沙巴体育365网页版采用百度引擎7（Baidu 3）a Austin, We Have a HulkA more hopeful Batman means that tone is lighter and more optimistic. Amon Warmann, Empire MagazineZack Snyder’s Justice League is mostly the same 118-minute movie but with two hours of deleted scenes and poor pacing. Scott Mendelson, ForbesIs it just more movie?While more isn t always better, that axiom is challenged by the subjective truth that this redo is an impressive improvement over the original release. Rob Hunter, Film School RejectsThe defining problem for Zack Snyder’s Justice League: the director’s vision adds a lot more stuff but rarely does more add up to anything of meaning. Sean Mulvihill, FanboyNationHow does the longer runtime affect the film?The film’s chapter breaks are very effective, allowing the narrative room to breathe while also embodying the spirit of a tried and true superhero comic event, which needs multiple issues to tell its massive narrative. Jenna Anderson, ComicBook.comOverall the film benefits from its extended running time, but it still can feel like a slough, especially in the first half. Matt Rodriguez, ShakefireThis version running four hours is the very definition of indulgence, especially how much of the new footage is not new but merely extended. Scott Mendelson, ForbesThere are very few movies that justify an over three-hour run time, and, unfortunately, Zack Snyder s Justice League is not one of them. Kaitlyn Booth, Bleeding Cool(Photo by HBO Max)Is it just for fans?Perhaps the most general audience-friendly film Snyder has made in his career, Justice League seems to have something for everyone. Sheraz Farooqi, ComicBook DebateThis epic should open with a disclaimer: This movie is intended FOR THE FANS ONLY. Sean Mulvihill, FanboyNationIs the plot easier to follow?The most striking thing about Zack Snyder’s Justice League is the fact that everything that didn’t make sense three-and-a-half years ago now does. Josh Wilding, ComicBookMovie.comFrom the moment the film begins, it is clear that it is something much more cohesive with a specific plan of attack for all of the heroes in the film. Britany Murphy, Geeks of ColorThe massive differences serve to better establish the story… It sets the stage for the main antagonist in Darkseid, as well as provides a much clearer idea of what’s happening and why. Shah Shahid, Comic YearsThe point is not to shovel plot information at the viewer. The point is to create a fantastic world where metaphors are real, and to give you time to roam around in it and savor all the details. Matt Zoller Seitz, RogerEbert.comI’m actually not clear on why Steppenwolf was banished in the first place, and this is one of the areas where I feel that Snyder’s version is actually worse than the original. Matt Rodriguez, ShakefireDo the characters feel more developed?The character work is easily one of the biggest pleasant surprises of the movie, as is the further exploration of Steppenwolf. Jenna Anderson, ComicBook.comThe character development helps immensely… While watching Snyder’s version, I had a lot of, ohhh, I see, that makes sense now, moments. Mike Ryan, UproxxIt allows for time to see these characters when they aren’t superheroes, and makes them more human as a result. Karen Han, SlateSnyder’s priority is in giving each character time to look cool as hell, but not necessarily in making the audience like them any more — except for Cyborg. Joshua Rivera, Polygon(Photo by HBO Max)Do any characters stand out?Far and away, Cyborg [is] the best part of Zack Snyder’s Justice League. Sheraz Farooqi, ComicBook DebateFisher s performance is the best in a film filled with strong acting. Matt Zoller Seitz, RogerEbert.comThis is a star making performance from the actor. Josh Wilding, ComicBookMovie.comIf there’s any reason to see this beyond curiosity, it’s for those wanting a Justice League movie where Cyborg is the (eventual) central character. Scott Mendelson, ForbesThe extra Cyborg scenes make him a more relatable character, they are also rather dull at times. Kaitlyn Booth, Bleeding CoolDoes it fix the villain problem?Steppenwolf is among the characters who are fleshed out. Now he’s less ‘standard CGI villain’ and more of a depressing dope who just wants to impress Darkseid. Mike Ryan, UproxxSteppenwolf never feels imposing… The big bad getting chewed out by his boss doesn’t exactly establish a terrifying villain. Sean Mulvihill, FanboyNationThe extra scenes explaining Steppenwolf only underline that he s still a total dud. Angie Han, Mashable(Photo by HBO Max)How is the tone of the film?This new cut also wisely removes much of the original s cheesy, ill-fitting jokiness, making for a smarter, more even experience. Rob Hunter, Film School RejectsA lot of the vaguely Whedonish wisecracks have made it intact; turns out the Flash s awkward sense of humor was a rare element that both filmmakers could comfortably get behind. Angie Han, MashableThere’s also a sense of levity, with moments of humor… the tone isn’t quite the upbeat camp of Super Friends, or the stoicism of Snyder at his most serious, but something comfortably in the middle. Jenna Anderson, ComicBook.comHow does the movie look?The filmmaker s knack for striking visuals shows in the action set pieces, which play crisper and cleaner this time around. Angie Han, MashableThis has to be one of the most visually spellbinding comic-book movies ever made. Owen Gleiberman, VarietyThe superhero version of a symphonically grand, late-period silent epic… just scene after scene of impeccably composed panoramas. Matt Zoller Seitz, RogerEbert.comWhat about the visual effects?The visual effects are particularly impressive in bringing both Steppenwolf and Darkseid to life, especially in the intricate detailing and purple hue of Steppenwolf’s armor. Nicola Austin, We Have a HulkOutside of one or two brief moments, the visual effects within that aesthetic are near-flawless, especially when it comes to Steppenwolf and Darkseid’s visual design. Jenna Anderson, ComicBook.comWe re far too often treated to some pretty abysmal CG and digital matte work… the inconsistent quality of effects here is enough to threaten whiplash. Rob Hunter, Film School RejectsWhile there were some nicks and scratches in the heavy CGI moments, given that the team only had seven months to create 3,000 shots during a pandemic, this can be forgiven. Sheraz Farooqi, ComicBook Debate(Photo by HBO Max)And the action scenes?They’ve been staged with a supreme conviction that’s more Seven Samurai than super invincible. Owen Gleiberman, VarietyIn some instances, both action and quiet moments happen simultaneously, giving us a roller coaster of emotional reactions. Shah Shahid, Comic YearsThe action is free of any tangible stakes. There’s plenty of comic book action unfolding but it’s all weightless. Sean Mulvihill, FanboyNationThe final battle buries weightless digital oblivion under one laughable plot twist. Darren Franich, Entertainment WeeklyIs the new score by Junkie XL better?In many ways a character of its own, Junkie XL’s score is masterful. Sheraz Farooqi, ComicBook DebateJunkie XL s score is a rousing, ethereal mix of synth-fueled adrenaline and choral beauty alongside earlier Hans Zimmer tracks. Rob Hunter, Film School RejectsMostly, it works as a backing track for Snyder’s visual excess, but it’s still forgettable. Joshua Rivera, Polygon(Photo by DC Entertainment)How does it measure up against the Marvel movies?It comes closer to delivering the DCEU s equivalent of The Avengers than anyone could have expected. Rob Hunter, Film School RejectsThis cut is an ensemble picture that does as good a job as MCU s Avengers films of depicting a band of heroes as strong-willed, fully-rounded individuals. Matt Zoller Seitz, RogerEbert.comJustice League accomplishes in four hours what those films did in nine. Owen Gleiberman, Variety[The climax] may not be as all-encompassing as The Battle of New York, but it is close to the epic Justice League finale we wanted in 2017. Scott Mendelson, ForbesSo it was all worth the fuss, then?Zack Snyder’s Justice League is one of the best comic book films of all time. Sheraz Farooqi, ComicBook DebateZack Snyder’s Justice League is one of the best superhero films ever made. Dewey Singleton, AwardsWatchThe superhero movies that have achieved a genuine sweeping transcendence can just about be counted on one hand… to that hallowed list I would now add Zack Snyder’s Justice League. Owen Gleiberman, VarietyThis four-hour cut is the kind of brazen auteurist vision that Martin Scorsese was calling for when he complained (rightly) that most modern superhero movies don t resemble cinema. Matt Zoller Seitz, RogerEbert.comZack Snyder s Justice League premieres on HBO Max on March 18, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
手游的皮肤一直是广受好评的，参加了之前几轮测试的玩家们在试玩手游后，纷纷表示感受到原汁原味体验的同时，看到了一些手游独特的亮点，比如手游的人物模型精巧灵动，并没有完全照搬端游，对局内外手游的画风都跟端游有细微的差别，有独属于手游的风格，既保留了英雄联盟的基调又更新潮。 A collection of muted victories is the best way to describe the box office over the Presidents’ Day weekend. Alita: Battle Angel might have won the top spot, but a surprising showing for Rebel Wilson rom-com Isn’t It Romantic? could be a victory in and of itself. Queen of the Crop: Alita Wins The Battle, But Could Lose The War (Photo by 20th Century Fox)The Robert Rodriguez/James Cameron collaboration Alita: Battle Angel (59% on the Tomatometer) had been gestating since the early 2000s and was in post-production for nearly two years before its release this weekend. Alita’s .3 million is good enough for 12th all-time over Presidents’ Day weekend, but with its Valentine’s Day opening it stands at million.The film wisely avoided the battle against Aquaman and Mary Poppins Returns over the end-of-2018 holiday, though a meager start is not going to calm the waters in the spending department. Clocking in at a reported 0 million budget (not counting distribution costs) means that eyes will be focused on its international output, where it currently stands with an additional million.That’s not a terrible start if its goal was 0 million domestic. It has already surpassed the final grosses of 2017’s Ghost in the Shell (.5 million) and Valerian and the City of a Thousand Planets. It would take 2.7 million for Alita to be Rodriguez’s highest-grossing film ever, but it could be at the cost of being his most expensive flop to date as well. Rotten Returns: Happy Death Day Sequel Well Behind Original’s Numbers (Photo by Universal Pictures)Coming in at a shocking low this weekend was Happy Death Day 2U. Blumhouse’s sequel to its million 2017 hit made just million over the four-day weekend, and .7 million since its opening on Wednesday. That is considerably less than the original’s three-day opening weekend of million. Critics were still generally on board with the franchise, as it stands at 67% on the Tomatometer (down from 71% the first time around) and the notoriously cost-efficient Blumhouse is not going to lose too much sleep even after ballooning the budget from .7 million to a whopping million. However, expectations ranging from -30 million for 2U’s first six days amounts to a bummer. The Top Ten And Beyond: Glass Reaches 0 Million, But The Upside Gains (Photo by Universal Pictures)The other new wide release of the week, Isn’t It Romantic?, has managed .8 million since its opening on Valentine’s Day. That’s nearly halfway to the total of star Rebel Wilson’s 2016 rom-com How To Be Single, which finished with .8 million after opening two days before the card-and-flowers holiday. Still, Isn’t It Romantic’s million production is going to need some help to turn a profit for Warner Bros.The studio’s Lego Movie 2: The Second Part grossed .3 million over the four-day weekend. Of films to open between -35 million, its three-day weekend of .2 million was less than Identity Thief, Ransom, and Lethal Weapon 4 — all R-rated films. Those three made between million and million after ten days, while Lego 2 sat at .6 million. The good news is that the animated sequel is not far behind the 0-137 million grosses of that adult fare, but it is still significantly less than both the original film and The Lego Batman Movie.It took 28 days, but M. Night Shyamalan’s Glass finally passed the 0 million mark — on Valentine’s Day. It will soon be joined by The Upside, the first big surprise hit of 2019, which could hit the benchmark by the end of next weekend. For the fifth straight weekend the Kevin Hart/Bryan Cranston remake has dropped less than 30 percent from the previous week, and that’s even with the film dropping 591 theaters this weekend. It’s a feat that Oscar nominee Green Book has pulled off for the ninth straight weekend, with that film’s total box office haul now standing at more than million. Meanwhile, Paramount’s What Men Want is in a position where million would be the lowball for its final gross. This Time Last Year: Black Panther Began Its Run At History (Photo by © Marvel Studios)Black Panther had the fifth-highest opening weekend of all time, with 2 million over the Presidents’ Day weekend. Including the Monday holiday, the Oscar-nominated comic book movie posted a grand total of 2.1 million and was well on its way to becoming the third-highest-grossing domestic title ever. On the lower end that weekend, Aardman Animation suffered a dud with Early Man making just .19 million. PureFlix’s biblical effort, Samson, did not have much strength either with just a .9 million start, but The Greatest Showman continued to flex its muscles by crossing the 0 million mark. Thanks to Ryan Coogler and Marvel the Top Ten films grossed 7.3 million over the weekend and more than 3 million during the four-day holiday. The films averaged 55.2% on the Tomatometer. This year’s Top Ten grossed 5.1 Million over the three-day weekend, 7 million over the four-day, and averaged 60.1% on the Tomatometer. On the Vine: Training Dragons and Wrestlers (Photo by Universal Pictures)Nearly nine years after the How to Train Your Dragon trilogy began, audiences get to see the story’s conclusion with How To Train Your Dragon: The Hidden World. Expect it to top the box office next weekend and add to an international total that currently sits at million. The first two films have grossed a worldwide total of .116 billion. Also expanding into wide release is Stephen Merchant’s Fighting with My Family, the story of WWE’s Paige that stars Florence Pugh. The film opened in just four theaters this weekend to 1,625, giving it the highest per-screen-average of the week (.906). Dwayne Johnson produced the film and has a two-scene cameo in the comedy/drama that stands at 88% on the Tomatometer after its “surprise screening” at Sundance in January.The Full Top 10: February 15-18Alita: Battle Angel (2019) 61% – .3 million ( million total)The LEGO Movie 2: The Second Part (2019) 84% – .3 million (.8 million total)Isn't It Romantic (2019) 70% – .6 million (.8 million total)What Men Want (2019) 41% – .3 million (.6 million total)Happy Death Day 2U (2019) 71% – million (.7 million total)Cold Pursuit (2019) 68% – million (.1 million total)The Upside (2017) 43% – .5 million (.1 million total)Glass (2019) 36% – .6 million (5.2 million total)The Prodigy (2019) 43% – .6 million (.5 million total)Green Book (2018) 77% – .5 million (.4 million total)
The loves ones painfully overrated really? brad, did you even watched this movie or you just hate rotten top movies. for me, to be honest, i m not a fan of rotten tomatoes film because lot of their top and highest rating movies are completely worst than the worst movie ever made. i know lot of rotten critics are insane and idiot because they gave highest score to those garbage s movies! but this one ( the love ones) i completely disagree with you in this film. The loves ones is one of those movies like alien, aliens, the conjuring, the thing that gives thrilling and exciting moments. but the rest and movies you had been mention except the love ones , are worst than worst film s ever made !沙巴体育365网页版在战斗之外，《复苏的魔女》使用了经典像素RPG的俯视角探索场景，添加了适度的机关解谜元素。不过探索部分的玩法仍有很大的拓展空间，鉴于手游体量的问题，游戏的迷宫谜题内容都算是比较简单的，并没有什么高难度内容可以挑战，不过开发者称后续将会加入更多挑战性内容。
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
When Dear White People season 3 hit Netflix this summer, the comedy continued its streak as one of the best-reviewed shows on television. Season 3 – for which creator Justin Simien brought his dynamic cast of students back to Winchester University for junior year – is currently rated Fresh at 89% on the Tomatometer. Still packed with biting social commentary, the storylines this year broke new ground for the characters and the narrative format.Rotten Tomatoes spoke with star Logan Browning, who plays the bombastic and outspoken Samantha, who after two seasons hosting her campus radio show Dear White People, leaves her beloved show and host identity behind in the latest season. Below, the actress discusses what she s watching on TV right now, what she and Issa Rae get up to during their epic yacht parties, and season 3 of Dear White People.WHAT IS APPOINTMENT TV FOR YOU?(Photo by Jennifer Clasen/HBO)The most recent thing that I got to appointment watch was Big Little Lies, and I did that with my friend Camille because it came on every Sunday and I have HBO NOW. That s the most recent thing I was able to watch every time it came on.Rotten Tomatoes: How do you make time to watch it together?We are very considerate of each other s time. We would check in on every Saturday and be like, Hey are you busy on Sunday? Do you want to wait to watch it on Monday? And then we d always alternate whose house we re going to so no one s having to constantly host and no one s having to constantly make the trek to the other person s place. And then, of course, we d order food and we don t start it until we have our food, which gets to be a problem sometimes because it just gets later and later when you re waiting for your Postmates or Uber Eats delivery. And then, we try really, really hard not to pause it. We ll look at each other at certain moments throughout the whole thing like, Are we on the same page here? I ve tried multiple times to pause it and talk to Camille about it and she s like, No, we have to just keep going. Yes, we have to power through and we will discuss it after just like a movie. That s what it requires.WHAT’S ON YOUR DVR?Well, I m one of those people who does not have cable. I only have streaming. I have Hulu Live, but the way my life works, I never get to use it. I wouldn t know what to DVR if I had one.WHAT’S IN YOUR STREAMING QUEUE?(Photo by Netflix)I m in the middle of bingeing Queer Eye. I like to mix my fiction and my feel-good reality shows. I m also in the middle of Stranger Things. I will start Fleabag soon, though, because I have heard so many great things about it.WHAT’S COMING SOON THAT YOU CAN’T WAIT FOR?(Photo by HBO)Oh, that s easy. Insecure season 3. That is whenever they release it — in like 2040! [laughs] I feel it s never going to be here, but I can t wait.RT: Didn t you and Issa Rae just throw a yacht party together? Did you ask her about it? I didn t. But I should have brought that up. Where s my season three, sis? We mad, Issa. We mad! [laughs] No, I know, she s busy making movies. She can live.(Photo by Netflix)Jacqueline Coley for Rotten Tomatoes: Coming into season 3, it s the students junior year and they re more mature than last season. Everybody s growing up and growing out in different ways. Talk about the maturity of this season.I think that the characters have to grow. That s a lot of what college is about: finding yourself, your voice, and just figuring out how the world wants you to behave, versus how you react to the world, versus how you want to create your own narrative for the rest of your next couple of years. All of the characters have core issues that they ll always probably deal with. I know Justin has said this before, As a writer, you want to create problems for your characters and then never solve them, and I find that fascinating because in every season we just get closer to solving these problems. But ultimately, the things in our lives that we feel are our problems are really a part of something. That s our shadow self, right? It s a part of you that will always be with you. You just learn how to work around it, with it, and through it. That s kind of what all these characters are doing. They have things in their lives that they come up against and they ve just got to figure out how to work through it. The tagline of the season is: Grow by any means necessary.RT: Samantha s in a different place this time. Talk to me about coming back to Sam without Dear White People as her thing.It s funny. Sam was always experiencing the retaliation of the radio show at her mic. That s gone this year and it s difficult for Sam. Because in the long run she hopes this will be a vacation, and that whenever she s got her life together she can come back to it. But in the end, she s like, I don t know if I m ready to really jump back into this. And when you get to that moment, you have to decide, is this thing that I ve created staying the same or is it going to change? That also happened with the show Dear White People too. Justin, Yvette [Lee Bowser, showrunner], all of the cast and crew have together created this series and now this season has been all about change. So now it s like, Well, what happens next? Do you just keep running with that? Do you create something new? In a lot of ways Sam s exploration this season parallels the show s.RT: Justin tackled two big issues within the black community this year: The Tyler Perry effect, in which a person may be thought to perpetuate stereotypes in the eyes of some, but in others estimation is an icon who fights for representation. The other issue being #MeToo through the eyes of black women. What was it like exploring those two storylines?I very much appreciated both of the storylines. I mean, with the Tyler Perry reference, as someone who worked for the man himself and grew up in Atlanta going to Tyler Perry plays and films, I m honestly grateful that Justin got to this point in his life where he can realize that there s room for all of us. I appreciate it because as a Black person in America, we are all so different and we all get to consume whatever content we want. A lot of the reason I was able to be in L.A. during the writers strike or when I wasn t working was because of the work I did with Tyler. And with the #MeToo storyline from every angle, everyone was super supportive. There are a lot of instances in and women s lives — and in men s lives — that they don t talk about because they re not sure if it was taboo or if they just unknowingly put themselves in an improper situation. What [Dear White People] shows is that opening up to people and having people not judge you when you are sharing those kinds of things with them allows for support, or it should. I feel that on so many levels.(Photo by Netflix)RT: Dear White People has been consistently rated Fresh on Rotten Tomatoes but some still take issue with the title. What would you say to those that still cannot seem to get past the name? Ultimately, what makes this show so great is that it exists. It s art that dares to exist. This kind of art couldn t and didn t always exist on any platform. To the people who can t get past something like the title? They truly don t bother me. Because if you can t get past it, then you re not ready for it. And that s OK because the show isn t about that. The show s not trying to force anyone to do anything. The show will always exist. Maybe in 30 years it won t exist on Netflix, but it will be in the canon of television and maybe one day people will be ready for it — even if they aren t now. But for the people who are ready for it and who ve been craving it, they deserve to have it. They also deserve to have it in peace, but you know America.Dear White People seasons 1-3 are now streaming on Netflix.
Kristian King’s Twice As Good is part of the Scene in Color Film Series, presented by Target, which shines a light on incredible filmmaking talent. As part of the series, three emerging filmmakers will receive mentorship from producer Will Packer, and their films are available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App.Filmmaker Kristian King says the ideas for her movies often stem from a single image. In the case of Twice As Good, which was selected to be part of the Scene in Color Film Series, that image was a smashed plate – something delicate but strong, perfect in its shape and form, that one day comes completely apart.It’s an image you’ll find in her acclaimed short, and one that speaks vividly to its central themes: Twice as Good is the tale of a Black high school overachiever under crippling pressure to be excellent, dealing with a secret on one of the biggest days of her young life – one that could shatter her world. It is brought to life by an incredible performance from Sojourner Brown, and deft writing and direction from King, who – in just 11 minutes – unfolds a moving and tense story populated by characters we rarely see on screen.Taking part in the Scene in Color Film Series not only means King’s short is available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App, but that she takes part in a mentorship program with mega producer Will Packer, whose credits include Girls Trip, Think Like A Man, and Ride Along. In the lead up to her time with Packer, King spoke with Rotten Tomatoes editor Jacqueline Coley about the development of her short film, telling a culturally specific story, and what she hoped to learn from her mentorship.Jacqueline Coley for Rotten Tomatoes: Let s talk about your journey to filmmaking and why you wanted to be a director. Kristian King: Up until my last year in college at Duke University, I was fully headed towards a career in science. I loved chemistry and physics in high school, and in college, I was a biology major. I didn’t hate science, in fact, I really enjoyed it, but in the back of my mind, film was my true love.I grew up obsessively watching films, my siblings and I used to be able to quote entire movies to each other. As I grew older, my dad introduced me to a lot of filmmakers like Spike Lee and Tarantino. However, despite that love, I didn’t know it could be a real career until I got to college and met filmmakers and other artists.While in college, I volunteered in children’s cancer ward during one summer and it really affected me. That experience gave me a greater appreciation for the work that doctors and nurses do, but I also began to realize that it wasn’t going to be my path. After spending most of my life thinking I would be a doctor, I thought, “What now?”. I started working in a breast cancer research lab and really enjoyed my time there, but it still wasn’t quite as fulfilling as I had hoped it would be. Thankfully, my mentor at the lab encouraged me to give myself the opportunity to explore other careers. It shouldn’t be something you just fall into, especially when you have the privilege to choose.I made my very first short film during my senior year – I still had a lot to learn, but it was so much fun. I also experimented with directing theater and acting; I wanted to try everything. I knew for sure from the moment I was on a short film production where I was so cold, that my limbs went numb, but I still knew this was the right path.After I graduated, I worked in clinical research to pay bills. I spent my evenings working with wonderful artists in Durham’s theater and arts community and made short films whenever I could. Three years later, I began New York University’s MBA/MFA program, which has allowed me to pursue filmmaking full time.(Photo by Kristian King)Coley: I know Spike Lee is a professor there, among others, and you really get to sort of learn at the hand of some incredible filmmakers and people that are passionate about film. But when did you know you were going to do this film, Twice As Good, as your short? Was this something that had been percolating? King: This was my thesis project and it took some time to come up with it. A lot of my films start from an image often divorced from what the film will end up being. I had recently rewatched one of my favorite films, Blue Valentine. I found the imagery of the fireworks inspiring. I’m generally obsessed with fire and fireworks, but there was something about the end credits that struck me. I wanted to translate it into something fun and interesting. I’m not sure how that turned into broken plates – that’s the one leap I can’t really explain – but I worked backwards from that to find the story.This film represents what I always want to talk about more, which is: exploring Black relationships. In this film, I question what it means when we place “Black excellence” pressures and expectations on people. There’s certainly a reason why we do this, but at the same time, underneath, we should wonder how this positively and negatively affects us.It’s also very personal to me because for anyone, when they become adults and things aren’t going the way their parents expected, there’s going to be a moment where they have to actually say to your parents, like, “Hey, I’m not going to do this thing that you maybe always wanted me to do.”Coley: The thing that I felt about your work that was just so resonant was that it really illustrates the nervous energy and the tension of being young, Black, and gifted, which is as much of a burden as having no one expect anything of you. And it seems like with Black folks, you re either cast as one or the other. I m just curious for you and the choice to capture your lead character’s nervous energy. How was it directing that and what were you saying to the actress? Because I felt like I was like, Oh, I know this girl: She is definitely a Wellbutrin daily. King: There’s an undercurrent of mental health in the film – I imagined that once Ann gets out into the world, the next step for her is also a therapist. A few days before production, my lead actress had a scheduling conflict, so it was a scramble to find someone else to fill the role. I was incredibly lucky to find Sojourner Brown, thanks to a recommendation from another artist. We really only talked on the phone and the first time I actually met her was the first day of the shoot. I had a good feeling from the phone call, because she understood exactly the type of character Ann was. I explained to her that what’s underlying Ann’s anxiety is the need for everything to be perfect and held together. And we tapped into our own experiences of what it’s like growing up as a black woman.Once we filmed the first scene, I felt incredibly blessed, because Sojourner brought Ann to life in a way I could not have imagined. She completely embodied the character.Throughout the shoot, we discussed each scene to help her find Ann’s head space in that moment and Sojourner always got it. We would add stuff on the day, like making sure, when you’re putting up decorations, everything’s in a very straight line, small things like that, which makes a character feel real.Coley: One thing I like with shorts, in particular, is that, because you don t have a long time and there s not a lot of room for exposition, you have to tell a lot about characters visually. And there are a few things that I saw that I particularly keyed in on that said something about the characters. I noticed that the mother, like a lot of women of that age, had her hair straightened. Then the daughter had natural hair. I noticed that the teacher who handed her the cookie had a periodic table sash, basically I think signifying her being just a little bit off kilter, very Tracee Ellis Ross. Can you talk about how these Black women were framed?King: Overall, even beyond the women, I wanted this to be a Black world where we see all different types of people, because I think we have seen so many films where, like you said earlier, it’s either one very smart person or a bunch of like, not – we don’t get much in-between.With the mother, she is this lawyer who likely has had to be in the many white spaces. And I was very intentional about how she looked: straight hair, suit. It also speaks to her generation as well. For Ann, it was important for her to have natural hair because I think it speaks to her character – because we do still live in a world obsessed with euro-centric beauty standards, so when you wear your natural hair, it is an act of strength. It’s an act of rebellion. Mrs. Tyler is absolutely the kooky, off-kilter science teacher. She could care less what anyone thinks of her, she inhabits her own space. All three of the actresses understood what I was going for with the characters and I think hair is an important detail.Coley: Let’s talk about this program and this mentorship. I know from talking to Will Packer that he is so intentional when he talks about Black cinema and where he feels it is placed and, more importantly, where he feels he will not allow people to place it. How do you feel about being mentored by Will Packer and what are you most looking forward to from the experience?King: I’m super excited. The work he has done is amazing and I have so much to learn from him. I love directing and writing, but I also went to business school while I was doing film school. My goal is to be in a similar space that he’s in – I want to create my own work and empower people to tell their stories as well. I’m interested in how he built his company and put his amazing projects together. Finding investors and getting your projects made is such a huge part of navigating this industry, and I want to make sure I understand as much as possible. That was my goal of going to business school: I needed to learn how the business side of the film industry works, because when I get into a room and someone tells me that a project’s not going to be profitable, I want to be able to not just say that they’re wrong, but explain why.See more shorts and meet more filmmakers from the Scene in Color Film Series.
Who is heading up your effects team?Hissrich: We have a huge team. Obviously, we shot in Budapest last season, so we ended up pulling from Budapest talent, as well as London talent. It s really expansive because we have several of the effects houses that are with us and then they also work with our prosthetics person It s quite a department I have to say.From the standpoint of managing something that huge, how did you do it and keep in touch with the creativity behind building the story or building a world?Hissrich: The best way to stay on top of it, is actually always be there. I ended up basically moving in and being on the ground in Budapest for almost eight months last year. I take my job really seriously, I m in love with this universe and so the first thing I did with almost all departments is to make sure they love the universe too. It s not necessarily that everyone had to have the most fantasy experience, the most genre experience. It was, Are you as excited about this material as I am? Can you show up every day and want to make this world bigger and better than the day before? I think that enthusiasm pervaded until the very end.Everyone will tell you that shooting a television show is hard and especially television shows that take place in the dead of winter in central Europe, and a lot of nights. The enthusiasm was almost always unflagging. I think the people that worked on the show really believe in what they did and even towards the end; they got tired obviously, but I think everyone still really wanted to come to work at the beginning of the day. I know that I did.(Photo by Netflix)How did you get involved with the title in the first place?Hissrich: I had read The Last Wish myself about a year before Netflix came to me to ask if I would be interested in adopting the show. I had worked with Netflix before on three different projects, so I had a really good relationship with them and I had just come off Umbrella Academy, which was a comic book adaptation.But I was really enjoying adapting things to television that had not been done before. So there was part of me when I first got the call from Netflix was, I don t think I m the writer that you re looking for, I have never done this big, sweeping, fantasy world before. In fact, I think part of the reason I was hired and the thing that I continue to try to bring to the show is, if you strip away all the elements of fantasy, what you are left with is three characters who are destined to become family, and that is something that I understand really well.To me those are the relationships that we have to come back to again and again, in terms of Geralt, Yennefer, and Cirilla: How do they relate with each other? How did they grow before they meet each other? Who were the other people that come in and out of their lives that send them bouncing in different directions, and how do they come back to each other at the end of the day? These are things that I think every human can relate to and so that is what we re trying to do with the show. I think that my biggest hope is that people who think that they re not fantasy buffs or fantasy geeks, I hope that they come and see that this is for them as well.(Photo by Netflix)How much of the writing did you take on yourself? I noticed there are a lot of writers listed.Hissrich: There were seven writers on the show and support staff of four. One of the things that I believe really strongly in, is giving every writer the opportunity to conceive, develop and write their own script. I ll come in at the end for a polish if needed. But I don t have a lot of ego in doing this, I think that television shows are best when they showcase the skills that a diverse group of people can bring.For instance, I love writing. I love writing characters, I love writing romance, [but] writing monsters was new to me. So there was another writer, Beau DeMayo, who wrote a sort of monster-heavy episode, and he d come out of a world of sort of CW monsters, and he had a lot of experience working in the genre, and it was really cool to see him come to life writing these monsters.There are other writers who wrote more adventurous scripts, and someone who wrote more of the heist one. Allowing writers to shine in their script, I think makes for a richer tapestry. So I wrote the first episode of season 1, and I wrote the last episode of season 1, but everything else was handled by the staff.I think people had already taken notice of Yennefer s big transition in the trailer, and so that s something that s not really a big secret.Hissrich: Setting it up was something that at the very beginning I wanted to keep secret, and then I realized right about the time of Comic-Con that, I was like, But I just want to talk about this. Especially with Yennefer, I want to talk about the sort of new sides of Yennefer that audiences will find, be they fans of the book or fans of the video game. I feel like Yennefer gets a new dimensionality to her character in the show and it s something I m really, really proud of. So yes, I couldn t keep my mouth shut on that.(Photo by Netflix)Can you talk about building Geralt for the screen? Is he an anti-hero?Hissrich: It s so interesting, the ideas of hero and anti-hero. For me, we approached all characters, but Geralt first and foremost, as a character that I ve never wanted to be called good or bad. I think Geralt has very good sides to his personality, and I think that he makes decisions that people might think are bad decisions.When we are writing all of the characters, even down to the Nilfgaardian, I ask the writers to dig down and think, and even if you think about the worst people in the history of our world, think about their motivations. Because very rarely does a character come and say, I m going to do this thing, I m going to take over the world, because I m evil. Even the worst people in our historical context wanted to take over the world because they thought they were doing something good. I may not agree, and history may show us that obviously that was not true, but I do think that characters are motivated from their own sense of good, no matter what.That applies to Geralt as well. We ll see him make decisions to kill creatures or kill humans, and we can see him make decisions not to. What I don t want to do is ever end an episode with someone saying, Obviously the writers thought that Geralt was a hero in this episode. What I want audiences to ask is, Do I think Geralt is a hero in this episode, or do I think that he made absolutely the wrong choice, and I don t understand why he made it? I hope that audiences will be able to reflect back into their own lives, and why they make specific decisions and whether they think that they made them for good or for evil. I think bringing that moral grain into television is really interesting, and Geralt is kind of the best example of that. He is quiet, he is pensive, he does not always say what he is thinking, so we just have to trust that he is acting from his gut and sometimes I think he is wrong and sometimes I think he is right.(Photo by Netflix)Do you see Geralt as much of a sexual character in your adaptation? You ve got Henry Cavill, and he is definitely handsome.Hissrich: I think that all of our characters have a sexual side to them. My personal goal, when I set out to develop this and we started writing the script, is that I only wanted sex, sexuality, sexiness to be used when it furthers the story. I think audiences are really savvy now and they know, and hate when we re just dropping in nudity, or graphic sex for the sake of shock value. I think audiences are really used to that now, with all of the pay cable and streaming services and everything that they are able to see, the influx of imagery that they re able to see.So for us, there s absolutely sex in the show, but I think the sex in the show always shifts the story in another direction. It s the vulnerable effects that you didn t think were going to happen, it s the sex that happens between two people who are alone and lonely and just need to connect in a sense of humanity and to reaffirm that there s something else alive out there. It s always about building out or changing character dynamics. I think people will enjoy what they see, but I also hope it helps them understand the stories that we re telling.The Witcher is now streaming on Netflix.
在测试火热进行、玩家热情高涨的同时，英雄联盟手游的自有生态也迅速发展起来。超燃测试期间，范丞丞&Uzi、罗云熙&若风先后宣布了自己的英雄联盟手游职业战队计划，娱乐明星与电竞名宿强强联合，抢先入局手游电竞。 Avengers: Endgame’s sprint to the top was not interrupted this weekend by anyone — not even Detective Pikachu. The Marvel entity is alive and well with the second-best third weekend in film history. But signs of it reaching one particular milestone may be fading even while it stays on track to potentially become the biggest worldwide film of all time.King of the Crop: Endgame May Have Seen Its Last Weekend At No. 1(Photo by Marvel Studios)While the expectations of this week’s primary challenger, Detective Pikachu, were high, Avengers: Endgame was still a very easy No. 1 at the box office. Its million haul is fourth all-time in third weekend grosses, behind Star Wars: The Force Awakens, Avatar, and Black Panther. However, just as James Cameron had to concede his domestic Titanic grosses this week to Endgame and will be doing so next weekend with Avatar, J.J. Abrams may be able to press pause on his concession speech. Because believe it or not, even with a 0 million head start, Endgame has actually now fallen off the pace of The Force Awakens domestic haul.By the end of Day 17, Abrams’ film — boosted in part by Christmas vacations — had made 3 million domestically. Endgame, meanwhile, now stands at 3 million in the U.S. and Canada. The weekday numbers will now align a bit closer, but there are several weeks with school still in session and i the pattern continues, Endgame will fall short of the + million that Awakens, Avatar, and Panther made in weekend four, opening up the possibility that John Wick: Chapter 3 actually nudges it out of the top spot.After that, even if Aladdin turns out to be a Memorial Day weekend fail, it should still have enough interest to knock Endgame back a little further. The weekend of June 14-16 could end up being the last mention of Endgame in the top ten. By then The Force Awakens number would be 6 million. Can Endgame survive the challengers to become the all-time domestic champion? Or will it just have to settle for being the all-time global champion? The film is currently .485 billion, and only needs another 3 million to achieve that goal.Rotten Returns: STX May Want To Auction Off Poms AgainCritics were not having much fun at Poms, the Diane Keaton-led retirement home cheerleader comedy that currently has a 29% on the Tomatometer. STX’s hopes that it could be this year’s
沙巴体育365网页版 (Photo by Parisa Taghizadeh / Focus Features)How is Thomasin McKenzie’s performance?“Enchanting.” David Rooney, Hollywood Reporter“She is so delightful and versatile that there doesn’t appear to be anything that she can’t do.” Nicholas Barber, IndieWire“Thomasin McKenzie absolutely brings it all as the main lead…stretching a whole new set of acting muscles here.” Ben Rolph, Discussing Film“McKenzie makes the most of this full blown starring role, well out of whack with what we have seen her do to date, and brings it home.” Pete Hammond, Deadline Hollywood Daily“[Her] performance rivals and maybe exceeds Natalie Portman’s in Black Swan (similar notes of vulnerability and steel are required).” David Katz, The Film Stage“Never one to let an underwritten character thwart her best efforts, [her] sweetly open, porous, persistently worry-etched features couldn’t be more ideally suited to Eloise’s ingenuous, new-in-town outlook.” Guy Lodge, Variety“Somehow underused despite being in every scene” Jessica Kiang, The PlaylistWhat about Anya Taylor-Joy?“Magnificent…Taylor-Joy is perfect for her role. She oozes charisma and star quality.” Geoffrey Macnab, Independent (UK)“Earthy and ethereal.” Robbie Collin, Daily Telegraph (UK)“Taylor-Joy steals her scenes — as she tends to — and she supercharges the movie with an ethereal out-of-time-ness that’s borderline ghostly.” Philip de Semlyen, Time Out“Anya Taylor-Joy gets to sizzle and smolder in the way that has made her one of the most exciting rising stars in the business.” Marshall Shaffer, Slashfilm“[She is] cleverly underused in screen time.” David Katz, The Film Stage“Anya Taylor-Joy, a brilliant actress and notable clothes person, is dazzling.” Glenn Kenny, RogerEbert.comIs this also a proper posthumous showcase for Dame Diana Rigg?“Last Night in Soho makes for a genuinely fitting epitaph for Rigg, who died after the shoot wrapped. It’s a proper showcase for her talents.” Philip de Semlyen, Time Out“This is most definitely a plum swan song for the ’60s icon.” David Jenkins, Little White Lies“She is as commanding and mischievous here as she ever was…what a superb final role for her.” Nicholas Barber, IndieWire“[She] socks it home for what sadly is her final screen appearance. She’s terrific” Pete Hammond, Deadline Hollywood Daily