While serving as an emotional coda to The Infinity Saga, Spider-Man: Far From Home still offered a few glimpses into the Marvel Cinematic Universe following the events of Avengers: Endgame. In the new movie, the Avengers have gone to ground or to space, but the world is looking for a hero to rally around. That is the burden Peter Parker (Tom Holland) finds himself carrying throughout the film. But with the constant reminders that he is an Avenger while the rest of the team is unavailable, it may leave you wondering if they really left the defense of the planet to a lone 16-year-old boy.The post-credit stinger scene seems to offer a clue to what is really going on. And be warned: This next bit contains a big spoiler for Far From Home. We learn Nick Fury (Samuel L. Jackson) was Talos (Ben Mendelsohn), the shape-shifting Skrull from Captain Marvel, serving as Fury’s proxy throughout the adventure. The real Fury (Samuel L. Jackson), was stationed elsewhere – a space station and/or staging ground for a number of Skrull ships. The whole thing was a killer surprise and left us wondering what it means for Phase 4 of the MCU. So let’s take a look at a few ideas from the pages of Marvel Comics to see what all this could mean for Fury, his Skrull allies, and their plans in a world without Tony Stark.The Forging of S.W.O.R.D.(Photo by © Columbia / © Marvel Studios/ Courtesy Everett Collection)Early in Far From Home, Talos-as-Fury mentions he is without a team despite clearly having one when he co-opts Peter in Venice. The implication: Fury has not reclaimed or reformed S.H.I.E.L.D. For the moment, we’re going to assume Marvel’s Agents of S.H.I.E.L.D. occurs in an alternate timeline and the organization completely disintegrated after Captain America: The Winter Solider even if Coulson (Clark Gregg) and his team helped the Avengers find the Hydra base in Sokovia and aided Fury in securing the helicarrier seen in Avengers: Age of Ultron. But with them out of the picture, S.H.I.E.L.D. died away. Or, Talos was laying it on thick because Fury spent the time since Endgame building a new organization: S.W.O.R.D.Created by Joss Whedon and John Cassady in the pages of Astonishing X-Men, S.W.O.R.D – Sentient World Observation and Response Department – was introduced as a counterpart to S.H.I.E.L.D. and ran by Agent Abigail Brand. Its purpose, as the name suggests, was to face outward into space, detect threats, and deal with them before they made planetfall. The department operated from an orbiting space station known the Peak.With the Infinity Saga at an end, a complete replacement for S.H.I.E.L.D. within MCU films makes a certain amount of sense. And as Phase 4 is said to be more about intergalactic matters than heroes back home, a group with a space station and FTL-capable ships is exactly the sort of thing Fury would build to replace S.H.I.E.L.D. You can almost hear the conversation he had with Captain Marvel (Brie Larson) about the topic during Tony’s funeral. It may also explain why so many Avengers are off-world.And while it seems clear that the Skrulls are building some version of the Peak, S.W.O.R.D. may not be the group inhabiting it in the end.A Secret Invasion After All?(Photo by © Marvel Studios, © Walt Disney Studios Motion Pictures)We’ve talked about Secret Invasion before – the 2008 event miniseries in which a newly radicalized Skrull attack force infiltrated all levels of Marvel Comics primary Earth, taking key positions inside superhero teams, governments, and S.H.I.E.L.D. It looked like a good idea for Phase 4 s overarching story. But following the release of Captain Marvel – in which the Skrulls emerged as a sympathetic and persecuted species – we were prepared to set aside any thoughts of an MCU Secret Invasion. Captain Marvel allied with them and volunteered to help them find a new homeworld.But what if the “five years out of date” Fury has sided with a covert alien taskforce? Could they be looking to conquer Earth after all?Then again, considering the way Captain Marvel changed the antagonistic nature of the Skrulls, their infiltration of Earth may not necessarily be to conquer the planet. Perhaps the plan is to build the Peak, a S.W.O.R.D.-like organization, and, potentially, a new Avengers team led by Spider-Man to counterattack an invasion force they know is en route. In this situation, the most likely antagonistic candidate would be Kree Empire. Also, now that all the X-Men properties are back at Marvel Studios, it could be an attack of the Brood – an alien life form with more than a passing resemblance to 20th Century Fox’s Alien franchise, which Disney also now owns – or perhaps something like The Builders, an ancient species which directed evolution across the cosmos and various realities.Also, there is always the possibility Talos went rouge and, much like Quentin Beck s (Jake Gyllenhaal) illusions, convinced Fury of a phantom menace to further his own plans for an invasion and occupation of Earth. Twenty-odd years have passed since he proved to be a sympathetic alien attempting to locate his family. It is possible whatever he encountered out in the universe made him another power-mad warlord. The cosmos is full of them, after all.Perhaps Fury Is In A Secret War(Photo by © Marvel Studios, © Walt Disney Studios Motion Pictures)The Nick Fury of Marvel Comics is not above manipulating the superheroes to get a desired outcome on the geopolitical stage. This was the theme of 2004’s Secret War miniseries, in which Fury recruited Spider-Man, Captain America, Luke Cage, Black Widow, Wolverine, and Quake to covertly invade Latveria and prevent Prime Minister Lucia von Bardas from funding and training a team of minor super villains to carry out terrorist actions across the globe. The op is seemingly successful, but Fury alters the memories of his strike team to forget the whole affair. A year later, Von Bradas retaliates and Fury is forced to reveal to the heroes their part in his black bag mission. He steps down as director of S.H.I.E.L.D. and several members of the group – Cap , Spider-Man, and Luke Cage to name a few – end up founding a new Avengers team sometime later.Now, if Fury is conducting a secret war in the MCU, Latveria may not necessarily be his target – although anything is possible with Doctor Doom screenwriter Noah Hawley saying his plans for the film may yet fit into the MCU tapestry – but his insistence on giving Peter the EDITH glasses suggests he is covertly preparing Spider-Man for something very specific. And if that is the case, will we see him or his Skrull allies lead new characters like Shang-Chi, the Eternal Sersi, and returning characters like Doctor Strange (Benedict Cumberbatch) toward becoming the strikeforce of Fury s dreams?And if this is a way to assemble the New Avengers, it could also lead to Wolverine s MCU introduction without the X-Men. Logan had a life before he joined that team and who wouldn’t want to see him re-enact his debut tussle with the Hulk from The Incredible Hulk #181?But if all this effort is just to get the New Avengers, why all the skullduggery? Sure, Fury is accustomed to keeping people in the dark, but maybe there’s something larger at work. As it happens, Secret War set off a series of stories culminating in Avengers vs. X-Men, but we suspect the threat the MCU Fury is planning for will come from space.The Coming of Galactus(Photo by © Marvel )The Devourer of Worlds is one of our favorite possibilities for a new MCU big bad. We’ve been predicting his arrival since the moment Disney first announced plans to buy 20th Century Fox. His MCU debut, whether it happens in 2020 or 2030, is inevitable. But even if we don t see him on screen for another 10 years, he still serves as the sort of threat which ties all of these ideas together.Imagine, for a moment, that Captain Marvel and the Skrulls found a world to settle within a year or two of the events depicted in Captain Marvel. But after a decade or two of peace and prosperity on the planet, the herald of Galactus appeared to tell them their new home was scheduled to become dinner. Carol – and maybe even the herald – helped evacuate the planet, but they also realized Galactus s path would eventually lead to Earth.In the wake of Endgame, most of Earth’s heroes were too weary or grief-stricken to hear about the coming of Galactus. And even if they were hale and ready for battle, Talos and Carol would go to their friend Nick Fury first. Either way, he would advise developing assets to take on the ancient being in secret, preparing them for a day when they must combine their strengths and face the impossible. And if Peter is destined to be “the next Iron Man,” he will end up speaking for the people of Earth once Galactus arrives in Manhattan. Well, provided he clears his name before that time.Of course, it always possible Fury is putting together a new defense apparatus simply because he wants to. The Skrull involvement gives him a jump on large-scale orbiting space stations and a fleet of ships – two things still beyond the ability of Stark Enterprises and bad actors on Earth – and since he devised the Avengers Initiative in the first place, a superhero like Spider-Man would be part of his new design. But as we enter a long period without a Marvel Studios release – no new films until sometime next year – we’ll keep speculating on what Fury’s pact with the Skrulls means and how it will impact forthcoming films like The Eternals and Shang-Chi. Will a common enemy unite them sooner than anyone suspects?Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
The 46th annual Telluride Film Festival wrapped this Monday and for the first time in recent memory, a pair of stars prompted the typically celebrity-averse attendees to throw convention out the window. The quiet rustic town, nestled high up in the Colorado mountains, is so small that hiding behind a velvet rope is nearly impossible; since it s one of the most in-demand stops on the fall awards circuit, A-listers typically walk the street with little fanfare. This year, however, first-time attendee Adam Sandler and Telluride alum Adam Driver were the toast of the town. Both were mobbed by uncharacteristically star-struck festivalgoers, and both just smiled through the attention.Billy Madison and Kylo Ren may have caused a brief departure from the norm, but this year s program remained unchanged in one way audiences were treated to exceptional films from auteur filmmakers. Sandwiched between the Toronto International and Venice Film Festivals, the laid-back fest remains a coveted stop on the way to Oscar glory, with eight of the last 10 Best Picture winners screened in Telluride. From what we heard and saw on the ground there, coupled with our Venice Scorecard tracking reviews for films premiering at that festival, some of our Ridiculously Early Oscar Predictions are looking more likely, while other Oscar hopefuls left their chances high atop the mountains. With a shortened season, the frontrunners will have to come out of the gates strong if they plan to stay in contention, and we can already see early trends and storylines emerging. Here are our key takeaways from this year s Telluride Film Festival as we head into Toronto.A Tale of Two Adams: Sandler, Driver In the Best Actor Race(Photo by © A24)Adam Sandler and Adam Driver took Telluride by storm. Sandler, who made the trek for the first time with the Safdie brothers Uncut Gems, was rewarded with the best reviews he s earned since Punch Drunk Love. As we mentioned in our Telluride preview, Uncut Gems enjoyed a buzzy world premiere, with much interest in what Sandler and the Safdies could bring, following the directing duo s breakout hit Good Time. The film stars Sandler as a fast-talking celebrity jeweler and places the audience in a state of constant tension for 135 minutes – a staple of the Safdies directing style. Sandler chatted, joked, and mingled with the festivalgoers as critics heralded his equally charismatic and frantic performance as the best work of his career. Uncut Gems is still Fresh at 100% on the Tomatometer, and many are signaling that the SNL alum could make his second visit to the Golden Globes (his first was for Punch) and maybe further.Though Sandler was clearly living his best life in Telluride, perhaps no one had a better weekend than Adam Driver. In addition to screening his two awards contenders, The Report and Marriage Story, the Star Wars star was also honored with a tribute handed to him by none other than Martin Scorsese. Scorsese, who directed Driver in Silence, proclaimed him to be the greatest actor of his generation, and the praise for Driver did not stop there. He garnered positive reviews for both of his films, though Netflix s Marriage Story, from Noah Baumbach, is clearly the stronger play for him to earn a Best Actor Oscar nomination at this point. Following his first nomination last year for BlacKkKlansman, the marine-turned-thespian is launching right back into the season with the full weight of the Netflix awards team behind him. Given the fact that he will also be right in heart of the Star Wars: The Rise of Skywalker press tour during the height of the awards season, Adam Driver will be the name on everyone’s (and every voter’s) lips.International Cannes Favorites Continue to Wow Critics(Photo by Dominique Charriau/WireImage)After their glamorous premieres on the French Riviera at the Cannes Film Festival, Bong Joon-ho’s Parasite and Céline Sciamma s Portrait of a Lady on Fire continued to wow critics at Telluride.Back at Cannes, Justin Chang of the Los Angeles Times compared Parasite to Jordan Peele’s Us: An escalating freak show of tension, surprise and class rage, Parasite would make a terrific double bill with Us, which it matches and perhaps even surpasses in impact. Also in May, Stephanie Zacharek was equally favorable to Portrait of a lady on Fire, calling it a great example of how a well-told story, with vivid characters, can seep right into your bones and keep you thinking for days afterward and the pleasure felt while watching it isn t negligible either. The overwhelmingly positive receptions out of Cannes came as no surprise to most, but the frenzied quests to see the films at Telluride were slightly unexpected. As word grew of the dual masterworks, screenings were reportedly turning people away. The last showing of Parasite turned away over 600, an astonishing number for the intimate festival. Bong, who many think will pull a Best Directing and possibly a Best Picture Oscar nomination for Parasite (a rare feat for an international film), appears to be very much undaunted by all the hype. When we chatted with him at Telluride, he was most interested in the other films on the slate, adding modestly, “I am just happy people like it. Like is a gross understatement for either film, both of which will have sizable awards campaigns, so don’t be surprised if they show up in the newly dubbed Best International Film category in 2020.Ford v. Ferrari Revs into the Oscar Voters ViewFord vs. Ferrari is the quintessential Hollywood Oscar movie. A true-life period-piece? Check. An A-list cast of Oscar winners/nominees? Check. A prestige director? Check. Aimed at older Oscar voters? Checkmate! With Ford v. Ferrari, director James Mangold and stars Matt Damon and Christian Bale look to repeat the same formula that spelled success for Clint Eastwood and Bradley Cooper in 2014 with American Sniper. The story of how the Ford motor company s Carroll Shelby (Damon) and Ken Miles (Bale) battled corporate interference, the laws of physics, and each other to topple racing Goliath Ferrari at the 24 Hours of Le Mans is very much on-brand for Oscar voters. It s this year s Moneyball with race cars, and Tomris Laffly of RogerEbert.com raved that it s a 60s-set adrenaline rusher with top-shelf technical craftsmanship. This one will look to pull accolades for those in front of and behind the camera.The Comeback Kid Preps for a Cinderella Story(Photo by JEAN-BAPTISTE LACROIX/AFP/Getty Images)Not to be outdone by Adams Driver and Sandler, Renée Zellweger also made a memorable trip to Telluride with Judy, whose positive reception confirmed our very own Bridget Jones has indeed returned. Zellweger is unrecognizable as the tragic starlet Judy Garland, and the performance (including the singing and dancing) is uncanny. As Gary Oldman did in Darkest Hour, Zellweger fades away, and you only see Judy, a part many are saying the Texas native was born to play. Erik Anderson of AwardsWatch said of Zellweger, [She] knows a bit about being chewed up and spit out by the Hollywood machine and the gaggle of media that want to focus on every flaw, every alleged surgery or unsuccessful marriage. It s part of what makes her the perfect choice to play Garland. After a string of sometimes downright nasty media coverage over the last few years, we are thrilled that Zellweger has reemerged better than ever in this second act of her storied career with two very different projects. Earlier this year she played a Gordon Gecko-styled femme fatale in Netflix’s What/If, and this week at Telluride we saw her inspired take on one of the world’s most beloved singer-actresses. Perhaps there’s really no need to call it comeback, but we re happy about it nevertheless.And the Oscar Goes to Netflix (Maybe)(Photo by © Netflix)Moments after Roma screened at Telluride in 2018, anyone who had the privilege to see it instantly understood why Netflix bristled at anyone discounting its cinematic brilliance. The hands-down favorite to win Best Picture on Oscar night, Alfonso Cuarón s semi-autobiographical retelling of his adolescence ultimately lost to Green Book, and many saw the decision as a rejection of the streaming giant Netflix, as opposed to a victory for the Peter Farrelly dramedy. The same scenario is taking shape for several Netflix films in 2020, as Marriage Story, The Two Popes, The King, Dolemite is My Name, and Martin Scorsese’s The Irishman are all poised to make deep runs this season. The question is, will it be enough for any of them to take home the top prize? The Academy rejected a rumored plan that would require a four-week streaming window for Oscar eligibility, but even campaigning from Martin Scorsese himself could persuade theater distributors AMC, Regal, and Cinemark to compromise and screen his film at their theaters. Regardless of where you land on the streaming debate, the final word may be given on Oscar night, and we can’t wait to watch.Awards Season Forecast Clears Up (And Waves makes a splash)(Photo by © A24)Prior to festival season, most awards predictions are about as scientific as tossing darts at a list of names; few films in the conversation have even screened before Telluride or Venice. Post-Telluride, however, the landscape pulls into focus. There’s always that one film no one saw coming, like Moonlight, or a film that surpasses all expectations, like Lady Bird, and more often than not, these films premiere at the Colorado festival. (It’s worth noting Lady Bird and Moonlight shot into the awards conversation due in large part to their rapturous Telluride debuts.) This year’s discovery is undoubtedly Waves by Trey Edward Shults, the seemingly fearless filmmaker behind horror movie It Comes At Night whose unconventional stories are wholly unique. Sheri Linden of The Hollywood Reporter proclaimed Waves as further evidence that Shults, at 30, is one of the most versatile and gifted young filmmakers working today. Little was known about the plot or premise of Shults sophomore effort, but following the premiere (for all those who seek to watch it, we advise going in blind), there was no shortage of praise for stars Sterling K. Brown, Kelvin Harrison Jr., and newcomer Taylor Russell. Waves is a dark horse contender for end-of-year awards, but still very much in the race.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
(Photo by © Warner Bros. )Do you like your Harry Potter films light and frothy – like the early years? Or do you prefer your Wizarding World all broody and dark – like the later years? Perhaps your Potterverse sweet spot is in the middle films, like Goblet of Fire, which expertly blend both, capturing Harry, Hermione, and Ron at a time when they’re still innocent enough to be awed by the magic around them, and when He Who Must Not Be Named is moving from lingering threat to fully formed strange-nosed wand-swinger.Whichever way you lean Potter-wise, you’re likely to have some strong thoughts about our ranking of the Harry Potter films.Our list orders the movies by their Tomatometer score, which reflects the percentage of critics that gave the films a thumbs up. Not surprisingly, all eight Harry Potter movies score very well according to the Tomatometer, with each earning a Certified Fresh score of 77% or above. (It is the Ravenclaw of movie franchises.) Final film Harry Potter and the Deathly Hallows – Part 2 comes in at number one with a whopping 96%, with fan fave Prisoner of Azkaban close behind on 90%; in last place is Deathly Hallows – Part 1, which suffered – according to critics – from an inevitable feeling of being unfinished.In the latest episode of our new podcast, Rotten Tomatoes Is Wrong (A Podcast from Rotten Tomatoes), we’re going big. Like, troll-rampaging-in-a-boarding-school-bathroom big…. Or giant-spider-getting-freaky-in-the-woods big. For the first time, we’re tackling not just one or two films, but an entire series, asking whether our ranking of each movie in the Harry Potter franchise passes the sniff test with lovers of the series. Joining hosts Jacqueline Coley and Mark Ellis for this Triwizard Tournament-level task is Syfy and Syfy Wire’s Jackie Jennings, host of the “Who Won the Week” podcast and Potter-head who definitely thinks we’re wrong on this one. Will you agree?Listen Now: Spotify | Apple Podcasts | Stitcher | TuneIn | Google Podcasts | Radio Public | Deezer | iHeart | Art19Check in every Thursday for a new episode of Rotten Tomatoes Is Wrong (A Podcast From Rotten Tomatoes). Each week, hosts Jacqueline and Mark and guests go deep and settle the score on some of the most beloved – and despised – movies and TV shows ever made, directly taking on the statement we hear from so many fans: “Rotten Tomatoes is wrong.”Episode one: Rotten Tomatoes Is Wrong About Spider-Man 3Episode two: Rotten Tomatoes Is Wrong About Mortal KombatEpisode three: Rotten Tomatoes Is Wrong About Indiana Jones and the Kingdom of the Crystal SkullEpisode four: Rotten Tomatoes Is Wrong About Sister Act 2: Back In the HabitEpisode five: Rotten Tomatoes Is Wrong About The BeachEpisode six: Rotten Tomatoes Is Wrong About Hocus PocusEpisode seven: Rotten Tomatoes Is Wrong About Vampire In BrooklynEpisode eight: Rotten Tomatoes Is Wrong About VenomEpisode nine: Rotten Tomatoes Is Wrong About Ace Ventura: Pet Detective / When Nature CallsIf 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 firstname.lastname@example.org.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.
10. The Finale in Session 9 (2001) 64%A condemned asylum. Inside: clattering chains, disturbed wheelchairs, and crumbling wards. A group of people enter to clean up the place, some who harbor dark histories. Sound like a set up for classic dark and stormy Gothic tale? Not so with Session 9. What kind of clean up crew would work at night? Come on, this is a horror movie: Logic is king here. A slow atmospheric burn with minimal gore until its final minutes, but even when things go to hell, the blood is bathed in New England sun.9. Freddy s Coming For You in A Nightmare on Elm Street (1984) 95%Time for a victory lap: Hop into the convertible on this bright school morning having vanquished the tormentor of fatal dreams, turn around and wave goodbye to your mom standing on the porch. Suddenly, the top slams down and the car peels down the street, as mama is sucked through the front door window. The nightmare has only just begun. The original Friday the 13th s Jason Voorhees made the last-second jump scare a mandatory inclusion for 80s slashers and beyond. Freddy Krueger may have perfected it.8. Michael Myers Stalking in Halloween (1978) 96%John Carpenter s classic did a lot of things right. Gave us a classic creepy synth score. Destroyed suburbia s manicured image as a stronghold of safety and comfort. And it rolled out the red carpet to let masked killer Michael Myers to wander and stalk his prey in broad daylight. The shot of Myers staring up at you from among the billowing laundry sheets hung to dry in the yard remains an iconic and violating image.7. The Day After in The Hills Have Eyes (2006) 52%The Carter family is subjected to a litany of brutal terror over the course of 24 hours. During the initial day, they re led off-road and their car gets mangled in the desert. The family separates in search for help. A dog gets gutted. The gas station attendant commits suicide. And always mutants are watching them from afar in the brush and rocks, leading to a long night of crucifixions, immolation, rape, murder, and baby-snatching. And then the next day, the cannibals feast on sun-cooked flesh. It s a torturous chain of events that transforms the remaining Carters into out-for-blood hunters in a highly questionable, deeply satisfying revenge ending.6. Randy s Death in Scream 2 (1997) 81%You knew director Wes Craven wasn t fooling around when he killed off know-it-all cinebuff Randy, portrayed by Jamie Kennedy as someone as smart and cynical as the audience. How could he have fallen for the afternoon masked killer in the local news van with noisy nearby breakdancers? Oldest trick in the book! But it s also series most shocking homicide outside of Drew Barrymore s, the one that tells the oh-so-smart audience that no one was truly safe. The Arquettes, Courteney and David as Gale and Dewey, frantically search for the killer in the college square by accosting students with their new-fangled mobile phones, presenting on screen when awful taunting calls escaped the constraints of landlines and curly cords, and into a new world of free-roaming terror.5. The Ceremony in The Wicker Man (1973) 88%Midsommar owes a blood debt to this provincial classic: the unsettling tale of an uptight Christian cop investigating a young girl s disappearance on an island of decadent mystic pagans has thematic and visual parallels to Aster s film. Likewise, nearly the entire movie is set during the day among verdant nature and maypole celebrations and foreshadowing musical rhymes that seem to follow the officer everywhere he goes. It s far too late when he realizes the true nature of his work, leading to a fiery climax in the friscalating dusk light.4. The Premonition in Final Destination 2 (2003) 48%Some of the best horror wedges its way into the normal, degrading the routine and humdrum into a morass of paranoia and fear. Final Destination 2 does that with the daily morning commute, because what could be more humdrum than getting in our 1,000 lb. metal husks every day, navigating them manually down the road as cars careen towards us in the opposite direction separated only by capriciously painted lines on the ground? Suddenly, something as innocent as a flatbed of loose tree logs becomes a rolling thunder revue of broken windshield, splattered heads, and Michael Bay–style auto explosions.3. The Opening Chase in 28 Weeks Later (2007) 71%28 Days Later s famous opening features calm shots of the hero wandering an empty London metropolis depopulated by zombies moments we would consider eerie, almost beautiful, but not scary. 28 Weeks Later takes the opposite approach. It s set in the countryside, as a band of infected descend upon defenseless survivors. The camera is in your face, the footage choppy and frantically (but not confusingly) edited, save for a gliding crane shot as our new hero flees across the field and towards a waiting river boat. The fact that he just abandoned his wife to the zombies moments earlier contribute to the gut-punching bleakness of the situation. Now that we consider scary.2. Leatherface Appears in The Texas Chain Saw Massacre (1974) 89%Like a rusty chainsaw, Tobe Hooper s horror masterpiece takes a moment to rev up. But once it gets going, the movie is relentless, grinding down the viewer s endurance up until the famous ending of Leatherface cutting the rising sun light in boiling anger. It s a great final appearance, but his first introduction is even better. Hapless travelers, in search of gas for their thirsty boogie van, approach a piquant homestead, oblivious that its inhabitants are cannibal freaks who have no qualms doing their dirty deeds in daylight. Leatherface suddenly appears from out of a hallway, smashes his victim s head in with a hammer as the body crumples and twitches on the ground, and then slides the slaughterhouse door shut. Looks like meat s back on the menu, boys!1. The Beach Attack in Jaws (1975) 98%The scene that made a generation of filmgoers terrified of open water. It s immaculately crafted pop horror and it still works today. Steven Spielberg uses a collage of beach crowd noise and throngs of people innocently rising to disorient the viewer, telling us to be just as alert as Roy Scheider s police chief. Spielberg famously had to use every filmmaking tool he knew to overcome critical obstacles like a malfunctioning shark, and here heightens and stylizes reality as Jaws approaches the beach. A split diopter lens shot puts an obtrusive face and a possibly drowning distant swimmer in equal focus. A dog is discovered missing. We get that terrifying first-person viewpoint as Jaws picks his victim, and the incessant John Williams theme building on the soundtrack. Then a dolly zoom as terror dawns on Schieider s face. A geyser of blood erupts out in the ocean as pure pandemonium breaks out, and a frantic mother loses her son. It s a powerful scene in how powerless it makes a man of law feel against a force of nature.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
SEASON 2 DELIVERS SOME WELCOME CHARACTER DEVELOPMENTUrban’s Butcher, so single-minded and reductive in season one, finally gets to start digging into some ambiguities with his grizzled antihero, teasing out the guy’s darker side while finding ways to reveal some weaknesses. — Alex McLevy, The AV ClubJack Quaid and Erin Moriarty are the heart of the show as Hughie Campbell and Annie January (aka Starlight), two characters yet to have their moral compasses bashed entirely out of alignment. That said, both have been forced to evolve in order to survive their toxic surroundings, pushing them in interesting new directions. — David Craig, Radio TimesKripke expands The Female s story with some new elements that we won t go into too much detail on here for fear of spoilers. But Fukuhara s emotive expressions and body language effectively communicate the nuanced emotions she s feeling throughout. Her friendship with Frenchie continues to develop and is one of the more tender-hearted relationships in this otherwise-cynical take on superheroes. — David Griffith, IGNBut Homelander (Antony Starr) has more important things on his sociopathic mind. Now that he knows he has a son, he can’t wait to provide the kid with the father figure he never had, and his simmering, unpredictable bouts of ultra-violence have never been so pronounced when faced with his own failures in the family department. — Jon Negroni, The SpoolTHE PRODUCTION VALUE AND SPECIAL EFFECTS GET AN EPIC UPGRADEThe action scenes are tight, smart, and surprising, there are delightful moments of dialogue that deliver both character, humor, and heart, and there are world details so skillfully embedded into the backgrounds of certain scenes that they almost at times serve as spoilers. — Liz Shannon-Miller, ColliderWith so much hype surrounding this second batch of episodes, we re sure you ll be glad to know that it doesn t just live up to what came before, but exceeds it with a bigger, crazier, and more violent season. — Josh Wilding, ComicBookMovie.comAYA CASH INJECTS EXCITEMENT AND DANGER AS SUPERHERO NEWCOMER STORMFRONTAya Cash s Stormfront has all of the edgy humour and some of the best jokes of the season. — Brian Lloyd, entertainment.ieSeason 2 introduces a new member of The Seven named Stormfront (Aya Cash), a social-media savvy supe who pokes fun at the stiff and overly-produced nature of her colleagues and infuriates Homelander with the way she so easily pulls the spotlight away from him. — Hannah Lodge, Screen RexShe s the livewire that creates chaos wherever she goes, and that chaos is a big reason why the season works so well as a whole. Trust me, you ll hate her plenty by season s end, and I couldn t envision the season working so well without her. — Matthew Aguilar, Comic BookFINAL THOUGHTS?With a higher budget, they’ve polished the special effects that were glossed over in the first season, the romance between some of the characters has improved strongly, and the villains are still, well, super. Here’s hoping The Boys really will return in Season 3. — Jon Negroni, The SpoolIf the rest of Season 2 stays on the same path as the first three episodes, it s going to prove the perfect commentary for the tense times in which we live. — Michael Rougeau, GameSpotRude, crude and ultra-violent; The Boys are back with another hugely diabolical but enjoyable outing! — Nicola Austin, We Have a Hulk 这么说也并不是大户没有实力，毕竟提前大师外加200分，已经超越灵药了。所以说大户已经是LOL手游的国服第一王者了，有意思的是，大户是一位辅助玩家。可能很多网友觉得，第一王者可能是打野或者是中单，万万没想到竟然是辅助。
Perfection – it s not just a fictional town in Nevada. It s also a film called Tremors, which is set in that fictional Nevada town (pop. 14, fluctuating) and was released 30 years ago this weekend. Hang on, Val, let s not go off half-cocked, you cry (because in this scenario, you are dumb, skeptical Nestor, doomed to be sucked into a burrowing earth-monster s mouth, while I, of course, am the reluctantly valiant Val). Are you really saying that this unassuming, low-budget 1990 B-movie-pastiche flop starring an actor so ubiquitous there s a game about it, the dad from Family Ties, a country singer-turned-actress, the little girl from Jurassic Park, the Asian guy from 3 Ninjas, and Fred Ward, is actually perfect? Why, yes, I am.Tremors, starring Kevin Bacon, Michael Gross, Reba McEntire, Ariana Richards, Victor Wong, and Fred Ward, is the feature directorial debut of Ron Underwood, who would go on to hit massively with City Slickers and miss even more massively with The Adventures of Pluto Nash. Tremors is neither of those extremes: a perceived disappointment on release, it turned a m profit on an m budget but really found its groove on home video formats and TV syndication. So, like many others, my own lifelong love affair with this modest masterpiece did not begin with a trip to the theater. To this day, not one of my 60-odd viewings of this ridiculously rewatchable horror-comedy has ever been on the big screen.No, I first saw Tremors as God intended: on a dodgy VHS recorded off the TV and missing the first 40 seconds. We only upgraded to a store-bought video – and discovered that gorgeous, foreshadowing opening wide shot of Kevin Bacon s Val peeing off the very cliff where the film will end, doubtless an homage to John Ford s The Searchers – when that homemade copy grew snowy with overuse and threatened to gum up the VCR. My point here is that you can look back on the film s lackluster 1990 reception and speculate that it somehow wasn t made for instant-gratification contemporary mass consumption. Instead, destined to become more beloved by the chosen few who privately discovered it, Tremors was, despite its tone of breezy disposability, built to last.(Photo by MCA/Universal Pictures)The sturdiness of its construction begins with the screenplay. Writers Brent Maddock and S.S. Wilson, flirting with fame after the success of Short Circuit, and years before they d flirt with notoriety by writing Wild Wild West (fun fact: Wild Wild West had a screenplay!) worked and reworked a concept that Wilson had jotted down years before while on a desert hike: What if there was something under the ground that meant I couldn t get off this rock? That slim idea eventually blossomed into an archetypally classic screenplay seriously, budding screenwriters could save a few hundred bucks by spending the weekend of their Robert McKee seminar just watching this movie repeatedly instead. All the rules are pristinely observed: the gradual escalation of stakes; the way character dictates destiny; and a climax in which the salvation of the community (the remaining townsfolk gathered on that residual boulder ) and the solution of the hero s previously established central flaw (Val s inability to plan ahead) pivot around the same piece of action (the outwitting of Ol Stumpy, the final Graboid).No two of the four monsters are ever killed in the same manner – they are, variously, knocked out, shot to pieces, blown up with bombs, and finally, bested by gravity and their own imperfect evolutionary design ( Can you fly, you sucker? ). Acts of heroism and moments of ingenuity are shared liberally among the whole cast of oddball misfits Miguel s idea for the tractor decoy, Rhonda s pole-vaulting escape plan, Heather s precision shooting at the tentacle gripping her husband s leg, Earl s going fishing notion, the sheer overwhelming firepower represented by Burt s basement ( Broke into the wrong goddamn rec room, didn t you, you bastard! ). And everything, from Val and Earl s frequent games of rock-paper-scissors to the constant yin-yang of their cigarette bit (one will have the pack and the other will have the lighter) and Val s opening jibe about Earl s stampede story, gets picked up on later. This is a film that refers back to itself in an endless enclosed loop, and that s what I mean when I say perfection: Tremors is a complete system, a complete microcosmic universe, unto itself.(Photo by MCA/Universal Pictures)So the plotting, with its steady rhythms of snarky dialogue, spooky phenomena, slimy sight gags, and cheesy jump scares, is almost schematic. But it s so skillfully fleshed out by an unusually characterful cast that we don t notice the mechanics at work across its economical 96 minutes. Even minor players – many of them destined for grisly deaths – are unusually dimensional. We only ever see him dead from dehydration, clinging to a telephone pole and clutching his trusty Winchester, but that damned old boozehound Edgar Deems (Sunshine Parker) has a whole offscreen history behind his sorry ass. Ditto Old Fred (Michael Dan Wagner), the sheepfarmer whose terrified dead face provides the film s best scare. The doctor (Conrad Bachman) and his wife (Bibi Besch) are given a lovely moment of long-married-couple sparring before being offed in the movie s most affecting sequence. Even the two doomed construction workers drilling on the road to Bixby get a little moment of bumbling, Abbott-and-Costello action before winding up little more than a splodge of brain matter inside a hard hat.The town s residents are better drawn still, up to and including the adorable natural chemistry that exists between Bacon s Val and Fred Ward s Earl. Yet they share a curious feature that contributes to the film s endless rewatchability: they exist sharply in the present moment, but their lives are never actually explained. Really, the whole town of Perfection is inexplicable: where does Melvin (Bobby Jacoby), one of cinema s greatest annoying-s thead teenagers, come from? Where are his parents? How does he live? What did Burt do before moving here that gave him the financial wherewithal to build his desert fortress? Where does visiting student Rhonda pleistocene alluvials LeBeck (Finn Carter) actually live? How did Walter Chang (Victor Wong) end up owning the town s sole amenity? (Side note: if you want to read about a storied life, just look into artist and actor Wong s bio, which includes palling around with Langston Hughes and Lawrence Ferlinghetti and inspiring a character in Jack Kerouac s Big Sur).(Photo by MCA/Universal Pictures)And of course, how did Val and Earl, among the most bromantic buddy pairings the medium has ever conjured up, come to occupy adjacent trailers in a two-horse town that s little more than a wide spot in the dusty road to Bixby? How did they stumble into their pre-gig-economy jobs as hired hands/handymen? How did they meet and formulate their borderline Beckettian double act (just call them Valdimir and Earlstragon)? As with the Graboids, you can have theories on where everyone comes from, but the hows and whys are just not that important. In fact, it may be crucial to the film s delicious longevity that those issues remain undefined: while some are addressed in the film s four DTV sequels, its prequel, and its two TV show incarnations (the latter of which happened as recently as 2018 but never got beyond the pilot), those explanations always spoil the perfectly calibrated balance between goofy, gory, and good-natured that only the original Tremors ever achieved.Cliffs to the north, mountains to the east and west, and the only road out of town is blocked Perfection exists in total geographic isolation. And Tremors, the movie, exists in a kind of temporal isolation, in which its multiple time frames combine to take it out of time altogether. This is a never-never land comprised of the throwback 1950s monster flicks it so affectionately parodies, the frontier westerns that its spectacular photography evokes (as well as the characterization of Val and Earl as anachronistic cowboys stranded in modern times), and the easing global tensions and general optimism of the glasnost era in which it was made. It s a perfect bubble of contradictions that exists outside of real-world circumstance, politics, or anything as faddish as relevance. And yet that makes Tremors a curiously vital place to visit once in a while, especially in more divisive moments. It s a cheesy, schlocky, irreverent entertainment that is also a timeless reminder of an America that both never and always existed, in which human qualities of decency, community and ingenuity always outweigh ideological differences, and all that s really needed to defeat the beasts beneath our feet is gumption, good-heartedness, and a few household chemicals in the proper proportion.(Photo by MCA/Universal Pictures)Tremors was released on January 19, 1990.