亚博手机APP官方下载采用百度引擎7（Baidu 7）After a run of Rotten disappointments in the early 2000s, horror maestro Wes Craven released airplane thriller Red Eye in 2005. It was acclaimed as a smarter-than-average, skillfully made terrorist thriller at the time – a two-hander about two strangers who meet on a plane, one a dedicated hotel employee, the other a sinister suit with a secret and a terrifying mission – and would be the late director s final Certified Fresh film. And yet the movie has been largely forgotten by many, and is rarely mentioned among Craven s best works. It s easy to see why: The director is synonymous with Freddie, and Ghostface, and violent 70s and 80s terrors; Red Eye was in many ways a conventional thriller, well done if slight, bearing little of Craven s trademarks at least on the surface. Look closer and the movie has the director s bloody fingerprints all over it, from his ability to expertly read and reflect a nation s current fears to his fine work with young, on-the-verge actors. And yes, he even gives us a great Craven crescendo.So, hear us out: It s time we remember Red Eye for what it is – one of the master of suspense s best works. Here s why.It Marked A Triumphant Comeback For the Legendary Director(Photo by © Dreamworks)Horror fans rightly revere Wes Craven as a legend, a master of horror, the man who gave us iconic and genre-defining works like A Nightmare on Elm Street, Scream, and The Hills Have Eyes. If there was a Mount Rushmore for scary movie guys, his face would be on it. But in a 40-year career there are always going to be misses among the hits, and Wes Craven’s filmography is about as bumpy as a desert road trip in a Wes Craven movie. (Remember Vampire In Brooklyn? Or My Soul to Take? Or The Hills Have Eyes 2? We do.)The director hit a particularly rough stretch of road following the success of Scream 2 and 1999’s kinda-sorta-well-received play at Oscar glory, Music of the Heart, an earnest inspirational-teacher drama starring Meryl Streep. In 2000, he released Scream 3, the first and only Rotten entry in that franchise, and followed that up with Cursed, a so-bad-it’s-actually-fabulous-in-retrospect attempt by Craven and Scream writer Kevin Williamson to revive the werewolf genre… by making a Scream rip-off with snouts. (Production was a complete mess on the project, largely thanks to interference from the Weinsteins, and it shows.)By 2005, the only way for Craven was up, and – cue airplane metaphor – Red Eye allowed him to soar. Liberated from studio interference and overwhelming expectations – he wasn’t being asked to close out a beloved trilogy or kickstart another subgenre renaissance – Craven brought his formidable talent for suspense to a smart and self-contained script by Carl Ellsworth, and showed his often too-unsung ability to bring the best out of young actors. Critically lauded as one of the tightest, most nerve-racking thrillers to come along in years, Red Eye was a reminder that the master still had a knack for terror – no matter the altitude.It’s Anchored By Two Great Performances (Photo by © Dreamworks)It’s a testament to Cillian Murphy’s skill as an actor that we don’t dismiss him – or the film, really – the instant we learn his villainous character’s name is “Jackson Rippner.” Murphy, whose 2005 would include his entrée into the mainstream playing Scarecrow in Batman Begins, is all alluring mystery as he flirts in the check-in line and over drinks at an airport bar, and when the script turns, he makes a seamless transition to pure menace. But the movie ultimately belongs to this two-hander’s other hand, Rachel McAdams, fresh off of The Notebook, showing the same steeliness and pluck audiences loved in that film as she tangles with an altogether different kind of male pursuer. Like Rippner, her Lisa undergoes a transformation as the plane races towards Miami: From exhausted daughter allowing herself a little fun to terrified prey, and, ultimately, resourceful final girl, and McAdams delivers on every note. By the time the film devolves to a Scream-a-like in its house-bound finale – or ascends to it, depending on your tastes – you find yourself rooting for her just as you would a bloodied, bruised, but still-standing Sidney Prescott or Nancy Thompson.It Perfectly Captures the Nightmare of Post 9/11 Travel(Photo by © Dreamworks)Craven was an expert when it came to perfectly encapsulating an era s fears, and Red Eye is no exception. Flying in the years after 9/11 was a source of serious anxiety for many Americans onto whose brains the images of that tragic day were still freshly etched. That anxiety was stoked throughout the 2000s by reports of unsuccessful terrorist attempts – Richard Reid’s failed shoe-bombing among the earliest – involving commercial flights and airports. The palpable national fear around air travel led to many things: The time-consuming security measures we undergo when we fly; some awful racial profiling by passengers and authorities; and, of course, several movies that tried to mine that fear for cinematic thrills.In 2005, Red Eye did just that, along with the bigger-budget Flightplan, starring Jodie Foster as a mother who wakes up mid-flight to discover her six-year-old daughter has disappeared. (Author side note: On a flight back in 2005 I was awakened mid-flight BY Jodie Foster lightly bumping my shoulder as she took her child to the bathroom!) But Red Eye was the more successful of the two, critically if not commercially, because it hit the nerve harder and more directly. Where Flightplan’s tale was complicated, confused, and conspiracy-focused, Red Eye was born directly from the very simple questions many travelers were sweatily asking themselves as they took their seats: Who am I sitting next to? What if I’m on that flight? Would I fight back – or cower?The movie also gets the more general horrors of modern-day air travel spot on, with nods to the draconian security process – “Flying’s so much fun these days!” – and one of cinema’s most realistic renderings of coach class. Just watching Lisa squeeze herself down the aisle as other customers sardine themselves into the cabin, over-stuff the overhead, and, in one particularly visceral cutaway, slurp up a box of noodles… I shiver every time.It’s A Not-So-Veiled Dig At Corporate America(Photo by © Dreamworks)In one sense, Red Eye is a high-octane game of cat-and-mouse between a psychotic terrorist and a resourceful final girl; in another, it’s about two cogs in two different corporate machines trying to satisfy their employers and getting in each others’ way in the process. Because that really is the crux of what the two characters are doing: Lisa, the ever-diligent employee, who’s seen constantly solving problems for her mega hotel and its customers, is willing to risk her own father’s life to try to avoid harm coming to either; Jack is the mid-level manager who’s been given an assignment – get Lisa to change the room – and will stop at nothing to keep a client satisfied. The client just happens to be some sort of terrorist organization.Jack in particular becomes a kind of maniacal embodiment of make-the-sale-at-any-cost corporate culture – he’s the knife-wielding version of a Wall Street banker in some respects – and at one point leans in to tell Lisa they may not be so different. “I never lied to you, Leese,” he says, as she struggles for air. “Know why? ’Cause it doesn’t serve me. We’re both professionals. We have the will and means to follow through. ’Cause when we don’t, our customers aren’t happy. And when they’re not, we suffer and our lives go to s .” I swear I ve read that in a corporate training packet somewhere The Ending Is Bonkers, In a Good, Polarizing, and Craven-y WayAt the time of its release, a number of critics pointed out that the thriller’s finale feels out-of-step with the taut, disciplined film that precedes it; when the plane lands, the intimate suspense Craven built up in the fuselage is traded in for an elaborate chase sequence that takes us through the airport and eventually to Lisa’s father’s house where Rippner grabs a knife and gets all Ghostface on us. There’s hiding behind walls, and creaking doors, and falling while running away, and a pretty great he’s-behind-the-door jump scare. It s all a bit ridiculous.Why does it work? Because for all of its incisive mining of post-9/11 fears, its light social commentary, and its tight script, Red Eye has an air of the ridiculous right from the get-go. Everything in the film is heightened to an almost surreal, wink-wink level: Think Jayma Mays’ hilariously frazzled hotel receptionist; Colby from Survivor showing up as a cartoonishly stoic bodyguard; almost every other passenger on the flight rendered as if plucked from an SNL skit; and the overall terrorist plot itself. Just when you think that having a government official moved to a penthouse suite so that it’s easier for terrorists to blow up his room with a surface-to-air missile is straining credulity, said terrorists retrieve their missile by fishing it out of the water with… a few regular fishing rods.The movie’s climax is only out of step if you weren’t paying attention to the movie itself. It is excessive, and, yes, it has more than just echoes of Craven’s previous work, but it’s also a release; the director eschews a tighter, neater, subtler ending to give the audience what they want, making a meal of the tension he s built throughout and throwing on a second dessert of slasher fun just because he can.And Craven can, which is the other exciting thing about this finale. It is tense and scary and delicious. After two public failures, and with his ability to jolt us out of our skin in question, the master gives us 15 minutes of what he does best, reminding us he s indeed still a master. Just because he can.Red Eye was released on August 19, 2005.
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(Photo by Apple)Netflix, Amazon, and now Hulu have both become synonymous with prestige TV, but there s one giant tech company not far behind the two streaming services — at least in theory. In the past year, Apple has made moves to compete with Netflix, Hulu, and premium cable channels (like HBO and Showtime) for the peak TV crown in 2019.With more TV series — and places to watch them — than ever, Apple is putting a reported billion toward adding to the peak TV pile. While the company began its foray into scripted series with two current shows offered through Apple Music — the tech-themed Shark Tank–esque reality competition Planet of the Apps and Carpool Karaoke: The Series — the competition really ramped up when it hired veteran TV executives Zack Van Amburg and Jamie Erlicht in June 2017. The duo formerly ran Sony Pictures Television, the studio that brought the world Breaking Bad and The Crown.Van Amburg and Erlicht have engaged in aggressive bidding wars for some of TV s hottest projects, according to a New York Times report, and will likely surpass its reported budget in doing so. With more than a dozen projects currently in the works, it s clear the company is ready to spend money to compete with TV s current titans. (Planet of the Apps, which featured guest judges including Gwyneth Paltrow and Jessica Alba, didn t get much critical acclaim when it debuted in June 2017. Carpool Karaoke: The Series, a spin-off of James Corden s popular Late Late Show segment, has been ordered for a second season.)(Photo by Apple)Apple held a star-studded launch event at its Cupertino, Calif. headquarters in March to announce its new streaming product and original series offerings. Stars including Steven Spielberg, Reese Witherspoon, Jennifer Aniston, Steve Carell, Jason Momoa, Alfre Woodard, J.J. Abrams, Sara Bareilles, and even Big Bird were present for the Apple TV+ presentation. The service is scheduled to roll out its programming on Nov. 1.RELATED: Everything To Know About Apple TV+ Below, we ve rounded up a list of all the titles that are headed to or intended for the tech giant. Some are in development, while the others are series orders (and have even completed filming). Read on to find out who the players are and more about the shows.UPDATED (9/11/19): Apple s latest event revealed pricing and launch date information for Apple TV+. Check out the updated list of everything we know below, including which shows will debut at launch, which are coming soon, and which are still in the works.Launching Nov. 1The Morning Show(Photo by Apple TV+)Talent: Witherspoon and Aniston are both set to star in and executive produce the drama, which was one of the first scripted series Apple announced. While Jay Carson (House of Cards) was originally signed on to write the project, he has since departed and Bates Motel boss Kerry Ehrin took over. Steve Carell will play the male lead.What it s about: The morning show drama has already been ordered for two seasons and 20 episodes and will draw background from Brian Stelter s book Top of the Morning: Inside the Cutthroat World of Morning TV.Chances it ll be a Certified Fresh hit: With the star power and bona fides of Big Little Lies star and producer Witherspoon and Friends vet Aniston, plus the creative power of Ehrin, it s almost too big to fail. Then again, the drama surrounding Carson s departure is never a good sign (Photo by Apple TV+)Talent: Jason Momoa and Alfre Woodard star in the series, which was written by Peaky Blinders creator Steven Knight and directed by Francis Lawrence (The Hunger Games).What it s about: The show is set in a post-apocalyptic future where the human race has lost the sense of sight.Chances it ll be a Certified Fresh hit: Momoa is a fan-favorite star, and with such high-caliber talent attached, this could go very, very well. (But since it s got such an ambitious plot, there s also plenty of opportunity for things to go very, very wrong.For All Mankind(Photo by Apple)Talent: Battlestar Galactica and Outlander creator Ronald D. Moore has teamed up with Matt Wolpert and Ben Nedivi (Fargo) for the still-untitled series.What it s about: The drama, which has been ordered straight to series, explores what would have happened if the global space race had never ended.Chances it ll be a Certified Fresh hit: Between BSG and Outlander, Moore certainly has both the cred and the goods to assume he ll deliver on this one, too.Dickinson(Photo by Apple)Talent: Hailee Steinfeld and Jane Krakowski are set to star as young poet Emily Dickinson and her mother, respectively.What it’s about: The series is a half-hour comedy that “is set during Emily Dickinson’s era with a modern sensibility and tone. It takes viewers into the world of Emily, audaciously exploring the constraints of society, gender, and family from the perspective of a budding writer who doesn’t fit in to her own time through her imaginative point of view,” per Deadline.Chances it’ll be a Certified Fresh hit: The star power is great, but the series logline is a little out there. We’ll have to wait and see to reserve judgement.Helpsters(Photo by Apple)Talent: Sesame Workshop is producing the series, which was announced at the Apple event by none other than Big Bird.What it s about: The preschool-targeted series will be an educational program about coding.Chances it ll be a Certified Fresh hit: If Sesame Street can continue educating children a half a century after its original launch, there s no reason to believe this new series won t work.Snoopy in Space/Peanuts STEM Series(Photo by Courtesy of DHX Media)Talent: Charlie Brown, Lucy, Pigpen, Snoopy — you know, all your favorites from Charles M. Schulz s Peanuts gang — will be the focus of this new series.What it s about: The first series from Apple s deal acquiring the rights to the famous characters will be a science- and math-oriented short featuring Snoopy as an astronaut. This and other new originals with be produced with DHX Media, a Canadian production company that owns a large portion of children s content, also including Yo Gabba Gabba! and the Teletubbies.Chances it ll be a Certified Fresh hit: You can t really go wrong with such beloved characters.Ghostwriter(Photo by Apple TV+)Talent: Agents of S.H.I.E.L.D. veteran Brett DaltonWhat it s about: According to the official description, this is a reinvention of the classic 90s children s series following four kids who are brought together by a mysterious ghost in a neighborhood bookstore, and must team up to release fictional characters from works of literature. Chances it ll be a Certified Fresh hit: While beloved to a very small group of people who grew up in the 1990s, the series doesn t necessarily have much recognition outside that circle. We ll have to wait until it debuts to find out whether the concept transfers to a new generation.Launching SoonM. Night Shyamalan Thriller, Servant(Photo by Apple)Talent: M. Night Shyamalan is executive producing and will direct the first episode of this series, from writer Tony Basgallop.What it s about: As if the king of big twists would reveal anything about his psychological thriller! Good to note: The first season will consist of 10 half-hour episodes and has been ordered straight to series.Chances it ll be a Certified Fresh hit: This one, like Shayamalan s movies, depends on execution. Will it be a Sixth Sense or a Lady in the Water? Only time will tell.Truth Be Told(Photo by Apple)Talent: Octavia Spencer is set to star in the drama, which is produced by Reese Witherspoon, created and written by Nichelle Tramble Spellman (The Good Wife, Justified), and based on true-crime novel by Kathleen Barber. Sarah Koenig, creator of the podcast phenomenon Serial, is consulting. Aaron Paul plays the male lead.What it s about: Truth Be Told (formerly, Are You Sleeping ) provides a unique glimpse into America’s obsession with true-crime podcasts and challenges its viewers to consider the consequences when the pursuit of justice is placed on a public stage. Spencer plays a disgraced journalist who returns to her hometown and revisits a case in which she played a pivotal role in her early career. Paul plays a man Spencer s character helped put behind bars — but he could potentially be innocent of the crime.Chances it ll be a Certified Fresh hit: There s a reason true-crime stories are so engrossing, and if this series can capture the source of that fascination, then it should thrive.Little America(Photo by Apple)Talent: Kumail Nanjiani and Emily V. Gordon, the husband-and-wife team behind indie hit The Big Sick, are developing this series for Apple.What it s about: The anthology series is based on Epic Magazine s series of the same name, described as a small, collective portrait of America s immigrants — and thereby a portrait of America itself. 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(Photo by Dimension Films/courtesy Everett Collection)All Hayao Miyazaki Movies RankedBeyond the awards, beyond the box office, how do you know the films of Hayao Miyazaki are beloved and universal the world over? Scroll through his filmography on Rotten Tomatoes and you ll find nary a Rotten rating. In fact, there isn t even anything below 80%! It s a sign of how far-reaching and influential his works are, made alongside his band of mad, merry animators at Studio Ghibli, whose tales of empathy, kindness, and bravery touch far beyond the borders of Japan.Though Miyazaki is synonymous with Studio Ghibli, here we re focusing only on his efforts as a feature film director, which started in earnest even before Ghibli was formed. 1979 s Castle of Cagliostro was a calling card that a talent had broken through the ranks of TV (where he had worked for two decades as an animator), adapting the long-running Lupin the 3rd charater into a rousing, action-packed heist adventure. By the time Miyazaki s next feature came out, 1984 s Nausicaa of the Valley of the Wind, Studio Ghibli was up and running to deliver everything the film required, elements that would become Miyazaki s trademarks: a female-centric story, fleets of airborne transportation, plenty of lush flora and cute fauna, and an ecological bent exploring man s frequently destructive relationship with nature.What followed was a veritable hit parade of classics: Castle in the Sky, the closest Miyazaki ever got to working in Spielberg mode; Kiki s Delivery Service, a sweet and charming coming-of-age witch story; Porco Rosso, a deeply romantic tale of cursed pigs and dogfights over the Adriatic; and Princess Mononoke, the violent action epic of the war between the natural world and human technological progress. It all reached its arguable cultural zenith with Spirited Away, the Alice in Wonderland-esque tale of a young girl lost in a world of spirits, which won the Best Animated Feature Oscar and topped our list of 140 Essential Animated Movies ever.Miyazaki has spent the last two decades oscillating between retirement and returning to Studio Ghibli every time the pull of delivering another animated masterpiece became too strong (it s appreciated!), giving the world the likes of Howl s Moving Castle, Ponyo, and The Wind Rises. He s currently back in not-retired mode, working since 2016 on How Do You Live?, an adaptation of the 1937 children s novel of the same name. As Miyazaki turns 80, we rank all of his movies by Tomatometer!
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(Photo by Mary Cybulski/Marvel Studios)FALL 2021 TV SURVEY: 30 MOST ANTICIPATED NEW SHOWSFor Rotten Tomatoes’ annual Fall TV Survey, we asked our users what they’re most looking forward to in the coming TV season and to reflect on the best shows from seasons past. Over 1,000 of them got back to us with their picks for fall.Next in our Fall TV Survey, we asked which new shows fans are excited about. Again, readers were allowed more than one vote; though some of the titles may have been less familiar to them and their choices were based on short descriptions of each.Marvel’s Hawkeye on Disney+ came out on top in our list of new fall shows fans are most looking forward to, followed by Dexter: New Blood, Only Murders in the Building, animated Star Wars: Visions, and Peter Jackson’s The Beatles: Get Back at No. 5 on our list.You — like many of our respondents who wrote-in additional titles — might be asking yourself where Star Wars series The Book of Boba Fett is on our list; it s a title that we couldn t nail down as specifically a fall title. Disney+ may gift us with it closer to Christmas.Read on to find out all of Rotten Tomatoes users’ most anticipated new series.Disagree with the survey results? Tell us in the comments who you think should have made the list or have been ranked higher.
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Like many who have come before her, director Melina Matsoukas began her career behind the camera in the music world, crafting award-winning videos for the likes of Beyoncé, Ne-Yo, Lady Gaga, and Katy Perry, before she went on to helm episodes of critically acclaimed TV series Insecure and Master of None. It was on the latter that she first worked alongside Lena Waithe, most notably on a pivotal Thanksgiving episode centered on Waithe s character, Denise. The two of them reunite for this week s Queen Slim, Matsoukas feature directorial debut and Waithe s feature writing debut, and critics are calling their new collaboration a success. Daniel Kaluuya and Jodie Turner-Smith star as the titular duo, a young Black couple on a first date who are pulled over by a cop presumably for a routine traffic stop. The situation escalates quickly and erupts into violence, and when the cop ends up dead, Queen and Slim flee the scene and become heralded as a modern-day Bonnie and Clyde when video of the incident goes viral. Critics say Queen Slim is a provocative examination of timely issues that tackles its potentially thorny themes thoughtfully, but also roots them in a gripping drama bolstered by powerful performances from its two leads. It may not necessarily be an ideal post-turkey pick-me-up, but it should be rewarding to viewers willing to engage with it.
(Photo by Paramount Pictures. Thumbnail image: MGM, Warner Bros.)15 Fresh Olivia de Havilland MoviesOlivia de Havilland, the enduring icon of Hollywood s Golden Age, made her big screen debut in 1935 s A Midsummer Night s Dream at age 19. Barely out of high school, de Havilland was literally doing the same play in community theater just the year before. She was quickly signed into a studio contract with Warner Bros., where she was paired with Errol Flynn, igniting one of the top on-screen romantic couplings of the era.Released the same year as Midsummer, the first of their movies was Captain Blood, the swashbuckling classic that has excited audiences and critics for generations. De Havilland would be legally bound to Warner Bros. until 1945 after an acrimonious, lawsuit-filled split, but the 10-year triangle between she, Flynn, and Warners would produce a bounty of Fresh films, including The Charge of the Light Brigade, The Private Lives of Elizabeth and Essex, and The Adventures of Robin Hood. The latter 1938 movie was by far their most successful outing, a grand, colorful, Best Picture-nominated adventure. We called it one of the 300 Essential Movies you need to watch.Despite the steady roles and growing fame Warner Bros. provided, she flourished most creatively whenever escaping the binding clauses. She was loaned out to MGM for 1939 s Gone With the Wind, where she got her first Oscar nomination as Southern belle Melanie Hamilton. Similarly, she was seen by the Academy when working with Paramount in 1941 for the political romantic drama Hold Back the Dawn. After being released by Warners in the mid-1940s, shrewd role selection got her recognized for the rest of the decade, as she won the Best Actress Oscar for 1946 s To Each His Own and 1949 s The Heiress.1964 s Hush Hush, Sweet Charlotte would be her final Fresh movie (she would appear in just five more overall before retiring by 1980). It s a cracked-up psychological thriller starring other Golden Age legends – Bette Davis! Joseph Cotten! Agnes Moorehead! Mary Astor! – whose behind-the-scenes drama compares to the brazen madness on display. And now, we celebrate the life and career of true Hollywood royalty by presenting 15 Fresh Olivia de Havilland movies.
Mad Max is pretty tough, but would he have survived high school? A nuclear apocalypse seems easy next to the ravages of teen angst. Netflix’s new original series Daybreak combines the two when high school kids fight to prove their mettle after a nuclear explosion takes out Glendale, California.Colin Ford (Supernatural) plays Josh Wheeler, a new kid at school who has a hard time fitting in. The apocalypse actually helps him, because without classes, teachers, and cliques, the teenagers can just form apocalyptic wasteland gangs. The show cuts between Josh’s time in high school and the apocalyptic present, with Matthew Broderick playing the Glendale High principal.Ford spoke with Rotten Tomatoes by phone about his apocalypse fantasies, speaking directly to the camera just like Broderick’s Ferris Bueller, and what he likes to watch on television and streaming.WHAT IS APPOINTMENT TV FOR YOU?(Photo by Jessica Miglio/Netflix)I’m not really like a big cable guy. I have cable, but I’m really bad at DVRing, so I kind of watch stuff a little bit later. I think whenever shows drop, I’m quick to watching them. When the new Ozark season came out, I finished that almost immediately.WHAT IS ON YOUR DVR?(Photo by Fox)I do [have a DVR] at my mom’s house, but I’m traveling a lot so it’s rare that I’m at it. I’m a big fan of Fox’s show The Masked Singer. That’s my guilty pleasure show. That one’s pretty funny. I like seeing which celebrities are underneath these ridiculous masks. I also watch The Rookie. That one’s a cool show. I like that. There’s another show with Stephanie Szostak on it, who played my mom in a film years ago. She’s on a show called A Million Little Things, so I love supporting her on that show.WHAT IS IN YOUR STREAMING QUEUE?Probably No. 1 is The Society. I have a friend, Kathryn Newton, in that and I’m a big fan of that show. I just watched the final season of Orange Is the New Black, and I actually still have one episode left, so I’m excited to see how that ends. I know people are probably way past this but I just recently caught up on The Assassination of Gianni Versace and loved that. I started rewatching some of the Breaking Bad episodes for when El Camino came out, so that I had a good grasp on what had happened before. That was such a fun rewatching experience, because El Camino was crazy. I loved watching that.WHAT IS COMING SOON THAT YOU CAN’T WAIT FOR?Daybreak, my show. I’m really excited about that. I have a friend, Kodi Smit-McPhee who’s in the show, in a film that comes out on Netflix on Friday called Dolemite Is My Name so I want to see that. I’ve only seen the first five episodes of Daybreak actually so I really am looking forward to seeing the last five episodes.(Photo by Ursula Coyote/Netflix)Fred Topel for Rotten Tomatoes: Do you share my I Am Legend fantasy where I really think I’m going to be Will Smith as the last person left on Earth?Colin Ford: I think that you’re the first person to understand and tap into my idea of the apocalypse so kudos to you. I think that I would thrive in the apocalypse. That was a great apocalypse. What about The Walking Dead–style apocalypse or is that too dangerous for you?I don’t think zombies are any worse than I Am Legend, because they both have monsters. For me, it’s all about going out and gathering supplies in the empty supermarkets and malls.Yeah, I think that Costco would be my first go-to spot.(Photo by Ursula Coyote/Netflix)Was breaking the fourth wall and talking to the audience a challenge? Did you talk to Ferris Bueller about it? Did he give you tips?It’s funny that you mention that. One of my first conversations with Matthew Broderick on set went as follows: We were sitting in our cast chairs. So he asked me, “So you’ve been talking to camera?” I said, “Yeah, I have.” He said, “How are you finding that?” And I said, “Well, I’m finding it well, thank you. One of the more challenging parts about it is the fact that you can see your reflection.” Before I could even finish my sentence he goes, “ the fact that you can see your reflection in the lens.” I was like, “Yes! You immediately start to want to analyze what you’re doing.” He’s like, “Yeah, you’ve just got to block that out and get past it.” So it was really endearing to hear that he’d undergone the same experience, that I was normal for having an issue with that and I worked through it.You’ve got to let it go and shake it off. There’s really nothing you can do to avoid it and sometimes you can angle your body in a way that you kind of miss the reflection so sometimes you try to do that, but with natural movement you slip back into frame and you just got to move past it.(Photo by Netflix)What can people look forward to in Daybreak?Something that is kind of cool about Daybreak is everyone is decked out in the clothes that best describe how they feel on the inside. Everybody went out in the apocalypse and grabbed a cool weapon or a cool vehicle that made them feel like themselves. The apocalypse allows everyone to be the version of themselves that they always wanted to be. It’s all about finding your tribe, and I hope everyone at home is inspired after watching it to find their own tribe.Has Supernatural asked you come back for one last flashback as young Sam?Oh, man, wouldn’t that be amazing? I don’t want to get anybody’s hopes up or deter anybody, but no, I will not be coming back for the last season as of right now.Daybreak is now streaming on Netflix.
If the April showers (and the general state of the world) have got you down, don’t forget that there’s always new friends to be made on the small and streaming screen. This month sees the returns of some old favorites after coronavirus-related production delays, along with final outings for two fan-favorites and sophomore efforts from the new shows on the block. Now get to binging!
亚博手机APP官方下载 The Dark Universe may be over, but there was a lot of light on Leigh Whannell and Elisabeth Moss this weekend. The Invisible Man achieved two things this weekend. For one it has already outgrossed every horror film so far in 2020, six wide releases in all, that have failed to draw interest in even their devoted base. Secondly and maybe even more impressive, it’s 90% on the Tomatometer makes it the best-reviewed wide release of 2020 to date by more than ten points. King of the Crop: Invisible Man Opens Strong, No SurpriseWhannell’s interpretation of the H.G. Wells novel and classic Lon Chaney film was right in line with expectations this weekend, if just a tad higher. The Invisible Man is far from one of Blumhouse’s bigger openings 13th place overall in fact. But a million opening on a million budget is easily another win for the production company and Universal. Add in another million overseas and it has already made seven times its production budget alone. Paul Verhoeven’s Hollow Man opened to .41 million in the late summer of 2000 and went on to gross .2 million even with an awful 27% rating from critics. Can word-of-mouth catch on to put The Invisible Man into that territory?Interesting factoid that among the Blumhouse productions to open to million or more (16 in all that include four Paranormal Activity films, three Insidious, three Purges and three Shyamalans) only four of them (Get Out, Paranormal Activity, Split and Glass) managed a 2.6 multiple or higher over their opening weekend. Whannell’s film is also only the second film on that list to score over 90% with critics. With an average multiple on that list of 2.67, we’ll set the first estimate on Invisible at million. Fresh Surprise: My Hero Academia Rises (Photo by Funimation)Funimation released the anime feature My Hero Academia: Heroes Rising on Wednesday where it opened to .52 million. Through its first five days in 1,275 theaters it is up to .5 million. This may not be quite as big as their release of last year’s Dragon Ball Super: Broly which started with a .23 million in its first five days (including a .81 million weekend), but that also was over the MLK holiday which boosted just a tad. When the anime studio released My Hero Academia: Two Heroes in September 2018, it opened on a Tuesday to 7,636 and had grossed .96 million through the weekend in six days, so this is certainly a step up and a growing trend that fans are here for it. Rotten Returns: Wendy Fails To Fly(Photo by Searchlight)Benh Zeitlin’s Peter Pan interpretation, Wendy, did not do much for Searchlight Pictures this weekend. Only grossing ,000, that is one of the worst showings in the studio’s history for a film released in four theaters, ahead of only Dom Hemingway (,276) and I, Origins (,652). Its 40% rating with critics is also less than half of Zeitlin s Oscar-nominated Beasts of the Southern Wild (87%).The Top 10 And Beyond: Sonic Still Spin Dashing For DollarsParamount’s Sonic the Hedgehog took second place this weekend with million. Its total of 8.3 million after 17 days is the 9th best ever for a February opener. Sonic is up to 5 million worldwide putting the film into profit this weekend and putting it on a path to join some of the successes the studio had last year such as Rocketman, Crawl and Pet Sematary.Disney’s 20th Century Studios’ The Call of the Wild was actually besting Sonic from Monday-to-Thursday but it drifted behind again. That is hardly the best news for this expensive project. million domestic plus another million internationally = a pretty gigantic bomb. It may ultimately pass Dolittle on the red chart in the books, but not by a whole lot. This latest adaptation of Jack London’s story currently sits around Bridge to Terabithia and Eight Below for February-based family films after ten days, but had a weaker second weekend than either of them which suggests a final gross in the million range. That would normally be pretty solid. Except this is a 5 million production that may not even gross much more than half of what the Robert Downey Jr. animal film has done worldwide (5 million). That will make it unavoidable when people look back on 2020 making the list of the biggest losers of the year.In better news, Sony’s Bad Boys for Life is poised to pass the 0 million mark by next weekend. It has reached 0 million worldwide. Universal’s 1917 is over 2 million worldwide, 5 million of that in the U.S. Then as we have reported for weeks the news for Birds of Prey is just not good, on pace as we suggested last week between -92 million final.Finally we have the last stands for two of this year’s horror entries. Fantasy Island is on its way out of the top ten and is going to settle for somewhere in the Happy Death Day 2U range of million. Brahms: The Boy II looks unlikely to reach million as it made as much as Impractical Jokers: The Movie did in their second week expansion to 1,705 theaters. .5 million for the practical joke TV series gone feature brings its total up to .6 million. Not exactly Jackass money, but still not too shabby.Neon can take pride in not only having a Best Picture winner under their belt in Parasite, but it is now just the fifth film not in the English language to gross over million in the U.S.
Watch: Directors Joe and Anthony Russo on the making of Avengers: Infinity War above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, directors Joe and Anthony Russo break down how they created one of the movies most shocking cliffhangers. VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Avengers: Infinity War (2018) 85%Avengers: Infinity War was something moviegoers had never seen before: an epic movie crossover event that dwarfed the two previous Avengers films in scale and ambition and threw more beloved characters at the screen than perhaps any other movie in history. Also, uniquely for a film about a (very large) band of (very beloved) superheroes, it centered its narrative around its singular villain, one that Marvel Studios president Kevin Feige and the filmmakers of the Marvel Cinematic Universe had been seeding for years: “Thanos is coming” isn’t just the panicked warning of Bruce Banner in Infinity War’s early scenes, it was the tease Marvel had been giving us since Phase One. And Infinity War is the Mad Titan’s movie. It’s his search for the Infinity Stones that drives the narrative, and it’s the snap of his be-gloved fingers that ends it.Joe and Anthony Russo, who joined the MCU with The Winter Soldier, had a mammoth task with Infinity War. Not only did they have to set up a cliffhanger for the ages and provide, working with Josh Brolin, a villain worthy of so many years of buildup, but they were helming one of the most expensive movies ever made and a story whose threads and characters had mostly been established by other filmmakers across 10 years of movies. Here, the brothers explain how they prepared for Infinity War, the logic behind their narrative choices, and working with Brolin to create a villain for the ages – one with whom some might even sympathize.“The central idea of Civil War was for us to break up the Avengers and shatter that relationship between Steve Rogers and Tony Stark.”Anthony Russo: “Civil War is where [the story] started to come into our brains. The central idea of that movie was for us to we wanted to break up the Avengers and shatter that relationship between Steve Rogers and Tony Stark. As we were executing it and we realized how well we were sort of achieving that on an emotional level with the characters, that s when I think our brains started to open up to, ‘My God, they re so vulnerable now.’ Now, you re like, what happens when Thanos comes? And that s when our brains started stepping through where the story could go.”In Civil War the Avengers are divided. (Photo by © Walt Disney Studios Motion Pictures, © Marvel Studios)“We very thoroughly explore a lot of different ideas before we lock into what s exciting us most.”Anthony: “Our process is to spend many, many, many months in that room with [writers] Christopher Marcus and Stephen McFeely, with Kevin [Feige], talking through different story ideas, different possibilities. We very thoroughly explore a lot of different ideas before we lock into what s exciting us most. So, at some point [while writing Infinity War], yeah, sure, there are many variations [of what could happen], but once the story starts to take shape it really forms in a muscular way around a single idea. And then we spend months working on that.”“I think a lot of people respect Thanos’s monastic dedication to his task. He ll die for it.”Joe Russo: “[Thanos is a] complicated character. He s a profoundly interesting villain who is equal parts empathetic and loathsome. He s also frightening and intimidating and nearly invincible. He s driven, philosophically driven. I think a lot of people respect his monastic dedication to his task. He ll die for it. And what s interesting about the end of that movie is he shuns all materialism. He s got this amazingly powerful gauntlet that can alter the very fabric of the universe, and he retires to a shack, you know, clearly on some desolate planet.”For the Russos, Infinity War was Thanos s story. (Photo by © Walt Disney Studios Motion Pictures, © Marvel Studios)“We did tests with Josh Brolin where he would come in, perform, and we would work on it for several months and try to figure out the best version of it.”Anthony: “We knew we wanted to center the movie on the character, and we knew that we can only do that if we pulled off the most realistic-feeling performance that you could possibly imagine in a movie. So, we started very early on with our visual effects team, specifically our visual effects supervisor, Dan DeLeeuw, and trying to figure out how the technology can work and we can actually achieve this. We did a lot of tests, we did tests with Josh Brolin where he would come in, perform, and we would work on it for several months and try to figure out the best version of it. So yeah, that character was built methodically over the entire span of the development of the film.”The Moment: Thanos SnapsThough the world knew Infinity War was one half of a two-part Avengers epic, both parts of which were shot concurrently, few believed the movie would end the way it did: with half the universe dusted – and with some of most beloved MCU characters among the fallen. It was unfathomable. Thanos… won? Shocked audiences wept through the credits – comforted somewhat by that brilliant Captain Marvel teaser – and took to social media to express their despair through every variation of crying/devastated memes. Then came the recriminations: Why the hell didn’t Thor go for the head? Peter Quill was totally to blame for this, right? It felt certain that the universe would be restored in about 12 months – Endgame would release almost a year to the day after Infinity War – but there was no certainty. After all, with “The Snap” the Russos and Marvel Studios showed the world nothing and nobody was sacred and anything was possible.Thanos has an almost monastic dedication to his mission. (Photo by © Walt Disney Studios Motion Pictures, © Marvel Studios)“There s no bigger way to write ourselves into a corner than killing half the characters.”Anthony: “We actually never thought of it as a cliffhanger. In our own brains, for us, we were telling a complete story, this was Thanos s movie, he was the lead of the film, and we gave him a complete arc – a proper ending.”Joe: “Anth and I, through our entire experience at Marvel, always tried to make very disruptive choices with each film. The end of Winter Soldier, good guys and the bad guys, we flip everything on its head. In Civil War we divorce the Avengers. With Infinity War we knew we wanted to make a strong narrative choice. There s an adage where you write yourself into a corner, and you try to figure out how to get out. That usually creates really dramatic moments for the audience. There s no bigger way to write ourselves into a corner than killing half the characters.”“As far as who went to dust, everything s always built upon story.”Joe: “The visualization was purely just we thought about the elemental aspect of your body and what happens to it. And that s sort of accelerating the decomposing process in a way. As far as who went to dust, everything s always built upon story. We ll just say that there s a reason the original six Avengers are left.”They Russos say the Snap was not a cliffhanger in their mind. (Photo by © Walt Disney Studios Motion Pictures, © Marvel Studios)“Tony Stark and Peter Parker developed a father-son relationship over the course of two films. We felt like that would be hard to watch.” Joe: “Spider-Man was my favorite character growing up; it was this notion of a child who had been burdened with this incredible responsibility and through very tragic circumstances, with the death of his uncle. So I think we always felt that would be [a key emotional moment]. Tony Stark and Peter Parker developed a father-son relationship over the course of two films. We felt like that would be hard to watch, and it was: it was hard to watch on set, and it was hard to watch for the audience, I think.”The Impact: Anything Is PossibleThe commercial success of Infinity War, and then Endgame after it, was monumental: Infinity War is now the fifth highest-grossing movie of all time, Endgame is number one. The impact of both goes beyond the box office, though: few movies, perhaps ever, have so dominated the pop-culture conversation. Infinity War was a global cliffhanger the likes of which we’d never seen and the feverish anticipation it built would be what made Endgame the most successful movie ever. As the culmination of the first decade of the Marvel Cinematic Universe, the two films cemented that brand’s dominance at the movies – something that looks set to continue with an exciting and expanding Phase 4 and 5. There is a sense that, with its universe-building and crossovers, Marvel and the MCU are changing the very nature – and certainly the business – of commercial cinema (for better or worse, depending on your perspective). For Joe and Anthony Russo, who have directed more films within the MCU than any other director or directing pair, the key to the brand’s success is less about the razzle-dazzle of special effects, or even about the narrative daring it takes to dust half of your leads – it’s about character. The reason the MCU is as massive as it is, and the reason Infinity War and Endgame are a kind of phenomenon, lies in our connection to Tony, Steve, Peter, Natasha, T’Challa, and, yes, even Thanos.Joe and Anthony Russo on set with Chris Evans. (Photo by Chuck Zlotnick / ©Marvel Studios 2018)“Mark [Ruffalo] turned around in the theater and he thought, ‘Alright, I gotta get out of here before someone hurts me.’”Anthony: “At the premiere and many of the early screenings that we attended, we anticipated the ending being complicated for people because it was complicated for ourselves, but no, we didn t anticipate the depth of emotion that people would experience from that ending.”Joe: “[Mark] Ruffalo was in a theater in New York, and he was in a cap and glasses, and he was there with his son and his son s friends, and he said when it got to the end, literally people just sat in the audience for 10 minutes and a guy ripped his shirt off and started screaming, Why?!’ at the screen. Mark turned around in the theater and he thought, ‘Alright, I gotta get out of here before someone hurts me,’ and he snuck out the side door. So we didn t expect that level of emotional response to it.”“In our minds, that s why the Avengers lost in Infinity War – the fact that they were divided.”Anthony: “Look, [Tony and Cap are] the heart and soul of the Avengers, you know. Tony is sorta like an extroverted leader and Cap is like the heart and soul, the moral core of them. For the two of them to have a falling out and have an irreconcilable problem was really devastating to the team as a whole. You know in our minds, that s why the Avengers lost in Infinity War – the fact that they were divided. They weren t functioning as a team in that movie any longer, so they weren t prepared for the universe s greatest threat. But the journey they re on is very much at the heart of the entire story.”Robert Downey Jr. in an early Infinity War scene. (Photo by © Walt Disney Studios Motion Pictures, © Marvel Studios)“All these characters have emotional vulnerabilities that complicate their ability to do what needs to be done.”Joe: “Part of telling stories is learning empathy. I don t know if people can empathize with Thanos, but they can empathize with Star-Lord – the love of his life was murdered by the guy in front of him, and he made a very emotional choice. I think that s the human choice, and that s the truthful choice that you would make in those circumstances. He paid for it with his life, Star-Lord.”Anthony: “Exactly. As storytellers, we find that one of the most empathetic moments in the story. Also, the other thing to focus on his choice, I mean all of these characters make flawed choices. If Thor had not been so angry, and so revenge-driven, he may have killed Thanos faster than he did. The fact that he wanted revenge, he wanted to see in Thanos s eyes as he was killing him, that gave Thanos a window to reverse things on him. All these characters have emotional vulnerabilities that complicate their ability to do what needs to be done. Us watching them fight through that is part of the fun.”Joe: “It s makes them interesting to watch. If all they did was make the right choice every time, it s a fairly predictable and boring story after a while.”Avengers: Infinity War was released April 27, 2018. Buy or rent it at FandangoNOW.