切水果游戏电脑版采用百度引擎0（Baidu 1）Horror movie fans will be familiar with the concept of the Final Girl. The term was originally conceived in 1992 by Carol J. Clover as a way to describe the traits of the sole female victim who remains alive to tell the story of a film’s violent crime – or many violent crimes. Clover’s central idea was that, in the films where the trope is evident, the viewer initially sees the Final Girl through the killer’s perspective, but that partway through the movie, they begin to identify directly with her instead.Final Girls illustrated the moral split between the chaste and the virtuous. You know the deal – the hard-drinking, promiscuous girl dies first, and the demure, virginal girl survives to take down the murderer. She s the final one standing. Pop culture is replete with characters that fit the bill – Jess Bradford in the original Black Christmas, Sally Hardesty in The Texas Chainsaw Massacre, Nancy Thompson in The Nightmare on Elm Street – and their existence has become as integral to the slasher genre as the killers themselves.(Photo by Lionsgate/Courtesy Everett Collection)But that was then and this is now. The original Final Girl is slowly but surely being crowded out by a newer, more progressive iteration that acknowledges the restrictive ideas that initially gave birth to her. Over the last couple of decades, and particularly in the last 10 years, the last girl standing has looked a lot different from the final girls of the past. Progressively, in films like Scream, The Cabin In The Woods and It Follows, final girls have complicated the existing frame of the trope by pushing against its restrictions. Whether it’s by having sex, refusing to be constricted by archaic ideas of femininity, or simply by teaming up to fight together, these women now survive despite leading lives the genre used to consider wholly immoral and in need of corrective punishment – they’re a new kind of Final Girl. The Final Girls who were introduced in the 1970s and 1980s have become more nuanced over time, and that progress paved the way for the Finals Girls of Ready or Not and 2019’s Black Christmas who directly confront issues of misogyny and sex negativity.In some ways, the New Final Girl is almost the original Final Girl’s polar opposite. Rather than surviving because of her innocence, naïveté or virginity, the New Final Girl is the woman who makes it to the end of the film alive specifically because of her rejection of the old norms about what makes a woman morally deserving. The New Final Girl embraces drink, drugs, and sex and defends her engagement in each of them. She insists on being seen as a full human being and actively, often violently defends her right to do so. Most of all, the New Final Girl is still an active participant in her own survival – she knows the original Final Girl shouldn’t have had to sand off her edges to stay alive. The New Final Girl is not a virginal survivor but an intentional fighter who asserts her right to exist despite perceived moral flaws.(Photo by © Universal /Courtesy Everett Collection)In the 2019 sequel slasher Happy Death Day 2U, Tree Gelbman (Jessica Rothe) finds herself once again stuck in the murderous time loop of the first film. Over and over, she relives the same day, and it ends when she is brutally murdered by a serial killer known as Babyface. In the first film, the culprit is Tree’s sorority sister and roommate Lori (Ruby Modine). The two women are both having an affair with the same married professor, and Lori’s jealousy puts Tree in her crosshairs. In the sequel, Babyface is none other than the philandering professor himself, trying to eliminate any evidence of his transgressions.What makes Tree’s Final Girl status so interesting is that she begins the story as one of the “immoral women” who would usually die in a thriller. Tree is, by all accounts, a typical sorority mean girl. When we meet her, she is recovering from a night of partying and on her way to meet the professor she’s carrying on with. And in fact, she does die, over and over again, punished for her ruthlessness, immorality, and general misbehavior. But through the mechanics of the film itself, she evolves into a New Final Girl through sheer determination. (Photo by © Universal /Courtesy Everett Collection)In both films, Tree breaks her loop and returns to her life not by becoming more virtuous, but by becoming a more compassionate and considerate person. She improves and grows as a character – including ending her affair – not because those things make her unworthy of redemption, but because they are not the best choices for her as a person. She undergoes significant character growth without ever placing a moral frame on her sexuality or femininity. And through each of the infinite deaths it takes her to get there, she plots and schemes to find her killer and thwart them, determined to prevent her eventual death and save herself. Tree is a novel subversion of the trope because it’s her death itself that furthers her character growth. Several times, she intentionally kills herself in service of a larger goal; sometimes to gather more information about her situation and sometimes to undo the murders of other characters. As a result, her deaths then become an intentional sacrifice that signals her increasing virtue, instead of confirming its absence. It’s a large departure from the way the original Final Girls functioned in films like these.Cate YoungSimilarly, the evolution of Halloween’s Laurie Strode (Jamie Lee Curtis) into a New Final Girl in the film’s 2018 sequel of the same name is particularly notable because the character’s first iteration was in many ways the definitive final girl – most other examples are direct descendants of her legacy. In the first film, Strode is left as the sole survivor of the serial killer Michael Myers murder spree – the only young woman in the film who chose to abstain from the usual vices. Her survival largely conformed to expectations for women in horror at the time, and helped to cement the trope in the genre.But in the film’s most recent sequel – which retcons several that had come before –Laurie is now an older woman, driven to extremes by her fixation on stopping Myers return. In the 40 years since the events of the first film, Laurie has grown into an obsessive, battle-worn veteran of the war in her own mind. She may not be having sex or doing drugs, but she s far from the pure, likable babysitter we met decades earlier. She is convinced that Myers will return and has devoted her life to preparing for that eventuality. In the process she has lost custody of her daughter and become estranged from her daughter’s family. She is perceived as a lonely old woman too traumatized by her past to move on. Cate YoungOf course, Myers does eventually return. But this time Laurie is ready for him, having rigged her entire house to trap and kill him. Whereas in 1978 she was permitted to survive by virtue of her moral purity, in 2018 she fights like hell for that survival, taking active steps to make sure that Myers can no longer victimize her. She takes the lead in tracking Myers down and trapping him on her home turf. After spending years contemplating and preparing for the return of his torment, Laurie has transformed herself into the Ultimate Final Girl through sheer force of will. She has no intention of being defeated yet again.Critically, Laurie must also protect her daughter Karen (Judy Greer) and granddaughter Allyson (Virginia Gardener) this time around, folding them into a generational legacy of victimization and defense. When the threat they have dismissed for so long reveals itself to be real, they join forces with Laurie to fight and eliminate it – Myers is now a specter that haunts them all, the source of their estrangement and the origin of their familial trauma. Defeating Myers together connects the women as Final Girls of a new generation, forcing them all to overlook their own and each other s flaws in order to face the embodiment of their fractured relationships. Laurie leads the charge, but her family takes up her mantle. This isn’t to say that the old trope never survives. In fact, Allyson’s best friend Vicky is killed during a babysitting job soon after letting her wayward boyfriend into the house. It wouldn’t be a stretch to interpret her death as the same kind of stark moral judgement that historically happened in slasher films. This is especially true given the contrast with Allyson’s own encounter with Myers. After her boyfriend’s best friend inappropriately propositions her, he is immediately murdered while she survives. His overeager instinct to breach her consent should absolutely have been corrected, but death is a disproportionate response. The message couldn t be clearer: all sexual impulses exist along the same punishable continuum, regardless of how welcome they might be to the participants involved.(Photo by © Neon /Courtesy Everett Collection)One of the starkest examples of this shift in recent years is 2018’s Assassination Nation, which explored the trope in thrilling style. Set in conservative Salem, the movie focuses on a group of teen girls who find themselves at the center of a small-town lynch mob when they are blamed for the release of the community s private information. The girls are not guilty of the mass doxing, but their reputations as “loose women” make them ideal targets for the ire and anger of the town’s men and boys. The girls — Lily (Odessa Young), Sarah (Suki Waterhouse), Bex (Hari Nef), and Em (Abra) – are known at their high school for their skimpy outfits, their questionable choices in boys, and their perceived promiscuity. They are open about and proud of their burgeoning sexuality and enjoy exploring their relationships to the men in their lives. Lily is dating an abusive high school boy and carrying on an illicit affair with a married neighbor. Bex is trans and keeping her relationship with the popular football player a secret at his request. Sarah and Em are living with their mother Nance, who is implied to be operating a brothel out of her home. When the community devolves into ultraviolence, the citizens hunt the girls across the town, determined to punish them for being forced to confront their own once-private sexual shames. As the balance of power shifts, the horror genre tropes follow in quick succession. From a coordinated home invasion to a horde of masked killers to the use of guns and baseballs bats — the most American of weapons — the girls suddenly find themselves in the middle of their very own slasher film.(Photo by © Neon /Courtesy Everett Collection)At another time, all four of these women would be fated to die before the credits rolled. Their proximity to vice marks them as fallen women, and only the morally pure survive the transformative power of abject terror. But as New Final Girls, all four of them not only survive but continue on to restore order to the town. The girls rescue each other from the outsized violence the men are trying to inflict on them (including an attempted rape and hanging) and take up arms to defend themselves both literally and in abstract. The film ends as they deliver a call to action to the town’s girls, surrounded by bodies and covered in glitter, both claiming the righteousness of their femininity and rejecting the ubiquity of patriarchal terror. Through female solidarity they all survive and mete out the violence necessary to do so. Assassination Nation is unique in that the girls are explicitly targeted because of their sexuality – usually, this aspect of the genre is left as subtext. But here, the trope is almost deconstructed by bringing both the reasons for their attack and subsequent defense to the surface. They become New Final Girls because, given the plot constraints, their only options are to transform themselves or die. (Photo by © Universal Pictures / courtesy Everett Collection)The New Final Girl is a natural evolution of the original trope. Stories are becoming more egalitarian, and with that comes a necessary examination of the moral dimension of the traditional way women are depicted on film. But in the end, all these Final Girls aren’t as different from each other as we might think. The virtuous distinction that we make between them is largely based on an old patriarchal frame that divides women into Madonnas and Whores, then kills the whores. Part of making the genre more progressive – or dare I say feminist – is rejecting that binary entirely.Teenaged Laurie Strode and college-aged Tree Gelbman might have led different lives and made different choices, but when it came down to it, they both survived because they resolved to fight and refused to die. The haunting specter of violent masculinity came for all the women mentioned here, and they all triumphed, even under the restrictive gaze of a society that expects feminine perfection. But no matter how stark the contrast may be, these changes are progressive strides that honor the history of the slasher genre in inventive ways while bringing them into the contemporary moment. The Final Girl survived, but the New Final Girl thrives, and she’s ready to fight again another day.Follow Catherine Young on Twitter @battymamzelle
10月8日，《英雄联盟》手游不限号不删档测试且向所有用户全面开放。这一消息几乎瞬间点燃国内无数翘首以盼的玩家热情。一时间，无数玩家纷纷下载游戏进入狂欢当中。切水果游戏电脑版(Photo by David Giesbrecht/FOX)This week s biggest TV news comes from the five main broadcast networks — ABC, CBS, NBC, Fox, and The CW — which debuted their fall TV schedules for advertisers in New York City all week long. We rounded up the news from each network in the order of this week’s presentation, along with when you’ll be able to watch each of them. Find out what nights your DVR will be getting the biggest workout in our roundup below, watch some of the trailers for the new series, and stick around for a new trailer for His Dark Materials from HBO and some major casting news at the end.TOP STORY: Fall TV PreviewNews from the New York UpfrontsFollowing Disney’s acquisition of Fox and many of the company’s assets — but not the Fox network — the broadcast network is having a rebuilding year. The fall will see the debut of football and wrestling, along with the premieres of existing hits including 9-1-1, the final season of Empire, The Resident, the second season of reality hit The Masked Singer, and, of course, The Simpsons.The network’s three new shows for the fall include Prodigal Son, about the son of a notorious convicted serial killer who has made hunting murderers his life’s work (and starring The Walking Dead’s Tom Payne and Masters of Sex’s Michael Sheen); Not Just Me, about a woman who discovers that her fertility doctor father used his own sperm to conceive more than a hundred children, including two new sisters (starring Brittany Snow and Timothy Hutton); and Bless the Harts, an animated series about a hard-working Southern family and featuring voices from Maya Rudolph, Kristen Wiig, Ike Barinholtz, and Jillian Bell, among others.Fox is holding several of its hit series for midseason (when football and baseball will be finished), including The Orville and Last Man Standing. It will also debut a 9-1-1 spin-off set in Texas and starring Rob Lowe, the cop drama Deputy starring Stephen Dorff, the soapy drama Filthy Rich starring Kim Catrall, and the artificial intelligence–themed drama NeXt starring John Slattery. New comedies include sitcom Outmatched, about average parents raising genius children, and two animated series: Duncanville and The Great North.NBC is bringing back many of its biggest series too, including The Voice, This Is Us, and all of the Chicago procedurals. There are also new seasons of New Amsterdam, The Blacklist, and the record-breaking 21st season of Law Order: Special Victims Unit. (It’s now the longest-running live-action prime time series in history.) The fall’s new drama is Bluff City Law, about a father-daughter lawyer duo in Memphis.On the comedy side, Perfect Harmony, which stars Bradley Whitford as a former Princeton music professor who becomes the director of a small-town church choir, and Sunnyside, starring Kal Penn as a disgraced New York City councilman who becomes a champion for a group of people attempting to become American citizens, join Superstore and The Good Place on the network’s Thursday night lineup.At midseason, the network will bring back comedies Will Grace and Brooklyn Nine-Nine, and dramas Manifest, Blindspot, and Good Girls. Reality series America’s Got Talent (and spin off The Champions), Ellen’s Game of Games, Little Big Shots, World of Dance, and American Ninja Warrior will also return in the new year. New shows debuting in 2020 include tearjerking drama Council of Dads, crime procedural Lincoln (based on the book The Bone Collector), musical Zoey’s Extraordinary Playlist, comedy Indebted, and sitcom The Kenan Show (yes, starring Saturday Night Live’s longest-tenured cast member, Kenan Thompson).Another network that’s sticking with its existing properties is ABC, which will premiere new seasons of Dancing With the Stars, The Good Doctor, The Conners, Bless This Mess, Black-ish, The Goldbergs, Schooled, Modern Family, Single Parents, Grey’s Anatomy, A Million Little Things, How to Get Away With Murder, American Housewife, Fresh Off the Boat, and America’s Funniest Home Videos in the fall.New scripted series debuting in the fall include the drama Emergence, about a cop who takes in a mysterious little girl she finds at a crime scene only to become embroiled in a conspiracy that leads back to the girl’s unknown identity; Stumptown, about a military-veteran private investigator who clashes with criminals and cops, based on the graphic novel of the same name and starring the MCU s Agent Maria Hill Cobie Smulders; and Mixed-ish, a Black-ish spin-off about the childhood of Tracee Ellis Ross’ Bow. Tiffany Haddish will also head up a rebooted version of the classic variety show Kids Say the Darndest Things.At midseason, ABC will bring back American Idol, The Bachelor, Shark Tank, The Rookie, Station 19, and Marvel’s Agents of S.H.I.E.L.D., and debut the dramas The Baker and the Beauty, about a Cuban baker in Miami who is thrust into the spotlight when he falls in love with an international superstar fashion mogul, and For Life, about a prisoner who becomes a lawyer and litigates cases for other inmates while fighting his own wrongful conviction and life sentence for a crime he didn’t commit (inspired by the real life of Isaac Wright Jr.). The only 2020 new comedy debut for the network is United We Fall, about two parents who stick together while juggling their kids and their overly involved extended family.CBS is bringing back a whopping 24 new shows in the 2019-2020 season, including 14 in the fall. The 2019 returnees are standby procedurals, including NCIS, NCIS: New Orleans, NCIS: Los Angeles, Blue Bloods, Hawaii Five-0, FBI, SEAL Team, SWAT, Magnum P.I., God Friended Me, and the final season of Madam Secretary. The loss of The Big Bang Theory will be big for the network, which is bringing back comedies The Neighborhood, Young Sheldon, and Mom.The new series debuting this fall on CBS include the Chuck Lorre–created comedy Bob Hearts Abishola, about a man who falls in love with his Nigerian nurse; courthouse drama All Rise, a courthouse drama focusing on a black female district attorney as she begins her new career as a judge; The Good Wife creators Michelle and Robert King’s psychological mystery Evil, starring Katja Herbers and Mike Colter, about a psychologist, a priest in training, and a carpenter who join forces to investigate unexplained mysteries, supposed miracles, demonic possessions, and hauntings and ultimately discover whether there is a logical explanation or something truly supernatural is at work; comedy The Unicorn, about widower Wade (Walton Goggins) who’s finally ready to begin dating again but doesn’t realize what a catch he is; and sitcom Carol’s Second Act, starring Patricia Heaton as a divorcee who follows her dreams and goes to med school, becoming her hospital’s oldest intern in the process.The network’s midseason schedule will include returning series Criminal Minds, MacGyver, Man With a Plan, The Amazing Race, Undercover Boss, and Big Brother, along with newcomers FBI: Most Wanted, a spin-off of Law Order creator Dick Wolf’s FBI that focuses on the Fugitive Task Force that pursues the criminals on the Bureau’s Most Wanted List; Tommy, starring Edie Falco as a former NYPD officer who becomes Los Angeles’ first female chief of police; and Broke, about a single suburban mother whose estranged sister and wealthy brother-in-law move in when their fortune disappears.The CWThe CW renewed every single one of its series that wasn’t already announced as ending this season, 11 in all. Superheroes Supergirl, Arrow, The Flash, and Black Lightning will premiere as usual in the fall, and will be joined by their new colleague Kate Kane (Ruby Rose), a.k.a. Batwoman. Also returning are Legacies, Charmed, All American, Dynasty, and, of course, Riverdale, with DC’s Legends of Tomorrow, Roswell, New Mexico, The 100, and In the Dark held for midseason.In addition to Batwoman, which you can read more about here, the fall will bring the network’s newest mystery series, Nancy Drew, which has a supernatural bent. Riverdale spin-off Katy Keene, starring Lucy Hale as the titular fashion designer and Ashleigh Murray reprising her role as pussycat Josie McCoy, will debut in the spring.Related: The CW Teases Batwoman, ‘Crisis on Infinite Earths’ Crossover, and Its Comic Book Future Trailer Watch: His Dark MaterialsNot to be outdone by the tsunami of broadcast news, HBO released its trailer for His Dark Materials. The series adapts Philip Pullman s book trilogy of the same name. The first season follows brave young Lyra (Dafne Keen) as she journeys through various worlds searching for a kidnapped friend and uncovers a conspiracy in which children are being stolen. The series also stars Ruth Wilson, James McAvoy, Clarke Peters, and Lin-Manuel Miranda. The series does not yet have a release date.FX Miniseries Mrs. America Adds to All-Star Cast Led by Cate Blanchett(Photo by Steven Chee/courtesy of FX)FX has hired an all-star team to join Cate Blanchett in its upcoming miniseries Mrs. America, which follows the movement to ratify the Equal Rights Amendment and the backlash led by a conservative woman named Phyllis Schlafly (Blanchett). The story will be told through the eyes of the women of that era — including Gloria Steinem, Betty Friedan, Shirley Chisholm, Bella Abzug, and Jill Ruckelshaus — and explore how the American political landscape was forever shifted. It will debut on the network in 2020.Uzo Aduba will play Chisholm, Rose Byrne will play Steinem, Ari Graynor will play lawyer Brenda Feigen-Fasteau, Margo Martindale will play Abzug, Tracey Ullman will play Friedan, Melanie Lynskey will play Schlafly ally Rosemary Thomson, Sarah Paulson will play Schlafly’s best friend Alice (a fictional character), James Marsden will play conservative congressman Phil Crane, John Slattery will play Phyllis’ husband Fred Schlafly, and Jeanne Tripplehorn will play Phyllis’ sister-in-law Eleanor Schlafly.More Casting News: The New Pope, David Letterman Introduces New Guests, Captain Marvel Runs Wild(Photo by Gianni Fiorito/HBO)The upcoming second season of David Letterman’s Netflix talk show My Next Guest Needs No Introduction will feature a star-studded lineup of talent including Kanye West, Ellen DeGeneres, Tiffany Haddish, Lewis Hamilton, and Melinda Gates. All episodes of season 2 debut May 31.The new season of Running Wild With Bear Grylls, which moves from NBC to National Geographic this fall, will feature the host braving the elements with Captain Marvel herself, Brie Larson, and somehow-never-a-superhero Armie Hammer.Queer Eye’s Tan France will host a fashion competition series Next in Fashion with designer and model Alexa Chung. Eighteen designers will face off in challenges for a chance to win a 0,000 grand prize in the 10-episode series. Elizabeth Stewart and Eva Chen will be recurring guest judges with additional guest judges to be announced later. No date has been announced for the series.Finally, HBO announced that Sharon Stone and Marilyn Manson will guest star in The New Pope, the eight-episode follow-up series to The Young Pope, that will star John Malkovich and Jude Law — both as popes.Holy Father! Sharon Stone and Marilyn Manson will guest star in #TheNewPope, coming soon. pic.twitter.com/bMtNiVtMwq HBO (@HBO) May 17, 2019
In a scene from the season 7 premiere of NBC s The Blacklist, FBI agent Aram Mojtabai (Amir Arison) helps Liz Keen (Megan Boone) vet nanny candidates for her young daughter s care. In the process, they uncover a rogues gallery of shadowy figures and unsavory characters.About the series: After being abducted by Katarina Rostova, Raymond “Red” Reddington (James Spader) finds himself alone in hostile territory, unsure of who, if anyone, he can trust. Surrounded by old enemies and new allies, Red must stay one step ahead of the Blacklist’s most dangerous criminal, who will stop at nothing to unearth the very truth Red wants no one to know about. To find it, Katarina will insinuate herself into the life of Liz, who has finally reunited with her daughter Agnes. Katarina’s presence will bring danger to Liz’s doorstep and forever alter her relationship with Red.The Blacklist also stars Diego Klattenhoff, Hisham Tawfiq, and Harry Lennix.The Blacklist season 7 premieres Friday, October 4 at 8/7C on NBC.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
4. 呼朋唤友 随心所欲
After the pandemic brought the industry to a halt, delaying multiple release dates for the studio, Marvel has finally returned with limited series WandaVision, kicking off the beginning of its Phase 4 slate. It s also the studio s first foray into delivering some original programming to Disney+, with the first two episodes of the series premiering to the streamer on Friday, January 15.The highly-anticipated series puts Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) and her synthezoid boyfriend Vision (Paul Bettany) in the spotlight. A 1950s-style sitcom spotlight, to be specific. On the surface, WandaVision looks to be unlike anything Marvel has done within the 13-year framework of its Marvel Cinematic Universe.But does the program work? Here s what critics are saying about WandaVision:HOW DOES THE SITCOM NARRATIVE WORK?(Photo by Marvel Studios/Disney+) Each new episode replicates a different decade of yesteryear sitcoms beginning with 1950s I Love Lucy and The Dick Van Dyke Show in the premiere episode. The second episode tackles series like Bewitched and I Dream of Jeannie, and the third shadows The Mary Tyler Moore Show, and so on. —Megan Vick, TV Guide It’s played almost as a straight tribute to those ancient shows, but there are tiny touches, here and there — beyond the employment of superpowers — that suggest that something is very wrong. — Helen O Hara, Empire Online In a break from the traditions of the ’50s and ’60s, the faux-sitcom vehicles of the first two episodes go out of their way to cast people of color, and to poke at the blatant misogyny that turned shows like Leave It to Beaver into symbols of a bygone era. When actress Teyonah Parris pops up in episode 2 as one of Wanda’s new neighborhood pals, Geraldine, WandaVision has its cake. Old shows never had Black women playing this type of role to chipper perfection, but “Geraldine” clearly knows she isn’t supposed to be there. — Matt Patches, Polygon With each installment, a few more cracks in the sitcom facade appear, but the bigger mystery is unveiled at an excruciatingly slow pace. In the second episode, Teyonah Parris is introduced as mysterious neighbor Geraldine, but those who have been following Marvel casting news will know there s more to her than that. The third offers some tantalizing peeks at what might really be going on but stops short of explaining it. As a weekly series, it s an aggravating and unsuccessful structure. — Kelly Lawler, USA Today WandaVision isn’t just another story about superheroes; WandaVision is a love letter to the history of sitcoms, one that sharply dissects how and why the format endures and why it remains culturally significant. Yep—WandaVision is a superhero show (a genre that’s frequently dismissed by critics) that analyzes sitcoms (a format frequently overlooked by critics). — Brett White, DeciderHOW IS THE PRODUCTION QUALITY? (Photo by Marvel Studios/Disney+) The set design, the performances, and the specific feel of a multi-camera sitcom — WandaVision’s pilot was filmed in front of a live studio audience — reflect a love for these indelible shows. — Alex Abad-Santos, Vox The look and feel of each episode is true to the spirit of its respective sitcom era as much as to any one show, as it’s clear everyone did their homework(*). — Alan Sepinwall, Rolling Stone Though it gets off to a slow start, the show has plenty going for it, from gorgeous, extremely expensive-looking production design and breathtaking special effects to punchy performances, a trippy mood and a plot that does eventually become quite absorbing. — Judy Berman, TIME Magazine Christophe Beck nails the jaunty sitcom score interstitials that bookend scenes, while Frozen songwriters Robert Lopez and Kristen Anderson-Lopez gift our leads with period-appropriate jingles that befit whatever decade they’re trapped in now. — Clint Worthington, The Spool HOW DOES IT CONNECT TO THE MCU? (Photo by Marvel Studios/Disney+) As the saturation drains from the title card, and the opening notes of WandaVision’s first theme song begins to play, the episodic nature of the series jumps out, and reminds you that this debut Marvel series on Disney’s streaming service isn’t quite trying to conjure up your traditional MCU shock and awe. — Charles Pulliam-Moore, io9.com These Disney+ series, though, expand the story of characters we know from the movies in way that the movies simple did not have time to do. It also allows WandaVision creator Jac Schaeffer and director Matt Shakman to put a uniquely stylized and deeply emotional spin on a story that would have (had this been a movie) otherwise been shackled by the mandated aesthetics of the overall MCU. — Allison Keene, Paste Magazine There is an overarching story to the series, one that will presumably explain how these very surreal events connect back to the lives (and deaths) of matter-and-mind manipulating Wanda Maximoff (Elizabeth Olsen) and the artificial “synthezoid” known as Vision (Paul Bettany) from the more cinematic entires of the Marvel Cinematic Universe. Through the first third of WandaVision’s season, though, its Marvel mythology remains in the background. — Matt Singer, ScreenCrush What s really going on here, given where movie-goers saw these Avengers last? That s the fundamental mystery, one the producing team is clearly in no hurry to divulge. Patience becomes a virtue, taking in the sitcom homages while maintaining a watchful eye for sly Marvel references and cleverly placed dollops of color, presenting possible cracks in the black-and-white veneer. — Brian Lowry, CNNHOW ARE ELIZABETH OLSEN AND PAUL BETTANY? (Photo by Marvel Studios/Disney+) Olsen and Bettany are delightful as they channel sitcom performers of the 1950s, 1960s, and 1970s, demonstrating their sharp comedic timing. It s a testament to their strengths as actors that they don t come across as doing imitations of the old shows WandaVision draws from, which helps immerse viewers in each new period. — Chris Agar, ScreenRant If you were looking for charming stars to convey a Mary Tyler Moore/Dick Van Dyke vibe, you couldn t do much better as Olsen and Bettany get to spell out the sweet chemistry that the movies have only hinted at. — Dan Fienberg, Hollywood Reporter Bettany has had a few comedic roles in the past, but none that demanded this level of full-on slapstick commitment — yet his follow-through makes him feel like a pro with 100+ episodes of syndicated hilarity under his belt. And it s not just that he can deliver some killer punchlines, it s how fiercely he throws himself into the relevant archetypes of each era while always allowing the glimmer of artifice to stand out. — Liz Shannon Miller, ColliderWHAT ABOUT THE SUPPORTING CAST? (Photo by Marvel Studios/Disney+) The leads aren’t left alone to do all the heavy lifting thanks to a terrific supporting cast of character actors that wouldn’t normally find their way into a Marvel Studios production. Notably, Kathryn Hahn uses her comedic skills to great effect as the precocious neighbor Agnes and That 70’s Show alum Debra Jo Rupp, as the wife of Vision’s boss, is a perfect addition to add to the period feel of the show. — Kyle Wilson, Lamplight Review Alongside Olsen and Bettany is Kathryn Hahn as a nosy neighbor, whose comic relief develops and darkens as the show moves into the 1970s. She’s as invaluable in WandaVision as she is in most things, perfectly capturing the series’s mood of perky, tireless energy slowly being consumed by paranoid sci-fi dread. — Richard Lawson, Vanity Fair The supporting cast is also a delight, with hints of further meaning yet to be unveiled, with the impeccable Kathryn Hahn bringing the sass as the couple s helpful neighbour Agnes and Mad Men’s Teyonah Parris as the mysterious Monica Rambeau. — Lewis Knight, Daily Mirror (UK)ANY FINAL THOUGHTS? Unabashed, off-kilter, and unlike anything Marvel has ever attempted, WandaVision is a reality-warping joy that promises a new beginning of the MCU. — Lauren J. Coates, Consequence of Sound Stretched out into three (and likely more) episodes, the stuck-in-a-TV-show premise starts to seem like a better idea for an interlude within something larger, rather than a whole thing unto itself. — Richard Lawson, Vanity Fair Working as both a love letter to classic sitcom television and a modern comic book mystery, WandaVision is just weird and charming enough to work. — Kyle Wilson, Lamplight Review Consider WandaVision an unusual first step for this new Marvel phase. The best parts lovingly conjure the mood of very old television shows. The worst parts feel like just another movie. — Darren Franich, EW WandaVision premieres its first two episodes on Friday, January 15 on Disney+.
5. HD 画质与高品质音讯
4.85.8 6月喜迎HBO s Lovecraft Country, based on Matt Ruff s 2016 novel of the same name, follows army vet Atticus Freeman (Jonathan Majors) and childhood friend Leti Lewis (Jurnee Smollett) as they travel the tumultuous roads of 1950s Jim Crow America in search of Atticus missing father — with the added mystery that his family s birthright may exist at the end of the line.Hailing from producing power trio Misha Green (Underground), J.J. Abrams (Lost), and Jordan Peele (Get Out), the series, which premieres to HBO on August 16 at 9 p.m. ET/PT, once again finds the network delving into genre territory to explore the demons of America s racist past while parading a cavalcade of classic horror and science fiction tropes before the viewer. The result is a show that s as terrifying and dramatic as it is bloody good fun to watch.Lovecraft Country is a production-budget upgrade for Green and Smollett who previously both found themselves in strong lead positions with Underground — Green stepped into her first-ever role as showrunner, and Smollett carried the Underground Railroad–inspired WGN series as its star. Their creative reunion is a force to be reckoned with here, further bolstered by an epic effects budget and riveting performances by Smollett and Majors along with their supporting cast: Emmy-winner Courtney B. Vance (The People v. O.J. Simpson: American Crime Story) as Uncle George, Michael Kenneth Williams (The Wire) as Atticus father Montrose, Aunjanue Ellis (If Beale Street Could Talk) as Hippolyta Black, Wunmi Mosaku (Luther) as Leti s estranged sister Ruby, and Abbey Lee Kershaw (Mad Max: Fury Road), and Jordan Patrick Smith (Vikings) as sinister members of the mysterious Braithwhite clan.Is the new horror series a hit? Season 1 is currently Certified Fresh at 100% on the Tomatometer. Here’s what critics are saying about season 1 of Lovecraft Country:How Are the Performances?(Photo by HBO)The real star of the show is Jurnee Smollett s Letitia Lewis. A Black woman in a main protagonist role, she s a strong woman, silenced in a world full of men. As she says in the scene with Uncle George, The name s not girl, it s Letitia f**kin Lewis. Her strength and courage save the menfolk again and again. — Nikki Onafuye, Digital SpyMajors, who broke through with his role in 2018’s The Last Black Man in San Francisco, is mesmerizing as shy yet resilient Atticus. His energy and personality perfectly harmonize with Smollett’s Leti, who’s very brave, passionate, and incredibly fierce. With the actress’ performance of Black Canary in Birds of Prey and Letitia’s portrayal in Lovecraft Country, this is definitely her year – as she rightfully deserves. Both Atticus and Letitia make a powerful, magnetizing duo that fights everything supernatural while battling real-life demons who want to see them fail. — Zofia Wijaszka, Awards WatchFrom top to the bottom, Lovecraft Country has an absolutely phenomenal ensemble cast, but special praise has to go to leads Jonathan Majors and Jurnee Smollett a powerhouse duo who anchor Lovecraft Country in the most masterful of ways, and names such as Michael Kenneth Williams, Wunmi Mosaku, Aunjanue Ellis, and Abbey Lee are all likewise fantastic when given their time in the spotlight. — Andrew Pollard, StarburstMonsters Abound, but Racism Is the Ultimate Big Bad(Photo by Eli Joshua Ade/HBO)Lovecraft Country is brilliant just based upon premise and promise alone, and it delivers on this mashup of horror sci-fi with racism. But despite the monsters that loom large over everything it s very true that white supremacy is the biggest terror. —Trey Mangum, Shadow and Act“Lovecraft Country” wrangles with vicious examples of Black inequality and white cruelty, on the books and off. There are the monsters these characters know — law enforcers who threaten lynching in “sundown” counties, or white Chicagoans resisting Black integration on the north side, for example. There are also monsters they discover along the way, from the Lovecraft dimension. — Michael Phillips, Chicago Tribune“Lovecraft Country” is rooted in traditions of horror, and uses that genre’s tools to argue that, for Black citizens, America is not a problem to be solved but a monster to be outrun. It’s a point well taken, and a case stylishly and often cleverly made. But over the course of this series’ first five episodes, it remains unclear how “Lovecraft Country” will advance itself beyond the shock of monstrosities, both new and familiar. — Daniel D Addario, VarietyLovecraft Country as a whole is an unsubtle remixing of Lovecraft’s mythos that brings his widely known, virulent racism to the fore rather than letting it be just a footnote. By blending historical facts like segregation with chthonic fiction, Lovecraft Country immediately sets itself up to be the sort of show (somewhat similar to Watchmen) that ends up teaching certain audience members some ugly truths about the past. — Charles Pulliam-Moore, i09.comHow s the Production Value?(Photo by Elizabeth Morris/HBO)Less comicky in its compositions than something like Watchmen, which also brought allegorical fantasy to the African-American experience, Lovecraft Country is either high-octane flashy or pure pragmatism in its visuals. With a joyful amount of viscera and gore, these shocks to the system never failed to leave a Tom Savini-loving grin on my face. — Jacob Oller, Paste MagazineThe series has its share of CGI monsters, from many-limbed creatures to undead spirits, but its most compelling visual scares involve the cold framing of remote manors owned by cult leaders like Samuel Braithwhite (Tony Goldwyn) and his daughter, Christina (Abbey Lee). — Jake Cole, SlantA credit to the glitzy production design, the city’s historic South Side comes alive as a vibrant summer milieu composed of retro Black-owned storefronts and neighborhood activities: kids playing stickball in the streets, children prancing in the cool spray of a fire hydrant’s water. The costumes also enliven the period, an array of chic threads as colorful as the neighborhood. The frames are dynamic, relying on long tracks and immersive crane shots, and a host of extras: The moments when Tic walks through the city’s streets or navigates the late-night neighborhood blues concert headlined by Ruby are portals into the past, and the generous use of extras give the neighborhood a completely lived-in feel. — Robert Daniels, The PlaylistDo the Heavy Horror and Sci-Fi References Work in Its Favor? (Photo by Elizabeth Morris/HBO)The show features nods to 1980s adventure movies such as The Goonies, Cronenbergian body horror and classic 1930s monster movies. But while exciting and satisfying to die-hard genre fans, the series runs the risk of fragmenting itself too severely. — Brandon Katz, ObserverSubsequent episodes transition into a ghost story involving metaphors for urban segregation and white flight, and then into a cliffhanger-heavy adventure yarn that examines the colonialist roots of exploration in a way National Treasure or Goonies did not. — Daniel Fienberg, The Hollywood ReporterIn some ways, Lovecraft Country is a victim of its own ambitions. Emptying out a library s worth of pulp references and using them to spelunk the darkness of postwar American white supremacy just before the dawn of the civil rights era makes for a heady brew. But the ideas don t always play out successfully. — Chris Barsanti, PopMattersMusic and Media Makes the Period Piece Feel Timely(Photo by Elizabeth Morris/HBO)The trip starts with a driving sequence set to James Baldwin s 1965 words during a debate at Cambridge University about the unattainability of the American dream for Black people. Baldwin s voice isn t the only welcome anachronism in Lovecraft Country. The soundtrack is filled with Etta James and Nina Simone songs from the ’60s, but also Rihanna, Frank Ocean and Marilyn Manson. There s a sequence of Leti at church that incorporates the sound from this 2017 Nike campaign that champions equality for the LGBTQ community. Audio from different eras helps link the present and past. —Patricia Puentes, CNET “Lovecraft Country” has a sense of timeliness as well. When police arrive at the scene of a disturbance, the Black crowd adopts a “hands up, don’t shoot” posture; taken into custody, Letitia is subjected to the sort of bruising police van ride that led to the death of Freddie Gray in Baltimore in 2015. —Robert Lloyd, Los Angeles Times Sometimes, the soundtrack is era-specific, but get used to the likes of Cardi B or Frank Ocean or The Jeffersons theme accompanying the action — or, in a bold break from cinematic tradition, for some montages to be accompanied not by songs, but by monologues, such as an excerpt from James Baldwin’s famous 1965 debate about racism with conservative pundit William F. Buckley. —Alan Sepinwall, Rolling StoneEven with a soundtrack featuring gospel, jazz, rap, pop, poetry and metal-everything from Shirley Caesar, Etta James, and Marilyn Manson to Cardi B, Gil Scott-Heron, and Leon Bridges, Lovecraft Country manages to holistically comprise feelings of hope, love, despair, and fear into a fascinating story. Though some of the storytelling may baffle viewers unfamiliar with certain folklore (truthfully, I was a bit lost at times), all will be captivated by the multi-layered performances and immersive storytelling. —Candice Frederick, TV Guide Final Thoughts?(Photo by Elizabeth Morris/HBO)Lovecraft Country won t be for everyone. It can be slow-moving and the nefarious cultists are generally a bland bunch Still, there is lots of pulpy fun and some gory moments (the easily-spooked should avoid). —Ed Power, Daily Telegraph (UK)Lovecraft Country lands in a specific time and place for both, but in a way that feels universal as much as it feels scary. It s one of the best shows HBO has made in a long, long time. —Alan Sepinwall, Rolling StoneSpellbinding. —Chris Evangelista, Slashfilm Lovecraft Country is dizzying, poetic, and terrifying. —Robert Daniels, The PlaylistLovecraft Country season 1 premieres on HBO on Sunday, August 16.
Everyone is about to find out the answer to the question: Who would win out of Godzilla and King Kong if they were to go toe-to-toe in a rock-em-sock-em city-destroying brawl (or several brawls)? That’s kinda the entire premise of the MonsterVerse’s latest movie, Godzilla Vs. Kong. But which of these two icons of cinema would come out on top if the playing field were…. Dancing with the Stars? Or, say, The Great British Bake Off? Ahead of the new movie’s release, Rotten Tomatoes correspondent Nikki Novak sat down with the huge cast – which includes Millie Bobby Brown, Alexander Skarsgård, Demián Bichir, Rebecca Hall, and more – to see which monster they think would dominate on various reality TV shows. It wasn’t all fun and games, though: Novak also went deep on the long-coming clash of the titans, asking Brown, Skarsgård, Bichir, Hall, and fellow co-stars Julian Dennison, Eiza González, and Kaylee Hottle, what it was like to share the big screen with the big guys and how they worked to bring a bit of heart and soul to all the mayhem. Plus, director Adam Wingard reveals that he wanted the movie to be even bigger (!) and why audiences should keep their eyes peeled for action movie easter eggs.Check out our podcast: Rotten Tomatoes Is Wrong About Godzilla: King of the MonstersGodzilla Vs. Kong is in theaters and available on HBO Max from March 31, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
In the midst of a busy spring premiere schedule, Marvel’s Cloak Dagger returned to Freeform on April 4 with a special two-episode premiere, highlighting the confidence of the sophomore show as an outlier in Marvel’s television business.Starring Olivia Holt and Aubrey Joseph as two teens whose super powers work together by harnessing the powers of light and dark to save their city, Cloak Dagger flew largely under the radar during its first season. And while superpowered teens may be nothing new, the show s New Orleans setting and suggestion of fate as the reason for the Divine Pairing getting their powers make it a singular experience. And as we discussed with the cast and producers of the show during WonderCon, the show s second season will solidify the fact that Cloak Dagger is a show worth checking out. Here are five key reasons why.1. The Characters Are True to Their Comic Book Sensibility(Photo by Freeform/Alfonso Bresciani)While the two lead characters may not have the costumes of their comic book counterparts, executive producer Jeph Loeb noted Tyrone (Joseph) and Tandy (Holt) were never the sort who said, Let s stop the bank robber.” From early on in their story, they faced issues of homelessness and drugs — problems not easily corrected with a few fistfights or quips.“They were always there to protect the people that couldn t protect themselves,” Loeb said. “So nothing is truer than what we live to do on the show.”The season 2 premiere saw Tandy and her mother in counseling to finally confront the memory of Tandy’s abusive father. It also led Tandy on a journey to better understand why some women refuse to fight or flee when caught in those situations. As with the comic book of the 1980s, it is something she cannot easily tackle with her powers or even her tenacity.2. The Training Wheels Are Coming Off(Photo by Freeform/Frank Ockenfels)According to Holt, the first season saw Tandy and Tyrone facing the world with the training wheels on.“They’re sort of still trying to grasp and cope with the powers that they ve developed, and also they have been sort of forced to be friends in a way, and they didn t have to be,” she explained. “But they ve chosen to take on that role in each other s lives and they are, they re better together than they are apart.”Naturally, the second season will see these training wheels come off.“They’re gonna fall down a couple of times, but they re gonna keep getting back up because that s what they do, she added, and that s what they do for each other. For executive producer Jeph Loeb, the first season concluded with a key question: “Can we actually now become heroes and put our lives on the line and put the rest of our lives on hold in order to do that?”The answer to that question will lead to Tyrone and Tandy properly becoming Cloak and Dagger, respectively.While nothing in the first two episodes suggested the duo would be facing any more perilous situations than they did before, the episodes began to illustrate the world as a more complex place. Tyrone, for example, teleported into an ambulance that was apparently kidnapping a young woman. He involuntarily teleported away before he could help her, but seeing her set him off on a quest to understand what is happening to him. The situation also dovetailed with Tandy’s story as the woman in the ambulance turned out to be a victim of domestic violence she could not help.3. A New Story for a New Year(Photo by Freeform/Alfonso Bresciani)Cloak Dagger ended its first season by giving Tandy and Tyrone a legitimate win. They fulfilled their destiny and saved New Orleans from a cyclical calamity requiring the sacrifice of a generational “Divine Pairing.” But with both of them surviving — a new element in the show’s particular mythology — the two are now looking at become vigilantes to give them a new purpose.“[In the] second season we step into the realm of human trafficking,” Holt said. “It is a really intense journey for both Tandy and Tyrone. That journey begins with the woman in the ambulance, and, as showrunner Joe Pokaski noted, helps form a key story for the season.“When we started talking about this season, we had talked a little about human trafficking, and how everyone knows the term but not everyone knows how widespread it is — that there are hundreds of thousands of men and women being trafficked for both labor and for sex,” he said. As both Tyrone and Tandy experience the sort of marginalization that leaves people vulnerable to trafficking, Pokaski and his team thought “they could be the heroes for some of these forgotten people.”Luckily, the pair will have honed their powers in the eight months between the end of the first season and the beginning of the second.“Ty is finally becoming a little more comfortable in himself,” Joseph explained, and he s “confident in himself and confident in his powers.”Of course, he has plenty of time to settle in to those powers as he is still hiding out in the old church and evading the cops who are accusing him of a murder he did not commit. Which, as it happens, inverts the status quo from season 1, which saw Tandy living in the church and Tyrone living at home with his parents. Joseph said Tyrone’s relationship with his family will continue to be explored despite their separation. He also said it may even lead to some “interesting” developments.4. A Little Mayhem(Photo by Marvel/Alfonso Bresciani)While Emma Lahana created an offbeat cop in the form of Brigid O’Reilly during the show s first season, fans of Marvel Comics know Brigid better as Mayhem, an apparently undead former cop who can issue a paralyzing gas and attack foes with razor talons. It seemed that version of the character was teased in a stinger scene at the end of the season. But as viewers saw in the second part of the season 2 premiere, Mayhem is not as much contained within Brigid as it is something she must face head on.“She s so different from Brigid,” explained Lahana, who plays both versions of the character. Unlike her comic book counterpart, the two characters inhabit two separate bodies. “Her physicality is very different. Mayhem is kind of in this fight or flight mode at all times, whereas Brigid s about more protective of herself,” she added.Pokaski teased that Mayhem may not be the only new featured character joining the show’s ranks in the weeks to come.5. The Show Illustrates an Authentic Teen FriendshipWhile originally marketed as a teen romance, Cloak Dagger made the unusual choice to depict Tandy and Tyrone as friends and tease a potential romance later. As Pokaski put it, “When I was reading the comics, all I wanted was for Tandy and Tyrone to get together. Years into reading it, I realized that maybe I just wanted to want Tandy and Tyrone to get together.”It is a sensation he wants to recreate on the television series: “I want to make sure they are best friends.”Added Joseph, “You have these people from two totally different backgrounds that can connect. For them to have a companionship and to be the one person that they can trust was what was so beautiful to me.”Holt echoed his sentiment, saying, “I know everybody wants to see them get a room or something, but it s like right now the companionship that they have is so sweet to me. The opening episodes of the new season illustrates the newfound BFFs sense of companionship, with Tandy stealing her way into Tyrone’s old school so he can get course plans and textbooks, and the two enjoying movie nights together. They also still squabble because they are both quite stubborn, but it nonetheless reveals a certain closeness between the two that s a bond beyond their status as “The Divine Pairing. Loeb hopes it will prove “inspirational” for the program’s key audience.“[Hopefully younger viewers] recognize that people of that age can have male friends and female friends and friends that are interracial,” he said. “All those things go into the complicated world that they live in, but there s no doubt in anyone s mind who watches the show, how deeply [Tandy and Tyrone] care about each other.”That said, a romantic relationship is still the pair’s likely trajectory, as Pokaski teased, “I think the best love story is about falling in love with your best friend.”Marvel s Cloak Dagger airs Thursdays at 8 p.m. on Freeform.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
There’s a lot of excitement to be had with the release of Black Widow (out in theaters and on Disney+ with Premier Access on July 9). For one, the title character, played by Scarlett Johansson in the Marvel Cinematic Universe since 2010, finally has her own solo movie. Also, MCU fans finally get a new theatrical feature after two years of drought due to an unfortunate delay. And, finally, it’s also apparently pretty good and worth those two waits.The first crop of reviews for Black Widow, most of them positive, highlight additional things to be excited about specifically, from the performances by Johansson and Marvel newbie Florence Pugh to the relatively grounded action scenes and darker emotional themes for the franchise. It’s obviously not as epic as the last two Avengers movies, though, and whether that makes this a lesser entry or a breath of fresh air will be up for debate.Here’s what critics are saying about Black Widow:Is it worth the wait?Black Widow is finally here after years of delays and pushbacks due to the state of the world – but does it deliver where it needs to? The short answer is yes. Tessa Smith, Mama s GeekyAfter the extended delays of Natasha Romanoff’s long-overdue solo film, Black Widow was certainly worth the wait. Doug Jamieson, The Jam ReportOur patience pays off… Marvel Studios does it again and delivers the goods. Danielle Solzman, Solzy at the MoviesBlack Widow manages to be an extremely welcome case of better late than never. Jamie Jirak, ComicBook.comTruly better so very late than never. Brian Tallerico, RogerEbert.comThere is a too little, too late sense of closure that makes some of the film’s narrative choices confusing at times. Mae Abdulbaki, Screen RantHow does it compare to other parts of the MCU?The best aspects of Black Widow echo the ‘70s spy movie tone of one of the best films in the MCU, Captain America: The Winter Soldier. Brian Tallerico, RogerEbert.comThink a scaled-down version of Captain America: The Winter Soldier. Joey Magidson, Awards RadarBetter than Captain America: The Winter Soldier? Probably not. Superior to anything with the word Ant, Doctor, Hulk or even Thor in the title? Most def. Joey Morona, Cleveland Plain DealerBlack Widow is certainly no Thor Ragnarok or Black Panther and has fairly average MCU visuals and fight scenes. Nicole Ackman, Next Best PictureBlack Widow reminds me the most of Doctor Strange — a movie about a complicated adult character facing up to their own actions and redefining their place in the world without blaming it all on bad daddies. Evan Dossey, Midwest Film JournalShifting away from the superhero template into high-octane espionage thriller territory, it makes a far more satisfying female-driven MCU entry than the blandly bombastic Captain Marvel. David Rooney, Hollywood ReporterBlack Widow may be the least Avenger-like movie in the series so far. No offense to the other Avengers, but after all this time a tweak in the formula is a good thing. Caryn James, BBC.com(Photo by ©Marvel Studios)Does it bring anything new to the franchise?More than other Marvel movies, Black Widow tries to ground the story in a personal, character-driven narrative. Brian Lloyd, entertainment.ieIt has some of Marvel s best character dynamics to date. Jamie Jirak, ComicBook.comWhat sets Black Widow apart from the other MCU movies is that it embraces the darkness inherent in the premise of the character. Evan Dossey, Midwest Film JournalMuch of it doesn’t feel like a Marvel film at all, thanks to the darker tone. Nicole Clark, IGN MoviesDoes it work as a standalone movie?The plot… feels small by MCU standards, but that simplicity is a refreshing change of pace for a franchise that’s too often about saving the world. Rob Hunter, Film School RejectsIt s the palate cleanser the franchise needed… a self-contained, back-to-basics adventure that works just as well for newbies and casual viewers as it does for longtime fans. Angie Han, MashableBlack Widow is a pleasure exactly because it is inessential. Nick De Semlyen, Empire MagazineBlack Widow reminds us of the pleasure that can be offered by an MCU movie that isn’t having to do the legwork of setting up the next five chapters. Alonso Duralde, The WrapSomething is definitely set up for the future, but… Marvel could use these occasionally more self-contained films. Joey Magidson, Awards RadarBlack Widow is a rare Marvel production… that almost, almost pulls off the trick of being wholly its own thing. Richard Lawson, Vanity FairBlack Widow is merely a stepping stone film that fills in a few blanks that weren’t really there to begin with. Matt Rodriguez, ShakefireThis movie feels more like an introduction and set up for what is to come, than the solo film this character deserves. Tessa Smith, Mama s Geeky(Photo by ©Marvel Studios)How is the action?The film has some of the best action sequences in recent memory. Mae Abdulbaki, Screen RantA vast team of choreographers, stunt folks and trainers… gives the movie a visual coherence that most Marvel movies lack. Roger Moore, Movie NationThe fight choreography and stunt work here is impressive and occasionally thrilling, but more often than not, the effect is undercut by the over-cutting. Alonso Duralde, The WrapThe editing of the fight scenes is perhaps a touch too unrelentingly fast, often blurring the choreography, but the physical side never feels overwhelmed by CG enhancement. David Rooney, Hollywood ReporterThe physics are different here than in other Marvel movies, more finely attuned to the hardness and weight of things. It all feels a bit more real. Richard Lawson, Vanity FairFeels more grounded than many MCU entries… while we still get some comic book antics showing the expected disregard for physics we also see the physical toll that all that fighting takes on a human body. Rob Hunter, Film School RejectsThe (comparatively) grounded choreography leads to some of Marvel s most thrilling battles since at least Captain America: The Winter Soldier. Angie Han, MashableIt’s a nice dial back from Marvel films whose heroes can feel immortal… feels satisfyingly street level, in a Jessica Jones kind of way. Nicole Clark, IGN MoviesHow is Cate Shortland s work as director?There are moments where Black Widow absolutely benefits from having a woman in the director’s chair. Alonso Duralde, The WrapShortland proves to be one of the few filmmakers to make the leap from the indie circuit and put her own singular fingerprint on the visual identity of the film — Black Widow is one of the most visually coherent solo films of the MCU, with a gritty, streetwise style that feels like Shortland didn’t just hand off the action scenes to a second unit director. Hoai-Tran Bui, SlashfilmShortland s previous work in psychological thrillers The Berlin Syndrome and Lore gives her an edge with the kind of pulpy material at play here. Brian Lloyd, entertainment.ieShortland keeps things moving along, never letting you feel the runtime — efficiently paced and exciting. Joey Magidson, Awards Radar(Photo by Jay Maidment/©Marvel Studios)What about Scarlett Johansson s performance as Natasha?Scarlett Johansson [is] at her best. Jenna Busch, VitalThrills.comJohansson shines in the role, layering her signature bad assery with a previously unseen vulnerability. Joey Morona, Cleveland Plain DealerThe actress makes the most of it and delivers a powerful, moving performance that serves as a fitting farewell to her tenure as this Avenger. Josh Wilding, ComicBookMovie.comIt’s Scarlett Johansson who holds the film together and gives it its touch of soul… [She] makes the most vulnerable emotions part of the humanity of her strength. Owen Gleiberman, VarietyDoes Florence Pugh fit well into the franchise?If you re not already a fan of Pugh, you will be by the end of Black Widow. Yelena s a firecracker with great one-liners. Kirsten Acuna, InsiderOne of the most exciting additions to the MCU in some time. Josh Wilding, ComicBookMovie.comShe nails it with the spark of someone who’s been kicking around the Marvelverse since day one. Philip De Semlyen, Time OutShe shares much of Natasha’s fighting style while displaying even more sass. Rob Hunter, Film School RejectsHer deadpan is pitch-perfect, coaxing humor out of a traditionally stoic Scarlett Johansson. Where Natasha has coped by turning cold, Yelena has coped with humor. Nicole Clark, IGN MoviesPugh has a dangerous physicality to her as well, which lends to one of the best aspects of Black Widow. Hoai-Tran Bui, Slashfilm(Photo by Jay Maidment/©Marvel Studios)How are the villains in the film?Taskmaster certainly isn’t going to go down as one of the MCU’s best villains, but Black Widow makes good use of the character [as] a seemingly unstoppable force. Josh Wilding, ComicBookMovie.comRay Winstone also makes a great antagonist as Dreykov, conveying an insidious cruelty that is more devastating than most other MCU villains that have come before. Mae Abdulbaki, Screen RantOne of the better executions of villainy in the MCU… Dreykov’s character coheres effortlessly and successfully, feeling earned and without a hint of desperate pandering to feminists. Courtney Howard, Fresh FictionJust having Winstone in this picture lifts it several notches, and he is deliciously fun and scarily authentic as the villain of the piece. Pete Hammond, DeadlineRay Winstone is one of the weakest in the franchise. Joey Magidson, Awards RadarHow is the script?The plot [is] blessedly clean, caulking the spaces in between the stepping stones with characters’ interpersonal dynamics while avoiding any convolution. Courtney Howard, Fresh FictionThere is a lot of talking here, and if you aren’t willing, interested or inclined to invest yourself in the characters, it will likely be at the bottom of your re-watch pile. Evan Dossey, Midwest Film JournalThere is a moment that the writers seem to have decided they didn t have an answer to so they just skipped past it and onto the resolution. Amelia Emberwing, WhatToWatchBlack Widow feels of little consequence, delivering a story that has written itself into a corner with nowhere to go. Matt Rodriguez, ShakefireRyan FujitaniIs it a positive step for female characters in the MCU?We finally get to see Natasha… in a film full of women. Sorry, I mean freaking badass women. And it’s wonderful. Jenna Busch, VitalThrills.comBlack Widow puts female issues front and center without ever making it feel forced or preachy. Rob Hunter, Film School RejectsNeedless to say, the movie does a far better job than the rah-rah inclusivity gesture at the end of Endgame to play up its feminist leanings. Black Widow not only passes the Bechdel Test; it forces men to squeam as it puts them in their place. Eric Kohn, IndieWireDeriving strength from enduring suffering feels as slimy as it does tragic, a nail in the coffin to Marvel’s handling of women superheroes. Nicole Clark, IGN MoviesDoes the movie have any major problems?Natasha is more of a driving force for the other characters around her… even with her name in the title, the spotlight is constantly on someone else. Matt Rodriguez, ShakefireThe movie definitely wraps up a little too quickly; it s as if Marvel Studios had suddenly remembered they had to get Natasha where she needed to be for Infinity War. Josh Wilding, ComicBookMovie.comDescribing the horrors of the Red Room and the Black Widow program in a scene that s meant to be solely comedic because Disney s too afraid to get real with its media? That s maybe something we could have done without. Amelia Emberwing, WhatToWatch(Photo by Jay Maidment/©Marvel Studios)Will it leave fans hopeful for the future of the MCU?The themes of family and women s agency that it explores are a welcome addition to the MCU and hopefully a good indication of where Phase 4 is going. Nicole Ackman, Next Best PictureThe swings that the film takes make it an interesting entry… I’m glad the studio was willing to go all the way with it. Here’s to Marvel taking more risks in the future. Evan Dossey, Midwest Film Journal[It] should hopefully set the bar of inclusiveness for the remainder of Phase Four. Nate Adams, The Only CriticBy delivering a story that satisfies on its own terms… it makes a compelling case for moving ahead with this franchise into the future. Angie Han, MashableThe sorry thing of the film, really, is that this needn’t have been a Marvel movie at all. Richard Lawson, Vanity FairBlack Widow releases in theaters and streams on Disney+ with Premier Access on July 9, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
Today s Ketchup brings you another set of headlines from the world of film development news, covering movies with new roles for Richard Madden, Jessica Chastain, Michael Rooker, Elisabeth Moss, and more.This WEEK S TOP STORYMARVEL S YONDU May SNAP HIS TEETH INTO THE SUICIDE SQUAD AS KING SHARK(Photo by @ Walt Disney Studios Motion Pictures)Ever since Guardians of the Galaxy director James Gunn signed on to direct Warner Bros. and DC Comics The Suicide Squad, there have been rumblings that at least one of his Marvel stars would join him. For a while, there was word that might be Dave Bautista as Peacemaker, until recent news that the role will likely go to fellow professional wrestler John Cena instead. Today, we learned that James Gunn still might reunite with one of his Guardians stars, with Michael Rooker now in talks to play the monstrous villain, King Shark. If you re a fan of TV s The Flash, you might recall that King Shark has had some pretty cool scenes on that show. The Suicide Squad cast will also include Idris Elba, Viola Davis as Amanda Waller, and Margot Robbie as Harley Quinn. Warner Bros. has scheduled The Suicide Squad for August 6, 2021. Gunn is expected to return to Marvel Studios for Guardians of the Galaxy Vol. 3 after he wraps on the DC flick, suggesting a Guardians release date no sooner than 2022.Fresh Developments1. GAME OF THRONES, Bodyguard FAVORITE JOINS MARVEL S THE ETERNALS (Photo by Tony Gonzalez/Everett Collection)We re now within 10 days of the end of HBO s Game of Thrones, so we re in the midst of a wave of new roles for those many actors. The biggest story for a Game of Thrones favorite this week however was for someone whose last episode was nearly six years ago. Richard Madden, who played Robb Stark, the onetime King in the North, is now in talks with Marvel Studios about starring in The Eternals. If he signs on, Madden would be playing Ikaris, who, in the comics, has been a leader of the Eternals in the past. Angelina Jolie is also starring in The Eternals as Sersi (a long-running member of the Avengers in the late 1980s and early 1990s). Kumail Nanjiani (The Big Sick, HBO s Silicon Valley) and South Korea s Ma Dong-Seok are also attached to play unknown characters. There have also been reports that Marvel is looking to cast an openly gay Asian actor, but that role appears to have not yet been cast. The Eternals will be directed by Chloe Zhao (The Rider, Songs My Brothers Taught Me), whose two films to date both have Tomatometer scores above 90%. There is no official release date for The Eternals yet, but if the filming start dates align with the Marvel s put out, it might be November 6, 2020 (after Black Widow, which might come out May 1, 2020).2. DISNEY SCHEDULES NEW STAR WARS MOVIES FOR 2022, 2024, AND 2026 (Photo by @ Walt Disney Studios Motion Pictures)Every once in a while, a massive story will come out which is actually several all rolled into one. This week, Disney announced dozens of release dates (or changes), including some pretty seismic revelations. Last September, we heard that Disney planned on slowing down the release of their Star Wars franchise, and we now officially know that there will be a three year gap after this December s Star Wars: The Rise of Skywalker. Then, starting with December 16, 2022, there will be Star Wars movies every two years; the next two will arrive in theaters on December 20, 2024 and December 18, 2026. What we don t know is what these Star Wars movies actually are. It s known that Rian Johnson (Star Wars: The Last Jedi) has plans for a new Star Wars trilogy. Game of Thrones showrunners David Benioff and Dan Weiss are also developing a trilogy which is rumored to be set in the Old Republic period most seen to date in various video games. (You can check out a breakdown of five places we think the Star Wars franchise can go in the 2020s here.) We think that some of the release date changes are Rotten Ideas, so please continue to that section to read more.3. BLACK PANTHER’s CHADWICK BOSEMAN TO SLASH AGAIN AS SAMURAI YASUKE (Photo by JA/Everett Collection)Chadwick Boseman has starred in a few movies now where he was a first. Boseman played baseball groundbreaker Jackie Robinson in 42, he played Thurgood Marshall (the first African American Supreme Court Justice) in Marshall, and of course, Black Panther was a significant first. This week, Boseman signed on for another first in the historical drama Yasuke, in which he will portray the first African samurai in Japan. The historical Yasuke was a Portuguese retainer of Mozambique heritage who was brought to Japan as a slave in the 16th century, making him the first black man to set foot on Japanese soil, [as] Yasuke’s arrival aroused the interest of Nobunaga, a ruthless warlord seeking to unite the fractured country under his banner. It s not yet known who will be directing Yasuke.4. Jane Campion is Back, with Doctor Strange and a Handmaid in Tow(Photo by ©Apparition/courtesy Everett Collection)Marvel Studios has tapped so many top stars (and helped others become stars) that a bunch of new films feature those names. Acclaimed New Zealand director Jane Campion (The Piano) hasn t directed a feature film in 10 years (2009 s Bright Star), and she is now preparing to direct The Power of the Dog, an adaptation of the 1967 novel by Thomas Savage. For this film, Campion has cast Benedict Cumberbatch (Marvel s Doctor Strange) and Elisabeth Moss of the acclaimed Hulu series The Handmaid s Tale. Like 1994 s Legends of the Fall, The Power of the Dog is a story of ranchers in Montana, with Cumberbatch playing a wealthy Montana rancher who engages in a relentless war against his brother s son from a secret marriage to a local widow (played by Moss). The brother and son characters have yet to be cast.5. IT: CHAPTER TWO STAR JESSICA CHASTAIN TO PUT ON THE EYES OF TAMMY FAYE (Photo by Kerry Hayes/ © EuropaCorp USA /Courtesy Everett Collection)Nearly 20 years before acclaimed celebrity documentaries like Won t You Be My Neighbor? and RBG, one of the most successful early documentaries in that style was 2001 s The Eyes of Tammy Faye, about televangelist Tammy Faye Bakker. Fox Searchlight is preparing to produce a dramatic biopic about Tammy and husband Jim, to also be titled The Eyes of Tammy Faye. Attached so far are Jessica Chastain (IT: Chapter Two, Dark Phoenix) and Andrew Garfield (The Amazing Spider-Man). Director Michael Showalter (The Big Sick) will be working from a screenplay adapted from the documentary. There s no word yet about which makeup artist will be hired to work on The Eyes of Tammy Faye, but whomever it is might automatically be in the running for a Hair and Makeup Oscar.6. CHRIS HEMSWORTH AND TIFFANY HADDISH TEAMING UP FOR BUDDY COP COMEDY (Photo by @ Walt Disney Studios Motion Pictures, @ Universal)Chris Hemsworth is proving himself a master at comedic chemistry – witness the splendor of Lebowski Thor – and a great foil to a strong female co-star (he will be back on screen with Ragnarok co-star Tessa Thompson in Men in Black: International this summer). The latest female star to sign on to test Hemsworth’s on-screen charisma and comedic chops is Tiffany Haddish, whose career has been blowing up ever since 2017 s Girls Trip. Haddish and Hemsworth will costar together in the buddy cop comedy Down Under Cover, with Haddish playing a cop who teams up with an undercover male stripper police detective.#7. Dark Knight Writer David S. Goyer Rebooting HellraiserJoel MearesBack in the early 2000s, Spyglass Entertainment was a prolific production company which provided Disney s Touchstone with many of its hits, including The Count of Monte Cristo, Shanghai Noon, and 1999 s The Sixth Sense. Spyglass is back in business again as an independent company called the Spyglass Media Group and in the market for new franchises. Their first major project was announced this week: a reboot of the prolific horror series Hellraiser, featuring the erotic horrors of Pinhead and his Cenobite collaborators. When Hellraiser came out over 30 years ago in 1987, there was nothing like it, but since then, movies like Saw and Hostel have made the torture porn horror subgenre almost ubiquitous. Hellraiser is poised to make a big return, and the job of adapting Hellraiser for a new generation is going to David S. Goyer, the screenwriter behind comic book adaptations like Blade, The Dark Knight, and Man of Steel, and this year s Terminator: Dark Fate. It s not yet known exactly how Goyer will reboot Hellraiser.Rotten Ideas2. DISNEY S MASSIVE RELEASE DATE DUMP REVEALS VAST CHANGES(Photo by @ Walt Disney Studios Motion Pictures)Pretty much every week, there are new release dates or changes for upcoming movies, but usually it s only for a handful of films. This week, Disney announced such a massive slate of new dates and changes that it s had sort of a tsunami-like impact on the calendar. Disney recently finalized its acquisition of Fox s film properties, and part of its ongoing plan is to slow Fox releases down to 5-6 films a year (cut in half from 12 in 2018). Many Fox films are therefore being delayed or outright canceled. For example, The New Mutants (the last Fox/Marvel movie before Marvel Studios takes over the X-Men and Fantastic Four) was originally scheduled for 2018, and now it s not scheduled to come out until April 3, 2020. Harrison Ford s Call of the Wild (February 21, 2020) is one of the other films pushed back into 2020, as is the long-in-development YA novel adaptation Artemis Fowl (May 29, 2020), though that has always been a Disney movie. Dora and the Lost City of Gold has already swept in to take over Fowl’s original August 9, 2019, release date. Disney s slate is also significant for what it doesn t have, such as Fox s various Marvel movies, like Gambit (with Channing Tatum attached), and projects like X-Force, X-23, Kitty Pryde, and James Franco s Madrox the Multiple Man.1. AVATAR 2 PUSHED BACK TO 2021 (SEVEN YEARS AFTER ITS ORIGINAL 2014 RELEASE DATE) (Photo by @ 20th Century Fox)Up until this week, it was believed that Avatar 2 would be released next year, on December 18, 2020, following years of delays from its original release date in December 2014. This week, as Disney also revealed an every-two-years rotation of Star Wars movies in 2022, 2024, and 2026, they did the same thing for the upcoming Avatar sequels. The four Avatar sequels (yes, James Cameron is really working on four sequels) are now scheduled for December releases in the odd years: Avatar 2 (December 17, 2021), Avatar 3 (December 22, 2023), Avatar 4 (December 19, 2025), and Avatar 5 (December 17, 2027). Paramount Pictures took quick advantage of the vacuum left by the Avatar 2 move, pushing their own sequel, Coming to America 2, back to December 18, 2020. By doing that, Paramount also made room for the science-fiction drama Infinite, starring Chris Evans, on August 7, 2020. For their own part, Disney also replaced Avatar 2 with their own films, the double feature of Steven Spielberg s West Side Story remake on December 18, 2020, followed by Cruella (the live-action 101 Dalmatians starring Emma Stone), five days later on December 23, 2020. We can expect the next few weeks to have more release date changes from Disney s competitor studios.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
切水果游戏电脑版 This week s Ketchup brings you another 10 headlines from the world of film development news (the stories about what movies Hollywood is working on for you next), covering stories from the last few weeks (due to the holidays) for titles like Captain Marvel 2, Justice League Dark, Kung Fu, and Mean Girls.This WEEK S TOP STORYCAPTAIN MARVEL 2 IN THE WORKS FOR RELEASE IN 2022(Photo by Marvel Studios)Last July at San Diego Comic-Con, Marvel Studios presented an ambitious slate for the movies and Disney+ shows that will make up Phase Four of the Marvel Cinematic Universe. Although those movies included sequels like Doctor Strange in the Multiverse of Madness (5/7/2021) and Thor: Love and Thunder (11/5/2021), there were several sequels that fans were left wondering about, although we have since heard about release dates for Tom Holland s third solo Spider-Man film (7/16/2021) and Black Panther II (5/6/2022). We can now add another of those missing sequels, as Marvel Studios has officially hired screenwriter Megan McDonnell to start writing a Captain Marvel sequel starring Brie Larson. McDonnell is also one of the co-writers of the upcoming Disney+ series WandaVision starring Elizabeth Olsen (Scarlet Witch) and Paul Bettany (The Vision). The Captain Marvel sequel, which is aiming for release sometime in 2022, is expected to be set in the present day, and Marvel Studios is currently hoping to hire a female director for the sequel.Other Top Headlines1. TINA FEY ANNOUNCES PLANS FOR A MEAN GIRLS MOVIE MUSICAL (Photo by (c) Paramount courtesy Everett Collection)Just last year, when Dora the Explorer finally got her own live-action movie called Dora and the Lost City of Gold, the filmmakers made the curious choice to turn Dora into a teenager who grew up in the jungle and ends up in a Los Angeles high school. If that premise seemed familiar (to those who actually saw it), that might be because the same premise was used by Tina Fey for the 2004 high school comedy Mean Girls (Certified Fresh at 84%), starring Lindsay Lohan. Tina Fey took Mean Girls to Broadway in 2018 as a musical adaptation, and this week announced that Paramount Pictures is now also developing a Mean Girls movie musical. Other upcoming movies adapted from stage musicals also include In the Heights (6/26/2020), West Side Story (12/18/2020), and not-yet-produced adaptations of Little Shop of Horrors and Sunset Boulevard (both of which were also musicals based on movies).2. WILL MATT DAMON BE THE ONE TO BRING BALANCE TO THE FORCE?(Photo by © Paramount Pictures)One of the surprise box office and critical successes of late 2019 was the racing drama Ford v Ferrari (Certified Fresh at 92%), which was directed by James Mangold (Logan, The Wolverine) with leads played by Christian Bale and Matt Damon. Mangold is next expected to direct Timothée Chalamet in an untitled musical drama about Bob Dylan, but this week, he also recruited one of his Ford v Ferrari stars for another of his projects. Matt Damon is now attached to star in James Mangold s film adaptation of the Don Winslow crime fiction novel The Force. Damon will star in The Force as a NYPD detective who runs an elite crime fighting squad, but bends the law so often that he loses the line between good and evil and becomes ensnared in a pending corruption scandal. 3. BRADLEY COOPER S LEONARD BERNSTEIN BIOPIC HEADING TO NETFLIX (Photo by John Baer/Rogue Pictures)Following a movie business pattern that s becoming increasingly familiar, an ambitious but potentially expensive biopic is sidestepping the traditional studios and will instead be produced and distributed by Netflix (ie, The Irishman). In 2018, Paramount Pictures seemed to be close to greenlighting an untitled biopic about the famed American composer Leonard Bernstein which Bradley Cooper is attached to both star in and direct. As of this week, Paramount has dropped Cooper s Leonard Berstein biopic, with Netflix instead stepping in to produce and distribute the biopic. Steven Spielberg s Amblin remains attached to the biopic, and they are now joined by Martin Scorsese (of the aforementioned The Irishman) and Todd Phillips (The Joker), which means that the film now has direct connections to two of this year s most discussed Academy Awards contenders. Scorsese at one point was also developing a Leonard Bernstein biopic, and Steven Spielberg s upcoming West Side Story remake features music written by Bernstein. The project s most obvious connection to Todd Phillips is that Bradley Cooper starred in The Hangover and its sequels, which were directed by Phillips.4. J.J. ABRAMS MOVING FROM STAR WARS: THE RISE OF SKYWALKER TO JUSTICE LEAGUE DARK(Photo by James Atoa/Everett Collection)A few years back, Guillermo del Toro was developing an adaptation of the various DC Comics supernatural characters associated with the team called Justice League Dark, before eventually moving on to movies like The Shape of Water and Nightmare Alley. The concept of a group of spooky magicians (John Constantine, Zatanna) and creatures (Deadman, Swamp Thing) remains an intriguing one (especially in the new horror revival era). This week, J.J. Abrams and his Bad Robot production company made an exclusive deal with Warner Media to start development on film and television projects based on Justice League Dark and its related characters. It s not yet known if J.J. Abrams will himself be directing any of these potential TV and film projects, or which characters and titles might eventually be produced, but there are over a dozen possible projects that could be covered by this umbrella development deal.5. COLOR OUT OF SPACE NOW PLANNED AS PART OF AN H.P. LOVECRAFT TRILOGY (Photo by RLJE Films)Some pulp fiction horror and science fiction authors of the early 20th century like Edgar Rice Burroughs (Tarzan, John Carter) and Robert E. Howard (Conan) have had their writings adapted frequently as movies and TV shows, but one of their peers whose work has been under adapted, relative to his fame, is H.P. Lovecraft. Lovecraft s stories have such a definite style that Lovecraftian horror is a subgenre itself, but most of the video games and movies called Lovecraftian haven t actually been based on Lovecraft s stories directly. That said, Nicolas Cage stars in this week s Color Out of Space (Certified Fresh at 86%), an adaptation of the Lovecraft short story of the same name directed by Richard Stanley. Stanley revealed this week that he is now planning on adapting two more H.P. Lovecraft works to form a trilogy. He didn t specify which of Lovecraft s works might follow Color Out of Space, but three of the more famous titles that have to be seen as strong candidates are The Dunwich Horror, At the Mountains of Madness (which Guillermo del Toro almost adapted), and that most famous of Lovecraftian horror stories, The Call of Cthulhu.6. DEADPOOL 2 AND JOHN WICK DIRECTOR KNOWS KUNG FU (THE TV SHOW)(Photo by © Warner Bros. courtesy Everett Collection)Hollywood has continued to mine beloved classic TV shows from the 1970s and the 1980s for several years now (including last year s Charlie s Angels, and next month s Fantasy Island). One of the most influential TV shows of the era that has been in development on-and-off for a long while is the 1972-1975 ABC series Kung Fu, starring David Carradine as a Shaolin monk travelling through the Wild West of the late 19th century. A movie version of Kung Fu is now reportedly back in development at Universal Pictures with action director David Leitch (Deadpool 2, Atomic Blonde) attached to direct and produce. Universal reportedly is eager to reteam with Leitch on Kung Fu following the success last summer of his most recent film as director, Fast Furious Presents: Hobbs Shaw (Fresh at 67%).7. INDIE DIRECTOR TAKING ON THE CURSE OF THE VON ERICH WRESTLING FAMILY (Photo by Neilson Barnard/Getty Images)Within the wrestling fan community, few legacies are as haunting as the Von Erich family, which some refer to as cursed because five of the six sons died before their father, Fritz Von Erich (a.k.a. Jack Adkisson; Von Erich wasn t their real name). That story may soon be adapted as a movie with the news this week that independent film director Sean Durkin is now developing exactly such a movie. Durkin made his directorial debut with 2011 s Martha Marcy May Marlene (Certified Fresh at 89%), and is at Sundance this week with The Nest, starring Jude Law.8. WEREWOLF SOCIAL GAME GETTING ITS OWN MOVIE CALLED WEREWOLVES WITHIN (Photo by Ubisoft)Although it now takes many different forms, one of the most popular concepts in social gaming today is called Werewolf. The concept generally involves players taking secret roles either as townies or villagers (the good guys) or werewolves or mafia (the bad guys), with the two sides working against each other secretly. That concept will soon be adapted as a horror comedy called Werewolves Within, with Sam Richardson (Veep) already attached to star. Werewolves Within will be a direct adaptation of the Ubisoft virtual reality video game of the same title.9. CHANNING TATUM TO STAR IN DISNEY S BOB THE MUSICAL (Photo by Claudette Barius/©Warner Bros.)If one only knows Channing Tatum from movies like 21 Jump Street, Logan Lucky, and G.I. Joe, it might be easy to forget that he first emerged as a star in the 2006 dance movie Step Up (and also showed off impressive moves in Hail, Caesar!). Channing Tatum is apparently eager to get back in the singing and dancing game, as this week, he signed on with Walt Disney Pictures to star in their long-in-development project called Bob the Musical. The premise of Bob the Musical is that, following a head injury, a man suddenly finds that he can hear the soundtracks of the people around him. Coincidentally, although Bob the Musical has been in development since 2004, this news of it being revived with a major A-list movie star comes just a few weeks after the premiere on January 7, 2020 of the NBC musical comedy Zoey s Extraordinary Playlist, which has the same premise, but with a female lead.Like this? 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在当下的手游界不得不承认王者荣耀是绝对的一哥，能够向王者荣耀发起挑战的手游恐怕就要属和平精英了，这两款手游戏已经牢牢地占据了国内手游界的前两名，而且将第三名甩得很远，形成了手游二人转的局面。尤其是作为后起之秀的和平精英，通过越来越丰富的游戏内容，让很多玩家爱不释手，ＰＥＬ职业联赛也是办得如火如荼。 Professor Frink says: A recommendation for the kiddies: Lego Masters. Delightful. I watch it with my son. I enjoy the colors and shapes and the cajoink, cajink, cachiving of little pieces fitting together. About the Series: Hosted by Will Arnett, the show pits Lego enthusiasts against each other in a competition that starts with a single Lego brick and infinite possibilities and concludes with mind-blowing builds that will surely both inspire legions of loyal Lego followers and capture the imagination of new fans.Stream now on Hulu.World Athletics YouTube ChannelJim Brockmire says: [I m] just bereft without sports, so I want to recommend, on YouTube, got the World Athletics mix. On the World Athletics channel, you get the beautiful Olympic track and field events called by great BBC announcers. I couldn t have done it better myself. Beats what I m doing: just wandering around the house, deciding what I would and wouldn t use as toilet paper. About: Official account of World Athletics, formerly the IAAF. Home of all things running, jumping, throwing and walking.Stream past events now on YouTube. Looking for more great shows and movies to binge? Head to Rotten Tomatoes Binge Central.Thumbnail images: Andrew Toth/Getty Images; Jan Thijs/Amazon Prime Video; United Artists/courtesy Everett Collection; Netflix; Drew Herrmann/FOX; World Athletics/YouTube