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亚博YABOAPP官网采用百度引擎5(Baidu 8)而在玩法上《方舟:生存进化》手游多样化的玩法让玩家在游戏中欲罢不能,前期的生存玩法可谓是十分硬核,玩家除了要面临食物短缺的问题之外还需要面对强大的恐龙等生物。而驯兽、冒险、PVP对抗等在游戏中玩家都可以尽情的体验。

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In 2018, Jordan Peele’s Get Out jolted the Oscars status quo by earning nominations for four awards, including a Best Actor nod for Daniel Kaluuya. It’s not totally uncommon for prestige to pluck a horror performance from the dirt and see it as the radiant flower it is: Ruth Gordon won an Oscar for her eerie turn in Rosemary’s Baby; Bette Davis got a nod for her freaky What Ever Happened to Baby Jane? role; and Jodie Foster, Natalie Portman, and Kathy Bates all took home Oscars for Silence of the Lambs, Black Swan, and Misery, respectively. But even when a horror performance is honored, a whole lot of people twist themselves into knots trying to say a film wasn’t actually horror — Kaluuya was nominated for a Golden Globe in the Musical or Comedy category.Ever since the premiere of Peele’s sophomore feature Us at SXSW, Lupita Nyong’o’s stunning performance as Adelaide and Red — two distinctly different but complementary versions of the same character — has been earning her high praise. Not since Jeremy Irons’ turn in David Cronenberg’s Dead Ringers has an actor in a horror film rendered such a complex psychological study of the self through twinning. Nyong’o’s transformation is physical and visceral and — pretty clearly — the caliber for awards consideration. So Peele kindly settled any debate before it began by tweeting: “Us is a horror movie.”In honor of all the actors who’ve toiled away in horror, either to be forgotten or snubbed, here are 13 horror performances we’ve adored – but which the major awards ignored.Essie Davis in The Babadook (2014) 98%(Photo by ©IFC Midnight)Before Jennifer Kent’s The Babadook premiered in 2014, Essie Davis was best known in America for her roles in The Matrix films and her portrayal of master sleuth Phryne Fisher in Miss Fisher’s Murder Mysteries (check it out on Netflix – it s a lot of fun). But grieving single mother Amelia was an opportunity for Davis to shine as a complex, terrifying anti-heroine haunted by a ghoulish children’s book character, and the death of her husband. Davis was so committed to the role that she lost her voice for three days after performing a wrenching 11-second scream on set. She told the Guardian, “It didn’t matter if I looked like s t and felt like s t every day, because that’s what it needed.” Her face — often in closeup — is puffy, with wild eyes darting in response to every creak in the house. Amelia is creepy and dangerous, and yet Davis imbues her with a sensitivity that makes her circumstance relatable and that much more horrifying.Toni Collette in Hereditary (2018) 89%When we look back on the scariest mothers of movie history, Toni Collette’s performance as Annie will likely hover around the number-one spot for a long while. Annie is unabashedly selfish with her time and art, quite different from so many of the doting mothers on film who give up their lives for their children. She both has pain and inflicts pain — indicative of the generational trauma of their family — which means she can’t really be boiled down into Good or Bad. Collette slams her whole body and being into this character for a riveting, histrionic performance that lays waste to restraint. Annie’s grief, laughter, and anger show themselves on the screen with Shakesperian levels of gravity and calculated artifice, and no one will soon forget the horrific contortions of Collette’s face as she wails in mourning for the dead. Also, against all odds, Collette somehow finds little slices of humor and humility in Annie. Miraculous. (Miraculous, too, that she was snubbed last awards season.)James McAvoy in Split (2016) 77%How many completely different characters does a guy gotta play in the same movie to get any awards talk? In Split, McAvoy embodies 23 separate personalities, ranging from a literal beast who can crawl up walls to a prim, post-menopausal woman in heels and pearls named Patricia. McAvoy said his favorite character of the bunch was actually a 9-year-old boy named Hedwig, who’s got a slight speech impediment and a whole lot of saliva when he talks. In that role, McAvoy chewed up the scenery, shoulders slumped like a bored child, bouncing off the walls with the energy of a kid who’s seen way too many shoot- em-up movies. McAvoy’s greatest craft trick, however, was in finding the silliness amid the horror, keeping the tension taut throughout those laugh lines, and then searching his way back to a more tender performance as Kevin Wendell Crumb, a broken man lost in his many identities.Nicolas Cage in Mandy (2018) 90%(Photo by © RLJE Films)It’s no secret that Nicolas Cage is known for throwing himself deeply into his roles, creating a kind of fun dance of them, seeing how far he can take the character with spontaneous emotional outbursts. Too many filmmakers simply rely on that Cage-iness when they cast him in their movies, but director Panos Cosmatos offered the actor real motivation with the character of devoted and then heartbroken Red Miller, whose quiet, sensitive side embraces his love, Mandy, with all his heart, before she is brutally ripped from him. Despite Cage’s character having to smelt his own battle axe, Cage himself is actually appropriately restrained and then only unhinged in rare moments when the narrative calls for it, but every emotion is grounded in grief and then wild and painful revenge. Cage co-star Andrea Riseborough as Mandy deserves more than a mention here, as well, having delivered an equally stellar performance that ranges from philosophical monologues to maniacal laughter.Betty Gabriel in Get Out (2017) 98%Betty Gabriel was filming a low-budget action movie called Beyond Skyline when co-star Frank Grillo recommended her for a role in Blumhouse’s The Purge: Election Year. Word had it that Jordan Peele was going to direct his debut feature and was looking to fill out a couple of roles. Gabriel showed up, and the rest is history. As housekeeper Georgina, Gabriel locates the heart of this supporting character — both the woman she was and the new woman who’s inhabiting her body. In one pivotal scene, her voice quakes as she says, “No. No-no-no-no-no-no,” her eyes — filled with tears — at odds with the smile on her face, as though she’s a dummy puppet and either part is being manipulated by a different puppeteer. This chasm in Georgina’s personality becomes her central tension and the source of so many skin-crawling scenes, with the underlying message that the scariest thing is not knowing yourself.Gong Yoo in Train to Busan (2016) 94%Yeon Sang-ho’s ultra-violent zombie action film earned a place in America’s hearts, not just because of its thrilling and bloody chase sequences, but because it’s really the story about a father’s sacrifice for his child. Gong Yoo plays Seok-woo, a busy, divorced dad whose young daughter has asked him to take her to be with her mother in Busan. Before he even gets on the fateful train with the girl, he already feels like a failure, unable to properly show love. Gong Yoo’s performance of this sad dad finding his way grounds an otherwise flighty narrative. Even in busy action sequences populated by hundreds of zombified extras, Yoo exudes a kind of nervous strength focused singularly on the survival of his daughter. Sang-ho also includes another dad in the film, Sang-hwa, played by Ma Dong-seok, who offers an extremely complementary performance to Yoo’s, displaying a kind of earnest courage, which Yoo feeds off of for the transformation of his character.Tony Todd in Candyman (1992) 77%(Photo by ©TriStar Pictures)Who can make you jump out of your skin and also yearn for his fateful embrace? The candyman can! Tony Todd’s presence in this frightfully ridiculous story rises above the material. The convoluted urban fairy tale features Todd as its boogeyman, called from his grave when his name is said in the mirror three times. Todd said he was immediately taken with the role, despite some misgivings around race in the story, simply because the imagery of gore in the city was something he hadn’t seen before. In 2015, he told IGN: “I’ve always wanted to find my own personal Phantom of the Opera.” That desire is evident in Todd’s melodrama and theatricality. He embodies and flaunts the grotesque, a mythically imposing figure with sweeping grand gestures that become impossibly romantic — even though the Candyman’s got a rib cage of bees! Todd’s resonant voice, wide smile, and mesmerizing eyes add up to one tempting, unforgettable villain.Jeff Goldblum in The Fly (1986) 93%(Photo by 20th Century Fox Film Corp. )It’s galling that, at first, the studio couldn’t see Jeff Goldblum as Seth Brundle, the brilliant scientist destroyed by his own teleportation creation. But perhaps they didn’t know that Goldblum would work out like a madman and drink coffee every waking minute of his days to embody the maniac his character would become — the Brundlefly. Cronenberg knew. As Brundle, Goldblum s natural charisma perfectly matches Geena Davis’ Veronica, a journalist who’s come out to a stranger’s apartment to check out his weird machines. Veronica’s inquisitiveness puzzle-pieces together with Brundle’s excitement, and the two settle into a lovely, if short-lived, romance. Where Goldblum shines is when he transforms into a wild man capable of snapping off a strongman’s arm in a bar. In one scene, the actor ad-libbed an entire caffeine-fueled, buzzy monologue about philosophy and science while Davis played off his energy as the straight-man. Even under pounds of goopy makeup, Goldblum makes his Brundlefly a sympathetic monster of circumstance.Sissy Spacek and Piper Laurie in Carrie (1976) 93%Director Brian De Palma was adamant that Carrie’s telekinetic outbursts were simply about teenaged angst, but young actor Sissy Spacek latched onto the idea that Carrie was “really about a young girl who is an artist who just wants to be normal,” and that the girl dreamed of expressing herself through poetry one day, but her fascist mother took it away from her. Spacek’s mythology of her character was so deep that De Palma at times just let her run off with the role, while he focused on specific shots. Her mannerisms equally evoke an innocent naïf and an all-powerful goddess, and her performance is matched only by that of Piper Laurie, who didn’t at first understand what would be required of her from the script, until she read it with the eyes of Lady Macbeth. The result of Laurie’s work is an unrivaled whites-of-her-eyes performance of Biblical intensity, glimmers of it present in Toni Collette’s Annie of Hereditary.Mia Farrow in Rosemary's Baby (1968) 96%Though Ruth Gordon was honored by the Academy Awards for her part as the nosy neighbor attempting to lure Rosemary into an orgy with the devil, Mia Farrow sadly was not, despite the arc of her emotions anchoring this nightmarish tale. Director Roman Polanski himself said he didn’t really have to direct her. He trusted her to come to these emotions herself, and he didn’t pre-plan or storyboard any shots, instead watching how Farrow approached the scene and setting up around that. Rosemary transforms from shy, childlike cheerleader wife to pregnant paranoid prisoner of a cult. The way she moves between gullibility and strength becomes so relatable, while the gaslighting becomes more and more absurd an accurate, if frightening, portraiture of a woman at the whims of her man and the devil he’s made a deal with. Her performance is so affecting that the calm and resolute demeanor she strikes when she’s made peace with her destiny is both surprising and inevitable.Isabelle Adjani in Possession (1981) 88%(Photo by Courtesy the Everett Collection)Three words: Subway tunnel scene. Andrzej Zulawski’s tale of an unearthly sex monster who’s taken hold of a Berlin housewife turns into high art because of Isabelle Adjani’s dedication to self-annihilation over the course of the film. Here, she plays Anna, one half of a marriage that’s suddenly imploding in hysteria and intrigue. Anna’s husband, played by an impeccable Sam Neill, attempts to search out where and with whom she’s been spending her time. When she is in the house, she’s erratic, cutting herself and her husband with an electric knife, eyes possessed. But in that tunnel scene is where the audience gets the full indication of how much Anna’s body is not her own, as Adjani flagellates herself with a milk carton, ramming her tiny frame into the tile walls, bathing in the spilled milk as though she’s communing with a higher, violent spirit. She barks and gasps with laughter until her body erupts with blood and green goop, and, holy wow, is it unnerving.Linda Blair in The Exorcist (1973) 83%Linda Blair earned an Oscar nomination for her role as possessed little Reagan, thank God, but lost out to another young actor, Tatum O’Neil, in the Supporting Actress category. Famously, writer William Blatty blasted George Cukor for leading a campaign to denigrate horror films as undeserving of an Academy Award, but Blair’s performance lives on, award or not. As the lovable Reagan (pre-possession), she gleams with innocence and precociousness, which makes that moment when she stands with blank eyes, cursing her mother’s fancy guests and urinating on the carpet, so shocking. The emotional flexibility it takes for a child to then be strapped to a bed, globbed with green makeup, hurling incredible insults at adults, is otherworldly, not to mention the physicality required of her to constantly thrash on the bed and yank at the straps on her wrists and ankles. Oh, lord, and then there’s the crucifix… We’ll just say it’s a tour de force performance most adult actors wouldn’t have the maturity to do, let alone a child.Jack Nicholson/Shelley Duvall in  The Shining (1980) 84%Jack Nicholson and Shelley Duvall as Jack and Wendy Torrance are two sides of a terrifying coin. Jack is all action, while Wendy is reaction, their push and pull and friction grinding this film into brutal horror. One gets the sense that Nicholson was born to play his role of a sadistic alcoholic narcissist who blames his wife and children for his writerly failures, even though they’ve uprooted their lives to fulfill his dream of finally getting some free time to work on that novel. Nicholson is wild-eyed and untethered, some of his greatest lines (“Here’s Johnny!”) resulting from a multitude of takes meant to wear the actors down into lunacy. Duvall embodies pure, unadulterated fear, lip quivering, earth quaking beneath her. Nicholson’s performance lives on for its horror only because Duvall can deliver the uncertainty and panic, her arms limply but dutifully swinging a baseball bat at an approaching monster Wendy always knew lurked beneath. With literally hundreds of films released in any given calendar year, not even professional critics who watch movies for a living can catch everything that comes down the pipe. As for general audiences, there are countless movies that open in just a few theaters in the biggest markets (i.e. Los Angeles and New York) before transitioning unceremoniously to home video, eluding the notice of most casual moviegoers entirely. Luckily, the staff at RT are here to offer up some recommendations for films we personally loved that quite possibly came and went from your local theater or never arrived at all without much fanfare. Maybe you re familiar with some of these and simply never got around to seeing them, or maybe this is the first time you ve heard of them; either way, there s a good chance you ll find something new and interesting in our list of compelling 2019 limited releases below.The Biggest Little Farm (2018) 91%It s difficult to describe the documentary The Biggest Little Farm without feeling as though you’re pitching a quirky sitcom: John and Molly Chester are an adorable married couple living in Los Angeles who, sick of the urban grind, decide to hatch a manic scheme: they’ll sink their savings into starting a farm! What the film offers, though, is a beautifully woven story of a family investing not merely money, but also their faith literally into the ground as they slowly construct a 213-acre biodynamic farm. Apricot Lane Farms was founded on a holistic approach, meaning every element on the property serves a connective purpose in the entire farm’s growth and survival (for example, the animals’ manure nurtures the soil, which then sustains the ground plants that feed their sheep, and so forth). Spanning an eight-year timeline, The Biggest Little Farm allows us an intimate look at the complex ecosystem at a working farm, depicting the high points – adorable animals, of course, including the marvelous Emma the pig – but also the low, such as the ongoing struggle with natural hardships and the impact of climate change on the Chesters’ utopian vision. Although it wanders into too-cute territory at times, The Biggest Little Farm is, at its core, an inspired look at the impact of humans purposely learning to coexist with nature. The perseverance and sincere aim of the Chesters is a heartening reminder that if we don’t give up on the Earth, she won’t give up on us.  Jenny JedinyAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduFast Color (2018) 81%Julia Hart s Fast Color deserves your attention. The multigenerational family drama about a black woman with unexplainable powers played in just 25 theaters this year and had almost no marketing to speak of, but still managed to be one of the most poignant looks at the superhero narrative in the last decade. Instead of going bigger, Fast Color made everything smaller, keeping the stakes to the realm of the family, and exploring how the vast possibilities presented by superhuman abilities might be exploited in a dying world. Lorainne Toussiant and Gugu Mbatha-Raw give incredible performances as Bo and Ruth, an estranged mother and daughter bonded by trauma and their love of Ruth s daughter Lila (Saniyya Sidney). This Certified Fresh original film is a nuanced take on responsibility, guilt, and grief, effectively built inside a genre we all know and love.  Cate YoungAvailable on: Amazon Prime, FandangoNOW, Google Play, iTunes, VuduGreener Grass (2019) 81%Welcome to a twisted vision of American suburbia as if there s any other interesting kind in the movies. Greener Grass takes a pillowy sledgehammer to the trappings of upper-middle-class home life to a repellent extreme. There s courtesy : Neighbors spend minutes at four-way stop signs, imploring everyone else to go first. There s looking good : Everyone unnecessarily wears braces. There s jealousy : A woman puts a soccer ball under her dress for the pregnancy attention, and then gives so-called birth to it later. There s being disappointed in your kids : A dad thinks his son is a loser until his problem is solved after he falls in a pool and turns into a golden retriever. And there s being neighborly : A woman gives her friend her newborn baby for the hell of it of course, there s the matter of what happens when she wants it back Jocelyn DeBoer and Dawn Luebbe pull off triple duty as stars, writers, directors, the Tim and Eric of this placid, candy-coated nightmare. Comedies of this head-scratching and disgusting variety often fall under the direction of men, and they re normally repulsive to look at and listen to from the top down. That s their, uh, charm. But DeBoer and Luebbe use a more fanciful touch: The sets are carefully arranged and presented, the colors pop, and there isn t really the threat of imminent violence which of course makes this demonic comedy of manners all the more pressurized and chaotic.  Alex VoAvailable on: Amazon, Google Play, iTunes, VuduHer Smell (2018) 84%I love Alex Ross Perry movies, but I’ve never been sure whether or not the writer-director has much love for people. Gifted at writing memorably vicious put-downs and mining agonizing tension from passive aggression, the indie filmmaker has made a name for himself with caustic chamber pieces about acerbic characters who are confronted by their own narcissism, only to emerge from the tumult even more misanthropic than before. Not so with Her Smell, the enfant terrible’s most redemptive film yet. Elisabeth Moss stars as tempestuous rocker Becky Something, whose abuse of her body and all of those within her proximity blazes a steady march towards self-immolation in the film’s first half. The slow-motion train wreck gives way to shaky optimism as Becky slowly rebuilds her life, haunted by past mistakes. This marks the director and star’s third collaboration, and Moss is astonishing as a musical dynamo who is too enthralled by the demons raging inside her mind to ever consider the damage she is wreaking upon colleagues and family. Her Smell is not just a vehicle for one of this generation’s greatest actresses, however; the ensemble is rich with some of the year’s best performances, from Agyness Deyn as a bandmate at the end of her rope to Eric Stoltz’s indefatigably patient manager. Perry’s evident affection for punk rock also infuses the set-pieces which are almost exclusively confined to green rooms and recording studios with an anarchic energy. Her Smell is an exhausting and rewarding testament to Moss’ power as a performer and evidence that Perry may be developing a soft spot for people after all.   Rob FowlerAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduHigh Life (2018) 82%The last few years, we have been gifted with a glut of space films that have taken great pains to explore the way humans love and find meaning in the galaxy, but none will disgust and mystify you the way that Claire Denis’ High Life will. Anchored by an arresting performance from Robert Pattinson and haunting work from Juliette Binoche, the film follows a group of prisoners sent on a space mission to explore a black hole and jumps back in forth in time filling us in on how its passengers were taken out. Denis dismisses the sleek and lavish looks of films like 2014’s Interstellar or this year’s Ad Astra in favor of a minimalist design, and unlike those films, High Life chooses to retain its focus inward on the existential dread that pervades those aboard. In space, no one can hear you cry? Denis explores what really lies underneath the surface of human nature with poetic rigor. High Life is angry. It’s ugly. But it’s beautiful and even hopeful. You will see nothing else like this, and its hypnotic allure will draw you in and never let go.   Daisy GonzalezAvailable on: Amazon Prime, FandangoNOW, Google Play, iTunes, VuduThe Last Black Man in San Francisco (2019) 92%Change is inevitable, but that doesn’t make it any easier to swallow. The Last Black Man in San Francisco deftly captures the uncomfortable truths of change, both environmental and internal. The story follows Jimmie (Jimmie Fails) and his best friend Mont (Jonathan Majors) as they attempt to save the most precious thing in San Francisco: the house Jimmie’s grandfather built with his own two hands, now unlovingly left to rot by its new owners. Though his methods are not always… by the book, Jimmie is determined to do whatever he can to ensure the home of his dreams and the dreams of his forefathers aren t lost to the endlessly hungry monster that is gentrification. It’s a story of love and devotion, obsession and mythology, and above all, how difficult and disorienting change can be. It’s a familiar message to many living in quickly changing metropolitan areas: As money moves in, places once sacred are quickly consumed and repurposed for the new tenants. The Last Black Man in San Francisco explores the feeling of that change with poise, beauty, and of course, a lot of heartache. Visually, the film is stunning; shots are composed like paintings, with rich light bouncing off of deep saturation to create tableaus that look like oil paintings come to life. Fails and Majors’ easy chemistry and charming idiosyncrasies make it easy to root for them, even when they make questionable choices, while Rob Richert and Joe Talbot’s script gives them plenty to play with and surrounds them with an equally compelling cast of characters. But more than anything, The Last Black Man in San Francisco captures the beauty and suffering that is watching something you love die and become something entirely new, for better or worse. Haña Lucero-ColinAvailable on: Amazon Prime, FandangoNOW, Google Play, iTunes, VuduLittle Woods (2018) 95%Enjoying debut films tends to be an exercise in forgiveness.  They re made with limited resources, yet are under tremendous pressure to strive for perfection. They need to stand out long after the festival buzz has died down and hopefully become a career stepping stone for the filmmaker. As far as premiere films go, Little Woods definitely has a leg up, with stars Tessa Thompson, Lily James, and Lance Reddick.  However, the film ends up being a showcase for filmmaker and native New Yorker Nia DaCosta s poised voice as she puts forth a tense, emotionally honest look at what it means to be a woman living in rural poverty. Little Woods sometimes brushes up against romanticizing said poverty. The grit, rust, and long stretches of road at times feel poetic, rather than a harsh reality, but that s almost unavoidable with DaCosta s use of the gorgeous scenery that surrounds the film. The environment is a constant reminder that just outside of truck stops, fracking sites, and homeless encampments are natural riches the characters are rarely able to enjoy. Like Frozen River and Winter s Bone, these wide open spaces are both awe-inspiring and threatening. Tessa Thompson s Ollie and Lily James Deb are facing homelessness and an unwanted pregnancy unless Ollie manages to make some quick cash smuggling prescription pills across the Canadian border. However, Ollie is still on probation from a previous drug-running charge. Part heist and part rural noir, the film is still, at its core, an evocative, moving, family drama. If all this doesn t make you want to see Little Woods, maybe this will: DaCosta s been tapped to direct the upcoming Candyman reboot produced by Jordan Peele. Sara AtaiiyanAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduLuce (2019) 90%In 2018, director Julius Onah gave us The Cloverfield Paradox, which came in at 19% on the Tomatometer; in 2019, he released Luce, which stunned at Sundance and went on to land at a Certified Fresh 93% – and just happens to be one of my favorite films of the year. Talk about a turnaround. Luce did well enough at the specialty box office when it was released in September, and has earned three Independent Spirit Award nominations – for Onah, for Kelvin Harrison Jr., who plays the titular overachieving high school student, and for Octavia Spencer, who plays the teacher who sees something off in him. Yet it confounds me that this complex drama (almost a thriller, in some ways) isn’t lighting up awards seasons and top 10 lists. Based on a play by J.C. Lee, who also wrote the screenplay, the story centers on teenaged Luce, a star athlete and student, who was adopted as a young child after spending his early years in war-torn Eritrea; when his teacher brings a troubling essay he’s written to the attention of his adoptive parents (a harrowed and perfectly cast Tim Roth and Naomi Watts), they’re forced to wonder if their son is as perfect – and level-headed – as he seems. It’s the kind of set-up that could get silly if overplayed by any of the actors or oversteered by the director, but the work here is subtle, the audience left to guess at the truth and various motivations. Harrison Jr., who many will have seen in Waves this year, is great as the terrify-er/charmer at the movie’s center, and Octavia Spencer gives one of the best supporting performances of any man or woman on screen this year as the teacher who seems to see him for what he is. Seriously: Nominate her. It’s a small story, contained, and at times it can’t shake off its stage roots, but it’s also somehow big and bold and about everything happening in America right now. Onah didn’t need to go to space to make his mark – he found liftoff in a drab suburban high school.  Joel MearesAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduThe Nightingale (2018) 86%Jennifer Kent followed up her critically acclaimed horror film The Babadook (Certified Fresh at 98%) with this war story set in 1825 colonial Australia. Aisling Franciosi (Game of Thrones) plays Clare, an abused convict who has served out her seven-year sentence and is desperate to be free of her overseer, Lieutenant Hawkins (Sam Claflin) of the British military. When her husband Aidan (Michael Sheasby) retaliates for Hawkins refusal to release Clare, Hawkins and his men commit atrocities against her and her small family. Left for dead, Clare then finds herself on the road to vengeance, chasing the lieutenant and his men north, where Hawkins hopes to secure a promotion. Clare faces more brutalities along the road, with Aboriginal tracker Billy (Baykali Ganambarr) as the reluctant guide and unwilling protector of the traumatized and hostile young woman. A limited release in the States, the harrowing film was nominated for the Golden Lion at the Venice Film Festival, won several festival and critics awards, and took six Australian Academy of Cinema and Television Arts awards, including best film, screenplay, direction, lead actress, supporting actress, and casting. The Nightingale is also Certified Fresh at 87% on the Tomatometer with 220 reviews. “Jennifer Kent s The Nightingale is a film that bruises the soul,” wrote critic Clarisse Loughrey of the UK’s Independent. “One of the most powerful films yet seen about the country s colonial foundation and the cruelties that were an indelible part of it,” Sydney Morning Herald critic Sandra Hall wrote. Rolling Stone’s Pete Travers praised Franciosi: In Jennifer Kent s pulverizing revenge tale, Aisling Franciosi delivers a tour de force as an Australian woman determined to put a stake through the heart of toxic masculinity. You won t know what hit you.  Debbie DayAvailable on: Amazon, Google Play, iTunes, VuduEsto no es Berlín (2019) 82%Director Hari Sama’s This is Not Berlin is a coming-of-age story through the lens of 1980s Mexico City’s underground arts scene. It follows 17-year-old Carlos (Xabiani Ponce de León) as he falls in love with punk music, discovers drugs, explores his sexuality, shaves himself an undercut, sheds his shame, and challenges the world around him. When the film begins, Carlos is quiet, the least inclined of his classmates to engage in violent brawls, despite the fact that his masculinity appears to depend on it. When he discovers a space filled with eyeliner and protest art, he’s all-in. And the rest of the film sees him navigating his place in that space, where his talents as an engineer can be leveraged to amplify his voice. Carlos’ transformation is beautiful, and Sama’s direction places us right there with him through every peak and valley. This is Not Berlin paints a gritty, deeply felt portrait of teenage angst — the pressures, the temptations, the desire to be understood and heard by the world.   Sophie-Marie PrimeAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduVillains (2019) 85%Writer-directors Dan Berk and Robert Olsen s darkly comedic third feature is exactly the kind of oddball treat I tend to seek out when I m exhausted from heavy Oscar contenders and numb from blockbuster pyrotechnics. It s a fairly contained cat-and-mouse game of a thriller that makes the most of its dedicated cast, who all get individual moments to shine and look like they re having a blast with their characters. The setup isn t especially revolutionary: Petty criminals Mickey and Jules (Bill Skarsgård and Maika Monroe from It and It Follows  no relation) break into what looks like an ordinary house in search of a getaway vehicle, only to be confronted by the homeowners, George and Gloria (Jeffrey Donovan and Kyra Sedgwick), a disturbed married couple who just happen to have a young girl chained up in their basement. The tables quickly turn, before they turn again, and then again, but the moments in between are populated by off-kilter humor and little touches that almost  almost make you root for everyone involved, particularly thanks to a quartet of no-holds-barred performances. It s not the most subversive thriller, nor is it without a handful of predictable moments, but it s just weird enough, funny enough, and vicious enough to scratch multiple itches for me. Plus, Jeffrey Donovan s George, with his lazy drawl and mannered affectations, is the most charming psychopath this side of Ted Bundy, and he is just so much fun to watch. Ryan FujitaniAvailable on: Amazon, FandangoNOW, Google Play, iTunes, VuduLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image: LD Entertainment, IFC Films, A24

2. 公平游戏环境
tar in the film as the central hero, Nathan Drake, and it officially went into production in early 2020. It lands here after several shifts in the release schedule; let s hope it stays here. Ambulance (2022) Directed by: Michael BayStarring: Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza Gonzalez, Garret DillahuntOpening on: February 18, 2022Michael Bay tones down his blockbuster tendencies just a bit (presumably) for this smaller-scale thriller about a pair of thieves who unknowingly rob an ambulance carrying a paramedic and a patient in critical condition. This remake of a Danish film has been in development since 2015, but filming finally got underway in January of 2021.亚博YABOAPP官网而《天谕》手游就专为不同玩家打造了不同的玩法方向。比如对于喜欢战斗和挑战极限的玩家来说,游戏中继承了端游深度副本机制的弑神级副本,就需要玩家个人拥有相应的实力技术以及默契的团队配合才能成功通关。

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 7.99.82022-01-19

4.27.8 7月喜迎《华夏人生》是一款具有深刻意义的沙盒手游,传承式的游戏玩法让很多玩家都耳目一新,最初玩家随机投胎在一户人家,根据自己的年龄所可以进行的工作来进行各种建造,随着时间流逝,玩家会渐渐衰老,死去,而建造出来的一切,都是为了造福子孙后代。
AMC’s full trailer for season 10 of The Walking Dead sparked many a head-scratcher: What’s Michonne doing kissing King Ezekiel?! And will that factor into the when, why, and how the leader of Alexandria, played by Danai Gurira, will be exiting the series?Those are just two of the major questions we have about the upcoming season. While we won t get any answers until Oct. 6, we ve rounded up 13 things we know about the new season ahead of its premiere.1. The Whisperers are as threatening as ever.AMC’s official description of season 10 reveals that Michonne, Daryl (Norman Reedus), Carol (Melissa McBride), and the rest of the survivors are going to continue to be tormented by the Whisperers, who killed several members of the group — including Tara, Enid, and Henry — and stuck their heads on spikes to mark the line the Whisperers do not want them to cross.Anger about those losses and fear about the very real threat the Whisperers still pose is going to create an environment so tense that friends and allies may start turning on each other. Just take a look at the network s official description for the season: “The Whisperers are a threat unlike any they have ever faced. Backed by a massive horde of the dead, it is seemingly a fight they cannot win. The question of what to do and the fear it breeds will infect the communities and give rise to paranoia, propaganda, secret agendas, and infighting that will test them as individuals and as a society.”Executive producer Greg Nicotero, who directs his seventh consecutive TWD season premiere in “Lines We Cross,” hinted during the Talking Dead season preview special that the show is “really getting into fears of ‘who can you trust [of] the people who are surrounding you?’”2. A few months have passed.(Photo by Jackson Lee Davis/AMC)The action picks up a few months after the season 9 finale, and Rosita (Christian Serratos) has given birth to her daughter, whom she named Coco. And, to ensure there’s still a soapy drama in the apocalypse, the Love Quadrangle continues: Siddiq (Avi Nash) is Coco’s dad, Rosita remains in a relationship with Gabriel (Seth Gilliam), and lovelorn Eugene (Josh McDermitt) is changing diapers and performing other daddy duties.3. Two major characters are joining the series.Here s your first look at Thora Birch (@1107miss) as Gamma from #TheWalkingDead Season 10 👀 pic.twitter.com/5ZW4E3mCRj The Walking Dead (@TheWalkingDead) July 25, 2019Coco is not the only new face we’ll see in season 10. American Beauty and Ghost World star Thora Birch will play Gamma, a Whisperer who is the third in charge of the group of walker skin-wearers, behind Alpha and Beta. Gamma is a character who doesn’t exist in Robert Kirkman’s now-defunct comic book, but we know she is fiercely loyal to Alpha. In a teaser clip for the new season, we get a glimpse of Gamma coming face to skin-draped face with Daryl and Michonne.Meanwhile, The Leftovers alum Kevin Carroll pops in as Virgil, a man who crosses paths with the survivors as he is on a desperate journey to reunite with his family.4. We ll learn more about the Whisperers back story.More on the Whisperers: On the Talking Dead preview special, TWD showrunner Angela Kang confirmed there will be a backstory episode focused on Alpha (Samantha Morton) and Beta (Ryan Hurst), revealing the origins of their philosophies and their relationship in much more detail than was ever disclosed in the comic book. Morton also suggested we will witness more of Alpha’s humanity.5. Negan will be set free (occasionally).(Photo by Jackson Lee Davis/AMC)The series’ previous big baddie, Negan, has earned some freedom in Alexandria after he saved Judith in the winter storm last season. Though he’s still locked in his jail cell at night, “We’re releasing the Negan a bit,” Kang joked. During the day Negan is free to roam around the community and interact with the others. But can the cunning former leader of the Sanctuary really be trusted? Not everyone thinks so, and he will be a polarizing subject among the citizenry.“He’s going to surprise you in ways you’re not going to be ready for as an audience, whether that be good things or downright awful things,” Jeffrey Dean Morgan said on Talking Dead.6. Michonne will leave — somehow.(Photo by Jackson Lee Davis/AMC)Kang promises a “pretty cool journey” for Michonne in season 10, but little is known about exactly when and how Michonne’s storyline will end. Gurira said much of her remaining time on the series will revolve around Michonne’s relationship with Judith, and making sure her adopted daughter is prepared to continue kicking ass in the apocalypse. The future of Judith and R.J., Michonne’s son with Rick, raises another of the season’s biggest questions: Who will raise the children when Michonne is gone? After the devastating loss of daughter Sophia and adopted son Henry, would obvious choice Carol be willing to step up again?7. Carol and Daryl could finally get together (Photo by Jackson Lee Davis/AMC)Now that Carol and Ezekiel (Khary Payton) are kaput and Carol has moved back to Alexandria, Carol and Daryl shippers are hoping anew that the two will become a couple. Kang said the BFFs will spend a lot of time together in the new season, but did not confirm that Caryl would become a TWD supercouple.8. or not.(Photo by Jackson Lee Davis/AMC)Then again, both have other things on their minds. Daryl continues to step up his role as a leader, and Carol is determined to avenge Henry’s death. There will be a meeting between Carol and Alpha in a scene that Kang called “epic.” And if we’re looking for a new nickname for the Whisperers, McBride provided a great one during the Talking Dead special when she referred to Alpha’s people as “skinfreaks.”9. Aaron s comic book storyline could come to fruition.(Photo by Jackson Lee Davis/AMC)Returning to Nicotero’s ominous warning about who to trust: TWD cast members were asked to describe the new season in three words on Talking Dead. Ross Marquand said of his character Aaron, “No more Mr.-Nice-Guy.”  He cheated a little, counting that last bit as one word, but it suggests that Aaron, who lost an arm last season and is committed to protecting his adopted daughter Gracie, might be one of the characters who’s in conflict with people who were once his allies. It could also mean the show is going to follow the comic book and make Aaron a key figure in the Alexandrians’ efforts to thwart the Whisperers.By the way, Nicotero’s own three-word preview of season 10: “Watch your back.”10. Michael Cudlitz is back, and Abraham could be too. View this post on Instagram One of my favorite people #twdfamily @sandiegocomiccon2019 @thereallenniejamesA post shared by Michael Cudlitz (@cudlitz) on Jul 20, 2019 at 1:20pm PDT

To mark its 10-year anniversary, cult classic Scott Pilgrim vs. the World is getting a special theatrical re-release on April 30. And it returns to theaters looking – and sounding – better than ever: The film has been re-imagined in Dolby Vision and Dolby Atmos, and will play in select locations for a single week. (And yes, we know it s been 11 years, technically, since it hit theaters – but the pandemic scuttled plans for an anniversary re-release last year.)To celebrate the return of Scott, Ramona, the Evil Exes, Knives, and Sex Bob-omb, director Edgar Wright sat down with Rotten Tomatoes for an exclusive and extended deep dive on how he and his creative team brought Bryan Lee O Malley s beloved comic strip to life. Why was Cera the perfect Scott ? How did he convince Beck to help out with the music? And whose teeth were they on the floor, lost in all those coins?Wright reveals all in the extended interview above – and check out highlights from the oral history below.(Photo by Kerry Hayes/©Universal/courtesy Everett Collection)“They cornered me and they said, ‘It s like John Hughes meets Kill Bill.’ I said, Well, I like that idea.’” Scott Pilgrim came into my life after a screening of Shaun of the Dead. It must ve been, I guess, in the summer of 2004, and the producers Adam Siegel and Jared LeBoff, who were producers on Scott Pilgrim, cornered me, and they had a copy of the first book, which was the only one out at the time, Scott Pilgrim s Precious Little Life: Volume 1, and they cornered me and they said, ‘This is your next movie.’ I was like, ‘Okay!’ They said, ‘It s like John Hughes meets Kill Bill.’ I said, Well, I like that idea.’ So they gave me the comic, and, they were half right, because I did make it into a movie, but it wasn t my next movie – I made Hot Fuzz next – but I really responded to the material.I loved the metaphor of the book. Bryan Lee O’Malley had written this book about how dating life and relationships and having to be mature in relationships was like a battleground; charting this journey to being with the woman who you think you re in love with is like a tournament in a martial arts film. I thought that was really interesting, the idea of fighting for a relationship, dealing with the baggage of a new partner, all of those things that you deal with in real life, but to do it in a really fantastical way. (Photo by Double Negative/©Universal/courtesy Everett Collection)“If we’d have cast super-fit Zac Efron, it s not quite the same movie.” Michael was the only person that I thought of for Scott Pilgrim. Anybody that was more – and this sounds like a sort of criticism of Michael, but it s not – but anybody who was more obviously studly and macho, didn t seem to me like the right thing for Scott Pilgrim. If we’d have cast super-fit Zac Efron, it s not quite the same movie, because it would seem like Zac Efron could handle himself in a fight, because he s like ridiculously ripped, whereas it was more funny and more relatable watching somebody like Michael A) be like a Romeo, and B) be like this amazing fighter. That to me was inherently funny. “She came in and auditioned against some more established people and just wiped the floor with them.” Brie Larson had been like a sort of child actor and even a teen pop star, but I remember she came in and auditioned against some more established people than her, and just like wiped the floor with them. Her audition, if you ve ever seen it on the Blu-ray, was just like extraordinary – and she was like 19. I remember I was in the room when she auditioned, and I was with Jared LeBoff, and we looked at each other and it was like, ‘We gotta cast her. Like, she was just amazing. (Photo by Double Negative/©Universal/courtesy Everett Collection)“They used to call me ‘the blink Nazi’ on set.” I wanted it to feel surreal, a bit like anime, and in animation, people don t really blink so much. There s [also] a thing, like Michael Caine, his school of acting, page one is, ‘Don t blink on a close-up,’ it s like classic Michael Caine technique: ‘Never blink on a close-up, it disempowers you, and it makes you look weak.’ And it s true, if somebody doesn t know their lines, they re blinking like crazy, so I sort of thought it was a good thing [to ask for no blinking]. If you look at Brie Larson s performance, particularly, she s so strong and so unblinking, so we got into this thing not blinking during takes, and they used to call me the blink Nazi’ on set. (Photo by Double Negative/©Universal/courtesy Everett Collection) I thought maybe Beck wouldn t wanna do it, because he s Beck and it s too small for him. Nigel [Godrich, the movie’s composer] was the one who said, ‘You should just ask Beck – Beck would love doing this; he would love reconnecting with his low-fi slacker roots.’ And so, it was Nigel who suggested Beck [write the music for Sex Bob-omb], and I thought maybe Beck wouldn t wanna do it, because maybe he s Beck and it s too small for him. But he loved it. Over one weekend, he basically did this demo of, like, 27 songs or something crazy.We d put artwork all around his studio, in his house, and he did it with like an 8-track, and it was just him and one other musician, Brian LeBarton. I remember on Sunday night Nigel texted me and said, ‘Hey, we ve got something,’ and then we went round, he had the CD, and then we drove around Los Angeles in the car listening to Sex Bob-omb, and basically that s the only real work that Beck did on the movie. Because here’s the thing: the demos that he d done were exactly the right sound, and Nigel said, ‘Why would you finish them anymore than this?’ – because this is what Sex Bob-omb could do. Sex Bob-omb wouldn t sound super polished, why don t we just use these? (Photo by Double Negative/©Universal/courtesy Everett Collection)“If you’re gonna make a musical, or a martial arts film, no two fights should be the same.” One of the things I really liked about martial art films from the 70s and 80s – the work of Jackie Chan particularly, and also early John Woo films – is that they had this kinda structure that was like an MGM musical. If you watch a Jackie Chan film from the late 70s through the 80s, you can see that there are elements where they ve got the structure of like a Gene Kelly musical. So if you’re gonna make a musical, or a martial arts film, no two fights [or musical numbers] should be the same, the number of combatants in a fight should be different every time. There should be some new novelty every time, or some new setting, or something that makes it interesting. So we sort of had to think of it in those terms: the second fight, with Lucas Lee, isn t really a fight with Lucas Lee, it s Scott Pilgrim fighting his henchman, you know, like in a video game; the third fight is a face-off; or the fourth fight is not really between Scott and the ex, it s mostly between Roxie and Ramona, and then Scott gets brought into it. Just imagine doing a gym session with Michael Cera and Jason Schwartzman. There s amazing stunt work by doubles in the movie, but also everybody that s in the fight scenes – Mary, Michael, Mae, Jason, Ellen – really worked so hard on those sequences. Probably my fondest memory of the entire shoot was actually before we started filming, the stunt training we did every morning with the stunt team – just working out with the whole cast was really funny. Just imagine doing a gym session with Michael Cera and Jason Schwartzman, and Chris Evans, and Brandon Routh, and Mary Elizabeth Winstead. (Photo by Kerry Hayes/©Universal/courtesy Everett Collection) Then the teeth are on the floor, but also on the floor are thousands of coins. Michael Cera was incredibly safety conscious, as you should be if you re doing fight scenes, but like maybe above and beyond. If he was doing a scene with a sword, he would have a short version of the sword, and he would be swishing around with the short version, and then for the effects part we would get a stunt double and bring in the long version, and be swishing that around.Michael was doing this take where he s fighting the henchman in the club, and Michael is saying like, ‘Am I I m not too close, everybody okay?’ and they re like, ‘Yeah, you can t hurt us, go as close as you dare, it s gonna be fine, don t worry.’ So Michael s doing his thing, being very conscientious. He then goes off to get a coffee, we do the take with the long sword, and then in the first take – bam! – one of the stuntmen gets hit in the teeth with the long sword and it knocks the teeth out. Then the teeth are on the floor, but also on the floor are thousands of coins. One of my most surreal memories of the shoot, is like myself and the entire stunt team looking on this nightclub floor for two front teeth in the middle of a bunch of coins. (Photo by Universal/courtesy Everett Collection)“I don’t understand how we made that movie.” I re-watched Scott Pilgrim with my editor Paul Machliss, who was one of the two editors on the movie, and who’s done my recent film, Last Night in Soho, and I sat there afterwards and I was thinking, ‘How the f k did we make that? It’s not so much it s something that you feel new about [when you watch it again], it s more like: ‘Wait, I don t understand how we made that movie!’ Scott Pilgrim vs. the World is screening exclusively in Dolby Cinema at AMC Theatres starting Friday, April 30, 2021. On an Apple device? Follow Rotten Tomatoes on Apple News.
RT: This movie is pretty widely known as one of those projects most people thought would never be completed. How does it feel, now that it s finally done?Gilliam: Well, it s out of my life. I got rid of it. It was like a disease. That really is what it feels like. I m relieved that I like the film. That s what pleases me. It s nice that a few other people, or maybe a lot of people that depends like it as well, because the horrible thing about carrying it around that long was the growing fear that whatever I did would disappoint people, because if they had been waiting 20 years, their imagination is going to have plenty of time to grow. I just knew I m going to disappoint a lot of people. That was terrible. Luckily, I ve read a couple of reviews that proved that I was right. I disappointed. [laughs]That is just cheating. I think people who went to see the film should forget that it took 30 years to get made, because it s just a film that I finally got out. The film, the final film that s made, is a result of a couple years of work, and that s it. All the stuff that precedes that is kind of meaningless, to be quite honest. Once you ve finally got the cash, you can go off and shoot it, and then you survive shooting outside for almost the entire film without nature destroying you. It is what it is.For me, Quixote has never been one idea, one script that I had 30 years ago that I ve clung onto. It s constantly grown and changed and shifted, depending on circumstances and who s involved. That s what filmmaking is about. I m in no way a purist about anything. It s just something I managed to get done in the last couple of years, and I m really pleased with it.RT: Despite the hardships you endured bringing it to the screen, you must have been so excited to finally be shooting the thing. Am I completely off base about that?Gilliam: Completely. [laughs] The first couple weeks were horrible because this weight of expectations was killing me. It really limited what I was doing. I really was struggling to decide this, that, or the other thing. Luckily, after a couple of weeks, you re just in the rhythm of things. You re just dealing with a disaster that just occurred 10 minutes before, so you forget about all of that, but I just knew it s going to disappoint a lot of people. Whatever they thought it was going to be, it isn t. It is what it is, is all it is.All I know is, I think we ended up with a bit of script that we had way back when. We ended up with the best cast imaginable. It was the thing that actually carried me through most of the shoot, that whatever I felt my failings were, I just felt the cast is so brilliant that whatever happens, that will pull the audience through. I still feel that. I think Adam and Jonathan are spectacular, and Stella and Olga and Joanna and Jordi Mollà  every one of them is crackers. It s just great.RT: I have to imagine that, throughout the process if filming this, part of you had to be wondering, OK, what s going to go wrong this time? When is this all going to fall apart? Gilliam: That is the constant fear, because I know I m getting away with murder. How much longer can I pull this off? Actually, here s the funny thing that happened. The weather was good for us, because we were outside. We were exposed the whole time. We didn t have weather cover most of the weeks, actually. We were right on the edge the whole time, and the weather held until we got to it, the biggest scene in the whole thing, which is at the end with the burning of Santa Cathartica, and the castle with all of those extras there was 350, all in costumes I mean, the most expensive part of the film, and of course, that night it rained. [laughs] We had to postpone, and we lost a day. But I thought, Nature has got a sense of humor, is all I know.  It suckered me in, thinking it s going to be OK. Wait until you get the most difficult, expensive part, and now f k you, Gilliam. RT: When did you first realize this film was becoming your own personal windmill giant?Gilliam: I don t know. It must have been after 2000 when it all collapsed. I went off and did something else, and then it was more about the fact that Quixote wouldn t leave me. It was like every time I d finish another film, I would pause, and there would be that old fart waving, saying, Come on. Let s get to work.  That s what happened. At a certain point, you ve expended so many years, and it just feels you ve got to finish it. Luckily, I had Orson Welles up there as my competitor, and I thought, He couldn t finish his, and I m going to f king finish mine. [laughs] I had to be better than him at one thing. Maybe my film was a fraction as good as his was going to be, but it doesn t matter. I beat him on one thing.No, it s a very funny thing. Tony Grisoni, we were talking about this, because we knew the comparison between Gilliam and Quixote would keep coming up. He said, Really? His feeling is the film is Quixote; Gilliam is Sancho Panza. I m the guy who kept plodding along to keep the lunacy alive somehow. I tend to think there is that, because by the time we re doing it, I m no longer a dreamer at all. I m not fantasizing about anything. I m just dealing with reality, and it s been like that for the last probably 10 years. That s what it s become.RT: I think it s probably easy for anyone who s familiar with your work to see why you might have been drawn to the story of Don Quixote, but my understanding is that you read the novel, I think, sometime around 1989, and then immediately wanted to turn it into a film. If that s true, what was it about the book that spoke to you so powerfully that you just felt that intense need to adapt it?Gilliam: It was actually slightly backward from that. I think I had finished Munchausen, and what am I going to do next? Quixote has always been in the zeitgeist there s Quixote, one of the great iconic figures, and I ve always been partial to madmen and fantasists. I literally just called up Jake Edwards, who was the executive producer of Munchausen and said, Jake, I got to two names for you. One is Gilliam, and the other is Quixote. I need million. He says, You got it. It was as simple as that. I had the guarantee of million before I read the book.Then I sat down and read it, and several weeks later, I realized, What the f k have I done? This is crazy. I don t know how to even begin here because it s such a massive work. But I started working with Charles McKeown, who had written Munchausen with me, and we started throwing it around. It was a very different idea back then. It was really basically about several old men sitting around in a plaza in some little village in Spain, and all they were saying to each other, If only I had done this here. If only I hadn t done that. It was the if only story, and one of them says, I ve had enough of this stuff. I m going to die soon, so before I die, I m going to go and do whatever it is if only, that we ll throw the if only out of the equation. That s how we started writing it. That s where it started.But then I realized the problem was going to be, how do you convince a modern audience that a guy from the 17th century is completely enthralled with stories from the 12th century? Because your period costumes, a modern audience wouldn t be able to distinguish between the two. That then led to the next step, which was, let s have a modern guy who becomes the Sancho Panza, the man who we can all identify with, who takes us through. Then I went into Connecticut Yankee in King Arthur s Court. End of story, bonk on the head, you end up in the 17th century. That s where we were with the Johnny Depp/Jean Rochefort version. I don t know how many years ago we made the leap to keep it modern, because that would be cheaper. Planes could fly over, and they wouldn t f k up the film for us. [laughs]Then it was this idea that we see what he was like before he d become a cynical, corrupted commercials director, when he was young and innocent, and he made a film, as we do in the movie. That seems to be a much more interesting way of approaching it, and then it also made the character of Toby more tied in with a sense of guilt, because he s created this monster in Quixote, and so they re trapped together. That helped. All of these things started developing.It was always just this balance game of trying to keep it fresh and be true to the heart of the book, the essence of the book. We d pick bits that we liked from the original stories and use them, and yet we weren t trapped in that. We didn t have to ever become pedantic about it. It freed us up, because you spend your time always trying to escape from those great authors, whether it s Hunter Thompson or Cervantes. It all was quite step by step. It makes sense when I look back on it. At the time, we were just trying to keep it fresh in our own minds and trying to solve enough problems.RT: You ve said that the way the narrative shifted over the years, it came to be about the way movies can damage people, and I m wondering if that was directly influenced at all by what you went through, trying to get the movie made.Gilliam: No, it wasn t. What it was about was our experience making Holy Grail in Scotland. Because we had come up to Scotland, and we were working in this little village called Doune, where they had a castle and all. We really f ked up a lot of people s lives, because girls trailed the crew back to London, marriages broke up, all sorts of things happened as a result of a film crew coming to a small village. So that s what was in my mind, not my own experiences necessarily.It was also the other idea of what films do, is that films replace those books that Quixote was reading, which were about knights and heroics and maidens and blah, blah, blah. That s what movies do now. I find I don t know how X-Men or Avengers are affecting young people s lives. Do they believe any of it? Do they want to be like that? I don t know.RT: This isn t the only film project of yours that ran into problems during the development process. What made you stick with this one more so than any of the others?Gilliam: Well, it was probably Orson Welles again. It s the idea that even Orson Welles couldn t finish his. [laughs] But I feel a bit more responsible when I take on a great book that somebody else has written, and I feel, Is there a way I can actually bring this to life again for a modern audience? I want to encourage people to read. When I think about Munchausen, it was the book. Fear and Loathing, it was the book. It s really what triggers me a lot, taking on something that I think is important, make a film about it, and maybe it ll lure a few people back to actually look at the original material to see what it does to them.RT: Does The Man Who Killed Don Quixote hold any sort of special significance to you?Gilliam: I don t think so, no. Now that I ve managed to pull it off, that seems to be enough. It s still too close to me, as well, because always the last film is your favorite film. It always works that way with me, and I can t wait to see it in theaters to see what I really think about it. But it really is like that. I don t watch my films because I really want to get to the point that I ve forgotten what they are or what happens, so I can be like a normal audience and judge them as somebody who knows nothing. I m waiting for that moment on Quixote. I m still too busy. My problem with Quixote is I have become that character in the scene where Jonathan is in the back of the truck with the dirty sheet, and the film is playing again and again and obviously having to retell the tale. That s what I ve become. You have to be very careful of what you write.The Man Who Killed Don Quixote opens for a one-night Fathom Event on April 10.
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亚博YABOAPP官网 (Click to enlarge.)After six grueling rounds full of drama and unexpected developments, one summer blockbuster has emerged from the pack to be crowned the Ultimate Summer Movie, and that movie is Star Wars: Episode V The Empire Strikes Back. The first sequel to the original Star Wars considered by many to be the best of the franchise surprisingly struggled just a bit in the early rounds, as Transformers: Revenge of the Fallen and Sam Raimi s Spider-Man both posed bigger challenges than expected. But Empire rallied to defeat Captain America: Civil War (by its widest margin of victory in the whole tournament), Back to the Future, The Dark Knight Rises, and finally its own franchise successor, Star Wars: Episode VI Return of the Jedi, which it also defeated rather handily. Packed with iconic moments that have influenced the movies for decades, The Empire Strikes Back remains one of the best examples of how to craft an amazing sequel, so it isn t too surprising that it now reigns as the Ultimate Summer Movie!As always, thanks to everyone who voted, and we hope it was a fun diversion for all. See the tally for the final match-up below, and click through to see the results from previous rounds. And of course, stay tuned for our next showdown which should be coming soon!Recommended: All Star Wars Movies RankedRecommended: All DCEU Movies RankedRecommended: All MCU Movies RankedRound 1 Results | Round 2 Results | Round 3 Results | Round 4 Results | Round 5 ResultsFinal Round ResultsRound 1 Results | Round 2 Results | Round 3 Results | Round 4 Results | Round 5 ResultsThumbnail images by Everett Collection, ©20th Century Fox Film Corp., ©Warner Bros.

哦对了,虽然手游支持玩家打所有位置,但排位的时候,还是会有些极端仔非要玩自己想玩的位置,不顾及队友的感受和阵容的需要,这些极端仔以后会成为大家手游冲分的阻碍,祝愿大家未来遇不到他们。 To close out Asian American and Pacific Islander Heritage Month, we re celebrating shows and characters that have inspired some of our favorite AAPI creatives working today. We asked the talent behind some of TV s top series — Nelson Cragg of Amazon horror anthology Them, Joy Osmanski of Fox s animated comedy Duncanville and The CW superhero drama Stargirl, and more — about the most influential, favorite, or meaningful television series in their lives.Some of the shows on the list center Asian stories in a way they haven t been seen on television in the past, some star Asian actors in prominent roles, and some are just plain entertaining and relatable and inspired younger actors to pursue their dreams. Read on for a hand-picked selection of TV (perfect for a marathon) so you can celebrate AAPI talent all year long.



亚博YABOAPP官网 Oscar winner Guillermo Del Toro has added an all-star cast for his upcoming Netflix horror anthology series Cabinet of Curiosities, with some equally impressive writers and directors also in the mix.Netflix released some specific episode details for the series previously known as Guillermo del Toro Presents 10 After Midnight, and they include our favorite MIA Walking Dead star: Essie Davis (The Babadook), Andrew Lincoln (The Walking Dead), and Hannah Galway (Sex/Life) star in an episode written and directed by Jennifer Kent (The Babadook; The Nightingale), based on an original story by Del Toro Oscar winner F. Murray Abraham (Mythic Quest), Glynn Turman (Fargo), and Luke Roberts (Black Sails) will appear in an episode written by David S. Goyer (The Dark Knight; Batman Begins) and based on a short story by Michael Shea, and directed by David Prior (The Empty Man; AM1200) Tim Blake Nelson (Watchmen), Elpidia Carrillo (Predator), Demetrius Grosse (Fear The Walking Dead), and Sebastian Roché (The Man in the High Castle) star in an episode written by Regina Corrado (Deadwood; The Strain), based on an original story by Del Toro, and directed by Guillermo Navarro (Godfather of Harlem; Narcos)(Photo by ©IFC Midnight) Crispin Glover (Back To The Future) and Ben Barnes (Shadow and Bone; The Punisher) star in an episode written by  Lee Patterson (Curve; The Colony), based on a short story by H.P. Lovecraft, and directed by Keith Thomas (Firestarter; The Vigil) Peter Weller (RoboCop) stars in an episode directed by Panos Cosmatos (Mandy), who also writes along with Aaron Stewart-Ahn Mika Watkins (Black Mirror) writes an episode, based on a short story by H.P. Lovecraft, directed by Catherine Hardwicke (Thirteen; Lords of Dogtown; Twilight), with cast to be announced David Hewlett (The Shape of Water; Stargate: Atlantis) stars in an episode based on a short story by Henry Kuttner and written and directed by Vincenzo Natali (Hannibal) Haley Z. Boston (Brand New Cherry Flavor) serves as writer of an episode based on a short story by comic book author Emily Carroll and directed by Ana Lily Amirpour (A Girl Walks Home Alone at Night; Mona Lisa and the Blood Moon; The Bad Batch) with cast to be confirmed.Mayor of Kingstown: Kyle Chandler Joins Paramount+’s Jeremy Renner Family DramaThe already impressive list of creatives on camera and behind the scenes on Paramount+’s upcoming family crime drama Mayor of Kingstown got just that much more impressive with the newly-revealed addition of Kyle Chandler. Friday Night Lights Emmy-winner and Bloodline alum Chandler will play Mitch McLusky, the older brother of Jeremy Renner’s Mike McLusky, the town mayor of Kingstown, Michigan, with a local economy and power structure that revolves around the town’s prison system. As the local fixer inside and outside the prisons, Mitch may actually have more power than Mike. The series, created by Oscar nominee and Yellowstone creator Taylor Sheridan and actor Hugh Dillon, also features Antoine Fuqua as an executive producer and director, Oscar-nominated Renner as an EP, and among the cast: Oscar- and Emmy-winner Dianne Wiest as the McClusky family mama, Taylor Handler as the youngest McClusky brother, The Wire and Game of Thrones alum Aidan Gillen, and Sons of Anarchy and Third Watch alum Michael Beach. Mayor of Kingstown premieres Nov. 14.Plus, The Game Revival Cast Revealed and Kate Beckinsale Found Guilty

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目前版本 5.99.4
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更新时间 2022-01-19
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