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168体育APP官网下载采用百度引擎6(Baidu 2)The 33 Best Boxing Movies of All TimePugilists have been popular camera subjects since the start boxing, at the time, being arguably the most interesting thing you do to another person in public. In the odd century-plus that s passed since, boxing cinema has evolved past mere punching for spectacle. It s about personal toil. Training. Strength. Sacrifice. Undying commitment to the physical vision. And then it s about hitting somebody for money. Or respect, sure.Tonight s title bout: The best-reviewed boxing movies ever! In one corner, we have heavyweight classics like Rocky and Raging Bull. In the other, hungry newcomers like Creed and Million Dollar Baby. And in another corner (we have a lot of corners): hard-hitting documentaries, repped by When We Were Kings and Unforgivable Blackness. And, yes, we re going international in this corner: see Knuckle all the way from Ireland, and China Heavyweight, all the way from, er, China. To be a contender, the movie needed to put up a Fresh rating after 20 reviews, before we ranked them with our weighted formula calculating a film s Tomatometer score, its number of reviews, and year of release.Think you got what it takes to take on the champs? Hit em where it counts! Hit em right in the 33 Best Boxing Movies of All Time!

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o hint of them at all in the MCU.Kang — Despotic ruler of a far-flung future and would-be ruler of everything. He s been the odds-on favorite from the jump as the character will appear in Ant-Man and the Wasp: Quantumania. But as we always like to introduce a new character for inclusion in the series, we re going to suggest a specific version of Kang known as Immortus. Hailing from Earth-6311, this Kang is said to be his own ancestor and descendant. His history as a Marvel villain is equally twisty, assuming over a dozen identities across the years and forever scheming to create a timeline he deems as correct. This motivation, above all other things, makes Immortus the seeming answer to Loki’s riddle. But it comes with a caveat: Loki and Immortus have no beef — in the MCU anyway — which would make his reveal somewhat anticlimactic even as it opens a new story going forward.And just to be thorough, we ll add Mephisto, Galactus, and the Living Tribunal to the list. All are wildly unlikely choices, of course. Although the Living Tribunal — a multiversal entity charged with maintaining the balance of mystical energies and good and evil across all realities — could be creating this whole ordeal just to see if Loki is truly capable of change. But would discovering the entire series was a charade leave viewers feeling cheated? This is Loki, so purposely cheating the audience could be in play.Oh, and on that front, we ll add one last suspicion: it could still be Classic Loki playing the longest of games. He is a survivor, after all.Loki s season finale launches on Wednesday, July 14, on Disney+. Summer Movie Scorecard 2019Welcome to the Summer Movie Scorecard for 2019, where we weekly rank the biggest and buzz-worthy by Tomatometer! Just a wide release (600+ theaters) and/or 80 critics reviews gets you on the list – beginning with movies released from April 26 and onward. Why then? Because that s when Avengers: Endgame came out, kicking off the summer slate. Yes, Disney even controls the seasons now.By the time August closes, we ll have seen the likes of superheroes (Dark Phoenix, Spider-Man: Far From Home), horror hopefuls (Child s Play, Annabelle Comes Home, Midsommar), action blockbusters (Hobbs Shaw, Men in Black International, Godzilla: King of the Monsters), new stuff from Quentin Tarantino (Once Upon a Time in Hollywood), and Richard Linklater (Where d You Go, Bernadette), and plenty in family-friendly fare (Toy Story 4, Dora and the Lost City of Gold).Check back as we update with the best 2019 movies of the summer (and the worst) every week and see where your favorites rank!Updated 8/26: Angel Has Fallen, Overcomer, Ready or Not

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3.27.1 9月喜迎(Photo by Columbia, Madhouse, and Warner Bros.)“Know Your Critic” is a column in which we interview Tomatometer-approved critics about their screening and reviewing habits, pet peeves, and personal favorites.After quitting her day job to focus on entertainment writing full-time on /Film, Hoai-Tran Bui has since become one of their lead critics. Like most young Vietnamese-Americans, she is of the first generation to be born here, her parents having left Vietnam after the Fall of Saigon in the 1970s and the communist takeover of the country. Bui s mother s upbringing in a French-speaking school in Vietnam translated to bookshelves in America filled with Western classics like Jane Eyre, Les Miserables, and Little Women. Those, along with Studio Ghibli films like Castle in the Sky, Kiki s Delivery Service, Spirited Away, and Princess Mononoke ( A lot of blood and gore in that one for an eight-year-old child ) were the foundations of Bui s writing aspirations, and making it onto the Tomatometer as a film critic. Bui talks now about a movie world transitioning back to something approaching normalcy, along with the things she watched during quarantine that she would ve liked to have seen in theaters, and settling long-running Disney debates.Hoai-Tran Bui is a staff critic at /Film, and co-hosts the Trekking Through Time and Space podcast. Find her on Twitter: @htranbui.Theaters are opening up again. Have you been back yet?Quiet Place II was my first one, and then In the Heights was the next day. So I went from not going to theaters for over a year to going to the theaters twice in a row. Actually, the day that I went to see In the Heights, I went to see the Wong Kar-wai retrospective special that they re doing at the Lincoln Center in New York. Then the In the Heights screening showed up, and I was like, I ll just do both. So I went to see three movies in theaters within two days.It was great, but it was surreal. Still doing social distancing, but because these are both just press screenings, they re just like, Sit where you want, but also don t sit next to people. That was nice, although I feel like it kind of diminished some of the effects of seeing both of these movies in theaters. Because A Quiet Place was very much about that communal theater experience, everyone gasping and holding their breath at the same time, but as for Quiet Place II, and I feel like this also led into my thoughts on the movie, which I think were also lightened up on that aspect, it felt less like that communal experience because we re all just kind of far apart and there s only six other people in theater.What movie did you watch last year during quarantine that you wish you saw in theaters?I would ve liked to see Bill Ted Face the Music in theaters, less so for seeing on the big screen and more so for seeing the people, just because it s a movie that, like a lot of comedies, it demands being seen with a bunch of people, and laughing by yourself with your computer on your lap isn t as fun as laughing with a group of people with the same jokes. I think Face the Music came at such a specific time that it was this hopeful movie about coming together, about facing the odds as humanity, and that felt very resonant during the pandemic and during quarantine. That one made me a little emotional, even. But I feel like even seeing that together with a bunch of people would ve been even more impactful. I don t even know how it would play now, just because I feel like the timing of it was so specific to the fatigue that we re feeling during COVID. But I feel like that one, I would ve liked to see with people, just to share in our misery together and our hope for something that can come through and still make us laugh.(Photo by Columbia/Everett Collection)What s required viewing for you?The Before trilogy. They have such great, effortlessly written scripts, and one that feels so natural and organic and yet also is rife with so much character drama and building and dynamics within it. There s an ebb and flow within the movie, within the dialogue, and even though it s completely plotless, there is a plot within what these characters are saying to each other and how they re interacting with each other. Every movie is such an interesting snapshot of each age, too, that altogether they become this experiment with time that I think Richard Linklater has tried to recapture with a lot of his later movies, with Boyhood, for example.What s the hardest review you ever had to write?One that was more recent and which I just spent a lot of time on because it was something that was so personal to me. That s Raya and the Last Dragon. I spent a couple of days writing that. That one I kind of turned into part review, part personal essay. Raya and the Last Dragon, in particular, because it was Disney s big Southeast Asian animated movie. It was going to have Disney s first Southeast Asian princess, it had Kelly Marie Tran, who s a Vietnamese-American actress, so there s just a lot riding into that movie. I had a lot of complicated feelings with it because I thought it was good to an extent, but it didn t quite fulfill all of the promises of diversity and representation that it was billed to do and, in the process, I think lost a lot of what could ve made it good by trying to be so big and universal and ended up being nothing very specific.So I spent a couple days just picking that apart, both the movie itself and my own personal feelings about it. I think I wrote something pretty good. Before I started writing film criticism, I remember my journalism class, they always talked about how you shouldn t put yourself into the story. It should be as unbiased and as distant as possible. Of course, going into film criticism, it s all about your own personal opinions and beliefs and your own personal relationship and how this movie affected you. I can t help but making a lot of the reviews that I write very personal, deeply personal at that. I think often the better ones I write are the personal ones, the ones where I draw on some of that experience.I do feel kind of weird sometimes because I feel like I m exploiting my own personal life for other people s entertainment in a way, other people s pleasures, and it always feels a little weird to me that I m just putting little pieces of myself out there in these tiny personal essays about movies. But I think that that s the way that people interact with art anyways, the best way to communicate how something moves me or something affects me. So Raya and the Last Dragon, for sure, was one that I spent a lot of time thinking of.Then another one that was deeply personal, too, but wasn t really a review, was this piece I wrote about Da 5 Bloods. The depiction of Vietnamese characters in that movie, honestly, were the best attempt by any Hollywood movie so far, but still falls extraordinary flat because it tries to, I think, connect the Black Lives Matter movement and effects and legacy in a way that doesn t totally cohere. I wrote about that, and I wrote about my own personal thoughts watching that movie with my mom, actually, and the kind of mixed feelings I had, and her thoughts on the Vietnam War and about the American response and involvement in the Vietnam War. That was always really interesting to me, and it was something that was a little bit tangled and knotty, and I don t think I fully picked it apart and untangled it as much as I could ve. I haven t gone back to read it because a lot of pieces that I find deeply personal, I don t like to read again and be like, Oh, well, I could ve written that better, because now it s out there, I don t want to think about it anymore. But, at the same time, it s something that I put a lot of thought and care into.(Photo by Warner Bros./Everett Collection)What s a Rotten movie you love?I feel like there s a lot of cooler answers, but Wonder Woman 1984. I gave it a positive review, and I was one of the first wave of people to give it a positive review. Then the Rotten Tomatoes score slowly went down and then nose-dived. But I stand by my positive assessment of it. I think that it is a movie that moved me, and I acknowledge the flaws that it had, but I feel like those were minimal compared to how the movie itself worked for me. Speaking of Bill Ted Face the Music, I feel like it falls in the similar vein of being a movie that comes at a certain time that it feels very important and optimistic and has that bent during the quarantine times. So that obviously affected me a lot because of that. But I think, even so, it s a fun, optimistic, loud, very goofy movie, and that s the kind of movie that I unapologetically enjoy.What s a Certified Fresh movie you don t like?I didn t love Once Upon a Time in Hollywood. I m actually a fan of Quentin Tarantino, and I actually really liked Hateful Eight, which is a movie that most people disliked. Hateful Eight is such a nasty, mean movie that I felt like was Tarantino looking inwards at how his displays of violence are seen in the general public and saying, Hey, this is actually awful, and I m going to make you look and make you feel terrible about it, and I loved that. I thought that was so self-aware and interesting.Once Upon a Time in Hollywood, I actually don t mind the lightness of it. I don t mind the hangout element of it. I think that that part of that was actually my favorite part of it, and the idea of these men who are on the cusp of being redundant and no longer being a part of that big cultural core was really interesting and also kind of this self-aware thing that a lot of auteurs like Quentin Tarantino and Martin Scorsese are doing in their late stages of their career. They re looking back at their lives and their careers, and they re saying, Oh, we re no longer viable anymore. That was interesting.I feel like the Manson stuff and how that looms over the entire movie and casts a whole shadow over the movie doesn t really work for me and, as a result, just makes that final act feel so intensely out of left field that I left the movie with a bad taste in my mouth. I ve also never felt that kind of same interest and fascination with the Manson family murders as I think a lot of American people do. Coming from Vietnam, we kind of came after that whole 1969 cultural touchstone pivot, and it s not something that s part of my own cultural memory. I ve always thought that the fascination with the Manson family has been a bit on the ghoulish side, so painting Charles Manson as this big monstrous villain and making 1969 this big cultural turning point and these murders this big cultural turning point is not really interesting to me and just doesn t work as well for me as I think that the movie wants it to.And, of course, there s the whole Bruce Lee scene, which I thought was completely unnecessary. I think that they could ve used any other New Age Hollywood actor in that. They could ve used Chuck Norris, for example. I felt like it would have the same effect versus Bruce Lee, whereas when I was watching it in the theater and everyone was laughing at everything that the Bruce Lee character said, it just felt very uncomfortable to me. I did not like that, although that itself didn t tank the movie for me. It was just the entire, I guess, approach to this being the center of the world, this being this big turning point. That just didn t feel like, to me, something so exciting and interesting as I think the movie and a lot of its lovers feel.(Photo by Madhouse./Courtesy Everett Collection)What was the movie that made you want to be a critic?Satoshi Kon s Millennium Actress was a movie that just opened my eyes to what movies can do and be because it s sort of this non-linear movie that plays with both reality and fiction. It follows this young girl who meets this man in World War II Japan, and she s a young child, and she falls in love with him, and she decides that she s going to spend her whole life trying to find him. To do that, she decides that she s going to become an actress and be on the biggest stage so that he ll find her again. The movie is so interesting about it. It s framed around these two documentary filmmakers who are interviewing her as she s an older actress, having retired, and she s talking about her life. The entire movie plays through this story that she s telling, and it goes between her real life and the movies that she stars in, in which she always stars as a young woman who s pining after someone and always trying to find someone, so it s this reflection of her reality and her fictional career.The way that it switches between both and the way that the line blurs between that reality and fiction was so interesting and eye-opening for me. Of course, the ending in that movie is so quick and easy and something that you can t even do in a lot of live-action, too, because there are shots that linger for a fraction of a second, and in live-action, that would be something that you have to set up. It takes a lot more time to do it. But in animation, you can just throw it in there, and that s fine. I think that that to me not only opened me up to filmmaking and movies but also to the potential for animation, which I m a big flag-bearer for. But, yeah, that movie itself was like, Wow, movies can do this. Stories can be told out of order, and things can be this reality-blurring thing. I was really enamored with that movie, and that kind of set me on that path.On Rotten Tomatoes, readers are currently voting on their favorite Disney animated movies. So: Lion King or Hercules?The Lion King, for sure. It s the gold standard for Disney renaissance movies, and Hercules kind of comes in that late era where it s very self-effacing and self-referencing, which is fun but doesn t age nearly as well.Beauty and the Beast versus Little Mermaid.Ooh, that s actually an interesting one because Beauty and the Beast is my personal favorite. Little Mermaid is the one that did kick off the entire Disney renaissance of the 90s, but I m going to have to go with Beauty and the Beast. I think it s a masterpiece.A lot of people went nostalgic with their movie-watching during quarantine. Did you re-watch something that surprised you?Happy Feet. The George Miller movie before Mad Max: Fury Road. I was shocked by how dark that movie is. I thought it was just, as I remembered, a movie about a tap-dancing penguin, but it gets dark. It starts to be about pollution, and it becomes this epic Lord of the Rings-style journey across the Arctic, and it almost ends on this extremely bleak note where the penguin is stuck inside this aquarium and thinks he s never going to leave, and you re like, What is this movie? Why is it terrifying? Hoai-Tran Bui is a staff critic at /Film, and co-hosts the Trekking Through Time and Space podcast. Find her on Twitter: @htranbui.
Tracking services took another hit this weekend, though maybe not as sharp as the one that Warner Bros. got. After all they were relying on the optimism that their Harley Quinn film was going to live up to the expectations that box office watchers had based on the awareness of their advertising. The result is a number that looks decent in a rather downbeat start to 2020, but is far from what anyone associated with the project wanted looking forward.King of the Crop: Birds of Prey Tops Weekend, but Disappoints(Photo by Warner Bros. Pictures)For weeks Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) was being touted for an opening in the million range. That would be in the Shazam!/Green Lantern range for DC properties and was already subject of some concern for the reported million production. Word-of-mouth and international sales were going to be essential to making the film a hit with 0 million worldwide the magic number to begin having that conversation. If the film were able to follow the paths of those two other films, it could have ended up in the 6 million–0 million range domestically and probably cross its profit margin with no issue. But at least part of that journey may be over right from the get-go.A .25 million start for Birds of Prey puts it in a rather precarious position. Only a third of the films opening in February between million– million have crossed the 0 million line: Get Out, Identity Thief, The Lego Movie 2, and Just Go With It. The writing was seemingly on the wall Friday morning. While some were touting million in Thursday previews as a solid start, all one had to do was look at the films grossing that specific amount to suggest Birds was off to a rocky start. The two R-rated films with that start — Annabelle: Creation ( million opening) and Blade Runner 2049 (.75 million) — a prequel and sequel from WB finished with 2 million and million, respectively. (The PG-13 films opened between million–75 million.)The film could still be saved by its international release, however. Last year, Shazam! grossed over 4 million overseas, and that is the lowest showing for a DC property since 2011 when Green Lantern only accumulated an additional 3 million internationally. Birds of Prey debuted with million overseas.

12. Will Gardner (Josh Charles), The Good Wife 93%(Photo by CBS)When it came time for Charles to depart the series on which he d starred for five seasons, his character, Will, didn’t just move to another city. He was shot to death by his own client in the courtroom in a legitimately shocking episode made all the more impactful by the fact that news of Charles imminent exit did not leak beforehand.11. Charlie Pace (Dominic Monaghan), Lost 85%(Photo by ABC)It’s hard to single out one death from Lost since the show was so good at making us attached to every character. In the end, it had to be Charlie sacrificing himself to warn Desmond it was NOT PENNY’S BOAT radioing the Oceanic survivors.10. Wallace (Michael B. Jordan), The Wire 94%(Photo by HBO)Jordan was only 15 when he played a teenage drug dealer on HBO’s landmark series The Wire, making the moment when druglord Stringer Bell (Idris Elba) orders his murder all the more tragic.9. Daenerys Targaryen (Emilia Clarke), Game of Thrones 89%(Photo by HBO)The Mother of Dragons and Breaker of Chains went power mad in the final moments of the series as she ascended to became ruler of Westeros. Ultimately, however, she wasn t even able to sit on the Iron Throne she d dreamed about as a kid; she was betrayed by her lover-nephew, Jon Snow/Aegon Targaryen (Kit Harington), who professed his loyalty, then kissed her while stabbing her in the heart mere feet from her father s throne.8. Matthew Crawley (Dan Stevens), Downton Abbey on Masterpiece 86%(Photo by ITV)Crawley estate heir Matthew was so happy to be a new father that he took his eyes off the road to appreciate nature, causing the fatal accident that shocked viewers. Fans later found out that Stevens wanted off the show to explore other opportunities.7. Sara Tancredi (Sarah Wayne Callies), Prison Break 60%(Photo by Fox)Callies could have made our list as Lori Grimes in The Walking Dead for her death during pregnancy, but on Prison Break her head was in a box! Fans demanded her return, so she came back and even showed up in the Fox reboot for a fifth season. At the time during season 3, her demise sure felt permanent.6. Joyce Summers (Kristine Sutherland), Buffy the Vampire Slayer 83%(Photo by The WB)Buffy (Sarah Michelle Gellar) herself came back to life twice, but her mother Joyce did not have magic to resurrect her. For all the supernatural demons and monsters on Buffy, the Vampire Slayer, Buffy spent one very real hour dealing with a loved one’s death.5. Denny Duquette (Jeffrey Dean Morgan), Grey's Anatomy 84%(Photo by ABC)Denny s death was a real gut punch, because throughout the entire second season of the long-running medical drama, it looked like Izzie (Katherine Heigl) had done everything to save her patient-boyfriend, including violating protocol to get him a heart transplant. The transplant itself took, but Denny still died of a blood clot and stroke. The silver lining is this role made Morgan a star.4. Catelyn, Robb, and pregnant Talisa Stark + direwolf Grey Wind (Michelle Fairley, Richard Madden, Oona Chaplin), Game of Thrones 89%While earlier deaths in the HBO hit fantasy series tipped fans off that anyone could go at any time, the episode nicknamed The Red Wedding (season 3, episode 9 The Rains of Castamere ) took Game of Thrones death pools to another level. Half of the surviving Stark family died in the massacre carried out by Lord Walder Frey and his murderous brood: family matriarch Catelyn, King in the North Robb, his wife Talisa, and their unborn child. And while Roose Bolton was thrusting a dagger into Robb, his men outside killed Robb s direwolf, Grey Wind, further stunning an audience that was perhaps hoping the animal might avenge its faithful human companion.3. Glenn Rhee (Steven Yeun), The Walking Dead 80%On another show where anyone could go at any time, The Walking Dead really psyched people out over the death of main character Glenn. First they made everyone think he died in a walker horde, but then he was somehow safe under a dumpster. Later, Negan (Jeffrey Dean Morgan) beat him beyond recognition as, with his last words, he called out to wife Maggie (Lauren Cohan).2. Ned Stark (Sean Bean), Game of Thrones 89%By the end, almost no Game of Thrones death was shocking, but this was the first — and it was the one that told viewers that if the star of the show could die, anyone could. It happened just when things were looking up for Bean, after famously dying in Goldeneye and Lord of the Rings too. For a while, the meme #DontKillSeanBean became a thing.1. Jack Pearson (Milo Ventimiglia), This Is Us 93%After Jack escaped the Pearson family s burning house — saving everyone and the dog — fans all breathed a collective sigh of relief. But he wasn t safe yet. Viewers were gobsmacked when This Is Us delivered the cruelest twist, killing Jack with a massive heart attack related to smoke inhalation. Because of the NBC series unique format, however, this is one character that fans get to spend time with even after he s dead.
What does being a final girl mean to horror’s original final girl – and her successor to the blood-soaked throne? We sat down with Halloween Kills stars Jamie Lee Curtis and Judy Greer to find out just that. In an extended conversation ahead of the horror sequel’s release in theaters and on Peacock, Curtis and Greer talk about what being a final girl means to them and to horror audiences, where we find their characters in the new film, and why the women of some of our favorite slasher films continue to inspire audiences to this day.Halloween Kills opens in theaters on October 15, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
The Role: Four famous friends – Jim Brown, Malcolm X, Sam Cooke, and Cassius Clay – share a night in a hotel room in Miami and Hamilton s Leslie Odom Jr. is Oscar-nominated for his performance as Cooke. Odom Jr. s talent is on full display as he transforms into the charismatic star who spends most of the film battling with the equally formidable Malcolm X. And no voter is going to forget his stirring rendition of the soul singer s A Change Is Gonna Come at the closing of the film.The Odds: With one of the best lines of the film and an exclamation point of a closing number, Odom Jr. rises above the already impeccable ensemble. And though we think he has faded a bit under the blinding light of Daniel Kaluuya s star power and sweep of the major awards so far for his work in Judas and the Black Messiah, the Tony-winner is still in the mix for a reasonable upset if there is one brewing.Paul Raci,
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with Maggie Gyllenhaal and James Franco, set in 1985. A teaser for HBO’s The New Pope, with Jude Law in a follow-up to The Young Pope. Plus, this week saw teasers for Batwoman, the landmark 21st season of Law Order: Special Victims Unit, season 2 of NBC’s drama Manifest, season 8 of Chicago Fire on NBC, and Dickinson. And trailers dropped for the new Fox drama Prodigal Son, Steven Soderbergh’s docu-series Leavenworth on Starz, and season 3 of Top Boy, produced by Drake and Briarpatch and starring Rosario Dawson.KURT SUTTER WON’T SHOWRUN A THIRD SEASON OF MAYANS M.C.(Photo by FX)Kurt Sutter is co-showrunner of his Sons of Anarchy spin-off Mayans M.C., but he told an audience at the season 2 premiere that he will leave if the show gets renewed.“It’s time for the white man to leave the building,” Sutter said, according to Variety.Though Sutter co-created the series, he feels it is time to leave the story of a Latino biker gang to co-creator/co-show runner Elgin James and the Hispanic staff.DEVELOPMENT UPDATES(Photo by Jean-Baptiste Lacroix/AFP/Getty Images)Renee Zellweger signed a first-look deal with MGM TV for two years. She recently made the leap to streaming in Netflix’s What/If. Clickbait, a thriller series about social media, is in development for Netflix.Julie Plec will turn Amy Chozick’s book Chasing Hilary into a Netflix series. The series will be called The Girl on the Bus, the title of one of the book’s chapters. The show will follow four female journalists on the campaign trail, but will not be set during the 2016 Hilary Clinton campaign as the book was.Bates Motel and The Good Doctor star Freddie Highmore is developing the dark comedy Homesick for TBS with James Mitchell. Homesick is about the dysfunctional relationship between a 20-something man and his mother.Mitch Albom is adapting his own book The Five People You Meet in Heaven for Fox. Albom also adapted his book for the 2004 ABC miniseries. CBS is developing a United Nations workplace comedy UNprofessionals from producers Seth Rogen and Evan Goldberg. Academy Award winning Hurt Locker writer Mark Boal will write Rise and Fall: The Story of 9/11 for ABC. ABC plans to air the miniseries in 2021 for the 20th anniversary of the September 11th attacks.Will Forte and Kaitlin Olson will star in Flipped for the yet to be released Quibi platform. Amy Heckerling is also directing the 10 episode Quibi musical series Royalties. Even murder houses can get extreme makeovers in Quibi’s reality series Murder House Flip, according to a Quibi press release.Hulu is almost ready to give Lamorne Morris’s comedy Woke a series order. Universal Television won the bidding war for Bruce Holsinger’s novel The Gifted School and are looking for a writer. Sherry Marsh is producing. Nickelodeon greenlit the holiday competition series Top Elf and a full season of hidden camera show The Substitute.I Mom So Hard web series creators Kristin Hensley and Jen Smedley are developing a pilot based on their web series for ABC. Modern Family star Sara Hyland and Emily Gordon are developing an untitled comedy for ABC. Drunk History creators Derek Waters signed a first-look deal with Comedy Central along with the show’s seventh season renewal. Sheryl Underwood will host Freeform’s gift-wrapping competition series Wrap Battle.CASTING UPDATES(Photo by ABC)Viola Davis has been cast as Michele Obama on Showtime’s First Ladies. The drama series will also tell stories about Eleanor Roosevelt and Betty Ford.Mike Flanagan confirmed on Twitter that Haunting of Hill House star Henry Thomas would have a new role in the follow-up The Haunting of Bly Manor.I m beyond thrilled to announce that the inestimable, irreplaceable, invaluable Henry Thomas has joined the cast of THE HAUNTING OF BLY MANOR. Mike Flanagan (@flanaganfilm) August 28, 2019John Pankow and Richard Kind will return for Spectrum Original s Mad About You revival.Lena Waithe s Showtime pilot How to Make Love to a Black Woman has cast Kendrick Sampson and Carra Patterson.Power’s Lela Loren joins the cast of Altered Carbon for season 2, according to a Netflix press release. Loren will play Danica Harlan, the governor of planet Harlan’s World.Garcelle Beauvais joins season 2 of CBS All Access’s Tell Me a Story, according to Deadline. Beauvais will play evil stepmother Veronica Garland in a season inspired by princess fairy tales.Plus, Lauren Graham has joined the NBC musical Zoey’s Extraordinary Playlist, stepping in for the pilot’s Carmen Cusack. Jason Derulo will host the first-ever Nickelodeon Kids’ Choice Awards Abu Dhabi. Beau Garrett joins the cast of Netflix’s Katherine Hannah adaptation Firefly Lane. Naomie Harris will co-star with Jude Law in the HBO/Sky series The Third Day. Philippa Lowthrope has also been hired to direct episodes four through six. Joe Minoso will recur on season 3 of Epix’s Get Shorty.


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Join us weekly as Rotten Tomatoes reports on what s indie features are streaming. From promising releases by new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week.For the foreseeable future, the specialty box office and all theatrical releases will be on hold as we all make efforts to socially distance ourselves and reduce the spread of the COVID-19 coronavirus. With that in mind, we have reshaped our Indie Fresh List. This week for our fresh picks we have a dark love story, an authentic drama about a former Texas pageant queen, and a dramatic tale about Van Life. In our Spotlight section, we call back to the recent Certified Fresh documentary about the masterpiece of a bad movie Showgirls and its cultish legacy, including an interview with the film s director, Jeffrey McHale.Streaming This Weekend 《镇魂街:武神躯》作为首款正版授权改编手游,不仅在游戏领域填补了IP粉丝的需求与期待,更是在近两年的打磨完善过程中,与玩家建立起真诚的沟通互动。自2020年7月首测起,《镇魂街:武神躯》就获得了大量好评,并通过测试反馈和玩家沟通不断调整玩法,兼顾粉丝与普通玩家的差异化诉求,让这款产品在国漫圈与游戏圈形成了良好的交互传播效应。


(Photo by Disney+/Lucasfilm Ltd.)Despite a seemingly huge cliffhanger in the season 2 premiere, The Mandalorian maneuvered into its tried-and-true episodic format thanks to series creator-writer Jon Favreau and director Peyton Reed, a new member of the show s growing stable of talent behind the camera. And even though its main story may have diverted from the course we expected, it still offers a few things to consider about Din Djarin s (Pedro Pascal) future. Let s take a look at where the Way took him this week.The following contains spoilers about The Mandalorian, season 2, episode 2, “Chapter 10: The Confrontation.” Stop here if you have not watched the episode.The Way Sent the Mandalorian and the Child to Tatooine(Photo by Lucasfilm/Disney+)Tasked with reuniting the Child with his own people, Djarin began a search for other Mandalorian culverts in the galaxy. His assumption: someone in one of the other groups will know more about the mythical order of space wizards the Mandos clashed with thousands of years ago and who Djarin believes to be the Child s kin. On Tatooine, Djarin worked with Cobb Vanth (Timothy Olyphant) to end a Krayt Dragon threat, winning the Mandalorian armor Vanth was using to mete justice on the edge on the Dune Sea. As he rode back to Mos Eisley, a seemingly familiar bounty hunter watched him from a distance.Read more: The Mandalorian Kicks Off Its New Season With a Monster Star Wars Tale — But Questions Remain The Mandalorian Thwarts Criminals and Is Saddled with a New Quest(Photo by Lucasfilm/Disney+)The Mandalorian s ride back to Mos Eisley is interrupted by raiders more interested in his jetpack than anything else; even if they want to abduct the Child at first. Djarin makes quick work of them, but his speeder bike is destroyed. After a slow march back to Mos Eisley, he finds Peli Motto (Amy Sedaris) hustling credits out of aliens at the cantina. She hooks him up with someone who claims to have good intel on a nearby Mando culvert.The contact turns out to be a frog lady (at least, that s what the captions call her) in desperate need of transport to the moon of Trask. There, her husband awaits to fertilize the last eggs of her life cycle. She also claims Djarin will find a culvert there. The catch: because of her eggs fragility, the Razor Crest must travel at sublight speed.Carson Teva (Paul Sun-Hyung Lee) and Trapper Wolf (Dave Filoni), two New Republic X-Wing pilots patrolling the Outer Rim, interrupt their progress. When Djarin sends his transponder signal, the pilots realize his ship is the same one that invaded a prisoner transport some months earlier. The ensuing chase leaves the Razor Crest stranded on an ice planet.(Photo by Lucasfilm/Disney+)Oh, also, the Child has been surreptitiously eating the Frog Lady s eggs.Djarin and the Child must abandon repairs on the ship when their passenger wanders off to the comfort of a natural hot spring in a nearby cave, where the Child s appetite awakens some of the planet s native inhabitants: spider-like creatures reminiscent of the Krykna or, at least, Ralph McQuarrie s original painting that inspired them. Djarin, the Child, and the Frog Lady flee back to the ship, but a true rescue comes thanks to the New Republic pilots, who ultimately let Djarin go because of his actions during that prison break ( Chapter 6: The Prisoner ).Still in need of many repairs, the Razor Crest breaks atmosphere and limps its way to Trask.Latest Mandalorian Episode Introduces New Characters and Places(Photo by Lucasfilm/Disney+)Since Favreau s applies his use of the Star Wars galaxy with great care, we re going to assume setting the first episode of the season on a desert planet and the second on an ice world is intentional. It mirrors the course of the Original Trilogy and would lead us to believe Trask is a forest world if not for Motto referring to it as an estuary moon. Star Wars planets typically feature one biome, so we imagine Trask will have one big landmass and an almost entirely enclosed ocean within it.Then again, there could be forests in that landmass Let s talk about Motto for a moment. There are a few corners of the online discourse that find her way too Earth-like to be accepted into the Star Wars reality. We disagree; she brings a delightful energy to Tatooine as one of its grubby citizens, but also as a roguish type happy to eek out as little advantage as she can. The way she got Djarin to back Dr. Mandible s losing hand (to say nothing of ferrying Frog Lady to Trask) is the sort of unscrupulous whimsy we like to see from time to time — and that s not just because a Scoundrel was our main on Star Wars: The Old Republic. We will admit Sedaris might be too much if Motto was featured weekly throughout the new season, but we think we re getting just the right amount of her at the moment.(Photo by Lucasfilm/Disney+)Meanwhile, the glimpses we re getting of the New Republic remain fascinating. For one thing, it cares about the Outer Rim.As Shmi Skywalker (Pernilla August) observed in Star Wars: Episode I — The Phantom Menace, the Old Republic didn t exist on remote worlds like Tatooine. And though there may not be a presence on the ground — indeed, planets are charged with organizing their own defense and police forces — New Republic patrols of the space lanes around these distant planets is an upgrade from the leave it to the Hutts stance of the pre-Imperial government.Then again, even the Empire mostly left Tatooine to the Hutts.Also, you have to love a return appearance by Star Wars: The Clone Wars supervising director Dave Filoni as Trapper Wolf. We last saw him in the prison break episode, so it is a nice bit of continuity to have him here (see also: Richard Ayoade’s cameo as Zero s vocoder). Also, we d like to welcome Lee to the small band of New Republic officials we ve seen so far; in fact, if the show ever completely abandons its Lone Wolf and Cub format, we d love to see a season in which Djarin works with the Republic in the core systems — not so much to see any old friends (we re just as happy to never see a Skywalker on the series), but to see what a functioning Republic looks like. Also, from what we ve read of former capital world Coruscant in this era, we d love to see Djarin stop there as well.(Photo by Lucasfilm/Disney+)But the Lone Wolf and Cub format also allowed the show to maintain the tension regarding Boba Fett — and that s assuming the person Temuera Morrison played in last week s final moment is the famed bounty hunter. If you want to entertain an alternate theory to his identity, let s assume for a moment he is Captain Rex of Star Wars: The Clone Wars and Star Wars Rebels fame. The character is still around — despite the clones accelerated aging process — and may have been on the hunt for the Child even before Djarin took up the contract; of course, that would leave us wondering why Rex hasn t made contact.The question mark around Boba Fett made this week s opening moments all the more thrilling, though. Which, again, is a credit to Favreau s writing. He set us up to believe the confrontation would be immediate. Even afterward, the close-ups to the helmet and the jetpack remind us that some answer is forthcoming.This Week s Unanswered Mandalorian Questions(Photo by Axelle/Bauer-Griffin/FilmMagic; 20th Century Fox)The riddle of Boba Fett leads us to ask:Where is Boba Fett? Assuming that was Boba Fett last week, why didn t he catch up to Djarin on the long march back to Mos Eisley and reclaim the armor? He seemed to know its location all along, so why didn t he take it back from Vanth in the first place? Remember, it s only been four or five years since the bounty hunter fought the Skywalker clan, and he s not a follower of the Way. He would, presumably, be fit enough to fight and consider taking his identity back as a matter of pride. A similar story played out in the old Expanded Universe, in fact; albeit with his ship instead of the armor. But as we suggested last week, it is possible his encounter with the Sarlaac changed him in a fundamental way.Is the culvert on Trask? We re genuinely surprised the episode didn t end with the Razor Crest making it to Trask. That means the answer to this question could be more complicated than Djarin anticipates. For one thing, he asked Motto upfront if it is the same culvert from Navarro. That band of Mandos is still in play, even if the Imps cost them a good number of warriors. But considering our rumor-watch includes Katee Sackhoff reprising her Clones Wars and Star Wars Rebels role as Mandalorian Bo-Katan Kryze, she could, conceivably, be part of the culvert on Trask. Although we are presuming a culvert awaits Djarin, it s possible Frog Lady was lying through her gills.The Mandalorian season 2 is now streaming on Disney+. On an Apple device? Follow Rotten Tomatoes on Apple News.

168体育APP官网下载 Colman Domingo as William Burke in Candyman. (Photo by Parrish Lewis / Universal Studios and MGM Pictures)For anyone glued to prestige TV and acclaimed indie and Oscar-hopeful cinema in the last few years, it would seem that Philly-born Colman Domingo has been everywhere. There he was as a thoughtful father in Barry Jenkins’ If Beale Street Could Talk and as the even-keeled bandleader in Ma Rainey’s Black Bottom; there he was, too, dodging Walkers in Fear the Walking Dead and impressing in meaty roles on The Knick and Euphoria — the diner-set special “Trouble Don t Last Always” is still breaking hearts. If you hadn t seen his earlier work, marked by the kind of standout smaller roles that get major filmmakers calling, it was as if one of the most exciting new talents of his generation had come out of nowhere. Of course, that wasn’t the story for the man himself. “I feel like I’m a turtle,” Domingo says. “I ve been on the slow crawl, just working, and being there and always doing something outside the box for myself. It s been slow and steady, to be honest, it hasn t been a sudden overnight sensation.” The patient Domingo continues to explode in 2021, reaching new levels of acclaim and notoriety with two of his most interesting and challenging roles to date: In June, he explored new and villainous terrain, portraying a violent, code-switching pimp in Janicza Bravo’s off-the-wall road trip dramedy, Zola; this month, he delivers yet another invigorating multidimensional performance in director Nia DaCosta s socially conscious slasher film, Candyman. With both characters he hopes to further show not just the breadth of his range but the depth of his work. “If you see me in Beale Street, yes, it s probably a bit more in alignment to the Colman that they know in some way, Domingo says. But if you see Zola and Candyman, you know that s not the truth. You can actually see the craftsmanship.” The crawl began, as it does for many of Domingo s caliber, in the theater where he wrote, directed, and acted, breaking out in the Tony-winning rock musical Passing Strange in the late 2000s and eventually winning the Tony for Best Featured Actor in a Musical for The Scottsboro Boys. A slew of TV and film work followed, with an enviable roster of major award-winning directors drawn to him like a magnet: Steven Spielberg (Lincoln), Steven Soderbergh (The Knick), Ava DuVernay (Selma), George C. Wolfe (Ma Rainey’s Black Bottom), and Jenkins among them. He believes there’s an element those creators have in common: kindness. “It s a spirit of true collaboration,” Domingo says, people who want you to be in the room to help elevate this thing that’s on the page.” A queer Black man, the actor balances portraying gay men on shows like The Big Gay Sketch Show against men who are coded straight: Civil Rights activist Reverend Ralph Abernathy in Selma, a swinging bandleader in Ma Rainey’s Black Bottom, an empathetic father If Beale Street Could Talk — calm, guiding forces. That diversity has always been intentional. “I believe I can do horror, do musicals and plays and leading men and character roles because I decided that, he says. “I don t let the industry tell me what I can do. I ve always been a proponent of creating my own opportunities.” Domingo in Barry Jenkins If Beale Street Could Talk. (Photo by © Annapurna Pictures / Courtesy Everett Collection)His two big 2021 releases – both of which were originally scheduled for 2020 but delayed due to the pandemic – show Domingo’s capacity to subvert audience expectations. Consider his turn as X, a vicious pimp and sex trafficker in the comedy-nightmare road movie, Zola, based on the viral 2015 Twitter thread by A’ziah King (a.k.a. “Zola”). “When Janicza offered me that role, I had just come off of Beale Street and I thought: Well, what has she seen in my repertoire that would make her think that I could play this role?,” he recalls. “A lot of times [people] try to put you in the boxes of what you are known for. They want you to regurgitate another version of that. But Janicza and Nia DaCosta both knew that there was so much more to me than that.”The actor known for a reserved, smoky-voiced paternalism relished playing the ostentatious X. He built the character from the ground up, using King’s 148 tweets as inspiration, while adding his own embellishments, such as X’s flashy clothes and lone hazel contact lens, an idea he got from seeing a Nigerian-American sporting the look in New York City. “Everything about X was a little too much: His idea of wealth; his idea of having agency in the world, Domingo says. Everything was a show, from the crocodile shoes to the Versace shirts. I did a lot of research on pimp and pimp culture, whether reading biographies or having conversations with people in the sex industry and finding out about the relationships between pimps and clientele.” Domingo is terrifying in every moment he appears on screen in Zola: He leans on his star persona in early scenes, imbuing X with heaps of charm, only to frighteningly turn – and code-switch to a menacing West Indian accent – during the film’s caustic second half. Yet even after watching that performance, his casting as the enigmatic William Burke in Candyman might have still come as a shock for some audiences. Especially if you know his history with the genre.Domingo as pimp and sex trafficker X in Zola. (Photo by © A24 / courtesy Everett Collection)“The first horror film I watched was Carrie when I was eight years old,” Domingo says. “My brother would take me to see Bruce Lee movies. My sister would take me to see horror. I didn t like either one. I probably would be happier seeing Bambi, which is a terrifying movie, too.” The Brian De Palma film’s ending – that infamous hand shooting up from the grave – never left him. “From then on, when I walked past the movie theater on the way to school, there was a big poster of Carrie. It was half bloody and gory and the other half was beauty at the prom. It terrified me from going to dances and proms.”Nevertheless, it feels as though Domingo was born to be in 2021’s Candyman. In relation to Bernard Rose’s 1992 film, the first in the series, this iteration takes place in the area where Chicago’s Cabrini-Green housing projects once stood. Domingo’s Burke owns a retro laundromat and is one of the last residents of the storied development. The real Black folks who once populated Cabrini-Green, which was located in the shadow of downtown’s glittering skyscrapers, are now gone; by 2011 the towering apartment complexes that once dotted the torn landscape were demolished, making way for new luxe townhouses. All that remains are haunting row houses. Burke is a mysterious figure bearing deep emotional scars, and Domingo relied on real-life experiences to play him. “I m from inner-city Philadelphia, West Philly,” he says. “I know these people. These people are me. I know exactly what their dreams, their aspirations, their struggles, their fears are. I just tapped into that.”Candyman co-star Yahya Abdul-Mateen II walks among the row houses. (Photo by Parrish Lewis / Universal Studios and MGM Pictures)He also drew on the same techniques he used in Zola. “For Candyman, it was very important for me to build this everyman who was singular in his experience, holding together this Black trauma in this neighborhood,” Domingo sa

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