Joel MearesRotten Tomatoes Get To Know Your Nominees” series will provide an in-depth look at one nominee from each of the major awards categories – the four acting categories, and directing – diving into their highest-rated work from both fans and critics, essential titles from their filmography, and featuring thoughts on their nominated film drawn from an extended interview. The Nominee: Regina KingFor some people, she’ll always be Brenda from 227. Regina King got her first acting credit in the series that starred Marla Gibbs, who had played maid Florence in The Jeffersons, and which ran from 1985-1990. Her performance as Gibbs’ character’s daughter, Brenda Jenkins, is beloved, especially in the African American community. While other actors might be a touch irritated to be best remembered for their earliest work, King is unbothered. These days, that is. “It took a couple years for me to get to the point of not becoming offended by it, King told Rotten Tomatoes when we sat down with her in November. but now I’m like, Why would I be offended by that?”She may not have to bother asking that question soon, with a new role – that of caring mom Sharon in Barry Jenkins’ adaptation of James Baldwin’s If Beale Street Could Talk – quickly becoming her most career-defining, and putting her at the front of the pack of likely Supporting Actress nominees come Oscar time. Last week, she was nominated for a Golden Globe for the role. As she crisscrosses the country promoting the film, all while filming Damon Lindelof’s upcoming Watchmen series for HBO – multiple projects and constant work are par for the course for the actress – we spoke with her about the roles that have led her here, from fan favorites to the most critically adored to those that, like 227, are essential to the Regina King story.Fan Favorites: A Scene-Stealing Tina Turner Show That Sticks in People s MindsWith Sandra Bullock in Miss Congeniality 2: Armed and Fabulous. (Photo by © Warner Bros. )Because of King s varied filmography, some fans only experience segments of her work. African American fans might recall her from Friday, Boys in the Hood, or Poetic Justice, while others may be more able to place her from her work in The Big Bang Theory, The Leftovers, or Miss Congeniality 2. King says she lets the work decide what to do next. “I want to be a part of a great story, work with creators that are collaborators, that want me, and everyone else involved, to have some ownership and appreciate what we bring to the table,” she says. Perhaps that’s why John Singleton, Shonda Rhimes, Damon Lindelof, and countless others have repeatedly enlisted her services, in front of and behind the camera. Her last directing credit for the season 3 finale of Insecure, Ghost-like, was one of the highest-rated episodes of the season.Her reputation and talent have kept her booked and busy, but to this day it’s the awkward-turned-awesome lip sync of “Proud Mary” from Miss Congeniality 2: Armed and Fabulous, that lives in the hearts of many a fan. It’s not something she would have predicted at the time – the film took a critical beating, with a Tomatometer of 15% – but it’s the one people always stop her to talk about. “When we were shooting that scene,” she recalls, “my son was on set. Sandra [Bullock] was in the peacock, we had all of these Tina Turner drag queens, and when he saw me – he just stopped. The look on his face [Laughs] It was the most fantastic moment. I had no clue at the time, but that should have been a hint of how [the film] was gonna last forever.” Certified Fresh Roles: The Heart of Jerry Maguire, and Her First Emmy“Show me the money!” may be the most often-quoted line from 1996’s Jerry Maguire. And it may be followed closely by the likes of “You complete me” and You had me at hello.' But ask us, and none of those is the film’s most memorable moment. That distinction belongs to a scene involving King. Playing Cuba Gooding Jr.’s wife Marcy, and delivering the hell out of Cameron Crowe’s dialogue as her husband lies motionless on the field, King is the heart of the movie. While on the phone with struggling sports agent Jerry [Tom Cruise] after a monster hit on Monday Night Football has laid out her husband, she cries, “My whole life is this family, Jerry, and it doesn’t work without him. Just do whatever you can. Just get Rod to me.”With Cuba Gooding Jr., in Jerry Maguire. King had given birth a few months before filming, and what she recalls most about Jerry Maguire is the generosity of everyone on set. “Tom was very much there. I applaud him. He’s an actor’s actor. My son Ian was about a month old, and when [Tom] was doing his side of that scene, I’m at home in a closet doing his off-camera on the phone. [For] my side, he was, I don t even think in the city at the time, but he was there on the phone. There… for me.” She adds: “It was so beautiful that Cameron wrote a story where the black couple was a partnership, they know who they are and love each other with all of their flaws, and their family with all of their flaws.” (We’d be hard pressed to find any family that would forgive Rod’s naysaying brother TP, but at least Marcy did get a few good slaps upside his head – just for the sake of balance.)Almost 30 years to the day since her debut on 227, King was finally honored with her first Emmy (for Best Supporting Actress in a Limited Series or Movie) for the Certified Fresh first season of American Crime. Beating out Angela Bassett, Mo’Nique, Kathy Bates, and Sarah Paulson on her first nomination, King was handed the trophy by Empire’s Taraji P. Henson and Terrence Howard, who both looked as pleased as she was about the win. King confessed she thought that a candid op-ed she had written in 2010 for the Huffington Post about the lack of minority representation in television would preclude her from future awards. “I pressed send on that draft believing – knowing – that I was never gonna be recognized by the Television Academy,” she says. Five years later, she was on stage accepting her first Emmy. “When the nomination came, it kind of floored me. I was like, Wow, I was wrong. As long as you’re honest and respectful when expressing your feelings, it s not gonna block the blessing. Since then the blessings have kept flowing, with a second Emmy win for American Crime and a surprise win just this summer for Netflix’s Seven Seconds. On stage accepting the award, King was clearly shocked and took a moment to gather her thoughts (the GIF is priceless). She then proceeded with her acceptance speech, remembering to thank Jesus in an echo of a joke told earlier in the night by co-host Michael Che, who said, “Black winners always thank Jesus.”The Regina King Essentials: The Boondocks and the Role That Could Land Her an OscarKing voiced Riley in The Boondocks. (Photo by © Cartoon Network / Courtesy: Everett Collection)When conversation turned to her famous (or perhaps infamous) voice work in controversial animated comedy The Boondocks, King was already way ahead of us. She laughed: “I knew we’d talk about The Boondocks.” Based on Aaron McGruder’s acclaimed comic strip – he also created the show – the Adult Swim series was light years ahead of its time. King voiced the two main characters, both young boys: Riley, the raucous would-be gangsta, and Huey, the bookish and socialist cynic. A memorable episode, in which the boys awaken an alternate-reality version of Martin Luther King Jr. 32 years after a failed assassination attempt, was so divisive it promoted some to call for The Boondocks cancellation. That same episode was later honored with a Peabody.With its exploration of race and identity politics, it’s almost staggering on a re-watch just how well the show’s dialogue from over a decade ago speaks to current events. “I was always amazed how we were able to stay culturally and socially relevant,” says King. “I don t know what that says about us as a country. But I’d love to see what both [boys] would say about having a black president.” She says that she and McGruder often talk about the possibility of a return. “The Boondocks voices are missed. That s the reason why people ask about it all the time, because it’s about Americans, and the people who love Boondocks aren t just black.”And that’s a huge part of who King is as a performer: her audience. Black people especially feel a particular kinship, a closeness with her; she’s been so many familiar black women over the years that many think of her as family. She’s our sister in Poetic Justice, our tipsy auntie on a viral appearance on Watch What Happens Live, and now our mom in If Beale Street Could Talk. As Sharon, the understanding and empathetic mother of central character Tish (Kiki Lane), doing everything she can to help her pregnant daughter free her jailed fiancé, King’s performance is exceptional and authentic.King as Sharon in If Beale Street Could Talk. (Photo by @ Annapurna Releasing)Sharon is arguably King’s meatiest role yet, and she sits at the center of the movie’s most quietly moving scene. In a wordless moment towards the end of the film, Sharon removes her wig in a defeated gesture that conveys more meaning than pages of dialogue. The camera acts as a mirror: she s looking right into us. At a recent Q A, King downplayed her contribution to the scene, but Jenkins quickly corrected her: “I love the way you answered that, but, my dear, please tell them what it is – it was your idea.” She explained the idea to us simply: “That was from my life experience. It was my grandmother and her wigs, how s she s wearing her hair at home, and how she s wearing her hair to run down to the store – or which wig she wears at church.”When referencing the scene, people often ask her about her awards chances. Is she ready? How is she handling it? When we ask that same question, King replies in a way that could apply to almost all of the credits in her decades-long career. “I m ready to continue receiving the love when people see this movie – and appreciating what being black in America looks like.”If Beale Street Could Talk opens in limited release December 14 and is released more widely on December 25. The Golden Globe Awards will be broadcast on January 6, 2019, on NBC. 代理手游回报率分析-投资成本。手游代理确实也需要一定的投资成本，因为我们代理的游戏不同，代理规模和合作方式不同，可能费用也会有一定的差异性。如果只是做基础的普通手游代理，那么个人代理前期投资大概在万元左右，而且有很多正规平台可供我们来推广、运营，还可以招募下线代理等，所以投资费用并不是很高，也比较适合小额投资。
To no one’s surprise, Frozen II led the Thanksgiving holiday with a five-day haul of 6.3 million, with .3 million of that coming over the weekend. That is the eighth-best second weekend of all time, wedged between Disney’s 2017 Beauty and the Beast (.4 million) and, well, Disney’s Incredibles 2 (.34 million). Overall, the film has grossed 7.6 million in 10 days, which is the 15th-best ever for 10 days, between Captain America: Civil War (5.96 million) and The Dark Knight Rises (7.11 million). It is the 25th film to have grossed over 0 million in its first 10 days of release. Only three of those films (Harry Potter and the Deathly Hallows Part 2, Furious 7, and Batman v Superman: Dawn of Justice) failed to reach 0 million total. Amongst the 12 other films to have million-plus second weekends, only one of them (Avengers: Age of Ultron) failed to reach 0 million total. However, only two of those movies opened in the holiday season (Star Wars: The Force Awakens and Avatar). Frozen II has already amassed another 1 million worldwide for a total of 8 million as it marches to become another billion grosser for Disney.Fresh Surprise: Knives Out Shows Original Films Can Still Murder At the Box Office It wasn t a total surprise for us at RT – we had placed it in the top 5 holiday earners in our winter box office preview – but Rian Johnson’s Knives Out surpassed all tracking service expectations by earning .7 million since opening Wednesday. The .7 million it earned over the weekend puts it amongst the top 20 Thanksgiving holiday weekends ever – and it is just the fifth film not rated “G” or “PG” to be on that list. Some 61 films have opened in November and grossed over million in their first five days; only four (Pokemon: The First Movie, Dumb and Dumber To, The Muppets, and Unbreakable) failed to reach at least 0 million total. That means Knives Out could join Hustlers, Once Upon a Time in Hollywood, and Us as the only films not based on a previous film or property to reach that milestone in 2019.The Top 10 and Beyond: Queen and Slim Gets a Solid Start, Word-of-Mouth Boosts Beautiful Day(Photo by © Universal)It was back and forth over the holiday for third place, but James Mangold’s Ford v Ferrari won the race with .22 million over the weekend and .99 million for the five days. No film opening in November to have grossed at least million in 17 days has failed to reach 0 million. Ford v Ferrari currently stands at million, but its magic number is still going to be around 0 million globally to find its way into profit. With just over 3 million internationally, it is still less than 60% of the way there.Marielle Heller’s A Beautiful Day in the Neighborhood got the word-of-mouth bump over the holiday we were expecting. It is now outpacing Roland Emmerich’s Midway, which just passed the million mark this weekend. Gothika, Starship Troopers, and The Nutcracker and the Four Realms are the only November films to have million after 10 days and not finish with at least million. Midway is looking to join that list given its third weekend (.95 million) was less than what those three films earned in their third weekend. Meanwhile, the Mr. Rogers film, which stands at just over million to date, had a better second weekend (.8 million) than any live-action film in November to have million or less by day 10 of wide release (aside from Jingle All the Way). This suggests that a final gross over million is still very possible for the million-budgeted film.The other newbie of the week was Melina Matsoukas’s Certified Fresh Queen Slim, which grossed .7 million over the weekend and .8 million over the full holiday. That is 0,000 more than what Widows had last year in its first five days before ultimately finishing with million. Last week’s cop thriller, 21 Bridges, is up to just .45 million after 10 days, which puts it in After the Sunset/Delivery Man territory. Its second weekend (.82 million) was about million less than the Vince Vaughn comedy and 21 Bridges may be up at around just - million when it leaves theaters. Finally, Todd Phillips’ Joker spent its eighth straight week in the top 10. It has passed 0 million domestic, .048 billion worldwide, and is Warner Bros. fourth-highest grossing film of all time. Joker also passed Pirates of the Caribbean: On Stranger Tides to become the 35th highest-grossing film of all time.This Time Last Year: Another Possession Could Not Scare Ralph From Top Spot(Photo by © Walt Disney Studios Motion Pictures)It was the weekend after Thanksgiving so grosses were down a bit, but still a lot of people were going to the movies. The only major new release was The Possession of Hannah Grace, which opened in seventh place with .4 million. Ralph Breaks the Internet was again on top with .56 million, passing the 0 million mark. The Grinch moved up to second with .92 million, enough to pass the 0 million line. Creed II fell back to third with .63 million and Fantastic Beasts: The Crimes of Grindelwald had the steepest fall in the top 10 (61.3%) to .36 million. The top 10 films grossed a total of 6.19 million and averaged 61.4% on the Tomatometer; this year’s top 10 grossed an estimated 6.98 million over the weekend and averaged 67.3% with critics.On the Vine: A Balloon Adventure and an Acclaimed Romance Set to Light Up Indie Box OfficeThe weekend after Thanksgiving is usually a dead zone for new releases and indeed only one film is going wide and that is the oft-delayed animated film from STX, Playmobil: The Movie. The million production was moved from January to April to August and then into December. It has grossed just .4 million in international waters to date, and may have trouble matching that here. In limited release, try to catch The Aeronauts on the biggest screen possible as it is not often you get a chance for a hot air balloon adventure with Felicity Jones and Eddie Redmayne – especially one that s Certified fesh at 84% on the Tomatometer to date. Even more acclaimed is the 98%-rated Portrait of a Lady On Fire. The beloved French romance was a hit at Cannes this year, winning Best Screenplay, and it is also nominated for Best International Film at the 2020 Independent Spirit Awards.The Full Top 10: November 29-December 1Frozen II (2019) 78% – .25 million (7.57 million total)Knives Out (2019) 97% – .02 million (.7 million total)Ford v Ferrari (2019) 92% – .22 million ( million total)A Beautiful Day in the Neighborhood (2019) 95% – .8 million (.31 million total)Queen & Slim (2019) 83% – .7 million (.81 million total)21 Bridges (2019) 54% – .82 million (.46 million total)Playing With Fire (2019) 24% – .2 million (9.2 million total)Midway (2019) 42% – .96 million (.28 million total)Joker (2019) 68% – .98 million (0.6 million total)Last Christmas (2019) 46% – .9 million (.66 million total)亚博投注平台Origin: Mexican FolkloreMemorable Adaptations: Mama, The Curse of La LloronaAt some point in every mythology, there s a tale of female, particularly maternal, vengeance think Dionysus or Medea (the Greek myth, not the Tyler Perry version). Even the original Friday the 13th can be traced back to a mother scorned. In The Curse of La Llorona, a mother drowns her children in a jealous rage to seek revenge on her cheating husband. Reckoning with what she did, she commits suicide, only to be denied entry to the afterlife, cursed to roam the earth weeping, drowning children, and tormenting mothers for all her days. It s a true word-of-mouth legend, unable to be traced back to any known story or event, and director Michael Chaves told us, It can be difficult to manage the nuances of it being an oral tradition. It s hard to pin down what is the right version. So you [go] through all of it to find [the] core experience that so many people grew up on, [what was] told to them as kids. That s what we wanted to bring on screen.
(Photo by Disney+/Lucasfilm Ltd.)Speaking of the child (we re letting go of the capitalization now that he has a name), we learned some key details about his past. He was raised in the Jedi Temple on Coruscant and began his training sometime before or during the Clone Wars. Hidden after the fall of the Old Republic, his memories of the ensuing two decades become hazy.This new intel rewrites our perception of Grogu as he is not quite the infant we assumed him to be. Although younglings were brought to the Order very early in their lives — Ahsoka herself was only 3 when she began training — the longevity of Yoda s species led us to believe Grogu, at age 50, was still, essentially, a newborn. But if the Jedi deemed him old enough to be trained, he has some understanding of the wider galaxy and his place in it.We also think he plays up the childlike innocence as a defense mechanism, much like Ahsoka s suggestion that he hides his powers in order to survive.Back on the rumor front, Dawson was long associated with Ahsoka and this proved to be correct. Biehn, meanwhile, ended up playing a far more minor figure than anyone guessed. Although, we noticed the initial reports of his involvement indicated he would play a bounty hunter. A merc is not far off from that, so those early reports were also more or less true; that said, we would ve liked to see him in a more pivotal role.With the conclusion of this episode, nearly all the credible rumors have been resolved and just about everything anticipated about the season has come to pass. It means next week s episode will be something fresh and surprising. Although, we wonder if the season s established pace means another detour before reaching Tython. As it happens, the planet is nestled in the Deep Core, so it will take the Razor Crest some time to get there.Questions for the Jedi(Photo by John Wilson/© Walt Disney Studios Motion Pictures)While we ponder how lightspeed travel will affect the pace of the show, there are some other questions to consider. Now that the Jedi have invaded The Mandalorian, it is time to wonder about some other key Star Wars characters.Where is Sabine Wren? Is she still looking for Ezra or did she find him? If things went poorly, is she also on the hunt for Thrawn? And, perhaps more importantly, will Djarin s journey bring him into contact with her? Presumably, she ll want to be part of the Bo-Katan s liberation force. Provided Sabine is still alive, of course.Has Ahsoka Reached Out to Luke Skywalker? While we re happy to never have a Skywalker appear on The Mandalorian, one would think Ahsoka would reach out to him and offer some guidance in rebuilding the Order. Then again, considering how disastrously Luke s attempt to rebuild the Jedi will go, maybe their conversation was ill-fated. He may be the Jedi she alluded to in her parting words with Djarin, but his track record suggests he is not the person to teach Grogu.Is Ezra Fated To Teach Grogu? Considering The Mandalorian wanders in Dave Filoni s quadrant of the galaxy, it is possible Ezra is best suited to aid the child. He may also be one of the Jedi Ahsoka mentioned and his journey to become one — chronicled in Rebels — makes him a far better candidate than Luke. Granted, we always prefer Jedi with more shades of gray to their philosophy than the absolutism Luke was taught. Also, we re assuming Grogu will want to be a Jedi. The visit to Tython may show him a different Way to follow.Is Grogu Related to Yoda? Now that we know he was in the Jedi Temple, the question must be asked. Considering how rare examples of Yoda s species seem to be — Ahoska apparently never met Jedi Master Yaddle, who left the council before the Clone Wars — a direct relationship between Grogu and Yoda is likely. Also, the longevity of the species and their high midi-chlorian counts suggest they may be more directly tied to the will of the Force than anyone suspects. Once again, we look to Tython with the hope its connection to the Force will shed more light on The Mandalorian s mysteries.The Mandalorian releases new episodes each Friday on Disney+.On an Apple device? Follow Rotten Tomatoes on Apple News.
4. 呼朋唤友 随心所欲
d productive with attempts to revive their Classic Universal Monsters in other ways, starting earlier this year with the reboot of The Invisible Man (Certified Fresh at 91%). The latest project comes to us at a particularly well-timed point, because it s the same week that we found out that Tiffany Haddish is still attached to star in 21 Jump Street: Now for Her Pleasure. One of the 21 Jump Street stars, Channing Tatum, is reuniting with the directing team of Phil Lord and Chris Miller (who helmed the Jump Street movies) for a modern-day tongue-in-cheek thriller inspired by Universal s classic monster legacy, to be written by screenwriter Reid Carolin (Magic Mike, Magic Mike XXL), who also came up with the project s original idea. That s the end of what we know right now about this comedic thriller s concept, but this writer can t help but remember what comedic franchise was also involved in interconnecting the various Universal Monsters back in the 1940s and 1950s: Abbott and Costello. Starting in 1948 with Abbot and Costello Meet Frankenstein, the comedy team had several adventures that included Abbott and Costello Meet the Invisible Man, Abbott and Costello Meet Dr. Jekyll and Mr. Hyde, and Abbott and Costello Meet the Mummy. Could Channing Tatum be Abbott in a new take on those movies? Just a theory.5. 10 CLOVERFIELD LANE DIRECTOR ON THE HUNT FOR PREDATOR 5 (Photo by Michele K. Short/©Paramount Pictures)Following the first Predator in 1987 and the sequel Predator 2 in 1990, there was a 20 year gap before there was another standalone Predator movie (not counting the crossovers with Alien) in 2010 with Predators (Fresh at 64%), and then another eight years before the fourth film, 2018 s The Predator (Rotten at 33%). For as ubiquitous as Predator seems in pop culture, those four movies combined only add up to a four movie global box office take of 3 million (from a combined budget of 8 million). And yet, Hollywood keeps trying to make Predator happen. 20th Century Studios (the new version of 20th Century Fox, post-Disney acquisition) is now developing a fifth standalone Predator movie to be directed by Dan Trachtenberg (10 Cloverfield Lane, Certified Fresh at 90%), working from a screenplay by Jack Ryan producer Patrick Aison. No other details are known about what Trachtenberg has planned for the fifth Predator movie.6. CHRIS COLUMBUS TO (STILL) SPEND FIVE NIGHTS AT FREDDY S (Photo by Joseph Lederer/©Fox Atomic)Back in 2018, the news broke that director Chris Columbus (Home Alone, Harry Potter and the Sorcerer s Stone) had signed on to write, direct and produce an adaptation of the popular horror video game franchise Five Nights at Freddy s, about a spooky Chuck E. Cheese-style restaurant. Given that amount of time (and everything else that s happened in 2020), one might have thought that the Five Nights at Freddy s movie had long since fallen apart, but this week, the creator of the game franchise, Scott Cawthon gave an update to state quite the opposite. According to Cawthon, Chris Columbus has finished the screenplay adaptation and plans to start to filming for Blumhouse Productions in the spring of 2021. Cawthon also revealed a few of the different premises that were considered, including the one that appears to be moving forward (though one has to wonder why the movie can t just be a direct adaptation of the video games themselves).7. CLIFFORD THE BIG RED DOG TEASER REVEALS TERRIFYING VISION OF THE FUTURE (Photo by Paramount Pictures)Some movies, especially if they re based on popular franchises or properties, take a very long time to actually get developed, produced, and released in theaters. Consider, for example, the popular children s book series (and animated TV series) Clifford the Big Red Dog. It was eight years ago in 2012 that we first heard about a Clifford the Big Red Dog movie, which at one point was scheduled for release on April 8, 2016 (yes, over four years ago). More recently, Clifford the Big Red Dog was supposed to have come out earlier this month on November 13th (until the deadly virus delayed it all the way back to November 5, 2021). Clifford the Big Red Dog may now still be almost a year away, but Paramount Pictures decided this week to whet people s appetites regardless, but what we actually got might have caught some people by surprise. Although Clifford the Big Red Dog in book and animated TV form has a very cartoony look, the movie appears to be applying a more life-like CGI approach, which, when you also factor in his size and (unnatural) coloring, makes actually seeing Clifford the Big Red Dog something you have to experience for yourself.On an Apple device? Follow Rotten Tomatoes on Apple News.
5. HD 画质与高品质音讯
0.99.6 3月喜迎(Photo by IFC Films, Sony Pictures Entertainment, MGM)“Know Your Critic” is a new column in which we interview Tomatometer-approved critics about their screening and reviewing habits, pet peeves, and personal favorites.Kristen Lopez is a culture writer, classic film expert, and an advocate for fellow critics. She draws attention to disability representation and the lack of accessibility in many theaters she visits for screenings. She’s determined to not be the only person people think of when they hear “disability” and “criticism” in the same sentence.“I don t speak for everybody, and I would love to have more disabled critics that I could disagree with and be like, No, you’re wrong,” she told Rotten Tomatoes. “I can t speak for every single disability in the world. There is only so much time in the day that I can devote to writing, I can t hit everything. I need some other critics to help share the load with me.”Last year, Lopez contributed to Rotten Tomatoes first book, Rotten Movies We Love. Her take on The Greatest Showman – as with many of her reviews – suggests that our reactions to movies are personal, even sometimes contradictory, when it comes to style and story. As a disabled person, it s so flawed and ableist, but I love the music and the flash, she told Rotten Tomatoes.Lopez is a Los Angeles-based pop culture writer whose work can be found at Culturess, Forbes, The Movie Isle, Citizen Dame, and Remezcla, among many others.How do you watch award shows?For the first time last year, I watched the Oscars by myself. It was very, very odd, but it allowed me to sit in my pink PJs and eat sushi and yell at the TV, which was nice… I feel like award shows are not something you need to endure alone. You should have friends. Especially when things go wrong.What’s your favorite screening snack?I’m an M Ms person. I need to have something to keep my mind focused on a movie, and M Ms are one of those where I can just – I m sure annoying to whoever I m sitting next to – I can roll them around in my mouth and have something to focus on.Do you have a movie theater pet peeve?It’s the people that buy the handicap companion seat that they don t need… I ve been fortunate that if I ask somebody to move, nine times out of 10, they ll be like, Okay – but that s always my pet peeve.You’re sitting down to write. Do you prefer a shot of alcohol or espresso, and what is your spirit of choice?I m a writer, so I can either be an alcoholic or drink coffee, and I prefer to not be an alcoholic, so I drink coffee.Do you read other reviews before or after watching something?I will read reviews after I ve already seen something, mostly because I want to know if I am completely nuts liking or not liking something. I m like, What is everybody else saying? Then I ll see that they re all in love with the movie and I m sitting there thinking like, Okay, well, what s wrong with me? I didn t like it. (Photo by IFC Films)Is there an under-the-radar director or screenwriter that you think more people should know about?For me, it s the team of Mary Harron and Guinevere Turner. They ve been around forever, but I feel like every time they have something out, people are like, Oh, yeah. Why are they not doing more? I say, Well, they are. It s just they re not working with the big studio people yet.” Charlie Says is a really different type of Manson movie that s really feminist and biting about the misogyny and racism of that time, and it s awesome.What do you think is the biggest misconception about critics?The biggest misconception is that we hate movies – we only got into this to gripe about things we can t do, and I have to laugh. I never wanted to be a director. I ve never wanted to be a screenwriter. I love appreciating films and I love talking about them, especially in the last couple of years where I ve written about representation and disability. My goal now is I want to talk about movies that should be doing more or are doing really great when it comes to representation that nobody s talking about.I did not get into this business to work long hours, not make a ton of money, and just be berated on Twitter because I hate films. I got into this because I love movies and I love appreciating them and hopefully influencing somebody to go see something that I love.Is
Behind the Zero(Photo by 20th Century Fox)The story behind the notorious adaptation of Martin Amis’ 1989 novel London Fields is infinitely juicier and more dramatic than the one on-screen, but that’s setting the bar exceedingly low. It s a lurid, salacious show-business melodrama involving a novel overflowing with sex and murder and the legal intrigue it inspired when an attempt was made to adapt it. The latter pitted a director eager to take his name off a picture he felt no longer represented his vision against producers he accused of adding incendiary elements against his will and a glamorous movie star couple (Johnny Depp and Amber Heard) whose marriage would explode publicly in a flurry of abuse allegations in the long years between the time London Fields was made and when it was finally released.The movie was supposed to screen at the 2015 Toronto International Film Festival until director Matthew Cullen, a music video hotshot, sued the producers for non-payment and failure to allow the promised creative control. Amber Heard, meanwhile, was sued by producers for million for failing to promote the film and publicly siding with Cullen. Heard, in turn, counter-sued, alleging that the producers used a body double to get around a nudity clause in her contract.Cullen, Heard, and several of the male leads all objected to a producer adding postmodern elements into the film, including 9/11 imagery and pornographic sequences that suggested an Asylum knock-off of the orgy scenes in Eyes Wide Shut. For years, the movie existed in a state of creative and legal limbo as different cuts were produced and legal issues were very publicly hashed out, giving the movie the kind of terrible publicity that would sink a film even if it was not as staggeringly awful as London Fields is.London Fields was finally released in 2018 to universally withering reviews (including the notorious zero rating here) and near-record box-office lows, grossing a paltry 9,000 over its opening weekend, the worst tally for a film released in over 600 theaters since 2008’s Proud American. By that time, Heard and Depp, who has an uncredited role as a peacocking dandy of a loan shark/darts champion, had gone through an ugly, public divorce that cast an ominous shadow over the already troubled film.How toxic is London Fields? Director Matthew Cullen told The Hollywood Reporter of the movie’s seething pans, I ve read the reviews. I agree with them. The Zero(Photo by Paladin)Heard stars in London Fields as Nicola Six. She’s less an unusually sexy woman than sex incarnate, a black widow of a seductress who enjoys toying mercilessly with the schmucks caught up in her web before going in for the kill.She’s a ridiculous cartoon of heavy-breathing, vampish old-school sexuality. She’s a dame to kill for, a sex bomb with the ability to reduce grown men to drooling children. She s Jessica Rabbit if she really were bad, not just drawn that way. But Nicola has another gift as well: she’s clairvoyant, albeit only to the degree that the movie needs her to be at any moment she can see far enough into the future to know that she will be murdered by one of three men unhealthily obsessed with her.First up is a rail-thin, dead-eyed Billy Bob Thornton as Sam Young, our hard-boiled narrator, a world-weary failed writer with a dark secret involving his own imminent death. Sam lucks into a decidedly one-sided apartment swap with Mark Asprey (Jason Isaacs), an obscenely successful hack writer who lives in the same posh London building as Nicola.Sam knows that Nicola is going to die, violently, in ostensibly dramatic fashion. He believes he can get a best-seller out of lightly fictionalizing his own British misadventures, but only if he’s actually there to watch the death happen. So the scribe makes Nicola a rather curious proposal: he wants permission to be there during her demise for creative and artistic reasons, of course, in addition to a desire to make loads of money. Nicola grants it, seemingly without giving the matter any consideration.(Photo by Paladin)Thornton is uncharacteristically terrible as one of the most exhausted cliches in fiction: the desperate writer who functions as the all-powerful God of the world they’ve created but who can’t begin to figure out the complexities of real life. Thornton possesses extraordinary charisma in the right roles, and he s famously an award-winning screenwriter in real life, but he s a thin, grey mist of a man here, a burnt out “intellectual” who whispers wall-to-wall narration full of nuggets of unbearable pretension like, “Love is blind, but it makes you see the blind man. It makes you search him out with eyes of love.”Then there’s Keith Talent (Jim Sturgess), a right proper soccer hooligan/Andy Capp type who seems to have staggered in drunkenly from a lesser Guy Ritchie crime comedy. He’s a broad caricature of a boorish, ignorant working-class bloke what enjoys downing a pint or twelve at the pub, watching footie with his mates, and shagging fit birds. Nicola is, of course, the fittest of fit birds. She cannot enter a man’s life without completely overtaking it, and Keith’s all-consuming desire to shag Nicola takes precedence over everything.Last and certainly least in the three-way contest to either win Nicola’s heart and/or murder her is Guy Clinch (Theo James). Guy has the manners, breeding, and expensive attire of a proper member of the educated bourgeoisie, but Nicola’s teasing manipulation transforms him into a preposterously gullible half-wit.For example, Nicola enlists Guy s help to locate two desperate people known only as Enola Gay and Little Boy the names, of course, of the plane that dropped the first atomic bomb on Hiroshima and the bomb itself. In a more knowing film, that would qualify as a sly joke about the way Guy’s desire for Nicola clouds his judgement and renders him hopeless against even the most transparent of ruses. Instead, London Fields plays this development completely straight, and Guy learns the true nature of Enola Gay and Little Boy via a book and erupts with rage at Nicola’s trickery. In order for the film s idiotic plot to work, everyone other than Nicola has to be as stupid as the filmmakers assume the audience is.At the core of London Fields’ staggering awfulness lies a fundamental confusion about the nature of its material. Is this a parody of the heavy-breathing, sex-saturated, melodramatic, viciously misogynistic cliches of erotic thrillers, neo-Noir, and crime fiction? Or is it a straightforward, moody, pretentious exploration of sex and death and art and destiny?(Photo by Paladin)The film is at its best when it embraces the trashy, delirious comedy lurking just under the surface, like Keith dancing for joy in the rain to Dire Straits’ “Money for Nothing” after receiving, you guessed it money for nothing from Nicola. Or the fact that the flamboyant world of professional darts figures so prominently in the plot.Speaking of which, Depp overacts with trademark brazenness here in a hammy star turn as a big shot in the overlapping worlds of darts and organized crime. As is almost invariably the case with late-period Depp, ninety percent of the character comes through baroque sartorial choices. He is essentially nothing more than a walking wardrobe here, and at this point, encouraging Depp to overact is a recipe for disaster.For Nicola and Sam, death lurks in the very near future, so at least they get to leave this hell eventually, and in the meantime, they ve got something to do. They’re lucky in that respect.In the most groan-inducing self-referential touch in a meta-narrative positively teeming with them, Nicola, who could only ever be a fictional character (an obscenely, broadly drawn one at that) indignantly tells Sam, “I’m not one of your one dimensional characters, Sam.” That’s true only in the sense that Nicola would need to be fleshed out further to qualify even as one-dimensional.In an even clumsier reference to the characters in this appalling fiction knowing, on some level, that they are characters in a very bad movie, Sam tells Nicola, “I’m pretty worried that the critics are going to call you a male fantasy figure.”The critics would call her, and the movie, much worse. Even the film s own director did.Final Verdict(Photo by 20th Century Fox)Believe the hype! London Fields is an impressively idiotic insult to the noble, shadow-laden legacy of classic film noir and its contemporary bastardization, the neo-noir. It seldom rises even to the level of passable neo-noir: it’s closer to a heavy-breathing “erotic” thriller, the kind that fills Cinemax’s nighttime programming, albeit with an inexplicably prestigious, star-studded cast and an unlikely literary pedigree.London Fields’ path to the big screen was long, complicated, and fraught, but it might have worked out better for everyone involved, particularly Heard, if this boondoggle had never been released at all.Nathan Rabin is the author of six books and the proprietor of Nathan Rabin’s Happy Place.Follow Nathan on Twitter: @NathanRabin
(Photo by Summit/ courtesy Everett Collection)How to Watch Twilight Movies In OrderIf you re getting ready to experience the seductive, suspenseful love story of Bella and Edward for the first time, here s how you can watch all Twilight movies in order. 2008 s original Twilight introduces us to teenager Bella (Kristen Stewart) and her attraction to Edward (Robert Pattinson), a vampire-among-us. New Moon makes it a triangle with the arrival of Jacob (Taylor Lautner), he of a rival werewolf pack. The real battle begins in Eclipse, come to a bed-smashing head in the two-part Breaking Dawn. See below for our guide on how to watch all Twilight movies in order.
Emmy Awards 2019 Arrivals Pictures See which stars hit the purple carpet at the 71st annual Emmy Awards ceremony. by RT Staff | September 22, 2019 | Comments
Best-Reviewed Movies 2020: Wide ReleaseA wide release is defined as a movie that plays in over 600 theaters meaning it was a bit of a lighter crowd this year, considering 2020 s state of exhibition affairs. The silver lining: Movies released in the pre-pandemic January-March window muscled their way in for a display of critically-beloved might, like the surprise thriller The Invisible Man, Pixar s sentimental road trip comedy Onward, DC s Birds of Prey, and real-life drama Just Mercy. We saw some mid-year signs of revitalization with Bill Ted Face the Music, before awards seasons trucked on valiantly with Nomadland, Judas and the Black Messiah, and Promising Young Woman.The order of the rank below reflects the Adjusted Score as of February 28, 2021. Scores might change over time.« Previous Category Next Category »
亚博投注平台 (Photo by Neilson Barnard/Getty Images)Alan Silvestri has composed the music for 17 of Robert Zemeckis movies, which sounds like a perpetual golden ticket to Oscar glory. Instead, Silvestri has only been nominated once for Best Original Score: for 1994 s Forrest Gump, which fell to The Lion King. Silvestri will have to take cold comfort in the fact his scores are among the most beloved and remembered in contemporary movie history, a body of work including the Back to the Future trilogy, Predator, The Polar Express, and now the Avengers theme.He entered the Marvel Cinematic Universe scoring Captain America: The First Avenger, returning a year later for 2012 s The Avengers, introducing a now iconic theme that has carried into Age of Ultron, Infinity War, and now Endgame. With the dust settling on the MCU s blockbuster emotion-wringer, Silvestri spoke on the origins of the Avengers theme, the temptation of using themes for every superhero, and his favorite Endgame musical moment.Spoiler warning for Avengers: Endgame!Alex Vo for Rotten Tomatoes: What were the origins of the Avengers theme? When did you start working on it, and when did you know you had it?Alan Silvestri: I had done Captain America for Marvel and got a call from Kevin Feige and Joss Whedon about Avengers. And they were very interested in exploring some possibility of [what] would become the Avengers theme. Time went on and I started to work my way into the film. When the mission is something like [coming up] with an overall theme, I try to find some place in the film that is going to be the quintessential spot where whatever the theme is, it s going to have to work here.I wound up going to that place in the film where they re all gathered and they re in the midst of this battle, and it s right after Banner arrives on a motorcycle. And it was such an interesting place in that film because these folks are in the middle of this big battle and it s all terrible and dangerous. All of a sudden they re in the town square, shoulder to shoulder, and nobody s moving. They re just literally posing. And it was the iconic Marvel still of the Avengers. And so the theme, whatever it was going to be, had to really carry that moment and help. I knew it had to be something heroic. Long, heroic, brass-filled notes in this melody, but we were also in the middle of this battle. So we needed to keep the energy up. So there s this string ostinato that that keeps the sense of drive. One thing led to another and that that s what came out, and it has lived on through the Avengers films, which has been fantastic.(Photo by Marvel Studios)Rotten Tomatoes: Iconic superhero themes usually serve one person, like Batman or Superman. What was the challenge in scoring a group?Silvestri: We talked early on in Avengers, and we also revisited the conversation in Infinity War and Endgame, about how you actually approach the characters thematically. Or how you don t approach them. I mean, clearly the Avengers experiment had to do with this collection of superheroes now fighting together as a team. And so, the conversation would come up: Are we going to really play a theme for each of the individuals and then have an Avengers theme or not? Certainly in Endgame, because of the sheer number of characters, we felt like the music had to hold things together and unify the film, and that if every one of these characters had their own signature themes, it could wind up doing just the opposite and become too distracting and fragmented.So again, the theme had to work for the collective, for the Avengers as a group, even though we did some call outs in all the films to some specific characters. Natasha had her bit of a theme in the original Avengers. Thanos clearly had his theme in Infinity War and Endgame. We tried to view the film musically from the point of view of the group. And the other interesting thing we found: With the Avengers theme, a little goes a long way. It’s a very simple, identifiable piece of thematic material, and you can abuse it just as easily as you can use it. So we knew we had to be very judicious in when and how we used the theme.Rotten Tomatoes: The actors don t get the full script for these movies. At what point are you brought in the process, especially for Infinity War and Endgame? Do you know all the story beats ahead of time?Silvestri: Yeah, I actually do. I actually know everything, and I have everything as it s being recorded. I have to be looking at the entire arc of the film all the time. Otherwise you really couldn t have the kind of overview, a sensibility that the score has to really bring to the film.Rotten Tomatoes: There’s an Endgame track called “The How Works” which I think is vital to the movie: It plays as the movie sells to the audience it s going all-in on time travel. Then the song has a flute rendition of the Avengers theme. Then it goes into crime jazz, a heist theme. Are there any limitations on where you can go on these movies?Silvestri: No, and I think that s one of the fun parts of the letting the movie take you to where it wants to go. And it s one of the nice things about having a simple, identifiable theme: It can be dressed in many, many different ways. And Marvel is known for having fun and for having humor in their films. And you used the word: heist. We just knew that we would have some fun with those traditional sounding, caper-type movies. And yet, our theme had to travel along with those kinds of settings. So we re using bongo drums and flutes and triangles and all of these rhythms. And it s kind of like a spy movie, but at the same time we have our Avengers theme being there. So we had a lot of fun.Rotten Tomatoes: Due to the emotional nature of Endgame, there were a lot of soft moments: Tony floating in space, Cap seeing Peggy, or Tony giving Cap his shield back, which uses a reprise of The First Avenger theme. Did you find there were more opportunities for the music to breathe in Endgame compared to Infinity War or the other Avengers?Silvestri: I think absolutely. I think that was really what Endgame was going to be about. It was going to be about resolution of 21 films worth of characters. It’s why the film was as long as it was. I think that the Russo brothers knew, and the writers knew, that it was going to take some time to resolve these relationships. Hawkeye and Natasha, Tony and Pepper… So there was a lot more air and a lot of these quiet scenes. Even with a scene like Thor and his mother. Just spectacular emotional moments. And so it was an opportunity, in what at face value would be considered a big action superhero film, to have a lot of quiet emotional places for music. And for the performances of the actors as well.(Photo by Marvel Studios)Rotten Tomatoes: Infinity War s fallen reappearing on the battlefield is going to be a defining image for a generation of moviegoers. How did you approach “Portals” for this?Silvestri: “Portals” was one of those scenes that the filmmakers identified early on as being a key moment, and potentially an historic moment in the entire Marvel universe. There were a number of different approaches that we took. And it took us a little while get a sense of what was really happening there. Again, you have that temptation with the reveal of all of these magnificent historic Marvel characters, there s this temptation to kind of become too segmented, and for every entrance to be doing something special and something different. And the more we worked on it and tried that actually, we saw that it just really wasn t working. It needed to be seen with much more of an overview and much more of a celebratory and promising sensibility, [rather than], “Here s this one and here s this one, and now this one.” The audience understands that.But the overriding emotion is, “Look what s happening. They re all coming, we re seeing them all, they re all coming back. They ve all come back to life.” So it wound up with much more of an overview. And then [we used a] new theme there because there was really nothing else that was gonna really take care of it. And it s one of those pieces where it s the same theme repeated a number of times, keys changing, getting bigger and more grand. And we knew that at the end of all this, we had to really set up the original Avengers theme after Cap delivers that amazing Avengers assemble line, which he almost whispers. Then we come in full bore with the original Avengers theme when the charge begins. So it took a while for us to find what would be the most satisfying approach. And I think we finally arrived at something that s working pretty well.Rotten Tomatoes: Do you have a favorite musical moment from Endgame?Silvestri: Well, I think that that almost falls into the category of which is your favorite child. It was interesting when I was early on working on the film. There’s the end of the film when Tony has left us and we have now maybe five or six minutes, with basically everyone who s been in the Marvel films attending the ceremony. That was a very challenging place, wondering what am I going to do for that. It needed to have a sense of reverence, a sense of gravity, yet it had to have a sense of beauty and promise and resolution. It was almost too terrifying to go there and work on it. I was working on the cue in the beginning of the film when Tony s stranded in space and finishes his message to Pepper. He puts his jacket on and he lies down, and there s just a very kind of simple, electronic, single instrument playing this theme that carries us from there, through Tony being put in the chair by Nebula.When I found that, I somehow knew that that was going to be the key to that amazing ceremony at the end of the film. And we never hear that again until the end of the film. But it was one of those things that was so great when I found it, to know that I don t have to be as terrified of the end of the movie now because I think I may have found a key in the very first reel. So that was very exciting to be sure.(Photo by Marvel Studios)Rotten Tomatoes: Before we go, I have to tell you: Even before I knew I was doing this interview, I re-watched Flight of the Navigator a few days ago.Silvestri: Wow! Haha!Rotten Tomatoes: It made me realize your theme was the first piece of music I connected with on an emotional level. I must’ve been 6 or 7. Thank you for that. Do you have any particular memories or stories from that movie?Silvestri: I remember I did that all electronically. And that I think was really driven by the budget for the the film. And I just have to say it s wonderful for you to say nice things about that, because every time I do a film I try to do the best I can. And I ve done a tremendous range of films and some people would say, “Well, that wasn t the best film you ever did,” and “Why did you do that?” and “Why did you do this film?” Clearly, Flight of the Navigator was a well-made film. But it was not a big budget film. It was very sweet, charming. I can only say I m trying to do the same job there as I was trying to do on Endgame, from the point of view of doing the best I can with what I m doing today.
凌霄少年手游是一款好玩的卡牌对战游戏搭配各种武将战斗，特色活动模式等你加入，为玩家带来了震撼刺激的游戏体验，独特的战斗玩法，快下载凌霄少年游戏来试试看吧。 In an animated scene from the The Blacklist season 7 s season finale, The Kazanjian Brothers, Liz Keen (Megan Boone) chases down suspects with Agent Donald Ressler (Diego Klattenhoff). The Blacklist was midway through filming the episode in New York when production across TV and film was halted due to COVID-19. Producers solved the dilemma by adding graphic novel– style animation to existing live-action scenes. Cast members recorded dialogue from their homes for the animated scenes, as editors and animators completed their work remotely, having to complete around 20 minutes of animation in only five weeks.About the episode: The Task Force investigates an accountant who works for lucrative criminals in order to find the violent and thuggish brothers hired for his protection. Liz must make a momentous decision.The Blacklist episode The Kazanjian Brothers airs Friday, May 15 at 8/7C on NBC.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
These 10 series are just the thing to bring you from winter to spring this March, whether you are craving wars between gods, unlikely romantic comedies, badly behaved rich folk, or the corrupt getting their due. Catch our monthly binge guide below.American Gods 77% (Starz)What it is: The gods are out to play — and out for blood — in this cult favorite series on Starz. Based on the fantasy novel of the same name by Neil Gaiman, American Gods follows recently released convict Shadow Moon (Ricky Whittle), who’s employed by the mysterious Mr. Wednesday (Ian McShane) as a bodyguard. Diving into a world of dark magic and gods new and old, it is soon revealed that Mr. Wednesday is on a mission to unite the Old Gods against the rise of the New. Why you should watch it: Few series are quite as engrossingly strange and ambitious as American Gods, and that’s what has us hooked. It s a timely commentary on the world we live in today but set against the backdrop of a dark and lurid fantasy epic. Season 2 premieres March 10. Where to watch it: Amazon, FandangoNow, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 8 hoursCatastrophe 98% (Amazon Prime)What it is: Here’s a romantic comedy squarely for adults. Amazon’s very funny London-set Catastrophe shows what happens when a no-strings-attached week of sex between a visiting American businessman (Rob Delaney) and an Irish schoolteacher (Sharon Horgan) turns into an unexpected pregnancy, a move overseas, and a proposal. And that’s just in the first episode.Why you should watch it: Co-creators and stars Horgan and Delaney perfectly blend comedy and heart in their utterly original spin on the classic sitcom. Plus, their airtight scripts full of rat-a-tat-tat dialogue are about as joyously quippy and naturalistic as they come. (Judging from the pair’s famous Twitter accounts, that comes as little surprise.) And did we mention the late, great Carrie Fisher co-stars? The fourth and final season premieres March 15. Where to watch it: AmazonCommitment: About 8.5 hoursThe Good Fight 95% (CBS All Access)What it is: Diane Lockhart (Christine Baranski) gets the leading lady treatment with CBS All Access’ hit spin-off of The Good Wife. Set one year after the events of that acclaimed series’ finale (and picking up on the morning of President Donald Trump’s inauguration), The Good Fight follows Lockhart after she’s forced out of her own firm and teams up with goddaughter Maia Rindell (Game of Thrones’ Rose Leslie) and The Good Wife s Lucca Quinn (Cush Jumbo).Why you should watch it: Sure, if you loved The Good Wife, you’ll love The Good Fight — but believe it or not, Baranski is even more astounding here and finds exciting new shades to the beloved Diane Lockhart. Season 3 premieres March 14.Where to watch it: Amazon, CBS All Access, FandangoNow, Google Play, Microsoft, VuduCommitment: Approx. 19.5 hoursQueer Eye 93% (Netflix)What it is: The early aughts’ hit, boundary-pushing reality series Queer Eye for the Straight Guy, gets a makeover of its own with this charming, three-time Emmy-winning reboot on Netflix. Why you should watch it: If any other series captured the world’s collective heart over the last year like Queer Eye did, we haven’t heard of it. Yes, its main hook lies in the fashionable, fabulous, and heartwarming makeovers the Queer Eye guys give Georgia men (and the occasional woman), but you’ll stick around for the playful banter and true, deep friendship between the main cast of industry experts. It all packs a surprisingly emotional punch, so stock up on tissues! Season 3 premieres March 15. Where to watch it: NetflixCommitment: Approx. 12 hoursBillions 89% (Showtime)What it is: Showtime’s Billions dramatizes the high-stakes world of Wall Street when Chuck Rhoades (Paul Giamatti), a U.S. attorney, sets his sights on bringing down hedge fund manager Bobby Axelrod (Homeland s Damian Lewis) for insider trading and other illegal proclivities. Talk about one-percenters.Why you should watch it: Giamatti has built a career on playing the everyman, and here, he’s fighting for him. The actor s turn as the hard-hitting U.S. attorney would be reason alone to watch (scenes of surprise BDSM and all), but Billions also boasts a timely, engrossing premise and firecracker performances from Lewis, Maggie Siff, Condola Rashad, and a bevy of other supporters that meet Giamatti mark for mark. Season 4 premieres March 17.Where to watch it: Amazon, FandangoNow, Google Play, Hulu, VuduCommitment: Approx. 36 hoursJane The Virgin 100% (The CW)What it is: It comes as no surprise that a series as sprawling and ambitious as Jane the Virgin has taken on many forms over the last four seasons, but the family-driven hourlong series begins when Jane, the titular character, is accidentally artificially inseminated. Why you should watch it: More than just a star-making vehicle for the incomparable Gina Rodriguez, Jane the Virgin is a dramedy like no other, rolling out bits of magical realism, vital cultural representation, female empowerment, and plenty of charm. It’s a series that wears its heart on its sleeve, and we can’t wait to see what its final installment has in store. Season 5 premieres March 27. Where to watch it: Amazon, FandangoNow, Google Play, Microsoft, Netflix, VuduCommitment: Approx. 57 hoursHappy! 84% (Syfy)What it is: A small-screen adaptation of Grant Morrison and Darick Robertson’s graphic novel of the same name, Happy! follows a crooked, alcoholic cop-turned-hitman Nick Sax (Christopher Meloni) who inexplicably begins seeing his kidnapped daughter’s imaginary friend: a blue winged horse named Happy (voiced by Patton Oswalt). Together, they set out on a mission to find a Santa-dressed kidnapper on-the-loose.Why you should watch it: “Happy” is one word for it, another is “weird.” Other words for it are “transporting,” or “hallucinogenic,” or “wild” — all meant in the best way. Unlike just about anything else on TV, Happy! demands your attention and promises a crazy ride. Season 2 premieres March 27. Where to watch it: Amazon, FandangoNow, Google Play, Microsoft, Netflix, VuduCommitment: Approx. 6 hoursSanta Clarita Diet 89% (Netflix)What it is: We’ve seen the modern-day American layperson satirized to no end on the small screen, but we’ve never seen them with zombies. That’s where Santa Clarita Diet comes in. Sheila (Drew Barrymore) and Joel Hammond (Timothy Olyphant) are happily married real-estate agents living in the titular Californian town when Sheila unexpectedly becomes a bloodthirsty, flesh-craving, card-carrying member of the living dead. Why you should watch it: Any excuse to watch Barrymore is A-OK in our book, but it’s even better when it’s a series as unique, fun, and — pardon the pun — biting as Santa Clarita Diet. Driven by its central mystery as much as it is its core cast of characters, it’s a suburban satire for all, not just fans of The Walking Dead. Season 3 premieres March 29. Where to watch it: NetflixCommitment: Approx. 10 hoursBarry 99% (HBO)What it is: Bill Hader stars as Barry Berman, a Midwestern hitman who, when traveling to Los Angeles for a job, unexpectedly takes an acting class and considers a career change.Why you should watch it: Henry Winkler is gifted the kind of late-career role that the Happy Days TV veteran has long deserved in washed-up acting coach Gene Cousineau. (And he’s got the Emmy to prove it!) That in itself is reason enough to tune into Barry, but then there s the title character himself. Hader has never been better as the hitman-turned-aspiring actor: circumstantially funny as a fish out of water, boasting leading-man gravitas as a morally torn hero, and even exuding an unexpected sex appeal as a kickass former Marine. Season 2 premieres March 31.Where to watch it: Amazon, FandangoNow, Google Play, HBO Now, VuduCommitment: Approx. 4 hoursVeep 93% (HBO)What it is: Selina Meyer is an anti-heroine for the ages as a former senator and now Vice President of the United States who curses like a sailor and handles the things her predecessor never bothered to attend to.Why you should watch it: There are few comedic performances as decorated as Julia Louis-Dreyfus’ turn in HBO and creator Armando Iannucci’s Veep (a record-tying five Emmy wins for Outstanding Lead Actress in a Comedy Series for the same role, to be exact). But still, she and the series seem to get better year after year. While Veep started out as a hilarious satire of the goings-on in our country’s capitol, it’s proven over the last few seasons to be more of a premonitory look at what’s to come in the West Wing — making it as relevant and darkly funny as ever. The seventh and final season premieres March 31. Where to watch it: Amazon, FandangoNow, Google Play, HBO Now, Microsoft, VuduCommitment: About 29 hoursThumbnail photo courtesy Patrick Ecclesine/CBS; Isabella Vosmikova/HBO; Jan Thijs/Starz/Fremantle
亚博投注平台 s some sort of meta shapeshifter who can take on the form of her adoptive brother and some sort of creature. Also, she may have an interesting diet to maintain her abilities. But as the final two episodes focused on Tobias, Jennifer (China Anne McClain) and Lala, Grace received little more than a name check in “The Book of the Apocalypse.” It leaves us to wonder who or what she might really be.Back in the comics, Grace was introduced in 2003 as an Amazon who joins a new Outsiders team and, eventually, begins a relationship with Thunder. But since she’s an Amazon in the comics, her powers include super-strength, endurance and an improved healing rate and is a far cry from the Grace evolving on screen. As it happens, her apparent real name – Shay Li Wylde – suggests a connection to the 1990s Outsiders character named Wylde. He was, to a coin a term, a “werebear” and much like Grace (we’re going to use her chosen name for herself), had limited control of his powers as well. Hopefully, the third season will focus more time on her secret and offer her the opportunity to become more than an occasional guest character.Will Tobias Be Running the Pit By the Season 3 Premiere?(Photo by Bob Mahoney/The CW)Watching Black Lightning and Lightning take down Tobias was a particularly satisfying moment of the program’s second season. But we’re already wondering how long it can last. Tobias is a slippery customer and subordinates are drawn to him – even if they should know better (R.I.P., Todd Green).To us, it suggests Tobias will soon be running the ASA’s black site despite everything the watch commander told him in the closing moments of season 2. The Pit, more than anything else, looks like the sort of crucible Tobias Whale thrives in. It is just a question of time.It is also a question of Tobias’s ill-defined abilities. While Dr. Jace (Jennifer Riker) created the serum which slowed his aging to a crawl, its side effects are not completely known. He seems to be bullet-proof and super strong, but it is unclear if these powers are derived from the serum – and therefore need a constant dosage to be maintained – or if they are inherent like Black Lightning’s abilities. If the latter, he will have no problem setting up a new empire from within the Pit. He may even find a new class of willing accomplices to throw at his arch enemy.How Will the Pierces Take to Being ASA Assets?(Photo by Eliza Morse/The CW)In the last moments of the finale, Odell deputizes Jeff, Jen, and Anissa into the ASA to fight the coming war against Markovia. Presumably, Freeland will be the battleground and the other surviving Pod Kids (and probably Khalil) will form a sort of ersatz Outsiders. Well, other Greg Berlanti–produced superhero shows on The CW would go that way, but Black Lighting eschews much of the Arrowverse’s rhyme and meter for its own storytelling style.Nonetheless, it is clear the Pierces, now known to the ASA as metas, will have to deal with the agency in order to retain some modicum of their freedom. It is probably the very thing Odell believes will keep them in line. He used a similar tactic on Lynn (Christine Adams) throughout the second season. One imagines it will work for a time, even on Jennifer, but eventually Odell may find he needs more extreme measures; much in the same way he forced Wendy (Madison Bailey) into exerting much more of her abilities during a test.Of course, the Lightning Family may still have one ace to play: Odell is seemingly unaware of Gambi (James Remar). He is still technically dead as he never found the culprits of the attempt on his life, which means the ASA may not have tabs on him. Assuming none of the Pierces addressed their man in the chair by name after Odell began spying on them, Gambi may prove vital to their escape from ASA control.These are just a few of the things Black Lighting left us to ponder. There are other issues like the corruption Henderson (Damon Gupton) still faces within the Freeland PD. If working for the ASA takes up more of his time, Jeff may have to leave Garfield High behind again, imperiling its future. And then there’s Lala, whose living Hell may actually lead to some sort of redemption in the end. Black Lightning introduced a lot of interesting ideas – even if they are not always served well – and we can’t wait to see what becomes of them next year.