(Photo by Saeed Adyana/Netflix)Ryan Murphy s second Netflix series, Hollywood, may be set in the studio world of post-WWII L.A., but its flavors are distinctly 2020. The glossy, compulsively watchable fantasy tells the story of a major movie studio producing big-budget drama Meg, with Black actress Camille Washington (Laura Harrier) controversially cast in the lead role of a doomed starlet based on real-life actress Peg Entwistle, who jumped to her death fr (Photo by Tidepoint Pictures/Courtesy Everett Collection)The Best Japanese Horror MoviesFrom folk tales to body horror to monster movies, Japan s cinema finds new ways to thrill and disturb audiences. Japanese horror movies got a big leg-up in the 1950s and 1960s with Ugetsu and Kwaidan, before spinning heads over time with transgressive cult works (Tetsuo: The Ironman), comedic takes (Hausu, One Cut of the Dead), and crossover hits (Ringu, Audition). And we d be remiss to not include at least the original kaiju movie, Godzilla. It was created in response to nuclear oblivion, and creating art to process real trauma is one of the core values of horror.And now we ve gathered every Japanese horror movie with a Fresh rating and ranked them by Tomatometer, creating your guide to the best Japanese horror movies of all time.Best Spanish-Language Horror Movies | Best Korean Horror MoviesBest Italian Horror Movies | Best French Horror Movies2020 s Best Horror Movies | 200 Best Horror Movies Ever
This weekend felt like a crucial mid-term for theatrical releases. Between the hybrid release controversies of the summer and the continued lack of attendance for non-IP originals, particularly those aimed at adults, it is still anyone’s guess what we are headed for come the holiday movie season. Barring the return of some new surge of virus infections (at least those numbers are headed in the right direction) people will hopefully feel safer filling seats at their local theaters. They certainly had a choice this weekend between staying home and buying a ticket. The latter won for one film while the former created some dismal numbers for another, casting a shadow over anything not part of a franchise the rest of the year.King of the Crop: Halloween Kills its Hybrid Release with million Debut(Photo by Universal Pictures)Before the pandemic, the focus on this weekend’s #1 movie would have been the drop from its predecessor’s million start in 2018. Halloween Kills’ million weekend is a 33.8% drop from three years ago, but even that can be put in a positive perspective looking at other sequel drops of this stature over the years. Among R-rated sequels to films opening over million, 300: Rise of an Empire (36.4%), Ted 2 (38.4%), Paranormal Activity 4 (44.8%), Sex and the City 2 (45.6%), The Matrix Revolutions (47.1%), and The Hangover Part III (51.5%) all dropped further. Alien: Covenant fell 29.1% from Prometheus but didn’t have nearly as far to fall as Halloween Kills did, leaving It: Chapter 2 (26.2%) and Deadpool 2 (5.23%) as the higher standards. The point is that this is a really terrific number for David Gordon Green’s sequel..4 million is the sixth-best opening of the pandemic. As it marks the third consecutive week of a film opening over million, that statistic may quickly become an afterthought, though it shouldn’t. Where Halloween Kills busted the ceiling this weekend was in the hybrid streaming wars. After it was announced the film would simultaneously premiere on the Peacock service the same day it premiered in theaters, its chances for widespread theatrical success appeared to be kneecapped. The first film was a rather frontloaded success story, posting just a 2.09 multiple over its opening weekend. Halloween Kills may be down 34% from the 2018 opening, but it is up 58% from the year’s best hybrid HBO MAX openings, with Godzilla vs. Kong and Space Jam: A New Legacy each in the million realm. Kong already had a two-day head start with .4 million prior to the weekend and to date is the only hybrid release (sans an additional fee) to crack the 0 million barrier. And that was a March 31 release that took over 11 weeks to reach that milestone. Halloween Kills is already halfway there in just three days.Kills also nearly doubled up The Suicide Squad (.2 million) for the best “R”-rated opening of the year in any release strategy. 54 million Peacock subscribers at last count compared to roughly 73 million for HBO MAX. (And those are late July numbers.) The five biggest WB/HBO MAX openings dropped like flies in their second weekends Godzilla vs. Kong (56.9%), The Conjuring: The Devil Made Me Do It (57.1%), Space Jam: A New Legacy (69.1%), The Suicide Squad (71.5%), and Mortal Kombat (73.2%). 2018’s Halloween fell 58.8% to .4 million in weekend two, so there’s a good chance Kills falls below million next weekend, especially if people realize they actually have Peacock on their cable service. Those who actually still have cable service.Rotten Returns: Ridley Scott s The Last Duel Reinforces a Grim Trend(Photo by 20th Century Studios)What may actually be the bigger story this weekend is the continuing failure of non-IP films aimed at adults to draw them in. Ridley Scott’s The Last Duel was speculated to at least get into eight-digit territory this weekend. Its fate was all but sealed when it opened to just 0,000 in previews Thursday night, and the final numbers were even worse than imagined. The historical drama with a cast boasting Matt Damon, Adam Driver, Jodie Comer, and Ben Affleck grossed a mere .8 million this weekend. That is less than Damon in Stillwater did this summer (.18 million) and the worst start for a Damon-led film opening in over 3,000 theaters. The previous low was We Bought a Zoo (.36 million), which nevertheless went on to gross over million over its 2011 holiday season release.There is a strong chance that The Last Duel will not even be able to leg itself out enough to outgross All the Pretty Horses (.5 million) or Stillwater (.2 million), leaving it as the third-lowest grossing Damon-led film ahead of only Suburbicon (.77 million) and Promised Land (.59 million), both of which were released in fewer than 2,050 theaters. The story is far grimmer than anything surrounding Damon’s perceived star power, though. The Last Duel represents a continuing trend in the pandemic box office for anything other than a sequel, franchise, universe-builder, or Disneyland ride to break out among audiences. Free Guy, Raya and the Last Dragon, and Old are the only films outside of those categories to gross over million this year. The Last Duel is about to become the third theatrical-exclusive film released this year in over 3,000 theaters that fails to gross even million.The Top 10 and Beyond: No Time to Die Takes Aim at 0 Million(Photo by Nicola Dove/©MGM)No Time To Die missed the opportunity to become the fifth film of the pandemic to gross 0 million in its first 10 days; instead it will take 11. With .3 million this weekend (a 56% drop) the 25th James Bond film is just shy of the milestone. That is a slightly better second weekend than F9 had ( million), though Bond is still nearly million behind its pace while also about million ahead of A Quiet Place Part II’s 10-day run. The film has a good chance to stick around the Top Five into just before Thanksgiving (and could hang on enough into that holiday) so we’ll stick with a final gross between 0-170 million domestically. Globally the film is over 7 million and could actually surpass F9’s 6 million to become the highest-grossing film of the pandemic era.Venom: Let There Be Carnage fell to .5 million (the second-best third weekend of the year), bringing its total to just over 8 million, still on a very solid pace for 0 million. That is about million below Shang-Chi’s third weekend and overall about million behind its 17-day pace. Shang-Chi and the Legend of the Ten Rings drove its total to over 8 million and is going to settle into the 5 million territory, suggesting that the Venom sequel will come in somewhere around the original Venom’s total of 3 million.The Addams Family 2, which is also on VOD for .99, is not far behind the pace of The Boss Baby: Family Business, which was also streaming on Peacock s subscription tiers. That animated film finished with over million. Addams looks to be in line to come in between -55 million. A24’s odd folktale, Lamb, managed to stay put in eighth place, falling from just over million to 3,000 and driving its total to million. Not too shabby, all things considered, and the studio can put this on its mantle along with the knowledge that David Lowery’s The Green Knight is going to outgross Ridley Scott’s The Last Duel.On the Vine: A Timothée Chalamet Double Feature with Denis Villeneuve s Dune and Wes Anderson s The French Dispatch(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)Fear is the mind killer next week when Denis Villeneuve hopes people will take his advice and see his adaptation of Frank Herbert’s Dune on the big screen instead of watching it from their sofas on HBO MAX, which will begin streaming the film Thursday night. Actually theaters and the home service will be showing Dune: Part One, as the opening title card announces it. There is no release date or production start date for Dune: Part Two. Also finally opening is the animated film, Ron’s Gone Wrong, and Wes Anderson’s latest, The French Dispatch.Full List of Box Office Results: October 8-10, 2021
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If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at email@example.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
ä¸å°äºå¢ãå°±ç®æå¼æ¸¸æåè´¨ä¸è°ï¼æè§å¾LOLææ¸¸ä¹è®©çè è£èæå°äºä¸äºååï¼è¿èæ´æ°æ¸¸æå å®¹ï¼æ¨åºæ°çè±éï¼å¶ä½æ°çç®è¤ï¼è¿ä¹ç»å ¶ä»ç©å®¶å¸¦æ¥äºè«å¤§çå¥½å¤ã Amber Ruffin, Larry Wilmore To Launch Peacock Shows(Photo by NBC)NBCUniversal’s new streaming service Peacock is getting into the topical late-night show game with two upcoming shows.The first, which stars Late Night with Seth Meyers breakout Amber Ruffin and is called The Amber Ruffin Show, will launch in September and currently has a nine-episode order. Ruffin is executive producing the series along with Meyers, Mike Shoemaker, and fellow Late Night writer and frequent on-screen commentator, Jenny Hagel.Ruffin told journalists attending the show’s all-virtual Television Critics Association summer press tour that “the show will be a half-hour, late-night show and it ll mostly feel like a late-night show except there will never be a guest. Well, as of now, we will not have guests. You never know who’s gonna stop by. New York’s a big city. But I guess we will write as much as we can all week and then the four things we like the most, that’s what we ll do.”But fans of Late Night who have come to enjoy Ruffin (and Hagel’s) commentary in segments like “Jokes Seth Can’t Tell” should not worry, as she will still be involved with that show.Peacock s other new after-hours series involves bringing back a late-night veteran: Larry Wilmore. The Daily Show and Nightly Show alum will host a still-untitled weekly series that the press release promises will see him having “real discussions with high profile people from all different backgrounds including sports, politics and entertainment.”“The show is basically about where we re going to have that kind of ‘conversation’ that we ve been saying that we want to have,” Wilmore told journalists attending his virtual panel. “So we re going to have some interesting people in the show, and we re also going to cover the election. I felt like I got cheated the last time during the last election [because The Nightly Show’s last episode aired August 18, 2016]. So it ll be fun to cover that, and just weigh-in on the important issues in the culture right now.”He also said that the show isn’t going to steer away from topical, yet sensitive, issues like race, explains that “we re definitely going to cover race, but we re not going to be obsessed with it.”The series has an 11-episode order so far and also launches in September.More from Peacock this week:Greg Peters/©Universal courtesy Everett CollectionThe streaming channel has given a series order to MacGruber, the Will Forte comedy based on his popular Saturday Night Live character and subsequent feature movie. The logline reads that “after rotting in prison for over a decade, America’s ultimate hero and uber patriot, MacGruber, is finally released. His mission: to take down a mysterious villain from his past Brigadier Commander Enos Queeth. With the entire world in the crosshairs, MacGruber must race against time to defeat the forces of evil – only to find that evil may be lurking within.”Sara Bareilles will star Girls5eva, a new comedy from 30 Rock’s Tina Fey and Robert Carlock. She plays Dawn, a former member of a ’90s girl group who is now managing her family’s small Italian restaurant in Queens. She’s grown a bit listless and jumps at the chance to get the band back together.New cast members joining Rutherford Falls, the small-town comedy starring Ed Helms and co-created by him, Mike Schur and Sierra Teller Ornelas, include Jana Schmieding, Michael Greyeyes, Jesse Leigh, and Dustin Milligan.Peacock has also given a series order to One of Us Is Lying. It’s based on the Karen M. McManus novel and follows “what happens when five high schoolers walk into detention and only four make it out alive.”
From Ava Duvernay, Rian Johnson, and Ryan Coogler to Nicole Holofcener, Quentin Tarantino, and Robert Rodriguez, dozens of filmmakers have burst out of the Sundance Film Festival and chased their Hollywood dreams. Some directors, like Cathy Yan, made the leap from small budget indies like Dead Pigs to big budget studio movies like her next project, Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn). Others, like Steven Soderbergh, have continued to blaze an unconventional path since his debut with Sex, Lies and Videotape over 30 years ago. This year’s group of first-time filmmakers are no less talented, many of them already earning praise from audiences and critics alike. There’s a good chance we may see many more movies from them in the years to come.I Carry You With Me (2020) 97%(Photo by Alejandro López courtesy of Sundance Institute)Distributor: Sony Pictures ClassicsTechnically speaking, I Carry You With Me isn t a true debut for Heidi Ewing, who has been crafting acclaimed feature documentaries for a decade and a half (2006 s Jesus Camp was even nominated for an Oscar). That said, Ewing makes her first foray into narrative filmmaking with this touching drama, which follows two men in Mexico, Iván and Gerardo, as they meet, fall in love and decide to try their luck in the United States. The film moves back and forth through the men’s lives, revisiting different moments from their childhood up to the present day, where they now live in New York and are unable to reunite with their families south of the border because they left without immigration papers. I Carry You with Me won Sundance’s NEXT Innovator Award and the audience award for its category. Carlos Aguilar wrote for Remezcla, “Ravishing and unshakable, Ewing s authentic film feels like the crossbreed between a painful memory and a hopeful dream about a place, a relationship and a fight for acceptance that s not political but entirely humanistic.”Crip Camp (2020) 100%(Photo by Steve Honigsbaum courtesy of Sundance Institute)Distributor: NetflixNicole Newnham and Jim LeBrecht teamed up to revisit a chapter of nearly forgotten history and trace its influence on attendees. In the early ‘70s, not far from Woodstock, an inclusive camp gave unprecedented training and opportunities to people with disabilities. Empowered by their experiences, LeBrecht and his fellow campers and counselors would go on to accomplish many things – including advocating for the Americans with Disabilities Act. Crip Camp won the audience award for its U.S. Documentary category. Esther Zuckerman wrote for Thrillist, “Through incredible archival footage, the documentary shows how campers at Jened were given the freedom they so often lacked in the outside world. There s smoking, sex, partying, and a sense of pure community.”The Forty-Year-Old Version (2020) 98%(Photo by Jeong Park courtesy of Sundance Institute)Distributor: NetflixWritten, directed by, and starring Radha Blank, this dramedy is a loosely autobiographical riff filtered through a classic-looking black-and-white lens. Blank plays a version of herself who’s nervous about approaching 40 as a single woman and struggling artist. Luckily, she rediscovers her love of hip-hop and finds a new source of inspiration for her material. Blank, a playwright and comedian off-screen, brings her sharp wit to the experience of a woman on the edge of a career breaking point, winning the Directing Award in the U.S. Dramatic category at Sundance in the process. Aramide Tinubu wrote in Shadow and Act, “Vulnerable but vibrant in all of it s black, white and grey-hued glory, The 40-Year-Old Version is an ode to BLACK Harlem, fearlessness and the art of putting yourself on.”Some Kind of Heaven (2020) 93%(Photo by Becca Haydu courtesy of Sundance Institute)Distributor: N/ALance Oppenheim’s quirky documentary takes audiences to a picture-perfect retirement community in Florida known as The Villages. Despite dozens of clubs, activities and smiling faces, his camera finds subjects who aren’t so pleased with paradise but are trying to make the best of their remaining years. Writing for Variety, Dennis Harvey said, “Those nostalgic for the fond portraits of eccentric Americana in Errol Morris early work and pretty much everyone else will be delighted by Some Kind of Heaven. This Is Not a Burial, It's a Resurrection (2019) 100%(Photo by Pierrede Villiers courtesy of Sundance Institute)Distributor: N/ALemohang Jeremiah Mosese’s debut opens in the mountains of Lesotho, where an 80-year-old woman loses her son and takes up a new cause in life: to protect her village from bureaucratic plans that would wipe it off the face of the earth. The film won the World Cinema Dramatic Special Jury Award for Visionary Filmmaking at Sundance. Allan Hunter of Screen International said, “This Is Not A Burial, It s A Resurrection offers a vivid, beautifully crafted reflection on identity, community and the tension between respecting age-old traditions and accepting the seemingly unstoppable march of progress.”Save Yourselves! (2020) 89%(Photo by Matt Clegg courtesy of Sundance Institute)Distributor: N/AIt’s the ultimate sci-fi nightmare: in an effort to disconnect from their addictions to smartphones, a Brooklyn couple, Jack (John Reynolds) and Su (Sunita Mani), go off the grid for some peace and quiet. Unfortunately, they picked the wrong time to swear off the internet, as the planet falls under attack by aliens. Amy Nicholson of Variety wrote about Alex Huston Fischer and Eleanor Wilson’s comedy, “There s only one joke in Save Yourselves! this hapless generation is doomed! but the survival comedy is delightful from start to apocalypse.”Palm Springs (2020) 95%(Photo by Chris Willard courtesy of Sundance Institute)Distributor: Hulu, NeonMax Barbakow’s time-traveling romantic comedy follows Sarah (Cristin Milioti) and Nyles (Andy Samberg) on the day of Sarah’s little sister’s wedding. When Sarah looks reluctant to give a toast at the party, Nyles steps in to help, and the two strike up a rapport that eventually leads them both into a type of time warp that causes the hellish wedding day to start anew. Kevin Fallon of The Daily Beast said, “There s a massive, Groundhog Day-evoking twist that instantly transports this from cute rom-com to high-concept deconstruction of a rom-com that illuminates our need for connection of course, filtered through the wily charms of Lonely Island.”Promising Young Woman (2020) 90%(Photo by Focus Features)Distributor: Focus FeaturesTurning the revenge narrative upside down, Emerald Fennell’s clever Promising Young Woman follows Cassie (Carey Mulligan) as an old school friend Ryan (Bo Burnham) reenters her life and reminds her of the terrible incident that caused her to drop out of med school. Forever affected by this event, Cassie decides to turn her grief into a teaching moment for those who betrayed her years ago. Joi Childs wrote in Teen Vogue, “A stellar performance from Mulligan paired with an ambitious vision from Fennell comes together to create a story that s a bold takedown of rape culture and those that defend it.”Miss Juneteenth (2020) 99%(Photo by Rambo Elliott courtesy of Sundance Institute)Distributor: N/AChanning Godfrey Peoples’ debut feature follows a mother-daughter story deep in the heart of Texas. Turquoise (Nicole Beharie), the winner of her town’s beauty pageant title of Miss Juneteenth, lives a very different life than the one she once imagined as a reigning champion. She’s just scraping by as a single mom, trying her hardest to stay above the bills and convince her daughter Kai (Alexis Chikaeze) to go after the crown to finish what she started – even if Kai isn’t too keen on following through. Valerie Complex wrote in AwardsWatch, “Miss Juneteenth is written with hope in mind, and the audience will root for Turquoise. Not a tropey caricature that Hollywood likes to box Black actresses into.”Nine Days (2020) 88%(Photo by Wyatt Garfield courtesy of Sundance Institute)Distributor: N/AAlthough divisive among some critics, many supported Edson Oda’s vision for his feature debut, Nine Days. Starring Winston Duke, Zazie Beetz, Benedict Wong, Bill Skarsgård, Tony Hale and David Rysdahl, Nine Days takes place outside the realm of this reality for a mind-bending look at birth, existence, and life. Nine Days also won the Waldo Salt Screenwriting Award in the U.S. Dramatic category. Brian Tallerico wrote in RogerEbert.com that the film was “one of the most unexpected experiences I ve had in almost a decade of going to Sundance.”Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
亚博app手机下载 (Photo by Hiba Judeh/Netflix )It also feels like you re flipping the proverbial coin on the Is it a religious movement or cult theme, here.Monaghan: The Path had a very insular perspective. You had one sort of leader, and it took place on a compound. When I did read this and saw the juxtaposition of those ideas, I was like, Oh, wow, this is really interesting to explore. And the characters are so very different, as well.(Photo by Hiba Judeh/Netflix)Other recent streaming shows have presented their stories on a global scale — for example, Amazon s Hanna filmed all over Europe and Netflix s Sense8, which James McTeigue worked on, shot all over the globe — was that part of the appeal of working on Messiah, for you?Monaghan: Yeah. I think really, for me, what stood out was obviously the global scope of the show. I had never really been a part of anything like that: an international cast. It was such a great, unique opportunity to be a part of something that I think is really important that is not just, specifically, a western point of view. It is about multiple perspectives, it s very multi-cultural and raises all those ideas and belief systems. So that was one of the main drivers for me to be in it.(Photo by Hiba Judeh/Netflix)So then, I m assuming you got to travel to some interesting locations for the production. Yes. We shot Jordan for Israel. We shot in Iman and all around that area. For me, that was also part of the decision; I didn t want to be in the middle of the desert out here in L.A. shooting green screen for the Middle East. I really didn t want to do that. Understanding the level of commitment and dedication to the story. As an actor, when you re embarking on any role, you can be anywhere that is practical to what you re doing. So, to be able to be in that atmosphere, that environment, and interacting with that culture you know, any culture is only going to serve us, and it did. It left an indelible mark on me.(Photo by Hiba Judeh/Netflix)There s something about being exposed to other cultures, other ways of life, and accepting it without judgment, which is rare to see on TV and in movies. It s something Anthony Bourdain seemed to do so well.You just nailed it. He bridged the gap. He provoked conversation. But, he was still himself. He respected the people and their cultures, wherever he went. He never judged them, and I think that s what s so important. And, look, I m not comparing Messiah to anything Anthony Bourdain did. But it s the way in which he presented different perspectives, it s precisely that. Look, we don t choose where we re born, and unless you have the opportunity to be able to go and experience other cultures, you re going to have a limited perspective. Isolation breeds misunderstanding. Isolation could be within yourself. It could be within a society, a culture, a country, a religion.(Photo by Hiba Judeh/Netflix)I think that s just the tip of the iceberg when talking about the bubble most of us tend to live in. It s that same sort of insular perspective that could make someone perceive the concept of a brown-skinned Messiah as problematic. How do you respond to that?It s something that excites me. The show doesn t subscribe to any particular religion. I think what people will find when you tune into the show, is that al-Massih doesn t reveal himself as the Messiah. It s the projection of everyone else and what they presume him to be. What I really find interesting about this story is that all the characters are searching for something. Eva s searching for the truth; some people are searching for actual, physical freedom, you know? What he does, as I see it, is he acts as a mirror to your psyche. Everybody s looking outwardly at him to be the savior of sorts, when in reality he s throwing everything back at you.(Photo by John Golden Britt/Netflix)Two of the main focal points of the show are the Israeli-Palestinian conflict and a refugee crisis that unfolds at that contentious border. The show also spends a lot of time at the Texas-Mexico border. Is Messiah trying to bridge the gap between these events?What I can say is the show was written in 2016. We didn t, certainly, have a crystal ball. But obviously, history is repeating itself. So, I think that people will see that. This is an issue that Americans are very familiar with. I think that Americans, in general, are less familiar with the refugee crisis in the Middle East and in Europe. We don t refer to them as refugees in this country.(Photo by Hiba Judeh/Netflix)There are many layers to the story Messiah is telling. If you had to pick one central message, what do you hope the audience will take away from the series?I hope people watch an episode and identify with a character and then want to dissect that character. I hope it actually provokes a conversation.Messiah is now streaming on Netflix. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.