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亚博网是什么网站采用百度引擎0(Baidu 4)ttle in the way of unforgettable moments, they re always intriguing enough to keep curiosity burning about what will happen next (or, for those who know the book, how the series will stage or reshape it). — Keith Phipps, TV GuideIs Now the Right Time for Another Apocalyptic TV Series?(Photo by Photo Cr: Robert Falconer/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.) Whether the world needed another TV adaptation of The Stand (there was a 1994 version with Gary Sinise and Molly Ringwald) is a fair question, particularly when the COVID-19 pandemic continues to rage around us. If it was just a reminder of the world around us, the answer might be no. But approached as an intriguing diversion, it works. — Bill Goodykontz, Arizona Republic The apocalypse isn t the point – it s simply the backdrop for what is unabashedly an epic modern fantasy. — Joshua Sargent, San Francisco Chronicle In a year ravaged by a far different virus, The Stand carries a different significance as it closes out a year terrifyingly similar to the story on screen. Told over nine episodes, including an all-new ending written by Stephen King and his son Owen, this new version of The Stand is a very uncomfortable story to watch while the world is mired in a real pandemic but still manages to be a faithful adaptation of King s masterpiece with timely updates that more or less work. — Alex Maidy, Jo Blo s Movie NetworkAny Final Thoughts?(Photo by Robert Falconer/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.) This adaptation of one of Stephen King’s most dense, sprawling works never quite reaches the epic scope illustrated so clearly in the 1978 novel. — Roxana Hadadi, Variety It s a sometimes overstuffed, sometimes overly simple book, but also one whose vision of a fantastic America whose potential for greatness and moral clarity is always at war with its self-destructive impulses. Even if many missed it at the time, King found a way to express an underlying truth about the place he calls home. The best parts of this adaptation channel that well. — Keith Phipps, TV Guide The performances are strong, the set pieces are cinematic, and, most importantly, the commitment to King’s prose is stonier than a man’s heart. — Michael Roffman, Consequence of SoundThe Stand premieres on Thursday, December 17 to CBS All Access.On an Apple device? Follow Rotten Tomatoes on Apple News.

1. 亚博网是什么网站
Highly rated horror-comedies are always a fun watch, but when you add in werewolves, things just get even better. Werewolves Within utilizes this formula and serves as a whodunit and a what-dunit. Moreover, this is worthy watch whether or not you were a fan of the VR game on which it s based. If you re into Among Us, you would also feel right at home; just add a werewolf into the mix. Stacked with an all-star cast of comedy/improv heavyweights led by Veep s Sam Richardson, Werewolves Within is  a new comedy classic whodunnit in the honored tradition of Clue [that] finds the laughs in the jump scare and brings back the uproarious joy of the it s behind you! creeping fright, writes Richard Whittaker of the Austin Chronicle.Playing Select theaters. 手游最大限度地还原了战争迷雾、兵线、野怪等元素。同时也进行了一些细节上的调整,像外塔旁增加了“蜜糖果实”,可以迅速恢复英雄的作战状态。有了它,大伙儿也能和隆哥一样稳如冰山!

2. 公平游戏环境
Jacqueline Coley for Rotten Tomatoes: How did you get involved with TCM? Tell us about the process.Jacqueline Stewart: Sure. I mentioned this Kino box set. Two summers ago, I think the summer of 2017, I was invited to present some of the films from the Pioneers of African-American Cinema Kino Box set on TCM. When I arrived, I learned that I would be talking about the film with Ben Mankiewicz, and they were devoting two Sunday nights to show a range of these films that were made for African-American audiences during the first half of the 20th century. It was really thrilling that TCM was going to be showing this work that most of his audiences would not have been familiar with, and yet this is a really rich and robust film production, film culture, that was coexisting with the classic films that TCM focuses on. These are the films that were showing in segregated black theaters.I was really thrilled to find when I sat down with Ben that he was really interested to dig into these films and the cultural histories and the political histories that they represent. The conversation went really well on camera. Off-camera, we were talking exactly the same way, and we were just really getting into the different directors and stars. I think, on both sides, TCM and I were really happy with how that went, and we stayed in touch. They invited me to event films at their last couple of classic film festivals in Hollywood, and then the invitation to join the team as a host came from there.You had your first Sunday night not that long ago. What was that moment like, watching yourself on screen?I was really nervous. I think anybody would be nervous who hasn t done that kind of TV work before. I think that I was even more nervous because I just feel a real sense of responsibility. This is an opportunity for me that is not just about expanding my own audience or the next phase of my own career, but it s a really important moment to demonstrate that expertise about film exists in all of our communities. I know that there is an African American audience that is really rooting for me and want to see that I m bringing the expertise and the unique perspective that I have to discuss the work that we re presenting there. I feel a real privilege and an honor and a responsibility to be true to those values. So that also makes it feel like the stakes can be higher for some of us in some of these situations, you know?When did you first fall in love with classic film, or film in general?Well, that s really easy; [it was] when I was a kid. When I was a girl, I spent a lot of time with my auntie Connie, and she loved these classic Hollywood films, and every night we d watch Johnny Carson. I m dating myself. [laughs] Then we d watch, like, The Tomorrow Show, and then there was always a movie that came on TV, and we would stay up well past midnight watching these old movies, and since this was not a TCM presentation of the films, there were commercial breaks. During the commercials is when she would really break these things down for me and talk about various actors and themes. Just her enthusiasm about all of that. I don t know if watching them by myself if they would have been compelling to me, but it was something about the interest that she had in it and her desire to teach me something, not just looking at the films themselves, but how this film is connected to a whole bunch more. It was almost like when you are learning about the constellations of stars in the sky and somebody points out to you, Oh, there s the Big Dipper. There s the Little Dipper. She made it possible for me to see all these kinds of systems at play, and so when I had the opportunity to study film history as an undergrad at Stanford, and then I think about graduate school. I do think, like, on a lower frequency, even though film studies was not like a huge part of my undergraduate education I was an English major but I became really curious about film and thought, Oh, maybe you can write about films and how they re made, how they tell stories in much the same way that you would talk about novels. That s what I ve continued to do over all these years.Jacqueline Stewart is currently hosting Slient Sunday Nights every Sunday night on TCM.亚博网是什么网站In June 2019, Disney’s Pixar will head to infinity and beyond, once again, with the release of Toy Story 4. Although it will be nine years since the last film in the franchise, bringing back the family favorite characters voiced by Tom Hanks, Tim Allen, and others will no doubt result in a box office smash that – if history repeats – will warm even the coldest critic’s heart (all three of the first Toy Story  have perfect or near-perfect Tomatometers, and Toy Story 3 was even nominated for the Best Picture Oscar). But surefire revenue and review predictions aside, what do we actually know about the new film? Let’s explore what’s already been revealed.HEY HOWDY HEY! SAY HI TO THE RETURNING CAST MEMBERS(Photo by © Walt Disney Pictures)Hanks and Allen are returning to rekindle the on-again/off-again bromance between their respective cowboy Woody and astronaut Buzz Lightyear, and the fourth Toy Story also welcomes back Joan Cusack as cowgirl Jessie, Wallace Shawn as Rex the dinosaur, John Ratzenberger as Hamm the piggy bank, Annie Potts as Woody’s main squeeze Bo Peep, Estelle Harris as Mrs. Potato Head, and more franchise favorites.Don Rickles, who played Mr. Potato Head in the first three films, passed away in April 2017 before he recorded any work for the new film. However, the character was seen in a teaser video released in November, suggesting that he is a part of the project in some way. A replacement voice actor has yet to be announced – if, in fact, someone is needed and the filmmakers won’t rely on Rickles’ unused dialogue from previous projects – but that hasn’t stopped the fan speculation.NEW CHARACTERS! NEW PLOT?That teaser also introduced a new character: Forky, a spork voiced by Veep’s Tony Hale. Although he started out as kitchenware, Forky’s found new life as a toy, thanks to the meddling hands of the young Bonnie (a.k.a. the little girl who inherited some of the toys from the now college-age Andy at the end of Toy Story 3). Needless to say, Forky’s not handling this life change well – especially when Woody and Buzz make him an unwitting participant in a road trip dedicated to the awesomeness of being a toy.Said adventure may also have something to do with tracking down Potts’ Bo Peep, who was absent from Toy Story 3. However, that plot detail was shared in 2015, and there have been some shifts at Pixar since then (see below for more on that).Another teaser trailer showcased the voices of Keegan-Michael Key and Jordan Peele as carnival toys Ducky and Bunny and who are pretty much plush versions of the valet characters the actors played in their Comedy Central sketch series, Key Peele. Perhaps Woody and Buzz’s joy ride includes a stop at a fair?During an appearance on NBC s The Tonight Show, Allen told host Jimmy Fallon that Keanu Reeves also has a tiny part in the film.There’s also a viral fan theory that puts a rather … adult … spin on the definition of which toys are allowed to have stories. There are slim chances any of that will make it into the movie.TOY STORY 4 HAS GONE THROUGH DRAFTS LIKE SID GOES THROUGH MATCHES(Photo by @ Walt Disney Pictures)While promoting Toy Story 3, director Lee Unkrich – who also worked on the first and second film – said that, although he was flattered by the suggestion, there were no plans for a Toy Story 4 and that he always considered the third film to be “the conclusion to one big story.” Continuing that thought, Pixar president Jim Morris has stressed that the fourth film will be a “separate story.”But writing that story? That’s been its own saga. Andrew Stanton, who co-wrote the previous Toy Story films, among countless other projects, wrote a treatment for the film with then-Pixar chief creative officer John Lasseter, Unkrich, and fellow Pixar regular Pete Docter.Rashida Jones and Will McCormack were also attached as writers but departed the project. When Lasseter left his post last year in the wake of sexual misconduct allegations, the duo stressed to The New York Times that they respect Pixar’s films but “it is also a culture where women and people of color do not have an equal creative voice.”In June of 2018, Potts told Radio Times that Pixar “threw out three-quarters of [the script] and rewrote” it, thus resulting in the film being pushed a year from its original June 15, 2018 premiere date. Stephany Folsom, who previously worked on Thor: Ragnarok and is now penning the Michelle Williams abortion drama This is Jane, stepped in to write the screenplay.PIXAR FAV JOSH COOLEY LANDS HIS FIRST FEATURE DIRECTOR CREDITLasseter’s departure also means that he is no longer co-directing Toy Story 4 with Josh Cooley, as originally planned. Cooley, whose credits also include serving as story supervisor on Pixar’s Inside Out and directing the short Riley’s First Date?, which included some of that film’s characters, is now the sole director on the film. It’s also his first credit as a feature film director.TOY STORY STILL HAS A FRIEND IN RANDY NEWMAN(Photo by @ Walt Disney Pictures)Musician Newman has an Oscar for writing the original song “We Belong Together” for Toy Story 3 and has nominations for writing the songs “You’ve Got a Friend in Me” for Toy Story and “When She Loved Me” for Toy Story 2. So it’s a no-brainer that he’s back with more original music for this film.Toy Story 4 is in theaters June 21, 2019.

3. 激战团竞模式

4. 呼朋唤友 随心所欲

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 4.49.82021-11-30

1.60.3 0月喜迎The hit 2018 horror movie A Quiet Place could have easily been a standalone feature, one proving John Krasinski was indeed a great director as well as actor, and especially successful alongside his co-starring wife, Emily Blunt. But now there’s a sequel, A Quiet Place Part II, and it’s finally hitting theaters on May 28!Does it prove itself worthy of existence as a follow-up? Does it also show promise for a continued franchise (as Paramount is planning)? The first reviews are out and mostly positive on both fronts, even if not all of them agree on the sequel being at least as good as the original.Here’s what critics are saying about A Quiet Place Part II:How does it compare to the first film?The second installment is just as good as the first one, proving to be an incredibly effective and tense experience.  Joey Magidson, Awards RadarIt’s another breathless chamber piece, expertly crafted to pack dread into every nerve-rattling sound.  David Rooney, Hollywood ReporterKrasinski has not at all let up on the thrills and chills and alien-centric terror, but he’s also bulked up on the drama, emotion, and very human pain at its center.  Kate Erbland, IndieWireThe thriller is still engrossing in many spots but ultimately doesn’t come together like the first one. Though, it’s not for lack of trying.  Rodrigo Perez, The PlaylistIn many ways, Part II suffers from some of the same follow-up problems afflicting The Lost World: Jurassic Park.  Jacob Oller, Paste MagazineIt struggles to recapture the lightning that turned the 2018 original into a hit.  Hoai-Tran Bui, Slashfilm(Photo by Jonny Cournoyer/©Paramount Pictures)Does it rehash the original or build upon it?The fortunate thing is how effective the film is at expanding this world without betraying the qualities that made the first work. Aaron Neuwirth, We Live EntertainmentPart II earns the promise of a sequel by doing what the best sequels do, striking out in search of new stories instead of settling for retracing its steps. Angie Han, MashableA Quiet Place Part II seems content to reiterate rather than build on its predecessor’s revelations. Justin Chang, Los Angeles TimesWhat this second installment mostly offers more of is the same… echoing without quite amplifying the pleasures of its predecessor. A.A. Dowd, AV ClubIs it worth seeing either way?The focus is broadened with diminishing returns, but A Quiet Place Part II still manages to conjure up enough thrills to make it worthwhile. Ian Freer, Empire MagazineThey come up with more than enough to justify a second trip into their world. Angie Han, MashableAs a piece of storytelling, it’s skimpy and vaguely unsatisfying. As a series of fight, flight, or bite-your-tongue set pieces, it delivers. A.A. Dowd, AV Club(Photo by Jonny Cournoyer/©Paramount Pictures)How is John Krasinki s direction this time?His ability to direct stunning, action-driven set pieces on par with any other blockbuster has grown, [and] so too has Krasinski’s initial motivation: to make a movie for his family. Kate Erbland, IndieWireI don’t know if Krasinski plans to remain in the realm of genre films as a director, but he indeed continues to deliver, even for a movie that didn’t have to exist. Aaron Neuwirth, We Live EntertainmentKrasinski’s milked this franchise and its gimmicks to provide us with his two best showings behind the camera, but he—like its characters—needs to grow beyond it. Jacob Oller, Paste MagazineKrasinski’s filmmaking mostly has a slick, well-tooled confidence that should land him a superhero gig soon, but it might be wise to let the Abbotts off the hook for now. Ian Freer, Empire MagazineWhat about the screenplay?The intimacy of the storytelling tugs relentlessly at our anxieties for the duration. David Rooney, Hollywood ReporterKrasinski has sole writing credit this time, and while his directing is more impressive, the way he opens up this world is pretty satisfying. Joey Magidson, Awards RadarDual storylines are wrapped up together ingeniously… What is interesting about this film is that it quite persuasively shows us a post-post-apocalyptic situation. Peter Bradshaw, GuardianThe relentless tension and close-quarters intimacy that he established in the first film can’t help but slacken under the weight of a swiftly expanding narrative. Justin Chang, Los Angeles TimesIt hints at a bigger world outside the boundaries of its genre games, then largely neglects to explore it. A.A. Dowd, AV ClubIt can’t just recycle the premise of the first film as many a horror sequel has done. So instead, it fills up the runtime with plot — and a fairly run-of-the-mill post-apocalyptic thriller plot, at that. Hoai-Tran Bui, SlashfilmSome of the screenplay’s conceptions of how society has disintegrated don’t really track. Ian Freer, Empire Magazine(Photo by Jonny Cournoyer/©Paramount Pictures)Is it scary?There are some jump scares that had me Fosbury-flopping out of my seat with a yelp. Peter Bradshaw, GuardianThe jump scares here are legitimately distressing because there’s so little distance separating us from the main characters. Those jolts are not cheap tricks but immersive approximations of what the people onscreen are experiencing. David Rooney, Hollywood Reporter[The premise] comes with its unique terror, an inherent tension in watching anyone do anything that might kick up a bit of noise. But there is also the anxiety in what Krasinki’s characters can see. Kate Erbland, IndieWireJump scares and bloody mayhem are more the order of the day. They re effective in the moment — I nearly fell out of my seat a few times — but they don t linger in their terror, and there s nothing close to the excruciating horror of the nail or birth scenes from the original. Angie Han, MashableIs it a horror or a post-apocalyptic adventure?… A Quiet Place II falls somewhere in between, with the effective thrills and jump scares of a horror film, but with an overly familiar post-apocalyptic plot that we’ve seen many times before. Hoai-Tran Bui, SlashfilmThe reason these films work is not because of the scares. They work because, at their heart, they are a high concept meditation on parenting. Lindsey Bahr, Associated PressDoes it work as a family drama?While becoming a bigger flick, it still retains an emotional quotient that makes you care about the Abbott family. Without that, this would be just another creature feature. Instead, it’s something more. Joey Magidson, Awards RadarPart II feels caught between two conflicting modes, a tightly focused family drama and a more expansive vision of post-apocalyptic decay. Justin Chang, Los Angeles Times(Photo by Jonny Cournoyer/©Paramount Pictures)How are the performances?Millicent Simmonds owns A Quiet Place Part II in a way that assures this her franchise. Matt Donato, What to WatchThis is very much Millicent Simmonds’ movie. Her elevation to the full-on hero of this franchise is well earned. Joey Magidson, Awards RadarSimmonds is an excellent performer: bold, confident and forthright, holding her own opposite the alpha-emoting presence of Murphy. Peter Bradshaw, GuardianThe kids are good, but sorry, they’re no Emily Blunt. Rodrigo Perez, The PlaylistBlunt and Murphy convey volumes with just their eyes, and they’re matched by Jupe and Simmonds, two of contemporary film’s most empathetic and insightful actors of any age. Alonso Duralde, The WrapThere is a key aspect that worked in Part II‘s favor, and that’s the addition of Cillian Murphy. Aaron Neuwirth, We Live EntertainmentMurphy and Simmonds are a fantastic pairing. Murphy brings a likability and tenderness to a fairly well-worn archetype, while Simmonds is allowed to shine as the clear-eyed heroine of the piece. Hoai-Tran Bui, SlashfilmHow does the movie look?If the shots capturing predator and prey often owe a debt to James Cameron’s Aliens, well, there are worse models to emulate. David Rooney, Hollywood ReporterKrasinski and cinematographer Polly Morgan know how to shoot the apocalypse. Jacob Oller, Paste MagazineCinematographer Polly Morgan’s effused light provides a fascinating juxtaposition, balancing the beauty of nature with the omnipresent dangers lurking. Courtney Howard, Fresh FictionPolly Morgan‘s visuals aren’t quite as memorable as last time, but the cinematography is still very elegant. Joey Magidson, Awards RadarAdd to that a better handle on the visual effects used to depict these violent creatures, and you have a film that really found itself when it comes to all of the technical aspects. Aaron Neuwirth, We Live Entertainment(Photo by Jonny Cournoyer/©Paramount Pictures)And how does it sound?Immersive sound design is again the superstar. Courtney Howard, Fresh FictionThe layered sound design, fittingly, is a thing of beauty. And like the first film, this one also benefits immeasurably from Marco Beltrami’s vigorous orchestral score. David Rooney, Hollywood ReporterThe movie sounds great and utilizes sound brilliantly. No franchise is as mesmerizing on an auditory level as this one is. Joey Magidson, Awards RadarWhile I don’t think the sound is leveraged toward dramatic ends, here, as well as in the prior installment, the craft is still intermediately astounding as it builds to create big-time scares. Robert Daniels, 812filmreviewsShould we look forward to more sequels?Amusingly enough, [its] measured world-building also sets the stage for still more stories and sequels. Kate Erbland, IndieWireWhere the story will go from here it s hard to guess, though it does seem reasonable to assume it s not over. Part II seeds more than a few possible avenues for potential spinoffs and sequels. Angie Han, MashableThe ellipsis not only demands but practically promises another installment. Stay tuned for Part III, it screams without words. A.A. Dowd, AV ClubA Quiet Place Part II only swings us to the next film. Rather than allowing us to enjoy this one. Robert Daniels, 812filmreviewsA Quiet Place Part II releases in select theaters on May 28, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.

It’s time for a new hit movie musical, and Netflix hopes The Prom will rise to the occasion. Fortunately for them, if the first reviews are any indication, Ryan Murphy’s adaptation of the Broadway show will fit the bill and delight subscribers of all ages with its mix of old-school razzle-dazzle and progressive subject matter.The Prom, which arrives on the streaming service December 11, stars Meryl Streep, James Corden, Nicole Kidman, and Andrew Rannells as egocentric showbiz types from NYC who descend upon a conservative Midwest American town to help a teen (Jo Ellen Pellman) whose sexual orientation has caused her school to cancel the titular dance. For both its message of tolerance and its lively spectacle, it seems like it might just be the movie of the year.Here’s what critics are saying about The Prom:Should Ryan Murphy fans flock to the movie?It s a perfect combination of filmmaker and material.  Ian Sandwell, Digital SpyThis film is well inside Ryan Murphy’s Glee wheelhouse.  Fionnuala Halligan, Screen InternationalMurphy is back in Glee territory here, for better or worse.  David Rooney, Hollywood ReporterRyan Murphy again finds the underdog vibe of Glee that captured pop culture’s imagination.  Brian Truitt, USA TodayThe Prom demonstrates that Murphy has matured as a filmmaker since his Glee days.  Courtney Howard, Fresh FictionThe Prom is the best of what Murphy can offer Hollywood — a taste of the past with its eyes on the future.  Jude Dry, IndieWire(Photo by Melinda Sue Gordon/Netflix)Is it a worthy adaptation of the musical?[Murphy’s] real achievement is making The Prom feel like a film rather than a captured-on-camera stage production, one that still retains the let’s-put-on-a-show energy of live theater. Thom Geier, The Wrap[The] stage vision translates surprisingly well to the screen thanks to the movie’s visual flair. Jude Dry, IndieWireBut what if you don t care for musicals?It probably goes without saying, but anybody with an aversion to musicals or Murphy s previous work, such as Glee, should stay well clear of The Prom. Ian Sandwell, Digital SpyRegrettably, much of the film s humor comes in the form of musical theater in-jokes. Mary Sollosi, Entertainment WeeklyIn recent years, there’s been a spate of musicals that you’ll enjoy even if you don’t like musicals … The Prom is no such musical. Ben Travis, Empire MagazineRyan Murphy offers a fun and lightweight musical that will certainly not win over the sort of people who detest the genre but will likely entertain those who do. Lewis Knight, Daily MirrorThe Prom isn’t quite as ubiquitous as, say, Cats or Les Miserables, and thus Murphy’s film will feel refreshing for a streaming audience often itching to watch Netflix’s next big thing. Brian Truitt, USA Today(Photo by Melinda Sue Gordon/Netflix)And what about fans of old-school musicals?Aside from its impassioned overtures for LGBTQ+ rights, The Prom has all the makings of a classic Hollywood musical. Jude Dry, IndieWireIf The Prom is a proudly liberated musical, it’s also one that’s so defiantly square, with a vibe that reaches back to the incandescently wholesome musicals of the studio system. Owen Gleiberman, VarietyIt will frustrate audiences who prefer their musicals with subtlety and nuance. Doug Jamieson, The Jam ReportHow are the songs?The heartrending songs Pellman and [Ariana] DeBose deliver are sweet and, more importantly, powerfully poignant. Courtney Howard, Fresh FictionCatchy in the moment, even if they seldom linger long in the head. David Rooney, Hollywood ReporterThe songs truly are terrible. Jesse Hassenger, AV ClubRyan FujitaniHow is Meryl Streep?Streep is transcendent… a genuine campy hoot. Courtney Howard, Fresh FictionStreep is consistently hilarious. David Rooney, Hollywood ReporterStreep absolutely shines in her most endearing role in years. Doug Jamieson, The Jam ReportMeryl Streep is having the most fun in years as she revels in her character s awfulness. Ian Sandwell, Digital SpyAs fantastic as every cast member is — and there isn’t a dud in the bunch — it’s still Streep’s show. Jude Dry, IndieWireAnd James Corden?I don’t think he has ever been better. Scott Menzel, We Live EntertainmentHe burrows so deeply into the character’s quibbling insouciance that he gives him a three-dimensional essence. He’s soulfully funny and touching. Owen Gleiberman, VarietyCorden’s performance feels the most like a caricature and comes across as especially calculated, with some moments landing with comedic heft but most of them not. Lewis Knight, Daily MirrorIt s a flat performance without much heart… This is a role that cries out for Nathan Lane. David Rooney, Hollywood ReporterMurphy made a major error in the casting of James Corden as the musical s gay male lead character… a flaw that undoes a lot of the good work elsewhere. Corden camp[s] it up to the point of being regressive and offensive… His performance comes across as dated and strikes a sour note. Ian Sandwell, Digital Spy(Photo by Melinda Sue Gordon/Netflix)And what about their young castmates?I would certainly be remiss if I did not mention newcomer Jo Ellen Pellman who absolutely steals every scene that she is in. Scott Menzel, We Live Entertainment[Pelllman is] “one of the discoveries of the year. Ian Sandwell, Digital SpyPellman makes an assured debut. Yet it’s DeBose who turns in a star-making performance. Courtney Howard, Fresh FictionPellman holds her own throughout, plus she and DeBose… form a dynamic pairing essential to the film’s aspirational themes. Brian Truitt, USA TodayDoes Pellman s Emma get enough screen time?The film really sparkles when [Pellman and DeBose] are in the spotlight. If only the focus was on them more often. Emily Maskell, Little White LiesWhere’s Emma in all of this?… The Prom doesn’t seem especially interested in accepting Emma as an individual person. Jesse Hassenger, AV ClubThis, though, is Emma’s story, and she gets lost in the mix…the character feels thin. Ben Travis, Empire MagazineIt s a shame the film doesn t spend more time with Emma as a character as this is truly her story, even if sometimes the Broadway divas are more fun. Lewis Knight, Daily MirrorThe movie belongs not to the people with the painful problem, who actually overcome something difficult, but the quartet of invaders… The film has way too much in common with the egomaniacs at its center. Mary Sollosi, Entertainment Weekly(Photo by Melinda Sue Gordon/Netflix)Does it convey its message convincingly?The Prom is very much a movie about the two Americas, and part of its luster is that it portrays the conservative Midwestern one with dignity, even as it attacks the impulses of bigotry. Owen Gleiberman, VarietyBob Martin and Chad Beguelin’s script goes as soft as cafeteria Jell-O when it comes to the Indiana crowd. Thom Geier, The WrapIts core message of inclusivity and tolerance is more than welcome, even if it’s more fun to watch the self-absorbed Broadway stars learn their lessons than the PTA come to heel. Fionnuala Halligan, Screen InternationalThe Prom is better at satirically skewering Broadway than it is at seriously skewering homophobia, which feels like a missed opportunity. Ben Travis, Empire MagazineShould you keep the tissues handy?There won t be a dry eye in the house come the finale. Ian Sandwell, Digital SpyI’ve watched the film twice already, and I teared up both times. Scott Menzel, We Live EntertainmentThe tear-jerking climax is worth the wait, despite the choppy waters along the way. Lewis Knight, Daily Mirror(Photo by Melinda Sue Gordon/Netflix)Is The Prom the perfect way to end 2020?After the year we’ve all had, Netflix’s glorious musical comedy The Prom couldn’t have come at a better time. Brian Truitt, USA TodayThis is a feel great musical extravaganza that is exactly what the world needs in 2020. Scott Menzel, We Live EntertainmentThe Prom is everything you need right now. Jude Dry, IndieWire[It’s] an eye-poppingly vibrant finale to a grim year. Ben Travis, Empire MagazineThe Prom premieres on Netflix on Friday, December 11, 2020.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Netflix)With Netflix s Chilling Adventures of Sabrina offering a darker take on the fresh-faced teenage witch — and Certified Fresh on the Tomatometer with a 91% score to boot — and a new version of Suspiria spooking it up on the big-screen, witches have been working some epic magic on audiences lately.Need more proof that vampires and zombies have moved on from the spotlight? Take a look at American Horror Story: Apocalypse, which is revisiting its season 3 witches from the Certified Fresh Coven, or The CW’s rebooted Charmed, which has introduced a new generation to the power of three.Dark magic and sorcery have cemented their place in episodic entertainment over the years, which is why we thought it was the perfect time to concoct a list of TV s very best witches. Among these magic-doers, you ll find two very different Sabrina Spellmans, Game of Thrones sinister Melisandre, a whole gang of fabulous American Horror Story women, and a teenage vampire slayer s loyal best friend. In addition to these icons, wand-twirlers from Penny Dreadful, True Blood, Once Upon a Time, and Bewitched also make an appearance.So break out the bubbling cauldrons and dust off that flying broom as it s time to rank these TV witches from best to worst below. And if you don’t see your favorite magic-conjurer on our list, tell us in the comments!
Here at Rotten Tomatoes, we don t think Fresh movies should get all the fun. In our first book, Rotten Movies We Love, released this October, we celebrate cult classics, underrated gems, and unfairly maligned sequels that may be Rotten but have found a place in our hearts. Movies like Step Brothers, Jennifer s Body, and Empire Records. (Yes: Just like you, we can t believe they re Rotten either!)To celebrate the launch of the book and show our love for Rotten movies that are most definitely worth your time, we ve teamed up with Alamo Drafthouse for a series of screenings of three awesome Rotten films: The Craft (screening in October), The Burbs (screening in November), and The Holiday (screening in December).To find a screening near you, check out the links below:The Craft Movie Party screenings  OCTOBERThe Burbs screenings  NOVEMBERThe Holiday screenings   DECEMBER
(Photo by Steffan Hill/SYFY)Throughout its second season, Krypton has proven to be one of the most surprising shows based on comic book concepts to make it to the screen. Using the pulpy backstory of Superman s home planet, it embraced those concepts for tales of cloning, interstellar armies, and time-traveling ne er-do-wells. And into that setting, it introduced a complex cast of character anchored by Cameron Cuffe as Seg-El, a man desperate to save his planet from would-be despots and somewhat interested in ensuring the existence of his grandson Kal-El.Ahead of the second season finale, Cuffe was kind enough to chat with Rotten Tomatoes about some of the year’s highlights and tease a little bit of what might be around the corner for the citizens of Kandor.The Black MercyOne of the great applications of DC Comics lore this year was the use of the Black Mercy, a parasitic alien plant devised by Alan Moore and Dave Gibbons in “For The Man Who Has Everything,” a story published in Superman Annual #2 that Cuffe considers “one of the most brilliant Superman stories of all time.” The creature attaches itself to a host, feeding off of it while providing it with an idealized fantasy world. In the story, the villainous Mongul uses the Black Mercy against Superman – leaving him in a reality where he lived a simpler life on his homeworld. On Krypton, Dru-Zod (Colin Salmon) used it against his own mother Lyta (Georgina Campbell) in an attempt to keep her from interfering with his plans of conquest.“It is such a perfect test of the hero and, truly, the hero has to reject happiness to answer the call to action,” Cuffe said of the creature as a storytelling device. Like Superman, Lyta found herself in an idealized city of Kryptonopolis – a lush paradise far from the dark stone and crystal of Kandor. But beyond the beauty of another city-state, the fantasy revealed Lyta’s fondest wish to escape the Zod sense of duty.  “It s such a brilliant way to explore the inner workings of the mind,” added Cuffe. “And the way it s used I think is absolutely perfect. Of course, it remains to be seen if the real Kryptonopolis is as beautiful as the one Lyta envisioned.A Possible Mercy for KemFrom his first appearance in the pilot, Seg’s friend Kem (Rasmus Hardiker) had a target on his forehead. The proprietor of a bar in the Rankless district of Kandor, it seemed as though the Sagitari would eventually haul him away for one reason of another. Then he became concerned about Ona (Tipper Seifert-Cleveland) — a child he promised to take care of, but let become an attendant of the Voice of Rao (Blake Ritson), the religious authority who would soon find himself consumed by Brainiac (also Ritson). After the computer tyrant used her devotion to get at Seg and Kem, he left to recover in Kryptonopolis. By the end of the first year, he was signing up for Dru-Zod’s military and when we found him again in the second season, he was stationed on Krypton’s moon Wegthor and tasked with apprehending his former friends.But since this is Kem, he was soon part of the Resistance.He managed to survive so much that we forgot about the target, but it re-emerged once Doomsday arrived on Wegthor. At least it was a heroic end. According to Cuffe, a story like Kem’s is Krypton in a microcosm. “It s not about having the powers or the costume. It s about doing the right thing,” he said. “Kem, who in so many ways is the everyman, says [to Seg], ‘You know what? It s my time to step up so I m going to do it.’”The actor said saying goodbye to Hardiker and Kem was the toughest day of the season. “Everyone on set attest to fact that I was crying like a baby in the rehearsal takes,” he said. “We love Ras It was really, really emotional and it was a wonderful day. And a really sad one.”And though Kem’s sacrifice destroyed Wegthor, Cuffe was not ready to rule out some last second reprieve. “There s a saying in comic books: ‘no one stays dead forever.’ So this is a show that involves time travel and cloning. And you never know. I doubt we ve seen the last of Rasmus Hardiker on Krypton.”The First Appearance of Jor-ElThe second season saw the first reference to Superman’s father Jor-El, but as it turns out, his first appearance was in the pilot episode under a different name: Cor-Vex. The baby – the genetically engineered offspring of Seg and Nyssa-Vex (Wallis Day) – was a key element of Nyssa’s story throughout the season. But upon re-uniting with Seg and the baby, an important choice was made to let the House of Vex die and rename the baby Jor-El, the name of Seg’s great-grandfather. At least, according to the hologram of Seg’s grandfather Val-El (Ian McElhinney).According to Cuffe, he never imagined the infant mentioned in the pilot would turn out to be a famous member of the House of El.“That was such a shock because obviously that was a huge milestone that was coming. You know, the birth of Jor-El was always going to be a milestone in the story that we were telling,” he explained. “But the fact that it turned out to be Cor-Vex and that Nyssa-Vex turned out to be Superman s grandmother, that was a huge twist. And, in fact, when I read that in the script, I was talking to [showrunner] Cameron Welsh, I was like, ‘This is a huge moment.’“This is really moving towards — you know, if you think about Watchmen and the Doomsday Clock,” he added, “that s the clock ticking closer towards midnight — so that s a very exciting thing for us.”Of course, midnight in this context is the destruction of Krypton, but at least the naming scene gave Seg, Nyssa, and even the hologram of Val a moment of peace and happiness.“It was such a joy to play,” Cuffe continued. “And I think, for me as a fan, to be a part of the legacy has always been special, but to hold the baby Jor-El and to know what that moment is both in terms of the world of our show, but in the larger story of Superman, that was a really special moment for me.”And as a sort of punctuation on the scene, Cuffe finally put on a shirt emblazoned with the S-shield, the symbol of the House of El.“Since I got cast in the role, one of the first thoughts that occurred to that there s a very small group of actors out there who ve worn that symbol,” he said. “And to be a part of that, to actually wear that symbol, to be someone who gets to carry that symbol forward is immensely important to me both as a person and as an actor.”But nothing as special as the moment could last long, and soon the baby Jor-El was snatched from his parents by Brainiac, who declared the blood of House El the real strength of Krypton. Heroes don t take days off, Cuffe said, and should Seg manage to defeat Zod, he will have only a few moments rest before searching for his son.The Journey of Jayna
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The Holiday Movie Season is here (hooray!), and it s not off to a good start (boo!). But save your panic, because this is still the season when The Rise of Skywalker, Frozen II, and a new Jumanji are going to make about a billion-and-a-half alone domestically. This weekend, despite four new releases, gives us a Top Ten that isn t even going to cross 0 million. Three of those releases weren t expected to set the box office on fire, but the numbers that the new Terminator film put up is likely to make Paramount a little nervous as they stare down their second big-budget sci-fi misfire in a row.King of the Crop: Terminator: Dark Fate is Tops, but the Bar is Low(Photo by Paramount Pictures)The Terminator series has, without question, been waning in popularity over the years. James Cameron and Linda Hamilton left after the second film. Arnold Schwarzenegger left after the third. The global sensation that was Terminator 2: Judgment Day remains one of the great action films of all-time. 12 years later, Arnold gave it another spin with Rise of the Machines, which opened to a healthy million and grossed over 0 million domestically. (T2 would amount to about 6 million in ticket sales today.) The reboot of Terminator: Salvation in 2009 with Christian Bale and Sam Worthington opened to .5 million and finished with 5 million. Then, in 2015, Terminator: Genisys opened to .1 million from Weds-to-Fri or million from Fri-to-Sun and then failed to reach million stateside.Now, 35 years after Cameron’s The Terminator premiered and four years since Cameron endorsed Genisys as the “real” Terminator 3, we now have Terminator: Dark Fate being sold to audiences as the “real” Terminator 3. And audiences are not buying. A million opening is well below the low-40s projections we’ve been hearing for weeks, and it comes out to only a ,097 per-theater-average. (T3 T4 were each over ,000.) Critically, the film is holding steady at 69% on the Tomatometer (the same number for the real “real” Terminator 3; the last positively-scored film in the series.) But nobody at Paramount can be thrilled with the dollar figure, given a 5 million budget, especially coming right after the failure of Ang Lee’s Gemini Man, which has grossed just 5 million worldwide to date on a 8 million budget.Consider that only four films have ever opened in November to a PTA under ,500 and grossed over 0 million, and all four were animated – The Polar Express (2.77 million), Bolt (4.05), The Princess and the Frog (4.04), and Rise of the Guardians (3.41). That is bad news for a film that is in the same boat as Maleficent: Mistress of Evil and needs over a half-billion dollars before we come even close to talking profit. Disney’s film only just crossed 0 million worldwide on Thursday. Genisys, the highest-grossing international Terminator to date, made 0 million and squeaked out a tiny profit. But Dark Fate may be living up to its name as it has grossed just million total overseas so far.Fresh Surprise: Focus Features Earns Another Solid Debut with HarrietRyan FujitaniSpeaking of per-theater averages, Focus Features is having a bit of a moment. Downton Abbey has grossed over million and has become their highest-grossing domestic title ever. This weekend, Kasi Lemmons’ Harriet opened to million and notches another top ten finish in Focus’ record books. While not a giant number, Harriet’s ,828 per-theater-average is the sixth best ever for Focus when they launch a film in over 2,000 theaters. It ranks behind The Strangers, Insidious: Chapter 3, Coraline, Burn After Reading, and London Has Fallen, and is now ahead of Atomic Blonde, The Forest, and The Boxtrolls. A pair of Jet Li films (Unleashed and Fearless) represent the low bar of Focus’ films opening to million or higher, as each grossed .53 and .63 million, respectively. The Forest is their only release to open over million and fail to gross at least million.Rotten Returns: Motherless Brooklyn and Arctic Dogs Flop Spectacularly(Photo by Entertainment Studios Motion Pictures)The two remaining new releases are downright Goldfinchian. Edward Norton’s Motherless Brooklyn, also released by Warner Bros., cost million and grossed just .6 million. That is just a ,682 per-theater-average in 1,342 venues. That is comparable to STX’s The Best of Enemies from April, which had a ,608 average in 1,705 theaters and finished with just .2 million. Norton said that he cashed in every favor in Hollywood to get this film made, so there may be a lot of Italian Jobs in his future.Then on the animated front, Missing Link can rest easy that it no longer has the weakest opening of the year. That now belongs to the -million budgeted Arctic Dogs from Entertainment Studios. Its .1 million start is the lowest for an animated film released in over 2,000 theaters since Disney’s Teacher’s Pet (.46 million) back in 2004. That start is also the lowest ever for one released in over 3,000 theaters, replacing 2015’s Strange Magic, which opened to .5 million and finished with just .4 million. Arctic Dogs is now destined to join a list of animated films in 2,000+ theaters to gross less than million that includes Ratchet Clank, Legends of Oz: Dorothy’s Return, Rock Dog, Doogal, The Wild Life, Early Man, and Teacher’s Pet.The Top 10 And Beyond: Joker and Maleficent Hang on to Second and Third(Photo by Niko Tavernise/© 2019 Warner Bros. Entertainment Inc.)Joker fell back to second place this week and is now just shy of 0 million domestic. It has become the 59th film in history to cross the 0 million line and is approaching the list of the 50 highest-grossing films of all time. At 9 million, Joker is ahead of where DC’s Suicide Squad was on Day 31 (7.32 million) and beat its fifth weekend .90-to-.91 million. That should fill in at least another -30 million as Todd Phillips film is headed past 5 million. At 4 million worldwide, even without another international dollar, Joker is going to join this list of the Top 50 grossers of all-time.The aforementioned Maleficent: Mistress of Evil earned another .1 million this weekend for a total of million domestic. That may be the 15th best total for an October release after 17 days and the 14th best third weekend, but it is still well in the red. It has a chance to reach 0 million domestic but even with another 8 million worldwide (which it has now) it is still about 0 million away from talking profit. United Artists Releasing’s The Addams Family, however, is headed exactly there. With another .4 million, the movie has passed 0 million globally and it is all IHOP gravy from there.Neon continues to make the most out of Bong Joon-ho’s Parasite (Certified Fresh at 99%). They expanded the film into 461 theaters and it grossed .6 million. That puts it in the vicinity of The Favourite, which moved into 441 theaters in weekend four and grossed .605 million, as well as Birdman, which was in 460 theaters and made .31 million. Both films from Fox Searchlight went on to become Best Picture nominees and grossed .36 and .34 million, respectively. Parasite’s total stands at .5 million.(Photo by Fox Searchlight Pictures)Speaking of which, the Fox specialty division now under Disney has Jojo Rabbit. Taika Waititi’s film was expanded in 256 theaters this weekend and grossed .4 million. That is also in the vicinity of Birdman’s third weekend (.39 million in 231 theaters) but also a little behind Searchlight’s (500) Days of Summer (.77 million in 266 theaters) and A24’s Lady Bird (.51 million in 244 theaters.) Those three films grossed between -49 million with a pair bolstered by their Oscar campaign. Still, if they can keep up interest and get the film to around million, that will be a solid victory. Its total is currently .2 million.Finally there is The Lighthouse (Certified Fresh at 92%) which A24 expanded again into 978 theaters, but fell back from last week’s Top Ten gross of .02 million back to million. That’s a gross on par with 2017’s The Beguiled (.06 million in 941 theaters) just as it was last week suggesting a final total around that film’s .7 million is in the cards for Robert Eggers’ follow-up to The Witch.This Time Last Year: Bohemian Rhapsody Destroys the CompetitionThree new films led the box office but only one turned into a phenomenon. Bohemian Rhapsody began its run towards the Oscars and history with a million opening, more than the next three films combined. They included the Disney bust, The Nutcracker and the Four Realms (.35 million), Tyler Perry’s Nobody’s Fool (.74 million) and Bradley Cooper’s A Star Is Born ( million) which passed 5 million this weekend. David Gordon Green’s Halloween also passed 0 million in fifth place. The biggest per-theater-average of the week went to Joel Edgerton’s Boy Erased (,411 in 5 theaters). The Top Ten films grossed 9.38 million and averaged 57.2% on the Tomatometer, while this year’s Top Ten grossed an estimated .3 Million and averaged 51.5% with critics.On the Vine: Heeeere s Ewan!The Holiday Movie Season is undeniably frontloaded this year, with everyone trying to get their piece of the pie before Frozen II and The Rise of Skywalker dominate. The favorite going into next week is Mike Flanagan’s two-and-a-half-hour adaptation of Stephen King’s sequel to The Shining, Doctor Sleep, with Ewan McGregor. Roland Emmerich is back to blow things up with a real-life war story in Midway. For the romance fans out there, Paul Feig is teaming up Emilia Clarke and Henry Golding in Last Christmas and for families looking for an amuse-bouche before Anna Elsa, John Cena plays a babysitting fireman in Playing with Fire. Also in limited release is Shia LaBeouf’s acclaimed autobiographical story of his relationship with his troubled father in Honey Boy.The Full Top 10: November 1-3Terminator: Dark Fate (2019) 70% – million ( million total)Joker (2019) 68% – .9 million (9.6 million total)Maleficent: Mistress of Evil (2019) 39% – .18 million (.3 million total)Harriet (2019) 73% – million ( million total)The Addams Family (2019) 45% – .5 million (.3 million total)Zombieland: Double Tap (2019) 68% – .35 million (.3 million total)Countdown (2019) 26% – .85 million (.77 million total)Black and Blue (2019) 52% – .1 million (.44 million total)Motherless Brooklyn (2019) 64% – .65 million (.65 million total)Arctic Dogs (2019) 12% – .1 million (.1 million total)


亚博网是什么网站 相较于和平精英手游以及使命召唤手游,Apex移动端的优势在于题材的不同,Apex拥有像英雄联盟一样的英雄世界架构,每一名游戏人物都有着自己的故事背景,而国内的两款主流手游更侧重于竞技本身的体验感。Apex的英雄世界更容易让玩家有代入感,会产生像漫威死忠粉一样的效果,利于它发展游戏周边产品,同时也能产生不俗的广告效应。只要游戏本身的体验感达标,例如画面,打击感,流畅程度。它也许会再次掀起当年守望先锋进入市场的热潮。

With the Avengers taking up all of the superhero pop culture real estate of late, it s almost refreshing to come across a more small-scale tale of justice, particularly one as steeped in an underrepresented culture as El Chicano is. Unfortunately, critics say the effort is mostly wasted here. Raul Castillo stars as an LAPD detective on the trail of a cartel kingpin looking to expand into Los Angeles who, inspired by childhood tales of and a personal encounter with a mythical figure called El Chicano, decides to take on the persona to fight crime outside the law. While reviews tout Castillo s effective brooding, they also note that the film lacks nuance, with thinly drawn characters whose backstories feel perfunctory rather than enlightening. El Chicano is ultimately a dark, overly gritty crime procedural-cum-vigilante thriller that relies on cliche and fails to reach its ambitious goals, but it may still serve an audience hungry for something akin to a Latino Batman. 《洛克王国》手游以页游版本为基础,由IP原研发团队制作。角色、场景和故事脉络均沿袭了前作,并在此之上对世界观做出更多发展。游戏主打玩法包括大世界探索,精灵捕捉与养成等。


King of the Crop: Fantastic Beasts Wins Weekend But Signals Trouble Ahead(Photo by Warner Bros)Fantastic Beasts: The Crimes of Grindelwald topped the box office this weekend easily, but that s about the only domestic victory the film can claim. It can’t even boast having the best start of the 2018 holiday season so far, falling behind The Grinch’s .5 million last week. By the time the final estimates come out it may not even be a Top 25 November opening. (However, it’s international numbers are more than solid with a worldwide tally of 3 million just this weekend.)The million opening is the lowest in the entire Harry Potter franchise. The previous low: Fantastic Beasts and Where To Find Them with .4 million. Before that it was Harry Potter and the Order of the Phoenix, though that posted the second-highest multiple of the series with a 3.78x.Fantastic Beasts is scheduled to be a five-part series, and critics are bailing on just the second movie. Will audiences? Anything less than 4 million domestic (likely) equals declining territory. And less than 0 million domestic will be a major disappointment for WB. So is it the international haul that truly matters? Like the Transformers and Pirates of the Caribbean franchises, American audiences may have grown weary, but as long coffers fill overseas, we will see more of them yet.Rotten Returns: Instant Family Continues Streak of Mark Wahlbombs(Photo by Paramount)Paramount got strong reviews from critics for Mark Wahlberg-starring Instant Family, but the million production from Sean Anders did not have that sweet Daddy’s Home connection with Will Ferrell. Confident that audiences would be looking for a potential feel-good film for the holidays, the studio moved the film up from February into this weekend and was rewarded with just .5 million. Since 1990 there have been a dozen films that have started between .7-.7 million, and only three of them have reached million: The Jackal (1997), Horrible Bosses 2, and Mel Gibson’s Hacksaw Ridge, which benefited from an awards run. If word-of-mouth cannot build Instant Family this will go down as the seventh straight film that Mark Wahlberg has headlined that has ended up on the losing side of its budget. Steve McQueen’s Widows seemingly is in the same boat as Instant Family with just a .3 million opening and million budget. But as a potential awards player, there is a room for longevity.Top Ten and Beyond: Grinch Eyes Seasonal High, No Box Office Rhapsody For Adult Fare(Photo by © 20th Century Fox)Illumination’s animated adaptation of The Grinch finds itself in a pretty good position, pulling ahead of The Lorax (also from Illumination) with a 10-day gross of 6.5 million. That puts The Grinch at a total end estimate in the 0-0 million range. Meanwhile, another box office song going on: Bohemian Rhapsody, which looks to end in 0 million range. It is over 4 million worldwide to date, making the film a tremendous success for Fox.Non-Grinch, not-Queen movies have less to sing about. With respective budgets of and million, Overlord and The Girl In the Spider s Web are at a mere .7 and .2 million. The new Dragon Tattoo Story is only at million worldwide. Overlord is not much better at million, but it is safe to say we have have seen the last of Lisbeth Salander on the big screen. Disney and theaters are bailing fast on another overpriced failure: The Nutcracker and the Four Realms ( million domestic, 6 million worldwide against a0 million budget), which vanished from over 1,100 theaters in just its third weekend.Julian Schnabel’s At Eternity’s Gate had the best per-theater-average of the weekend, with ,000 in four theaters, though it is not much of a number to crow about. Another awards hopeful, Green Book, played 25 theaters, driving up 2k before it will expand into over 1,000 on Wednesday. For the MST3kers out there, Mystery Science Theater 3000: The Movie opened in 26 theaters to 6k. (Enjoy the new season on Netflix this Wednesday!)

亚博网是什么网站 As the notion of January, February, and March being a cinematic wasteland begins to fade away, big movies are starting to hit theaters earlier and earlier every year. This month, for example, the two most anticipated movies by far are a pair of blockbuster animated sequels, one of which presumably marks the end of a wildly popular franchise trilogy, and early reviews indicate they re both likely to be just as successful as their Certified Fresh predecessors. After that, we ve got an effects-driven sci-fi adventure, an unusual horror-comedy-satire, and a tie between a remake of a Norwegian thriller and the sequel to a recent surprise horror hit. Read on for the Most Anticipated Movies of February, as decided by Want-to-See votes on RT and polls on our social media channels.1. How to Train Your Dragon: The Hidden World (2019) 90%(Photo by Universal Pictures)45,112 Want-to-See Votes#1 pick by our Twitter fans, #2 pick by our Facebook fans, #3 pick by our Instagram fansOpens February 22The third and presumably final entry in the How to Train Your Dragon series tops the list for February, garnering the most Want-to-See votes on RT proper by a hefy margin more than doubling runner-up The LEGO Movie 2. The primary voice cast, which includes Jay Baruchel, America Ferrera, Gerard Butler, and Cate Blanchett, all return for the sequel, which finds Hiccup (Baruchel) seeking out a rumored dragon sanctuary to help alleviate the overpopulation problem on his home island, Berk. Along the way, he and his friends encounter a white Night Fury and its fearsome dragon-hunter owner (voiced by F. Murray Abraham). So far, early reviews are declaring The Hidden World another triumph, so fans hoping for another winning tale are in for a treat.Watch Trailer2. The LEGO Movie 2: The Second Part (2019) 84%Ryan Fujitani21,853 Want-to-See Votes#2 pick by our Instagram and Twitter fans, #4 pick by our Facebook fansOpens February 82014 s The LEGO Movie was a risky endeavor that paid off, thanks to its stunning animation, wacky sense of humor, imaginative storytelling, and infectious soundtrack. This month, Warner Bros. attempts to pull it off again, reuniting original voice cast Chris Pratt, Elizabeth Banks, and Will Arnett with new characters played by Tiffany Haddish and Stephanie Beatriz. The story follows Master Builder Emmet (Pratt) as he embarks on a mission to rescue Lucy (Banks) and his friends from an evil queen from the Systar System. Early reviews say that while The LEGO Movie 2: The Second Part doesn t feel quite as fresh as the first film, it s still a hilarious, heartfelt movie the whole family can enjoy.Watch Trailer3. Alita: Battle Angel (2019) 61%(Photo by 20th Century Fox)1,110 Want-to-See Votes#1 pick by our Facebook fans, #3 pick by our Twitter fans, #5 pick by our Instagram fansOpens February 14James Cameron has been fascinated by the Japanese manga Battle Angel Alita for a long time, and it s taken almost 20 years since he first became interested in adapting it into feature film for us to finally get it. That said, it s Robert Rodriguez, not Cameron himself, behind the camera for this sci-fi tale that centers on a reanimated cyborg with no memory who slowly discovers the truth of her violent past. Reviews have been flowing in since its premiere, and while critics are split on the film s storytelling, most are enthusiastic about the special effects work, in true James Cameron tradition.Watch Trailer4. Velvet Buzzsaw (2019) 61%(Photo by Netflix)266 Want-to-See Votes#1 pick by our Instagram fansPremieres February 1Director Dan Gilroy re-teams with stars Jake Gyllenhaal and Rene Russo, who powered his acclaimed thriller Nightcrawler, for this dark, Netflix-produced takedown of the art world. Gyllenhaal and Russo star as an art critic and a gallery owner, respectively, who become enamored with a series of paintings left behind by an undiscovered artist who died a mysterious death. Soon, the paintings begin taking on a life of their own, and the bodies start piling up. While Velvet Buzzsaw didn t get a lot of attention from our Twitter or Facebook fans, the horror-satire was the #1 most anticipated film for our Instagram users, and it garnered the fourth highest number of Want-to-See votes on the site. Critics have been divided but mostly positive on the film, but you can see it for yourself on Netflix on the first of the month.Watch Trailer5a. Cold Pursuit (2019) 68%(Photo by Summit Entertainment)109 Want-to-See Votes#4 pick by our Twitter and Instagram fans, #5 pick by our Instagram fansOpens February 8Lastly, we have a tie between two thrillers, starting with the latest entry in Liam Neeson s late-career vigilante phase, which managed to earn #4 placement in our Instagram and Twitter polls and #5 in our Facebook poll. Here, he stars in a remake of 2014 Norwegian film In Order of Disappearance, playing a snowplow driver who takes matters into his own hands when his son is murdered by a local drug lord. Reviews have already begun to come in for Cold Pursuit, and so far they say it not only delivers on its promise of action but also has a fair amount of humor and a more sophisticated storytelling than might be expected.Watch Trailer5b. Happy Death Day 2U (2019) 71%(Photo by Universal Pictures)161 Want-to-See Votes#3 pick by our Facebook fans, #5 pick by our Twitter fansOpens February 13The other film to tie for fifth most anticipated film of February is this sequel to the surprise hit from 2017 that effectively mixed horror elements into a Groundhog Day-style narrative. Set two years after the first film, Happy Death Day 2U once again follows college coed Tree Gelbman (Jessica Rothe) as she is thrust back into the time loop she escaped in the first film. This time around, however, she discovers that her original killer has herself been murdered, and now Tree must figure out who the new killer is before it s too late. It earned the fifth most Want-to-See votes on RT and entered the top 5 in both our Facebook and Twitter polls, but it s the only film on this list that doesn t already have a Tomatometer score. You ll just have to wait until it comes out to find out how good a sequel it is.Watch Trailer

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