华体会全站登录采用百度引擎8（Baidu 3）rst thing that starts to sort of threaten her worldview: Well, wait a minute, wait a minute. Women are doing this? Because that wasn t something that I thought was possible and no one told me that that was an option. And you see … she s somewhat hostile to the idea, but as time passes she gets over that, she copes again, she makes new plans, she figures out how to keep her world intact. She s helping out with raising the Stevens children and her friendship with Tracy survives it all and she s moving on. She s a survivor, Karen, she moves on and she s going to cope.Now the death of her son really does sort of start a whole new chapter for Karen. So it was really sort of plotting out how do we evolve that character while at the same time being true to her and the women that were like her at that period? It didn t seem fair to just say that Karen would wake up one day and just be a completely different person or that she would just jettison her entire upbringing and her entire worldview. It felt like that would have to be an evolution. And then you would have to justify how those changes are made for a character like her.(Photo by Apple TV+)Can we talk about how 109 deals with grief in all of its forms?Moore: Yeah. 109, we had to sort of face it directly. Two characters like Karen and Ed dealing with a profound loss and not being able to be there for each other and how they would individually do that. And a lot of us in the writers’ room, we had either gone through similar things or we knew close relatives who had, so we drew on a lot of that, of personal experience of people s responses to grief. And it did feel like once Karen had gotten over the planning of Shane s funeral arrangements and all that, that then she would be sort of left at loose ends. Like once that was complete, she had nothing left; there would be an emptiness there and she retreat, would try to retreat as far as she possibly could away from the world and away from everyone else.And on Ed, lone, isolated, tired, had been told he was being rescued over and over and over again. And had to hear about this over the phone, that he would just shut down. He would just shut down, turn off the phone, refuse to talk, and he would just be alone with his grief. And that each of them in their own way was kind of doing the same thing. That they were both retreating from the world and they both just wanted to be left alone and manage their grief in their own way. And again, it seems like that s who the characters were in that era, and they weren t seeking therapy and they weren t trying to talk through their feelings. They didn t have any of those skills and those tools, and if they didn t have each other, if they weren t able to comfort each other, they didn t want to be comforted by anybody, and they just started to step back from their lives.The character of Aleida Rosales she’s the kind of character that, in a big cast like this, could get lost. What was the intention behind making a storyline out of that family s journey?Moore: It was an initial impulse at the very creation of the show to have a young character that we could watch grow up over the seasons, because the show is multigenerational. It goes through many decades, and I wanted someone at the outset who was very young and then it became, “Let s make it an immigrant story. Let s make it a story of how broad the space program is, that it s not just inspiring people in the United States. It s actually inspiring people around the world, and here s this young girl who comes to the United States from Mexico.” It becomes an immigrant story. Then the challenge became how do you keep her on the show? Because she obviously can t impact a big story for a very long time. And it was a lot of work, and we did struggle with at times to be honest, to figure out how to keep her relevant to the show when so many of the things were going on.But we did have a belief that ultimately this is a clearly critical character in the life of the show later on. In a way it s almost an origin story. It s an origin story of a superhero or something: start at the beginning, see how she got involved with NASA, see who she knew and what the challenges are and then throw a curve ball in her world towards the end of the first season and then come back second season and see what happened to her a decade or so later.(Photo by Syfy)For All Mankind, you re back in space. Was that intentional? Were you re looking to go back to space?Moore: Well, I was certainly open to the idea. I mean I do love space and science fiction. It s just been part of me since I was a child. So you do it for a long time. It s Star Trek and then Battlestar and you need to get away and not do it continuously. But then I kind of felt sort of ready to come back and there were new things to do and new things to say in the field and so it was really fun to come back and do a space show again. And I hope it won’t be my last.Yeah, I hope it won t either. I don t know if you know, but Battlestar took like top spot in our list of the best sci-fi shows.Ron Moore: I did see that. I couldn t believe it. I was very touched by that. It was like, Wow. Really? Yeah, I m not sure. I m not sure I would have voted it that high. I don t know that the child in me can actually put Battlestar above the original Star Trek series, but I do appreciate the honor.See, I would agree with you if you d said The Next Generation, but the original Star Trek, really?Moore: The original, it s brilliant. It changed the genre.One of the things that I really liked about Battlestar and one of the things that weighed in its favor for that ranking was just the amount of time spent on developing character, and they re not just red shirts or blue shirts or yellow shirts. Each character has an intention, and it s something that I ve seen more lately. I d say it shows how influential you ve been in this medium, that you see, for instance, in The Expanse, this focus on character and a lived-in quality for the show.Moore: I appreciate that. It s very kind. I would love to think that we had that kind of influence, and those qualities were very important to us in Battlestar, and we spent a lot of time focusing on them and saying that this is really what matters and this is really what will distinguish the show and this is what you re capable of doing in science fiction. It d be great to think that that’s influenced others. And that it continues to go in that direction.(Photo by Starz)Now Outlander was a little bit of a detour. I was surprised to see you on that title. Similarly, I think you ve given the story more heft than some other people might ve.Moore: Diana [Gabaldon] had created a great universe in Outlander the books. And I just thought once you translate that to television, one of the first things you have to realize is that, Yes, you re going to see the universe” and Yes, you re going to see the world, Scotland.” That s all fascinating stuff, but what the television audience really cares about are the characters because that s who they get attached to. That s really what they re all about. That s what they want to see. How does this week s event impact my favorite characters? So again, at Outlander, we also made it a concerted effort to really try to get inside Claire and Jamie and Frank.We certainly played a lot more of Frank in the show than really the books did, because I kind of felt that there was an opportunity there to really show the triangle and to really get inside Claire a little bit more, to understand who she was, because her whole journey in the first season was about trying to get back to Frank. And so you had to kind of understand and really buy into the notion that Frank was an important character in order to really understand Claire.Outlander does really well on the Tomatometer, too. Is there anything you can say about the new season that we can look forward to?Moore: Getting closer to the American Revolution, the split between Jamie and Murtaugh is going to come to a head and be very difficult for both parties. You’re going to see more of Stephen Bonnet, Jocasta, and all the characters who set up season 1, and there ll be another character returning in the next season that we said goodbye to last season. There s a lot of fun stuff. It s just sort of a big, sprawling epic really is what it is —what it always has been.For All Mankind is now streaming on Apple TV+; Outlander season 5 premieres on Sunday, February 16 on Starz.
RT Users Crown Christian Bale's Batman as the Ultimate DC Hero To celebrate DC FanDome, we pit 64 heroes from the film and TV worlds of DC Comics against each other to find out who is the ultimate DC Hero! by RT Staff | September 11, 2020 | Comments contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
nal themes and does it fairly well. It may not quite stick the landing flawlessly, but Pitt turns in a noteworthy performance and Gray largely succeeds in grounding the epic scope in effective human drama. The end result is a more cerebral odyssey that still features enough thrills to please genre fans.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
7.98.2 8月喜迎Perfection – it s not just a fictional town in Nevada. It s also a film called Tremors, which is set in that fictional Nevada town (pop. 14, fluctuating) and was released 30 years ago this weekend. Hang on, Val, let s not go off half-cocked, you cry (because in this scenario, you are dumb, skeptical Nestor, doomed to be sucked into a burrowing earth-monster s mouth, while I, of course, am the reluctantly valiant Val). Are you really saying that this unassuming, low-budget 1990 B-movie-pastiche flop starring an actor so ubiquitous there s a game about it, the dad from Family Ties, a country singer-turned-actress, the little girl from Jurassic Park, the Asian guy from 3 Ninjas, and Fred Ward, is actually perfect? Why, yes, I am.Tremors, starring Kevin Bacon, Michael Gross, Reba McEntire, Ariana Richards, Victor Wong, and Fred Ward, is the feature directorial debut of Ron Underwood, who would go on to hit massively with City Slickers and miss even more massively with The Adventures of Pluto Nash. Tremors is neither of those extremes: a perceived disappointment on release, it turned a m profit on an m budget but really found its groove on home video formats and TV syndication. So, like many others, my own lifelong love affair with this modest masterpiece did not begin with a trip to the theater. To this day, not one of my 60-odd viewings of this ridiculously rewatchable horror-comedy has ever been on the big screen.No, I first saw Tremors as God intended: on a dodgy VHS recorded off the TV and missing the first 40 seconds. We only upgraded to a store-bought video – and discovered that gorgeous, foreshadowing opening wide shot of Kevin Bacon s Val peeing off the very cliff where the film will end, doubtless an homage to John Ford s The Searchers – when that homemade copy grew snowy with overuse and threatened to gum up the VCR. My point here is that you can look back on the film s lackluster 1990 reception and speculate that it somehow wasn t made for instant-gratification contemporary mass consumption. Instead, destined to become more beloved by the chosen few who privately discovered it, Tremors was, despite its tone of breezy disposability, built to last.(Photo by MCA/Universal Pictures)The sturdiness of its construction begins with the screenplay. Writers Brent Maddock and S.S. Wilson, flirting with fame after the success of Short Circuit, and years before they d flirt with notoriety by writing Wild Wild West (fun fact: Wild Wild West had a screenplay!) worked and reworked a concept that Wilson had jotted down years before while on a desert hike: What if there was something under the ground that meant I couldn t get off this rock? That slim idea eventually blossomed into an archetypally classic screenplay seriously, budding screenwriters could save a few hundred bucks by spending the weekend of their Robert McKee seminar just watching this movie repeatedly instead. All the rules are pristinely observed: the gradual escalation of stakes; the way character dictates destiny; and a climax in which the salvation of the community (the remaining townsfolk gathered on that residual boulder ) and the solution of the hero s previously established central flaw (Val s inability to plan ahead) pivot around the same piece of action (the outwitting of Ol Stumpy, the final Graboid).No two of the four monsters are ever killed in the same manner – they are, variously, knocked out, shot to pieces, blown up with bombs, and finally, bested by gravity and their own imperfect evolutionary design ( Can you fly, you sucker? ). Acts of heroism and moments of ingenuity are shared liberally among the whole cast of oddball misfits Miguel s idea for the tractor decoy, Rhonda s pole-vaulting escape plan, Heather s precision shooting at the tentacle gripping her husband s leg, Earl s going fishing notion, the sheer overwhelming firepower represented by Burt s basement ( Broke into the wrong goddamn rec room, didn t you, you bastard! ). And everything, from Val and Earl s frequent games of rock-paper-scissors to the constant yin-yang of their cigarette bit (one will have the pack and the other will have the lighter) and Val s opening jibe about Earl s stampede story, gets picked up on later. This is a film that refers back to itself in an endless enclosed loop, and that s what I mean when I say perfection: Tremors is a complete system, a complete microcosmic universe, unto itself.(Photo by MCA/Universal Pictures)So the plotting, with its steady rhythms of snarky dialogue, spooky phenomena, slimy sight gags, and cheesy jump scares, is almost schematic. But it s so skillfully fleshed out by an unusually characterful cast that we don t notice the mechanics at work across its economical 96 minutes. Even minor players – many of them destined for grisly deaths – are unusually dimensional. We only ever see him dead from dehydration, clinging to a telephone pole and clutching his trusty Winchester, but that damned old boozehound Edgar Deems (Sunshine Parker) has a whole offscreen history behind his sorry ass. Ditto Old Fred (Michael Dan Wagner), the sheepfarmer whose terrified dead face provides the film s best scare. The doctor (Conrad Bachman) and his wife (Bibi Besch) are given a lovely moment of long-married-couple sparring before being offed in the movie s most affecting sequence. Even the two doomed construction workers drilling on the road to Bixby get a little moment of bumbling, Abbott-and-Costello action before winding up little more than a splodge of brain matter inside a hard hat.The town s residents are better drawn still, up to and including the adorable natural chemistry that exists between Bacon s Val and Fred Ward s Earl. Yet they share a curious feature that contributes to the film s endless rewatchability: they exist sharply in the present moment, but their lives are never actually explained. Really, the whole town of Perfection is inexplicable: where does Melvin (Bobby Jacoby), one of cinema s greatest annoying-s thead teenagers, come from? Where are his parents? How does he live? What did Burt do before moving here that gave him the financial wherewithal to build his desert fortress? Where does visiting student Rhonda pleistocene alluvials LeBeck (Finn Carter) actually live? How did Walter Chang (Victor Wong) end up owning the town s sole amenity? (Side note: if you want to read about a storied life, just look into artist and actor Wong s bio, which includes palling around with Langston Hughes and Lawrence Ferlinghetti and inspiring a character in Jack Kerouac s Big Sur).(Photo by MCA/Universal Pictures)And of course, how did Val and Earl, among the most bromantic buddy pairings the medium has ever conjured up, come to occupy adjacent trailers in a two-horse town that s little more than a wide spot in the dusty road to Bixby? How did they stumble into their pre-gig-economy jobs as hired hands/handymen? How did they meet and formulate their borderline Beckettian double act (just call them Valdimir and Earlstragon)? As with the Graboids, you can have theories on where everyone comes from, but the hows and whys are just not that important. In fact, it may be crucial to the film s delicious longevity that those issues remain undefined: while some are addressed in the film s four DTV sequels, its prequel, and its two TV show incarnations (the latter of which happened as recently as 2018 but never got beyond the pilot), those explanations always spoil the perfectly calibrated balance between goofy, gory, and good-natured that only the original Tremors ever achieved.Cliffs to the north, mountains to the east and west, and the only road out of town is blocked Perfection exists in total geographic isolation. And Tremors, the movie, exists in a kind of temporal isolation, in which its multiple time frames combine to take it out of time altogether. This is a never-never land comprised of the throwback 1950s monster flicks it so affectionately parodies, the frontier westerns that its spectacular photography evokes (as well as the characterization of Val and Earl as anachronistic cowboys stranded in modern times), and the easing global tensions and general optimism of the glasnost era in which it was made. It s a perfect bubble of contradictions that exists outside of real-world circumstance, politics, or anything as faddish as relevance. And yet that makes Tremors a curiously vital place to visit once in a while, especially in more divisive moments. It s a cheesy, schlocky, irreverent entertainment that is also a timeless reminder of an America that both never and always existed, in which human qualities of decency, community and ingenuity always outweigh ideological differences, and all that s really needed to defeat the beasts beneath our feet is gumption, good-heartedness, and a few household chemicals in the proper proportion.(Photo by MCA/Universal Pictures)Tremors was released on January 19, 1990.
(Photo by Andrew Cooper / © Columbia Pictures )Who will win?Once Upon a Time... In Hollywood (2019) 85%Who should win?Once Upon A Time is an audience (and office) favorite, but we’d love to see the HFPA honor one of the two socially conscious comedies in the category. Knives Out, Rian Johnson’s super critically lauded whodunit (97% on the Tomatometer), is so smartly constructed and well acted, it should rise above the “popcorn movie” label to awards contender. And Jojo Rabbit, while divisive, is also treasured by some as a one-of-a-kind blast of audaciousness; it’s also connected hard with fans, with a 95% Audience Score.Best Actress Motion Picture DramaWho will win?Renee Zellweger – Judy (2019) 82%Who should win?Renee Zellweger’s performance as Judy Garland has been hailed as electrifying ever since the Certified Fresh Judy premiered at Telluride, and we’re not going to argue: It’s a gutsy performance and an ideal comeback vehicle for the Oscar-winning Bridget Jones star whose own journey through Hollywood has shades of Garland s. She will and should win, though Charlize Theron, playing her own real-life-figure-with-some-press-issues in Bombshell, also stands a chance.Best Actor Motion Picture Drama(Photo by © Warner Bros.)Who will win?Joaquin Phoenix – Joker (2019) 68%Who should win? Experts are predicting Joaquin Phoenix will dance up the stairs, to the stage, and take out Best Actor – Drama for his deeply committed take on the Clown Prince of Crime. But, we simply can’t look past Adam Driver’s complete annihilation of the screen as one half of a crumbling relationship in Marriage Story for our pick in this category, closely followed by Antonio Banderas’s career-best work in Pedro Almadovar’s Pain and Glory, which nabbed him best actor honors at Cannes.Best Actress Motion Picture Musical or Comedy (Photo by Casi Moss, courtesy of A24)Who will win?Awkwafina – The Farewell (2019) 97%Who should win?The competition is tougher for actresses in the drama category, with most of the Oscar frontrunners parked there for the Golden Globes, leaving Comedy open to The Farewell’s Awkwafina. She’s more than deserving, but so is Emma Thompson, whose stellar work in Late Night – which lost some critical and awards steam in the space between its Sundance debut and mid-year release – we’d love to see recognized. Also, look out for Knives Out’s Ana de Armas, whose wide-eyed but savvier-than-she-seems Marta grounds the much-loved film.Best Actor Motion Picture Musical or Comedy Who will win?Taron Egerton – Rocketman (2019) 89%Who should win? The HFPA loves a Brit, and a rising star, and Taron Egerton gives one of those absolutely-everything performances in Rocketman that will have folks seeing him as more than simply Eggsy from now on. But… we have to go with Eddie Murphy’s career-best work – and what a freaking career! – in Dolemite Is My Name for our in-a-fair-world pick.Best Supporting Actress Motion Picture(Photo by Kristin Callahan/Everett Collection)Who will win?Jennifer Lopez – Hustlers (2019) 87%Who should win? Margot Robbie is completely transformed in Bombshell. Laura Dern out-Renatas herself in her fabulous Marriage Story turn. And Florence Pugh – who isn’t nominated, but should have been – gives us an Amy March for the ages in Little Women. But superstar and mogul J-Lo did more than just remind us she’s a talented actress in Hustlers, she lit up the screen unlike just about anyone else – man, woman, mad Titan – this year. A deserved win.Best Supporting Actor Motion Picture(Photo by © Columbia Pictures)Who will win?Brad Pitt – Once Upon a Time... In Hollywood (2019) 85%Who should win? We could watch Brad do his thing for another three hours (shirt on or off) – he s that good. But for our money, Joe Pesci, back on screens after almost a decade, is just that little bit better in The Irishman. As Russell Bufalino, he s all quiet menace, and steals the show from under (the also excellent) Pacino and De Niro.Best Director Motion Picture(Photo by Dominique Charriau/WireImage)Who will win?Bong Joon-ho – Parasite (2019) 98%Who should win? The Bong Hive – that vocal group of online fans who ve embraced the director with the fervor of an early 2010s One Direction fan – will have reason to celebrate Sunday, and deservedly so. With Parasite, still at 99% on the Tomatometer, Bong Joon-ho did the near-impossible: created a stateside stir with a foreign film. Surprising, thrilling, hilarious – Parasite is not eligible for major film categories, and here is where it will get its justice. Unless, that is, the epicness of The Irishman or technical wizardry of 1917 dazzle the HFPA enough to cause an upset.Best Screenplay Motion PictureWho will win?Marriage Story (2019) 94%Who should win? Hard to argue with Noah Baumbach s deeply personal, beautifully observed, and very, well, wordy divorce tale taking home the prize. But we think Bong Joon-ho s bracing, inventive, and richly allegorical Parasite would be the (slightly) more deserving choice.
With classic characters such as Supergirl and Batgirl making an indelible mark on pop culture — along with more recent characters including Harley Quinn — the iconography for the DC Super Hero Girls range of comics, toys, and books was strong and the appeal immediate. Debuting in 2015 with a web series and a toy line, it re-framed characters like Batgirl and Harley as students at Super Hero High who experienced typical young teen problems along with complications from their side gigs as heroes. It eventually led to direct-to-video features, an animated broadcast special, and graphic novels as part of a continual expansion of the brand.But last week s debut of a new DC Super Hero Girls animated series on Cartoon Network, developed and executive produced by My Little Pony: Friendship is Magic’s Lauren Faust, establishes a new cartoon continuity for the brand that is separate from the web series. And as voice actors Tara Strong and Kimberly Brooks — veterans of both versions — told Rotten Tomatoes, the new series is very different from its predecessor.The show focuses on a group of girls at a Metropolis-area high school who discover they all moonlight as superheroes. The team includes Batgirl, a.k.a. Barbara Gordon (Strong); Wonder Woman, a.k.a. Diana Prince (Grey Griffin); Zatanna (Kari Wahlgren); Green Lantern, a.k.a. Jessica Cruz (Myrna Velasco); Bumblebee, a.k.a. Karen Beecher (Brooks); and Supergirl, a.k.a. Kara Danvers (Nicole Sullivan). Characters including Lena Luthor, her older brother Lex, and Barry Allen also populate the world. Harley Quinn (also Strong) even makes a cameo appearance in the series’ 60-minute debut, “#SweetJustice;” a frantic, silly, and fun introduction to the characters as they learn to be friends and heroes.(Photo by Warner Bros./Cartoon Network)“The last version was geared toward a younger audience,” Strong explained. While the earlier format “had its place” and drew in plenty of little girls who were fans of the superheroes, she noted the new show is “a lot sleeker and more sophisticated and appeals to a much broader audience.”The growing sophistication and broader intended age range also means an added emphasis on what superheroes do best: fight.“[On] this show we actually do some serious fighting,” Strong said. “We have serious weaponry. The stakes are a lot higher. In my view, it s a completely different show, although still encapsulating what it is to be a female superhero and be a teenager.”The series is also hilarious and will attract plenty of boys as well, the women added, but most importantly, it ll appeal to families.“The kids are going to like it and also there s humor that adults are going to get, too. It s not wasted on us,” Brooks said. Gags include punny names for businesses, an extended Twilight pastiche in #SweetJustice, and nods to more obscure elements of DC Comics mythology.Wahlgren credited Faust and her deep knowledge of the comics as essential to shaping the series and explicitly communicating to her stars what she wants to achieve.“She s so talented and she s also really, really open to suggestions and interpretations from the actors,” Wahlgren said. “I think we ve all had a chance to find our characters because she s given us a lot of leeway to do that.”(Photo by Warner Bros./Cartoon Network)Added Strong, “I just thanked her last week for having every single body type represented in this show. As a little girl, I was never, like, a little stick-skinny thing, and when you see magazine covers of supermodels you think, Oh is that what I m supposed to be? And so the fact that every single body shape is represented in superheroes [means] … there s an authenticity to these characters that translates.”As it happens, Faust was fostering a concept very similar to DC Super Hero Girls for ages. As part of Cartoon Network’s 2012 DC Nation block, she produced a pilot of sorts with Super Best Friends Forever, five animated shorts featuring a bulked up Supergirl (Sullivan), a tiny and energetic Batgirl (Strong), and a confident Wonder Girl (Griffin) leading the pack. So the fact that aspects of the designs and the voices return in DC Super Hero Girls is no accident.“As a concept series for these females, I thought [Super Best Friends Forever] was such a strong idea. It was not long after Powerpuff Girls and I thought, let s keep this rolling. And it didn t get picked up,” Strong recalled. The continued success of the DC Super Hero Girls range led to discussions with Faust to revive elements of Super Best Friends Forever as the new DC Super Hero Girls show. As production began, Faust produced a new version of the Super Best Friends Forever short “Time Waits for No Girl” — in which Batgirl waits for her father to go to sleep so she can join the other heroes — as DC Super Hero Girls “#TheLateBatsby,” which ran in front of the theatrical release of Teen Titans GO! to the Movies.All three actors have long associations with the DC Comics characters. Brooks voiced Oracle in the Batman: Arkham video game series, Lightning and Mari McCabe in the previous DC Super Hero Girls, and Batgirl in the Lego Batman 3: Beyond Gotham video game. Strong often voices Harley in projects as varied as the earlier DC Super Hero Girls, Batman: Arkham City, and an infamous scene on Arrow ( for which she’s credited as Deranged Squad Female ). She is also well known for voicing Raven in the Teen Titans and Teen Titans GO! animated series. Wahlgren has voiced Starfire in the DC Animated Universe direct-to-video features, Saturn Girl, and Zatanna once before in the Justice League Heroes video game.The three stars agreed that the new DC Super Hero Girls is a particularly special project. Each time they return to a character, as they do here, it requires bringing something new or different to the role depending on whether the tone of the project is dark or silly or crazy or anything else.(Photo by Warner Bros./Cartoon Network)“When we go in to audition or we meet the team, they ll say, you know, This is really dark, or, This is really silly, or, This is really crazy, ” Strong said. “You have to tweak it a little bit to match the world that you re performing in.“We become these characters in our minds, we envision ourselves,” she continued. “You could ask these girls anything about their characters, and they ll be able to tell you from a very organic place what they re all about.”With their understanding of the characters, they said the key appeal of the new DC Super Hero Girls series is their camaraderie and sense of fun.“[They’re] these kick-ass chicks doing some pretty incredible things together,” Strong said. “Navigating friendship and superhero and teenager all wrapped up in this fun, beautiful package.”In addition to inspiring feelings of empowerment, it also sparks nostalgia for the stars.“This show, I think, is so much fun because we get to tap into our youth — at least that s important to me, anyway,” Brooks said, adding, “I love that all of those different types that you went to school with in high school are represented. Everything from the more hippie, environmentally conscious to the overly theatrical girly girl, to the really shy, studious smart kid. I just feel like everybody s going to be able to see themselves in at least one of the characters.”DC Super Hero Girls airs Sundays at 4 p.m. on Cartoon Network.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
(Photo by © Focus Features)At this year s Sundance Film Festival, few titles got Park City buzzing quite so much as Killing Eve season 2 showrunner Emerald Fennell s debut feature, Promising Young Woman. As one of its stars, Bo Burnham, told Rotten Tomatoes, it s like a stick of dynamite thrown into the conversation around consent and rape culture – and one that critics say is fiendishly and shockingly entertaining as it blows everything up.You might already know of the movie, due out in theaters in April, from the zeitgeist-capturing trailer – a fierce Carey Mulligan wreaks vengeance on a cavalcade of not-so-nice guys, hopping bars as a #MeToo vigilante egged on by a thrilling, strings-heavy rendition of Britney Spears Toxic. The basics are there in that trailer: Mulligan plays Cassie, who is indeed out to teach certain guys a lesson by playing blackout at the bar before pouncing into sobriety to teach them a lesson at home; Bo Burnham enters the picture as Ryan, the doctor so nice he might derail her from her mission. And the film does pay homage to Britney Spears, and Paris Hilton, with a soundtrack of 2000s pop bangers and a style that feels part music video, part The Simple Life. But the film takes wild story turns and tonal shifts that the marketing only cautiously hints at. We won t say much beyond that, as it s the surprises, and the way the film subverts expectations at every candy-colored turn, that make it such a compelling watch.The opening-night audience was rapt, thunderously applauding Mulligan s performance and Fennell s bold vision, and the movie is currently sitting at 100% on the Tomatometer. Its sexual politics, blistering attack on misogyny, and refusal to offer a black-and-white view of the culture it pervades have fueled hours of post-screening conversation and given critics a ton to chew over. The day after the movie s premiere, we met with Mulligan and Burnham to talk about the film s impact, good guys and bad guys, Britney and Paris, and how they think this movie is going to go down with audiences.The following interview was edited for length and clarity. Joel Meares for Rotten Tomatoes: Congrats on the film – people are talking. Carey, I was reading that you said you were a little bit nervous the first time you read the script. Did you have those same feelings watching it on the big screen last night?Carey Mulligan: Yeah. I m terrified, yeah.Rotten Tomatoes: What was that nervousness about?Mulligan: Oh, a million things. I mean, the nervousness reading the script wasn t It was just the good nerves. It s the nerves that I got when I read Wildlife. It s the nerves that make me want to do a job, where I go, like, I have no idea how I d do this. Probably I should do it. And that s what I had with this. I thought, like, What is Cassie? How the hell do I do that? And then I met Emerald, and five minutes later, committed to doing the job. So it s the good nerves, and then last night s nerves was 500 people watching my face. Look at my forehead. What s going on there? Why am I so flushed? And Bo Burnham twisting himself into a pretzel behind me was hard to deal with.(Photo by © Focus Features)Rotten Tomatoes: So you were nervous in a way too, Bo? Tell us about this pretzeling. Bo Burnham: It was like expressive performance dance. I wasn t going to sit through [the film at the premiere] and then Carey made me. She guilted me into it by being like, “This is a team experience.”Mulligan: I was a head of drama school, you know?Burnham: This really was a movie where just women told me what to do, which is truly very cool. And so I knew that whatever they told me to do, I d do. But yet it s horrifying. I mean, for me it s so horrifying, because it s like, I have to be appealing? Because personally I watch the movie and I go, like, And then this butthead shows up? Who gives a f k? And we re supposed to care? I didn t realize, I guess, how scary being a [romantic lead is]. I d be much more comfortable playing a hate-able character on the screen, because then people have to hate you. The idea that people have to like you is tough.Mulligan: Yeah, it s similar… I very rarely in my career have ever played the pretty girl, or whatever, and then when I did The Great Gatsby – he writes like she s the king s daughter. It paralyzed me, having to think externally, or think about yourself as being [appealing].Burnham: Yeah, that’s crazy, that’s like the Helen of Troy of America.(Photo by © Focus Features)Rotten Tomatoes: You mentioned the idea of hate-able characters, and the thing about Ryan is that he’s complex, as most of the men in the movie are, and there’s this question of what is a “bad guy” and what is a “good guy.” Last night at the Q A you spoke about how misogynist culture is not just about guys like Weinstein and Cosby, it’s more insidious. Do Ryan and other “nice guys” in the movie speak to that?Burnham: I don t know. I mean, truly, if I was a real actor or something, I d be like, I can t even step away from him enough to even see him as another person, and talk about him like that. But really, I mean, it s all up to Emerald, you know what I mean? I wasn t playing him as a metaphor, because that s just certainly not my job. My job is just be honest, and the meaning of that and what he represents, that s all in Emerald s hands. And I trusted her completely with that.If I can sit as an audience member and try to be objective, the movie just does a very beautiful job, I think, of showcasing the full gradient spectrum, from super black-and-white clear to: What exactly is this? Oh, you were 18? Do you even remember it? That s what I feel like we as men definitely need to contend with. But the misogyny, this subordination of women, is not like tumors on the male body. It s a virus, it runs through the entire culture of male behavior. It s super deep. It s not like, Oh, and then there s some crazy asshole to take it way too far. Even if you think about the geography of a bar, the lighting of a bar: Why is it dark? Why is there music playing? Would this be happening if the lights were on, and there was no music playing, and it was noon? I don t know. You know what I mean? The movie really casts such a wide net and interrogates so much so thoroughly. Emerald has thrown a pretty compelling stick of dynamite into this conversation, and I just would like to be a part of her crew in doing that.Rotten Tomatoes: It’s interesting you talk about the grey areas of this conversation, because I think a lot of people are going to look at the poster and trailer and expect something a little more black-and-white, that Cassie is going to be badass, beating people up and getting revenge like this avenging angel.Mulligan: That’s my next one.Burnham: Yeah! Alita 2.Rotten Tomatoes: Looking forward to it. But the film really isn’t that. There’s not a lot of easy satisfaction. Did that appeal to you about the project? Mulligan: Yeah, it s just, there s no easy answers, are there? It s not as easy as going like, You re bad. Now you re dead. It s not about just complete, total condemnation. I think so many of these films have just been so straightforward and they’ve tied everything up in a bow. My favorite films are films where nothing s sort of finished. I hate that sort of wedding-in-the-end film. Just don t have a wedding, just don’t have them, do you know what I mean? I want to walk away and wonder, Ooh, what s going to happen to them? I wonder what they ll decide? Burnham: I wonder if they’ll get married… Mulligan: Yeah.(Photo by Dia Dipasupil/Getty Images)Rotten Tomatoes: Let’s talk about Britney Spears and Paris Hilton. The movie has a fantastic instrumental version of “Toxic” and a key scene that features Hilton’s “Stars Are Blind.” And there is so much pastel and pink. Watching, it was interesting to see this girly-ness and these come-on songs and I kinda felt that while that was so much visual and musical fun, it could also be the flipside of some of the darker themes the movie explores. At least, it got me thinking about the connection. Mulligan: I don t know. I feel like [the songs are] being celebrated. I think it s a complete celebration of those things. It s a celebration of things that we so easily dismiss. I mean, like Emerald says, “Toxic” is one of the greatest songs ever written.Burnham: Incredible. [And] if you read the lyric, Even though the stars are blind, in T.S. Eliot, you d be like, Holy f k. Yeah, but no, it s true. It really is, in general, totally misogynist, the dismissal of pop music. If you listen to Robyn, or, I mean, anyone, these are powerful [songs]. But it isn t a guy on a guitar going, like, And I ve fallen down the railroad . But there s incredible depth and pain to that pop music, and I think the film is a pop song in a way. This flashy, sing-able, danceable thing, that when you actually listen to the lyrics Mulligan: That s like what you said when we were at the Indie Spirit Awards, and you got that award, and you said, like, “Some people say I m a comedian for teenage girls, and I say, ‘F—k yeah!’” We should celebrate teenage girls. They re extraordinary. Like I loved – I love – Britney, and I grew up [with her]. All of that kind of stuff is a part of our childhood, our teenage years, our womanhood, and it s just thrown out as being empty. And actually, people connect to it and feel empowered by it, and culture has decided to cast it aside as not being of enough value. So it s inherently dismissive of a lot of things that matter to women.(Photo by © Focus Features)Rotten Tomatoes: Do you have a favorite Britney song?Mulligan: I mean, “Toxic” has to be up there. I’m going to check… [walks over to grab her phone].Burnham: “ Baby One More Time” f ked me up, you know what I mean? I was nine. She was like 16, which is its own problem, whatever. Britney was like 16. I mean, but “Hit Me” was It s very loaded, but, Britney is incredible. She f king shaved her head and it was just like, My God, you know what I mean? She s f king been through [so much] Those are our stories.Mulligan: “Oops! I Did It Again” just was like Burnham: That f king video was incredible. The red.Mulligan: Oh, my gosh.Burnham: Yeah, I mean, Britney has had as deep a life experience as anyone on Planet Earth and it makes her music.Rotten Tomatoes: One of the things we think about at Rotten Tomatoes is criticism and who s actually doing the reviewing. I was watching this film – and I say this as the guy who came in to do the interview – and I was wondering if you think this is a film that female critics should primarily be assigned to review? Do you think a particular world experience is helpful in grappling with it? It’s a conversation I can see coming up, especially for a film that’s taking on misogyny in this way. Mulligan: I don t think it matters if it s a man or a woman, as long as I think it s I don t know. It s so tricky, isn t it?Burnham: I don t want to pass up the opportunity to pick our own critics. [Laughs.] Well, OK, so your critics are, in theory, a stand-in for the public, which they should be, and which they aren t right now, and that s what diversifying the whole critical community is about, right? They would reflect more of the audience. If critics are a stand-in for the audience, I think, and Emerald would say this, we want this film to be contended with and digested by men and women, and those who don t identify as either. The question comes, though, with the given that the critical body, as it stands right now, unfairly skews towards men. But I think the real beauty of the film, just speaking as a guy, is that it allows men in, because that s the only way that change is really going to happen, is if men actually stop stiff-arming the conversation away from them and actually can engage with it. I think Emerald is much more interested in the male public engaging with it than the male critics, but if male critics lead to that, great.Promising Young Woman is in theaters April 17, 2020.
(Photo by Brooke Palmer)Masks are coming off in certain locations and more seats may be opening up in movie theaters but the films themselves are still not drawing much of an audience. Only four films this year have managed to open to more than million and if the Saw series has anything in common with Raya and the Last Dragon it may be the disappointment in not being able to join that exclusive club in 2021. Instead, the latest Saw film, Spiral, looks to become another footnote suggesting that even brand names are not bringing back people to theaters. Yet.King of the Crop: Spiral Wins the Weekend But Leaves Questions In Its WakeThe Saw series was on a seven-year hiatus after “The Final Chapter” when Jigsaw was launched in 2017 to a .6 million start. The previous low for the franchise was Saw VI (.1 million), when people decided they would rather have a Paranormal Activity film for their October horror than another Saw entry. After James Wan’s original opened to .2 million in 2004, the next four entries opened between million and million. Nobody expected Spiral: From the Book of Saw to approach those lofty numbers, even on the downslope of the pandemic. But it was widely expected to come somewhere in the vicinity of those Saw VI opening numbers. Though: Is it the pandemic or are people just tired of the Jigsaw shtick altogether?In terms of horror comps for 2021, a .7 million start is certainly better than The Unholy (.35 million) or Separation (.8 million). It is also better than last week’s Wrath of Man (.3 million). Heck, that makes it good enough for the fifth best opening of the year. But do not expect this film to chug along the way Nobody’s .82 million opening did to over million, so far. The last five films in the Saw series dropped between 60.6% and 67.6% after their first weekends. Wrath of Man just dropped 55% from its number 1 perch last weekend to gross .7 million this weekend. Assuming Spiral holds on to a narrow margin for first place next week we could be looking at the lowest number 1 gross since the weekend of February 19, when The Croods: A New Age made .71 million. The lowest since then was Raya and the Last Dragon’s third weekend victory, with .12 million. The Disney film has now officially surpassed Tom Jerry to become the second-highest grossing film of 2021 and the fifth-highest of the pandemic. Though the industry is certainly hoping that all the films on that list will be knocked down two notches sometime after Memorial Day weekend with the releases of A Quiet Place Part II and Cruella.Rotten Returns: The Devil Is in The Per-Theater-Average Details For a Number of Under-Performers
With film and television production shutdowns largely still in effect and most movie theaters still closed for the time being, the various film- and TV-related live events have likewise had to adapt to changing circumstances or cancel operations altogether. San Diego Comic-Con has been, both literally and figuratively, one of the biggest venues for Hollywood to flaunt its latest and most exciting projects, and this year, amid COVID-19 concerns, the convention has decided to go online. Now dubbed Comic-Con@Home, the event will take place via virtual panels from this Wednesday, July 22 to Sunday, July 26.While this change means nobody will be able to attend the pop culture mecca in person, it also means that all of the scheduled panels are now officially free for anyone who wants to tune in and watch. With that in mind, we went through the entire Comic-Con@Home schedule and found 10 exciting panel discussions you should definitely catch if you have the time.Star Trek Universe Virtual Panel(Photo by CBS All Access)When: Thursday, July 23 at 10:00 am (PT)This is the panel to check out if you re a Star Trek fan of any stripe, as it will cover the various projects going on in the franchise as a whole. First, Star Trek: Discovery stars Sonequa Martin-Green, Michelle Yeoh, Doug Jones, Anthony Rapp, Mary Wiseman, Wilson Cruz, Tig Notaro and many more will participate in a table read of the show s Season 2 finale, Such Sweet Sorrow, Part 2, followed by a Q A. Then the creator and showrunner of the upcoming animated comedy series Star Trek: Lower Decks, Mike McMahan will offer an extended first look at the series along with key voice cast members. And finally, the great Patrick Stewart will be on hand to talk about the new CBS All Access series Star Trek: Picard, with both current cast members and a few special appearances by familiar faces like Brent Spiner, Jonathan Frakes, Jeri Ryan, and Marina Sirtis.The New MutantsWhen: Thursday, July 23 at 2:00 pm (PT)After a long and winding road involving multiple re-writes and re-shoots, not to mention the Disney acquisition of Fox, Josh Boone s horror-tinged The New Mutants is officially set to open on August 28, notwithstanding any further delays. Ahead of that, the film s Comic-Con panel will feature Boone and stars Maisie Williams, Anya Taylor-Joy, Charlie Heaton, Alice Braga, Blu Hunt, and Henry Zaga in a discussion about the new film.The Boys: Season 2When: Thursday, July 23 at 3:00 pm (PT)Amazon Prime s hit series comes back for its second season on September 4, but if you can t wait, the cast and crew are offering a sneak peak. Executive producer Eric Kripke and stars Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Jessie T. Usher, Laz Alonso, Chace Crawford, Tomer Capon, Karen Fukuhara, and Aya Cash, along with moderator Aisha Tyler, will offer a behind-the-scenes look at the upcoming season, with executive producers Seth Rogen and Evan Goldberg making a special appearance.Charlize Theron: Evolution of a Badass(Photo by Aimee Spinks/Netflix)When: Friday, July 24 at 10:00 am (PT)Hot on the heels of the successful Netflix premiere of The Old Guard, star Charlize Theron will engage in a career retrospective Q A session focusing on the producer and actress s steady evolution into one of modern Hollywood s most reliable and reliably bankable action stars, diving into the evolution of the modern female action hero, the roles that inspired her, and what drives her to constantly push her limits with fight training.Three Walking Dead PanelsWhen: Friday, July 24 at 12:00 pm (Fear the Walking Dead), 1:00 pm (The Walking Dead), 2:00 pm (The Walking Dead: World Beyond)AMC s popular zombie franchise will dominate the middle of Friday with three panels, one for each of their series, all moderated by Talking Dead host Chris Hardwick. The first will be the noon panel dedicated to Fear the Walking Dead, featuring TWDU chief content officer Scott M. Gimple, showrunners and executive producers Andrew Chambliss and Ian Goldberg, and cast members Lennie James, Alycia Debnam-Carey, Colman Domingo, Danay Garcia, Karen David, Jenna Elfman, and Rubén Blades, as they discuss the show s upcoming sixth season.Directly after that, at 1:00 pm, Hardwick and Gimple will welcome showrunner and executive producer Angela Kang, executive producer Greg Nicotero, who directed the episode, and cast members Norman Reedus, Melissa McBride, Jeffrey Dean Morgan, Lauren Cohan, Josh McDermitt, Seth Gilliam, Ross Marquand, Khary Payton, and Paola Lazaro to talk about The Walking Dead s Season 10 finale episode, A Certain Doom, which is scheduled to air sometime later this year.And finally, Hardwick and Gimple will host showrunner and executive producer Matt Negrete and cast members Aliyah Royale, Alexa Mansour, Hal Cumpston, Nicholas Cantu, Nico Tortorella, Julia Ormond, and Joe Holt in a discussion about the franchise s newest addition, The Walking Dead: World Beyond, which will follow the first generation raised by the survivors of the post-apocalyptic, zombie-infested new world.Constantine: 15th Anniversary Reunion(Photo by Warner Bros. courtesy Everett Collection)When: Saturday, July 25 at 12:00 pm (PT)Earlier this year, we celebrated the 15th anniversary of Constantine, the Francis Lawrence-directed Keanu Reeves supernatural thriller based on DC Comics Hellblazer series. But if you want to know what the people directly involved have to say about the film, you can tune in to watch Reeves, Lawrence, and producer Akiva Goldsman reunite to reflect on the film and its legacy as a cult favorite.Guillermo del Toro and Scott Cooper on Antlers and Filmmaking(Photo by Lev Radin, James Atoa/Everett Collection)When: Saturday, July 25 at 1:00 pm (PT)Scott Cooper s (Crazy Heart, Hostiles) latest project, the horror film Antlers, was one of the films that fell victim to coronavirus-related rescheduling, as it was originally slated to open on April 17 but was pulled from the calendar and hasn t yet been assigned a new date. Nevertheless, Cooper and producer Guillermo del Toro will be on hand not only to tease their upcoming Searchlight Pictures project, discussing how they designed the Wendigo-inspired monster in it, but also to go in-depth on the craft of filmmaking and how they create a visual style.Bill Ted Face the MusicWhen: Saturday, July 25 at 3:00 pm (PT)The nearly-three-decades-in-the-making sequel Bill Ted Face the Music is still set to open on September 1 in select theaters and on-demand, and reveal how middle-aged Bill S. Preston, Esq. (Alex Winter) and Ted Theodore Logan (Keanu Reeves) will save the planet with a new song. But before that happens, Reeves and Winter will join director Dean Parisot, writers Ed Solomon and Chris Matheson, and co-stars Samara Weaving, Brigette Lundy-Paine, and William Sadler in a live discussion hosted by Kevin Smith.HBO s Lovecraft CountryWhen: Saturday, July 25 at 4:00 pm (PT)One of the most anticipated new series of 2020 is HBO s Lovecraft Country, a supernatural drama based on the novel of the same name that draws parallels between the horror writings of H.P. Lovecraft and Jim Crow-era racism in the United States. While much-hyped executive producers Jordan Peele and J.J. Abrams won t be on hand for the discussion, cast members Jurnee Smollett, Jonathan Majors, Michael Kenneth Williams, Aunjanue Ellis, Wunmi Mosaku, Abbey Lee, and Courtney B. Vance will take part in a conversation about the new show.What We Do in the Shadows(Photo by Russ Martin/©FX)When: Saturday, July 25 at 5:00 pm (PT)FX s acclaimed vampire-centric comedy series based on Taika Waititi s mockumentary of the same name was a breakout hit last year, and we re just a little over a month past the Season 2 finale. To celebrate, cast members Matt Berry, Natasia Demetriou, Kayvan Novak, Mark Proksch, and Harvey Guillén will jump online for a discussion about the series hosted by Haley Joel Osment, who guest-starred on the Season 2 opener.Thumbnail images by Lev Radin/Everett Collection, Aimee Spinks/Netflix, HBO 而国服上线之后的优异成绩，让原本就已经非常出色的CODM更加耀眼，市场和玩家的认可，给这款国产手游的成绩补上了最亮的一笔，使之成为了真正意义上的全球级大作。
华体会全站登录 Following through on good vibes from its premiere at the Toronto Film Festival last weekend, Lorene Scafaria’s Hustlers exceeded even the loftiest expectations for its debut. The numbers may not have been enough to take the top spot from Pennywise, but the film’s opening is an important win for STX Films.Queen of the Crop: Hustlers Pulls In .2 Million(Photo by STX)STX’s previous best opening weekend was Bad Moms back in July 2016, with A Bad Moms Christmas taking the company’s second spot. This year’s surprise success, The Upside, which grossed over 8 million, was also a top grosser for STX. Hustlers’ .2 million start is higher than the total domestic grosses of the company’s other 2019 releases, The Best of Enemies, UglyDolls, and Poms, as well as 14 of its other 23 releases.The 13th-highest opening ever in September shows some real potential for Hustlers if word-of-mouth grows on the 87%-approved stripper crime drama. Six of the 11 films to open this month between million and million have gone on to reach the 0 million mark (though two of them were the kid-friendly Cloudy with a Chance of Meatballs films). Jennifer Lopez has never appeared in a live-action film to reach that milestone. Her highest-grossing films to date have been Maid in Manhattan (.01 million) and Monster-in-Law (.9 million). Hustlers is poised to already beat her third-best grosser (Anaconda’s .8 million) and any way you slice it, the million production is likely to be STX’s biggest success ever after Bad Moms — and its second with Lopez after last December’s Second Act grossed more than million globally on just a million budget.Rotten Returns: The Goldfinch DisappointsAs prestige projects go, always beware the ones released in late August and early September. Case in point: Warner Bros.’ The Goldfinch. Technically in award season and even given a premiere at the Toronto Film Festival last week, John Crowley’s two-and-a-half-hour film has been poorly received by critics (24%) and now even moreso by audiences. A .64 million opening weekend is a disaster for the million production, though hardly the first for the studio this year. Godzilla: King of the Monsters, The LEGO Movie 2: The Second Part, and The Kitchen have all registered losses of more than million each, and now The Goldfinch looks to be joining them. By the end of its run it should be the lowest-grossing wide release Warner Bros. has released in September since 2005’s disaster A Sound of Thunder, which cost million and grossed just .9 million domestically and .6 million worldwide.The Top 10 and Beyond(Photo by Brooke Palmer/© 2019 WARNER BROS. ENTERTAINMENT INC.)It – the first one – dropped 51.3 percent in its second week, grossing more than million. It: Chapter Two, already well behind the pace of the first, dropped 55 percent to .7 million this weekend. That means it is starting to fall behind the pace of Doctor Strange, which made .9 million in its second weekend, but remains still ahead of Logan, which grossed .1 million in weekend two. Both of those films had 2.9 million after ten days while It: Chapter Two has 3.8 million. That puts its current final estimate between 6-232 million, potentially a full 0 million less than the first chapter. Its worldwide total stands at 3 million and is already well into profit.Running down some of the big winners in the top ten we find that The Lion King has passed .61 billion worldwide and Hobbs Shaw is over 0 million, still nearly a half-billion less than The Fate of the Furious. Universal also has a bonafide hit with Good Boys despite still hoping to cross the 0 million mark globally. Scary Stories to Tell in the Dark is in about the same boat as Good Boys, with million worldwide, and is a hit for Lionsgate. As is Angel Has Fallen, which hasn’t started its global run yet, but is at more than million domestic and even an average total overseas will put it into the black.Roadside’s The Peanut Butter Falcon passed million this weekend, making it the seventh-highest-grossing film in the company’s history. A film that was hoping to replicate that success was Amazon’s Brittany Runs a Marathon, which finally entered wide release this weekend. But the company may have waited too long: Expanding into 757 theaters in its fifth week netted the film .55 million, which may look comparable to Moonlight moving from 176 to 650 theaters in week five and earning .48 million, but that film still had an entire award season in front of it. Last award season Amazon moved Beautiful Boy from 540 to 776 theaters in the same period and it earned .45 million. Brittany is ahead of that film’s pace with .8 million to date and may indeed pass it to become the company’s second-highest grossing film after this summer’s Late Night.This Time Last YearShane Black’s attempted reboot of The Predator took the top spot at the box office with .6 million. It would eventually be outgrossed by the week’s third-place finisher, A Simple Favor, which started with million and finished with .4 million, the second-best multiple of last September (3.34) for a wide release. The Nun fell a whopping 66.1 percent to second place with .2 million. Other new openers included White Boy Rick, which started in fourth with .86 million, and the continued story of Louis Zamperini in Unbroken: Path to Redemption, which opened in tenth to just .23 million. The top ten films grossed million and averaged 57.8% on the Tomatometer. This year’s top ten grossed an estimated .09 million (the 12th-best September top ten ever) and averaged 64.3% with critics.On the Vine: Space, Home, and Downton AbbeyThree vastly different films are looking for audience attention next week. The one original title is Brad Pitt’s sci-fi adventure Ad Astra, which looks to become the highest-grossing film of director James Gray’s career. But will it be enough to cover the more than million budget of the film originally supposed to open in May? Then John Rambo is back in Rambo: Last Blood, as the character returns to the home from the end of Rambo (the fourth entry in Sylvester Stallone’s franchise.) This one is not being screened for critics so look for its Tomatometer score later than usual. Then there is the big-screen continuation of Downton Abbey. Will Focus be able to score its own hit from its legion of fans or will we see just how limited its die-hard base really is? The studio is releasing the film in more than 3,000 theaters.The Full Top 10: September 13–15It: Chapter Two (2019) 62% – .73 million (3.80 million totalHustlers (2019) 87% – .23 million (.23 million total)Angel Has Fallen (2019) 39% – .40 million (.38 million total)Good Boys (2019) 80% – .26 million (.31 million total)The Lion King (2019) 52% – .55 million (3.99 million total)Fast & Furious Presents: Hobbs & Shaw (2019) 67% – .70 million (8.31 million total)Overcomer (2019) 56% – .73 million (.98 million total)The Goldfinch (2019) 25% – .64 million (.64 million total)The Peanut Butter Falcon (2019) 95% – .92 million (.04 million total)Dora and the Lost City of Gold (2019) 85% – .85 million (.74 million total)