命运长夜游戏下载采用百度引擎3（Baidu 3）(Photo by ABC/Craig Sjodin)The biggest question leading up to Oscar night wasn’t about the awards themselves. Following several months of indecisiveness that saw a Popular Film award announced then rescinded, Kevin Hart stepping down as host amid controversy, the decision not to feature performances of every original song, and the decision to relegate some craft awards to commercial breaks (also rescinded), the question was whether the Academy’s decision to forego a host altogether was smart or not.Rotten Tomatoes has a rundown of the biggest moments of the ceremony, from Adam Lambert and Queen’s opening performance to Green Book’s Best Picture upset. We’ve also rounded up critics’ reactions to the ceremony itself — the first host-less outing in three decades — to find out whether a host is needed.As of press time, the 91st Academy Awards ceremony is Fresh at 73% on the Tomatometer, which would put it in the top five Oscar ceremonies of the past decade by Tomatometer (the majority of which are Rotten). Below, read what critics thought about the host-less three hours and 17 minutes.No Host? No ProblemThe majority of critics wrote that going without a host allowed for a tighter ceremony with much less filler.May the Academy Awards never bother hiring an official host again, because this was the zippiest Oscar Night in years. No stupid montages, no dance sequences, no “give sandwiches to the audience” stunts, no moronic “this is what the magic of the movies means to me” clips, no “let’s ride the subway with Sting” comedy sketches. – Rob Sheffield, Rolling StoneWhat is the Oscars without a host? Better. It’s not just about the pacing. Though Lord knows, without the cumulative bloat — the monologue, the ad-libs, the in-the-audience bits, the jokey introductions to presenters who then do their own introductions — the 2019 Oscars were free to trip along at a brisk pace, and ended just 17 minutes past 11 p.m. ET. But beyond lending a rare efficiency to the proceedings, the lack of a host allowed the Academy and ABC — or should I say, forced them — to loosen the vice grip of habit and try some new things. – Kristen Baldwin, Entertainment WeeklyRight from that first, energetic musical performance by Queen and Adam Lambert, this year’s Oscars felt infused by an energy that did not flag throughout the three-hour(ish) event. The evening moved along at a steady clip, unencumbered by dragging comedic bits or jokes that just wouldn’t land. And was it just us, or did the presenters — perhaps because they assumed a greater responsibility for keeping the night on track — seem more committed to their duties than in years past? – Kimberly Roots, TVLineThe ceremony was over in record time because there was no host doing a long monologue or roasting various attendees. There were no cringeworthy bits involving unfunny songs or escapades with “normal” people. The presentations and speeches and performances flowed more or less seamlessly from one to the next. The telecast didn’t serve up as many viral or memorable moments as it might have with a host at the helm, but it was also refreshingly focused on the movies. Which seems like a real win for everyone involved. – Alissa Wilkinson and Todd VanDerWerff, VoxA Host Is NecessaryFor other critics, the idea of a host-less ceremony was potentially good in theory, but the execution made the ceremony feel like something was missing.It wasn’t as bad as everyone expected. It was worse. No cohesion, no gravitas, only a scattering of memorable moments, a slew of terrible wins, and a Best Picture winner so ridiculous that Crash suddenly looks like a masterpiece — the Academy Awards made its own case for the ceremony’s irrelevance. The most aggravating reaction an Oscars fan gets when they obsess about the awards year after year is the snarky scoff, “Who cares?” How sad that the show itself is making it harder to answer that question. – Kevin Fallon, The Daily BeastSo what would a probably male, probably comedic host have added by taking up air time and spewing Trump jokes that we ve all heard before? A thematic through line and entertainment element that this year s Oscars desperately needed. – Kelly Lawler, USA TodayThis was the first Academy Awards not to have a host or hosts since the all-time rock bottom ceremony of the Oscars of 1989 — and it really showed. … With a stage framed with what was either a Game of Thrones set reject or a Jeff Koons interpretation of Donald Trump’s hair, tonight’s bloated Oscars was a live ceremony that certainly lacked form, far too often function. – Dominic Patten, Deadline HollywoodYes, hosts can be sloppy, but that also gives the show a personality, and some banter. I like banter! And, apparently, I like my Oscars to be more sloppy than efficient. … It’s more like having some sort of authority figure who comes from the perspective of the audience. If something weird happens, it’s nice to have a host who can pop out and say, “That was weird, right?” Or if someone gets his or her speech cut off, but were in the middle of saying something important, it’s good to have a host who can come out and make sure that person can finish, as Jimmy Kimmel has done in the past. – Mike Ryan, UproxxSince so much of the night hinged on winners giving entertaining speeches, some worried that trying the same experiment again would fall flat. There is a kind of paradox at the heart of the Oscars, which is that people don’t really remember the show itself. They remember moments, maybe something the host did, but more often something the winners did — a spontaneous show of emotion, a turn of phrase. The Academy Awards is a huge, glamorous production that desperately wants to entertain you, but the long-term measure of whether a year was any good has to do with the details, which are mostly unplanned. – Willa Paskin, SlateNormally, the host is a warm body used as a buffer between the industry and the audience. The absence of a host this year was a reminder that this figure can take up an inordinate amount of space — space that isn’t always used particularly well or efficiently, and certainly space that might be better off given to others. … It felt like the People’s Oscars, even if some of the movies that won revealed serious flaws in the ongoing discussion about how media reflects and propagates broken narratives about race and sexuality. Not every Oscars will have such an unpredictable slate, sure. But doing without a host showed us a different kind of Hollywood: a Hollywood where the audience calls the shots. – Sonia Saraiya, Vanity FairGive Maya, Tina, and Amy the JobOne thing everyone agreed on is that the trio of Maya Rudolph, Tina Fey, and Amy Poehler, who delivered the show’s pseudo-monologue, could’ve hosted the whole thing and probably pleased everyone in the process.It couldn’t have happened without Maya Rudolph, Tina Fey and Amy Poehler, the hosts in all but name. The three amigas kept cracking that they weren’t really the hosts, but they did everything a host is supposed to do, i.e. welcome the crowd, set the comic tone, get out of the way. They crunched a whole night’s worth of host duties into three minutes, running through their gags at Ramones speed. – Rob Sheffield, Rolling StoneBy the end of the evening, I was fully convinced that the Academy should give up on hosts for good. But I reserve the right to change my mind if Tina, Amy and Maya agree to do it next year. – Judy Berman, TimePresenting Duos Were InspiredProducers paired celebrity presenters in incredibly interesting combinations, resulting in both hilarious and touching moments. The lack of a host made the success of those moments that much more important.John Mulaney and Awkwafina, two of the funniest people in the entertainment industry, commiserating over their first-time Oscar jitters? Divine. Michael B. Jordan and Tessa Thompson, followed by Constance Wu, a vision in yellow on the arm of a glittering Chadwick Boseman? #TrueDetectiveSeason4 vibes. The presenters didn’t waste time with endless stiff, scripted repartee, either. – Judy Berman, TimeBest Actress nominee Melissa McCarthy joined If Beale Street Could Talk’s Brian Tyree Henry for a blissfully silly presentation of Best Costume Design, a gag that combined elaborate wardrobe with the simplicity and perfect stupidity of a bunny puppet trying to open the red Oscar envelope. – Kristen Baldwin, Entertainment WeeklyLady Gaga and Bradley Cooper’s Chemistry SizzledWhile A Star Is Born took home just one award — for Lady Gaga’s original song “Shallow,” of course — its live performance by Gaga and her costar-director Bradley Cooper provided so much chemistry that it exploded into living rooms across the country.The much-anticipated, heavily hyped “Shallow” performance from Bradley Cooper and Lady Gaga somehow shattered those sky-high expectations. With a brilliant choice to show it in one uncut take, masterful blocking, and a raw yet honed turn from the two stars, the Oscar telecast burst to life and never looked back. – Ben Travers, IndieWire Shallow was the thing the show was building to. All of it. From the moment A Star Is Born premiered this fall, it was an inevitable winner and the inevitable cornerstone to this telecast. There was nowhere for the energy to go after that, and I wonder if the producers gave consideration to pushing it to closer to the end. Shot with theatrical intimacy that verged on uncomfortable — everybody I know was speculating about Gaga and Cooper s private lives and don t pretend that you weren t — Shallow was a lovely performance and a reminder of why you need these live musical moments in this show. – Daniel Fienberg, The Hollywood ReporterA dozen crew members emerged from the wings to place a piano and two microphones on the stage, and the camera swooped to the front row of the theater as Bradley Cooper led his A Star Is Born costar Lady Gaga to the stage. Their soulful duet on subsequent Best Song winner “Shallow” ended on an almost comically tight shot, as the two stars nuzzled each other through the final few bars — an unabashedly intimate moment in front of millions. It gave me chills, thinking of all the memes to come. – Kristen Baldwin, Entertainment WeeklyEmotional Speeches Saved the NightNo matter how critics felt about the hosting decision, they all agreed that the majority of the night’s speeches, which were alternately emotional and funny (and sometimes both), elevated the ceremony.Winners like Black Panther’s costume designer Ruth E. Carter and production designer Hannah Beachler gave thoughtful and inspiring speeches befitting the pathbreaking nature of their movie, and the relative rarity of women of color accepting prizes on moviedom’s biggest stage. – Daniel D’Addario, Variety[Regina King gave] a lovely speech, filled with the sort of graceful humility that, as a cynic, you know is only as good as it is because they re a great actor, but that, as a fan, you fall for because look how pretty they are in that dress and oh my god I have loved her since Friday. – Bobby Finger, TVGuide.comThere was also the sheer joy when — a minute after having to hold his nose with the Green Book award — Samuel L Jackson got to give best adapted screenplay to BlacKkKlansman s writer Spike LEEEEEEEEEEEEEEE! – Ben Sutherland, BBC News
两极反转，端游和页游都在近12年中首次出现了负增长。这一年客户端游戏市场实际销售收入亿元，同比下降了。网页游戏市场实际销售收入为亿元，同比下降1。而手游同比增长，前一年则达到了惊人的。 (Photo by HBO)The title of Game of Thrones’ season 8 Episode 1: "Wint
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
0.89.7 4月喜迎(Photo by Saeed Adyana/Netflix)Ryan Murphy s second Netflix series, Hollywood, may be set in the studio world of post-WWII L.A., but its flavors are distinctly 2020. The glossy, compulsively watchable fantasy tells the story of a major movie studio producing big-budget drama Meg, with Black actress Camille Washington (Laura Harrier) controversially cast in the lead role of a doomed starlet based on real-life actress Peg Entwistle, who jumped to her death fr
The stand-out episode of Netflix s latest horror hit The Haunting of Bly Manor draws inspiration from a Henry James short story that, according to series creator Mike Flanagan, had not previously been adapted.A follow-up to The Haunting of Hill House, the new series explores several tragic love stories as it follows American au pair Dani Clayton (Victoria Pedretti), who accepts a job in England looking after orphaned siblings Miles (Benjamin Evan Ainsworth) and Flora (Amelie Bea Smith) while supernatural phenomena swirl around her. If the scenario sounds familiar, the season was primarily inspired by James much-adapted classic novella The Turn of the Screw.But other works by the iconic author add to the story layers that unfold at Bly.(Photo by EIKE SCHROTER/NETFLIX © 2020)Episode 8 takes the same name as the previously overlooked James tale, The Romance of Certain Old Clothes, and acts mostly as a standalone episode that detours to the 18th century to reveal the origin of Bly Manor s ghost story. Flanagan called it more aggressive and vicious than anything else Henry James ever wrote, during a virtual press conference for the series.Unlike his work with Hill House, Flanagan made a concerted effort to remove himself as the sole creative force behind every episode of Bly Manor. But for the season s penultimate episode of, he admits he did everything in his power to be on set every day. I was never more anxious to get to set just to sit at the monitor and watch than I was during episode 8, because it was so cool. It was the kind of episode I just wanted to see as a fan, Flanagan said. The Romance of Certain Old Clothes is a brooding gothic romance and tragic love song to the genre, with visual storytelling to make fans of classic horror cinema rejoice. The episode is the most haunting hour of TV you ll see this year. Here s why.SPOILER ALERT: THIS ARTICLE CONTAINS DETAILS ABOUT EPISODE 8 OF THE HAUNTING OF BLY MANOR. STOP HERE IF YOU HAVE NOT WATCHED THE EPISODE.It Gives a Heartbreaking Backstory to Bly Manor s Curse(Photo by EIKE SCHROTER/NETFLIX © 2020)Flanagan said he had planned to explore the origins of Hill House’s hauntings, but that production didn t have the budget or time to see its backstory brought to life. After the series remarkable reception on Netflix, however, Flanagan clearly had more flexibility for his next The Haunting series.Episode 8 throws us way back in time to recount the lives of Viola (Kate Siegel) and Perdita (Katie Parker), sisters left with an uncertain future in the manor after their father passes away. Practical Viola marries her distant cousin Arthur, heir to the manor (since it was illegal for women to inherit property).A true romance blossoms between the two, and soon their daughter Isabel is born. But, as with most gothic romances, the story takes a tragic turn, and Viola falls ill with tuberculosis. While Viola is locked away in a room, coughing up blood, romance between Arthur and Perdita develops and tensions rise between the sisters. One day, it all comes to a head, and Perdita murders Viola in her bed.(Photo by EIKE SCHROTER/NETFLIX © 2020)Perdita marries Arthur, of course, and the two raise Isabel, but financial struggles leave the couple s relationship strained. Perdita wants to sell Viola s fine jewelry and clothes that are locked away in a chest in the attic, but Arthur refuses. He made a promise to Viola that Isabel would receive those treasures once she was of age. But Perdita goes against his wishes and opens the truck, and Viola s enraged spirit chokes her sister to death.After Arthur finds Perdita dead, he deduces that the trunk is cursed and throws it into the lake, before taking Isabel and moving far away from Bly Manor. The sisters ghosts remain stuck to the property, however, to form the haunting foundation that the rest of the season s unfortunate events are built upon.Like Episode 6 of The Haunting of Hill House, This One Is a Standout(Photo by Steve Dietl/Netflix (The Haunting of Hill House)) The Romance of Certain Old Clothes holds just as much importance to the Haunting franchise as Hill House s sixth episode, Two Storms, did two years ago.This episode doesn t come with all the bells and whistles that made Two Storms such a milestone — you won t find any 18-minute-long tracking shots here and that episode focused on the generational trauma that permeated the Crain family, both in their present and in their past. It was a poignant exploration of grief that relied on some dazzling camera work and blocking to tie everything together.(Photo by EIKE SCHROTER/NETFLIX © 2020)Bly Manor is a different beast — at its core, even more of a ghost story than Hill House’s exploration of family trauma. Carla Gugino s narrator figures prominently in this episode, and her comforting diction, along with the detailed set dressing, intricate costume design, and the guidance of up-and-coming director Axelle Carolyn — who Flanagan calls a student of black-and-white horror cinema — The Romance of Certain Old Clothes delivers the context that connects the past and present of the series. Everybody was always looking at episode 8 as our chance to do what we love the most, Flanagan admits. It s what made us want to do The Haunting and to look back at [director] Robert Wise and [director of The Innocents] Jack Clayton. These incredibly influential movies from the early ’60s, which were done so perfectly, they ve rendered it pointless to try to do a faithful feature adaptation of these texts. So it was one of those episodes, much like episode 6 in season 1, that we were preparing for and building up to the entire time. We shot it last. Kate Siegel s Lady of the Lake Is the Terrifying Key to Bly Manor s Mysteries(Photo by Netflix)The episode s timeline charges forward once Viola dies, showing the manor succumbing to decay and plague victims taking shelter under its roof. Throughout, Viola s ghost is anchored to that chest underwater, her afterlife focused on reunification with her daughter.Viola emerges from the water nightly to roam the grounds, eventually losing her face as the memory of who she was fades. When she disappears entirely, the monstrous Lady of the Lake emerges. The faceless being we see earlier in the season kills without remorse, taking out anyone who gets in her path as she makes her way up to the manor s bedroom, looking for young Isabel.
Join us weekly as Rotten Tomatoes reports on what s indie features are streaming. From promising releases by new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week.For the foreseeable future, the specialty box office and all theatrical releases will be on hold as we all make efforts to socially distance ourselves and reduce the spread of the COVID-19 coronavirus. With that in mind, we have reshaped our Indie Fresh List to include VOD and select drive-in releases. This week we have a Dickens period piece, a gripping sports doc about Paralympians, and a teen horror-comedy. In our Spotlight section, we highlight the period sex comedy Yes, God, Yes, adding a new interview with lead actress, Stranger Things Natalia Dyer. Finally, in Indie Trailers, we have new clips featuring Bill Murray, Rashida Jones, Jesse Plemons (Fargo), and Jessie Buckley (Wild Rose).New This Weekend
a woman s breast it feels like a bag of sand?’”“I was producing Anchorman, and Steve Carell was just so insanely funny every day, improvising the craziest, most hilarious stuff ever. I walked up to him one day and I said, ‘It seems like you should be the star of a movie. Do you have any ideas?’ And then a couple of days later he walked up to me and told me a couple of ideas. And the last one was: What if I made a movie where I played a 40-year-old virgin? And he said he had worked on a sketch at Second City, where he played a 40-year-old virgin at a poker game, and everyone was talking about sex and telling dirty stories, and it became very clear that he was making his up. And I think that the pitch he had was, ‘You know how when you touch a woman s breast it feels like a bag of sand?’ And oddly, instantly, I understood what he was talking about, and we started writing a movie together. (Photo by @ Universal)“We would always leave time to shoot the script – but then also to really play.” I ve always been a big fan of improvisation ever since I saw Ben Stiller do it when we did the Ben Stiller Show. I definitely encouraged it when Adam McKay was directing Anchorman. With The Forty-Year-Old Virgin, Steve is such a master at it that whatever scene we were doing we would always leave time to shoot the script but then also to really play. And that s how we did the chest-waxing scene. It basically was an extended improvisation. The Scene: Andy Gets His Chest WaxedOne moment, one line really – “Kelly Clarkson!” – remains the most cherished among a series of wonderful moments in this landmark comedy (though the final musical number, a post-coital “Age of Aquarius,” comes close). In this unique makeover scene, Andy (Carell) gets his chest waxed, and in order to capture the moment in its visceral, wince-inducing glory, Apatow simply let his four cameras roll.“Someone came in and said, ‘I act and I wax!’”“We wanted to do some version of a makeover sequence, but we knew that had been done a ton of times. So we were trying to think of original scenes for a makeover montage. Then one day Steve said, ‘What if you waxed me but you did it for real?’ Now at the time, I thought Steve made it up and had never been waxed, but since then I realized that he had been waxed many times in his life and was pretending that he had never been waxed before. I know that by the shape of his chest hair. But at the time, I thought, wow, what a crazy idea. Who ever gets waxed? So we hired a woman who was a professional chest-waxer to do it in the movie. Someone came in and said, ‘I act and I wax!’”(Photo by @ Universal)“We knew that we had to get Steve s real reactions, so we shot it like a documentary.”“I basically set up four cameras and we had some basic beats we wanted to hit. We knew that we had to get Steve s real reactions, so we shot it like a documentary. We wrote out tons of curses, because we did plan the main joke to be that he would just curse right into her face. And we also made lists of words that weren t real curses that sounded like curses. That s how we got to Steve screaming ‘Kelly Clarkson!’ Off to the side, Seth Rogen had made this enormous list of curses, and I would just yell them out to Steve, and each time they ripped the hair off of something he would scream out one of the curses.”“You re supposed to put Vaseline over the nipples, so you don t accidentally rip them off. Apparently that was a step she forgot about.”“The woman who waxed Steve – she may not have been that good at it. I think you re supposed to put Vaseline over the nipples, so you don t accidentally rip them off. And apparently that was a step she forgot about. He was definitely bleeding for real. In fact, we had to CGI out the fact that there was a lot more blood than you see in the movie.”(Photo by @ Universal)“I don t think I ve ever laughed harder than at Jackass movies.”“It is of the Jackass mode of comedy. I don t remember if it came out before or after the craze of pranks and painful violent stunts, things like that. But people always love that. I don t think there s anything funnier than Jackass. I don t think I ve ever laughed harder than at Jackass movies. And I also think it works the same way a horror movie works, which is: you think something s gonna happen, then it finally does, but not at the moment you think it will – and it makes you scream and hide your face. It has a little horror to it as well.”THE IMPACT: A New Kind of Comedy Virgin was a box office success – it’s currently the 16th highest-earning R-rated comedy of all time – but more than that, it reshaped our idea of movie comedies, particularly those with a romantic bent. Gross-out laughs could be followed by moments of genuine sweetness. Romantic leads could be dorkish, a little schlubby, and, at least for much of the film – very hairy. Silliness could be whip-smart. As long as it was all grounded in reality. Apatow would go on to direct landmark comedies like Knocked Up and Trainwreck, and produce the likes of Bridesmaids and HBO’s Girls, all of which bear some of the markings of what made Virgin such a smash: characters you love and moments you will never forget, because they make you cringe, gag, and leave the room, but also make you swoon and cry.“I m sure it seemed very self-involved. But it was why the movie worked.”“A lot of our crew didn t get what we were doing. That was at a time when there weren t a lot of movies that were shot the way we were, with all of this improvisation, and a lot of the crew just seemed annoyed we were doing so many takes. We had a lot of Clint Eastwood s crew, and they were used to doing one or two takes. And we d do tons of takes and tons of improv. I m sure it seemed very self-involved. But it was why the movie worked, because everyone had the ability to experiment.”(Photo by @ Universal)“I hadn t directed a movie before. He hadn t been the lead in a movie before.”“It was a big moment for me and [Steve]. I hadn t directed a movie before. He hadn t been the lead in a movie before. You know, we both weren t sure we knew what we were doing. We had an instinct, we liked the script, we hoped we weren t crazy. But I remember Steve kept saying, ‘I m trying to be nice to our casting director because if this movie bombs I want her to still use me.’ That was some of the energy we had – we re going for a big swing here, and we hope we re right, but we ll see. It was very exciting, and we laughed our asses off the whole time.”“You know, it gave us all our careers.”“I look back at it as sort of a high point in my career. I got to work with so many of my friends – my wife Leslie Mann was so hilarious as Nicky the drunk girl. It was fun that we all had the courage to try something crazy, and it happened to work out. You know, it gave us all our careers.”The 40-Year-Old Virgin was released on August 19, 2005. Buy or rent it at FandangNOW.
On February 12, Netflix will release To All the Boys: Always and Forever. It’s the last in a trilogy of films based on author Jenny Han’s young adult novels, which follow the starry-eyed Lara Jean Covey (Lana Condor) as she accidentally and then on purpose falls in love with her perfect suitor (or, at least as perfect as a high school relationship can be).The films are extremely popular. The first two, which were released in 2018 and 2020, have respective Tomatometer scores of 96% and 75% and are both Certified Fresh. Fans became obsessed with Yakult, the so-called “Korean yogurt smoothie” that Lara Jean and her family drink in the films, and they especially became captivated with Noah Centineo, the actor who plays love interest Peter Kavinsky. In doing this, To All the Boys has followed in the tradition of other rom-coms – some of which it actually references, like Always and Forever’s re-creation of John Cusack’s boom box moment from 1989’s Say Anything – in crossing the line from being a sweet flick to an endearing part of pop-culture canon.(Photo by Katie Yu/Netflix) I think that people crave conflict, but not too much conflict. But why are some rom-coms so addictive?“I think that people crave conflict, but not too much conflict,” Han says. “When the outside world is so tumultuous, people don t necessarily want to be stressed out when they re watching a movie, and they have a couple of hours just to relax… Because, ultimately, regardless of whether the two people get together in the end which they usually do, but not always you know that it s still going to be like an optimistic ending.”This is further confounding because these movies’ viewpoint is diametrically opposed to the way more people have reportedly begun to feel about monogamy. Marriage rates have been dropping for years for a number of reasons and a pre-coronavirus report from the Pew Research Center found that “fewer than one-in-five U.S. adults say being married is essential for a man or a woman to live a fulfilling life.”(Photo by Katie Yu/Netflix) Rom-coms, like mainstream teen films, female friendship films, bromance films and others, are feel-good films.' And yet, just because people are more woke to the complexities of modern-day relationships doesn’t mean that they haven’t traditionally been eager to watch something light and fun.“The rom-com has a long history in Hollywood back to the screwball comedies of the 1930s, the sex comedies of the 1950s, the anxious rom-coms of the 1970s and the nostalgic rom-coms of the 1980s and ‘90s,” says Shelley Cobb, an associate professor of film at England’s University of Southampton and a feminist film and media studies scholar.Cobb says that while “their popularity waxes and wanes over time” these films stick in the zeitgeist because of the promise of “the comfort of predictability, the satisfaction of a happy ending, and the comedy.”“Rom-coms, like mainstream teen films, female friendship films, bromance films and others, are feel-good films, ” Cobb says, adding that “even if the relationships on screen don t look exactly like your own, we know what it s like to love and hate people in our lives and to be sad and be happy because of those people.”(Photo by Katie Yu/Netflix) People have this pressure that they have to find the one. But does the genre also bring with it a risk of false hope? Are some movie-goers who relate to To All the Boys’ Lara Jean raised to obsess over meet-cutes and promposals? (And then perhaps feel depressed if things don’t work out that way in real life?)Julie Spira, a Los-Angeles based matchmaker and online dating coach who runs CyberDatingExpert.com, says she still has clients who “expect me to have this digital magic wand that, you know, within three days or three weeks, they re gonna find the one.”“People have this pressure that they have to find the one,” Spira says, adding that, especially now that we’re in a pandemic, “I m saying you just need to expand. You need to cast a wide net. You need to expand your social circle. You need to find a pen pal; you need to find a digital pen pal. And that person is going to be a friend. And, maybe, that friendship will turn into romance. Maybe it won t. But your life can be enriched by having a great person in your life.”It’s also helpful that the genre of romantic comedies is expanding. These films are increasingly more queer inclusive (see 2018’s Love, Simon or 2020’s Chemical Hearts and Happiest Season, for example) and To All The Boys is one of many recent examples that strove for racially diverse casts.(Photo by Katie Yu/Netflix) Singles are saying that they re looking for a meaningful relationship, a long-term relationship, more than ever. This series also makes a point of telling the story of a teen girl – not a couple.Michael Fimognari, who directed the second and third To All the Boys movies and was the cinematographer on the first one, says that while the films’ plots have included a love triangle and will they/won’t they dynamics, the intent of the filmmakers was always to “show the full Lara Jean Covey story” and that “it was always about her dealing with being in a real relationship.”Fimognari came to these films after a career that included a lot of horror titles – another genre that’s seen a shift in recent years – and says that “maybe, you know, 30 years ago, rom-coms could get made on the big studio level and get put out and you had [names associated with them like] John Hughes and you have these big theatrical releases with stars.” Now, he says, streaming services like Netflix have “thrived on being able to allow people to see the movie they want to see.”But does this coalesce with what the viewing public expects for its own life?Dating expert Spira says a focus on commitment-free courtships had a moment, but since COVID-19 locked people indoors, “singles are saying that they re looking for a meaningful relationship, a long-term relationship, more than ever.”“I m very curious to see if that will continue as things open up,” she says. “I have a feeling it will, because peoples’ brains have been rewired into thinking that they want one meaningful person to spend your life with, or at least during a crisis.”Or maybe they’ve just been stuck at home re-watching old rom-coms.On an Apple device? Follow Rotten Tomatoes on Apple News.
命运长夜游戏下载 Who is superhero cinema’s ultimate genius, billionaire, playboy, philanthropist? The wise-cracking tech head who took down Thanos? Or the reclusive, brooding, vengeful detective who looks as good in a tux as he does zipping between the buildings of Gotham? In our latest episode of Vs., Rotten Tomatoes Contributing Editor Mark Ellis is pitting the MCU’s Iron Man against DC’s Dark Knight, comparing their box office pull, Tomatometer and Audience Scores, and the quality and inventiveness of their gadgets, all to declare who is the superior super-powered scion.As always, if you don t agree with our choice of winner, let us have it in the comments.
《摩尔庄园》手游独特、休闲、富有社交的玩法体系，对游戏在各个社交平台的传播产生了良好的影响，以下列传播内容为主： The Dark Universe may be over, but there was a lot of light on Leigh Whannell and Elisabeth Moss this weekend. The Invisible Man achieved two things this weekend. For one it has already outgrossed every horror film so far in 2020, six wide releases in all, that have failed to draw interest in even their devoted base. Secondly and maybe even more impressive, it’s 90% on the Tomatometer makes it the best-reviewed wide release of 2020 to date by more than ten points. King of the Crop: Invisible Man Opens Strong, No SurpriseWhannell’s interpretation of the H.G. Wells novel and classic Lon Chaney film was right in line with expectations this weekend, if just a tad higher. The Invisible Man is far from one of Blumhouse’s bigger openings 13th place overall in fact. But a million opening on a million budget is easily another win for the production company and Universal. Add in another million overseas and it has already made seven times its production budget alone. Paul Verhoeven’s Hollow Man opened to .41 million in the late summer of 2000 and went on to gross .2 million even with an awful 27% rating from critics. Can word-of-mouth catch on to put The Invisible Man into that territory?Interesting factoid that among the Blumhouse productions to open to million or more (16 in all that include four Paranormal Activity films, three Insidious, three Purges and three Shyamalans) only four of them (Get Out, Paranormal Activity, Split and Glass) managed a 2.6 multiple or higher over their opening weekend. Whannell’s film is also only the second film on that list to score over 90% with critics. With an average multiple on that list of 2.67, we’ll set the first estimate on Invisible at million. Fresh Surprise: My Hero Academia Rises (Photo by Funimation)Funimation released the anime feature My Hero Academia: Heroes Rising on Wednesday where it opened to .52 million. Through its first five days in 1,275 theaters it is up to .5 million. This may not be quite as big as their release of last year’s Dragon Ball Super: Broly which started with a .23 million in its first five days (including a .81 million weekend), but that also was over the MLK holiday which boosted just a tad. When the anime studio released My Hero Academia: Two Heroes in September 2018, it opened on a Tuesday to 7,636 and had grossed .96 million through the weekend in six days, so this is certainly a step up and a growing trend that fans are here for it. Rotten Returns: Wendy Fails To Fly(Photo by Searchlight)Benh Zeitlin’s Peter Pan interpretation, Wendy, did not do much for Searchlight Pictures this weekend. Only grossing ,000, that is one of the worst showings in the studio’s history for a film released in four theaters, ahead of only Dom Hemingway (,276) and I, Origins (,652). Its 40% rating with critics is also less than half of Zeitlin s Oscar-nominated Beasts of the Southern Wild (87%).The Top 10 And Beyond: Sonic Still Spin Dashing For DollarsParamount’s Sonic the Hedgehog took second place this weekend with million. Its total of 8.3 million after 17 days is the 9th best ever for a February opener. Sonic is up to 5 million worldwide putting the film into profit this weekend and putting it on a path to join some of the successes the studio had last year such as Rocketman, Crawl and Pet Sematary.Disney’s 20th Century Studios’ The Call of the Wild was actually besting Sonic from Monday-to-Thursday but it drifted behind again. That is hardly the best news for this expensive project. million domestic plus another million internationally = a pretty gigantic bomb. It may ultimately pass Dolittle on the red chart in the books, but not by a whole lot. This latest adaptation of Jack London’s story currently sits around Bridge to Terabithia and Eight Below for February-based family films after ten days, but had a weaker second weekend than either of them which suggests a final gross in the million range. That would normally be pretty solid. Except this is a 5 million production that may not even gross much more than half of what the Robert Downey Jr. animal film has done worldwide (5 million). That will make it unavoidable when people look back on 2020 making the list of the biggest losers of the year.In better news, Sony’s Bad Boys for Life is poised to pass the 0 million mark by next weekend. It has reached 0 million worldwide. Universal’s 1917 is over 2 million worldwide, 5 million of that in the U.S. Then as we have reported for weeks the news for Birds of Prey is just not good, on pace as we suggested last week between -92 million final.Finally we have the last stands for two of this year’s horror entries. Fantasy Island is on its way out of the top ten and is going to settle for somewhere in the Happy Death Day 2U range of million. Brahms: The Boy II looks unlikely to reach million as it made as much as Impractical Jokers: The Movie did in their second week expansion to 1,705 theaters. .5 million for the practical joke TV series gone feature brings its total up to .6 million. Not exactly Jackass money, but still not too shabby.Neon can take pride in not only having a Best Picture winner under their belt in Parasite, but it is now just the fifth film not in the English language to gross over million in the U.S.
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