皇冠体育真人采用百度引擎7（Baidu 1）Watch: Director Sam Raimi and stunt coordinator Jeff Habberstad on the making of Spider-Man above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, director Sam Raimi and stunt coordinator reveal how a cold night in the fake rain on the backlot helped shift the course for the superhero movies forever.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Spider-Man (2002) 90%It’s unthinkable today, but making a Spider-Man movie in 2002 was a risk. Hollywood had gone cold on the superhero movie following the diminishing returns of the Batman movies, turning its attention to fantasy epics and series instead. Making a superhero movie with a somewhat scrawny, emotionally vulnerable kid at its center? With large portions playing out like a high-school comedy? Directed by the guy who made The Evil Dead? That was almost unthinkable. But Sony’s risk would pay off, with director Sam Raimi’s take on the Peter Parker character and the comic-book movie changing the next two decades of cinema that would follow. Here Raimi recalls how he had to fight passionately to get the job and execute his vision, while stunt coordinator Jeff Habberstad reveals how he helped bring that vision to life.Sam Raimi on set with Tobey Maguire and Kirsten Dunst. (Photo by ©Columbia Pictures/courtesy Everett Collection)“My agent said, ‘OK, you re on the list. You re number 17.’” Sam Raimi: “I had always been a giant fan of Stan Lee s great comic books, Spider-Man chief among them, and I heard that Sony Pictures was going to make a movie of Spider-Man. So, I told my agent at the time I d really like to get a meeting to be considered for the film, and he told me at the time that Sony Pictures wasn t that interested in me as the director. I said, ‘Well, can they at least put me on the list somewhere down the line?’ And he called me back and said, OK, you re on the list. You re number 17.’ I said, ‘What does that mean?’ He said, ‘It means there s 16 directors they d rather meet with before you.’ And I said, ‘Great.’ So, the months went on and I didn t hear any response, and I called the agent. I said, ‘How s it going?’ And he called me back and said, ‘Well, you re number seven.’ I finally worked my way into an actual meeting with them, and they said, ‘Tell us about the movie you wanna make.’ All I did was I told them about my great love for Stan Lee s comic book, Spider-Man, and what it was to me. And for me, it was a great love story with a real human being at center, Peter Parker. Somebody I could really identify with. Somebody who had to do homework. Someone who the girls weren t crazy about. Somebody who was bullied. And, somebody who came from a broken home. And yet, he had to rise up in his off-hours and become this hero to protect the city, and I thought that was so moving. It seemed like they had never heard that version before, which is everything that Stan Lee did in his comics. And they called me up sometime later and said I had the job.”“It just came to everybody s mind in Hollywood that a superhero should be a strong, tall, leading man… like how the great Christopher Reeves played Superman.”Raimi: “Tobey was my first, and really, my only choice for the role. He s very sensitive as a human being, and he s a great actor, and so he understands the inner pain that Peter Parker feels, but knows to keep it hidden, and not to wear his heart on his sleeve. But at the time, Sony Pictures, headed up by Amy Pascal, didn t see why he was the right choice for the role. I think the humanistic superhero hadn t yet really hit the screens yet… It just came to everybody s mind in Hollywood that a superhero should be strong, tall, leading man, have a lot of power or gravitas he should be like how George Clooney played Batman or how the great Christopher Reeves played Superman. I was successful when I finally was able to communicate to Amy over the course of months of writing, working on the scripts with the writers, and doing pre-production, that we re really making the story of a boy who learns responsibility. And I think when she finally understood the character that Stan Lee had created, she realized that Tobey was the right choice, and finally relented and allowed me to cast him. It s very rare for me to have worked with a studio that actually listened [which Sony did], that actually understands that the director has a vision for a project and listens and knows to support that vision. It was a very new experience for me. Especially when it s contrary to their vision.”Raimi fought to cast Maguire as Spider-Man. (Photo by ©Columbia Pictures/courtesy Everett Collection)“We need to put more weight in the landing. We need to really show that the web is taking on the stretch.”Raimi: “I had great graphic images all through my childhood years of how Spider-Man lands, what his pose looks like, how he swings from a web. I d seen all these great artists artistic renderings. The job was not really difficult to come up with a vision, because it existed. It was to bring that vision to the big screen. How would we do that? How would we get actors to move in a way through space that only a comic book artist could depict? It really wasn t realistic. It was fantasy. How could we bring that to life and make it real for the audience? It happens on a painstakingly slow frame-by-frame basis. So, that went on from the first day of drawing storyboard number one with my artists, to the last day of approving a CGI final. And it was all about, ‘He doesn t look real here. We need to put more weight in the landing. We need to really show that the web is taking on the stretch. It doesn t feel like it s affected by his swinging.’ It was all about the details of trying to make it seem like it could really happen, and if we could do that, we didn t even have to count on the spectacle being as high of a bar. Simply making it believable for the audience at the time would ve wowed them. That was my thinking, and so that s what we went for.”“He lands in a real comfortable-looking position for him, but for you and me, there s no way we could get into that position.”Jeff Habberstad: We had several different stunt doubles for Spider-Man. We had two primary ones, Mark Wagner and Chris Daniels. Wagner came from Cirque du Soleil and Chris came from a dancing background, and they were both extremely good acrobats and also extremely flexible. And the flexibility, when you see how Spider-Man looks just when he lands in the bottom of the boxing ring or on the side of a building, he stretches and lands in a real comfortable-looking position for him, but for you and me, there s no way we could get into that position. That s kind of what I saw in the comic books – you see him all curled up like a spider in this beautiful pose that you can t achieve. We definitely tried to achieve that as much as we possibly could.”Habberstad worked with two stuntmen to make the movement seem real and graceful. (Photo by ©Columbia Pictures/courtesy Everett Collection)
Is it even possible to make a bad movie about Mr. Rogers? Arriving on the heels of the successful 2018 documentary Won’t You Be My Neighbor?, biopic A Beautiful Day in the Neighborhood (2019) 95% comes equipped with the too-perfect casting of Tom Hanks as children’s television icon Fred Rogers. The very first critics who saw the film couldn’t help but be charmed by the movie and Hanks’ portrayal, as represented in the first reviews out of the Toronto International Film Festival. Viewers were in tears at the premiere and calling it one of the actors’ best, which says a lot, of course. (Note, these are the very first reviews for the film, drawn mostly from the movie s world premiere at the festival; as the movie is screened in the next few days more early reviews will come in and we will add those to this article as they re published.)Here’s what critics are saying about A Beautiful Day in the Neighborhood:Let s get this out of the way: Is Hanks perfect as Rogers?“There’s no question that Hanks is perfect in the part…people will relax into the movie so much that they’ll forget they’re watching an impersonation.” Todd McCarthy, Hollywood Reporter Hanks’ body language is at once stoic and vulnerable, the pace of his speech as Fred is slow, slower than most people. But the actor brings so much focus that it’s impossible to find a reason to move faster, if it would mean missing a single moment spent in his company. Ella Kemp, The Playlist“Hanks’ cuddly pedigree means he was born to play Rogers, and he immerses himself in the role.” Eric Kohn, IndieWire“Hanks isn’t just good — he’s transporting.” Owen Gleiberman, Variety“It’s hard to imagine that his pitch-perfect channeling of Rogers’ magnificent and slightly unsettling calm won’t put him in the thick of a supporting-actor race.” Steve Pond, The Wrap“There’s a sweetness to the performance that never veers towards saccharine; Hanks consistently strays away from any sort of cliches to find deeper meaning.” Jordan Ruimy, World of Reel(Photo by Lacey Terrell)Is this just a standard biopic?“This is no straightforward biopic, and for that we can probably be glad…it’s the rare biopic that doesn’t wander into predictability or cheese, or both.” Sara Stewart, New York Post“It’s absolutely not a biopic…it’s a two-hour therapy session about the relationships we have with our parents and learning to cope with death, with Hanks’ Fred Rogers as a conduit.” Mike Ryan, UproxxAnd it s not even just about Mr. Rogers?“This movie isn’t about Rogers himself: He takes a backseat here, which should worry anybody who might face Hanks for a best-supporting-actor Oscar.” Brian Truitt, USA Today“Perhaps this is the only way to really make a film about Fred Rogers — by making it about the people whose lives he touched.” Hannah Goodhead, Little White Lies“The film is smart enough to not get us too close to Rogers. Look, you just can’t. He’s almost too otherworldly.” Mike Ryan, Uproxx“Some viewers may be disappointed this film isn’t all about Fred Rogers, but after a bit of reflection, I think less may be better.” Sara Stewart, New York PostHow is Marielle Heller s direction? Heller’s filmmaking is a patchwork quilt of influences from Mr Rogers himself. She uses an imagined episode of the show as a framing device; takes musical inspiration from Rogers’ own compositions and puts a miniature Vogel in rabbit ears, enforcing a bonding moment with Mr Rogers’ puppets. Wendy Ide, Screen Daily“Heller, as she proved in Can You Ever Forgive Me?, has a gift for taking straightforward scenes and flooding them with emotion.” Owen Gleiberman, Variety“Heller does take a few ambitious swings, and they always come as a welcome surprise.” Eric Kohn, IndieWire“After her fantastic first two features, The Diary of a Teenage Girl and Can You Ever Forgive Me?, it’s a bit disappointing to see Heller taking on material with no edge at all.” Todd McCarthy, Hollywood Reporter [Heller gives] her audience some kind of recognizable knot in the stomach, one of nostalgia, one of gratitude and grace. Ella Kemp, The Playlist“Having proven herself to be among the more empathetic directors working today, her equally understated delivery reaches the ethos of Rogers’ philosophy.” Luke Parker, We Got This Covered King of the Crop: Shazam! Could be the Ant-Man of the DCEU(Photo by @ Warner Bros. Pictures)DC’s Shazam! led the box office with .45 million this weekend, on top of the .3 million it earned in early preview screenings. That was higher than projections. Even though that is the lowest opening in the DC Extended Universe, knocking the film for that fact would be like giving Ant-Man a hard time for not living up to the numbers of Captain America or Iron Man. Shazam! is a different beast than the mostly darker offerings from the DCEU, something that critics appear to dig. Shazam! has scored a 91% on the Tomatometer, just shy of the 92% of Wonder Woman. That is also higher than two of the Christopher Nolan Batman films – Batman Begins and The Dark Knight Rises – which are a universe apart from the current DC crop.Shazam! now currently owns the ninth-best opening weekend ever in April; that will be knocked back to 10th on April 26 when Avengers: Endgame opens. Among the 10 films that had the biggest ever April openings, the low bar for ultimate totals has been set by Fast and Furious (5 million) and 2010’s Clash of the Titans (3.2 million). The two best multiples among April’s top 10 were earned by A Quiet Place (3.74 times its opening weekend) and 2016’s The Jungle Book (3.52). Their Tomatometer scores were both 95%. Audience word-of-mouth looks to be solid for Shazam!, which bodes well for its future. The R-rated Hellboy is unlikely to eat into the DC hit s core audience, and if it can maintain a drop less than 45% it should be on track to earn at least 2 million, and potentially out-earn the original Ant-Man’s 0 million.Rotten Returns: Best Of Enemies Struggles to Find Allies (Photo by @ STX)The Best of Enemies opened with .5 million from 1,705 theaters, representing STX Entertainment s seventh-lowest opening per-theater-average. Critics were mixed on the the movie – it has a 52% Tomatometer score – and audiences didn t show up in impressive numbers. STX had a better month back in January with their Weinstein Co. pickup, The Upside, which remains one of the five highest-grossing films of the year with 7 million. That was the second-best tally (behind Bad Moms) for the studio in its nearly four-year history.The Rest of the Top 10 and Beyond: Stephen King Continues to Draw Crowds, but Can Sematary Match the Original?(Photo by Paramount Pictures)A smart bit of counter-programming from Paramount Pictures saw the newest take on Stephen King s Pet Sematary land in second place with million, despite a less than stellar response from critics. The movie received glowing reviews after its premiere at the South By Southwest Film Festival, but is now just barely Fresh with 61% on the Tomatometer. That is better than the reviews for Mary Lambert’s 1989 verion of Pet Sematary (48% with 31 reviews), but without strong word-of-mouth there may now be some doubt that the new movie can reach the .4 million that the original film made 30 years ago. (That is about 7 million in today’s dollars.)There seems little hope that directors Kevin Kölsch Dennis Widmyer’s version can match those inflation numbers off of a million weekend. Among eight horror films that have opened between million and million, only The Visit and 2005’s The Amityville Horror managed to pass million. (Each actually made .2 million.) Another two films – the 2013 s Evil Dead and 2015 s Poltergeist – appear to be more in line with audience response and dropped a respective 63.2% and 64.4% in their second weekends. Tune in next week to see which way Pet Sematary goes.(Photo by @ Universal)Meanwhile, another horror film is climbing the charts of the all-timers. Jordan Peele’s Us is now ahead of 2018’s Halloween after 17 days, with 2.3 million vs. the latter film s 0.2 million total. That’s the second-highest ever for a horror film. It also bested Halloween’s third weekend (.8 million to .8 million). Pet Sematary took some viewers away from Us this weekend but more people will still be talking about Us next week as it continues to forge a path towards 0 million. Its international total is 6.5 million.One film not headed to 0 million – at least not on the domestic front – is Tim Burton’s Dumbo. It is the 13th film from Disney released in over 3,000 theaters to drop 60% or more in its second weekend. With million after 10 days that puts Dumbo behind 1999’s Tarzan, Lilo Stitch, and Wild Hogs on the Disney charts. The film has made an additional 7.5 million internationally for a total of 3 million to date. It is going to need more than half-a-billion to break even.Good thing that Captain Marvel’s numbers are still looking super. Its 4 million domestic take is the 19th highest gross ever after 31 days of release. And the .6 million it earned this weekend is the 21st best fifth weekend ever. It is now the 37th film to cross the billion mark globally (and the seventh Marvel Cinematic Universe film to do so) and it continues to climb both of those charts. This weekend it also become the 30th highest-grossing film ever.This Time Last Year: A Quiet Place Began Its Record-Breaking Run(Photo by Jonny Cournoyer/Paramount)John Krasinski’s A Quiet Place opened to .2 million, beginning its run towards becoming one of the biggest horror films of all time. The Universal comedy Blockers came in third with .5 million and the Ted Kennedy drama Chappaquiddick opened in seventh with .7 million. Steven Spielberg’s Ready Player One was just two days away from passing 0 million domestically. That movie s .6 million second weekend helped the top 10 films gross a total of 0.86 million with an average Tomatometer score of 60.9%. This year’s top 10 grossed an estimated 8.59 million and averaged 64.7% on the Tomatometer.On the Vine: Hellboy Offers Darker Fare, Little Riffs on Big(Photo by Eli Joshua Ade /@ Universal)If Shazam! was too family-friendly for you and you cannot wait until Avengers: Endgame, then Lionsgate’s reboot of Hellboy with Stranger Things’ David Harbour might satisfy your hunger for R-rated comic-book fare. Once there was Tom Hanks in Big, now Universal presents Regina Hall in Little, a modern reversal in every respect that sprung from the mind of 14-year-old black-ish star Marsai Martin. Laika Animation is back with its latest, Missing Link, and Aviron releases the adaptation of young adult novel, After. Then for one night only on Wednesday, April 10, you can see Terry Gilliam’s The Man Who Killed Don Quixote, a film 21 years in the making.The Full Top 10: April 5-7Shazam! (2019) 90% – .45 (.45 million total)Pet Sematary (2019) 57% – million ( million total)Dumbo (2019) 46% – .22 million (.27 million total)Us (2019) 93% – .81 million (2.4 million total)Captain Marvel (2019) 79% – .69 million (4.13 million total)The Best of Enemies (2019) 53% – .5 million (.5 million total)Five Feet Apart (2019) 53% – .7 million (.59 million total)Unplanned (2019) 42% – .2 million (.47 million total)Wonder Park (2019) 34% – .04 million (.98 million total)How to Train Your Dragon: The Hidden World (2019) 90% – .99 million (6.69 million total)
rt of carries the spirit of Voldemort, in part, and they have this unity, and I had this idea that Harry and Voldemort are at the top of a school tower, and as they confronted each other Dan would grab Ralph, and actually pull him off this tower, and they would apparate around the school together, and as they apparated around the school together, we d explore this weird visual synthesis that exists between the two of them, and they d eventually tumble down into the courtyard. Read David Yates full interview about the confrontation between Harry and Voldemort.Avengers Assemble in New York from Marvel's the Avengers (2012) 91%Marvel Studios President Kevin Feige: “The moment I realized that this could be an iconic moment, not just for the MCU, but for these kind of films, was on the mix stage. When the effects were final and when Alan Silvestri’s amazing score was coming in, and the timing, and the experience of watching the whole movie up to that point That[ s when] I got chills and I realized Joss had pulled it off. Read Kevin Feige s full interview about the Avengers Assemble moment.The government lobby scene from The Matrix (1999) 88%Stunt double Chad Stahelski: “So Keanu and I both had to back up to our number one marks and pretty much try to do all the choreography and the one-handed cartwheel and all the shooting with your eyes closed. Because once the squibs started going off, you couldn’t see anything. You had to count your steps and kinda go into it. And I remember looking at him and going Uh, OK, this could be a little tricky. And he’s like Eh, OK. And he nailed it first take. So that was pretty cool.”Read Chad Stahelski s full interview about the government lobby moment. I See Dead People from The Sixth Sense (1999) 86%Actor Haley Joel Osment: “There was an even-more morbid element to that scene that actually ended up getting cut out: When I tell Bruce my secret, [at] the last shot of the scene they pull back from my bed and you look out the window where you can see another entire wing of the hospital and in every window there is a person with some horrible injury or someone who’s gone pale because, you know, being in a hospital is a pretty heavy place for a ghost to linger around in this world. So, you pull back and you see all these people lined up on the other side of the frame.”Read Haley Joel Osment s full interview about the I see dead people moment.The Chest-Waxing Scene from The 40-Year-Old Virgin (2005) 85%Writer-director Judd Apatow: “I basically set up four cameras and we had some basic beats we wanted to hit. We knew that we had to get Steve s real reactions, so we shot it like a documentary. We wrote out tons of curses, because we did plan the main joke to be that he would just curse right into her face. And we also made lists of words that weren t real curses that sounded like curses. That s how we got to Steve screaming ‘Kelly Clarkson!’ Off to the side, Seth Rogen had made this enormous list of curses, and I would just yell them out to Steve, and each time they ripped the hair off of something he would scream out one of the curses.”Read Judd Apatow s full interview about the chest-waxing moment. No Man s Land from Wonder Woman (2017) 93%Director Patty Jenkins: “I think that the biggest reason I was obsessed with [the scene] was really from a character place. From Diana’s point of view, it is: What is the birth of a superhero? Just like Superman pulling his shirt open the first time and revealing the ‘S,’ these are definitive, incredible moments, and so I knew that Wonder Woman needed an incredible moment and because we were doing her origin story, it really needed to be the moment that she made the decision to go from being a younger person who was hopeful and idealistic to one who decides to be a hero despite knowing more. And so in this story, that was what I cared about.”Read Patty Jenkins full interview about the No Man s Land moment. Santa, here? I know him! from Elf (2003) 85%Actor Will Ferrell: “That kind of exclamation of ‘Santa!’ and screaming it, that was just my articulation of Buddy literally taking that piece of news [that Santa is coming] at face value and [thinking] what would be his literal reaction. A man without a country in this strange land finally getting to see someone he knows really well – it would just be the most jubilant reaction ever. I know that the first couple takes really took people by surprise, that I would go that big with it. And all of that, ‘Santa, I know him,’ all of that playing around we did, that was all improvised there.”Read Will Ferrell and director Jon Favreau s full interviews about the Santa, here? moment.皇冠体育真人在游戏市场中，漫改手游一直都有一片广袤无垠的成长空间。无数著名动漫改编成风格迥异的游
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Book Club (which scored 54% and opened to .5 million) look pretty dashed. It is the second week in a row that STX failed to get a million start (including last week’s UglyDolls.)The studio picked up Poms through auction at the American Film Market last November for between million and million, and it opened this weekend to .1 million.Lionsgate’s Long Shot, meanwhile, dropped 37% in its second weekend. While word of mouth has caught up to the film a little, the drop was still to big to beat The Intruder in its second week.Fox Searchlight has opened a film in more than 1,000 theaters just 28 times in its 183-film history. The 29th time came this weekend with Tolkien. While there was enough curiosity to earn it .1 million in 1,496 theaters this weekend, the biopic’s per-screen-average of ,440 currently makes it the second-worst per-theater average among those 29 films. If the estimates hold, that is. If the number actually drops, it could fall behind the ,383 PTA that Miss March had in 2009 and become the worst. Between Tolkien (49%) and The Aftermath (27%), Fox Searchlight has released its two lowest-scored films since 2017’s back-to-back releases of Table 19 (26%) and Wilson (48%).The Top Ten And Beyond: New Releases Nothing To Pikachu About(Photo by Warner Bros.)Back in March, expectations for Pokemon Detective Pikachu were set for a million weekend and, in some circles, a 0 million domestic haul. The high predictions came back down to Earth a bit recently as WB lowballed a million start for its live-action Pokemon film. Audiences split the difference this weekend and handed over million, which is a little more than what The Chronicles of Narnia: Prince Caspian and Night at the Museum 2: Battle of the Smithsonian opened to. A Dog’s Journey may take a small nibble out of its staying power next week and Aladdin an even larger bite the week after. Critics have marginally put it in Fresh territory with a 63% score and a first estimate of 0-170 million for Pikachu means WB will be counting on international fans to cover its 0 million budget. The film has grossed an additional 2.4 million overseas so far.Also opening this weekend was the Dirty Rotten Scoundrels remake The Hustle, starring Anne Hathaway and Rebel Wilson. It opened to a bit less (.5 million) than Wilson’s February comedy, Isn’t It Romantic?, which started with .2 million even with a two-day head start. At 16%, The Hustle is one of the worst-reviewed films of the year, lower than the score for Hathaway’s other delayed 2019 release, Serenity (19%).This Time Last Year: Infinity War Was Also On Its Third Straight Week At The Top(Photo by Marvel Studios)A year ago, Avengers: Infinity War led the way for a third straight week with the fourth-best third weekend in history ( million.) Its two new challengers that weekend, Life of the Party with Melissa McCarthy and home invasion thriller Breaking In, duked it out for second and third with .88 and .63 million, respectively. The documentary RBG also made its way into tenth place in its second weekend with .18 million in 179 theaters. The top ten films grossed a total of 6.69 million and averaged 63.2% on the Tomatometer. This year’s top ten grossed an estimated 2.77 million and averaged 53.4%.On the Vine: John Wick Battles A Dog In Attempt To Take Down The Avengers(Photo by Summit Entertainment)Keanu Reeves returns to potentially close out a trilogy in John Wick: Chapter 3 Parabellum. After the disappointing returns of Long Shot, Lionsgate could use a non-Tyler Perry victory. Will this be the one to finally make it to 0 million? Will its fans be enough to overthrow the Avengers in week four? Speaking of sequels and animals Mr. Wick is fond of, Universal follows up moderate hit A Dog’s Purpose with A Dog’s Journey. Then the director of Before I Fall, Ry Russo-Young, tackles another young adult novel with The Sun Is Also A Star.The Full Top 10: May 10-12Avengers: Endgame (2019) 94% – .05 million (3.49 million total)PokÃ©mon Detective Pikachu (2019) 68% – million ( million total)The Hustle (2019) 14% – .53 million (.53 million total)The Intruder (2019) 33% – .60 million (.97 million total)Long Shot (2019) 81% – .12 million (.73 million total)Poms (2019) 36% – .11 million (.11 million total)UglyDolls (2019) 28% – .92 million (.27 million total)Breakthrough (2019) 63% – .46 million (.10 million total)Tolkien (2019) 51% – .15 million (.15 million total)Captain Marvel (2019) 79% – .81 million (3.77 million total)
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9.47.3 4月喜迎Join us for a deep discussion of John Wick: Chapter 3 – Parabellum, the movie many critics say is the most ambitious and inventive in the series. Host Mark Ellis, Beyond the Trailer host and creator Grace Randolph, Rotten Tomatoes editor Alex Vo, and John Wick: Chapter 3 stunt coordinator Scott Rogers break down the movie kick-by-kick, headshot-by-headshot, and tackle the big questions: How good is Halle Berry? Which is the best fight scene? And should there be a Chapter 4. Watch it above and let us know what you thought of John Wick: Chapter 3 Parabellum in the comments.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
(Photo by Zade Rosenthal/Walt Disney Studios Motion Pictures)All Jeremy Renner Movies RankedJeremy Renner got his worst movie out of the way early with National Lampoon s Senior Trip, his feature debut which notched an impressive 0% in 1995. Renner essentially vanished from the big screen for years, notably returning in 2002 as the title Jeffrey in the Dahmer biopic. Obviously, this was going to be one dynamic, unpredictable movie career.He s since done well in Certified Fresh efforts like Arrival, The Town, and The Hurt Locker which got him a Best Actor Oscar nom. Renner was also for a time the guy you apparently hired when you re trying to figure out how to extend the life of your franchise. Think Bourne Legacy, which he starred in before Matt Damon decided to return to the spy series. Or how about Mission: Impossible Ghost Protocol, where he was obviously being groomed to take over for Ethan Hunt, until Tom Cruise and Christopher McQuarrie decided to throw the series into overdrive with Rogue Nation and Fallout.Even his Hawkeye in the Marvel Cinematic Universe has had a strange trajectory, like an arrow curving around in the wind. It started with an odd cameo in Thor, being brainwashed in the first Avengers, and becoming quip-master general in Age of Ultron. And in case you thought he was under-appreciated, his absence from Infinity War led to half the life in the universe whipped to dust. Of course, everything got all wrapped up in Endgame, so now we re ranking the best Jeremy Renner movies (and the worst) by Tomatometer!
NEW TRAILERS: The Falcon and the Winter Soldier Is Set to Fill the MCU-Shaped Hole in Your Disney+ HeartThe Falcon and the Winter Soldier: come for the buddy comedy banter of Sam Wilson and Bucky Barnes, stay for the stellar MCU movie action. Anthony Mackie and Sebastian Stan star, and Kari Skogland directs. Premieres March 19 (Disney+).More trailers and teasers released this week:• The latest Kung Fu reboot revolves around Nicky Chen (Olivia Liang), a young Chinese-American woman who leaves college to move to a Shaolin monastery and learn martial arts to return to her San Francisco home and take on local criminals while also looking for the murderer of her mentor. Premieres April 7 (The CW).• Lupin Season 2’s five new episodes find Assane s quest for revenge tearing his family apart, as he puts himself in new danger to enact a new plan to go after Hubert Pelligrini. Stars Omar Sy. Premieres summer 2021 (Netflix).• The United States of Al is the new comedy about the friendship between a Marine combat veteran struggling to return to life in Ohio and his interpreter, who moves to America to start his life over, too. Stars Parker Young and Adhir Kalyan, created by Chuck Lorre. Premieres April 1 (CBS).• Made For Love is a dark comedy about a woman who flees her billionaire husband after she finds out he implanted a chip in her that allows him to monitor her every move. Stars Cristin Milioti, Ray Romano, and Billy Magnussen. Premieres April 1 (HBO Max).• Family Reunion continues with guest stars Anika Noni Rose, Kenya Moore, Brandi Glanville, Mark Curry, and Willie Gault. Stars: Loretta Devine and Tia Mowry-Hardrict. Premieres April 5 (Netflix).• This Is a Robbery: The World’s Biggest Art Heist is a four-episode docuseries about a 1990 art heist in which a half a billion dollars worth of Rembrandts and other works were stolen from a Boston museum. Premieres April 7 (Netflix).• The Wedding Coach is a reality series in which comedian and author Jamie Lee and her comedian friends help couples get past their wedding drama to enjoy their special day. Premieres April 7 (Netflix).• The Serpent is a BBC limited series about the crimes of serial killer Charles Sobhraj, who killed young tourists is the mid-’70s. Stars Tahar Rahim and Jenna Coleman. Premieres April 2 (Netflix)• In Manifest season 3, are we about to find out that Ben is the key to the puzzle surrounding the mystery of Flight 828? Starring Josh Dallas and Holly Taylor. Premieres April 1 (NBC).For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.CASTING: Dakota Fanning To Star Opposite Andrew Scott in Ripley(Photo by Priscilla Grant / Everett Collection, Phil Bray / ©Paramount )Dakota Fanning has joined the cast of Showtime’s Ripley, which stars Fleabag’s Andrew Scott as the titular Tom Ripley, from Patricia Highsmith’s bestselling novels. Fanning will play Marge Sherwood – the character played by Gwyneth Paltrow in the 1999 film The Talented Mr. Ripley – an American living in Italy who suspects darker motives underlie Tom s affability. Johnny Flynn (Lovesick and Genius) also stars, as Dickie Greenleaf.Sopranos Emmy winner Edie Falco has signed on to star as Hillary Clinton in FX’s Impeachment: American Crime Story, based on Jeffrey Toobin’s book A Vast Conspiracy: The Real Story of the Sex Scandal That Nearly Brought Down a President. Clive Owen is playing Bill Clinton, Beanie Feldstein is playing Monica Lewinsky, Sarah Paulson is playing Linda Tripp, Annaleigh Ashford is Paula Jones, and Billy Eichner is playing Drudge Report founder Matt Drudge. (Collider)Emmy winner Mandy Patinkin will join the cast of The Good Fight for Season 5 at Paramount+. He’ll play Hal Wackner, a man who opens a court in the back of a copy shop, despite having no legal training (and that it’s a copy shop!). His (non-legal) legal judgements wreak havoc at Reddick, Boseman Lockhart.(Photo by Marvel Studios)WandaVision star Paul Bettany and The Crown alum Claire Foy will star in season 2 of Amazon’s A Very English Scandal, as the series becomes an anthology. The season will unfold the real-life divorce of Margaret, Duchess of Argyll, who was at the center of a scandal when her husband included Polaroids of her performing oral sex on another man in their divorce proceedings.Schitt’s Creek and Kevin Can F**k Himself star Annie Murphy has joined the Season 2 cast of Netflix’s Russian Doll, though TVLine reports details of her role are under wraps.Riley Keough will play elite triathlete Lauren Reece, the wife of Chris Pratt’s James Reece, in Amazon’s The Terminal List. Jeanne Tripplehorn has also joined the cast, playing Lorraine Hartley, the first female Secretary of Defense, reports Deadline. Black Mafia Family, 50 Cent’s Starz drama about real-world drug kingpin brothers Demetrius “Big Meech” and Terry “Southwest T” Flenory has added Snoop Dogg to the cast, playing the brothers’ spiritual advisor. La La Anthony (Power) will play the wife of one of the Flenory brothers’ friends, and Empire star Serayah will play Big Meech’s girlfriend. (TVLine)(Photo by Roy Rochlin/Getty Images)Oscar winners Natalie Portman and Lupita Nyong’o are starring in Apple TV+’s limited series adaptation of Laura Lippman’s book Lady in the Lake, about a 1960s Baltimore housewife (Portman) and single working mom (Nyong’o) whose fortunes cross when one of them tries to solve a murder.Ray Liotta will play the father of Taron Egerton’s character in In With the Devil, the Dennis Lehane-written Apple TV+ limited series about a prisoner and the son of a cop (Egerton) who tries to get a fellow inmate (Paul Walter Hauser) to confess to murder.Lost alum Josh Holloway will reunite with Lost co-creator J.J. Abrams in Duster, the HBO Max drama from Abrams and co-writer LaToya Morgan, about the getaway driver for a mobster. Holloway, who recently starred on Yellowstone, will play the driver. Dominique Fishback (Judas and the Black Messiah) is joining Samuel L. Jackson in Apple TV+’s The Last Days of Ptolemy Grey, playing a family friend who helps the 91-year-old Ptolemy (Jackson) as tries to regain his memories and solve his nephew’s death.Brandy and Nadine Velazquez have joined the cast of ABC’s hip-hop drama Queens, joining Eve and Naturi Naughton. The show is about a 90s musical group, called Nasty Bitches, which tries to reunite for a comeback.PRODUCTION DEVELOPMENT: Steven Spielberg and Stranger Things’ Duffer Brothers To Adapt The Talisman by Stephen King and Peter Straub(Photo by Jackson Lee Davis/Netflix)In a holy pentagram of storytellers, Steven Spielberg will collaborate with Matt and Ross Duffer (Stranger Things) on a series adaptation of the Stephen King–Peter Straub book The Talisman, about a 12-year-old boy who goes on a road trip through two different realities to try to find a cure for his dying mother. The Duffer brothers will be showrunners on the Netflix project. (THR) Fox is developing a romantic comedy anthology series based on the music of Huey Lewis. Hart of Dixie creator Leila Gerstein will write the still untitled series, which would blend a modern love story with a teen love story from the 80s, with each season a self-contained comedy inspired by Lewis’ music. The Grammy-winning, Oscar-nominated musician is an executive producer on the series. (Deadline)Wild Cards, the George R. R. Martin drama originally set to premiere on Hulu, will now find its home at Peacock. The story, based on Martin’s multiple-book series with input from various writers, was developed for two years at Hulu, but now a new writer will be assigned to the project as it continues to be developed at Peacock.The Wire collaborators David Simon and George Pelecanos will adapt investigative reporter Justin Fenton’s book We Own This City: A True Story of Crime, Cops and Corruption as an HBO limited series. The book tells the story of corruption, and how the Baltimore Police Department’s Gun Trace Task Force, an elite plainclothes unit, tried to clean it up. (Deadline)The History Channel is producing the eight-part series The Center Seat: 55 Years of Star Trek, a limited that will cover the stories pop culture history of all things Trek. (Deadline)(Photo by Jason Smith/Everett Collection)HBO, meanwhile, is teaming with Uncut Gems directors Benny and Josh Safdie and director Matt Wolf for a two-part documentary about the life and career of Paul “Pee-wee Herman” Reubens. (Deadline)Ma Rainey’s Black Bottom director George C. Wolfe is talks to write and direct an adaptation of Toni Morrison’s National Book Critics Circle Award-winning 1977 novel Song of Solomon. (Deadline)The adaptation NBC ordered of Dan Brown’s The Lost Symbol, featuring the Harvard symbologist Robert Langdon, has moved to Peacock, where it will premiere with Succession star Ashley Zukerman as Langdon.Comedian Nikki Glaser will host Comedy Central’s five-night Hall of Flame: Top 100 Roast Moments, a countdown of Comedy Central Roasts best insults, wrapping up with the hottest moment in franchise history. The event airs March 29-April 2 at 10pm each night.
WandaVision's Elizabeth Olsen and Paul Bettany Say the MCU Heroes Are 'Literal Soulmates' Plus, Teyonah Parris and Kathryn Hahn hint at futures in the MCU, Kevin Feige talks Phase 4's roadmap, and Bettany learns what a "zaddy" is. by RT Staff | January 15, 2021 | Comments
Two years ago, John Krasinski’s A Quiet Place became an unexpected phenomenon, earning rave reviews (95% on the Tomatometer), grossing more than 0 million worldwide, and even receiving an Oscar nomination for its invaluable sound design. Who knew Jim from The Office had it in him? But could it launch a franchise? Working well as a small-scale standalone sci-fi horror movie, it didn’t need a continuation.Well, Krasinski went ahead and wrote and directed another one anyway, and apparently that’s a good thing, since the first reactions to A Quiet Place Part II are entirely positive. Most of the social media commentary following the first press screenings are about how the follow-up builds upon the original while also celebrating the performances of returning actress Millicent Simmonds and franchise newcomer Cillian Murphy.Here’s what critics are saying about A Quiet Place Part II:How does it compare to the first movie?A worthy, world-expanding followup that builds on the original and finds its own thrills, chills, and emotions in the process. Kate Erbland, IndieWireA savagely unfurled sequel… smartly employs sound and silence like the first. But best of all, it builds the world and grows the characters in thoughtful, grounded, and riveting ways. Kristy Puchko, PajibaIt’s a great sequel that expands the world. Steve Weintraub, ColliderFinds exciting ways to further explore this terrifying environment, and is bigger… deserves to be a MASSIVE hit. Sean O Connell, CinemaBlendBuilds upon the story from the first film in some unexpected/inspired ways. Heather Wixson, Daily DeadNot at all what I expected, and that s a great thing. A very creative sequel that goes to some unexpected and satisfying places. Megan Navarro, Bloody DisgustingIn what could easily have been a retread, John Krasinski finds unbelievably creative ways to keep the movie’s niche from getting stale… riveting from top to bottom. Chris Killian, ComicBook.com(Photo by Paramount Pictures)How tense is it?TENSE AS HELL. Sean O Connell, CinemaBlendIncredibly tense. Heather Wixson, Daily DeadSpine-tingling. Tense. Kristy Puchko, Pajiba Tension: The Movie. I have a stomach ache now from how tense this movie is. Mike Ryan, UproxxHad me on the edge of my seat the entire time. Steve Weintraub, ColliderWho stands out this time?Millicent Simmonds really comes into her own her with a truly phenomenal performance… She’s sooooooo good! Heather Wixson, Daily DeadMillicent Simmonds is phenomenal. Kristy Puchko, PajibaBravo Millicent Simmonds. Megan Navarro, Bloody DisgustingAnd what about the addition of Cillian Murphy?Cillian Murphy RULES. Heather Wixson, Daily DeadSteals the movie. Chris Killian, ComicBook.comThis turned out to be a surprisingly great Cillian Murphy movie… he’s basically the main character. Mike Ryan, UproxxHe and Millicent Simmonds truly steal the film. Noah Jupe is great too. Erik Davis, Fandango(Photo by Paramount Pictures)How is John Krasinski s directing?How does John Krasinski already have Spielberg-level chops?? Sean O Connell, CinemaBlendHe’s very much a natural. Heather Wixson, Daily DeadBravo, John Krasinski. So good, so emotional, too. Erik Davis, FandangoAnd Marco Beltrami s Score?He nails it, again! Megan Navarro, Bloody DisgustingVery good, again with fantastic sound design. Erik Davis, FandangoAre we going to want another sequel?When it ended, wanted more. Is it too early to talk about A Quiet Place Part III? Steve Weintraub, ColliderA Quiet Place Part II opens on March 20.
Behind the Zero(Photo by Sony Pictures Home Entertainment)John Travolta is as notorious for his bizarre and unfortunate choices in roles as he is famous for his performances in movies like Grease, Saturday Night Fever, and Urban Cowboy. He s a perpetual comeback kid, if only because he always has dispiriting professional nadirs to come back from. That was certainly the case in 1994 when he joined an ambitious, offbeat ensemble crime comedy called Pulp Fiction, which came on the heels of 1993’s Look Who’s Talking Now, the disastrous second sequel to his 1989 comeback movie and, of course, a recipient of the infamous zero percent on Rotten Tomatoes.By the time Look Who’s Talking Now died at the box office, the franchise had drifted far away from both the emotional core that initially made it culturally and emotionally resonant and the cutesy gimmick that helped make it a surprise box-office smash. A recently announced series reboot may be able to recapture some of that initial charm, but as the sequels demonstrated, there s only so much you can do with the same idea.Writer-director Amy Heckerling’s 1989 original was a rare hit romantic comedy rooted in middle-aged single motherhood. To make the film more palatable to a mass audience, the inner monologue of star Kirstie Alley s pre-verbal baby was voiced by a wisecracking Bruce Willis. The result was a surprise smash with a decidedly limited premise that nevertheless inspired a full trilogy of movies. Look Who’s Talking is not Lord of the Rings it does not probe into any themes that would require an entire series of films to explore. It’s a minor miracle that it worked even a single time, but stretching it over three films is sadistic, to audiences and characters alike.The ZeroLook Who’s Talking had a cheesy but cute and effective gimmick: who hasn t wondered what babies are thinking in their pre-verbal state? Who hasn’t pondered what might be going on inside those adorable little heads? Look Who’s Talking Now, the first entry in the series not to be written and/or directed by Amy Heckerling (Fast Times at Ridgemont High, Clueless), tries to do the same with pooches, but the novelty and freshness has been lost.The film opens with parents James (Travolta) and Mollie (Alley) chasing after a now partly grown-up Mikey (David Gallagher) and his little sister Julie (Tabitha Lupien). They can both talk, unfortunately, so now the creatures whose inner monologues we hear are a little further down the food chain.Danny DeVito steps sadly into the fray to voice scruffy, oversexed mutt Rocks, who earned his name by doing his business in the backseat on the way home. Don’t worry, though; there are lots of creepy, inappropriate sex jokes to go along with all the poop jokes.Rocks is like the Tramp in Lady and the Tramp, in the sense that Look Who’s Talking Now baldly and badly steals from the Disney animated classic. Diane Keaton plays the aristocratic Lady to Rocks’ salt-of-the-earth Tramp as the voice of Daphne, a poodle given to the family by Samantha D’Bonne (Lysette Anthony), a 30-year-old ice queen and titan of industry who hires James to be her personal pilot as the first step in an elaborate plan to seduce him away from his family.As for the children, Mikey is not only capable of speaking for himself, he looks like he should probably start thinking pretty seriously about college in the years ahead. The gimmick that initially defined the character and the franchise is long gone, leaving behind only another gratingly precocious moppet tormented by questions of Santa Claus’ authenticity.(Photo by TriStar courtesy Everett Collection)In a bid to get him back into the Yuletide spirit, James, Mollie and sister Julie the latter clad in a tutu and angel wings lip-sync their way through Alvin The Chipmunks The Chipmunk Song (Christmas Don t Be Late), that exemplar of Eisenhower-era uber-kitsch. The performance is supposed to be so adorable that Mikey s skepticism and disillusionment are rendered powerless before its heartwarming power. Instead, it s a moment of David Lynchian horror, a close cousin to the sequence in Blue Velvet when Dean Stockwell lip-syncs to In Dreams, but infinitely more disturbing due to context.It’s almost impressive that the makers of Look Who’s Talking Now managed to create a family movie about dogs and children that isn t cute in the least, but rather unintentionally disturbing . Little Julie, for example, has an obsession with basketball players specifically Charles Barkley that is supposed to pay off in a fantasy sequence in which this tiny, self-conscious girl challenges the NBA legend to a game of one-on-one, taunting him with “Let’s get busy!”Barkley’s bewildering cameo here at least ensures that Space Jam is not the single worst film he’s ever been a part of.Later, Julie decides that she can fly like Peter Pan, so she climbs up a series of shelves and prepares to dive onto the carpet before she’s scooped up by her alarmed mother. We re meant to find it adorable that this precocious child misunderstands the adult world. Instead, she s like a creepy ghost-girl from a J-Horror shocker, seemingly possessed by evil spirits in at least a couple of scenes. Look Who’s Talking Now may skip through genres randomly, but its many horrific elements are unintentional.Rocks is like the character DeVito plays on It’s Always Sunny in Philadelphia, but less appealing or capable of self-restraint. He calls a female dog a bitch, responds to Daphne’s introduction with a Wayne’s World-style shwing, and, before he falls in love with Daphne, accuses her of being the product of inbreeding.That might seem wildly inappropriate for what is ostensibly a family movie franchise rooted in the ability to hear an adorable little baby’s thoughts, but by this point, the series had somehow morphed into a bad-taste marital sex comedy primarily concerned with whether or not James will be able to successfully avoid sleeping with his manipulative, hot-to-trot ice queen of a boss.(Photo by TriStar courtesy Everett Collection)Since there’s nothing kids enjoy more than sexual jealousy, they’ll particularly enjoy the many scenes of Mollie brooding about her husband violating the sanctity of marriage with a world-conquering dynamo who throws her own unemployed messiness into even sharper relief. Alley can make for a relatable, vulnerable, sympathetic heroine, or she can be a sloppy, blubbering, desperate mess. We get the latter here.In another fantasy sequence, Mollie dreams about James cheating on her while he dreams about her cheating on him with a character played by a returning George Segal. Eventually they realize they’re in a dream together and that they have control over their actions, and we are briefly treated to a lovely little production number with Travolta and Alley gliding across the dance floor like Fred Astaire and Ginger Rogers. It’s an example of what a world-class performer like Travolta can bring to even the dodgiest and most desperate of projects, but it also just made me wish that I was watching literally any other movie in which Travolta dances, including even Be Cool, another unnecessary, god-awful sequel that is nonetheless infinitely better than Look Who’s Talking Now, if only for Dwayne Johnson’s performance.But it somehow gets even worse and less dignified for Travolta and company. For reasons known only to the filmmakers, Look Who’s Talking Now ends with a music video-style showcase for French baby rapper/one-hit wonder Jordy, who scored an international hit with 1992’s Dur dur d être bébé! (It s Tough to Be a Baby) when he was a mere four years old. Jordy was a grizzled has-been of five or six by the time the movie opened, but that didn t stop the franchise from closing its ostensibly final chapter, fundamentally, with a product placement for a Christmas song by the pre-pubescent European pop star. Alley, Travolta, and the children from the film are all there for Jordy as he delivers lyrics like Can you feel something in the air? A super nice feeling of holiness. Needless to say, It s Christmas, C est Noel failed to become a new holiday standard. But it’s an utterly bizarre and yet wholly appropriate way to end a singularly misguided sequel that deviated so far from what made the original successful that they barely seem to inhabit the same universe, let alone the same film series.Final Verdict(Photo by TriStar courtesy Everett Collection)Thanks largely to the mega-watt movie star charm of John Travolta , Look Who’s Talking Now is not completely worthless. But it is astonishingly misconceived, the concluding entry in a series that never should have been a trilogy. It’s so bad it reflects poorly on sequels as a whole they are rightly disparaged for being frequently terrible, strained, and unnecessary, but in the entire undignified history of sequels, few can compete with Look Who’s Talking Now for sheer pointlessness.Nathan Rabin is the author of six books and the proprietor of Nathan Rabin’s Happy Place.Follow Nathan on Twitter: @NathanRabinLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 东方传统文化特色的彰显，东方风格的体现，是当下的游戏生产商值得商榷考量的。国内游戏开发商可以灵活运用这些文化素材，创造出有意义的娱乐产品，快速打动、走进更多玩家的内心同时完成手游更深层次的传播教导功能，在潜移默化之中向海内外的游戏受众传输这些优秀的民族文化特色。
With a Tomatometer score that places it among the worst-received in the past decade and ratings that Variety called a staggering low, the 93rd Academy Awards will go down in history as a failed experiment.Here s what critics had to say.The High Points: It Was DifferentThe fairest thing to say is that Academy Awards are rarely very entertaining to watch, but at least this year they were not very entertaining in an unexpected way. – Nicholas Barber, BBC.comNo one s asking for their money back: The 93rd Oscars were by far the best movie awards show of the past year. Hopefully it s also the last pandemic show we ll ever have to endure. – Lindsey Bahr, Associated PressThe question was, would it be a good sort of different or a bad sort of different? The ceremony turned out to be a bit of both-and yet, on balance, still more entertaining than the average pre-COVID Oscars. – Judy Berman, TIME MagazineLook, I m a sucker for Soderbergh s kooky art projects. This Oscar night looked different from any other, and the parts that worked were exciting enough to suggest a new style for blather-y awards shows. – Darren Franich, Entertainment WeeklyA fascinating exercise in rising to the occasion where necessary, and tripping on its gown when changing things for change s sake. – Caroline Framke, VarietyThe resulting relatively fast-paced and deeply personal ceremony actually might have been something more vital — a true Hollywood reinvigoration. – Dominic Patten, Deadline Hollywood DailyI m not sure we need this kind of lean approach every year, with its glut of words and its odd shortage of clips, but it did seem like the right style for a sobering year that has been ridden with loss, grief, illness, and financial strain. – Matthew Gilbert, Boston GlobeThe Low Points: Oy, That EndingIf the first two hours of The 93rd Oscars started to shakily reinvent the franchise s formula, the final stretch collapsed into confusion and chaos. The tone flailed wildly. – Shirley Li, The AtlanticSoderbergh and his co-producers seemed so terrified of appearing flippant about coronavirus they had apparently instructed guests to bang on about it at every opportunity. – Ed Power, Daily Telegraph (UK)The memorial reel was introduced with a strange recitation of all the bad things that can kill people, including poverty, which seemed to shove the losses of some of the most beloved people to the background behind political issues. As though people wouldn’t die if only we fixed our social problems Bryan Cranston’s giving out an Oscar to a nursing home in a deserted Dolby Theatre (the usual site) really captured the energy level of the night, and the slurred delivery by a suddenly 185-year-old Harrison Ford when he attempted a clunky comedy bit about initial negative reactions to Blade Runner was sad and dispiriting. – Kyle Smith, National ReviewThe Oscars finale was a heartless disaster Instead of having the previous year s Best Actress announce the Best Actor award and vice versa, the Academy broke tradition again and invited Joaquin Phoenix — who famously hates awards shows — to present the final award. Phoenix awkwardly read the lead-in to Best Actor which, in a shocking twist, went to Anthony Hopkins of The Father. Hopkins wasn t even in attendance, so the Oscar night ended abruptly, with the Academy accepting the award on his behalf. The debacle represents more than just the heights of miscalculation. Any way you look at it, the move was horribly unfair to the Best Picture winner. – Jeva Lange, The WeekMost of the innovations fell flat, and the Oscars worst tendencies towards bloat and self-congratulation were only amplified in the new setting. Every Oscar broadcast has its slow parts. This year, it felt like all slow parts. – Dave Nemetz, TV LineNo film clips. No songs. No host. No fun. The words show don t tell never occurred to Soderbergh and his crew. It was like if the Grammys didn t have any music. – Rob Sheffield, Rolling StoneThis is how I know for sure that the 2021 Oscars was a prestige-TV show and not a movie: because it was mostly enjoyable until the terrible finale that ruined the whole thing. – Jen Chaney, New York Magazine/VultureThe Affair Overall: It Was Not the Celebration of Movies We NeededThe Oscars this year of all years should have been a great big global commercial for motion pictures and the need for them in our lives. I brought my movie love. I don t feel like the 93rd Annual Academy Awards quite returned it. – Pete Hammond, Deadline Hollywood DailyOverall it all felt similar to previous Oscar shows, and often flat, especially without the masses (there were 170 at the ceremony compared to the usual several thousand in Dolby Theatre), loud applause and rattling of borrowed jewellery. – Jeremy Kay, Screen InternationalMay have felt like an earnest celebration of the people who make movies, but, thanks to some bad decisions, wound up being both a boring TV show and a lackluster argument for heading back out to movie theaters. – Kristi Turnquist, OregonianI could see what the producers were going for. Maybe I even respect what the producers were going for. But they didn t beat the house. Not this time. – Dan Fienberg, Hollywood ReporterIn a bid for elegance, the broadcast courted sluggishness. – Robert Lloyd, Los Angeles TimesIt s tough to remember Oscars ceremonies from one year to the next, but the 2021 Academy Awards telecast may stand the test of time for all the wrong reasons. It was bad. Really bad. – Rob Owen, Pittsburgh Tribune-ReviewThis strange time has a way of taxing our short term memory, and once this awards season is a dot in our rearview mirror perhaps we ll simply look at this Oscars as an adventurous effort that in the end, couldn t wriggle free from clichéd habits. – Melanie McFarland, Salon.comThe changes, however necessary, were a reminder of how the rituals of the Oscars, no matter how lame and formulaic, are a crucial part of its appeal — the mixture of performative glamour with the klutzy, mortifying atmosphere of a high school dance. – Mike Hale, New York TimesA breezy three-hour event is hard to pull off, and it s even harder to make entertaining. Besides a bit of hard-earned magic, Oscars telecasts rely on tension, spectacle, and surprises. Stripping out the first two and relying on the third is a risky bet. – Ben Travers, indieWire