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保卫萝卜沙漠10采用百度引擎2(Baidu 0)正因为欧美市场成熟多年,玩家心中早已形成了固有概念,虽然从数据上来看手游抢占了大半市场,另一半被PC和主机分割,单独市场份额完全比不上手游,但是一家不做主机游戏的公司,很难排在游戏产业前列。

1. 保卫萝卜沙漠10
(Photo by (c)Buena Vista Pictures courtesy Everett Collection)Far too often, animated movies are written off as overly kid-friendly, unsophisticated fluff, when the truth is the medium is capable of telling stories as mature as the most prestigious live-action dramas. Sometimes, however, an animated movie ostensibly made for children can also be spooky enough to terrify the most hardened youngsters, and even a few adults.One of Disney s most infamous animated movies, The Black Cauldron, opened 35 years ago and traumatized kids of all stripes, and to celebrate its anniversary, we re taking a look back at its peers. Whether they were intentionally spooky or simply featured a couple of freaky moments that made every kid hit fast-forward, we ve put together a list of the scariest animated movies that terrified the young audiences they were meant to entertain.Coraline (2009) 90%(Photo by Focus Features)On the surface, this stop-motion adaptation of Neil Gaiman s novel is a silly story of a spunky, bored little girl who finds a hidden door to a secret world where everything is perfect, yet slightly off. But just like its hidden parallel dimension, Coraline is freaky and frequently plain horrifying. As soon as Coraline finds the secret door, the story begins to unfold like a horror film, ramping up its creepy atmosphere and frightening creatures. But the real terror comes the moment Coraline is given her own set of button eyes, to be sewn on by her creepy Other Mother before she transforms into a giant spider and all hell breaks loose. Moira MacDonald summarized it for the Seattle Times: Children who like being scared will get a kick out of this wildly creative movie; adults needn t have a child in tow to enjoy it, too. The Great Mouse Detective (1986) 80%(Photo by Walt Disney Productions)A noir mystery starring mice may not necessarily seem like a film that would give you nightmares for days on end, but you would be wrong. Based on the children s novel Basil of Baker Street  which itself was inspired by the tales of Sherlock Holmes  The Great Mouse Detective starts with a little mouse girl named Olivia celebrating her birthday with her father at home, when suddenly a one-legged bat breaks into the house and kidnaps the father. The film s eerie atmosphere persists throughout its runtime, and even when there are moments of levity or sweetness, they re usually followed by moments of utter terror. For many children, the bat represents their first experiences with jumpscares, as he is responsible for the two most frightening ones in the film: first, when he bursts into Olivia s home at the beginning of the movie, and later when he leaps out of a baby carriage to abduct her. Nina Darnton wrote for The New York Times that Small children may be afraid of some of the bad characters the Disney Studio s gift for creating really nasty bad guys means that they are scary but they will love the cute, brave mice and cheer their triumphs. Adults will enjoy the wit and style. The Last Unicorn (1982) 73%(Photo by Jensen Farley Pictures)Horror and fantasy are two genres that don t cross nearly enough, but when they do, they offer unique experiences. The Last Unicorn skews more towards fantasy, but it still packs enough spooky elements to make it a scary film for kids. Rankin/Bass may be better known for their holiday classics like the stop-motion animated Rudolph the Red-Nosed Reindeer, but this fantasy epic about a unicorn who discovers she is the last of her kind and embarks on a quest to discover what has happened to her kin  is full of horrific dangers. Without a doubt, the most frightening for kids was the fiery Red Bull, evil incarnate, with its deep, blood-red color and almost hollow eyes that no doubt inspired countless nightmares. Writing about the film for Time Out, Geoff Andrew explained that The Last Unicorn has Some horrific moments (the mark of the best fairytales) and some sublimely witty lines. Monster House (2006) 75%(Photo by Sony Pictures courtesy Everett Collection)Monster House is ultimately charming and fun for most, but this is, after all, the only proper horror film on this list, and while it s largely kid-friendly, it s also suitably frightening in spots, as any haunted house movie worth its salt should be. The film follows three kids who decide to explore the creepy old house in their neighborhood with a terrifying reputation. It feels like a 1980s Amblin movie, full of adventure and comedy and more than a little danger, thanks to a few intense scenes courtesy of the imaginatively rendered titular house. As L.A. Weekly s Scott Foundas said of the film, Monster House becomes one of those wonderfully weird adventure stories beloved of children who don t mind getting a good old-fashioned case of the heebie-jeebies. It s kind of a blast for adults too. The Nightmare Before Christmas (1993) 95%(Photo by Buena Vista Pictures)Ask any horror fan and they ll tell you that Christmas and horror make for a fantastic combination, but this is one of the rare times that the two cross over in animated form, and it s mostly a delightful treat. From the mind of Tim Burton and Henry Selick comes the story of the Pumpkin King of Halloween Town, Jack Skellington, who gets tired of the same annual festivities and decides to kidnap Santa Claus and take over Christmas. As sweet and funny as it is terrifyingly gruesome, The Nightmare Before Christmas is a visual treat, even if those visuals are frequently bizarre, off-kilter, and a little macabre for the toddler set. The best example is the burlap-sack villain Ooogie Boogie, who literally refers to himself as the boogieman and who meets his demise when he comes apart at the seams and reveals he s full of creepy-crawlies. As Alan Jones wrote for the Radio Times,  Only the deliciously demented imagination of Edward Scissorhands director Tim Burton could have come up with such a dark vision of the holiday season. Scooby-Doo on Zombie Island (1998) 88%(Photo by Warner Bros. Pictures)For decades, Scooby-Doo and the Mystery Inc. gang have served as an introduction to horror for kids, offering mildly creepy stories that always ended with an Aw, shucks! and a smile. Well, not Scooby-Doo on Zombie Island, which marked the first time the gang faced a real supernatural threat as they set out to find ghosts and monsters in Louisiana. What starts as another typical Scooby-Doo adventure quickly devolves into a tale of voodoo, ghost pirates, vengeful cat demons, and of course, zombies, all tied together by a tragic backstory much darker than fans of the show would have been accustomed to. There aren t any greedy tycoons in rubber suits here, and actual death of werecats and humans alike is a major element of the plot. There really isn t anything else quite like this in the Scooby-Doo canon, and any kid going into it expecting the usual antics was in for a shock.The Secret of NIMH (1982) 93%(Photo by United Artists)If you thought animated movies featuring talking animals were all sunshine and rainbows, think again. This film based on the children s novel Mrs. Frisby and the Rats of NIMH follows a field mouse as she tries to save her ill son both from his pneumonia and from the farmer whose land they live on before he plows through it. Don Bluth s adaptation is full of truly terrifying moments involving the survivors of scientific experiments, including a rat-eating cat named Dragon. But the scene that really traumatized kids was the visit to the Great Owl, whose introduction includes a lair littered with the bones of his devoured prey, a gruesome encounter with an ill-fated spider, and a pair of creepy, glowing eyes that stared into your very soul. Bluth s films always skewed a little darker than typical Disney fare, and this was a prime example of his aesthetic. As critic Christopher Null wrote for Filmcritic.com,  Never mind the G rating, this is scary stuff which sent my little one fleeing to another room inside of 10 minutes. Spirited Away (2001) 97%(Photo by Walt Disney Pictures)Japanese animation maestro Hayao Miyazaki s films have been described as beautifully made artistic wonders and visual masterpieces, but frightening isn t a sensation you normally associate with his work. That being said, Spirited Away is his most haunting film, and it has more than its fair share of creepy moments that sneak up on you and make a lasting impression. The story of a girl lost in a world ruled by spirits is as whimsical as a Disney film, but it doesn t shy away from disturbing imagery, like when young protagonist Chihiro sees her parents transformed into monstrous and endlessly hungry pigs, or when the spirit No Face begins to devour all the employees of the bathhouse in a wild frenzy. Children who toughed it out through the more frightening moments were rewarded with an enchanting, magical experience, but for some kids, that would have been a tall order.Watership Down (1978) 82%(Photo by Avco Embassy courtesy Everett Collection)It doesn t take long for Watership Down to shed its cute bunny film facade and reveal a deeper allegory that flows red with blood. This adaptation of Richard Adams novel follows a group of rabbits on a perilous journey to find refuge after one of them has an apocalyptic vision about their home. For generations, Watership Down has traumatized children with haunting imagery of red-eyed rabbits ripping each other s throats out or suffocating as they re buried alive, and peril lies around every turn in the story. Walter Chaw of Film Freak Central summed it up succinctly: Unsentimental and terrifying. Who Framed Roger Rabbit (1988) 97%(Photo by Buena Vista Pictures) Wait a second. Who Framed Roger Rabbit is a live-action movie, you might say, and you d be (mostly) right, but Robert Zemeckis loony live-action/animated hybrid deserves a spot on this list because it features one of Disney s scariest villains, Christopher Llloyd s Judge Doom, who spoiler alert is actually a cartoon himself. When we first meet Doom, he mercilessly murders an innocent toon without flinching, dumping it into a vat of corrosive dip. Then comes the pivotal moment when we discover Doom s true identity; as played by Lloyd, he already resembled a half-desiccated corpse, a cross between the evil preacher from the Poltergeist movies and the Gestapo officer from Raiders of the Lost Ark who gets his face melted off. But once he s run over by the streamroller and pops back up, Doom is another beast altogether and the stuff of childhood nightmares.The Black Cauldron was released on July 24, 1985.Did we leave out one of your favorites? Don t agree with our choices? Let us know in the comments! 《摩尔庄园》手游采用了模拟经营和mmo结合的玩法,集“种田钓鱼的休闲社交”为一体游戏,同时添加了许多剧情内容。简单概括《摩尔庄园》手游的玩法,是玩家通过“田园式的劳动与生产”的过程,获取游戏货币,在游戏中进行消费以及再生产,同时通过主线剧情,展现摩尔庄园的故事背景,鼓励玩家与游戏NPC互动,增加游戏性和玩家的参与感。这种类型游戏在整个游戏行业并不少见,但是在手游市场中竞品并不多,因此具有一定的竞争力。

2. 公平游戏环境
6月2日,LOL手游官方发布的2.3版本更新公告中,操作上线很高的刀妹与锐雯登录了手游峡谷,偷钱天赋被更换成了相位猛冲,日常的英雄平衡、装备平衡。保卫萝卜沙漠10Adjusted Score: 103917% Critics Consensus: Ingmar Bergman conveys the sweep of childhood with a fastidious attention to detail and sumptuous insight into human frailty in Fanny & Alexander, a masterwork that crystalizes many of the directors' preoccupations into a familial epic. Synopsis: As children in the loving Ekdahl family, Fanny (Pernilla Allwin) and Alexander (Bertil Guve) enjoy a happy life with their... [More] Starring: Pernilla Allwin, Bertil Guve, Erland Josephson, Gunn WÃ¥llgren Directed By: Ingmar Bergman

3. 激战团竞模式

4. 呼朋唤友 随心所欲

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 6.96.02022-01-21

9.87.1 5月喜迎The cast of Big Little Lies revealed a few tidbits about season 2, Jared Harris discussed scary new HBO miniseries Chernobyl, Danai Gurira is leaving The Walking Dead, and more TV news.TOP STORYNew Big Little Lies Season 2 Photos —Plus, Meryl Streep Was As Addicted to the Show as You Were(Photo by Jennifer Clasen/HBO)If Big Little Lies was going to come back for a second season, the story had to be pretty darn compelling for stars and executive producers Reese Witherspoon and Nicole Kidman (along with costars Zoe Kravitz, Laura Dern, and Shailene Woodley) to sign on. But when audiences continued to beg for more episodes of the Monterey, California moms embroiled in a real-life murder mystery, the cast and creator/writer/executive David E. Kelley said that finally agreed to come back — with a few caveats.“The storytelling — would it be compelling enough that it would rise up to the first year? Everybody up here can get jobs. We didn t want to do this unless we could at least have a fair shot of living up to the bar that we felt we had all set in year one,” Kelley told reporters at a panel for season 2 at the Television Critics Association winter press tour in Los Angeles on Friday afternoon. “So we met, and we talked about what the stories were. We were very unflinching and candid with each other about the ones we thought were viable and the ones we thought were not good enough, and we didn t finally agree to set sail until we had the commitment from all of us that this was storytelling that we all felt passionate about.”(Photo by Jennifer Clasen/HBO)While the first season had the novel of the same name by Liane Moriarty to use as a guide, there was no sequel — until Moriarty, who is also a producer, wrote an outline for Kelley to use while plotting season 2’s story.“We were lucky Liane Moriarty wrote almost like a novella for us to use as a template,” said Witherspoon. “It really helped tremendously that the characters were alive in her mind and have these very rich experiences that were just as interesting, entertaining, as in-depth as they were in the original series. So that gave us some basis for which to go on for each character. We all had unresolved issues — you know, I had an affair and that was never resolved.”(Photo by Jennifer Clasen/HBO)While Kelley and his cast remained tight-lipped on what the actual plot of season 2 will entail, he did reveal that it picks up after the events of the first season. It’s still a mix of comedy and drama, tonally — “probably more dramatic than comedic this year,” he teased — and the Greek Chorus of fellow school parents at the fatal trivia night is gone.“When we come back, their lives — like all of our lives — are very well put together on the surface, but then the fissures begin to emerge and there is a big fault line that lies under all of us, which is this event that happened at trivia night last year,” Kelley explained. “So once the crevices start to widen it escalates pretty quickly.”(Photo by Jennifer Clasen/HBO)There’s also one major addition: Meryl Streep joins the cast as Celeste’s mother-in-law, Mary Louise Wright.“I love this show. I was addicted to it,” Streep gushed. “I thought it was an amazing exercise in what we know and what we don t know about people, about family, about friends; how it flirted with the mystery of things; what was unsaid, un-shown, unknown was sort of the whole gravitational pull of the piece and it was so exciting. So when I got the chance to join the crew I thought, yeah! [As for] the dynamic between Celeste and me, I do love her. And that s the only thing I ll tell you.”The Walking Dead Loses Another Major StarFans of The Walking Dead are used to their favorite stars exiting the series — there are gruesome deaths pretty much weekly (it is a zombie show, after all) — but this latest departure is going to hurt: Danai Gurira, who plays the badass Michonne, is leaving in season 10. The Black Panther star will appear in “a handful of episodes that will be interspersed throughout season 10,” according to The Hollywood Reporter. Not all hope is lost, however — THR reports that she’ll likely join her former on-screen love Andrew Lincoln, a.k.a. recently departed leading man Rick Grimes, in the series of three TWD movies AMC is planning to produce.Will Veep Give Viewers a Satisfying Ending?(Photo by Lacey Terrell)In such a politically volatile world, it’s been challenging for the team behind Veep to push boundaries in its final season. But the series has given itself one key advantage in its ability to poke fun at politics without garnering too much ire on either side of the aisle.“We have this great virtue of having not identified a party in our show and not really identified any contemporary political figures,” Julia Louis-Dreyfus told reporters at a Television Critics Association winter press tour panel for the show’s final season. “We re in an alternate universe and that’s helpful particularly because in many ways it’s why the show’s lasted as long as it has — because it kind of invites everyone to the party. I think in a way it s more apt than it ever has been given the current insanity that we re all living in.”The final season will consist of seven episodes, which showrunner Dave Mandel said will bring the show to its natural conclusion.“We reached just a very natural point, storytelling-wise, that we sort of looked at each other and went, ‘I think that s the end.’”While neither Louis-Dreyfus nor Mandel would get too specific about exactly what adventures ex-president (and ex-veep) Selina Meyer will have in the last episodes, which begin airing March 31 on HBO, they did tease a surprising (and satisfying) ending.“The one trap that the viewers ever so slightly fall into is assuming that somebody is Trump and somebody is Hillary, and that s a good thing for us because it means we get to always surprise you. It doesn t go the way you think it went when they ran against each other,” Mandel said. “I think this season, it sounds so generic, but I think everyone will be pleasantly surprised in a very, you know, hopefully funny way.”Added Louis-Dreyfus, “I m not going to say that Selena evolves, except to say that she s truer to herself by being as true to herself as she can possibly be. By the time this season ends. I ll leave it for you to determine whether or not that s a good thing, but I m not sure that evolution is necessarily her game.”Jared Harris Tackles a Different Terror in HBO’s Chernobyl(Photo by Liam Daniel/HBO)Is there something about The Terror star Jared Harris that inspires him to play scary, evil, or general sad-sack characters who die horrible deaths?“I’m a miserable person,” joked Harris at a TCA panel for his new HBO miniseries Chernobyl, about the 1986 nuclear meltdown in the Ukraine. In all seriousness, though, Harris said he was drawn to his role in Chernobyl (and The Terror) because of “good writing. Really, if you re working on a script that s really well-written, our job is much, much easier and more interesting as well because you can dig down into the story, you can dig down into the subtext and the substrata of the narrative and you can find stuff there that s been put down purposefully.”The five-part miniseries, which also stars Stellan Skarsgård and Emily Watson,  follows the brave men and women who sacrificed so much to save Europe from complete disaster after one of the worst man-made catastrophes in history.Serial’s Story Continues in The Case Against Adnan SyedIf you are not one of the millions of people who was captivated by the Serial podcast in 2014, HBO’s new four-part documentary The Case Against Adnan Syed will fill you in on the case, which saw Baltimore high school senior Adnan Syed convicted for the 1999 murder of his ex-girlfriend, 18-year-old Hae Min Lee. The podcast examined the evidence in the case and whether Syed was wrongfully convicted. The new documentary will pick up where Serial left off, so it won’t be a retread of the podcast either.“It s gone through current events, just as recently as a couple of months ago,” said director Amy Berg.The documentary follows Syed’s legal team as they prepare an appeal for a new trial after questions about the State’s case and his own attorney’s performance.“Any time a wrongful conviction seems to be getting successfully challenged the system closes in, it doubles down, it trickles down, and it tries to protect itself and we expected that. We expected we were going to fight as far as it s going to take,” said Rabia Chaudry, a family friend and lawyer who has advocated for Syed for 20 years (and was the driving force behind the Serial podcast). “The State is going to continue to appeal it. It s not a surprise. And there s a reason for that. I understand the reasons for that. It s not always about the truth. It s about kind of maintaining status quo. So it s not surprising. It is more complicated. However, when there s so much notoriety around the case it gives more incentive for the State to save face and to save the conviction and to fight harder.”The Kominsky Method Books Major Guest Stars(Photo by Mike Yarish/Netflix)Netflix’s award-winning comedy The Kominsky Method will welcome three major guest stars in its second season: Jane Seymour, Jacqueline Bisset, and Paul Reiser. Seymour will play Madelyn, a 70-something well-to-do woman with whom Norman (star Alan Arkin) had a mad love affair in the ’60s before he met his wife, and they meet again 50 years later. Bisset will play Gabrielle, Mindy’s (Sarah Baker) mom and Sandy’s (star Michael Douglas) French ex-wife who delights in still being able to push the buttons of her ex-husband. Reiser will play Martin, a 60-something high school teacher who gets romantically involved with Sandy’s daughter, Mindy.

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(Photo by Phillip Caruso/©Unversal, ©Warner Brothers/courtesy Everett Collection)Twenty-five years ago, Robert De Niro enjoyed a particularly stellar year that would change his career forever. In November, he reunited with his frequent collaborator Martin Scorsese for Casino, a companion piece of sorts to their 1990 masterpiece Goodfellas. Just a few weeks later, he shared the screen with fellow acting titan Al Pacino for the first time in Heat, Michael Mann’s cops-and-robbers epic.Yet at the time, this one-two punch wasn’t necessarily regarded as a triumph. Sky-high expectations for a de facto Goodfellas follow-up and a Pacino/De Niro team-up meant that both movies garnered a lot of reviews that were more respectable than ecstatic, and months later these two awards hopefuls received a grand total of one Oscar nomination between them for Sharon Stone’s career-best performance in Casino.Criticisms leveled at both movies at the time zeroed in on the crime-picture familiarity that now makes them feel like classics. Some came down especially hard on the idea that Pacino, Pesci, and particularly De Niro were repeating themselves. De Niro had delivered gentler, change-of-pace performances not much earlier in movies like 1990 s Awakenings and 1993 s Mad Dog and Glory, and the close proximity of Heat to Casino wound up calling attention to his characters’ similarities across the two films: Owen Gleiberman of Entertainment Weekly described him as “a scowling cipher, a forbidding synthesis of dictator and monk,” then a few weeks later noted that in Heat, “as in Casino, he’s playing an ice-minded humanoid.”It’s true that both movies find De Niro acting in a chillier register than his work in, say, Taxi Driver or The Godfather Part II (to say nothing of the genuinely sweet Mad Dog and Glory). Sam “Ace” Rothstein, the mob-affiliated casino boss he plays in the Scorsese picture, and Neil McCauley, the career criminal he plays in Heat, do their respective jobs with ruthless professionalism. McCauley offers the spiel that lends Heat its title, explaining that anyone serious about the heist business needs to be able to drop all attachments “in 30 seconds flat if you feel the heat around the corner.” Ace, in the meantime, is the kind of exacting control freak who demands one of his buffet chefs put an equal amount of blueberries in each muffin. If Neil and Ace are less immediately magnetic than even some of De Niro’s more villainous characters the scene in Heat where he must rebuff the vaguely inexplicable interests of Amy Brenneman is one of cinema’s least romantic meet-cutes the tension in both movies comes when the De Niro character’s detachment is challenged.That’s visible in the famous Heat diner scene, the mid-movie sit-down when McCauley meets with cop Vincent Hanna (Pacino) over coffee. As the conversation continues, Mann catches more of each actor’s reactions, cutting to them when they’re listening, not just when they’re speaking. So much of the scene’s drama happens in the actors’ eyes, as De Niro portrays McCauley, briefly freed from the responsibilities of organizing a major heist, making thoughtful considerations as he answers Hanna’s questions about his motivations. The scene probably wouldn’t be as effective without De Niro’s unforgiving exterior, and it certainly wouldn’t be as chills-inducing with other actors.In Casino, the steely enforcer lets his guard down in an early scene where he proposes marriage to Ginger (Sharon Stone), negotiating and equivocating about how their “mutual respect” can lay the groundwork for a good partnership, even though she doesn’t love him, and says so upfront. It’s more subtle than either pleading or outright strong-arming and, as such, both heartbreaking and a little pathetic.(Photo by ©Universal courtesy Everett Collection)It’s no shock that De Niro is actually great in both of his 1995 movies, though it is a little surprising that even after their reputations grew, he still managed to be underestimated. The images Casino and Heat projected of the actor as a serious, driven professional were especially appropriate for that stage of his career a stage that these two movies helped bring to a close. His filmography is too long and varied to categorize every performance, but Heat and Casino are arguably his last two big-ticket leading-man parts in the crime genre that made him famous. Over the next few years, he would do a lot of character and supporting parts (Sleepers, Cop Land, Jackie Brown, Great Expectations) and some self-conscious riffs on his past roles (The Fan revisits both Taxi Driver and Cape Fear; Analyze This parodies his mafia parts; Meet the Parents depends on his tough-guy image). Later, he would do more comedies, often about aging and/or families, sometimes to great effect (Silver Linings Playbook; The Intern), sometimes less so (The Big Wedding; The Family).Many of these later-period movies are about bringing De Niro back down to earth, even when they’re not directly kidding his on-screen history (and a lot of them do, beyond even his two comedy franchises). Sometimes this can be read as undermining his legacy, sticking him in unserious paycheck-friendly gigs like Dirty Grandpa or Grudge Match when he “should” be doing more projects with titans like Scorsese, who took a 24-year break from casting De Niro after Casino, or big-name auteurs like Mann. While it’s true that De Niro has appeared in his share of movies that aren’t especially worthy of his talent, it often seems that he’s both willing to work and remarkably free of ego in the work itself.(Photo by ©Lionsgate)His characters in Casino and Heat are quite the opposite; they wouldn’t be caught dead doing jobs that could be perceived as beneath them. (McCauley’s promise to Hanna in the coffee-shop scene makes this more or less literal.) They’re men of discipline, yes, and certainly McCauley displays less hubris than Ace, who at one point broadcasts his own television show to settle scores with the Las Vegas gaming commission. But they’re both larger than life not because of particularly gregarious personalities, but because they loom outside what Heat refers to as a “regular-type life.” De Niro can get away with moments of unemotional minimalism because of his own towering work before these movies, especially the volcanic outbursts of Goodfellas, Taxi Driver, The Untouchables, and Raging Bull, among others. In 1995, at least, his reputation preceded him.Neither of De Niro’s 1995 movies were received as a farewell to the iconography and prestige involved with being the legendary Robert De Niro, and knowing his work ethic, they probably weren’t intended that way, either. But 25 years later, they play like De Niro has honed his most familiar tics into a sleek, efficient weapon. Heat and Casino both prepare him for middle age, and this doesn’t just mean his comic roles and character-actor parts. Look at an underseen later-period De Niro movie like Stone: It generates plenty of intensity as his parole officer character faces off against a prisoner played by Edward Norton, but this is a life-sized De Niro, his anger and violence repressed, his disappointments flattened out.This extends to his recent reunion with Scorsese, The Irishman, where he plays a hitman as an unquestioning working stiff. The film is powered by the idea that maybe those classic gangster movies were even sadder and less glamorous than viewers entirely realized at the time something else that both Heat and Casino were preparing for back in 1995, when they were met with good-but-not-great receptions. Neil McCauley orchestrates a precise and ambitious heist, falls in love, and the LAPD still catches up to him; Ace Rothstein ends his long, detailed, decades-spanning story about Vegas with a shrug as he returns to bookmaking. Maybe a lot of those beloved De Niro icons were secretly workhorses all along.Casino was released on November 22, 1995. Heat was released on December 15, 1995.On an Apple device? Follow Rotten Tomatoes on Apple News.


保卫萝卜沙漠10 The CW’s Black Lightning has always been a world apart from its superhero cousins on the network. Originally developed as a show for Fox, it always took the concepts of superpowers and the DC Comics metahumans a metaphor for something much closer to our reality. Its inciting incident — the deployment of a vaccine said to prevent a virulent disease, but truly design to stimulate the metagenes in the population of Freeland — has its origins in things like the Tuskegee Study and the CIA’s alleged introduction of crack cocaine into the inner cities in the 1980s.In the world of Black Lightning, the meta-vaccine operation was conducted by a shadowy government agency known as the ASA, and their tactics have left a lasting mark on Freeland as a whole and central character Jefferson Pierce (Cress Williams) in particular. Even as the series sprawled out to tell the tales of Jefferson’s family, his arch-rival Tobias Whale (Marvin “Krondon” Jones III), and Jefferson s mentor Peter Gambi (James Remar), it’s never lost sight of the ASA. In fact, it is possible they are Black Lightning’s ultimate adversaries.But at the moment, they also have Freeland in lockdown – an occupation officially meant to keep Freeland’s meta population safe from agents of a foreign power, Markovia, desperate to snatch up metas in a latter-day arms race. The story may echo the CIA’s activities during the later parts of the Cold War, but in illustrating the effects of an actual military occupation on U.S. soil, the show enters unprecedented ground. The stakes have never been higher. As Williams put it when Rotten Tomatoes visited the Atlanta soundstages where the show is produced, “It s much more than just corner boys and Tobias trying to just take over the city for his own power. In fact, we got the distinct impression Freeland’s old normal will never be restored.But, as Williams told us, “The ‘back to normal’ Freeland was never like this idealistic place It was always, you know, it was flawed. There was crime. It s why [Jefferson] had to originally put the suit back on in the first place.” Nonetheless, Williams felt it is important for the Occupation to end, even if “we get back to just that” because Freeland is ultimately part of the United States and rights are being trampled on in the current situation.Granted, the ASA Agent-in-Charge, Odell (Bill Duke), would disagree. When we spoke to Duke, he mentioned Odell firmly believes the Occupation is ultimately protecting Americans from a rogue nation. His methods, though, leave much to be desired. For instance, he kept both Jefferson and his wife, Dr. Lynn Stewart’s (Christine Adams) in a mandatory hold at a secret facility for months and once he had to let them go, he planted subliminal messages in Lynn s living space suggesting she experiment with Green Light, the power-enhancing drug taking the place for crack in the program’s ongoing storyline.When it was suggested manipulating Lynn was evil, Duke said, What really is evil?  It is a question the show is gearing up to address, but in the interim, Lynn is abusing Green Light.“You’re definitely going to see Lynn in a way you ve never seen her before,” Adams said of Lynn under the drug’s influence. Her first few attempts to synthesize a safe, non-addictive Green Light gave her increased brain efficiency and allowed her to find a cure for a Markovian virus meant to kill Freeland s meta population. But it’s also made her obsessive about her work and created another rift between her and Jefferson.Then again, the fragility of their marriage is another one of the show’s ongoing plots.“I think it definitely makes sense for their relationship to go like this,” Adams said. But she added the Occupation is putting a very specific stress on them. “They know too much. They ve seen too much. I mean, they would have to be PTSD if nothing else … like, put them all in therapy. That s what I would do.”Their time at The Pit, the ASA’s black site in Freeland, also put Black Lightning off his footing, but Williams suggested the change in outlook may ultimately be beneficial.“I think he s angrier, and I think he has the right to be,” he said. “Going from season 1, his school was successful, his daughters were safe, and then you progress to being locked up for over a month and then coming out to an occupation and nobody s safe. He s tried to do things the right way and play by the rules and sees the repercussions of that.”At the moment, an agreement with Odell means he cannot act against the ASA, but it is only a matter of time before he learns the full scope of the agent’s machinations and, perhaps, joins the Resistance.And then there’s Tobias. Though he is locked up in The Pit, Williams said that Jefferson’s feelings about Tobias haven t changed.The feeling is mutual. Though Jones was unwilling to suggest when or how Tobias might escape The Pit, he said Black Lightning is the only person who should worry if and when that prison break occurs.“I think it s always going to be Black Lightning,” he added, though he said another confrontation between Tobias and the unkillable Lala (William Catlett) is inevitable. “[They’re] almost like Kobe and Shaq, where they re on the same team, kind of, but then again they re not. You know? One has a way of doing things, and the other one doesn t. It s kind of like I need the other one to get out of the way so I can do my thing the way I do it. I think they ll always conflict and run into each other.”Jefferson and Lynn’s detention at The Pit also left their children Anissa (Nafessa Williams) and Jennifer (China Anne McClain) to figure out life in the Occupation on their own. Anissa chose to formalize her alternate persona of Blackbird as a hero of the burgeoning Resistance — and establish an underground railroad of sorts for metas trying to escape Freeland — while Jennifer tried her best to be a “normal” teenager.According to Nafessa Williams, Blackbird and Anissa’s earlier hero persona of Thunder represent two sides of the character.“[Blackbird] doesn t have it all together and she doesn t always do the right thing the way Thunder does, but she does it her way because she thinks it s the right way and she thinks it s what Freeland needs right now.”The impulsiveness of Blackbird may cause problems down the line – particularly with the Perdi in South Freeland – but Williams sees the alter-ego as part of Anissa coming into her own.“She s really seeing herself as an adult and realizing that she runs her life,” Williams said. Nevertheless, expect some mistakes as Anissa finds her way to adulthood.But one aspect of Anissa’s life that will be on firmer ground during the Occupation is her relationship with shapeshifter Grace Choi (Chantal Thuy) – a romance teased since the early episodes of the show, but finally a real thing in season 3.“I think Anissa is really happy to have found someone who understands her,” Williams said of the relationship. “She hasn t told anyone really who she is other than her family, so to be able to open up and trust someone else and let them in on who she really is and understand them for who they are, I think it s a match.”And, as it happens, Grace has also proved her abilities will aid Anissa in getting out of tight scrapes, like Odell’s ill-timed visit in last week’s episode.Jennifer, meanwhile, has acclimated to curfews, traffic stops, and the ASA’s stated mission a little too well. Bizarrely, the confines of the Occupation gave Jennifer an added sense of independence – something Odell hopes to utilize for his own ends.“He s counting on being able to take her humanity and use it,” McClain said. The shadowy agent has already helped her discover new powers which may indicate she is stronger than her father. Also, “[Odell’s] telling her, ‘Your father s wrong here, your father s methods aren t working. You know what I m saying? They haven t worked for years.’”Those sorts of poisonous words could lead to a confrontation between Jennifer and Jefferson before too long.McClain also teased Lynn’s preoccupation with work at The Pit will beco

(Photo by Netflix)In their initial meetings, the executive talked about the sensation of jeopardy the old cartoon conveyed to younger viewers despite being outwardly silly. To his mind at the time, it was possible for Skeletor to win. Only with as he grew older did he come to understand why that would never be the case on the Filmation show. Nevertheless, the experience of that potential jeopardy stayed in his mind.“The dude kind of charged us with recreating a memory, if you will, of [that] feeling,” Smith said. And as viewers will see, jeopardy is definitely part of Masters of the Universe: Revelation. There are big shake-ups and, indeed, revelations that will surprise fans of the old show: from the selection of featured characters to the way it incorporates ideas from other MOTU projects.(Photo by Netflix)Another of the program’s interesting twists is its focus on Teela (Sarah Michelle Gelllar), a member of He-Man’s inner circle despite being denied key secrets about the world around her. When she learns about one of them at the beginning of Revelation, it sets her on a new path. According to Smith, giving her a bigger role in the series was part of a desire on both Biaselli’s and Mattel’s part to give the other characters more of their own individual stories. Or, as Smith phrased their request: “Look, we love that He-Man sells, but we got a bunch of f ing toys. So use all the characters.” As it happens, a lot of Teela’s story was already suggested by ideas in the toys and the 1980s series. But the format of both meant she could never find resolution – something which is possible in Revelation.“We started diving into the Teela of it all, man, and then realizing like, ‘oh, s , this is a story of betrayal,’” Smith said.Fans of the Filmation cartoon may remember two secrets withheld from her by He-Man, Man-at-Arms, and the Sorceress. One is definitely more important to the events of Revelation’s first batch of episodes while the other is … not forgotten.“That created rich situations for drama,” Smith said. “To me, [He-Man and Masters of the Universe] has always been family melodrama. You go back and look at all the shows, and it s all about like, ‘We got a problem. We re going to get through it together’ and stuff like that. All the characters like and respect one another on each side and whatnot.”The old show was also famous for recapping its moral quandaries at the end of each episode. “So for us, the same thing is going in here,” Smith continued. “The idea is like all the relationships are the absolute same [from the old show]. They just have to deal with death and consequences for the first time.”(Photo by Netflix)That sense of consequences extends out to other relationships like Evil-Lyn’s (Lena Heady) and Beast Man’s (Kevin Michael Richardson) devotion to Skeletor. It also changes the way Teela regards her adoptive father Duncan — aka Man-at-Arms — especially after the events of the first episode, which really alter the Eternian battlefield after nearly 40 years.The overall effect is not a bleaker Master of the Universe, but a more serious version in which even joke characters like Orko (Griffin Newman) can carry dramatic content. As it turns out, giving the character a chance to shine was something Smith and the other writers seriously debated.“Some people swear by him, and other people [were like,] ‘He ruined the show for me. I hate the stupid magic jokes and [things] like that,’” Smith said of the writing room conversations.(Photo by Netflix)The floating and legless magician of questionable skill was a favorite of Filmation co-founder Lou Scheimer, who also voiced the character in the ’80s. He was popular enough to get a toy of his own in the classic MOTU line, but his presence made the old series feel more, well, childish. Watching episodes of the show now — or clips from He-Man She-Ra: A Christmas Special — will definitely illustrate why he can be a divisive character for anyone over the age of 9.But that debate led to a mission statement: “How do we make Orko tattoo-worthy?”“We knew that Orko was a kid’s way into the show, right? Every kid who watched the show, they re going to dream about being He-Man. They can aspire to that, but who do they identify with? The dude who is always shoved to the side and not as good as the adults and can t be counted on to do the right thing. And he s little as well, so that s their way in,” Smith explained. “In this iteration, it s telling the kids like, ‘From little acorns, great oaks grow.’ The smallest can, at the end of the day, become the biggest under the right circumstances. So we thought so much about Orko. We wanted to make him bulletproof, so much so, that if anyone was like, ‘Orko sucks,’ it s like, all right, we failed.”Smith also credited Newman, who actively lobbied for the role on Twitter, for bringing an extra level of pathos to the part: “That f ing speech … I’d give Griffin Newman a f ing Emmy right now for his performance, where he s just like, Take me on an adventure. I promise I won t mess up like the old days.’” For the next two weeks, journalists from all over the U.S. are gathered in Los Angeles for the Television Critics Association winter press tour, where TV networks and streaming companies will introduce their newest series and announce exciting news about upcoming shows. Today s edition of TV Talk includes a major horror TV development, plus intel on NBC Universal series Project Runway, Suits spin-off Pearson, and sitcom Abby s.TOP STORYHorror Movie Icon Chucky Is Headed to TV(Photo by Universal)Horror television is about to get a little more adorable (and a whole lot more terrifying): Syfy announced Tuesday that it is developing a TV series centering around Chucky, the red-headed, freckle-faced doll that just so happens to be possessed by a serial killer. The Child’s Play character, who has been the star of seven different slasher films, as well as an upcoming reboot, will be brought to the small screen by original creator Don Mancini, producer David Kirschner, and Channel Zero creator Nick Antosca.“The show will be a fresh take on the franchise, allowing us to explore Chucky s character with a depth that is uniquely afforded by the television series format, while staying true to the original vision that has terrorized audiences for over three decades now,” wrote Mancini in a statement announcing the news. Even the scariest doll in the world had a say in the statement: “In these troubled times, I believe it’s my obligation as a horror icon to reach the widest possible audience, on TV. For over 30 years, I’ve been scaring the s out of you. But now at Syfy, I look forward to really making a difference,” Chucky “said.”Project Runway’s Seal of ApprovalWhen Project Runway returns to Bravo on March 14, it ll be missing the two most familiar faces from its cast: host Heidi Klum and mentor Tim Gunn. But their replacements, model Karlie Kloss and Project Runway alum Christian Siriano (who won the fourth season), were hand-picked by producers. Siriano even has the Klum seal of approval.  Heidi and Tim made the decision to move in a different direction, explained executive producer Dan Cutforth at a press conference for reporters on Tuesday. And it’s interesting that when Heidi was asked who should be the new Tim, she said Christian Siriano. We were already talking to Christian at that time, so we saw that as a great endorsement. But he was the perfect person to come into that role. And Tim and Heidi have been such a great part of this show since the beginning and really helped bring this show together and make it into something that people fell in love with. And they were really supportive of



保卫萝卜沙漠10 While Marvel fans await Chloé Zhao’s delayed superhero blockbuster Eternals, the filmmaker has delivered a drama that many critics are calling the best film of the year. Nomadland and its lead performance from Frances McDormand are receiving rave reviews and awards recognition following its simultaneous debut at the Venice and Toronto Film Festivals. The movie, adapted from a nonfiction book about the growing post-recession culture of wandering, RV-driving “house-less” folks, mixes real people in with McDormand’s lead character for a special snapshot of the current American landscape.Here’s what critics are saying about Nomadland:Is this one of the year s best?One of the best films of the year.  Jo-Ann Titmarsh, HeyUGuysOne of the best films you ll see this year.  Norman Wilner, NOW TorontoOne of 2020’s best and a reminder of why I love films.  Carey-Ann Pawsey, Orca SoundPerhaps the only film that’s come out in 2020 (so far) that could legitimately be called a masterpiece.  Chris Bumbray, JoBloA movie that will be hard to top for the title of best film of the year.  Andrew Parker, The GateIt would be an absolute shock if it isn’t somehow nominated for Best Picture.  Mike Ryan, UproxxHow is Frances McDormand in it?It’s one of her greatest performances. Justin Chang, Los Angeles TimesThis quiet, self-effacing performance may be the best of her career so far. Peter Bradshaw, GuardianOne of the best career performances from one of our best actresses. It’s just breathtaking. Brian Tallerico, RogerEbert.comMcDormand is a joy. Her unmade-up, no-vanity appearance quietly redefines what a cinematic face is supposed to look like. Jessica Kiang, The PlaylistThere is no end to her talent or versatility. It’s an understated performance of the utmost tenderness and care. Hannah Woodhead, Little White LiesRyan FujitaniHow important is McDormand specifically to this movie?McDormand is the perfect actress for this story. Matt Goldberg, ColliderMcDormand provides a blend of toughness and vulnerability that’s a perfect fit for the material. A.A. Dowd, AV ClubIt’s hard to imagine any other movie star whose presence would not compromise the purity of Zhao’s approach. Jessica Kiang, The PlaylistIt s hard to picture any actress other than McDormand (who also has a producer credit) in the part. She doesn t just become Fern, she creates her. Leah Greenblatt, Entertainment WeeklyHow well does Nomadland mix the real aspects with the fictional ones?The documentary conventions being employed here give Zhao’s latest a uniquely lived in quality. Andrew Parker, The GateIronically enough, what the film does best is what brings it closest to criticism: Zhao’s brand of docu-realism suggests something soberly true. Richard Lawson, Vanity FairWhen an actor of McDormand’s calibre can react to the authentic, pure, and raw emotion of the confessionals laid bare by the workampers, the hybrid effect draws the best from both worlds. Pat Mullen, POV Magazine(Photo by ©Searchlight Pictures)How are these people and their lifestyles depicted?The filmmaker doesn’t quite romanticize the migratory way, but she does seem to selectively privilege its sagest salt-of-the-Earth proponents. A.A. Dowd, AV ClubNomadland never feels like a brochure for being a nomad (although it does paint a beguiling picture), but rather a deeply empathetic look at people who have chosen to find a new life away from what society dictates. Matt Goldberg, ColliderThe key to its success is the way director Chloe Zhao refuses to sensationalize the unfolding drama. Even calling this a drama undermines the spirit of the film, as it is simply a look at life. Aaron Neuwirth, We Live EntertainmentNomadland is the type of gorgeous capturing of the forgotten and downtrodden that could easily fit inside a modern Woody Guthrie track. Robert Daniels, 812filmreviewsWhat about the story?There’s not, ultimately, much going on within Nomadland in terms of plot, and yet the movie remains absolutely compelling for the duration of its leisurely-paced yet spellbinding 107 minutes. David Nusair, Reel Film ReviewsWhile episodic by design, the film is utterly compelling from the first frame to the last. Chris Bumbray, JoBloNot directionally shaped by narrative… it is more of a group portrait and a portrait of the times, brought off with exceptional intelligence and style. Peter Bradshaw, GuardianWith its episodic narrative, Nomadland is a character study that builds convincingly and incrementally. James Mottram, South China Morning PostIf road movies have an intrinsic weakness, it’s the episodic nature of their narratives, but Nomadland solves that beautifully, creating a pattern in which the path is more circular than linear, and impactful characters come back around to more deeply enrich Fern’s journey. Peter Debruge, Variety(Photo by ©Searchlight Pictures)How does the film look?The cinematography by Joshua James Richards is exquisite. Gary M. Kramer, SalonThere’s a kind of postcard aesthetic… that evokes a travelogue, which is particularly apt for Nomadland. Joe Lipsett, Consequence of SoundShe frames her subjects against majestic landscapes and gorgeous watercolor sunsets but never aestheticizes nature for postcard effect. David Rooney, Hollywood Reporter[Zhao’s] rapport with the natural world and the American landscape penetrates the film, becoming a central protagonist in the story. Jo-Ann Titmarsh, HeyUGuysIt’s honestly hard to figure out how Zhao has made a film that’s this beautiful in its compositions and somehow still feels like it has dirt under its fingernails. Brian Tallerico, RogerEbert.comWhat else is the film reminiscent of?Scenes of the fellow nomads reminded me of Debra Granik’s Leave No Trace. Jo-Ann Titmarsh, HeyUGuysNomadland also calls to mind Ken Loach’s kitchen-sink realism… not to mention Kelly [Reichardt s] visions of wayfaring loners (imagine Michelle Williams’ wanderer from Wendy and Lucy, all grown up and still no place to go). Eric Kohn, IndieWireZhao’s instinctive curiosity and identification with outsiders, reminiscent of French filmmaker Agnès Varda… Zhao is clearly influenced by Terrence Malick as well. Peter Debruge, VarietyThere’s a scene in Nomadland so beautiful I gasped as it whisked my brain to some of Terrence Malick’s early work, Badlands and Days of Heaven. Mike Ryan, UproxxSettles into a cinematic atmosphere that calls to mind Days of Heaven and other dreamlike scenery out of a Malick film. Aaron Neuwirth, We Live EntertainmentNomadland might recall the work of Terrance Malick and Kelly Reichardt, but Zhao is not “the next” anyone – she’s the first Chloé Zhao. Hannah Woodhead, Little White Lies(Photo by ©Searchlight Pictures)So fans of Zhao s other movies should love it?It continues in a similar vein to Zhao s earlier work, and could almost be considered part of an informal trilogy of small, intimately observed stories set against inversely expansive backdrops. David Rooney, Hollywood ReporterNomadland firmly establishes Chloé Zhao as one of the best directors working today. Not that this declaration couldn’t be seen coming with her last film… But Nomadland is just one of those types of movies that announces a director’s presence with authority. Mike Ryan, UproxxHow is the score?A moving score by Ludovico Einaudi that’s easily my favorite of

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