bob娱乐体育官网采用百度引擎7（Baidu 2）Break out your finest hazmat suit, because Couch Tomatoes is back. Rotten Tomatoes brand-new TV- and streaming-focused show has returned with its third episode, and it s a doozy: Today we re talking all things El Camino, the super highly anticipated Breaking Bad movie that follows the next adventure of series favorite Jesse Pinkman (Aaron Paul). The critics are loving the reteaming of show creator Vince Gilligan and star Paul (El Camino is Certified Fresh at 95%), and so far it has an Audience Score of 84%. But did it live up to the sky-high expectations many fans had?We re asking that very question to TV critic Erin Mallory Long and comic and Breaking Bad obsessive Mark Ellis. In a conversation led by Rotten Tomatoes host Naz Perez, our TV experts talk about whether El Camino gave fans the ending they deserved, their favorite moments from the new series, and which other shows they would like to see return with a movie, El Camino-style. Plus, they tackle the big one: Did we really even need this film?With each episode of Couch Tomatoes, we tackle the hottest trending topics and biggest TV and streaming news and moments, dive deep into a major series or event, and provide Fresh picks of great shows to help you cut through the clutter and only binge the best.El Camino: A Breaking Bad Movie is streaming now on Netflix.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Watch: Patty Jenkins on the making of Wonder Woman above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion, we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, director Patty Jenkins takes us behind the scenes of the No Man s Land sequence from 2017 s Wonder Woman.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLTHE MOVIE: Wonder Woman (2017) 93%Wonder Woman arrived in theaters with so much weight on its shoulders that it was going to take a superhero-level effort for it to really soar. The film was the first major female-led superhero movie since 2005 s Elektra, which hadn t landed too well with critics and audiences. The new Warner Bros. film was also one of the rare big-budget superhero films with a female director – one whose background was mostly in indies (albeit one, Monster, that earned over four times its production budget at the box office and its lead actress an Oscar).The DC Extended Universe was doing big numbers at the box office, but Warner Bros. had yet to have a critical win with its answer to the MCU (the first three films of the DCEU had all been Rotten on the Tomatometer). And it was coming out during a summer when superhero fatigue was a buzzword. And yet. Director Patty Jenkins, star Gal Gadot, and the rest of the Wonder Woman team pulled it off – and then some. The movie was huge, becoming the third biggest movie of 2017 and the biggest earner so far in the DCEU at the domestic box office. On top of that, it was Certified Fresh at 93% on the Tomatometer and would be the best-reviewed comic-book movie of the year (a year that included Logan). Then there was the way it infiltrated the popular culture, a phenomenon captured in photos of young children wielding their shields and lassos and finding, in Diana from Themyscira, someone they believed in and wanted to be. Jenkins tells Rotten Tomatoes she felt the pressure to deliver – for herself as much as anyone.(Photo by Clay Enos/©Warner Bros./courtesy Everett Collection)“The fan who s like, ‘They better do a good job at that movie’ – I was that fan as much as anyone.”“I felt a huge amount of pressure [making Wonder Woman]. For the 10 years that I was talking about it, I knew that it would be a huge amount of pressure, but… I cared as much as anybody. Like, literally, the fan who s like, ‘They better do a good job at that movie’ – I was that fan as much as anyone! There was nothing I could do about it but try. In a weird way you feel the pressure and you almost don t think about it because I m now moving on to being that same audience member saying, ‘This better be as great as it could be’ every day to myself. I ve never done anything with a light attitude and therefore any additional pressure is just like, ‘What are you gonna do?’ It doesn t help and it doesn t hurt and it doesn t really change anything. So you just don t think about it too much.”THE MOMENT: No Man s Land If there was one defining moment of Wonder Woman it was the scene in which Diana, having found her way to the front lines during WWI, steps up out of the trench and into No Man s Land. It was her first big Wonder Woman reveal – that slow-motion shot of her shedding her hood and climbing the ladder still gives us chills – and a perfect distillation of Jenkins and the other filmmakers vision for a Diana, one that spoke to a 21st-century audience as she entered one of the most harrowing scenes of the 20th. The naïvety was gone and a hero was born. [It was like] Superman pulling his shirt open the first time and revealing the S . “I think that the biggest reason I was obsessed with [the scene] was really from a character place. From Diana s point of view, it is: What is the birth of a superhero? Just like Superman pulling his shirt open the first time and revealing the S, these are definitive, incredible moments, and so I knew that Wonder Woman needed an incredible moment and because we were doing her origin story, it really needed to be the moment that she made the decision to go from being a younger person who was hopeful and idealistic to one who decides to be a hero despite knowing more. And so in this story, that was what I cared about. (Photo by @ Warner Bros. Pictures) What it is to be a hero does not become clear to her until No Man s Land. “For me, what was important was that Diana wants to be a hero from day one, but what it is to be a hero does not become clear to her until No Man s Land. Not until No Man s Land does it become: No, it s messy, the world is crazy, it s confusing, it s conflicted, and doing the right thing is incredibly hard and no one will come with you. And her saying, That s what I m going to do, and stepping up over the edge is despite the fact that you can t or you shouldn t and no one will support you. That was such a powerful way for her to step into being like Wonder Woman. The shooting of it was brutal. “On our original plans, there were definitely arguments about [whether we were] really going to put Diana in a Wonder Woman costume out in the freezing cold in the winter [to shoot the No Man’s Land scene], and it s not safe, and we shouldn t do it and whatever. We had to do it — it s the only way to do it. You have to build No Man s Land. It had to be real. It was unfortunate that it also happened in the winter, but it needed to happen in the winter or it might not have looked right. The shooting of it was brutal, and it never looked or felt in the moment like what, of course, it ends up being, because it s just an awful moment [on set] with loud noises and someone standing in the wind and cold. And so in great part it was an act of faith, as I m doing every day here [shooting Wonder Woman 1984]. “I kept using the old Columbia Pictures beginning as a reference. “I kept using the old Columbia Pictures beginning – that opening title card of the woman standing with the clouds behind her – as a reference when I was making Wonder Woman. I wanted it to have this classic grandeur, and so when she came up over No Man s Land, I actually added a touch of that and that painterly grain quality in the clouds and we tinted the smoke – the smoke bombs that were going off and the explosions – so that they would have a kind of beautiful color. (Photo by Courtesy Everett Collection) I literally got them to bring all the musicians back into the studio. “We had finished the whole movie and we had scored it, and I got on the phone with everybody at the studio and all of the producers and said, ‘I need you to give me one more crack at No Man s Land please. And I literally got them to bring all the musicians back into the studio – which is a very expensive and laborious thing to do – and I had our great composer, Rupert Gregson-Williams, write an entirely new piece for it based on a sort of hunch that I had that there was one step further [we could go]. And he actually ended up composing a whole new piece of music that we scored after we had locked everything, which is the score that went in right at the last minute. Everything in my gut told me that song was the right song, but then it was over, it was done, it was out of my hands and the movie was complete – so I really never got a chance to see [the No Man’s Land scene] and know it with an audience until very close to the premiere, when finally it was like, ‘Oh, that s it. That is the scene. That s as far as we got it. We can t do better. We tried everything that we could to do better and there it is.’ And it was pretty incredible, honestly, the night of the premiere when people reacted the way that we did.”THE IMPACT: A Hero Is Born The countdown to Wonder Woman 1984, scheduled for release June 5, 2020, feels different to the time, four or so years ago, when we were anticipating the first film. Back then there was excitement, but there was also weight and there was pressure; today there is only breathless antic Wednesday, July 14How To Olympics: This eight-episode series gives viewers everything they need to know about select Olympic events through easily digestible, quick-witted, and packed-with-info videos. Covering Sport Climbing, Taekwondo, Rhythmic Gymnastics, Hammer Throw, Artistic Swimming, Breaking, Badminton and Fencing, viewers will learn how each event is scored, how to win, and what it takes to master these athletic disciplines. Streaming on the Olympics YouTube Channel.Tuesday, July 20Olympic Dreams Featuring Jonas Brothers: The Jonas Brothers train with some of Team USA’s best current and former athletes in gymnastics, track field and BMX racing, 8 p.m., NBC.Women s Softball – Japan vs. Australia (LIVE): 8 p.m., NBCSN and streamingWomen s Softball – United States vs. Italy (LIVE): 11 p.m., NBCSN and streaming (repeats on July 21 at 4–6 p.m., NBCSN)Wednesday, July 21Women s Softball – Mexico vs. Canada (LIVE): 2–4 a.m., NBCSN and streamingWomen’s Soccer – Great Britain vs. Chile (LIVE): 3:30–5:30 a.m., Olympic Channel (repeats 5:30–7 a.m.)Women’s Soccer – Pregame Show: 4–4:30 a.m., USA NetworkWomen’s Soccer – China vs. Brazil (LIVE): 4–6 a.m., NBCSN (repeats at 10:30 a.m.–12:30 p.m.)Women s Soccer – United States vs. Sweden (LIVE): 4:30 a.m., USA Network and streaming (repeats at 8:30–10:30 a.m. and 6–8 p.m. and on July 22 at 11:15 p.m.–1:15 a.m., NBCSN)Women’s Soccer – Japan vs. Canada (LIVE): 6:30–8:30 a.m., NBCSN (repeats at 12:30–2:15 p.m.)Women’s Soccer – Netherlands vs. Zambia (LIVE): 7–9 a.m. Olympic ChannelWomen’s Soccer – Australia vs. New Zealand (LIVE): 7:30–9:30 a.m., USA Network (repeats at 2:15–4 p.m., NBCSN)Olympic Dreams Featuring Jonas Brothers: The Jonas Brothers train with some of Team USA’s best current and former athletes in gymnastics, track field and BMX racing, 8 p.m., NBC.Women s Softball – United States vs. Canada (LIVE): 8–10 p.m., NBCSN and streaming (repeats July 22 at 5:30–7:30 p.m.)Women s Softball – Mexico vs. Japan(LIVE): 11 p.m.–1 a.m., NBCSN and streamingThursday, July 22Women s Softball – Italy vs. Australia (LIVE): 2–4 a.m., NBCSN and streamingMen s Soccer – group rounds: 3:30-10 a.m. ET, Olympic Channel, NBCSN, USA Network, and streamingMen’s Soccer – Egypt vs. Spain (LIVE): 3:30–5:30 a.m. Olympic Channel (repeats 6–7:30 a.m., USA Network; 9– 11 a.m. and July 23 1:15–2 a.m., NBCSN)Men’s Soccer – Mexico vs. France (LIVE): 4–6 a.m., USA Network (repeats at 6–7 a.m. and 11 a.m.–1 p.m., NBCSN)Men’s Soccer – New Zealand vs. South Korea (LIVE): 4–6 a.m., NBCSNMen’s Soccer – Cote d’Ivoire vs. Saudi Arabia (LIVE): 5:30 a.m. – 6:30 a.m., Olympic ChannelMen’s Soccer – Argentina vs. Australia (LIVE): 6:30–8:30 a.m., Olympic ChannelMen’s Soccer – Japan vs. South Africa (LIVE): 7 a.m. – 9 a.m., NBCSN (repeats 1–3 p.m.Men’s Soccer – Brazil vs. Germany (LIVE): 7:30–9:30 a.m., USA Network (repeats 3–5 p.m., NBCSN)Men’s Soccer – Honduras vs. Romania (LIVE): 8:30–9 a.m., Olympic ChannelMen s and Women s Rowing – single, double and quadruple sculls heats (LIVE): 7:30-11:10 p.m. ET, NBCSN and streamingBreak the Record: This family series from the U.K. features kids interrogating and challenging some of the most extraordinary Guinness World Records title holders. The show features long jump Olympic medalist Greg Rutherford, tennis player and Olympic medalist Laura Robson, deadlift strongwoman and former World s Strongest Woman Andrea Thompson, and parkour expert Ryan Luney. During each episode, a group of kids will be mentored by one of the Guinness World Records title holders in preparation for attempting their very own record. Streaming on the Guinness World Records Official YouTube Channel.(Photo by Carmen Mandato/Getty Images)Friday, July 23Olympic Highlights With Kevin Hart and Snoop Dogg — This hilariously funny commentary series, co-hosted by sports and Olympics enthusiasts Kevin Hart and Snoop Dogg, will recap the Olympics’ most impressive displays of athleticism, as well as the moments that don’t go as planned. Streaming on Peacock.Live Opening Ceremony Coverage – 6:55 a.m. ET/3:55 a.m. PT, NBCSpecial Edition of Today – 11 a.m. ET/8 a.m. PT, NBCTokyo Olympics Daytime – 1 p.m. ET/10 a.m. PT, NBCPrimetime Opening Ceremony – 7:30 p.m. ET/4:30 p.m. PT, NBCOpening Ceremony Primetime Encore – 9:10 p.m. PT, NBCSunday, July 25Men s Basketball – USA vs. France: PeacockMen s Soccer – group stage: 3:30-10 a.m., NBCSN and streamingMonday, July 26Swimming: Live coverage of the medal races in the men’s 200m freestyle, women’s 100m backstroke, men’s 100m backstroke and women’s 100m breaststroke, 8 p.m. ET, NBCU.S. Women’s Basketball — U.S. vs. Nigeria: 12:40 a.m. ET Tuesday/9:40 p.m. PT, NBCWomen s Beach Volleyball — 8 p.m. ET, CNBCTuesday, July 27Women s Gymnastics, Team Final — 6:45 a.m. ET, Peacock; 8 p.m. ET, NBCSwimming: women’s 200m and 1500m freestyle, women’s 200m individual medley, men’s 4x200m freestyle relay, men’s 200m butterfly — live, 8 p.m. ET, NBCWomen’s Soccer: U.S. vs. Australia, 4 a.m. ET, USAMen’s Basketball: U.S. vs. Iran, 12:40 a.m. ET Wednesday/9:40 p.m. PT Tuesday, PeacockWednesday, July 28Men s Soccer – group stage: 4-10 a.m., NBCSN and streamingSaturday, July 31Women s 100M, Track and Field Finals — PeacockSunday, August 1Men s 100M Track and Field Finals — Peacock
《弹幕枪王》是一款超爽快街机射击手游，竖版Roguelite射击，高品质战地场景，为玩家带来热血街机体验！自动瞄准，单手射击也能激爽对战。众多模组搭配，不同玩法流派，总能出奇制胜！丰富的机械养成体系，创造独一无二的佣兵战斗场面！bob娱乐体育官网Brittany O’Grady performs “I Don’t Know Anything” written by Sara Bareilles in an exclusive scene from the premiere of the new Apple TV+ series Little Voice. In the episode, I Don t Know, Bess King (O’Grady) works up the courage to perform her own material while juggling jobs in New York City.About the show:Aspiring singer/songwriter Bess dreams of stardom; however, Bess’ voice remains hidden in her fears that she must overcome in order to unleash the artist from within. As she battles the hard knocks of New York’s music scene, Bess gets caught up in an ever-changing love triangle with budding filmmaker Ethan (Sean Teale) and bandmate Samuel (Colton Ryan). To further complicate matters, Bess is at the center of complex family dynamics involving an autistic brother and an alcoholic father that often has her coming to their rescues. Despite the heartache, strife and struggle, Bess refuses to give up on her dream. With the odds stacked against her, she is determined to discover her true self and a little voice with a song that has much to say.Apple TV+ presents Little Voice, in association with Bad Robot and Warner Bros. Television. Season 1 also stars Shalini Bathina, Chuck Cooper, Kevin Valdez, Phillip Johnson Richardson and Luke Kirby. Little Voice is created by Bareilles, Jesse Nelson, and J.J. Abrams with Nelson serving as lead writer and director. Cherien Dabis, Bart Freundlich, Christopher Storer, and Emma Westenberg also direct episodes. The executive producers are Sara Bareilles, Jesse Nelson, J.J. Abrams and Ben Stephenson. The production team includes cinematographers Patrick Capone and Jim Frohna, production designer Alexandra Schaller, editors Erica Freed Marker, Jonah Moran and Vanessa Procopio, and costume designer Leah Katznelson.Little Voice premieres on Friday, July 10 on Apple TV+.
4. 呼朋唤友 随心所欲
By 1994, the video games Street Fighter (1987) and Street Fighter II (1991) had already sold over 10 million copies on the Super NES and Sega Genesis game systems. Street Fighter II in particular became a worldwide smash hit, and Capcom, its creator and publisher, wanted to capitalize on its success by adapting it into a film. The problem is, they wanted the movie to be written, location-scouted, cast, filmed, edited, and marketed in the span of one year (which is insane), so it could be released in time for Christmas in 1994.In an unconventional move, they hired prolific screenwriter Steven E. de Souza (48 Hrs, Die Hard, Commando, The Running Man), a first-time feature film director who came up with the idea for the story during an all-night writing session, to helm a -million budgeted James Bond-style action film about a Warlord threatening world destruction and the good guys who thwart him. What followed was a year of script rewrites, large explosions, scorching temperatures, reshoots, production delays, and a limited budget due to the casting of Jean-Claude Van Damme and Raul Julia.It’s a miracle that Street Fighter actually makes any sense, and it s perhaps more surprising that, even after second, third, and fourth viewings, it s still a lot of fun. Though it’s full of unremarkable street fights and stealth boats that aren’t very stealthy, it is in no way self conscious (“All I want to do is rule the world; is that so much to ask?”), and it features a legitimately great performance by Raul Julia. Here are five reasons why we love Street Fighter and aren’t afraid to admit it.It s A Much Better Movie than Its Reputation Implies(Photo by Universal)Skimming through the reviews for the 11% Tomatometer-rated Street Fighter, you’re likely to read things like, “It’s an empty exercise in hyper-stimulation,” and it’s “a picture only an arcade junkie could cheer.” On the surface, Street Fighter may feel like an “empty exercise,” but upon closer inspection, it s clear that de Souza, cinematographer William Frakin (Rosemary’s Baby, Tombstone, Bullitt), costume designer Deborah Kramer, and production designer William Creber (Towering Inferno, The Poseidon Adventure) did their best to create an interesting world, full of cheeky PA announcements (What do you do when a Bison trooper throws a grenade at your face? Pick it up, pull the pin and throw it right back at him), massive sets, and production design that is legitimately funny.In the Blu-ray commentary, de Souza mentions several times that “it’s clearly supposed to be funny,” and the evidence is plain as day, especially when you look at the private sanctum of General M. Bison (Raul Julia). Bison is a megalomaniac who plans to create a Bisonopolis with expansive food courts, Bison swag, and towering skyscrapers with slanted roofs. In his private room, the fireplace and the swizzle sticks for his mixed drinks have Bison logos, and there’s an odd clown painting that must have been painted by Bison himself (and that fans wish they could own). Watch this clip, and look closely at everything on display; the production design is pretty inspired, and yeah, we wouldn t mind owning that massive portrait of Bison on a horse, either.Street Fighter wasn’t the movie audiences were expecting (zero Hadoukens ), but if you can get past that, you’ll have a blast. Go back and listen to the weird PA announcements, pay attention to the one-liners, marvel at all the Bison tchotchkes, and try not to crack a smile.The Convoluted Plot Is Part of Its Charm(Photo by ©Universal courtesy Everett Collection)Early on in the pre-production phase in 1993, the Capcom folks and de Souza decided they didn’t want to make a simple fighting movie in the vein of Bloodsport, The Quest, or Lionheart (all JCVD movies, by the way). In a bout of naiveté, de Souza originally chose to include only seven characters from the game in the script, which would allow him to put more focus on each one but meant at least 10 of the video game s other characters would be excluded. Capcom understandably didn t want to exclude any of the characters, because they were running a multi-billion dollar empire capable of selling mass quantities of merchandise, and more characters = more money-making opportunities.Throughout the writing process, as de Souza was forced to add more and more characters, the script quickly got out of hand. Each new addition comes with a new subplot, and the film does its best to bring everyone together. Ryu (Byron Mann) and Ken (Damian Chapa) are huckster arms dealers who team up with Colonel Guile (Van Damme), Cammy (Kylie Minogue), and T-Hawk (Gregg Rainwater). Sagat (Wes Studi) and Vega (Jay Tavare) are real arms dealers who also run an underground fight club, while Dhalsim (Roshan Seth) is a doctor who creates super soldiers against his will, one of whom is Blanka (Robert Mammone). Dee-Jay (Miguel A. Núñez Jr.) and Zangief (Andrew Bryniarski) are cheeky henchmen who work for Bison (Julia). Chun-Li (Ming-na Wen), Balrog (Grand L. Bush), and E. Honda (Peter Tuiasosoppo) are reporters (and fighting legends) who want revenge by working their way up through various media outlets (it’s weird). During their interactions, there are staged deaths (Guile “dies” three times), Allied Nation bureaucracy subplots, billion ransoms, enjoyable torture, food court discussions, a henchmen wage debate, and at least five speeches.Normally, including 45 subplots in a video game adaptation would be a horrible idea, but here, it makes Street Fighter all the more endearing. It Was Tuesday. Before we get into one of the greatest lines in the history of cinema (it is, admit it), we want to point out that Raul Julia delivers it while holding two mixed drinks with orange garnishes and wearing a tailored silk robe and a nighttime hat (which means he has a daytime hat). The entire setup is silly, yet Julia nails the absurdity of the moment with a knowing confidence that only an actor of his caliber could muster. Also, his performance becomes infinitely more awesome when you consider he had recently undergone intensive treatment and surgery for stomach cancer, and he took the role because his kids loved the game.Julia makes a meal of each syllable, and the slight smile on his face proves he’s in on the absurdity around him. After Chun Li unleashes a passionate speech about how Bison killed her father when he was an up-and-coming drug czar, he replies with one of the greatest burns in cinema history: For you, the day Bison graced your village was the most important day of your life. But for me, it was Tuesday. It belongs on the Mount Rushmore of underappreciated lines, right alongside Skeletor’s “loneliness of evil” moment in Masters of the Universe and Andrew Scott’s “It’s like kick ass or kiss ass, and I’m busting heads” monologue in Universal Soldier.Jean-Claude Van Damme s Lines are Pure, Cheesy Gold(Photo by Universal)Prior to Street Fighter, Jean-Claude Van Damme was known for action-heavy performances that put more emphasis on punches, splits, and training montages than dialogue. In movies like Kickboxer, Bloodsport, Cyborg, Lionheart, Universal Soldier, and Hard Target, JCVD’s physicality and snake punching skills do most of the acting. However, since the screenplay for Street Fighter was written by de Souza, the man who wrote the quip-heavy Commando ( Let off some steam, Bennett. ) and The Running Man (“Killian, here’s your Subzero, now plain zero.”), Van Damme was asked to make speeches, drop one-liners, and do the best he could with de Souza’s dialogue and very little preparation time (which may or may not have been JCVD’s fault).The Muscles from Brussels” ventured a bit outside his comfort zone, and he did an admirable job unleashing all the ridiculous dialogue. For instance, he nailed his big “Who wants to go with me?” speech in one take, but he also says “This is the collection agency, Bison. Your ass is six months overdue, and it’s mine,” with a straight face.Need more proof? Here are some of his best lines:Guile: Four years of ROTC for this s t!Bison: You have made me a very happy man.Guile: And next, I ll make you a dead one.Guile: I’m okay; I’m just half dead.Cammy: And Bison?Guile: All dead.Needless to say, de Souza didn’t win an Academy Award for his screenplay, but he gave the world an immensely quotable video game adaptation, and we re all better for it.The Final Moments Are EpicAfter Bison has been defeated and Guile comes back from the dead (again), the remaining characters celebrate their victory by busting out variations of their popular poses from the video game. It’s an easter egg moment for fans of the game, and it highlights the international cast, which nowadays feels refreshing.Shortly before they pose and break the fourth wall, though, a temple explodes in front of them. In a wonderful Street Fighter oral history done by The Guardian, the first assistant director of the second unit, Keith Haygate, admitted that only a quarter of the temple was supposed to explode. However, the whole thing blew up and destroyed 0,000 worth of scaffolding and styrofoam that was built over four acres. The cheeky posing and the unexpectedly massive explosion define the movie, because it’s a knowingly tongue-in-cheek film that had an explosive production. The film was rushed, and it suffered a number of setbacks, but it still pulled in 0 million worldwide on a million budget. Street Fighter will never be mistaken as quality cinema, but it s a lot of fun, and you shouldn’t feel guilty about loving it.What is your favorite Street Fighter moment? Let us know in the comments.Street Fighter was released on December 23, 1994.
5. HD 画质与高品质音讯
0.37.2 8月喜迎Gates and engage in more historical nonsense. Let’s hope Disney forks over another 0 million so he can finish the trilogy, whether that happens in theaters or on Disney+.4. SEAN BEAN LIVES! (Photo by (c) Touchstone courtesy Everett Collection)We’ve been programmed to accept that Sean Bean always dies in a spectacular fashion (e.g., Goldeneye ouch), and when his Ian Howe doesn’t fall prey to a Templar trap or an ancient catapult in National Treasure, it’s beautifully unexpected. While it would have been appropriate for Gates to let loose a one-liner something like “I’ll treasure this moment” or “Prepare to meet your forefathers” as he sent Howe to an elaborate death, it doesn’t happen. In the end, Howe is simply arrested, which leaves him on the chessboard for future installments.After watching Bean die in (spoilers ahead!) Game of Thrones, Black Death, Equilibrium, Don’t Say a Word, The Island, Patriot Games, and The Lord of the Rings: The Fellowship of the Ring, just to name a few, it’s nice to know one of his fictional characters is still alive. Early scenes between Ben and Ian show us that the two genuinely like each other, and Ian isn’t happy about his sudden heel turn. As the film progresses, Ian turns out to be a suitable antagonist who is always one step behind, but never far. Plus, the more you watch the the movie, the more you begin to like Howe s henchmen, namely Phil, Shaw, Powell, and Shippen, if only because they seem friendly with Ben, and they aren’t completely terrible at being henchmen.5. IT HELPED FILL THE INDIANA JONES VOID(Photo by (c) Touchstone courtesy Everett Collection)Smack dab in between The Mummy Returns and The Mummy: Tomb of the Dragon Emperor, and four years before Indiana Jones helped coin the term “nuking the fridge” in Indiana Jones and the Kingdom of the Crystal Skull, National Treasure filled a much needed void. The constant travel, puzzle solving, justified thievery, and ancient treasures satiated our thirst for globetrotting adventure; from grounded ships in the Arctic to the reflecting pool in Washington D.C., the frantic pace and constant clues made the most of a proven crowd-pleasing formula.Throw in the fact that Benjamin Franklin Gates, Patrick Gates, and John Adams Gates (Christopher Plummer) are named after American forefathers, and you have a movie that embraces history and isn’t subtle about it. Plus, the 0 million budget, the use of actual landmark locations, and the wonderful production design by Norris Spencer ensured the film would age surprisingly well over time. These types of films don’t really exist anymore, and that’s one of the reasons why we still love it now. Also, we think Indy himself would approve of the way Gates and his crew made sure the treasure was shared with the world, because “it belongs in a museum!”National Treasure was released on November 19, 2004.
After two improbably excellent seasons, the smash hit Karate Kid spin-off Cobra Kai made its move to Netflix in mid-2020, where it immediately dominated the month of September on the streaming service. With countless fans now caught up on the decades-old rivalry between Johnny Lawrence (William Zabka) and Daniel LaRusso (Ralph Macchio), as well as the new generation of karate students under their guidance, Season 3 takes the story even further with new alliances and old enemies. Ahead of the third season s Netflix release on January 1, 2021, Rotten Tomatoes chatted with Zabka, Macchio, and their young co-stars Xolo Maridueña (Miguel), Jacob Bertrand (Hawk), and Mary Mouser (Sam) to talk about diving deeper into Mr. Miyagi s world, the contrasting styles between Daniel and Johnny, reuniting with familiar faces, and where the series can go next.Season 3 of Cobra Kai is currently available to stream on Netflix.On an Apple device? Follow Rotten Tomatoes on Apple News.
Horror filmmakers have been scaring the pants off of us since the earliest days of cinema. Back then, it was monsters and mummies and science experiments gone wrong doing the frightening; today, it can be anything from masked killers to sound-hating aliens to pop-up book characters to, well, US. But how do filmmakers use cinema to scare audiences? What tactics have they employed over the century to tickle our terror bone – and how have those tactics evolved? In our latest video essay, Rotten Tomatoes Editor Jacqueline Coley chronicles the history of horror in cinema, introducing us to the masters of the genre and describing their fiendish strategies. It’s a suspenseful journey that will take you from the original cinematic universe to the slasher phenomenon right through to today’s ambitious, expectation-subverting horror works – with pitstops at torture porn and Hitch along the way.Recommended:200 Best Horror Movies of All TimeWorst Horror Movies of All Time
It is rare that the box office has an upset of the magnitude of this weekend s. It s even rarer that such a surprise victory does not come with the normal spoils one might expect from it. All the projections showed the adaptation of Stephen King’s Doctor Sleep leading the pack with a haul in the mid-20s to as much as million. Roland Emmerich’s WWII FX-laden updating of Midway was trailing even behind Last Christmas among most projections. Nevertheless, Midway bucked the odds – or the typically wrong tracking services – and pulled out a victory with .5 million, albeit one that is the lowest-grossing number 1 in November since 2012 when The Twilight Saga: Breaking Dawn Part 2 – in its third weekend and in the doldrum weekend post-Thanksgiving – grossed .4 million.King of the Crop: Midway Causes Major Upset, But Faces A Battle to Profit(Photo by © Lionsgate)Midway s surprising victory at the box office does come with some caveats. Aside from the Twilight statistic noted above, Midway’s .5 million is the lowest opening weekend for Roland Emmerich since Stargate in 1994 (.6 million) and it seems unlikely to stretch to .5 million as that film did. (Though if this weekend taught us anything, it s that we should prepare for surprises.) That would then make it Emmerich’s lowest-grossing wide release since 1992’s Universal Soldier made .2 million. It will gross more than that but in the history of November only two wide releases – not rated “G” or “PG” – have ever opened to less than million and grossed over million. They were Martin Scorsese’s Cape Fear (.09 million) and A Bad Moms Christmas (.11 million).Lionsgate can surely promote Midway as “the number 1 film in the country” this week but it is still staring down a 0 million price tag with not a lot of international appeal for its American victory tale. Michael Bay’s Pearl Harbor grossed 0 million in international dollars. Lionsgate has only had nine films make as much as 0 million overseas: four were Hunger Games films and one was the final Twilight film. (The other four Twilights were released by Summit before Lionsgate acquired them.)Rotten Returns: Dark Fate indeed, for Terminator, but its Tomatometer score is rising (Photo by © Paramount Pictures)Paramount is not having the greatest of weeks. Their family film, Playing With Fire, is the worst-reviewed (24% on the Tomatometer) of the new releases this week; the nearly million-budgeted film grossed .8 million, which is hardly a disaster – and better than some projections – but not a rousing success, either. It is last week’s release of Terminator: Dark Fate, though, that is just not looking good; it dropped 63% to .8 million in its second week. A solid haul is not unheard of from here: Dark Fate is just a million behind Paramount s own Daddy’s Home 2’s 10-day gross (.21 million) just two years ago as it went on to squeak out over 4 million. But its second weekend is over .5 million less than what the Farrell/Wahlberg sequel earned in its second weekend. Dark Fate is also about a half-million ahead of The Muppets, which had a massive fallback in its second weekend back in 2011 and grossed over million. Terminator’s second weekend is also slightly behind that one (.08 million). However, an optimistic million finish means nothing without a stronger international showing and to date it sits at just 0 million when it is going to need more than 0 million outside the U.S. to break even. On the plus side, Dark Fate is one of those rare films whose Tomatometer score is actually getting better as it expands and more critics see it: it is currently Fresh at 72% after spending time in the 60s.The Top 10 And Beyond: Doctor Sleep Fails to Shine, Joker Enters The All-Time Top 50Doctor Sleep this week became the victim of too-lofty expectations. The numbers are truly disappointing though, which has pundits asking if Warner Bros. should have sold its connections to The Shining more forcefully – and whether there was an appetite for more Shining in the first place. Only four Stephen King adaptations have ever opened to over million – and two of them were this year with It: Chapter 2 and the Pet Sematary redux. (1408 and the first It were the others.) Inflation notwithstanding, Doctor Sleep had the 10th best opening for a King adaptation and at 73% on the Tomatometer ranks as the 11th best-reviewed theatrical release of a film based on the author s work.1980’s The Shining grossed approximately 9.5 million in adjusted dollars. Doctor Sleep’s .1 million start trails behind even Dreamcatcher, which opened to .02 million back in 2003. If you gave The Lawnmower Man an inflation boost from 1992, it would have grossed million today, right around what Mike Flanagan’s Ouija: Origin of Evil sequel opened to (.06 million) – though we should note that was 10 days before Halloween in 2016. The trouble for Doctor Sleep might have been with the release date. Horror is not a popular genre in November these days. Not a single horror film has grossed over million from a November start since before 2000. The Mist, a 2007 Stephen King adaptation released over Thanksgiving (and the 12th-highest–rated King adaptation at 72% on the Tomatometer) took in what equates to about million in ticket sales today on its first weekend.Also not a great genre in November: romantic comedies. At least, successful November rom-com releases have been pretty sparse. There have been some moderate numbers over the years for films like The American President (.07 million) and Love Actually (.69 million). Shallow Hal grossed .8 million, but that was sold more on its high-concept premise than as a traditional rom-com. Paul Feig’s Last Christmas began with .6 million this weekend. That puts the film likely in the - million range. As for those who are surprised Universal put out a Christmas movie in November, rather than December, it s not uncommon practice – and has worked well for some releases in the past. These November releases with Christmas in the title show the release strategy can succeed wonderfully, and fail spectacularly:How the Grinch Stole Christmas (.08 million opening / 0.04 million total)A Christmas Carol (2009) (.05 / 7.85)Four Christmases (.06 / 0.14)Christmas with the Kranks (.57 / .78)A Bad Moms Christmas (.75 / .1)This Christmas (.95 / .12)Arthur Christmas (.06 / .46)Almost Christmas (.13 / .15)A Very Harold Kumar 3-D Christmas (.95 / .06)Ernest Saves Christmas (.71 / .2)A Christmas Story (.07 / .29)All I Want For Christmas (.64 / .81)One Magic Christmas (.66 / .67)I’ll Be Home For Christmas (.89 / .21)The Man Who Invented Christmas (.35 / .52)In better news for Warner Bros. this week, Todd Phillips’ Joker has passed more milestones. Its 3 million domestic and another 0 million internationally gives the film 4 million. That means it has now joined the list of the 50 highest-grossing films of all-time. Say goodbye to Pirates of the Caribbean: At World’s End (and say it soon to Jumanji: Welcome to the Jungle and The Jungle Book once Frozen II and The Rise of Skywalker open) as Joker enters the list this weekend at 44th place; it is also headed soon to become the 44th film ever to reach billion.Maleficent: Mistress of Evil has had a bit of a rebound lately. It is going to pass 0 million at home sometime this week and it is now over 0 million worldwide. But it is still going to need about another 0 million before getting out of the red. The Addams Family is now well into profit with over 4 million worldwide, million of that domestically. United Artists Releasing (a combo of Annapurna, MGM, and Orion) had some rough box office results earlier this year with Booksmart and Laika’s Missing Link, but they have been more recently putting out movies that have been turning profits, like their remakes of Dirty Rotten Scoundrels (a.k.a. The Hustle) and Child’s Play. The Addams Family will be their biggest earner to date.Check out Harriet star Cynthia Erivo s Five Favorite FilmsHarriet dropped 38% and made .2 million in its second weekend. Between that and its .46 million gross to date, the film is in the vicinity of Allied and Stranger Than Fiction, which each managed to just get over the million line. That could make it just the 18th film in Focus Features history to reach that mark.Fox Searchlight expanded Taika Waititi’s Jojo Rabbit from 256 theaters into 802 and it just missed hitting the top 10 with .9 million. That puts the film squarely between the studio’s (500) Days of Summer, which went from a third weekend of .77 million in 266 theaters to .73 million in 817 theaters, and Greta Gerwig’s Lady Bird, which made .51 million in 238 theaters in weekend three and jumped into 791 theaters the next week to gross .05 million. Those films had .35 and .72 million, respectively, after 24 days. Jojo Rabbit is at .1 million.Bong Joon-Ho’s Parasite moved into an “official” wide release this week, expanding into 602 theaters. It grossed another .5 million, which is better than The Farewell’s move to wide release from 409-to-704 theaters in its fifth weekend, where it grossed .09 million. The Neon release also has a slightly better per-theater-average (,152) than Boyhood had (,900), when it jumped in the same period from 310-to-506 theaters. The Farewell had .2 million after 31 days; Parasite has .2 million (and another .5 million internationally); Boyhood had .5 million and grossed over million. I, Tonya is Neon’s highest-grossing domestic film to date with .9 million.Check out Parasite star Song Kang-ho s Five Favorite FilmsFinally, in limited release news, Amazon’s release of Shia LaBeouf’s autobiographical Honey Boy grossed 8,825 in four theaters. That is the second-best per-theater-average (,206) for Amazon to date, ahead of both Late Night (,576) and Beautiful Boy (,722), also each released in four theaters. The 2018 Suspiria remake had a ,019 average in just two theaters. It is also the fourth-best PTA of 2019 behind Parasite, The Farewell, and Avengers: Endgame.This Time Last Year: The Grinch Kicks Off Holiday Season With Plenty of GreenThe second weekend of November 2018 brought us Dr. Seuss’ The Grinch, from Illumination. The feature-length animated version of the classic story opened to .57 million. Hanging strong was Bohemian Rhapsody, grossing .2 million and just getting over its first 0 million in 10 days. In third place was the Nazi monster film, Overlord, with .2 million and back in sixth place was Claire Foy taking over the role of Lisbeth Salander in The Girl In the Spider’s Web, which made just .8 million. Just before the weekend, Venom passed the 0 million mark. A Star is Born rose to 8 million and David Gordon Green’s Halloween was at 6 million. The top 10 films grossed a total of 2.58 million and averaged 59.2% on the Tomatometer; this year’s top 10 grossed an estimated .7 million and averaged 55% with critics.On the Vine: Ford, Ferrari, and A Trio of AngelsNext week a pair of new challengers for the number 1 spot emerge and most are betting on James Mangold’s Ford v Ferrari with Christian Bale and Matt Damon to be victorious. The true-life racing drama is Certified Fresh at 91% on the Tomatometer after a successful festival run. The box office must also find room for Elizabeth Banks’ new reboot of Charlie’s Angels with Kristen Stewart, Naomi Scott, and Ella Balinska. The previous big-screen iterations both grossed over 0 million, but will this one draw the same nostalgic interest? Warner Bros. is also releasing Bill Condon’s latest, The Good Liar, with Ian McKellen and Helen Mirren, which is expected to come in on the low-end of the charts. Then, finally, in limited release is Trey Edward Shults’ Waves, which is Certified Fresh at 88% from its festival run and which is being touted as a potential awards contender.The Full Top 10: November 8-10Midway (2019) 42% – .5 million (.5 million total)Doctor Sleep (2019) 78% – .1 million (.1 million total)Playing With Fire (2019) 24% – .8 million (.8 million total)Last Christmas (2019) 46% – .6 million (.6 million total)Terminator: Dark Fate (2019) 70% – .8 million (.46 million total)Joker (2019) 68% – .2 million (3.49 million total)Maleficent: Mistress of Evil (2019) 39% – million (.3 million total)Harriet (2019) 73% – .23 million (.46 million total)Zombieland: Double Tap (2019) 68% – .32 million (.66 million total)The Addams Family (2019) 45% – .2 million (.47 million total)
Better get your scares in while you can, because three Fresh and Certified Fresh horror movies are leaving Netflix at the end of October 2020. Tim Burton s collaboration with (who else?) Johnny Depp scored a Fresh 69% after its 1999 release, while Best Picture-winning The Silence of the Lambs and unique zombie-take The Girl With All the Gifts are Certified Fresh; all three will be gone after Halloween.In general, a larger-than-usual chunk of Netflix s Certified Fresh movies are leaving at the end of the month, including modern sci-fi classic District 9, Steven Soderbergh s Magic Mike, epic 80s fantasia The Neverending Story, and the classic Tom Hanks-Meg Ryan romcom Sleepless in Seattle.Other popular movies soon to leave Netflix, and which didn t score particularly high with critics, include the first three Underworld movies, Mel Brooks spoof Spaceballs, Jim Carrey s career-starter Ace Ventura: Pet Detective, and Jack Black s Nacho Libre.Read on for the full list of movies leaving Netflix at the end of October 2020, and then take a look and get ready for everything coming to Netflix in November.Leaving 10/31 导读：最近很多玩家都在关注我是建造师这款手游，想知道具体的公测时间，我是建造师会经过封测、删档内测、不删档测试到最终的公测等几个测试阶段，才会正式上线我是建造师安卓或iOS版本，有很多玩家就会问小编我是建造师什么时候公测，究竟什么时候出呢？今天小编就为大家提供如何快速地知道我是建造师开放下载和公测的时间，你就可以最快知道我是建造师公测时间了！
bob娱乐体育官网 (Photo by Neilson Barnard/Getty Images)Alan Silvestri has composed the music for 17 of Robert Zemeckis movies, which sounds like a perpetual golden ticket to Oscar glory. Instead, Silvestri has only been nominated once for Best Original Score: for 1994 s Forrest Gump, which fell to The Lion King. Silvestri will have to take cold comfort in the fact his scores are among the most beloved and remembered in contemporary movie history, a body of work including the Back to the Future trilogy, Predator, The Polar Express, and now the Avengers theme.He entered the Marvel Cinematic Universe scoring Captain America: The First Avenger, returning a year later for 2012 s The Avengers, introducing a now iconic theme that has carried into Age of Ultron, Infinity War, and now Endgame. With the dust settling on the MCU s blockbuster emotion-wringer, Silvestri spoke on the origins of the Avengers theme, the temptation of using themes for every superhero, and his favorite Endgame musical moment.Spoiler warning for Avengers: Endgame!Alex Vo for Rotten Tomatoes: What were the origins of the Avengers theme? When did you start working on it, and when did you know you had it?Alan Silvestri: I had done Captain America for Marvel and got a call from Kevin Feige and Joss Whedon about Avengers. And they were very interested in exploring some possibility of [what] would become the Avengers theme. Time went on and I started to work my way into the film. When the mission is something like [coming up] with an overall theme, I try to find some place in the film that is going to be the quintessential spot where whatever the theme is, it s going to have to work here.I wound up going to that place in the film where they re all gathered and they re in the midst of this battle, and it s right after Banner arrives on a motorcycle. And it was such an interesting place in that film because these folks are in the middle of this big battle and it s all terrible and dangerous. All of a sudden they re in the town square, shoulder to shoulder, and nobody s moving. They re just literally posing. And it was the iconic Marvel still of the Avengers. And so the theme, whatever it was going to be, had to really carry that moment and help. I knew it had to be something heroic. Long, heroic, brass-filled notes in this melody, but we were also in the middle of this battle. So we needed to keep the energy up. So there s this string ostinato that that keeps the sense of drive. One thing led to another and that that s what came out, and it has lived on through the Avengers films, which has been fantastic.(Photo by Marvel Studios)Rotten Tomatoes: Iconic superhero themes usually serve one person, like Batman or Superman. What was the challenge in scoring a group?Silvestri: We talked early on in Avengers, and we also revisited the conversation in Infinity War and Endgame, about how you actually approach the characters thematically. Or how you don t approach them. I mean, clearly the Avengers experiment had to do with this collection of superheroes now fighting together as a team. And so, the conversation would come up: Are we going to really play a theme for each of the individuals and then have an Avengers theme or not? Certainly in Endgame, because of the sheer number of characters, we felt like the music had to hold things together and unify the film, and that if every one of these characters had their own signature themes, it could wind up doing just the opposite and become too distracting and fragmented.So again, the theme had to work for the collective, for the Avengers as a group, even though we did some call outs in all the films to some specific characters. Natasha had her bit of a theme in the original Avengers. Thanos clearly had his theme in Infinity War and Endgame. We tried to view the film musically from the point of view of the group. And the other interesting thing we found: With the Avengers theme, a little goes a long way. It’s a very simple, identifiable piece of thematic material, and you can abuse it just as easily as you can use it. So we knew we had to be very judicious in when and how we used the theme.Rotten Tomatoes: The actors don t get the full script for these movies. At what point are you brought in the process, especially for Infinity War and Endgame? Do you know all the story beats ahead of time?Silvestri: Yeah, I actually do. I actually know everything, and I have everything as it s being recorded. I have to be looking at the entire arc of the film all the time. Otherwise you really couldn t have the kind of overview, a sensibility that the score has to really bring to the film.Rotten Tomatoes: There’s an Endgame track called “The How Works” which I think is vital to the movie: It plays as the movie sells to the audience it s going all-in on time travel. Then the song has a flute rendition of the Avengers theme. Then it goes into crime jazz, a heist theme. Are there any limitations on where you can go on these movies?Silvestri: No, and I think that s one of the fun parts of the letting the movie take you to where it wants to go. And it s one of the nice things about having a simple, identifiable theme: It can be dressed in many, many different ways. And Marvel is known for having fun and for having humor in their films. And you used the word: heist. We just knew that we would have some fun with those traditional sounding, caper-type movies. And yet, our theme had to travel along with those kinds of settings. So we re using bongo drums and flutes and triangles and all of these rhythms. And it s kind of like a spy movie, but at the same time we have our Avengers theme being there. So we had a lot of fun.Rotten Tomatoes: Due to the emotional nature of Endgame, there were a lot of soft moments: Tony floating in space, Cap seeing Peggy, or Tony giving Cap his shield back, which uses a reprise of The First Avenger theme. Did you find there were more opportunities for the music to breathe in Endgame compared to Infinity War or the other Avengers?Silvestri: I think absolutely. I think that was really what Endgame was going to be about. It was going to be about resolution of 21 films worth of characters. It’s why the film was as long as it was. I think that the Russo brothers knew, and the writers knew, that it was going to take some time to resolve these relationships. Hawkeye and Natasha, Tony and Pepper… So there was a lot more air and a lot of these quiet scenes. Even with a scene like Thor and his mother. Just spectacular emotional moments. And so it was an opportunity, in what at face value would be considered a big action superhero film, to have a lot of quiet emotional places for music. And for the performances of the actors as well.(Photo by Marvel Studios)Rotten Tomatoes: Infinity War s fallen reappearing on the battlefield is going to be a defining image for a generation of moviegoers. How did you approach “Portals” for this?Silvestri: “Portals” was one of those scenes that the filmmakers identified early on as being a key moment, and potentially an historic moment in the entire Marvel universe. There were a number of different approaches that we took. And it took us a little while get a sense of what was really happening there. Again, you have that temptation with the reveal of all of these magnificent historic Marvel characters, there s this temptation to kind of become too segmented, and for every entrance to be doing something special and something different. And the more we worked on it and tried that actually, we saw that it just really wasn t working. It needed to be seen with much more of an overview and much more of a celebratory and promising sensibility, [rather than], “Here s this one and here s this one, and now this one.” The audience understands that.But the overriding emotion is, “Look what s happening. They re all coming, we re seeing them all, they re all coming back. They ve all come back to life.” So it wound up with much more of an overview. And then [we used a] new theme there because there was really nothing else that was gonna really take care of it. And it s one of those pieces where it s the same theme repeated a number of times, keys changing, getting bigger and more grand. And we knew that at the end of all this, we had to really set up the original Avengers theme after Cap delivers that amazing Avengers assemble line, which he almost whispers. Then we come in full bore with the original Avengers theme when the charge begins. So it took a while for us to find what would be the most satisfying approach. And I think we finally arrived at something that s working pretty well.Rotten Tomatoes: Do you have a favorite musical moment from Endgame?Silvestri: Well, I think that that almost falls into the category of which is your favorite child. It was interesting when I was early on working on the film. There’s the end of the film when Tony has left us and we have now maybe five or six minutes, with basically everyone who s been in the Marvel films attending the ceremony. That was a very challenging place, wondering what am I going to do for that. It needed to have a sense of reverence, a sense of gravity, yet it had to have a sense of beauty and promise and resolution. It was almost too terrifying to go there and work on it. I was working on the cue in the beginning of the film when Tony s stranded in space and finishes his message to Pepper. He puts his jacket on and he lies down, and there s just a very kind of simple, electronic, single instrument playing this theme that carries us from there, through Tony being put in the chair by Nebula.When I found that, I somehow knew that that was going to be the key to that amazing ceremony at the end of the film. And we never hear that again until the end of the film. But it was one of those things that was so great when I found it, to know that I don t have to be as terrified of the end of the movie now because I think I may have found a key in the very first reel. So that was very exciting to be sure.(Photo by Marvel Studios)Rotten Tomatoes: Before we go, I have to tell you: Even before I knew I was doing this interview, I re-watched Flight of the Navigator a few days ago.Silvestri: Wow! Haha!Rotten Tomatoes: It made me realize your theme was the first piece of music I connected with on an emotional level. I must’ve been 6 or 7. Thank you for that. Do you have any particular memories or stories from that movie?Silvestri: I remember I did that all electronically. And that I think was really driven by the budget for the the film. And I just have to say it s wonderful for you to say nice things about that, because every time I do a film I try to do the best I can. And I ve done a tremendous range of films and some people would say, “Well, that wasn t the best film you ever did,” and “Why did you do that?” and “Why did you do this film?” Clearly, Flight of the Navigator was a well-made film. But it was not a big budget film. It was very sweet, charming. I can only say I m trying to do the same job there as I was trying to do on Endgame, from the point of view of doing the best I can with what I m doing today.