk last year when the Academy announced they were going to do an Achievement in Popular Film category [which never went ahead], that they should instead honor stuntwork. And we’ve seen recently that more popular movies, like Black Panther and Mad Max, are getting Oscar recognition, as are their directors and the people who work on costumes, special effects, music… Given the feat you’ve pulled off balancing so many storylines and characters in Infinity War and Endgame, do you think writers of movies like these deserve more awards recognition than they get?Markus: [Laughing] I m glad you ve asked the question. I feel if I answer it too honestly I ll look like a jerk! My hope is that whether or not people realize it now, I think people later might look back at the Marvel Cinematic Universe and hopefully they ll look at the last four we ve done with the Russos. That s pretty special storytelling. This cumulative serialized storytelling and the high-wire act that it required of all of us is pretty special.I think to maintain a certain level of character within that, so it s not just a series of explosions… Far be it from me to say what recognition it deserves, but I would love the Academy to be perhaps less knee-jerk in its lack of recognition. I would just say, you know, in all categories, these movies re incredibly hard work. For the  industry to write them off as a puff piece seems to deny the incredible amount of technical labor that the people making the movies are putting in. They seem to me a much higher bar to achieve than your average drama. So, there you go.Avengers: Endgame is in theaters April 26, 2019Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 😈😈


bob体育下载app Dark Phoenix has arrived to close out the 19-year X-Men movie saga, which has seen Certified Fresh hits like the 2000 original, Days of Future Past, Logan, and Deadpool. It s a moment made even more bittersweet now that 20th Century Fox, the studio that has shepherded this Marvel franchise, has been acquired by Disney. Fox has a film library accumulated over 84 years as one of Hollywood s majors, now finding a new home in the House of M(ouse).X-Men started in the tenuous superhero years between Batman Robin and the first Spider-Man. And though the mutants traded spandex costumes for leather (it was still practically the 90s), the film still kept its outsider spirit, its theme of the status quo destroying the gifted, and the question of what happens when evolution disrupts a narrow-minded society. These concepts are some of the central bearings of science fiction, a genre Fox has had a storied history within, starting with black-and-white classic The Day the Earth Stood Still. Movies that followed, like Star Wars, Alien, Planet of the Apes, and Avatar, not only pressed up against the boundaries of sci-fi, but they shaped our pop culture as a whole.As the sun starts to set on a historic studio, we take one last look back on 20 of the most groundbreaking science fiction movies of 20th Century Fox.The Day the Earth Stood Still (1951) 95%(Photo by 20th Century Fox. /Courtesy of Everett Collection)Fox kicked off the creature feature trend of the 1950s with this actually reserved sci-fi parable of a visitor from beyond the stars named Klaatu with a draconian message to humanity: Shape up or face annihilation. To this end, Klaatu has brought his eye-blasting robot, Gort. Day the Earth Stood Still laid down the template for sci-fi combining fantastic visuals with social commentary, that would have immediate influence on 50s pop achievements like the original Godzilla and The Twilight Zone, and then well into the future.Invaders From Mars (1953) 82%(Photo by 20th Century Fox. /Courtesy of Everett Collection)In the race to getting color on the silver screen, the sci-fi grand prix came down between Fox and Paramount. The latter was gearing up to release the Technicolor War of the Worlds in August 1953. Fox, rearing to beat Paramount to the punch, put out Invaders From Mars in April, thus holding the record for first color depiction of aliens in theaters. Texas Chain Saw Massacre helmer Tobe Hooper remade the movie in 86, with a screenplay by Alien writer Dan O Bannon.The Fly (1958) 95%(Photo by 20th Century Fox. /Courtesy of Everett Collection)As science fiction became mainstream product in the 1950s, it expanded audiences taste for harder, deliberately shocking material. Enter The Fly, which revolted crowds and critics with its nasty transformation effects, effectively capping the swinging creature-feature 50s with a swat of brutality. David Cronenberg broke into the mainstream in the 80s with his Jeff Goldblum-starring Fly remake of the 80s, going full-bore on his trademark body horror and psychosexual obsession.Fantastic Voyage (1966) 91%(Photo by 20th Century Fox. /Courtesy of Everett Collection)With the 60s, the sci-fi movie standard animorphed from atomic age monsters to epic and/or disaster expeditions, with Jules Verne the popular source author: 20,000 Leagues Under the Sea, Journey to the Center of the Earth, Master of the World, and Voyage to the Bottom of the Sea. Fantastic Voyage, though not a Verne story, took his sweeping style and turned it inwards, as a group of scientists shrink themselves down into a submersible to explore a human body. The rich concept has been done again many times over since, including 1987 s Innerspace, and in parodies in cartoons ranging from Family Guy to Futurama to The Magic School Bus.Planet of the Apes (1968) 86%(Photo by 20th Century Fox. /Courtesy of Everett Collection)First banana in the long-surviving series, with one of the most memorable and aped endings in history. Planet was the first sci-fi property to turn itself into a franchise in these pre-Star Wars years, with four direct sequels and several TV shows out by the mid- 70s. There was an unfortunate Tim Burton remake in 2001, before it was rebooted properly starting with 2011 s Rise of the Planet of the Apes, highlighting the series  enduring central theme of a three-way fight between man, science, and natural order.Zardoz (1974) 47%(Photo by 20th Century Fox. /Courtesy of Everett Collection)In the post-apocalyptic future, red leather daddy Zed (Sean Connery) boards a gun-vomiting floating head named Zardoz, who deposits him in a paradise estate known as The Vortex, whose immortal inhabitants have grown bored with life. In a kind of psychedelic Pygmalion, the immortals use crude dude Zed for their amusement, while he secretly seeks to unravel the mystery of Zardoz and The Vortex. Director John Boorman decided to use his post-Deliverance cred to deliver this ambitious and goofy misfire that must absolutely be seen to be believed. It s a reminder of the special kind of big-budget tomfoolery major studios are capable of putting out if they just put their heads together.Star Wars (1977) 92%(Photo by 20th Century Fox. /Courtesy of Everett Collection)The most influential sci-fi trilogy in the galaxy. The first film, A New Hope, remains a perfect standalone distillation of the hero s journey template. The Empire Strikes Back showed you can have an inconclusive AND downer ending, and still make money. And Return of the Jedi had Ewoks. Star Wars regenerated science fiction to appeal to the youngest crowd ever, hooking them with bright and poppy visuals, and all the merchandising you want to express that adoration. The Prequel and Sequel Trilogies have kept the Force alive, and with it tie-in video games, novels, comics, TV shows, and beyond.Alien (1979) 98%(Photo by 20th Century Fox. /Courtesy of Everett Collection)Ridley Scott took a haunted-house-in-space script and turned it into a grimy, claustrophobic experience in terror, launching a media empire or infestation of xenomorphs that have crossed over to comic books, video games, and even other venerable sci-fi properties like Predator and Judge Dredd. Not to mention granting us an eternally badass female protag in the form of Ripley. The first sequel helped launched the career of James Cameron, while the second nearly killed David Fincher s. Scott would return to the Alien series decades later with Prometheus and Covenant.The Adventures of Buckaroo Banzai Across the Eighth Dimension (1984) 68%(Photo by 20th Century Fox. /Courtesy of Everett Collection)Another idiosyncratic sci-fi movie from Fox somewhat in the vein of Zardoz, but this time on purpose. Peter Weller stars as multi-hyphenate Buckaroo, whose résumé includes New Wave rock god, neurosurgeon, and inter-dimensional crash test dummy, and who must root out in-hiding spacemen here on Earth. This film s sense of humor is so specific and quirky, one can t help but think there s no way the guy who directed it ever got the chance again. And, yep, this is W.D. Richter s sole movie as director. And now it belongs to zany film audiences who in the years since have propped it up as the ultimate cult movie, whose influence pops in the most unlikely places like The Life Aquatic s end credits, which pays tribute.Predator (1987) 82%(Photo by 20th Century Fox. /Courtesy of Everett Collection)Arnold Schwarzenegger had one of the most impressive hot streaks in the 80s, and that includes rumble-in-the-jungle Predator. As military macho Dutch, he and his crew exterminate guerrillas in Central America before the real threat emerges: An outer-space hunter who stalks and skins its prey for sport, using invisible alien technology. Real honorable! Predator s minimal plot, maximum carnage remains a high point for a certain breed of 80s filmmaking. Its sequels and Alien crossovers have kept the franchise in the conversation.The Abyss (1989) 89%(Photo by 20th Century Fox. /Courtesy of Everett Collection)After the grungy Terminator and action-focused Aliens, James Cameron finally came into his own with The Abyss, which for the first time carries everything you imagine when you think of the director s movies: Enormous budget, ecological message, and cutting-edge technology. Like Blade Runner, this is a major studio sci-fi movie that doesn t rely on poppy hooks, but instead slowly submerges the viewer with some big concepts and methodical pacing.Strange Days (1995) 65%(Photo by 20th Century Fox. /Courtesy of Everett Collection)Approaching something as momentous as the dawn of a new millennium takes a genre like science fiction to work through. Set during the final two days of 1999, Strange Days is a hard-boiled noir of parties, murder, and technology that can record and commodify memories and emotions. The film is a compelling document of 90s progressive politics, advertising-induced cynicism, end-of-the-world race riots and relations, and the uneasy optimism of the future ahead.Independence Day (1996) 68%(Photo by 20th Century Fox. /Courtesy of Everett Collection)In 1996, nothing felt bigger than Independence Day. The plot of evil space invaders was already decades old at that point, but the casting of Will Smith as lead felt fresh and in-the-moment, along with eye-popping special effects and quick pacing made it an all-new experience. With a sequel 20 years later, Independence Day has also become a poster movie for one of the major overriding emotions of the 2010s: nostalgia.X-Men (2000) 82%(Photo by 20th Century Fox. /Courtesy of Everett Collection)Comic book superhero movies had already found recent success with the Batman and Superman movies, but the whole ensemble thing had yet to be done successfully on the big screen. Enter X-Men, who were a natural choice to give it a try, with their popularity rising through video games and the animated series, and whose outsider status among humans gave the movie the necessary subtext to attract any viewer who felt maligned in life. The series has since been infamously inconsistent, but the original, X2, First Class, Days of Future Past, and Logan remain must-watches in the genre.28 Days Later (2002) 87%(Photo by Fox Searchlight. /Courtesy of Everett Collection)Danny Boyle and writer Alex Garland suspected the time was right to bring back zombies into the zeitgeist. Choosing to forego soft voodooism or implied crashing satellites, 28 Days Later – which is technically a Fox Searchlight film – went directly into the science-fiction route starting with its opening scene, which sees group of environmental extremists free test monkeys infected with a highly contagious rage virus on an unsuspecting populace. Credit this one with making zombies cool with the kids again.Idiocracy (2006) 74%(Photo by 20th Century Fox. /Courtesy of Everett Collection)A literal average Joe is cryogenically frozen, only to be awakened well past his due date: 500 years into the future to be exact. The world has dumbed down to an alarming degree, with the nation on the brink of stupid disaster, and Joe suddenly finding himself the smartest man in the world. Though frequently set in the future, science fiction is a mirror that can reflect and warp our current selves, and to that end Idiocaracy is a resounding, hilarious success.Avatar (2009) 81%(Photo by 20th Century Fox. /Courtesy of Everett Collection)Pocahontas in space! Dances With Blue People! Sorry, Avatar can t hear you over the .7 billion (in 2009 money!) we gave the studio. The long-developed James Cameron project transported audiences the world over to Pandora, a resplendent living word inhabited by the Na vi, leonine blue creatures. As Pandora s being invaded by Earth, a Na vi warrior falls in love with one of the humans.Avatar remains the highest-grossing movie ever (a record once held by Cameron s previous film, Titanic), and represents Fox s final crowning achievement in the sci-fi genre.Chronicle (2012) 85%(Photo by 20th Century Fox. /Courtesy of Everett Collection)Combining sci-fi, found footage, and horror, Chronicle explores the lives of three teenagers who develop powers of telekinesis after being exposed to a mysterious crystal. The film s explosive terror and slick editing made it an immediate hit, launching the careers of Dane DeHaan, Michael B. Jordan, and director Josh Trank, who later stumbled with the Fan4stic reboot.The Martian (2015) 91%(Photo by 20th Century Fox. /Courtesy of Everett Collection)Putting the science back in science fiction, The Martian stars Matt Damon as a NASA astronaut accidentally left behind on the red planet when his crew takes off during a sandstorm. As STEM fields increase in popularity across all genders, Ridley Scott s Martian became the movie reference about the power of logic, science, and technology to overcome what look like insurmountable odds.Alita: Battle Angel (2019) 61%(Photo by Twentieth Century Fox Film Corp. /Courtesy of Everett Collection)Almost like destiny, the final movie released by 20th Century Fox as an independent studio is Alita: Battle Angel, the cyberpunk adaptation of the anime of almost the same name. And, naturally, James Cameron is here too! Like all of his movies, Cameron was talking about making a Battle Angel movie for a long time before it finally became reality, ultimately under the direction of Robert Rodriguez. Critics were lukewarm but most of the relatively scant audience who watched it fell in love with Alita, and the movie looks to be another cult classic in the making.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

Jordan Peele s feverishly anticipated follow-up to Get Out, the doppelgänger home invasion horror flick Us, premiered Friday night at South By Southwest in Austin and at a series of simultaneous #UsFirst screenings across the country. If the reaction at SXSW was anything to go by – RT was in the Paramount Theatre in Austin for the premiere – then genre fans are going to eat it up. There were big screams, big laughs, and more than one fist-pump. Star Lupita Nyong o and Peele earned the night s biggest cheers when they showed up on stage with the rest of the cast for a post-screening Q A during which the writer-director described the movie as a horror film for our time that ponders whether maybe the evil is us. It played well in the room, but what did the critics think? Here s what they re saying in the first reviews for Jordan Peele s Us:Let s get to the elephant in the room: How does it compare to Get Out?How could Jordan Peele possibly make a film that measures up to Get Out? That’s the brilliance—and maybe also the disappointment—of Us: he doesn’t even try to… the film, which debuted at SXSW to a crowd that was living for every second, succeeds because of the almost Spielbergian glee it takes in being a traditional, jump-scare, laugh-out-loud, horror movie. It’s the ways in which it’s not “The Next Get Out” that make Us so remarkable.  Kevin Fallon, Daily BeastAn Oscar win and a boatload of cash later, it’s become a beloved part of our culture, held in the same esteem two years after its premiere by genre heads and the general movie-going public. So if that’s the case, and I think Us is about as good, if not better, does it deserve that highly-coveted label? Yeah, I think so.  Nick Johnston, VanyalandUs (Grade: B), his much-hyped follow-up, isn’t nearly so tidy [as Get Out]. Like many sophomore efforts, it’s ambitious and unwieldy, leaping furiously from one idea to the next without adequately exploring any of them  Randall Colburn, A.V. Club while I have been comparing Us to Get Out for ease of use, the two are really incomparable. Instead, Us stands on its own as a terrifying, provocative, and audacious statement on privilege, race, and poverty — and establishes Peele as a horror auteur. Robert Daniels, 812filmreviews(Photo by @ Universal)So he has mostly avoided the sophomore slump ?Peele has grown as a director, which is shocking to say: Every aspect of the film feels heightened from Get Out: The sound design, so essential to that film, is on a whole other level; the cinematography (handsomely shot by Mike Gioulakis, who lensed Glass and It Follows) is captivating, the scares deeper, the laughs better.  Nick Johnston, Vanyaland there is no denying that Peele has avoided the dreaded “sophomore slump” and he has officially cemented himself as one of the most important horror directors of this generation.  Jonathan Barkan, Dread CentralHis sophomore effort, Us, proves that surprise hit wasn’t a fluke. Peele’s second outing as writer-director confronts the ridiculously high expectations of its predecessor by pivoting to a broader canvas of ideas about the nation’s fractured identity. In the process, it gives audiences exactly what they want by delivering what they least expect. Eric Kohn, IndieWireMonstrous beings wearing red jumpsuits and a single fingerless glove, carrying giant gold scissors while howling wordlessly to their partners lurking in the shadows — that s an image that will provoke nightmares, even before we can explore where its components come from. John DeFore, Hollywood Reporter(Photo by Gary Miller/FilmMagic)So, Jordan Peele is the next John Carpenter?Is it fair to say that Jordan Peele is this generation s John Carpenter? With his sly grasp of the intersection of popcorn thrills and political allegory, it s a reasonable comparison. After he provided an Oscar-worthy analysis of race relations in Get Out, now America s id is probed in Us. Richard Whittaker, Austin ChronicleWhat Jordan Peele did with Us solidly establishes him as master of suspense and horror.  Ashley Menzel, We Live EntertainmentPeele is well on his way to joining the all-timer horror pantheon alongside names like Romero, Craven, and Carpenter.  Nick Johnston, VanyalandUs is relentless in, and Peele tickled by, the use of horror tropes to rattle the cage of expectation. Matt Patches, PolygonHow is Lupita Nyong o in the lead role?Lupita Nyong’o delivers one of the strongest performances of her career in this film. Her eerie doppelgänger speaks only as loud as a whisper and her words are delivered with a disjointed cadence. It’s unlike anything I’ve seen in a while and is quite memorable.  Jamie Broadnax, Black Girl NerdsIt is Nyong o, however, who bears most of the story s emotional burden, and she does so with astonishing versatility and force, employing what must be every single bone and muscle in her body.  Angie Han, MashableI would be completely remiss to not highlight the work of Lupita Nyong’o, who not only steals the show but has offered a performance that will reign as one of the very best that the horror genre has to offer.  Jonathan Barkan, Dread CentralNyong’o continues to showcase her talents both dramatically and physically. Her tethered version is something else entirely. It is easily the creepiest thing I’ve seen in a while… Between this role and her role in Little Monsters, this year is certainly a fantastic and very different year for Lupita. Ashley Menzel, We Live EntertainmentSeriously, if you thought Toni Collette was good in Hereditary, see this. It’s on par, or dare I say it, better than that performance.  Nick Johnston, VanyalandNyong’o gives a masterclass in acting in dual roles and is almost unrecognizable as her doppelgänger persona At times, I had to remind myself that this was the same woman; that’s just how good she is. Yolanda Machado, The WrapWhat about the other actors?Duke (previously the fearsome clan leader M Baku in Black Panther) has been a surprisingly winning source of comic relief, stealing scenes as most dads only wish they could.  John DeFore, Hollywood ReporterWho most surprised me in the film was actually Winston Duke. He became a household name after his performance in Black Panther last year, but this role totally shocked me. As Gabe, he is the perfect embodiment of the typical dad. He’s got the odd sense of humor and the delivery of the corny dad jokes and one-liners down perfectly.  Ashley Menzel, We Live EntertainmentYoung [Shahadi Wright] Joseph meanwhile, plays two extremes of a teenager: one slightly removed, angsty but loving, while the other is just downright creepy. Her strengths are on full display in some of the more climatic scenes, but that evil-twin smile will haunt me in my sleep.  Yolanda Machado, The Wrap(Photo by @ Universal)Get Out had a lot on its mind: What s this movie really about? it quickly becomes obvious that Us has a lot more on its mind than making you jump. Every detail here seems carefully considered, down to the amount of dust gathered on a coffee table in a rarely used living room. In the hands of a filmmaker this precise, much of the fun is in waiting to see just how his intricate puzzle will come together. Angie Han, MashableThe movie is constantly illustrating — and nearly as often inverting — the gender roles we play in a patriarchal society, as when daughter Zora takes the lead to become the family’s most effective defender at one point. Peter DeBruge, Variety… the film requires us to realize and reflect that the problems we are facing and the evils were are facing may require us to examine and look at ourselves first. Have we created this evil or this otherness that we are so afraid to face? Parts of the film could also be seen as a commentary on mental health and our abilities to face our demons.  Ashley Menzel, We Live EntertainmentAs it turns out, the ultimate zeitgeist movie in 2019 harkens back more than 30 years. Us imports Reagan-era America to a mortifying contemporary context that revisits the past as a nightmare that won’t die..  Eric Kohn, IndieWireWhat exactly do the bunnies represent exactly? This is a question only to be solved by a group of Reddit detectives.  Jamie Broadnax, Black Girl NerdsThe music stood out in the trailer, is it effective in the movie?The music of composer Michael Abels, who also did Get Out, is a mix of Jerry Goldsmith’s The Omen and Akira Yamaoka’s Silent Hill. It’s haunting, jarring, unsettling, and completely arresting.  Jonathan Barkan, Dread Central…Michael Abels’ unnerving score builds to shrieking crescendos, some of which do push this jittery material over the top.  Eric Kohn, IndieWireWild cinematography, wild dialogue, wild twists, and wild music (there’s a “Fuck Tha Police” music cue that should go down in history) are working together here to recreate that throwback cinematic experience.  Kevin Fallon, Daily BeastBut it can t be perfect, right?The pacing sometimes drags, although the patience Peele exhibits in building the tension of a scene is masterful. Additionally, the twist can be seen coming a mile away.  Jonathan Barkan, Dread CentralHaving stretched this wily premise to nearly two hours, the full explanation for the forces at work can’t possibly satisfy as much as the suspense leading up to their arrival. That’s forgivable in a movie working overtime to provoke and disturb without toppling over from too much ambition.  Eric Kohn, IndieWireI would be remiss if I didn’t mention that it does tend to get a little lost towards the end and it feels like it meanders a bit before getting to the end of the film.  Ashley Menzel, We Live EntertainmentThe ambitious film, which had been shrouded in secrecy, sees Peele once again using the language of horror to say something about where we are as a society. But that commentary manages to be neither as obvious nor as nuanced as that in Get Out. While provocative, it doesn’t quite stick the landing this time.  Kevin Fallon, Daily BeastJoel MearesAny final words?Several hours and many conversations later, I m still convinced this film has secrets I haven t uncovered yet, and I m just eager for my next chance to go digging through it again.  Angie Han, MashableUs opens everywhere on March 22. 不止如此,一些观赛模式新功能,以及“集结社团”也随着手游上线一并推出,可以看出游戏正在观赏性、社交性上进一步加码。


(Photo by © A24)2019 has been such a strong year for wide-release horror films that the upcoming Black Christmas remake could receive a 0% Tomatometer score and the average for the 23 horror films released in 2019 would still be a Fresh 60%. This may not seem all that important, but this is big news for horror fans. Why? Because in the modern era of horror (which we’ll define as from 1980 forward), there hasn’t been a year with a Fresh overall Tomatometer score.This Fresh average shouldn’t come as a surprise to those paying attention to the genre this year – Certified Fresh hits like Us, Crawl, Ready or Not, and Midsommar have won over critics and audiences alike. Even remakes/adaptations are over-performing critically as Child’s Play (63%) and Pet Sematary (57%) are Fresh and very close to it, respectively, when historically horror remakes average a Rotten 44% Tomatometer average.In honor of this Fresh year of theatrically released horror, we pulled the Tomatometer data on the 644 horror movies that received wide releases (defined here as 600+ theaters) in the United States since 1980. We wanted to know how the preceding 40 years of horror films matched up against 2019, and if any year had a higher Tomatometer average.Quick Note: We chose 1980-2019 because there is greater consistency in Tomatometer data than in earlier years. The 1970s were the bomb though.THE OVERALL AVERAGE FOR HORROR FILMS RELEASED SINCE 1980 IS A ROTTEN 43.8%(Photo by Lions Gate / Everett Collection )The overall Tomatometer average for the 644 horror movies that received wide theatrical releases since 1980 is a Rotten 43.8%, and 438 of those movies (or 68%) have scores below 60%. The Rotten far outweigh the Fresh, and for every Green Room, The Descent, The Thing, and Scream 2 , there are movies like Jaws: The Revenge, House of the Dead, I, Frankenstein, Godsend, The Roommate, and Dream House bringing down their average.Another interesting fact (for data nerds and horror movie lovers who are also data nerds) is that since 1990, only five years have had more Fresh horror films than Rotten: 1982 (7 4), 1983 (8 7), 1987 (10 7), 2013 (7 6), and 2019 (12 10). This data makes 2019’s Fresh score even more impressive.On a side note, the years 1997-1999 have a seriously high number of Rotten horror movies that we at RT actually love. Between Anaconda, Halloween H20: 20 Years Later, The Faculty, Idle Hands, Blade, Deep Rising, The Relic, The Mummy, Lake Placid, and the king of all Rotten horror movies, Event Horizon (you can read more about Event Horizon as well as Blade in our book Rotten Movies We Love), the years are stacked with Rotten movies that are pretty awesome.THE BEST DECADE FOR HORROR IS THE 1980s. No Surprise there. (Photo by New Line Cinema)Despite having no single year with a Fresh Tomatometer score, the 1980s have the highest overall average with a groovy 52.5%. Buoyed by A Nightmare on Elm Street, Near Dark, The Fly, The Thing, and Fright Night, the 1980s slaughtered the 1990s (43.6%), 2000s (32.2%), and the 2010s (47.1%).Six of the top 10 years in our data set come from the 1980s, and 1987 came close to being Fresh, but the 0%-rated Jaws: The Revenge and the 9% House 2 kept it at a Rotten 57%. A big reason for the 1980s being the highest-rated decade is that it has only one year in the bottom 10 Rottenest years on the list (1989, with a Tomatometer average of 34.4%).2006 HAS THE LOWEST TOMATOMETER AVERAGE, AND THE MOST ROTTEN DECADE IS THE 2000s(Photo by © Warner Bros. )The worst year in our entire data set is 2006, which currently has a Rotten 31.1% average. The distinction is dubious, but at least 2006 kept it interesting with movies like Pan’s Labyrinth, The Descent, Slither, Hostel, Snakes on a Plane, The Hill Have Eyes, and The Wicker Man remake, an amazingly bonkers movie that features Nicolas Cage running all over the place while wearing a bear suit. Also, the first Black Christmas remake was released in 2006, and with a 14% Tomatometer score, the less said, the better.The 2000s as a whole weren’t much better, as the decade averaged a 32% Tomatometer score. Four of the five lowest Tomatometer years in the data set are from the 2000s, and only 33 of the 189 theatrically released movies in that decade have a Fresh Tomatometer score. The numbers may look bad, but on a positive note, the 2000s are responsible for bona fide classics like Shaun of the Dead, 28 Days Later, The Mist, and Zombieland. Plus, movies like Jennifer’s Body, 28 Weeks Later, 30 Days of Night, Constantine, Frailty, Eight Legged Freaks, and The Happening (it’s awesome, get over yourself), are starting to gain their due popularity.Random Tomatometer Fact: Imogen Poots, the star of the upcoming Black Christmas remake, made her horror debut in 2007, appearing in the Fresh 28 Weeks Later (the opening scene is awesome). Since then, she’s crushed it the underrated Fright Night remake and in Green Room, which is one of the best-reviewed horror films of recent memory.2019 HAS THE HIGHEST TOMATOMETER AVERAGE FOR HORROR MOVIES OF ANY YEAR SINCE 1980, AND IS THE ONLY FRESH YEAR,WITH A 63% AVERAGEWhat makes 2019 the only Fresh year in our data set might surprise you. While movies like Us, Doctor Sleep, The Lighthouse, and Scary Stories to Tell in the Dark helped greatly, it’s the remakes, prequels, sequels, and adaptations that greatly contributed to the overall Freshness. 2019 has been a lot of fun because of movies like Annabelle Comes Home, a sequel to a prequel (Annabelle: Creation) of a prequel (Annabelle), which has a Fresh 64% Tomatometer score. Normally, a horror movie so far removed from the original is almost always Rotten. Toss in the Certified Fresh Crawl (82%), a movie about rampaging alligators, and 3 From Hell, Rob Zombie s 50%-rated sequel to The Devil’s Rejects, and you have movies that are over-performing critically when compared the likes of Lake Placid (46%), Primeval (18%), 31 (47%), and Lords of Salem (46%) from past years.The 25% Tomatometer-rated Countdown, a movie about a ‘killer’ phone app, has the lowest score of any wide-release horror movie in 2019. Typically, a 25% score isn’t reason to celebrate – but when compared to the Rottenest horror movie of each year in our data set, it’s the least Rotten (the closest is 1984’s 23%-rated C.H.U.D.). In fact, the 10 Rotten horror movies released in 2019 have a 46.3% average, which is the highest average for the Rotten films of all the years in our data set. 2019 has the best of the worst, and that’s why it’s Fresh.What is your favorite year for horror? Let us know in the comments.Like this? 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bob体育下载app 个人感觉,英雄联盟手游这次正式上线无论是游戏内的画质,还是流畅度都已经远超国际服,而且相比端游来说远远降低了游戏难度,对于新手十分友好,而这次的礼包活动又是一个巨大的惊喜对于新老用户而言,也让端游玩家有了一个转战手游的理由。

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