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Jumat, 21 Februari 2020

Can You Guess Why Trump Is Angry ‘Parasite’ Won Best Picture at the Oscars? - Rolling Stone

President Trump has long loathed the Academy Awards, viewing the ceremony as a teeming hive of the Hollywood elites who have categorically rejected him (except for Jon Voight).

But he has a predictable new gripe with this year’s Oscars, which he aired Thursday night during a rally in Colorado. Trump wasn’t happy that a foreign film, South Korean director Bong Joon-ho’s Parasite, won the top prize.

“How bad were the Academy Awards this year? Did you see?” Trump said. “And the winner is … a movie from South Korea. What the hell was that all about? We’ve got enough problems with South Korea, with trade. On top of it they give them the best movie of the year. Was it good? I don’t know.”

The president of the United States is complaining about 'Parasite' winning Best Picture at the Oscars because it's a film from South Korea. Via Fox pic.twitter.com/7szfnXgqPt

— Kyle Griffin (@kylegriffin1) February 21, 2020

“Let’s get Gone With the Wind,” Trump continued. “Can we get Gone With the Wind back, please? Sunset Boulevard. So many great movies. The winner is … from South Korea! I thought it was best foreign film, right? Best foreign movie. No. Did this ever happen before? And then you have Brad Pitt. I was never a big fan of his. He got up and said some little wise-guy stuff. He’s a little wise guy. He’s a little wise guy.”

Pitt, who won Best Supporting Actor for his role in Once Upon a Time … in Hollywood, began his acceptance speech with a joke about how former national security adviser John Bolton should have been allowed to testify during the Senate impeachment trial, which wrapped up days before the Oscars.

The crowd in Colorado booed lustily at the mention of both Parasite and Pitt. This isn’t surprising. Trump’s anger at both is essentially what got him elected. America is not America (i.e., white) anymore, he’s brayed ad nauseam, and Hollywood, the media, and everyone else who may disagree with him are the enemies.

Has Trump even seen Gone With the Wind? Have the people in the audience who cheered its mention seen it? It doesn’t matter. The film is a totem from the racially homogenized midcentury America the president and his supporters think they can reclaim. He could have just as easily said apple pie or station wagons in its place and it would have had the same effect.

Trump does seem to be a fan of classic movies, though. In 2016, Tim O’Brien recounted for Bloomberg Opinion the time he watched Sunset Boulevard on a plane with the future president. Following the iconic scene in which silent-film star Norma Desmond complains about being ignored after the advent of talkies, Trump leaned over to O’Brien. “Is this an incredible scene or what?” he whispered. “Just incredible.”

Gone With the Wind, a four-hour romance epic, may have been a little more difficult for Trump to enjoy. According to a 1997 feature in The New Yorker, he couldn’t even make it through Bloodsport, the Jean Claude Van Damme fighting classic, without fast-forwarding through all of the parts that did not include JCVD beating the face of a lesser-than fighter on his way to winning the Kumite.

Trump has claimed his favorite movie is Citizen Kane, Orson Welles’ 1941 opus about an egomaniacal, success-obsessed media mogul who decides to run for political office before ultimately ending up alone and unhappy in his Florida mansion. The film is a cautionary tale about how wealth corrupts and the empty promise of the American Dream. Trump has said it’s his favorite movie, but his response when Errol Morris asked him whether he would have given the titular character any advice indicates he may not have understood the point.

“Get yourself a different woman,” Trump said.

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2020-02-21 14:48:00Z
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Trump complains "Parasite" won best picture Oscar - CBS News

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Trump complains "Parasite" won best picture Oscar CBS News
Trump Mocks ‘Parasite’ Best Picture Win: ‘What the Hell Was That All About?’ Yahoo Celebrity
Trump isn't pleased a South Korean film won best-picture Oscar CNN
Parasite marks a Hollywood milestone on long road to equality Global Times
Trump Slams Oscar-Winning Film 'Parasite' QuickTake by Bloomberg
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2020-02-21 14:05:39Z
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The Clone Wars is back—and it's better than ever - USA TODAY

Alex Kane Reviewed

Published 7:45 AM EST Feb 21, 2020

— Recommendations are independently chosen by Reviewed’s editors. Purchases you make through our links may earn us a commission.

After a six-year gap, it’s like The Clone Wars never left.

The first episode of the seventh and final season is streaming on Disney+ now. And, assuming you were a fan of the show the last time around, “The Bad Batch” delivers.

How can you watch The Clone Wars?

In order to watch "The Clone Wars," you need to subscribe to Disney+, the streaming service that serves as the online home for all things Star Wars. All 12 episodes of the new season will stream on the service. You can also watch the previous six seasons of The Clone Wars on Disney+.

You can watch Disney+ using streaming devices, desktop browsers, “a wide range” of mobile devices, smart TVs, and video-game consoles. You can sign up for a free week-long subscription to Disney+ to test it out—just make sure you cancel before that week is out. A subscription to Disney+ costs $6.99 per month or $69.99 for the full year, though you can save 25% if you sign up for the Disney+ bundle with ESPN+ and Hulu, which gives you access to all three streaming services for just $12.99 per month.

Sign up for Disney+ starting at $6.99 per month or $69.99 per year

What happens in the season premiere of The Clone Wars season 7?

“Embrace others for their differences,” the opening epigraph reads, “for that makes you whole.” In the first of these new episodes, we’re told that Mace Windu and Anakin Skywalker are leading a fight to take back a Republic shipyard on the planet Anaxes; it’s under attack by Admiral Trench, an anthropomorphic, cybernetically enhanced tarantula. (Star Wars can be pretty rad.)

The good guys’ losses continue to mount because Captain Rex, one of the clone army’s best, is becoming predictable to Separatist tactical droids. The Republic is having to change up its strategy at every turn. There’s a communications center relaying intel to the enemy command ship from the ground on Anaxes, and Captain Rex and Commander Cody want to investigate.

“So many troopers, gone,” Rex laments. He has a theory—that one of his fallen brothers, Echo, is in fact still alive. Echo’s strategic mind is evident in the Separatists’ counterassaults, despite having been thought dead since an explosion in the season-three episode “Counterattack,” which aired in 2011.

Rex and Cody enlist the help of an oddball clone squad who call themselves “the Bad Batch”—Hunter, Wrecker, Tech, and Crosshair. These four mutant troopers call the others “regs”; there’s some tension there, and naturally it bubbles over later on in the episode when the stakes are high.

Around the episode’s midpoint, the troops’ gunship gets shot down, and we get to see the Bad Batch take on a small army of Separatist B1s and spider droids. This is classic Clone Wars through and through; the action is beautifully composed and well rendered throughout. Eventually, the clones capture an outpost along their way to infiltrating the all-important relay station. “They must know about the algorithm,” says Admiral Trench.

Turns out, the algorithm originates from a “live signal” coming from another planet. After he and his brothers in arms analyze the transmission, Captain Rex discovers an operating number. “That was Echo’s number,” he confirms. “He’s alive.”

The next shot irises out into a starfield, accompanied by a familiar credit: “Created by George Lucas.”

Directed by Kyle Dunlevy and written by Matt Michnovetz and Brent Friedman, this season premiere features the voice talents of series regulars Dee Bradley Baker, Matt Lanter, Matthew Wood, TC Carson, and Tom Kane—along with a score by longtime composer Kevin Kiner. It’s great fun. The animation is crisp and vibrant, but then it always was.

Sign up for Disney+ starting at $6.99 per month or $69.99 per year

The product experts at Reviewed have all your shopping needs covered. Follow Reviewed on Facebook, Twitter, and Instagram for the latest deals, reviews, and more.

Prices were accurate at the time this article was published but may change over time.

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2020-02-21 12:45:00Z
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Listen to BTS’s New Album MAP OF THE SOUL : 7 - Pitchfork

BTS have released their new album, MAP OF THE SOUL : 7. The 20-track album features songs from their last release, 2019’s MAP OF THE SOUL : PERSONA, plus, as its closer an alternative version of the lead single “ON” featuring Sia. The album drop is accompanied by a music video (or “Kinetic Manifesto Film”) for “ON” as well. Find all of that below.

BTS are set to embark on a world tour behind 7 in April, kicking off with a run of dates at Seoul Olympic Stadium. They recently appeared at the Grammy Awards to perform “Old Town Road” alongside Lil Nas X. The new album features one previously released track, “Black Swan.”

Read “BTS: How the Biggest Boy Band in the World Stays Radically Korean” over on the Pitch.

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2020-02-21 10:36:00Z
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BTS Are Bigger Than Ever On 'Map Of The Soul: 7'—And It's Time For The Whole World To Take Them Seriously - Forbes

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2020-02-21 07:00:00Z
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The Sonic movie should have had people puking in their seats - The A.V. Club

Every Friday, A.V. Club staffers kick off our weekly open thread for the discussion of gaming plans and recent gaming glories, but of course, the real action is down in the comments, where we invite you to answer our eternal question: What Are You Playing This Weekend?

There’s a glimpse in its opening moments at how crazy the Sonic The Hedgehog movie could have been. The camera pans across a lushly rendered version of the original game series’ iconic Green Hill Zone, complete with those OSHA-defying ramps and loop-the-loops that appear to have naturally grown out of its neon-verdant foliage. It’s the perfect playground for the kind of high-speed madness that the Sonic games embody at their best (and, frankly, worst, though more on that in a second). Unfortunately, a glimpse is all we get; before you know it, Sonic’s surrogate owl mom, Longclaw, has been sent back to Ga’Hoole where she belongs—courtesy of Knuckles’ evil cousins, who get blessedly little screen time—and the Ben Schwartz-voiced speedster is cursed to live out the rest of his life in rural Montana, tragically deprived of the giant springboards and collapsing dirt bridges he was born to traverse.

Now, would a fully Moebius-based Sonic The Hedgehog movie have eventually turned into hideous, unwatchable CGI soup? Almost certainly. And would the need for a host of non-human characters have forced director Jeff Fowler and his team to dip even further into the Sonic universe’s roster of soul-draining also-rans? Indubitably. (Nobody needs to see a Sonic movie version of Charmy Bee or Big The Cat. Nobody.) But given that Sonic The Hedgehog is a movie where a character primarily known for his speed spends most of his time riding around in a truck, even a taste of the sheer out-of-control adrenaline the apex Sonic games trade in would have been welcome, even if it did send the movie careening off the rails.

Because that’s the core, and the paradox, of all “good” Sonic games: They’re platforming games where you can’t see the next platform coming, because “gotta go fast” and “let’s be careful here” are inherently opposed. In a genre built on precision, the most beloved Sonic games are powered more by hope, as you blindly fling yourself off of cliffs at maximum speed, vaguely praying that you’ll hit the next part of whatever line the developers half-expected you to hit. It’s exhilarating when it works and infuriating the rest of the time, which tends to be a skosh more than good game design would seemingly dictate. But then that’s the price you paid signing on for the ultimate video game expression of “speed is good.” Do you think this Sonic would care that the internet thought he looked like a human-toothed homunculus dredged up from a dentist’s darkest hell? Heck no: He’s too busy bouncing off a spike you never saw coming because he didn’t realize that this cliff was one you’re supposed to jump off, instead of just running. It’s a vibe his screen counterpart could use more of.

With no disrespect to James Marsden or Ben Schwartz—the latter of whom exudes almost herculean charm in his efforts to save leaden jokes despite being exiled in the voice-over booth—the only performer embodying the real Sonic energy in the movie is Jim Carrey, who hurls himself at ad-libs and weird facial expressions with the same brio of a Sonic Mania player saying, “Fuck it, I’m just going to hold right until something good happens or I die.” Instead, the majority of the movie has the feeling of those unfortunate mid-2000s Sonic games where Sega tried to capture both blinding speed and clarity, and ended up with big old dollops of slow-moving nothing instead. (Looking at you, every single 3D Sonic game.) A Sonic The Hedgehog movie too afraid to cut loose with speed—to awkwardly slam into five proverbial walls for every one run executed with flawless energy—is one that fails to capture the essence of the character. The Sonic movie should have left audiences lurching out of the aisles in fits of hedgehog-induced motion sickness, horfing up the popcorn-laden vomit of the happily disoriented. Instead, these viewers listlessly rise, stomachs depressingly settled, and untouched by the chaos that is this franchise’s most distinctive stock in trade.

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2020-02-21 06:00:00Z
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Kamis, 20 Februari 2020

Caught between a comic-book tone and Holocaust horrors, ‘Hunters’ struggles to hit the target - The Washington Post

Christopher Saunders Amazon Prime Al Pacino, left, as Mever Offerman and Logan Lerman as Jonah Heidelbaum in “Hunters.”

Amazon Prime’s intriguing but often contorted thriller series “Hunters” (streaming Friday) stars Al Pacino as the leader of a colorful yet clandestine band of mostly Jewish mercenaries who hunt and kill Nazis. It’s a fast, frenetic show that’s all over the place — emotionally, violently and conspiratorially. Its darkly humorous bent competes with its righteous sincerity.

The Nazis seen here, in 1977 America, are also all over the place, where you least expect them (and also where you do). From the show’s opening scene — in which a Carter administration policy adviser (Dylan Baker) executes his family and neighbors at a backyard picnic in Chevy Chase rather than have his Nazi past exposed — viewers begin to understand that a vast network of thousands of Nazis, old and young, have infiltrated the halls of power and are biding their time while their female Fuhrer-surrogate (Lena Olin) plans a terrorist attack in the name of the Fourth Reich.

On the one hand, “Hunters” seems (and plays) like pulp fantasy. On that pesky other hand, here in 2020, there have been shootings in synagogues and a rise in anti-Semitic speech and hate crimes. Because even the most self-evident truths have gone blurry, “Hunters” can sometimes feel powered by contemporary outrage.

But the show, created by David Weil (with “Get Out” and “Twilight Zone’s” Jordan Peele as an enthusiastic executive producer), also struggles to find a sure footing between two disparate tonal tracks. Quite a bit of “Hunters” dwells in that vividly imaginative space suggested by Quentin Tarantino’s film “Inglourious Basterds” (and more recently, Taika Waititi’s “Jojo Rabbit”), in which Hitler’s lingering reach is converted into a campy menace and battled back with physical skills, cunning espionage and assorted heavily armed hokey-ness.

At the same time, “Hunters” frequently flashes back to the Holocaust itself, where a younger version of Pacino’s character, Meyer Offerman, survives Nazi torture and begins to conceive of a lasting revenge. In these scenes, the mood dial switches to a “Schindler’s List” mode in intensity and horror. Well into the 10 episodes (five of which were made available for this review), you’ll have one scene where disco kids shimmy to the Bee Gees on the Coney Island boardwalk, and then, in another scene set 35 years earlier, it’s point-blank executions at Auschwitz.

The story focuses on Jonah Heidelbaum (Logan Lerman), a young Brooklyn man who works in a comic-book store and hustles drugs to support himself and his safta (grandmother), Ruth (Jeannie Berlin), a Holocaust survivor and Jonah’s only relative. A nighttime intruder shoots and kills Ruth in her easy chair, leading a grief-stricken Jonah to investigate the murder, which leads him to Offerman, who explains, eventually, that Ruth was one of his best Nazi hunters.

We follow Jonah’s slow initiation into Offerman’s justice league, members of which include a tough-talking nun, Sister Harriet (Kate Mulvany); a black-power activist, Roxy Jones (Tiffany Boone); a washed-up actor, Lonny Flash (Josh Radnor); a Vietnam vet, Joe Torrance (Louis Ozawa Changchien); and Murray and Mindy Markowitz (Saul Rubinek and Carol Kane), a pair of grandparents who are also Holocaust survivors.

The actors often seem to be working from different notes. As Jonah, Lerman has to juggle deep grief, sidekick naivete and an astonishment at the violence Offerman and company employ when they capture a Nazi. “The Talmud is wrong,” Offerman explains to Jonah. “Living well is not the best revenge. You know what the best revenge is? Revenge.”

For all his wisdom and self-made wealth, Pacino’s character is surprisingly one-note, more of a presence than a marquee attraction; everyone else, including Olin as “the Colonel,” is at risk of lapsing into caricature. The two most interesting and most realized characters are an FBI agent, Millie Malone (Jerrika Hinton), who investigates the death of a NASA employee (someone gassed her in her bathroom shower stall) and slowly discovers the Nazi conspiracy; and a young, white-supremacist assassin, Travis Leich (Greg Austin), whose bloodlust exceeds the coded directives given to him.

With so many plates spinning, it’s easy for the writers and actors to lose track of what kind of show they’re making. “Hunters” treats its 1970s Nazis more like vampires than war criminals — friendly monsters who reveal themselves only when backed into a corner: an old lady watching game shows in her Florida condo; a doddering toyshop owner in Manhattan; a bank president.

This is perhaps the most effective takeaway “Hunters” has to offer, the unsettling notion that the worst among us hide in plain sight — and might even be working on Offerman’s team. Somewhere in Episode 5, there are signs that the show might be hunting for more than just war criminals — something deeper within the human condition. That pursuit gets more difficult when morality becomes a moving target.

Hunters (10 episodes) begins streaming Friday on Amazon Prime. (Disclosure: Amazon founder and chief executive Jeff Bezos owns The Washington Post.)

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2020-02-20 14:00:00Z
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Jumat, 21 Februari 2020

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How can you watch The Clone Wars?

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Kamis, 20 Februari 2020