(Photo by Netflix, Disney+, OWN)With an estimated 532 scripted series released in 2019, choosing the best TV to watch has become something of a chore — not to mention expensive if you re subscribing to all of the streaming services to complete the task. Narrowing the worthy award contenders is another heavy lift, and those who take on the challenge run the risk of permanently becoming one with their couch.To this, we say, Help! We re trapped in our sofas! But we re also ready to do the hard work for you.We ve looked at the top contenders for nominations in the top drama and comedy Emmy categories and noted a few other titles that may not be dominating the conversation but definitely deserve recognition. Nominations will be announced on Tuesday, July 28, and while these shows may not be among them — we think they should.Related: Rotten Tomatoes Predicts the 2020 Emmy NominationsStranger Things: Season 3 (2019) 89% | NetflixWho Stars In It: Millie Bobby Brown, Finn Wolfhard, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Abby Glover, Maya Hawke, David Harbour, Winona Ryder, Charlie Heaton, Natalia Dyer, Joe Keery, Dacre Montgomery, Cary ElwesWhat It s About: This throwback to the age of Spielbergian 1980s genre fare centers on a group of kids who encounter ominous, supernatural goings-on in their sleepy, circa-1983 Indiana town. With the help of the local police chief and a new friend with psychokinetic abilities, they band together to investigate and fight back against an insidious entity as it threatens to turn their world upside down.Why It Deserves an Emmy: Matt and Ross Duffer s love letter to the 80s turned out to be more than just a cheeky excuse to wallow in smug nostalgia when it premiered, as Stranger Things managed to tell a compelling sci-fi/horror mystery without skimping on the underlying character work. As a result, the series has been a critical darling, and the first two seasons accordingly racked up multiple Emmy nominations, even taking home six trophies in the Creative Arts categories. That successful formula continued in season 3, which showcased outstanding ensemble work from its talented cast and built on the series larger mythology. There s also something to be said for its consistently top-notch special effects; the show just doesn t work if it can t sell the menace of the Upside Down and its evil manifestations, but it does so convincingly and with flair.The Mandalorian: Season 1 (2019) 93% | Disney+Who Stars In It: Pedro Pascal, Gina Carano, Carl Weathers, Nick Nolte, Werner Herzog, Taika Waititi, Giancarlo EspositoWhat It s About: Set in the larger Star Wars universe some time after the events of Episode VI: Return of the Jedi and before Episode VII: The Force Awakens, this space adventure follows a lone member of the titular famed order of bounty hunters who encounters an alien child on one of his assignments and decides to take him under his protection as powerful adversaries with ulterior motives are hot on their trail.Why It Deserves an Emmy: It would be easy to dismiss The Mandalorian as a blatant ploy to attract subscribers to the fledgling Disney+ streaming service — as if the Disney/Pixar/Marvel/Star Wars libraries weren t enough to begin with — but its remarkable approval rating from both critics and audiences are testament to the show s quality. Anchored by a charismatic lead in Pedro Pascal — who spends almost the entire first season obscured under a helmet, mind you — and his undeniable screen chemistry with his diminutive, puppet costar, the series immerses viewers in its unique world and grounds its otherworldly characters in thoughtful, affecting relationship dynamics. Considering the level of talent involved across the board, from creator-writer-producer Jon Favreau and writer-directors Rick Famuyiwa and Dave Filoni to folks like Deborah Chow and Taika Waititi, the latter of whom directed the outstanding season finale, it s hard not to feel like the series should take home a trophy. If nothing else, the fact that Baby Yoda not only felt like a real, living, breathing, ridiculously adorable creature, but also became a viral sensation overnight is a pretty convincing argument for at least a technical award or two.Servant: Season 1 (2019) 83% | Apple TV+Who Stars In It: Lauren Ambrose, Toby Kebbell, Nell Tiger Free, Rupert GrintWhat It s About: Philly couple Dorothy and Sean Turner (Ambrose and Kebbell) are reeling after the death of infant son Jericho, with Dorothy turning to a therapeutic baby doll to deal with her grief. When a mysterious stranger enters their home – and the doll suddenly springs to life (or does it?) – things get very, very creepy.Why It Deserves an Emmy: In the up-and-down career of M. Night Shyamalan, Apple TV+’s Servant is among the peaks. Shyamalan executive produced the series and directed two episodes, and his expert sense of slow-moving dread is the show’s signature. Never truly scary, but always unsettlingly “off,” the Certified Fresh 10-parter may progress too glacially for some, but patient viewers will be rewarded with some of the last year’s best WTF moments, a moving dive into parental grief, and an embarrassment of great performances. Ambrose in particular is in top form as Dorothy, the grieving, delusional, and occasionally hysterical mother, and she is well-matched by the mesmerizingly quiet Free, whom Game of Thrones fans will remember as ill-fated Marcella Baratheon and who here plays the “servant” who could hold the answer to the family’s big mystery.Sex Education: Season 2 (2020) 98% | NetflixWho Stars In It: Asa Butterfield, Gillian Anderson, Ncuti Gatwa, Emma Mackey, Patricia Allison, Keda Williams-Stirling, Mikael Persbrandt, Connor SwindellsWhat It s About: An awkward, virginal British high schooler (Butterfield) finds himself following in his sex therapist mother’s footsteps when fellow students begin turning to him for advice on everything from performance anxiety to the intricacies of oral sex. Egged on by bad-girl-with-a-heart-of-gold Maeve (Mackey) and gay best friend Eric (Gatwa), he begins charging for sex therapy sessions.Why It Deserves an Emmy: For evidence that high school shows have come a long way since 90210, turn to Sex Education, one of a number of blisteringly smart, emotionally mature, and consistently surprising school-focused series Netflix has put out over the last couple of years. (Never Have I Ever and On My Block are right up there with it.) What makes Sex Education Emmy-worthy in its second year is that it successfully grew upon its already pitch-perfect first season, handing more of the narrative spotlight over to Maeve (this season dealing with her recovering-addict mom), and to Eric, whose complex attraction to school bully Adam is one of the most beautifully and honestly captured relationships currently on TV. He also remains hilarious. And then of course there’s Anderson as sex therapist and (occasionally) concerned mother Jean Milburn, who is as delicious as she was in season 1 when mortifying Otis with frank sex talk, but gets even more to do in this sophomore outing, including battling the stuffy school principal and liberating his repressed wife – mostly with cocktails. Give her all the Emmys.Evil: Season 1 (2019) 92% | CBSWho Stars In It: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine LahtiWhat It s About: This update to the X-Files’ skeptic-and-believer-pairing procedural sees a psychologist (Herbers) teaming up with a priest-in-training (Colter) to investigate unexplained and seemingly supernatural happenings – most involving heaven, hell, and the church.Why It Deserves an Emmy: Created by The Good Wife and The Good Fight creators Michelle and Robert King, Evil bears the duo’s signatures: It is crazy-smart, mixes fascinating cases-of-the-week with a compelling season-long plot, and is driven by two complex and frequently unpredictable protagonists – neither painted as purely good or… well, evil. What sets Evil apart from nearly anything else on major network TV right now, though, is its flair for the bizarre. (Another feature of the Kings’ – remember the short-lived Brain Dead?) Consider George, the glowing-eyed and strangely eloquent demon who alternately terrorizes and converses with Herber’s Kristen Bouchard in her dreams. Or the series’ villain, manipulative rival forensic psychologist and maybe-not-human, Leland, played by Lost’s Emerson. The actor is the show’s strongest chance at an Emmy nod, but we’re praying – to the good guy – that the overall show gets some love, too.Little America: Season 1 (2020) 95% | Apple TV+Who Stars In It: Conphidance, Haaz Sleiman, Mélanie Laurent, Shaun Taub, Jearnest CorchadoWhat It s About: This Apple TV+ anthology series tells a different story of immigration in American with each episode. The stories are inspired by those featured in Epic Magazine’s Little America collection of true stories.Why It Deserves an Emmy: All eyes at Apple HQ will likely be on The Morning Show come nominations morning, with the mega-budget, mega-star series likely to score nods despite the critical shrug with which it was greeted. (The series is just Fresh on the Tomatometer right now.) In a perfect world, though, those eyes – and all that campaign money – would be directed at Little America, one of 2020’s most beautifully realized and emotionally affecting new titles. And probably the strongest of Apple’s original offerings so far. The show is co-created by The Big Sick writers Emily V. Gordon and Kumail Nanjiani (along with Lee Eisenberg), and that film’s sense of humanity, empathy, humor, and warmth ripples through its eight episodes. It may not have the star wattage of Apple TV+’s flagship, but Little America deserves its moment in the light.David Makes Man: Season 1 (2019) 100% | OWNWho Stars In It: Akili McDowell, Alana Arenas, Phylicia Rashad, Nathaniel Logan McIntyre, Ade Chike TorbertWhat It s About: Fourteen-year-old David lives in a projects complex in South Florida, where he juggles supporting his hardworking mom, succeeding at a magnet school on the other side of town, and trying not to fall in with a group of local drug dealers.Why It Deserves an Emmy: Often, when critics talk of TV having a cinematic quality, they’re talking about big-budget spectacles; Stranger Things and Game of Thrones, say, felt “cinematic” because of their scale. David Makes Man is as cinematic as any other on TV or streaming right now, but for very different reasons. Created by Tarell Alvin McCraney, who wrote that play that was adapted into Oscar winner Moonlight, the series is a semi-autobiographical look at his formative years, told with a confidence, inventiveness, and a daring usually reserved for only the most lyrical of indie films. Which is not to say David is inaccessible or obtuse: The story that unfolds over its 10 episodes is a gripping and relatable tug of war, and at its center sits a fierce and star-making turn from McDowell as David. Season 1 of the OWN series is now available on HBO Max, and we’re confident that as more people discover it, the show’s 2021 chances for Emmy glory will rise exponentially.Dark: Season 2 (2019) 100% | NetflixWho Stars In It: Louis Hofmann, Lisa Vicari, Maja Schöne, Andreas Pietschmann, Karoline Eichhorn, Jördis Triebel, Paul Lux, Moritz Jahn, Gina Stiebitz, Oliver MasucciWhat It s About: Officially, it’s about the disappearance of two young children in the small German town of Winden and the double lives and fractures the incident exposes between four families. But you’ll quickly learn it’s so much more than that – thinking caps on, and pay attention.Why It Deserves an Emmy: Why does Dark deserve all the Emmys we know it doesn’t stand a child’s-chance-in-Winden of winning? Because it did the seemingly impossible with its Emmys-eligible second season: It’s a complex, mind-bending, brilliantly confounding sci-fi phenomenon that actually just got better upon its return. The German series’ second season is 100% Certified Fresh and deservedly so, having expanded on the first season’s signature thrills and atmosphere, fleshed out its rich mythology, upped its levels of ambition, and all while never losing focus on character and emotion. There’s a reason Dark fans are so hardcore (yes, guys, we see you voting on those polls): this German gem is that damn good. And, as anyone who has seen the just-released third and final season knows, Dark also sticks the landing. Watch out Emmys 2021.What We Do in the Shadows: Season 2 (2020) 98% | FXWho Stars In It: Matt Berry, Kayvan Novak, Natasia Demetriou, Harvey Guillen, Mark ProkschWhat It s About: A suburban comedy about four Staten Island roommates — who are vampires. The series, shot like a reality show with interviews and asides made to the ever-vulnerable camera crew, is based on the 96% Certified Fresh 2014 movie of the same name that starred film and series creators Jemaine Clement and Taika Waititi.Why It Deserves an Emmy: Stars Berry, Novak, and Demetriou bring the undead to hilarious life in tackling the trials and tribulations of the modern-day vampire, with Proksch portraying the fourth roommate, an energy vampire, who sucks the life out of every party office workplace every house meeting of his bloodsucker roommates, and Guillen is Guillermo, the overtaxed and underappreciated human familiar of vampire Nandor (Novak). Few ensemble comedies can reach such heights of ridiculous and sublime with such seeming ease. We re so sure that this unlikely award candidate deserves an Emmy, in fact, that we actually bet the Television Academy will grace it with a nomination.The Great: Season 1 (2020) 88% | HuluWho Stars In It: Elle Fanning, Nicholas Hoult, Phoebe Fox, Sacha Dhawan, Charity Wakefield, Adam GodleyWhat It s About: This semi-true series focuses on a young newly married Catherine The Great s first days in Russia before she deposed her husband on her way to becoming one of the most celebrated monarchs in history.Why It Deserves an Emmy: The Favourite co-writer Tony McNamara proved in his Oscar-nominated script about Queen Anne that he could deftly navigate dark comedy and drama while operating within the confines of a historical tale. For his new Hulu series The Great, he applies that award-winning formula to the ascension of Russian Empress Catherine the Great. The result is a hilarious satire that feels eerily topical despite being set more than 200 years in the past. Hoult, who was equally as entertaining in The Favourite, shines as the oafish and debauched Emperor married to the guileless-turned-ruthless Catherine, played by Fanning. The lavish costumes and production design serve as a stark contrast the obscurity of those forced to bend to the whim of an incompetent leader who values perceptions of strength and being liked over trying to govern responsibly. Still, there is cutting and poignant social commentary about feminism, trust in scientific fact, and the folly of war between all the laughs. As the disclaimer states in the opening credits, The Great is an occasionally true story — it s also eternally fun and more than worthy of awards for several categories.Mindhunter: Season 2 (2019) 99% | NetflixWho Stars In It: Jonathan Groff, Holt McCallany, Anna TorvWhat It s About: A child s murder propels season 2 of Mindhunter, the serial killer series set in the late ’70s and early ’80s about the development of the FBI s criminal profiling division. The second season explored the work of serial killer Wayne Williams in the case that would become known as the Atlanta Child Murders. The series was created by The Road screenwriter Joe Penhall with executive producers including Gone Girl director David Fincher and Oscar-winning actress Charlize Theron. Fincher also directed the first three episodes of the season.Why It Deserves an Emmy: A wealth of talent from creators to stars and beyond make this Netflix series a cinematic-quality drama. Its already-impressive Tomatometer score improved from season 1 to season 2 to a Certified Fresh 98%. Season 1 scored at least one nomination: Cameron Britton for Outstanding Guest Actor in a Drama Series for his role as serial killer Edmund Kemper (the Co-ed Killer ). That the series second season and its stars aren t considered favorites for a nomination is one of the biggest crimes of Emmy season.The Boys: Season 1 (2019) 84% | Amazon Prime VideoWho Stars In It: Jack Quaid, Karl Urban, Antony Starr, Elisabeth Shue, Erin Moriarty, Jessie T. Usher, Dominique McElligott, Chace Crawford, Nathan Mitchell, Laz Alonso, Tomer Kapon, Karen FukuharaWhat It s About: The Boys imagines a world in which superheroes are drunk on their own powers and are used as assets bought, sold, and rented out by a corporate overseer. A rag-tag group of vigilantes take on The Seven, as the main superhero team is known, to lethal and often hilarious ends.Why It Deserves an Emmy: There isn t an Emmy for Badass ? That s a shame, because The Boys is the most inventive ensemble adventure to come to screens — small or large — possibly ever (sorry, Avengers). Its subversion of the comic book world s superhero tropes calls for recognition beyond Comic-Con cosplay and fanboy/girl obsession.
4. 呼朋唤友 随心所欲
(Photo by DC Universe)Click her to see the full image in a new tab.DC Universe turned up the heat at WonderCon on Friday with a slew of updates about their exclusive originals, including revealing the first official look at Stargirl from Berlanti Productions and Mad Ghost Productions in association with Warner Bros. Television. (See the full photo below.)Brec Bassinger appears in the series as Courtney Whitmore, aka Stargirl. The show will debut early 2020 on DC Universe, with character creator Geoff Johns serving as showrunner.DC also announced that James Wan and Len Wiseman are among the producers to bring the famously grotesque and cosmic book Swamp Thing to life, with a focus on Abby Arcane as she investigates a pathogen derived from a Louisiana swamp and what she finds lurking beneath/within/a part of that primordial soup. The series will debut May 31.Titans will return for a second season in fall 2019. Recent casting announcements have unveiled an exciting slate of characters for season 2, including Joshua Orpin as Conner Kent (aka Superboy); Esai Morales as Slade Wilson (aka Deathstroke); Chella Man as Joseph Wilson (aka Jericho) and Chelsea Zhang as Rose Wilson (aka the Ravager).Animated series Harley Quinn will premiere later in the fall season, following Titans.Before that, expect to see Krypton unveil its season 2 premiere in the summer on Syfy. If you re not caught up yet, season 1 will be available on DC Universe on Friday, April 5.If you believe in truth and are also a big fan of justice, check out the 11th Justice League animated movie, Justice League vs. The Fatal Five on April 16 on the streaming service, which will see as the 4K Ultra HD, Blu-ray, and DVD release the same day.Finally, Young Justice: Outsiders returns July 2 to finish the rest of the season.
5. HD 画质与高品质音讯
8.67.8 3月喜迎The Florida Project Director Sean Baker Debuts Latest to Rave Reviews(Photo by Pascal Le Segretain/Getty Images)Wednesday, July 14: The Florida Project director Sean Baker is the focus of our final installment of the Cannes Ketchup. The festival will continue until Saturday with an award ceremony on Friday, but we will end our daily French Dispatch with the premiere and reactions from Baker s Red Rocket. The Tangerine helmer s latest like his previous films is an urban fantasy about a group of people who exist in the margins of society, particularly those who work in the sex industry.This time around, his subject is a narcissistic former porn star turned suitcase pimp down-on-their-luck (usually homeless) hustlers who prey on women to fund them under the guise of being cared for. We follow one who returns home to the Texas gulf after his dreams of porn star glory are dashed out in Los Angeles. Mikey Saber (Simon Rex) may have hit a rough patch, living with his estranged wife, but thanks to a donut counter girl he meets three weeks shy of her 18th birthday, he sees dollar signs in his future.Baker himself has admitted that he expected backlash due to the subject and general lack of accountability for doing dirty deeds, but so far, that has not been the case. Jo-Anne Titmarsh of HeyUGuys wrote, Baker s skewering of modern life is as vibrant and bleak as ever. He elicits some phenomenal performances, through which we see the hollow heart of the America dream. An interesting film to try and peg for end-of-year awards, it will undoubtedly have success at the Independent Spirit Awards, with possibly just enough for an Oscar push for Best Original Screenplay or Rex for Best Actor. Jury President Spike Lee also seemed to be a fan, marking this one a possible dark horse for the Palme d Or. Come back to Rotten Tomatoes on Monday for our festival wrap-up on the best things we saw at Cannes and where you can watch them.Blue Bayou and Aline Impress; Titane Brings Truly Bats t Energy(Photo by Dominique Charriau/Getty Images)Tuesday, July 13: The cast of The French Dispatch had to assemble quickly after the premiere for an early morning photocall on Tuesday, and while everyone opted for a laid-back look, the film, which is Fresh at 88% on the Tomatometer, is still the toast of the town. Later in the day, Justin Chon brought his latest effort, Blue Bayou, to Cannes, and it was received well by critics. Iana Murray of The Playlist wrote, What Blue Bayou does wonderfully in these quiet moments is illustrate that being Asian is not a one-size-fits-all identity but a vast tapestry of different cultures. Chon wrote and directed the feature as he has for all of his previous films, and this time around, he plays a Louisiana man who learns he was adopted illegally and now faces deportation. The Focus Features film looks to hit theaters in September, just in time for an awards season/festival run.(Photo by Carole Bethuel)After its trailer lit up the Twittersphere a few weeks ago and neared cult status among Dion/pop music fans around the globe, the highly buzzed-about unofficial Celine Dion biopic Aline was also surprisingly well received, with Vanity Fair s Richard Lawson noting the film accesses what lies at the heart of Dion as a public figure: she s a bit of a weirdo, goofy and corny and gaudy and fabulous. Aline would have been the hottest topic of the day if it weren t for the film that closed it out, as Julia Ducournau took the shine off everyone with Titane. If you caught and enjoyed Ducournau s first feature, Raw, you will feel right at home with her follow-up, a truly bats t film that features, among other things, vigorous sex with a car, impregnation of said car, a serial killer orgy takedown, and, best of all, the 1990s one-hit wonder Macarena making a triumphant and lifesaving appearance.so many walkouts and shrieks of horrified, delighted laughter during Titane… genuinely demented, totally original body horror serial killer car sex buddy movie… Julia Ducournau you’re truly crazy for this one and I love u rachel handler (@rachel_handler) July 13, 2021Star-Studded Cast of The French Dispatch Wows the Crowd(Photo by Pascal Le Segretain/Getty Images)Monday, July 12: Last night’s premiere for The French Dispatch was the first gala with the electricity and vibrancy of pre-pandemic times. The cast all rode together in a throwback party bus to the Grand Lumiere Theatre, where the assembled crowd was treated to selfies and autographs from the cast members who disembarked. Bill Murray, Timothée Chalamet, Tilda Swinton, Benicio Del Toro, Owen Wilson, Adrien Brody, and director Wes Anderson were greeted with loud cheers as they made their way up the red carpet steps.The film stitches together a series of vignettes related to the final issue of a Kansas newspaper’s French edition. Possibly the most hyper-stylized film of his career with plenty of his signature shots, The French Dispatch dazzled the audience. Festival attendance is significantly down this year with less than half of the delegates from last year present, so many galas have had to close the balcony to fill seats. This was not the case here, as the premiere of Wes Anderson’s tenth feature filled every seat of the grand theater with many outside still hoping for a ticket.The reception has been overwhelmingly positive, with Jessica Kiang of The Playlist calling it, “A work of such unparalleled Andersonian wit, that at times the sheer level of detail mobile, static, graphic and typographic that bedecks the screen will slacken your jaw in awe.” This is one of several films Searchlight will have in contention for the Oscars, but a gorgeous love letter to journalism could be their best bet to repeat after winning last year with Nomadland. Check out our round-up of first reviews to hear what else critics are saying about The French Dispatch.Spike Lee Catches the Euro Cup Between Screenings(Photo by Stephane Cardinale - Corbis/Getty Images)Sunday, July 11: The weekend gave us a flurry of Palme d’Or contenders that many are betting will be favored by the Jury led by Spike Lee. Lee himself still managed to balance a bit of football time between screenings at the Kering Women in Motion dinner. Huddled with some other Croisette A-listers, Lee tried to see what he could from a tablemate’s cell phone before the event organizers wheeled out a television with the Italy vs. England Euro Cup Final on screen.Viva la cinema! Spike Lee pulled up a chair and watched the soccer game during the Kering Women in Motion dinner. #Cannes2021 pic.twitter.com/GQzkK2hw9y Ramin Setoodeh (@RaminSetoodeh) July 11, 2021While the two football clubs battled it out, Ryûsuke Hamaguchi’s Drive My Car debuted to rapturous reviews, with many calling it the best of the festival. The three-hour epic road-trip film centers on a theater director and his chauffeur as the pair build a friendship to heal past trauma along the road. Other favorites of the day were Compartment Number 6 and The Worst Person in the World. Compartment Number 6, which takes place on a fated train ride to somewhere near the top of the world, had many remarking on its inventive plotting. Todd McCarthy of Deadline noted it was filled with “vivid emotional twists and turns that are charted with unusual acuity. THE WORST PERSON IN THE WORLD is one of the best films i’ve seen so far at an exceedingly excellent cannes and i can’t wait to see it again and again. review for the playlist here! https://t.co/Wcc0kyLOYH iana murray (@ianamurray) July 9, 2021The Worst Person in the World hits on more of a comedic note, but it is often just as tragic as the tense train ride in Compartment Number 6. Richard Lawson of Vanity Fair wrote that this new melancholy romance for aimless thirtysomethings is a journey that finds such beauty in all the emerging grain and variation of being alive. These may be the ones to beat midway through the festival, but we still have several noteworthy entries ahead, including Wes Anderson’s The French Dispatch and Sean Baker’s Red Rocket. Sean Penn Makes a Hopeful Return to Cannes(Photo by Lionel Hahn/Getty Images)Saturday, July 10: Sean Penn returned to Cannes hoping to erase his previous trip with The Last Face, which was booed and noted by some as the worst film to ever screen in competition. This time, Penn directs and stars as a father to a young girl in Flag Day, as told in chapters over several years. The narrative begins in the 1970s and follows the daughter (played by his real-life daughter, Dylan Frances Penn) from youth to adulthood as she grapples with the realization that her father is an inveterate conman, even as she loves him deeply. While this is a step up from his last effort, initially favorable reviews for the film have cooled to a more mixed reception, and the most memorable thing to come out of the Cannes premiere of Flag Day will most likely be Penn’s pointed comments on the American COVID response.Jodie Turner-Smith Lights Up the Red Carpet(Photo by Lionel Hahn/Getty Images)Thursday, July 8: The first night of the festival with palpable buzz kicked off when After Yang star Jodie Turner-Smith lit up the red carpet ahead of the film’s premiere. The Queen Slim star was the living embodiment of the word statuesque, draped in a strapless Gucci gown with a black vinyl and crystal bustier over a cream skirt with yellow crystal embroidery and canary yellow ostrich feathers. It was a fitting ensemble for a film that also captured the attention of critics here on the ground, where it is still Fresh at 89% after a handful of reviews.It only took until day 3 but AFTER YANG is the first #Cannes2021 film to make me ugly cry. Without a doubt the best movie about AI since Ex Machina, and a beautiful exploration of memories, family, being an immigrant, and humanity. Rafael Motamayor @ Cannes (@RafaelMotamayor) July 8, 2021The film is a delicate tearjerker with lofty ambitions as it attempts to dissect grand notions about grief, death, identity, and ethical technology, and many are already pegging it as an early favorite for the Un Certain Regard competition. Director Kogonada’s (Columbus) second feature film also stars Colin Farrell, Haley Lu Richardson, newcomer Malea Emma Tjandrawidjaja and The Umbrella Academy s Justin H. Min as the family AI, which suddenly malfunctions.Stillwater Earns a Standing Ovation That Brings Matt Damon to TearsThursday, July 8: Premiering just after After Yang was the Focus Features film Stillwater, which will hit theaters in just a couple of weeks. Starring Matt Damon as an Oklahoma oil rig worker out to free his daughter from prison in Marseille after she is convicted wrongfully, she claims of murder. Stillwater was well received by critics it s currently Fresh at 88% and Damon, who wiped away tears during the film s standing ovation, was clearly touched and surprised by the rapturous reception from the festival crowd. Carrying the entire narrative while sporting a thick Oklahoman Accent, Damon could be a play for Best Actor at end-of-year awards. Couple this with the fact that it s the first film from director Tom McCarthy since 2015 s Best Picture-winning Spotlight and it will undoubtedly end up in the conversation.(Photo by A24)Also gaining significant buzz yesterday was Joanna Hogg’s follow-up to her previous feature, The Souvenir. The Souvenir: Part II is a continuation of her semi-autobiographical tale about a romance between a film student named Julie and a heroin addict. It picks up shortly after the events of the first film, as Julie attempts to translate what she experienced into a narrative feature; a meta premise that is masterfully executed. Honor Swinton Byrne reprises her role as Julie, and she is joined by her real-life mother, Tilda Swinton, who has five features at the festival this year, including Wes Anderson s highly anticipated The French Dispatch.Well, so THE SOUVENIR II is not just masterful, it s the kind of masterful that retroactively engulfs and electrifies the already-very-good THE SOUVENIR,reshaping it, too, into a subtly different magnificence. Jessica Kiang (@jessicakiang) July 8, 2021Day Two: A Pair of Docs Are the Talk of the TownWednesday, July 7: Day two of the first Cannes Film Festival back from the pandemic saw things get into the groove. After sparse mask compliance on day one, the staff at the Grand Lumiere Theatre seemed to make more of an effort to remind patrons to comply with the mask-always-on mandate. This was a welcome action, as a COVID-19 outbreak would be the worst possible outcome for a festival that seems to have made considerable efforts to keep the events safe.However, day two wasn t all about compliance or daily COVID tests; the two most talked-about films were English language documentaries. Todd Haynes presented an artful time capsule chronicling the history and influence of the iconic counterculture band The Velvet Underground. Rodrigo Perez of The Playlist wrote, Todd Haynes striking and daring The Velvet Underground doc is as jagged, artful and unconventional as the iconoclastic art-rock group itself. With just a handful of reviews in so far, it s currently at 100% on the Tomatometer, placing it atop our Cannes Scorecard, followed closely by yesterday s other highly buzzworthy doc, Val, which centers on actor Val Kilmer. Kilmer himself tweeted his followers looking forward to “sharing [his] life s story with all of you.”It feels like yesterday and yet it has been a lifetime. As I write this, my documentary is getting ready to premiere at Festival De Cannes. And as grateful as I am for being selected with this high honor, I look forward most to sharing my life s story with all of you. Val Kilmer (@valkilmer) July 6, 2021In May, Amazon Studio acquired the US and North American distribution of Val from A24, then just hours before the film screened at Cannes, Amazon released a compelling trailer for the intimate doc. Chronicling the highs and lows of Val Kilmer s four decade-long career, Val uses deeply personal archival footage shot by Kilmer himself along with contemporary interviews to give a fuller picture of his unflappable spirit and the man we meet off screen. This raw, wildly original, and unflinching documentary reveals a life lived to extremes and a heart-filled, sometimes hilarious look at what it means to be an artist and a complex man, writes Jen Maravegias of Pajiba.Adam Driver and Marion Cotillard Are Pioneers for Simulated Sex on Screen(Photo by Toni Anne Barson/Getty Images)Tuesday, July 6: Annette, the new rock opera starring Adam Driver and Marion Cotillard, seemed destined only to flourish in the sunlight of the French Riviera, and we have to ask, Would that be such a bad thing? Driver, who returns to open Cannes as he did in 2019 with Jim Jarmusch s The Dead Don t Die, has made a few headlines in just mere hours. His co-star Marion Cotillard helped him out by proclaiming him as the Neil Armstrong of musical cunnilingus, going as far as to say, We found ourselves singing in very complicated positions, doing back-crawling or mimicking cunnilingus; acrobatic positions that technically modify your song. Whether this choice was authentic realism or merely a sex sells ploy has somewhat split critics, but the first English-language feature from Leos Carax currently sits at 90% on the Tomatometer and enjoyed a 5-minute standing ovation on opening night, so who s to say it mattered? During that ovation, Driver made his second batch of headlines by lighting up a cigarette another moment only possible in Cannes.We are on Minute 5 of the ANNETTE standing ovation and Adam Driver has begun smoking a cigarette pic.twitter.com/F56r0W0nGL Kyle Buchanan (@kylebuchanan) July 6, 2021Despite the upbeat trailer we saw a few weeks ago, Annette is a more dour affair than the opening pop song So Can We Start would have you believe. The catchy earworm penned by the Sparks brothers, along with all of the film s music, is a compelling entry for the Best Original Song at the Oscars, but that would be the only tune of Anette that could aspire to such heights. Bizarre, heady, moving, and ridiculous all in the same moment, the film was summed up best by Ed Potton for Times (UK) sums, who called it an anti-La La Land with dashes of Pinocchio, a fitting curtain-raiser to a Cannes like no other. If that sounds like your cup of tea, or maybe you just wanna see Kylo Ren go down on someone while intermittently crooning, be on the lookout for it when Amazon releases the audacious rock opera stateside later this year.Day One: Cinema Returns to Cannes(Photo by Daniele Venturelli/Getty Images)Tuesday, July 6: Cinema on The Croisette (the affectionate name for the area in Cannes where the world gathers to see the best in cinema) is back; festival director Thierry Frémaux said as much in his opening night remarks. Frémaux and his team dared to dream the impossible dream an in-person premiere film festival and then made that dream come true. The stars and press have now gathered after rigorous testing and COVID protocols, and for the most part, things look to be on track for a seamless event. That was the sentiment everyone who took the stage on opening night wanted to convey: We are here. At the opening ceremony, Bong Joon-ho, last year s Palm d Or winner for Parasite, and 2021 Honorary Palm d Or recipient Jodie Foster were joined by this year s Jury President Spike Lee and director Pedro Almodóvar to officially kick things off with one word spoken in Korean, French, Spanish, and English: Open. While the same could not be said for the issue-plagued Cannes ticketing website, however, which faltered most of the day Tuesday, even that failed to dim the intoxicating air of this year s festivities. The program is much as it has always been but also something entirely new, overcrowded but now with a (mostly) masked audience, bureaucratic but now paying careful attention to testing and (most of) ticketing. And the event organizers look to have pulled it off. The opening night film and a few soirees have gone off without a hitch. But the big questions are yet unanswered, namely which film will be the one to rise above the rest. Follow along with us here to find out.Check-in daily for more updates from the Cannes Film Festival.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by (c) Touchstone courtesy Everett Collection)On November 19th, 2004, the world was introduced to National Treasure, a PG-rated yarn about a guy named Benjamin Franklin Gates (Nicolas Cage), his “man in a van” Riley (Justin Bartha), and a sorta-kidnapped archivist named Abigail (Diane Kruger) hunting down a fabled Templar treasure. The 131-minute movie was a wonderful breath of fresh throwback air that was unapologetically dorky, stuffed with earnest “aha” moments, and totally cool with readily available bowls of lemons.The Jon Turtletaub (Cool Runnings, While You Were Sleeping, The Meg)-directed movie made 3 million domestically and 7 million at the worldwide box office (0 and 2 million when accounting for inflation), and in 2007 was followed up by the 1 million dollar-grossing National Treasure: Book of Secrets. Sadly, there was no Ottendorf cipher that led to an intricate map that helped conclude the trilogy when lemon juice was squirted on it. Because of this, we’re left with only two big-budget original movies that countless history teachers undoubtedly show their students when they need a nap.Fifteen years later, National Treasure is still a delight that we’ll watch whenever it’s on (and it’s on all the time), and in honor of its anniversary we’re providing five reasons why it’s so unforgettable.1. IT TELLS AN ORIGINAL, PG-RATED STORY THE WHOLE FAMILY CAN ENJOY(Photo by (c) Touchstone courtesy Everett Collection)When National Treasure was released in late 2004, it pulled in an impressive million in its opening weekend and quickly became Nicolas Cage’s highest domestic-grossing live-action film (until the 2007 sequel). It also received an A- CinemaScore and earned a 76% Audience Score on RT, and it was regarded as a “four quadrant” film that brought in adults, families, couples, and the all-important 18- to 24-year-olds who were drawn in by the treasure hunt plot. Produced by Jerry Bruckheimer (Pirates of the Carribbean: The Curse of the Black Pearl, Con Air), National Treasure went on to lead the box office for three weekends and was the highest-grossing movie for 20 straight days.The fact that a PG-rated Disney movie that wasn’t a sequel, a remake, an animated film, or a theme park ride made 3 million domestically is super impressive. In the 21st century, only a select group of original PG-rated movies, like Night at the Museum, The Greatest Showman, and My Big Fat Greek Wedding, managed to clear the 0 million mark.Critics may not have appreciated it at the time (it s at 46% on the Tomatometer), but parents, teenagers, Nicolas Cage fans, and history buffs showed up in droves to watch a movie that never stopped long enough to get boring, dropped “Weird Al” Yankovic references, and featured characters using smarts and deductive logic to defeat a small army of well-armed but not-too-bright thugs. National Treasure must have seemed like an early Christmas gift for people who wanted to avoid cynical holiday movies like Surviving Christmas and Christmas With the Kranks.2. IT S UNABASHEDLY DORKY AND LOTS OF FUN BECAUSE OF IT(Photo by (c) Touchstone courtesy Everett Collection)National Treasure may not be historically accurate, but its earnest tone and unabashed dorkery made it lots of fun. When Gates says, “I’m going to steal the declaration of independence,” he kicks off a rip-roaring treasure hunt that embraces absurdity and probably made a lot of people think twice about touching certain numbers on keypads (you know the moment). Benjamin Gates is nowhere as cool as Indiana Jones or Lara Croft, and he doesn’t care. He simply wants to fulfill his family legacy, prevent bad guys from getting their hands on ancient treasure, and go on a spending spree at an expensive clothing retailer with money he stole from his father Patrick (an immensely likable Jon Voight).The big thrills don’t come during the chase scenes that feature speeding food trucks, they happen during the goofy mental gymnastics the characters undertake to move from one plot point to the next. One of the best moments occurs when Riley (the ostensible sidekick) recognizes the key to a clue before Gates does; hearing him say “I know something about history that you don t know. Hold on one second; let me just take in this moment,” never ceases to make us smile.And in the end, how do Gates and crew get rid of the baddie Ian Howe (Sean Bean) and his henchmen? They spin a yarn and send them off after a red herring while they locate the real treasure. No punches are thrown, no stuffed bunnies are harmed, and most importantly, there are zero crystal skulls. The nice guys win, the bad guys are eventually arrested, and the gang live happily ever after as millionaires after they share their multi-billion-dollar discovery with the world.3. NICOLAS CAGE’S ENTHUSIASM IS CONTAGIOUS (Photo by (c) Touchstone courtesy Everett Collection)National Treasure and its sequel work because of Nicolas Cage’s enthusiastic portrayal of a treasure hunter who is smarter than everyone else and knows way too much about the security systems at the Library of Congress — and its preservation room. In the beginning of the film, when he finds the Charlotte, a legendary boat in the middle of the arctic (it’s explained brilliantly by Riley), he is momentarily stymied. However, after an intense moment spent talking to himself, he comes to the correct answer (it was iron, it was firm, it was resolved, it is the Declaration of Independence!). Sure, the moment is silly, and yes, those “aha” moments continue to come fast and heavy thereafter. However, with Cage at the forefront, you don’t mind. He makes you feel like the meerschaum pipe he finds inside the Charlotte, for example, is the coolest thing ever, and you legitimately appreciate “the intricacy of the scrollwork on the stem.”Cage still loves the character, and recently on his press tour for Primal, he said he’d love to revisit Ben
(Photo by ©2021 Disney Enterprises Inc.)Cruella, which opens May 28 in theaters and on Disney+ Premier Access, is Disney’s latest attempt to raid its archives and create a backstory for one of its most notorious villains.But unlike, say, 2014’s Maleficent, which kept the medieval aesthetic as source material Sleeping Beauty, this film explores an era that makes Emma Stone’s eponymous lead narrator stand apart from versions of the black-and-white loving fashionista Cruella de Vil associated with Disney’s 1961 animated film, One Hundred and One Dalmatians, and its 1996 live-action version, 101 Dalmatians.How did they do this? By setting Cruella amid London’s 1970s punk scene.But since the word “Disney” doesn’t naturally conjure images of leather pants, spiked hair, and all the black eyeliner one could find at Boots, we asked the film’s production designer Fiona Crombie, costume designer Jenny Beavan, and hair and makeup designer Nadia Stacey to explain how to do a Mickey Mouse-approved version of punk rock.[Warning: Mild spoilers below.]Born for This Job(Photo by Laurie Sparham/©2021 Disney Enterprises)At the beginning of the film, a tween Cruella – originally known as Estella and played by Tipper Seifert-Cleveland – has a knack for clothing design. She even finds ways to add personality to her school uniform, be it accessorizing it with an oversized hat, bedazzling the blazer, or wearing the necktie as a bow – things that would match the personality of a girl born to get attention thanks to her half white and half black hair.Costume designer Beavan says that these designs weren’t meant to be perfect; Estella is just learning her craft, but it’s meant to be obvious that “she’s creative with clothing.” As Estella gets older and finds a job working for Emma Thompson’s well-regarded fashion designer, Baroness von Hellman, Beavan says the character “slowly hems and refines that look.”A Formidable Flat(Photo by ©2021 Disney Enterprises)Estella spends most of her childhood and young adulthood in a London squat with best friends and fellow con artists Jasper (Joel Fry) and Horace (Paul Walter Hauser). They also have two very cute dogs, neither of which are white with black spots.“There was a time when you had these enormous buildings that are quite derelict that were still the scars of the Second World War; there were big empty sections of now what s known as completely prime real estate,” production designer Fiona Crombie says of London during the film’s period.She says it was important to the story of three kids living without parental supervision that “there s an ingenuity to how they operate… This was their home that they were making; they knew how to survive and operate in this city.”Crombie says director Craig Gillespie also stressed how important it was “that the lair can’t be frightening” and that “it has to be a place that if you were a child, it has wonder.”The group’s squatter’s flat is made from two buildings mashed together after the wall that separates them was broken down. Horace and Jasper live in a more industrial section while Estella lives near the kitchen. Since Gillespie and cinematographer Nicolas Karakatsanis would be filming in what Crombie describes as a “very fluid” motion, she made sure that every inch of the space held something of interest.Her favorite part? “I love the fact that we have a big hole in the ground,” she laughs.Baroness Beauty(Photo by Laurie Sparham/©2021 Disney Enterprises)Hair and makeup artist Naomi Donne handled the designs for Thompson’s cutting, fame-obsessed Baroness von Hellman, developing the look off of hair and makeup designer Nadia Stacey’s inspiration of Elizabeth Taylor in the 1950s. There’s also some subtle white highlights in the Baroness’ hair, which Stacey says are a nod to just how similar she and Cruella are.Vintage Vantages(Photo by Laurie Sparham/©2021 Disney Enterprises)Estella also makes friend with Artie (John McCrea), the owner of an extremely well curated vintage clothing shop. This set was actually a gift shop on Portobello Road in London’s Notting Hill neighborhood, which Crombie and her crew emptied out and repurposed with new wallpaper and painting. They didn’t have to look far to fill the shelves though; they bought a lot of clothes from the real shops that are in the neighborhood.“With Artie’s shop, it was always going to be visually chaotic,” Crombie says, “because you have racks of clothes. And that s the intention: that you feel kind of all these possibility that in that space. It feels very authentic to what’s on that street.”The Scoop on the Ace Reporter(Photo by ©2021 Disney Enterprises)Estella’s former school chum Anita (Kirby Howell-Baptiste) grows up to be a society reporter with exclusive access to a certain up-and-coming designer. Beavan and her team found modern fabric that still gave Anita a ‘70s look and reminds that, back then, more people made their own clothes with patterns and that “we were all much cleverer at making things then.”Production designer Crombie says Anita’s drab, colorless newsroom is one of the few sets where she says “we are nailing this ‘70s vibe” with evenly spaced desks and little artwork on the walls “so that you’ve got this run of uniformity.”Making the Panther De Ville Purr(Photo by Walt Disney Studios)Cruella gets her hands on a Panther De Ville luxury car that’s similar to the one the character drives in the Disney’s live-action 101 Dalmatians. The one in the new movie looks slightly different, as Crombie says they made tweaks to make it better suit her film’s aesthetic. They even altered the plot of the movie to have Cruella and her friends change the color of the car to black because it originally arrived in such a unique tone that they had to make use of it.Although she wasn’t a car person before she worked on Cruella, Crombie says she grew to love this and other vehicles in the movie because “I think they have real wit … [T]hey have real personal personality and presence in the film.”Eye See You(Photo by ©2021 Disney Enterprises)Hair and makeup designer Stacey posted pictures of Siouxsie Sioux around her workspace as inspiration for Stone’s lead, saying now that she liked that the The Banshees lead singer’s “eye makeup had this very distinct, very square eyebrow shape.” However, her goal was to “bring in those punk elements and then blend it out, to soften it to give a beauty edge to it.”Stacey says she also “looked at any of those fashion shows that I feel do something different,” such as the ones by fashion houses Alexander McQueen, Vivienne Westwood, or John Galliano. Her goal, she says, was to “look at all these references from the past because we are a period film but then change it and to mix it up, to add something a bit more fresh and modern to it.”Pucker Up(Photo by Laurie Sparham/©2021 Disney Enterprises)Red is used a lot in Cruella, particularly in the clothing and makeup. However, it’s also a color that is notoriously hard to accurately capture on screen. Stacey says it was a lot of trial and error with MAC products, coupled with the fact that star Emma Stone’s skin can take heavy coloring. (Incidentally, MAC also launched a capsule makeup collection inspired by the looks in Cruella). Stacey says she knew it was essential to get it right because “we did want a kind of killer red.”Seeing Red(Photo by ©2021 Disney Enterprises Inc.)Although Beavan researched this period in fashion to gain inspiration, all of the gowns were bespoke and were not all direct replicas of vintage designs. An example of one that was the red gown Cruella wears to crash the Baroness’ ball, which is rooted in the Charles James Tree dress from the 1950s, famous for its corseted silhouette that’s encircled with winding tulle.(Photo by ©2021 Disney Enterprises)For the film’s take on the Tree dress, dress designer Ian Wallace had the dual task of making one version of the gown that the Baroness would have designed years ago but that, Beavan notes, “would have to have enough fabric to do something Cruella-ish,” because the younger designer reimagines the gown when she crashes the ball.Stacey says she also knew she had to make a statement with this scene because it signals the end of the era of Estella, the orphan and petty thief, to welcome in the not-to-be-deterred (and frequently criminal) mastermind, Cruella. She says she created Cruella’s mask of feathers and jewels to have a beauty element and serve the purpose of hiding her alter ego.Leather Rip(Photo by Laurie Sparham/©2021 Disney Enterprises)As Cruella continues to taunt the Baroness with more elaborate stunts and designs, she also brings in more of the street fashion and counter-culture of the 1970s. In one scene, she crashes a red carpet in leather pants with gold sequins, a fitted motorcycle jacket with pointed shoulder pads and the words “The Future” spray painted over her eyes.“It s the first red-carpet moment and it needed to be a real punch,” Stacey says. “I had the Sex Pistols album cover [Nevermind the Bollocks] on the wall near me, and the font of the writing for the Sex Pistols is the same font that I use on the on The Future, and I just thought maybe I ll just run it across the face but to airbrush it as well, almost like it s been spray painted across their face so it s harsh and graphic.”(Photo by Laurie Sparham/©2021 Disney Enterprises)Beavan says the exaggerated shoulders on the motorcycle jacket were because Cruella “wasn t about doing anything normal” and “by this time, she’s really learned to make [designs] well.”It’s here, Beavan says, that there begins to be a push toward the way costume designer Anthony Powell made the character look when Close played her in 1996’s 101 Dalmatians.Spotted on the Catwalk(Photo by ©2021 Disney Enterprises Inc.)No actual Dalmatians were harmed in the making of Cruella’s dresses – in fact, Beavan didn’t use fur of any kind. But the script did call for the nefarious lead to make her mentor-turned-enemy, the Baroness, worry that she’d murdered her dogs. So Wallace designed a black and white-patterned gown that Beavan’s textile team printed on a velvet-like fabric.“A lot of these things come out of the story; what you need and how it s got to work,” says Beavan. “She’s obviously going to dance in it and it needed movement. And it’s really got to be spectacular and obviously, very clearly Dalmatian, because the Baroness thinks she’s killed her Dalmatians to make it.”Since the Baroness now knows that Cruella and Estella are the same person, Stacey says there was no need to hide her antiheroine behind another mask or face paint. Instead, she says she wanted to return to the “very strong punk elements” of Estella’s original eye makeup look while adding “these silver hues inside that just punch up the light in certain moments.”Not As Simple As Black and White(Photo by ©2021 Disney Enterprises)Using so much black and white can be overbearing from a design perspective because the colors contrast each other. Crombie says the trick is balancing “how dense the color is.”She says filming at the Baroness’ home, Hellman Hall, meant creating a palette that was “quite muted” and where “the level of contrast is softened out … it’s cold, but it’s not stark. So then everything can sit on top of that.”Whereas, she says designing the film’s crucial set piece of a black and white ball required “the use of gold [to] sort of diffuse it and stop it from being too stark and hard.”No Joke(r)Ryan FujitaniThe designers know there are Internet pundits comparing Cruella’s designs to that of Batman villains The Joker and Harley Quinn. All enjoy making an entrance, sometimes while wearing white face makeup, dark eye makeup, and a menacing smirk.Stacey understands why there are the comparisons, but says those characters never came up in her research.“The whole thing about punk is that it s just such a mismatch of things,” says the hair and makeup designer. “There s no kind of fluidity to it. It s kind of crazy. The references are borrowed from so many different places that I didn t really think that I was ever going to cross into anything too much.”Beavan reminds that Cruella, in one iteration or another, has “always had half and half. You know, I would say The Joker followed Cruella.”Cruella is in theaters and available on Disney+ with Premium Access on May 28, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Stephan de Sakutin/AFP via Getty Images)The cast of Apple TV+’s workplace thriller Severance just got even more impressive. The show revolves around a company called Lumen Industries, which is involved with helping to improve the idea of work-life balance, and Emmy winner John Turturro will play a longtime Lumen employee named Irving. Meanwhile, Oscar winner Christopher Walken has signed on for his first series regular role ever, playing Burt, Lumen head of optics and design. Patricia Arquette and Adam Scott round out the drama. The series is directed and executive produced by Ben Stiller (Escape at Dannemora)Ozark has added new recurring cast and series regulars for its final season. The Netflix drama starring Jason Bateman and Laura Linney announced that its fourth season, which will be released in two parts, ups Felix Solis and Damian Young to series regulars and Alfonso Herrera and Adam Rothenberg join the cast as series regulars. Bruno Bichir, CC Castillo, and Katrina Lenk join the cast as recurring characters.Tiffany Haddish, Sam Richardson, Zoë Chao, Ben Schwartz, Ike Barinholtz, Ilana Glazer, Dave Franco, Jamie Demetriou, and John Early will star in Apple TV+’s new comedy series The Afterparty, from Oscar winners Chris Miller and Phil Lord. The eight-episode murder-mystery is set at a high school reunion afterparty, and each episode will feature a retelling of the same night told through a different character’s perspective, each with its own unique visual format and film genre to match the teller’s personality.David Spade, Fortune Feimster, and London Hughes will host The Netflix Afterparty, a weekly panel series in which the hosts will discuss a buzzy Netflix TV show or movie, with the series or movie cast. The series will premiere in 2021 and each new episode will premiere on Netflix on Sundays.Jim Gaffigan will play Thunderbolt in season 2 of The CW’s Stargirl. The comedian will provide the voice of the CGI character, “a magical, electrical, fun-loving, wish-granting pink imp from the mysterious land of Bahdnesia.” (EW)Watch also:
Watch: Makeup artist John Caglione Jr. and 42 Entertainment CEO Susan Bonds on creating the look of the Joker, and revealing it to the world.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, makeup artist John Caglione Jr. and Susan Bonds, CEO of 42 Entertainment, break down how the iconic look of Heath Ledger s Joker came to be, and how it was first shown to the world.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: The Dark Knight (2008) 94%It may not have kicked off a cinematic universe, but there’s no denying that Christopher Nolan’s The Dark Knight is among the most important superhero movies ever made – and some would say one of the most important movies, period. Released in the summer of 2008, just a few months after Iron Man, it would go on to earn rave reviews (Certified Fresh at 94% on the Tomatometer), make billion at the global box office, and be nominated for eight Oscars, ultimately winning for Best Sound Editing and Best Supporting Actor for Heath Ledger. It would also change the Oscars forever: the outcry over the film’s Best Picture nomination snub led to the Academy changing its rules to allow 10 nominees. We found it impossible to isolate a single moment from the film to celebrate for this series, and instead landed on Ledger’s Joker as a whole – a performance, a visual, and a legacy that feels like one mammoth moment in and of itself. And yet, not everyone was convinced the young Australian actor had what it would take to inhabit the character. Here, Susan Bonds, CEO of experiential marketing company 42 Entertainment, reveals how she worked with the filmmakers on the viral campaign that first revealed the Joker to fans, more than a year out from the film’s release – a bravura instance of viral marketing that turned the conversation around and gave fans their first taste of what was going to be one of the most incredible characters and performances to ever hit the big screen. John Caglione Jr., the makeup artist who collaborated with Ledger on the Joker, then reveals how they discovered the character’s iconic look.42 Entertainment was charged with engaging fans with the new film. (Photo by ©Warner Bros./Courtesy Everett Collection)“Remember the Joker card at the end? It was kind of like, well, who is this guy?”Susan Bonds: “One of the first things that our chief creative Alex Lieu suggested to me is go to read The Killing Joke, and go read The Long Halloween, and just go read some of these seminal stories that the Joker was featured in to understand his character. He was very unpredictable. He was an agent of chaos, I believe, is what the Nolans referred to him as, but he was someone who was a very compelling character as well. He had a tragic past; he had a tragic story. We started [the story of the marketing experience] from the last frame of Batman Begins: The head of the mob had been killed, Jim Gordon and Batman were kind of forging their relationship, Harvey Dent wasn t even a conversation at that point. But the Joker… remember the Joker card at the end? It was kind of like, well, who is this guy? The Joker had just barely been introduced. [We wanted to] use the Joker and lead up to TheDark Knight.To give people in Gotham City exposure to who this character might be.”“Quite frankly, the community was very split about how Heath Ledger was going to come in and play one of the most iconic villains of all time.”Bonds: It s hard for us to remember now, because, the film has been out and it s so beloved, but at the time there was a huge amount of curiosity, from fans, about this character. Another thing that we always do [when preparing a campaign], is we go on the message boards and read, and obviously there are very strong fan communities around superhero properties. There was a lot of discussion, and quite frankly, the community was very split about how Heath Ledger was going to come in and play one of the most iconic villains of all time. Jack Nicholson had put an amazing stamp on the character in the first film. And also Heath hadn t really done anything similar to this. In fact, he d done some things that were quite the opposite of this, and I think that there were a lot of questions about whether or not he could play this villain. Now we [at the company], had the benefit of seeing Heath in makeup and even the first reports off the set were just that he was absolutely just transformational. But how do you close that gap, of that uncertainty in the public vein? Of course, it s going to be a year-and-a-half before they see the film. So, one of the things that we did is we put a spotlight on that character from the beginning, and the filmmakers wanted to get out to the community the very first picture of Heath in the Joker make-up.”The first photo the world saw of Ledger s Joker. (Photo by © Warner Bros. Pictures, 42 Entertainment)“I think it took over 20 hours and 97,000 e-mails for people to reveal this image.”Bonds: “We devised a scenario where, in comic-book stores all across the country, [fans] found Joker cards that said, ‘I believe in Harvey Dent, too.’ We had put up a little teaser on the Warner Bros. site where you could find ‘I believe in Harvey Dent’ and see the campaign poster featuring Aaron Eckhart for the first time. And so they followed the cards to a URL where, essentially, they got to cast their vote and put in their e-mail address to get x and y co-ordinates, and that allowed them to take a pixel away from the campaign poster revealing the first image of the Joker. This was over year, about fifteen months, before it was coming out. It caught on fire, and I think it took over 20 hours and 97,000 e-mails for people to reveal this image. And, of course, in the process, they re putting up their own pictures of what they think it s going to be like. It really was a very, very effective and dramatic way to change the conversation. I remember having a very visceral reaction to [that first image]. I probably had the same emotional reaction most people had when they saw it. It s very intriguing. I couldn t even really tell it was Heath, you know. It definitely made me want to get more involved in the world.”The Moment: A Different Kind of JokerFrom the moment the world saw that first image of the Joker, the conversation did change. Fans were no longer skeptical: this was the unique, dark take on the character that many had been waiting for. Here was a Joker that wore clown makeup, of a kind, but was no clown. It set the tone not just for the character, but the whole film, and the marketing campaign that led up to it (including landmark activations from 42 Entertainment). Eventually, “Why So Serious?” would become a catch cry for the film – a line smeared in red across posters, repeated in trailers – and one that captured the Joker’s taunting of Batman but also the character and the movie’s taunting of the audience. But more than anything, it was that scarred, smudged, terrifying grin, with Ledger lurking somewhere beneath it, that would stick with us for years: the face of a maniac who was capable of anything. Here, Caglione explains how he and Ledger created it.“Chris brought in books of Francis Bacon paintings, these very blurry images. That really set the tone and set us in a direction of really just muting down and degrading the makeup.”John Caglione Jr.: “I think Heath was in a preliminary wardrobe fitting when I met him. And he was with Chris. And then from there, I did some sketches based on reading the script and meeting with those guys. I think that universe that Chris wanted to create was a very real universe. I went away and started doing little sketches… But it didn t really start to happen until I got to London and we started playing with makeup on Heath and experimenting with a very decaying, kind o
(Photo by Tidepoint Pictures/Courtesy Everett Collection)The Best Japanese Horror MoviesFrom folk tales to body horror to monster movies, Japan s cinema finds new ways to thrill and disturb audiences. Japanese horror movies got a big leg-up in the 1950s and 1960s with Ugetsu and Kwaidan, before spinning heads over time with transgressive cult works (Tetsuo: The Ironman), comedic takes (Hausu, One Cut of the Dead), and crossover hits (Ringu, Audition). And we d be remiss to not include at least the original kaiju movie, Godzilla. It was created in response to nuclear oblivion, and creating art to process real trauma is one of the core values of horror.And now we ve gathered every Japanese horror movie with a Fresh rating and ranked them by Tomatometer, creating your guide to the best Japanese horror movies of all time.Best Spanish-Language Horror Movies | Best Korean Horror MoviesBest Italian Horror Movies | Best French Horror Movies2020 s Best Horror Movies | 200 Best Horror Movies Ever
沙巴体育真人 (Photo by Courtesy of IFC Films.)As a genre, the music documentary is premised on the promise of access. A concert doc hopes to bring audiences the immediacy of a live performance they may have missed (or wish to relive). A biographical doc, meanwhile, aims to take us past public personas and appearances and into the private world of a music act. Except, as Annie Clark – better known as the ever-alluring St. Vincent – found out when watching a whole slew of them, these promises are only ever illusory. There may be a semblance of access, but everything offered has been highly curated; any hint of authenticity is neutered by the very confines of the genre.The Nowhere Inn, a new film that finds Clark playing a heightened version of herself as she sets out to film a concert documentary, was first conceived as a concert doc meant to document St. Vincent’s Masseduction tour. But, as the meta-approach of this bare-bones synopsis suggests, such a straightforward tact was never going to work. Or rather, it wouldn’t have been as much fun as an all-out deconstruction of the genre and the very pop/rock stars it so often exalts.“Well, I didn t really want it to be just a straight concert,” she told Rotten Tomatoes recently, recalling the origins for this scripted project. “So I asked Carrie Brownstein if she would help me make some interstitials to go in between songs; have some cute way of framing it, I guess. And then that kind of dovetailed into conversations that Carrie and I have been having for years about authenticity and performance.”It was during those early talks about music docs that the two friends realized the genre at large (exceptions notwithstanding) was stuck in a rather rigid schema. You’d hear about humble beginnings and tragedies that marked an artist’s early life. You’d get a requisite going-home sequence and the attendant “I’m just a regular person, but I also happen to be massively famous” sensibility that couldn’t help but ring hollow.“Well, why don t we just make a crazy, meta-scripted, psychological absurd horror that deals with all of it?” Clark recalls asking herself. “And in a way that, oddly enough by scripting it, would make it more authentic than if I had tried and failed to perform authenticity?”The film begins like a straightforward mockumentary wherein Carrie tries to get Annie to make her backstage life less boring (less video games and more anything else, really). But soon, as Annie begins to take her St. Vincent persona off of the stage and into her real life, hoping to create more exciting footage, The Nowhere Inn takes a turn for the absurd. That Clark describes that turn – which finds Annie hiring a fake family out in the country to visit and later making Carrie and Annie twinned images of each other – by invoking the likes of Bertolt Brecht, David Lynch, and Peter Greenaway hints at the twisted, near-nightmarish logic that eventually overtakes The Nowhere Inn.(Photo by Courtesy of IFC Films.)But even before the Bill Benz-directed film all but splinters out into its Rubik’s cube of an ending, it cements itself as a probing satire that artfully skewers the performance of authenticity that so constitutes contemporary celebrity culture. Even the moments that supposedly humanize artists in music docs, to Clark, feel not just alien but outright disturbing. “I get confused because I see things celebrated that seem to me like just really terrible behavior – like inhuman-like narcissism to the next level,” she says. “But it s sort of lauded. And I wanted to do that in this movie and play with it.”Clark points to what is, in her mind, the funniest scene in the film. It’s a moment where a fan, having been brought backstage to meet with Annie, pours her heart out and tells the artist how her music helped her cope with a personal tragedy. There’s such a naked vulnerability on display that the sudden tears that overtake Annie at first feel not just earned but necessary. But there’s no empathy at work here. Just another instance of an artist unwilling (or unable) to let other people center themselves when she’s around. “I have to hijack it and make it about myself,” she explains. “Because I m so narcissistic that I can t even allow her the space to tell this heartbreaking story. And then she ends up consoling me, and it s just like – what a monster!”As Clark found out firsthand when attending a Sundance screening of the film back in 2020 (no one had the foresight to tell her or Brownstein that talent rarely sit in on these premiere screenings), the scene didn’t quite land with the raucous laughter she expected. That was an early sign that The Nowhere Inn may be more unintentionally baffling than she’d first anticipated. Or that the humor she finds in this narcissistic monster she created out of the on-screen Annie she plays may rightfully keep audiences in a sense of unease.(Photo by Courtesy of IFC Films.)“I needed to go down the complete narcissism rabbit hole for it to pan out,” she adds. “And not just down the narcissism rabbit hole, but also into this inkling that I was in control of the narrative the whole time. That s certainly a nod to the fact that really rock stars and pop stars, they are in control of the narrative the whole time. Make no mistake.”As Annie puts it late in the film when she’s become a laughably terrifying prima donna: “Ok. Let’s only document the things I can control.” It’s a line that epitomizes the fine line The Nowhere Inn walks, existing at the intersection of a comical threat and an existential joke.“It s a funny one because I think music is so intimate. And I ve talked about my whole life, all my fears and loves and concerns and tragedies through music. And so that is really deep. I just think that s a really deep connection that, even if you don t know what I ate for breakfast, it’s a kind of a deeper part of me. I really believe in that.”If The Nowhere Inn revels in poking fun at the very possibility of music documentaries offering any kind of authentic appreciation of the artists they profile, Clark doesn’t discount the way in which its outré tone may in fact give her fans newer insights into her own person – and persona.“I think they might get a better sense of my appreciation of absurdity – like that I don t take myself very seriously. And that identities are very malleable and we re just all playing with it all the time. That reality feels increasingly illusory.”The Nowhere Inn is in theaters and available on-demand from Friday September 17, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: © IFC Films / Courtesy Everett Collection
我没搞懂，LOL手游本来不就是LOL之前十周年给LOL玩家的一个回馈活动吗，跟瓦罗兰特差不多啊一个手游moba一个fps，一堆人在这跟王者搞什么对立，真尴尬，还有真正LOL玩家，就以在我身边的玩家为例子，都是LOL也玩，王者也玩（我不玩，我没兴趣花时间了解王者英雄技能了），最多嘴上说说王者怎么怎么傻逼但是确实社交还有杀时间能力拉满什么什么的，谁有那个心思在网上互喷 This week s Ketchup brings you more headlines from the world of film development news, covering such titles as Evil Dead Rise, Highlander, Jackass 4, and Wonka.This WEEK S TOP STORYAARON TAYLOR-JOHNSON TO STAR AS SPIDER-MAN VILLAIN KRAVEN THE HUNTER(Photo by Emma McIntyre/Getty Images)Generally, Marvel Studios has a rule about actors not playing more than one of their roles, except there are many exceptions, mostly due to the fact that not all of them are MCU movies. For example, the reasons former Human Torch actors Chris Evans and Michael B. Jordan were both able to star as Captain America and Killmonger in Black Panther, respectively, is that their Fantastic Four movies were under 20th Century Fox, not Marvel Studios itself. Marvel played around with this concept a little bit in WandaVision (Fresh at 91%), in which Wanda s brother Pietro (AKA Quicksilver) was recast as Evan Peters, who first played Quicksilver in X-Men: Days of Future Past (Certified Fresh at 90%) (again, a Fox film and not Marvel Studios itself). It was a cheeky switcheroo to pull, since the MCU s Quicksilver was played by Aaron Taylor-Johnson in Avengers: Age of Ultron. With that in mind, Taylor-Johnson signed on this week to star in another Marvel movie, namely Kraven the Hunter, a solo movie about one of Spider-Man s oldest villains (August, 1964 to be precise), which Sony Pictures has scheduled for release on January 13, 2023. J.C. Chandor (All is Lost, Triple Frontier, A Most Violent Year) will direct the Kraven the Hunter movie, which is expected to be a standalone very much in the style of Venom (Rotten at 29%) and the upcoming Morbius (1/28/2022).Other Top Headlines1. TODD PHILLIPS OFFICIALLY WORKING ON SCREENPLAY TO JOKER SEQUEL(Photo by Niko Tavernise/©Warner Bros.)The DC Comics origin story Joker (Fresh at 68%) might have led to a satisfying conclusion, but the film also left a lot of the villain s story yet to be told. Warner Bros. moved quickly into development on a Joker sequel in late 2019, but the year-that-was-2020 may have slowed down how the sequel may have otherwise developed. This week, in a profile of various Hollywood lawyers, The Hollywood Reporter may have buried the lede, which is that Joker director and co-writer Todd Phillips is now officially signed to co-write the Joker sequel. That doesn t give us much more to work with, such as whether Phillips will return to direct or Joaquin Phoenix will return to star, but both are probably more likely than not. Warner Bros. has not currently scheduled the Joker sequel for release (but we can guess that it won t be before 2023 because WB/DC s 2022 slate is already packed).2. TIMOTHÉE CHALAMET IS YOUR NEW WONKA (Photo by Jason Smith/Everett Collection)Some classic characters are portrayed just once and seem to transcend generations (Atticus Finch in To Kill a Mockingbird), while others seem to be reimagined occasionally for new generations. Gene Wilder starred in the 1971 Willy Wonka and the Chocolate Factory (Certified Fresh at 90%), but then Johnny Depp took over the character in the 2005 remake Charlie and the Chocolate Factory (Certified Fresh at 83%), and both movies have their fans. Warner Bros. and director Paul King (Paddington, Paddington 2) have been developing a prequel called Wonka for a while now, with the most recent news before this week being in January, when it was revealed that Warner Bros. was considering either Tom Holland (Marvel s Spider-Man) or their own Dune reboot star, Timothée Chalamet. Well, it s finally official: Timothée Chalamet will star in the prequel Wonka, which will reportedly feature several musical numbers that will require Chalamet to sing and dance on screen following several months of practice and preparation. Warner Bros. has scheduled Wonka for release on March 17, 2023. In the meantime, Chalamet is now filming another movie with his Call Me By Your Name director Luca Guadagnino. The film is called Bones All, and it s a horror film adapted from the 2015 novel by author Camille DeAngelis.3. HENRY CAVILL TO PROVE THERE CAN BE MORE THAN ONE HIGHLANDER (Photo by Priscilla Grant/Everett Collection)Henry Cavill is well on his way to being one of Hollywood s modern stars with several franchises on his resume. In addition to his movies as Superman, Cavill has also co-starred in Mission: Impossible Fallout, tried his hand at The Man from U.N.C.L.E., starred as Sherlock Holmes on Netflix (Enola Holmes), co-starred in new adaptations of The Count of Monte Cristo, Red Riding Hood, and Tristan Isolde, and is currently starring in Netflix s video game adaptation series The Witcher. We can now add another fantasy franchise to Cavill s filmography, as he is signed to take on the lead role in the Highlander reboot to be directed by Chad Stahelski (of John Wick and its sequels). The premise of the Highlander reboot isn t yet known, including whether Cavill will be playing one of the characters from the original or a completely new one.4. POP STAR RINA SAWAYAMA TO MAKE ACTING DEBUT IN JOHN WICK: CHAPTER 4 (Photo by David M. Benett/Getty Images)Like many things, filming of Keanu Reeves John Wick: Chapter 4 was delayed by COVID-19 from its original start date in 2020 to later this year, aiming for a release date of May 27, 2022. As is common with all of the John Wick movies, the details are being kept secret, but we now know Reeves will be joined by Japanese-British pop singer Riwa Sawayama in her feature film acting debut. Filming of John Wick: Chapter 4 is expected to take place in France, Germany, and Japan this summer, after which Sawayama will be starting a world tour. John Wick: Chapter 4 will be directed by Chad Stahelski, who is also developing the aforementioned Highlander reboot.5. EVIL DEAD RISE FRANCHISE REBOOT (AGAIN) COMING TO HBO MAX (Photo by ©New Line Cinema courtesy Everett Collection)The Evil Dead horror franchise is currently getting a little tricky to track. Bruce Campbell starred in the first three Evil Dead films, which included Army of Darkness (despite it not having Evil Dead in the title). Then, there was a fourth Evil Dead (Fresh at 63%) in 2013 that was basically a reboot, and that was followed by a Starz television series called Ash vs Evil Dead, which served as a sequel to the original films. Now, New Line Cinema is moving forward with plans for Evil Dead Rise, which some sites are calling Evil Dead 4, which presumably refers to it continuing the story from the first three (despite really being the 5th). Bruce Campbell will not return to star as Ash Williams in Evil Dead Rise (but he will executive produce along with Sam Raimi), as the leads will now be two twin sisters played by Alyssa Sutherland (Vikings) and Lily Sullivan (TV s Picnic at Hanging Rock), and the setting will also be the city versus the cabin in the woods of the previous movies.6. JAMES BOND PRODUCERS ASSURE NO TIME TO DIE WILL DEBUT IN THEATERS (Photo by ©MGM)Less than a week after the news first broke that Amazon had bid to buy MGM, the deal was confirmed with a .45 billion price tag. The logic behind the deal seems to be that it will greatly bolster the content available on the Amazon Prime subscription service, but the immediate results are sometimes more complex than that. For example, MGM actually sold the rights to most of its pre-1986 catalog to Turner and Warner Bros. in the 1980s (so this deal doesn t include The Wizard of Oz or Gone with the Wind). Some people also wondered if this meant the long-delayed-by-COVID-19 James Bond film No Time to Die (10/7/2021) might debut on Amazon instead of theaters. James Bond franchise producers Barbara Broccoli and Michael G. Wilson were quick to correct this speculation, saying, We are committed to continuing to make James Bond films for the worldwide theatrical audience. (Of course, this doesn t necessarily mean anything for future Bond films.)7. GODZILLA VS KONG DIRECTOR ADAPTING COMIC BY THE WALKING DEAD CREATOR (Photo by Jason Mendez/Everett Collection)The monster movie Godzilla Vs Kong (Certified Fresh at 75%) was both a critical and box office success (relative to when it was released in the COVID-19 pandemic, obviously). Director Adam Wingard has been quite busy lining up future projects, which currently include a Face/Off sequel and the long-awaited ThunderCats movie, but Wingard is now also now signed with Universal Pictures to at least co-write an adaptation of the comic book series Hardcore by Robert Kirkman of The Walking Dead and Invincible fame. Hardcore is set in a world where ordinary people s bodies can be taken over by The Hardcore Program to act as living human drones by soldiers who can t otherwise get access to their targets any other way. This Hardcore should also not be confused with 2015 s Hardcore Henry (Rotten at 52%), which was released in the USA under the same Hardcore title.8. EVERY BOXER GETS HIS DAY: GEORGE FOREMAN BIOPIC TRAINING UP (Photo by ©Lionsgate courtesy Everett Collection)Pretty much every major sport has had at least a few biopics over the years, but arguably, few sports are as well represented as boxing. Even with that being the case, there still remain many famous boxers who haven t had their own biopics yet, and few of those exceptions are as famous as George Foreman, who notably followed up his career as a two-time Heavyweight Champion with a lucrative second career as an entrepreneur with his trademark George Foreman Grill. Sony Pictures is moving forward with plans for an untitled George Foreman biopic, with Khris Davis now signed to star as Foreman and Sullivan Jones cast as his rival Muhammad Ali. Davis recently co-starred in Judas and the Black Messiah, and his credits also include TV s The Blacklist and Atlanta. This biopic from director George Tillman Jr. (The Hate U Give, The Longest Ride) will focus on both Foreman s early career success and his comeback at the age of 45.9. JOHNNY KNOXVILLE CONFIRMS HE S DONE BEING A JACKASS (Photo by ©Paramount courtesy Everett Collection)Time, as it s said, waits for no man, and Jackass stars are no exception. Johnny Knoxville has been starring in various Jackass projects since the original series first debuted on MTV over 20 years ago in 2000, but he also turned 50 this past March. While talking about his latest injuries filming Jackass 4 (10/22/2021), Knoxville revealed that it will also be his final Jackass project, saying, You can only take so many chances before something irreversible happens I feel like I ve been extremely lucky to take the chances I ve taken and still be walking around. Of course, we may still see another Jackass movie someday, as a new generation of pranksters could ostensibly take over the franchise in the future.On an Apple device? Follow Rotten Tomatoes on Apple News.