亚博网软件下载

亚博网软件下载

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亚博网软件下载采用百度引擎0(Baidu 6)来说保留了《英雄联盟》的原汁原味,就是保留了它在全球电竞界举足轻重的硬核电竞核心。

1. 亚博网软件下载
(Photo by Touchstone courtesy Everett Collection)Filmmakers like Cameron Crowe, John Hughes, and Bob Clark may make us think the 1980s were the true renaissance of movies made for and about teens, but let’s not discount the 1990s – specifically one year in particular: 1999.Depending on your definition of teen movie, there were up to 19 films in this genre released that year, according to Phillip Iscove, the television writer and co-host of the all-things-1999-movies podcast, Podcast Like It’s 1999. Even more important, Iscove says, is that teen rom-coms like 10 Things I Hate About You and She s All That, black comedies like Jawbreaker and Cruel Intentions, and coming-of-age films like The Wood and American Pie still resonate with those who grew up in and around that era because “there’s a universality that they’re trying to hit.”But why this year in particular? Surprisingly, it’s not just because one of them featured Heath Ledger singing in the high school bleachers.The Clueless and Romeo + Juliet Effect(Photo by Paramount courtesy Everett Collection)Before we dive into the year of 1999, let’s act like Alicia Silverstone’s Cher Horowitz from Clueless and totally pause at the mid-‘90s. Writer-director Amy Heckerling adapted that 1996 film from Jane Austen’s classic novel, Emma, replacing Regency-era British aristocracy with a posh Beverly Hills high school while star Silverstone kicked the dumb blonde trope out with last season’s fashions. A year before this, Baz Lurhmann’s flashy Romeo + Juliet set the Bard’s famous play about star-crossed teen lovers in a gritty, steamy beach city and made male lead Leonardo DiCaprio a teen heartthrob (his female counterpart, Claire Danes, was already known to younger audiences thanks to her cult TV show, My So-Called Life).So it shouldn’t be a surprise that, by the time greenlights, casting, and production turnarounds were through, we’d land in 1999 with 10 Things I Hate About You, an adaptation of Shakespeare’s marital comedy The Taming of the Shrew about elaborate scheming to marry off one daughter in order to gain access to another; She’s All That, which is rooted in George Bernard Shaw’s Pygmalion, a play about teaching a lowly flower salesgirl how to pass in high society; and Cruel Intentions, which is based on Les Liaisons dangereuses, Pierre Choderlos de Laclos’s novel about bored socialites who break hearts for sport.“Clueless was proof-of-concept that there’s an audience [for modern adaptations of classic works] if it’s done well,” says Neil Landau, a screenwriter and professor at UCLA School of Theater, Film and Television. “Adults who greenlight movies love when it’s source material. It doesn’t feel as frivolous. I think the young people see them because of the canon and the things you study in high school.”Plus, he says, these works were in the public domain and therefore cheap to get licensing rights.Independents Studios + DVD Sales = Boffo Profits(Photo by Paramount courtesy Everett Collection)It’s also important to remember what was going on in the industry itself at that time. She’s All That was distributed by Miramax when it still was the hip younger sibling brought in to spice up Disney. 10 Things I Hate About You was distributed by Touchstone Pictures, which is also part of Disney. American Pie was produced by Summit when it was still considered an independent studio. Then there’s MTV Films, which, Iscove reminds us, had an ambitious slate in 1999 that included Varsity Blues, Election, 200 Cigarettes, and The Wood – all movies for or about teens and young adults that were released in July or earlier of that year. He says, nowadays, companies like Annapurna Pictures (Everybody Wants Some!!) and A24 (The Bling Ring, Eighth Grade) excel at distributing and producing these films, but it’s not all they do.Part of this is because we’ve since changed how we look for these types of movies. Tim Gray, the senior vice president and awards editor at Variety, says his trade magazine wrote in 1998 that “DVD players were expected to hit 1.4 million in 1999.” He says that number may sound like small potatoes, but it was a strong indicator that the public was willing to commit to a new technology – especially since he says Variety also ran an advertisement around that time saying that “it would be a billion industry within a decade.” Since teen movies were still cheap to make, Gray says that “indie companies were emboldened by that idea” of DVD viewership the way that video cassette players in the 1980s made Hollywood realize that there was still business to be had once a film left theaters.Iscove argues that the desire for teens to see themselves on screen hasn’t changed – just how they find them may have evolved. We all know what “Netflix and chill” is code for, but think of the success of films like To All The Boys I’ve Loved Before and Alex Strangelove and realize that the kids may want to watch something on streaming channels too.White Male Humor Still Dominated(Photo by Universal Pictures courtesy Everett Collection)The late ‘90s was still a time when white, male, heteronormative bro-culture dominated, especially since the (mostly male) development executives who were green-lighting these films had themselves been raised on now-questionable films like Porky’s and Risky Business. While there are exceptions – Jawbreaker, Election this was an era where teen boys were straight, cis-gender, and supposed to treat sex like a conquest (see: Cruel Intentions and American Pie) and where teen girls were supposed to be OK with prettying themselves up and potentially dumbing themselves down in the name of popularity (see: 10 Things I Hate About You and She’s All That). Oftentimes, these kids were white, suburban, and entitled. When the idea of sexual assault is brought up, such as Julia Stiles’ Katarina’s reveal toward the end of 10 Things, it’s done in an almost blink-and-you’ll-miss-it way.“It was the beginning of the ending of an era,” says UCLA’s Landau of this period when “virginity is a rite of passage for boys. For girls, it was filled with shame and stigma.” He says this only influenced mainstream views, as chances are girls and young women were going with boys in their age brackets to see these movies either in groups or on dates.However, these norms have evolved considerably since 1999. Director Kay Cannon’s summer 2018 hit Blockers threw the double-standard that girls can’t own their own sexuality in our faces. Some of the biggest successes to come out of the recent South by Southwest film festival were Booksmart and Snatchers, which mock the finger-wagging trope of “good girls don’t do that.” As for films about boys and sex? Another hit from SXSW was Good Boys, which still has rauchy humor but – as the trailer reminds us – features boys from a much more innocent age.We may never get another year as robust with movies that cater specifically to the teen audience as we did in 1999, and we may never again get teen movies quite like the ones we saw that year. But thanks to films like Blockers, like Eighth Grade, like The Spectacular Now, Dope, The Edge of Seventeen, Sing Street, and Lady Bird, we can rest assured that the genre is in good hands, and the adolescents of today won t lack for entertainment that speaks to them on a personal level too.Check out our list of every 1999 teen movie ranked here. What were your favorites? Tell us in the comments!Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 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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2. 公平游戏环境
(Photo by Warner Bros. courtesy Everett Collection)On one fateful day in 1998, John Travolta received a call from Franchise Pictures owner Elie Samaha, who gave him some very good news. Samaha was looking to make a splash in Hollywood and told Travolta that he wanted to finance the latter s passion project, an adaptation of L. Ron Hubbard’s 1,050-page science fiction epic Battlefield Earth. Travolta had been trying to get this project off the ground for 15 years without success, even after becoming a cash machine with Pulp Fiction, Broken Arrow, Michael, The General’s Daughter, and Face/Off. Studios wanted nothing to do with a story about man-animals using 1,000-year-old airplanes to battle the kerbango -loving Psychlos who took over their planet and turned them into slaves. But by sheer force of will, Samaha was able to raise the money (more on that later), defer Travolta’s normal million paycheck, and secure the assistance of Warner Bros. to distribute the film.Two years later, on May 12th, 2000, Travolta’s -75 million budgeted (again, more on that later) Battlefield Earth opened in theaters and quickly disappeared as movies like Gladiator, Shanghai Noon, Mission: Impossible 2, and Road Trip took over screens. Two decades later, the legacy of Battlefield Earth is defined by cast and crew apologies, critical reviews that feature olympic-level insults, and a 3% Tomatometer score.With all of that said, on the 20th anniversary of the film s release, we look back and provide some insight into how Battlefield Earth came to be, and why it s almost charming in its scrappiness. You may have chosen to avoid the movie all these years because of its reputation, and while it would be a stretch to call it any good, it s definitely more fun than you might have been led to believe.IT WAS PRODUCED BY FRANCHISE PICTURES, THE COMPANY RESPONSIBLE FOR A SLEW OF ROTTEN MOVIES IN THE 2000s(Photo by Ken Hively/Getty Images)Between 1999 and 2007, Elie Samaha’s Franchise Pictures released a plethora of epically Rotten films that starred A-listers like John Travolta, Antonio Banderas, Sylvester Stallone, Jennifer Lopez, Kevin Coster, Kurt Russell, Lucy Liu, Wesley Snipes, and Bruce Willis. These movies include Battlefield Earth (3%), Ballistic: Ecks vs. Sever (0%), Driven (14%), 3000 Miles to Graceland (14%), Get Carter (12%), and A Sound of Thunder (6%), which put the final nail in Franchise’s movie-producing coffin. The average Tomatometer score for the company s 19 films that received a wide theatrical release (600+ screens) was 25% Ballistic: Ecks vs. Sever happens to be the worst-reviewed film on Rotten Tomatoes and they only made an average of million at the worldwide box office on million budgets.Samaha was known for indulging big stars and directors by financing the passion projects that no other studio would make (e.g. Battlefield Earth for Travolta). In an educational 2000 profile by the New York Times, Samaha admitted that he would “scavenge and dig and find the script or project that a star most wants to make; finance it overseas based on the A-list clout; then shoot it in Canada to save money.” He grabbed movies in turnaround, when movie studios no longer wanted to develop them, and sometimes was lucky enough to have the stars themselves invest their own money into the project (Travolta himself reportedly spent million when Battlefield Earth ran into financial issues). Actors and acclaimed directors were attracted because they were given complete creative control, albeit on a budget. The end results were rarely Fresh, with the exception of the Jack Nicholson vehicle The Pledge and the David Mamet-directed films Spartan and Heist.IT WASN T REALLY A BIG BUDGET BOMB (Photo by Warner Bros. courtesy Everett Collection) There are several ways to finance a movie. There are split-rights pacts, equity deals, tax incentives and pre-sales. And then there’s Elie Samaha’s way, which nobody understands.  Variety, 2003While it’s easy to look at the -75 million budget and the subsequent million worldwide box office and assume Battlefield Earth was a box office flop, it’s a little more complicated than that. Director Roger Christian, who won a Best Art Direction Academy Award for his work on Star Wars: Episode IV A New Hope, wrote an open letter correcting many of the critics who called his independent little film a big budget failure. In reality, the production budget was somewhere around million, and the special effects budget was ~ million. The initial reports about it being a million-budgeted movie came about because Samaha and Franchise Pictures inflated the numbers to scam German-based Intertainment AG, the group responsible for coming up with 47% of the film s budget. During the ensuing lawsuit, in which Franchise was ordered to pay Intertainment 1 million, it was revealed that the budget was an estimated million (with Travolta receiving million of that).Cinematographer Giles Nuttgens has said that Battlefield Earth had the smallest lighting budget on any film I’ve ever done, and it’s rumored that Travolta had his personal chef cook for the crew because the food was so bad. Screenwriter Corey Mandell also went on record to say the movie had a “miniscule special effects budget.” In other words, while Battlefield Earth certainly wasn t successful at the box office, it wasn t the absolute blockbuster bomb it was made out to be, either.JOHN TRAVOLTA’S PERFORMANCE IS SO COMMITTED, IT S ADMIRABLE(Photo by Warner Bros. Pictures) My whole career has been based on trying something new. If I don t try something new, I worry. John Travolta, 2000It’s been 20 years since Battlefield Earth’s release, and John Travolta’s performance remains as weird and boisterous as it was in 2000 (and if Psychlos watch it in 3000, they will likely feel the same way). Originally, Travolta wanted to play the role of Jonnie Goodboy Tyler, the leader of the human resistance against the power-hungry Psychlos. However, as the years passed and studios declined the project, Travolta got older, so the role went to Barry Pepper, who, while less ridiculous, is just as committed.Travolta instead took the role of Terl, a 10-foot-tall Pyschlo who wants to leave Earth because he’s destined for greater things than drinking kerbango and policing dumb man-animals. Travolta has said there is no better villain than Terl,  and his dedication to the role is on full display as he makes a meal out of every word, relishes every line ( Do you want lunch?! ), and seems incredibly pleased with himself (check out the laughing supercut). While his performance won multiple Razzie awards, it’s impressively committed and serves as a perfect example of what happens when an A-list talent delivers an overconfident performance with zero checks and balances.Prior to the film’s release, Travolta was the film’s biggest cheerleader, boldly stating that it was like Star Wars: Episode IV A New Hope (1977), but better and the Schindler s List (1993) of science-fiction films. In an interview with The Daily Beast in 2014, he continued to defend the film and said he would do it all over again. His love stemmed from the fact that I had the power to do whatever I wanted, and I chose to do a book that I thought was worthy of making into a movie. It s a beautiful film. It s a good movie. Travolta’s longstanding defense of the film is admirable, and you can tell he loved every second he spent as a Rastafarian werewolf on four-foot-tall stilts.DESPITE ITS FLAWS, THE MOVIE HAS A LOT OF PERSONALITY(Photo by Warner Bros. Pictures)In 2010, co-writer J.D. Shapiro published an article titled “I penned the suckiest movie ever sorry!” for the New York Post. It’s a cheeky piece of writing that finishes with him saying, “Now, looking back at the movie with fresh eyes, I can’t help but be strangely proud of it. Because out of all the sucky movies, mine is the suckiest.” Shapiro was onto something, because part of Battlefield Earth’s charm is how odd it is.The film has an oppressive blue hue, the CGI makes Megashark vs. Giant Octopus look good, and the Psychlos move comically slow during the battle scenes (because the poor stunt actors could only move so fast on their giant stilts). The unnecessarily long 118-minute runtime tarnishes the experience, but John Travolta’s non-reaction to losing his arm when he’s tricked by Barry Pepper during their final fight (the Final Fights podcast episode about the brawl is lots of fun) is worth all the smelted gold in Fort Knox.Perhaps the most maligned aspect of the film is all the Dutch angles i.e. tilted camera angles that create an uneasy or paranoid atmosphere that director Roger Christian insisted on using to create a comic book look  for the film. The uncomfortable angles have been the subject of a vast array of commentary (for fun, Google “Dutch Angle Battlefield Earth”), including by the late, great Roger Ebert, who wrote that Christian has learned from better films that directors sometimes tilt their cameras, but he has not learned why.” The comment certainly stings, but it’s not wrong, and all Christian wanted was to make the Psychlos look taller.KERBANGO IS THE MVP(Photo by Warner Bros. Pictures)The best moments in Battlefield Earth all feature the alcoholic beverage kerbango. We’re not encouraging the consumption of green alien booze; we’re just saying magic happens when it’s around. Whether it’s Ker (Forest Whitaker) smugly slurping kerbango (with a straw) when he thinks he’s pulled a fast one on Terl, or Terl cradling three growlers of it in his arms as he tells the bartender (whom he later decapitates) to put it on his non-existent tab, the mood and the actors seems to loosen up whenever the the mysterious green liquid is in play.The most memorable quote in the film happens when Chirk (Kelly Preston, Travolta s wife, in a quick cameo) tells Terl, I am going to make you as happy as a baby Psychlo on a straight diet of kerbango. The odd line, followed by a long CGI tongue and a saucy wiggle by Travolta, elicits a visceral mix of confusion and disgust, which perfectly captures what it s like to watch Battlefield Earth. Is Chirk implying that Terl will feel like a drunk baby? If so, is that a good thing? Does it matter? The answers are maybe, apparently, and not in the least.Battlefield Earth isn t commonly mentioned alongside The Room, Troll 2, or Batman Robin as an exemplar of so bad, it s good cinema it s usually considered merely bad but, with respect, it should be. It s just as ironically enjoyable, it s arguably weirder, and it s just so earnest that, despite its blatant shortcomings, you may be surprised to find yourself rooting for it.Where You Can Watch It NowFandangoNOW (rent/own), Amazon (rent/own), Google (rent/own), iTunes (rent/own), Vudu (rent/own)Battlefield Earth was released on May 12, 2000.亚博网软件下载《王牌竞速》,一款写实美术风格的竞速手游,主打改装玩法。游戏内既有授权真车,也有超现实试制车,而且每辆车都有专属技能,例如闪现穿墙、变形凌空、狂野冲锋等等。另外项目组还与五菱宏光MINIEV达成了合作。游戏将于5月27日开启删档计费测试。

3. 激战团竞模式
140 Essential Animated Movies To Watch NowThe origins of the whiz-bang animated wonders we see today in the likes of Toy Story, Spider-Man: Into the Spider-Verse, and How to Train Your Dragon date back more than a hundred years. Flip books and zoetropes revealed the mesmerizing power of animation to humans before movies were even invented in the late 19th century. And if you really wanted to journey back in time, look to prehistoric cave art where animals drawn with excessive pairs of legs created the illusion of motion when illuminated by fire – it might be considered the first animation.So it was inevitable, practically human nature, that animation grew in tandem with cinema from the beginning. And it was only inevitable in the Internet age that someone, somewhere would pile up all the best feature-length animated films from the 20th century and beyond, rank them, and call the guide something like the 140 Essential Animated Movies Ever to Watch Right Now! Which is what you ll find below.All forms of the medium are featured here, from cel (Snow White and the Seven Dwarfs, The Land Before Time) to 3-D (Toy Story, Shrek), rotoscoped (Tower, A Scanner Darkly) to stop-motion (Chicken Run, Fantastic Mr. Fox), and oil canvas (Loving Vincent) to mixed media (Waltz With Bashir). Animation is frequently associated with specific studios, and to that end we have represented Disney (Beauty and the Beast, Sleeping Beauty), Pixar (WALL-E, Finding Dory), DreamWorks (How to Train Your Dragon, Kung Fu Panda), Studio Ghibli (Princess Mononoke, Kiki s Delivery Service), and more.How did we decide on the Essential 140? We looked at reviews, other best of lists, cultural impact, and applied some editorial discretion. They didn t have to just be good – in fact, some are not so Fresh at all! – but they had to play a part in the history of the medium. These are the movies that have been passed on for generations, no matter how much style and artistic tastes change year-to-year. They re the ones that parents and kids watch together, frequently becoming part of the family tradition. They re the movies that pushed animation forward, and that inspire people to pick up the pen, pencil, or stylus and try to make their own mark in history with their own colorful stories.Tomatometer scores were not a factor in ranking (besides the fact that it needed to have one), only feature films were considered, and movies with some live-action thrown in (The LEGO Movie, James and the Giant Peach) were fine, as long as the majority of their runtime was animated.Whatever tickles your toon, you ll find it s type here. Get drawn to the 140 essential animated movies ever!Check out the 140 Essential Animated TV Shows #140

4. 呼朋唤友 随心所欲
After the immediate thrill, the shock, and surprise of this morning s Oscars nominations wore off, celebrities did exactly what you did: They went on social media. From voicing appreciation, congratulating friends, and in the case of Rob Lowe, going WTF, here are the most notable star reactions to the Oscars news on Twitter and Instagram.Rami MalekThank you to the Academy for recognizing the work of so many from the cast and crew who made all of this possible. I have absolutely treasured playing Freddie Mercury and I am so profoundly humbled and thrilled to honor him this way.— Rami Malek (@ItsRamiMalek) January 22, 2019Glenn Close

5. HD 画质与高品质音讯
使用強大的百度引擎1建构,提供丰富详尽的资讯、逼真的特效和广阔的HD地图,营造出惊人的战术动作游戏体验。高品质音讯和3D音效让您身心完全投入枪火轰鸣的火热战斗。

6. 团队合作
邀请您的好友共赴战场,透过队内语音商定策略,设下完美埋伏,在对手措手不及时给予迎头痛击。您可以在好友需要协助时回应其召唤,也可以为您的公会贡献一己之力。

7. 官方资讯
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2.95.1 6月喜迎ian town discover a mysterious film hidden in its basement, they unleash an alluring succubus who gives them a sex education written in blood. (World Premiere)Saint FrancesDirector: Alex ThompsonScreenwriter: Kelly O SullivanCast: Ramona Edith-Williams, Kelly O Sullivan, Lily Mojekwu, Charin Alvarez, Jim True-Frost, Max Lipchitz, Mary Beth Fisher, Francis Guinan, Bradley Grant SmithAt the start of the summer, Bridget has an abortion just as she lands a much-needed job in affluent Evanston, Illinois — nannying a six-year old. (World Premiere)South MountainDirector/Screenwriter: Hilary BrougherCast: Talia Balsam, Scott Cohen, Andrus Nichols, Michael Oberholtzer, Naian Gonzalez, Midori Francis, Macaulee Rusnak Cassaday, Isis Masoud, Violet Rea,Guthrie MassWhen her teenagers head off to camp and her husband abruptly leaves her to begin a new family, Lila is left to her own curious and chaotic devices for a summer in her rural home in the Catskill mountains. (World Premiere)Yes, God, YesDirector/Screenwriter: Karen MaineCast: Natalia Dyer, Timothy Simons, Wolfgang Novogratz, Francesca Reale, Susan Blackwell, Parker Wierling, Alisha Boe, Donna Lynne ChamplinAfter an innocent AOL chat turns racy, a Catholic teenager in the early 2000s discovers masturbating and struggles to suppress her urges in the face of eternal damnation. (World Premiere)DOCUMENTARY FEATURE COMPETITION(Photo by Waad al-Kateab)Ernie JoeDirector: Jenifer McShaneErnie Joe follows two officers with the San Antonio Police Department mental health unit who are diverting people away from jail and into mental health treatment — one 911 call at a time. (World Premiere)For SamaDirectors: Waad al-Khateab, Edward WattsFor Sama tells the epic story of a young woman’s journey through love, war and motherhood across five years of the uprising in Aleppo, Syria. (World Premiere)Museum TownDirector: Jennifer Trainer, Screenwriters: Noah Bashevkin, Pola Rapaport, Jennifer TrainerFrom the ashes of a deserted factory, an ambitious center for contemporary art has emerged. With MASS MoCA, a familiar story of deindustrialization in a rural American town finds an unconventional route to recovery. (World Premiere)Nothing Fancy: Diana Kennedy (United Kingdom, U.S.)Director: Elizabeth CarrollAward-winning cookbook author, diehard environmentalist and feisty British nonagenarian Diana Kennedy reflects on an unconventional life spent mastering the cuisines of Mexico. (World Premiere)StuffedDirector: Erin DerhamStuffed is a documentary feature film about the surprising world of taxidermy and the passionate artists across the world who see life where others only see death. (World Premiere)(Photo by Jan Balster)TreadDirector: Paul SoletPushed to his breaking point, a master welder in a small town at the foot of the Rocky Mountains quietly fortifies a bulldozer with 30 tons of concrete and steel and seeks to destroy those he believes have wronged him. (World Premiere)Vision PortraitsDirector/Screenwriter: Rodney EvansA feature-length documentary that chronicles the creative paths of blind and visually impaired artists including a photographer (John Dugdale), dancer (Kayla Hamilton), writer (Ryan Knighton) and the film s director, Rodney Evans. (World Premiere)We Are The Radical MonarchsDirector: Linda Goldstein KnowltonMeet the Radical Monarchs, a group of young girls of color at the front lines of social justice. Set in Oakland, the film documents the journey of the group as they form, grow, and earn badges for units like Black Lives Matter and Radical Beauty (World Premiere)Well GroomedDirector/Screenwriter: Rebecca SternWell Groomed travels the humorous, visually stunning world of Competitive Creative Dog Grooming alongside the colorful women transforming their beloved poodles into living sculptures. (World Premiere)Why Can t I Be Me? Around YouDirectors/Screenwriters: Harrod Blank, Sjoerd DijkRusty, a male race enthusiast, decides at 53 to get breasts. His father cuts his pay, his motorcycle friends abandon him and the women he dates all reject him. Rusty pursues her new identity and only hopes to gain acceptance from others. (World Premiere)HEADLINERS(Photo by NEON / VICE)The Beach BumDirector/Screenwriter: Harmony KorineCast: Matthew McConaughey, Snoop Dogg, Isla Fisher, Stefania Lavie Owen, Jimmy Buffett, Zac Efron, Martin LawrenceThe Beach Bum follows the hilarious misadventures of Moondog (Matthew McConaughey), a rebellious rogue who always lives life by his own rules. Co-starring Snoop Dogg, Zac Efron, and Isla Fisher, The Beach Bum is a refreshingly original and subversive. (World Premiere)BooksmartDirector: Olivia WildeScreenwriters: Emily Halpern, Sarah Haskins, Susanna Fogel, Katie SilbermanCast: Kaitlyn Dever, Beanie Feldstein, Jessica Williams, Will Forte, Lisa Kudrow, Jason SudeikisOn the eve of graduating high school, two academic superstars and best friends realize they should have worked less and played more. Determined to not fall short of their peers, the girls set out on a mission to cram four years of fun into one night. (World Premiere)Good BoysDirector: Gene StupnitskyScreenwriters: Lee Eisenberg, Gene Stupnitsky, Beth Stelling, John PhillipsCast: Jacob Tremblay, Keith L. Williams, Brady Noon, Molly Gordon, Midori Francis, Josh CarasThe writers of Superbad and the producers of Sausage Party take on sixth grade in Universal Pictures’ Good Boys, an R-rated comedy about three friends on an epic one-day odyssey of bad decisions. (World Premiere)The HighwaymenDirector: John Lee HancockScreenwriter: John FuscoCast: Kevin Costner, Woody Harrelson, Kathy Bates, Kim DickinsonTexas Ranger Frank Hamer reflects on what made him a great lawman as he comes out of retirement to hunt down Bonnie and Clyde. (World Premiere)Untitled Seth Rogen/ Charlize Theron ComedyDirector: Jonathan LevineScreenwriter: Dan SterlingCast: Seth Rogen, Charlize Theron, O’Shea Jackson Jr., Andy Serkis, June Diane Raphael, Ravi Patel and Alexander SkarsgårdAn ambitious diplomat with a spotless reputation and a hard-partying journalist hilariously redefine “international relations” as they try to keep their red-hot romance under wraps. (World Premiere)UsDirector/Screenwriter: Jordan PeeleCast: Lupita Nyong o, Winston Duke, Elisabeth Moss, Tim Heidecker, Yahya Abdul-Mateen II, Anna Diop, Evan Alex, Shahadi Wright-Joseph, Madison Curry, Cali SheldonAn original nightmare from Oscar-winner Jordan Peele (Get Out), starring Lupita Nyong’o and Winston Duke, Us pits an average American family against a terrifying opponent: doppelgängers of themselves. (World Premiere)NARRATIVE SPOTLIGHT(Photo by Nolwen Cifuentes)Adopt a HighwayDirector/Screenwriter: Logan Marshall-GreenCast: Ethan Hawke, Elaine Hendrix, Diana Gaeta Marshall-Green, Betty Gabriel, Mo McRae, Chris Sullivan, Nate Mooney, Christopher Heyerdahl, Anne Marie JohnsonAfter being released from prison following a twenty year sentence for a minor offense, an ex-con must learn to navigate the world while coming to terms with his own life which has moved on — all while caring for an abandoned baby he finds in a dumpster. (World Premiere)The Art of Self-DefenseDirector/Screenwriter: Riley StearnsCast: Jesse Eisenberg, Alessandro Nivola, Imogen PootsThe Art of Self-Defense stars Jesse Eisenberg and is set in the world of karate. Eisenberg plays a man who is attacked on the street and enlists in a local dojo, led by a charismatic Sensei (Nivola), in an effort to learn how to defend himself. (World Premiere)Come As You AreDirector: Richard WongScreenwriter: Erik LinthorstCast: Grant Rosenmeyer, Hayden Szeto, Ravi Patel, Gabourey Sidibe, Janeane Garofalo, C.S. Lee, Jennifer Jelsema, Martha Kuwahara, Delaney Feener, Asta PhilpotThree young men with disabilities embark on a road trip to a brothel in Montreal catering to people with special needs to lose their virginity and embrace their independence. Inspired by a true story and remake of the Belgian film Hasta La Vista. (World Premiere)The Day Shall Come (United Kingdom, U. S.)Director: Chris MorrisScreenwriters: Chris Morris, Jesse ArmstrongCast: Marchánt Davis, Anna Kendrick, Danielle Brooks, Denis O HareAn impoverished preacher who brings hope to the Miami projects is offered cash to save his family from eviction. He has no idea his sponsor works for the FBI who plan to turn him into a criminal by fueling his madcap revolutionary dreams. (World Premiere)(Photo by Carmen Hilbert)Frances FergusonDirector: Bob ByingtonScreenwriter: Scott KingCast: Kaley Wheless, Nick Offerman, Keith Poulson, David KrumholtzA small town s reaction to scandal. (World Premiere)I m Just F*cking With YouDirector: Adam MasonScreenwriters: Gregg Zehenter, Scott BarkanCast: Keir O’Donnell, Hayes MacArthur, Jessica McNameeA young man and his sister endure a night of increasingly frightening practical jokes while spending the night at a secluded motel. (World Premiere)Mother s Little HelpersDirector/Screenwriter: Kestrin PanteraCast: Breeda Wool, Melanie Hutsell, David Giuntoli, Sam Littlefield, Kestrin PanteraWhen Joy Pride, a groovy 70’s burn-out on the caboose of the flower power movement learns she has weeks to live, her estranged children come together to do right by a mother who always did them wrong. (World Premiere)Olympic DreamsDirector: Jeremy Teicher, Screenwriters: Alexi Pappas, Jeremy Teicher, Nick KrollCast: Nick Kroll, Alexi Pappas, Gus Kenworthy, Morgan Schild, Jamie AndersonIn the Athlete Village at the Olympic Winter Games, Penelope (Alexi Pappas), a cross-country skier, befriends Ezra (Nick Kroll), a volunteer dentist, after a disappointing finish in her race. Penelope and Ezra share a special but limited time together. (World Premiere)The Peanut Butter FalconDirectors/Screenwriters: Tyler Nilson, Michael SchwartzCast: Shia LaBeouf, Dakota Johnson, Zack Gottsagen, John Hawkes, Bruce Dern, Thomas Haden Church, Jon Bernthal, Jake The Snake Roberts, Mick FoleyA young man with Down syndrome runs away from the retirement home where he lives to chase his dream of becoming a professional wrestler. (World Premiere)(Photo by Nigel Bluck)Pink WallDirector/Screenwriter: Tom CullenCast: Tatiana Maslany, Jay DuplassSix scenes. Six years. Six moments that shaped the relationship of Jenna and Leon. Pink Wall examines what defines us, the pressures of gender expectations, and our perpetual struggle between life and ambition. (World Premiere)Run This TownDirector/Screenwriter: Ricky TollmanCast: Ben Platt, Nina Dobrev, Mena Massoud, Damian Lewis, Jennifer Ehle, Scott SpeedmanA political aide tries to corral his brash, outspoken boss when a young researcher at a newspaper gets word of a scandal that could make or break both of their careers. (World Premiere)Sword of TrustDirector: Lynn SheltonScreenwriters: Lynn Shelton, Mike O BrienCast: Marc Maron, Jon Bass, Michaela Watkins, Jillian Bell, Toby Huss, Dan Bakkedahl, Tim Paul, Whitmer ThomasA curmudgeonly pawnshop owner and his man-child sidekick team up with an out of town couple to cash in on a family heirloom: a sword believed by alt history conspiracy nuts to be proof that the South won the Civil War. (World Premiere)VillainsDirectors/Screenwriters: Dan Berk, Robert OlsenCast: Bill Skarsgard, Maika Monroe, Kyra Sedgwick, Jeffrey DonovanWhen a pair of amateur criminals break into a suburban home, they stumble upon a dark secret and two sadistic homeowners who will do anything to keep it from getting out. (World Premiere)The Wall of MexicoDirectors: Zachary Cotler, Magdalena ZyzakScreenwriter: Zachary CotlerCast: Jackson Rathbone, Esai Morales, Marisol Sacramento, Carmela Zumbado, Alex Meneses, Moises Arias, with Mariel Hemingway, and Xander BerkeleyA young white handyman, hired by a wealthy Mexican-American family to upkeep their ranch, finds himself caught between disgruntled locals and the family s outrageously decadent daughters and discovers that something quite unusual is happening at the ranch. (World Premiere)DOCUMENTARY SPOTLIGHTAny One Of UsDirector: Fernando VillenaThrough the inspiring journey of a recovering athlete, Any One of Us offers an unprecedented glimpse into the traumatic world of spinal cord injuries. (World Premiere)AutonomyDirector: Alex HorwitzA feature documentary about the emerging technology of self-driving vehicles and the big questions they raise: what is control and who do we become as we relinquish it to machines? (World Premiere)Bellingcat — Truth in a Post-Truth WorldDirector/Screenwriter: Hans PoolBellingcat — Truth in a Post-Truth World explores the exclusive world of Bellingcat, a highly-skilled and controversial collective of “citizen investigative journalists” dedicated to redefining breaking news in the 21st century. (North American Premiere)BreakthroughDirector/Screenwriter: Bill HaneyBreakthrough tells the story of a renegade, blues-playing, Nobel prize-winning Texas scientist who created a cure for the world’s deadliest disease. Narrated by Woody Harrelson with a country-blues soundtrack. (World Premiere)Building the American DreamDirector: Chelsea HernandezIn Texas, construction workers face the deadliest conditions in the country. Building the American Dream follows three immigrant families who are rising up to seek justice and equality in an industry rife with exploitation. (World Premiere)Community First, A Home for the HomelessDirector: Layton BlaylockCommunity First, A Home for the Homeless is a feature documentary about a totally unique concept for mitigating homelessness. Conceived and created in Austin, Texas, Community First! Village is truly transforming the lives of homeless people. (World Premiere)(Photo by Derek Reich)Human NatureDirector: Adam BoltScreenwriters: Adam Bolt, Regina SobelA once-in-a-lifetime scientific discovery called CRISPR gives us the power to change what it means to be human. Now it’s up to us to decide how far we should go. (World Premiere)I Love You, Now Die: The Commonwealth Vs. Michelle CarterDirector: Erin Lee CarrTeen Michelle Carter s actions shocked a nation — but what really happened behind closed doors? This HBO special showcases the prosecution s point of view and alternately the defense s. Which side do you fall on? (World Premiere)It Started As a JokeDirectors: Julie Smith Clem, Ken DruckermanIt Started As a Joke documents the decade-long run of the Eugene Mirman Comedy Festival. The film celebrates Eugene s unique brand of humor and reminds us of the healing properties of comedy – even in the most challenging of life’s circumstances. (World Premiere)Jump ShotDirector: Jacob Ryan HamiltonJump Shot uncovers the inspiring true story of Kenny Sailors, the developer of the modern day jump shot in basketball, and how he defined the game, but why the game never defined him. (World Premiere)Kathy Griffin: A Hell of a StoryDirector: Troy MillerScreenwriter: Kathy GriffinIn her first ever comedy concert film, Comedian Kathy Griffin details the aftermath of lost work and being the subject of a federal investigation following the release of her now infamous photo depicting President Donald J Trump. (World Premiere)(Photo by Charlie Gross)QualifiedDirector: Jenna RickerIn the world of motorsports, the Indianapolis 500 has long been considered the only race. In May 1977, Janet Guthrie — the first woman to attempt Indy — earned herself a spot in the prestigious field of 33. (World Premiere)Red DogDirectors: Casey Pinkston, Luke DickIn the early 1980s, the only family that toddler Luke knew were the strippers, bouncers, and outcasts that made OKC s rowdiest strip club their home. (World Premiere)The River and the WallDirector: Ben MastersFive friends venture into the unknown wilds of the Texas borderlands to document the environment before a wall is built. As the wilderness gives way to the bustling Rio Grande Valley, they encounter the unexpected and enter uncharted emotional waters. (World Premiere)Running with BetoDirector: David ModiglianiFollow Beto O Rourke behind the scenes of his breakaway campaign to unseat Ted Cruz in the US Senate. With intimate access to the candidate, his family and team, the film captures Beto s rise from a virtual unknown to a national political sensation. (World Premiere)Sunset over Mulholland DriveDirector: Uli GaulkeScreenwriters: Uli Gaulke, Marc PitzkeThe vital power of creativity — a behind the scenes look into Hollywood s retirement home. (North American Premiere)VISIONS(Photo by Tim Pipe)Becoming LeslieDirector: Tracy FrazierScreenwriters: Sandra Guardado, Tracy FrazierBecoming Leslie reveals the inner and bizarre world of Leslie Cochran, a cross-dressing homeless misfit who became the most iconic and unlikely civic symbol of Austin, Texas. (World Premiere)The Garden Left BehindDirector: Flavio AlvesScreenwriters: John Rotondo, Flavio AlvesCast: Michael Madsen, Ed Asner, Carlie Guevara, Danny Flaherty, Alex Kruz, Anthony Abdo, Dawn Young, Tamara M. Williams, Miriam Cruz, Brock YurichA Mexican trans woman struggles to build a life for herself as an undocumented immigrant in New York City. (World Premiere)J.R. Bob Dobbs and The Church of the SubGeniusDirector: Sandy K BooneScreenwriters: Sandy K Boone, Jason WehlingThis film explores the underground movement that has galvanized the imaginative, the artistic, the nerdy, even the deranged – to examine the simmering dystopia in their culture, and do absolutely nothing about it except, maybe, poke fun at it all. (World Premiere)JezebelDirector/Screenwriter: Numa PerrierCast: Tiffany Tenille, Numa Perrier, Stephen Barrington, Bobby Field, Brett Gelman, Rockwelle Dortch, Zoe Tyson, Dennis Jaffee, Jessa ZarubicaA true story. In the last days of her mother’s life, 19-year-old Tiffany crashes with five family members in a Las Vegas studio apartment. In order to make ends meet, her sister, a phone sex operator, introduces her to the world of fetish cam girls. (World Premiere)Leave the Bus Through the Broken Window (Hong Kong, U.S.)Director: Andrew HeviaA broken-hearted filmmaker navigates an unfamiliar city, an international art fair and his personal baggage in this intimate, playful and unexpectedly comedic documentary. (World Premiere)(Photo by Robert Rodriguez)One Man Dies a Million Times (Belarus)Director/Screenwriter: Jessica OreckCast: Alyssa Lozovskaya, Maksim BlinovSet in the future, a story about seeds and genetic diversity, about growth and decay, about love and war, and about hunger of all kinds. (World Premiere)Red 11Director: Robert RodriguezScreenwriters: Robert Rodriguez, Racer RodriguezCast: Roby Attal, Lauren Hatfield, Carlos Gallardo, Alejandro Rose Garcia, Rebel Rodriguez, Racer Rodriguez, Eman Esfandi, Steven Brudniak, Brently Heilbron, Pierce Foster BaileyRob, an independent filmmaker, loses his investor’s money only to find out his investors are the Cartel. He checks himself into a medical research facility to pay off his debt, but quickly realizes it won’t be that easy. (World Premiere)Romantic Comedy (United Kingdom)Director: Elizabeth SankeyMusician and writer Elizabeth Sankey investigates the past, present and future of romantic comedies, assisted by a chorus of critics, actors and filmmakers. (World Premiere)SakawaDirector/Screenwriter: Ben AsamoahWhat human story lies behind the phenomenon of ‘internet fraud’? In Sakawa we meet three Ghanaian youngsters who, out of desperation, turn to internet scamming with the help of black magic. (North American Premiere)TitoDirector/Screenwriter: Grace GlowickiCast: Grace Glowicki, Ben PetrieA desperate man seeks refuge from the predators hunting him by befriending a cheerful intruder. (World Premiere)EPISODIC PREMIERESDavid Makes ManShowrunner: Dee Harris-LawrenceScreenwriter: Tarell Alvin McCraneyCast: Akili McDowell, Nathaniel McIntyre, Isaiah Johnson, Ade Chike Torbert, Cayden Williams, Jordan Bolger, Travis Coles, Phylicia Rashad, Alana ArenasA richly layered, deeply personal work about a 14-year-old prodigy from the projects who is haunted by the death of his closest friend. Set in South Florida, the series is inspired by events in McCraney’s own life, exploring childhood trauma and the power of imagination. (World Premiere)NOS4A2Showrunner/Screenwriter: Jami O BrienCast List: Zachary Quinto, Ashleigh Cummings, Jahkara J. Smith, Olafur Olafsson, Virginia Kull, Ebon Moss-BachrachNOS4A2 introduces Vic, a young woman who has a supernatural ability to find lost things. This ability puts her on a collision course with the evil and immortal Charlie Manx, a supernatural villain who feeds off the souls of children. (World Premiere)RamyShowrunner: Bridget BedardScreenwriter: Ramy YoussefCast: Ramy Youssef, Mohammed Amer, Hiam Abbass, Amr Waked, May Calamawy, David Merheje, Laith Nakli, Steve WayRamy, a first generation American Muslim on a spiritual journey, explores the challenges of being caught in between an Egyptian community that thinks life is moral a test, and a millennial generation that thinks life has no consequences. (World Premiere)ShrillShowrunner: Alexandra RushfieldScreenwriters: Alexandra Rushfield, Lindy West and Aidy BryantCast: Aidy Bryant, Lolly Adefope, Luka Jones, Ian Owens, John Cameron MitchellFrom Executive Producers Lorne Michaels and Elizabeth Banks comes Shrill, a comedy series starring Aidy Bryant (Saturday Night Live) as Annie, a fat young woman who wants to change her life — but not her body. Annie is trying to start her career while juggling bad boyfriends, a sick parent, and a perfectionist boss. (World Premiere)What We Do in the ShadowsShowrunners: Jemaine Clement, Paul SimmsScreenplay: Jemaine ClementCast: Matt Berry, Kayvan Novak, Natasia Demetriou, Harvey Guillén, Mark ProkschBased on the feature film of the same name from Jemaine Clement and Taika Waititi, FX’s new comedy What We Do in the Shadows follows vampire roommates who have lived together for hundreds and hundreds of years. (World Premiere)24 BEATS PER SECOND(Photo by Jacques Cheuiche)Amazônia GrooveDirector/Screenwriter: Bruno MurtinhoLeaving Belem and crossing much of the Para State Amazon region, its towns and riverside villages, Amazônia Groove reveals artists and their traditions, faith and mysticism, music and life that pound in the northern region of Brazil. (North American Premiere)BluebirdDirector: Brian LoschiavoDiscover the origin stories of megastars like Garth Brooks and Taylor Swift while following emerging singer-songwriters as they chase their dreams inside The Bluebird Cafe, Nashville’s accidental landmark that has altered the course of music history. (World Premiere)The Boy Band Con: The Lou Pearlman StoryDirector: Aaron KunkelThe Boy Band Con: The Lou Pearlman Story charts the life and crimes of boy band impresario Lou Pearlman. The film tracks his life from discovering NSYNC and Backstreet Boys, to his perpetration of one of the largest ponzi schemes in US history. (World Premiere)Boy Howdy! The Story of CREEM MagazineDirector: Scott CrawfordScreenwriters: Scott Crawford, Jaan UhelszkiRipping back the curtain on legendary rock rag CREEM Magazine s wild and disruptive newsroom; a dysfunctional band of unruly outsiders who weren’t all that different from the artists they covered. (World Premiere)Brainiac: Transmissions After ZeroDirector: Eric MahoneyThe film explores the seminal 90s band Brainiac from Dayton, OH and its creative force Tim Taylor. Just days before signing a major record contract Taylor was killed in a bizarre auto accident leaving his family and bandmates to pick up the pieces. (World Premiere)Carmine Street GuitarsDirector: Ron MannScreenwriter: Len BlumFive Days in the life of Greenwich Village guitar shop Carmine Street Guitars.(Photo by Herman Nijhof courtesy of New Zealand Film Commission)The Chills: The Triumph and Tragedy of Martin PhillippsDirector: Julia Parnell, Rob CurryNew Zealand music genius Martin Phillipps fights his creative demons, conquers the music world, inspires a generation, and then retreats into depression, addiction and anonymity. (World Premiere)David Crosby: Remember My NameDirector: A.J. EatonDavid Crosby reflects on his life of music stardom, while forging new paths to relevancy at his age of 77 in this deeply personal documentary. (World Premiere)Everybody s EverythingDirectors: Sebastian Jones, Ramez SilyanEverybody’s Everything is the story of artist Lil Peep (Gustav Ahr) from his birth in Long Island and meteoric rise as a genre blending pop star style icon, to his death due to an accidental opioid overdose in Arizona at just 21 years of age. (World Premiere)The Gift: The Journey of Johnny CashDirector: Thom ZimnyScreenwriter: Warren ZanesJohnny Cash stands among the giants of 20th century American life. But his story remains tangled in mystery and myth. This documentary brings Cash the man out from behind the legend. (World Premiere)Mr. JimmyDirector: Peter Michael DowdDowd Akio Sakurai has dedicated his life to honoring Jimmy Page. For 30 years he recreated vintage Zeppelin concerts note-for-note in small Tokyo clubs. Moving to L.A. to pursue his tribute dream, cultures clash and Akio s idyllic vision meets reality. (World Premiere)Nothing Stays The Same: The Story of The Saxon PubDirector: Jeff SandmannScreenwriters: Jeff Sandmann, Jeffrey Brown, Lisa Kay PfannenstielNothing Stays the Same celebrates the last 30 years of live music in Austin, while also examining the challenges faced by musicians and music venues in one of the fastest-growing cities in the country, all through the lens of the legendary Saxon Pub. (World Premiere)(Photo by Courtesy of Nothing Stays The Same: The Story of The Saxon Pub)Show Me The Picture: The Story of Jim MarshallDirector: Alfred George BaileyJim Marshall was a maverick with a camera. An outsider who captured the heights of Rock’N’Roll music and the seismic changes of an era, from the Beatles and Jimi Hendrix, to the civil rights movements and some of the most iconic moments of the 60s. (World Premiere)Strange NegotiationsDirector: Brandon VedderA documentary exploring the existential, artistic and family life of musician and former evangelical, David Bazan (Pedro The Lion), set against America’s own crisis of faith highlighted during the 2016 presidential election. (World Premiere)Teen SpiritDirector/Screenwriter: Max MinghellaCast: Elle FanningThe film follows Violet, a shy teenager who enters an international singing competition with the help of an unlikely mentor. Driven by a pop-fueled soundtrack, Teen Spirit is a visceral and stylish spin on the Cinderella story. (U.S. Premiere)Who Let The Dogs OutDirector: Brent HodgeScreenwriters: Brent Hodge, John Diemer, Jasleen KaurThe origin story of the smash hit Who Let the Dogs Out goes back further than anyone could have imagined; steeped in legal battles, female empowerment and artist integrity, which beckons the question: will we ever know who let the dogs out? (World Premiere)Wild RoseDirector: Tom HarperScreenwriter: Nicole TaylorCast: Jessie Buckley, Julie Walters, Sophie OkonedoA musician from Glasgow dreams of becoming a Nashville star. (U.S. Premiere)GLOBALAleksiDirector/Screenwriter: Barbara VekarićCast: Tihana Lazović, Goran Marković, Sebastian Cavazza, Nataša Janjić, Jason Mann, Aljoša Vučović, Neda Arnerić, Leon LučevA character piece about funny and troubled girl in her 20s, forced to move back in with her overbearing family. (North American Premiere)AuroraDirector/Screenwriter: Miia TervoCast: Mimosa Willamo, Amir Escandari, Oona Airola, Hannu-Pekka Björkman, Miitta SorvaliAurora, a commitment-phobic party animal, meets Iranian Amir one night at a hot-dog stand in Lapland. Amir is running from death and Aurora is running from love. They need each other in order to finally stop running. (North American Premiere)Being ImpossibleDirector: Patricia OrtegaScreenwriters: Patricia Ortega, Enmanuel ChávezA young woman discovers she was submitted to several surgeries to correct her intersexual body as a baby. She has to find her own self outside gender binaries. (North American Premiere)Cachada: The OpportunityDirector/Screenwriter: Marlén ViñayoFive Salvadoran saleswomen want to take their cruel life stories to the stage. During the rehearsal process of their play, they’ll discover themselves as victims and victimizers in a cycle of violence that has plagued their families for generations. (World Premiere)Days of the WhaleDirector/Screenwriter: Catalina Arroyave RestrepoCast: Laura Tobón, David Escallón, Carlos Fonnegra, Christian Tappan, Julián Giraldo, Natalia Castaño, Margarita RestrepoTwo young graffiti artists of Medellín defy a criminal gang when they decide to paint the mural of a whale over a threat written in a wall. (World Premiere)La Mala NocheDirector/Screenwriter: Gabriela CalvacheCast: Nöelle Schönwald, Cristian Mercado, Jaime Tamariz, Ariana FreireShe is the perfect woman until she decides to be free. (World Premiere)VaiDirectors: Nicole Whippy, ‘Ofa-Ki-Levuka Guttenbeil-Likiliki, Matasila Freshwater, Amberley Jo Aumua, Mīria George, Marina Alofagia McCartney, Dianna Fuemana, Becs ArahangaVai is a portmanteau feature film by nine Polynesian directors and filmed on seven different pacific islands. It is about the journey of empowerment through culture, over the lifetime of one woman, Vai. (World Premiere)X YDirector: Anna OdellScreenwriters: Anna Odell, Jakob BeckmanCast: Anna Odell, Mikael Persbrandt, Trine Dyrholm, Vera Vitali, Shanti Roney, Sofie Gråbøl, Jens Albinus, Thure LindhardtSwedish director and visual artist, Anna Odell (The Reunion), conducts a social experiment in which she aims to challenge the gender roles that men and women have in the society of today. (North American Premiere)SPECIAL EVENTS(Photo by Kurt Volk)How Rednecks Saved Hollywood with Joe Bob BriggsDirector/Screenwriter: Joe Bob BriggsAmerica s drive-in movie critic uses 200 video clips and photos to tell the 500-year history of the American redneck in a multimedia comedy performance.Love, Death RobotsShowrunners: David Fincher, Tim Miller, Josh Donen, Jennifer MillerLove, Death Robots, an animated anthology series presented by Tim Miller and David Fincher, is a genre orgy of Not-Suitable-For-Mainstream shorts. (World Premiere)Followed by extended Q A with with Tim Miller and David Fincher.Ra: Path of the Sun GodDirector: Lesley KeenAustin based electronic and experimental label Holodeck Records is partnering with Austin Film Society for a special live re-score screening of the 1990 animated film Ra: Path of the Sun God, a beautiful re-telling of one of Ancient Egypt s most famous myths.Rebel Without A Crew: Filmmaking Master Class with Robert RodriguezJoin Robert Rodriguez as he gives a master-class in micro-budget guerilla filmmaking, featuring behind the scenes moments from his new ,000 film, RED 11. The event will be followed by the World Premiere of RED 11.Shangri-LaDirectors: Morgan Neville, Jeff MalmbergAn intimate look at the creative process through the lens of legendary music producer Rick Rubin.True StoriesDirector: David ByrneScreenwriters: Stephen Tobolowsky, Beth Henley, David ByrneDavid Byrne s 1986 musical comedy, inspired by theater director Robert Wilson, tabloid newspapers, and filmmakers Robert Altman and Federico Fellini, remains a unique artistic vision that celebrates the singular citizens of a fictional Texas town. David Byrne will appear in-person for Q A following a screening of new 4K restoration.
随着当前科技的飞速发展,智能手机的普及率相当高,手游玩家数量不断增加,再加上疫情的催化剂效应,对手游的发展起到了拉动作用,手游市场持续扩大已然成为必然趋势。
As we near the end of summer and the beginning of the school year, we ve still got a few noteworthy titles looking to pull in big audiences for that sweet blockbuster dough. The biggest of them is, of course, the DC super-anti-hero movie helmed by James Gunn, but we ve also got a cheeky action comedy starring Ryan Reynolds and a trio of horror flicks of very different stripes. Based on numbers compiled from our Facebook, Instagram, and Twitter polls, as well as Want-to-See numbers on RT, here are the five most anticipated movies of August!1. The Suicide Squad (2021)#1 on Facebook, Instagram, and Twitter, #2 on RTIn theaters and available on HBO Max on August 6Just in case you haven t been following along with the DC Extended Universe, this is not the same movie as 2016 s Suicide Squad, directed by David Ayer, even though it features some of the same  actors portraying the same characters (Margot Robbie s Harley Quinn, Viola Davis Amanda Waller, Joel Kinnaman s Rick Flag). James Guardians of the Galaxy Gunn takes over behind the camera for this new iteration of a group of would-be villains who are recruited to fight other bad guys under a secret government initiative, and if early reviews are any indication, you all have good reason to be excited about this one.2. Candyman (2021)#2 on Facebook, Instagram, and Twitter, #3 on RTIn theaters on August 27Taking a hard left from goofy, self-aware superhero shenanigans, we have this reboot-by-way-of-sequel of an iconic horror franchise. Yahya Abdul-Mateen II stars as an artist who moves into a fancy new development where Chicago s infamous Cabrini Green housing projects once stood and where the vengeful spirit known as the Candyman once stalked his victims. As he explores Candyman s origins in his art, he unwittingly unleashes a new horror. This film was delayed from its scheduled release last year, so fans have been eager to see it for over a year.3. Free Guy (2021)#1 on RT, #3 on Instagram and Twitter, #4 on FacebookIn theaters on August 13This meta-comedy set in the world of video games centers on a background character (Ryan Reynolds) who becomes self-aware and decides to become the hero of the game with the help of the programmers responsible for his awakening. Jodie Comer, Lil Rel Howery, and Taika Waititi co-star, and Reynolds has plenty of experience with this brand of silly, self-referential humor (see: Deadpool). This one was also delayed from its original release last year, but it still managed to rack up the most Want-to-See votes on RT.4. Don't Breathe 2 (2021)#4 on Instagram and Twitter, #5 on FacebookIn theaters on August 13Fede Álvarez had a sleeper hit with 2016 s relentless thriller Don t Breathe, which followed a group of young burglars who find themselves at the mercy of a blind man with a very particular set of skills. This time, Álvarez takes on a producing role (alongside horror vet Sam Raimi) and hands the reins over to first-time director Rodo Sayagues, as Stephen Lang reprises his role as the blind man in question, Norman Nordrstrom, who again must protect his home from invaders who may or may not have a very good reason for breaking in. Nobody asked for or expected this sequel, but the first film was so deliciously raw that this one makes it to spot #4 on our list.5. The Night House (2020)#3 on Facebook, #5 on RTIn theaters on August 20No stranger to horror dramas and psychological thrillers, Rebecca Hall stars in this chiller about a woman grieving the sudden death of her husband. Holed up in the home he built for her, she begins to experience terrifying visions that lead her to uncover dark secrets from his past. This film premiered to solid reviews at Sundance back in 2020, and it s finally getting a release. Most critics praised Hall s performance and moody atmosphere, so if you re looking for a good scare this month, you ll only have to wait a few weeks for it.Thumbnail by Warner Bros. PicturesOn an Apple device? Follow Rotten Tomatoes on Apple News.

10、《和平精英》是腾讯光子工作室研发的反恐军事竞赛体验手游,超大的实景地图,完美的画质品质,真实的游戏体验,一键组队,语音开黑,是学习工作之余和老友开黑的完美选择,次时代高清的游戏画质,绚丽的特效,每一帧都是视觉上的盛宴。
The cast and showrunner of new Netflix fantasy series give us the lowdown on what you need to know about The Witcher before you watch. Monsters — check! White-haired monster hunter — check! Magic — check! Star Henry Cavill talks about being a fan of the critically-acclaimed video game series, while his costars Anya Chalotra and Freya Allan explain how their characters Yennifer and Ciri develop their relationships with Cavill s Geralt of Rivia, and showrunner showrunner Lauren Schmidt Hissrich gives an insider s look at the highly anticipated Netflix series.Critics Consensus: The world of The Witcher still only feels half-formed as it gallops onto screens, but Henry Cavill brings brawny charisma to a series teeming with subversive fantasy elements and dark humor.About the series: Witcher Geralt, a mutated monster hunter, struggles to find his place in a world where people often prove more wicked than beasts.The Witcher is in now streaming on Netflix.
(Photo by Jesse Grant/Getty Images)Every casting in the MCU has made headlines, from the inspired albeit unconventional casting of Robert Downey Jr. in Iron Man to the moments-before-San-Diego-Comic-Con casting of Simu Liu in Shang-Chi. Just about everyone has had an opinion on who should play these iconic comic book characters on screen, and they ve been debated, scrutinized, and celebrated in every corner of the internet. But it may surprise some to learn these difficult choices have all rested in the hands of one woman. Over the course of 12 years, 24 films, and hundreds of roles, casting director Sarah Halley Finn has been the unseen force pumping the lifeblood directly into the heart of the MCU. Today, it may seem like a no-brainer now to cast RDJ as Tony Stark or Chris Pratt as Star-Lord, but in the early days, neither name was at the top of the Marvel wish list. It was thanks to Halley Finn s foresight and persistence that both actors were paired with their roles, but the MCU s lead casting director insists her efforts are a collaborative process.  Casting over 1,000 roles has allowed Finn to accumulate a few stories of near-castings and tales of actors who took a little more convincing to say yes, some of which she shared with us when we chatted with her a few weeks ago. Read on for our extended conversation with Sarah Halley Finn, in which she chats about casting not only RDJ and Pratt, but also some yet-to-be-cast actors she hopes to add to the ever-growing universe. Iron Man: He wasn t exactly known as an action hero. (Photo by Marvel Studios) The casting is always this collaborative process with the director and the writers and the producers, each trying to find the absolutely perfect embodiment of this character. And as we were working on Iron Man for a couple of months, we were really talking about a lot of different people that could play the part. But we kept coming back to Downey. Of course, everything you see onscreen is the reason why we kept thinking about him. And ultimately, because it wasn t a slam dunk at the time he tested for it. He had been known for Oscar-nominated work. He was an incredible actor. He wasn t exactly known as an action hero. This was a very different kind of role, and he hadn t been doing the same work for a few years, so he was willing to screen test. And that was the proposal that we made to our people as a way to just find out if it was really the way to go for the character. So because he agreed to screen test, we worked on it fast, and really, he came onto the soundstage in high spirits. I remember walking him in and I remember it so crystal clear   he came in high spirits. He knew what he wanted to do. I think he felt good, and I think as soon as he said the words, we all knew we had arrived. Captain America: No one else could play Steve Rogers except him. (Photo by Marvel Studios) After Chris Evans turned us down, I think it was the creatives who made that happen. It s Kevin Feige, it s Joe [Johnston]. It was really about helping him understand that there is an exciting character to play. It was not just an idea. He might have had a thought of what this means in the comic book universe but not what ideas it was about. But I know he also considered what this represented for his life and all those kinds of considerations you re aware of that and what he was weighing at the time. But it was really the creative engagement detailing about how he was the perfect person to bring this character to life, how no one else could play Steve Rogers except him and why, and what qualities he had that were perfect for it. And then they got creatively engaged to the point where it s harder to say no. Hulk: I had worked with Mark off-Broadway in New York, and it was really exciting when he jumped in. (Photo by Marvel Studios) Hulk was already in production when I came onto Iron Man, so I was not involved in casting [Edward Norton], and I think for whatever reasons, [Norton] was not involved when I was doing Avengers. So again, it was talking to Joss [Whedon], talking to Kevin, my team. How do we see this character now? What are his qualities? What are we looking for? Who is the best person to bring him to life? I had worked with Mark forever ago, off-Broadway in New York, and I had known him for a long, long time. And it was really exciting when he jumped in, and jumped in quickly. He was cast right before San Diego Comic-Con correct?  Yes, but there are hours and hours of stories for every single person, and that happens with more people than you might think, because one of the things is these actors aren t just sent a script. It s not like they re just sent a script that they can say yes or no to it. The scripts are secret. They re confidential. They get hand-delivered with a security guard and they re waiting in the car while you read. It s really sometimes a long process and of engagement with the creatives, with the director, and with Kevin [Feige], to help people understand the world. Maybe there s some artwork, maybe there are some examples of things that can get them to understand what they re going to be playing, but it s not always as easy as it might seem. Thor: Yes, both Liam and Chris Hemsworth read and were the loveliest guys. (Photo by Marvel Studios) It took months. In truth, I have not slept in 10 years. Are you kidding? [Laughs] Yes, both [Liam and Chris Hemsworth] read and were the loveliest guys. But for Thor, Liam was young. He was so young at the time, and it was a long process, and hopefully, we ve gotten it right. But we ve got Liam in our sights. We ll find something for him. [Laughs] It seems like there was no one else to play that part now, but when we were approaching Thor with Kenneth Branagh, we knew this guy had to be part Shakespearean. Asgard had to exist in a complete otherworld and yet be utterly relatable and human. And that was a very difficult combination. And the material we were using for auditions, was a Shakespeare scene. So it took some callbacks, and some work, to really feel like we had arrived there. And then Thor changed entirely with Thor: Ragnorok. Yeah, it s amazing and it s really gratifying for me, because I think another hope when we re casting these roles is that we re going to find actors who have the range to go a really long distance. And I think when Chris Hemsworth broke, we knew he was a movie star, but I don t think people saw in him the performance he just gave in Thor: Ragnarok and Endgame. To see him make that leap to comedy and the way the audiences responded to him, it was so exciting. It s like an actor you know, and yet, you re discovering him in completely a new way, and really fun to be able to surround him with interesting characters like Korg and all the other characters that you see him interact with. Star-Lord: We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms. (Photo by Marvel Studios) Actually [Chris Pratt] came up after he read because there were a lot of things we were trying to accomplish. We really want this to be perfect. We wanted it to be perfect for us, and a movie for the fans, and it was a long search on Guardians of the Galaxy. It doesn t seem like a difficult role, but it s a difficult role. He s heroic, but he s a bit childish. He comes into his own. He s very funny, and he also has this deep issue that he struggles with abandonment from his father and his childhood so there s a lot of layers that go in. We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms; and could bring all of the dimensions of the character to life. Chris was known for comedy; he wasn t necessarily known as heroic. He also wasn t known as an action guy. Chris had done another audition for me for another Marvel film, and I had seen those kinds of heroic noble qualities in him, and I knew he had the comedy. And I had seen Zero Dark Thirty and Moneyball, so I knew he could bring the action element to the role.And so, I kept bringing it up to James, to the point where James I read in a print [magazine] called me annoying and didn t really see him for the role. He claims that I tricked him. I don t really remember it that way. [Laughs]  It just so happened that Pratt was coming to read and James was there at the same time. So, yeah. [Laughs] Well, the one thing I will say, what s great about James is that he was very public on the press tour to be like, No, this is Sarah. I didn t see it, but I m so glad she made me do it. That s also great about working with him. It was very generous of him to be as open as he was about the process. And frankly, we had a lot of humor and that kind of camaraderie throughout the casting process. It really helped, and it helped him work with Chris. It helped Dave Bautista, who hadn t had a lot of acting roles, feel comfortable. And I think that his energy, his humor, his compassion, as an artist and as a director, was infused throughout the whole production. I think you can feel that in all the performances. The Guardians: Ensemble casting takes a lot of thought and a lot of work, and we test things out. (Photo by Marvel Studios) By the way, ensemble casting takes a lot of thought and a lot of work, and we test things out, you know? Once we cast Chris [Pratt], we were able to think about the qualities that he brought to the role, and then how to juxtapose that and how to support that in different ways to make the film interesting. So with [Dave Bautista], we knew that their chemistry was going to be really important, for Drax and Star-Lord to have something. And again, we did some mix and matches. We tried different ideas, but Dave and Chris really clicked. And so, it was being able to see that. And then, conversely, with Zoe [Saldana], we knew we really wanted somebody strong who was going to go up against him and give him a run for his money in a certain way, and she really brought that. And that s the process with any group casting. Rocket: You need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. (Photo by Marvel Studios) I approach voice actors the same exact way I approach the onscreen characters. I think that you need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. There s incredible pathos he brings, and he s damaged and wounded. And yet, you want to care for him, and you want to love him, and you want to laugh with him. And I think the audience got completely behind him. Basically, when we started thinking about the character, we re looking for the essential qualities. Who do we want to convey this emotion? How does the director want that character to come to life? So with Rocket, we had a very good idea of what James wanted, but we went through over a hundred voices, probably more. And that s my team, which is amazing, and taking James thoughts and notes. And we asked the other departments to give us any visual aids we could start pairing and mixing and matching a wide range of vocal qualities, of temperaments, of cadence, to try to see what would and all that comes together for how we could best personify that role. Spider-Man: The search went on for over a year just to cast that one role. (Photo by Chuck Zlotnick/Columbia Pictures) Can I talk about that? [Laughs] Those guys Asa Butterfield, Timothée Chalamet, and even Tom Holland have been really open about discussing it. Yeah, well they re all amazingly talented actors. I can say that much. They re all amazingly talented actors, but again, it was a role that we were trying to combine very specific elements and a range of qualities. So, for various reasons, I think the search went on for over a year just to cast that one role. And I think they ve all gone on and done great, and I think Tom has really done right by the character. The Villains: Michael B. Jordan s role was so poignant. (Photo by Matt Kennedy /© Marvel / © Walt Disney Studios Motion Pictures) I don t think we necessarily approached casting a villain in a different way from casting anybody else. You re still going, What are the essential qualities we re looking for and who s the best person to bring that to life? And in Black Panther, Michael B. Jordan s role was so poignant. It captured everything we hoped to do, which is create a multi-dimensional character who is not one-sided and who audiences can understand even if they re doing bad things. New Faces in the MCU: We can look anywhere. Marvel is so open. (Photo by Courtesy @DisneyStudios Twitter) It gives me so much energy to see more [diversity] in the MCU, and I m so excited to go into work every day, because I feel like there are no limits. We can look anywhere. Marvel is so open. It s a new day, and really, we are going to try anything. We have a deaf actress, Lauren Ridloff, who joined The Eternals, and right now we re looking for an 18-year-old Muslim-Pakistani female. It is beyond exciting. Casting Disney+: We re really approaching the streaming shows like movies. Yeah, it s very early but we re really approaching the streaming shows like movies. They re going to be very satisfying, I hope. We re really not looking at them any differently. They re incredible storytelling. We have incredible writers. We re putting together incredible casts, incredible directors. Very ambitious visions for these shows and the present a lot of new challenges but I m really excited. Casting Oscar Winners: They re able to stretch and do something that might be completely different. (Photo by Chuck Zlotnick ©Marvel Studios 2019) When I first came to the MCU and I was working on Iron Man, I was walking down the hall and somebody was making fun of me and saying, Oh, what, are we just going to have all Academy Award winners and nominees in the film? And I had a moment of panic thinking, Oh, my God, I m going to make the most boring superhero ever. What s it going to be? Nobody s going to relate to it. But [knocks wood] it s worked out well, and I think for these actors, there s a lot to play. There s a huge range to a lot of these characters, and sometimes it s just something really different. Look at what Cate Blanchett did in Thor: Ragnarok. It was fantastic. But Kevin and the mindset at Marvel is very collaborative. It s collaborative with the directors, it s collaborating with the actors. Creatively, they re all able to play in the sandbox. They re able to stretch and do something that might be completely different. So for someone like Brie Larson, yes, it s a leap to go from Room to Captain Marvel, but the way she embraced that character was complete, you know? She did the physical training. She researched it, she dug in with the directors and wanted to find out how to create this character in the way that I think actors approach in a role. So yeah, it was the whole process for her and for every actor to who takes on one of these roles. A Wish List for The Female Avengers? I don t know. I don t know if I can give you a few? I ve got a hundred. But I don t feel like I can No, I can t. I can t say. It s like asking me to pick my favorite kid. I can t do it. But hit me back after [Phase Five], maybe. Then I can tell you. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
另一方面,丰富的地图移动机制也让游戏的节奏变得更快了。它不仅减少了吃鸡游戏前期收集资源发育的枯燥时间,又让单局游戏的时长变短,使《Apex手游》的体验更符合移动端玩家碎片化的游玩习惯。
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5 天前

游戏时长 81分钟

RT: This movie is pretty widely known as one of those projects most people thought would never be completed. How does it feel, now that it s finally done?Gilliam: Well, it s out of my life. I got rid of it. It was like a disease. That really is what it feels like. I m relieved that I like the film. That s what pleases me. It s nice that a few other people, or maybe a lot of people that depends like it as well, because the horrible thing about carrying it around that long was the growing fear that whatever I did would disappoint people, because if they had been waiting 20 years, their imagination is going to have plenty of time to grow. I just knew I m going to disappoint a lot of people. That was terrible. Luckily, I ve read a couple of reviews that proved that I was right. I disappointed. [laughs]That is just cheating. I think people who went to see the film should forget that it took 30 years to get made, because it s just a film that I finally got out. The film, the final film that s made, is a result of a couple years of work, and that s it. All the stuff that precedes that is kind of meaningless, to be quite honest. Once you ve finally got the cash, you can go off and shoot it, and then you survive shooting outside for almost the entire film without nature destroying you. It is what it is.For me, Quixote has never been one idea, one script that I had 30 years ago that I ve clung onto. It s constantly grown and changed and shifted, depending on circumstances and who s involved. That s what filmmaking is about. I m in no way a purist about anything. It s just something I managed to get done in the last couple of years, and I m really pleased with it.RT: Despite the hardships you endured bringing it to the screen, you must have been so excited to finally be shooting the thing. Am I completely off base about that?Gilliam: Completely. [laughs] The first couple weeks were horrible because this weight of expectations was killing me. It really limited what I was doing. I really was struggling to decide this, that, or the other thing. Luckily, after a couple of weeks, you re just in the rhythm of things. You re just dealing with a disaster that just occurred 10 minutes before, so you forget about all of that, but I just knew it s going to disappoint a lot of people. Whatever they thought it was going to be, it isn t. It is what it is, is all it is.All I know is, I think we ended up with a bit of script that we had way back when. We ended up with the best cast imaginable. It was the thing that actually carried me through most of the shoot, that whatever I felt my failings were, I just felt the cast is so brilliant that whatever happens, that will pull the audience through. I still feel that. I think Adam and Jonathan are spectacular, and Stella and Olga and Joanna and Jordi Mollà  every one of them is crackers. It s just great.RT: I have to imagine that, throughout the process if filming this, part of you had to be wondering, OK, what s going to go wrong this time? When is this all going to fall apart? Gilliam: That is the constant fear, because I know I m getting away with murder. How much longer can I pull this off? Actually, here s the funny thing that happened. The weather was good for us, because we were outside. We were exposed the whole time. We didn t have weather cover most of the weeks, actually. We were right on the edge the whole time, and the weather held until we got to it, the biggest scene in the whole thing, which is at the end with the burning of Santa Cathartica, and the castle with all of those extras there was 350, all in costumes I mean, the most expensive part of the film, and of course, that night it rained. [laughs] We had to postpone, and we lost a day. But I thought, Nature has got a sense of humor, is all I know.  It suckered me in, thinking it s going to be OK. Wait until you get the most difficult, expensive part, and now f k you, Gilliam. RT: When did you first realize this film was becoming your own personal windmill giant?Gilliam: I don t know. It must have been after 2000 when it all collapsed. I went off and did something else, and then it was more about the fact that Quixote wouldn t leave me. It was like every time I d finish another film, I would pause, and there would be that old fart waving, saying, Come on. Let s get to work.  That s what happened. At a certain point, you ve expended so many years, and it just feels you ve got to finish it. Luckily, I had Orson Welles up there as my competitor, and I thought, He couldn t finish his, and I m going to f king finish mine. [laughs] I had to be better than him at one thing. Maybe my film was a fraction as good as his was going to be, but it doesn t matter. I beat him on one thing.No, it s a very funny thing. Tony Grisoni, we were talking about this, because we knew the comparison between Gilliam and Quixote would keep coming up. He said, Really? His feeling is the film is Quixote; Gilliam is Sancho Panza. I m the guy who kept plodding along to keep the lunacy alive somehow. I tend to think there is that, because by the time we re doing it, I m no longer a dreamer at all. I m not fantasizing about anything. I m just dealing with reality, and it s been like that for the last probably 10 years. That s what it s become.RT: I think it s probably easy for anyone who s familiar with your work to see why you might have been drawn to the story of Don Quixote, but my understanding is that you read the novel, I think, sometime around 1989, and then immediately wanted to turn it into a film. If that s true, what was it about the book that spoke to you so powerfully that you just felt that intense need to adapt it?Gilliam: It was actually slightly backward from that. I think I had finished Munchausen, and what am I going to do next? Quixote has always been in the zeitgeist there s Quixote, one of the great iconic figures, and I ve always been partial to madmen and fantasists. I literally just called up Jake Edwards, who was the executive producer of Munchausen and said, Jake, I got to two names for you. One is Gilliam, and the other is Quixote. I need million. He says, You got it. It was as simple as that. I had the guarantee of million before I read the book.Then I sat down and read it, and several weeks later, I realized, What the f k have I done? This is crazy. I don t know how to even begin here because it s such a massive work. But I started working with Charles McKeown, who had written Munchausen with me, and we started throwing it around. It was a very different idea back then. It was really basically about several old men sitting around in a plaza in some little village in Spain, and all they were saying to each other, If only I had done this here. If only I hadn t done that. It was the if only story, and one of them says, I ve had enough of this stuff. I m going to die soon, so before I die, I m going to go and do whatever it is if only, that we ll throw the if only out of the equation. That s how we started writing it. That s where it started.But then I realized the problem was going to be, how do you convince a modern audience that a guy from the 17th century is completely enthralled with stories from the 12th century? Because your period costumes, a modern audience wouldn t be able to distinguish between the two. That then led to the next step, which was, let s have a modern guy who becomes the Sancho Panza, the man who we can all identify with, who takes us through. Then I went into Connecticut Yankee in King Arthur s Court. End of story, bonk on the head, you end up in the 17th century. That s where we were with the Johnny Depp/Jean Rochefort version. I don t know how many years ago we made the leap to keep it modern, because that would be cheaper. Planes could fly over, and they wouldn t f k up the film for us. [laughs]Then it was this idea that we see what he was like before he d become a cynical, corrupted commercials director, when he was young and innocent, and he made a film, as we do in the movie. That seems to be a much more interesting way of approaching it, and then it also made the character of Toby more tied in with a sense of guilt, because he s created this monster in Quixote, and so they re trapped together. That helped. All of these things started developing.It was always just this balance game of trying to keep it fresh and be true to the heart of the book, the essence of the book. We d pick bits that we liked from the original stories and use them, and yet we weren t trapped in that. We didn t have to ever become pedantic about it. It freed us up, because you spend your time always trying to escape from those great authors, whether it s Hunter Thompson or Cervantes. It all was quite step by step. It makes sense when I look back on it. At the time, we were just trying to keep it fresh in our own minds and trying to solve enough problems.RT: You ve said that the way the narrative shifted over the years, it came to be about the way movies can damage people, and I m wondering if that was directly influenced at all by what you went through, trying to get the movie made.Gilliam: No, it wasn t. What it was about was our experience making Holy Grail in Scotland. Because we had come up to Scotland, and we were working in this little village called Doune, where they had a castle and all. We really f ked up a lot of people s lives, because girls trailed the crew back to London, marriages broke up, all sorts of things happened as a result of a film crew coming to a small village. So that s what was in my mind, not my own experiences necessarily.It was also the other idea of what films do, is that films replace those books that Quixote was reading, which were about knights and heroics and maidens and blah, blah, blah. That s what movies do now. I find I don t know how X-Men or Avengers are affecting young people s lives. Do they believe any of it? Do they want to be like that? I don t know.RT: This isn t the only film project of yours that ran into problems during the development process. What made you stick with this one more so than any of the others?Gilliam: Well, it was probably Orson Welles again. It s the idea that even Orson Welles couldn t finish his. [laughs] But I feel a bit more responsible when I take on a great book that somebody else has written, and I feel, Is there a way I can actually bring this to life again for a modern audience? I want to encourage people to read. When I think about Munchausen, it was the book. Fear and Loathing, it was the book. It s really what triggers me a lot, taking on something that I think is important, make a film about it, and maybe it ll lure a few people back to actually look at the original material to see what it does to them.RT: Does The Man Who Killed Don Quixote hold any sort of special significance to you?Gilliam: I don t think so, no. Now that I ve managed to pull it off, that seems to be enough. It s still too close to me, as well, because always the last film is your favorite film. It always works that way with me, and I can t wait to see it in theaters to see what I really think about it. But it really is like that. I don t watch my films because I really want to get to the point that I ve forgotten what they are or what happens, so I can be like a normal audience and judge them as somebody who knows nothing. I m waiting for that moment on Quixote. I m still too busy. My problem with Quixote is I have become that character in the scene where Jonathan is in the back of the truck with the dirty sheet, and the film is playing again and again and obviously having to retell the tale. That s what I ve become. You have to be very careful of what you write.The Man Who Killed Don Quixote opens for a one-night Fathom Event on April 10.

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亚博网软件下载 除了普通玩家的喜爱,职业选手跟资本也纷纷看好LOL手游的前景,作为一款能够赛事化的游戏,本身就是一个会行走的移动钱包。LPL一个战队名额从最初的无人问津到后来的价值数亿,也说明了一个道理,那就是上车要趁早,于是乎不管是如FPX、IG、RNG这样的职业电竞俱乐部,还是像微笑、UZI、若风这样的退役职业选手,亦或者范丞丞、魏大勋这样的场外明星资本,他们都在第一时间布局,毕竟这块蛋糕的肥美程度有目共睹。

不过应该怎样下载这个模式呢?我这里发现了一个办法非常好用,那就是使用网易UU手游加速器,不但下载简单,还能解决游玩外服游戏时的各种网络问题,下面就是具体使用教程: Ratched, the much talked-about Netflix show from Ryan Murphy and Ian Brennan is Fresh on the Tomatometer largely due to its Emmy-winning star, Sarah Paulson. And if you love her performance in this origin story of asylum nurse Mildred Ratched yeah, that Nurse Ratched this list should fill your binge prescription, whether you choose to go back to the source material (One Flew over the Cuckoo s Nest), check out something else from the creative team behind it (American Horror Story), or try another dark period drama set in a hospital (The Knick). Watch the video for the full list!The first season of Ratched premiered on Netflix on September 18, 2020.

2021-11-30

The Top Ten and Beyond: Abominable, Ad Astra, Rambo: Last Blood Struggling(Photo by Universal Pictures)Last week’s #1 family offering, Abominable, dropped 41.8% to second place this week with million. With .8 million total after ten days, that puts it between 1998’s Antz (.6 million) and 2012’s Rise of the Guardians (.4 million). Those films legged out to .7 and 3.4 million totals, respectively. Abominable will instead close out similarly to The Lego Ninjago Movie with a final estimate between -65 million. That s well behind Smallfoot’s million last year. The film has only made an additional .3 million overseas so far which is not great for the million production and is likely to become Universal’s first red mark since Little in April.As mentioned, It Chapter Two joined the ranks of the 0 million club this weekend with its m pick-up. In other pending milestone news, Hustlers has the 11th best total for a September release after 24 days, earning m this weekend, and is headed for somewhere around 5-110 million. Downton Abbey may be out of range to join the 0 million club, with million this weekend, but it is primed to best the million grossed by Brokeback Mountain to become Focus Features’ all-time domestic grosser.  Roadside’s Judy with Renee Zellweger jumped from 461 theaters to 1,458, grossing .4 million.In less promising news, Fox’s Ad Astra has just about hit the wall in North America with a million weekend, and is limping its way to million. The film would still need another 8 million to break even based on its most conservative cost estimates. Rambo: Last Blood is not doing much better, but also cost less. With million worldwide, after a million domestic gain this weekend, the film still needs around another million to get into the black.This Time Last Year: Venom s Big Wind-Turdlin Debut!(Photo by Columbia / courtesy Everett Collection)Last year, October kicked off with the biggest top ten haul of all-time this month. Similarly, it also kicked off with a big comic book spinoff – albeit from Marvel – as Venom opened to the biggest October weekend of all time with .2 million. But hold on: Bradley Cooper’s A Star is Born opened as well. Even though it finished second with a strong .9 million it would go on to outgross Venom: 5 million versus 3m. The Fathom event broadcast of the Met Opera Aida actually grossed enough on just Saturday night to finish tenth overall with .18 million. On the Vine: A Family of Addams, A Sassy Siri, A Parasite A Tale of Two Will Smiths(Photo by Paramount Pictures / courtesy Everett Collection)The best chance to unseat Joker next weekend rides with not one, but two Will Smiths in Ang Lee sci-fi actioner, Gemini Man. Meanwhile, United Artists does not appear to be expecting great notices for their animated version of The Addams Family. It has been 28 years since the last live-action version of the television theaters hit theaters. The Hangover writers and Bad Moms directors, Jon Lucas Scott Moore, will try to pull off a wacky version of Spike Jonze’s Her with the Adam Devine-starring Jexi.  Otherwise, you ll find Bong Joon-Ho’s Parasite opening in limited release next week. The Full Top 10: October 4–6Joker (2019) 68% – .50 million (.50 million total)Abominable (2019) 82% – .00 million (.83 million total)Downton Abbey (2019) 84% – .00 million (.62 million total)Hustlers (2019) 87% – .30 million (.32 million total)It: Chapter Two (2019) 62% – .35 million (2.20 million total)Ad Astra (2019) 83% –  .1554 million (.66 million total)Judy (2019) 82% –  .44 million (.90 million total)Rambo: Last Blood (2019) 26% – .55 million (.82 million total)War (2019) 69% – .58 million (.08 million total)Good Boys (2019) 80% – $

亚博网软件下载 Ryan Fujitani for Rotten Tomatoes: You ve written, what, literally hundreds of novels across various series R.L. Stine: I know. Now, let s not say the number or I ll have to go take a nap or something. It s 26 years of Goosebumps. Do you believe it? I think they are about 140 titles now. I don t know. How did it happen? The Fear Street series; there are about 80 in the Fear Street series for teenagers.RT: So you ve not only done that, but you ve done short stories, anthologies, even comics. Did you have any inkling that the Goosebumps series in particular would attract the kind of fan following that it did?Stine: No, we had no idea. And we thought we were doing something kind of dangerous. No one had ever done a scary book series for seven-to-12 year olds. It had never been done, and I was really reluctant. For one thing, Fear Street was doing really well, the teen series, and I didn t want to mess that up. I was very reluctant to do Goosebumps. And then finally I said, All right, okay, we ll try two or three. The kind of businessman I am, right? We ll try two or three. And they just sat on the shelves. It took about six months for kids to discover them. I think if it were today with computers and everything, the stores would ve pulled them off the shelf, and that would ve been it.About six months. Somehow, kids discovered them, and then started telling other kids the secret kids network and it just went crazy. There was no advertising, no hype. Nobody knew me. It was just one of those insane things that no one had planned on. Nobody.RT: Considering you were so skeptical about it working, what was it that finally made you take the plunge?Stine: Well, they kept after me, my editors, and then finally I said, All right. If I can think of a good name for the series, let s try a few. And then I tried to figure out how I could do it and not really terrify seven-to-12 year olds, and I decided I d have a blend of horror and humor.RT: It took quite a while for the Goosebumps movie to come to fruition.Stine: 23 years, it took.RT: Was it satisfying to finally see your creations on the big screen in blockbuster scale that way?Stine: Yeah, it was, and it was a wonderful surprise because I had very little input in the movie. No one wants the author around. No one wants the author around, and I just felt so lucky that the film was so good. It really was a good movie, and I was just very happy about that. And also so weird to be a character. It was all about me. How weird is that, right?So I really enjoyed it. Yeah, I had a really good time with it, and it s totally revitalized the Goosebumps book series. We re back. It s been incredible. I just signed on to do six more. Some of us don t know when to quit, right? We just keep going.Goosebumps 2: Haunted Halloween is available to stream and on DVD/Blu-ray now.

2021-11-30
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