亚博在线下载采用百度引擎0（Baidu 8）(Photo by ©Nickelodeon / Courtesy: Everett Collection)Four years after animated series Avatar: The Last Airbender finished its groundbreaking run, Nickelodeon premiered the sequel series The Legend of Korra. The anticipation around the show was immense, but no matter how much praise the show got for its mature themes and inventive animation, many saw both Avatar Korra and the show itself as a lesser successor to the tale of Avatar Aang.To mark the show s Netflix premiere, we re taking a look at how The Legend of Korra not only mastered all four elements, but in some ways improved upon its predecessor, enhancing it in the process, and brought balance to the world.IT TOOK EVEN MORE INSPIRATION FROM HAYAO MIYAZAKIWhere Avatar: The Last Airbender was heavily inspired by Asian cultures, landscapes and places, The Legend of Korra jumps forward 70 years in time and finds inspiration in 1920s New York City, Hong Kong, and Shanghai. The main setting in the show, Republic City, is experiencing rapid urbanization and extraordinary technological advances, with the steam-powered technology we saw in the first series giving way to electricity and even magnetism. Automobiles, airplanes, movie cameras, and even mecha suits become normal in the span of the show s run.But, this being Avatar, the setting is more than just window-dressing. The show takes a page out of Hayao Miyazaki’s playbook, particularly his film Princess Mononoke, to explore how rapid industrialization comes at the cost of the world losing its connection to nature. Like in the Studio Ghibli movie, Korra introduces a world that is so disconnected from its spirituality that giant spirits attack people in the second season of the show, bending went from a revered art form to a skill used for menial jobs and even pro-bending, a popular boxing-like sport.IT DID ORIGIN STORIES RIGHTEven though Avatar had a bigger focus on history and the past compared to Korra, the sequel series focuses more on mythology and the spiritual origin of the Avatar. Season 2 makes the spirit world and the Avatar s role as a bridge between the two worlds its central theme, and through it, Korra also explores the origin of the Avatar itself.The two-parter episode Beginnings, from the second season of Korra, is easily among the best storytelling in the entire franchise. The episode tells the story of the very first Avatar, named Wan, and how he fused with the spirit of light in order to battle the spirit of darkness that threatened to destroy both the physical and spirit worlds. Instead of simply using the episode to answer questions no one really wanted answered, Beginnings gave us a prequel story that added to the established mythology without contradicting what came before. The story of Wan directly reflects that of Korra: how by doing what they think is right, they end up creating more problems. The introduction of the light spirit as the cause of the Avatar s powers becomes a huge part of later seasons and one of the best additions to the world s mythology.IT GREW UP WITH ITS AUDIENCEJust as The Last Airbender’s audience grew up between the two shows, so did the themes of the show grow up and become more mature by the time Korra premiered.Korra transforms the subtext of the first show into text, making death an integral part of the story. There are several gruesome deaths shown on screen throughout the show, including a murder-suicide and the execution of a queen by suffocation — and it s not simply for shock value, but to show the consequences of death on the characters. Depression, PTSD, and grief become huge themes in the series, and Korra portrays this with respect to its younger audience, not shielding them, but making them understand the heavy weight of loss.Likewise, Korra isn t afraid to get political, especially through its excellent villains. Far from the sometimes black-and-white villains of Avatar, the show isn t afraid of making its villains sympathetic, or having Korra learn from them. The first villain, Amon, was the leader of a radical group who sought to bring equality to benders and non-benders, who are marginalized in the show s world. The second wanted to bring the world back into spirituality. Korra even dives into nationalism and how it evolves into fascism when left unchecked, leaving the audience to decide how much they d agree with such a leader, and how far they d go before realizing they are following the wrong person — a bold, yet very timely theme for an animated show.IT ALLOWED ITS HERO TO FAILIn interviews, co-creator Bryan Konietzko has talked about wanting Korra to be the polar opposite of Aang, a go-getter and hot-headed girl who s always dreamed of becoming the Avatar. Indeed, unlike the very Campbellian Aang, Korra is not a nobody who realizes she is a chosen one and grows to become more confident; she s the daughter of her tribe s chief who always believed she was special. What makes Korra special is how the show allows its hero to fail, repeatedly, and learn from her mistakes to become a better person.When her hot-headedness leads to Korra losing a big fight against Amon and nearly losing her powers, she spends the second season second-guessing herself and getting others to make decisions for her. When her faith in the wrong person backfired, season 3 saw Korra learn to trust her feelings and accept the consequences. Throughout the show, Korra fought and failed, but she always learned how to pick herself back up and became better because of it.More importantly, the show s more mature subject matter led to the third season ending with Korra in a wheelchair after losing a fight, and the fourth season saw Korra deal with crippling depression and PTSD. These are themes very rarely seen in kid s animation, let alone such a mainstream series as this, and it not only made Korra an exceptional experiment, but the character s journey adds gravitas to the world of the first show as well.IT HAD GLOBAL CONSEQUENCESGone are villain-of-the-week stories from Avatar, leaving Korra to deal with world leaders, bureaucrats, and entire Nations worth of critics instead.When she first arrives in Republic City, Korra realizes that being the Avatar doesn t mean she is instantly well-received by all. Because Aang had disappeared for 100 years and came back to a world engulfed in war, most of the people he encountered were happy to see him, help him in his quest and to accept his wisdom. Korra, on the other hand, realizes that the Avatar doesn t come before the local leaders, that getting involved in a Nation s inner conflict becomes an international incident with severe consequences, and that each Nation has its own way of dealing with issues and wars. This leads to the show exploring the fascinating idea that Korra finds herself in a world that has outgrown the need for an Avatar, that growing apart from spirituality means the world has no need for a spiritual leader.Likewise, Korra makes it very clear that the actions of its leading lady have huge consequences. When Korra deals with Amon and his Equalists ideals, Republic City evolves into the first democracy in the world. When Korra decides to leave the spirit portals open, spirits cross over and start living everywhere, and it restores an entire lost Nation. Just by being injured and out of commission, Korra s absence led to the rise of a fascist dictator that threatened to become the new Ozai.IT EMBRACED DIVERSITY AND QUEER REPRESENTATIONEven though Korra premiered in a post–Buffy the Vampire Slayer world, it was still rare to see a genre show with a female lead, let alone a female lead of color. But Korra not only pushed for diversity in its cast, it also gave us one of the most groundbreaking finales in an animated series.The series final image shows Korra and Asami walking hand in hand to a spirit portal, looking into each other s eyes with a deep emotion and longing that was beyond just a friendship, before drifting into the sunset together. The indication was very clear – these two women had a deep love for each other – and it didn t take long before the creators confirmed that the scene was the beginning of a romantic relationship.What made the moment so significant was not only that it was one of the first times a bisexual couple was shown on-screen on a children s cartoon, but how much it was built up. The show s last two seasons showed us significant glances, hand-holding, blushing, and other hints that Korra and Asami had a deeper relationship than any other two characters on the show. Not only did this image become significant in the context of kid s cartoons, breaking barriers for other shows to include explicitly queer characters and plotlines, but it also made the world of the first show richer by making it more diverse and lived-in.The Legend of Korra is now streaming on Netflix.
(Photo by Netflix)When Netflix’s eclectic animated sci-fi anthology series Love Death Robots returns on Friday, it will unleash a new set of eight startling visions that recall anthology magazines like Heavy Metal in terms of well-rendered worlds and intense short subjects. It is a different style of series for the service, which tends to support serialized storytelling, so if you happen upon the program while browsing Netflix this weekend, you may wonder what the program is all about.Fortunately, executive producers Tim Miller and Jennifer Yuh Nelson spoke with Rotten Tomatoes about the new shorts and how the series uses animation to tell different kinds of stories. With their assistance, here are some things to know before you push play.1. It Creates Lovingly Rendered Sci-Fi Worlds(Photo by Netflix)As Nelson pointed out, the second set of shorts have a common thematic tie: showing the worlds” created by the various filmmakers and animation studios involved in the project. Although, both she and Miller agreed that commonality is more of an unconscious decision enabled by the format.“Animation allows you to create worlds in a way that s so liberating. It s almost like the worlds become characters to these allegorical stories that ground these questions and challenging ideas in a way that s accessible to people,” she explained. “And in a short, it s kind of insane the amount of world-building that we did for something that s 15 minutes.”One example of this tantalizing worldbuilding is the short “Snow in the Desert.” Set in a rocky landscape, the stark beauty of a distant alien world — and the clues indicating why anyone would choose to live there — offers the story a richness thanks to elements which are entirely visual.“It s an amount of world-building that you would do for a feature, and it just is for 15 minutes, and then it s gone,” Nelson continued. And, perhaps, the fleetingness of those realities helps them seem more alive. It also means the sensation you may feel of having left Snow’s desert or a field of tall grass too soon is entirely intentional.Miller added, “But it is nice that [the viewer] wants more. I love the short and sharp.”2. It Utilizes Some Great Sci-Fi Short Stories As Jumping- Off Points(Photo by Netflix)Like the first volume, Love, Death Robots continues to use some great and evocative short stories as the creative jumping-off point for each film. The tall grass story comes from a story written by Joe Lansdale and may constitute the most frightening tale of the second volume. Other shorts are based on the works of Rich Larson, Joachim Heijndermans, and Harlan Ellison among others.“We re free to choose whatever stories we want, obviously, for the mix, but as Jennifer will tell you, I get a little obsessive about being true to the story once we ve chosen them,” Miller said. “I feel such a debt to the authors. They had the original flash of brilliance … The story wouldn t exist if it wasn t for them having an idea.”Although the tendency is to be faithful to the original text, some changes do occur for a variety of reasons.“Sometimes [it is] a concession of the format, or going into the visual nature of film versus the written work,” Nelson explained. “But it s always been a respect to the original spirit of the story.”(Photo by Netflix)The short she directed, “Pop Squad,” features an altered ending from Paolo Bacigalupi’s story. Despite that change, Nelson felt the “relevant” nature of the author s work still comes through in the finished film.“It s the idea of what happens to society, relationships, the meaning of life when a basic tenant of something that you live under is changed. Some limitation is removed,” she explained. “I think that is something we re probably going to have to face as a society at some point.”Although to elaborate further would constitute a spoiler for “Pop Squad,” its philosophical conundrum may prove to be the most harrowing issue some viewers are confronted with in Volume 2.3. It Very Nearly Crosses the Uncanny Valley … Even If the Producers Aren’t So Sure(Photo by Netflix)If you recall some of the early attempts at creating human characters in computer generated animation — Final Fantasy: The Spirits Within, for example — you may note that the program also highlights the breathtaking advancements in crossing the so-called Uncanny Valley: the limitation of 3D CG animation to convincingly render those characters without some form of abstraction.“It gets closer every day,” Miller said. Generally, I find that if you have a character that s just standing there, and smiling and emoting, or frowning, we can say we ve crossed the Uncanny Valley. At the same time, Miller maintained that dialogue is still a different animal and presents a further hurdle in seeing the other side of the valley. Thanks to the growing sophistication of that branch of the medium — and some visual trickery to avoid traditional close-ups — the viewer’s eye may not be so drawn to the aspects of human speech CG animation has yet to conquer.Nevertheless, it is still a far cry from the early attempts to render human characters in CG animation 20+ years ago. Those hollow and glossy puppets have been replaced with far more detailed and visually appealing characters who move in very convincing ways. Nelson credits that increased appeal to a better understanding of how to get good acting out of the animation programs.“If you have good acting, you forget that it s animated. It could be a stick figure [or] it could be a super realistic face, if you feel for the character, you re there with the character and you re not looking at whether that nose looks right,” she said.But as Miller pointed out, the Uncanny Valley is rooted in the human brain’s primal need to suss out friend or foe.“You re often trying to overcome something that is hard to quantify because it s an unconscious understanding of how facial muscles work,” he explained. Consequently, some will see the humans rendered in Volume 2 of the series as more successful than others.4. It Also Celebrates Other Animation as a Complex Form of Filmmaking(Photo by Netflix)While many of the shorts utilize a very realistic CG style, several of them go for something more stylized in terms of the characters, the overall design, or something the viewer might perceive as more arty. As Miller explained, “The Tall Grass” was designed by Trollhunters: Tales of Arcadia episode director Simon Otto to have a “painterly texture, so you almost see an illustration come to life.”“He s an amazing animator so he wanted to make things feel like fitting in that world,” Miller continued. “And he wanted to make sure that the acting, and the animation, and the looseness, and the frame rate actually worked with that sort of stylized texture.”Although Miller thought the original Landsdale story could become a very compelling live-action short or feature, Otto’s “conscious artistry” was half the thrill of producing it as an animated film.(Photo by Netflix)“That s where I think animation is superior, because not only are you worried about all the things that you have to worry about in live action, but there s this whole other layer where you can do things; this creative layer, whether it s a choice of style or animation. You can do stop motion, you can do 2D, you can do 3D. There are a lot of decisions that fall outside the realm of what you do when you re doing live action.”That sense of artistry runs right through the volume, whether it’s the more caricatured humans of Automated Customer Service, the 2D look of Ice, or Miller’s very grounded CG short, “The Drowned Giant.”5. It’s Not Afraid To Be Melancholy(Photo by Netflix)By not needing to support a serialized story or build up a single, franchise-able world, the program also has to the freedom to do something rarely seen in Western animation: be melancholy. “The Drowned Giant,” for example, is a rumination on mortality via the slowly decomposing corpse of a giant human man which inexplicably washes up on the British coastline. And though Miller mentioned it has a certain joke at the end of the short, it never goes back to the song-and-dance default conclusion of so much American animation — whether that means a literal song-and-dance or just a more upbeat ending.In the case of “The Drowned Giant,” the impulse was also to follow the tone as laid out by the story’s author, J.G. Ballard.“If you read the short story, you will absolutely recognize that it is a translation of that story. It s told in the same way, it s told with the same tone that Ballard did. And because I love the story, it didn t even occur to me that I should try and push it one way or the other,” Millar said.And though that is the tone of “The Drowned Giant,” don’t expect all of the shorts to have that same contemplative and melancholic feel. Some are rousing, others crescendo in a punchline. Nelson’s short, “Pop Squad,” may leave you pondering its central question for some time after. That variety is key to the notion of an animated anthology even as it offers a filmmaker like Miller to do something which would otherwise be “too downbeat” to produce.Nelson said the important thing is to create entertainment value, optimism, [and] positivity, where appropriate, but not the song-and-dance finale. Then again, who knows, maybe the next set of Love, Death Robots shorts will feature a sci-fi musical with a showstopping ending. As with the melancholy of The Drowned Giant, anything is possible in the program s format.Love, Death Robots: Volume 2 launches on Friday, May 14 on Netflix.On an Apple device? Follow Rotten Tomatoes on Apple News. 除了这两个核心玩法之外，《摩尔庄园》手游的装扮系统也是一大亮点。在摩尔庄园的服装店和商城里面，有多达500件的服饰单品和80+的套装，通过这些单品，玩家可以搭配出任何想要的造型和形象。
(Photo by Tommaso Boddi/Getty Images for AMC)It should come as no surprise that Christmas is not Greg Nicotero’s favorite holiday.“Do I even have to answer that question? Of course Halloween is my favorite holiday,” The Walking Dead and Shudder’s Creepshow series executive producer told Rotten Tomatoes. “I know that there s going to be a bunch of zombie heads on spikes in my front yard for sure. The zombie heads are easy. The spikes are harder for me, because now I have to make them. But I got a bunch of zombie heads that I want to line up along the street outside of my house.”Trick-or-treaters, be on the lookout, because as the co-founder of the Oscar and Emmy-winning KNB EFX Group special effects studio, Nicotero’s lawn decorations of horror will obviously top anything you can buy at Target. In addition to the more than 400 TV and movie projects he and KNB have worked on since they formed in 1988, Nicotero’s handiwork is an integral part of the look of The Walking Dead, which he has been a part of since the show premiered on Halloween 2010.In honor of the series’ 10th anniversary, we talked to Nicotero about how he was actually part of the series before it became a series thanks to his friendship with Frank Darabont, why he thinks the show’s Western vibes are a big reason it propelled zombies into the mainstream, and how the upcoming spin-off with Carol (Melissa McBride) and Daryl (played by his good friend and Nic Norman’s restaurant partner Norman Reedus) has been building since season 2.Nicotero also talks about the cast and crew’s famously close relationships (including the only person he told about how nervous he was to direct his first episode), how TWD and Creepshow are dealing with filming during the pandemic, and the very cool zombie idea he’d like to try out before The Walking Dead wraps after season 11.(Photo by Mark Hill/AMC)Kim Potts for Rotten Tomatoes: How are you doing?Greg Nicotero: I m really good. We re filming away on Creepshow, and it s been super fun, surprisingly. I was a little concerned about all of the crazy COVID procedures making it more tedious and less fun, but it s been a blast. The actors have been great, and the crew has been great. We re having a really good time, so it feels great to be back at it again. You get to set, and you ve got your mask on and your face shield, but when you re in it, you forget about all that stuff, and you get a chance to focus on what you love doing.You re also working on the additional Walking Dead season 10 episode that will air next year?Nicotero: Yeah. The challenge is sort of getting out of one bubble and getting myself into another bubble, then getting tested, then doing set work, and then tested again, because you can t go from one set to the other without getting tested and put into another bubble. We probably started prepping Walking Dead stuff back in July, just sort of making adjustments in what we were doing for the show to allow for accelerated makeup times and easier application and all kinds of scenarios. I was working on Walking Dead July, August, and September, and then in September we started shooting Creepshow again. It s been kind of busy.Has it forced you to make any storyline changes in either show?Nicotero: The Walking Dead stuff is really intended to be these kind of episodes that are a little more production-friendly … because you re dipping your toes in the water a little bit. With Creepshow, we re primarily a stage show, so we don t have to go out into the world very often, and that allows us to be a little bit more self-contained. Fortunately, not a lot of people kiss in either show, so we’re not worrying too much about somebody kissing someone. It s definitely a change in the way that we are accustomed to doing things, but so far, so good.Are you directing any of the six remaining season 10 episodes?Nicotero: No. Originally, (TWD showrunner) Angela (Kang) had called and asked me if I wanted to and, unfortunately, because of when the pandemic hit and everything shut down, Creepshow was set to start shooting, and we had prepped the first two episodes. I think in my head originally, I was like, “Well, I can shoot Creepshow and then run over and do Walking Dead,” and then I thought, “That s insane. I would literally die.” Until January, I m all the way up to my eyeballs in Creepshow.(Photo by AMC)Halloween this year marks the 10th anniversary of The Walking Dead. Does it feel to you like it s been a decade? I always think of the show as all of you making an hour-long movie, for TV, every week.Nicotero: Yeah, it feels like it s been 100 years. Honestly, time has a very different meaning when you re on a show of this magnitude for this duration, because there are some episodes I remember like they were yesterday. There are other episodes that I m like, “I don t even remember that,” just because we ve done so many episodes. Even when I go to the studio, and I ll stand on the backlot and be like, “This is where the prison was, and then that s where the Heaps were, and then, oh, this is the scene where they thought that Carol was dead and they put a grave in the prison field …” There are numerous beautiful moments of the show, and some of them get lost in the fact that we ve been on for such a long time, and I kind of forget some of them.I just recently went back and rewatched Game of Thrones with my son, Deven, and there was so much stuff that I was able to appreciate about the show going back and seeing it after a little bit of time. I m looking forward to doing that with Walking Dead, going back to the beginning and really sort of looking at what the DNA of the show was then and the great scenes that we crafted and the great moments with Chandler (Riggs) and with Emily (Kinney). There are so many people that you start going back and thinking about what amazing work they did. God bless Scott Wilson, because I had some of the greatest moments of my career with Scott. I ll be forever grateful that I got a chance to be a part of his life.I don t think I’ve ever talked to you about this: how did your involvement with the show begin? Nicotero: Frank (Darabont) is one of my best friends, still to this day, and probably a year before the show was ever put into production, he had given me the script and was like, “Okay, we re going to do The Walking Dead.” The irony behind all of this was I remember buying the first issue of the comic book when I was working with Robert Rodriguez in Austin, Texas. There was a great comic book shop there, and I bought the first issue. Frank and I had always talked about the idea of wanting to do a zombie project, because he loved Night of the Living Dead. His No. 1 criteria was, it s got to be the right stories. It really needs to be about survival and what people do, what they become in order to survive.I remember one night specifically, one dinner, where we were talking about it. I don t think we ever thought about it as a TV show, because this was years before Walking Dead even happened. At that point, zombie television wasn t even a thing. No one would have ever imagined doing a TV show with zombies in it. We were talking about a movie. Then a couple of years later he sent the script over and was like, “Hey, man, this is what we re going to do.” We had designed a couple of zombie busts that he took to his meetings to help sell the show, because one of the big questions that every network asked was, “Well, how are you going to do the zombies? No one s ever done anything like this on television before.” (Frank) was like, “Oh, it s easy. I got this guy, Greg Nicotero, and he makes zombie busts, and this is what the zombies are going to look like.”(Photo by Scott Garfield/AMC)There are so few of you left from the beginning, but you ve been there even before it was even a show.Nicotero: I remember talking about the opening scene with Frank, with a little girl at the gas station, and I said, “You know, Frank, the Dawn of the Dead remake had a very similar sequence where there s a little girl zombie at the beginning,” and he was like, “Yeah, I don t care about that. It doesn t matter. This is going to be our show.”I would have never imagined that the mainstream would have sort of caught up to everything that I have loved since I was a kid, which is zombie movies. Before The Walking Dead, zombies were a very, very niche sort of sub-genre that appealed to a specific group of people. I think what Frank was able to do was really break the mold and show that The Walking Dead really is a Western. Andy (Lincoln) always, always talked about that a lot; his inspiration for Rick Grimes was Clint Eastwood and The Outlaw Josie Wales. That was something that was very important, because a lot of the actors, when we did season 1, they hadn t seen a lot of zombie stuff. They hadn t seen Night of the Living Dead. They hadn t seen Dawn of the Dead. Even though that was a lot of the inspiration for the show, they were approaching it like Frank, from sort of a dramatic survival standpoint.I have to say that the cast that we put together for season 1, with Sarah Callies and Steven Yeun and Jon Bernthal and Laurie Holden and Jeff DeMunn … what a cast. I mean, the cast was absolutely astonishing and that s where Frank always excels, his ensemble casting. He did it in The Green Mile. He did it in Shawshank (Redemption). He did it in The Mist. And, of course, there are Norman (Reedus) and Melissa (McBride), who have been on the show since day one.Do you think it s that focus on those aspects, those dramatic aspects and the kind of survival, the universal, human themes is what really helped the show cross over to the mainstream?Nicotero: Absolutely. Absolutely, because a lot of times in zombie movies, prior to The Walking Dead, the gore was the big element, the horror was the big element, and I think there were a lot of instances where people might have been turned off by the gore. Even when you talk to people that watch The Walking Dead, they had this preconceived notion about it until they watched it, and when they experienced it through the eyes of Rick Grimes, who is waking up in the hospital, and he s learning about what the world is, the first thing people would say is, “It s not a show about zombies.” I m like, “No, it s a show about survival, and it s a show about what people are willing to do in a situation like that.” Of course the zombies are a big part of it, and I m very proud of the contribution that I ve made to the show and that my team has made to the show, but a lot of the drive for the show has been about those specific character moments where the audience can identify with Maggie or Glenn or Hershel and put themselves in those characters positions and imagine what they would or would not have been able to do.(Photo by Gene Page/AMC)Do you have a favorite episode or storyline? You ve been involved in so many of the great ones, but can you choose just one?Nicotero: I would probably say one of my favorite episodes is the episode where Merle fights The Governor and Merle dies [“This Sorrowful Life”]. The moment where Norman just literally poured his soul out when he saw Merle as a walker. I ll never forget filming that. I ll never forget people calling me and saying, “How the fuck did you make me cry in a show like this?” I ve had so many amazing moments working with Norman and working with Melissa. I mean, having filmed Andy s last episode, and the number of people that I ve had to kill on the show, that’s never fun.I don t know if I could pick just one episode. I think the episode where the walkers invade Alexandria [“Start to Finish”], and that was like our Night of Living Dead homage. I would probably go back and watch episodes and not even remember like, “Oh, I shot that episode. That s right,” because we’ve had so many, so many moments. Negan s introduction [“Last Day on Earth”, which was certainly controversial, but I m tremendously proud of what we did, and Jeffrey (Dean Morgan s) performance and shooting 12 pages of dialogue in two nights is, it s a little bonkers in the TV schedule. So yeah, I just don t know if I could pick one.Has the show ever made you cry?Nicotero: I think there have been characters that died (that have made me cry). I think the moment with Jeffrey DeMunn, that was the first episode I had ever directed [“Judge, Jury, Executioner”], and, yeah, I got emotional when I shot it and when I watched the first cut. Chandler was a little boy. I remember Chandler running down through the field and shooting his reaction to seeing Jeff on the ground with his stomach torn open and blood bubbling out of it, and just how hysterical everybody got. To see the fear in Jeffrey s eyes when Norman walked over with the gun and said, “I m sorry, brother, it was intense.That episode was just … I was so terrified, because it was the first hour of television that I had ever directed, and I had my little graphs and my little charts of where the camera would go. I think probably Andy was the only person that I had shared with him like, “I m scared sh less here,” but I trusted my instincts, I trusted my camera department, and I trusted my actors. If you look at the episodes in season 2, 3, and 3, those episodes are so dense. There s so much story that we re telling, and it just propelled us. If you watch that episode, which was written by Angela, there s so much. You re telling an entire season s worth of story in that one episode.That s what I mean. They were like movies every week.Nicotero: Oh, without a doubt. There s not one moment where there s a frame of film that doesn t serve something, that doesn t serve a character, a story point, the propulsion of the show as it s moving forward. I ve rewatched that episode recently, and it s just crazy what we did. I think we shot that in seven days maybe.(Photo by Gene Page/AMC)You are responsible for starting The Walking Dead Zombie School, to train the zombie actors on the show. How has that evolved through the seasons? I m guessing that just from watching the show, people are coming to you a little more prepared at this point.Nicotero: Definitely. In fact, I don t think we ve done Zombie School in two years, because at this point, we have our troupe of zombie performers and actors, and I think the people that we love, we bring them back over and over again. At the beginning, we wanted to make sure that we were maintaining the aesthetic of what we wanted for the zombies, but also, they had to be able to perform with the actors. They have to be able to die well, they had to be able to be convincing as zombies. What you don t want to do is spend an entire hour or two fine tuning background zombie performances that would then be taking away from shooting the rest of the scene, so it was always very important that the zombies were well directed in terms of their performance and what was expected of them. Every season, I would say we d probably end up with like 20 people that were just standout performers, and a lot of them initially came from a place in Georgia called Netherworld, which is a haunted house attraction that would open in September/October. A lot of those people that had been working at that attraction ended up being some of our best zombie performers.The Walking Dead cast and crew have been known to be very close, even though there are a lot of changes with all the character deaths. How have you maintained that?Nicotero: Well, listen, the dynamic of the cast changes as certain actors leave and other actors come in, so it evolves. It s a very organic thing. I think one of the unique things about any show that has a tightknit family is when you re in the trenches with them, you re sharing something that you can t share with anybody else. That was something I learned working with Quentin Tarantino. When we were doing Inglourious Basterds, he had looked at me one day and said, “You know, there s nobody else I would ever want to be in the trenches with,” and that really stuck with me a lot, because I realized that it s a shared experience, and I have a bond with this crew and these actors that no one can ever take away from me and no one can replace. I still keep in touch with most of the actors from the show, even if it s once a month, just a quick text saying, “Hey, how s it going?” I talk to Sonequa (Martin-Green) a lot. I talk to (Michael) Cudlitz a lot. I talk to Alanna (Masterson) a lot. Of course, on the show, Norman and Jeffrey and Christian (Serratos) and Lauren (Cohan). Even during the pandemic, I would just find myself calling Khary (Payton) to just see how he is doing. or I would call Seth (Gilliam).When you ve been in these intense situations with these people for so long, they just become part of your life. I m grateful, forever grateful, for that and for the friendships that I have. I talked to Jeffrey DeMunn not long ago. It s like that never goes away. When you work on a movie, that goes for six months or eight months, then it s gone, and you move on. When you re doing serialized television, you come back year after year, and you come back with the same people. You watch their children grow up, and you watch them get married or divorced or whatever happens, but you end up being a part of that whole scenario. It s fun for me to look at Andy s kids and Jeffrey (Dean Morgan) s kids. Jeffrey s son is really into special effects makeup, so I would send him little makeup kits and little zombie wounds and things. I send videos to Andy from set of the creatures from Creepshow so that he can show it to his kids, because they re sort of now at that age where they re kind of fascinated with the monster aspect of it.(Photo by AMC)You mentioned Carol and Daryl, and how Norman and Melissa are the other people still with the show who have been there from the beginning. Their characters, separately and together, are so beloved that they’re going to be their own spinoff. Since you’ve witnessed it all, is that relationship something that developed organically? Nicotero: With Daryl, that was a creation of Frank Darabont, and I remember specifically when we were casting for the show, Frank had called me one day and said, “Hey, I m thinking about this guy Norman Reedus to play Daryl, and I know that you had worked with him on Masters of Horror. What did you think of him?” I gave him a huge thumbs up, but I said, “Listen, let s reach out to the director and get a review from John Carpenter.” John couldn t say enough good things about Norman. The next thing I knew, I was sitting in the van dressed up as a zombie for (“Tell It to the Frogs”), and Norman s sitting in the chair next to me. I didn t even realize that the deal had gone through. He didn t recognize me because I was dressed up as a zombie. I had my zombie teeth in, and I was trying to talk to him. Ironically enough, I am the first zombie that Daryl kills in the series.I think the way that season 2 was crafted and the way that Daryl s character evolved into somebody who was not going to give up looking for Carol’s daughter, Sophia, that s really where that bond began, because of Daryl s undying commitment to find Sophia. Between Melissa s brilliant performance as Carol and Norman, they just fell together so perfectly that you couldn t have planned it. It just worked amazingly well and kept growing from there.亚博在线下载在老玩家的童年滤镜之下，摩尔庄园俨然成为一个世外桃源般的存在。手游选择在6.1儿童节这个时间节点开服，契合了青年们寻找逝去童年的怀旧心理，更能扩大传播影响力。此外，摩尔庄园手游不仅保留了原有角色、场景和SMC职业系统等页游经典元素，还将2D画面升级为3D的立体世界，在满足玩家怀旧情怀的同时，也为玩家更好地沉浸在摩尔世界创造了条件。
In our latest episode of Vs. we’re paying tribute to cinema’s greatest scream queens… by making them battle it out to the final reel! (To be fair, something each of them has some practice in.) It’s slasher icon Jamie Lee Curtis against sci-fi icon Sigourney Weaver against ghostface killer Neve Campbell against fisherman’s not-friend Sarah Michelle Gellar as we seek to crown horror’s ultimate portrayer of the “final girl.” How will the battle play out? Well, first we’re trapping them in a mansion with about 30 escaped-from-a-mental-hospital serial killers… Oh wait, no, not that, that would be illegal. We’re actually comparing their box office performance, Audience and Tomatometer Scores, and the quality of their enemies, and adding a bonus round for good measure. Will it be Ripley, Laurie, Buffy, or Sidney who lives to earn that sweet sequel paycheck? Watch along as Rotten Tomatoes Contributing Editor Mark Ellis breaks it down, then have at us in the comments.On an Apple device? Follow Rotten Tomatoes on Apple News.
4. 呼朋唤友 随心所欲
Studio Ghibli is arguably the most recognizable and beloved animated studio outside of Disney/Pixar, one that has proven time and time again that animation is more than just entertainment aimed at kids thanks to critically acclaimed movies that challenge what you can do in the medium. So it s easy to understand, then, that the moment one of the studio s main directors, Hayao Miyazaki decided to retire (the first time), fans around the world began searching for a successor. Rather than a studio, could it be an auteur like Mamoru Hosoda (Summer Wars, Mirai) or Makoto Shinkai (Your Name, Weathering with You)? Would it be a studio founded by former Ghibli employees like Studio Ponoc, makers of 2018 s Mary and the Witch s Flower?It might, in fact, be none of the above. In truth, the animation studio that best captures the magic of Studio Ghibli and the themes they explore, all while carving out an identity and space in the industry of its own, is Cartoon Saloon. The Irish studio founded in 1999 has earned Academy Awards nominations for every single feature film it s produced, and all of them are Certified Fresh at 90% or above on the Tomatometer. Its latest offering, Wolfwalkers, is being called the best animated film of the year by several critics, and it demonstrates why Cartoon Saloon s unique blend of traditional animation and folklore make it the true successor to Studio Ghibli.Their Films Deal with Folklore and Myth(Photo by ©Apple TV+)You don t need to be familiar with yōkai or kodama to appreciate Princess Mononoke, and you certainly don t need to know what a tanuki is in order to enjoy Pom Poko, but with both, you certainly do get the feeling that you re watching a movie that s deeply rooted in Japanese culture. Hayao Miyazaki and the people at Studio Ghibli don t really adapt specific folktales the way Disney does, but they add creatures and beliefs as flavor to deepen the story and the cultural context. My Neighbor Totoro s titular character may not be based on any specific creature of lore, but he is still instantly recognizable as an uniquely Japanese being.The movies of Cartoon Saloon aren t direct adaptations of any particular tales either, but they incorporate folkloric creatures and beliefs. Wolfwalkers takes its central concept from old myths about natives of the Kilkenny region in Ireland being able to transform into wolves while their bodies lie in a sort of trance, while Song of the Sea is about selkies, or humans that could transform into seals. These two movies, as well as the studio s feature debut The Secret of Kells, make up an unofficial trilogy about Irish folklore, using legends and myths to tell fantastical stories about the conflict that arises when belief and tradition are threatened or abandoned.Even if The Secret of Kells and Wolfwalkers are period pieces steeped in important moments of Irish history, there is a universality to their stories. You don t need to know about Oliver Cromwell s conquest of Ireland to understand Wolfwalkers central conflict and how it affects its main character s relationship with her father — who works for Cromwell himself. But it does add some context that grounds the film in a real place and a real moment in time.They Explore Humanity s Relationship with Nature(Photo by Cartoon Saloon)As evident even in their earliest films, a big part of Ghibli movies is the focus on humanity s fragile relationship with the environment and the struggle between nature and industrial progress. Miyazaki s films in particular often explore how technology causes people to drift away from their cultural traditions while factories damage the land they live on. Perhaps the most obvious example of this is Princess Mononoke, a movie all about nature fighting back when humans start burning down forests to expand their towns and their industry.Song of the Sea is partially about a Celtic goddess who threatens to destroy the world, but director Tomm Moore uses that as a starting point to tell a story about what happens when people begin to lose their cultural identity. Like many a Miyazaki film, Song of the Sea depicts the city as an oppressive, dirty place that drowns the freedom of the country and its children as the ones who are best suited carry on the country s cultural heritage while the city s inhabitants forget about it.Wolfwalkers definitely takes some pointers from Princess Mononoke in its central conflict — a group of humans who set out to kill every wolf in the nearby woods — except the nature vs. industry conflict is used as an allegory for the Cromwellian ideal of taming the wild Irish lands and burning down traditions to replace them with English principles. As with Song of the Sea, the distinction between the city and the country informs the visual style as well. Kilkenny and its walls are drawn with geometric rigidity, and it almost resembles a prison as it looms in the background — just like the city cars in Song of the Sea, which only serve to spew black smoke and narrowly avoid hitting innocent children. Meanwhile, the art style of the woods, trees, and wolf of the forest are more sketched-out, with traditional Celtic spiral pattens to show the wolves haven t been tamed, for they represent the real cultural Ireland.Their Visual Styles are Exquisite and Unique(Photo by ©Apple TV+)As a studio grows and its films become more popular, a visual style is bound to emerge. Anyone can recognize Disney s particular trademarks, just as all of Pixar films take on a similar visual language. Studio Ghibli s films are instantly recognizable too, and yet they all feel and look incredibly different from each other. This balance between versatility and recognizability is the key to Cartoon Saloon.The Irish studio s unique visual style appears in every one of their movies, which feel like they belong in a strange sort of multiverse. At a time when CG animation is everywhere, Cartoon Saloon s style feels defiant and stunning, but each of their films feels distinct from one another, as they try to capture the aesthetic of their subject matter. The Secret of Kells feels like an illustrated picture book to mimic the illuminated Christian tome that gives it its name, whereas The Breadwinner looks and feels distinctly like Afghan art, and Wolfwalkers pays homage to the wood-cut illustrations of the 1600s. By now, you know how to recognize a Cartoon Saloon film, but they always manage to offer some surprises, too.They Aren t Afraid of the Dark(Photo by ©Apple TV+)Though animation has a bit of a reputation for being kids entertainment in the West, Studio Ghibli is a perfect example of why this is entirely untrue. Not only do their more kid-friendly movies like Kiki s Delivery Service tackle deeper and darker subjects like depression, but no one would dare call Grave of the Fireflies — a movie about two kids trying to survive in Japan during WWII — a kids movie.Similarly, Cartoon Saloon s movies are certainly entertainment made for broader audiences, but they also often go to darker places. The studio s debut film, The Secret of Kells deals with an incoming Viking invasion, and Song of the Sea s main theme is grief and loss, but they are still stories being told through the eyes of kids. The protagonist of Wolfwalkers is literally hunted by her father at one point, but it s The Breadwinner, the studio s third feature, that best exemplifies their diversity in storytelling. The film follows a young Afghan girl posing as a boy to help her family survive after her father is imprisoned as a dissident by the ruling Taliban. This film is clearly aimed at a slightly older audience — hence its PG-13 rating — as it explores a more mature subject matter in its war-torn world, and even the colors are more naturalistic compared to the rest of the studio s filmography.They Entrust the Future to Children(Photo by ©Apple TV+)It s not only that Cartoon Saloon s movies can get dark, it s that the worlds of the films feel like they re approaching a cataclysmic ending, even as they somehow remain optimistic about the future.A village is threatened by Vikings coming to destroy it; a little girl is engulfed in a war; a sea deity wants to turn the world to stone; the new people in charge want to burn the forest down. There s a sense of urgency and doom looming large over each of Cartoon Saloon s feature films, brought upon by the hubris of man — a theme the studio shares with Ghibli. Hayao Miyazaki s movies in particular often deal with the error of trusting mankind to treat the world with respect. And yet, both studios seem to deeply trust their young protagonists and believe that children are the ones who will save the Earth. Parvana faces horrible, horrible things in The Breadwinner, but in her own small way, she wins in the end. War and evil will continue and people will still reject wolves and nature, but at least the children will be all right and grow up to do incredible things, hopefully with the lessons they ve learned throughout their journeys in both Studio Ghibli s and Cartoon Saloon s films firmly rooted in their hearts.Wolfwalkers debuted on November 13, 2020 and is currently available to stream on Apple TV+.On an Apple device? Follow Rotten Tomatoes on Apple News.
5. HD 画质与高品质音讯
King of the Crop: Lego Movie Leads, But Joins List of Diminishing Sequels(Photo by Warner Bros.)Another early record of 2019 that was expected to fall was Glass’ top opening weekend of .3 million. Lowball projections on The Lego Movie 2: The Second Part (84% on the Tomatometer) were at million with an uptick to a potential million. That estimate was reasonable given the diminishing returns of the series: 2014’s The Lego Movie (95%) opened to million and finished with over 7 million; 2017 spin-off, The Lego Batman Movie (90%), also opening in February, began with million and ended with 5 million; and in the same year, the September release of The Lego Ninjago Movie (56%) grossed a total of just million, but had little connection to the other films. This is why the .4 million start for the sequel is such an eye-raiser.The million production has history on its side for at least cracking the 0 million mark. The only animated film to open with more than million and not reach the milestone was the R-rated Sausage Party. But anything less than 0 million total is going to feel like a real disappointment. The first two Lego movies were bigger successes in North America than internationally with totals that came in at 9 and 1 million, respectively. So if the law of diminishing returns is any indication, The Second Part is not going to reach the 0 million worldwide it is going to need to break even. Looking at sequels over the years, some of the biggest drops in opening weekends are as follows:Alice in Wonderland (2010) / Alice Through the Looking Glass (6.1 million to .8 million)Bruce Almighty / Evan Almighty (.9 million to .1 million)The Lego Movie / The Lego Movie 2: The Second Part ( million to .4 million)Clash of the Titans (2010) / Wrath of the Titans (.2 million to .4 million)Sex and the City / Sex and the City 2 ( million to million)Ghost Rider / Ghost Rider: Spirit of Vengeance (.3 million to .1 million)Happy Feet / Happy Feet 2 (.5 million to .2 million)Rotten Returns: The Prodigy Sinks to the Bottom of the Box Office Horror Class(Photo by Orion Pictures)This week, the resurfaced Orion Pictures dropped a trailer for the new Child’s Play reboot being released this summer. Hopefully, they will see better returns for their creepy-doll film than their creepy-kid film this weekend. The Prodigy opened to just million, which is weak even for February horror. Last year’s Winchester made .3 million over Super Bowl weekend. Hell Fest (.1 million opening) and The Possession of Hannah Grace (.4 million) each failed to reach million total. Even for a mere million price tag (before distribution and advertising costs), The Prodigy (45% on the Tomatometer) is not looking like much of a winner for Orion.Top 10 and Beyond: Men and Pursuit Don’t Live Up to Predecessors(Photo by Paramount Pictures)What Men Want (48% on the Tomatometer) is not the same story that Nancy Meyers’ What Women Want was back in 2000 when it opened to million and grossed over 2 million. But million is still a decent start for the million production from Paramount. The film should see a Valentine’s Day bump on Thursday even with competition from Rebel Wilson s Isn t It Romantic and finish with over million. The final new release of the week, the darkly comic revenge tale Cold Pursuit, an American remake of Norwegian film, In Order of Disappearance, made .8 million, which is less than recent Liam Neeson films, The Commuter (.7 million) and Run All Night ( million). The latest film’s 74% Tomatometer score is Neeson’s best starring vehicle with critics since 2012’s The Grey (79%), however — though the actor did appear in acclaimed films Widows (91%), The Ballad of Buster Scruggs (91%), Silence (83%), and A Monster Calls (86%).M. Night Shyamalan’s Glass, which had led the box office for the past three weeks, dropped to fifth place for a total gross of .4 million so far, which is nearly million behind the pace of The Village, but the film is well into the black for Universal and Blumhouse with over 1 million worldwide. The Upside jumped over Glass on the chart this week after just an 17% drop, and with nearly million, it will be taking a serious run at 0 million. Spider-Man: Into the Spider-Verse crossed 0 million worldwide while the fifth-highest grossing film of 2018, Aquaman, is just a bit more than million away from becoming the 20th highest-grossing film of all-time worldwide.This Time Last Year: Terrorists, Rabbits, and S M Led the Way at the Box Office(Photo by Universal Pictures)Five days before Valentine’s Day, audiences got the final chapter of Fifty Shades Freed which led the way with .5 million. While mom and dad were seeing that, their kids were in the next theater over watching Peter Rabbit. The bunny tale finished second with million, but ultimately outgrossed Christian and Anastasia 5.2 million to 0.4 million. Clint Eastwood’s first film of 2018, The 15:17 To Paris, made .5 million for third place, helping to knock the three-peating Jumanji: Welcome to Jungle back to fourth where it crossed 5 million. The top 10 films grossed 3.8 million and averaged just 51% on the Tomatometer. This week’s top 10 grossed an estimated .4 million and averaged 59.3% with critics here.On the Vine: Romance, Horror, and Cyberpunk Invade Valentine’s Day(Photo by 20th Century Fox)It is going to be a crowded Valentine’s Day week at the box office. Getting a jump on Wednesday is Rebel Wilson in Isn’t It Romantic, a Groundhog Day–like take on romantic comedies, as well as horror sequel Happy Death Day 2U. Then on Thursday comes Robert Rodriguez’s Alita: Battle Angel, which was pushed from its December release date and hopes to generate enough interest worldwide to cover its budget, reported to be as high as 0 million. The film grossed million this weekend outside of the United States.The Full Top 10: February 8-10The LEGO Movie 2: The Second Part (2019) 84% – .4 million (.4 million total)What Men Want (2019) 41% – million ( million total)Cold Pursuit (2019) 68% – .8 million (.8 million total)The Upside (2017) 43% – .2 million (.8 million total)Glass (2019) 36% – .4 million (.4 million total)The Prodigy (2019) 43% – million ( million total)Green Book (2018) 77% – .5 million (.5 million total)Aquaman (2018) 65% – .3 million (8.5 million total)Spider-Man: Into the Spider-Verse (2018) 97% – .0 million (9.8 million total)Miss Bala (2019) 21% – .7 million (.8 million total)
Unfortunately, the first film under Disney’s newly branded Searchlight Pictures got buried. A remake of 2014’s Force Majeure, Downhill was released in 2,301 theaters, the fifth-largest opening weekend launch in Searchlight’s Fox history. But Downhill s .67 million start from Fri-to-Sun was lower than any of their 2,000+ theater launches, below even 2016’s plagued The Birth of a Nation start with million. Downhill is estimated to gross .19 million over the holiday, the lowest wide opening ever for a film starring Will Ferrell.The Top 10 And Beyond: Fantasy Island, The Photograph Open DecentlyLet s talk for a moment about Birds of Prey – or as it is now known in the marketing, Harley Quinn: Birds of Prey. There has been a lot of chatter of box office analysts jumping on the negative train when it comes to what it has made so far, while others push back that the film is actually doing fine. Part of that debate was set up by the tracking companies which predicted for weeks an opening in the million range. Now even if the film had achieved that, it still likely would have been the lowest opening for a film in the recent DC Cinematic Universe. (Shazam opened to .5 million.) The fact that it opened million lower than that is what set off alarm bells and maybe even a few reactionary claims. Remember that every film’s ultimate success is in relation to its budget. While perception can play a factor, let us focus specifically on where the film is in purely business terms.Let’s take the conservative route and say HQ:BOP cost .5 million to make, the lowball figure reported by Box Office Mojo. While it has grossed just .2 million in its first 10 days domestically (and .6 million with the holiday), it is up to 5 million worldwide. That puts it 8 million away from breaking even. How much of that can it make up in the U.S.? Well, films in February that have made between million and million in 10 days have finished between - million. Tyler Perry’s Madea Goes To Jail is the highest-grossing film in February after 10 days (.5 million) not to reach 0 million. Four films to gross below million in that time (Journey 2: The Mysterious Island, Peter Rabbit, How To Lose a Guy in Ten Days, Wayne’s World) managed to reach the milestone. Back to Birds of Prey though: That means to break even the film still needs around another - million internationally, where it only made another million this weekend. Now if the budget was more in the 0 million region it is still going to need about another 4 million to reach profit. Anyway you slice it, the film is likely to be a disappointment regardless of whether it reaches nine digits here. Over to a pair of new releases that will not reach 0 million but do have a shot at making a profit. Blumhouse’s Fantasy Island did not screen for critics nor even hold any Thursday night previews. Nevertheless it grossed an estimated million over the four-day holiday, doubling its million production budget. A small P A addition and, even with a huge drop next week, the film could find itself in the black by the weekend. The Photograph got the best reviews among the wide newcomers this week and grossed a decent .3 million over the holiday. However, its budget was a little higher at million so it is going to take some word-of-mouth past Valentine’s Day weekend.Moving over to definitive success stories in the Top 10, Jumanji: The Next Level passed the 0 million mark and is approaching 0 million worldwide. Sony also owns the biggest success of 2020 so far with Bad Boys for Life, which has just passed 9 million worldwide. No film that has grossed over 9 million after 31 days of release has failed to gross 0 million domestic. Bad Boys 3 passed 1 million on Sunday. Sam Mendes’ 1917 may have come up short at the Oscars last Sunday but it has just passed 5 million domestic and over 3 million worldwide. Some of that profit will go to cover Universal s disastrous Dolittle, which is up to million in the U.S. and 2 million worldwide, not even close to recouping its 5 million budget.Of course the big winner at the Oscars was Bong Joon-ho’s Parasite, which Neon put back into 2,000 U.S. theaters this weekend. It made its first appearance into the Top 10 – despite being available on physical and streaming – with .47 million. That puts its domestic total at .34 million, which makes it the sixth highest-grossing non-English language film ever. It will pass Instructions Not Included (.46 million) for fifth by tomorrow, where it will then rank only behind Zhang Yimou’s Hero (.71 million), Life is Beautiful (.24 million), Crouching Tiger Hidden Dragon (8.07 million), and The Passion of the Christ (0.27 million). Neon also had Portrait of a Lady on Fire in 22 theaters this weekend, where it grossed 4,707, equaling a ,395 per-theater-average, 2020’s highest to date over Bleecker Street’s The Assistant (,785 in four theaters).
(Photo by Warner Bros. Pictures, ©2020 Disney/Pixar)For some, December 25th movie releases have traditionally offered an escape from uncomfortable family time while providing theater employees a chance to make that sweet holiday pay. Most of us won t be heading to cineplexes on Christmas Day this year, though, due to the ongoing COVID-19 pandemic and the widespread business closures associated with it. Like a lot of things in 2020, it s an unprecedented situation, and movie lovers looking for something to pass the time will instead likely turn to HBO Max s Wonder Woman 1984 or Disney+ s Soul to fill that gap. All of this got us thinking about the movies of Christmas Past, and we thought it might be both fun and enlightening to look back at every film ever released on December 25th and try to figure out if one rises above all the rest.One might understandably assume the list would be littered with holiday classics, but since they re typically released earlier than, you know, Christmas Day, we ended up with a hodgepodge of just about anything you could imagine. Considering they include titles as diverse as Magnum Force, Tombstone, An American Werewolf in Paris, and that most celebrated of yuletide standards, 47 Ronin, it s clear that there isn t any rhyme or reason to Christmas Day releases beyond Let s cross our fingers and hope this makes a lot of money. (Photo by Frank Connor/©Universal Pictures)Before we jump in, though, we need to clarify a few things about the process. First, our data set includes films that received wide releases on December 25th and have Tomatometers, Audience Scores, and reliable box office numbers. Regarding the latter, we had to stick to domestic box office earnings due to reliability issues with global market totals. Unfortunately, this meant older films like There Was a Crooked Man and Friday Foster failed to make the cut due to incomplete or insufficient data. Once we collected the relevant information, we ranked all the movies by Tomatometer, Audience Score, and Domestic Box Office (adjusted for inflation), added up their ranking numbers, and arranged the results in descending order so that the film with the lowest rank total would take the top spot. We know; it s a lot to digest.With the logistics out of the way, let’s get to why you’re here. After compiling all the statistics and ranking all 124 movies we looked at, we were able to narrow the list down to a Top 10. Will the top spot go to a bloody revisionist Western, an all-timer heist flick, or a stylish take on a legendary sleuth? Check out the full list below, along with each film s rank in our three data categories and a little bit of context, to find out which one is the Best Movie Released on December 25th!10. Tombstone (1993) 50 Points(Photo by ©Buena Vista Pictures courtesy Everett Collection)Tomatometer Score (Rank): 74% (21st)Audience Score (Rank): 94% (4th)Domestic Box Office (Rank): 5 million (25th)While we have no evidence of this, it’s safe to assume that many adults would’ve been O.K. to receive tickets from Santa to go watch Tombstone when it was released on December 25, 1993. The thought of watching legendary lawman Wyatt Earp (Kurt Russell) go to war against an outlaw gang of red-sashed murderers, led by Powers Boothe and Michael Biehn, is simply too epic to pass up. Not only was Tombstone a hit in 1993, but it’s grown in stature since then as its memorable mustachioed characters, epic gun fights, and iconic lines ( I’m your Huckleberry ) have become more and more popular. It also doesn’t hurt that the cast also includes – deep breath – Val Kilmer, Bill Paxton, Sam Elliott, Billy Zane, Michael Rooker, Charlton Heston, Stephen Lang, Thomas Haden Church, Billy Bob Thornton, and Dana Delaney, and they re all excellent. Tombstone is a rollicking good time, and despite some behind-the-scenes friction and director swaps, it s still a fan favorite that boasts an outstanding 94% Audience Score.It’s tough to single out the best moment, as the movie features a plethora of memorable scenes. Whether it’s Wyatt Earp’s takedown of a bully (Billy Bob Thornton in a fun cameo) or Doc Holliday s “I’m your Huckleberry” right before he puts one in Johnny Ringo s forehead, Tombstone has a deep bench of epic moments and characters, which is why it’s on our list.9. Sherlock Holmes (2009) 49 Points (Tie)(Photo by Alex Bailey/©Warner Bros. courtesy Everett Collection)Tomatometer Score (Rank): 69% (25th)Audience Score (Rank): 77% (20th)Domestic Box Office (Rank): 0 million (4th)Riding high off the success of 2008’s Iron Man, Robert Downey Jr. stepped into the well-worn shoes of another famous brilliant person, Sherlock Holmes. The end result was an intriguing modern-day update of the character created by Arthur Conan Doyle in 1887. Rather than simply using his brain, Holmes uses his brawn as well, engaging in underground fist fights that showcase his six-pack abs and uncanny ability to anticipate his foe s moves, which allows him to exert maximum pain on his bare-knuckle boxing opponent (is that cheating?).The Guy Ritchie-directed film about Sherlock’s hunt for an aristocratic serial killer would go on to collect 4 million worldwide and spawn a sequel two years later, Sherlock Holmes: A Game of Shadows, which also cleared the 0 million mark at the global box office.Fans and critics alike were fairly impressed with the performances by A-listers Downey, Jude Law, Rachel McAdams, and Mark Strong, as well as the stylized directing of Ritchie, which breathed new life into an old character. We re even scheduled to get a third entry in the franchise in December of 2021.9. Magnum Force (1973) 49 Points (Tie)(Photo by Everett Collection)Tomatometer Score (Rank): 72% (23rd)Audience Score (Rank): 77% (20th)Domestic Box Office (Rank): 1 million (6th)As the second entry in the five-film Dirty Harry franchise, Magnum Force had the luxury of trading on the blockbuster success of its predecessor, but it also carried the expectations of the popular film that featured San Francisco Police Department Inspector Harry Callahan (Clint Eastwood) asking people if they felt lucky. Focusing on Harry s hunt for corrupt cops who take the law into their own hands, Magnum Force features explosions, murder, blood, profanity, and more explosions – you know, typical holiday movie stuff – which thrilled 1973 audiences who were looking for all of those things. Director Ted Post, who also worked with Eastwood on the well-received 1968 Western Hang ‘em High, knew what he was doing (making an action sequel), and there is no better evidence of that than in the opening credits: the cast and crew list is played over Harry’s .44 Magnum gun, which he then points towards the screen and shoots (think American James Bond) in a bonkers breaking of the fourth wall that tells the audience immediately what they re in for.7. Broadcast News (1987) 48 Points(Photo by ©20th Century Fox Film Corp.)Tomatometer Score (Rank): 98% (2nd)Audience Score (Rank): 79% (18th)Domestic Box Office (Rank): 6 million (28th)Written and directed by James L. Brooks, the workplace comedy Broadcast News was nominated for seven Academy Awards and is considered to be one of the greatest movies ever about journalism. Holly Hunter, William Hurt, and Albert Brooks all received Oscar nominations for their lively performances, and it would be tough to find a more likable and well-written comedy about three people who love/hate making television together. Hunter famously joined the project shortly before production started, and she’s so good you’d think Brooks wrote the role just for her. Also, if you’ve never watched Broadcast News, go ahead and check out Aaron s (Albert Brooks) sweating scene; it’s an uncomfortable moment that features an excellent reporter absolutely bombing on camera, and Brooks plays it to perfection. Glancing at the reviews, you’ll see the phrases “uproariously funny,” “warm and heartfelt,” and “enormously entertaining” pop up time after time, and for good reason. Broadcast News gave audiences a lot to cheer for on December 25, 1987.6. The Aviator (2004) 47 Points(Photo by Warner Bros. Pictures)Tomatometer Score (Rank): 86% (11th)Audience Score (Rank): 79% (18th)Domestic Box Office (Rank): 7 million (18th)Directed by Martin Scorsese, and starring Leonardo DiCaprio, Cate Blanchett (who won a Best Supporting Actress Oscar), and Kate Beckinsale, among others, The Aviator focuses on the early life of director/aviator/entrepreneur Howard Hughes and his legendary antics. Much like Hughes, The Aviator is larger than life as Scorsese loads it with glamour, plane crashes, and excellent visual effects that blend seamlessly into the period setting. The Aviator was the second (of the now five) collaborations between DiCaprio and Scorsese, and it netted DiCaprio his first Best Actor Academy Award nomination (he was previously nominated for Best Supporting Actor for What’s Eating Gilbert Grape); it also happens to be the first of three – yes, three – appearances on this list by Leonardo DiCaprio. The 0 million-budgeted drama won five Oscars (of a total 11 nominations) and still holds up beautifully, as the work of editor Thelma Schoomaker and cinematographer Robert Richardson give the 170-minute biopic an epic feel.5. Little Women (2019) 42 Points(Photo by Sony Pictures)Tomatometer Score (Rank): 95% (5th)Audience Score (Rank): 92% (6th)Domestic Box Office (Rank): 8 million (31st)Powered by Greta Gerwig’s Academy Award-nominated script and direction, the million-budgeted Little Women pulled in 6 million worldwide and was met with near universal praise. The feat is all the more impressive (and not altogether unexpected, since Gerwig loves the novel) considering Louisa May Alcott’s iconic story about sisters growing up in Massachusetts during the civil war has been adapted for the screen multiple times, dating all the way back to 1917. What makes this adaptation stand out among the rest is the way Gerwig includes a nonlinear storyline and a different ending to offer audiences something fresh and unexpected. Also, bringing back her Lady Bird star Saoirise Ronan to play the pivotal role of Jo March was a smart idea, as the two work wonderfully together, and Ronan received Academy Award nominations for both films. Plus, Gerwig didn t stop with Ronan; she and producer Amy Pascal also landed the immense talents of Meryl Streep, Florence Pugh (who received a Best Supporting Actress nomination), Emma Watson, Laura Dern, Timothée Chalamet, and a host of other incredible actors, lending the film the kind of A-list shimmer you d expect to see in a prestige picture.4. To Kill A Mockingbird (1962) 30 Points(Photo by Everett Collection)Tomatometer Score (Rank): 92% (7th)Audience Score (Rank): 92% (6th)Domestic Box Office (Rank): 8 million (17th)Since its release in 1960, Harper Lee s Pulitzer Prize-winning novel To Kill a Mockingbird has been an American institution that has sold over 40 million copies and been discussed and re-evaluated in classrooms across the country. Two years after its publication, director Robert Mulligan brought To Kill a Mockingbird to the big screen, and it was a smash hit that won three Academy Awards and eventually earned the 25th spot on the American Film Institute’s Top 100 Films list. Anchored by Gregory Peck’s Oscar-winning performance and Horton Foote’s faithful screenplay, Mockingbird tells the story of Atticus Finch (Peck), a lawyer in the depression-era South defending a Black man named Tom Robinson (Brock Peters) who has been put on trial for an undeserved rape conviction.Putting aside the important cultural discussion that continues to this day, To Kill a Mockingbird is an example of a book adaptation done right. Mulligan and Foote knew they had excellent source material to work from, so they stuck to it (mostly), and with the help of Harper Lee presented a faithful adaptation that struck a chord with audiences who saw the movie as a gift when it opened on Christmas Day of 1962.3. Django Unchained (2012) 28 Points(Photo by Andrew Cooper/©Weinstein Company)Tomatometer Score (Rank): 87% (10th)Audience Score (Rank): 91% (7th)Domestic Box Office (Rank): 1 million (9th)Between Four Rooms, Jackie Brown, and The Hateful Eight, Quentin Tarantino sure loves releasing movies on December 25, but his biggest Christmas Day hit came from Django Unchained, a super R-rated revisionist Western featuring a final gunfight that leaves a Mississippi plantation estate flooded with blood. The movie pulled in a whopping million its opening day (Catch Me If You Can only pulled in million) and ended up earning 1 million domestic, winning Academy Awards for Tarantino (Best Original Screenplay) and Christoph Waltz (who won his second Best Supporting Actor Oscar after earning his first for another Tarantino collaboration, Inglourious Basterds).Django Unchained tells the story of a freed slave named Django (Jamie Foxx) who teams up with an eccentric German bounty hunter named Dr. King Shultz (Waltz) in exchange for Shultz s help freeing Django’s wife Broomhilda (Kerry Washington) from the vile clutches of plantation owner Calvin Candy (Leonardo DiCaprio, making his second appearance on this list). Normally, hard R-rated exploitation films with 165-minute running times wouldn’t be nominated for five Academy Awards (and win two). Yet under Tarantino’s supervision, Django delighted audiences around the world and provided Christmas counterprogramming with silver-tongued devils, flesh-ripping torture, and Leo DiCaprio monologuing about skulls.2. Catch Me If You Can (2002) 15 Points(Photo by ©DreamWorks courtesy Everett Collection)Tomatometer Score (Rank): 96% (4th)Audience Score (Rank): 89% (9th)Domestic Box Office (Rank): 7 million (2nd)It wasn’t a hard sell to get audiences into theaters to watch Catch Me If You Can in 2002. Directed by Steven Spielberg and starring Tom Hanks and Leonardo DiCaprio (and that makes three!), Catch Me If You Can is a rollicking film about Frank W. Abagnale Jr. (DiCaprio), a likable con man being chased around the world by Carl Hanratty (Hanks), a likable FBI agent who really wants to, well, catch him. During the globe-trotting caper, we also get to spend time with the very likable Frank Abigaile Sr., played by Christopher Walken, whose performance was so warm and welcoming he received an Academy Award nomination for Best Supporting Actor.We’re not trying to be reductive about how likable the movie is, either. The expertise of Spielberg, the skill of his cast, and the Oscar-nominated score by John Williams make this 141-minute film fly by faster than a Pan Am airliner. Its appeal to people of all ages can’t be argued because it’s the rare film to receive nominations from the AARP, MTV, and Teen Choice Awards, which essentially makes it the Tom Hanks of movies.1. The Sting (1973) 10 Points(Photo by Universal Pictures)Tomatometer Score (Rank): 94% (6th)Audience Score (Rank): 95% (3rd)Domestic Box Office (Rank): 5 million (1st)Looking to build off the blockbuster success of 1969 s Butch Cassidy and the Sundance Kid, which grossed 1 million domestically and won four Academy Awards, director George Roy Hill and stars Robert Redford and Paul Newman reteamed for The Sting. With an “if it ain’t broke, don’t fix it” mantra in place, The Sting once again showcased Redford and Newman’s unbeatable chemistry, playing lovable criminals who plan on swindling money from a shifty character played by Robert Shaw in 1930s Chicago (and hopefully avoid a freeze-framed death via a barrage of bullets). The Sting might be one of the most enjoyable films to ever to win Best Picture at the Academy Awards (it won a total of 7 Oscars from its 11 nominations). It also boasts an 5 million domestic box office haul, which would make almost any Marvel film jealous, and it s currently the 21st highest domestic grossing film of all time. If you haven’t watched The Sting, do yourself a favor and check it out, because the A-list star power, the beautiful Oscar-winning costumes, and the charisma of Redford and Newman together are undeniable.On an Apple device? Follow Rotten Tomatoes on Apple News.
This Week s Ketchup brings you more headlines from the world of film development news, covering such titles as Metal Gear Solid, The Toxic Avenger, and Van Helsing.This WEEK S TOP STORYWARNER BROS. TO DEBUT ENTIRE 2021 SLATE IN THEATERS AND ON HBO MAX SIMULTANEOUSLY(Photo by Chiabella James/©Warner Bros. Entertainment Inc.)Just over a year ago, when Disney+ first launched on November 12, 2019, it may have seemed crazy that any streaming app could ever compete with Netflix, which has shows like The Crown, Stranger Things, and The Umbrella Company. That, of course, was before anyone had seen The Mandalorian, and before we knew much about Warner Bros. HBO Max app, the scope of which exploded with this week s big news. Just two weeks after the revelation that Wonder Woman 1984 will debut on HBO Max on December 25, 2020 on the same day it premieres in theaters, Warner Bros. has announced that their entire theatrical slate for 2021 will also debut day-and-date simultaneously on the HBO Max app, at no additional cost (besides the monthly subscription rate), due to the continuing impact of the COVID-19 pandemic on movie theaters. We re talking here about 17 movies, both big and small, including Mortal Kombat (1/15/2021), Tom and Jerry (3/5/2021), the Sopranos prequel The Many Saints of Newark (3/12/2021), Godzilla vs Kong (5/21/2021), The Conjuring: The Devil Made Me Do It (6/4/2021), Lin-Manuel Miranda s In the Heights (6/18/2021), Space Jam: A New Legacy (7/16/2021), James Gunn s The Suicide Squad (8/6/2021), Dune (10/1/2021), Baz Luhrmann s Elvis (11/5/2021), and The Matrix 4 (12/22/2021), among others. Super unsurprisingly, HBO Max also ended their free trial promotion yesterday. This surprise announcement also came just a week after the news last week that Netflix had offered Warner Bros. 0 million for the streaming rights to Godzilla vs Kong alone. Warner Bros. announcement also left an immediate impact on movie theater exhibition stocks yesterday, the leaders of many of which had the expected negative-to-mixed reactions (the most negative of which came from AMC). You can see new logos for many of these films here, and the official announcement trailer right here. As for what this means for the future of the movie theater business past 2021, no one really knows, but Variety explored some of those questions here.Other Top Headlines1. MARGOT ROBBIE IN TALKS TO REPLACE EMMA STONE ON DAMIEN CHAZELLE S BABYLON(Photo by Andrew Cooper/©Columbia Pictures)After reuniting with his La La Land star Ryan Gosling for the moon landing drama First Man (Certified Fresh at 87%), director Damien Chazelle has been planning on also reuniting with the former s other star, Emma Stone, for Babylon, about Hollywood s transitional period between silent films and the talkies of the 1920 and 1930s. In a surprise move this week, however, Stone has dropped out due to scheduling conflicts (it s unclear what film the conflict is with), with Margot Robbie now in talks for the role, which is believed to be the original It Girl, silent star Clara Bow. If Robbie does sign on for Babylon, the movie will effectively become a reunion project for another film set in Hollywood s past, Once Upon a Time in Hollywood (Certifed Fresh at 85%), as the Babylon male lead is Brad Pitt. In related news, actress Li Jun Li (TV s Quantico, The Exorcist) has also been cast as early Chinese American movie star Anna May Wong. Paramount Pictures has scheduled Babylon for an awards-qualifying limited release on Christmas Day, 2021, followed by a wide release on January 7, 2022.2. OSCAR ISAAC TO STAR IN METAL GEAR SOLID ADAPTATION(Photo by Melinda Sue Gordon/Netflix)Although his run as Poe Dameron in the final three Star Wars chapters is over, Oscar Isaac continues to stack up new franchises, which before this week s news already included The Addams Family (in which he voices Gomez), the Dune remake (10/21/2021), and the MCU with his Disney+ role as Moon Knight. We can add to that list the long-in-development video game adaptation Metal Gear Solid, in which Isaac will star as franchise star and super spy Solid Snake. With over a dozen main franchise games published since the 1990s, Metal Gear Solid has the potential of being a multi-film franchise on par with Resident Evil. Metal Gear Solid has long been a dream project for director Jordan Vogt-Roberts (Kong: Skull Island, The Kings of Summer), who will be working off a screenplay by Derek Connolly (Safety Not Guaranteed; co-writer of Jurassic World). Other projects Oscar Isaac has in the works include the Ex Machina comic book adaptation The Great Machine and the Hollywood true story Francis and the Godfather.3. GAL GADOT MOVES FROM SUPERHERO TO SUPER SPY WITH HEART OF STONE (Photo by RCF/Everett Collection)As we get closer to the Christmas Day premiere of Wonder Woman 1984 on HBO Max and in theaters, Gal Gadot has found another lucrative genre to add to her filmography in addition to superheroes and (formerly) the racing action of the Fast Furious movies. Gadot has finalized a deal for upwards of million with Skydance Media to star in the spy thriller Heart of Stone,which is being described as a potential franchise-starter in the style of James Bond and Mission: Impossible. Tom Harper, who directed Eddie Redmayne and Felicity Jones in the hot air balloon adventure The Aeronauts (Certified Fresh at 72%) is currently in talks to direct Heart of Stone from a screenplay by comic book writer Greg Rucka (Netflix s The Old Guard, Certified Fresh at 81%) and screenwriter Allison Schroeder (co-writer of Hidden Figures, Christpher Robin). Other projects Gal Gadot has in the works include her starring role in Cleopatra and the Netflix action movie Red Notice, along with Dwayne Johnson and Ryan Reynolds.4. PETER DINKLAGE TO WIELD THE MIGHTY MOP OF THE TOXIC AVENGER(Photo by HBO)For years now, whenever fans speculate about the casting of a possible Alpha Flight movie, one of the inevitable picks is Peter Dinklage as Puck (because of their similarity in height). Instead, when Dinklage did actually make his debut in a Marvel Studios movie, it was in X-Men: Days of Future Past (Certified Fresh at 90%) as the scientist Bolivar Trask, and that role was later followed by a turn as Eitri, King of the Dwarves, in Avengers: Infinity War (Certified Fresh at 85%). As it turns out, however, Dinklage s first true superhero role will be one with indie filmmaking roots far outside the Marvel Cinematic Universe: in the remake of Troma s The Toxic Avenger (Fresh at 70%). Troma s Lloyd Kaufman is co-producing the reboot for Legendary Pictures, the same production company that gave us Christopher Nolan s Dark Knight trilogy and Warner Bros current Godzilla franchise. Dinklage s reboot of The Toxic Avenger will reportedly subvert the superhero genre in the style of Marvel s Deadpool, which makes sense when you find out that it will be directed by actor Macon Blair (Blue Ruin), who made his directorial debut with I Don t Feel at Home in This World Anymore (Certified Fresh at 89%).5. HARRIET STAR CYNTHIA ERIVO TAKES ON ANOTHER 19TH CENTURY BIOPIC (Photo by Eli Winston/Everett Collection)Broadway star Cynthia Erivo was one of last year s Best Actress nominees for her role as Harriet Tubman in Harriet (Fresh at 74%), and now she s found another biopic set in the 19th century, as she is attached to produce and star in an untitled film about the life of African princess Omoba Aina (A.K.A. Sara Forbes Bonetta), who was enslaved and then eventually became the goddaughter of Queen Victoria of England. The film will be partly adapted from the biographical book At Her Majesty s Request. Benedict Cumberbatch will also be one of the project s producers, but it s not yet known if he will also take on one of the film s historical roles.6. RON HOWARD S THAI CAVE RESCUE DRAMA THIRTEEN LIVES TO START FILMING SOON (Photo by Jaap Buitendijk/©Universal Pictures)Just a couple of weeks after the Netflix premiere of his latest film as director, Hillbilly Elegy (Rotten at 25%), Ron Howard is already getting ready for his next film as director. That movie will be Thirteen Lives, about the cave rescue effort in Thailand in 2018, which will start filming in Australia in March, 2021. Howard s Thirteen Lives now also stands out as the possible winner in a race to get a major movie about the incident produced after a surprising six different projects were confirmed to be in development within a few months of the disaster. Thirteen Lives will be a joint production between Howard and Brian Grazer s Imagine Entertainment and MGM. No casting has been announced yet.7. UNIVERSAL S MONSTER MOVIES REBOOTS WILL INCLUDE VAN HELSING (Photo by (c)Universal courtesy Everett Collection)Universal s attempts to move on from the Dark Universe idea got rolling in style earlier this year with The Invisible Man (Certified Fresh at 91%), and they continue to develop films based on their classic monster lineup almost more intensely than they did before. The 2004 Hugh Jackman action movie Van Helsing (Rotten at 24%) was a famous misfire, but the vampire-hunting Dracula character himself appears to still have fans at Universal, because the studio is moving forward with plans for a Van Helsing reboot. Universal Pictures is teaming up with producer James Wan (Aquaman, The Conjuring) for a new Van Helsing film to be directed by Julius Avery, who in 2018 gave us the Nazi zombie movie Overlord (Certified Fresh at 81%). It s not yet known what sort of tone the new Van Helsing will take, or whether it will directly connect to other Universal monster movies (either before or after Van Helsing). Julius Avery will also be rewriting a pre-existing Van Helsing reboot screenplay draft written by screenwriter Eric Pearson (Marvel s Black Widow; co-writer of Thor: Ragnarok).8. THIS WEEK IN JASON STATHAM: EASTERN PROMISES SPIN-OFF, MOVIE WITH AUBREY PLAZA (Photo by Universal Pictures courtesy Everett Collection)Every once in a while, an actor will be lucky enough to have two new movies announced in the same week. This week, it s Jason Statham, and neither movie is a sequel to any of his recent hits like The Meg or Fast Furious Presents: Hobbs Shaw, but one of them was almost a sequel. Jason Statham is in advanced talks to star in the Russian crime thriller Small Dark Look, which was originally developed as a sequel to the Viggo Mortensen drama Eastern Promises (Certified Fresh at 89%). It sounds, however, like elements of the movie have been changed (notably, probably changing the character from the one played by Viggo Mortensen), so that it s no longer a sequel. The other Jason Statham movie to make the news this week is an untitled thriller to be directed by Guy Ritchie, whose first two features, 1998 s Lock, Stock and Two Smoking Barrels (Certified Fresh at 75%) and 2001 s Snatch (Fresh at 73%), helped launch Statham s movie career. The new project, which was previously titled Five Eyes, will team Statham up with Parks Recreation star Aubrey Plaza as an international super spy who must work with a high-tech CIA expert on a globe-trotting mission to infiltrate a billionaire arms broker. This project appears to be one that Ritchie is taking on while others, including Disney s live-action sequel to 2019 s Aladdin (Rotten at 57%), continue to be developed.On an Apple device? Follow Rotten Tomatoes on Apple News.
亚博在线下载 n is the creator, writer, and executive producer of Loafy, an upcoming Comedy Central digital series about a manatee who runs a drug empire from his water tank at the Center Park Zoo. Moynihan will also voice the main character in the series, which will premiere in 2020 on all Comedy Central digital and social platforms.The Freeform cable network is developing a modern day spin on Dante Alighieri’s 14th-century epic poem Inferno, which will be set in Los Angeles and revolve around Grace Dante, a young woman with serious responsibilities – a drug addict mother and dependent brother – whose life suddenly starts improving … thanks to the devil. To outsmart him, Grace has to make her way through the underworld, i.e. present-day L.A. (THR)Disney+ has ordered 10 episodes of Becoming – a documentary series that breaks down the early years of celebrities – from producer LeBron James’s Springhill Entertainment. Nick Cannon, Lakers All-Star Anthony Davis, and WNBA All-Star and two-time Olympic gold medalist Candace Parker are among the celebrities who will be profiled.Netflix has ordered eight episodes of Heaven’s Forest, an animated drama with stories and characters inspired by the Indian mythology of Ramayana. Castlevania creator Warren Ellis will write and serve as an executive producer on the project. (Deadline)Sony Pictures Television is developing The Good Dish, a syndicated daytime series for 2020 hosted by Daphne Oz, Vanessa Williams, Gail Simmons, and Jamika Pessoa. The spin-off of The Dr. Oz Show began with cooking segments on that series (hosted by Oz’s husband Dr. Mehmet Oz), and will expand on the cooking segments with lifestyle, budget, and menu advice.Spectrum cable customers will be able to watch all new episodes of the Mad About You reboot on Nov. 20. Spectrum customers can watch all 164 episodes of the original Helen Hunt/Paul Reiser series on demand at SpectrumTV.com.Wilmer Valderrama is producing The Trail, a drama CBS is developing about elite investigators who work for the U.S. National Park Service and solve high-profile cases at Yosemite National Park. (Deadline)Upcoming mobile video platform Quibi has announced a new celebrity gossip talk show called Potty Talk. The series, hosted by fashion designer Alexander Wang, will find the designer and a guest host interviewing their famous friends inside the bathrooms at various pop culture events.Quibi is also putting a new spin on the celebrity game show. Comedian Ron Funches will host Nice One!, in which comedians are pitted against each other and challenged to “out-compliment one another in a showdown of sweetness and consideration.” (Deadline)Lucifer will air its final season in two parts, each made up of eight episodes. Series star Tom Ellis announced the season 5 breakdown while he hosted a tour of the Lucifer set on The Kelly Clarkson Show.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
A lonely, winding track of asphalt up the dark side of a mountain. An overnight stay at the empty hotel on the summit. A writer, hot off the success of his first two best-selling books, wanders the hallways. He sees his two-year-old son being strangled by a fire suppression hose. The writer wakes up from this nightmare, screaming in a frenzied sweat. He s still in the hotel.Sound like a horror story you know? That s because it is. Or, at least, the start of one.The empty road and the emptier hotel, that s all true. And it lays down the foundation to modern horror s most beloved haunted house tale: The Shining, by Stephen King, which he was possessed to write after a single visit to the Stanley Hotel in Estes Park, Colorado. The year was 1974. Late September, just as the Stanley was shutting down for the winter. King, his wife Tabitha, and their son Joseph had holed up in room 217 as the only guests in a 142-room manor.A long night ensued.The next morning, King had everything he needed to finish the book he was working on. Title: Darkshine.A LEGACY OF MODERN HORRORThe Shining, 1980. (Photo by Warner Bros / courtesy Everett Collection)The Stanley today is like it was in 1974 when King visited, and just like in 1909 when the hotel was built: Frigid, with hot water still getting lost on its way up to all the rooms. It s the kind of creaky palace where when something goes wrong, you chalk it up as part of the experience. Like most places with a page on Atlas Obscura, it has strange energy. Maybe because everybody there s putting out and getting sucked into the vibe, desiring to be part of a subconscious conduit for netherworld encounters. They re certainly opening their wallets for it.Since publication of The Shining novel in 1977, the Stanley Hotel has become an international destination. Or at least busy enough to stay open during winters. It attracts horror fans from all over the pop cultural strata. And that includes movie directors. I wrote Hush at the bar of the Stanley with my wife Kate, Mike Flanagan, one such director, tells a private theater crowd in Estes Park in October, Hush being his 2016 home invasion slasher. We named the John Stanley character in the movie as homage. His wife is Kate Siegel, who starred in Hush, and appears in Flanagan s other works he s developed over a momentous decade. Big material like Netflix s The Haunting of Hill House, and Oculus, his breakthrough feature starring Karen Gillian. In 2013, Flanagan screened Oculus at the Reel Mountain Theater in Estes Park, mere steps away from the Stanley, where one of his horror idols once found wicked inspiration. After the Oculus screening, the couple stuck around for a week seeking the same. The screenplay for Hush developed in those seven days, a movie released the same year with two others he directed: Gerald s Game and Ouija: Origin of Evil, establishing Flanagan as a low-key rising horror master.And now he s back in Estes Park screening his new movie, making abundantly clear he knows this is the biggest professional and personal risk yet: A sequel to The Shining.INSIDE THE INSPIRATIONThe Shining and Doctor Sleep author Stephen King. (Photo by Paramount/courtesy Everett Collection)The historic Stanley ghost tour runs several times a day, though obviously the best time to go is at night. Darkness shrouding the estate, it becomes no challenge to channel what King saw that winter night in 74. The dining hall, bustling by day, empties of life. Then appears Stephen King, and his wife Tabby. They re being served dinner at one of the long tables. All the other chairs are up, and an eerie orchestra echoes over the PA.At the bar alone, King is tended to by a bartender named Grady. The same namesake as the caretaker in The Shining who goes mad, kills his family. Grady feeds King the line his fans ought to know: That his money is no good here. A death knell for the alcoholic (which King was at the time), that no more liquid, burning as it soothes, would arrive to quench an all-consuming thirst. The horror!The ghost tour guide pulls back the spell, claiming in truth it s because the Stanley was closed, and dear Grady didn t want to bother counting the cash towards their taxed earnings. Another tall tale to add to the mythology.Then the approach to room 217, footsteps mute on carpet, where King stayed long ago. The guide points out the kid-chasing hose of nightmares across the hall. You don t get to go through 217 unless you book it, a tough job because it s by far the Stanley s most requested room. Either pay up, or sneak in. Here s what you ll find unique inside the room: A shelf filled with the author s books, a framed bedside picture, and the bathtub where King imagined the necrotic – though still rather fresh – corpse of an elderly woman floating. (There s also a king-sized bed, though there s no evidence he had anything to do with that.)In 1977, three years after his Stanley stay, King released The Shining, sculpting everything that unsettled him into the Overlook Hotel. In 2013, he published its sequel novel, Doctor Sleep. In-between, Stanley Kubrick made a famous movie. Infamously, King hated it. And not just because room 217 got changed to room 237.APPROVAL FROM THE KINGMike Flanagan on Doctor Sleep set. (Photo by Warner Bros. /courtesy Everett Collection)Flanagan, like most, watched The Shining before he read the book. He was in eighth grade. A sleepover, where all the kids saw it on VHS. The experience left him petrified. It also left him with instruction on how to build tension, atmosphere, and dread – without resorting to jump scares.And now, as the new caretaker of the Overlook, he s responsible with adapting Doctor Sleep for the masses. Flanagan takes on the monumental expedition of reconciling Kubrick s mind-blowing dark vision with King s emotional, personal redemption arc of the plagued Torrance family. That s something its writer-creator has never felt ever made its way into theaters, resenting the Shining movie as it eclipsed the source book. So when did Doctor Sleep s director feel ready for this volatile project? I ve never in this entire process felt prepared to do it, Flanagan recognizes, speaking with us at his room in the Stanley Hotel. It happened very fast. I had the opportunity to do it because of a meeting I had at Warners about doing a DC movie. They asked if I was familiar with Doctor Sleep and I said yes. Stephen King approved me for it because he was happy with Gerald s Game. If he hadn t given me his permission, I wouldn t have made the film. And sending him the script, I was terrified because that was his chance to be like, No, you can t do this to my world.' Do what exactly to his world? Let s just say for those going into Doctor Sleep having read the book first, expect significant departures. Only this time, they re approved by the King.SERVING TWO WORLDSJack Nicholson, Shelley Duvall in The Shining. (Photo by Warner Bros. / courtesy Everett Collection)Both Shinings have the same set-up: Alcoholic writer Jack Torrance (Jack Nicholson in the movie) takes a job as the Overlook winter caretaker, dragging along his wife Wendy, and son Danny, whose cursed gift of telepathy and clairvoyance awakens malevolent apparitions of the past. How book and movie reach their endings diverge wildly.Same with Doctor Sleep. Establishing story on-page and on-screen are similar: Haunted adult Dan Torrance (Ewan McGregor in the movie) is using his shine to guide the terminally ill into the afterlife, when he encounters a young girl named Abra (Kyliegh Curran). She s got the same gift, only more powerful than anything s Dan ever seen, attracting the likes of Rose the Hat (Rebecca Ferguson), a semi-vampire who feeds off these abilities. Though book and movie unfold along different paths, Flanagan s adaptation captures that redemptive, cautiously hopeful tone of King s text. I read Doctor Sleep in 2013 as soon as it came out, Flanagan explains. The weird thing was that this story was so quintessentially Stephen King, and it so completely and loudly jettisoned all of the Kubrick from it. Yet all the images in my head were Kubrick images. Because that s The Shining that I know, that s the Overlook that I know. It s one of the most influential movies in my life. We spoke of movies like 2001: A Space Odyssey and Blade Runner, whose enduring relevance comes partly from their unsolvable central mysteries. Blade Runner 2049 recognized Ridley Scott s puzzle (Is Deckard a replicant?), and knew what a losing proposition it d be to answer it. So the Denis Villeneuve sequel didn t.Ewan McGregor in Doctor Sleep. (Photo by Warner Bros. / courtesy Everett Collection)Then there s 2010: The Year We Make Contact, released in 1984. This follow-up explains everything about A Space Odyssey, from why HAL malfunctioned to what ever happened to David Bowman. It s a decent sci-fi movie and, in the shadow of 2001 s majesty, completely inappropriate. As an obvious film nerd, Flanagan understands this fandom, this weight and expectation inherent to a Shining sequel, like running into a hedge maze with only a single chance out. I felt like the coolest way to do it would be to try at long last, at least attempt, reconciling the King road and the Kubrick road. Which would not be easy. It would be fraught with landmines, Flanagan says. But that s the only really exciting way to do it. Because if you jettison the King and just do a sequel to Kubrick, then you re into 2010 territory. He continues: But if you jettison the Kubrick and just do this standalone thing that s talking about Danny Torrance and the Overlook, then I feel like you re flinching away from what the story really wants to be. You re ignoring the most familiar cinematic language that an audience already has on one of the most ubiquitous pop culture phenomenons when it comes to horror. So it really felt like this was the only way to do it. As a fan, that s what I want. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
亚博在线下载 1. THE AMAZONS FROM WONDER WOMAN MAY GET THEIR OWN SPINOFF (Photo by Clay Enos. ©Warner Bros.)Following the box office success last year of Aquaman, it was surprisingly revealed that an underwater horror movie called The Trench was being planned as an Aquaman spinoff (separate from Aquaman 2, which is scheduled fro release on 12/16/2022). This week, director Patty Jenkins revealed that she also has ideas about a Wonder Woman spinoff, but this one is arguably more directly related to the first movie in particular. Discussing next year s Wonder Woman 1984, Jenkins said that the premise for Wonder Woman 3 is already known, and that the third movie is in the early stages of development along with a spinoff movie for The Amazons. Jenkins did not specify which Amazons would be the stars of such a movie, but one has to wonder if they wouldn t include characters like Robin Wright s Antiope or Lisa Loven Kongsli s Menalippe, whose roles in Wonder Woman hinted at other stories featuring them as the main focus. Other characters with Amazon connections who might warrant their own movie include Artemis and Wonder Girl, AKA Donna Troy.2. SHAZAM! 2 TO TAKE ON BLACK PANTHER 2 AND SPIDER-VERSE 2 IN 2022(Photo by Warner Bros. Pictures)There will obviously be superhero movies in 2020 (Birds of Prey, Black Widow, Wonder Woman 1984, Morbius, The Eternals, Venom 2), but it may seem like a quiet respite from the genre when you consider what s coming in 2021 and 2022. That latter year is still relatively far off, so studios are still just starting to announce their plans, but going into this week, we knew about Aquaman 2 (12/16/2022), Black Panther II (5/6/2022), DC Super Pets (5/20/2022), and the animated sequel to Spider-Man: Into the Spider-Verse (4/8/2022), to which Warner Bros. and DC have added two more. Let s start with the sequel to this year s Shazam! (Certified Fresh at 90%), which Warner Bros. has officially scheduled for release on April 1st, 2022. Going back to two of those Marvel-related movies, please take note that Shazam! 2 is being positioned just a week before the Spider-Verse sequel, and a little over a month before Black Panther 2, which means Zachary Levi will quickly have fierce competition from Marvel and/or Sony. The other movie to keep in mind here is Dwayne Johnson s Black Adam, which will come out on December 22, 2021, and which is directly related to the Shazam! mythos (since Black Adam is one of Shazam s arch-nemeses). In related speculation, Marvel hasn t yet scheduled Captain Marvel 2, but it might be in 2022 or 2023.3. YOU D THINK THE FLASH COULD ARRIVE AT THE MOVIES FASTER THAN 2022(Photo by Warner Bros.)The other DC Comics superhero movie that Warner Bros. scheduled for 2022 this week is actually one of the projects that they first announced at a big press conference back in 2014. Many of those movies did in fact get made (Wonder Woman, Aquaman, Shazam!), but one of them that hasn t yet is The Flash, starring Ezra Miller. That s partly because directors have come and gone, and the rumored premise has shifted in those years two (including the period when it was subtitled The Flash: Flashpoint). The attached director now is Andy Muschietti (Mama, IT, IT: Chapter Two), and Ezra Miller is still expected to star in the movie as well. The Flash is now scheduled for release on July 1st, 2022, which makes it the second DC Comics movie of that summer, after the animated kids movie DC Super Pets (5/20/2022), featuring such four-legged super sidekicks as Ace the Bat-Hound, Krypto the Super-Dog, and Streaky the Super-Cat.4. LONG-AWAITED JOHN BELUSHI BIOPIC FINALLY FINDS ITS STAR (Photo by Richard E. Aaron/Getty Images)In 1989, future The Shield star Michael Chiklis starred in Wired, an adaptation of the best-selling book by Bob Woodward about Saturday Night Live star John Belushi s battles with drug addiction that ultimately led to his death in 1982. Although ostensibly about John Belushi, that movie however had an otherwise narrow focus on just one aspect of Belushi s life, so it arguably isn t a true John Belushi biopic. However, one has been in development for several years (since 2013), and is now finally moving forward as an independent production. One has to presume that a major obstacle has been in finding an actor who can credibly portray John Belushi (sort of the point, one would presume) and the role has finally gone to Broadway star Alex Brightman, who will soon wrap up his run as Beetlejuice in June. Belushi will be directed by David Frankel, whose most famous movie was probably 2006 s The Devil Wears Prada (Certified Fresh at 75%), itself based on a roman à clef widely believed to be inspired by Vogue editor Anna Wintour.