For the longest time, it didn’t seem like a sequel to 1982’s Blade Runner would ever happen, only coming into the realm of possibility decades later. And there was only one man for the job: original director Ridley Scott, who had long desired to get a sequel to Blade Runner going. But as we all know, Scott would become too busy toiling with his Alien franchise to commit to the film. Enter Denis Villeneuve, who took the opportunity to helm Blade Runner 2049 even though he was almost certain it could tank his career.
Denis Villeneuve was initially hesitant to take on Blade Runner 2049 – and is still haunted by it – but saw the challenge as just what his career needed at the time. “I said, ‘OK, if I do one big sci-fi movie, and I risk everything, that’s beautiful. To make a sequel to my favorite film is a beautiful way to end my career…I thought it was very romantic.” Of course, the film offered an entirely new path for Villeneuve, who would next be given the opportunity to reinvent the Dune franchise, the most recent installment of which is one of the highest-grossing films of this year. Blade Runner 2049, meanwhile, would take in more than $250 million worldwide.
As for how Villeneuve became just the right guy for Blade Runner 2049, he remembered, “When I was doing Prisoners, one day [execs] stopped the meetings and siad, ‘Sorry. Ridley Scott is in the next room. We’re not supposed to tell you but we’re doing a sequel to Blade Runner.’ I said, ‘Wow.’…Then, when I was doing Sicario, I got a call. Ridley is the most prolific, over-busy director. And when I direct one movie, Ridley does three things. I think that Harrison Ford was tired of waiting.”
Reluctantly moving away from Blade Runner 2049, Ridley Scott would end up pumping out six movies since 2017, from Alien: Covenant to this fall’s Gladiator II.
How do you think Denis Villeneuve did with Blade Runner 2049? Should Ridley Scott have been the one to direct it? Chime in in the comments section below.
There has been much revealed from Elon Musk’s Tesla company as of late. The brand that has been known for its electric, self-driving cars has unveiled its intended future distribution for further technological advancements of robotics and driverless transports. It all seems like a plot right out of a movie, and Alex Proyas, who directed the 2004 Will Smith sci-fi vehicle I, Robot, has taken to Musk’s home turf on social media to call out his product’s designs. Proyas implies that the Tesla models are too eerily similar to the designs from his Issac Asimov adaptation.
In Proyas’ post, he writes the caption, “Hey Elon, Can I have my designs back please? #ElonMusk #Elon_Musk” while displaying side-by-side comparisons of the newly revealed Tesla Optimus Robots and driverless vehicles with his own film’s designs.
Many responses to Proyas’ accusation came to Musk’s defense and pointed out that Tesla’s designs seem more inspired by science-fiction sources that predate the 2004 movie. Another person posted a picture of a futuristic train design from the 30s with the caption, “This 1936 design?” Additionally, another commenter pointed to Fritz Lang’s Metropolis as inspiration for the robot and Art Deco-era locomotives and the 1939 Duesenberg Coupe as inspirations.
Proyas hasn’t minced words this year when it comes to his past properties. He has been very vocal about the new The Crow remake. In the build-up to the reboot’s release, Proyas shared a screen shot of The Guardian’s review, which called the film “unfathomably awful.” Later, he commented, “Wow. The reviews are brutal.” And when the box office numbers came in, revealing that the new The Crow had an opening weekend of just $4.6 million, Proyas said, “Box office is a bloodbath.” He added, “I thought the remake was a cynical cash-grab. Not much cash to grab it seems.” He and The Crow ’94 screenwriter David J. Schow both shared an image saying they had been “Marked safe from seeing Crow 2024 today.” Proyas then shared a link to a negative review of the reboot on YouTube, commenting, “I love how enraged this (reviewer) gets. Is that a “thumbs down”? Maybe they can lend their DCPs to film schools for classes on how NOT to make a movie? The theatres sure won’t need ’em after next weekend.” He ended with a laughing emoji. Sharing a negative review in Spanish, Proyas asked, ““Gigantesque Insulte!”? Is that good?” Again with a laughing emoji. In his most recent post, he shared a review that called the reboot the worst movie of the year and said, “The review we’ve all been waiting for. It’s a bit like flogging a dead horse now so I think I’ll stop after this… until another funny one comes along!” So it’s safe to say that Proyas is really enjoying the reboot’s failure.
Plot: Following the events of the Survivor series, Lara Croft has abandoned her friends to embark on increasingly more perilous solo adventures. But she must return home when a dangerous and powerful Chinese artifact is stolen from Croft Manor by a thief with an uncanny personal connection. Her daring pursuit will take her on an adventure around the world and to the depths of forgotten tombs, where she will be forced to confront her true self, and decide just what kind of hero she wants to become.
Review: The Tomb Raider franchise has always been stronger as a video game than it has been in live-action. The two Angelina Jolie-led feature films and the Alicia Vikander-led reboot were met with lukewarm reception. While the reboot hewed closer to the grittier tone of the more recent video games, none of the adaptations have captured the energy of Lara Croft in the way the franchise deserves. The Crystal Dynamics-produced Survivor trilogy, comprised of Tomb Raider, Rise of the Tomb Raider, and Shadow of the Tomb Raider, was universally beloved by critics and fans as the best run in the series’ history. After the third and final game, the series now turns to an animated adaptation that continues the video game trilogy and a bridge from the prequels to the original entry in the Croft saga. Led by Hayley Atwell as Lara Croft, this Netflix animated series balances the humor and quick wit of the title character with an epic, globe-trotting adventure that fans will greatly appreciate.
Opening with a flashback to her time hunting for a Latin American artifact that shared a connection with Chinese history, Tomb Raider: The Legend of Lara Croft begins with the title character mourning the loss of Conrad Roth (Nolan North), her Uncle, and dealing with her father’s legacy. When Lara (Hayley Atwell) decides to auction off all of Richard Croft’s artifacts, she runs into a thief named Charles Deveraux (Richard Armitage), who connects the Croft family and the mysterious item known as the Curse of God. Drawing on her experiences from the Survivor game trilogy, Lara teams with her friends Jonah (Earl Baylon) and Zip (Allen Maldonado) to reclaim the artifact and stop Deveraux from kick-starting another cataclysmic event. You know, typical Tomb Raider shenanigans. This also marks Zip’s first appearance since the 2008 game Tomb Raider: Underworld.
The series, having jumped over the trauma of how Lara lost Roth and the rift it drove between her and Sam Nishimura (Karen Fukuhara) and Joslin Reyes (Mara Junot), blends flashbacks to Lara’s trauma with her new adventure to find Deveraux. The eight-episode season brings the video game’s penchant for puzzles and riddles into the forefront rather than trying to make it into something different. A clear narrative thread connects the entire series, which owes a huge debt to the heavy character development from the three video games that directly preceded it. But, as dark as those games were, Tomb Raider: The Legend of Lara Croft is lighter, breezier, and more fun. That does not mean it waters down the subject matter, as this animated series is not afraid to shed some blood. Some fans may not immediately like the style of this series, which is a staple of Netflix animated projects. Still, you cannot say that the series differs greatly from the source material besides the more colorful palette.
What helps this Tomb Raider excel where the films have failed is the charisma of Hayley Atwell. Best known for her work in the Marvel Cinematic Universe as Peggy Carter as well as Mission: Impossible – Dead Reckoning, Atwell has been a charming presence for years. Imbuing Lara Croft with some emotional depth to balance her smart-ass attitude, Atwell is not as distant and cold a figure as Angelina Jolie was, nor is she as scrappy as Alicia Vikander. Because Camilla Luddington’s work portraying Croft in the Survivor games set the tone, Atwell can take the character to the next level. The addition of the other voice actors opposite Atwell, including Zoe Boyle as Camilla and Roxana Ortega as Abby, fleshes out this series from being considered just a cartoon to being held up as a more respectable action series, animated or otherwise.
Developed by Tasha Huo, Tomb Raider: The Legend of Lara Croft does a solid job of blending the mythology of the original series of games alongside the rebooted continuity. Huo previously wrote for the Netflix series The Witcher: Blood Origin and the upcoming Red Sonja film. Powerhouse Animation and Red Dog led the way with the animation work on the series. Powerhouse Animation has been a consistent presence in recent years with work on series including Castlevania, Blood of Zeus, Skull Island, and Masters of the Universe: Revelation. Their style is consistent and does not shift much in Tomb Raider, which may create hesitancy in viewers who are not fans of the anime style. Nevertheless, it works here even if it is not the realistic style the video games have become known for, but it still allows for this first of two greenlit seasons to be enjoyable.
Tomb Raider: The Legend of Lara Croft is a fun adventure in the video game universe that builds on the existing mythology and continuity rather than forging its own path. Blending existing characters with new ones works well, and the eight-episode run wraps with a lead-in for the already greenlit season two. Hayley Atwell is a phenomenal Lara Croft, even if it is only in voice. This is a fun series that fans of video games will appreciate, and that is mainstream enough to allow newcomers to join the adventure of Lara Croft and her team of treasure hunters. I don’t think this series will usurp plans for another live-action Tomb Raider movie, but producers of the next film should take a cue from the tone and style of this animated offering when developing the next big screen outing.
Tomb Raider: The Legend of Lara Croft premieres on October 10th on Netflix.
Plot: Following the events of the Survivor series, Lara Croft has abandoned her friends to embark on increasingly more perilous solo adventures. But she must return home when a dangerous and powerful Chinese artifact is stolen from Croft Manor by a thief with an uncanny personal connection. Her daring pursuit will take her on an adventure around the world and to the depths of forgotten tombs, where she will be forced to confront her true self, and decide just what kind of hero she wants to become.
Review: The Tomb Raider franchise has always been stronger as a video game than it has been in live-action. The two Angelina Jolie-led feature films and the Alicia Vikander-led reboot were met with lukewarm reception. While the reboot hewed closer to the grittier tone of the more recent video games, none of the adaptations have captured the energy of Lara Croft in the way the franchise deserves. The Crystal Dynamics-produced Survivor trilogy, comprised of Tomb Raider, Rise of the Tomb Raider, and Shadow of the Tomb Raider, was universally beloved by critics and fans as the best run in the series’ history. After the third and final game, the series now turns to an animated adaptation that continues the video game trilogy and a bridge from the prequels to the original entry in the Croft saga. Led by Hayley Atwell as Lara Croft, this Netflix animated series balances the humor and quick wit of the title character with an epic, globe-trotting adventure that fans will greatly appreciate.
Opening with a flashback to her time hunting for a Latin American artifact that shared a connection with Chinese history, Tomb Raider: The Legend of Lara Croft begins with the title character mourning the loss of Conrad Roth (Nolan North), her Uncle, and dealing with her father’s legacy. When Lara (Hayley Atwell) decides to auction off all of Richard Croft’s artifacts, she runs into a thief named Charles Deveraux (Richard Armitage), who connects the Croft family and the mysterious item known as the Curse of God. Drawing on her experiences from the Survivor game trilogy, Lara teams with her friends Jonah (Earl Baylon) and Zip (Allen Maldonado) to reclaim the artifact and stop Deveraux from kick-starting another cataclysmic event. You know, typical Tomb Raider shenanigans. This also marks Zip’s first appearance since the 2008 game Tomb Raider: Underworld.
The series, having jumped over the trauma of how Lara lost Roth and the rift it drove between her and Sam Nishimura (Karen Fukuhara) and Joslin Reyes (Mara Junot), blends flashbacks to Lara’s trauma with her new adventure to find Deveraux. The eight-episode season brings the video game’s penchant for puzzles and riddles into the forefront rather than trying to make it into something different. A clear narrative thread connects the entire series, which owes a huge debt to the heavy character development from the three video games that directly preceded it. But, as dark as those games were, Tomb Raider: The Legend of Lara Croft is lighter, breezier, and more fun. That does not mean it waters down the subject matter, as this animated series is not afraid to shed some blood. Some fans may not immediately like the style of this series, which is a staple of Netflix animated projects. Still, you cannot say that the series differs greatly from the source material besides the more colorful palette.
What helps this Tomb Raider excel where the films have failed is the charisma of Hayley Atwell. Best known for her work in the Marvel Cinematic Universe as Peggy Carter as well as Mission: Impossible – Dead Reckoning, Atwell has been a charming presence for years. Imbuing Lara Croft with some emotional depth to balance her smart-ass attitude, Atwell is not as distant and cold a figure as Angelina Jolie was, nor is she as scrappy as Alicia Vikander. Because Camilla Luddington’s work portraying Croft in the Survivor games set the tone, Atwell can take the character to the next level. The addition of the other voice actors opposite Atwell, including Zoe Boyle as Camilla and Roxana Ortega as Abby, fleshes out this series from being considered just a cartoon to being held up as a more respectable action series, animated or otherwise.
Developed by Tasha Huo, Tomb Raider: The Legend of Lara Croft does a solid job of blending the mythology of the original series of games alongside the rebooted continuity. Huo previously wrote for the Netflix series The Witcher: Blood Origin and the upcoming Red Sonja film. Powerhouse Animation and Red Dog led the way with the animation work on the series. Powerhouse Animation has been a consistent presence in recent years with work on series including Castlevania, Blood of Zeus, Skull Island, and Masters of the Universe: Revelation. Their style is consistent and does not shift much in Tomb Raider, which may create hesitancy in viewers who are not fans of the anime style. Nevertheless, it works here even if it is not the realistic style the video games have become known for, but it still allows for this first of two greenlit seasons to be enjoyable.
Tomb Raider: The Legend of Lara Croft is a fun adventure in the video game universe that builds on the existing mythology and continuity rather than forging its own path. Blending existing characters with new ones works well, and the eight-episode run wraps with a lead-in for the already greenlit season two. Hayley Atwell is a phenomenal Lara Croft, even if it is only in voice. This is a fun series that fans of video games will appreciate, and that is mainstream enough to allow newcomers to join the adventure of Lara Croft and her team of treasure hunters. I don’t think this series will usurp plans for another live-action Tomb Raider movie, but producers of the next film should take a cue from the tone and style of this animated offering when developing the next big screen outing.
Tomb Raider: The Legend of Lara Croft premieres on October 10th on Netflix.
If you go by his coffee mug, Michael Scott is the world’s best boss. But if you ask Jim or Pam or most certainly Toby, you’re going to get a very different answer. Ask Steve Carell himself, and he might describe him in the best way possible: a lovable asshole.
While short-lived, the original British version of The Office’s own Michael Scott, David Brent, made his mark as maybe the world’s worst boss, the sort of brash, arrogant type that you wouldn’t want in charge of you five days a week. And while Michael Scott would take on a number of these traits – especially early on – he had to be adapted for American audiences, lest viewers tune out.
As Paul Feig – who directed great episodes like “Dinner Party” and “Niagara” – recalled, Steve Carell had become huge through The Office and movies like The 40-Year-Old Virgin. Thus, they had to turn Michael Scott into a more likable figure. That decision was made during season two’s “Office Olympics”, which Feig also directed. “It was the scene we were shooting when everybody was supposed to be working and they’re screwing off doing this thing. And in order to not get in trouble with Michael, they’re going to give him a gold medal. But we’re shooting it and Steve gets emotional. Steve as the character, ‘cause he’s had this terrible day. And so he starts like kind of crying, like a tear goes down his eye and we’re like, ‘Oh my God.’ And I’m going like, ‘Oh, do that again. Do that again. This is a great.’ And I think that was this moment of like, that’s him.”
This turn may not have helped Carell win an Emmy, but helped mark Michael Scott as someone who actually had depth and, when it came down to it, tried his best…however inept, childish and inadvertently harmful he could be. “He’s got a humanity about him and everybody figured out, ‘No, he’s not an asshole. He’s a misguided idiot who is an asshole because he’s trying to be funny.’ Right. So you go like, ‘Okay, he means well.’”
Through Michael Scott and his Dunder Mifflin employees, The Office remained one of the most rewatchable shows in modern television.
What is your all-time favorite Michael Scott moment from The Office? Fly high in the comments section below.
The truth was out there for a long time that The X-Files was an incredible show – well, for about half its run, at least. But Dana Scully herself, Gillian Anderson, didn’t realize it at the time, not acknowledging The X-Files’ high notes until well after it went off the air for the first time in 2002.
Appearing on the Smartless podcast (via EW), Gillian Anderson remembered the interference she ran into that pushed her to block out the success of The X-Files. “When you’re doing something like that, all anybody says is, ‘Oh my god. The show. Oh my god. It’s the most amazing [thing]!’ And you don’t wanna hear that anymore. You don’t…I suddenly got what they were talking about, like, five years after the show ended. I was kinda like, ‘Yeah. That was kinda cool. I was on this really cool show.’” She added, “You know what happens when…you’re on a long running show is everything becomes so enmeshed and and not incestuous, but you literally feel like you’re living and breathing this, you know, the entire crew, the entire experience. And so I think by the time we were done after — you know, we did nine years — and I think I was well ready for it to be over.”
Gillian Anderson isn’t the only one who was ready by this point, as The X-Files saw a dramatic dip in quality after season five, with a strong argument for anything after season six. Really, when we think about the show’s best episodes, we’re talking ones like “Squeeze” (season 1), “Jose Chung’s From Outer Space” (season 3), “Bad Blood” (season 5), and more from the first half of the series. Who is really out there defending the post-Mulder episodes? After the ninth season went off the air, there were gaps in releases of more material, with movie The X-Files: I Want to Believe coming in 2008 and two additional seasons arriving in 2016 and 2018.
Where do you think The X-Files truly lost its way? What are your favorite episodes from the show? Make us believe in the comments section below.
The truth was out there for a long time that The X-Files was an incredible show – well, for about half its run, at least. But Dana Scully herself, Gillian Anderson, didn’t realize it at the time, not acknowledging The X-Files’ high notes until well after it went off the air for the first time in 2002.
Appearing on the Smartless podcast (via EW), Gillian Anderson remembered the interference she ran into that pushed her to block out the success of The X-Files. “When you’re doing something like that, all anybody says is, ‘Oh my god. The show. Oh my god. It’s the most amazing [thing]!’ And you don’t wanna hear that anymore. You don’t…I suddenly got what they were talking about, like, five years after the show ended. I was kinda like, ‘Yeah. That was kinda cool. I was on this really cool show.’” She added, “You know what happens when…you’re on a long running show is everything becomes so enmeshed and and not incestuous, but you literally feel like you’re living and breathing this, you know, the entire crew, the entire experience. And so I think by the time we were done after — you know, we did nine years — and I think I was well ready for it to be over.”
Gillian Anderson isn’t the only one who was ready by this point, as The X-Files saw a dramatic dip in quality after season five, with a strong argument for anything after season six. Really, when we think about the show’s best episodes, we’re talking ones like “Squeeze” (season 1), “Jose Chung’s From Outer Space” (season 3), “Bad Blood” (season 5), and more from the first half of the series. Who is really out there defending the post-Mulder episodes? After the ninth season went off the air, there were gaps in releases of more material, with movie The X-Files: I Want to Believe coming in 2008 and two additional seasons arriving in 2016 and 2018.
Where do you think The X-Files truly lost its way? What are your favorite episodes from the show? Make us believe in the comments section below.
The box office numbers are coming in, and one thing is for sure – Joker: Folie à Deux is officially DOA at the box office. How does a movie go from being the most anticipated film of the year to one of the biggest box office flops ever? I guess by making it a musical and showing absolute disdain (if not loathing) for the fans that made the first one a billion-dollar box office smash (and an Oscar winner to boot).
Indeed, the battle between Terrifier 3 and Joker: Folie à Deux wasn’t even close. The $5 million budget, unrated Terrifier 3 way outpaced expectations (including our own) to make just over $18 million this weekend (according to Deadline), despite no stars or studio support. When all is said and done, studios are going to have to sit up and take notice of the fact that two of the year’s most profitable movies, Terrifier 3 and Longlegs, wound up being smash hits because they became must-see events for their respective audiences. Why is it that seemingly only horror audiences can be mobilized this way? Maybe an enterprising studio can try to apply this formula to other, somewhat dormant genres, like lower-key action and comedy. Rebel Ridge was a smash for Netflix. Maybe something similar could gain a foothold in theaters?
Joker: Folie à Deux didn’t even manage a second-place finish, with it easily beaten by the well-reviewed The Wild Robot (now getting a sequel), which made $13.45 million for a strong $83.7 million total. It will likely cross the $100 million mark by the end of next weekend. Joker slumped into third place, falling a shocking 82% in its second weekend for a $7.055 million weekend, and an abysmal total just north of $52 million. When the final numbers are in, it could theoretically be beaten by Beetlejuice Beetlejuice, which made over $7 million this weekend for a $275 million total. It’s pretty interesting that Warner Bros has both the biggest hit of the fall season and the biggest flop.
The Lego-animated Pharrell doc, Piece By Piece, managed an ok fifth-place finish with $3.8 million. Transformers One continued to underperform (spectacularly) with $3.65 million for a $52 million total. In pretty sad news, Jason Reitman’s excellent Saturday Night, about the early days of SNL, totally whiffed at the box office this weekend, making a poor $3.4 million for a total of just over $4 million. It will be lucky to break $10 million domestically, although it should find an audience on VOD.
The anime My Hero Academia: You’re Next (which our own Steve Seigh reviewed here) did well enough to hit eighth place, with $3 million. A re-release of Tim Burton’s The Nightmare Before Christmas turned out to be an event fans were dying to see, with it grossing a solid $2.3 million, bringing its lifeline gross to $89.9 million. Finally, the controversial Donald Trump movie, The Apprentice, was bombed (badly) and came in tenth place, with only $1.58 million despite playing on over 1500 screens. Yikes.
Next weekend sees the release of Parker Finn’s Smile 2, which could give us our first $50 million plus opening since Beetlejuice Beetlejuice. Do you think Art the Clown will be able to slash his way to a second-place finish next weekend? Let us know in the comments!
The box office numbers are coming in, and one thing is for sure – Joker: Folie à Deux is officially DOA at the box office. How does a movie go from being the most anticipated film of the year to one of the biggest box office flops ever? I guess by making it a musical and showing absolute disdain (if not loathing) for the fans that made the first one a billion-dollar box office smash (and an Oscar winner to boot).
Indeed, the battle between Terrifier 3 and Joker: Folie à Deux wasn’t even close. The $5 million budget, unrated Terrifier 3 way outpaced expectations (including our own) to make just over $18 million this weekend (according to Deadline), despite no stars or studio support. When all is said and done, studios are going to have to sit up and take notice of the fact that two of the year’s most profitable movies, Terrifier 3 and Longlegs, wound up being smash hits because they became must-see events for their respective audiences. Why is it that seemingly only horror audiences can be mobilized this way? Maybe an enterprising studio can try to apply this formula to other, somewhat dormant genres, like lower-key action and comedy. Rebel Ridge was a smash for Netflix. Maybe something similar could gain a foothold in theaters?
Joker: Folie à Deux didn’t even manage a second-place finish, with it easily beaten by the well-reviewed The Wild Robot (now getting a sequel), which made $13.45 million for a strong $83.7 million total. It will likely cross the $100 million mark by the end of next weekend. Joker slumped into third place, falling a shocking 82% in its second weekend for a $7.055 million weekend, and an abysmal total just north of $52 million. When the final numbers are in, it could theoretically be beaten by Beetlejuice Beetlejuice, which made over $7 million this weekend for a $275 million total. It’s pretty interesting that Warner Bros has both the biggest hit of the fall season and the biggest flop.
The Lego-animated Pharrell doc, Piece By Piece, managed an ok fifth-place finish with $3.8 million. Transformers One continued to underperform (spectacularly) with $3.65 million for a $52 million total. In pretty sad news, Jason Reitman’s excellent Saturday Night, about the early days of SNL, totally whiffed at the box office this weekend, making a poor $3.4 million for a total of just over $4 million. It will be lucky to break $10 million domestically, although it should find an audience on VOD.
The anime My Hero Academia: You’re Next (which our own Steve Seigh reviewed here) did well enough to hit eighth place, with $3 million. A re-release of Tim Burton’s The Nightmare Before Christmas turned out to be an event fans were dying to see, with it grossing a solid $2.3 million, bringing its lifeline gross to $89.9 million. Finally, the controversial Donald Trump movie, The Apprentice, was bombed (badly) and came in tenth place, with only $1.58 million despite playing on over 1500 screens. Yikes.
Next weekend sees the release of Parker Finn’s Smile 2, which could give us our first $50 million plus opening since Beetlejuice Beetlejuice. Do you think Art the Clown will be able to slash his way to a second-place finish next weekend? Let us know in the comments!
With Joker: Folie a Deux withering away at the box office, it seems likely that Warner Bros and DC are going to want to put a little distance between themselves and Todd Phillips’s disastrous sequel before the Clown Prince of Crime is welcomed back to the big screen (it seems highly unlikely he’ll figure into The Batman Part 2). However, sooner or later the Joker will return, as not one but two actors have won Oscars for playing the role (although Phoenix’s interpretation has been somewhat retconned). It’s just a delicious part to play, isn’t it? But, of all the actors, who was the best? Take the poll below and let us know!
