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The verdict is in on the Sonic the Hedgehog movie, which is arguably one of the most interesting blockbusters hitting theaters this year, given everything surrounding the project. It's had a long, complicated road to make it to this point but the beloved Sega icon is finally headlining a live-action adventure on the big screen. So, how is it? According to critics who have weighed in so far, pretty good!
Rotten Tomatoes has tallied the numbers from critics who have weighed in up to this point and, as of this writing, the movie has a very solid 70 percent approval rating, with 61 reviews counted. Currently, The Angry Birds Movie 2 is the highest-rated video game movie ever, sitting at 73 percent. Video game movies have, for most of their history, not been great and we've only very recently started to get to a point where studios are figuring out a way to make these adaptations work. With that in mind, Sonic the Hedgehog sitting at 70 percent, especially considering everything this movie had to go through to get to this point, feels like a minor miracle.
Paramount Pictures, ultimately, got the movie made. Sony had been developing the project with Deadpool director Tim Miller for some time. However, they eventually walked away from it and Paramount came in to scoop it up in October 2017, bringing the same creative team with them, with Miller producing and Jeff Fowler making his feature directorial debut. James Marsden was brought in as the human lead, with Ben Schwartz doing the voice of Sonic and Jim Carrey playing the evil Dr. Robotnik. Things went smoothly, it would seem, throughout filming. But then that fateful day came when the first trailer arrived online and the world got a look at the Sonic design. The collective internet lost it.Sonic had teeth, bizarrely long legs and, overall, took some serious liberties with the character fans know and love. The studio then decided to delay the release and completely redesign Sonic throughout the entire movie. The results paid off, as people responded far more kind to the redesign. It would be a shame if the look of the character were enough to kill what, on first glance based on these early critical reactions, seems to be a perfectly fine movie. Now the question is, will audiences agree, and will they show up at the box office this weekend? The early indication is, yes.
Sonic the Hedgehog is easily projected to win the weekend with a debut in the $40 million range. It also is right in line with Detective Pikachu, critically speaking, as the Pokemon live-action flick sits at a 69 percent on Rotten Tomatoes currently. Given that Detective Pikachu went on to earn $433 million globally after a $53 million opening weekend, that bodes well for Paramount possibly starting a franchise here. This news comes to us via Rotten Tomatoes.
The first reviews are in for #SonicMovie - currently it's #Fresh at 70% on the #Tomatometer, with 56 reviews:...
SPOILER ALERT: If you are among the few who haven’t actually watched Netflix’s Tiger King docuseries, this review contains a lot of details about what goes down in the sad big cat saga.
With Netflix poised in the coming days to cash in and crank the base up a notch with more Tiger King, it's time to come out and say it: I hate the Red State porn that is the crash and burn of Joe Exotic
The initial seven episodes of this septic and shallow patchwork of trademark infringement, sex, guns, labor exploitation, song, drugs, mullets, betrayal, animal activism, revenge, and a lot of big cats may be much binged over these weeks of coronavirus lockdown, but that doesn't mean it's actually worth watching.
Now, I get it, I sound like I'm just a dour critic who hates anything that isn't prestige premium cable or aspirational. C'mon man, you want to say, Tiger King: Murder, Mayhem and Madness is just so unbelievable, I can't look away.
I respectfully disagree, and in fact, propose Tiger King isn't just bad, but dangerous in a divided America persistently looking to reduce the other side to caricature.
In a presently ailing nation where TV is more voluminous and vital than ever, the truth is the March 20 launched Tiger King is a clawed white trash misery index. Gawking at some clearly fragile and damaged people like would-be reality TV star Exotic and their below the Mason-Dixon line antics, the series subsequently provides a cultural circus for those smug bicoastals under stay at home orders and screaming to rise up in moral superiority.
Essentially, the tale of big cat collector, self-styled Oklahoma zoo proprietor and 2016 Presidential candidate Exotic AKA Joseph Maldonado-Passage and his ultimately unsuccessful attempt to have rival Carole Baskin knocked off by a hitman hired for $3,000, Tiger King is in that context more a zero-sum game, literally and figuratively, than hitting the zeitgeist.
Obviously, Netflix are pretty damn good at gauging and dragging the public mood over the years, as the likes of the then phenomenon of 2015's Making A Murderer or 2018’s Wild Wild Country prove. Yet, for all the attention it has drawn, this unfocused murder for hire exploration of sorts emerges as a bastard child of Cops, a million Dateline segments from the 1990s and Fox’s short-lived Murder in Small Town X reality show from 2001.
Not exactly the prestige product that the home of Roma, The Irishman and American Factory likes to brag about at award shows. Then again, with the knowledge that the Romans sold out the Colosseum every night feeding Christians to the lions, the bottom line based House of Hastings surely loves the subscription sign up that the currently incarcerated Maldonado-Passage and the accompanying motley gaggle of...
With large swathes of the population sitting at home, audiences have a chance to catch up on films that were released years ago and find new insights into their narrative. Recently, a fan who had been watching Suicide Squad with his family reached out to the film's director David Ayer to ask about the meaning behind the scene where the Joker is lying in the middle of a room lined with a circle of knives, guns, and baby clothes. Denying that the baby onesies were trophies after an infanticide spree on the part of the cackling psychopath, Ayer provided the following explanation for the scene instead.'No it's more innocent. Harley wanted a normal family with Joker hence the baby in her vision. I figured she would have endlessly pestered Mr. J about having a kid. So he had Mr. Frost buy some onesies. The circle represents how he sees Harley.'
The scene under discussion comes up early in the story. Harley Quinn, played by Margot Robbie, is locked up in Arkham, and we see Joker, played by Jared Leto, in his mansion mourning her absence. He has also shown to have drawn a grin across his face using a sharpie, which according to David Ayer, is because...'He was having a hard time smiling without Harley so gave himself some help with a sharpie.'
This introduction sets up the fact that this Joker is unlike any other live-action portrayal of the supervillain as a man who is missing his demon lover. The onesies we see lined up on the floor next to the Joker later make an appearance in the scene where the Enchantress offers Harley her heart's desire, and she imagines a life of domestic bliss with her beloved Mistah J, with their babies wearing the onesies.
How the circle of knives represents Harley in the mind of the Joker is up for debate. Perhaps he fears that his affection for Harley makes her dangerous to him, and thus views her as a circle of knives drawing closer, threatening to destroy him.
This sentiment of Joker being attracted towards Harley and simultaneously hating the fact that she has made him care for her is also played out in the scene where Harley willingly throws herself into a pit of acid on Joker's command. After trying to walk away from the whole thing, Joker almost unwillingly jumps in after her and rescues her, proving that she means more to him than he can bring himself to admit.
From his explanation, it is clear that Ayer had a solid backstory and reasoning behind the script for Suicide Squad, which unfortunately did not translate very well to the big screen. But now that James Gunn has taken over directorial duties on the sequel, there is a chance to see a Suicide Squad film that gets critical acclaim in addition to minting money at the box office. David Ayer on Twitter brings us this news.
Polish composer and conductor Krzysztof Penderecki, whose often disturbing and challenging avant-garde music has turned up in films from “The Shining” to “The Exorcist” and “Children of Men,” and as recently as the TV series “Twin Peaks: The Return,” died at his home in Krakow on Sunday, March 29. He was 86 years old.
Penderecki’s greatest influence on any modern composer can perhaps be found in the work of Johnny Greenwood, the lead guitarist and keyboardist of Radiohead and musician behind the soundtracks for films including Paul Thomas Anderson’s “There Will Be Blood,” “Phantom Thread” and “The Master,” as well as Lynne Ramsay’s “We Need to Talk About Kevin” and “You Were Never Really Here.”
“What sad news to wake to. Penderecki was the greatest — a fiercely creative composer, and a gentle, warm-hearted man. My condolences to his family, and to Poland on this huge loss to the musical world,” Greenwood tweeted on Sunday morning.
Penderecki began composing in the 1960s, going on to produce eight symphonies, four operas, a requiem, and many concertos and choral works, many of which are regarded as notoriously difficult to play. His compositions were often politically motivated, including probably his most famous work, “Threnody for the Victims of Hiroshima,” which appeared in the films “The People Under the Stairs” and “Children of Men.”
The chilling composition below was also used by David Lynch in the landmark Episode 8 of Showtime’s “Twin Peaks: The Return,” set against images of an atomic bomb that appears to birth evil itself into the world. In “Children of Men,” “Threnody” sets off the film’s masterful long-take sequence as Clive Owen rushes to safety through a harrowing warren of chaos. In this piece, 52 string instruments collaborate to create a nerve-shredding soundscape.
Penderecki’s work also appeared in “The Shining,” with terrifying pieces employed by director Stanley Kubrick in lieu of an original soundtrack though composer Wendy Carlos did turn in a score, it went mostly unused in favor of preexisting music. Penderecki’s works also appear in David Lynch’s “Inland Empire” and “Wild at Heart,” Martin Scorsese’s “Shutter Island,” William Friedkin’s “The Exorcist,” and Peter Weir’s “Fearless.” His work even appears in the 1996 disaster movie “Twister” and the Netflix series “Black Mirror.” He also contributed original scores to films as well, including most recently in the 2015 Polish horror film “Demon.”
Head over to The New York Times for a full obituary...