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亚博app摩洛哥买球首选采用百度引擎3(Baidu 2)Ants typically don’t live long enough to turn 20, but A Bug’s Life has reached that two-decade mark. Pixar’s second movie came out in theaters way back in November of 1998, when it premiered on November 14 before opening in limited release on the 20th and expanding everywhere on November 25. Though a success at the time, A Bug’s Life is one of the more forgotten Pixar movies these days. Sure, it doesn’t get flack the way the much-maligned Cars franchise does, but it rarely places highly on any of those “Every Pixar Movie, Ranked” lists that populate the web. Pixar itself appears to have forgotten A Bug’s Life as well, in a way: It’s the only one of the studio’s first six films that hasn’t gotten a sequel (the seventh, if you count Toy Story 2). Not everything needs a sequel, but it’s perhaps telling that the studio hasn’t returned to the story of Flik and his friends.That’s a shame in a lot of ways. Though A Bug’s Life doesn’t reach the soaring visual and emotional heights of later films like Wall-E, Inside Out, and Coco, it’s still a remarkable success — just on smaller terms, as is fitting for a movie about bugs.The Antz Rivalry(Photo by Walt Disney Studios, DreamWorks)To fully appreciate A Bug’s Life, one must travel back to 1998, when moviegoers who wanted to see a computer-animated movie about an ant who was an individualist with big, unappreciated ideas had two choices as the box office. There was A Bug’s Life, and there was DreamWorks’ Antz, a bizarre parable about Marxism starring Woody Allen. That the movies were so similar was not a coincidence, at least not according to Pixar’s brass at the time, who claimed that DreamWorks’ Jeffrey Katzenberg, a former Disney chairman, stole the idea and rushed the movie to theaters before A Bug’s Life. Both were pretty well-received Certified Fresh at 94%, Antz actually ranks a little higher on the Tomatometer than A Bug’s Life s also Certified Fresh 92%, even if the audience score for the latter easily tops the former s  and we can look back at the two movies now with bemusement. Still, consider how wild and telling it is that A Bug’s Life was a big enough deal from the start that it prompted some alleged corporate espionage. That’s the sign of an important movie, if there ever was one.The Cast Is Full of Unexpected Greats(Photo by Buena Vista Pictures courtesy Everett Collection)A Bug’s Life has a secretly stacked cast, full of actors who were definitely not cast because they were “popular with the youths,” but because they were talented. Phyllis Diller, whose iconic cackle was probably familiar to anybody who grew up with the pioneering female comedian in the ‘60s, makes a real character out of the Queen. Mel Brooks mainstay Madeline Kahn, who would die too soon a little more than a year after the film’s premiere, plays Gypsy, while Roddy McDowall, a character actor perhaps best known for his role as Caesar in Planet of the Apes, played a thespian ant. These are all great actors, but perhaps not the most obvious choices for an up-and-coming animation studio in the ‘90s. That they were cast in the movie is another early hint of Pixar’s willingness to do the unexpected.Other members of the cast were perhaps a little less out of left field, but actors like Julia Louis-Dreyfus (Princess Atta), Denis Leary (Francis), David Hyde Piece (Slim), and Brad Garrett (Dim), and Richard Kind (Molt) are all inspired casting choices, not to mention Dave Foley in the lead as Flik. It’s nearly impossible to talk about Kevin Spacey with any sort of reverence these days, and for good reason, but as Hopper, he voices one of the more chilling villains that Disney — let alone Pixar — has ever dreamed up.Its Plot was Epic, Yet Focused(Photo by Buena Vista Pictures courtesy Everett Collection)A Bug’s Life is, essentially, a kid-friendly rendition of Akira Kurosawa s Seven Samurai. The grasshoppers, led by Hopper, have been oppressing the ants for too long, and when their greed and cruelty reaches new levels, the ants must fight back. Sure, the fight is less of a Lord of the Rings-style clash between giant armies and more of a Trojan Horse gambit in the form of a wooden bird, but A Bug’s Life has a pretty epic plot nonetheless. And yet, the storytelling economy is on point. In a filmmaker’s roundtable video that Disney/Pixar produced, the directors and producers recall how the script went through multiple iterations as they figured out what had to work in order to make the story flow.The first big breakthrough came when they recast the lazy grasshopper from the Aesop’s Fable as a greedy tyrant. From there, it was all about making sure that every character had a personal stake in the fighting. Early drafts had a main character who was not from the colony, or circus performers who were initially scammers before deciding to switch sides, but those ideas wouldn’t have worked. By directly tying the conflict to each character in an emotionally resonant way, A Bug’s Life managed to have a large-scale war story with a highly focused s

1. 亚博app摩洛哥买球首选
Sophie-Marie Prime for Rotten Tomatoes: How did you become a part of The Dirt? You were originally interested in playing Tommy Lee, and you were steered towards the role of Nikki Sixx…Yeah, I read the script, and Tommy just seemed such a fun part to play because he s just so lovable. And so, I auditioned, and it looked like I was gonna play Tommy Lee. And then eventually they said, Look, we can t find anyone to play Nikki Sixx… Would you mind doing a tape? I remember feeling intimidated by the idea, because he s a very different character, and it s hard to put your finger on who he is… But then I did it, and they said they thought it was great, and they asked if I would play Nikki. I said yes, and it was the best decision I made. I absolutely loved playing him, and I can t imagine anyone else but Colson [Baker] playing Tommy.Were you a fan of Mötley Crüe s music?Not really. I mean, I was aware of their music, because obviously they re such a big part of that time period and culture in that time. I d heard them on the radio, and they have some great tunes. But it wasn t until I started this movie and actually spent time with it and spent time being them playing it that I fell in love with it — and now, I love it.(Photo by Jake Giles Netter/Courtesy of Netflix)How involved were Nikki and the band in the making of the movie? Were they ever on set?I met Nikki before, and then Tommy and Nikki came to New Orleans a couple days before we started shooting and joined our band practice we had. We d been doing it for a month in New Orleans, all the boys together, and they taught us They gave us tips and gave us some advice on the way they played, how they played, and the way they d hold their instrument, and the way they do things, so that was very useful.They were involved a perfect amount. They were a band who were very generous and gave thoughts, they gave advice, but then also trusted us to play our roles and took a step back while we filmed.Do you remember any specific props that came from the band directly?Well, to do with the guitars and the amps, when Iwan [Rheon] sat down and spoke to Mick Mars, all they talked about for two hours was different types of amps and stuff like that. Mick s all about the music I didn t know how Nikki would react to all of the drug paraphernalia. He s so sober now, and he had such a hard time battling his addiction problems, but once we got to set, was like, Show me all the drug paraphernalia. He was kind curious about it, and wanted to see what it was like, and make sure they got it right.Did he want to make sure it was realistic?Make sure it was real, but he s done so much to help other people with opioid problems, and it s something that was important to him, just to be done right and tastefully, and not shy away from the realities. R.I.P. Stan Lee: The World Loses a LegendEvery Stan Lee Movie RankedMarvel Stars Pay Tribute to Stan LeeAll Upcoming Stan Lee Movie CameosAs the story often goes, Stan Lee, who passed away early Monday morning, was tired of working at Martin Goodman’s comic book company. His wife, Joan, suggested he pitch one last title and do it the way he felt a comic story should be told. Alongside genius co-creator Jack Kirby, his “last” comic book was The Fantastic Four, which lead to an ongoing series of new titles and ushered in the Marvel Age of comics.But Lee, who always hoped to leave comics behind to write the Great American Novel, also had bigger ambitious for characters he co-created, including The Fantastic Four, Thor, Black Panther, and The X-Men. Early on, he saw that they had the potential to transfer to other media. Here’s just a few way he helped comic books in transitioning to film and television.He Worked On The 1960s Marvel Super Heroes CartoonWhile still writing titles and acting as an editor and art director for Marvel in 1966, Lee also worked on Grantray-Lawrence Animation s The Marvel Super Heroes animated series. While Goodman negotiated the deal with Grantray-Lawrence and the company chose which Marvel characters would be featured, Lee nonetheless worked on the series, helping to reform stories written by him and people like Kirby, Spider-Man co-creator Steve Ditko, and others.The series focused on Captain America, The Incredible Hulk, Iron Man, Thor, and Namor. Each starred in their own sub-series ripped from the pages of Marvel s recent comic books. The animation generally consisted of photocopied images pulled directly from recent issues of the various characters’ comics — or even early issues of The Avengers — with the images manipulated to create the illusion of animation and limited lip-sync. But despite its technical limitations, the series expanded Marvel’s reach into homes all over the country, creating life-long fans thanks to memorable theme songs for Thor, Captain America, and Iron Man. In interviews, Lee would admit he did not write the lyrics, but always wished he could claim those catchy tunes for himself.His Characters Came to Screen In the 1967 Fantastic Four Animated SeriesWhile not directly involved in the 1967 Hanna-Barbera Fantastic Four animated series, Lee’s influence could still be felt thanks to the story material adapted by the producers. Episodes featured key villains like The Mole Man and Galactus, while Dr. Doom’s origin received an episode-long origin story. The Skrulls and the Silver Surfer also made appearances and many of the stories were based on the early Lee and Kirby issues of Fantastic Four even as they were redesigned by Hanna-Barbera and comics legend Alex Toth.The series also led to the X-Men’s first television appearance when The Marvel Super Heroes adapted Fantastic Four #6, but substituted the Merry Mutants — referred to as “the Allies for Peace” — in for the FF, whose rights were already in the hands of Hanna-Barbera. Nowadays, rights confusion over characters is a well-known issue in the world of comics-to-screen adaptations, but this may be the first instance of comic-book characters disappearing from a television adaptation of one of their own stories.The 1970s: The Incredible Hulk, Spider-Man, and Dr. Strange Come to TVIn 1972, Lee became the publisher of Marvel Comics and largely left writing and creating to a new generation of writers, artists, and editors. And while he continued to have a hand in some creative aspects of the business – like the daily Spider-Man comic strip – Lee found himself shepherding the Marvel heroes through Hollywood as the characters began to emerge in the uncharted realm of live action. Before long, CBS debuted The Incredible Hulk.(Photo by ©Universal Television/courtesy Everett Collection)The 1977 series, starring Bill Bixby as Dr. David Bruce Banner, was developed by Kenneth Johnson and followed the format of ABC s hit series The Fugitive. Each week, Banner would move into a new town and involve himself in local affairs until the Hulk explosively assisted Banner’s new friends. Sadly, word of the creature’s appearance would reach an investigative reporter hunting the Hulk, forcing Banner to look for peace somewhere else. The Incredible Hulk ran for five seasons.At nearly the same time, Lee sold CBS the rights to make a live-action version of The Amazing Spider-Man. Populating his world with new characters – J. Jonah Jameson was the only carryover in the regular cast – the show was not as successful as The Incredible Hulk, leading CBS to air it in a strange, inconsistent schedule. The two produced seasons amounted to only 13 episodes before the network pulled the plug.Nonetheless, the network soldiered on with a Dr. Strange pilot and two Captain America TV movies staring Reb Brown. Soon, Lee found himself spending more time in Los Angeles than in New York. In 1981, he and his wife finally moved to Los Angeles intent on making Marvel Productions a mover and shaker in film and television. Successes would include Marvel’s work on The Transformers and G.I. Joe. But after a handful of Incredible Hulk TV movies in the 1980s, television shows based on Marvel characters were few and far between. While Marvel regained a foothold in children s animation through the 1990s, it would not be until 2013’s Agents of S.H.I.E.L.D. that a Marvel live-action series would be a success.Lee s Characters Come to Dominate the Box Office, The MCU Is BornMeanwhile, on film, characters co-created by Lee grew to be a box office force in the early part of the 21st century. It all begins with 2000’s X-Men, which featured Lee and Kirby characters like Cyclops, Professor X, Magneto, and Jean Grey. Soon after, Lee and Ditko’s Spider-Man would star in his own film courtesy of director Sam Raimi.(Photo by Columbia/courtesy Everett Collection)But behind the scenes, Marvel was becoming less satisfied with their financial participation in films produced by 20th Century Fox and Sony. These films, based on the company’s most popular characters, inspired many of Marvel’s executives to try their hand at producing films on their own. With the X-Men, The Fantastic Four, Spider-Man, Blade, Daredevil, and a few others unavailable, the newly formed Marvel Studios looked closer at Lee and Kirby characters like Iron Man and Thor for inspiration.They also identified another key aspect of Lee’s writing to create a unique momentum with their films. From The Fantastic Four on, the Marvel Comics Universe was a (mostly) cohesive world. Most of the new superheroes Lee and Kirby created were based in New York and crossed over into each other’s titles. The concept may have been borrowed from DC Comics’ Golden Age Justice Society of America, but Lee, Kirby, Ditko, and others made their world feel alive and dynamic with the Fantastic Four guest starring in The Amazing Spider-Man and vice-versa. Soon enough, Iron Man, Thor, the Hulk, Ant-Man. and the Wasp would form their own super team and revive Captain America to join their crew.Many years later, Marvel Studios would choose to adopt that crossover energy and lead to an Avengers of their own. As in comics, the pieces were always there to make it happen on film, but Lee’s efforts helped to point the way.The CameosAnd, of course, Stan Lee will leave a mark behind thanks to his penchant for making brief appearances in Marvel movies. It began innocuously enough in the 1989 TV movie The Trial of the Incredible Hulk and in some of the animated series, but that foundation led to his on-screen appearance in X-Men. He also appeared as a mail man in the first Fantastic Four film, receiving speaking lines. With his iconic look and distinctive voice, he would appear in all of the Marvel Studios films, as well as projects featuring characters he did not create, like Deadpool, and even make a cameo appearance in Teen Titans GO! to the Movies, poking fun at his hat-tip presence in comic book movies.(Photo by @ 20th Century Fox Film Corp. All rights reserved.)He also played himself in Kevin Smith’s 1995 film Mallrats, in which he gave main character Brodie (Jason Lee) some sage wisdom even as Brodie kept asking him about the Hulk’s junk.If nothing else, Lee was always a sport on film, playing strip club MCs, bus drivers, and concerned citizens helping people out of harm s way. He got in the characters ways sometimes, or even reminded them that one person can make a difference. As with the universe-building he indulged in during the 1960s, the notion of creator cameos predated Lee s Incredible Hulk appearance, but he and the directors of each project gave it a unique spin each time. And when the first Marvel film unspools without a cameo from Stan the Man, his absence will be felt.

2. 公平游戏环境
官方为了后续让LOL手游打开市场,也将会在国服上线后安排各种赛事,也就是说玩家们能够玩到英雄联盟手游的同时,还可以观看到各种各样的比赛,这也说明官方对LOL手游的重视,我们也可以看到国服在皮肤上面的用心,不仅出了很多和端游一样的皮肤,后期也将会和端游同步上线新的皮肤,在官方眼里这两款游戏是同等重要。亚博app摩洛哥买球首选If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at rtiswrong@rottentomatoes.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.

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4. 呼朋唤友 随心所欲

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 9.52.42022-01-27

4.40.9 4月喜迎(Photo by HBO, Marvel Studios)2019 is a big no, a huge year for a couple of pop culture s most beloved franchises. Over the past decade and change, the juggernaut Marvel Cinematic Universe has unleashed 21 blockbuster movies held together by a few common threads, and on April 26, one of those threads will come to a glorious, three-hour-long, action- and drama-filled conclusion in Avengers: Endgame. On the small screen, HBO struck Lannister gold when its adaptation of George R.R. Martin s popular A Song of Ice and Fire fantasy novel series, Game of Thrones, debuted in 2011 and became a global hit. On April 14, the much anticipated eighth and final season premieres it s been over a year and a half since season 7! and viewers are understandably eager to find out how the saga will end.Thankfully, those of us who have followed along with both journeys haven t been forced to choose between the two, barring any unforeseen circumstances, and most everyone who wants to see both Thanos and the Night King defeated should be able to do so. But what if you were forced to choose? What if you could only watch Avengers: Endgame or the final season of Game of Thrones? Which would you sacrifice, and which would you see? We had two RT staffers maker their case, and then you can vote below and make your case in the comments.I Choose Game of Thrones(Photo by HBO)The Marvel movies are great entertainment, and I have a blast every time I go to see one, but I just don t have the same kind of emotional investment in the Avengers that I do in the fates of Dany, Tyrion, Jon, and the Starks. Game of Thrones did such a spectacular job of taking each of them through their individual character arcs and then bringing them all back together again and, in the case of Daenerys, introducing her to the others that I just couldn t not find out what happens to them. Robert Downey Jr., Chris Evans, and the other big players in the MCU who are done or close to done playing their roles will absolutely be missed, and their characters have been fun to watch, but their stories aren t nearly as significantly intertwined as the characters stories in Game of Thrones are. Plus, we re talking about seven-plus hours of storytelling in Thrones final season; that s more than double the length of Endgame, which is admittedly a long movie that will likely feature some definitive moments for the franchise but that franchise will ultimately continue on. After season 8, Game of Thrones as we know it will be done, and no, the prequels do not count. At the end of the day, as sprawling as Game of Thrones has been at times, it s still a more complete, more focused story than the MCU as a whole has been, so I d be way more sad about missing the final season than I would be about missing Endgame.I Choose Avengers: Endgame(Photo by Marvel Studios)We ve never seen big-screen storytelling like we ve gotten with Marvel s literally game-changing Cinematic Universe. As a fan of the comics, it s been thrilling to see some of their marquee characters brought to life with such style and craft by some of Hollywood s brightest stars and best talents behind the camera. As a child, I never would have dreamed that a bunch of superheroes would rule the movies, but here we are, and the ride has been amazing. Robert Downey Jr., of course, turned out to be the perfect Tony Stark, and whatever else he does after this, he ll forever be remembered for that role, so it s unthinkable to me that I might miss his inevitable departure from the franchise. The same goes for Chris Evans Steve Rogers. Plus, I practically grew up with these characters, watching them on their individual journeys and cheering when they were allowed to share screen time. Marvel was also really smart about the way they seeded the Thanos storyline, beginning with his appearance in the first Avengers movie s mid-credits stinger remember that? and leading all the way up to Avengers: Infinity War. This is the battle I ve been waiting years to see, and I m not about to miss it, not only because it promises to be an epic one for the ages, but also because it will probably serve as the swan song for some of Hollywood s most beloved big-screen characters. Don t get me wrong; I love Game of Thrones too, but I ve invested over a decade of my life in these movies and these characters, and I am looking forward to Endgame like no other movie I can recall in recent memory.

(Photo by © Focus Features)At this year s Sundance Film Festival, few titles got Park City buzzing quite so much as Killing Eve season 2 showrunner Emerald Fennell s debut feature, Promising Young Woman. As one of its stars, Bo Burnham, told Rotten Tomatoes, it s like a stick of dynamite thrown into the conversation around consent and rape culture – and one that critics say is fiendishly and shockingly entertaining as it blows everything up.You might already know of the movie, due out in theaters in April, from the zeitgeist-capturing trailer – a fierce Carey Mulligan wreaks vengeance on a cavalcade of not-so-nice guys, hopping bars as a #MeToo vigilante egged on by a thrilling, strings-heavy rendition of Britney Spears Toxic. The basics are there in that trailer: Mulligan plays Cassie, who is indeed out to teach certain guys a lesson by playing blackout at the bar before pouncing into sobriety to teach them a lesson at home; Bo Burnham enters the picture as Ryan, the doctor so nice he might derail her from her mission. And the film does pay homage to Britney Spears, and Paris Hilton, with a soundtrack of 2000s pop bangers and a style that feels part music video, part The Simple Life. But the film takes wild story turns and tonal shifts that the marketing only cautiously hints at. We won t say much beyond that, as it s the surprises, and the way the film subverts expectations at every candy-colored turn, that make it such a compelling watch.The opening-night audience was rapt, thunderously applauding Mulligan s performance and Fennell s bold vision, and the movie is currently sitting at 100% on the Tomatometer. Its sexual politics, blistering attack on misogyny, and refusal to offer a black-and-white view of the culture it pervades have fueled hours of post-screening conversation and given critics a ton to chew over. The day after the movie s premiere, we met with Mulligan and Burnham to talk about the film s impact, good guys and bad guys, Britney and Paris, and how they think this movie is going to go down with audiences.The following interview was edited for length and clarity. Joel Meares for Rotten Tomatoes: Congrats on the film – people are talking. Carey, I was reading that you said you were a little bit nervous the first time you read the script. Did you have those same feelings watching it on the big screen last night?Carey Mulligan: Yeah. I m terrified, yeah.Rotten Tomatoes: What was that nervousness about?Mulligan: Oh, a million things. I mean, the nervousness reading the script wasn t It was just the good nerves. It s the nerves that I got when I read Wildlife. It s the nerves that make me want to do a job, where I go, like, I have no idea how I d do this. Probably I should do it. And that s what I had with this. I thought, like, What is Cassie? How the hell do I do that? And then I met Emerald, and five minutes later, committed to doing the job. So it s the good nerves, and then last night s nerves was 500 people watching my face. Look at my forehead. What s going on there? Why am I so flushed? And Bo Burnham twisting himself into a pretzel behind me was hard to deal with.(Photo by © Focus Features)Rotten Tomatoes: So you were nervous in a way too, Bo? Tell us about this pretzeling. Bo Burnham: It was like expressive performance dance. I wasn t going to sit through [the film at the premiere] and then Carey made me. She guilted me into it by being like, “This is a team experience.”Mulligan: I was a head of drama school, you know?Burnham: This really was a movie where just women told me what to do, which is truly very cool. And so I knew that whatever they told me to do, I d do. But yet it s horrifying. I mean, for me it s so horrifying, because it s like, I have to be appealing? Because personally I watch the movie and I go, like, And then this butthead shows up? Who gives a f k? And we re supposed to care? I didn t realize, I guess, how scary being a [romantic lead is]. I d be much more comfortable playing a hate-able character on the screen, because then people have to hate you. The idea that people have to like you is tough.Mulligan: Yeah, it s similar… I very rarely in my career have ever played the pretty girl, or whatever, and then when I did The Great Gatsby – he writes like she s the king s daughter. It paralyzed me, having to think externally, or think about yourself as being [appealing].Burnham: Yeah, that’s crazy, that’s like the Helen of Troy of America.(Photo by © Focus Features)Rotten Tomatoes: You mentioned the idea of hate-able characters, and the thing about Ryan is that he’s complex, as most of the men in the movie are, and there’s this question of what is a “bad guy” and what is a “good guy.” Last night at the Q A you spoke about how misogynist culture is not just about guys like Weinstein and Cosby, it’s more insidious. Do Ryan and other “nice guys” in the movie speak to that?Burnham: I don t know. I mean, truly, if I was a real actor or something, I d be like, I can t even step away from him enough to even see him as another person, and talk about him like that. But really, I mean, it s all up to Emerald, you know what I mean? I wasn t playing him as a metaphor, because that s just certainly not my job. My job is just be honest, and the meaning of that and what he represents, that s all in Emerald s hands. And I trusted her completely with that.If I can sit as an audience member and try to be objective, the movie just does a very beautiful job, I think, of showcasing the full gradient spectrum, from super black-and-white clear to: What exactly is this? Oh, you were 18? Do you even remember it? That s what I feel like we as men definitely need to contend with. But the misogyny, this subordination of women, is not like tumors on the male body. It s a virus, it runs through the entire culture of male behavior. It s super deep. It s not like, Oh, and then there s some crazy asshole to take it way too far. Even if you think about the geography of a bar, the lighting of a bar: Why is it dark? Why is there music playing? Would this be happening if the lights were on, and there was no music playing, and it was noon? I don t know. You know what I mean? The movie really casts such a wide net and interrogates so much so thoroughly. Emerald has thrown a pretty compelling stick of dynamite into this conversation, and I just would like to be a part of her crew in doing that.Rotten Tomatoes: It’s interesting you talk about the grey areas of this conversation, because I think a lot of people are going to look at the poster and trailer and expect something a little more black-and-white, that Cassie is going to be badass, beating people up and getting revenge like this avenging angel.Mulligan: That’s my next one.Burnham: Yeah! Alita 2.Rotten Tomatoes: Looking forward to it. But the film really isn’t that. There’s not a lot of easy satisfaction. Did that appeal to you about the project? Mulligan: Yeah, it s just, there s no easy answers, are there? It s not as easy as going like, You re bad. Now you re dead. It s not about just complete, total condemnation. I think so many of these films have just been so straightforward and they’ve tied everything up in a bow. My favorite films are films where nothing s sort of finished. I hate that sort of wedding-in-the-end film. Just don t have a wedding, just don’t have them, do you know what I mean? I want to walk away and wonder, Ooh, what s going to happen to them? I wonder what they ll decide? Burnham:  I wonder if they’ll get married… Mulligan: Yeah.(Photo by Dia Dipasupil/Getty Images)Rotten Tomatoes: Let’s talk about Britney Spears and Paris Hilton. The movie has a fantastic instrumental version of “Toxic” and a key scene that features Hilton’s “Stars Are Blind.” And there is so much pastel and pink. Watching, it was interesting to see this girly-ness and these come-on songs and I kinda felt that while that was so much visual and musical fun, it could also be the flipside of some of the darker themes the movie explores. At least, it got me thinking about the connection.  Mulligan: I don t know. I feel like [the songs are] being celebrated. I think it s a complete celebration of those things. It s a celebration of things that we so easily dismiss. I mean, like Emerald says, “Toxic” is one of the greatest songs ever written.Burnham: Incredible. [And] if you read the lyric, Even though the stars are blind, in T.S. Eliot, you d be like, Holy f k. Yeah, but no, it s true. It really is, in general, totally misogynist, the dismissal of pop music. If you listen to Robyn, or, I mean, anyone, these are powerful [songs]. But it isn t a guy on a guitar going, like, And I ve fallen down the railroad . But there s incredible depth and pain to that pop music, and I think the film is a pop song in a way. This flashy, sing-able, danceable thing, that when you actually listen to the lyrics Mulligan: That s like what you said when we were at the Indie Spirit Awards, and you got that award, and you said, like, “Some people say I m a comedian for teenage girls, and I say, ‘F—k yeah!’” We should celebrate teenage girls. They re extraordinary. Like I loved – I love – Britney, and I grew up [with her]. All of that kind of stuff is a part of our childhood, our teenage years, our womanhood, and it s just thrown out as being empty. And actually, people connect to it and feel empowered by it, and culture has decided to cast it aside as not being of enough value. So it s inherently dismissive of a lot of things that matter to women.(Photo by © Focus Features)Rotten Tomatoes: Do you have a favorite Britney song?Mulligan: I mean, “Toxic” has to be up there. I’m going to check… [walks over to grab her phone].Burnham: “ Baby One More Time” f ked me up, you know what I mean? I was nine. She was like 16, which is its own problem, whatever. Britney was like 16. I mean, but “Hit Me” was It s very loaded, but, Britney is incredible. She f king shaved her head and it was just like, My God, you know what I mean? She s f king been through [so much] Those are our stories.Mulligan: “Oops! I Did It Again” just was like Burnham: That f king video was incredible. The red.Mulligan: Oh, my gosh.Burnham: Yeah, I mean, Britney has had as deep a life experience as anyone on Planet Earth and it makes her music.Rotten Tomatoes: One of the things we think about at Rotten Tomatoes is criticism and who s actually doing the reviewing. I was watching this film – and I say this as the guy who came in to do the interview – and I was wondering if you think this is a film that female critics should primarily be assigned to review? Do you think a particular world experience is helpful in grappling with it? It’s a conversation I can see coming up, especially for a film that’s taking on misogyny in this way. Mulligan: I don t think it matters if it s a man or a woman, as long as I think it s I don t know. It s so tricky, isn t it?Burnham: I don t want to pass up the opportunity to pick our own critics. [Laughs.] Well, OK, so your critics are, in theory, a stand-in for the public, which they should be, and which they aren t right now, and that s what diversifying the whole critical community is about, right? They would reflect more of the audience. If critics are a stand-in for the audience, I think, and Emerald would say this, we want this film to be contended with and digested by men and women, and those who don t identify as either. The question comes, though, with the given that the critical body, as it stands right now, unfairly skews towards men. But I think the real beauty of the film, just speaking as a guy, is that it allows men in, because that s the only way that change is really going to happen, is if men actually stop stiff-arming the conversation away from them and actually can engage with it. I think Emerald is much more interested in the male public engaging with it than the male critics, but if male critics lead to that, great.Promising Young Woman is in theaters April 17, 2020.
Adjusted Score: -1% Critics Consensus: Anchored by the incomparable Patrick Stewart, Picard departs from standard Starfleet protocol with a slower, serialized story, but like all great Star Trek it tackles timely themes with grace and makes for an exciting push further into the final frontier.
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游戏时长 83分钟

We’re one week away from the release of John Wick: Chapter 3: Parabellum, and the reactions have been very promising. Now the first crop of reviews have arrived online, and the third installment of the Keanu Reeves-led action franchise is being called the best one yet, coming out of the gate with an even higher Tomatometer score of 96%! Even if you question all the violence, you have to admire the technical quality of the action filmmaking involved. And by the end, you won’t just be wanting more John Wick but also spinoffs of the other characters.Here’s what the critics are saying about John Wick: Chapter 3 Parabellum:How does Chapter 3 compare to the first two?It’s the best film of the franchise so far, even surpassing the first film. Mike Ryan, UproxxHands down, the most giddily brutal and bananas film in the series to date.  Chris Nashawaty, Entertainment WeeklyEverything about John Wick: Chapter 3 is better than Chapter 2, from the fantastic cinematography to the editing and the score. Edward Douglas, The BeatThe choreography by far surpasses anything done in JW1 and it will make you forget JW2 altogether. Karen Han, PolygonParabellum also has the distinction of being the silliest of the John Wick movies; it’s like watching the live-action adaptation of a cartoon. Peter Debruge, VarietyMisses the greatness of Chapter 2 because of a convoluted last act and underdeveloped supporting characters. Brian Truitt, USA TodayDoes the praise go even further than the John Wick series?The year’s best action film, and if anything comes along and surpasses it I shall kneel before the filmmakers and pledge my fealty. Sean Mulvihill, fanboynation.comIf you were to ask someone what the greatest action movie ever made was, and they said ‘the first thirty minutes of John Wick: Chapter 3 – Parabellum,” they’d have a point. William Bibbiani, Bloody DisgustingWith John Wick 3, Reeves has finally made another action movie on par with The Matrix. Edward Douglas, The Beat(Photo by Summit Entertainment / courtesy Everett Collection)So, the action scenes are good, then?Every fight scene here is a sumptuous martial arts infused treat, in which we get a taste of fight-styles from all over the planet, executed by masters of those styles. Sherin Nicole, idobi.com


亚博app摩洛哥买球首选 这是一款沙盒类的角色扮演手游,玩家可以同时在第一人称和第三人称视角之间切换。游戏采用了像素风格画面,同时具有高自由度的游戏操作。玩家在游戏里上天入地,随心所欲,打造属于自己的世界,当然也可以和游戏里的各种动物对战,寻找生存之道。当然还可以和其他玩家分享游戏成果,其中无限可能,等你探索。

手游代理选择游戏首先要看这个游戏的运营如何,这一点很重要,因为游戏官方的运营是会对我们的玩家直接造成影响的,好的运营可以通过适当的活动奖励去有效地调动玩家的积极性以及活跃度,而不断更新的活动玩法也是能够增加玩家对游戏的兴趣,要知道一个游戏能不能留住玩家除了本身质量以及玩法外,游戏内的氛围也是很重要的一部分;优秀的运营能够在一定程度上延迟游戏寿命,而对我们代理而言,游戏当然是运营得越久对我们越有利。 Why would we do something so cruel as pit two of the nicest guys in Hollywood – and real-life besties – against each other? Because that’s kinda the whole idea of this show! And so it is that one-time scrappy up-and-comers and nowadays A-list superstars Matt Damon and Ben Affleck must face off, Batman-vs-Superman style, to the death. Well, until Vs. host Mark Ellis declares one the victor, at least. In this episode, the two actors duke it out over five categories – box office performance, Tomatometer and Audience Scores, most iconic moments, best characters, and a wild card round – before Ellis decides which of these apples he most likes. Will it be the man who refused to let a little thing like his Daredevil flop stop him from re-entering the superhero genre? Or the guy who gave us a new kind of super-spy in Jason Bourne… and said yes to Downsizing? Tune in to find out.On an Apple device? Follow Rotten Tomatoes on Apple News.



亚博app摩洛哥买球首选 “I remember looking out on the deck over all of Hollywood and feeling simultaneously on top of the world and never more isolated and alone. That was the beginning of the character for me.”“At the same time, I had just moved to LA. I was living in this house up in the Hollywood Hills that was like a friend of a friend of a friend s house. I somehow was paying like 0 a month to live in this glorified closet in a beautiful mansion. I don t quite know how it was arranged, but I remember there were rumors at the time, the rumors amongst the housemates, that it was the third-highest elevated house in all of Hollywood. That Johnny Depp had lived there once… It was on the top of this hill, up this very windy road that I immediately got into a car accident on. Then I didn t have a car, and I was stranded up on this house. I remember looking out on the deck over all of Hollywood and feeling simultaneously on top of the world and never more isolated and alone. That was the beginning of the character for me, the idea of this guy who was living in a house like this who d had every opportunity for success but still couldn t find a way to be happy.”“I really liked the sad episodes of The Simpsons, like ‘Lisa s Substitute’ or ‘Marge Be Not Proud’… That was kind of the tone I was going for.” I’d be lying if I said I was not inspired [by The Simpsons], if I tried to play it cool like, ‘Oh, what’s that show? Never heard of it.’ That was a huge influence on me growing up. There s the sense of the sensibility, the sense of humor. I particularly really liked the sad episodes of The Simpsons, the more emotional episodes like ‘Lisa s Substitute’ or ‘Marge Be Not Proud.’ I remember always loving those and wishing they were all like that, and so that was kind of the tone I was going for early on with BoJack because I want it to feel like a sad episode of The Simpsons. I think what s so great about those episodes in particular is they don t sacrifice jokes for emotion – they are very funny and full of great gags, but they are also very moving as well and very melancholy. Will Arnett as BoJack in season 1. (Photo by © Netflix)“By the end of the first season, they d be going, ‘Oh my God, why do I have feelings? Where did this come from?’”“I pitched it as a show that is going to start very fun and goofy, like most adult animated shows, but by the end of its first season, it s going to turn into more of a dramedy along the lines of a live-action show, like a Girls or even Mad Men, which felt a little more unprecedented in the world of animation, to indulge that much in seriousness and emotion. We were going to trick people by making people think it was a typical animated sitcom, but actually by the end of the season, they d be going, ‘Oh my God, why do I have feelings? Where did this come from?’. I always assumed the audience would join us on this ride and go from, ‘Oh, this is fun. This is silly,’ to, ‘Oh my God, I have feelings.’ It never occurred to me that some people might see the silly part and go, ‘Not for me,’ click and not even know that the rest of the show turns into this totally other thing. I think if I were doing it again, I might try to include more clues at the beginning that this was a more serious show. Even then, I think it s hard to do because there are clues in the beginning: In the first episode of the show, BoJack and Diane have like a two-minute conversation on the fleeting nature of happiness, right? That s the thing that everybody loved about the first season, that it did that change and that it was both of those things, that it wasn t just one or the other. When we were working on season two, I definitely felt the confidence of, ‘Let s go further in that direction because that s what the show is. That s the sweet spot.’”“People loved the Grouplove song, and people loved the Patrick Carney/Ralph Carney song. At the end of the day, we thought, ‘Could we do both?’”“Andy Gowan is our music supervisor, and he kind of put the word out to a bunch of different bands and a bunch of different artists, ‘Hey, here s a new show. We re looking for some music.’ We got a lot of responses, and the two that kind of rose to the top for me were this very playful, sing-songy, Grouplove song and this very heavy, spooky Patrick Carney and Ralph Carney song. I remember there was a lot of debate over which song are we going to use, and then as we kept watching, director Mike Roberts put together this incredible sequence of BoJack going through his day, and we played different songs over it to see what felt right. We d bring in people from the crew, we did focus groups, and it was pretty evenly split. People loved the Grouplove song, and people loved the Patrick Carney/Ralph Carney song. At the end of the day, we thought, ‘Could we do both?’ We ended up using the Patrick Carney, Ralph Carney song at the beginning… I think it is a little bit of a hint of what s to come in the show. It does make you think like, ‘Oh, this feels a little more dramatic than like a typical animated, fun sitcom.’ Then I think the Grouplove song [used in the end credits], kind of the opposite, is so fun and bright, and at the end of some of our episodes, which are really downer endings, it almost feels like an ironic poke in the ribs. I ve really enjoyed using that song as juxtaposition against all these different endings. Essentially as the show has gotten more and more serious, it s kind of revealed itself to have new layers to it.”Will Arnett (BoJack), Raphael Bob-Waksberg, Paul F. Tompkins (Mr. Peanutbutter), Alison Brie (Diane), and Aaron Paul (Todd). (Photo by Eric Charbonneau/Netflix) As soon as I saw Will Arnett s name, I was like, ‘Oh my God, yes, that s the guy,’ because he s so funny, but there s also a darkness to him. “The character of BoJack was not written with Will in mind. I wasn t thinking, ‘You know who d be a great, washed up, sad, lonely actor? Will Arnett.’ It was written for this drawing that Lisa Hanawalt had drawn of this horse guy. Then once we were developing the project, we thought, ‘Before we pitch this around, it might help to have some talent attached.’ Linda Lamontagne is our casting director, and she kind of drew up a list: ‘Here are some actors I think would be right for this.’ As soon as I saw Will Arnett s name, I was like, ‘Oh my God, yes, that s the guy,’ because he s so funny, but there s also a darkness to him. I feel like in his gravelly performance, you feel like he s lived a life, and there s a sadness lurking underneath there. Again, he s so funny. I mean, there are lines that we have made BoJack say that I would not have the chutzpah to give to an actor because they re so dopey, but that I knew that Will Arnett could pull them off. I remember in the writer s room, like looking at a line in a script being like, ‘Are we really going to keep this line in? This is so stupid.’ Then we do the table read, and Will Arnett reads it, and it s the funniest thing you ve ever heard. You re like, ‘Oh my God, he took our dumbest stuff, and he spun it into gold.’”“Who would be the funniest person to be judging this booty competition reality show? What if it s Felicity Huffman?”“We ve had a lot of incredible guest stars over the years. Usually, it just happens because we write a script, and then we think, ‘Who would be a good person for this script? Who would be the funniest person to be judging this booty competition reality show? What if it s Felicity Huffman?’ Then we go to them, and they usually say ‘yes,’ which is crazy. Occasionally, we ll hear something like, ‘Oh, this person s a big fan of the show.’ Then we ll keep them in mind if there s a part for them to play.When anybody likes the show, it s a shock and a delight to me, and it feels great, and it makes me suspicious that they re tricking me. Then when we ve had people come on the show or people that I ve seen, who have been heroes of mine, tell me they re fans of the show, that completely blows my mind. To have Weird Al Yankovic, who I grew up with, come be a guest star on the show and tell me personally that he really loves the show, my brain can t process that. I don t know how to take that kind of compliment, and I quickly change the subject to something else.”Amy Sedaris is Princess Carolyn. (Photo by © Netflix)“We wanted to, through Princess Carolyn, explore what is it like being another person in this person s life? That episode, ‘Say anything,’ has the first really sad ending of the series.”“I think a big turning point for our show happens in that first season at really episode seven and episode eight, which are called ‘Say Anything’ and ‘The Telescope.’ ‘Say Anything’ is episode seven, and that s an episode that s entirely told from Princess Carolyn s perspective. Up to that moment, almost everything that s happened in the show has been through BoJack[’s perspective]. A few episodes had small B stories or C stories, but they re really heavy A-story episodes. Then to switch it and be like, ‘No, BoJack is the side story this time, it’s really focused on this other character,’ felt like a bit of a departure for us. BoJack kind of falls into some sort of wreckage and steps out and like dusts himself off and wanders into the next misadventure. We wanted to, through Princess Carolyn, explore what is it like being another person in this person s life? What is it like attaching yourself to this kind of toxicity? That episode, ‘Say Anything,’ has the first really sad ending of the series. Everything up until then had been pretty light – or maybe we d end on like a dark kind of joke – but ‘Say Anything’ really ends on a serious, kind of sad moment with this lonely character. That for me was a real sign of where we wanted to go.”

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