亚搏手机版app地址采用百度引擎6（Baidu 1）Adjusted Score: -1% Critics Consensus: A stellar series perfect for anyone looking for a little hope, Stargirl is delightful fun the whole family can enjoy.
With the success of series like The Terror, The Haunting of Hill House, and American Horror Story, television has never been a better medium for creators interested in telling spooky stories on a regular basis. The latest entry into the genre is Creepshow, a TV anthology version of the Stephen King/George A. Romero horror film that debuts today on genre-focused streaming service Shudder.Spearheaded by The Walking Dead boss Greg Nicotero, the series pays tribute to its roots by telling frightening stories of many ilks (gory, suspenseful, silly, unsettling). The first episode features the installments “Gray Matter,” based on the King story of the same name about an alcoholic whose booze of choice might affect him in more nefarious ways, and “The House of the Head,” about a girl who discovers a killer severed head in her dollhouse.Earlier this year, Rotten Tomatoes visited the series’ Atlanta set, where we walked through blood-soaked sets, saw creatures being made, and saw a werewolf decapitate a Nazi. Here are six things we learned about the show while we were there.1. It’s in good hands with superfan Greg Nicotero(Photo by Priscilla Grant/Everett Collection)The Walking Dead boss is a lifelong horror fan who got his start working on special effects makeup with Romero and Creepshow’s effects mastermind Tom Savini on Romero s Day of the Dead.With this Creepshow reboot, “I want to embrace the spirit of the original movie,” Nicotero said from his windowless office in an Atlanta production facility. “I’m not rebooting anything. It’s not like, ‘Oh we’re going to upgrade it and retell it.’ It’s really like you’re picking up another issue of Creepshow, and these are the stories.”The stories include works from King, one from King’s son, Joe Hill, plus more adaptations of existing stories and a few original tales. Nicotero was so dedicated to the project that he began working on it during The Walking Dead, taking just a week off before flying back to Atlanta to begin pre-production on Creepshow.2. The series was filmed in an uber-short time frame(Photo by Shudder)Each of the six episodes contains two stories, and each story has just three and a half days to film.“You can’t stop filming for 12 hours. You can’t eat, you can’t go to the bathroom, and you’ve just got to keep filming and go crazy,” Nicotero said in a short break while filming the final two installments.On one stage, special effects experts prepared a dummy for its impending decapitation — the fake blood spurting everywhere meant they had just one take (or risk spending hours cleaning up the blood only to set it all up again. On the other, the production team used a forklift to place a massive monster they created on the set of the story they’d begin filming the next day.Originally, Nicotero wanted to film even more stories, but with a packed production schedule spanning from the beginning of January through the end of March, it wasn’t enough time to fully realize that many tales.“I was pretty greedy at first. I was like, ‘We should do three stories per episode, and each story should be like 17 minutes,’ and then we got into production and I was like, ‘What the f was I thinking? We should do two, ” he admitted.3. For practical effects, Nicotero brought in the experts.(Photo by Shudder)Special effects guru Savini worked closely with Romero on many of his films, including the original Creepshow. So it was only natural Nicotero would hire him to helm a story of his own (Joe Hill’s “By the Silver Water of Lake Champlain”).“It’s 98 percent practical effects — all the creature work, all the makeup, the werewolves, the puppets,” Nicotero said.Evidence of that mandate is strewn about the production spaces that once held Gabrielle Union’s BET drama Being Mary Jane — cardboard boxes loaded with fake animal carcasses are piled next to busts of various creatures. (And sets from s coded with the Aether from the get-go. And considering her character’s comic-book past, she might be tempted to use its power to resurrect her brother … and bring a few of his friends from another reality with him.And the perfect guardian of the Power Stone? It sure as hell ain’t Peter Quill (Chris Pratt). But maybe the Guardians of the Galaxy as a whole could be entrusted with it. Then again, they’d probably lose it immediately. The Eternals are about to make their MCU debut, so they may eventually prove worthwhile custodians.Wherever the Stones end up following Endgame, we doubt they will be reunited anytime soon. At least, not until Adam Warlock, a comic-book character tied to the Infinity Gauntlet, finally arrives in the MCU. But who knows when that will happen?Avengers: Endgame is in theaters April 26, 2019.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
8.74.8 0月喜迎Adjusted Score: 100600% Critics Consensus: Gunda takes an absorbingly meditative look at farm life from the animals' perspective, tacitly posing questions about our relationship to food along the way. Synopsis: Experiential cinema in its purest form, GUNDA chronicles the unfiltered lives of a mother pig, a flock of chickens, and... [More] Starring: Directed By:
Jumanji: The Next Level arrives on Blu-ray and DVD on March 17 after tearing up the global box office this winter, giving those who missed the movie in theaters a chance to spend a night at home with one of the best buddy-comedy duos in the business, Kevin Hart and Dwayne Johnson. (Those who did see it on the big screen can now go back for seconds.) To celebrate the reuniting of Hart and Johnson, and to pay tribute to an epic and jibe-filled bromance that has leapt from the big screen to Instagram and beyond, we devoted this episode of Vs. to the co-stars of Central Intelligence, Jumanji: Welcome to the Jungle, and – small spoiler alert – Fast Furious Presents: Hobbs Shaw. Who will come out on top when we pit mammoth dose of “franchise Viagra” Dwayne Johnson against the motor-mouthed pocket rocket Kevin Hart? Find out as host Mark “French Tuck” Ellis breaks down the battle by Tomatometer, box office, acting versatility, and a special wildcard category. And as always, if you disagree with the ref’s call, have at us in the comments.Jumanji: The Next Level is available on digital now and on Blu-ray and DVD March 17, 2020.
(Photo by 20th Century Fox)All Star Wars Movies Ranked By TomatometerFlash Gordon meets Hidden Fortress meets Dune, 1977 s Star Wars was formed by George Lucas as an innocent, serial tribute to the entertainment of his formative past. But for everyone else, it was the future, changing the movie culture landscape on every level: How and what gets made, how they re released, and, yes, how they re merchandized. A space opera for all ages, Lucas closed out this original trilogy with the biggest twists (Empire Strikes Back) and the cuddliest endgame battle (Return of the Jedi).Over 20 years later, Lucas returned with the prequel trilogy that went deep into Force mechanics and far towards space politics. And nearly another 20 years after that, the so-called sequel trilogy started up, reuniting old friends and plot devices for the nostalgic blockbuster touchstone The Force Awakens. That was followed by the foundation-shaking Last Jedi, and the action-packed fan service machine The Rise of Skywalker, which is now the second-lowest–rated Star Wars film, according to the Tomatometer.With the 42-year spanning Skywalker Saga now complete, we re ranking every movie in the franchise! This means all theatrical releases (including spin-offs like Rogue One and The Clone Wars), but leaving off the TV stuff. Apologies to The Mandalorian. Star Wars Holiday Special, you know what you did. Now, kick back with some blue milk (or green, if you re watching space carbs) and crank up that holo-phonograph of Jedi Rocks because here comes the best Star Wars movies by Tomatometer!MORE: The complete Skywalker Saga is now on Disney+ Check out the 100 Best Movies on Disney+
(Photo by Focus Features)Yes, we know what you’re thinking: Just days after one of the most drama-filled awards seasons in recent memory, we are already looking ahead to next year. Best Picture winner Parasite is still in theaters, and we are several months away from the unofficial kick-off of the awards season in September. Still, we are already eyeing a list of hopefuls we think can go the distance in 2021. With Cannes re-emerging as a launching pad for contender films (Oscar winners Once Upon A Time in Hollywood and Parasite both premiered at Cannes last year, where the latter won the Palme d Or), the “Oscar movie” starting line continues to shift to earlier and earlier in the year. And following huge wins for genre-defying, foreign-language underdog-turned-Best Picture-winner Parasite, the very notion of an awards movie is ever-changing.After a fresh crop of films that premiered at Sundance in January, a number of new trailers from movies likely to be in the Oscar conversation, and festival circuit stops announced by others, we are starting to get excited. Read on to see our picks for Oscar contenders in 2020/2021 and why we are betting on them early.Don’t agree with our picks? Have at us in the comments.Mank (2020) 83% Cast: Gary Oldman, Amanda Seyfried, Charles Dance, Lily CollinsWhat it is: A biopic about Herman J. Mankiewicz, the co-screenwriter of Citizen Kane, and his battles with co-writer Orson Welles.Why it could win: Director David Fincher has earned at least one Oscar nomination for each of his last four pictures, including the two-time Academy Award winner The Social Network. Following the success of his Netflix show Mindhunter and earlier films like Zodiac, many voters and critics are excited to see what Fincher the new master of the historical thriller has in store for this Hollywood tale of betrayal, inspiration, and intrigue.Promising Young Woman (2020) 90%Cast: Carey Mulligan, Bo Burnham, Alison Brie, Connie Britton, Adam Brody, Jennifer CoolidgeWhat it is: A revenge thriller/dark comedy about a young woman who moonlights as a vigilante, feigning helpless drunkenness at bars to bring justice to would-be sexual predators, until she meets an old classmate who helps her shift focus and confront her past.Why it could win: Carey Mulligan has been consistently serving award-worthy performances for the past few years (Wildlife, Suffragette, Mudbound). After a successful nomination campaign for Cynthia Erivo in Harriet, we are betting Focus Features has a plan to get the previously nominated Mulligan back in contention. Writer-director Emerald Fennell is also a threat for a screenplay award following her Emmy-nominated success with TV series Killing Eve.The White Tiger (2021) 91%Cast: Rajkummar Rao, Priyanka ChopraWhat it is: A man s rags to riches tale of self-determination comes to life in this adaptation of the Man Booker Prize-winning novel from India.Why it could win: Aravind Adiga s 2008 novel The White Tiger was an international bestseller, and director Ramin Bahrani has been a darling on the festival circuit since his breakout with 99 Holmes. With the addition of Priyanka Chopra in her first English-language lead role in a feature film, we are motivated to keep our eye on this one for end-of-year accolades.Nomadland (2020) 93%(Photo by Searchlight Pictures)Cast: Frances McDormand, David StrathairnWhat it is: A woman in her sixties loses everything and takes off on an exploration of the West, living in her van as a modern-day nomad.Why it could win: After the critical success of The Rider, we automatically signed up for anything Chloe Zhao wanted to do next. Before she set off to shoot Eternals for Marvel, Zhao filmed Nomadland, starring two-time Best Actress Oscar-winner Francis McDormand, who also shows up elsewhere on this list. We are similarly excited for what McDormand will do, and #Vanlife seems ripe for actorly drama.Dune (2021) 89% Cast: Dave Bautista, Javier Bardem, Rebecca Ferguson, Timothée ChalametWhat it is: An epic sci-fi adventure that chronicles the lives of the royal Atreides family as they strive to protect the most valuable resource in the universe.Why it could win: Dune has been at the top of just about every most anticipated film list since it was announced in late 2017. It may be a stretch as an awards contender, but the fact that Denis Villeneuve is one of the few directors capable of producing pure genre films that still appeal to Academy voters does work in his favor. Add the internet s boyfriend and voter favorite Timothée Chalamet, and it would not shock us if it became a serious contender for above- and below-the-line honors.The Forty-Year-Old Version (2020) 98% (Photo by Courtesy of Sundance Film Festival)Cast: Radha Blank, Peter Y. KimWhat it is: An aging playwright battling with the choice to stay broke or sell out turns to rapping about her life as a 40-year-old as a way to reclaim her identity.Why it could win: Radha Blank was a well established playwright within the theater community when she made her stunning debut at Sundance earlier this year. The film, which delighted critics, was quickly snapped up by Netflix. It s a no-brainer to compete for Best Original Screenplay, so we fully expect a fall roll-out and a heavy awards push from the streaming giant.Benedetta (2021) 85%Cast: Charlotte Rampling, Virginie Efira, Lambert WilsonWhat it is: A 17th-century nun beset by erotic visions forms a relationship with her caregiver, and the two women become engulfed in a passionate love affair.Why it could win: Paul Verhoeven, the director of Elle, is making an erotic lesbian nun love story based on a true story. Need we say more? If, by chance, you think this premise is too much for Academy Voters, we would remind you that Isabelle Huppert was nominated for Oscar and won a Golden Globe for Elle a dark rape/revenge love story.Respect (2021) 68% Cast: Jennifer Hudson, Audra McDonald, Forest Whitaker, Tituss Burgess, Marc Maron, Marlon WayansWhat it is: A biopic profiling legendary singer-songwriter Aretha Franklin.Why it could win: Musical biopics have worked out rather well, particularly recently, for people like Renee Zellweger and Rami Malek, as well as past Oscar winners like Jamie Foxx, Reese Witherspoon, Barbra Streisand, and Sissy Spacek, so it could do the same for Jennifer Hudson as Aretha Franklin in Respect. Hudson had previously sung her way to an Oscar in 2007 s Dreamgirls, so the long-awaited feature about the Queen of Soul has promise, and thankfully, we expect it won t need much CGI like her last musical offering, Cats.The Eyes of Tammy Faye (2021) 66%Cast: Jessica Chastain, Vincent D Onofrio, Andrew GarfieldWhat it is: A drama charting the rise and fall of televangelists Jim and Tammy Faye Bakker, particularly through the lens of the latter. The film is a narrative adaptation of the 2000 documentary of the same name.Why it could win: Televangelists Jim and Tammy Faye Bakker were reality stars before the Kardashians, and they came with more baggage. They were two of the richest, most popular personalities on television at the height of their success, and their fall from grace was tabloid fodder for decades and tailor-made for awards consideration. Throw in two-time Oscar nominee Jessica Chastain and Best Actor nominee Andrew Garfield, as well as director Michael Showalter, who directed the Oscar-nominated The Big Sick, and there s plenty of reason to think this will resonate with the Academy.In the Heights (2021) 94% Cast: Anthony Ramos, Corey Hawkins, Jimmy Smits, Lin-Manuel Miranda, Stephanie Beatriz, Marc Anthony, Dascha PolancoWhat it is: The big-screen adaptation of Lin-Manuel Miranda s Tony-winning Broadway musical about life in the Washington Heights neighborhood of Manhattan, New York.Why it could win: The fact that the original musical won a Tony is reason enough to get excited about In the Heights, but with the addition of Crazy Rich Asians director Jon M. Chu, we have had a hard time picturing anything topping one of the new songs from this film for Best Original Song in 2020. The colorful visuals and production design we spied in the trailer also had us instantly buzzing.Hillbilly Elegy (2020) 25%Cast: Amy Adams, Glenn Close, Haley Bennett, Freida PintoWhat it is: The film adaptation of J. D. Vance s acclaimed memoir chronicling three generations of his Appalachian family.Why it could win: He has not been in the Awards conversation for over a decade, but double Oscar winner Ron Howard is always a threat, and Netflix is betting big on the memoir s long-awaited adaptation. With the inclusion of two actresses (Amy Adams and Glenn Close) who have 13 Oscar nominations but zero wins between them, there will be a lot of eyes on Hillbilly Elegy come fall.Tenet (2020) 70%Cast: John David Washington, Robert Pattinson, Elizabeth DebickiWhat it is: A mindbending sci-fi tale about time travel and a race to save the world.Why it could win: Christopher Nolan behind the camera alone should be enough for anyone, but Robert Pattinson, Elizabeth Debicki, and John David Washington make Tenet a must-see, albeit a risky bet, for nominations morning, as Tenet might be too genre to capture Oscar voters attention. Still, Nolan earned nominations for Inception and Memento, so his latest, which looks like a cross between the two, is difficult not to picture on the Oscar stage.Greyhound (2020) 79%Cast: Tom Hanks, Elisabeth Shue, Rob Morgan, Karl GlusmanWhat it is: In WWII, 37 Allied ships cross the treacherous North Atlantic while hotly pursued by a fleet of Nazi U-boats during the lead captain s first command.Why it could win: It s hard to bet against a Tom Hanks war movie. After Hanks broke a nearly 20-year Oscar nomination drought with his Best Supporting Actor nom for A Beautiful Day in the Neighborhood, we like his chances for this based-on-true-events story, which he both wrote and leads on screen.The French Dispatch (2021) 80% Cast: Benicio Del Toro, Adrien Brody, Tilda Swinton, Timothée Chalamet, Frances McDormand, Bill Murray, Owen Wilson, Saoirse Ronan, Léa SeydouxWhat it is: A film anthology of the stories from the final issue of an American magazine published in a fictionalized version of 20th century France.Why it could win: Wes Anderson has been nominated for seven Academy Awards and has never won not even for the beloved The Grand Budapest Hotel, which seems a downright tragedy. However, with this cast of Oscar winners and an expected glitzy debut on the festival circuit later this year, The French Dispatch is an early favorite to lead all nominations next January.Passing (2021) 86%Cast: Alexander Skarsgård, Tessa Thompson, Ruth NeggaWhat it is: Two white-presenting Black women are forced to confront their own choices, and each other, after they reunite to learn one is living as a white woman and the other as Black.Why it could win: Based on Nella Larson s award-winning novel, the premise alone has critics and film fans intrigued. Written and helmed by Rebecca Hall (an actress who s a magnet for stellar scripts built for powerhouse performances), we are anticipating a story that gives stars Tessa Thompson and Ruth Negga plenty of material for an awards highlight reel.Minari (2020) 98% (Photo by A24 films)Cast: Steven Yeun, Han Yeri, Youn Yuh-JungWhat it is: A family drama seen through the eyes of a seven-year-old Korean-American boy whose father moves the family from California to rural Arkansas to learn to farm and make a better life.Why it could win: A24 s Minari left Sundance riding high on praise from critics and, as of today, it s still Fresh at 100%. A quiet story about an Asian-American family with an eccentric grandmother is what earned Lulu Wang s The Farewell the top prize at the Independent Spirit Awards this year, even if it didn t break through with Oscar voters. Starring indie darling Steven Yeun in the lead role, Minari could succeed where The Farewell and Yeun s previous awards contender Burning fell short.Thumnail images by Warner Bros. Pictures, Searchlight Pictures, Focus Features
The characters on Chilling Adventures of Sabrina might worship in the Church of Night, which means their winter tradition centers around the Solstice. But in the show s holiday special, A Midwinter s Tale, a few members of the Spellman family are much more excited about a different Yuletide tradition.“Sabrina and Ambrose and Hilda [are] all warm and fuzzy about mortal Christmas,” star Lucy Davis, who plays the titular teenage witch s Aunt Hilda, told Rotten Tomatoes when we visited the set of the Netflix series last month. “[It’s] the three of us versus Zelda. The special holiday episode sees Greendale ready for Christmas and the Church of Night observing its not-so-merry Solstice. It will also feature a flashback to Solstice Past, in which viewers will see a younger Sabrina (McKenna Grace) ask Santa for something special. Although, as star Kiernan Shipka put it, “Obviously, the show wouldn t be our show without some excitement and some demons — literally.“It s action-packed and it s fun, Shipka added, but at the same time, there s a lot of heart and there s a lot of soul to it. A lot of the relationships develop in it really beautifully. I think it really fuses the witch world and the mortal world in a really lovely way.”(Photo by Diyah Pera/Netflix)The episode will also hit pause on the series ongoing storylines. The series first half ended with Sabrina (Shipka) embracing her witch side, turning her hair platinum blonde as she devoted herself to the Dark Lord and gave up her relationship with mortal boyfriend Harvey Kinkle (Ross Lynch). Despite Sabrina s pleased expression in the final moment of episode 10, Shipka believes her character still has a duality to confront in the second half of the first season, which premieres April 5.“I think there s a strong part of her that s mortal. But I do think there s that dark side in her,” she said. As an example, she characterized Sabrina’s choice to sign the Book of the Beast in episode 10 as a “strategic” choice, adding that “it definitely wasn t surrendering by any means. If anything, I think it was taking a step forward in her agenda.”Of course, that agenda will wait for April as “A Midwinter’s Tale” is a standalone story that focuses in on the characters and it takes its time, the actress added.(Photo by Diyah Pera/Netflix)Lachlan Watson, who plays Sabrina s human bestie Susie Putnam, told Rotten Tomatoes the special has more of that nostalgic kind of feel to it. Watson is a fan of Doctor Who and its Christmas-episode tradition (replaced this year with a New Year s Day special) and said Sabrina s Christmas special “just brings me back to sitting around the fire and watching the [those] holiday specials with my family.” While the actor didn t want to give too much of the role away, Watson is very happy about the fact that Susie spends much of the episode in an elf costume.Chance Perdomo, who plays Sabrina s cousin Ambrose, characterized his role in the special as a “conscientious objector.” Throughout the first part of the series, his character found himself caught up in the upheaval at the Church of Night, culminating in a slight reprieve from his century-long house arrest at the Spellman abode. But come the Solstice, Ambrose will be “objecting to the shenanigans” of a typical Sabrina episode. “[Ambrose is] just trying to have a nice relaxed holiday season,” he said. And when things inevitably go sideways, Ambrose’s response will be, “if you need me, you know where I ll be,” Perdomo said.Jaz Sinclair’s Rosalind Walker will make her first visit to the Spellman home.“That was really fun for me because I got to play with Hilda and Zelda for the first time,” she said — but the festivities may be cut short as Ros’ psychic powers kick in with an important message.Ros won’t be the only newcomer to the house as Zelda (Miranda Otto) faces the reality of her choice at the end of Part 1 by caring for Leticia, the newborn Blackwood she spirited away in the finale.“Zelda finds herself very attached to Baby Leticia,” Otto said, added that the Solstice is something of a “perilous time” for witches. “They have to keep the Yule Log burning to protect themselves from spirits that could come into the house.”This particular year, the Yule Log is more important than ever with a baby in the house — and Zelda s fear of someone snatching the child out from under her may prove to be correct.(Photo by Dean Buscher/Netflix)What about Sabrina? According to Adeline Rudolph, who plays Weird Sister Agatha, the trio and Sabrina will use the occasion to hold a seance. For the Weird Sisters, orphans left at the Academy of Unseen Arts over the holiday break, it turns out be an exciting change of pace.“We get really excited about it,” Rudolph said. “It s our version of trying to have a family experience.”Of course, any time the Weird Sisters and Sabrina combine forces, scary things happen. But what would a Christmas special be without a few frights? It seems Chilling Adventures of Sabrina is dedicated to proving the holidays have room for a few good scares.Chilling Adventures of Sabrina: A Midwinter s Tale premieres Friday, December 14. The second half of season 1 will debut Friday, April 5, 2019 on Netflix.
亚搏手机版app地址 Horror movie fans will be familiar with the concept of the Final Girl. The term was originally conceived in 1992 by Carol J. Clover as a way to describe the traits of the sole female victim who remains alive to tell the story of a film’s violent crime – or many violent crimes. Clover’s central idea was that, in the films where the trope is evident, the viewer initially sees the Final Girl through the killer’s perspective, but that partway through the movie, they begin to identify directly with her instead.Final Girls illustrated the moral split between the chaste and the virtuous. You know the deal – the hard-drinking, promiscuous girl dies first, and the demure, virginal girl survives to take down the murderer. She s the final one standing. Pop culture is replete with characters that fit the bill – Jess Bradford in the original Black Christmas, Sally Hardesty in The Texas Chainsaw Massacre, Nancy Thompson in The Nightmare on Elm Street – and their existence has become as integral to the slasher genre as the killers themselves.(Photo by Lionsgate/Courtesy Everett Collection)But that was then and this is now. The original Final Girl is slowly but surely being crowded out by a newer, more progressive iteration that acknowledges the restrictive ideas that initially gave birth to her. Over the last couple of decades, and particularly in the last 10 years, the last girl standing has looked a lot different from the final girls of the past. Progressively, in films like Scream, The Cabin In The Woods and It Follows, final girls have complicated the existing frame of the trope by pushing against its restrictions. Whether it’s by having sex, refusing to be constricted by archaic ideas of femininity, or simply by teaming up to fight together, these women now survive despite leading lives the genre used to consider wholly immoral and in need of corrective punishment – they’re a new kind of Final Girl. The Final Girls who were introduced in the 1970s and 1980s have become more nuanced over time, and that progress paved the way for the Finals Girls of Ready or Not and 2019’s Black Christmas who directly confront issues of misogyny and sex negativity.In some ways, the New Final Girl is almost the original Final Girl’s polar opposite. Rather than surviving because of her innocence, naïveté or virginity, the New Final Girl is the woman who makes it to the end of the film alive specifically because of her rejection of the old norms about what makes a woman morally deserving. The New Final Girl embraces drink, drugs, and sex and defends her engagement in each of them. She insists on being seen as a full human being and actively, often violently defends her right to do so. Most of all, the New Final Girl is still an active participant in her own survival – she knows the original Final Girl shouldn’t have had to sand off her edges to stay alive. The New Final Girl is not a virginal survivor but an intentional fighter who asserts her right to exist despite perceived moral flaws.(Photo by © Universal /Courtesy Everett Collection)In the 2019 sequel slasher Happy Death Day 2U, Tree Gelbman (Jessica Rothe) finds herself once again stuck in the murderous time loop of the first film. Over and over, she relives the same day, and it ends when she is brutally murdered by a serial killer known as Babyface. In the first film, the culprit is Tree’s sorority sister and roommate Lori (Ruby Modine). The two women are both having an affair with the same married professor, and Lori’s jealousy puts Tree in her crosshairs. In the sequel, Babyface is none other than the philandering professor himself, trying to eliminate any evidence of his transgressions.What makes Tree’s Final Girl status so interesting is that she begins the story as one of the “immoral women” who would usually die in a thriller. Tree is, by all accounts, a typical sorority mean girl. When we meet her, she is recovering from a night of partying and on her way to meet the professor she’s carrying on with. And in fact, she does die, over and over again, punished for her ruthlessness, immorality, and general misbehavior. But through the mechanics of the film itself, she evolves into a New Final Girl through sheer determination. (Photo by © Universal /Courtesy Everett Collection)In both films, Tree breaks her loop and returns to her life not by becoming more virtuous, but by becoming a more compassionate and considerate person. She improves and grows as a character – including ending her affair – not because those things make her unworthy of redemption, but because they are not the best choices for her as a person. She undergoes significant character growth without ever placing a moral frame on her sexuality or femininity. And through each of the infinite deaths it takes her to get there, she plots and schemes to find her killer and thwart them, determined to prevent her eventual death and save herself. Tree is a novel subversion of the trope because it’s her death itself that furthers her character growth. Several times, she intentionally kills herself in service of a larger goal; sometimes to gather more information about her situation and sometimes to undo the murders of other characters. As a result, her deaths then become an intentional sacrifice that signals her increasing virtue, instead of confirming its absence. It’s a large departure from the way the original Final Girls functioned in films like these.Cate YoungSimilarly, the evolution of Halloween’s Laurie Strode (Jamie Lee Curtis) into a New Final Girl in the film’s 2018 sequel of the same name is particularly notable because the character’s first iteration was in many ways the definitive final girl – most other examples are direct descendants of her legacy. In the first film, Strode is left as the sole survivor of the serial killer Michael Myers murder spree – the only young woman in the film who chose to abstain from the usual vices. Her survival largely conformed to expectations for women in horror at the time, and helped to cement the trope in the genre.But in the film’s most recent sequel – which retcons several that had come before –Laurie is now an older woman, driven to extremes by her fixation on stopping Myers return. In the 40 years since the events of the first film, Laurie has grown into an obsessive, battle-worn veteran of the war in her own mind. She may not be having sex or doing drugs, but she s far from the pure, likable babysitter we met decades earlier. She is convinced that Myers will return and has devoted her life to preparing for that eventuality. In the process she has lost custody of her daughter and become estranged from her daughter’s family. She is perceived as a lonely old woman too traumatized by her past to move on. Cate YoungOf course, Myers does eventually return. But this time Laurie is ready for him, having rigged her entire house to trap and kill him. Whereas in 1978 she was permitted to survive by virtue of her moral purity, in 2018 she fights like hell for that survival, taking active steps to make sure that Myers can no longer victimize her. She takes the lead in tracking Myers down and trapping him on her home turf. After spending years contemplating and preparing for the return of his torment, Laurie has transformed herself into the Ultimate Final Girl through sheer force of will. She has no intention of being defeated yet again.Critically, Laurie must also protect her daughter Karen (Judy Greer) and granddaughter Allyson (Virginia Gardener) this time around, folding them into a generational legacy of victimization and defense. When the threat they have dismissed for so long reveals itself to be real, they join forces with Laurie to fight and eliminate it – Myers is now a specter that haunts them all, the source of their estrangement and the origin of their familial trauma. Defeating Myers together connects the women as Final Girls of a new generation, forcing them all to overlook their own and each other s flaws in order to face the embodiment of their fractured relationships. Laurie leads the charge, but her family takes up her mantle. This isn’t to say that the old trope never survives. In fact, Allyson’s best friend Vicky is killed during a babysitting job soon after letting her wayward boyfriend into the house. It wouldn’t be a stretch to interpret her death as the same kind of stark moral judgement that historically happened in slasher films. This is especially true given the contrast with Allyson’s own encounter with Myers. After her boyfriend’s best friend inappropriately propositions her, he is immediately murdered while she survives. His overeager instinct to breach her consent should absolutely have been corrected, but death is a disproportionate response. The message couldn t be clearer: all sexual impulses exist along the same punishable continuum, regardless of how welcome they might be to the participants involved.(Photo by © Neon /Courtesy Everett Collection)One of the starkest examples of this shift in recent years is 2018’s Assassination Nation, which explored the trope in thrilling style. Set in conservative Salem, the movie focuses on a group of teen girls who find themselves at the center of a small-town lynch mob when they are blamed for the release of the community s private information. The girls are not guilty of the mass doxing, but their reputations as “loose women” make them ideal targets for the ire and anger of the town’s men and boys. The girls — Lily (Odessa Young), Sarah (Suki Waterhouse), Bex (Hari Nef), and Em (Abra) – are known at their high school for their skimpy outfits, their questionable choices in boys, and their perceived promiscuity. They are open about and proud of their burgeoning sexuality and enjoy exploring their relationships to the men in their lives. Lily is dating an abusive high school boy and carrying on an illicit affair with a married neighbor. Bex is trans and keeping her relationship with the popular football player a secret at his request. Sarah and Em are living with their mother Nance, who is implied to be operating a brothel out of her home. When the community devolves into ultraviolence, the citizens hunt the girls across the town, determined to punish them for being forced to confront their own once-private sexual shames. As the balance of power shifts, the horror genre tropes follow in quick succession. From a coordinated home invasion to a horde of masked killers to the use of guns and baseballs bats — the most American of weapons — the girls suddenly find themselves in the middle of their very own slasher film.(Photo by © Neon /Courtesy Everett Collection)At another time, all four of these women would be fated to die before the credits rolled. Their proximity to vice marks them as fallen women, and only the morally pure survive the transformative power of abject terror. But as New Final Girls, all four of them not only survive but continue on to restore order to the town. The girls rescue each other from the outsized violence the men are trying to inflict on them (including an attempted rape and hanging) and take up arms to defend themselves both literally and in abstract. The film ends as they deliver a call to action to the town’s girls, surrounded by bodies and covered in glitter, both claiming the righteousness of their femininity and rejecting the ubiquity of patriarchal terror. Through female solidarity they all survive and mete out the violence necessary to do so. Assassination Nation is unique in that the girls are explicitly targeted because of their sexuality – usually, this aspect of the genre is left as subtext. But here, the trope is almost deconstructed by bringing both the reasons for their attack and subsequent defense to the surface. They become New Final Girls because, given the plot constraints, their only options are to transform themselves or die. (Photo by © Universal Pictures / courtesy Everett Collection)The New Final Girl is a natural evolution of the original trope. Stories are becoming more egalitarian, and with that comes a necessary examination of the moral dimension of the traditional way women are depicted on film. But in the end, all these Final Girls aren’t as different from each other as we might think. The virtuous distinction that we make between them is largely based on an old patriarchal frame that divides women into Madonnas and Whores, then kills the whores. Part of making the genre more progressive – or dare I say feminist – is rejecting that binary entirely.Teenaged Laurie Strode and college-aged Tree Gelbman might have led different lives and made different choices, but when it came down to it, they both survived because they resolved to fight and refused to die. The haunting specter of violent masculinity came for all the women mentioned here, and they all triumphed, even under the restrictive gaze of a society that expects feminine perfection. But no matter how stark the contrast may be, these changes are progressive strides that honor the history of the slasher genre in inventive ways while bringing them into the contemporary moment. The Final Girl survived, but the New Final Girl thrives, and she’s ready to fight again another day.Follow Catherine Young on Twitter @battymamzelle
(Photo by Gabor Kotschy / Courtesy A24)Few actors have received the Academy’s recognition for performances in genre cinema, despite the sometimes stunning interpretations those stories allow for. Linda Blair (The Exorcist), Sigourney Weaver (Aliens), Jodie Foster (The Silence of the Lambs), Ian McKellen (The Lord of the Rings: The Fellowship of the Ring), Haley Joel Osment (The Sixth Sense), and, more recently, Daniel Kaluuya (Get Out) are among the limited exceptions to that unfortunate truth.The dismissal of Toni Collette’s remarkable turn in Ari Aster’s terrifying Hereditary, as a mother on the brink of losing her sanity in the face of supernatural tragedy, proved that Oscar voters don’t often see the work in horror, science-fiction, fantasy, and their many subsets on the same plain as the more traditionally dramatic work they celebrate year after year. For every star that earns a nomination for a biopic, countless others miss out for daring parts in boundary-pushing genre productions.This, of course, doesn’t mean that great acting in genre films isn’t out there consistently. This year alone, Lupita Nyong o has received considerable praise for her dual turn in Jordan Peele’s Us – and has racked up a few awards already – and so has Willem Dafoe for his role in the bizarre black-and-white buddy nightmare The Lighthouse. However, there were many other actors who challenged themselves playing offbeat characters or the grounded-in-reality centers of some excellent genre fare.Psychologically complex characters abound in these movies, which present unique challenges for the actors embodying them – being haunted by malevolent specters, lost in space, tormented by mental illness, or adored by cult members is no easy task. Below, we’ve highlighted 12 actors whose blood-curdling, exhilarating, and even moving appearances in genre movies released in the U.S. this year impressed us enough to advocate for their well-deserved accolades.Take note, Academy.What was your favorite genre performance of the year? Let us know in the comments. BILL HADER, It: Chapter Two (2019) 62% (Photo by © Warner Bros. Pictures)The Role: Richie Tozier, a comedian who returns to his hometown to face a killer clown alongside his childhood posse.Why It’s Award-Worthy: Hader’s adult version of Richie captures the spirit of the character as played by Finn Wolfhard in the first installment of Andy Muschietti’s two-part saga. He grapples with the past through humor and in turn adds a thin layer of lightness to the gruesome saga of the Losers Club, who return to Derry to find that Pennywise — the supernatural being that wants them dead and won’t leave them alone — isn’t gone. Instead of playing Richie’s coping mechanism purely for laughs, the gifted actor fully embodies Richie and his inner turmoil, building up to a tear-inducing finale. Having said that, seeing Hader as a self-deprecating trash-talker who doesn’t miss a single moment to make a joke, even when someone has just been murdered, is a weird pleasure we don’t feel guilty about.MILES ROBBINS, Daniel Isn't Real (2019) 84% (Photo by © Samuel Goldwyn Films)The Role: An introverted college student haunted by a diabolical imaginary friend.Why It’s Award-Worthy: Although you might remember Robbins as the man bun-wearing hipster in parental comedy Blockers or the doomed hipster boyfriend in 2018’s Halloween, he has serious range, and it’s on display in Adam Egypt Mortimer’s psychological horror feature. As Luke, a student struggling with his own mental health while caring for his schizophrenic mother, the actor essentially delivers two distinct personalities: First, he is an insecure young man dabbling in dating, but when his old imaginary pal Daniel (Patrick Schwarzenegger) returns, he becomes aggressively masculine right until the new personality fully takes over. The last segment of this under-the-radar creepout gives Robbins the opportunity to truly go all-out with the transformative nature of his performance.SOFIA BOUTELLA, Climax (2018) 68% (Photo by © A24)The Role: The leader of a French dance troupe that collectively devolves into a drug-induced trip into madness.Why It’s Award-Worthy: What the Algerian-born French dancer, model, and actress brings to Gaspar Noé’s intoxicating and provocative vision is sheer emotional rawness. Following a string of action movies – including Kingsman: The Secret Service, Atomic Blonde, and The Mummy – Boutella entered the void of the auteur’s latest mind-bending project to great results. Drugged out of her mind, Selva, her character, roams around a gym where her fellow dancers have also ingested an unknown substance and are morphing into instinct-driven beasts. From executing the incredible choreography that opens Climax to her furious outbursts and the disturbing mindlessness she exhibits, the talented multi-hyphenate lures us into this dehumanized underworld with every wild step. Physical and visceral throughout, Boutella brims with fiery energy.REBECCA FERGUSON, Doctor Sleep (2019) 78% The Role: Rose the Hat, the head of the True Knot cult that preys on Shiners and feeds off of their psychic powers.Why It’s Award-Worthy: Ferguson’s flamboyant villain is part Mad Hatter and part ruthless vampire. In the Swedish thesp’s hands, Rose the Hat exudes a mixture of sophistication and cruelty enhanced by her sleek outfit and centuries-old hat. There’s an unnerving self-assurance in her despicable mission that makes us fear and admire her. Previously seen in blockbusters like Mission: Impossibles Rogue Nation and Fallout and The Greatest Showman, Ferguson has continued to build momentum, and this Stephen King adaption is no exception. Even if critical reception for Doctor Sleep wasn’t unanimously positive –it’s sitting just inside the Certified Fresh zone – Rose the Hat became a fan favorite. Whether she is stealing the life force out of a person cursed with the Shining – rather horrifically in one pivotal scene – or reading their thoughts from a supermarket, she rocks the nefariousness.GUGU MBATHA-RAW, Fast Color (2018) 81% (Photo by © Codeblack Films)The Role: Ruth, a recovering drug addict from a lineage of Black women with superpowers who’s on the run from government agents.Why It’s Award-Worthy: Despite its hyper-limited release and muted reception at the box office, Julia Hart’s sophomore feature found an audience and some serious affection through online word-of-mouth. One of its major assets is Gugu Mbatha-Raw’s commanding presence as a young mother with substance abuse issues caused in part by her inability to control the super-human abilities she was born with. Far from a one-dimensional superhero type, Ruth is conflicted about her life choices and even more so about the power she didn’t ask for. The actress subtly and skillfully conveys the pent-up frustration and guilt the protagonist carries for not being a part of her young daughter’s life in a world where water is scarce. The genre elements are always present, but Fast Color works because it cares more about the multigenerational relationships between Mbatha-Raw and her co-stars Saniyya Sidney and Lorraine Toussaint.ISABELLE HUPPERT, Greta (2018) 60% (Photo by Shane Mahood / © Focus Features)The Role: A deranged European widow obsessed with befriending younger women.Why It’s Award-Worthy: There are no limits to the ways in which French icon Isabelle Huppert can surprise us with each new credit she puts under her elegant belt. For Irish director Neil Jordan’s ’90s-style stalker-thriller, she embraces one of the most wonderfully demented women she has personified in her jaw-droppingly prolific career. In the skin of the title character, a mysterious widow desperate for attention, Huppert goes full-on cuckoo as she lurks around New York City and harasses Chloë Grace Moretz’s character. A scene inside a restaurant where she loses her temper and another where she maniacally twirls while holding a dangerous syringe make for something deliciously unexpected. Nominated for an Oscar once before for Paul Verhoeven’s Elle, as a rape survivor seeking revenge, the goddess of international cinema clearly has no plans to stop amazing us.MARIANNE JEAN-BAPTISTE, In Fabric (2018) 91% (Photo by © A24)The Role: Sheila, a bank teller who buys a new red dress to get back into the dating scene, but ends up being tormented by the wicked garment.Why It’s Award-Worthy: Knitted within Peter Strickland’s giallo-infused horror diptych is a sharp commentary on the weaknesses and desires we all try to escape or fulfill and how evil prays on them. That’s why having Oscar-nominated actress Marianne Jean-Baptiste (Secrets Lies) act as the emotional anchor of this stylish contender for the most WTF movie of the year feels essential. Sheila is not a mere vehicle for the movie’s madness or just another victim, but rather a woman who wishes to find a partner, whose relationship with her adult son has deteriorated because of his live-in girlfriend, and who, on top of that, has to deal with a freakish piece of clothing that turns her washing machine into a deadly weapon. The near-absurdity of a screenplay centered on a killer dress is grounded thanks to Jean-Baptiste.BRAD PITT, Ad Astra (2019) 83% (Photo by 20th Century Fox)The Role: Roy McBride, a decorated major in the U.S. Space Command and the son of a legend.Why It’s Award-Worthy: Each time a melancholic Brad Pitt wearing an astronaut suit stares into the camera in James Gray’s powerful sci-fi drama, we can sense a profound emptiness, an emotional void that not even an accomplished professional life can fill. With Earth’s future threatened by a phenomenon known as the surge, Major McBride is sent on an outer space mission to save the planet, which may force him to confront his long-lost father. Set in a near future where the moon has become just another enclave of humanity’s voracious ambitions, this spiritual space odyssey is, at its core, a father-son story focused on a man looking for intimate answers in the vastness of the universe. An understated Pitt, both on screen and in voiceover, delivers some of his most finely tuned work.EMILY BEECHAM, Little Joe (2019) 67% (Photo by Chris Harris / © Magnolia Pictures)The Role: Alice, a scientist who creates a “happy flower” meant to help improve the owner’s mood, but instead produces perverse side effects.Why It’s Award-Worthy: The jury at this year’s Cannes Film Festival made a point by awarding Beecham the Best Actress prize for her subdued performance in this eerie slice of science-fiction. Her cerebral character, Alice, is a meticulous plant-breeder and a mother whose most ambitious enterprise yet is a sterile flower that requires lots of care to make it produce a hormone that’s supposed to make people joyful. Beecham begins the film stoically, with her Alice uninterested in developing any relationships at work; it’s only when her teenage son Joe s (Kit Connor) attitude changes, possibly because of her creation, that she loses her controlled façade. It’s a mostly internal performance, but the precise Beecham knows exactly when to imbue her gaze to communicate anguish, disbelief, and regret. Not a typical awards-winner, but it should be.FLORENCE PUGH, Midsommar (2019) 83% (Photo by © A24)The Role: Dani, an American woman coping with a devastating family tragedy while on a bizarre trip to an almost otherworldly Swedish festival.Why It’s Award-Worthy: Flower crowns can’t hide the immense grief and romantic woes that afflict a young American couple on the brink of separation in Ari Aster’s sun-drenched terror fest. As Dani, Pugh’s face flits between gut-wrenching fear, disappointment, delirious joy, and ultimately menacing empowerment. In her darkest hour, the strange cult that welcomes her could actually mean her salvation. Pugh has enjoyed a banner year with Greta Gerwig’s Little Women and her incredible but under-seen lead role as an aspiring wrestler in Fighting with My Family. It’s difficult to argue which of these three efforts is the greatest, but the notable physicality and mentally draining situations that Midsommar required may tip the needle in its favor. Still, having multiple praise-worthy releases in a single year automatically makes her the queen of the whole year, not just May, in our opinion.TAKAYUKI HAMATSU, One Cut of the Dead (2017) 100% (Photo by © Shudder)The Role: A spineless director tasked with creating an absurd zombie movie for Japanese television.Why It’s Award-Worthy: In this ingenious horror-comedy movie about making movies, Takayuki Hamatsu, making his movie debut, breathes life into a filmmaker whose bad reputation has pushed him to take whatever job he can get – including a low-budget zombie production to be broadcast live on TV. A natural pushover, the fictional director endures criticism from his daughter and wife at home, but once on set he must act tough to brave the ridiculous obstacles that await him. On the surface, Hamatsu’s hilarious take on an incompetent creator finding a new alter-ego behind and in front of the camera could seem broad, something we’ve seen before. But what’s required of him – and what he delivers – is a deft understanding of the screenplay’s tonal shifts and the movie-within-a-movie-within-a-movie mechanics of this incredibly clever piece of cinema. He gifts us laugh-out-loud brilliance.SAMARA WEAVING, Ready or Not (2019) 88% (Photo by © Fox Searchlight)The Role: Grace Le Domas, a bride who unknowingly marries into a murderous family.Why It’s Award-Worthy: When we first meet Grace, right before she walks down the aisle, her spirited demeanor is infectious. She is unequivocally ecstatic to be getting married, and that effervescence follows her right up to the moment when she discovers that her now-husband’s family treasures a psychopathic and ritualistic tradition: Her in-laws, the Le Domases, want to murder her before dawn via a gory game of hide-and-seek. Weaving, an up-and-coming Australian actress, handles this transition from joy to panic, and later to pure survival mode, with complete believability – and never loses her edgy sense of humor. This is a woman in love forced to rip apart her gorgeous dress, dodge literal bullets, and bash people’s heads in order get through the night. As the twisted plot escalates, the darker parts of Grace awaken, and Weaving renders that blend of emotions impeccably.JUAN RAMÓN LÓPEZ, Tigers Are Not Afraid (2017) 97% The Role: El Shine, a jaded young boy trying to survive in a merciless Mexican ghost town.Why It’s Award-Worthy: Issa López’s unforgettable dark fantasy features a remarkable troupe of young performers, many of them first-timers, as a group of children fending for themselves in a nameless Mexican city where criminals run the streets and most people have mysteriously disappeared. Among the cast, Juan Ramón López stands out as a young man whose innocence has been ravaged by his environment. But when Estrella (Paola Lara), a girl searching for her missing mother, joins the crew, El Shine shows glimpses of the child’s buoyancy that he’d suppressed. Playing a kid who’s far from likable and contains such heavy emotions at such a young age could easily be daunting, but López channels the right amount of anger and determination into his character.Are you as obsessed with awards as we are? Check out our Awards Leaderboard for 2019/2020.Thumbnail image: @Gabor Kotschy / Courtesy A24, Brooke Palmer / © Warner Bros., Jacob Yakob / © Codeblack Films 游戏画面非常惊艳有着远超一般手游的细腻画质，模型非常精致，游戏世界观宏大，游戏实载内容丰富。超高的品质让该手游即使在韩国手游那样MMORPG手游佳作层出不穷的圈子中都显得一枝独秀。
Identity was a major theme in the Nov. 30 episode of Titans, Donna Troy. Kory (Anna Diop) was trying to recover her memory, Gar (Ryan Potter) was reconciling what it means to become a tiger, Rachel (Teagan Croft) was finally getting some time to know her mother, Angela (Rachel Nichols), and Dick Grayson (Brenton Thwaites) was facing his own shattered identity after a recent run-in with the new Robin (Curran Walters) and the terror he experienced at the Organization’s asylum. Who better to talk to about these issues than the former Wonder Girl and Dick s oldest friend, Donna Troy, a comic book character defined as much by the constant revisions made to her identity as her constant presence in the Teen Titans line of comic books?On the show, Donna seems to be a rock-solid ex-superhero sidekick, but her history in the comics is not exactly set in stone. Rotten Tomatoes spoke with Conor Leslie, the world’s first live-action Donna Troy, about her comic book counterpart s crazy past and just who the character is in the world of Titans.Who Is Wonder Girl?(Photo by DC Universe)The concept of Wonder Girl predates Donna Troy. In 1958’s Wonder Woman #105, Wonder Girl was introduced as a younger version of Diana for a flashback tale. By 1961, Wonder Woman comics featured stories in which the grown up Diana, Wonder Girl, and even a Wonder Tot appeared simultaneously in an attempt to give Wonder Woman more of a domestic home life — even if her family was composed of these younger versions of herself and her mother Hippolyta.This original intention changed as writer Bob Haney began to treat Wonder Girl as a separate character and included her as a founding member of the Teen Titans in 1965’s The Brave and the Bold #60. The Diana version of Wonder Girl made one last appearance that same year in Wonder Woman #158, where she and Wonder Tot were seemingly “killed” by Wonder Woman editor Robert Kanigher.Wonder Girl transferred into the Teen Titans cast, but her name and new origin remained a mystery until 1969’s Teen Titans #22, when writer Marv Wolfman gave Wonder Girl the name “Donna Troy” and a backstory: She was an orphan Diana rescued from a burning building and took to Themyscira to be raised as an Amazon. The group of warrior women later gave her abilities similar to Wonder Woman via a fanciful bit of science-fiction convenience.But because the Wonder Girl character is older than Donna Troy, the character’s origins, powers, and motivations have always been malleable. Those changes are a major point Leslie noted while researching her new TV character.“As soon as I [started reading], I got overwhelmed because her backstory changes so dramatically,” she told Rotten Tomatoes. “I paused early on and talked to [producer and showrunner] Greg Walker to see where he and Geoff Johns wanted to go with all of this. If I had continued to fill my head with more information, it would’ve made my mind implode.”The 1987 revision of Wonder Woman s origin turned Donna into an active character that existed before Wonder Woman debuted in the new history, ushering in a revolving door of concepts to explain how there was a Wonder Girl before a Wonder Woman. For a time, she was a duplicate of Diana created as a playmate who was later kidnapped and placed in suspended animation, an incomplete fusion of other Donna
亚搏手机版app地址 A Quiet Place Part II may have fallen to second place (barely), but these are all fairly solid numbers in its favor. The first film dropped just 34.3% during its second weekend to .97 million and was bested by Rampage by less than million; Part II fell 59% this weekend to .5 million, which is a much steeper drop than fellow million Memorial Day weekend films (Madagascar, Kung Fu Panda 2, 2005’s The Longest Yard), which fell between 40.5-49.9%, but it is in the vicinity of Godzilla vs. Kong, which fell 56.9% off its opening weekend after a front-loaded Wednesday-Thursday start and million less in its Friday-Sunday weekend than the Quiet Place sequel.Krasinski’s film is becoming the new standard to beat in this period, taking in over million in its first 10 days, and is hoping to pass GvK to become the first film since Sonic the Hedgehog on February 23, 2020 to gross 0 million. After 3,000 this weekend, GvK stands at .1 million; if Quiet falls off just 55% or less from last week s weekdays haul, it could reach 0 million by Thursday. A Quiet Place Part II is currently on pace somewhere between Mad Max: Fury Road and Terminator Salvation, which would put it on the path for somewhere between 0 million and 140 million when all is said and done. It’s nice to be able to consider first estimates again as theaters begin to make their comeback.Meanwhile, Cruella – which, like A Quiet Place II this weekend, made news when it was announced a sequel was on the way – took in .2 million this weekend, which is the third-best second weekend of the pandemic era. But the .6 million it has made to date puts it in the territory of After Earth and Battleship, two notorious failures for their studios that finished with million and million domestically. Even aided by international grosses of 3 million and 7 million, they were expensive failures. Cruella’s costs have been widely disparate in reports, but the answer is likely somewhere between the 0 million and 9 million budgets of those summertime busts, and Disney’s film has only made million internationally so far, less than the premium streaming total of -plus million it made last weekend. They must be feeling optimistic given the sequel announcement.On These Dates In Box Office History