亚博体彩手机客户端采用百度引擎8（Baidu 5）character and be like, bloody hell, no wonder women wanted to liberated because this is miserable. But yeah, if especially you re a young actress and they just get you into a corset then automatically you re like this treasured, virginal, ingenue.RT: It struck me while watching that I’ve actually never seen you in anything where you use your own accent — you’re always playing an American.Cooke: Yeah I was really worried going in cause I m doing a very posh English accent, and I m worried that I can t do this now. I m worried that I can t act in something that is close to my own accent!RT: I think it worked out. How did you feel?Cooke: I don t hear American and I don t hear my own accent, so I think I m all right.(Photo by Robert Viglasky/Amazon)RT: What did you like about Becky?Cooke: She s just so naughty and so mischievous and conniving. She says exactly what she thinks and she s so unapologetic for her actions. I think playing someone like that is usually only reserved for the men. And I think of a Fleabag or a Julia Louis-Dreyfus in Veep — these women that I m so drawn to have these qualities where they re incredibly flawed people but they kind of know it as well, and they re using that to their advantage. Especially with Becky, [it was] a time when women didn t have jobs unless you were a very, very low status. She s using her wit and her charm and her skills as seductress to get by in life and to rise to the ranks of society. I just think she s pretty clever and she s pretty conniving for doing that.RT: Had you read the novel this series is based on?Cooke: When I got sent the scripts and they signed off on me, and I signed on, I read the book. It s a really incredible book. It gives you a visceral sense of the time, but also William Makepeace Thackeray has written these incredibly flawed women, Amelia Sedley and Becky Sharp, who are at two opposite ends of the spectrum. Neither one of them is this archetype or vision of what a woman should be in life.(Photo by Robert Viglasky/Amazon)RT: Reviews of the show have mentioned that it makes the story relatable for a 21st-century audience. Would you agree?Cooke: I do, and I think all of us made a bit of a conscious effort because we weren t there at this time in the early 1800s. You don t really know what people act like. Gwyneth Hughes has done such an amazing job of adapting the book and really making it her own, in a sense, as well. The dialogue is there on the page, but in terms of physicality we don t have to act with a big rod up our asses. You can be a bit more silly. You can be a bit more frivolous with your performance and more flamboyant. I think it works. Also, we adopted this motif of giving the occasional glances to camera in order to let the audience in and let it be a little more accessible and a bit more conspiratorial. So they re in on the plotting and the conniving with Becky, and I think other period dramas sometimes hold the audience at arm’s length because it does feel too foreign, the way people live. But with this it s a bit of a nudge-nudge, wink-wink, you re on the same level as me.RT: What’s next for you?Cooke: I did an episode of the anthology Modern Love for Amazon. So Amazon is keeping me employed, which is nice. And then I did a film in summer with Riz Ahmed called Sound of Metal, directed by Darius Marder.Vanity Fair is available Friday, Dec. 21 on Amazon Prime.
The frontpage in 1998. One problem: Senh had left Design Reactor and taken Rotten Tomatoes with him. The site was still hosted on Design Reactor s servers, but the trio decided that Senh would leave the company to devote himself to his passion project, and be replaced by a new Creative Director. Senh left the Bay Area and went back to Sacramento, but the accumulative work burnt him out. Even Rotten Tomatoes – where everything was still manual and included treks to the library to copy review quotes from newspapers – had lost its luster. The site stopped being updated for several weeks. People wrote in asking what was happening. Perhaps, Senh thought, he’d take a crack at his original love: Filmmaking.Senh got in touch with two Sacramento high school friends: Bobby Ly, an accountant who clerked at his family s Chinese video store where Senh rented Hong Kong movies, and Binh Ngo, who at the time was working the night shift at a veterinarian clinic. Bobby would nominally update Rotten Tomatoes, while Senh and Binh set out to shoot a movie, using Robert Rodriguez’s Rebel Without a Crew – which chronicles the director’s early and frugal days in the industry – as a guide and bible. The plan was to adapt horror novelist Dean Koontz’s novel Fear Nothing, whose protagonist has xeroderma pigmentosum, a genetic disorder that causes severe sunburn and skin pigmentation after brief daylight exposure, something that would facilitate many night shoots. After a few weeks, they had enough footage to show to close friends and family, including Binh’s sister, whose response was blunt: “This is horrible.”“How did that feel?” I asked Senh.“Not good,” he says, laughing.Did negative reviews save Rotten Tomatoes? Maybe, but both Bobby and Binh had convinced Senh that Rotten Tomatoes was still worth pursuing. The three resumed work on the site. Fear Nothing remains un-adapted.Léolo, which inspired the Rotten Tomatoes name, and A Bug s Life, whose site traffic suggested RT was being making an impact in the industry. (Photo by Pixar/Courtesy Everett Collection)Cut to early 1999, with the dotcom bubble in full bloom. I could tell because I was in high school in San Jose, the heart of Silicon Valley, and traffic was getting worse every day. Modern life had evolved computers from luxury to necessity, and mass adoption of the Internet was connecting the world in an unfathomably exciting new way. And with that, new opportunities to get rich. An idea, presented well enough, was enough to get venture capitalists to rattle their bank accounts for cash to invest, as a billion dollars in frenzied speculation transformed the Bay Area.Design Reactor was growing, significantly helped along by a deal with Disney to create and maintain everything Disney Channel online. Things were going well enough that they hired a CFO, Lily Chi, and a Marketing Director, Paul Lee, who had actually been one of Design Reactor’s co-founders.Still, people weren’t exactly tripping over themselves to invest in a web design firm. It was the ’90s. They wanted edgy, extreme. Rotten Tomatoes was identified as the breakthrough Trojan horse. Senh accepted an offer from Patrick and Stephen to reunite, bringing Binh and Bobby with him. Patrick, who was the best of the group when it came to working with people and managing relationships, raised .2 million across 1999. Rotten Tomatoes aimed to be incorporated January 2000. Design Reactor and its business would be taken over by another company in San Jose at that point. All 25 of its current employees elected to make the jump over to Rotten Tomatoes the next year.Meanwhile, with Rotten Tomatoes back in the fold, Design Reactor’s Susan Nakasora was brought over to RT right away. She had an English degree, and her job was to copyedit everything on site, including the quotes from reviews that you see on a movie’s page. Binh, relatively along for the ride, was installed as Rotten Tomatoes’ first editor-in-chief, though most of the writing involved creating spotlight copy on the homepage pointing to movies around the site. This was the start of the editorial team at Rotten Tomatoes.Binh, jokingly reflecting on the job, told me: “I kept on thinking that I only wrote two sentences through all my time there: ‘Click here’ and ‘Read more. ”(It wouldn’t be until November 2004 that Rotten Tomatoes would expand into news coverage, with features, interviews, and more. The first article we posted reported on development rumors of a Halo movie. Some things never change.)During this time, publicists began inviting staff to early movie screenings. Binh and Senh recall showing up and being denied entry the first few times, as studio representatives believed their invites to be fake. Binh presumes this was because they were fresh-faced Asians in a white male-dominated field, though Senh takes a broader interpretation.“They were generally wary of online critics and treated them as second-class citizens,” Senh says. “That was one of the reasons why I wanted to feature online critics on the Tomatometer.”THE MARKET CRASHES, BUT AN OFFICE MOVE-IN, SHOWBIZ FRIENDS, AND DIABLO LATE-NIGHTS GO A LONG WAYPatrick Lee in 2017. (Photo by Maggie West)January 2000: Three months before the dotcom bubble burst. Time to incorporate Rotten Tomatoes. One investor who was part of the .2 million angel funding had gotten cold feet, but Disney paying up on accounts receivable as Design Reactor was spun off to independence netted the team another million. Early after incorporating (under the name Incfusion, because something called Rotten Tomatoes was not considered a legitimate business), Patrick brokered a deal to have mySimon.com, a price search engine, integrated onto the site. Though no one could know it at the time, the monthly income from the deal would be crucial to RT’s imminent survival.On April 14, the bubble officially burst as the Nasdaq dropped 9% in one day. By the end of the week, the loss would be 25%, and by the end of the year, .75 trillion in Internet stock will have evaporated. Traffic in the Bay Area returns to normal.A 13-digit loss in market valuation spooked investors and the money dried up from the landscape. As other startups started dying overnight, the Rotten Tomatoes team knew hard decisions would have to be made.“At the end of the day, you can’t really fight the numbers,” Paul says. “We had an all-hands meeting, where we were honest with everybody that we have to start reducing headcount. We wanted to make sure that everybody had a chance to find something else. Because everybody was doing something very important, we had to downsize in a way that wasn’t disruptive to the business.”“We had to do what we had to do to stay alive,” Patrick says. “I remember it was 25, 21, 17, 14, 11, and then seven employees.”This was Senh, Patrick, and Stephen, the founders of Rotten Tomatoes; editorial members Binh and Susan; and CFO Lily with Marketing Director Paul.Stephen Wang in 2016. (Photo by Getty Images: Bloomberg / Contributor)More drastic measures would be taken. mySimon.com was not spared its fate as a dotcom casualty, and when that monthly income went away in 2001, Patrick and Paul opted to take no salary for the next six months. Everyone else took a 30%-50% pay cut. Patrick himself decided to move into the office.“Patrick and I were living off our savings, and one day, he had this idea that rent was his biggest expense,” Paul told us in our original oral history. “Using the justification that he was a neat freak (believe me, Patrick is borderline obsessive-compulsive when it comes to cleanliness), he kind of wondered aloud whether he could just simply move out of his apartment and live in the office.”Patrick recalled: “It wasn’t bad. We had those pretty nice couches that could expand out. I had a little fold-out mattress and a sleeping bag, so I was pretty well hidden in case a security guard came through.”Weekdays, they would work expanding the site. Weekends often saw casino trips to play poker, even down to Vegas, and hitting up the buffet line because food was cheap. Jet Li invited everyone to his house and treated them to magnificent Mongolian BBQ. Stephen got to know Ebert, and would travel to Chicago at his invitation to meet at film events he organized. A former employee who landed at Pixar got them tours and screenings at their campus down the street. And those late encounters with security at the office were never hard to explain because Senh, who disliked showing up before noon, would tinker on Rotten Tomatoes deep into the night. Some would stick around to watch movies, as others set up for that great gathering of those dotcom days: LAN parties.In our oral history, Susan recalled: “For a while there was an RT guild in World of Warcraft, consisting of several current (for that time) and past employees, plus some friends. The guild’s tabard symbol was a shape that somewhat resembled a tomato splat. Binh was awesome – a gnome warrior who wore a deep sea diving helmet.”“We would all end up playing Diablo II, until like two in the morning,” Patrick tells me. “Either fall asleep in the office or go home, and then do it again. And then on the weekends, Friday night, we would play until six in the morning, until we’re literally falling asleep at our computers.”Dance Dance Revolution was another favorite party game, which Binh suspects didn t ingratiate the team with their office neighbor the floor below.The brand was on the brink, and times were rough, but everyone still believed in Rotten Tomatoes as a viable business. They were devoted to the site, but also to each other, working on this shared mission and developing a small, unique Asian-American community in this dingy Bay Area office.Patrick’s hunch to keep your friends close after graduating was right. That was the uniqueness I felt when I first arrived – a lingering philosophy of kindness and generosity. I asked if anyone considered leaving.“No, not really,” Stephen says. “I just really enjoyed working on the project during those years. I enjoyed working with Senh and Pat and Paul. Despite all of the business challenges, the site continued to grow, the user base continued to grow. It was a steady path upwards.”There was a sense of family at Rotten Tomatoes, and for some it would become literal: Senh ended up marrying Binh’s cousin, while Susan married Patrick’s brother, Bryan.BETTER LUCK TODAY: THE SITE RECOVERS AND STARTS GIVING BACK TO ASIAN-AMERICAN CREATIVES With Thanos (Josh Brolin) presumably neutralized at the conclusion of Avengers: Endgame, it will be time to introduce a new Big Bad for the surviving members of the team to confront in two-to-four years time. And if Marvel Studios continues to import things from the comics, it is possible that character will appear in an Endgame stinger scene, much the same way Thanos flashed his winning smile at the conclusion of the first Avengers film.Considering the studio has trained us so well to anticipate the next big thing before the current story’s end, let’s take a look at some potential foes the Avengers — in what ever form they take after Endgame — may face. Some may be familiar faces while others are only possible thanks to Disney s purchase of 20th Century Fox. But all would be formidable foes in Phase 4.Baron Mordo(Photo by © Walt Disney Studios Motion Pictures)First Comic Book Appearance: Strange Tales #111First MCU Appearance: Doctor StrangeBig Bad Potential: Like Loki (Tom Hiddleston) before him, Mordo could emerge as a much larger player in the MCU thanks to the talents of actor Chiwetel Ejiofor and Mordo’s brand of binary justice. Those sorts of characters inevitably clash with funky teams like the Avengers. As seen in the Doctor Strange post-credit scene, he has determined the mystic arts corrupt all who use them and that he must eliminate all remaining sorcerers. Of course, that suggests he will come after Stephen Strange (Benedict Cumberbatch) sooner than later, like in the Doctor Strange sequel. But complete defeat may not be in his future and his use of the Living Tribunal’s staff may lead him to amass more power to further to his cause. At that point, he would be an Avengers-level opponent.(Photo by © Walt Disney Studios Motion Pictures)First Comic Book Appearance: Journey Into Mystery #101First MCU Appearance: Thor: RagnarokBig Bad Potential: Continuing with the Loki theory of Big Bads emerging from established antagonists, Hela (Cate Blanchett) is a worthy adversary for the team — particularly if Thor (Chris Hemsworth) is not around to help them defeat her. She’s an accomplished fighter who wiped out the Warriors Three and most of the Asgardian defense forces with hardly a sweat. She is also powerful enough to destroy Mjolnir. Of course, there is one pesky problem with this potential Big Bad: she’s dead. Killed by Surtur during the final battle in Asgard, she would seemingly be unavailable. But then, consider the way the gods of Asgard experience death and rebirth. Loki regularly cheats death and he’s but a mere trickster. She is the god of death, and presumably has a say in how long she rests in peace outside the nine realms.Considering it took destroying one of those realms to stop her last time, the Avengers would need a lot of extra strength to even hold her in a stalemate.Doctor Doom(Photo by @ 20th Century Fox )First Comic Book Appearance: Fantastic Four #5First MCU Appearance: N/A, but he has debuted three times in three different attempts at starting a Fantastic Four film series.Big Bad Potential: With Disney’s recent purchase of the 20th Century Fox film studio, the film rights to The Fantastic Four revert to Marvel. And even though Marvel Studios president Kevin Feige has said they will not use the X-Men for a long time, that does not mean there isn’t room for one of the greatest Marvel villains to make his way into the Marvel Cinematic Universe. For instance, there is a Doctor Doom film script written by Legion executive producer Noah Hawley while Fox was still in control of the character. Hawley even recently said that Feige asked about the script in the run-up to the Disney/Fox deal closing. He described the story as a something of a political thriller with Doom already established as the ruler of Latveria. Which would make him a markedly different threat than any other that the Avengers have faced. What do you do when your enemy is not only a world leader, but one beloved by his people? The team would have to fight a war of perception as much as fight with their powers. And that s a pretty appealing reason to integrate the character into the MCU, even if the other former Fox-controlled properties sit on the bench.Fin Fang Foom And/Or The Mandarin(Photo by @ Marvel Comics, Strange Tales #89)First Comic Book Appearance: Strange Tales #89 (Foom), Tales of Suspense #50 (The Mandarin)First MCU Appearance: N/A, though an image of Foom appears in Iron Man. Trevor Slattery (Ben Kingsley) and Aldrich Killian (Guy Pearce) both claimed to be the Mandarin in Iron Man 3, but as the Marvel One-Shot released with the film on Blu-ray revealed, the true Mandarin has yet to be seen.Big Bad Potential: Predating Marvel Comics superheroes by a handful of years, Foom was one of the monsters created by Jack Kirby and he is just a delight to behold. Initially presented as a dragon of Chinese legend, Foom was later revealed to be an alien shapeshifter after he was finally integrated into the Marvel Universe in the 1970s. While the rest of his alien brethren set out to conquer the world early in human history, Foom, as the navigator of their starship, laid dormant for centuries. Eventually, his ship was discovered by a man who stole 10 sophisticated control rings from the ship and set himself up as The Mandarin. Foom eventually woke up and caused plenty of trouble for superheroes across the planet.The Mandarin entered MCU history in Iron Man 3 while the Ten Rings debuted as a terrorist organization in the first Iron Man film. But Foom represents a much larger threat should a defeated Mandarin awaken him from his long slumber to challenge the Avengers. It is the kind of villain team-up we ve always wanted to see. But it also implies the Mandarin is a foe worthy of the team s attention. We re already convinced he will be the villain in Shang-Chi, so it is entirely possible he will pose a worldwide threat in the not-too distant future. Provided, of course, Marvel wants a more human Big Bad with a pet dragon.Adam Warlock(Photo by @ Marvel Comics, The Infinity Watch #1)First Comic Book Appearance: Fantastic Four #66-67 (as “Him”), Marvel Premiere #1 (as Adam Warlock)First MCU Appearance: The cocoon seen at the end of Guardians of the Galaxy Vol. 2 is probably a gestating Adam Warlock. He was supposed to appear in the film at one point.Big Bad Potential: Hear us out. While typically presented as a protagonist, Adam Warlock has made some questionable choices in the pages of Marvel Comics, particularly when in possession of the Infinity Stones. And presuming the Infinity Stones are not destroyed by the conclusion of Endgame, it is possible he will end up with them and attempt to purge the universe of evil, as he once attempted to purge the evil within his own soul, creating a version of himself known as the Magus, in the comics. The consequences on a universal scale could be disastrous. And perhaps, unlike Thanos, this change will be initially imperceptible to our heroes. It would be something of a slow burn for the overall MCU film series, which may be a nice change of pace after Endgame.The Celestials(Photo by Chuck Zlotnick/©Walt Disney Studios Motion Pictures/courtesy Everett Collection)First Comic Book Appearance: Eternals #2First MCU Appearance: Guardians of the GalaxyBig Bad Potential: Thanos has set the precedent for Big Bads in the MCU, but there is always the possibility for Marvel Studios to go bigger. How does one go bigger than the Mad Titan? Well, there are the Celestials. These are beings of immense power. One is shown wielding the Power Stone when Peter Quill (Chris Pratt) and Gamora (Zoe Saldana) visit the Collector (Benicio Del Toro) in Guardians of the Galaxy. Peter’s own father Ego (Kurt Russell) lists himself as a member of the cosmic-level race.Back in the comics, the Celestials are a key component of the Marvel Universe’s secret origin. They went from planet to planet creating beings like the Eternals — soon to be featured in their own Marvel Studios film — Deviants, and others. Their tinkering led to the Skrull ability to shapeshift and, ultimately, the appearance of superheroes on Earth.Though humanoid, they tend to appear around 2,000 feet tall to human eyes. And in the pages of Marvel Comics, they are said to be indestructible, with the few who have been defeated instantly regenerating. That power may make them too absurd of an opponent for the Avengers, but then again, Ego was defeated and Knowhere, the space port where the Collector kept his collection, is said to be the skull of a dead Celestial. So while they may be more vulnerable in the MCU, just one of their number would post quite a challenge to the Avengers.Galactus(Photo by © Marvel Comics, Moon Girl and Devil Dinosaur #6)First Comic Book Appearance: Fantastic Four #48First MCU Appearance: N/A, though he did make an appearance as an alien death cloud in Fox’s Fantastic Four: Rise of the Silver Surfer.Big Bad Potential: If there is one certainty in big budget studio filmmaking, it is this: Galactus will be a MCU Big Bad in the fullness of time. It is only a matter of when.One of the early cosmic-level entities devised by Jack Kirby and Stan Lee, Galactus famously came to Earth to consume all its energies to satiate his enormous appetite. But in a curious twist, this does not make him inherently evil. Like all sentient life in the universe, he must consume other life to survive. Unfortunately for the rest of us, he exists on such a massive scale that a planet like Earth is a good dinner. This definitely sets him apart from Thanos as the Avengers — and likely the Fantastic Four — would have to weigh their consciences between stopping him and respecting the right for such a being to survive. Also, as with his comic book appearances, the heroes will have to come up with a pretty clever reason for him to skip his Earth-sized meal.But will all of that compel Feige to steer a MCU Galactus toward Earth in the near-future? That remains to be seen. As with the X-Men, Galactus may be a character not included in the five-year plan the studio will reveal after the release of Endgame. At the same time, he is the sort of character who could be seeded as early as Endgame’s stinger scenes and lay in wait, like Thanos, across the span of six years. As we said before, Galactus is an eventuality.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
今日，英雄联盟手游官方正式宣布，开启不删档测试。这对许多期待英雄联盟手游上线的玩家们更是好消息，还有玩家激情感慨：“官方这一次终于做人了！”在此前，英雄联盟手游官方曾宣布增加一轮代号“金克丝”测试。当时曾有玩家以“xx丝”为梗，戏称还有不少丝在等待测试。但是这次官方不开玩笑，英雄联盟手游是真的要来了！亚博体彩手机客户端1. YORGOS LANTHIMOS ADAPTING HORROR WESTERN THE HAWKLINE MONSTER (Photo by Jason Smith/Everett Collection)Not counting the recent rerelease of his 2005 film Kinetta, Greek director Yorgos Lanthimos is in the midst of a run of critically acclaimed films including The Lobster (Certified Fresh at 88%) and last year s The Favourite (Certified Fresh at 93%). Next up, Lanthimos is expected to direct a long-in-development crime drama based on the Jim Thompson novel Pop. 1280, but this week, he also boarded another project that dates back to the 1970s. Yorgos Lanthimos is now in talks to direct The Hawkline Monster, an adaptation of a novel by Richard Brautigan that combines elements of cowboy westerns and the gothic horror genre as two gunslingers investigate strange goings-on. The Hawkline Monster was a long-time project for director Hal Ashby (Being There, Harold and Maude) until his death in 1988, and the actors he hoped to direct as the gunslingers included Jack Nicholson, Dustin Hoffman, and brothers Beau and Jeff Bridges. It s not yet known whom Yorgos Lanthimos might cast, but one of his (relatively) frequent collaborators is Colin Farrell (The Lobster, The Killing of a Sacred Deer).2. KUMAIL NANJIANI S GETS RIPPED FOR MARVEL S THE ETERNALS (Photo by @kumailn/Instagram)When Kumail Nanjiani was first announced as being cast in Marvel s The Eternals (11/6/2020), a safe assumption may have been that he would basically look a lot like we ve seen him in other projects like The Big Sick, Stuber, and HBO s Silicon Valley. After all, most previous Marvel Cinematic Universe stars look basically the same as they do in other previous movies (we re looking at you, Paul Rudd). This week, Nanjiani took to Instagram to show off exactly what a year s worth of Marvel-backed personal training and nutrition have done for him. (You can read about his training and diet here.) Nanjiani s co-stars in The Eternals also include Angelina Jolie (Thena), Salma Hayek (Ajak), and Game of Thrones stars Richard Madden (Ikaris) and Kit Harrington (The Black Knight), but we haven t heard yet about whether they re that buff yet. [Ed. note: This story erroneously first reported that Kumail Nanjiani was playing Makkari in The Eternals. The mistake has been corrected.]3. AWKWAFINA, AND HOW CHINESE FOOD FUELED THE RISE OF CALIFORNIA PUNK (Photo by Dee Cercone/Everett Collection)Although it can sometimes feel like reboots, sequels, and superhero movies dominate the upper realms of studio output, the indie scene is still going, producing movies that are both original and based on other source material. For example, sometimes articles provide inspiration, as recently happened with Hustlers, which started as a New York Magazine piece. Just a year after her spectacular 2018 breakout (with Ocean s Eight and Crazy Rich Asians), Awkwafina is already working on guiding her own path by producing new roles for herself, as she is now attached to produce and star in an untitled adaptation of this Topic.com article, titled, How Chinese Food Fueled the Rise of California Punk. The film will tell the true stories of how early Los Angeles punk bands in the 1970s were able to find unlikely allies in Chinese restaurants in cities like Los Angeles and San Francisco (for example, bands like Fear, The Bags, and X played at L.A. s Hong Kong Cafe in June, 1979). It s not yet known if Awkwafina will be playing one of the punk rockers, or one of the young promoters who connected these two otherwise disparate communities.4. TOTALLY EXTREME JACKASS PRANKSTERS TO RETURN IN 2021 (Photo by Sean Cliver/©Paramount Pictures courtesy Everett Collection)Next October will mark the 20th anniversary of the October 1, 2000 debut on MTV of the groundbreaking stunt comedy series Jackass, which soon after led to a series of successful movies. Not counting Jackass Presents: Bad Grandpa, the most recent Jackass movie was Jackass 3D in 2010, which came out just a year before core Jackass performer Ryan Dunn s tragic death in 2011. Paramount Pictures announced this week that Johnny Knoxville and his fellow stuntmen will return for Jackass 4, which is now scheduled for release on March 5, 2021 (up against the Masters of the Universe reboot).
(Photo by Tommaso Boddi/Getty Images for AMC)It should come as no surprise that Christmas is not Greg Nicotero’s favorite holiday.“Do I even have to answer that question? Of course Halloween is my favorite holiday,” The Walking Dead and Shudder’s Creepshow series executive producer told Rotten Tomatoes. “I know that there s going to be a bunch of zombie heads on spikes in my front yard for sure. The zombie heads are easy. The spikes are harder for me, because now I have to make them. But I got a bunch of zombie heads that I want to line up along the street outside of my house.”Trick-or-treaters, be on the lookout, because as the co-founder of the Oscar and Emmy-winning KNB EFX Group special effects studio, Nicotero’s lawn decorations of horror will obviously top anything you can buy at Target. In addition to the more than 400 TV and movie projects he and KNB have worked on since they formed in 1988, Nicotero’s handiwork is an integral part of the look of The Walking Dead, which he has been a part of since the show premiered on Halloween 2010.In honor of the series’ 10th anniversary, we talked to Nicotero about how he was actually part of the series before it became a series thanks to his friendship with Frank Darabont, why he thinks the show’s Western vibes are a big reason it propelled zombies into the mainstream, and how the upcoming spin-off with Carol (Melissa McBride) and Daryl (played by his good friend and Nic Norman’s restaurant partner Norman Reedus) has been building since season 2.Nicotero also talks about the cast and crew’s famously close relationships (including the only person he told about how nervous he was to direct his first episode), how TWD and Creepshow are dealing with filming during the pandemic, and the very cool zombie idea he’d like to try out before The Walking Dead wraps after season 11.(Photo by Mark Hill/AMC)Kim Potts for Rotten Tomatoes: How are you doing?Greg Nicotero: I m really good. We re filming away on Creepshow, and it s been super fun, surprisingly. I was a little concerned about all of the crazy COVID procedures making it more tedious and less fun, but it s been a blast. The actors have been great, and the crew has been great. We re having a really good time, so it feels great to be back at it again. You get to set, and you ve got your mask on and your face shield, but when you re in it, you forget about all that stuff, and you get a chance to focus on what you love doing.You re also working on the additional Walking Dead season 10 episode that will air next year?Nicotero: Yeah. The challenge is sort of getting out of one bubble and getting myself into another bubble, then getting tested, then doing set work, and then tested again, because you can t go from one set to the other without getting tested and put into another bubble. We probably started prepping Walking Dead stuff back in July, just sort of making adjustments in what we were doing for the show to allow for accelerated makeup times and easier application and all kinds of scenarios. I was working on Walking Dead July, August, and September, and then in September we started shooting Creepshow again. It s been kind of busy.Has it forced you to make any storyline changes in either show?Nicotero: The Walking Dead stuff is really intended to be these kind of episodes that are a little more production-friendly … because you re dipping your toes in the water a little bit. With Creepshow, we re primarily a stage show, so we don t have to go out into the world very often, and that allows us to be a little bit more self-contained. Fortunately, not a lot of people kiss in either show, so we’re not worrying too much about somebody kissing someone. It s definitely a change in the way that we are accustomed to doing things, but so far, so good.Are you directing any of the six remaining season 10 episodes?Nicotero: No. Originally, (TWD showrunner) Angela (Kang) had called and asked me if I wanted to and, unfortunately, because of when the pandemic hit and everything shut down, Creepshow was set to start shooting, and we had prepped the first two episodes. I think in my head originally, I was like, “Well, I can shoot Creepshow and then run over and do Walking Dead,” and then I thought, “That s insane. I would literally die.” Until January, I m all the way up to my eyeballs in Creepshow.(Photo by AMC)Halloween this year marks the 10th anniversary of The Walking Dead. Does it feel to you like it s been a decade? I always think of the show as all of you making an hour-long movie, for TV, every week.Nicotero: Yeah, it feels like it s been 100 years. Honestly, time has a very different meaning when you re on a show of this magnitude for this duration, because there are some episodes I remember like they were yesterday. There are other episodes that I m like, “I don t even remember that,” just because we ve done so many episodes. Even when I go to the studio, and I ll stand on the backlot and be like, “This is where the prison was, and then that s where the Heaps were, and then, oh, this is the scene where they thought that Carol was dead and they put a grave in the prison field …” There are numerous beautiful moments of the show, and some of them get lost in the fact that we ve been on for such a long time, and I kind of forget some of them.I just recently went back and rewatched Game of Thrones with my son, Deven, and there was so much stuff that I was able to appreciate about the show going back and seeing it after a little bit of time. I m looking forward to doing that with Walking Dead, going back to the beginning and really sort of looking at what the DNA of the show was then and the great scenes that we crafted and the great moments with Chandler (Riggs) and with Emily (Kinney). There are so many people that you start going back and thinking about what amazing work they did. God bless Scott Wilson, because I had some of the greatest moments of my career with Scott. I ll be forever grateful that I got a chance to be a part of his life.I don t think I’ve ever talked to you about this: how did your involvement with the show begin? Nicotero: Frank (Darabont) is one of my best friends, still to this day, and probably a year before the show was ever put into production, he had given me the script and was like, “Okay, we re going to do The Walking Dead.” The irony behind all of this was I remember buying the first issue of the comic book when I was working with Robert Rodriguez in Austin, Texas. There was a great comic book shop there, and I bought the first issue. Frank and I had always talked about the idea of wanting to do a zombie project, because he loved Night of the Living Dead. His No. 1 criteria was, it s got to be the right stories. It really needs to be about survival and what people do, what they become in order to survive.I remember one night specifically, one dinner, where we were talking about it. I don t think we ever thought about it as a TV show, because this was years before Walking Dead even happened. At that point, zombie television wasn t even a thing. No one would have ever imagined doing a TV show with zombies in it. We were talking about a movie. Then a couple of years later he sent the script over and was like, “Hey, man, this is what we re going to do.” We had designed a couple of zombie busts that he took to his meetings to help sell the show, because one of the big questions that every network asked was, “Well, how are you going to do the zombies? No one s ever done anything like this on television before.” (Frank) was like, “Oh, it s easy. I got this guy, Greg Nicotero, and he makes zombie busts, and this is what the zombies are going to look like.”(Photo by Scott Garfield/AMC)There are so few of you left from the beginning, but you ve been there even before it was even a show.Nicotero: I remember talking about the opening scene with Frank, with a little girl at the gas station, and I said, “You know, Frank, the Dawn of the Dead remake had a very similar sequence where there s a little girl zombie at the beginning,” and he was like, “Yeah, I don t care about that. It doesn t matter. This is going to be our show.”I would have never imagined that the mainstream would have sort of caught up to everything that I have loved since I was a kid, which is zombie movies. Before The Walking Dead, zombies were a very, very niche sort of sub-genre that appealed to a specific group of people. I think what Frank was able to do was really break the mold and show that The Walking Dead really is a Western. Andy (Lincoln) always, always talked about that a lot; his inspiration for Rick Grimes was Clint Eastwood and The Outlaw Josie Wales. That was something that was very important, because a lot of the actors, when we did season 1, they hadn t seen a lot of zombie stuff. They hadn t seen Night of the Living Dead. They hadn t seen Dawn of the Dead. Even though that was a lot of the inspiration for the show, they were approaching it like Frank, from sort of a dramatic survival standpoint.I have to say that the cast that we put together for season 1, with Sarah Callies and Steven Yeun and Jon Bernthal and Laurie Holden and Jeff DeMunn … what a cast. I mean, the cast was absolutely astonishing and that s where Frank always excels, his ensemble casting. He did it in The Green Mile. He did it in Shawshank (Redemption). He did it in The Mist. And, of course, there are Norman (Reedus) and Melissa (McBride), who have been on the show since day one.Do you think it s that focus on those aspects, those dramatic aspects and the kind of survival, the universal, human themes is what really helped the show cross over to the mainstream?Nicotero: Absolutely. Absolutely, because a lot of times in zombie movies, prior to The Walking Dead, the gore was the big element, the horror was the big element, and I think there were a lot of instances where people might have been turned off by the gore. Even when you talk to people that watch The Walking Dead, they had this preconceived notion about it until they watched it, and when they experienced it through the eyes of Rick Grimes, who is waking up in the hospital, and he s learning about what the world is, the first thing people would say is, “It s not a show about zombies.” I m like, “No, it s a show about survival, and it s a show about what people are willing to do in a situation like that.” Of course the zombies are a big part of it, and I m very proud of the contribution that I ve made to the show and that my team has made to the show, but a lot of the drive for the show has been about those specific character moments where the audience can identify with Maggie or Glenn or Hershel and put themselves in those characters positions and imagine what they would or would not have been able to do.(Photo by Gene Page/AMC)Do you have a favorite episode or storyline? You ve been involved in so many of the great ones, but can you choose just one?Nicotero: I would probably say one of my favorite episodes is the episode where Merle fights The Governor and Merle dies [“This Sorrowful Life”]. The moment where Norman just literally poured his soul out when he saw Merle as a walker. I ll never forget filming that. I ll never forget people calling me and saying, “How the fuck did you make me cry in a show like this?” I ve had so many amazing moments working with Norman and working with Melissa. I mean, having filmed Andy s last episode, and the number of people that I ve had to kill on the show, that’s never fun.I don t know if I could pick just one episode. I think the episode where the walkers invade Alexandria [“Start to Finish”], and that was like our Night of Living Dead homage. I would probably go back and watch episodes and not even remember like, “Oh, I shot that episode. That s right,” because we’ve had so many, so many moments. Negan s introduction [“Last Day on Earth”, which was certainly controversial, but I m tremendously proud of what we did, and Jeffrey (Dean Morgan s) performance and shooting 12 pages of dialogue in two nights is, it s a little bonkers in the TV schedule. So yeah, I just don t know if I could pick one.Has the show ever made you cry?Nicotero: I think there have been characters that died (that have made me cry). I think the moment with Jeffrey DeMunn, that was the first episode I had ever directed [“Judge, Jury, Executioner”], and, yeah, I got emotional when I shot it and when I watched the first cut. Chandler was a little boy. I remember Chandler running down through the field and shooting his reaction to seeing Jeff on the ground with his stomach torn open and blood bubbling out of it, and just how hysterical everybody got. To see the fear in Jeffrey s eyes when Norman walked over with the gun and said, “I m sorry, brother, it was intense.That episode was just … I was so terrified, because it was the first hour of television that I had ever directed, and I had my little graphs and my little charts of where the camera would go. I think probably Andy was the only person that I had shared with him like, “I m scared sh less here,” but I trusted my instincts, I trusted my camera department, and I trusted my actors. If you look at the episodes in season 2, 3, and 3, those episodes are so dense. There s so much story that we re telling, and it just propelled us. If you watch that episode, which was written by Angela, there s so much. You re telling an entire season s worth of story in that one episode.That s what I mean. They were like movies every week.Nicotero: Oh, without a doubt. There s not one moment where there s a frame of film that doesn t serve something, that doesn t serve a character, a story point, the propulsion of the show as it s moving forward. I ve rewatched that episode recently, and it s just crazy what we did. I think we shot that in seven days maybe.(Photo by Gene Page/AMC)You are responsible for starting The Walking Dead Zombie School, to train the zombie actors on the show. How has that evolved through the seasons? I m guessing that just from watching the show, people are coming to you a little more prepared at this point.Nicotero: Definitely. In fact, I don t think we ve done Zombie School in two years, because at this point, we have our troupe of zombie performers and actors, and I think the people that we love, we bring them back over and over again. At the beginning, we wanted to make sure that we were maintaining the aesthetic of what we wanted for the zombies, but also, they had to be able to perform with the actors. They have to be able to die well, they had to be able to be convincing as zombies. What you don t want to do is spend an entire hour or two fine tuning background zombie performances that would then be taking away from shooting the rest of the scene, so it was always very important that the zombies were well directed in terms of their performance and what was expected of them. Every season, I would say we d probably end up with like 20 people that were just standout performers, and a lot of them initially came from a place in Georgia called Netherworld, which is a haunted house attraction that would open in September/October. A lot of those people that had been working at that attraction ended up being some of our best zombie performers.The Walking Dead cast and crew have been known to be very close, even though there are a lot of changes with all the character deaths. How have you maintained that?Nicotero: Well, listen, the dynamic of the cast changes as certain actors leave and other actors come in, so it evolves. It s a very organic thing. I think one of the unique things about any show that has a tightknit family is when you re in the trenches with them, you re sharing something that you can t share with anybody else. That was something I learned working with Quentin Tarantino. When we were doing Inglourious Basterds, he had looked at me one day and said, “You know, there s nobody else I would ever want to be in the trenches with,” and that really stuck with me a lot, because I realized that it s a shared experience, and I have a bond with this crew and these actors that no one can ever take away from me and no one can replace. I still keep in touch with most of the actors from the show, even if it s once a month, just a quick text saying, “Hey, how s it going?” I talk to Sonequa (Martin-Green) a lot. I talk to (Michael) Cudlitz a lot. I talk to Alanna (Masterson) a lot. Of course, on the show, Norman and Jeffrey and Christian (Serratos) and Lauren (Cohan). Even during the pandemic, I would just find myself calling Khary (Payton) to just see how he is doing. or I would call Seth (Gilliam).When you ve been in these intense situations with these people for so long, they just become part of your life. I m grateful, forever grateful, for that and for the friendships that I have. I talked to Jeffrey DeMunn not long ago. It s like that never goes away. When you work on a movie, that goes for six months or eight months, then it s gone, and you move on. When you re doing serialized television, you come back year after year, and you come back with the same people. You watch their children grow up, and you watch them get married or divorced or whatever happens, but you end up being a part of that whole scenario. It s fun for me to look at Andy s kids and Jeffrey (Dean Morgan) s kids. Jeffrey s son is really into special effects makeup, so I would send him little makeup kits and little zombie wounds and things. I send videos to Andy from set of the creatures from Creepshow so that he can show it to his kids, because they re sort of now at that age where they re kind of fascinated with the monster aspect of it.(Photo by AMC)You mentioned Carol and Daryl, and how Norman and Melissa are the other people still with the show who have been there from the beginning. Their characters, separately and together, are so beloved that they’re going to be their own spinoff. Since you’ve witnessed it all, is that relationship something that developed organically? Nicotero: With Daryl, that was a creation of Frank Darabont, and I remember specifically when we were casting for the show, Frank had called me one day and said, “Hey, I m thinking about this guy Norman Reedus to play Daryl, and I know that you had worked with him on Masters of Horror. What did you think of him?” I gave him a huge thumbs up, but I said, “Listen, let s reach out to the director and get a review from John Carpenter.” John couldn t say enough good things about Norman. The next thing I knew, I was sitting in the van dressed up as a zombie for (“Tell It to the Frogs”), and Norman s sitting in the chair next to me. I didn t even realize that the deal had gone through. He didn t recognize me because I was dressed up as a zombie. I had my zombie teeth in, and I was trying to talk to him. Ironically enough, I am the first zombie that Daryl kills in the series.I think the way that season 2 was crafted and the way that Daryl s character evolved into somebody who was not going to give up looking for Carol’s daughter, Sophia, that s really where that bond began, because of Daryl s undying commitment to find Sophia. Between Melissa s brilliant performance as Carol and Norman, they just fell together so perfectly that you couldn t have planned it. It just worked amazingly well and kept growing from there.
4. 呼朋唤友 随心所欲
What We Saw in the Season 2 Premiere of The Mandalorian Sometime after the firefight on Navarro, Djarin made his way to a tough planet of gamblers and things that go bump in the night. His quarry: Gor Koresh (John Leguizamo), a dealer who may have information on other Mandalorian culverts. As Djarin subsequently explains, he is hoping other Mandos will have information on the Jedi — a legendary order of space wizards capable of the same physics-bending feats as The Child. But as the culverts all operate independently of one another, he needs to build a new communication network between them.Koresh is more interested in Djarin s shiny Beskar armor, but after a brief skirmish, he reveals the one place he s seen another Mandalorian: Tatooine.Heading back to the desert planet, Djarin meets up again with Mos Eisley landing bay operator Peli Motto (Amy Sedaris) and makes for Mos Pelgo, a tiny mining town most believe was wiped out by raiders after the Empire abandoned the planet.Arriving in town, though, Djarin discovers it is alive and guarded by Cobb Vanth (Timothy Olyphant), a Tatooine native who, by chance, bought a set of familiar Mando armor. Well, familiar to viewers anyway. From Djarin s perspective, it s armor Vanth has no right to wear as he does not follow The Way of Mandalore. After an initial disagreement, they strike a deal: Djarin will help Vanth kill a Krayt Dragon terrorizing the region and Vanth will hand over the armor.(Photo by Lucasfilm/Disney+)Their path leads to a Tusken settlement, where Djarin manages to negotiate a truce between the Sand People and Mos Pelgo. Everyone will help with Krayt Dragon and the Tuskens will never raid the town again — provided the humans never break the peace, of course.This being the Star Wars galaxy, the plan does not go smoothly, but Djarin manages to kill the Krayt Dragon from the inside and all agreements are honored. Sadly, the Mandalorian is no closer to his goal, but at least he has reclaimed some missing Mando armor.In the distance, an apparently alive Boba Fett (Temuera Morrison) sees Djarin riding back to Mos Eisley.Season 2 Mandalorian Premiere Resolves Some Rumors (Photo by Rich Fury/Getty Images)In the time since The Mandalorian concluded its first season, many rumors about casting — and classic Star Wars characters appearing in the series — captured the imagination of fans across the internet. And though one would expect most of these would go unanswered for some time, the first episode of season 2 resolved a couple almost immediately.Olyphant s name first emerged as Vanth back in May. The character is pulled from the Star Wars: Aftermath novel trilogy by Chuck Wending. As in the books, he is a human on Tatooine who acquired Boba Fett s armor to bring justice to a backwater settlement, though his telling of the story differs from the books. As a performer, Olyphant brings even more of a Western edge to the character. From Vanth s preference for red to his U.S. Marshal mustache, he feels both a part of the Star Wars universe and our own. Also, it should be said, there s something nice about seeing a man of his word in the Star Wars galaxy. Djarin tends to deal with scum and villainy, so Vanth cheerfully handing the armor over felt unusual and hopeful.Indeed, seeing Djarin broker a peace between humans and Tuskens also felt uncharacteristically hopeful for his corner of the galaxy. Perhaps this will be a running theme this season.(Photo by Axelle/Bauer-Griffin/FilmMagic; 20th Century Fox)But the big rumor resolved in the episode is the last-second appearance of Morrison as Boba Fett. At least, we think he is Boba Fett. Since his father Jango (also Morrison) volunteered to be the source of the Old Republic s eventual Clone Army, it is possible this character is another clone trooper. We doubt it s Captain Rex, the beloved Star Wars: The Clone Wars character voiced by Dee Bradley Baker — he d never shave that magnificent beard off.Assuming that wanderer in the Dune Sea is Boba Fett, it leaves us with a lot of questions: how did he escape the Great Pit of Carkoon? Why did he allow Vanth to use his armor for the last few years? And, perhaps the most provocative question, will Djarin accept him as a Mandalorian?As it happens, there is some question about his status as a Mando — an inheritance from some of the earliest rumors about Boba Fett in the 1980s Star Wars novels and comics — even though his father was adopted into the tribe at an early age and went on to lead the True Mandalorian faction sometime before the Clone Wars. Also, the armor itself is not Beskar, but instead made of Durasteel. While Djarin gave no indication he recognized the armor, it is possible the legend of the Fetts passed through the culverts. Then again, it is also possible some of that history has been lost. There s also the problem of The Way. Boba, even if he is not an adherent, has taken off his helmet, and Djarin would be unlikely to give the armor back to him. We doubt this will sit well with Boba.Or, who knows, maybe narrowly avoiding 1,000 years of pain and suffering in the belly of a Sarlaac changed his view of the universe.Star Wars Deep Pulls and Cameos That Appear in The Mandalorian’s Season 2 Premiere(Photo by Lucasfilm/Disney+)As series creator and episode director Jon Favreau is not shy about his Star Wars fandom, the episode is littered with callbacks to the first season, the Star Wars films, and various parts of the lore.Our favorite may be the unlikely return of R5-D4. At least, we re fairly sure the R5 unit Motto refers to as unreliable is the very same droid with a bad motivator from the original Star Wars film. The carbon scouring on the rear of its dome indicates the time it fried itself in front of Luke Skywalker (Mark Hamill) and C-3PO (Anthony Daniels). R5-D4 also made a cameo in the first season s Tatooine episode at the now droid-run Mos Eisley cantina.Motto (pictured above) is also a nice callback to the first season. She is such an unexpected, workaday part of the galaxy that her viewpoint on events will always be welcome — see how her worry about The Child feels as lived in as her deprecation of the pit droids.(Photo by Lucasfilm/Disney+)And speaking of the pit droids, we can t help but think Vanth s speeder bike contains the remains of Anakin Skywalker s (Jake Lloyd) podracer. It looks like one of the engines, anyway, and considering how quickly things are forgotten on Tatooine, it is possible the racer was sold for parts only a handful of years after Qui-Gon Jinn sold it to fund repairs on Queen Amidala s (Natalie Portman) ship — events all seen in Star Wars: Episode I — The Phantom Menace.The Krayt Dragon is also a interesting pull. Its scream was imitated by Obi-Wan Kenobi (Alec Guinness) in Star Wars to scare off the Tuskens, and one of its skeletons can be seen just after 3PO and R2-D2 arrive on the planet. Both moments are honored in the episode, but beyond that is the exploration of the Tuskens relationship to the creature. They fear the beast, but are also happy to harvest its innards should the opportunity arise. Also, anyone who played Knights of the Old Republic will get a shiver of déjà vu during the dragon hunt and the subsequent discovery of the pearl inside the carcass.The Mandalorian Season 2 Premiere Leaves Some Questions Unanswered (Photo by Lucasfilm/Disney+)Although the episode was quite satisfying, it left us with a few unanswered questions. It wouldn t be Star Wars without some dangling plot points, after all.Is Fennec Shand (Ming-Na Wen) alive? She was seemingly rescued at the last moment by someone wearing spurs in last season s Tatooine episode. The common belief was either Boba Fett or Vanth found her. But she was completely absent from the Mos Pelgo adventure. It is still possible she died and the spur-wearing wander just looted her corpse, but it is also equally possible she was just off camera while Boba watched Djarin speed away.How Much Time Has Passed Since Last Season? Considering Djarin bought a new hoverpram for The Child and he seems comfortable with his jetpack, some time has passed since his encounter with Moff Gideon (Giancarlo Esposito), but it would be nice to know if it s been weeks or months since that time. And, unlike most infants, The Child will not appreciably grow for awhile, so he cannot be our calendar.Where Are The Imps? Although Djarin and his friends routed the Imps on Navarro, its safe to assume Gideon has some sort of backup. Are they tracking the Razor Crest? If not, why not?The Mandalorian streams on Disney+ with new episodes launching on Fridays.On an Apple device? Follow Rotten Tomatoes on Apple News.
5. HD 画质与高品质音讯
2.42.9 2月喜迎Ryan Reynolds stars in Free Guy, a movie about a video game character who suddenly breaks from his expected monotony to reach his full potential. And as it turns out, it’s also a movie that breaks from expectations to reach its full potential. That’s the consensus from the surprisingly very positive reviews from the new action-comedy, which hits theaters on August 13.While familiar in its premise and the latest movie to capitalize on a studio’s willingness to mash up famous pop culture IP, Free Guy is said to be a lot of fun, with tons of action, laughs, and heart, plus a bunch of surprises that critics aren’t divulging. The only place where reviews really disagree, though, is in where they land on Taika Waititi’s scene-chewing villainous role.Here’s what critics are saying about Free Guy:Is Free Guy more than it seems? “Free Guy is way better than you may have been expecting — in fact, it’s absolutely joyful.” Germain Lussier, io9.com“A very pleasant surprise.” Mark Cassidy, ComicBookMovie.com“Free Guy is surprisingly far more complex than expected.” Robert Daniels, The Playlist“I never expected to see a film that hilariously deals with philosophical conundrums the way The Good Place used to.” Sherin Nicole, idobi.com“One of the summer’s bigger surprises.” Joey Magidson, Awards RadarHow does it compare to other video game movies?“The best-ever video-game movie.” Ian Sandwell, Digital Spy“One of the best video game movies that Hollywood has managed to churn out.” Hoai-Tran Bui, Slashfilm“[One] of the best video game-themed movies in recent memory.” Germain Lussier, io9.com(Photo by 20th Century Studios)Will it appeal to gamers?“It actually understands what makes video games tick.” Hoai-Tran Bui, Slashfilm“There are numerous Easter eggs for gamers to find in the background details and, crucially, it s done with love for the culture, rather than any cynicism.” Ian Sandwell, Digital Spy“Very clearly a movie aimed at young gamers… and for a film aimed at gamers, it seems pretty oblivious to what that audience actually wants in a game.” Rob Hunter, Film School Rejects“When branching off the core story and trying to bring in certain elements, gamers may be less impressed with some of the gag choices.” Aaron Neuwirth, We Live EntertainmentWhat about non-gamers?“While it’s very respectful and true to gaming culture, it’s one of those movies that almost anyone could watch and find enjoyment in.” Germain Lussier, io9.com“If you’re not into video games, I wouldn’t say that’s a hurdle for Free Guy any more than not being into Lego is a hurdle for The Lego Movie.” Matt Goldberg, Collider“Free Guy is fun and visually stunning enough to hold the interest of anyone looking for a literal escape to something far away from the real world.” Catherine Springer, AwardsWatch“Free Guy is nothing if not a movie that wins you over in spite of your better judgment and best defenses.” David Ehrlich, IndieWire(Photo by 20th Century Studios)How is the action?“The film is loaded with wall-to-wall action, albeit the cartoonish kind that makes this solid family entertainment.” Chris Bumbray, JoBlo“The action is used not just to entertain, but to develop characters, which in turn endears them to the audience.” Germain Lussier, io9.comAnd the visuals?“The world-building is incredible… The set design and VFX are impeccable and engaging.” Yolanda Machado, Nerdist“They’re just flashy enough to make the world of Free City seem both fun to live in and kind of real.” Germain Lussier, io9.comWhat about the script?“Incredibly uplifting.” Matt Goldberg, Collider“However predictable, the journey to get there makes up for it by being akin to a rocket ship.” Germain Lussier, io9.com“So much energy has been poured into the creation of Free City that the plot suffered as a result.” Ian Sandwell, Digital Spy“If it sounds complicated, plot-wise, that s because it is, overly so, to the point that the film has to stop a couple of times to explain itself to some extent, although certain plot points remain unexplained, perhaps because the credited screenwriters could not remember the narrative point and/or lost the cocktail napkin on which the script was originally jotted down upon.” Peter Martin, Screen Anarchy“Free Guy is the unfortunate example that fails to add anything new… It neglects to build character and narrative of its own.” Rob Hunter, Film School Rejects(Photo by 20th Century Studios)Is it funny?“One of the funniest movies of the year.” Robert Daniels, The Playlist“Hilarious thanks to a few laugh-out-loud surprises courtesy of the merger between 20th Century Studios and the Walt Disney Company.” Joey Morona, Cleveland Plain DealerBut does it have heart?“It really believes in itself…there’s a real, beating heart beneath all that plastic packaging of Free Guy” Hoai-Tran Bui, Slashfilm“Will make your heart swell and burst.” Joey Morona, Cleveland Plain DealerDoes the r
(Photo by Clay Enos/©2020 Warner Bros. Entertainment Inc.)During the summer of the pandemic, Warner Bros. was holding true to the optimism that a partial movie season could be salvaged. They had two of the season s most-anticipated films under their belt – Tenet and Wonder Woman 1984 – and even leaned into the branding that the former s release could be the thing that saved movie theaters from months of shutdown. Though America saw some hope in major cities flattening the curve, it was short-lived and caution continued to influence policy and re-openings. As a result, Disney moved scheduled summer release Mulan to streaming and WB was forced to inch back its releases of Tenet and Wonder Woman 1984.Ultimately, Tenet was released theatrically in August and did as well as one possibly could – especially internationally – when faced with limited venues, scared moviegoers, and a final product that some felt didn t live up to everyone’s lofty expectations. After a few more shifts, WB finally decided to release Wonder Woman 1984 on Christmas Day – but then decided to do so both in theaters (where safe) and on its affiliated streaming platform, HBO Max. The announcement of the dual release strategy was a volcanic moment for a debate that has raged since March about whether studios would, could, or should sacrifice potential hundreds of millions of dollars in theatrical revenue for their guaranteed blockbusters by going straight to streaming.Then, two weeks later, WB went one further: It announced it would release its entire 2021 slate simultaneously on HBO Max and in theaters – a slate that includes blockbusters like The Suicide Squad, Dune, and In the Heights. Many began to wonder: Was this going to be the way of the future? Were the days of theatrical releasing over? There are still many questions to consider before calling the time for the patient on the table, we think, and here are some of the most pertinent – and what you should know about them.Will Other Studios Follow In Warner Bros Footsteps?(Photo by Chiabella James/Warner Bros. Entertainment)Others studios have been exploring different release models since this mess officially kicked into gear nine months ago. Universal got the ball rolling with a temp fix, helping to ease a little parental stress by sticking with its Trolls World Tour release date, only to move it to streaming services for a price. After initial pushback from AMC Theatres about the movie, they eventually worked out a longer-term deal where the length of commitment of Universal’s films in their locations would be determined on immediate box office success. So, lower-grossing films would be moved to streaming after three weeks, at which time a lower split-profit model with the theaters would kick in; higher-grossing movies would stay.Disney, too, experimented in changing the game with Mulan, but the title s price tag (comparable to a small family trip to a matinee) on top of the subscription price did not translate into the kind of headline-grabbing total that business and box office analysts would salivate over.So now what? Is Paramount+ going to expand the revamped CBS All Access from television into their feature library? Can Lionsgate Play’s recent soft launch from India make its way over to the States? Would Sony be able to bring “Let’s Crackle and Chill” into the lexicon? Disney’s acquisition of Fox already reduced the number of these questions by one, but so far they have been skittish to move their blue chip titles over to immediate home viewing. Sending Artemis Fowl and The One and Only Ivan to Disney+ felt more like acceptable sacrifices rather than trailblazing.However, the numbers on Pixar’s Soul (now directly competing with Wonder Woman 1984 on HBO Max over Christmas) could begin to shift Disney’s thinking. Universal’s Peacock service may be the one to watch in the near future. Trolls kicked off the conversation and any commitment from another franchise-heavy studio to simultaneous theatrical/streaming releases would send speculation into overdrive – and there may be officially no way back to the old model. On the other hand…Is a Less-Crowded Marketplace A Great Incentive for Others To Stay in the Theatrical Game?(Photo by © Marvel Studios, © Walt Disney Studios Motion Pictures)Warner Bros. is continuing to utilize theaters for its 2021 slate. But when a single ticket in certain areas will cost more than a monthly subscription to an entire library of content, the incentive to head out – in a still-new (presumably) post-vaccine landscape – may be reduced to the kind of purists who still buy albums. Socially-distanced or streaming-distanced, those who still like getting out and about could still have major event options in their local theater, which may not want to give up more than a single screen for the movies playing at home. A few shifts to the schedule and studios could take advantage of the voids left by The Suicide Squad in the August kickoff slot and Dune in October, the period that WB has recently taken up a bunch of space in with Joker, Gravity, and A Star is Born. The HBO Max partnership may have sent three potential 0 million grossers (Godzilla vs. Kong, The Conjuring: The Devil Made Me Do It, In the Heights) from May-to-July next year, but Universal and Disney still have scheduled Black Widow, Fast Furious 9, Minions: The Rise of Gru, and Jungle Cruise in that frame, which could see double or triple those numbers. Again, this is all dependent on the success of the vaccines and the comfort-level of our society. WB bet on this and lost last summer and clearly did not want to again.Will There Be Pushback From Filmmakers?(Photo by © Warner Bros. / Courtesy Everett Collection)Someone who has definitely benefited from the seemingly unlimited pocketbook of the leader in streaming is Martin Scorsese. A three-and-a-half epic such as The Irishman, costing anywhere from 0 million to 0 million, likely would not have gone forward anywhere else but Netflix, and now Apple is backing his latest, Killers of the Flower Moon. Paramount is still slated to distribute the film theatrically, but that is another 0-0 million price tag just as of today. Artists like Scorsese are not nearly as interested in bottom lines as the studios are, especially if he gets to keep working regardless. Will supporters of the theatrical experience as an integral component of cinema be so ready to give it up, though?One cannot imagine Christopher Nolan is on board with Warner Bros. 2021 distribution model. (The studio has distributed seven of his 11 movies.) Many feel the filmmaker s insistence on releasing his work on the biggest screen possible was one of the many reasons the studio felt it had no choice but to put Tenet in theaters (regular and IMAX) first. If WB does stand alone on this for the time being, is that going to hurt their standing with those filmmakers with the power to insist their movies play on something larger than a 55-inch screen? It is highly doubtful that James Cameron has spent 86 years working on the Avatar sequels only to watch Disney potentially shift gears on their event pictures.Can Theaters Offer New Incentives to Get Us In the Door?(Photo by Macall Polay / © Warner Bros. / Courtesy Everett Collection)3-D engaged moviegoers in the 1950s, got a brief, largely lame revival in the 80s. and then generated extra box office in the late 90s and beyond; super-wide Cinemascope was utilized to dazzle home viewers away from their newly-bought television screens into a much grander experience. Today, theaters may have exhausted their technological innovations – and no one is making a special trip to have their seats vibrate with the noise. So they may be down to the best possible innovation of all in a post-pandemic world: savings. Depending on the theater chain, a trip to the movies for a family these days can feel like one to a professional ball game. MoviePass was a fun, if financially irrational, experiment that benefited weekly attendees. Would local theaters be able to manifest something comparable that would encourage movie fans to offer a bigger, traditional night out that will not have them weighing the savings versus a monthly subscription cost? More importantly, can they do it without being subjected to the ire of studios who feels themselves losing out on the scraps they may still be providing to the theaters if discounts, punch cards, and 2-for-1 specials become necessary.Could Sneak Previews Make a Big Comeback?(Photo by © Warner Bros. )You may be revealing your age if you do not remember the practice of sneak previews. It actually was not that long ago and many faces would light up at the prospect of seeing a commercial or newspaper ad revealing that the movie they could not wait to see would not make me wait any longer with a one-time showing on Saturday night. Imagine you are just a week away from seeing Dune or Matrix 4, and WB announces that you can see them in theaters – for one night only – before the official launch. Would there be a flock comparable to recent Amazon sneak preview events like Jumanji: Welcome to the Jungle and Aquaman, which netted around million each, or Fandango s high-selling Early Access screening series? Films good enough to generate ecstatic word-of-mouth could certainly encourage more fans to rally around the big screens for their first viewing – and potentially discover the incentives theaters may develop to bring them back.Finally, Could Warner Bros. Reverse Course?(Photo by © Warner Bros. )The streaming of Universal s Trolls World Tour was a big success early in our pandemic times; six weeks later, Scoob! failed to replicate it. Tenet tried to correct the blockbuster drought in theaters, but did not live up to Warner Bros.’ hopes, and eventually Wonder Woman 1984 comes home without the restraint of a separate Mulan surcharge. The world is not out of the woods yet and while vaccines provide optimism, there are still so many unanswered questions. Who knows what the future will hold between now and the still-scheduled summer movie season slated to kickoff in May with Marvel’s Black Widow? If Disney holds course and we see a 0 million box office report on May 9, will WB consider delaying premieres of The Suicide Squad and Dune on HBO Max? It seems unlikely that the entire strategy would be abandoned in 2021 after all the headlines it has generated. That may also depend on how quickly other studios jump at the chance to make some of their own. Everything is an experimentation at this point, with various parties considering and even rooting for success or failure. Jumping right to a half-empty conclusion is premature though there is no reason not to prepare for all possibilities.Erik Childress can be heard each week evaluating box office on WGN Radio with Nick Digilio as well as on Business First AM with Angela Miles and his Movie Madness Podcast.On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: Chiabella James for © Warner Bros.
(Photo by LOIC VENANCE/AFP/Getty Images)For first-timers and newcomers to Cannes, the festival can be overwhelming – so many screenings, so many people, so many parties! To help critics and journalists navigate the wild world of the French Riviera in May, we asked IndieWire Executive Editor – a longtime Cannes attendee – to give us his top tips for those heading to the festival this year. Be patient, and roll with the chaos. Cannes is the most exciting film festival in the world — a dense, hectic convergence of the global film industry along a small stretch of land by the French Riviera — but that chaos can be overwhelming, tiring, and often lead to frustrating scenarios. Ushers can be rude to you. Lines get long. It’s hot. Any attempt to see several movies in one day and squeeze in other activities, whether it’s writing on deadline or attending a few parties, will result in an insane 12-hours–plus schedule that can lead to levels of exhaustion you never knew existed. But that’s Cannes! The history of this place, the deep love for cinema as an art form, and the sheer range of countries and cultures stuffed into a fairly palatable lineup is unparalleled. This festival is in love with its legacy, and if you give yourself over to the rough ride and do the best you can, you’ll fall in love with it, too. Get ready to wait in line. The color-coded Cannes accreditation system tends to relegate newcomers to lower tiers; don’t take it personally. For most of films in the “Official Selection” at Cannes — generally speaking, Competition, Un Certain Regard, Cannes Classics, and Special Screenings — you will have to wait in a line that corresponds to your badge color. That usually means yellow and blue badges in one line, pink badges in another line, and “rose pastille” (pink with a yellow dot) and white badges in another line. If you aren’t in that last tier, you should always plan to line up at least an hour early.Make your schedule carefully, and then leave room from improvisation. Even if you’re really judicious about lining up early, chances are pretty strong you still might not get into a movie you want to see. Sometimes, one screening starts so soon after another that you won’t be able to line up early, anyway; in other situations, your accreditation may force to wait far back in line and by the time it’s your turn, the theater has filled up. In the amount of time you waste throwing a tantrum (and trust me, you’ll see some tantrums), you could be finding a much more productive use of your time. Check the schedule, see if there’s anything else screening in the near future, and take a chance on it. You’ll have plenty of options. Which leads me to the next item on this list…Explore Directors’ Fortnight, Critics’ Week, and ACID. This is very important: The range of non-English–language cinema at Cannes is staggering, especially if you’re a journalist from North America, where so few non-English–language movies open throughout the year. Take this as a responsibility: Yes, you want to see the high-profile, buzzy titles in Competition, but if you have any flexibility, look for unknown variables in the other sections. By covering them, you are playing a role in pushing them to more audiences (and potentially distributors as well). Fortnight (otherwise known as “Quinzaine”) and Critics’ Week (“Semaine de la Critique”) are as essential to the Cannes experience as the main selection. They’re both located a little further down the Croisette (in the opposite direction of the Palais) at the JW Marriot and the Palais Stephanie, respectively. Fortnight tends to be filled with a handful of notable directors who, for one reason or another, didn’t make the cut in the Official Selection; it’s also a neat opportunity to discover new directors from around the world, and edgier films that may or may not find their way to the U.S. (although, if you choose to write about them, that could play a role in the outcome). Critics’ Week only screens first and second features, so it’s one of the best places in Cannes to discover newcomers. And ACID, a younger section that has gained traction in recent years, is a smaller lineup that tends to showcase low-budget films with very different sensibilities than you’ll find at the rest of the festival.
Author Paul Theroux’s 1981 novel The Mosquito Coast was meant to be an attack on Reagan-era economics and its views toward consumerism and the environment.Told from the viewpoint of a 14-year-old boy trying to understand his father, we find the frequently failing, yet brilliant, inventor Allie Fox leading his family of four away from modern civilization and deeper into Central America. Then things get complicated. The 1986 film adaptation, which was directed by Peter Weir, written by Paul Schrader and starred a grimy, stubbly Harrison Ford in horn-rimmed glasses, came away with mostly favorable reviews and has 76% Tomatometer score.“The movie has been directed and acted so well, in fact, wrote late Chicago Sun-Times film critic Roger Ebert in his review of the film, that almost all my questions have to do with the script: Why was the hero made so uncompromisingly hateful?”(Photo by Apple TV+)This is also very much the issue in Apple TV+’s new series version of The Mosquito Coast. A prequel of sorts that’s set in the modern day, it stars actor (and nephew of Paul) Justin Theroux, as Allie – this time a mechanic working in a dusty border town. While determined to find ways to make renewable resources out of junk and get a patent for his work, he forces his teens – Gabriel Bateman as son Charlie and Logan Polish as daughter Dina – to eschew technology like cell phones as he and wife Margot (Melissa George) fuel their cars and air conditioners with leftover oil from fast-food restaurants.Read Also: 125+ Books Becoming TV Series That We Cannot Wait to See”Things are going more-or-less fine until the feds come looking for Allie. Instead of skipping town by himself, it’s decided that the family is better protected if they stay together. Soon, they’re on the lam south of the border.Actor Theroux is aware that this decision may make his hero seem unlikeable.“As a person, I love it when a character has, you know, many facets and sides to them,” Theroux said during a recent Zoom call while his gray pit bull mix, Kuma, roamed in the background and occasionally barked her own commentary. “What I tried to do was make him, in turns, charismatic in some instances and frustrating in others. So I hope that people go hot and cold on him because it almost feels like it s more of a real relationship. I think it d be a bit boring if he just sort of had his chin to the wind and was doing everything beautifully for his family and everything was all perfect.”Plus, Theroux reminded, “Tony Soprano was not the nicest guy in the world and The Great Santini was one of the most terrifying father figures ever, but yet, completely compelling.”(Photo by Apple TV+)What also makes Theroux s Mosquito Coast character particularly compelling is what exactly he (or maybe he and his wife?) did to cause them to live on the edge and now go into hiding. It isn’t until episode four that fans get a potential clue as to the Foxes’ past.“The truth is that I m a cheap date,” series co-creator and showrunner Neil Cross said in a separate Zoom chat. “I like adventure stories. I like thrillers. I ve got I ve got the nervous hosts compulsion to entertain their guests.”Cross, who is a devout fan of author Theroux’s books, said it was important to him that the series was “a character piece. And that, at its narrative heart, it is this kind of quite unique family dynamic. I want to tell that in the context of a show that was as exciting and intriguing as I could make it.”“Allie is inspiring and he s genuinely capable of great love and great enthusiasm,” Cross continued of his lead character. “He s immensely clever. He’s a fantastic problem solver. And it would be exhausting to know him.”This is also hinted at by the look of the show, which is rich with a feel of grime and sweat while also casting shadows that there might be something more sinister going on. During a phone interview, executive producer Rupert Wyatt, who directed the first two episodes, said he worked with director of photography Alex Disenhof on evoking “the colors of 21st century America [such as] neon [and] very strong blacks” for the early episodes.(Photo by Apple TV+)Wyatt said they looked at what he called the “strong palate” of places like Paris, Texas, and then “infuse it with a kind of Steinbeck; Northern California sort-of farmlands and the notion of the romanticism of that, but also the tragedy of it in terms of the Depression.” The palate softens as the characters head to the desert and then “as we go into the kind of more tropical climates of Mexico and, ultimately to the coast, we start to bring in the greens and the stronger primary colors and heat it up.”He added that “the general thought, always for us, was that we were going to follow this family, we weren t going to get ahead of them. So camera-wise, we d always be on their backs where possible, and feel like we re journeying through this landscape with them rather than getting jumping ahead and bringing them into scenes.”So why a prequel? Co-creator Cross also wanted to make a point of distancing his work from that of the movie adaptation because “there was, to my mind, no point trying to revisit and kind of Xerox something that had already been done so very well.”Plus, he said, “the Allie Fox who appears in a novel is, in some ways, a kind of an American archetype of the great American contrarians. But it s also somebody who belongs very specifically to a very particular set of economic, political and cultural circumstances.” He said that “because that had been done, that kind of compelled me to think, OK, so who would that guy be now?”For star Theroux, there’s an added layer to nail the role. He said the character is “an amalgam of several people. There are definitely elements of my grandfather, elements of my uncles, and — more than he d like to admit — probably elements of my uncle Paul.”(Photo by Apple TV+)That could make for some awkward family gatherings, especially since – as a recent Esquire profile recently attested – the family is good at joshing each other: “The only thing Justin’s known for,” Paul Theroux is quoted as saying in that story, is that when he was a boy, he ate a Styrofoam cup. It’s family lore: Hey, s t, Justin won an Emmy! Remember the time he ate a Styrofoam cup and then puked it onto his shoes?”“It s not overt,” actor Theroux told us about the resemblance between his character and his uncle. “I think all of them know what I m describing. So I think no one s shocked, you know, at this point.”He said this is also less pressure than his work on another famous book adaptation, HBO’s The Leftovers. That was based on author Tom Perrotta’s novel about a rapture that wipes out a giant chunk of Earth’s population.“With Tom and The Leftovers, I put [writers] on a very high pedestal. So, anytime you approach them with a question, you should do it with your hat in your hand,” Theroux said. “This one, the pressure was kind-of off because I have pre-existing relationship. I could just pick up the phone and say guess what, I m playing Allie Fox in Mosquito Coast, let s talk about the character. And it s probably a little bit of proud uncle syndrome, where he s happy to chat, not just about my questions, but just what s going on in life.”It’s probably fitting then that Cross said that in “one of my very last shots of the season, we see the emotional effect of what it is to love, and be loved, by Allie.”The Mosquito Coast premieres April 30 on Apple TV+.
In the 1970s and 1980s, a horror renaissance rocked the film industry, riding on the wave of George Romero’s 1969 low-budget zombie breakout Night of the Living Dead. There was a general feeling that something special was happening, where even directors as esteemed as Stanley Kubrick, Nicolas Roeg, and Peter Medak were flocking to the genre, while others more dedicated to horror, like Tobe Hooper, John Carpenter, and Wes Craven were pushing the goal posts for scares. Even though the enthusiasm for innovative horror waned somewhat in the past couple of decades, with notable exceptions from the likes of Craven and newcomers like James Wan, the special feeling of a “movement” in horror seems to have finally returned, and with it a new class of the Masters of Horror who will lead us through the dark.Whittling this list to 21 was a near-impossible task when you’ve got so many visionary filmmakers working in the genre, including queen Karyn Kusama (The Invitation), the Soska sisters (Rabid), Julia Ducournau (Raw), Coralie Fargeat (Revenge), Hélène Cattet and Bruno Forzani (Amer), Chelsea Stardust (Satanic Panic), Ana Asensio (Most Beautiful Island), Nia DaCosta (the upcoming Candyman), Na Hong-jin (The Wailing), Ti West (The Innkeepers), Jorge Michel Grau (We Are What We Are), Jennifer Wexler (The Ranger), Joko Anwar (Satan’s Slaves), Mattie Do (Dearest Sister), Gigi Guerrero (Culture Shock), Xander Robin (Are We Not Cats), and Demian Rugna (Terrified). (That s not to mention producers like Jason Blum, dedicating their professional lives to scaring us stupid; but we re limiting this roll call to directors, though some of those produce, as you ll see. )The list goes on and on, but here’s 21 that have made our blood pump and eyes pop recently, and are pushing the genre forward with every new work they make.Ari Aster(Photo by James Minchin /© A24 /Courtesy Everett Collection)Ari Aster, much like George Romero, did not see himself as a horror director before his breakout debut. Hereditary, starring Toni Collette in an awards-worthy performance, is a family drama that plays out like one long exhilarating gasp for breath. Aster’s follow-up, Midsommar digs around in the same psychological playground, though this time covering the dissolution of a romantic relationship. Both films recategorize the meaning of “scare,” as Aster mines the terror of simply being uncomfortable with other people to a nearly wacky psycho-comedy effect.Jordan Peele(Photo by Claudette Barius / © Universal)What else is there to say about Jordan Peele? He single-handedly proved that black people want to see themselves in horror films and that other people all over the world would like to see it too. His films stray so far from what many would deem commercially acceptable — a lengthy monologue about inequality delivered amongst a bunch of rabbits in a kind of magical basement world? And yet his stories are compelling because they’re unlike anything else in theaters, their cinematic influences evident but not overbearing. Peele’s making horror weird again, and he’s making it matter.Jennifer Kent(Photo by ©IFC Midnight/Courtesy Everett Collection)When Jennifer Kent’s debut horror The Babadook shocked audiences, the potential for horror to mine desperate grief came into 20/20 view. Not only that, but distinctly down-and-dirty, terrible, feminine grief. It’s not unusual for horror films to star women — this has been a defining characteristic of the genre — but it was unusual to see a heroine slowly morph into a highly relatable villain in such a visceral manner. In her newest film The Nightingale, Kent continues to push her heroines past a point of likeability with an eye on doing away with the “strong woman” trope that has rendered so many female characters into caricatures of femininity.Mike Flanagan(Photo by Justin M. Lubin/© Universal Pictures /Courtesy Everett Collection)Mike Flanagan has toiled in the genre fields for almost two decades, writing, directing, and editing his own films, which included Ghosts of Hamilton Street, Absentia, Oculus, and Hush, before he got his name-making box office hit, Ouija: Origin of Evil. Flanagan has a rare ability to please mainstream audiences while still pushing boundaries of horror, as he did with the wildly popular Haunting of Hill House Netflix series, which, among other cool tricks, hid a number of ghosts in the frame. That kind of subtle innovation comes from a filmmaker who’s familiar with all tools at their disposal, and his adaptation of a sequel to The Shining, Doctor Sleep, is much anticipated for that reason.Issa LopezMexican director Issa Lopez made a name for herself in her native country by directing a series of comic films, but her debut horror film Tigers Are Not Afraid (trailer above) couldn’t have been a bigger departure from her earlier career. Filled with wonder and grit and meaningful insights into childhood, trauma, and the human soul in the harshest environment imaginable, the film has been racking up fans and awards long before its U.S. release on Shudder. Guillermo del Toro luckily saw the film and immediately signed up to produce her next movies, so this Master in the making is already well on her way.Guillermo del Toro(Photo by Kerry Hayes/©Universal Pictures/Courtesy Everett Collection)Speaking of Guillermo del Toro, it’s difficult to overstate how much of a boon for horror this visionary director has been, but del Toro was pioneering new directions for horror years before it came back in fashion. From Cronos and The Devil’s Backbone all the way up to Pan’s Labyrinth and the slept-on Crimson Peak, del Toro’s body of work feels so ingrained in the culture that it’s almost easy to take him for granted. Not to mention that he’s spent a great deal of time championing the newer generation of horror directors like Issa Lopez, Scott Cooper, and André Øvredal, producing double the number of films he directs himself. He is, for all intents and purposes, the godfather of the new Masters of Horror.Isa Mazzei Daniel Goldhaber(Photo by © Netflix)This pair of collaborators burst on the scene with last year’s Netflix horror hit, Cam (pictured above), about a cam girl sex worker whose identity is stolen and used against her. In a novel twist, the film was also respectful of women, Johns, and sex workers, never resorting to staid clichés, signaling that the pair could inclusively expand the frontiers of horror. Announcements for their next project with Blumhouse have been thin, but the film is certainly driven by women, and they’ll also be wading into TV horror with a segment for Quibi’s new 50 States of Fear.Pascal Laugier(Photo by ©Weinstein Company/Courtesy Everett Collection)Martyrs (pictured above) is not what many would call an easy film to watch. But Pascal Laugier’s most notorious feature is quite masterful. A story that opens like a revenge flick but closes with a hammer-to-the-nose of philosophical insights into perceived womanhood and spirituality, Martyrs follows in the New French Extremity footsteps of Claire Denis’ Trouble Every Day. After Martyrs, Laugier tried his hand at American horror with Jessica Biel starrer The Tall Man, but returned to his roots in 2018’s Incident in a Ghostland. Laugier shows that gore with a brain is on the menu for horror fans.Andy Muschietti(Photo by Brooke Palmer/© Warner Bros. /Courtesy Everett Collection)In 2013, Argentine director Andy Muschietti had an international hit on his hands with Mamá, about a young couple who take in their two young nieces but find that a malicious supernatural entity has decided they’re her next victims of a haunting. The film starred Jessica Chastain, setting up Muschietti’s desire to make genre but with actors of high esteem attached, which led to his re-envisioning Stephen King’s It in a two-movie release, vaunted for its playful but serious take on the story. Next up, Muschietti’s going the monster route with an adaptation of Hajime Isayama’s Attack on Titan, and is rumored to be directing DC’s The Flash.Kiyoshi Kurosawa(Photo by © Kimstim Films / courtesy Everett Collection)Kiyoshi Kurosawa is not a newcomer by any means. He’s been working steadily in genre and outside of it since the 1980s, as a critic, commercial artist, and a creative filmmaker. In 2001, he released his most well-known cult film Pulse, but his recent return to genre suggests he’s not quite finished being a Master. In 2016, he released Creepy, a thrilling hardboiled mystery, which he then followed up with Before We Vanish, which is an alien invasion story equal parts horror and humor that opens with a risky, bloody bang.Nicolas Pesce(Photo by © Magnet Releasing /Courtesy Everett Collection)The Eyes of My Mother (pictured above), Nicolas Pesce’s debut feature, bucks so many contemporary trends of horror, shot in black and white like a high-art film but with the creeping childishness of Tobe Hooper. He followed that up with a Cronenberg Crash-style film called Piercing that turns a sex-torture story into a screwball comedy of errors and power dynamics. Pesce’s films explore loneliness and connection with wry humor, and yet somehow it’s his visual style, evocative of classic films filled with texture and tactile pleasantness like every object has meaning and purpose, that make him a new Master.Anna Biller(Photo by © Oscilloscope / courtesy Everett Collection)Anna Biller’s version of horror feels akin to classic fairy tales. They are rife with artifice yet also completely honest. Focused on sex and sexuality but coy and childlike. There is the sense that the director is telling the story of the world as it is while simultaneously wishing the world to be different. Viva is more an off-kilter soapy drama, while her film The Love Witch (pictured above) more fully embodies horror. Rumor has it she’s been shopping another horror story based on the Bluebeard tale, but be patient for her next one: Biller’s obsessive about costuming, locations, and production design, and makes most everything herself, which is a time-consuming act but is ultimately the key to her success as a modern Master.Agnieszka Smoczynska(Photo by ©Janus Films)Half the fun of Agnieszka Smoczyńska’s debut feature The Lure (pictured above) is describing it for those who don’t know: a gritty, glittery Polish mermaid horror disco musical. The film was a time capsule of Cold War-era dancing clubs, mixed with classic fairy tales and contemporary rage-filled feminism. Music that’s as catchy as it is dark and an almost surreal, theatrical production design set The Lure apart, earning it an almost instant Criterion release. Her follow-up, Fugue, looks inward for a more cerebral melodrama of psychological terror, with the kind of innovative camera work and sensitivity that display Smoczynska’s ability to play with mind as well as body in her horror.Peter Strickland(Photo by © A24)Peter Strickland digested decades of Italian gore and giallo films, then washed it down the exploitation work of Jess Franco and spit out such atmospheric insta-classics as Berberian Sound Studio and The Duke of Burgundy. His newest film In Fabric (poster above) had so much hype and magic behind it that A24 quickly snapped it up out of the festivals. Both eerie and ethereal, In Fabric tells the story of a murderous red dress; like a chilling version of The Sisterhood of the Traveling Pants, this thing will fit everyone but also kill them. And like his predecessors, Strickland squeezes every inch of terror out of sound design and trippy, mirrored effects, perfectly marrying the past with the present.Ana Lily Amirpour(Photo by ©Kino Lorber)Ana Lily Amirpour’s low-budget indie hit A Girl Walks Home Alone at Night (pictured above) thrilled for its simple but fully realized black-and-white graphic novel aesthetics. It’s not every filmmaker whose first film creates some of the most memorable iconography in recent horror film history, but Amirpour’s vision of a young woman gliding on a skateboard with her veil flowing behind her struck a chord for women, a seeming statement about feminine violence and traditional values butting up against Western ideals. Her follow-up The Bad Batch was a sunny apocalyptic trip through the desert, but in the meantime she directed a beloved episode of the new Twilight Zone and has been attached to the remake of Cliffhanger.Babak Anvari(Photo by Kit Fraser / © Vertical Entertainment / courtesy Everett Collection)Babak Anvari’s Under the Shadow (pictured above) broke new ground in folk horror and is a rare Certified Fresh at 99%. In it, he exploited the tale of jinn, those malevolent spirits of Islamic mythology, but grounded the story in the very real cultural conflict of the Iran-Iraq war in the 1980s, as told through a belabored mother who’d much rather finish her medical degree than stay at home with the young daughter who acts almost like an anchor to a more traditional life. Vivid and tense, the film found an international audience, leading to his newest release, an American production called Wounds and a new television series titled North American Lake Monsters, where Anvari can further dig into local lore.David F. Sandberg(Photo by Justin Lubin. ©Warner Bros.)David F. Sandberg’s short “Lights Out” terrified audiences internationally with a simple light trick that harkened back to the early days of horror. That short, made for nothing and starring his charismatic wife Lotta Losten, was then developed into a feature starring Teresa Palmer. James Wan continued to help Sandberg develop his career, giving him a spot in The Conjuring franchise, directing Annabelle: Creation. Sandberg has temporarily waded into superheroes with the lighthearted Shazam!, but he’s stated he’s looking forward to coming back to horror real soon, hopefully utilizing the same creative low-budget ideas that gave him his big break.James Wan(Photo by Michael Tackett/©Warner Bros. Pictures/courtesy Everett Collection)Speaking of James Wan, no Masters of Horror list would be complete without the Aussie who harnessed the powers of surprise and low budgets to flip the entire industry on its head with the Saw and Insidious franchises, and then again with The Conjuring. He’s the pop filmmaker of our time, delivering the kind of popcorn fare that actually brings people to the theater, a rare feat. Like his Mexican counterpart Guillermo del Toro, Wan is also producing others’ work at a breakneck pace, passing the torch to his longtime collaborator Leigh Whannell, and Patrick Brice, Akela Cooper, and Michael Chaves.Kevin Kölsch and Dennis Widmyer(Photo by Kerry Hayes / © Paramount / courtesy Everett Collection)Starry Eyes wasn’t Kevin Kölsch and Dennis Widmyer’s first feature, but it was the one that got them long applause at SXSW and a whole lot of horror cred with its black comic take on the entertainment industry, imagining the casting couch as a place to reap souls for Satan. Alex Essoe’s performance as a desperate starlet was one for the history books. At times gruesome and wacky, the film got them the gig remaking Pet Sematary and working on the Scream TV series.Robert Eggers(Photo by ©A24)Robert Eggers may be known for The VVitch, but he might also be known for his obsessively detailed nature, which had him mastering settler’s English for the script and getting the period details correct down to the tiniest nib, likely from his time as a production and costume designer in theater and film. Like Kubrick before him, Eggers is intent on crafting worlds, and his newest film The Lighthouse (pictured above), though more horror-adjacent than his debut, is just as meticulous, digging again into hysteria and how isolation and harsh environments can unravel the mind.Sophia Takal(Photo by . © Oscilloscope / courtesy Everett Collection)Sophia Takal’s trajectory into horror began with low-budget psychological romps through feminine hysteria, in both Green and then her more defined follow-up Always Shine (pictured above), which pitted two young actresses against one another in a remote Big Sur cabin. Her episode of Into the Dark marked an entry into the world of slashers, marrying the cerebral with the bloody physical, and her next film, a remake of the very first slasher, Black Christmas [disclosure: the author of this article is the co-writer of this film], will test that marriage and the viability of slashers in general in this day and age.Don t see our favorite horror filmmaker above? Let us know whose scares you re loving right now in the comments. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
A new season of The Mandalorian is upon us, and while fans of the series are sure to love the latest episodes from the Disney+ smash hit, there’s a whole galaxy of complementary content out there to explore. So, while you re in between Mandalorian episodes, here are five more titles — from spaghetti Westerns to samurai tales — we think you’ll love on this week’s Binge Guide.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.On an Apple device? Follow Rotten Tomatoes on Apple News.
亚博体彩手机客户端 We know the first episode will revolve around Geralt and Ciri’s journey to the Witcher fortress. And from clips unveiled during the September Tudum event, it’s clear the pair will spend at least one night as Nivellen’s keep before they arrive at Kaer Morhen.On a more macro level, the Northern Kings will have either won the war against Nilfgaard or remained in a saber-rattling stance after witnessing the Battle of Sodden Hill from afar. Considering a second war with Nilfgaard breaks out in the narrative of the novels, we expect the television show may just turn the two conflicts into one – a war they can actually dramatize (budget permitting) as Ciri continues her training.(Photo by The Witcher season 2 - Netflix)Meanwhile, the trailer released at the end of WitcherCon seemingly resolved Yennefer’s disappearance. Nevertheless, her next move will no doubt inform the tensions outside Kaer Morhen. For one thing: the Brotherhood is still up for grabs, even if there is considerable support of Nilfgaard at this point. But Yennefer may not rejoin that conflict at first. She’s captured [and] she has to survive being a prison of war, Chalotra teased during the TCA event.Hissrich also added Yennefer’s journey is one of self-exploration. It was a note Chalotra agreed with. The choices she makes in Season 2 will resonate with people a lot more, she said. She makes some unlikely alliances and it changes her way of thinking. It really changes her. It remains to be seen, though, how much material The Witcher plans to cover in its second season. Considering the first year covered many of the short stories and Ciri’s recollections of life on the run following the Nilfgaard attack, we can safely assume Season 2 will follow the shape of Blood of Elves — the new additions to the cast almost guarantee it.Read Also: The Witcher Showrunner Tells Us How To Build a Monster SeriesThen again, events from the stories and novels have already been remixed and there is no guarantee we ll see all of Ciri s time at Kaer Morhen or the Temple School before season 2 concludes.But no matter what map the series follows in its second year, one theme has been virtually guaranteed by Hissirch — the waning of monsters. As in the novels, fantastical creatures are becoming rarer as the Continent (a loosely European realm) marches closer to modernity. The disappearance of monsters also means Witchers are becoming fewer in number. And while referenced in passing during the first season, this change in the world will be addressed in the upcoming episodes.Who Will Direct Season 2 of The Witcher?(Photo by Katalin Vermes/Netflix)As with season 1, the second year will consist of eight episodes — the seeming new standard for genre shows on streaming services. Directors include Umbrella Academy’s Stephen Surjik, Cursed’s Sarah O’Gorman, The Last Kindgom’s Ed Bazalgette, and Meet the Patel’s Geeta Patel. Hissrich remains the program’s showrunner and executive producer.During WitcherCon, Netflix provided most of the episode names. Only the final title was held back, but the others suggest the timelines may be more or less aligned throughout the season.Episode 1: “A Grain of Truth”Episode 2: “Kaer Morhen”Episode 3: “What Is Lost”Episode 4: “Redanian Intelligence”Episode 5: “Turn Your Back”Episode 6: “Dear Friend”Episode 7: “Voleth Meir”Episode 8: “????”Some of the titles, like A Grain of Truth Kaer Morhen and Redanian Intelligence are quite evocative for Witcher fans, while What Is Lost and Turn Your Back offer fewer clues in terms of plot. Splitting the difference, Dear Friend appears to be a pointed reference to Yennefer s sarcastic use of the term following Geralt s own use of it while writing a letter asking for her help training Ciri. Voleth Meir apparently refers to a new character who will reportedly play a big role in Ciri s ongoing story. And the name of the finale? Feel free to guess.When Does Season 2 of The Witcher Premiere on Netflix?(Photo by Netflix)The long wait is nearly over. The Witcher returns December 17 on Netflix. It will feature more monsters, more intrigue, and more songs. But, according to Cavill, it will not have another bath scene like the one pictured above. He teased the season will have more manflesh on display, though.What About Season 3?During its TUDUM even on September 25, 2021, Netflix announced the program will continue for a third season. Lost’s Javier Grillo-Marxuach took to Twitter the same day to reveal he will join the program as a producer and writer for the third year. Hopefully, that season will arrive a little bit quicker than Season 2.THERE’S A THIRD SEASON OF THE WITCHER AND THANK GOD SINCE I AM ONE OF THE NEW ADDITIONS TO THE WRITING STAFF! https://t.co/XjsfPQuEkc javier grillo-marxuach (@OKBJGM) September 25, 2021Season 2 of The Witcher premieres on Netflix on December 17, 2021.
Birds of Prey (And The Fantabulous Emancipation Of One Harley Quinn) has been something of a question mark since filming first began. Would it continue ideas from 2017’s Suicide Squad? Would it be the quiet reboot of DC’s film universe that began in Wonder Woman? And, perhaps the most important question to fans of the Birds of Prey comic, would Harley take Barbara Gordon’s place as the founder of the team?Many of these questions are answered in the first proper trailer for the upcoming film, in which Harley (Margot Robbie) returns to Gotham City and finds a group of women also in search of a new direction. And since Robbie used Harley to get the Birds of Prey film out of development hell, the trailer is definitely more skewed toward her character. Nevertheless, we may have picked up a few things about the other Birds of Prey. Let’s take a look at what we uncovered from the trailer.Harley and Mistah J Are Kaput(Photo by Warner Bros. Pictures)While we’ve always known the film would focus on the end of their relationship, the trailer seems to confirm the split will take place off screen. It makes a certain amount of sense, as Joaquin Phoenix’s Joker is about to supplant Jared Leto’s take on the clown in moviegoers memories. At one time, their break-up was planned to span the Suicide Squad sequel, a Harley and Joker film, and separate films of their own. Bird of Prey moves all of that to a nice, nebulous past. Which, honestly, is for the best.For readers of DC s main comics universe, the pair have not been together for a good long time. But as the pop culture perception of these characters is always a reboot or two behind, a movie entirely about Harley discovering she can stand on her own is a genuinely compelling idea, even if it is taking place inside a Birds of Prey film. It also echoes the character’s ascent from Joker’s gun moll on Batman: The Animated Series to a strong presence in her own right with a long-standing comic book series and a dedicated legion of fans.Hopefully, those fans will want to see the story of Harley’s emancipation told this way.Black Mask Wants To Possess Harley(Photo by Warner Bros. Pictures)But as the break-up is clearly still fresh, Harley will be going through the stages of grief as the film begins. Her explanation to Black Canary (Jurnee Smollett-Bell) of what it means to be a harlequin reflects a sense of loss – even if Harley is better off without the Joker – suggesting she may want to find some sort of salve or rebound. Enter Roman Sionis (Ewan McGregor), a Gotham City mobster also known as Black Mask.From the trailer, it is clear he becomes fascinated with her right quick. Whether that’s because she’s already inadvertently foiled one of his schemes or because he spots her in that nightclub with Canary remains to be scene. Harley’s interest in Sionis also remains to be seen, but we imagine if it happens at all, it will be short lived and it will irk Sionis’s vanity.It makes him a rather well-suited adversary for Harley. A would-be claimant to Harley’s heart is, in a screwed up way, a claimant to Joker’s place in the Gotham City underworld. And for her part, Harley would have no interest in being property in this twisted (even for her standards) game of Catan. The trailer even features her declaring that she’s the one the city should fear. But it s easy to see Sionis not taking no for an answer and escalating things to a street war in Gotham.What that means for the other Birds – as they are announced as targets by the trailer’s end – will no doubt become the focus of another trailer.The Film Maintains The Brighter Suicide Squad Aesthetic(Photo by Warner Bros. Pictures)Earlier photos and posters – and that costume test video from last year – suggested the film would continue many of the visual elements of Suicide Squad’s more striking color palette. But the trailer declares, rather boldly, that the more extreme (and Harley-inspired) tones will form the core look in Birds of Prey. And, frankly, it looks fantastic.The bursts of color in Suicide Squad were centered around Harley anyway, so the neon bright purples and intense golds totally have a place in her solo adventure. At the same time, it makes Gotham City look totally different as theme parks, night clubs, and even the Gotham City Police precinct glimpsed in trailer live in that bolder, brighter world. Additionally, we couldn’t help but notice several shots in the trailer were filmed in and around Los Angeles. Other than a handful of brief shots in The Dark Knight Rises, LA has not properly played Gotham City since the 1960s, and its immediately identifiable sprawl makes for a markedly different Gotham, one that coalesces with Harley’s poppier look quite nicely. It may not square with Gotham s traditional East Coast vibe, but it reflects her new outlook.We also imagine that aesthetic will be quite a contrast for characters like Sionis and the Huntress (Mary Elizabeth Winstead) – characters known for being a little more monochrome. You can just about see Sionis’s aesthetic in the white suit glimpsed during the shots where he has Harley and some of the other Birds strung up. Huntress, for her part, is the only person dressed predominately in black throughout the trailer.Harley Has A Sidekick (After A Fashion)(Photo by Warner Bros. Pictures)Okay, Huntress isn’t the only person in dark clothes. At various points in the trailer – most notably at the end – Harley appears to have a sidekick. The character is Cassandra Cain, an established DC Comics entity with storied ties to the Batman Family – she’s a Batgirl.Introduced during the 1999 “No Man’s Land” storyline, the character was the mute daughter of one of Batman’s mentors. After Huntress took over and subsequently gave up the Batgirl identity (for reasons too long to discuss here), Cassandra took it for herself, impressing every member of Batman’s team along the way. She eventually found her voice and continued to be Batgirl for a few years before handing the persona off to fan favorite Stephanie Brown. But that’s a story for another day.In the context of Birds of Prey, Cassandra (Ella Jay Basco) will seemingly serve as a sidekick to Harley, which sort of honors her past in the comics. But we also imagine the sidekick thing will not last long, as Cassandra finds her own identity among these would-be heroes, even if it is tempting to say concepts like heroes and villains may be too simplistic for Birds of Prey. Cassandra s history in the comics supports the possibility Harley s inadvertent tutelage may lead Cassandra in a new direction.At the same time, it is important a Batgirl be part of the Birds of Prey film in some way because, after all, it was originally a Batgirl idea.The Birds of Prey Is Harley’s Idea(Photo by Warner Bros. Pictures)About half-way through the trailer, Harley announces the only way to defeat Sionis is for her, Cassandra, Black Canary, Huntress, and GCPD Detective Renee Montoya (Rosie Perez) to team up. This may end up being the biggest point of contention for fans of the Birds of Prey comic, as the person who originally suggested the team-up to these characters was Barbara Gordon, the original Batgirl.In DC Comics continuity at the time, Barbara never recovered the use of her legs after being shot by the Joker in The Killing Joke. She retired as Batgirl, but soon found a new identity as the information broker known as Oracle. With her real identity known only to Batman, she eventually formed an informal strike team comprised of Huntress and Black Canary. As the group became more solidified – and the three shared their secret identities – other females heroes like Lady Blackhawk and Dove began working with the group.But as Batgirl does not yet exist – in any form – in the DC film universe, she cannot serve as the unifying spark for the Birds of Prey. Harley replaces her here, and while it works within the context of the film, some fans may be left wondering where Barbara is and what she is doing.And since Birds of Prey screenwriter Christina Hodson is also developing a Batgirl film for Warner Bros, it is possible Birds of Prey will tease her existence in some way.Also, while we’re talking about these characters and the comic book links, we couldn’t help but notice the first shot of Montoya featured her walking out of a squad room with what appeared to be a “last day” box of personal effects (or it could just be full of evidence). A reboot or two ago, the character infamously quit the force in disgust and began a journey which saw her becoming a vigilante known as The Question. Will the film Montoya also find herself behind a mask? As it happens, she is wearing The Question s colors throughout the trailer.Hopefully, the next trailer will tell us more about the other Birds of Prey.Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) opens on February 7, 2020.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 近年来，王者荣耀在国内的热度一直居高不下，在同类型手游中有着不可撼动的地位，而且还在逐渐吸纳新玩家，游戏的品质也在稳定的提升。同时，它也不再只是一款游戏，随着电竞事业的发展，王者荣耀的覆盖面积越来越广，更是登上了亚运会的赛场，因此我们有理由相信这款游戏的发展会越来越好，大家觉得王者荣耀以后还会有怎样的创新呢？一起来讨论一下吧。
Zack Snyder Offers a Glimp
亚博体彩手机客户端 bygone family-focused adventure films like Honey I Shrunk The Kids than the first two films, there’s plenty here for viewers of all ages.” Marya E. Gates, Nerdist“One of those rare movies that’s a genuine four-quadrant treat… A film that will entertain adults as much as kids, fans and much as newbies.” Jane Crowther, Total FilmIs it funny?“The jokes are very funny.” Johnny Oleksinski, New York Post“[It] retains the other key aspect of the original formula: the deadpan drollery and sharp timing… Afterlife’s engaging cast has the comic beats down.” Sheri Linden, Hollywood Reporter“[It’s] sometimes amusing.” Sean O Connell, CinemaBlend(Photo by Columbia Pictures)Does it have heart?“Bring the tissues because you are going to need them.” Scott Menzel, We Live Entertainment“Jason Reitman, son of the original film’s director Ivan Reitman, injects a large helping of heart into the franchise.” Marya E. Gates, Nerdist“Certain moments, which I wouldn’t dare spoil, literally filled my heart to the brim…It’s the emotion of it all that works best, making a good flick great.” Joey Magidson, Awards Radar“The younger Reitman’s film resorts to extreme, and frankly questionable, measures to tug at the pre-existing fanbase’s heartstrings.” William Bibbiani, The Wrap“In its climactic sequence, the movie gives in to a more than a bit of self-congratulatory schmaltz — catnip for fans.” Sheri Linden, Hollywood ReporterHow is the screenplay?“Reitman and co-writer Gil Kenan have crafted a cheeky, witty, well-paced, and heartfelt script that constantly delights.” Rosie Knight, IGN Movies“The script as a whole doesn t just respect the source material, but it also respects the characters and the audience.” Kaitlyn Booth, Bleeding Cool“There’s so much plot, character, and backstory stuffed in, a few crucial connections get frustratingly pushed to the side or left way too vague.” Germain Lussier, io9.com“It takes nearly an hour (51 minutes, to be exact) for any ghosts to appear.” Peter Debruge, VarietyWhat about the special effects?“The special effects are again dynamite here.” Pete Hammond, Deadline“Special effects have advanced light-years since 1984, and yet Reitman (the younger) makes the respectable decision to stick to the look of the original film.” Peter Debruge, Variety“Those effects are certainly smoother this time around, even while keeping within the visual vernacular of the 1984 film.” Sheri Linden, Hollywood Reporter“The practical effects make the visuals in Ghostbusters: Afterlife far more like the films earlier in the franchise than most of today’s effects-heavy films.” Marya E. Gates, Nerdist(Photo by Columbia Pictures)Are there any standouts in the cast?“McKenna Grace as Phoebe walks away with pretty much the entire movie, which is really impressive considering the caliber of talent that we have here.” Kaitlyn Booth, Bleeding Cool“McKenna Grace is the kind of talent that only comes around once in a generation.” Rosie Knight, IGN Movies“Phoebe is by far the best thing about Ghostbusters: Afterlife. McKenna Grace… gives a truly revelatory, star-making performance here.” Germain Lussier, io9.com“Grace is just aces here…This is Grace’s show, and she really makes it a main event.” Joey Magidson, Awards Radar“You simply cannot look away from Grace when she is on screen. She’s funny and smart, but in a way that feels authentic and true.” Marya E. Gates, Nerdist“McKenna Grace gives the standout performance..if the franchise wanted to move forward with her in a leading role, I’d say we were in good hands.” Sean O Connell, CinemaBlendWhat about the rest of the cast?“Logan Kim as Podcast, Phoebe’s motormouth classmate who documents everything, is like a fun-size John Candy.” Olly Richards, Empire Magazine“Kim proves himself as a new comedic talent. His scenes with Grace are some of the best in the movie and deliver a few of its biggest laughs.” Rosie Knight, IGN Movies“[Paul Rudd] continues to prove himself a comedy MVP, earning half the movie’s big laughs.” Peter Debruge, Variety“[Carrie] Coon is wonderful as always.” Marya E. Gates, Nerdist“The excellent Carrie Coon is completely underused here.” Germain Lussier, io9.com(Photo by Columbia Pictures)Does director Jason Reitman do his father proud?“The real star here is Jason Reitman who, like Phoebe, rediscovers and reinvents his own family cinematic legacy.” Pete Hammond, Deadline“You can feel Reitman’s thrill in it, the enthusiasm of a man who has known Ghostbusters since he was six.” Olly Richards, Empire Magazine“Jason Reitman was literally born to make this movie… with all the love and affection of a fan, but with the moviemaking chops that have nearly won him an Academy Award.” Joey Magidson, Awards Radar“Reitman’s direction may be sharp and professional, but that’s only in the service of familiar material, so it falls to an excellent cast to make the most of a very repetitive situation.” William Bibbiani, The WrapWill we want another Ghostbusters movie?“When Ghostbusters: Afterlife ends, it leaves you wanting more.” David Crow, Den of Geek“The film does enough world-building that you leave hoping to see more from these characters in the future.” Germain Lussier, io9.com“If this serves as a launchpad for a new phase in the franchise, with such a dynamic lead as Phoebe at the helm, I’m willing to follow her anywhere.” Marya E. Gates, Nerdist“[Phoebe is] character I want to see busting ghosts in future installments.” Joey Magidson, Awards Radar“By the time the lights go up, one gets the distinct impression that all that really mattered was clearing the slate and setting this franchise up for future exploitation.” William Bibbiani, The WrapGhostbusters: Afterlife is in theaters on November 19, 2021.