(Photo by ©Marvel Studios)The numbers look good for Shang-Chi and the Legend of the Ten Rings, which pulled in a record-breaking million across the four-day weekend. They look even better for theaters and the industry. The only people probably looking at the numbers with some grief are the folks at Paramount, which recently pushed both Jackass Forever and Top Gun: Maverick off this year’s schedule into 2022. That could still turn out to be a good idea and ultimately be looked back upon as just a slight delay for some bigger grosses, assuming the pandemic numbers head in the right direction again. But as the box office numbers have been showing for the past month now, people are still going to the movies – especially when there are no streaming options. But even more important for the industry is the extrapolation of these numbers, which are starting to feel more like pre-2020 instead of 2021. And not to bury the lede, but the box office just had its biggest Labor Day weekend ever. Not bad.King of the Crop: Shang-Chi Breaks Multiple Records, But Can It Be the first 2021 Movie to Hit 0 Million?Only four other times in history has the four-day Labor Day holiday grossed over 0 million, led by the likes of Rob Zombie’s Halloween, Lee Daniels’ The Butler, Guardians of the Galaxy, and The Possession (two of those movies did not even debut in that weekend). The films in this Labor Day weekend s top 10 grossed over 1 million, besting the 4 million over the 2007 holiday which was led by Zombie s Halloween.Last week when we measured the success of Candyman, it was the Thursday-preview numbers that served as our guide. This week, we note that Shang-Chi had the second-best preview numbers during the pandemic, with .8 million. That is more than F9’s .1 million and less than Black Widow’s .2 million, which we should remember was made before the film hit Premier Access on Disney+ on Friday. Shang-Chi had no Premier Access on Friday, nor Saturday, Sunday, Monday, nor going forward.The seven past live-action PG-13 films which have grossed between .3 million and .3 million in Thursday previews include 2014’s Godzilla, Fantastic Beasts and Where To Find Them, Fantastic Beasts: The Crimes of Grindelwald, Transformers: Age of Extinction, The Hobbit: The Desolation of Smaug, and The Amazing Spider-Man 2. They averaged a three-day opening weekend of .5 million, with the second Fantastic Beasts film posting the weakest eventual three-day haul with .1 million. Shang-Chi and the Legend of the Ten Rings posted an estimate of .5 million over just the three days. That may be slightly below the average of those other films, which all had more recognizable name brands than Shang-Chi, but it is also the biggest Labor Day opening ever, the second-best opening of the pandemic, and the third-best September weekend ever behind both of the It films.(Photo by ©Marvel Studios)Those are also the only films to ever open in September and gross over 0 million. That is a number the box office has yet to crack since Bad Boys for Life did it before shutdown in 2020. Black Widow opened to million and could not do it – but it was also available for a price at home. F9 opened to million and came up shy of 5 million, despite being a theatrical exclusive. Only five films have ever grossed million or more in their first five days and failed to gross 0 million: Fifty Shades of Grey, X-Men Origins: Wolverine, The Simpsons Movie, and The Day After Tomorrow are four of them; the fifth is this summer’s Black Widow (i.e. pandemic + home availability = some will avoid the risk).Shang-Chi has very little competition over the next few weeks before Venom: Let There Be Carnage releases in its new just-announced date – Sony was clearly encouraged by this weekend s numbers – and No Time To Die comes out. Add Monday’s holiday to the total and Shang-Chi is estimated to have a gross around million over the four days, very much in line with the pre-pandemic average based on its Thursday numbers. What a difference a day makes! If we can begin to measure some metrics by films just being a day or so off their pre-2019 theatrical exclusive wavelengths, we may be making some progress. Especially if we can all just stay safe out there.The Top Ten And Beyond: Candyman Holds Strong As Free Guy Sets Sights on Passing Jungle Cruise(Photo by 20th Century Studios)Shang-Chi could not deliver the best Labor Day weekend ever all by itself. The continuing success of Free Guy can not be overlooked as it made another .9 million over the weekend and .4 million total over the holiday, bringing its total to .5 million in 25 days. That is over half a million more than what Jungle Cruise had in 26 days (.97 million). Cruise, which has been available on Disney+’s Premier Access, still has a strong presence in the top 5 in its sixth weekend of release and has driven its theatrical total to 6.7 million. Free Guy, without any streaming options until the end of the month, is now likely to surpass Jungle’s numbers and possibly get as high as 0 million. Free Guy’s three-day weekend also ranks 16th all-time amongst fourth weekends for August releases – higher than Rise of the Planet of the Apes, Straight Outta Compton, Rush Hour 3, and Lee Daniels The Butler. It has made 9 million worldwide to date. Jungle Cruise is at 9 million.Candyman contributed even more money to the pot this weekend, making .4 million for a 53% drop from last weekend – better than The Conjuring: The Devil Made Me Do It’s 57% fall from a .1 million start and Old’s 59.3% fall from .8 million. With an increase to .3 million through the holiday, Candyman’s .7 million in 11 days is less than a million behind the pace of HBO Max’s The Suicide Squad, which made .6 million in 10 days. Remember that James Gunn’s day-and-date streaming film fell 71.5% down to .4 million in its second weekend. Candyman is now poised to surpass that film’s total and settle in with around million- million.Paw Patrol: The Movie, which Paramount sacrificed into theaters so Clifford the Big Red Dog could live on someday, grossed .1 million this weekend and an estimated .3 million over the holiday. No family film released in the second half of August has ever grossed million, let alone one streaming at the same time. Paw Patrol finds itself with .5 million after 17 days, which is better than The Angry Birds Movie 2 was doing in the same period in 2019 with a .94 million third weekend and .79 million. It went on to gross .66 million. Expect Paw Patrol to end up in that vicinity – lower than most family films gone hybrid this year, but potentially still higher than Sony’s Peter Rabbit 2, which was exclusive to theaters.On The Vine: James Wan s Original Horror Film, Malignant, a Venice Favorite, and MoreJames Wan’s Malignant may be the closest thing to challenge Shang-Chi’s number 1 slot (but that is still further away than Jim Carrey’s shot at Lauren Holly in Dumb and Dumber). The horror film will also be streaming on HBO Max starting Friday. In more exclusive news, STXFilms is putting the Kristen Bell and Kirby Howell-Baptiste crime comedy, Queenpins, into select Cinemark theaters, just their second during the pandemic after this February’s The Mauritanian. Then Focus will be releasing Paul Schrader’s The Card Counter, which debuted to great critical acclaim at the Venice Film Festival this past week. It currently stands at 97% on the Tomatometer.Full List of Box Office Results: September 3-6, 2021万博体育在线北京时间10月27日，想必对各位英雄联盟的爱好者来说，必定会是一件非常值得纪念的日子。因为各位玩家期盼许久的英雄联盟手游，终于要在这一天正式上线，各位玩家将会体验到不一样的游戏乐趣，一种完全不同于端游的游戏风格。除此之外，英雄联盟手游最让玩家期待的一点，在于它能够随时随地的和好友开黑，再也不用自己一个人孤零
4. 呼朋唤友 随心所欲
1. BAD BOYS 4 AND NATIONAL TREASURE 3 NOW IN DEVELOPMENT(Photo by Columbia Pictures)It is really quite surprising exactly how often major film trade publications bury the lede when reporting on film developments (or, at least, lump two big stories together when they could ve easily just published them individually). Let s start with a little bit of history. At one point, Sony Pictures had two Bad Boys sequels on their release schedule: Bad Boys III for 2/17/2017, and Bad Boys IV for July 3, 2019 (so yes, we would ve already had a 4th movie six months before the actual third movie was released this week.) This week s Bad Boys for Life currently sports a Fresh Tomatometer with a score of 74%, which is higher than the combined scores of Bad Boys (42%) and Bad Boys II (23%), and it also broke a record with its Thursday night opening box office. All of that put together might be why Sony Pictures has hired Bad Boys for Life co-writer Chris Bremner to star work on a fourth Bad Boys. As for that buried lede, the very last paragraph of that story also reveals that Bremner is currently writing National Treasure 3 for Walt Disney Pictures, presumably with Nicolas Cage returning as well.2. CHRISTIAN BALE TO REUNITE WITH DAVID O. RUSSELL(Photo by Anita Bugge/Getty Images)Like many directors, David O. Russell (Three Kings, Silver Linings Playbook) frequently works with the same actors. There are four Russell has cast three times (Bradley Cooper, Robert De Niro, Jennifer Lawrence, and Mark Wahlberg), and soon, there will be a fifth, as Christian Bale (The Fighter, American Hustle) is now attached to star in a movie with the working title Amsterdam. The premise is being kept relatively secret, except that it reportedly involves an unlikely partnership between a doctor and a lawyer. Christian Bale is the first confirmed cast member, but David O. Russell reportedly is considering also casting Jamie Foxx, Angelina Jolie, and Margot Robbie, which would add up to a remarkable star-studded ensemble. In related news, Russell reportedly may also be developing a John D. Rockefeller biopic with Robert De Niro starring, but that news has not been confirmed by a major film industry source yet.3. TRAILER FOR JARED LETO S MORBIUS HINTS AT MCU CONNECTION(Photo by Sony Pictures Entertainment)Even as Marvel Studios prepares to merge previous Fox/Marvel titles like Fantastic Four and X-Men into the Marvel Cinematic Universe, there are some properties like Venom and Spider-Verse that remain at Sony Pictures. When Venom came out last year, it was presumed that it was set in a different cinematic universe than the MCU. Who s set where gets complicated by Tom Holland s Spider-Man, who has appeared in multiple MCU movies (Avengers: Endgame, etc), and who has been rumored to possibly have a cameo role in Venom 2 (10/2/2020). This week, we got our first trailer for Morbius, in which Jared Leto plays Marvel Comics Living Vampire,
5. HD 画质与高品质音讯
7.64.9 8月喜迎It s been nearly two years since the second season of Westworld premiered to HBO and a lot has changed. When we last checked in with the series, which was created by Lisa Joy and Jonathan Nolan and inspired by Michael Crichton’s 1973 film of the same name, Dolores (Evan Rachel Wood) and Maeve (Thandie Newton), two robot characters who were initially programmed to bend at the whims of the park s uber-rich clientele, had become fully sentient with violent results.Blind with vengeful rage, Dolores went on a murderous rampage. Before ultimately escaping the confines of the Westworld theme park, the killer host pillaged The Forge, the supercomputer holding all of the guest data the Delos corporation had been secretly stealing. She caused a flood, deleted a whole lot of those data pearls in the process, and installed her consciousness into the host replica of new Delos boss Charlotte Hale (Tessa Thompson) before heading into the Valley Beyond.(Photo by John P. Johnson/HBO)Things for former brothel owner Maeve went a different direction, entirely. After her glitch woke her up, the sentient host infiltrated the inner-workings of the park, enlisting Hector, Armistice and the rest of their outlaw gang, as well as Head of Narrative Design, Lee Sizemore, to help in the search of her long lost daughter. Unfortunately for her, as she closed in on reuniting with the girl, Delores and Bernard (Jeffrey Wright) rained hell upon the park, leaving Maeve shot. As she bled out, she watched her daughter exit the park for greener digital pastures with Native American host Akecheta (Zahn McClarnon).Discovering they were just pawns in a greater reality out-of-their reach is ultimately what drove each character s journey after their awakening was complete. For Bernard, the right-hand to park-creator Dr. Robert Ford (Anthony Hopkins), his realization that he was a synthetic being this whole time — one who was created by Ford in the image of his former partner — was one of the show s big reveals in its first season. This twist (and there were many) led Bernard to enable Dolores on her bloody journey all while attempting to pick up his own mental pieces, while he fell into an identity crisis, of sorts.(Photo by John P. Johnson/HBO)The HBO series delved further the white hat vs. black hat morality play originally introduced in season 1. It also filled in the blanks regarding the political drama unfolding behind the scenes within Delos. Less-than-savory struggles lie behind the character motivations of Charlotte, Dr. Ford s tenacious young replacement, and Delos investor William (Jimmi Simpson) who evolved into the Man in Black (Ed Harris), the coldhearted gunslinger hell-bent on burning the whole park to the ground.The series, which puts the concepts of free will, corporate greed, and a towering god complex in a blender, gave viewers plenty of answers in the season 2 finale, only to lead us to many more questions once it all ended. Needless to say, ahead of its highly-anticipated return, which takes the story outside of the confines of the park and adds Aaron Paul (Breaking Bad) to the mix, expectations are running high. Does the new season live up to the hype? Here s what the critics have to say:SEASON 3 IS A SLICK-LOOKING CYBERPUNK REBOOT(Photo by John P. Johnson/HBO)Ironically, the best part of Westworld Season 3 might be those overwhelming visual tableaus: the spectacular shots of a copter floating over a metropolis, the romantic European vistas of Maeve’s WWII world, and even the intimate hell that Caleb is going through. Westworld doesn’t just try to show us a haunted vision of the future, but it immerses us in it. — Meghan O Keefe, DeciderTime has passed since the end of season 2, and we find Dolores dealing with her new life in the outside world. In Los Angeles, everything looks like Tesla s version of Blade Runner, with Cybertruck police cars carving up a clean, Japan-inspired city. — Jennifer Bisset, CNETIronically, the best part of Westworld Season 3 might be those overwhelming visual tableaus: the spectacular shots of a copter floating over a metropolis, the romantic European vistas of Maeve’s WWII world, and even the intimate hell that Caleb is going through. Westworld doesn’t just try to show us a haunted vision of the future, but it immerses us in it. — Meghan O Keefe, DeciderTHIS NEW COAT OF PAINT CAN T COVER UP SOME CLUNKY STORYTELLINGWestworld wants to generate another existential conversation in Season 3, but even as the show swaps settings and introduces new faces, the details that make it come to life are perfunctory. — Brandon Katz, ObserverAction scenes are slick and easy-to-track, but they’re also detached, lacking the gleeful turns and grand lines that punctuated similar thrills from previous seasons. Backstory that used to be unveiled with a flourish is delivered sans showmanship, which can be refreshing when the new intel doesn’t warrant a whole to-do, but only contributes further to the new season’s straightforward execution. — Ben Travers, IndieWirePerhaps the flatness of its new setting might have served, or might eventually serve in the season’s second half, as ironic counterpoint: The peculiarity of the robot uprising exists against a backdrop so flat and familiar as to make it all the more intriguing. But what tends to happen instead is that the flatness inflects every corner of the story and sucks away the vibrancy. — Daniel D Addario, Variety Westworld returns with the batteries charged in an energetic start.— Alberto Carlos, EspinofDOLORES IS A VENGEFUL ROBOT WORTH ROOTING FOR(Photo by John P. Johnson/HBO)Season 3 Dolores is a vast upgrade. She s pissed off, but not blindly ruthless. She s bent on giving humans what she thinks they deserve, but smart enough to know this world doesn t operate like Westworld did. This is the kind of Dolores she should have been all along: a victim you feel empathy for with a cause worth fighting for — she s seen the worst that humans can be and believes her kind is the next step in evolution. She s not a one-note horseman of the robo-apocalypse. — Tim Surette, TV GuideDolores has often been a difficult character to track thanks to her regular identity crises, veering between damsel-in-distress and utterly unsympathetic villain, but in the third season, she finally seems to have hit a pleasant and steady middle-ground. We don’t fully know Dolores’ endgame, but we do know the ruthlessness with which she’ll pursue it and the remarkable capabilities she possesses to see it through. — Haleigh Fouch, ColliderAARON PAUL S PERFORMANCE IS FINE(Photo by John P. Johnson/HBO)Adding Paul as a new main character seems novel at first, but he quickly takes a backseat to everything else. — Chris Evangelista, SlashFilmAaron Paul walks sadly around a skyglass futuretropolis waiting for a popular smartphone app to assign him ATM robberies. — Darren Franich, EWIT S STILL COOL AND QUITE CONFUSING(Photo by John P. Johnson/HBO)There’s still plenty to be confused about. Westworld is 100% back on its bullshit and, depending on how much you like your TV to be a rug-yanking crash course in skepticism, still presents beautiful illusion after beautiful illusion for you to doubt. — Jacob Oller, Paste MagazineAll of the standard questions Westworld brings up in viewers remain: Is this person real or a host? Is this something happening now, or a flashback or flash forward? What exactly is reality, anyway? If something feels real, and affects someone like a real trauma, does that mean it’s real even if it takes place in a virtual playground? — Ron Hogan, Den of GeekExpect the passions around “Westworld” to erupt once again when Season 3 arrives, confusion reigns and the series’ fans and detractors face off to defend their side. — Lorraine Ali, Los Angeles TimesWestworld season 3 premieres on Sunday, March 15 at 9 p.m. ET/PT on HBO.
rst thing that starts to sort of threaten her worldview: Well, wait a minute, wait a minute. Women are doing this? Because that wasn t something that I thought was possible and no one told me that that was an option. And you see … she s somewhat hostile to the idea, but as time passes she gets over that, she copes again, she makes new plans, she figures out how to keep her world intact. She s helping out with raising the Stevens children and her friendship with Tracy survives it all and she s moving on. She s a survivor, Karen, she moves on and she s going to cope.Now the death of her son really does sort of start a whole new chapter for Karen. So it was really sort of plotting out how do we evolve that character while at the same time being true to her and the women that were like her at that period? It didn t seem fair to just say that Karen would wake up one day and just be a completely different person or that she would just jettison her entire upbringing and her entire worldview. It felt like that would have to be an evolution. And then you would have to justify how those changes are made for a character like her.(Photo by Apple TV+)Can we talk about how 109 deals with grief in all of its forms?Moore: Yeah. 109, we had to sort of face it directly. Two characters like Karen and Ed dealing with a profound loss and not being able to be there for each other and how they would individually do that. And a lot of us in the writers’ room, we had either gone through similar things or we knew close relatives who had, so we drew on a lot of that, of personal experience of people s responses to grief. And it did feel like once Karen had gotten over the planning of Shane s funeral arrangements and all that, that then she would be sort of left at loose ends. Like once that was complete, she had nothing left; there would be an emptiness there and she retreat, would try to retreat as far as she possibly could away from the world and away from everyone else.And on Ed, lone, isolated, tired, had been told he was being rescued over and over and over again. And had to hear about this over the phone, that he would just shut down. He would just shut down, turn off the phone, refuse to talk, and he would just be alone with his grief. And that each of them in their own way was kind of doing the same thing. That they were both retreating from the world and they both just wanted to be left alone and manage their grief in their own way. And again, it seems like that s who the characters were in that era, and they weren t seeking therapy and they weren t trying to talk through their feelings. They didn t have any of those skills and those tools, and if they didn t have each other, if they weren t able to comfort each other, they didn t want to be comforted by anybody, and they just started to step back from their lives.The character of Aleida Rosales she’s the kind of character that, in a big cast like this, could get lost. What was the intention behind making a storyline out of that family s journey?Moore: It was an initial impulse at the very creation of the show to have a young character that we could watch grow up over the seasons, because the show is multigenerational. It goes through many decades, and I wanted someone at the outset who was very young and then it became, “Let s make it an immigrant story. Let s make it a story of how broad the space program is, that it s not just inspiring people in the United States. It s actually inspiring people around the world, and here s this young girl who comes to the United States from Mexico.” It becomes an immigrant story. Then the challenge became how do you keep her on the show? Because she obviously can t impact a big story for a very long time. And it was a lot of work, and we did struggle with at times to be honest, to figure out how to keep her relevant to the show when so many of the things were going on.But we did have a belief that ultimately this is a clearly critical character in the life of the show later on. In a way it s almost an origin story. It s an origin story of a superhero or something: start at the beginning, see how she got involved with NASA, see who she knew and what the challenges are and then throw a curve ball in her world towards the end of the first season and then come back second season and see what happened to her a decade or so later.(Photo by Syfy)For All Mankind, you re back in space. Was that intentional? Were you re looking to go back to space?Moore: Well, I was certainly open to the idea. I mean I do love space and science fiction. It s just been part of me since I was a child. So you do it for a long time. It s Star Trek and then Battlestar and you need to get away and not do it continuously. But then I kind of felt sort of ready to come back and there were new things to do and new things to say in the field and so it was really fun to come back and do a space show again. And I hope it won’t be my last.Yeah, I hope it won t either. I don t know if you know, but Battlestar took like top spot in our list of the best sci-fi shows.Ron Moore: I did see that. I couldn t believe it. I was very touched by that. It was like, Wow. Really? Yeah, I m not sure. I m not sure I would have voted it that high. I don t know that the child in me can actually put Battlestar above the original Star Trek series, but I do appreciate the honor.See, I would agree with you if you d said The Next Generation, but the original Star Trek, really?Moore: The original, it s brilliant. It changed the genre.One of the things that I really liked about Battlestar and one of the things that weighed in its favor for that ranking was just the amount of time spent on developing character, and they re not just red shirts or blue shirts or yellow shirts. Each character has an intention, and it s something that I ve seen more lately. I d say it shows how influential you ve been in this medium, that you see, for instance, in The Expanse, this focus on character and a lived-in quality for the show.Moore: I appreciate that. It s very kind. I would love to think that we had that kind of influence, and those qualities were very important to us in Battlestar, and we spent a lot of time focusing on them and saying that this is really what matters and this is really what will distinguish the show and this is what you re capable of doing in science fiction. It d be great to think that that’s influenced others. And that it continues to go in that direction.(Photo by Starz)Now Outlander was a little bit of a detour. I was surprised to see you on that title. Similarly, I think you ve given the story more heft than some other people might ve.Moore: Diana [Gabaldon] had created a great universe in Outlander the books. And I just thought once you translate that to television, one of the first things you have to realize is that, Yes, you re going to see the universe” and Yes, you re going to see the world, Scotland.” That s all fascinating stuff, but what the television audience really cares about are the characters because that s who they get attached to. That s really what they re all about. That s what they want to see. How does this week s event impact my favorite characters? So again, at Outlander, we also made it a concerted effort to really try to get inside Claire and Jamie and Frank.We certainly played a lot more of Frank in the show than really the books did, because I kind of felt that there was an opportunity there to really show the triangle and to really get inside Claire a little bit more, to understand who she was, because her whole journey in the first season was about trying to get back to Frank. And so you had to kind of understand and really buy into the notion that Frank was an important character in order to really understand Claire.Outlander does really well on the Tomatometer, too. Is there anything you can say about the new season that we can look forward to?Moore: Getting closer to the American Revolution, the split between Jamie and Murtaugh is going to come to a head and be very difficult for both parties. You’re going to see more of Stephen Bonnet, Jocasta, and all the characters who set up season 1, and there ll be another character returning in the next season that we said goodbye to last season. There s a lot of fun stuff. It s just sort of a big, sprawling epic really is what it is —what it always has been.For All Mankind is now streaming on Apple TV+; Outlander season 5 premieres on Sunday, February 16 on Starz.
With studios and distributors loading up on a pre-launch campaign against Disney’s dominance at the box office – something that will be amplified with next week’s release of The Lion King – there were not a lot of alternatives for moviegoers to get behind this weekend. Marvel and Pixar both led the way again and the two newcomers could barely combine to beat the film in second place. For those in a Chicken Little panic over supposed dwindling ticket sales this year, this weekend certainly gave fuel to that fire with the top 10 films adding up to the lowest July weekend total since 2009.King of the Crop: Spider-Man Not Far From the Billion Club (Photo by © Columbia Pictures / © Marvel Studios/ Courtesy Everett Collection)Spider-Man: Far From Home took the lead again to no surprise for a second straight week. With 9.2 million on Thursday, it ranked as the 32nd highest-grossing film ever after 10 days in theaters. However, the drop to .3 million this weekend has put its numbers closer to Sam Raimi’s Spider-Man 2 than many of the top-tier MCU films. Raimi’s film had 5.1 million after 10 days and a .1 million second weekend. It finished its run with 3.5 million. Spider-Man: Homecoming made .2 million in its second weekend. Just remember that Far From Home also had a Tuesday opening (and the biggest one of all-time). Amongst the 35 films to have reached 5 million domestic, only Transformers: Revenge of the Fallen, Titanic, and Frozen made less in their second weekends than Far From Home. (Titanic’s .4 million in 1997 would be about .5 million today.) Worldwide the film has grossed over 7 million and will soon become the ninth film of the MCU to gross over a billion dollars.Rotten Returns: Stuber Disappoints with Million Start(Photo by Mark Hill/ © TM & copyright © Twentieth Century Fox Film Corp.)Stuber may not be a mega-budgeted production at million, but unless you are a true indie or working under the Blumhouse margin, an million opening is just not going to cut it. Thirty six films in 2019 have opened in 3,000 theaters or more and only Missing Link (.9 million) and Fox’s The Kid Who Would Be King (.1 million) – both Certified Fresh at 89% on the Tomatometer, incidentally – grossed less in their opening weekends. (A Dog’s Journey made .03 million.) Stuber, with a Tomatometer score of 46% currently, joins Winnie the Pooh, Ramona and Beezus, Monte Carlo, and Katy Perry: Part of Me as the films this past decade to open between million and million in July. They all posted final tallies between .1 million and .7 million. None of those films were rated “R” though.Top 10 and Beyond: Crawl Takes Small Bite as Disney Offerings Show LegsToy Story 4 crossed the 0 million line worldwide this weekend. Plus, the once-dubbed “disappointment” from burned analysts is only the 23rd highest-grossing film ever after 24 days with over 6 million at the domestic box office. Though the film is right in line with Toy Story 3’s fourth weekend of million, it did slip slightly behind during the week from being million ahead of the third film’s pace to just around million. No worries, however, as it is still on pace for a 0 million haul in North America. The fim is over 1 million worldwide.To finish up the Disney dominance news this week, their live-action version of Aladdin has officially become one of the 50th highest-grossing films of all-time in the world with over 0 million. The Lion King is already gearing up to join that list having grossed .7 million in China this weekend. Then, of course, Avengers: Endgame grabbed an additional .8 million across the globe and is now less than million away from capturing Avatar’s all-time record with .780 billion.(Photo by © Paramount Pictures / courtesy Everett Collection)Over to the horror side of the top 10, Paramount chose not to screen Alexandre Aja’s alligator horror film, Crawl, for critics this week. Nevertheless those that reviewed it gifted it with an 88% on the Tomatometer and it s already Certified Fresh. It may have bested Stuber for the newcomer crown this weekend, but its million start is not entirely a cause for celebration, even with just a .5 million budget. That is more than the .9 million that another mid-July alligator film called Lake Placid opened to back in 1999. That film would have opened to about .7 million in today’s dollars and finished with .7 million. The smart money is on Crawl finishing with less, unless word-of-mouth – which again, is good – pushes it further.Ari Aster’s Midsommar has .4 million after 12 days, which puts it between fellow Wednesday openers No Escape, the 2015 terrorist thriller, and the 2004 remake of Around the World in 80 Days. That may suggest a finish in the - million range. Except Midsommar’s .5 million weekend was less than either of theirs. The film would need .2 million to pass A24’s first wide opener, The Witch, for fifth place on their all-time chart. Midsommar is nevertheless going to finish no worse than right behind it in sixth place with more than The Disaster Artist’s .1 million. Annabelle Comes Home is now over million, placing the film firmly between the third weekend grosses and totals of The First Purge (.10 million, .48 million) and Rocky Balboa (.01 million, .27 million), so figure a final tally in there while it currently stands at over 3 million worldwide – far less than either of the previous films but more than enough to turn a profit.Coincidences in box office are always fun to find and this week’s example comes with Danny Boyle’s Yesterday, which has become the director’s second highest-grossing film ever. That has nothing to do with coincidence though. Actually the .75 million it grossed this weekend and a total at .3 million puts the film in league with another tale of a singer from the U.K. that opened in June and was released by Universal some nine years ago. That film was Get Him To The Greek. It grossed .1 million in its third weekend and had .8 million after 17 days on its way to .9 million.On the Specialty Box Office: The Farewell Shows Signs of Being a Breakout HitFinally, in limited release news, Bleecker Street’s The Art of Self-Defense (Certified Fresh at 92%) grossed 1,000 in seven theaters. That per-theater-average of ,285 is just a bit less than Late Night’s ,593 average in 14 theaters when it first opened. Amazon expanded that film into over 2,200 theaters in weekend two and it has grossed more than million to date. Bleecker will expand Art into over 500 theaters next weekend and it is the ninth film in Bleecker’s history (out of 32 releases) to score 90% or higher on the Tomatometer.But the developing story may be that of Lulu Wang’s The Farewell, with Awkwafina. One of the most beloved films out of Sundance this year grossed 1,330 this weekend in just four theaters. That is the 15th best opening ever for a film launched in just four venues and the third best for A24. Moonlight (2,075) and Lady Bird (4,437) opened just a bit stronger and they, respectively, rank third and first amongst all A24 releases. The Farewell also maintains a perfect Certified Fresh score of 100% on the Tomatometer. It is the 28th A24 film to score 90% or higher out the distributor s 77 releases.This Time Last Year: Hotel Transylvania 3 Bests Skyscraper(Photo by © Sony Pictures Releasing)Adam Sandler’s ghoulish animated series showed no signs of wavering as Hotel Transylvania 3: Summer Vacation got its first taste of the box office outside of September and opened at number 1 with million. Ant-Man and the Wasp dropped 61% to second place, but that was still good enough to keep back Dwayne Johnson’s attempt at Die Hard in Skyscraper, which opened to just .9 million. In limited release, Bo Burnham’s Eighth Grade opened to 3,797 in just four theaters. The Top 10 films grossed 4.03 million and averaged 67.7% on the Tomatometer. This year’s Top 10 did an estimated 3.04 million and averaged 66.9%. It was actually the lowest Top 10 total for a weekend in July since the July 31-August 2, 2009 weekend when Funny People led the way with .65 million and a top 10 total of 7.14 million.
Sibling directing partners Joe and Anthony Russo made a huge impression on fans when they entered the Marvel Cinematic Universe with their ’70s thriller–style Captain America: The Winter Soldier. Still considered the best of the MCU by many, it marked the duo as risk-takers with big ideas – and the directing chops to pull them off. No wonder then that Marvel Studios President Kevin Feige asked them to helm three more movies. For their follow-up MCU film, the brothers broke up the family in Civil War; then, last year, they broke our hearts – and global box office records – with Infinity War. Ahead of the release of Avengers: Endgame, the Russo Brothers sat down with Rotten Tomatoes to break Infinity War down piece by piece, character by character, dust fleck by dust fleck. They reveal storylines that might have been, the creation of Thanos, and why fans shouldn’t be so hard on Star-Lord. Then, the duo go into Endgame – as much as they could – sharing the reasoning behind their storytelling decisions and the lengths they’ve gone to in order keep the details of that story secret.“Infinity War was Thanos’s movie, he was the lead of the film, and we gave him a proper ending.” Joe Russo: Anth and I through our entire experience at Marvel always tried to make very disruptive choices with each film. The end of Winter Solider: good guys and the bad guys, we flip everything on its head. Civil War we divorce the Avengers. Infinity War we knew we wanted to make a strong narrative choice. There s an adage where you write yourself into a corner, [you have to] try to figure out how to get out. That usually creates really dramatic moments for the audience. There s no bigger way to write ourselves into a corner than killing half the characters.Anthony Russo: We actually never thought of it as a cliffhanger. In our own brains, for us, we were telling a complete story: This was Thanos s movie, he was the lead of the film, and we gave him a complete arc – a proper ending.(Photo by ©Marvel/©Walt Disney Studios Motion Pictures)“We can only do that if we pulled off the most realistic-feeling performance that you could possibly imagine in a movie.”Joe: He s a profoundly interesting villain who is equal parts empathetic and loathsome. He s also frightening and intimidating and nearly invincible. He s driven, philosophically driven. I think a lot of people respect his monastic dedication to his task. He ll die for it, so he s an acolyte in that regard. And what s interesting about the end of that movie is he shuns all materialism. He s got this amazingly powerful gauntlet that can alter the very fabric of the universe, and he retires to a shack you know, clearly on some desolate planet.Anthony: We knew we wanted to center the movie on [Thanos], and we knew that we can only do that if we pulled off the most realistic-feeling performance that you could possibly imagine in a movie. So we started very early on with our visual effects team, specifically our visual effects supervisor, Dan DeLeeuw, and trying to figure out how the technology can work and how we can actually achieve this. We did a lot of tests. We did tests with Josh Brolin where he would come in, perform, and we would work on it for several months and try to figure out the best version of it. That character was built methodically over the entire span of the development of the film.(Photo by ©Marvel/©Walt Disney Studios Motion Pictures)“That’s why the Avengers lost in Infinity War: they were divided.”Anthony: [Captain America and Tony Stark] are the heart and soul of the Avengers, you know. Tony is sorta like [the’ extroverted leader and Cap is like the heart and soul, the moral core of them.] For the two of them to have a falling out and have an irreconcilable problem was really devastating to the team as a whole. You know in our minds that s why the Avengers lost in Infinity War – the fact that they were divided. They weren t functioning as a team in that movie any longer, so they weren t prepared for the universe’s greatest threat. The journey they re on is very much at the heart of the entire story.“At one point we had Thor going to Titan instead of Wakanda.” Joe: [Choosing who went to Titan and who went to Wakanda in Infinity War] was all story-driven, it was who was where and which character dynamics we wanted to exploit. I think even at one point we had Thor going to Titan instead of Wakanda and then made the decision that we wanted the climax to happen on earth and not on Titan, and so we moved Thor to earth. Again, it s just about storytelling. Where are we gonna create the most interesting story? Which personalities are gonna be the most dynamic together?Anthony: Also, I should say, we don t simply think about who, what do we want the teams to be at the end of the movie. A lot of us figuring that out is, how do we get there? The small little choices that we make along the way that end up pushing somebody one place or the other, ends up dictating where they go.Joe: We knew we wanted Peter with Tony. We knew that we wanted Strange and Tony together because we wanted to see that, two egotistical characters going at each other. We knew Cap was in hiding on earth, so [we] always felt like that would stay that way. Pairing Cap with T Challa was gonna be a really… after that final scene in Civil War to see those two characters reunite, we knew that would be a powerful moment. And where would you run to on earth to be the most protected? Clearly Wakanda. Everything sort of logically starts to answer itself as you move through the story.(Photo by ©Marvel/©Walt Disney Studios Motion Pictures)“We wanted to commit very fully to the idea that Thor was gonna be the hero of the movie.”Anthony: I think one thing Joe and I love about ensemble storytelling is you have so many different places to go in the story at any given moment, the point of view can shift from character to character. We wanted to commit very fully to the idea that Thor was gonna be the hero of the movie. Thor was going off on this very individual quest to find a way after suffering this horrible opening scene defeat, to Thanos, where Thanos kills his brother and Heimdall and wipes out many of his people. So he is on journey through the entire film of revenge. How does he stop Thanos? So the audience is on that ride with Thor the whole way. And it s a difficult road for him, but he finds a way to figure it out.Joe: Almost kills himself doing it.Anthony: Yeah, and so when he shows up in Wakanda, we have gone through all the storytelling beats to tell you: Thor is going to do this. That was one of our great thrills of the movie – not only him arriving [in Wakanda], but then what happens once he does arrive.Joe: [That moment was] based on one of our childhood cinematic inspirations. There s a sequence at the end of Excalibur where Lancelot shows up in the battle. I always remember how rousing that was when I would watch it as a kid, and just trying to replicate a similar experience. Your heroes are on the edge of defeat and one of them, having gone through great pain, shows up to save them. It just felt like the right moment.(Photo by ©Marvel/©Walt Disney Studios Motion Pictures)“Star-Lord made a very emotional choice…He paid for it with his life.”Joe: Part of telling stories is learning empathy. I don t know if people can empathize with Thanos, but they can empathize with Star-Lord – the love of his life was murdered by the guy in front of him, and he made a very emotional choice. I think that s the human choice, and that s the truthful choice that you would make in those circumstances. He paid for it with his life.Anthony: Exactly. As storytellers, we find [the moment when Star-Lord hits Thanos] one of the most empathetic moments in the story. Also, the other thing to focus on his choice; I mean all of these characters make flawed choices. If Thor had not been so angry, and so revenge-driven, he may have killed Thanos faster than he did.Joe: Gone for the head.Anthony: He would have gone for the head, exactly. The fact that he wanted revenge, he wanted to see in Thanos s eyes that he was killing him, that gave Thanos a window to reverse things on him. All these characters have emotional vulnerabilities that complicate their ability to do what needs to be done. Us sort of watching them fight through that is part of the fun.(Photo by ©Marvel/©Walt Disney Studios Motion Pictures)“Tony Stark and Peter Parker developed a father-son relationship…We felt Spider-Man’s death would be hard to watch. Joe: Spider-Man was my favorite character growing up, and it was this notion of a child who had been burdened with this incredible responsibility and through very tragic circumstances with the death of his uncle. Tony Stark and Peter Parker developed a father-son relationship over the course of two films. We felt like [Spider-Man’s death in Tony’s arms] would be hard to watch – and it was. It was hard to watch on set, and it was hard to watch for the audience I think.Anthony: All [through] the premiere and many of the early screenings that we attended, we anticipated the ending being complicated for people because it was complicated for ourselves – but we didn t anticipate the depth of emotion that people would experience from that ending.“Mark Ruffalo turned around in the theater and he thought, Alright, I gotta get out of here before someone hurts me. ”Joe: Ruffalo was in a theater in New York, and he was in a cap and glasses and he was there with his son and his son s friend, and he said when it got to the end of [Infinity War], literally people just sat in the audience for 10 minutes and a guy ripped his shirt off and started screaming, Why? at the screen. Mark turned around in the theater and he thought, Alright, I gotta get out of here before someone hurts me. And he snuck out the side door. So we didn t expect that level of emotional response to it.(Photo by Chuck Zlotnick /© Marvel/ © Walt Disney Studios Motion Pictures)“We ll just say that there s a reason the original six Avengers are left.”Anthony: Our process is to spend many, many, many months in that room with [co-writer Christopher] Markus, [co-writer Stephen] McFeely, with Kevin [Feige, Marvel Studios President], talking through different story ideas, different possibilities. We very thoroughly explore a lot of different ideas before we lock into what s exciting us most. So, at some point, yeah, sure there are many variations [on who died at the end of Infinity War], but once the story starts to take shape it really forms in a muscular way around a single idea. And then we spend months working on that.Joe: The visualization [of the dust] was purely just about the elemental aspect of your body and what happens to it. And that s sort of accelerating the decomposing process in a way, right? As far as who went to dust, everything s always built upon story. We ll just say that there s a reason the original six Avengers are left.(Photo by © Marvel/ © Walt Disney Studios Motion Pictures)“The are more secrets in Endgame than there are in Infinity War.”Joe: RDJ was probably the only one to actually read the entire script. I think Benedict [Cumberbatch] got the script that included his scenes only. Maybe [Chris] Evans might have read the script.Anthony: Part of our motivation to do that is it just takes a lot of pressure off of people. It is hard to constantly censor yourself about what you re saying, how you talk. These movies are your whole life, it s everything you re doing all day long. The inclination is to talk about it. So we take a lot of pressure off of people by just saying, OK, the less you know the less you have to mind yourself.Joe: [Chris] Hemsworth’s character, Thor, doesn t need to know what Captain America s doing for most of Infinity War. Hemsworth reads his scenes and Evans reads his scenes. If they don t read the rest of the movie, they don t know what s going on with it, then it makes them easier to have conversations with people. [We] kept it going, even more so in Endgame. [There are] more secrets in Endgame than there are in Infinity War.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
(Photo by 20th Century Fox)Theatergoers are buzzing about Robert Rodriguez and James Cameron s newest film, the relentlessly cool action thriller Alita: Battle Angel. The heavily stylized flick gathers an all-star cast, with Rosa Salazar as Alita and Christoph Waltz, Mahershala Ali, Jennifer Connelly, and Jackie Earle Haley filling important roles.Its frenetic action and unique female protagonist make it one of the most intriguing movies of the season so far, but there’s one thing about the film you may not have known: It was actually inspired by one of the most famous and influential cyberpunk manga series of all time: Yukito Kishiro’s Battle Angel Alita.Battle Angel Alita is a fantastic example of what manga can accomplish. The series made its Japanese debut in 1990, appearing in publisher Shueisha s Business Jump magazine and quickly amassing a ridiculous number of readers. The 9-volume post-apocalyptic manga series follows an amnesiac female cyborg found in suspended animation by a cybermedic expert, Daisuke Ido, in the trash. Ido painstakingly rebuilds her, and Alita s memories eventually return.She remembers the powerful martial art Panzer Kunst, but little else, and uses her abilities to become a mercenary known as a Hunter-Warrior. From there, she begins to recall memories of her previous life on Mars. The sprawling story explores her adventures in the dystopian manga world and themes of loneliness, isolation, and what it means to be human.(Photo by 20th Century Fox)While the series ended nearly a quarter of a century ago, its influence can still be felt throughout the countless properties that followed it. It s a hallmark of the cyberpunk genre thanks to its emotive characters, strong female lead, detailed artwork, and excellent writing. The live-action film does an impressive job of adapting the story for American audiences, though there’s still a lot more to learn about Alita and her world beyond what Cameron and Rodriguez were able to cover during the span of the film.Alita: Battle Angel is a mostly faithful retelling of Kishiro s original work, but there are a few changes that were introduced in its transition from page to screen. There s a difference in pacing, for instance, and slight alterations to the tale. The relationship between Alita and her love interest, Hugo, is decidedly less tragic than the manga depicted it, and Hugo is rendered a much more sympathetic character.But one of the strangest choices viewers may notice is that the film retains the manga s unusual, oversized eyes for Alita, played by the heavily CGed Salazar. Yes, anime and manga characters are typically known for their large and expressive eyes, but seeing them on a live-action actress is jarring. Cameron has indicated in interviews that he was intrigued by the challenge of making a photorealistic human character in CG, while Rodriguez explained further: The manga anime eyes that we ve seen since the 30s and Astro Boy has never been done photorealistically. So, usually when we see an anime translated, it doesn t feel like that.”(Photo by 20th Century Fox)The franchise as a whole has never been immune to change for Western audiences, though, since both its central character and title were altered before it was exposed to American readers. The series began life as Gunnm, and Alita’s original name was Gally. Why such drastic changes?According to a 1993 interview with Fred Burke, co-translator for Viz Media on Battle Angel Alita, the title was changed to cater to a wider audience: “For a Viz Comic to work, it’s got to appeal to more than just the hard-core manga and anime crowd, he explained. The original title, Gunnm (a portmanteau of Gun Dream), turned into the more descriptive Battle Angel Alita. As for Gally s new name, Burke noted that he found Alita in a book of baby names and assigned it to the protagonist, as it meant courage. It s easy to understand why Gunnm might be a difficult title for American readers to embrace, and Alita does have a nice ring to it, so the names stuck.Despite its legacy, though there were several Alita spinoffs and re-releases, as well as a novel and game the massively popular manga only ever received a two-episode original video animation (OVA) series adaptation, which culled elements from the manga s first two volumes and altered several plot elements. Creator Yukito Kishiro expressed that he was too busy with the then-ongoing manga to fine-tune the anime, and in fact there were only two episodes planned. There has yet to be any other official Battle Angel Alita anime adaptation, much to the dismay of hardcore fans.Alita: Battle Angel could indeed change all that, however, with its refusal to stray too far from the source material and its love for the original story. This is one of just a few times an anime or manga series has successfully seen the leap from manga pages to live action on the big screen with high-profile Hollywood actors, and it could be the beginning of a renaissance for the cyberpunk classic.Further Viewing: Cyberpunk ClassicsLooking for more films like Alita: Battle Angel? Check out these fantastic picks:
万博体育在线 (Photo by BBC America; HBO; ©20thCentFox/Courtesy Everett Collection; FX; Andrew Eccles / © CW / Courtesy: Everett Collection)TV Vampires By TomatometerEven before the fall 2008 premieres of True Blood on HBO and Twilight in theaters ushered in the vampire craze of the late 2000s, television had immortalized the mythological creatures in series dating back to the early days of the medium.Off-kilter 1960s sitcom The Munsters included bloodsuckers in its cast of spooky characters, and supernatural soap opera Dark Shadows, which debuted in 1966, introduced a number of nightwalkers over its six-year run.Rotten Tomatoes has compiled a list of TV s best and worst vampire series. While the shows don t all have to be solely about vampires, each of the series on this list must have significant characters with the urge to suck blood. That s why even though General Hospital spin-off Port Charles didn t start off as a supernatural series, it made this list anyway because of the series vampire-related story lines.True Blood and The Vampire Diaries, of course, feature prominently, but there are also many that debuted before Edward Cullen sparkled in the sunlight — the grand dame of teen supernatural soap operas, Buffy the Vampire Slayer, for one. We ve also added newcomers, including the based-on-the-film FX comedy What We Do in the Shadows and Dracula, a Netflix-BBC co-production from Sherlock creators Mark Gatiss and Steven Moffat.Check out our list of the best vampire TV shows ranked by Tomatometer. Shows that don t have series-level scores are listed alphabetically after the numbered entries.
(Photo by Phillip Caruso/©Unversal, ©Warner Brothers/courtesy Everett Collection)Twenty-five years ago, Robert De Niro enjoyed a particularly stellar year that would change his career forever. In November, he reunited with his frequent collaborator Martin Scorsese for Casino, a companion piece of sorts to their 1990 masterpiece Goodfellas. Just a few weeks later, he shared the screen with fellow acting titan Al Pacino for the first time in Heat, Michael Mann’s cops-and-robbers epic.Yet at the time, this one-two punch wasn’t necessarily regarded as a triumph. Sky-high expectations for a de facto Goodfellas follow-up and a Pacino/De Niro team-up meant that both movies garnered a lot of reviews that were more respectable than ecstatic, and months later these two awards hopefuls received a grand total of one Oscar nomination between them for Sharon Stone’s career-best performance in Casino.Criticisms leveled at both movies at the time zeroed in on the crime-picture familiarity that now makes them feel like classics. Some came down especially hard on the idea that Pacino, Pesci, and particularly De Niro were repeating themselves. De Niro had delivered gentler, change-of-pace performances not much earlier in movies like 1990 s Awakenings and 1993 s Mad Dog and Glory, and the close proximity of Heat to Casino wound up calling attention to his characters’ similarities across the two films: Owen Gleiberman of Entertainment Weekly described him as “a scowling cipher, a forbidding synthesis of dictator and monk,” then a few weeks later noted that in Heat, “as in Casino, he’s playing an ice-minded humanoid.”It’s true that both movies find De Niro acting in a chillier register than his work in, say, Taxi Driver or The Godfather Part II (to say nothing of the genuinely sweet Mad Dog and Glory). Sam “Ace” Rothstein, the mob-affiliated casino boss he plays in the Scorsese picture, and Neil McCauley, the career criminal he plays in Heat, do their respective jobs with ruthless professionalism. McCauley offers the spiel that lends Heat its title, explaining that anyone serious about the heist business needs to be able to drop all attachments “in 30 seconds flat if you feel the heat around the corner.” Ace, in the meantime, is the kind of exacting control freak who demands one of his buffet chefs put an equal amount of blueberries in each muffin. If Neil and Ace are less immediately magnetic than even some of De Niro’s more villainous characters the scene in Heat where he must rebuff the vaguely inexplicable interests of Amy Brenneman is one of cinema’s least romantic meet-cutes the tension in both movies comes when the De Niro character’s detachment is challenged.That’s visible in the famous Heat diner scene, the mid-movie sit-down when McCauley meets with cop Vincent Hanna (Pacino) over coffee. As the conversation continues, Mann catches more of each actor’s reactions, cutting to them when they’re listening, not just when they’re speaking. So much of the scene’s drama happens in the actors’ eyes, as De Niro portrays McCauley, briefly freed from the responsibilities of organizing a major heist, making thoughtful considerations as he answers Hanna’s questions about his motivations. The scene probably wouldn’t be as effective without De Niro’s unforgiving exterior, and it certainly wouldn’t be as chills-inducing with other actors.In Casino, the steely enforcer lets his guard down in an early scene where he proposes marriage to Ginger (Sharon Stone), negotiating and equivocating about how their “mutual respect” can lay the groundwork for a good partnership, even though she doesn’t love him, and says so upfront. It’s more subtle than either pleading or outright strong-arming and, as such, both heartbreaking and a little pathetic.(Photo by ©Universal courtesy Everett Collection)It’s no shock that De Niro is actually great in both of his 1995 movies, though it is a little surprising that even after their reputations grew, he still managed to be underestimated. The images Casino and Heat projected of the actor as a serious, driven professional were especially appropriate for that stage of his career a stage that these two movies helped bring to a close. His filmography is too long and varied to categorize every performance, but Heat and Casino are arguably his last two big-ticket leading-man parts in the crime genre that made him famous. Over the next few years, he would do a lot of character and supporting parts (Sleepers, Cop Land, Jackie Brown, Great Expectations) and some self-conscious riffs on his past roles (The Fan revisits both Taxi Driver and Cape Fear; Analyze This parodies his mafia parts; Meet the Parents depends on his tough-guy image). Later, he would do more comedies, often about aging and/or families, sometimes to great effect (Silver Linings Playbook; The Intern), sometimes less so (The Big Wedding; The Family).Many of these later-period movies are about bringing De Niro back down to earth, even when they’re not directly kidding his on-screen history (and a lot of them do, beyond even his two comedy franchises). Sometimes this can be read as undermining his legacy, sticking him in unserious paycheck-friendly gigs like Dirty Grandpa or Grudge Match when he “should” be doing more projects with titans like Scorsese, who took a 24-year break from casting De Niro after Casino, or big-name auteurs like Mann. While it’s true that De Niro has appeared in his share of movies that aren’t especially worthy of his talent, it often seems that he’s both willing to work and remarkably free of ego in the work itself.(Photo by ©Lionsgate)His characters in Casino and Heat are quite the opposite; they wouldn’t be caught dead doing jobs that could be perceived as beneath them. (McCauley’s promise to Hanna in the coffee-shop scene makes this more or less literal.) They’re men of discipline, yes, and certainly McCauley displays less hubris than Ace, who at one point broadcasts his own television show to settle scores with the Las Vegas gaming commission. But they’re both larger than life not because of particularly gregarious personalities, but because they loom outside what Heat refers to as a “regular-type life.” De Niro can get away with moments of unemotional minimalism because of his own towering work before these movies, especially the volcanic outbursts of Goodfellas, Taxi Driver, The Untouchables, and Raging Bull, among others. In 1995, at least, his reputation preceded him.Neither of De Niro’s 1995 movies were received as a farewell to the iconography and prestige involved with being the legendary Robert De Niro, and knowing his work ethic, they probably weren’t intended that way, either. But 25 years later, they play like De Niro has honed his most familiar tics into a sleek, efficient weapon. Heat and Casino both prepare him for middle age, and this doesn’t just mean his comic roles and character-actor parts. Look at an underseen later-period De Niro movie like Stone: It generates plenty of intensity as his parole officer character faces off against a prisoner played by Edward Norton, but this is a life-sized De Niro, his anger and violence repressed, his disappointments flattened out.This extends to his recent reunion with Scorsese, The Irishman, where he plays a hitman as an unquestioning working stiff. The film is powered by the idea that maybe those classic gangster movies were even sadder and less glamorous than viewers entirely realized at the time something else that both Heat and Casino were preparing for back in 1995, when they were met with good-but-not-great receptions. Neil McCauley orchestrates a precise and ambitious heist, falls in love, and the LAPD still catches up to him; Ace Rothstein ends his long, detailed, decades-spanning story about Vegas with a shrug as he returns to bookmaking. Maybe a lot of those beloved De Niro icons were secretly workhorses all along.Casino was released on November 22, 1995. Heat was released on December 15, 1995.On an Apple device? Follow Rotten Tomatoes on Apple News.
万博体育在线 (Photo by Frank Ockenfels/AMC)FALL 2019 TV SURVEY: TV Shows That Defined the 2000sFor Rotten Tomatoes’ annual Fall TV Survey, we asked thousands of our users what they’re most looking forward to in the coming TV season and to reflect on the best shows from seasons past.Ah, the aughts. Will we one day look back on the decade as a simpler time, when a school teacher becoming a meth dealer was the height of entertainment?Probably, yes, according to Rotten Tomatoes users, who voted Breaking Bad the show that defined the decade s television entertainment with 61% of the vote. The Bryan Cranston–led series was followed by The Office with 47% of the vote, and The Sopranos with 45%.Which TV star ruled in the decade? Fans bestowed that honor on the late, great James Gandolfini for his role as Tony in The Sopranos. Gandolfini received 18% of the vote. Steve Carell followed with 17% of the vote, and Tina Fey grabbed third position away from Jon Stewart 7.96 percent to 7.56 percent.Disagree with the survey results? Tell us in the comments who you think should have made the list or have been ranked higher.