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1. 亚博开户
Fresh news, everyone: A very Rotten book is on the way.We re super excited to announce that this October we will release our first ever book, Rotten Movies We Love. The book, published by Running Press, will feature 101 movies with Rotten Tomatometer scores that we love regardless. (Because we – just like you – still can t believe Step Brothers is Rotten.)We go to bat for the splat-worthy movies in Rotten Movies We Love for a variety of reasons. The movies might be:Audience favorites that bombed with critics – like Space Jam and Bad BoysSci-fi curiosities so bad they re awesome – like Masters of the Universe and ZardozCult classics the critics didn t see coming – like The Last Dragon, The Craft, and MacGruberUnderrated gems that have aged very well – like Jennifer s Body, Event Horizon, and The Cable GuySequels worth a second look – like Rocky IV, Return to Oz, and Home Alone 2The majority of films have been chosen by the editors of Rotten Tomatoes, but the book also features essays from some great Tomatometer-approved critics whose work we ve long admired, including Leonard Maltin, Empire magazine editor-in-chief Terri White, Vanity Fair writer K. Austin Collins, Monica Castillo, and many more.The book is available from October 8, 2019, and you can find out more info and preorder it here.Think you know which lovable Rotten movies are going to be featured in the book? Let us know in the comments below. 如果这两个模式上线手游,我是非常推荐没有接触过的玩家购买的,一是这两个模式是单机,一次付费就OK,不用担心和mc一样是无底洞,二是能够享受最纯粹的足球游戏乐趣,别说了,开冲!

2. 公平游戏环境
(Photo by Marvel Studios)Marvel TV Shows Ranked from Worst to BestUpdated July 12, 2021Disney+ s new MCU-tied streaming series are the latest threat to the rankings of all Marvel TV shows. How do the comic book giant s television properties currently stack up?The streamer s third original MCU offering, Loki, initially knocked Marvel s Agents of S.H.I.E.L.D. from the top spot on our ranking after the Tom Hiddleston–led series premiere episode. The series has since taken a small tumble, and Agents of S.H.I.E.L.D. is back at No. 1 despite hefty competition from the first Disney+ series WandaVision and Daredevil, the highest-scoring Netflix-Marvel collaboration.We ve included titles that have at least 10 reviews, and ties were resolved by the number of reviews for each title and further by the Average rating under Score Details in cases where two series have the same score and the same number of reviews.Check back regularly as new Marvel series like Secret Invasion and Hawkeye debut.Disagree with the results? Tell us in the comments which series you think should have scored higher (or lower) with critics.Recently added: Marvel s M.O.D.O.K. and Marvel s Hero Project.亚博开户After the pandemic brought the industry to a halt, delaying multiple release dates for the studio, Marvel has finally returned with limited series WandaVision, kicking off the beginning of its Phase 4 slate. It s also the studio s first foray into delivering some original programming to Disney+, with the first two episodes of the series premiering to the streamer on Friday, January 15.The highly-anticipated series puts Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) and her synthezoid boyfriend Vision (Paul Bettany) in the spotlight. A 1950s-style sitcom spotlight, to be specific. On the surface, WandaVision looks to be unlike anything Marvel has done within the 13-year framework of its Marvel Cinematic Universe.But does the program work? Here s what critics are saying about WandaVision:HOW DOES THE SITCOM NARRATIVE WORK?(Photo by Marvel Studios/Disney+) Each new episode replicates a different decade of yesteryear sitcoms beginning with 1950s I Love Lucy and The Dick Van Dyke Show in the premiere episode. The second episode tackles series like Bewitched and I Dream of Jeannie, and the third shadows The Mary Tyler Moore Show, and so on. —Megan Vick, TV Guide It’s played almost as a straight tribute to those ancient shows, but there are tiny touches, here and there — beyond the employment of superpowers — that suggest that something is very wrong. — Helen O Hara, Empire Online In a break from the traditions of the ’50s and ’60s, the faux-sitcom vehicles of the first two episodes go out of their way to cast people of color, and to poke at the blatant misogyny that turned shows like Leave It to Beaver into symbols of a bygone era. When actress Teyonah Parris pops up in episode 2 as one of Wanda’s new neighborhood pals, Geraldine, WandaVision has its cake. Old shows never had Black women playing this type of role to chipper perfection, but “Geraldine” clearly knows she isn’t supposed to be there. — Matt Patches, Polygon With each installment, a few more cracks in the sitcom facade appear, but the bigger mystery is unveiled at an excruciatingly slow pace. In the second episode, Teyonah Parris is introduced as mysterious neighbor Geraldine, but those who have been following Marvel casting news will know there s more to her than that. The third offers some tantalizing peeks at what might really be going on but stops short of explaining it. As a weekly series, it s an aggravating and unsuccessful structure. — Kelly Lawler, USA Today WandaVision isn’t just another story about superheroes; WandaVision is a love letter to the history of sitcoms, one that sharply dissects how and why the format endures and why it remains culturally significant. Yep—WandaVision is a superhero show (a genre that’s frequently dismissed by critics) that analyzes sitcoms (a format frequently overlooked by critics). — Brett White, DeciderHOW IS THE PRODUCTION QUALITY? (Photo by Marvel Studios/Disney+) The set design, the performances, and the specific feel of a multi-camera sitcom — WandaVision’s pilot was filmed in front of a live studio audience — reflect a love for these indelible shows. — Alex Abad-Santos, Vox The look and feel of each episode is true to the spirit of its respective sitcom era as much as to any one show, as it’s clear everyone did their homework(*). — Alan Sepinwall, Rolling Stone Though it gets off to a slow start, the show has plenty going for it, from gorgeous, extremely expensive-looking production design and breathtaking special effects to punchy performances, a trippy mood and a plot that does eventually become quite absorbing. — Judy Berman, TIME Magazine Christophe Beck nails the jaunty sitcom score interstitials that bookend scenes, while Frozen songwriters Robert Lopez and Kristen Anderson-Lopez gift our leads with period-appropriate jingles that befit whatever decade they’re trapped in now. — Clint Worthington, The Spool HOW DOES IT CONNECT TO THE MCU? (Photo by Marvel Studios/Disney+) As the saturation drains from the title card, and the opening notes of WandaVision’s first theme song begins to play, the episodic nature of the series jumps out, and reminds you that this debut Marvel series on Disney’s streaming service isn’t quite trying to conjure up your traditional MCU shock and awe. — Charles Pulliam-Moore, io9.com These Disney+ series, though, expand the story of characters we know from the movies in way that the movies simple did not have time to do. It also allows WandaVision creator Jac Schaeffer and director Matt Shakman to put a uniquely stylized and deeply emotional spin on a story that would have (had this been a movie) otherwise been shackled by the mandated aesthetics of the overall MCU. — Allison Keene, Paste Magazine There is an overarching story to the series, one that will presumably explain how these very surreal events connect back to the lives (and deaths) of matter-and-mind manipulating Wanda Maximoff (Elizabeth Olsen) and the artificial “synthezoid” known as Vision (Paul Bettany) from the more cinematic entires of the Marvel Cinematic Universe. Through the first third of WandaVision’s season, though, its Marvel mythology remains in the background. — Matt Singer, ScreenCrush What s really going on here, given where movie-goers saw these Avengers last? That s the fundamental mystery, one the producing team is clearly in no hurry to divulge. Patience becomes a virtue, taking in the sitcom homages while maintaining a watchful eye for sly Marvel references and cleverly placed dollops of color, presenting possible cracks in the black-and-white veneer. — Brian Lowry, CNNHOW ARE ELIZABETH OLSEN AND PAUL BETTANY? (Photo by Marvel Studios/Disney+) Olsen and Bettany are delightful as they channel sitcom performers of the 1950s, 1960s, and 1970s, demonstrating their sharp comedic timing. It s a testament to their strengths as actors that they don t come across as doing imitations of the old shows WandaVision draws from, which helps immerse viewers in each new period. — Chris Agar, ScreenRant If you were looking for charming stars to convey a Mary Tyler Moore/Dick Van Dyke vibe, you couldn t do much better as Olsen and Bettany get to spell out the sweet chemistry that the movies have only hinted at. — Dan Fienberg, Hollywood Reporter Bettany has had a few comedic roles in the past, but none that demanded this level of full-on slapstick commitment — yet his follow-through makes him feel like a pro with 100+ episodes of syndicated hilarity under his belt. And it s not just that he can deliver some killer punchlines, it s how fiercely he throws himself into the relevant archetypes of each era while always allowing the glimmer of artifice to stand out. — Liz Shannon Miller, ColliderWHAT ABOUT THE SUPPORTING CAST? (Photo by Marvel Studios/Disney+) The leads aren’t left alone to do all the heavy lifting thanks to a terrific supporting cast of character actors that wouldn’t normally find their way into a Marvel Studios production. Notably, Kathryn Hahn uses her comedic skills to great effect as the precocious neighbor Agnes and That 70’s Show alum Debra Jo Rupp, as the wife of Vision’s boss, is a perfect addition to add to the period feel of the show.  — Kyle Wilson, Lamplight Review Alongside Olsen and Bettany is Kathryn Hahn as a nosy neighbor, whose comic relief develops and darkens as the show moves into the 1970s. She’s as invaluable in WandaVision as she is in most things, perfectly capturing the series’s mood of perky, tireless energy slowly being consumed by paranoid sci-fi dread. — Richard Lawson, Vanity Fair The supporting cast is also a delight, with hints of further meaning yet to be unveiled, with the impeccable Kathryn Hahn bringing the sass as the couple s helpful neighbour Agnes and Mad Men’s Teyonah Parris as the mysterious Monica Rambeau. — Lewis Knight, Daily Mirror (UK)ANY FINAL THOUGHTS? Unabashed, off-kilter, and unlike anything Marvel has ever attempted, WandaVision is a reality-warping joy that promises a new beginning of the MCU. — Lauren J. Coates, Consequence of Sound Stretched out into three (and likely more) episodes, the stuck-in-a-TV-show premise starts to seem like a better idea for an interlude within something larger, rather than a whole thing unto itself. — Richard Lawson, Vanity Fair Working as both a love letter to classic sitcom television and a modern comic book mystery, WandaVision is just weird and charming enough to work. — Kyle Wilson, Lamplight Review Consider WandaVision an unusual first step for this new Marvel phase. The best parts lovingly conjure the mood of very old television shows. The worst parts feel like just another movie. — Darren Franich, EW WandaVision premieres its first two episodes on Friday, January 15 on Disney+.

3. 激战团竞模式
Want to know if your favorite television series is among the latest cancelled TV shows? Bookmark this page to learn about Netflix cancelled shows, when network series get the axe, and which cable TV limited series are being reworked as anthologies to squeeze every single drop of fan love out of them.How it works: Renewals are obvious: new season = yay! When a network or streaming service announces that they re not making another season of a show, however, we count that as cancelled (or canceled if you spell it without SEO considerations). Sure, some shows come to a natural end, but someone somewhere said enough, and to avoid endless discussions about whether a title was cancelled or retired — One Day at a Time and Marvel’s Helstrom were cancelled, but His Dark Materials will come to a natural conclusion — we re going with the one designation. Feel free to debate specific titles in the comments if you wish. But first: learn which series will live on, which were renewed and then cancelled (thanks, COVID-19), and which have simply reached their expiration date.

4. 呼朋唤友 随心所欲
ther fresh – but we imagine they re all negligible when you re staring down a reptilian maw of serrated teeth. Their crushing jaws, tough exteriors, and peculiar elongated shapes have made them the villains in some vibrant monster movies, ranging from horror comedies (Lake Placid), summer blockbusters (Rampage), and near-classics (Rogue). Those will soon be joined by Crawl, a wind-and-rain–swept action flick from the director of Piranha 3D, so we re taking a tumble in the swamp by ranking all the best and worst crocodile and alligator movies by Tomatometer!

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 3.56.32021-11-30

3.62.2 2月喜迎James Wan’s Aquaman may have started with the lowest opening ever in the DC Universe, but seven days later, it is looking more like Michael Phelps than some lowly dog paddler. The film is entering very exclusive territory this weekend just as two more December releases join the 0 million club by the time the clock strikes midnight on New Year’s Eve. That makes 32 for 2018 with at least two more films still hoping to surpass last year’s (and 2014’s) total of 33 to become second only to 2013’s 35 0 million-plus films. That record may come up short, but Hollywood has shot past its previous ticket sales record (.37 billion in 2016) and is now eyeing a billion year at the box office.King of the Crop: Aquaman Joins Impressive Club of December Releases(Photo by Jasin Boland/ ™ & © DC Comics)After its first weekend, Aquaman  was million behind Justice League. After weekend two it is now million ahead and climbing. How high? Quite actually. Because as of this Sunday, Wan’s film is now the sixth highest grossing December release after 10 days, behind five little films: Star Wars trio The Force Awakens, The Last Jedi, and Rogue One, as well as Avatar and Lord of the Rings: The Return of the King. All seven December films to have made 0 million by this point have reached the 0 million mark, and Aquaman is million ahead of The Two Towers. Peter Jackson’s film opened on a Wednesday, so that pace will tighten over the next couple of days. But Return of the King made .8 million in its second weekend and ended with 9.7 million. Aquaman grossed .5 million and is likely looking at a final gross in that vicinity, which would surpass both Suicide Squad and Batman v Superman for second highest grossing feature film in the DC Universe behind Wonder Woman. With 8 million worldwide, it is the seventh highest grossing film of 2018 and will be passing Mission: Impossible – Fallout and Venom soon with its eye then on a billion dollars.Fresh Surprise: WWI Documentary Out-Performs New Releases(Photo by Warner Bros. Pictures)Speaking of Peter Jackson, his WWI 3D documentary, They Shall Not Grow Old, has become one of the top-grossing documentaries of the year. After just two nights. Fathom Events held special single-night screenings on December 17, when it broke the company’s record with .3 million, and then again this past Thursday, when it broke it again with another .37 million. That was more than this week’s openers, Holmes Watson and Vice, grossed on Thursday with a full day of screenings. With .7 million in two nights it has made nearly as much as partisan documentaries, Death of a Nation (with a 0% Tomatometer score) from pardoned felon Dinesh D’Souza (.88 million) and Michael Moore’s Fahrehheit 11/9 (.35 million). Warner Bros. will open the film in a few cities on January 11, and you can expect it to rise from the seventh highest grossing documentary of 2018 into the top five – and maybe even higher.Rotten Returns: Holmes Watson (aka the Anti-Aquaman)(Photo by Columbia Pictures)Holmes Watson opened in theaters without being screened for critics. Hey, Disney did the same thing for Christmas opener, Tombstone, back in the day, too. How bad could it be? Well, it is currently just the third wide-release of the year to score lower than 10% on the Tomatometer after Slender Man and Death of a Nation’s golden doughnut of 0%. That is where Holmes was with its initial set of reviews, but folks were already in the midst of paying good money to see it on Christmas Day. Around .4 million and 24 hours later, some were already calling it a “commercial flop” on Twitter despite the fact that only four of 23 films to open on Christmas to more than million failed to reach million.That still would not have been enough to cover its million budget in domestic dollars, but it’s not like it was Mortal Engines or Welcome to Marwen this month; however, Holmes Watson’s audience numbers have been scaling down to its current Rotten Tomatoes score of 9%. Though .7 million after its first six days still has it pacing for somewhere between -60 million, its numbers are diminishing at the pace of Aliens Vs. Predator – Requiem, which finished with just .7 million after it opened on Christmas. So it will depend on international audiences to determine whether the film is “a commercial flop” or not.The Top Ten and Beyond: Poppins Bumblebee To Join 0 Million Club Soon(Photo by Walt Disney Studios)Mary Poppins Returns just missed becoming the 26th film opening in December to reach 0 million in its first 12 days; though it will do so on New Year’s Eve. Of the films in its 12-day company that had between million to 7 million at this point, Poppins’ -million weekend is second only to Daddy’s Home’s .2 million. (Poppins is likely to fly past Daddy’s Home’s 0 million.) The next crop of films above them (sans Marley Me) are all 0 million grossers. So as long as Rob Marshall’s film maintains its current pace it should rise high enough to be one of the three highest grossing films of the season.Spider-Man Into the Spider-Verse did join the 0 million club this weekend. At 3.6 million it is in the company of Catch Me If You Can, Les Miserables (2012), Into the Woods, True Grit (2010), and Unbroken, but its third weekend of .3 million surpasses all of theirs, suggesting the film is headed for north of 0 million — an estimate that could continue to rise with the word-of-mouth it is receiving.Bumblebee, with another million this weekend, is also headed for 0 million like every other film from December to have million after 10 days. Clint Eastwood’s The Mule, on the other hand, took 17 days to hit the million mark, but it is not out of the running to become the 34th film of 2018 to reach 0 million. For a film that needs around 0 million to break even, million seems to be the worst-case domestic scenario at this moment. As it is pretty closely aligned with the 0.7 million–grossing The Pelican Brief, there is still a possibility this will be Clint’s sixth film as a director to reach that height.While Holmes and Watson was grossing .4 million on Christmas Day, Adam McKay’s award hopeful, Vice, was gathering up .7 million and a 64% score on the Tomatometer. It has made million in its first six days and eyes somewhere around million final domestic gross, but is already Annapurna’s highest grossing film to date surpassing this summer’s Sundance pickup, Sorry To Bother You. Ralph Breaks the Internet has fallen behind the pace of last year’s Coco, but is still million ahead of Tangled, which keeps 0 million very much in the picture. It only takes Ralph and Poppins to break the single-year record of most films to reach the milestone in any year. A 0 million final gross may be out of reach for Illumination’s The Grinch, but its 6 million makes it undoubtedly one of the biggest hits of the season, even while it could end up being the company’s third-lowest grossing film to date; albeit one with still over 0 million in profit.Beyond the Top Ten you will find both The Favourite (.2 million) and Mary Queen of Scots ( million) doing decent business in less than 850 theaters each. Both continue to do better than Robert Zemeckis’ Welcome to Marwen, which has grossed .7 million. There are still seven films this year further in the red than Marwen (including Ralph Breaks the Internet), though it is still little comfort being among the 10 biggest financial losers of 2018.In further limited release news, we have the three best per-theater-averages of the week: The Ruth Bader Ginsburg drama, On the Basis of Sex (74%) averaged ,909 this weekend and has made .5 million in 33 theaters since Christmas. Destroyer (76%) has been in three theaters since Christmas and has made 5,661. It averaged ,491 this weekend. Then there is Stan Ollie (89%), which opened on Friday in five theaters, averaging ,935 for a total of ,674. Aquaman had the fourth best average with ,497, and Barry Jenkins’ If Beale Street Could Talk was fifth, adding 60 theaters (for a total of 65). It averaged ,686 and has grossed nearly million.This Time Last Year: The Last Jedi Held Off Jumanji for the Last Time(Photo by Walt Disney Pictures)Star Wars: The Last Jedi maintained the top spot for a third straight week (and passed the 0 million mark), though Jumanji: Welcome to the Jungle closed the gap with a .5 million-to- million showdown. Christmas day openers, All the Money in the World and Molly’s Game made .7 million and .3 million, respectively, in their first full week of release. Steven Spielberg’s The Post and Paul Thomas Anderson’s Phantom Thread led the per-theater-average list with ,342 (nine theaters) and ,124 (four theaters). The Top Ten films grossed a total of 3.3 million over the weekend, which included New Year’s Eve, and they averaged 65.1% on the Tomatometer. This year’s Top Ten grossed 3.1 million and averaged 65.6%.On the Vine: There Is No Escape From Horror in 2019(Photo by Columbia Pictures)The new year kicks off with horror about domains from which there appears to be no safe room, though do not expect to see a Tomatometer score for either until later in the week. The PG-13 Escape Room with Taylor Russell, Deborah Ann Woll, and Tyler Labine should get a score just before it opens. Then Eli, from the director of Sinister II, will get reviews from critics brave enough to check out the tale of a boy with auto-immune issues stuck in a dangerous home when it opens on Friday.The Full Top 10: December 28-30Aquaman .5 million (8.7 million total)Mary Poppins Returns .0 million (.9 million total)Bumblebee – .5 mi
Ryan Fujitani for Rotten Tomatoes: I know the initial spark for The Truth came from Juliette Binoche, but what ultimately inspired you to make your first film outside of Japan?Hirokazu Koreeda: Well, in terms of your question about what finally persuaded me to make a film outside Japan and in France, I was able to meet with the French director François Ozon several times in Japan, and he was very positive and supportive and said that, There are a lot of people who like your films in France. I m sure if you make a film in France, it will be successful. I think his words really stayed with me and really helped to persuade me. Right before filming, I met with him to tell him that I was working with [Catherine] Deneuve, and he said, Everyone says that she s so difficult, but honestly, she s the kind of actress who really wants to serve the entire film. So you ll be fine. It was very persuasive and reassuring to have him talk to me that way.RT: On that note, it seems clear how Juliette Binoche became involved with the project, being that she met with you early on, and I read that you were eager to meet with Ethan Hawke for his part right after you won the Palme d Or last year for Shoplifters. But what was the process like for casting Catherine Deneuve?Koreeda: Let s see, I had the idea suddenly in 2015 on my way back from France to Japan on an Air France flight. I had written a Japanese play for an aging Japanese actress, and it suddenly occurred to me to completely rewrite it and set it in France. And I thought, Well, if Deneuve is the aging actress, Binoche is her daughter and Ethan Hawke is Binoche s husband. That s how I start my diary entry for that day. It happened in a flash on an Air France flight.And then I had, I would say, about a total of six hours of lengthy interviews with Deneuve, and then I processed all of that, what I got from her, into strengthening and developing her character in the script. But about half of those six hours was her talking about restaurants and movies.The Truth is in select theaters and available on VOD on July 3, 2020.Thumbnail image: Everett Collection, Focus Features, Cinema Service

(Photo by JEONG PARK/NETFLIX ©2020)In the seven years since Steve McQueen s 12 Years a Slave won Best Picture, we ve witnessed what many consider a Black cinematic renaissance, where the types of stories considered awards-worthy has expanded in scope and the varying genres of films produced by Black creators has exploded. From Barry Jenkins’ Best Picture winner Moonlight and Ava DuVernay’s Selma to Jordan Peele’s genre triumphs Get Out and Us and beyond, Black cinema thrived during the 2010s.But any student of movie history will remember the last time Black filmmaking rose to prominence. In the late 1980s and early 1990s, Spike Lee’s Do The Right Thing, John Singleton’s Boyz n the Hood, and Mario Van Peebles’s New Jack City began what felt like a game-changing boom. Due to white gatekeepers, however, the Black cinematic revolution ultimately went bust. In a revealing interview with The New York Times, filmmaker Darnell Martin (I Like It Like That) said: “You think, ‘It’s O.K. – you’re like every other filmmaker,’ but then you realize, No… It’s like they set us up to fail – all they wanted was to be able to pat themselves on the back like they did something.”Studios rejected richer, more varied stories from newer voices in lieu of the proven box office success of the hood films involving inner city violence, gangs, and drug abuse. The move prevented directors like Martin, Leslie Harris, Julie Dash, Matty Rich, Ernest Dickerson, Theodore Witcher, and many more from becoming household names. Considering the barriers these filmmakers faced during the 90s, it’s imperative that during the 2020s the next generation of Black filmmakers are afforded the opportunities to build upon the strides of the 2010s.With that idea in mind, this guide to up-and-coming directors already beginning to make a name for themselves aims to identify those set to follow Jenkins, DuVernay, and Peele in a further expansion of Black cinematic storytelling. These are the new Black directors to look out for – and support.Of course, any list like this can t capture every person worth singling out – if you have another favorite up-and-coming director, share in the comments. Haley Elizabeth AndersonPillars, If There Is A Light (shorts)(Photo by J. Countess/Getty Images)To find a brand-new voice already so fully formed is rare. While Haley Elizabeth Anderson (above left), a recent graduate of NYU’s Tisch program, first generated waves at Tribeca 2019 – Queen Latifah and Dee Rees singled out her short film If There Is a Light there – it was at Sundance 2020 that her coming-of-age short Pillars really announced her as an up-and-comer to watch; the film would win her the grand jury prize for live-action features at AFI Fest. Pillars centers around a young southern Black girl from a devout family exploring her inchoate sexuality in the church’s bathroom only to incur the wrath of her religious father. Through her evocative aesthetics and a provocative queer narrative, Elizabeth Anderson established herself as a major force with just two shorts.Blitz Bazawule
This Week s Ketchup brings you more headlines from the world of film development news, covering such titles as The Flash, Kraven the Hunter, and Gucci. This WEEK S TOP STORYOLIVIA WILDE MIGHT BE DIRECTING A SPIDER-WOMAN MOVIE FOR SONY(Photo by Francois Duhamel/©Annapurna Pictures)Although SPUMC is a pretty clumsy abbreviation, Sony Pictures does indeed have a massive Sony Pictures Universe of Marvel Characters slate planned. In addition to Venom and the upcoming Morbius (3/19/2021, delayed from 7/10/2021 because of COVID-19), the SPUMC development slate currently includes: Jackpot, Kraven the Hunter (see story below), Madame Web, Nightwatch, Silk, and The Sinister Six. One of the most talked about stories of the week was the announcement that Sony Pictures has officially hired actress-turned-director Olivia Wilde for an untitled female-centric Marvel movie. Most of the stories about Wilde s hiring speculate that the secret project is probably Spider-Woman, A.K.A. Jessica Drew, who debuted in the comics in 1977, before soon after getting her own Saturday morning cartoon (which you can now watch on Disney+). It s also possible that Olivia Wilde s project could be about another Spider woman hero, like Silk, Ghost-Spider (A.K.A. Spider-Gwen), Madame Web, or someone never mentioned for a movie before like Spider-Girl or Araña (Peter Parker has got a lot of female counterparts). Olivia Wilde s next project as director will be a thriller called Don t Worry Darling, starring Florence Pugh, Dakota Johnson, Shia LaBeouf, and Chris Pine.Other Top Headlines1. THE FLASH WILL PROMINENTLY FEATURE TWO FORMER BATMEN(Photo by ©Warner Bros. courtesy Everett Collection)We ve known for some time that the long planned DC Comics solo movie for The Flash (starring Ezra Miller from Justice League) is likely to involve the popular Flashpoint storyline, in which The Flash s attempt to change the past results in all sorts of alternate reality craziness. There have been recent rumors that The Flash could feature past Batman actors like Michael Keaton and Ben Affleck, but this week, we appeared to receive confirmation that both of them will indeed return as their versions of Batman. Let s start with Ben Affleck, who at one point appeared to be done with playing Batman, especially when Twilight star Robert Pattinson signed on to star in the long-in-development The Batman (10/1/2021), which at one point was supposed to have starred Affleck. Affleck reportedly had notes on the script before he agreed to sign on to return in The Flash. (You can read much more speculation about the possible impact of this  right here). As we said earlier, Affleck won t be the only returning Batman, as Michael Keaton from the original 1989 Batman will also be coming back, in what is now being called a substantial role, versus what had previously been thought to just be a cameo of some sort. Although the COVID-19 pandemic obviously continues to have an impact on release dates, The Flash is currently scheduled for release on June 2, 2022.2. WILL SMITH AND KEVIN HART BOARD THE PLANES, TRAINS, AUTOMOBILES REMAKE (Photo by Paramount courtesy Everett Collection)Despite the ongoing love affair with 1980s movies, and the wave of remakes of 1980s movies, one of the most beloved directors of the 1980s John Hughes has basically been left untouched (Hughes wrote, but didn t direct, the original Vacation, which was remade in 2015). That will likely soon change, as Paramount Pictures is now actively developing a remake of the 1987 classic Planes, Trains Automobiles (Certified Fresh at 91%), starring Steve Martin and John Candy as fellow travelers who face a series of obstacles in their attempts to get home for Thanksgiving. The new Planes, Trains Automobiles is being developed for Paramount by Will Smith s Westbrook Studios and Kevin Hart s Hartbeat Productions as a star vehicle for both of them. It s unconfirmed which star will be reprising which role, but our money is on Smith to play the harried family man and Kevin Hart to play the sad-sack loner. Television writer Aeysha Carr (Brooklyn Nine-Nine, Fresh at 95%) has been hired to make her feature film debut adapting the film.3. LADY GAGA S GUCCI MAY BE JOINED BY DE NIRO, PACINO, DRIVER, AND LETO(Photo by ©Netflix)Some movies seem to be intended from their very inception as possible awards contenders, and from the day we first heard about Ridley Scott s Gucci, starring Lady Gaga as Patricia Reggiani, it seemed like exactly that sort of film. Having said that, there s Oscar bait and then there s OSCAR BAIT, and you don t get much more Oscar Baity than the casting coup Scott was able to manage this week. In addition to Lady Gaga s three nominations and one Academy Award, and Ridley Scott s four Academy Award nominations, the actors cast in Gucci this week have received a total of four Academy Award wins (for The Godfather Part II, Raging Bull, Scent of a Woman, and Dallas Buyers Club) and a grand total of twenty Academy Award acting nominations. The actors in question are Robert De Niro, Al Pacino, Jared Leto, and Adam Driver (who s no slouch either, with nominations for both BlackKklansman and Marriage Story). Boardwalk Empire star Jack Huston and Broadway star Reeve Carney are also in talks for roles. If both De Niro and Pacino do sign on for Gucci, it will be their fifth film acting together, following The Godfather Part II, Heat, Righteous Kill, and The Irishman. MGM currently has Gucci scheduled for release on November 24, 2021.4. THE MANDALORIAN STAR PEDRO PASCAL TO OBSESS OVER NICOLAS CAGE (Photo by Eli Winston/Everett Collection)One of the most fun movie news stories of 2019 came in November (just before we entered the trainwreck that is 2020) when we first heard about The Unbearable Weight of Massive Talent, in which Nicolas Cage will play a fictionalized version of himself. This week, we learned that Cage s co-star will be Pedro Pascal, who is coming off the Disney+ hit The Mandalorian and is scheduled to appear as villain Maxwell Lord in the upcoming Wonder Woman 1984. Pascal s casting brings with it a better understanding of exactly what this movie will be about. Nicolas Cage will play a washed up, unfulfilled, and financially impaired version of himself who agrees to attend a birthday party of a super fan (Pedro Pascal) for a million dollars. The party soon turns dangerously obsessive as Cage must must stay alive by recreating his most beloved moments as an actor. (Keep in mind that this is the same guy who ate a cockroach for Vampire s Kiss). We have yet to learn if any bees will be involved.5. SPIDER-MAN VILLAIN KRAVEN THE HUNTER TO RECEIVE HIS OWN MOVIE (Photo by Marvel Comics)The news about the possible Spider-Woman movie sort of absorbed most of the Marvel movie attention this week, but there was actually major movement for another film to be set in the Sony Pictures Universe of Marvel Characters (SPUMC). To start off, we should note that earlier this month, there was a rumor that Sony and Marvel were seeking a Joel-Kinnaman-type for Tom Holland s third Spider-Man movie, which many interpreted as being for the role of old school Spidey villain Kraven the Hunter (also one of Spider-Man s few classic villains who hasn t yet been depicted in a live-action movie). We still don t know if there are any plans to introduce Kraven in the next Spider-Man, but we do know that Sony is now developing a Kraven the Hunter movie, as the studio is now in talks with director J.C. Chandor (A Most Violent Year, Triple Frontier). Kraven the Hunter dates all the way back to 1964 and The Amazing Spider-Man #15, but the arguably definitive Kraven story arc is 1987 s Kraven s Last Hunt (which may be part of the inspiration for the Kraven the Hunter movie as well). We should also note that there has been talk about Sony developing a Kraven the Hunter movie at least as far back as 2017 (along with Mysterio, who eventually made his debut in last year s Spider-Man: Far from Home, played by Jake Gyllenhaal).6. PETE DAVIDSON AND O SHEA JACKSON JR. TO TAKE ON SNEAKER CULTURE (Photo by ©NEON, Mary Cybulski/©Universal Pictures)In addition to the aforementioned Planes, Trains Automobiles remake, Kevin Hart s HartBeat Production also made the news this week for partnering with NBA star Chris Paul of the Oklahoma City Thunder for a dramedy called American Sole. Pete Davidson (Saturday Night Live, The King of Staten Island) and O Shea Jackson Jr. (Straight Outta Compton, and also Ice Cube s son) are both attached to star in American Sole, which is set in the world of after-market sneakers as two college graduates who attempt to get out of debt by getting into the lucrative market of reselling sneakers for much higher markups (which reportedly is now estimated to be worth over billion in sales each year). Camila Mendes, who plays Veronica Lodge on The CW s Riverdale, also joined American Sole this week as the girlfriend of Pete Davidson s character.7. BJORK JOINS ROBERT EGGERS VIKING EPIC THE NORTHMAN(Photo by Ronald Siemoneit/Getty Images)The COVID-19 pandemic has delayed all aspects of filmmaking, both in and out of Hollywood, but one of the more obvious examples is the Vikings epic The Northman, which had to shut down just a week before production was to start in March. This week, director Robert Eggers (The Witch, The Lighthouse) was finally able to start principal production of The Northman on the elaborate sets that have been assembled in rural Ireland. Most of the epic s cast had already been announced months ago, including Eggers The Lighthouse star Willem Dafoe, Anya Taylor-Joy from The Witch, Nicole Kidman, and brothers Alexander Skarsgård (HBO s True Blood) and Bill Skarsgård (Pennywise from IT). The new addition this week was Icelandic pop star Bjork, who is reportedly playing a character called The Slav Witch, which sort of makes sense (Bjork actually made her feature film debut 30 years ago in 1990 with the Icelandic witchcraft fairy tale The Juniper Tree).8. LAURENCE FISHBURNE SAYS HE WASN T ASKED TO COME BACK FOR THE MATRIX 4 (Photo by ©Warner Bros. courtesy Everett Collection)There is an expression in comic book fandom that goes, No one stays dead except Uncle Ben (humorously, that saying used to include Bucky Barnes and Jason Todd, until they both got revived). The trope about dead characters eventually coming back for financial reasons also applies frequently to the movies (like, say, the slasher villains in the Halloween and Friday the 13th franchises). So, one might have thought that Laurence Fishburne could be brought back as Morpheus in The Matrix 4, but this week, Fishburne clarified, I have not been invited. Also this week, Keanu Reeves spoke to press about the safety protocols on The Matrix 4 as production has resumed on sets in Germany. Filming had begun in February in San Francisco until moving on briefly to Berlin, but as with most film projects at the time, production of The Matrix 4 was delayed because of the COVID-19 pandemic. Keanu Reeves fellow cast members will include Carrie-Anne Moss and Jada Pinkett Smith (from the original trilogy) and newcomers Yahya Abdul-Mateen II (rumored to be playing the young Morpheus), Priyanka Chopra Jones, and Neil Patrick Harris. The COVID-19 pandemic continues to regularly cause release date changes, but for now, The Matrix 4 is scheduled for April 1st, 2022.9. POTENTIAL NEW GHOSTFACE VICTIMS ANNOUNCED FOR SCREAM 5 (Photo by Dimension Films courtesy Everett Collection)In March of this year, we first learned that the directors and producers of last year s horror comedy Ready or Not (Certified Fresh at 88%) had signed on to direct the long-awaited sequel Scream 5. For the most part, casting until this week mostly involved the announcements of returning franchise stars Neve Campbell as Sidney Prescott, David Arquette as Dewey Riley, and Courteney Cox as Gale Weathers-Riley. This week, two different young actresses were announced, starting with Melissa Barrera, who will be one of the stars of Lin-Manuel Miranda s In the Heights when that movie is eventually released in 2021 (delayed from this summer). Two days later, Jane the Virigin co-star Jenna Ortega also joined the cast. In related (and unsurprising) news, Samara Weaving also revealed this week that there had been a moment this year when she almost was cast by her Ready or Not collaborators in Scream 5, saying, We were talking about it, but our schedules aren’t gonna work, which is a bummer. Scream 5 is expected to be released sometime in 2021 (probably later in the year), and filming is expected to start in Wilmington, North Carolina, later this year.
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亚博开户 Loki Confronts the Lie of FreedomOur current understanding of the TVA puts Loki s journey in a new light. His stated ambition to rule was always to order people away from what calls the lie of freedom. Sure, there are also the sore feelings he carries around for Odin (Anthony Hopkins) and Thor (Chris Hemsworth), but the family squabble underscores the way Loki wanted to organize the universe into a realm under his direction.Curious, then, that a variant of Loki would learn that ambition was never really his and that his life was carefully curated by space lizards to be a villain. One thing actors who play villains always note is that the characters never see themselves as the bad guy. So Loki actually learning he is a villain is a revolutionary moment for the MCU. The antagonists generally have a seemingly reasonable purpose to their actions; whether that be Ego s (Kurt Russell) basic need to procreate or Thanos (Josh Brolin) grim calculus. But for Loki, his mischief no longer serves the burden of glorious purpose he perceived in his life. He is finally exposed to the truth that he is the bad guy.Granted, Loki is such a scamp that we never want to see him reduced to so simple a thing, so the series will likely disprove the determination of the Time-Keepers.Also, Loki fighting against (or giving into) his nature will likely be an ongoing internal conflict for the character. Released from the timeline and unburdened by his purpose, will he attempt to gain control of the TVA or will he be transformed by the experiences he will face? While the Loki of the prime timeline proved to have heroic qualities, will this variant find his way to the same path? Maybe witnessing a truly villainous Loki Laufeyson will push him in that direction.A Variant Darkly: Loki Has Endless Potential — For Now AnywayAlthough Marvel Studios often mentioned the series would feature Loki chasing himself, actually hearing Mobius M. Mobius (Owen Wilson) say Loki is the variant he needs Loki s help to stop tilts everything we presumed about the show.For one thing, we always assumed Loki would cause some chaos with the Tesseract before the TVA caught up with him and forced him to undo his mischief. Now, we see there s a much more dangerous Loki variant running around capable of actually hurting TVA agents. The first question we have to ask about this variant is fairly obvious: From when in the Sacred Timeline did they spring? There are a handful of tantalizing moments in history to consider. One option, this is the Loki who grew up in Jotunheim under the tutelage of his true father, Laufey. Another option: This Loki successfully collected the Infinity Stones for himself and upended all of space of time. It is also possible the dangerous Loki variant is from the multiversal war; predating the Time-Keepers could explain why the variant presents a real threat to the TVA.

(Photo by Columbia, Madhouse, and Warner Bros.)“Know Your Critic” is a column in which we interview Tomatometer-approved critics about their screening and reviewing habits, pet peeves, and personal favorites.After quitting her day job to focus on entertainment writing full-time on /Film, Hoai-Tran Bui has since become one of their lead critics. Like most young Vietnamese-Americans, she is of the first generation to be born here, her parents having left Vietnam after the Fall of Saigon in the 1970s and the communist takeover of the country. Bui s mother s upbringing in a French-speaking school in Vietnam translated to bookshelves in America filled with Western classics like Jane Eyre, Les Miserables, and Little Women. Those, along with Studio Ghibli films like Castle in the Sky, Kiki s Delivery Service, Spirited Away, and Princess Mononoke ( A lot of blood and gore in that one for an eight-year-old child ) were the foundations of Bui s writing aspirations, and making it onto the Tomatometer as a film critic. Bui talks now about a movie world transitioning back to something approaching normalcy, along with the things she watched during quarantine that she would ve liked to have seen in theaters, and settling long-running Disney debates.Hoai-Tran Bui is a staff critic at /Film, and co-hosts the Trekking Through Time and Space podcast. Find her on Twitter: @htranbui.Theaters are opening up again. Have you been back yet?Quiet Place II was my first one, and then In the Heights was the next day. So I went from not going to theaters for over a year to going to the theaters twice in a row. Actually, the day that I went to see In the Heights, I went to see the Wong Kar-wai retrospective special that they re doing at the Lincoln Center in New York. Then the In the Heights screening showed up, and I was like, I ll just do both. So I went to see three movies in theaters within two days.It was great, but it was surreal. Still doing social distancing, but because these are both just press screenings, they re just like, Sit where you want, but also don t sit next to people. That was nice, although I feel like it kind of diminished some of the effects of seeing both of these movies in theaters. Because A Quiet Place was very much about that communal theater experience, everyone gasping and holding their breath at the same time, but as for Quiet Place II, and I feel like this also led into my thoughts on the movie, which I think were also lightened up on that aspect, it felt less like that communal experience because we re all just kind of far apart and there s only six other people in theater.What movie did you watch last year during quarantine that you wish you saw in theaters?I would ve liked to see Bill Ted Face the Music in theaters, less so for seeing on the big screen and more so for seeing the people, just because it s a movie that, like a lot of comedies, it demands being seen with a bunch of people, and laughing by yourself with your computer on your lap isn t as fun as laughing with a group of people with the same jokes. I think Face the Music came at such a specific time that it was this hopeful movie about coming together, about facing the odds as humanity, and that felt very resonant during the pandemic and during quarantine. That one made me a little emotional, even. But I feel like even seeing that together with a bunch of people would ve been even more impactful. I don t even know how it would play now, just because I feel like the timing of it was so specific to the fatigue that we re feeling during COVID. But I feel like that one, I would ve liked to see with people, just to share in our misery together and our hope for something that can come through and still make us laugh.(Photo by Columbia/Everett Collection)What s required viewing for you?The Before trilogy. They have such great, effortlessly written scripts, and one that feels so natural and organic and yet also is rife with so much character drama and building and dynamics within it. There s an ebb and flow within the movie, within the dialogue, and even though it s completely plotless, there is a plot within what these characters are saying to each other and how they re interacting with each other. Every movie is such an interesting snapshot of each age, too, that altogether they become this experiment with time that I think Richard Linklater has tried to recapture with a lot of his later movies, with Boyhood, for example.What s the hardest review you ever had to write?One that was more recent and which I just spent a lot of time on because it was something that was so personal to me. That s Raya and the Last Dragon. I spent a couple of days writing that. That one I kind of turned into part review, part personal essay. Raya and the Last Dragon, in particular, because it was Disney s big Southeast Asian animated movie. It was going to have Disney s first Southeast Asian princess, it had Kelly Marie Tran, who s a Vietnamese-American actress, so there s just a lot riding into that movie. I had a lot of complicated feelings with it because I thought it was good to an extent, but it didn t quite fulfill all of the promises of diversity and representation that it was billed to do and, in the process, I think lost a lot of what could ve made it good by trying to be so big and universal and ended up being nothing very specific.So I spent a couple days just picking that apart, both the movie itself and my own personal feelings about it. I think I wrote something pretty good. Before I started writing film criticism, I remember my journalism class, they always talked about how you shouldn t put yourself into the story. It should be as unbiased and as distant as possible. Of course, going into film criticism, it s all about your own personal opinions and beliefs and your own personal relationship and how this movie affected you. I can t help but making a lot of the reviews that I write very personal, deeply personal at that. I think often the better ones I write are the personal ones, the ones where I draw on some of that experience.I do feel kind of weird sometimes because I feel like I m exploiting my own personal life for other people s entertainment in a way, other people s pleasures, and it always feels a little weird to me that I m just putting little pieces of myself out there in these tiny personal essays about movies. But I think that that s the way that people interact with art anyways, the best way to communicate how something moves me or something affects me. So Raya and the Last Dragon, for sure, was one that I spent a lot of time thinking of.Then another one that was deeply personal, too, but wasn t really a review, was this piece I wrote about Da 5 Bloods. The depiction of Vietnamese characters in that movie, honestly, were the best attempt by any Hollywood movie so far, but still falls extraordinary flat because it tries to, I think, connect the Black Lives Matter movement and effects and legacy in a way that doesn t totally cohere. I wrote about that, and I wrote about my own personal thoughts watching that movie with my mom, actually, and the kind of mixed feelings I had, and her thoughts on the Vietnam War and about the American response and involvement in the Vietnam War. That was always really interesting to me, and it was something that was a little bit tangled and knotty, and I don t think I fully picked it apart and untangled it as much as I could ve. I haven t gone back to read it because a lot of pieces that I find deeply personal, I don t like to read again and be like, Oh, well, I could ve written that better, because now it s out there, I don t want to think about it anymore. But, at the same time, it s something that I put a lot of thought and care into.(Photo by Warner Bros./Everett Collection)What s a Rotten movie you love?I feel like there s a lot of cooler answers, but Wonder Woman 1984. I gave it a positive review, and I was one of the first wave of people to give it a positive review. Then the Rotten Tomatoes score slowly went down and then nose-dived. But I stand by my positive assessment of it. I think that it is a movie that moved me, and I acknowledge the flaws that it had, but I feel like those were minimal compared to how the movie itself worked for me. Speaking of Bill Ted Face the Music, I feel like it falls in the similar vein of being a movie that comes at a certain time that it feels very important and optimistic and has that bent during the quarantine times. So that obviously affected me a lot because of that. But I think, even so, it s a fun, optimistic, loud, very goofy movie, and that s the kind of movie that I unapologetically enjoy.What s a Certified Fresh movie you don t like?I didn t love Once Upon a Time in Hollywood. I m actually a fan of Quentin Tarantino, and I actually really liked Hateful Eight, which is a movie that most people disliked. Hateful Eight is such a nasty, mean movie that I felt like was Tarantino looking inwards at how his displays of violence are seen in the general public and saying, Hey, this is actually awful, and I m going to make you look and make you feel terrible about it, and I loved that. I thought that was so self-aware and interesting.Once Upon a Time in Hollywood, I actually don t mind the lightness of it. I don t mind the hangout element of it. I think that that part of that was actually my favorite part of it, and the idea of these men who are on the cusp of being redundant and no longer being a part of that big cultural core was really interesting and also kind of this self-aware thing that a lot of auteurs like Quentin Tarantino and Martin Scorsese are doing in their late stages of their career. They re looking back at their lives and their careers, and they re saying, Oh, we re no longer viable anymore. That was interesting.I feel like the Manson stuff and how that looms over the entire movie and casts a whole shadow over the movie doesn t really work for me and, as a result, just makes that final act feel so intensely out of left field that I left the movie with a bad taste in my mouth. I ve also never felt that kind of same interest and fascination with the Manson family murders as I think a lot of American people do. Coming from Vietnam, we kind of came after that whole 1969 cultural touchstone pivot, and it s not something that s part of my own cultural memory. I ve always thought that the fascination with the Manson family has been a bit on the ghoulish side, so painting Charles Manson as this big monstrous villain and making 1969 this big cultural turning point and these murders this big cultural turning point is not really interesting to me and just doesn t work as well for me as I think that the movie wants it to.And, of course, there s the whole Bruce Lee scene, which I thought was completely unnecessary. I think that they could ve used any other New Age Hollywood actor in that. They could ve used Chuck Norris, for example. I felt like it would have the same effect versus Bruce Lee, whereas when I was watching it in the theater and everyone was laughing at everything that the Bruce Lee character said, it just felt very uncomfortable to me. I did not like that, although that itself didn t tank the movie for me. It was just the entire, I guess, approach to this being the center of the world, this being this big turning point. That just didn t feel like, to me, something so exciting and interesting as I think the movie and a lot of its lovers feel.(Photo by Madhouse./Courtesy Everett Collection)What was the movie that made you want to be a critic?Satoshi Kon s Millennium Actress was a movie that just opened my eyes to what movies can do and be because it s sort of this non-linear movie that plays with both reality and fiction. It follows this young girl who meets this man in World War II Japan, and she s a young child, and she falls in love with him, and she decides that she s going to spend her whole life trying to find him. To do that, she decides that she s going to become an actress and be on the biggest stage so that he ll find her again. The movie is so interesting about it. It s framed around these two documentary filmmakers who are interviewing her as she s an older actress, having retired, and she s talking about her life. The entire movie plays through this story that she s telling, and it goes between her real life and the movies that she stars in, in which she always stars as a young woman who s pining after someone and always trying to find someone, so it s this reflection of her reality and her fictional career.The way that it switches between both and the way that the line blurs between that reality and fiction was so interesting and eye-opening for me. Of course, the ending in that movie is so quick and easy and something that you can t even do in a lot of live-action, too, because there are shots that linger for a fraction of a second, and in live-action, that would be something that you have to set up. It takes a lot more time to do it. But in animation, you can just throw it in there, and that s fine. I think that that to me not only opened me up to filmmaking and movies but also to the potential for animation, which I m a big flag-bearer for. But, yeah, that movie itself was like, Wow, movies can do this. Stories can be told out of order, and things can be this reality-blurring thing. I was really enamored with that movie, and that kind of set me on that path.On Rotten Tomatoes, readers are currently voting on their favorite Disney animated movies. So: Lion King or Hercules?The Lion King, for sure. It s the gold standard for Disney renaissance movies, and Hercules kind of comes in that late era where it s very self-effacing and self-referencing, which is fun but doesn t age nearly as well.Beauty and the Beast versus Little Mermaid.Ooh, that s actually an interesting one because Beauty and the Beast is my personal favorite. Little Mermaid is the one that did kick off the entire Disney renaissance of the 90s, but I m going to have to go with Beauty and the Beast. I think it s a masterpiece.A lot of people went nostalgic with their movie-watching during quarantine. Did you re-watch something that surprised you?Happy Feet. The George Miller movie before Mad Max: Fury Road. I was shocked by how dark that movie is. I thought it was just, as I remembered, a movie about a tap-dancing penguin, but it gets dark. It starts to be about pollution, and it becomes this epic Lord of the Rings-style journey across the Arctic, and it almost ends on this extremely bleak note where the penguin is stuck inside this aquarium and thinks he s never going to leave, and you re like, What is this movie? Why is it terrifying? Hoai-Tran Bui is a staff critic at /Film, and co-hosts the Trekking Through Time and Space podcast. Find her on Twitter: @htranbui. Uzo Aduba and Matthew Broderick will lead the cast of Netflix’s Painkiller, a six-episode series about the beginnings of the opioid crisis and specifically Purdue Pharma’s role in it. Aduba will play Edie, an investigator leading the case against Purdue, and Broderick will play Richard Sackler, the former chairman and president of Purdue. Peter Berg will direct all six episodes and serve as an executive producer, while Alex Gibney, the filmmaker of HBO’s recent similarly-themed documentary The Crime of the Century, will also be an EP. The limited series is based on author Barry Meier’s book Pain Killer: An Empire of Deceit and the Origin of America’s Opioid Epidemic and journalist Patrick Radden Keeke’s New Yorker article “The Family That Built an Empire of Pain.”Jeff Goldblum has joined the fifth season of HBO Max’s Search Party, where he’ll play Tunnel Quinn, a tech billionaire who becomes a business partner of Alia Shawkat’s Dory.Lost alum Dominic Monaghan will star in AMC’s space drama Moonhaven, playing Paul Sarno, a detective on the Moon who has the job of trying to solve Earth’s problems. The thriller, from Lodge 49 writer and producer Peter Ocko, revolves around cargo pilot and smuggler Bella Sway, who’s accused of a crime 100 years in the future and is sentenced to live in a utopian community called Moonhaven and help solve Earth’s problems before its civilization ends. (TVLine)Jerry O’Connell, who has been a guest co-host on CBS’s The Talk recently, has been hired as a permanent co-host, filling the spot vacated by Sharon Osbourne.(Photo by Leon Bennett/Getty Images)The Paramount+ limited series The Offer, about the making of The Godfather, has added to its cast, as the production began this week in Los Angeles. Grey’s Anatomy alum Justin Chambers (pictured) has signed on to play Marlon Brando, while Lou Ferrigno will play Lenny Montana, the actor who portrayed Luca Brasi in The Godfather, and The Sopranos’ alum Michael Rispoli will play New York mobster Tommy Lucchese. The rest of the cast includes Miles Teller as producer Al Ruddy, Matthew Goode as famed producer Robert Evans, Colin Hanks as Barry Lapidus (the head of Gulf Western, which owned Paramount at the time), Dan Fogler as Francis Ford Coppola, Juno Temple as Ruddy’s assistant Bettye McCartt, Giovanni Ribisi as mob boss Joe Colombo, Frank John Hughes as Frank Sinatra, and Patrick Gallo as Mario Puzo, the author of The Godfather novel.Both John Lithgow and Jennifer Carpenter, whose characters didn’t make it out of the original Dexter series alive, will reprise their characters in Showtime’s upcoming limited sequel series. Presumably in flashbacks, unless Dexter (Michael C. Hall) has gotten up to some supernatural shenanigans after his lumberjack days. Oscar nominee Sally Hawkins (The Shape of Water) and The Late, Late Show host James Corden will co-star in the Amazon limited dramedy series Mammals, about the relationship of a married couple. The series is written by Jez Butterworth (Flag Day), and reunites Hawkins and Corden, who starred in a spoof of The Shape of Water during her guest appearance on his CBS late-night show.DJ Kahled is replacing Snoop Dogg as a judge on season 2 of TBS’ competition series Go-Big Show. Comedian Cristela Alonzo will host The WB’s remake of Legends of the Hidden Temple, which premieres on Oct. 10. Nicole Ari Parker, Sarita Choudhury, and Karen Pittman have joined the cast of HBO Max’s Sex and the City prequel series And Just Like That, playing a documentary filmmaker named Lisa Todd Wexley (Parker); real estate broker Seema Patel (Choudhury); and Dr. Nya Wallace, a Columbia Law School professor (Pittman). Zach Braff has joined the cast of the HBO Max sci-fi romantic comedy movie Moonshot. The Scrubs alum (and Emmy nominee for directing a Season 1 episode of Ted Lasso) woll play an “entrepreneur and visionary” who colonizes Mars. Lana Condor, Cole Sprouse, Mason Gooding, Emily Rudd, and Lukas Gage also star. (THR)



亚博开户 King of the Crop: Aquaman Leaps To The Surface And Pursues The Clouds(Photo by Warner Bros)Aquaman led the way this weekend, grossing more than the next three films combined. It’s .4 million start was the 9th best ever in December (it made another .7 million with Amazon previews last weekend) and yet was still the weakest opening in the DC Universe to date by some margin. That should be expected given the rejection of Justice League which introduced Jason Momoa’s superhero. That film opened to .4 million and finished with 9 million – itself the weakest gross of the Universe. Aquaman would really have to fail with audiences going forward not to reach that amount. The film’s support with critics dropped as the Tomatometer has fallen to 64% after some initial robust reviews from the junket crowd. Aquaman’s worldwide total has risen to over 2 million.Fresh Surprise: Bumblebee Shocks, But Not At Box Office(Photo by Paramount)There is only one number that earns Bumblebee its slot here and it s certainly not its opening weekend. Bumblebee s million start is less than half of what Transformers: The Last Knight opened to. No, the real impressive number is the Tomatometer score: 94%. The total score of the four Michael Bay Transformers sequels combined is just 88%. That’s four films. (The original received a 57%.) Whether or not Bumblebee can continue to draw family audiences in such a crowded season remains to be seen, but even catching The Last Knight’s 0 million means the 5 million production will be relying on its international draw to turn a profit. None of the live-action Transformers films have grossed less than 0 million worldwide.Rotten Returns: Welcome To Marwen! Hello? Seriously, You Can Come In.(Photo by Universal)In a sad turn of events Robert Zemeckis’ current box office status is looking a lot like the beginning of his career, marked by I Wanna Hold Your Hand and Used Cars, before Romancing the Stone and Back to the Future saved him. Countless masterpieces later, the director has fallen on hard times again in ticket sales. Sony opened The Walk wide a week after The Martian. It grossed .7 million and finished with just .1m. Allied was an million production that Brad Pitt did no press for as he was in the middle of his domestic issues with Angelina Jolie. It ended up making just million domestic.This weekend, Universal opened Welcome to Marwen and it, unfortunately, reached new lows for Zemeckis. The film opened in just 1,911 theaters but a ,234 per-theater-average is weak for any release. Critically it is the worst-reviewed film of his career by a margin; What Lies Beneath received a 46%. That is just the fifth rotten score ever for Zemeckis, but the opening was even worse than The Walk with just a .3 million tally.

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目前版本 6.77.1
游戏大小 940 MB
更新时间 2021-11-30
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