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无底洞加点采用百度引擎5(Baidu 7)bt, Universal and Blumhouse are now trying to figure out how to make a sequel work, while other studios and production companies are pushing slashers into development, including LeBron James’s Springhill Entertainment, which is reportedly moving forward with a Friday the 13th remake.The Movies Mourn Stan LeeThe comic-book legend died in November, at age 95, and rather than mourn, fans and those who worked with Lee were quick to celebrate the incredible career of the man who created or co-created the X-Men, Spider-Man, Iron Man, and more. Lee’s death made his short appearance in Spider-Man: Into the Spider-Verse, one of his final cameos, incredibly moving. Speaking of The World Enters the Spider-Verse and Never Wants to LeavePhil Lord and Chris Miller might have left Sony’s animated Spider-Man movie to make (and then not make) Solo: A Star Wars Story, but their fingerprints are all over this thing. Jam-packed with psychedelic visuals, left-field pop-culture references, inventive action set-pieces, and infused with just as much heart as Raimi’s Spidey flicks, Spider-Man: Into The Spider-Verse has been hailed by many as the best cinematic take on the character ever, and a game-changer for comic-book movies. It’s definitely done enough to have the folks at Pixar worried about their chances of winning the Best Animated Feature Oscar (though the Incredibles 2 was a blast, as well). After a strong box office opening, and a Certified Fresh Tomatometer score of 97%, Sony has already greenlit a sequel and a spinoff, which will focus on Gwen Stacy and other female Spider-Folk.Paddington 2 Holds Onto 100% (along with some others)The British bear sequel is still at 100% on the Tomatometer, almost a year since it was released – but it’s not the only one. Debra Granik’s incredible Leave No Trace, starring Ben Foster and Thomasin McKenzie as a father-daughter duo attempting to live off the map, also maintains a perfect score, along with Carla Simón’s Summer 1993, skate documentary Minding the Gap, Oh Lucy!, Shirkers, and Night Comes On.Think we missed some of the biggest stories? Let us know in the comments below.

1. 无底洞加点
今年除了莉莉丝AFK、万国觉醒这种为代表型的游戏在海外持续发力;腾讯的LOL手游也不落下风;特别要提到的是米哈游的原神,在海外成为了现象级爆款。 (Photo by Liam Daniel/HBO)Chernobyl seemed to come out of nowhere. Hot on the heels of Game of Thrones final episodes, the five-part HBO miniseries from creator/writer Craig Mazin and director/co-executive producer Johan Renck goes deep into the multi-layered, almost unbelievable story of how the accident at Ukraine s now-infamous nuclear power plant became one of the worst man-made calamities the world has ever seen.The groundbreaking series which features stellar performances by Jared Harris, Stellan Skarsgård, and Emily Watson doesn t just explore the accident, it touches on the far-reaching ramifications that followed it, telling the stories of the many citizens who made unfathomable sacrifices, and gave their lives, in order to save the continent from imminent doom.To give further insight into the terrifying story being told, director Johan Renck spoke at length with Rotten Tomatoes about his creative vision for the project. During our chat, he explained the challenges in telling a Russian story with a large cast of British actors, the filmmaking importance of using sound and silence to convey the appropriate tone, and the enduring relevance of the Chernobyl disaster all these years later.(Photo by Liam Daniel/HBO)Aaron Pruner for Rotten Tomatoes: You directed all five episodes of Chernobyl, which sounds like a massive undertaking. What was your vision going into the production?Johan Renck: The first and foremost thing for me was that I wanted to make it experiential, rather than sort of on display, so to speak. This is not a diorama in which you get this world presented to you. To me, it was much more about finding within some kind of very long-gone authenticity, finding a way to shoot this and to deal with this so that you feel immersed. You almost feel like you were there. There s this sort of experiential side of it. So I think that was my agenda, so to speak, from the onset of this project.Has there been any pushback from viewers or complaints regarding accuracy in the story being told?Renck: There are some people who find it really hard to understand why this is in English and not Russian. And also some people who have difficulties with dealing with the British accents in there. On the other hand, I get tons of messages from people who live in Belarus, Ukraine, or Russia, saying like, this is so authentic, I sort of relate to every thought that goes into the apparel or in a suit or a trashcan or a whatever it is, everything is so minutely accurate. So then, you know, all we can do is try to be accurate and authentic.(Photo by Liam Daniel/HBO)Well, let s talk about working with the British cast. I can understand how some people may take issue with the accents or the fact that the actors you cast weren t Russian or Ukrainian, but, for me, it didn t take long for the Britishness of the cast to fall away. Were there any methods in trying to tamp down the variety of dialects featured in the show?Renck: Having a British actor portray a Russian character is almost like taking an Italian actor to do a Russian. The British are, you know, very expressive in their facial language, very sort of courteous and apologetic. Whereas the Russian and the Eastern European persona and again, I come from Sweden, I come from that part of the world is drastically different. It s much more of a sort of underhanded, almost stone-faced type of behavior. There is no willingness, there s no desire to appease somebody else or please somebody else by the way you communicate. It s very straightforward. And, added to that, you have this Slavic flamboyance that comes out in heated moments.In a dream world, we would have had a year of rehearsals with our 104 speaking roles, to try to shave off some of the local edges of the accents, you know? Because you have Scottish actors, Irish actors, Welsh actors, Southern England, Northern Ireland, and all those accents are drastically different from each other. The agenda was, originally, to kind of shave off all those edges to an extent that it became some weird form of neutral English. But that task was just unobtainable given the time and given the amount of cast we had.(Photo by Liam Daniel/HBO)You talked about coming from an experiential place with this. Let s talk about the end of Episode 2 where we are following the divers into the tunnels under the plant. That scene was darkly lit, had basically no dialogue and relied mostly on the stakes of their mission which was signified by the constant ticking of their radiation detectors. What are the challenges in presenting a story like this, in this scene and in the grander scheme of things, without going too far and exploiting the moment?Renck: You know, there is a bunch of challenges in there, but they re all good fun challenges. You mentioned the divers, and that to me was a very tricky scene on paper because you re dealing with three people in pitch darkness, who are cannot talk to each other and you can t see their faces because they re wearing masks. You can t really gather body behavior because of their outfits and all of that.To some extent, you go back to the founding principle of filmmaking, which is: we re translating psychology and behavior. We ve got to try with most of the tools that you would use normally there s no terrified eyes, there s not a gasp or sound or scream, or anything like that. That particular scene, during the shoot, it was clear this is a sound-driven thing. The one thing that will help us understand what these guys are feeling inside is the sound of the dosimeter increasing in intensity, the deeper this tremendously contaminated water gets. Of course, it s scary enough to just see a couple of guys fumble around in the dark. But that s just sort of superficially scary you have to find it find the profound scariness. And that was then channeled through sound design more than anything else.(Photo by Liam Daniel/HBO)And one of the most important aspects in telling the story here is the use of sound, the use of silence, and the organic nature of the score. Composer Hildur Guðnadóttir was recently interviewed and she talked about visiting the power plant in Lithuania where the series was shot and using the actual plant as a source of the show s music.Renck: She had this guy with her who used special equipment to record sound from things that you would never think even emit a sound. For instance, one of the recurring themes in there is something she always called the door. It s where they just put the microphone on a door and the weirdly intricate sounds coming from a static door, there s these little weird sounds of metal and tension and just buzzing that you would have no idea existed. Those are the types of sounds she recorded, as well as an atmospheric sound. And from those elements, she used those as her sounds for her instruments.Even further, though, the use of sound, and music, is starkly different here from most dramatic TV shows or movies. Usually, the audience would get a sweeping score or jarring music cue to let us know a big moment is happening, to tell us how to feel. But you didn t do that here.Renck: Both Hildur and I are firmly, firmly against underscoring, in which the music is there to guide you on what you re to feel. You know, somebody opens a door and there s something scary about to happen and then the music starts coming out to tell you it s scary. All of that is something that both Hildur and I deeply loathe. That s sort of underhanded, and also you don t need it. There s this permeating sub-current of dread and hopelessness and harrowingness in it already. You don t need to put another layer on that cake, it is at capacity now.(Photo by HBO)In HBO s Chernobyl podcast, show creator Craig Mazin talks about his visit to the infamous power plant before production on the show began. Have you visited Chernobyl?Renck: Well, here s the thing: When we were shooting in Ukraine, we planned a day off on the schedule so that I could go to Chernobyl, which was obviously what I wanted to do. On the day of my departure to Chernobyl, we get a phone call from The Exclusion Zone. Last summer was very, very hot, it was the hottest and driest summer in Europe for 300 years or something like that. So on the morning of my departure, we get a phone call from The Exclusion Zone saying we have seven or nine or whatever forest fires raging and you can t come. By now, I m some kind of nuclear expert because of everything that I ve sort of delved into, so I go, Oh, yes, I understand the burning trees obviously release contaminated organic material. Yeah, that seems not good. And they went like, Yeah, I don t know about that. It s just f king burning everywhere. So I couldn t go but I m going to go this summer and production, obviously, you know, they owe me that trip.(Photo by Liam Daniel/HBO)In the final episode, we finally get to a trial which finds Dyatlov, Bryukhanov, and Fomin being judged for their crimes. It s here that we learn of the truth that has been eating away at Legasov this whole time, he knew on some level that the power plant s fail-safe button was faulty and that, ultimately, it was the final lynchpin that caused the explosion. How important was it to get this scene right? And what, if any, were the dramatic liberties taken in depicting how the drama played out?Renck: The trial is, to some extent, not from a factual point of view. From the event s point of view, it s the least accurate thing. Legasov and Shcherbina weren t at that trial, they weren t even there in the real life thing. And that trial was a complete show trial in which nothing was revealed at all. It was just getting those three scapegoats Dyatlov, Bryukhanov, and Fomin to get their guilty sentences and for the Soviet state to wash their hands of the whole thing. In real life, this event took place over several instances. We first had this conference at Vienna, then we had the show trial, and then, you know, nothing came out until after Valery Legasov s suicide, and the tapes got sent out.This was just a way, from Craig s point of view, to sort of wrap this up. We can t make a six-hour episode out of this and we have to find a way to truncate things and turn them into what they were. A lot of it is based on court transcripts. A lot of what was said from the participants is absolutely real, of course. But the event is a little bit of an amalgamation of a few things happening. It s sort of a multi-layered thing. To the state, it s a grandstanding thing it s a staged show trial to start out with. They set that trial in Chernobyl town, which is not to be confused with Pripyat. The town is an old city that is located about 20 miles or so from the Chernobyl Power Plant. It was staged there because the state was clearly saying there s nothing dangerous here and everything s good, so we should have the trial right here.(Photo by Liam Daniel/HBO)It s filled with emotion and an intense scientific explanation of what caused the explosion. And that element of truth is what we ve been driving towards this whole time. Not to mention, with the whole set-up and placement of the judges and jury, the whole thing is quite odd.Renck: I love that court scene. I love shooting a lot of stuff. I love shooting dark harrowing stuff in the underbelly of the nuclear power plant, but I also love a good trial scene. And here we got to make a trial scene that does not in any way look like any trial scene we ve seen before. Or feel like it. It has to feel like a different type of dynamic in which the witnesses and the juries are all scripted, to some extent. And everything that s being said and done is just grandstanding no matter which way you look upon it. So we have to create a climax and a tonality in there that supports this. And that, I think, is mainly reflected through Khomyuk s defiance, and then Legasov s nervousness, because he doesn t know Should I go all the way here? Or should I not? Or should I tell the truth? All of that.(Photo by Liam Daniel/HBO)Now that the reviews are in and people are talking, I m curious what you are hoping people will take away from the show. Renck: The one thing I kept thinking that I want is that somebody like Lyudmilla Ignatenko, who is still alive to this day, would see this and feel that her voice has been heard, that she s been truthfully portrayed and that the sacrifice she and several hundred thousand other people went through, in order to sort of save the f king planet, or almost, is something that everybody understands, realizes and embraces. I don t want to sound melodramatic, but that s completely what it is, for me. Those stories, those people, what they went through and experienced, and are suffering the consequences of to this day.For instance, there is a hospital in Cuba, in which hundreds and hundreds of surviving children from Pripyat, and from the area around, were sent to because of the close ties between Cuba and the Soviet Union. That hospital is still up and running today and still dealing with the aftermath. This was not an overnight thing. This was not a catastrophe that happened and then ended. This is a story that will continue to spread and have ramifications. That is the main thing: to let those voices be heard and have those stories be shared and that, hopefully, everybody feels that.Chernobyl is available to watch, in its entirety, on HBO and its streaming platforms, HBO GO and HBO Now.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image by Liam Daniel/HBO

2. 公平游戏环境

3. 激战团竞模式
King of the Crop: Shazam! Repeats, but Its Final Estimate Falls(Photo by Warner Bros.)As stated last week, Shazam is more DC’s Ant-Man than their Guardians of the Galaxy. To maintain the kind of momentum that would keep it in the universe of Paul Rudd’s character financially, it was hoping for around a 45% drop for its second weekend. Instead it fell 53%. Still good enough to beat this week’s challengers handily, but its hopes of reaching 0 million and beyond fell a bit. Among comic book adaptations to earn between -100 million after ten days, Shazam! joins the company of X-Men, X-Men: First Class, Fantastic Four: Rise of the Silver Surfer, The Incredible Hulk, Batman Returns, The Wolverine, and Wanted. Batman Returns is the high bar with a 2 million final tally, while the four films surrounding it on that list grossed between 1-135 million. Shazam!’s second weekend (.1 million) was higher than all of those films except for Batman Returns (.4 million) but its final estimate is now in the 0 million range. Shazam! has grossed over 1 million worldwide to date.Rotten Returns: Laika Is Failed Again, but Not By Critics(Photo by Annapurna Pictures)This story is either sad or infuriating maybe both, depending on who you ask. Ask critics which animated studio they would rather see put out more film – Illumination or Laika – and they re likely to say Laika every day and twice on Sunday. Laika’s output has included Kubo and the Two Strings (97%), Coraline (90%), ParaNorman (87%), Tim Burton’s Corpse Bride (83%), and The Boxtrolls (76%), all of which are Certified Fresh. Yet, since Coraline in 2009, each successive Laika film has grossed less than the last from Coraline’s million down to Kubo’s .Laika jumped ship from Focus Features, a studio whose Laika projects rank as four of the top 12 grossers in their history. Now they put themselves in the hands of Annapurna, who this February partnered with MGM and Orion to release films under the banner of United Artists Releasing. Missing Link (89%) is their first effort, and they opened it to .8 million. In 3,413 theaters. That is a lower per-theater-average (,712) than Matthew McConaughey’s Serenity (,724). It is a worse average than Focus Features got for Neil Jordan’s Greta (,859). Focus opened Ratchet Clank to .8 million for Pete’s sake. While UA Releasing has some high profile remakes and sequels on the horizon (Child’s Play, Bill Ted Face the Music, Bond 25), this is a really disconcerting start. Especially for the animated company, which deserves better.The Top 10 and Beyond: Hellboy Hits Bottom with Critics and Audiences(Photo by Summit Entertainment)Another film that could have gone into the “Rotten Returns” section was the reboot of Hellboy. From Sony to Universal to Lionsgate, no studio has been able to make this character a thing. Despite two efforts from Gullermo del Toro, both 2004’s Hellboy and 2008’s Hellboy II: The Golden Army were financial failures, albeit ones with PG-13 ratings. The new R-rated Hellboy may not be family-friendly, but it wasn’t critic-friendly either. Garnering just a 15% on the Tomatometer, Hellboy is one of the worst-reviewed wide releases of 2019, ahead of only A Madea Family Funeral (13%), Replicas (10%), and this week’s release of After (13%), which Aviron opened in 2,138 theaters to bigger numbers than Missing Link (.2 million).Back to Hellboy, though. It continues Lionsgate’s history of lackluster returns for comic book adaptations. Red was their biggest success, opening to .7 million and finishing with .3 million. Its sequel was not as well-received, with lines of and .8 million. Kick-Ass was .8 and million. Hellboy could not even reach their PG-13 Thomas Jane Punisher film, which opened to .8 million just two weeks after del Toro s Hellboy opened to .1 milion in 2004. The Punisher finished with just .8 million. Neil Marshall’s million production of Hellboy may not even make it to million domestic, which is less than Hellboy II’s opening weekend alone of .5 million.Disney’s Dumbo is also headed for a rough landing. The live-action version of their 1941 classic is up to just .9 million after 17 days. That puts it in league with Apollo 13, Borat, Home Alone 2, The World is Not Enough, District 9, Blades of Glory, Night at the Museum: Secret of the Tomb, Fifty Shades Freed, Superbad, Doctor Dolittle, The Fugitive; films between -91 million in the same period. Among that crop, only Fifty Shades Freed made less (.1 million) in its third weekend than Dumbo (.1 million). That is putting Tim Burton’s 0 million production somewhere between 0-110 million. With only 6 million worldwide, the film could end up being another 0+ million loser for Disney. Fortunately for them, not only is Avengers: Endgame on the horizon, but Captain Marvel still has the 21st best total ever after 38 days with 5 million, and with .064 billion worldwide, it s now the 28th highest-grossing film ever.(Photo by Paramount Pictures)The new Pet Sematary adaptation is following the path suggested in last week’s column. With a 59% drop in its second weekend to million, the film is now in danger of coming up short of the .4 million of the 1989 film. The 2019 version is in league with other horror films like The Omen (2006), Evil Dead (2013), Gothika, White Noise, Dracula Untold, Happy Death Day, and The Cell – each of which had between -42 million after ten days of release, and only The Cell and Gothika made more than .4 million. With The Curse of La Llorona set to take a chunk of the horror fans away from a film that dropped from 82% on the Tomatometer after its closing night SXSW premiere to 58% by the end of its first weekend, an under million haul next weekend could seal its fate in missing the 1989 goal. Nevertheless, it s sill on pace to turn a profit for Paramount.Doing better with horror fans is Jordan Peele’s Us, which is over 3 million, officially passing last year’s Blumhouse production of Halloween. The film is still million ahead of last year’s A Quiet Place after 24 days, but it has fallen behind its fourth weekend take (-to-.9 million.) That is also less than Get Out’s fourth weekend (.4 million), though Us is still million ahead of the pace of Peele’s debut. Us looks to land somewhere in the 0 million range. Universal also managed to open Little this weekend ahead of Hellboy. Its .4 million opening is higher than their Jason Bateman/Ryan Reynolds body-switch film, The Change-Up, which started with .5 million and finished with million.This Time Last Year: Dwayne Johnson Led with Another Video Game Adaptation(Photo by Warner Bros. Pictures)The video game adaptation, Rampage with Dwayne Johnson led the way with .7 million, just barely beating the second weekend of A Quiet Place, which finished with .9 million to just pass the 0 million mark in its 10th day of release. Opening in third was Blumhouse horror, Truth or Dare, with .6 million and Roadside’s most successful film to date, the song origin tale of I Can Only Imagine, passed million in total sales. The Top Ten films grossed 1.79 million and averaged 66.8% on the Tomatometer. This year’s Top Ten grossed an estimated 1.45 and averaged 58.5%On the Vine: Horror and Sci-Fi Bring the Calm before the Avengers Storm(Photo by New Line Cinema)Another horror film tries to separate fans from their money. This time it is The Curse of La Llorona, part of The Conjuring universe, about the infamous weeping woman who steals children. Its premiere at SXSW this year was not as well received as Pet Sematary, as it owns a 44% on the Tomatometer at the moment. (Sematary’s score dropped 20% from its SXSW premiere.) Also look out for 2018 SXSW premiere, Fast Color, from director Julia Hart and co-writer/producer Jordan Horowitz, starring Gugu Mbatha-Raw as a woman with powers in a bleak future.The Full Top 10: April 5-7Shazam! (2019) 90% – .14 (.91 million total)Little (2019) 46% – .49 (.49 million total)Hellboy (2019) 18% – .01 (.01 million total)Pet Sematary (2019) 57% – million (.12 million total)Dumbo (2019) 46% – .18 million (.94 million total)Captain Marvel (2019) 79% – .63 million (6.53 million total)Us (2019) 93% – .95 million (3.5 million total)After (2019) 18% – .2 million (.2 million total)Missing Link (2019) 88% – .84 million (.84 million total)The Best of Enemies (2019) 53% – million (.1 million total)

4. 呼朋唤友 随心所欲
Watch: Danny Boyle on the making of 28 Days Later  above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, director Danny Boyle recalls shooting London s loneliest landmarks and resurrecting zombies for a new century.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: 28 Days Later (2002) 87%28 Days Later, directed by Danny Boyle from an Alex Garland script about humans mutated into speedy zombies by virus infection, was an inflection point for horror movies. The underground hit made over million worldwide, and signaled a shift away from post-Scream teen slashers of the late 90s and earl 2000s, and showed studios that audiences all over have were seeking horror flicks that bit harder. The film was shot with digital cameras, just above consumer-level grade, giving survivor Jim (Cillian Murphy) and his journey across a newly deserted England a rush of post-apocalyptic immediacy. This was when shooting on film was still the norm, so grimy, tethered footage felt like a glimpse into a new world. And it was a horrific, and horrifically effective world that Boyle created.Danny Boyle on the set of 28 Days Later. (Photo by © Twentieth Century Fox) We made

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 8.84.72022-01-18

5.49.6 4月喜迎它的玩法特殊,“集合角色扮演、解密,文字冒险等多元素集合的手游”,即便介绍出点出了玩法,但你依旧不知道它的具体操作。
(Photo by Dee Cercone/Everett Collection)All Tom Hardy Movies RankedHe whooped on Batman in The Dark Knight Rises, made his way down Fury Road, and pulled off the seemingly impossible feat of turning a movie about a guy behind the wheel of a car into the pulse-pounding drama Locke — and that really doesn t even scratch the surface of all the interesting career choices that have paid off for Tom Hardy. Whether you re mainly familiar with blockbuster outings like Inception, favor acclaimed fare like Bronson and The Revenant, or are a hardcore fan who s been with him since Black Hawk Down, there s a Hardy movie for everyone. Especially superhero fans, since he s brought Venom to life, and will be back for this year s sequel, Let There Be Carnage. Now, we ve rounded up all Tom Hardy movies and organized them by Tomatometer.

Gretel & Hansel (2020) 63% We haven t even spent an entire month in 2020 yet, but we re already getting our fourth big horror release of the year in this week s Gretel Hansel. Like last week s The Turning, this one is also rooted in classic literature, as it offers a new take on the well-known fairy tale by the Brothers Grimm. Sophia Lillis plays 16-year-old Gretel, who, along with her brother Hansel (Samuel Leakey), has been sent into the woods in search of a convent to take them in, since their destitute mother can no longer provide for them. Of course, as anyone familiar with the source material might predict, the pair happen upon a mysterious cabin en route and, tempted by the feast they spy inside, decide to pull up a couple of chairs and hang out with the creepy woman who lives there and who might be a witch looking to fatten them up and eat them later. Director Oz Perkins is no stranger to horror his previous films include I Am the Pretty Thing That Lives in the House and The Blackcoat s Daughter   and he does his best to craft an atmosphere-driven arthouse chiller, but most critics say Gretel Hansel is far too leisurely paced and devoid of real terror that it loses steam quickly and never quite recovers. There are bright spots here: Sophia Lillis s acting chops are on full display, Alice Krige is suitably unsettling as Holda the witch, and pretty much everyone even those who generally didn t like the film has nothing but great things to say about the film s lush imagery and stunning cinematography. Ultimately, though, fans of traditional horror fare may find the film s deliberate pacing and third-act liberties with the source material a bit too much to swallow.
Saturday, Dec. 125 Days of Christmas, Freeform — The annual nearly month-long programming event features family-friendly Christmas movies including The Santa Clause, Home Alone, and The Holiday; Disney movies including all three Toy Story films and Tim Burton s The Nightmare Before Christmas, and, for the first time on cable television, the Rankin-Bass holiday classics, Frosty the Snowman and Rudolph the Red-Nosed Reindeer.31 Days of Holiday Survival, Comedy Central — Professional basketball star Blake Griffin will host this month of programming dedicated to getting you through the holidays with your sanity intact. Movies like Bad Santa 2, 21 Jump Street, Meet the Parents and Office Space will air throughout the month-long lineup. Holiday-themed episodes of South Park and The Office will join Chappelle s Show to close out the year.You Light Up My Christmas, Lifetime, 8 p.m. — Inspired by true events, Emma (Kim Fields) returns to her hometown built around her family s pioneer Christmas Light Factory two weeks before Christmas. However upon Emma s return, she discovers the lights have gone dim in the once festive town, prompting her to reconnect with an old flame to set their hearts and the town ablaze with light again.Christmas Town, Hallmark Channel, 8 p.m. — Lauren Gabriel (Candace Cameron Bure) leaves everything behind in Boston to embark on a new chapter in her life and career. But an unforeseen detour to the charming town of Grandon Falls has her discover unexpected new chapters — of the heart and of family — helping her to embrace, once again, the magic of Christmas.Holiday Wars, Food Network, 9 p.m. — Five teams of cake masters and sugar artists face-off to create mind-blowing holiday displays that are as festive as they are delicious. Hosted by Jonathan Bennett, and featuring award-winning cake decorator Shinmin Li and Food Network s Jason Smith as judges, the teams must compete in two jolly rounds. First up is the Snowball Fight challenge, where the artists must use cake and sugar to create an edible holiday design in just 45 minutes. One winning team gets a vital advantage going into the second round. In the Winter Blizzard challenge, the teams are tasked with developing an eye-popping, masterful Christmas display made up entirely of cake and sugar. At the end of this battle, one team will jingle all the way home with a ,000 grand prize.Holiday Gingerbread Showdown, Food Network, 10 p.m. —  On this four-part stunt, host Paige Davis tests the skills of three gingerbread artists in each holiday-themed challenge. Judges Mary Berg, Maneet Chauhan, and Adam Young determine the winner of each episode that advances to the grand finale where they will square off in the ultimate showdown. But it s not all gumdrops and candy canes as the clock is ticking on dreams of the ,000 prize. Only one will be crowned Best Gingerbread Artist and will be featured in Food Network Magazine. Monday, Dec. 2Team Kaylie: Part 2 (Holiday Episode), Netflix — To try to help Amber get through her first Christmas since her mom passed away, Kaylie decides to try to buy Amber the dollhouse she always wanted.Unhappy Holidays, Shudder — Last year, the streaming platform added a whole collection of gruesome holiday goodies including titles like Better Watch Out, All the Creatures Were Stirring, and 1974 slasher classic, Black Christmas. AMC s small screen adaptation of Joe Hill s NOS4A2 is a recent addition to the lineup. On Dec. 2, Silent Night, Deadly Night Part 2 will be available to view, along with the previously hard-to-find ‘80s cult film Deadly Games which is described as a French Home Alone meets Rambo — but released a year before Macaulay Culkin faced off with Joe Pesci.The Great Christmas Light Fight, ABC, 8 p.m. — Season seven of the holiday hit will once again showcase the most extravagant and utterly spectacular Christmas displays America has to offer. In each one-hour episode, four families with dazzling household displays will compete to win ,000 and the coveted Light Fight trophy. (Photo by ABC)Making It, NBC, 10 p.m. — Emmy Award nominees Amy Poehler and Nick Offerman host a craft-worthy and comedy-filled new eight-episode season.Tuesday, Dec. 3How the Grinch Stole Christmas, NBC, 8 p.m. — The iconic 1966 cartoon features the voice of Boris Karloff as the Grinch.How to Train Your Dragon Homecoming, NBC, 8:30 p.m. — The new animated special features the return of Jay Baruchel as the voice of Hiccup, America Ferrera as Astrid, Gerard Butler as Stoick, Craig Ferguson as Gobber, and Christopher Mintz-Plasse as Fishlegs.CMA Country Christmas, ABC, 9 p.m. — Trisha Yearwood will host and perform on the 10th annual CMA Country Christmas. The two-hour music celebration features a night filled with Christmas classics and festive one-of-a-kind collaborations by Yearwood, Kristin Chenoweth, for KING COUNTRY, Chris Janson, Tori Kelly, Lady Antebellum, Rascal Flatts, Runaway June, CeCe Winans, Brett Young, and Chris Young. Wednesday, Dec. 487th Annual Christmas in Rockefeller Center, NBC, 8 p.m. — For eight decades the tree lighting ceremony has been one of the iconic New York City holiday moments, with thousands on hand and millions watching across the country. The Moodys, Fox, 9 p.m. — The six-episode remake of Australia s miniseries A Moody Christmas stars Denis Leary and follows a tight-knit but slightly dysfunctional family of five, all of whom gather in their hometown of Chicago for the perfect holiday. The holiday event series will air over three nights on Wednesday, Dec. 4; Monday, Dec. 9; and Tuesday, Dec. 10. Ghosting: The Spirit of Christmas, Freeform, 9 p.m. — This is the quirky and heart-warming story of Jess (Aisha Dee), who goes on the greatest first date of her life, but inadvertently “ghosts” Ben when she tragically dies in a car accident on the way home. Stuck on Earth, with no idea how to ascend, Jess will need the help of her best friend Kara (Kimiko Glenn), the only person who can still see and hear her. A Saturday Night Live Christmas Special, NBC, 9 p.m. — Santa brings the laughs as “SNL” goes into the time capsule for two hours of Christmas-themed sketches.Thursday, Dec. 5(Photo by Netflix)A Christmas Prince: The Royal Baby, Netflix — It’s Christmastime in Aldovia, and a royal baby is on the way. Queen Amber (Rose McIver) and King Richard (Ben Lamb) are getting ready to take some time off to prepare for their first child’s arrival, but first they have to host King Tai (Kevin Shen) and Queen Ming (Momo Yeung) of Penglia to renew a 600-year-old sacred truce.Magic For Humans: Season 2 (Holiday Episode), Netflix — Justin embraces the holiday spirit by visiting Santa school and teaching kids about the magic of giving.Into the Dark: A Nasty Piece of Work, Hulu — The Christmas-themed installment of Blumhouse s horror holiday series follows a mid-level employee at a large company who finds out he’s not getting the bonus or promotion he was expecting. But then his boss invites him over for dinner with a proposal for how he can climb the corporate ladder … by beating his professional rival in a violent competition.A Charlie Brown Christmas, ABC, 8 p.m. — Celebrate the joy of the holidays with the classic animated Christmas-themed Peanuts specialBest Christmas Bingo, IFC, 9 p.m. – Starting Thursday, December 5, Wrestling Legend Mick Foley will be hosting an interactive BINGO game during holiday movies every Thursday in December at 9:00 p.m. ET/PT, featuring Planes, Trains Automobiles, Gremlins, Year Without Santa Claus and Snow Day.Same Time, Next Christmas, ABC, 9 p.m. — In this original holiday film, Olivia Anderson (Lea Michele) is a successful young woman who met her childhood sweetheart during her family s annual Christmas visit to Hawaii. After being separated by distance and years, the two reunite at the same Hawaiian resort years later, and the old chemistry between them flares up anew-but circumstances conspire to keep them apart. Friday, Dec. 6Three Days of Christmas, Netflix — Three Days of Christmas is the story of four sisters through time united by a secret. A story told through their eyes in three key moments in their lives: when they are daughters, mothers, and grandmothers, each episode corresponds to one generation. With Christmas as a backdrop, we will discover th
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Ghcxuf Kristian King’s Twice As Good is part of the Scene in Color Film Series, presented by Target, which shines a light on incredible filmmaking talent. As part of the series, three emerging filmmakers will receive mentorship from producer Will Packer, and their films are available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App.Filmmaker Kristian King says the ideas for her movies often stem from a single image. In the case of Twice As Good, which was selected to be part of the Scene in Color Film Series, that image was a smashed plate – something delicate but strong, perfect in its shape and form, that one day comes completely apart.It’s an image you’ll find in her acclaimed short, and one that speaks vividly to its central themes: Twice as Good is the tale of a Black high school overachiever under crippling pressure to be excellent, dealing with a secret on one of the biggest days of her young life – one that could shatter her world. It is brought to life by an incredible performance from Sojourner Brown, and deft writing and direction from King, who – in just 11 minutes – unfolds a moving and tense story populated by characters we rarely see on screen.Taking part in the Scene in Color Film Series not only means King’s short is available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App, but that she takes part in a mentorship program with mega producer Will Packer, whose credits include Girls Trip, Think Like A Man, and Ride Along. In the lead up to her time with Packer, King spoke with Rotten Tomatoes editor Jacqueline Coley about the development of her short film, telling a culturally specific story, and what she hoped to learn from her mentorship.Jacqueline Coley for Rotten Tomatoes: Let s talk about your journey to filmmaking and why you wanted to be a director. Kristian King: Up until my last year in college at Duke University, I was fully headed towards a career in science. I loved chemistry and physics in high school, and in college, I was a biology major. I didn’t hate science, in fact, I really enjoyed it, but in the back of my mind, film was my true love.I grew up obsessively watching films, my siblings and I used to be able to quote entire movies to each other. As I grew older, my dad introduced me to a lot of filmmakers like Spike Lee and Tarantino. However, despite that love, I didn’t know it could be a real career until I got to college and met filmmakers and other artists.While in college, I volunteered in children’s cancer ward during one summer and it really affected me. That experience gave me a greater appreciation for the work that doctors and nurses do, but I also began to realize that it wasn’t going to be my path. After spending most of my life thinking I would be a doctor, I thought, “What now?”. I started working in a breast cancer research lab and really enjoyed my time there, but it still wasn’t quite as fulfilling as I had hoped it would be. Thankfully, my mentor at the lab encouraged me to give myself the opportunity to explore other careers. It shouldn’t be something you just fall into, especially when you have the privilege to choose.I made my very first short film during my senior year – I still had a lot to learn, but it was so much fun. I also experimented with directing theater and acting; I wanted to try everything. I knew for sure from the moment I was on a short film production where I was so cold, that my limbs went numb, but I still knew this was the right path.After I graduated, I worked in clinical research to pay bills. I spent my evenings working with wonderful artists in Durham’s theater and arts community and made short films whenever I could. Three years later, I began New York University’s MBA/MFA program, which has allowed me to pursue filmmaking full time.(Photo by Kristian King)Coley: I know Spike Lee is a professor there, among others, and you really get to sort of learn at the hand of some incredible filmmakers and people that are passionate about film. But when did you know you were going to do this film, Twice As Good, as your short? Was this something that had been percolating? King: This was my thesis project and it took some time to come up with it. A lot of my films start from an image often divorced from what the film will end up being. I had recently rewatched one of my favorite films, Blue Valentine. I found the imagery of the fireworks inspiring. I’m generally obsessed with fire and fireworks, but there was something about the end credits that struck me. I wanted to translate it into something fun and interesting.  I’m not sure how that turned into broken plates – that’s the one leap I can’t really explain – but I worked backwards from that to find the story.This film represents what I always want to talk about more, which is: exploring Black relationships. In this film, I question what it means when we place “Black excellence” pressures and expectations on people. There’s certainly a reason why we do this, but at the same time, underneath, we should wonder how this positively and negatively affects us.It’s also very personal to me because for anyone, when they become adults and things aren’t going the way their parents expected, there’s going to be a moment where they have to actually say to your parents, like, “Hey, I’m not going to do this thing that you maybe always wanted me to do.”Coley: The thing that I felt about your work that was just so resonant was that it really illustrates the nervous energy and the tension of being young, Black, and gifted, which is as much of a burden as having no one expect anything of you. And it seems like with Black folks, you re either cast as one or the other. I m just curious for you and the choice to capture your lead character’s nervous energy. How was it directing that and what were you saying to the actress? Because I felt like I was like, Oh, I know this girl: She is definitely a Wellbutrin daily. King: There’s an undercurrent of mental health in the film – I imagined that once Ann gets out into the world, the next step for her is also a therapist. A few days before production, my lead actress had a scheduling conflict, so it was a scramble to find someone else to fill the role. I was incredibly lucky to find Sojourner Brown, thanks to a recommendation from another artist. We really only talked on the phone and the first time I actually met her was the first day of the shoot. I had a good feeling from the phone call, because she understood exactly the type of character Ann was. I explained to her that what’s underlying Ann’s anxiety is the need for everything to be perfect and held together. And we tapped into our own experiences of what it’s like growing up as a black woman.Once we filmed the first scene, I felt incredibly blessed, because Sojourner brought Ann to life in a way I could not have imagined. She completely embodied the character.Throughout the shoot, we discussed each scene to help her find Ann’s head space in that moment and Sojourner always got it. We would add stuff on the day, like making sure, when you’re putting up decorations, everything’s in a very straight line, small things like that, which makes a character feel real.Coley: One thing I like with shorts, in particular, is that, because you don t have a long time and there s not a lot of room for exposition, you have to tell a lot about characters visually. And there are a few things that I saw that I particularly keyed in on that said something about the characters. I noticed that the mother,  like a lot of women of that age, had her hair straightened. Then the daughter had natural hair. I noticed that the teacher who handed her the cookie had a periodic table sash, basically I think signifying her being just a little bit off kilter, very Tracee Ellis Ross. Can you talk about how these Black women were framed?King: Overall, even beyond the women, I wanted this to be a Black world where we see all different types of people, because I think we have seen so many films where, like you said earlier, it’s either one very smart person or a bunch of like, not – we don’t get much in-between.With the mother, she is this lawyer who likely has had to be in the many white spaces. And I was very intentional about how she looked: straight hair, suit. It also speaks to her generation as well. For Ann, it was important for her to have natural hair because I think it speaks to her character – because we do still live in a world obsessed with euro-centric beauty standards, so when you wear your natural hair, it is an act of strength. It’s an act of rebellion. Mrs. Tyler is absolutely the kooky, off-kilter science teacher. She could care less what anyone thinks of her, she inhabits her own space. All three of the actresses understood what I was going for with the characters and I think hair is an important detail.Coley: Let’s talk about this program and this mentorship. I know from talking to Will Packer that he is so intentional when he talks about Black cinema and where he feels it is placed and, more importantly, where he feels he will not allow people to place it. How do you feel about being mentored by Will Packer and what are you most looking forward to from the experience?King: I’m super excited. The work he has done is amazing and I have so much to learn from him. I love directing and writing, but I also went to business school while I was doing film school. My goal is to be in a similar space that he’s in – I want to create my own work and empower people to tell their stories as well. I’m interested in how he built his company and put his amazing projects together. Finding investors and getting your projects made is such a huge part of navigating this industry, and I want to make sure I understand as much as possible. That was my goal of going to business school: I needed to learn how the business side of the film industry works, because when I get into a room and someone tells me that a project’s not going to be profitable, I want to be able to not just say that they’re wrong, but explain why.See more shorts and meet more filmmakers from the Scene in Color Film Series. 😈😈


无底洞加点 (Photo by Netflix)In their initial meetings, the executive talked about the sensation of jeopardy the old cartoon conveyed to younger viewers despite being outwardly silly. To his mind at the time, it was possible for Skeletor to win. Only with as he grew older did he come to understand why that would never be the case on the Filmation show. Nevertheless, the experience of that potential jeopardy stayed in his mind.“The dude kind of charged us with recreating a memory, if you will, of [that] feeling,” Smith said. And as viewers will see, jeopardy is definitely part of Masters of the Universe: Revelation. There are big shake-ups and, indeed, revelations that will surprise fans of the old show: from the selection of featured characters to the way it incorporates ideas from other MOTU projects.(Photo by Netflix)Another of the program’s interesting twists is its focus on Teela (Sarah Michelle Gelllar), a member of He-Man’s inner circle despite being denied key secrets about the world around her. When she learns about one of them at the beginning of Revelation, it sets her on a new path. According to Smith, giving her a bigger role in the series was part of a desire on both Biaselli’s and Mattel’s part to give the other characters more of their own individual stories. Or, as Smith phrased their request: “Look, we love that He-Man sells, but we got a bunch of f ing toys. So use all the characters.” As it happens, a lot of Teela’s story was already suggested by ideas in the toys and the 1980s series. But the format of both meant she could never find resolution – something which is possible in Revelation.“We started diving into the Teela of it all, man, and then realizing like, ‘oh, s , this is a story of betrayal,’” Smith said.Fans of the Filmation cartoon may remember two secrets withheld from her by He-Man, Man-at-Arms, and the Sorceress. One is definitely more important to the events of Revelation’s first batch of episodes while the other is … not forgotten.“That created rich situations for drama,” Smith said. “To me, [He-Man and Masters of the Universe] has always been family melodrama. You go back and look at all the shows, and it s all about like, ‘We got a problem. We re going to get through it together’ and stuff like that. All the characters like and respect one another on each side and whatnot.”The old show was also famous for recapping its moral quandaries at the end of each episode. “So for us, the same thing is going in here,” Smith continued. “The idea is like all the relationships are the absolute same [from the old show]. They just have to deal with death and consequences for the first time.”(Photo by Netflix)That sense of consequences extends out to other relationships like Evil-Lyn’s (Lena Heady) and Beast Man’s (Kevin Michael Richardson) devotion to Skeletor. It also changes the way Teela regards her adoptive father Duncan — aka Man-at-Arms — especially after the events of the first episode, which really alter the Eternian battlefield after nearly 40 years.The overall effect is not a bleaker Master of the Universe, but a more serious version in which even joke characters like Orko (Griffin Newman) can carry dramatic content. As it turns out, giving the character a chance to shine was something Smith and the other writers seriously debated.“Some people swear by him, and other people [were like,] ‘He ruined the show for me. I hate the stupid magic jokes and [things] like that,’” Smith said of the writing room conversations.(Photo by Netflix)The floating and legless magician of questionable skill was a favorite of Filmation co-founder Lou Scheimer, who also voiced the character in the ’80s. He was popular enough to get a toy of his own in the classic MOTU line, but his presence made the old series feel more, well, childish. Watching episodes of the show now — or clips from He-Man She-Ra: A Christmas Special — will definitely illustrate why he can be a divisive character for anyone over the age of 9.But that debate led to a mission statement: “How do we make Orko tattoo-worthy?”“We knew that Orko was a kid’s way into the show, right? Every kid who watched the show, they re going to dream about being He-Man. They can aspire to that, but who do they identify with? The dude who is always shoved to the side and not as good as the adults and can t be counted on to do the right thing. And he s little as well, so that s their way in,” Smith explained. “In this iteration, it s telling the kids like, ‘From little acorns, great oaks grow.’ The smallest can, at the end of the day, become the biggest under the right circumstances. So we thought so much about Orko. We wanted to make him bulletproof, so much so, that if anyone was like, ‘Orko sucks,’ it s like, all right, we failed.”Smith also credited Newman, who actively lobbied for the role on Twitter, for bringing an extra level of pathos to the part: “That f ing speech … I’d give Griffin Newman a f ing Emmy right now for his performance, where he s just like, Take me on an adventure. I promise I won t mess up like the old days.’”

《璀璨星途》是一款娱乐圈经纪人造星手游,由边江、白雪岑、姜广涛、苏尚卿、陶典、赵路、吴磊等一线声优加盟,并进行全剧情配音。在游戏中,玩家将作为一名娱乐经纪人,体验明星签约养成。 In 2017, It, the Certified Fresh adaptation of Stephen King’s 1986 bestselling 1,138 page epic, used every second of its 135-minute running time to make sure paper boats would never be played with again. The Andy Muschietti-directed horror film was a box office hit, pulling in 0 million worldwide, which made it the highest-grossing horror flick of all time and ensured a sequel would be green-lit. Now, in just a few days, the 169-minute It: Chapter Two – which adapts the sections of King’s book focused on the adult Losers Club – is looking to collect more critical accolades and gobble up money the way Pennywise gobbles up fear (and tiny children’s arms).Oh, and yes, you read that right: It: Chapter Two clocks in at 169 minutes, or 2 hours and 49 minutes. (That runtime may seem excessive, but, when compared to the 45 hours it takes to get through the It audiobook, we’re thinking it could have been a lot worse.)The movie opens just months after Quentin Tarantino’s epic Once Upon a Time in Hollywood (2 hours and 40 minutes), and just a week after the release of the Midsommar director’s cut (2 hours and 51 minutes).In October, Netflix will release The Irishman – it will run for 3 hours and 30 minutes.All these minutes – and anticipated bathroom breaks – got us thinking: How does the length of a film affect its quality? Are longer movies, on average, better or worse than shorter movies? To find out, we analyzed the running times of the 1,431 movies that received wide theatrical releases since 2010. (We classified wide releases as 500-plus screens; we didn’t include documentaries.) To break down the data, we divided the films into four categories: Movies less than 100 minutes; movies between 100 and 120 minutes; movies between 120 and 140 minutes; and those epic 140 minute-plus movies whose company It: Chapter Two is about to join.Ultimately, we wanted to know if movies were better off going the longer It: Chapter Two or Once Upon a Time in Hollywood route, or if shorter movies like Crawl, The Farewell, or Eighth Grade averaged higher Tomatometer scores with critics. You can find super Fresh movies in all four categories: The 63-minute Winnie the Pooh (2011) and 182-minute Avengers: Endgame (2019), which are the longest and shortest movies in the data set, both have Tomatometer scores above 90%. But there were clear trends and the results, at least for those who bemoan bloated runtimes, might be surprising.So let s get into the data Less than 100 minutes: The Most Likely to Be Rotten

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