365体育下载采用百度引擎1（Baidu 7）The first teaser trailer for upcoming stop-motion animated series Marvel s M.O.D.O.K. is potentially bloodier and more violent than viewers unfamiliar with the show s comic book inspiration would anticipate. The show follows the titular megalomaniacal supervillain (the Mental Organism Designed Only for Killing), voiced by co-creator Patton Oswalt, as he continues (and kinda fails at) his quest to conquer the world.But the character has always been over the top and rageful, Oswalt said on the show s TCA panel — so much so that he truly is his own worst enemy. As far as the blood and gore, we decided to take it to Monty Python levels. Co-creator Jordan Blum said that the notoriously protective Marvel allowed them to push the characters as far as they wanted to go because they knew the show we were trying to make and they encouraged it. Although the character of M.O.D.O.K. isn t as well-known as other superheroes and supervillains, he s instantly recognizable for comic fans, said Blum. It s a fan-favorite character, like Howard the Duck or other lesser-known heroes.As a company, Marvel loves how weird and kind of out there their characters get, said Oswalt. They do have this amazing roster of characters, so the fact that we re starting on the outer limits and then building beyond that, I think they re really excited. That said, there will be plenty of cameos from the big heroes audiences know and love (despite the fact that this series is decidedly not a part of the Marvel Cinematic Universe, which now includes TV with all of the company s Disney+ shows).On occasion, said Blum, Marvel let us play with the big toys. The rest of the show s stacked voice cast includes Melissa Fumero, Aimee Garcia, Wendi McLendon-Covey, Ben Schwartz, Beck Bennett, Jon Daly, and Sam Richardson.M.O.D.O.K. premieres April 7 on Hulu.The Handmaid s Tale Heads to Chicago for Season 4Margaret Atwood has always said that everything she wrote about in her 1985 dystopian novel The Handmaid s Tale was either something that had happened or was currently happening — so the fact that the riot at the U.S. Capitol on January 6 eerily echoed events that take place in Hulu s adaptation makes a lot of sense. We remain unbelievably relevant, and we kind of wish we weren’t, executive producer Warren Littlefield said on a panel for the show s upcoming fourth season.Added creator Bruce Miller, Television and drama are safe places to see your worst fears acted out and kind of experience them at a remove. When you come up with something horrible in your head and put it on television, and then hear something like it happening in the real world, it s just sickening. But the terror of life in Gilead, the theocratic dictatorship that has taken over much of the U.S. in The Handmaid s Tale s fictional world, isn t all parallels to the current political reality. The fourth season, which premieres April 28 — nearly two years after the third season ended, thanks to its pandemic production delay — will see what happened in the aftermath of heroine June (Elisabeth Moss) and her allies sending dozens of children to safety in Canada. Spoiler alert: The resistance is alive and well, and June and her friends will continue to sow the seeds of an uprising that the show has hinted at for a while. We’re delivering on the things that we’ve set up, and I think that’s very satisfying, Miller said. I think in this season we weren’t waiting around. We were trying to make progress. It was time for s t to happen. Added Littlefield, This year, in some ways, it’s about patience rewarded. We’ve planted seeds for several years about this uprising and hotspot in Chicago and the forces of Gilead really can’t keep it under control, and now we go. We leave our world, our central universe around the greater Boston area, and — boom — we’re in a completely new environment. And if you thought Moss had a lot of work between juggling her ultra-intense, emotional scenes and her job as an executive producer on the show, know that Moss directed not one but several episodes of the upcoming fourth season.The Handmaid s Tale season 4 premieres April 28 on Hulu.Erin Brockovich Inspired Sexy ABC Legal Drama Rebel(Photo by ABC/Pamela Littky)The main character of ABC s new legal drama Rebel, based on the life of Erin Brockovich, obviously shares plenty of traits in common with the environmental activist herself (and Julia Roberts Oscar-winning fictionalized version).“What I love so much about Rebel is she can cross a few lines. She can go outside the box, said Katey Sagal, who plays the titular character, a blue-collar legal advocate without a law degree who will fight for a cause she believes in at almost any cost. She gathers knowledge from everywhere, she just takes it all, and then her primary purpose is to fight for the right thing. But that s just how Brockovich is in real life, she admitted. I’ve been told to watch my mouth plenty of times, but it’s passion,” Brockovich said on the series TCA panel. Why do you have to respond a certain way when some of the things you’re dealing with are full of passion and angst and fear and lies and deception? Not always is my response calm, cool, and collected. Why would anybody not understand why you get upset over certain issues?”But a show from Krista Vernoff, a.k.a. the showrunner of Shondaland staples Grey s Anatomy and Station 19, isn t just going to be legal battles and activism. It is, Vernoff told reporters, very sexy. It’s 10 p.m. on ABC. It’s sexy, it’s family, it’s friendship, it’s all of the human interactions with a legal element.”Rebel premieres Thursday, April 8 on ABC.Did Shrill Writers Know Season 3 Would Be the End?When Ali Rushfield, Lindy West, Aidy Bryant, and the writers of Shrill began crafting their story for the comedy s third season, they didn t know that it would be the last. But once Hulu told the team that season 3 of the show, which stars Bryant as a Portland writer who learns to embrace herself and her voice, would be the last, they were able to write a satisfying finale.“We didn’t know going in, but we knew somewhere in the middle of there, with enough time to make an ending we were good with and lands the characters in a good place,” Rushfield said on the show s panel. “So we didn’t know then, but we feel good with the way it landed.”Added Bryant, who missed most of Saturday Night Live s fall shows while on location in Portland, I’m of course sad the show is ending because I love working with Lindy and Ali [and our cast], but I’m also so proud of what we’ve made, and it feels like a really nice beginning, middle, and end to me. Shrill season 3 premieres May 7 on Hulu.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by new Line Cinema/ courtesy Everett Collection)All Jackie Chan Movies RankedConsidering how often Jackie Chan movie titles were changed on their journey to America, it s understandable to be confused going through his films – even after you ve watched them. Like, did Operation Condor 2 come out before the first Operation Condor? Is Supercop actually part of the Police Story franchise? How many new Police Stories are there, anyways? This is alleviated by the fact that you could just throw your hands up and pick a random Jackie Chan movie from the 80s and, chances are, it s gonna be pretty dang good. Police Story and Police Story 2 were made during this decade (and have been added to The Criterion Collection), along with Project A, Project A2, and Armour of God – all representing an explosive debut of a relentless entertainer willing to leap off buildings, hang on the sides of fast-moving vehicles, avoiding heavy lethal objects at the last second, and do just about every punishing stunt conceivable for our enjoyment.And the batting average for Jackie Chan movies in the 90s is nothing to scoff at either. This was the era that brought him international fame, starting with 1995 s Rumble in the Bronx, which led to more eyes on previous films, like Legend of the Drunken Master, and the projects that followed, like Supercop. And Chan resurrected the buddy action/comedy with Owen Wilson in Shanghai Noon, and Chris Tucker in Rush Hour, where people to this day are still hoping for a third sequel. (Fun fact: Rotten Tomatoes founder Senh Duong was inspired to create the site after an inconvenient night searching for reviews on movies like First Strike and Who Am I?. So no Jackie Chan, no Rotten Tomatoes. And then where would we be? The dark ages, that s where.)After a string of mediocre big-budget Hollywood affairs (The Tuxedo, The Medallion, and The Spy Next Door among them), Chan has mainly been working in China, continuing to produce, direct, and explore more dramatic roles. And with Rumble in the Bronx celebrating the 25th anniversary of its American release, we re taking a look back (stretching first, so as to not hurt ourselves) on every Jackie Chan movie and ranking them by Tomatometer! 英雄联盟手游要么就直接照搬端游，要么就完全向手游的方向进行优化，如今这种到处缝合的操作，非但不能提高游戏的影响力，反而丢失了游戏乐趣，让玩家疲劳感增加，如果它继续维持现状，那么被玩家抛弃也是注定的。
(Photo by Jessica Miglio/™ & © DC Comics)But do you need to see that movie first?“It would help people know some of the characters in the sequel. On the other hand, people who watch the first movie are not going to want to watch another one.” Mike Ryan, Uproxx“It rewards returning fans while being accessible to new or casual viewers. As a result, The Suicide Squad is a delicious, deviant and delightful watch for everyone.” Molly Freeman, Screen RantIs it just like a Guardians of the Galaxy movie but R-rated?“To his credit, Gunn doesn’t simply repeat the Guardians of the Galaxy formula.” Hoai-Tran Bui, Slashfilm“It feels like a happy medium between the all-ages workplace comedy of the Guardians movies and the snarky misanthropy of his heroic satire Super.” Alonso Duralde, The Wrap“This comic-book based feature takes a decidedly different tone with its smart, enlightened sentiments. It doesn’t move or breathe like his previous projects.” Courtney Howard, Fresh Fiction(Photo by Courtesy of Warner Bros. Pictures/™ & © DC Comics)Is Margot Robbie’s Harley Quinn better in this one?“While there s no Birds of Prey references, this is definitely the new, improved Harley and she s a much stronger character for it.” Ian Sandwell, Digital Spy“Robbie, now so at home in the role of Harley Quinn, gets to continue her narrative of self-actualization begun in her spin-off outing.” Clarisse Loughrey, Independent“We get to see a different side of her character…she’s not only a scene-stealer but carries the whole damn movie.” Zehra Phelan, HeyUGuys“This is hands down Robbie’s best performance as Harley, and the best written and directed Harley seen on the screen to date.” Tessa Smith, Mama’s GeekyAre there any other character standouts?“The prize for the single funniest character might go to Nathan Fillion’s T.D.K., who seems destined for internet meme stardom.” Matt Singer, Screen Crush“You’ll want to adopt King Shark.” Matt Goldberg, Collider“King Shark and Ratcatcher will likely emerge as fan-favourites, but it s honestly impossible to single out a weak link, due in no small part to the excellent performances.” Mark Cassidy, ComicBookMovie.com“Daniela Melchior delivers a star-making performance as Ratcatcher 2, carrying some of the film’s most poignant moments and its weirdest superhero gimmick with ease.” Jenna Anderson, ComicBook.com“So many characters only get brief moments to communicate who they are but dare I say, not even one of them doesn’t feel fully fleshed out.” Rodrigo Perez, The Playlist(Photo by Courtesy of Warner Bros. Pictures/™ & © DC Comics)How is the monstrous villain, Starro?“Starro totally delivers as an off the wall villain. Leave it to James Gunn to take a giant alien starfish, make it a villain, and not have it look ridiculous. Starro looks TERRIFYING.” Tessa Smith, Mama’s Geeky“It s actually difficult to imagine a more perfect antagonist for this film. Equal parts preposterous and terrifying.” Mark Cassidy, ComicBookMovie.com“Not only glorious to behold in an am I really seeing this? way, but [it] also comes complete with some subversive twists that few other mainstream comic book movies would go near.” Ian Sandwell, Digital Spy“The movie joins the ranks of those spectacular but slightly absurd neo-kaiju movies in which the towering monster that fills the screen is candy for the child in you.” Owen Gleiberman, VarietyJust how funny is the movie?“It ought to be illegal just how hysterical The Suicide Squad is.” Danielle Solzman, Solzy at the Movies“The most hilariously funny feature of the year.” JimmyO, Jo Blo’s Movie Emporium“The Suicide Squad is the sort of movie where comedy accompanies brutality, leading — at its best moments — to combinations of screaming and laughing.” Alonso Duralde, The Wrap“Much of the best and most enjoyable comedy comes from the Bloodsport’s exasperation.” Rodrigo Perez, The Playlist(Photo by Courtesy of Warner Bros. Pictures/™ & © DC Comics)Just how violent does it get?“This is the most insanely violent superhero blockbuster yet, making Deadpool look kind of sweet.” Brian Tallerico, RogerEbert.com“The Suicide Squad is brutal in such a way that I started to feel my limits for gross-out violence being tested…[but] never in danger of getting bored.” Hoai-Tran Bui, Slashfilm“No wilder than the sort of the thing you got in Deadpool or the more outré parts of The Dark Knight, but driven by an invigorating embrace of f**k-it-all no-futureness.” Owen Gleiberman, Variety“Never in a million years would I have guessed some of the most disgustingly gory scenes in a film could be so freaking beautiful at the same time.” Tessa Smith, Mama’s GeekyIs it more than just a bloodbath?“The violence and the outrageousness alone aren’t what makes The Suicide Squad tick – it’s Gunn’s understanding of the transgressive power of the outsider figure.” Clarisse Loughrey, Independent“The finale reveals a picture with much more on its mind than you would’ve ever expected.” Rodrigo Perez, The Playlist(Photo by Courtesy of Warner Bros. Pictures/™ & © DC Comics)Will we end up caring who lives and dies?“It’s clear that Gunn cares for each of these characters, bringing to The Suicide Squad some of the earnest empathy that he honed in his Guardians movies.” Hoai-Tran Bui, Slashfilm“It has actual stakes. Characters actually die…which adds a sense of worry and dread for the characters we find ourselves latching onto.” Mike Ryan, Uproxx“Yes, some deaths are inherently funnier than others, but there s also genuine emotion in some of the exits that few comic book movies manage.” Ian Sandwell, Digital Spy“James Gunn also knows that behind every tidal wave of blood is a beating heart; character deaths mean nothing if you don’t care about them.” Jeffrey Zhang, Strange Harbors“And when there isn t the character development to make a death impactful, Gunn uses the film s R-rating to ensure it packs a punch to the gut, if not the heart.” Molly Freeman, Screen RantAre there any problems at all?“Gunn’s latest creation is not without moments that drag, but when it pops, it pops brilliantly.” Alonso Duralde, The Wrap“You certainly feel a bit of whiplash with the breakneck pace and constant jumps between horror, comedy and drama.” Nicola Austin, We Have a Hulk“One too many flashbacks lead to a disjointed feeling, not added interest as the device would suggest. Pacing is a bit of an issue.” Courtney Howard, Fresh Fiction(Photo by Courtesy of Warner Bros. Pictures/™ & © DC Comics)Does it end with a bang?“The Suicide Squad finishes strong…the rare superhero movie where the third act is actually its best.” Rodrigo Perez, The Playlist“Perhaps I’m overestimating its final act’s prowess, but the comics fan inside was giddy with excitement.” Jeffrey Zhang, Strange Harbors“The third act feels like most other superhero third acts and it clumsily sets up its requisite future projects.” Jacob Oller, Paste MagazineWill this go down as one of the most memorable comic book blockbusters?“The Suicide Squad is sure to end 2021 as the year s most entertaining blockbuster.” Ian Sandwell, Digital Spy“[It’s] the most bizarre mainstream blockbuster of all time.” Mark Cassidy, ComicBookMovie.comThe Suicide Squad is in theaters and available on HBO Max from Friday August 6, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.365体育下载传奇世界手游，角色扮演类游戏，战士、法师、道士三种职业供玩家选择，角色升级、收集装备、装备强化这三点贯穿游戏始终，可以说游戏大部分乐趣以及玩家大部分时间都集中在“收集装备”上，下图刷材料、刷装备、蹲点守BOSS、组队打副本，爆出一件寻求的装备，大脑给你快乐奖赏，便会产生了乐趣，这其实也是所有游戏都能带来的。
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All of Wanda s many costumes in the new Marvel #SuperBowl spot featuring #WandaVision. pic.twitter.com/B4oTBffBUU Rotten Tomatoes (@RottenTomatoes) February 3, 2020Trailer for Minions: The Rise of Gru (2022) For the newest entry in the Minions/Despicable Me Saga – yes, we re going with saga – the folks at Illumination are taking audiences back to the beginning, with an origin story for the lovable hero/villain, Gru. The movie follows 12-year-old Gru s dream to become the greatest supervillain the world has ever seen.In theaters July 3, 2020. Trailer for No Time to Die (2021) 84%Want a super-clear look at Rami Malik as villain Safin in the 25th Bond film? You got it with the Super Bowl TV spot for No Time To Die. The latest trailer for Daniel Craig s (supposed) final outing as Bond begins with 007 and Nomi (Lashana Lynch) flying a plane and ends with a quick-cut montage of the franchise s current cast of characters (plus a portrait of Judi Dench s M). In between: All action, spectacle, and Bond-ness.In theaters April 10, 2020. Trailer for Black Widow (2021) 79%Disney and Marvel Studios Super Bowl spot for Black Widow didn t show too much we hadn t seen from the first trailer, though keen eyes will note a few more glances of villain Taskmaster. Plus, the new spot gives a handful of new looks at Florence Pugh s Yelena Belova in action with Natasha and suggests both women may be forced to make choices between allegiances when the film lands in theaters this May.In theaters May 1, 2020. Trailer for Top Gun: Maverick (2022) Paramount kicked things off, pre-kick off, with a spot for their upcoming long-in-the-making sequel Top Gun: Maverick. The movie stars original Top Gun leads Tom Cruise and Val Kilmer, along with newcomers Jon Hamm, Miles Teller, Jennifer Connelly, Jay Ellis, Manny Jacinto and more. The trailer was timed to play just after the national anthem and air force flyover – nice.In theaters June 26, 2020. Trailer for The Invisible Man (2020) 91%Blumhouse s remake of The Invisible Man dropped a TV spot ahead of the game, showcasing Elisabeth Moss s bravura woman-on-the-verge performance as the domestic abuse victim still haunted by her supposedly dead ex. The movie comes courtesy of Saw creator and Upgrade director Leigh Whannell, and co-stars Aldis Hodge, Storm Reid, and The Haunting of Hill House s Oliver Jackson-Cohen.In theaters February 28, 2020. Trailers for F9 The Fast Saga (2021) 59%: The Fast Saga Welcome to the family, John Cena – now get the f k out. The first trailer for F9: The Fast Saga (official title, alert!) was released before the Super Bowl and features John Cena as our primary villain and brother to Dom (Vin Diesel). The action is as insane as ever, with some Indiana-Jones-meets-Furious vibes, and the trailer s stinger has put the internet and fans of Tokyo Drift into a frenzy: with the return Sung Kang (somehow) it appears fans may finally be getting justice for Han.During the first quarter, Universal dropped a short spot for the film which plays as a highlights reel for the longer trailer.In theaters May 22, 2020. Trailer for Mulan (2020) 73% There is not even a hint of the rousing instrumental version of Reflection that fans heard in the last trailer here: Instead, it s all deep breathing and thrilling warfare in a 30-second spot that seems to be playing up the action half of Niki Caro s live-action Mulan.The 30-second spot was released ahead of its debut on game day, and following the spot s premiere Disney released a full trailer online.In theaters March 27, 2020. Trailer for A Quiet Place Part II (2021) 91% There are people out there, people worth saving. With that one breathy line-reading, Emily Blunt seems to be telling us that the sequel to Paramount s 2018 smash horror hit will see our central family turn from survivors to saviors, heading out into the world – quietly – to rescue folks just like them. Also: John Krasinski is BACK, at least in a flashback scene we suspect will open the movie, and the train-carriage moment at the end is giving us the kind of chills that made us love the Certified Fresh original so much.In theaters March 20, 2020. Trailer for Sonic the Hedgehog (2020) 63% The latest trailer for Sonic the Hedgehog, which is out in just days, plays into the Super Bowl theme, with Saints wide receiver Michael Thomas and Panthers running back Christian McCaffrey cameo-ing to talk about a certain speedy blue guy. Also featured are runner and Olympic medallist Allyson Felix and race car driver Kyle Busch, who soon discover that the person directing this inspirational doc is actually Sonic himself.In theaters February 14, 2020. Trailer for The SpongeBob Movie: Sponge on the Run You won t learn too much new in this fast-cut trailer for the upcoming CG Spongebob movie, but we do get another glimpse of Keanu Reeves as a sage, which is something we will never say no to.In theaters May 22, 2020.Trailer for Hunters: Season 1 (2020) 65% The latest spot for the Jordan Peele-produced Nazi-hunting show coming soon to Amazon Prime is heavy on atmosphere, kicking off – in a nod to the game – at an idyllic all-American barbecue before all hell breaks loose and one of the neighbors starts screaming, Nazi! The whole thing is soundtracked to the creepiest version of Neil Diamond s Coming to America you will likely ever hear.Premieres on Amazon Prime, February 21, 2020. Trailer for QuibiLooking for episodes – sorry, Quick Bites – under 10-minutes in length? You know, just long enough to entertain, just short enough not to get in the way of a bank heist? That s the pitch for Jeffrey Katzenberg and Meg Whitman s upcoming mobile-only streaming service, Quibi. The streamer s Super Bowl spot gives a glimpse of some of the content fans can expect, including a reboot of Punk d hosted by Chance the Rapper. [Note: Rotten Tomatoes has a show coming to Quibi.]Quibi launches April 2020. Trailer for The FugitiveIn another first-look for Quibi, the upcoming streamer gave audiences a peek at its remake of The Fugitive, starring 24 s Keifer Sutherland. Boyd Holbrook stars as the man on the run for a crime he didn t commit – this time the bombing of a subway station – while Sutherland is the law in hot pursuit.Premieres on Quibi, April 2020. Trailer for FlippedThis new Quibi comedy stars Will Forte and The Mick s Kaitlin Olsen as a couple who sign up to become the next big home renovation TV stars only to find money in the walls of a tear-down and themselves entangled in a new world of criminals. Think Ozark meets Chip and Joanna.Premieres on Quibi, April 2020. More trailers will be added as they air and become available online. Bookmark this page to keep track of the newest trailers, and let us know what you think of what you see in the comment.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Joel Meares for Rotten Tomatoes: I’ve always found the setup for the Boss Baby movies totally surreal – this corporation run by babies – so when I knew you were in the second one, I thought, That makes perfect sense. Because you’ve sort of mastered the corner of surreal comedy in your work. It was such a perfect fit. I’m wondering, what was your reaction to the first movie and this bizarre concept about where babies come from? Amy Sedaris: I know! I remember watching it with my god kids, before I did Boss Baby 2, back in the day, but I don t think I th
The blanks, as it happens, also offer Heller a format steeped in DC Comics lore without masks and superpowers.“I love superheroes, [but] I don t really know how to write them,” he said. “Alfred is a real person. Him and Commissioner Gordon, they re kind of human beings in the canon.”Their humanity in the face of theatrical villains and masked vigilantes made them great anchors for television series set in wilder worlds. Although, the wildness of Pennyworth is based less in the superhero tradition and more in a British mode, which is fitting for the character.For fellow executive producer Danny Cannon – who also worked on Gotham – the blanks in Alfred’s story allowed him to try something different: a DC show set in 1960s London.“[It is] a place that both myself and Bruno knew rather well,” he explained. “[We] also had a vision on what that world should feel and sound like. Alfred was uniquely suited to open that world up.Their vision of a DC Comics London will be one of the things viewers will immediately note about the show, both in its style and the way it offers clues to the story under Alfred’s feet. Small anachronistic details creep into the margins and the sort of “nevertime” Gotham used starts to appear.“It s as if it s sort of a dream London where anything, any point in the history of the country, can be there, but anchored in the ’60s,” Heller said. And as Alfred finds himself pulled deeper into Thomas world, a very specific event in British history seems drawn into the setting.(Photo by Epix)But first, we need to talk about Bet Sykes. Played by Paloma Faith, the dedicated contract killer immediately takes possession of any scene she appears in. For Faith, the character as written by Heller reminded her of people she knew.“Growing up in London, there had been a couple of times in my early life where I ve actually met real gangsters, and their wives have this very distinctive, very nuanced way usually, they re very glamorous and empowered, but majorly insecure at the same time,” she explained. “So, it was like kind of trying to channel that. They were always a bit threatening.”When viewers first meet Bet, that threatening edge will be immediately apparent, but they will soon discover a gentle side to the character as well.“She s got a very sort of distinct differentiation between when she s at work and when she s not at work,” Faith said. “Having had a career that s very public myself as a musician, I can really empathize with that idea of putting on your work face and putting on your home face. That played into the way that I played her.”And just as Gotham humanized the Riddler, Barbara Keen, and other seemingly manic foes, Bet quickly becomes a layered and interesting character.“She s still a human being,” Faith said. “[She] craves human touch, and connection, and to be understood.”(Photo by Epix)The show’s willingness to give Bet that depth makes her something of a mirror to Alfred – right down to their willingness to commit violence.“I think it s something that will always be with him,” Bannon said. “I think he s grown up, essentially, in the Army, his formative years anyway. And it s a little bit like a strange addiction. He knows it s bad for him, but he keeps being drawn back.”“I also think they re all quite desensitized in the world of this as well, because it is a violent world,” added Faith. “So, [it’s] their perception, and then we have to sort of shift ours when we view it.”And as Faith’s comments suggest, Pennyworth is more violent and graphic than most of its DC-inspired cousins (Swamp Thing comes close). To Heller, reaching for a new level of on-screen violence was an important evolution.“There’s an honesty when you portray violence, as shocking as it is, to make it shocking,” he explained. “That s what violence is really like.”As opposed to the comical sound effects of Batman ’66 or the relative bloodlessness of network shows, Heller said the violence and its implications were important to convey and establish early.“What happens is you bleed, you die,” he said. “It s not meant to be sensational. It s just meant to be true to both the sensibility of the myth and the reality of violence.”Despite the violence on display in the series, Pennyworth is filled with humor – from the absurd to the driest of quips worthy of Batman’s butler. It was an element of the show which surprised the cast once they began to see finished episodes.“I know the jokes were there,” Aldridge said, “but there were other moments I hadn t read as funny at all.”In the first episode, some of these moments involve a gun-toting granny, the owner of the club where Alfred and Thomas meet, and a very unusual torturer.“Alfred says at one point, ‘Life is either a tragedy or a comedy, and I prefer to have a laugh.’ And that s kind of true,” Heller said when asked about juggling the show’s grimmer moments and funnier elements. “There has to be light, because on one level it s a very bleak and dark view of the world. So without shafts of light, you ve just got darkness as opposed to shadows and light.”“For me, when I think about being British, the most proudest thing about it is the humor, for me,” Faith added. “So it s so important that it s in there.”(Photo by Epix)Which brings us back to the question – why make a series about Batman’s butler? Because he offers a uniquely British story to the DC Universe, one that also features an examination of British class struggles.“I feel like in America, you re kind of raised to believe that whichever class you come from, you can achieve anything,” Faith said. “I remember being sort of the 17-year-old literature student, being like, Oh, the American Dream — like, never heard of the possibility until then of being able to actually sort of contradict the class you were born into.”In the British tradition, social mobility is much harder. And into the 1960s, it was something parents actively discouraged their children from attempting.“The ’60s was the first time where people were starting to live their own lives and have their own ideas, and Alfred is the perfect guy to break away from the military and from their old-school way of thinking,” Cannon said. “He s filled with optimism and a new energy, and he s looking towards the future.”Nonetheless, Alfred will face obstacles in finding that future simply because of the station he was born into.“One of the things that you notice when looking at past portrayals of Alfred is that, to a degree, Michael Caine was the first guy who played the character as he would be in real life – which is working class,” Heller said. “And that servant class was always in a weird, anomalous position of serving the upper classes, but never being able to cross that line. Alfred is someone who has lived his own life and does not want to be servile, does not want to be dependent on the largess of the aristocracy. So that conflict is built into the character.”“It s a strong theme in our show, and a strong theme in British culture in general,” Faith added.The conflict will also be writ large in the series as tensions in the country lead to sectarian violence and the potential for a British Civil War, the event seemingly imported from history into the 1960s of Pennyworth.(Photo by Epix)At the same time, Bannon admitted that Alfred is “blown away by his new wealthy American associate, Thomas: He talks differently, he looks different — [Alfred has] never really seen anyone like that.”Thomas movie-star quality may offer some clue as to why Alfred will ultimately become a butler and work for the Waynes. Granted, it will take more than good looks and a seemingly endless supply of cash to bond Thomas and Alfred for all time — but then, that is the story the series is setting out to tell while also sowing the seeds of a class war.And as all moderns series consider their conclusion from day one, the cast and producers of Pennyworth jokingly suggested its natural endpoint will either be the birth of Bruce Wayne or his conception. Although, Faith suggested Bruce’s birth could come with a further revelation.“I d love to see Jack dressed as a baby coming out of Martha,” she joked. “Alfred s actually his dad, and you re [playing] the baby!”“That s very meta and crazy: Me in a little bonnet,” Bannon said.Pennyworth premieres July 28 at 9 p.m. on Epix. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
365体育下载 (Photo by © Warner Bros. )Space Jam: A New Legacy is no Jurassic World, but never underestimate the appeal of a film that has become a generational security blanket. Twenty-five years after the release of the original Space Jam movie, the sequel has topped the box office and given some hope to a family box office market struggling to bring kids ineligible for vaccinations back to the theaters. (Not to mention that other added barrier: the convenience of family films like Space Jam: A New Legacy being available to stream at home.) This week was a more than solid opening for A New Legacy, but is it just another front-loaded event picture that will leave its studio wishing for more?King of the Crop: A New Legacy Hopes to Go Strong For All Four Quarters After Blistering Opening First, let’s go to the charts. Space Jam: A New Legacy opened in first this weekend with .7 million. That is the fifth best opening of the year – just ahead of WB’s Godzilla vs. Kong’s .6 million, if the estimates hold (and GvK had a two-day head start). That is also the best family-oriented opening of 2021, surpassing even Cruella’s four-day Memorial Day opening of .5 million. LeBron James fans may even point out that it is better than the .5 million start that Michael Jordan’s Space Jam kicked off with back in 1996. Though with inflation that was about a .6 million opening and the movie went on to make more than 6 million. (At the time of its release, that was the fifth best opening of 1996, but the movie dropped to seventh in subsequent weeks when Star Trek: First Contact and the live-action 101 Dalmatians opened bigger.)GOAT debate aside, there was not a lot of chatter that Space Jam was going to dethrone Black Widow in its second weekend after a record-breaking pandemic opening. And yet here we are. But long term is the question now, with watchers wondering whether A New Legacy will join the exclusive company of 0 million films. So far it has taken at least a million opening to achieve the ranks of 0 million. By next week we will have three films in that bracket: A Quiet Place Part II, F9, and Black Widow. Godzilla vs. Kong is still a bit of an anomaly in that it had very little competition; it was in the top 5 for six weeks and the top 10 for 10 weeks, and it still stands at just 0.5 million.(Photo by ©2021 Disney Enterprises)The good news for Jam is that family films, while not breaking the bank, have been pretty consistent in bringing in audiences post-opening weekend. Raya and the Last Dragon had a disappointing .5 million start back in March, but is now up to over million (or 6.42 times its opening). Cruella and Peter Rabbit 2 were at 3.82x and 3.83x their openings entering this weekend and The Boss Baby: Family Business is approaching getting over the 3x hump. Cruella’s number, though a far cry from being a success against is budget, is interesting given its availability on Disney+ via Premier Access. The Boss Baby sequel may be a better gauge for A New Legacy, given it is also available as part of a streaming subscription (Peacock) with no extra cost. As of this weekend the film is at a 2.76 multiplier, but also opened to just a bit more than half of A New Legacy’s start. Can this be the second Warner Bros./HBO Max title to reach 0 million – after Godzilla vs. Kong? A new generation will tell.The Top 10 and Beyond: Black Widow Has Big Second-Weekend Drop, But Still Aims for 0 MillionMarvel’s Black Widow reached one high peak already during the pandemic box office, which means it had the furthest to fall too. Its 67.2% drop from its opening of million down to .3 million this weekend was the third-highest drop of the year for a wide release after Mortal Kombat fell 73.2% and Demon Slayer fell 69% in the same weekend. The positives still outweigh the setback, though, as the film managed to gross over 5 million in its first full week and will eventually be passing both F9 and A Quiet Place Part II to become the highest-grossing film (domestically) of the pandemic so far.But is a 0 million total now in jeopardy? The film has fallen behind the pace of Ant-Man and the Wasp already, which had 3 million after 10 days with a million second weekend – it finished with 6 million. Black Widow is at 2 million and could actually become the first July release to have over 0 million in its first 10 days and not reach the 0 million milestone. Disney also chose not to report its Premier Access numbers this week.(Photo by ©Universal Pictures)Checking in on the films that Widow is chasing for the top spot, we have F9 making .6 million this weekend, driving its total to 4.8 million after 24 days of release. Last week, we put the film in line with Pirates of the Caribbean: Dead Men Tell No Tales, which had 0.5 million in the bank after an .9 million fourth weekend. Somewhere around that film’s total haul of 2 million still looks right and F9 continues to lead the way internationally with over 1 million to date. A Quiet Place Part II just finished a seven-week stay in the top 5 and is still holding onto a narrow lead over F9 with 5 million. In many ways this is the truest success story of the pandemic so far. An exclusive theatrical run from Memorial Day weekend through last weekend and a consistent audience that is going to drive it to over 0 million: This is the film most deserving of the “theaters are back” title.The other sequel unleashed in theaters this week, Escape Room: Tournament of Champions, grossed just .8 million this weekend. That is down nearly million from the .2 million the first film did when it became a modest hit in January 2019, finishing with million. The critical consensus on the Escape Room sequel is not so far off from the original, with a Tomatometer of 42% compared to the first film s 51%. It s worth noting that franchise horror has been going lower and lower in terms of box office pull this summer since A Quiet Place Part II opened to .5 million. The Conjuring: The Devil Made Me Do It did .1 million the week after Quiet Place opened, then The Forever Purge started with .5 million a month later. Lest we not forget Spiral starting with just .7 million in mid-May. The third Conjuring film was the only one of the bunch not exclusive to theaters upon opening. An original horror film, M. Night Shyamalan s Old, will test the audience’s thirst this upcoming week and the genre could reclaim the number 1 slot.(Photo by © NEON)Opening in 927 theaters was the acclaimed but controversial documentary Roadrunner about Anthony Bourdain, which took in .9 million or about as much as Apollo 11 opened to in just 120 theaters in 2019. In only 552 theaters is Pig, with Nicolas Cage as a truffle hunter searching for his stolen companion. It scrounged up 5,000 for a ,712 per-screen-average compared to Roadrunner’s ,000. A24’s Zola is out of the top 10, but is up to .2 million with another 0,000 this weekend.On the Vine: M. Night Shyamalan Returns To Battle Henry Golding in Action ModeNext week, M. Night Shyamalan turns the Fountain of Youth – or its complete opposite – into the Beach in his latest thriller, Old. Its challenger for the week is the latest in the G.I. Joe series, an origin story for Snake Eyes with Henry Golding stepping into the role. It could make for an interesting box office battle, one that is rife with potential for both major surprise and crushing disappointment.Full List of Box Office Results: July 16-18, 2021
丧尸题材的游戏作品在一直都被数不清的玩家追捧，不过在玩法的设定上总体也就分为两种：一种是花样武器屠戮丧尸的闯关，如经典的《求生之路》系列；另外一种则是主打搜集资源建造庇护所的末日求生，像《七日杀》就是如此。而最近国产末日生存手游《明日之后》，却爆料出了一个全新玩法。 (Photo by Courtesy of Sundance Institute | photo by Kasia Ladczuk. )Five years after The Babadook made Jennifer Kent a household name – at least within the homes of adventurous filmgoers with a thirst for smart and terrifying horror – the Australian director returns with a brutal, controversial, and Certified Fresh surprise. For her second feature film, The Nightingale, Kent moves away from the horror genre and jumps back in time to 1825 Tasmania, the small island at the base of southeast Australia from which some of the darkest stories of the nation s colonization have emerged. It s a bleak setting for a brutal story. Irish convict Clare (Aisling Franciosi) seeks revenge on a British officer (Sam Claflin) after he and two other men rape her and kill her husband and baby. Her chase takes her through the wilderness of Tasmania as the officer and his crew head north to the city of Launceston; to navigate the woods, she enlists – steals, really – Aboriginal man Billy (Baykali Ganambarr) to work as her tracker. At Sundance in January, where the film had its U.S. debut, a number of audience members walked out of the premiere screening, mirroring reactions at other film festivals where the film has screened. There are multiple scenes of rape, two of them extended, and moments of extreme violence. But there is also an unflinching honesty that drives the film, a rage, and a refusal to turn away from the brutality of colonial history that many are hailing as an overdue corrective to more sugarcoated readings of the period. Rotten Tomatoes met with Kent the day after the Sundance premiere at a hotel lobby in Park City, Utah, to talk about reactions to the film and the director s determination to throw a torch into dark corners, no matter how uncomfortable it makes those who have to look.Joel Meares for Rotten Tomatoes: When you introduced the film last night, you said you didn’t necessarily think of it as a period film, but a contemporary film. What did you mean by that?Jennifer Kent: I mean, I think of it as a myth. Not in that it s untrue, but just, I love myth. I love mythical stories, but I don t really love period dramas that kind of focus on costumes and sweeping images. I guess I meant that the concerns of the film are modern. You know? Charlie says, ‘It s a really brutal time.’ But I think [the time] where we re living now is brutal.Rotten Tomatoes: Watching with an American audience, when you made the comment about it being a brutal time, I think everyone sort of chuckled assuming it was a reference to U.S. politics. But being at that screening so close to Australia Day [which marks the day the first fleet of British settlers arrived to colonize the country], it felt much more directed at Australia and the debate around Indigenous rights and history there. It hit hard. Kent: Yeah, well I m really happy to hear. Not happy to hear it hit you, but I mean, I am, because I feel I have so much to say. I went to the Adelaide Film Festival, and I was really scared about how the Australian audience would take it to be honest. I just thought, we ve had such a blind spot in the past historically. And I think we went in with such sensitivity to that, but we couldn t not tell [certain parts of the story]. You can t not include those things in 1825 Tasmania because that is what happened. But also I think in order for this to change we need to shine a light on the darkness. Then we will really start to move forward, I think, have some kind of reconciliation and evolution together.(Photo by Matt Nettheim, © IFC Films)Rotten Tomatoes: How was the reaction at that first Australian screening in Adelaide?Kent: So yeah, I was really scared. And at the end of the screening no one left, no one clapped in the credits. It was dead silence for the whole, I don t know, those credits were four minutes or something. Then after the music ended and the screen went black, they stood up and gave a standing ovation for several minutes. And it really felt real – because Australians don t give standing ovations.Rotten Tomatoes: The film contains some brutal scenes, including two extended rape scenes and then there’s a smashing of a man’s head, shown graphically. How sensitive are you in shooting and editing in terms of how far to take it and how much an audience will be able to take? Kent: I mean yes that s violent, but no more violent than, say, Game of Thrones. But I don t think that s what disturbs people. I think it s all context. For example, if you sat and broke down that big long scene in the hut [in which Franciosi’s character Clare is assaulted by three men], there are only faces. It s just human emotion. That blows my mind that that s what really angers people. And you know, I ve been asked, ‘Do you feel you have the right to put this on screen?’ Well I don t believe in artist censorship for one, but I also think, ‘What are you asking me to censor? Human emotion? Is that what you want me to take out? Human hatred and rage?’ No, I won t do that. A person [at the Q A] last night had said, ‘How are you going to get this film seen across the world, because you show a baby being murdered?’ And I said, ‘No I don t.’ I said, ‘Your mind saw that. I don t show that on screen.’ I ve seen it thousands of times, I know I don t show it.I could tell you all sorts of terrible stories that are documented historically that happened in that period that would just shock you to your core. And I think the only thing I think I can say is, I ask the idea, ‘How far do I need to go?’ And the idea tells me. I m in service to the story. I try with all my heart to tell the purest story I can. It s not about me.(Photo by © IFC Films)Rotten Tomatoes: The film gives audiences an incredibly blunt, unfiltered portrayal of the way indigenous Australians were treated in that period – and for a long time after. It’s like no film I’ve seen in that way. There are rapes; Billy is treated like an animal. You don’t turn away from anything. And it’s confronting and hard to watch at times.Kent: It is. It is. I mean all I can say is the Aboriginal people who worked on the film are so proud of it. You know I wish Baykali [Ganambarr, who plays Billy] was here. He s doing a tour, a world tour with his dance group, but he always says, ‘It s not sugar coated. It s as it was.’ And I m really proud of it.Rotten Tomatoes: Baykali’s performance is incredible in this film. It’s a shock to hear it’s his first role. Kent: He hasn t acted before, but he s an experienced dancer, so he understands performance. I can t speak highly enough of Baykali. I love him and he s a genius actor. Incredibly bright, emotional intelligence. So dedicated. So easy to work with. He just was Billy. He really understood the character. You write a character like that and I thought, ‘How the hell am I gonna, A, find them and, B, direct them?’ It was just meant to be.Rotten Tomatoes: He’s well matched by Aisling. I remember seeing her in The Fall a few years ago and thinking that she stood out. And the character of Clare is fascinating: She’s sympathetic because of what happens to her at the beginning, but then she loses some of our sympathies because of the way she treats Billy initially. She’s racist and brutal in the same way as the British officers. Was there any temptation to smooth those edges down?Kent: No. I mean it s what I tried to do with Essie [Davis], who played Amelia and The Babadook, as well. For example, Amelia going, ‘Oh, my sick kid, I ve got to go home and look after him,’ and then she goes to the shopping center, has ice cream, and sits. She doesn t want to be with her child. It s really important when I m creating characters to find, you know, a human being. We re all complex. And I think Clare is a product of her time. And people were racist. That old man towards the end, there were people like that and that s why he s in there, because there were people who understood that this system was wrong. It wasn t a collective blind spot. There were people like him; he wasn t just a fantasy or hope of mine. People like that existed in history books. They re there. Just not many.(Photo by Matt Nettheim )Rotten Tomatoes: Speaking of horror, because that audience does know you from The Babadook. The movie has a kind of horror structure starting out; something like I Spit On Your Grave or Last House on the Left, with a big brutal thing happening and us expecting then some sort of satisfying revenge. But it doesn’t stick to that at all, and doesn’t give us that.Kent: If you love those movies you ll be terribly frustrated by this film, really, don t you think? Be like, ‘What s going on? What s this with the, you know, compassion and empathy?’ No. I don t want that. But you know it s a backdrop. It s not a right revenge film. It s not.Rotten Tomatoes: [SPOILER WARNING for the end of The Nightingale]. Indeed. She doesn’t even get to be the one who gets to do the avenging in the end. Was there any temptation to have her do the killing and give the audience that catharsis?Kent: Only from the financiers, not from me. I m not interested in giving an audience satisfaction. I think often we re fed stories that are comforting and for all the wrong reasons. And more and more it s happening. I think that s not personally my job to spoon feed people, or make them feel safe, or make them feel better about the world.Rotten Tomatoes: What do you see as your job?Kent: I think my job is to serve the story that comes to me, hopefully on a deeper level. And to move people in some direction. And I can t be responsible. It s like, you put a painting on the wall, but you can t be responsible for how people feel about it. I know in my own life, for example, it s the story I always remind myself of: I saw Mulholland Drive and I hated it. I was so angry, you know, it s two-and-a-half hours long, nearly three hours long, and I was so pissed off. I was like, ‘This is stupid stuff with the box.’ And really irritating. Even though I loved her performance, it really irritated me. Then I ve seen it like 10 times since then. Now I realize it was no problem with the film, it was me that was the problem. I appreciate so much more his vision. And I love it, it s a masterpiece. I never thought that I could change my opinion or feeling about a work of art, but you can. So, we can t as artists bow to what we think people [want], you know. You can t want to be liked.The Nightingale opens in limited release August 2, 2019.
365体育下载 After taking home the Best Director Jury Prize at the Sundance Film Festival earlier this year, writer-director Radha Blank staked her claim as a talent to watch. In her hilarious and brilliantly authentic debut, The Forty-Year-Old Version, Blank shines both in front of and behind the camera. Cut from the same cloth as Robert Townsend s seminal indie feature Hollywood Shuffle, the former playwright similarly fires precision barbs at the hypocrisy of white gatekeepers in entertainment. Blank pulls no punches with white producers who muddle and meddle with authentic representation on screen and stage, placing Black creatives in the unenviable position of choosing between success and staying true to themselves. In a black-and-white semi-autobiographical tale, the New York native goes back to her hip-hop roots and re-invents herself as Radamus Prime, a fire MC who raps about the comedic struggles of middle age. Vulnerable but vibrant The 40-Year-Old Version is an ode to Black Harlem, fearlessness, and the art of putting yourself on, writes Aramide Tinubu of Shadow Act.Streaming October 9th on Netflix.