亚博网站首页采用百度引擎9（Baidu 3）Tracy Morgan Applies for Credit in an Exclusive Sneak Peek from The Last O.G. Tray is a man with a business plan, and trying to get into the food truck game. by Debbie Day | April 8, 2019 | Comments
(Photo by The CW)Comic book television had another stellar year in 2018, with shows like Chilling Adventures of Sabrina joining returning programs like Arrow, Preacher, and the since-cancelled Marvel shows on Netflix. The sudden departures of Daredevil, Luke Cage, and Iron Fist also marked a time of change as The Walking Dead’s lead actor said goodbye (sort of) and cable outlets and streaming services scooped up Deadly Class, The Umbrella Academy, and The Boys for a 2019 filled with shows not based on Marvel or DC superheroes. Granted, the DC Universe streaming service will make sure plenty of new superheroes make their way to TV in the coming year.But before the new year arrives, let’s look back at some of our favorite moments in comic book television in 2018.WARNING: Spoilers ahead.The Walking Dead s Rick Grimes Blows Up His Alexandra BridgePerhaps more memorable for the the publicity around it, Rick’s (Andrew Lincoln) decision to blow up the bridge he spent most of his time in The Walking Dead’s ninth season was a defining moment for the character and the series as a whole. For Rick, it was the ultimate act of sacrifice in order to save everyone he loved. And consider the time-jump after the explosion, he definitely experienced a thematic death if not the true death AMC teased when it decided to let fans known Lincoln was leaving the show.Someday, Rick’s decision will be remembered for its impact on the story, but in 2018, the scene was more about Lincoln’s departure and AMC’s announcement that both he and Rick would return in a Walking Dead spinoff TV movie. Making the scene and the announcement interlinked was the decision to reveal Rick’s new status on Talking Dead immediately after Lincoln’s final episode aired. Some viewers were left feeling like a bait-and-switch had occurred, but it indicated the network’s ambition for the world of Walkers, survivors and even Rick himself.It is nonetheless a rare sort of media circus for a television show based on a comic book and, therefore, memorable.Riverdale s Second Black Hood Reveal(Photo by The CW)When the Black Hood was first unmasked as Riverdale High School janitor Joseph Svenson (Cameron McDonald) in season 2, episode 9, it thudded across the screen. The character was only introduced two episodes prior and, as star K.J. Apa pointed out when we visited the Riverdale set in November, Svenson s eyes were not the color he saw when the Black Hood began his spree at Pop s Chock lit Shoppe. And though showrunner Roberto Aguirre-Sacasa promised the show was moving on to a new mystery, the apparent solution to the Black Hood case never felt right.And, of course, it wasn t. After a month or two of dormancy, the Black Hood reappeared during the school s production of Carrie: The Musical, killing Midge Klump (Emilija Baranac) and stringing up her body on the set as a calling card. The chase for him resumed as the tensions between the Ghoulies and the Serpents reached the breaking point. And then, in Chapter Thirty-Four: Judgment Night that aired in May, Betty (Lili Reinhart) went home to discover the Black Hood was her own father Hal Cooper (Lochlyn Munro).The scene, in which Hal forces Alice (Madchen Amick) and Betty to watch a home movie of his mother teaching him about the corruption of the world, tied everything together. Becoming an avenging angel ran in the family. Setting up a patsy also seemed to be a tradition among the Coopers, as Hal revealed that he convinced Svenson to take the fall as the Black Hood. Considering Hal s ties to the Blossom clan, this turn of events also felt thematically consistent.His plan to finish off his own family failed, leaving Hal in a Silence of the Lambs–style jail cell. But the revelation of the Black Hood also left a profound effect on Betty, especially when Hal claimed she contained the same darkness. After all, she handed the phony Chic (Hart Denton) over to him to be disposed of a few episodes earlier and then there s also Dark Betty to consider. As it happens, we ve yet to see Dark Betty in season 3. Or Hal for that matter. Maybe he will impart some key lesson to help his daughter before the current season ends.That Titans Stinger SceneIf you haven’t watched all of DC Universe’s Titans, we suggest getting through the end credits of episode 11 to see what is arguably the most surprising and compelling stinger scene this year. With Dick Grayson (Brenton Thwaites) still in the thrall of Trigon (Seamus Dever), the season ends on a dark note. But it almost immediately offers hope in the form of a disquiet Cadmus lab and a muscular young man with Superman’s S-Shield tattooed on his shoulder. It is clear he has escaped from his containment cell and that he’s taking a dog with him.Fans of the DC Comics characters will recognize the scene from the first appearance of the Superboy introduced after the 1992 “Death of Superman” storyline. In subsequent years, he came to be known as Connor Kent and served a long tenure in the Young Justice team and with a new generation of the Teen Titans. He subsequently disappeared from DC continuity during a legal battle with the family of Superboy creator Jerry Siegel. But when the dust settled, his absence became a major plot point of the Titans comic book.To see him suddenly appear in the Titans television show was a genuine shock. The program kept the characters powers more contained despite references to both Wonder Woman and Superman sprinkled throughout its first season. Also, Connor is not a mainstream character despite his role on the Young Justice animated series. But perhaps more crucially, he is not a member of the team Titans centers on. Nonetheless, it proved to be a magical moment suggesting Titans second season will branch out in new, startling directions. Well, once Dick frees himself from Trigon, of course.Daredevil’s Prison RiotIn a season filled with incredible moments, Daredevil’s third season prison riot will likely stand as the hallway fight subsequent Marvel shows will have to beat. Granted, only the remaining seasons of Jessica Jones and The Punisher will have that chance. Starting with Matt Murdoch (Charlie Cox) completely off his footing, the sequence opens as the sloppiest of hallway fights. Even the orderlies — hired goons on Wilson Fisk’s (Vincent D’Onofrio) payroll — seem ill-equipped for the challenge. The humor subsides once Matt finds his way to the Albanian crime lord Fisk put behind bars.Here, in a brief moment of dialogue, Matt learns Fisk arranged to have himself shivved so his appeal to the FBI would seem more convincing. Following this revelation, Matt and one of the Albanians make their way through a complete prison riot, dodging inmates and guards as Matt tries to reach the outer gate and the cab which has been patiently waiting for him the whole time. Though constructed in several pieces, the finished sequence appears to be a single 12-minute take with no cutaways. It illustrates the confidence the show found in its third year; which also informs the subsequent Matt/Dex fight in Episode 6 and the way Fisk learns about Dex (Wilson Bethel) while sitting in his hotel suite. It was, in short, the hallway fight perfected.Which makes it all the sadder that Daredevil will never have the chance to top it.‘Beebo Wants Cuddles’When Cuddle Me Beebo was introduced in a 2017 episode of DC’s Legends of Tomorrow, it seemed so unlikely that the parody of must-have holiday toys like Tickle Me Elmo, Furby, and Teddy Ruxpin would become a recurring element of the show’s mythology. But by May 2018, Legends had such confidence that it could use Beebo as the resolution of its season-long plot.Throughout the year, the Legends were tasked with obtaining a series of magical totems in order to keep the demon Mallus (John Noble) from returning to conventional time and space. But obtaining the totems would not be enough. As each selected a bearer — Mick Rory (Dominic Purcell) received the Fire Totem, while the Death Totem chose Sara Lance (Caity Lotz) — it became more and more obvious that the often cantankerous Legends would have to work in concert to fight Mallus. After trying time and again to become something like the Voltron force, the group finally realized they could only defeat Mallus with a symbol of purity and joy, conjuring a giant version of the Beebo toy to use some mad kung-fu moves on the demon.The scene is just absolute madness and the least likely thing a viewer would expect to see on broadcast television: an ersatz Muppet fighting a CGI demon. To watch it out of context has nearly the same effect in context; it is absolutely cheesy, but Legends lost its fear of corny, silly images long ago.But then again, comics can and will be cheesy. Sometimes that’s the charm, and Legends brilliantly captured the thrill of seeing something completely silly paying off a long-teased conflict. And in a TV landscape full of serious images, a goofy thing winning the day is an admirable choice.Of course, these are just a handful of moments from a year more stuffed with comic book-based content than ever before. And as the will to bring these ideas from the page to screen gains more and more confidence, we expect 2019 to have even more amazing moments.Tell us about your favorite Comics-on-TV moment in the comments.
4. 呼朋唤友 随心所欲
David E. Talbert’s lavish and energetic new musical, Jingle Jangle: A Christmas Journey, might just be a modern Christmas classic. The story of a toymaker (Forest Whitaker) and his granddaughter’s (Madalen Mills) quest to recover his most incredible creation yet, after it’s stolen by a rival (Keegan Michael-Key), is full of elaborate musical numbers, heartwarming holiday moments, and songs from the likes of John Legend; critics are eating it up and saying it could go down as a new holiday staple. Ahead of the movie’s release, Rotten Tomatoes Editor Jacqueline Coley spoke to Talbert and stars Whitaker, Key, Mills, Phylicia Rashad, and Anika Noni Rose to ask why music and Christmas are such a perfect pairing, how the cast and crew produced the film’s ambitious musical set pieces, and to discover their personal favorites when it comes to holiday movies.Jingle Jangle: A Christmas Journey is available on Netflix from Friday, November 13, 2020. On an Apple device? Follow Rotten Tomatoes on Apple News.
5. HD 画质与高品质音讯
7.41.5 2月喜迎After its first rebellious and cuss-riddled steps into a new DC Comics world, Titans returns this week to wrap up its hanging season 1 plotline — the arrival of Trigon (Seamus Dever). But once it does, the series will blow the roof off of its more contained plot to reintroduce the Titans as a team and explore more of its past, even as newer members join the reformed group.Dick Grayson/Nightwing (Brenton Thwaites), Rachel Roth/Raven (Teagan Croft), Koriand r/Starfire (Anna Diop), Gar Logan/Beast Boy (Ryan Potter
Oscars 2021 Red Carpet Arrivals It's Hollywood's biggest belated night: See everyone who made it back into the outdoors with this year's Oscars red carpet gallery. by RT Staff | April 25, 2021 | Comments
This week in TV news saw some major changes for HBO talent, an update to your Netflix subscription, live-action Cowboy Bebop casting, and plenty more developments.TOP STORYWestworld Bosses Find New Home(Photo by John P. Johnson/HBO)Westworld creators Jonah Nolan and Lisa Joy have just signed a reported nine-figure, four-year deal with Amazon to create new content for the company s TV studio and streaming service. According to The Hollywood Reporter, the duo will be making upwards of million per year at their new home.But what does that mean for Westworld, which is currently in production on its third season?The short answer is nothing; the third season of the series is still likely going to air on HBO in 2020, and Joy and Nolan are running the show.The long answer, though, is slightly more involved. Joy and Nolan had been working at Warner Bros. TV, which produces Westworld. And while they re moving their production company to Amazon, they re still planning to stay on board as writers and executive producers on Westworld for the life of the show, according to the report, which means nothing is changing day-to-day for season 3, and should the show be renewed for a fourth season, continuing to run their series is a top priority. Essentially, all their new work from now on will be done under the Amazon umbrella, but Westworld is staying put and they re staying involved. So breathe easy, it ll still be the complicated sci-fi drama you know and love.Netflix Raises Prices(Photo by Netflix)Netflix is raising its prices again: The streaming service’s biggest price increase to date will increase the two-HD stream Standard plan by per month to .99; Premium (four Ultra HD streams) is also increasing by to .99; and the Basic plan (one non-HD stream) will increase to .99. The new prices take effect for new subscribers immediately, and will be phased in gradually for existing customers based on their billing cycles.Cobra Kai Leads a Trailer BonanzaThere’s a LOT of good television on nowadays, and approximately a dozen TV series dropped trailers for their upcoming seasons this week. You can watch the full trailer for Cobra Kai season 2 above, out April 24. Season 2 brings fans back into the action with Daniel LaRusso (Ralph Macchio) and Johnny Lawrence (William Zabka) after the shocking Season 1 cliffhanger featuring the return of John Kreese (Martin Kove). When a new rivalry between opposing dojos is born in the aftermath of Cobra Kai’s controversial win at the All Valley Championships, Daniel realizes his next countermove is to open his own karate training school called Miyagi-Do, in honor of his mentor Mr. Miyagi. What was once a personal feud between Daniel and Johnny escalates beyond their differences to engulf their students, who as teenagers, are already challenged to figure out who they are and who they want to be. Which path will they follow — Cobra Kai or Miyagi-Do?If that s not what you re after, you can follow the links for a teaser for the third season of TNT’s Claws (out June 9), a trailer for the second season of Paramount Network’s Yellowstone (June 19), one for the sixth season of The CW’s The 100 (out April 30), and ones for new series including Netflix’s dark comedy Dead to Me (out May 3), AMC’s horror adaptation NOS4A2 (out June 2), and Epix’s Batman butler prequel series Pennyworth (out this summer). You can also watch the entire first episode of The Chi season 2 ahead of the show s official April 7 debut.Cowboy Bebop Returns(Photo by Emma McIntyre/Getty Images)Netflix’s live-action adaptation of Cowboy Bebop is finally coming together. The 10-episode series will star John Cho, Mustafa Shakir, Daniella Pineda, and Alex Hassell as a crew of bounty hunters searching for the solar system’s most dangerous criminals and is based on the jazz-inspired Japanese anime series from 2001. Cho will play Spike Spiegel, “an impossibly cool ‘cowboy’ (bounty hunter) with a deadly smile, a wry wit, and style to spare. He travels the solar system with his ex-cop partner, Jet, pursuing the future’s most dangerous bounties with a combination of charm, charisma — and deadly Jeet Kune Do.” Shakir is Jet Black, “was one of the few honest cops in the solar system before an ultimate betrayal robbed him of all that he loved, forcing him into a vagabond life of hunting bounties to put food on the table. Jet is an inveterate jazz enthusiast and Captain of the Bebop.” Pineda is Faye Valentine, “a bold, brash and unpredictable bounty hunter. Suffering from amnesia after years of being cryogenically frozen, Faye does whatever it takes to survive. Whether she’s lying, stealing, or just being a thorn in Spike and Jet’s side.” And Hassell is Vicious, “a man who thoroughly enjoys a good kill, Vicious is the Syndicate’s most notorious hitman. He’s also Spike Spiegel’s ex-partner and arch-enemy.” Radical Ed has not yet been cast.Darren Star’s New Leading Lady and More Casting News(Photo by JA/Everett Collection)Lily Collins will star in the newest series from Sex and the City and Younger creator Darren Star, a dramedy called Emily in Paris. The new series is set to premiere on Paramount Network in 2020, and will follow the adventures of the titular character (Collins), a driven twentysomething from the Midwest who moves to France for an unexpected job opportunity. The series will tackle her career, friendships, love life, and the challenges of living in a foreign city, and begins filming later in 2019.Hulu’s horror series Light as a Feather has added Robyn Lively (Teen Witch), Katelyn Nacon (The Walking Dead), and several other new cast members for its upcoming second season.Amazon and the Jim Henson Co. Team Up(Photo by Hulton Archive / Getty Images)More than 2,500 hours of programming from the Jim Henson Company is now available to stream on Amazon Prime Video. While it’s mostly available in 67 different territories around the world, much of the content is not accessible to U.S. users due to existing licensing deals. The content available only to lucky viewers outside of the U.S. includes The Storyteller, The Wubbulous World of Dr. Seuss, Mother Goose Stories, and all five seasons of Fraggle Rock. (U.S. viewers can watch Fraggle Rock on HBO.)Development NewsShowtime has ordered a new spy thriller anthology series from The Hurt Locker and Zero Dark Thirty writer Mark Boal. Intelligence is based on real stories from around the world and will explore how espionage intersects with politics, finance, media, and silicon valley. Season 1, which is currently being written, will focus on the behind-the-scenes history leading up to the 2016 U.S. election. Subsequent seasons will look at a different major world event through the lens of covert operations.
亚博网站首页 (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.
If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at email@example.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News. One of the biggest movie franchises on the planet expands outward with Fast Furious Presents: Hobbs Shaw. The spin-off stars Dwayne Johnson and Jason Statham as their respectively titular characters from the Fast and the Furious series as they reluctantly team up to take on a superhuman villain played by Idris Elba. What ensues is less a F F movie than a silly superhero action movie, according to its first reviews. You mostly get what you expect, plus a standout Vanessa Kirby and surprise cameos, if you’re just interested in dumb popcorn fare.Here’s what critics are saying about Hobbs Shaw:How does it fit in the Fast Furious franchise?The spin-off film is nigh unrecognizable from the gritty low-level crime days of early Fast and Furious, and even the high-stakes heists of the more recent films. Hoai-Tran Bui, SlashfilmToo sci-fi for the world of Fast Furious… the bionic stuff is anathema to the franchise’s core, meat-based values. Richard Lawson, Vanity FairIt’s all a little sci-fi for the Fast Furious franchise, though it’s arguably no more ridiculous than launching parachute-sporting cars out of planes. James Mottram, Total FilmIt’s a Fast Furious movie that doesn’t really care that it’s a part of the franchise. Germain Lussier, io9What really stands out from this Fast movie is how little help it needs from the franchise for it to work. Jason Guerrasio, Business InsiderDoes it meet expectations otherwise?It delivers some bangs and laughs for your buck. Peter Bradshaw, GuardianIf you liked Johnson and Statham’s big jailbreak in Fate of the Furious and thought you’d want to see a whole movie of that duo, then you’re in luck. And it’s as awesome as you’d hoped. Edward Douglas, The BeatIt’s not going to change your life but if you are looking for a silly, over-the-top entertainment with very likable leads than there is more than enough to enjoy here. Rachel Wagner, RachelReviews.netI get it, you, the audience, have bought a ticket for the punches and perhaps the punchlines… But do we not deserve better? J. Don Birnam, Splash Report(Photo by Frank Masi / © Universal)How is the chemistry between Johnson and Statham?The back and forth banter between the two of them is hilariously written, and their deadpan delivery is incredible. Ashley Menzel, We Live EntertainmentHobbs Shaw is anchored by excellent comedic chemistry between Johnson and Statham, building on their dynamic from the previous film and ensuring laughs are in ample supply. Brent Hankins, The Lamplight ReviewJohnson and Statham do have great chemistry and comedically play off each other well. Robert Daniels, 812filmreviewsThe actors always feel like they’re trying to outdo each other. At times, that chemistry works well, but eventually it gets a little repetitive and numbing. Germain Lussier, io9Simultaneously the best and worst parts of the film are Hobbs and Shaw’s arguments… these scenes start to drag once they’ve been going on for over five minutes straight. Hoai-Tran Bui, SlashfilmIs Idris Elba a satisfying villain?Idris Elba as the evil Brixton Lorr is phenomenal. Ashley Menzel, We Live EntertainmentElba is truly savage throughout in a could’ve-been-Bond performance of action and brute force. Robert Daniels, 812filmreviewsElba allures through all that relentless cyborg glint, but he nonetheless feels like an unwelcome visitor from a different franchise. Richard Lawson, Vanity Fair(Photo by Daniel Smith / © Universal)Who really owns the movie?For all the hyper-male puffing, Hobbs Shaw is most memorable for the opportunities it gives to Vanessa Kirby. Donald Clarke, Irish TimesIt’s a pleasure to watch Kirby go from cigarette-addled Princess Margaret on The Crown to this commanding bit of action-heroing. Richard Lawson, Vanity FairI was particularly impressed with Kirby, who holds her own. Rachel Wagner, RachelReviews.netWhat I love about the character is that she doesn’t have to sit around and let the men fight for her… her fight scenes are amazing and prove her range as an actress. Ashley Menzel, We Live EntertainmentWhat s all this about cameos?Some of the film’s biggest laughs come courtesy of two scene-stealing cameos that we won’t spoil here. Brent Hankins, The Lamplight ReviewHas some great surprises for the audience with a few A+ cameos. Jason Guerrasio, Business InsiderThese cameos are a delight to stumble upon, and I would suggest you go in not knowing who you’ll see. It adds to the magic of the film. Ashley Menzel, We Live EntertainmentThe film gets weighed down by its self-indulgent excess and distracting cameos from the cast and crew’s best buddies. Hoai-Tran Bui, Slashfilm(Photo by © Universal)This is all that matters: How is the action?The action scenes are where Hobbs Shaw truly excels. Candice Frederick, The WrapThe action in the film is off the charts. Some scenes are sure to leave your jaw on the floor. Ashley Menzel, We Live EntertainmentBoasts a chase sequence — featuring a helicopter, a tow truck, and a group of souped-up hot rods — that’s absolutely bonkers. Brent Hankins, The Lamplight ReviewThe early action sequences are impressively choreographed but disappointingly limp, delivering none of the bombast that a Hobbs Shaw movie would promise. Hoai-Tran Bui, SlashfilmSomewhere around the midpoint of Hobbs Shaw, the action sequences become so elaborate that they start to weigh the movie down. Stephanie Zacharek, TimeIt’s only in the final third when the fight choreography gets a little too incoherent that you realize you don’t give a damn about anything that’s happening. Brian Tallerico, RogerEbert.comIs Hobbs Shaw too cartoonish even for a Fast Furious movie?Hobbs Shaw checks all the boxes for the rousing, over-the-top ludicrousness you’d expect… [but it] tests the limits of that absurdity. Brian Truitt, USA TodayFrom motorcycles that transform and cars that twist in the air, to jumping off buildings and slow-motion fistfights, the whole movie is a cartoon. Germain Lussier, io9It’s basically a cartoon, a machismo-laden thrill ride that borders on parody and is, at times, unspeakably dumb, but in the best possible way. Brent Hankins, The Lamplight ReviewIn Fast Furious, is there really such a thing as too much? James Mottram, Total Film(Photo by Daniel Smith / © Universal)What s really missing here?Without its own identity, without an interesting hook or resonant emotional through-line, most of the movie feels rather shallow — like it’s trying to impress us instead of engage us. Germain Lussier, io9One yearns for the old heart-to-hearts between Diesel and the late Paul Walker…Hobbs Shaw forgets to maintain the balance of insanity and heart that makes the series special. Brian Truitt, USA TodayBut who needs Oscars anyway, right?When compared to, say, the last five movies to win best picture, there’s a sense that [it’s] doing more to advance film literacy — while bludgeoning all other aspects of our intellect in the process. Peter Debruge, Variety[The Fast Furious movies are] made solely for entertainment purposes, and for the most part, they always deliver. Hobbs Shaw is no exception. Edward Douglas, The BeatFast Furious Presents: Hobbs Shaw opens in theaters August 2, 2019.
Another adaptation of Little Women? Louisa May Alcott’s classic novel has been made into a number of movies, and most of them have been highly regarded — by critics, fans, and awards organizations alike. Greta Gerwig’s new version, which just received a standing ovation at a guild screening, is no different. Well, it is apparently different in that it’s a unique take on the material, mostly for the better, according to the first wave of critics’ social reactions to the movie. Still, we can expect the usual Oscar-worthy performances and a generally enjoyable adaptation.Here’s what critics are saying about Little Women on social media:Have we gotten another great adaptation?It’s lovely. Hannah Woodhead, Little White LiesIt’s inventive and wonderful. Sean Fennessey, The RingerWonderful. A loving, meticulously-crafted adaptation that exceeded my expectations. Heartfelt, moving and a terrific showcase for its extremely talented cast and beloved source material. Kara Warner, People MagazineLittle Women is charming just like the novel/prior versions…Rousing score. Timely as ever. Hard not to cheer. Scott Feinberg, Hollywood ReporterSomeone, please, invent a word stronger than “masterpiece” so I can amply describe Greta Gerwig’s Little Women. More-than-a-masterpiece? Masterpiece 2.0? David Jenkins, Little White LiesIt rules. David Sims, The AtlanticDoes it elicit particularly personal reactions?Jo s lines in Little Women resonate with me completely differently now as a 33 year old single writer. Wanting to remain independent but wanting to be loved. Greta s take on the story made me connect with Jo in a way I never had. As a girl, I just thought she was crazy to reject Laurie. Amy Kaufman, Los Angeles TimesI ve seen Little Women twice now and it s one of my very favorite movies of the year. David Canfield, Entertainment WeeklyOne of the most pleasurable cinema experiences of my life. David Jenkins, Little White Lies(Photo by Sony Pictures)How is this one different from past adaptations?Greta Gerwig takes the straightforward story of Little Women and boldly scrambles it, starting two-thirds of the way through and retelling most of what you remember via flashbacks and cross-cutting. Call it Louisa May Alcott meets 21 Grams. Kyle Buchanan, New York TimesLittle Women has a very strong last third… and a modern interpretation of the novel that shines brightly. I liked her take on it even when it is hard to follow regarding flashbacks. Sasha Stone, Awards DailyWill fans of the book appreciate it?Greta Gerwig delivers a both passionately faithful and gorgeously original take. David Canfield, Entertainment WeeklyThere’s nothing to disparage and many reasons to be pleased with Little Women. Especially, I’m thinking, for those who know the book and have a profound affection for this 19th Century saga about choices, tough terms, romance, heartbreak, love, struggle and artistic aspiration. Jeffrey Wells, Hollywood ElsewhereHow is the ensemble cast?Each role [is] perfectly cast. Scott Feinberg, Hollywood ReporterSaoirse is a fierce Jo, Chalamet/Dern/Streep especially are great in support, and Florence Pugh is astonishing. David Canfield, Entertainment WeeklySaoirse Ronan and Florence Pugh are the standout performances. Gregory Ellwood, The PlaylistExcellent performances from Saoirse Ronan and Florence Pugh. Jeffrey Wells, Hollywood ElsewhereFlo Pugh and Streep are standouts. Sasha Stone, Awards DailyFor my money, the MVP in Little Women is Florence Pugh…She’s hilarious and winning as Amy, the character best served by Gerwig’s structural gambits. Kyle Buchanan, New York TimesFlorence gets a lot of great notes to play as Amy March and she plays each one pretty much perfectly. As we’re seeing over and over again, she has a screen presence and performing instincts that are pretty god damn incredible. Jordan Crucchiola, Vulture(Photo by Sony Pictures)What about the men?Timothee Chalamet is the best thing about Little Women. He lights up the screen in every scene he’s in. Jazz Tangcay, Awards DailyBest part of Greta Gerwig’s Little Women is the idea that Louis Garrel as a heartthrob will soon be implanted in mainstream American brains. As he should be. Ryan Lattanzio, IndieWireWhat about the contributions behind the camera?Greta Gerwig, writer/director of the new version of Little Women [got] a standing ovation. And it was well deserved! Pete Hammond, Deadline HollywoodFervent, top-notch direction by Greta Gerwig; superb lensing and set design. Jeffrey Wells, Hollywood ElsewhereAre there any problems?Little Women is charming if not a wee bit long…for such a pretty score it’s overscored? There are moments you just want to hear the girls banter but… nope. Gregory Ellwood, The PlaylistAt best, it’s a fresh approach that makes you rethink familiar material. But it can also make simple plot and character developments a bit harder to locate. Kyle Buchanan, New York TimesI have to say that it didn’t quite grab me as I’d hoped. Flashbacks, curious dream sequences, confusing here and there. Handsome and lusciously authentic, but feels in-and-outish. Jeffrey Wells, Hollywood Elsewhere(Photo by Sony Pictures)Is it an awards contender?Best Picture nominee… maybe? Gregory Ellwood, The PlaylsitThe last three Best Picture winners end happily and portrayed the world as ultimately hopeful. Greta Gerwig’s Little Women is the first movie of the year that does just that. So front runner? Sean Fennessey, The RingerWe’ll see as far as Oscars — nice to have an upbeat option. The 36-year-old actress turned auteur could become the first female two-time best director Oscar nominee. Scott Feinberg, Hollywood ReporterI’m not saying Jo March is Saoirse’s Oscar, but truly her only issue as an actress is that she’s so good makes her roles look so effortless and genuine and complete that she might fall into the Amy Adams camp of being so simply good it’s like Academy voters take her for granted. Jordan Crucchiola, VultureAn award-season cherry. Jeffrey Wells, Hollywood ElsewhereLittle Women is in theaters December 25.
亚博网站首页 (Photo by Image Comics)TV Release Date: TBDBased On: The Millarworld comic book by Mark Millar and artist Peter GrossEverything We Know So Far: As part of Netflix s ongoing relationship with Millar, this series will focus on a 12-year-old boy who just happens to be the Second Coming of Christ. The revelation forces him to grow up very quickly and deal with the fate of the world while also tackling common pre-teen problems. Luke Cage veteran Everardo Gout and brother Leopoldo Gout are the executive producers of the six-episode series. Production was to take place in late 2019 in Mexico, but was delayed. Nevertheless, Netflix has set up a page for the series on its website, which means it could be once of the first productions to begin after the pandemic.It’s Most Like: My So-Called Life crossed with Monty Python s Life of Brian.Chances It Will Be a Certified Fresh Hit: Considering Netflix recently cancelled the similarly-themed Messiah, we re not sure this series will ever make it to air. Also, considering Messiah struck out with a Rotten 44%, American Jesus may be one of the more likely misses in development.Dylan Dog(Photo by ©Freestyle Releasing/Courtesy Everett Collection)TV Release Date: TBDBased On: The paranormal investigator created by Tiziano Sclavi and a number of other writers and artists.Everything We Know So Far: First announced as part of publisher Sergio Bonelli Editore ambitious plans to bring its character to the small screen in 2019, the potential series received a boost when Aquaman director James Wan signed on as a producer this past October; although it is unclear when the 10-episode first season will be produced or where it will air.It’s Most Like: Kolchak: The Night Stalker with a hipper vibe.Chances It Will Be a Certified Fresh Hit: To be honest, we re not sure if Dylan Dog is distinctive enough to wow critics or potential viewers. The 2011 feature film, Dylan Dog: Dead of Night (pictured), earned a meager 7% on the Tomatometer. The comic is unquestionably cool, but much of that coolness can easily evaporate when converted to live-action settings.Read also: Comics On TV 2020: What’s Coming That We Can’t Wait ForPort of Earth