亚博官网采用百度引擎4（Baidu 7）contenders than ever before.Here’s what else the Tomatometer data revealed about the past, present, and (hopefully) future of February movies.We’re Living in a Golden Age for February Releases(Photo by Universal Pictures)The past two Februarys haven’t just given us a few good movies; they’ve produced some of their respective years’ biggest hits, like Get Out (2017, 98%) and Black Panther (2018, 97%), both Certified Fresh Golden Tomato Awards winners. Those two are the films that got us thinking about the Februar-enaissance in the first place, but it doesn’t stop there. Besides Get Out, 2017 saw a record six Certified Fresh releases – I Am Not Your Negro (98%), The Lego Batman Movie (90%), John Wick: Chapter 2 (89%), Kedi (98%), and A United Kingdom (84%), in addition to Jordan Peele s thriller. That’s more than either March or April had that year.Februray Tomatometer Averages are Higher than Ever in the 2010s(Photo by 20th Century Fox)Boasting an average Tomatometer score of 52% (so far), this past decade has produced some of the best February releases of all time, and it’s not even close. The 2010s saw more than a 10-point jump from the 2000s (41%) and higher average scores than either the 1990s (45%) or 1980s (46%). Or, to look at it another way, we’ve gotten exactly as many Certified Fresh movies in the past nine years as we did in the 1990s and 2000s combined. (That’d be 38 total, with 24 of those coming in the last five.)The streak first started in 2010, which – despite not having any major hits – still got high marks, thanks to the fact that half of its releases were considered Fresh. But it was 2016 that was the decade’s best year to date, with an average Tomatometer score of 60% and Certified Fresh movies like Deadpool (84%), Hail, Caesar! (86%), The Witch (91%), Eddie the Eagle (81%), and Michael Moore’s Where to Invade Next (78%) leading the way.There Have Always Been Good Movies in February You Just Have to Look For Them(Photo by Sony Pictures Classics)Even though the 2000s were lean times for February releases, you still have to go all the way back to 2003 to find a time when the month got shut out on our annual list of the year’s Top 100 movies. That’s 15 years and counting. In fact, at least one February release has landed in the Top 50 every year since 2008, and in the Top 20 since 2014.In recent years, art house sleepers and international hits like Academy Award-winner A Fantastic Woman (93%), The Lunchbox (96%), and ‘71 (95%), as well as documentaries like The Wild Parrots of Telegraph Hill (95%), have helped give audiences plenty of Certified Fresh options, so long as you’re willing to look beyond the month’s higher-profile wide releases.February’s Got the Oscars – And a Few Oscar-Worthy Movies, TooBack in 2004, the Academy Awards telecast officially moved from March to late February. That said, just because the month now boasts Hollywood’s most prestigious awards ceremony doesn’t mean it’s been a boon for its releases’ Oscar hopes. That’s mostly because it’s a lot easier to launch a successful awards season campaign in early December than to sustain one for an entire year. But that stigma is starting to change, thanks to recent February Best Picture nominees like Get Out and Black Panther (which won three of the seven Oscars it was nominated for this year). Going back further, in 1992, The Silence of the Lambs (Certified Fresh at 96%) became only the third movie in Oscar history to sweep the Big Five (Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay) despite – you guessed it – coming out the previous February.Some of Your All-Time Favorites Are February Releases(Photo by Universal Pictures courtesy Everett Collection)OK, so, yes, you can go ahead and blame February for clunkers like Norbit (9%) and The Roommate (4%). But it’s also given us a few movies that we’re willing to bet might be in your personal top ten. We already name-checked beloved hits like Office Space and Bill Ted and the Oscar-winning Silence of the Lambs, but there’s so much more: fan favorite comedies like Billy Madison, Old School, and Super Troopers; adrenaline-pumping martial arts movies like Rumble in the Bronx, Bloodsport, and Ong Bak; and how’s this for a blast from the past? You know all your favorite ‘80s movies – classics like The Breakfast Club, Pretty in Pink, Hairspray, and Footloose? They all debuted in February, too. (Also a February release: the 1999 Brendan Fraser vehicle Blast from the Past. Just saying.)Surprise! It’s Not a Great Month for Romance(Photo by Ron Batzdorff/New Line Cinema courtesy Everett Collection)You’d think February would be a boom time for movie romance, what with Valentine’s Day helping to get audiences in the mood. But critics were just not that into He’s Just Not That Into You (40%), or the Fifty Shades trilogy, or McConaughey/Hudson rom-coms like Fool’s Gold (11%) and How to Lose a Guy in 10 Days (42%), or Nicholas Sparks’ Safe Haven (13%) and Dear John (29%). If you’re looking to celebrate with a highly-rated February holiday movie, skip Garry Marshall’s Valentine’s Day (18%) and opt for 1993’s Groundhog Day (96%), a movie you can easily watch again and again. And again.Sequels Haven’t Fared Much Better(Photo by Philippe Antonello/Paramount Pictures)Aside from The LEGO Movie, which saw its sequel open to strong reviews earlier this month, February historically hasn’t been a great time for would-be franchises. Typically, when a February release performs well enough to merit a sequel, the next movie in the series gets moved to a more prime placement on the release calendar (see: Deadpool, Wayne’s World, Ace Ventura: Pet Detective, Goon, Kingsman: The Secret Service). And if a series premieres during a more desirable month, but its next installment gets pushed to February? That might as well be the kiss of death.The month is a veritable wasteland of lesser sequels, from Zoolander 2 (22%) and Hot Tub Time Machine 2 (14%) to My Girl 2 (27%), and A Good Day to Die Hard (15%), among others. The lone exception that disproves the rule is John Wick: Chapter 2 – after successfully beating the February sequel curse with a Certified Fresh Tomatometer score of 89%, Chapter 3 will be coming out this May. (Also, if we’ve learned anything from those movies, it’s never to bet against John Wick.)February’s Comic Book Movies Have Gotten Much, Much Better(Photo by Marvel Studios)Looking over the numbers, one big reason stands out for why Tomatometer scores got so much better in the 2010s than they were in the 2000s: namely, the comic book movies got better. Even though we tend to think of superhero movies as prime summer blockbuster fare, the month of February has seen its fair share of crusading crimefighters over the years. But while proto-Marvel movies like Daredevil (44%) and Nicolas Cage’s Ghost Rider franchise dragged down their years’ respective averages, critically-acclaimed hits like Black Panther and Deadpool (and the superhero-inspired Chronicle Certified Fresh at 85%) seriously boosted theirs.2001 Was One of the Worst Februarys on Record – And 1993 Was One of the Best(Photo by Universal Pictures)With an average Tomatometer score of only 32%, February 2001 was one of the worst months to be a movie fan, with lackluster fare like Saving Silverman (18%), 3000 Miles to Graceland (14%), and Sweet November (15%). The following February wasn’t much better either. Thanks to the Certified Fresh Monsoon Wedding (95%), 2002 had a slightly higher Tomatometer average at 36%, but overall quality was down, with less than 15% of the monthly offerings earning a Fresh rating. Still, 1990 had it even worse – with a whopping three movies (Madhouse, Loose Cannons, and Heart Condition) all earning zeros on the Tomatometer.On the flipside, 2017 had a trio of films all land scores of 98% or higher (Get Out, I Am Not Your Negro, and Kedi), boosting its average score to 57%. But 1993 was even better, earning top marks with a 66% Tomatometer average, thanks to an impressive run of above-average options (Strictly Ballroom 95%, Like Water for Chocolate 91%, Army of Darkness 72%, and Robert Rodriguez’s breakout debut El Mariachi 93%) alongside very few Rotten ones.And the Title of “Mr. February” Goes To…(Photo by Myles Aronowitz/Universal courtesy Everett Collection)No surprises here, if you’ve been paying attention to the release calendar lately: it’s Liam Neeson. Thanks to films like Non-Stop and Unknown and this month’s Cold Pursuit, “Movies Where Liam Neeson Beats Everyone Up” might as well be its own February-specific genre. The acclaimed actor-turned-action hero has been showing up in February thrillers ever since 1992’s Under Suspicion, giving him a record-tying six February movies for an average Tomatometer score of 51%. Other February fixtures include Adam Sandler (47% over five films) and Nic Cage (24% over six films).Love or loathed something this February – or in Februarys past? Let us know in the comments.
安卓游昕三职业冰雪是款战法道经典三职业应有尽有的传奇手游，其玩法非常刺激，安卓游昕三职业冰雪手游为玩家带来了非常丰富的活动礼包，副本闯关就能收获超多惊喜，支持挂机畅玩，喜欢的朋友快来下载安卓游昕三职业冰雪吧！ Technically, the fall season won t begin until September 23, but as far as the movie industry is concerned, summer is over. While we still have a few high-profile movies on the horizon this month, this means we ve officially entered that time of the year when worthy choices at the cineplex feel fewer and farther between. That said, a little horror sequel about a killer clown dominated our social polls on Facebook, Instagram, and Twitter, and earned the most Want-to-See votes on RT by a wide margin. But fans still had room for a sci-fi mystery starring Brad Pitt, the return of an 80s action icon, and a couple of period dramas based on a book and a popular TV series, respectively. Read on to find out the five most anticipated movies of September, as voted by Rotten Tomatoes users and our fans on social media.1. It: Chapter Two (2019) 62%4,955 Want-to-See Votes#1 pick by our Facebook, Instagram, and Twitter fansOpens September 6The Losers Club is back to contend with the shapeshifting evil that haunted them mercilessly as children 27 years ago. (Or was that just two years ago?) James McAvoy, Jessica Chastain, and Bill Hader lead the ensemble cast of grown-ups, while Finn Wolfhard, Sophia Lillis, and Jaeden Martell reprise their characters in a series of flashback sequences. Oh, and let s not forget about Bill Skarsgård s take on Pennywise the clown, which is officially a contender to enter the pantheon of all-time greatest horror villains. It: Chapter Two garnered the top spot across all of our social polls for September and earned the most Want-to-See votes of any film this month, and the critics who have seen it already have weighed in to the tune of 71% on the Tomatometer.2. Ad Astra (2019) 83%1,368 Want-to-See Votes#2 pick by our Instagram and Twitter fans, #3 pick by our Facebook fansOpens September 20Originally slated to open in January of this year and then in May, before it was pushed back again Ad Astra s production delays initially inspired some skepticism, but the release of the film s trailer seems to have assuaged most fears. Brad Pitt stars as an astronaut who embarks on a journey to the farthest reaches of space in search for his father, who made the same journey decades earlier. Director James Gray mined somewhat similar territory in his last film, The Lost City of Z, which earned a Certified Fresh 86% on the Tomatometer, and after its Venice Film Festival premiere, Ad Astra has earned similar acclaim, also at 86%.3. Rambo: Last Blood (2019)#2 pick by our Facebook fans, #3 pick by our Instagram and Twitter fansOpens September 20Back in 2008, Sylvester Stallone attempted to revive John Rambo in the pop culture consciousness with Rambo, and while that movie had its defenders, it didn t find the same success that Stallone would later achieve with Rocky Balboa. Nevertheless, more than a decade later, the franchise brings us a new installment, which took almost as long to make it to the big screen. This time around, Rambo takes on a Mexican drug cartel when, in a fantastic display of cinematic bad judgement, they kidnap his niece. It should make for a perfect little popcorn movie for anyone who gets their kicks from occasional ultraviolence.4. The Goldfinch (2019) 25%
指环王是一款高自由度的动作冒险手机游戏，这款游戏是由国内非常出色的游戏公司网易所研发的全新手游。在游戏中，玩家可以在这个开放世界中不断的战斗冒险，超多不同的副本等待玩家挑战挑战，成功通关更够丰厚奖励给到玩家，快来体验吧！亚博官网insight into Hanna s inner life and her origins.Rotten Tomatoes spoke to stars Esme Creed-Miles, who plays the titular character; Joel Kinnaman, who plays Erik, her father and trainer; Mireille Enos, who plays Marissa, the CIA agent tracking Hanna and her father; along with the film s writer and series creator David Farr and show director Sarah Adina Smith about the best and worst parts of adapting the film for television.The Star(Photo by Amazon Prime Video)The key player in the series is newcomer Creed-Miles, who isn t as green as other actors her age — her parents are actors Samantha Morton and Charlie Creed-Miles. My parents are really, really talented and really good at what they do, so I ve always learned from watching them. But their style is something that you can t really learn. They never went to drama school and neither did I, she told Rotten Tomatoes and several other reporters. I think the best privilege that I have in terms of having them as my parents was not just the doors that opened, but, I think, the stability to be graceful in the face of rejection, which is something that actors get every single day, and knowing it s not personal and not having that be part of your psyche. While pilot director Adina Smith said she and the producers had a feeling Creed-Miles was their star after watching her audition tape, she still went through five rounds of auditions and screen tests, including submitting a tape training with her father. My dad s been doing Wing Chun martial arts for 20 years, so he kind of helped me prepare for the screen test, and we did a bunch of cool stuff in preparation, Creed-Miles explained.The AdaptationFarr s script for the film did not include two major elements of Hanna s story that he had always envisioned: her back story and the political themes relating to Hanna and her father. There is a much bigger story, [and] the film really only touches into one slice. It was in my head, both the back story of Hanna, where she came from, the whole thing of who she is Where does she really come from? What is she part of? What were they doing?, he told Rotten Tomatoes and other reporters. The series is a more down-to-Earth version of the story with less of film director Joe Wright s heightened visuals. The show has a coming-of-age narrative, he said, and I ve also touched into the political thriller, which wasn t really in the film at all. Said Adina Smith, “The character of Hanna in the movie has this wonderful alien quality, and it’s more like a fairy tale. We decided to make the series to do a more grounded, real, gritty Hanna. We wanted to make her fully human. The TV show s story is more emotional, because “Hanna is discovering her morality for the very first time, Creed-Miles said. So it’s this juxtaposition of coming from this wilderness where killing is kind of the nature of survival, but it’s beautiful as well, and coming to the modern world where she’s discovering her morality for the very first time and discovering the consequences of that and the emotional trauma that comes as a result of killing things.”The Relationship(Photo by Amazon Prime Video)While the film featured more of the Dorothy–Wicked Witch relationship between Hanna and Marissa (played by Cate Blanchett in the film), the show focuses on the father-daughter relationship. I think my favorite part of the film was the relationship between the father and daughter, and that ends pretty quickly in the film and the girl goes on her won journey, Kinnaman told Rotten Tomatoes. Whereas in the series, the father-daughter story is sort of the arc of the first season. Kinnaman tried to build that relationship off-screen as well, and ended up both mentoring and training with his on-screen daughter. It s a very tough endeavor for a young actor. It s a big responsibility to take on. I have shouldered the lead in big action series myself, so I sort of know it really [well], he said. It s very intense. It takes a lot out of you because you re not only the lead of all the dramatic scenes, you also have all these action sequences and these stunt things you have to do. While that meant a lot of pressure for Creed-Miles, Kinnaman was there to help. I was trying to do my best to motivate her and to try to teach her what I ve come to understand over the course of my career, he said, including training together in jiu-jitsu for a fight scene in the first episode. We designed it so she does this jiu-jitsu move where you take the other person s back and then she performs a rear naked choke, and there s this special technique to doing that, he said. It was pretty cool. I think that turned out really well. I don t think you ve ever seen a daughter choke her father unconscious in training before. The WorldDebbie DayProduction was based primarily in Hungary, but the cast and crew filmed scenes all over the world — in Slovakia, in Poland, in Morocco, in Spain, in Germany, in London, said Kinnaman, so all over. In real life, Kinnaman is American and Swedish. But in Hanna, he plays a native German, which is not one of the four languages he speaks. I only speak Swedish, English, and Norwegian, and Danish, he said, modestly, when I speak Danish, a Danish person would not think that I m speaking Danish. They might understand what I m saying, but yeah. While four languages (or three and a half, even) is no small feat, learning German dialogue made him nervous. The first version of the script that I got we were doing what the film did, and we were doing the Schindler s List, where everyone is speaking English but in different dialects. And I really thought that it would be much better if everyone spoke in their real languages, and the decision later was made that we were going do that. So you have to be careful what you ask for, because all of a sudden now I have 20 scenes in German, and not just a character speaking German, but actually being German speaking German, and with a bunch of other German actors. So the bar was really high. With help from a German dialect coach, however, his confidence grew. I was pretty intimidated at first, but then after a while, I [realized I could say] the trickiest German sounds. And I think the combination of growing up in Sweden but being bilingual in English, it prepared me to do those sounds. And personally, I like dialects. I work with dialects in almost every role that I do, so I m used to working with my voice in that way. But actually the praise that I got from the German actors, that meant a lot, because I just don t want the Germans to hate me after this. The Killing ReunionEnos and Kinnaman became real-life friends throughout the course of their AMC-turned-Netflix series The Killing, and they stayed friends after; in fact, Enos had reached out to Kinnaman for help compiling a list of 40-something European actors to play the role of Hanna s father. While I was putting it together, I then got the call that, No, actually they want to go out to you. I was like, OK. So I m gonna tear up this list with Mads Mikkelsen on top,' Kinnaman said. Of course her being in it was a huge incentive. Even though we re playing completely different characters with a completely different dynamic, it s just easy playing with her. She s so good, and we had such good chemistry, so it flows. The plan all along was to work together again, it just had to be a project that felt unique and worthwhile. We’ve always been playing with the idea of finding something to work on again because it went so well the first time around, he said. But I think the criteria was to find something that was very different from The Killing, just to not get an audience confused or taken out of it. Said Enos, It s so rare that two people happen to be on the lists of the creators, and happen to be available, and happen to love working with one another as much as we do. Hanna season 1 is now available to stream on Amazon Prime Video.
Best-Reviewed Comedies 2020Fresh talent stormed comedies this year, starting with top comedy of the year: The Forty-Year-Old Version, with the defiant and hilarious Radha Blank doing quadruple duty as writer, director, producer, and star in the story of a middle-aged New York playwright who reinvents herself as a rapper. Four more of the best comedies of the year (Saint Frances, Extra Ordinary, Why Don t You Just Die!, Yes, God, Yes) also represent the feature debuts of their directors. But don t count out the veterans: The Coppolas, the Vinterbergs, the Julys, and the Iannuccis of the comedy world all got their Certified Fresh movies to chart. And, finally, Sacha Baron Cohen s surprise return as Borat produced the biggest, most outrageous laughs of the year.The order of the rank below reflects the Adjusted Score as of February 28, 2021. Scores might change over time.« Previous Category Next Category »
4. 呼朋唤友 随心所欲
(Photo by Steve Granitz, WireImage)The Academy Awards held its annual nominee luncheon this week at the Beverly Hilton Ballroom. It was a chance for nominees to rub shoulders with fellow honorees and snap the iconic class photo – many proclaim it the highlight of the season. In a room filled with the likes of Lady Gaga, Glenn Close, Bradley Cooper, and Spike Lee, even the biggest stars felt free to let their inner fangirls run wild. If Beale Street Could Talk writer-director Barry Jenkins snapped a picture of Lee s custom Nikes and chatted animatedly with A Star is Born helmer Cooper. Richard E. Grant was spotted gleefully snapping selfies with several nominees – something that caused us to lament Timothée Chalamet’s snub in the Best Supporting Actor category, as we might have seen their online bromance manifest in real life.Nominees Briefed on Keeping it Brief(Photo by Kevork Djansezian/Getty Images)It wasn t all fun and games, though; the luncheon featured some advice and instructions for nominees for the big night, especially when it came to speeches. When a winner walks up for an acceptance speech on Oscar night, they re not just being recognized for their performance – it’s the result of hundreds of hours, millions of dollars, and teams of people working tirelessly to achieve that goal. The temptation after all that toil is to thank everyone, which is why speeches can often run long. At the luncheon, however, Academy of Motion Picture Arts and Sciences (AMPAS) President John Bailey made it abundantly clear that while, yes, this is a great achievement and one to be proud of, no one would be allowed extra time. Ninety seconds: That’s all that is afforded to winners to make their speeches. Bailey advised all those present to “speak from the heart, be thoughtful, and most importantly brief.” The producers of the telecast even cited director Steven Soderbergh s acceptance speech for Traffic – which clocked in at 60 seconds from start to finish – as the perfect example of how it’s done.Spider-Verse Producer says It s Good Just to Hang Out; Melissa McCarthy s Mom Says It s Just Good They Served Lunch(Photo by Steve Granitz, WireImage)Despite the time warnings, virtually all who came to the luncheon were in high spirits. Spider-Man: Into the Spider-Verse producer Phil Lord summed it up best: “This is really the only chance we get to hang out with our peers. He added, “We mostly do our work alone or on location, and then we send it out into the world, and that’s it. Only at events like this do we get to sit down with the brilliant [people] we admire and talk about filmmaking.” Melissa McCarthy brought her mom Sandra to the lunch and said it was not the star power that wowed her but the menu. She’s so happy they served food, said McCarthy. “We really get to each lunch? Oh, that’s nice!” the Bridesmaids actress joked, imitating her mother s amusement.Rockwell and Ali Could Meet Again (Photo by Jacqueline Coley)Sam Rockwell, who won an Oscar last year for Three Billboards Outside of Ebbing, Missouri, jokingly told us that after returning this year for Vice – in which he plays former president George W. Bush – the luncheon and hoopla of awards season was like old hat. He added: “Look at Mahershala [Ali, nominated for Best Supporting Actor for Green Book]. He won two years ago, I won last year, and this year we are competing against each other… How can you not have fun with that?” Rockwell is currently filming Fosse/Verdon, FX s Lin-Manuel Miranda-produced mini-series about the iconic Broadway choreographer’s life and partnership with Gwen Verdon, his wife, collaborator, and muse. The project sets him up for a potential repeat showdown with Ali, star of HBO s True Detective, at next year s Emmys and Golden Globes. We see more fun in their future.Gaga Set to Join the MCU?(Photo by Kevork Djansezian/Getty Images)When Rotten Tomatoes hit the Golden Globes Red Carpet last month, A Star Is Born star and Best Actress nominee Lady Gaga was the person everyone wanted to meet – at the Academy luncheon, nothing had changed. Marvel Studios president Kevin Feige, who was seated next to the pop icon, confessed, “I can’t believe my luck! I’m seated next to Lady Gaga and across from Terence Blanchard [Spike Lee’s longtime composer and world-renowned jazz musician, who this year celebrates his first nomination for BlacKkKlansman]. First Timers Bring the Tears(Photo by Steve Granitz/WireImage)It was the first-time nominees that brought the most joy to the afternoon. In a special video montage shown before the lunch, Roma star Yalitza Aparicio, RBG directors Julie Cohen and Betsy West, and Black Panther production designer Hannah Beachler each gushed about hearing their names called by Kumail Najiani and Tracee Eliss Ross on the morning of the nominations. But it was Richard E. Grant, perhaps the mascot of the class, who closed the montage and brought more than a few tears: “I cannot believe, as an almost 62-year-old man, I’m standing here with an Oscar nomination.”And the class favorites are (Photo by Kevork Djansezian/Getty Images)It s slightly poor form to do too much prognosticating in a room full of nominees, but if you were looking for final clues on favored front runners, you would have to note that a pair of supporting actors earned the loudest applause as they walked to the risers. Who were crowned the unofficial winners of Most Popular, you ask? Regina King and Mahershala Ali.The Academy Awards are broadcast February 24, 8pm EST/5pm PST, on ABC.
5. HD 画质与高品质音讯
Behind the Zero(Photo by 20th Century Fox)The story behind the notorious adaptation of Martin Amis’ 1989 novel London Fields is infinitely juicier and more dramatic than the one on-screen, but that’s setting the bar exceedingly low. It s a lurid, salacious show-business melodrama involving a novel overflowing with sex and murder and the legal intrigue it inspired when an attempt was made to adapt it. The latter pitted a director eager to take his name off a picture he felt no longer represented his vision against producers he accused of adding incendiary elements against his will and a glamorous movie star couple (Johnny Depp and Amber Heard) whose marriage would explode publicly in a flurry of abuse allegations in the long years between the time London Fields was made and when it was finally released.The movie was supposed to screen at the 2015 Toronto International Film Festival until director Matthew Cullen, a music video hotshot, sued the producers for non-payment and failure to allow the promised creative control. Amber Heard, meanwhile, was sued by producers for million for failing to promote the film and publicly siding with Cullen. Heard, in turn, counter-sued, alleging that the producers used a body double to get around a nudity clause in her contract.Cullen, Heard, and several of the male leads all objected to a producer adding postmodern elements into the film, including 9/11 imagery and pornographic sequences that suggested an Asylum knock-off of the orgy scenes in Eyes Wide Shut. For years, the movie existed in a state of creative and legal limbo as different cuts were produced and legal issues were very publicly hashed out, giving the movie the kind of terrible publicity that would sink a film even if it was not as staggeringly awful as London Fields is.London Fields was finally released in 2018 to universally withering reviews (including the notorious zero rating here) and near-record box-office lows, grossing a paltry 9,000 over its opening weekend, the worst tally for a film released in over 600 theaters since 2008’s Proud American. By that time, Heard and Depp, who has an uncredited role as a peacocking dandy of a loan shark/darts champion, had gone through an ugly, public divorce that cast an ominous shadow over the already troubled film.How toxic is London Fields? Director Matthew Cullen told The Hollywood Reporter of the movie’s seething pans, I ve read the reviews. I agree with them. The Zero(Photo by Paladin)Heard stars in London Fields as Nicola Six. She’s less an unusually sexy woman than sex incarnate, a black widow of a seductress who enjoys toying mercilessly with the schmucks caught up in her web before going in for the kill.She’s a ridiculous cartoon of heavy-breathing, vampish old-school sexuality. She’s a dame to kill for, a sex bomb with the ability to reduce grown men to drooling children. She s Jessica Rabbit if she really were bad, not just drawn that way. But Nicola has another gift as well: she’s clairvoyant, albeit only to the degree that the movie needs her to be at any moment she can see far enough into the future to know that she will be murdered by one of three men unhealthily obsessed with her.First up is a rail-thin, dead-eyed Billy Bob Thornton as Sam Young, our hard-boiled narrator, a world-weary failed writer with a dark secret involving his own imminent death. Sam lucks into a decidedly one-sided apartment swap with Mark Asprey (Jason Isaacs), an obscenely successful hack writer who lives in the same posh London building as Nicola.Sam knows that Nicola is going to die, violently, in ostensibly dramatic fashion. He believes he can get a best-seller out of lightly fictionalizing his own British misadventures, but only if he’s actually there to watch the death happen. So the scribe makes Nicola a rather curious proposal: he wants permission to be there during her demise for creative and artistic reasons, of course, in addition to a desire to make loads of money. Nicola grants it, seemingly without giving the matter any consideration.(Photo by Paladin)Thornton is uncharacteristically terrible as one of the most exhausted cliches in fiction: the desperate writer who functions as the all-powerful God of the world they’ve created but who can’t begin to figure out the complexities of real life. Thornton possesses extraordinary charisma in the right roles, and he s famously an award-winning screenwriter in real life, but he s a thin, grey mist of a man here, a burnt out “intellectual” who whispers wall-to-wall narration full of nuggets of unbearable pretension like, “Love is blind, but it makes you see the blind man. It makes you search him out with eyes of love.”Then there’s Keith Talent (Jim Sturgess), a right proper soccer hooligan/Andy Capp type who seems to have staggered in drunkenly from a lesser Guy Ritchie crime comedy. He’s a broad caricature of a boorish, ignorant working-class bloke what enjoys downing a pint or twelve at the pub, watching footie with his mates, and shagging fit birds. Nicola is, of course, the fittest of fit birds. She cannot enter a man’s life without completely overtaking it, and Keith’s all-consuming desire to shag Nicola takes precedence over everything.Last and certainly least in the three-way contest to either win Nicola’s heart and/or murder her is Guy Clinch (Theo James). Guy has the manners, breeding, and expensive attire of a proper member of the educated bourgeoisie, but Nicola’s teasing manipulation transforms him into a preposterously gullible half-wit.For example, Nicola enlists Guy s help to locate two desperate people known only as Enola Gay and Little Boy the names, of course, of the plane that dropped the first atomic bomb on Hiroshima and the bomb itself. In a more knowing film, that would qualify as a sly joke about the way Guy’s desire for Nicola clouds his judgement and renders him hopeless against even the most transparent of ruses. Instead, London Fields plays this development completely straight, and Guy learns the true nature of Enola Gay and Little Boy via a book and erupts with rage at Nicola’s trickery. In order for the film s idiotic plot to work, everyone other than Nicola has to be as stupid as the filmmakers assume the audience is.At the core of London Fields’ staggering awfulness lies a fundamental confusion about the nature of its material. Is this a parody of the heavy-breathing, sex-saturated, melodramatic, viciously misogynistic cliches of erotic thrillers, neo-Noir, and crime fiction? Or is it a straightforward, moody, pretentious exploration of sex and death and art and destiny?(Photo by Paladin)The film is at its best when it embraces the trashy, delirious comedy lurking just under the surface, like Keith dancing for joy in the rain to Dire Straits’ “Money for Nothing” after receiving, you guessed it money for nothing from Nicola. Or the fact that the flamboyant world of professional darts figures so prominently in the plot.Speaking of which, Depp overacts with trademark brazenness here in a hammy star turn as a big shot in the overlapping worlds of darts and organized crime. As is almost invariably the case with late-period Depp, ninety percent of the character comes through baroque sartorial choices. He is essentially nothing more than a walking wardrobe here, and at this point, encouraging Depp to overact is a recipe for disaster.For Nicola and Sam, death lurks in the very near future, so at least they get to leave this hell eventually, and in the meantime, they ve got something to do. They’re lucky in that respect.In the most groan-inducing self-referential touch in a meta-narrative positively teeming with them, Nicola, who could only ever be a fictional character (an obscenely, broadly drawn one at that) indignantly tells Sam, “I’m not one of your one dimensional characters, Sam.” That’s true only in the sense that Nicola would need to be fleshed out further to qualify even as one-dimensional.In an even clumsier reference to the characters in this appalling fiction knowing, on some level, that they are characters in a very bad movie, Sam tells Nicola, “I’m pretty worried that the critics are going to call you a male fantasy figure.”The critics would call her, and the movie, much worse. Even the film s own director did.Final Verdict(Photo by 20th Century Fox)Believe the hype! London Fields is an impressively idiotic insult to the noble, shadow-laden legacy of classic film noir and its contemporary bastardization, the neo-noir. It seldom rises even to the level of passable neo-noir: it’s closer to a heavy-breathing “erotic” thriller, the kind that fills Cinemax’s nighttime programming, albeit with an inexplicably prestigious, star-studded cast and an unlikely literary pedigree.London Fields’ path to the big screen was long, complicated, and fraught, but it might have worked out better for everyone involved, particularly Heard, if this boondoggle had never been released at all.Nathan Rabin is the author of six books and the proprietor of Nathan Rabin’s Happy Place.Follow Nathan on Twitter: @NathanRabin
Fanny and Alexander (1982) 100% I d like to say that the television version that s longer is better than the version that was in movie theaters. Bergman s my favorite filmmaker, if I had to choose. It s very much a culmination of most of the themes and motifs of his career that appears as a physical personification in the very beginning of the film, similar kinds of ghosts that Bergman explored in the past. He has his love for the theater and puppetry and there s moments of hope and joy, but it also just reminds you that humans have certain demons that they can t ever escape. It s really rich and it touches on so many things about what it is to be human that it s really quite remarkable. And as with every Bergman movie, there s not a moment of bad performance to be found.But I think that the first episode, if you were to watch the TV version, is just Christmas with a family. A long episode of getting to know a family at Christmas. And I was talking with [Home Alone director] Chris Columbus about Christmas in movies and he was explaining how it s just a time of heightened emotions for everyone. So that s a really clever way to learn about this family and all of their dynamics super deeply, by beginning at Christmas. And the first time you watch it, you re kind of like, Where is the story? What is this? This is just Christmas. And then the next episode, the plot begins but you ve gotten to know this family incredibly closely and so then you re just so invested with them through the rest of the film.Also, like The Lighthouse, it has some fart jokes.
Where'd You Go, Bernadette (2019) 50% It s tempting to think that the combination of an acclaimed director, a supremely talented cast, and best-selling source material should make for a surefire bet at the cineplex, even if we ve seen similar projects fail time and again in the past. Yet, here we are, staring down the release of Richard Linklater s Where d You Go, Bernadette? as critics lament what could have been. Based on the novel of the same name and starring an ensemble cast that includes Billy Crudup, Kristen Wiig, Judy Greer, Laurence Fishburne, and, in the title role, Cate Blanchett, Where d You Go revolves around a stay-at-home mom (she s agoraphobic) and former hotshot architect who gradually suffers a nervous breakdown and takes flight from her domestic troubles in order to rekindle her creative instincts. Though he does occasionally dip into the Well of Whimsy, this is Linklater s The Secret Life of Walter Mitty by way of Wes Anderson, which, according to critics, isn t as enjoyable as it might sound to some. While most critics have few negative things to say about Blanchett s central performance, many of them find the movie surrounding her less impressive, largely due to a sprawling but thin plot that fails to explore more interesting themes surrounding its enigmatic protagonist. Where d You Go, Bernadette? may appeal Linklater completionists (they exist, right?), but others may leave the theater dissatisfied.
Watch: Jon Favreau and will Farrell on the making of Elf above.In 2019, Rotten Tomatoes will turn 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In a special video series launching next year, we will 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. As a special preview of the series, we’re dropping our first ‘21 Most Memorable Moments’ video right now: Will Ferrell and Jon Favreau take us behind the scenes of Elf.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Elf (2003) 85%Fifteen years after its release, Elf is a bona fide Christmas classic – arguably the only Christmas movie released in the last 20 years to truly deserve that title. Don’t believe us? Turn on your TV this month. Or take a look at a T-shirt rack this week and marvel at the number Elf-inspired memes plastering the seasonal tees.A Christmas classic is exactly what director Jon Favreau, who initially came on board the project for rewrites, wanted to make. Inspired by Rankin Bass Christmas specials, as well as the joy and energy emanating from his fresh out-of-SNL star, Favreau hit the streets of New York City – less than two years after 9/11 – to craft a long-lasting piece of seasonal joy from the simple tale of an Elf named Buddy and his journey to the big smoke to find his dad.“My pitch was to make it feel like Buddy was a human that grew up in a ’60s Christmas special.”Jon Favreau: “I was actually hired on to do rewrites. There was an original script that was quite different in tone. It was a much harder comedy. My pitch when I was hired to write was to make it feel like Buddy was a human that grew up in a 60s Christmas special. And I brought it down from a harder PG-13 to a PG film. The innocence was something that I really wanted to lean into as I worked on it. He was always an innocent character, but he was a bit more of a foil to the action and to the comedy. I tried to strike a balance that was a bit sweeter.”(Photo by © New Line)“There s this impression where, when you leave a show like SNL, you just have all these things lined up – and I really didn t.”Will Ferrell: “I [had] left Saturday Night Live. I think there s always this impression where, when you leave a show like that, you just have all these things lined up – and I really didn t. I had Old School, that was finished, but they were holding onto it. They weren t releasing it quite yet, which is usually not a good sign. And then I had this script about a guy playing an elf…a human being raised by elves. And that was really all that was percolating. [But] this idea that a human is raised by elves at the North Pole, it just felt like something you d never seen before. A classic fish-out-of-water story.”“We shot a lot of that stuff independent-film–style with a van and a camera.”Favreau: “Instead of hiring a lot of extras, we shot a lot of that stuff [Buddy on the streets of New York] independent-film–style with a van and a camera. Went out there and then we got people to sign releases. Of course, Will has really good comedic concentration so he was able to stay in character the whole time, and we used what worked. He s really the key to the whole thing. He s got such a wonderful energy and presence, and just him wearing that outfit was so inherently funny anyway because of his size. (Photo by © New Line)“I was running around the streets of New York in yellow tights thinking to myself, Boy, I do hope this works.”Ferrell: “I was kind of known at Saturday Night Live for – yes, for sketches like the [Spartan] Cheerleaders and things like that – but also for a lot of really edgy stuff. For every grandmother that came up to me and said, I love this, I had the rowdy frat guy who was citing something he liked from the show. So here I was running around the streets of New York in yellow tights thinking to myself, Boy, I do hope this works, for a number of reasons. But this could easily be my last movie.”The Moment: “Santa, here? I know him!”Picking one moment from Elf was nearly impossible. Would you go with the scene in which Buddy tells the Gimbel’s mall Santa, “You sit on a throne of lies”? (We almost did.) Perhaps his syrup-and-spaghetti feast? (The look on James Caan’s face: Priceless.) We landed on the moment when Buddy hears that Santa will be arriving at Gimbel’s and just about explodes with excitement. Perhaps no other moment in the film better captures Buddy’s infectious joy and innocence.“We originally hoped to shoot in Macy’s…the one stipulation was that we could not say that there was a fake Santa in Macy’s.”Favreau: “We d originally hoped to shoot in Macy s. And Macy s was actually really open to the idea of us shooting there, and even saying that maybe we could participate in the parade. However, the one stipulation was that we could not say that there was a fake Santa in Macy s. So that s part of their brand and people go to their Santaland every year, and they didn t wanna blow it for young kids. Which I get. So, we kept thinking about, what could it be? [When] I grew up there was always Macy s and Gimbel’s. Of course, Gimbel’s is featured in Miracle on 34th Street, so it s a bit of an Easter egg for Christmas movie fans.”(Photo by © New Line)“I know that the first couple takes really took people by surprise, that I would go that big with it.” Favreau: “I remember the scene in Gimbel’s where Faizon Love makes the announcement that Santa is coming, and he just screams, ‘Santa!’. [Will] just loves to commit. He really knows where the laugh is in the scene. And then the reaction of [Faizon] being the manager, looking, thinking his employee is screaming in his face, is probably one of my favorite moments of the movie. Ferrell: “That kind of exclamation of ‘Santa! and screaming it, that was just my articulation of Buddy literally taking that piece of news [that Santa is coming] at face value and [thinking] what would be his literal reaction. A man without a country in this strange land finally getting to see someone he knows really well – it would just be the most jubilant reaction ever. I know that the first couple takes really took people by surprise, that I would go that big with it. And all of that, Santa, I know him, all of that playing around we did, that was all improvised there.”(Photo by © New Line)“My biggest job on that film was to sort through all the various takes.”Favreau: “Will just did lots of different choices for lots of different moments. My biggest job on that film, along with the editor Dan Lebental, was to just sort through all the various takes. We didn t have a lot of time, it wasn t a big-budget movie. But there was always room to play and to have fun and try different alts. And then [we had to] string all of the great different performances or improvisations together into a cohesive performance that served the story, while still taking full advantage of all the laughs that he was able to find.”Ferrell: “It s funny. James Caan, we were at the premiere, and I took this as a great compliment he was like, ‘Great job. I thought you were too over the top the whole time.’”The Impact: A Seasonal FavoriteGo online and you can buy Elf snow globes. And Elf jack-in-the-boxes. And Elf costumes, of course. And many, many Elf storybooks. Meanwhile, Elf: The Musical, which opened on Broadway in 2010 in a testament to just how popular the film had become, is still touring the country. Elf, it’s fair to say, has become a pretty big deal since it premiered in 2003. But you don’t need merchandise and musicals to tell you that – just ask a friend. Or go up to Will Ferrell or Jon Favreau on the street and ask them how frequently people go up to them on the street to talk about the movie? You probably won’t be the first to do so that day. The duo set out to create a seasonal hit with legs, and they hit their mark.“I can’t let everyone see me cry here at my own movie.”Ferrell: “[At the L.A. premiere] I knew it was working at that moment where Buddy is in the back of the sleigh and everyone s singing in Central Park and there s enough Christmas spirit to get it lifted off, and he s waving goodbye. I m like, Oh, I can t let everyone see me cry here at my own movie. I was like, Oh gosh, this is working on a level that I didn t anticipate, and that was pretty cool. I remember getting a call from Nora Ephron, because we were just starting the sit down to get to do Bewitched. And during that opening weekend, she was like, ‘You really should enjoy this because this doesn t happen a lot, where you have a movie that everyone is talking about.’ And she s like, I hope you enjoy it. Just really. So I remember her words, I was like, OK, yeah. You re right. This is crazy.' (Photo by © New Line)“It wasn t too long after 9/11, it was filmed in New York, I think it brought some nice energy to us at a challenging time.”Favreau: “When it came out what we really wanted a movie like that. It wasn t too long after 9/11, it was filmed in New York, I think it brought some nice energy to us at a time when – if you think back that far – it was a really challenging time and it was nice to bring a nice breath of innocence to the world and especially to the city at that time. I m really proud of it. If it s ever in a theater or playing on television, I love to check in on it. And I can tell through social media that it s something that people have made a tradition of. I ll see pictures online of people saying, ‘Hey I m introducing my son or my daughter to this movie for the first time.’ And they ll post a picture of Elf on television and there s a little three-year-old sitting there looking up at the screen. And that really makes me happy and it s the best part of the job.”Elf was released on November 7, 2003. Buy or rent it at FandangNOW.
tar in the film as the central hero, Nathan Drake, and it officially went into production in early 2020. It lands here after several shifts in the release schedule; let s hope it stays here. Ambulance (2022) Directed by: Michael BayStarring: Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza Gonzalez, Garret DillahuntOpening on: February 18, 2022Michael Bay tones down his blockbuster tendencies just a bit (presumably) for this smaller-scale thriller about a pair of thieves who unknowingly rob an ambulance carrying a paramedic and a patient in critical condition. This remake of a Danish film has been in development since 2015, but filming finally got underway in January of 2021.
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亚博官网 (Photo by Marvel/ABC)Although superheroes came to dominate comic books with the arrivals of the Justice League and the Fantastic Four in the 1960s, horror comics were big business in the decade prior with publisher EC Comics leading the pack. Successful titles like The Vault of Horror also became a lightning rod in the decade s juvenile delinquency scare. A Senate sub-committee was formed to determine of horror comics were poisoning the youth of America and rumblings of government intervention scared the comic book industry as a whole. DC Comics, Marvel, and Archie Comics (and a few other now-defunct publishers) forestalled any sort of regulation by agreeing to form their own self-censoring body, the Comics Code Authority. Though intended to ensure wholesome reading for youngsters, the CCA had a second, potentially more sinister purpose: preventing EC Comics from publishing horror comics. As EC publisher Bill Gaines put it in the documentary Comic Book Confidential, the CCA s first act was to ban almost every word used in EC s titles.Of course, the code also meant DC, Marvel, and Archie would avoid horror elements in their comics as well. But this restriction became less of a concern for the CCA in the early 1970s (well after EC became known for Mad Magazine). Marvel quickly introduced Morbius this Living Vampire in the pages of Spider-Man and began publishing The Tomb of Dracula. The series introduced the prominent horror figure into its comic universe and marked the debut of the day-walking vampire hunter Blade. Soon, Ghost Rider and other horror-tinged characters appeared in the Marvel universe. Anticipating the code changes, DC revived House of Secrets as a horror title in 1969 and spun off its recurring Swamp Thing feature in 1972. These titles represented a marriage of horror and the superhero which continues to this day. They would also inspire the horror titles of the 1990s independent market which never faced the Comics Code Authority or its restrictions.And as television continues to mine comics for inspiration, horror characters (and horror titles) are finally making their mark on networks and streaming services. Some lean into the graphic nastiness of horror conventions, while others go for more subtle terrors. But which are the most successful? Let s take a look at the five scariest comic book characters to grace the screen so far and see how they bring elements of horror to the comic book show subgenre.Ghost Rider | Marvel's Agents of S.H.I.E.L.D. 95%Burning an indelible impression into S.H.I.E.L.D.’s fourth season, Ghost Rider (Gabriel Luna) first appeared to Daisy (Chloe Bennet) as Robbie Reyes, a kid with car and a sense of justice. But when she pressed the issue of his apparent vigilantism, she met the Rider. Bursting forth from Robbie’s skull, the character had an aspect body horror about him. Later, viewers grasped the real terror as Robbie slowly let Daisy and Coulson (Clark Gregg) know the truth: the previous Rider – who may or may not have been Johnny Blaze – saved Robbie from a car wreck and passed the Rider onto him. Once bonded, the Spirit of Vengeance learned the accident was meant as a reprisal against Robbie’s uncle Eli (José Zuñiga), a would-be crime lord attempting to use the mystical Darkhold to further his plans. The Rider and Robbie formed an uneasy alliance as they became protectors of East L.A. Nonetheless, the Rider s interest in serving vengeance on Eli meant their partnership was always uneasy.Subsequent terrors included the Rider’s possession of Mack (Henry Simmons), the moment he finally dragged Eli to Hell, and his haunting deal with Coulson.The basic horror element here is, of course, demonic possession. And while more gruesome and graphic scenes were downplayed (this is still ABC after all), the terror of the Rider comes not just from his look, but from the way people feel when he inhabits them and the last traumatic effects. The series played him properly as supernatural force even the seasoned S.H.I.E.L.D. agents found terrifying.The Walkers | The Walking Dead 80%, Fear the Walking Dead 75%, and the Upcoming Third Walking Dead Series(Photo by AMC)How can we have a list of the scariest comic book characters on television without mentioning the Walkers of AMC’s various Walking Dead programs. Even if none of the shows use the word, they still trade in the existential horror of zombies — the notion that your body will be absorbed into some mindless mass of flesh after you die. Beyond that, zombie fiction also comes with a healthy dose of claustrophobia and the absolute terror of potential killing your own loved-ones once they turned. Also, because everyone in The Walking Dead world is a bad day from becoming a Walker, death takes on a second, awful meaning.But beyond the intellectual horrors of the zombie concept, the Walkers are incredible special effects. For the last decade, Greg Nicotero and his KNB EFX Group have done amazing things on television budgets and schedules to make Walkers ooze, crawl, drip, and gross out viewers. Sure, the Walkers are often just a mass of bodies swarming encampments – and, to be fair, that mass is terrifying – but the featured Walkers realized by KNB will remind viewers just how discussing and terrible zombification would be.Ramsey Rosso and His Blood Brothers | The Flash 89%The most recent entry on the list takes some of its cues from the Walkers, but offers the classic image of the zombie a superhero upgrade thanks to dark matter and some occasionally dodgy CGI. Debuting in last week’s episode of The Flash, but getting a proper workout this week, the corpses controlled by Ramsey Rosso (Sendhil Ramamurthy) represent a dose of genuine horror movie tropes in the generally bright world of The Flash.Now changed by his strange dark-matter-and-blood substance, Rosso needs to feed on the living to maintain his existence – shades of a vampire there – but must first generate intense fear in them for the blood infusion to be effective. And if those ideas weren t terrifying enough, he can also control the bodies of his victims in a manner reminiscent of the Walkers before they eventually dissolve into more of that blood-like ooze.The effects work may not be up to par with The Walking Dead, but the ideas are effective and the blood brothers oozy ends are particularly gross.Rosso and his blood-kin also represent a new kind of horror – the sort which occurs when your work starts owning you. Rosso is so driven to cure his HLH that he is willing to sacrifice his own humanity – and the humanity of those he meets – to do it. Oh, and one supposes there is an element of egotism there, as well. Call it a critique of late-stage capitalism or the dangers of an out-of-whack work/life balance, but the results are pretty consistent with the sort of themes one finds under the decaying flesh of a zombie.And considering how humdrum the last few Flash villains have been, a horror-tinged adversary like Rosso is a welcome change.Jason Woodrue | Swamp Thing 92%(Photo by DC Universe)One of the great disappointments of DC Universe’s decision to cancel Swamp Thing after one year was that we only had one quick scene with Jason Woodrue (Kevin Durand) as the monstrous Floronic Man. It is a great scene in which Matt Cable (Henderson Wade) walks into the Marais Sherriff’s HQ and discovers all his coworkers dead. The power is out, the shadows are deep, and when Matt can make out distinct images, they are of persistent vegetation. Then he comes upon the Floronic Man, now seemingly driven mad from becoming a plant-based lifeform. The two exchange brief words, but the creature knows what it wants to do – kill anyone it encounters.This post-credit scene is a marvel, but it represent the culmination of the work Durand put into the previous ten episodes of the series establishing Woodrue as one of its great slow-burn menaces. And considering the show’s titular hero is himself a body-slashing figure of horror himself, that is saying something.Invited to Marais by local businessman Avery Sunderland (Will Patton) to investigate why the local swamp is having a bad reaction to his special “accelerant,” Woodrue appears as a man more invested in plants than people. The notable exception: his ailing wife Carolyn (Selena Anduze), who has a form of early onset Alzheimer’s Disease. Woodrue hopes to find a cure for her in the swamp and its reaction to his formula, but his offbeat personality changes into something menacing once he chances a look at Abby Arcane’s (Crystal Reed) sample of Swamp Thing’s (Derek Mears) plant matter. Soon it grows into an obsession and leads him to a place where he is willing to use his wife as a lab rat to prove he can save her.The terror here is, of course, that of a spouse gone wrong. And while it might be on a more operatic scale, the final moments of Woodrue and Carolyn’s relationship could just as easily be a more naturalistic episode of domestic violence. But since this is Swamp Thing, the ideas are heightened and Durand’s performance, already on the edge from the moment he first appears on screen, explodes into something altogether horrifying.The Reverse-Flash | The Flash 89%(Photo by Jordan Nuttall/The CW)While some of Barry Allen’s (Grant Gustin) other Speedster rogues may lean into more obvious horror clichés – Zoom, for one, would be at home in a film in which he slaughters camp counselors by the score – the original Reverse-Flash (Tom Cavanagh) consistently pulled off being the scariest character on comic book television in 2014 and 2015 while wearing a yellow suit.Thanks to his blurred face, crackling red eyes, and his mastery of speed, the character exuded menace and generated terror whenever he zipped into the frame. And to that Cavanagh’s stellar performance (both with and without vocal distortion), he continues to be the benchmark of villainy on that show. Consider his appearance during the 100th episode, in which he generated a season’s worth of chills in just three short scenes and out of costume.But in form of the Reverse-Flash, he is a sight to behold. A vision of terror fused with the generally heroic aspects of The Flash s own design. The success of that vision made Barry s own go at being a nightmare of himself — the time remnant known as Savitar — far less successful. Of course, it also proves more is less as the simple methods and motives of the Reverse-Flash still successful engage audiences when villains like The Thinker and Savitar fail to impress.His form of terror may not be as universal as demons or zombies. Indeed, it is very personal to Barry and, oddly enough, Cisco Ramon (Carlos Valdes). But it nevertheless manages to inspire some nightmares for viewers of The Flash. He is that relentless thing looking to tear down your accomplishments and undermine everything you aspire to be and a form of depression personified — with violence, calculation, and Cavanagh s voice.Which characters do you think are the scariest that have jumped from comic books to television? Tell us in the comments! Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.