国产端游在技术和团队上都还有很长的路要走，但国产手游不刚好可以利用现阶段的优势地位，扩大自己的影响力，塑造海外玩家的手游文化。国产手游想要长久地站稳优势的地位，就必须主动去了解，去拥抱各地域的特点。 HBO shares a peek of videogame adaptation The Last of Us. Plus, Game of Thrones prequel announces seven new cast members, Amazon orders The Boys spin-off, a college-set Cruel Intentions series is in the works, and more of the week s top TV and streaming news.TOP STORYThe Last of Us HBO Series First Look May Make You Think You’re Seeing a Videogame Screenshot (Photo by HBO)HBO has released a first look photo from its highly anticipated series adaptation of the Naughty Dog videogame The Last of Us, and it should have fans excited: the shot of Pedro Pascal and Bella Ramsey as apocalypse survivors and travelling companions Joel and Ellie is so faithful to the look of the characters that it looks like a screengrab from the action-packed game.The photo shows the duo from behind, as they look across a field at a downed airplane.“When I first saw them on set in full costume, I was like: “Hooooooly sh*t! It’s Joel Ellie!” the series writer and director Neil Druckmann tweeted. “The Last of Us is full steam ahead!”While Druckmann, who is also the co-president of Naughty Dog, told IGN earlier this year that the focus for season 1 of the series is to get “the philosophical underpinnings of the story” right, he did promise The Last of Us videogame fans should expect a lot of familiar touches from the game, right down to the dialogue.“Things sometimes stay pretty close,” Druckmann told IGN. “It’s funny to see my dialogue there from the games in HBO scripts. And sometimes they deviate greatly to much better effect, because we are dealing with a different medium.”HBO has not yet released a premiere date for the series.Amazon Orders a College-Set Spin-Off of The Boys(Photo by Jasper Savage/Amazon Studios)Amazon has ordered a spin-off of the superhero drama The Boys. The untitled series will be set at the only college for young superheroes, run by Vought International. Per Amazon’s official description the series will be “an irreverent, R-rated series that explores the lives of hormonal, competitive Supes as they put their physical, sexual, and moral boundaries to the test, competing for the best contracts in the best cities. It’s part college show, part Hunger Games – with all the heart, satire, and raunch of The Boys.” Michele Fazekas and Tara Butters will be the new series’ showrunners.NEW TRAILERS: New Curb Your Enthusiasm Season, Same Old LarryCurb Your Enthusiasm season 11 will find Larry David being Larry David, or at least his “unsparing but tongue-in-cheek depiction of his fictionalized life,” as HBO calls it. “The world has changed. He hasn’t,” the season’s poster reads. Thank goodness for that. The season also stars Jeff Garlin, J.B. Smoove, Susie Essman, Ted Danson, Cheryl Hines, and Richard Lewis. Premieres Oct. 24.More trailers and teasers released this week:• Sexy Beasts season 2 features six new singles looking for love in all the costumed places. Premieres Oct. 7. (Netflix)• Welcome to Earth is a six-part Disney+ and National Geographic co-production that follows Will Smith on an around-the-world adventure to “explore Earth’s greatest wonders and reveal its most hidden secrets.” Darren Aronofsky is the executive producer. Premieres December. (Disney+)• The Girl in the Woods is a supernatural YA series about a door in the woods that leads to a terrifying monster dimension on the other side. Stars Stefanie Scott, Misha Osherovich, Sofia Bryant, Will Yun Lee, Kylie Liya Page, Reed Diamon
there someone in your life who is not a critic whose opinion you admire?I think as much as I d like to say I am my own autonomous person and no one else s opinion is better than mine, I ll still be like, Mom, did you think that movie was good? (Photo by MGM)What is your favorite classic film?Oh, gosh. So many. I love Singin in the Rain and Meet Me in St. Louis. It s a smaller film, but I got to throw out there, too – it s called On an Island with You. It would never be remade today because it is the story of a guy who knows in his heart that a woman loves him, so he proceeds to kidnap her and put her on a remote island to make her love him by any way, shape, or form, and it s a romance and it s delightful. It s like one of those color spectacles with Esther Williams swimming and it s a lot of fun, but it is so problematic.Is there an actor, director, or screenwriter whose work you always love?If we re talking directors, Sofia Coppola. For better or worse, I know that her movies definitely cater to white girls who haven t really grown out of their teenage dreams, and that s very much me, so I love her. Actors, the running joke with my friends is that if it s Oscar Isaac or Jon Bernthal, I will be there no matter what movie it is.Who are some fellow critics whose work you admire?When I was younger and I was first starting out, I always talked about the A.O. Scotts and the Peter Traverses and I realized very late in my life, I was like, They re all men. Why do I only gravitate toward male writers? It s been a learning process for me to find female critics and people that I do admire, so the April Wolfes, and the Emily VanDerWerffs. Those are the people that I definitely look up to because they are coming at film from marginalized perspective. It s laying the groundwork for me to go there and talk about a completely different road of thought.(Photo by Sony Pictures Home Entertainment)What is your favorite movie from your childhood?Oh, My Girl. I became an English major because I watched that as a child and I thought Griffin Dunne was the most gorgeous person in the entire world, and I figured if I became an English major, then I would find someone that looked like him. That was a lie, but I did it anyway. My Girl is the reason that I am the way that I am.Do you have advice for critics who are still finding their voice?I ve been told by people that “nobody goes to the movies to go see reality,” and I say, Well, that s not true. People want to see something that reminds them of them, something that they can relate to, and if your perspective is to look at a film from a trans perspective or a disabled perspective or a race perspective, that s valuable.I always say that if you have something, a voice or a thought or an angle that you want to explore with a film, you definitely have every right to put that out there. Nine times out of 10, you ll find somebody who is the exact same way.How has the digital landscape influenced your criticism?It s funny. I had somebody tell me, One day you ll work in a big magazine office, and I was like, Not necessarily,” because at the time digital was overtaking print media. But when you are a disabled person, you realize some places aren t physically prepared for a disabled person to work there. Some places are still not ADA-compliant, so for me, the digital landscape allows me an even playing-field.What are you most proud of in your career so far?I m always proud of the fact that somebody read something I wrote and they learned something. I do have my nerdy stuff – I ve interviewed some fantastic people that I never in my wildest dreams thought that I d get to talk to – but for me, it s the fact that I get to write about disability and be an expert on something. Never did I think that I use a wheelchair and that made me an expert on something, but I ve been able to use that and have people say to me, I didn t think that way, and you re right. I should be thinking about disabled people.”The unfortunate fact is that we live in a world now with the way politics are where disabled people are still incredibly marginalized, and I think film is a great conduit to talk about disabled issues, so if somebody reads something I wrote and they say that they ve learned something from it, I feel like that s a bigger accomplishment, because teaching somebody like that… I could only have done it with writing.If your life were a movie, what genre would it be?Well, I ve got the reality there where I would just be like, No one would tell my story because they don t tell stories about disabled women, especially not with a sailor s mouth and my Twitter feed. They d say, No, you don t exist, we ve never met a disabled woman like you on-screen. Audiences would not understand it.” That s how I m assuming Hollywood would be, but I d like to think that if ableism was not a factor, it would be a comedy.Kristen Lopez is a freelance pop culture essayist. Find her on Twitter: @Journeys_Film.皇冠体育下载相反，选择只面向硬核玩家，将主机端的操作系统、玩法规则最大限度还原到移动端的《帕斯卡契约》，却成为了近两年最接近主机气质的手游。登上了苹果秋季发布会，也在国内市场拿下了100多万的销量，可见这种超硬核玩法是被手游玩家所接受的。
This month, Netflix and Dreamworks are releasing the third season of Jurassic World: Camp Cretaceous, an animated spin-off of the popular Jurassic Park franchise that focuses on a group of kids trying to survive in Isla Nublar. And in April, the fourth season of Fast Furious Spy Racers premiered on Netflix — another show that took a huge live-action franchise and made it more accessible for younger audiences.This is not unlike a trend in the ’80s and ’90s that saw all kinds of live-action franchises turned into kid-friendly cartoons, no matter how not-for-kids the movies were. Everything from RoboCop to Godzilla were turned into a toy-churning machine that entertained, and baffled, kids on Saturday mornings. To celebrate the release of the new season of Jurassic World: Camp Cretaceous, grab your favorite cereal because we re looking at the weirdest animated spin-offs of blockbuster franchises originally aimed at adults.Godzilla: The Series (1998-2000)Why the Original Isn t for Kids: Though no Godzilla movie has been rated R, the films still feature a story about a giant monster rampaging through the city and sensationalize the horrors of nuclear power. The much-maligned 1998 film unleashed a giant monster (which basically treated Godzilla like a dinosaur) on the Big Apple and caused all kinds of chaos. This year’s Godzilla vs. Kong scored better on the Tomatometer but is still rated PG-13.What the Cartoon Changed: For many ’90s kids, this was their definitive Godzilla story. It helped that the cartoon actually had its titular monster go up against other amazing monsters, from mutated animals to mythological beings like Quetzalcoatl and the Loch Ness monster. Though not really a violent show, there was a lot of cool monster action, creature designs, and even homages to horror films like The Thing.Rambo: The Force of Freedom (1986)Why the Original Isn t for Kids: An R-rated franchise about a Vietnam war veteran suffering from PTSD who kills, maims, and otherwise obliterates dozens of people wherever he goes, Rambo is a franchise that doesn t really scream Saturday morning cartoon. And yet, a 65-episode show graced our screens in the ’80s.What the Cartoon Changed: Well, to the surprise of no one, Rambo: The Force of Freedom ( The Animated Series ) severely toned down the violence from the original movies. Rather than being dropped into a war zone or sieging a small town while struggling with his PTSD, this Rambo leads a team of heroes from around the world to fight an evil organization called S.A.V.A.G.E. This is basically G.I. Joe but with more muscular men. Rambo never mentions the Vietnam war, nor does he ever kill anyone, but he certainly does take the time to teach kids about morality, doing the right thing, and even the environment. He even dressed up as Santa Claus at one point!Police Academy: The Animated Series (1988-1989)Why the Original Isn t for Kids: Though later films would tone down enough to get even a PG rating, the franchise started life as an R-rated comedy with everything from foul language, to nudity. The franchise is known for its low-brow humor, sexual innuendo, and physical comedy. Still, that didn t stop it from becoming a cartoon made by Warner Bros. that lasted two seasons and 65 episodes.What the Cartoon Changed: Taking place between the fourth and fifth films in the franchise, the cartoon focuses on the cast getting into trouble, some slapstick comedy ensues, and the mismatched group of cops learning to be a team and solve crimes ends up saving the day. Some episodes start featuring a recurring villain in the form of a crime boss nicknamed Kingpin, whose stature and intelligence really resembles that of the Marvel villain of the same name.Beetlejuice (1989-1991)Why the Original Isn t for Kids: Out of the films in this list, Beetlejuice is the only one rated PG, but that doesn t mean it was kid-friendly. After all, there is a lot of talk about suicide, and the eponymous Beetlejuice is a depraved and devious poltergeist who tries to force a teenage girl to marry him.What the Cartoon Changed: The ABC animated show brings back Tim Burton to executive produce, and only loosely adapts the movie into a long-form series. The scares and gore are gone, as is the sexual innuendo. Instead, the show turns Beetlejuice into a lovable goofball who goes on journeys with his friend Lydia across the Neitherworld. Beetlejuice usually tries to scam the residents of this afterlife realm, and the duo goes on adventures with monsters, ghouls, and other creatures. The show was praised for its mix of traditional 2D animation along with CGI, and it won an Emmy for best animated show.RoboCop (1988)Why the Original Isn t for Kids: Alongside Rambo, this is arguably the weirdest film to have been adapted into a kids cartoon, but like most Paul Verhoeven films, RoboCop got severely misinterpreted and turned into a franchise that glorified what the first film criticized (as we ll see later). A film that barely avoided an X rating because the titular character constantly blows heads and genitals off feels very much unsuited for a Saturday morning cartoon, but that didn t stop Marvel from producing one anyway.What the Cartoon Changed: Rather than a scathing indictment of capitalism and militarization of the police, RoboCop is also turned into a superhero who fights everything from polluters to a KKK-like gang. At one point, RoboCop even plays a part in Middle East peace processes. Of course, the character doesn t kill anyone, with his deadly weapons turned into non-lethal lasers that later are added to the main live-action franchise.Conan the Adventurer (1992-1993)Why the Original Isn t for Kids: In case it hasn t been clear so far, most of these cartoons were adapted from popular live-action movies that had a lot of merchandising potential, they just needed a way to market directly to kids, even if they could not watch the original film. Even if a kid was not allowed to watch Conan the Barbarian crush his enemies, see them driven before him, and hear the lamentation of the women, they might still want a muscular Arnold Schwarzenegger action figure that brandishes Conan s cool sword.What the Cartoon Changed: Rather than a child slave, Conan is — you guessed it — kind of a superhero now. Like in the film, he s on a quest for vengeance against a villain, but this time he embarks on the journey with more naïveté and sensibility than the film suggested. He does not rip a vulture s throat out with his teeth, he s more like He-Man, honorable and with a strong sense of morality. Despite this, the cartoon stayed strangely accurate to the original works of author Robert E. Howard.Toxic Crusaders (1991)Why the Original Isn t for Kids: The Toxic Avenger is an early attempt at a superhero comedy. The story of a man who is dumped into a vat of toxic waste and becomes a hideously disfigured monster with superpowers, the film is hyper violent, full of sexual references, and incredibly gory.What the Cartoon Changed: Toxic Crusaders takes a cue from other environmentally conscious cartoons of the time like Captain Planet and Swamp Thing and focuses squarely on the toxic waste part of the Toxic Avenger. Now part of a superhero team, the Crusaders combat pollution and a lot of aliens.Little Shop (1991)Why the Original Isn t for Kids: Whether you enjoy the original Roger Corman film or the Frank Oz–directed musical from the 80s, Little Shop of Horrors has something for everyone — except children. The film versions are full of sexual innuendo as well as a ton of darkly comedic murders, which the musical takes a step further by having the man-eating plants conquer the entire world and eat everyone.What the Cartoon Changed: The early ’90s saw a lot of films turned into short-lived animated shows, especially those with environmentalist messages. Little Shop takes Audrey II and turns the man-eating plant into the prankster and hip rapper, Junior, who gets into all sorts of whimsical trouble with its friend, the de-aged Seymour. The plant can still hypnotize, but rather than hypnotize people, Junior can control other plants to aid in mischief. There are still a lot of musical numbers, but they are paired with moral lessons.Roughnecks: Starship Troopers Chronicles (1999-2000)Why the Original Isn t for Kids: Though not as hyper-violent as RoboCop, this is another franchise Paul Verhoeven touched that got its political aspect diluted with the years. The original Starship Troopers film was a poignant sci-fi satire about fascism and military-led nationalism. There is a ton of graphic violence involving soldie
4. 呼朋唤友 随心所欲
How do you turn yourself into the world’s most formidable chess prodigy when you barely know how to play the game yourself? That was the question facing Anya Taylor-Joy as she prepared to step into the mind of Beth Harmon, the protagonist of Walter Tevis’s novel The Queen’s Gambit and its lavish Netflix adaptation, which arrives on the service this month. Set in the 1950s and ’60s, the limited series follows Harmon’s rise from orphan with a talent to teen prodigy to national champion, all as she deals with addiction to tranquilizers – crippling, but sometimes useful when she’s plotting her moves alone at night – and the men of the chess-world boys’ club who want to keep her out. Ahead of the series’ release, Taylor-Joy sat down with us to break down how she tapped into Harmon’s pain, why she relates to her solitary pursuit, and how her dance training helped her feign a mastery of pawns, rooks, and knights. (Thumbnail image courtesy of Netflix)The Queen s Gambit is available on Netflix from Friday, October 23, 2020. On an Apple device? Follow Rotten Tomatoes on Apple News.
5. HD 画质与高品质音讯
se of the mean one’s longevity next week.Rotten Returns: The Girl Who Struggled at the Box Office(Photo by Nadja Klier / © Columbia )Sony managed to squeeze 2 million out of David Fincher’s The Girl with the Dragon Tattoo remake in 2011; seven years later, The Girl in the Spider’s Web has kicked off its box office run with just .8 million. (It helps that they dropped the budget from million down to million.) Sure, Fincher’s film started with just .7 million and managed an 8.02 multiple with better reviews (86% vs. 44% on the Tomatometer), but the studio is certainly not going to replicate the success of last year’s big mystery, Murder on the Orient Express. Since 1990, films that opened between .5 million and .5 million in November have had final grosses between million and .1 million.Overlord is not doing much better, earning .1 million this weekend, despite strong reviews (81% on the Tomatometer). Paramount moved the film out of the path of Halloween (its original slot was October 26), but placed it in a month that has not often been favorable to unestablished horror. The only horror films to open in November with more than million have been Interview with the Vampire, Bram Stoker’s Dracula, Sleepy Hollow, and Arnold Schwarzenegger’s End of Days. (If you want to include Eddie Murphy’s The Haunted Mansion on that list, that’s your business.) The next films on that list include Gothika (.2 million), I Still Know What You Did Last Summer (.5 million), and Mary Shelley’s Frankenstein (.2 million). It’s all under million from there and that is where Overlord finds itself – with an additional .2 million overseas.The Top 10 and Beyond: Queen Continues Strong Run with Dream Second Weekend(Photo by © 20th Century Fox)Bohemian Rhapsody, now at 61% on the Tomatometer, had a sensational second weekend. A 41% drop to just million puts the film just ahead of 0 million domestic on its 10th day, if the estimates hold. This path closely resembles, of all things, two James Bond films (Die Another Day and Casino Royale), which each made million and .7 million, respectively, in their second weekends, and finished in turn with 0.9 million and 7.4 million. That is the Bohemian path at the moment, and with 5 million worldwide it now becomes one of Fox’s biggest original live-action films since 2015, up there with The Martian, The Revenant, The Greatest Showman, and Hidden Figures.Not to be outdone, Bradley Cooper’s A Star Is Born’s 27% drop this weekend, taking around million for a total of 8 million, has upped its chances of crossing the 0 million mark; still, only a single film to have earned between 3 million and 3 million after 38 days of release has reached the milestone. That film was Wedding Crashers. Sony’s Venom has already reached that milestone with over 6 million and is standing at over 3 million throughout the world. David Gordon Green’s Halloween is going to have to settle for being Blumhouse’s second biggest all-time domestic grosser, having earned .8 million this weekend, and possibly their second biggest worldwide grosser as well. Its totals stand at 6.7 million and 5 million worldwide (Get Out and Split are the current champs with 6 and 8 million, respectively).Finally, in limited-release news, Jason Reitman’s The Front Runner (62% on the Tomatometer) might be showing that audience’s aren’t so interested in political scandal on the big screen: a ,000 start in just four theaters is less than the documentaries The Cove and Comedian. On the semi-bright side, though, last year’s Roman J. Israel, Esq. started with ,999 and expanded into a final gross of .9 million. Fox Searchlight’s Can You Ever Forgive Me? (Certified Fresh at 98%) added 211 theaters and grossed .47 million for a total of .6 million. The studio’s The Old Man and the Gun (90% on the Tomatometer) crossed the million line as well. Amazon’s Beautiful Boy (69% on the Tomatometer) is up to .1 million after expanding into 776 theaters and grossing .40 million this weekend.
Disney and Marvel Studios dropped the first trailer for Avengers: Endgame – that s right, it has a title! – this morning and the tone is decidedly somber. We get fleeting glimpses of Thanos (a hand, some armor), Hawkeye shows up – finally – though, as many fans theorized, he comes in a new form, and Tony sends a missive to Pepper from the outer reaches of space, where he is floating alone, out of food, water, and, it seems, the will to go on. And, as ever, stay tuned for the trailer s equivalent of a post-credits sequence. This is gonna work, Steve, Natasha tells Steve We ll have to wait until May to see what this is, and whether in fact it does.Check out our coverage of Avengers: Infinity War:Every Record Avengers: Infinity War Has Broken So FarWhich Avengers Character Deserves the Most Blame for the Snap?Five Possible Outcomes for Avengers 4Avengers: Infinity War Easter EggsAvengers: Endgame is in theaters April 26, 2019 在之前的MMO游戏中，当玩家利用轻功等技能上升到一定的高度后，会被一个看不见的空气墙阻拦。而在《天谕》手游中，当玩家利用翅膀飞翔在云垂大陆的苍穹之上，只要上升的足够高，便会进入蓝天之上的“隐藏区域”。
clearly one of the most interesting directors working today, and it all started with this adaptation of the Phoebe Gloeckner novel, starring Bel Powley, Alexander Skarsgård, and Kristen Wiig. Heller has had a gift with character from the beginning, presenting people who feel three-dimensional without ever sinking to melodrama.Chloé Zhao: Songs My Brothers Taught Me (2015) 94% (Photo by Joshua James Richards/©Diaphana Films/Courtesy Everett Collection)Chloé Zhao earned raves and awards nominations for her Certified Fresh 2017 drama The Rider, but that film wouldn’t have happened were it not for her debut two years earlier with 2015’s Songs My Brothers Taught Me. Developed through the Sundance Institute, Zhao’s film takes place in a setting we don’t often see even in independent cinema: an Indian Reservation in South Dakota. It’s the veracity of Zhao’s filmmaking that really put her on the map and made her one of the most interesting directors of the 2010s. Her debut was so well-received that it was selected for the Directors Fortnight at Cannes. Oh, and she caught the eye of Marvel, too.Robert Eggers: The Witch (2015) 90%(Photo by ©A24)With only two films under his belt, Robert Eggers has already developed his own distinct voice, playing with sound design and American history in The Witch and The Lighthouse. When the former premiered at Sundance, it had unsuspecting viewers literally crying in their seats with its suffocating use of atmosphere and dread. Eggers helped usher in what many consider a new golden age of horror, and he did so with a period piece that uses almost entirely natural lighting and slow builds without jump scares. Audiences were polarized, but critics fell in love with Eggers instantly.Trey Edward Shults: Krisha (2015) 95%(Photo by © A24 / courtesy Everett Collection)The holidays bring out the best and worst in us. Few modern films capture this with as much harrowing truth as Trey Edward Shults’ 2015 debut, a drama that could just as easily be classified as a horror film. Shults cast his real-life aunt Krisha Fairchild in the title role, a woman who comes home on Thanksgiving to reconnect with a family that really doesn’t want her there. As animosities bubble to the surface and turkeys crash to the floor, it becomes clearer that you’re watching a major new talent, one who would go on to direct two more Certified Fresh films before the end of the decade in It Comes at Night and Waves.Julia Ducournau: Raw (2016) 92% (Photo by © Focus World /courtesy Everett Collection)A young vegetarian develops a taste for human flesh in one of the most striking horror movie debuts in a generation. Garance Marillier plays Justine, a new student who stumbles into a hazing ritual in which she’s forced to eat raw meat, and things go very downhill from there. Moving from rabbit to chicken to her sister’s finger, Justine enters a downward spiral of body horror that owes a debt to genre masters like David Cronenberg or George A. Romero but signals the arrival of a unique talent at the same time. We’re just hungry for another movie.Jordan Peele: Get Out (2017) 98% (Photo by © Universal Pictures)Arguably the most critically acclaimed directorial debut of the entire decade, Jordan Peele’s Get Out was an earthquake in the movie scene, shaking up the industry in ways we haven’t seen in years. Have you wondered why horror movies are everywhere to end the decade – including in the form of Peele s Certified Fresh follow-up, Us? One of the main reasons is that this half of Key Peele won an Oscar for writing and directing arguably the best one in a generation, a movie that distills modern issues of race into a narrative that Rod Serling would have adored.Kogonada: Columbus (2017) 97% (Photo by ©Superlative Films/courtesy Everett Collection)An unusual character study that’s also kind of about architecture isn’t an easy sell for audiences, but Kogonada’s Columbus has been building a loyal fanbase since the day it premiered at Sundance. John Cho does career-best work as a man named Jin who comes to Columbus, Indiana after his estranged father falls ill there. Unable to leave until his father recovers, he’s stuck in a small town that isn’t even home, drawn to a young woman named Casey, the wonderful Haley Lu Richardson. How we move through this world and how we sometimes get stuck in strange places are themes of Kogonada’s masterfully nuanced debut.Greta Gerwig: Lady Bird (2017) 99% (Photo by © A24)Actress Greta Gerwig technically co-directed Nights and Weekends with regular collaborator Joe Swanberg, but this Oscar-nominated film was her solo directorial debut, and it was one of the most impactful of the decade. Saoirse Ronan stars as the title character, a Sacramento-based teenager trying to figure out what’s next in her life. Gerwig displayed a remarkable gift with performance and character right out of the gate and has already proven that she’s no one-hit wonder in that regard with her Certified Fresh adaptation of Little Women.Ari Aster: Hereditary (2018) 89% (Photo by © A24)The movement of high-quality horror arguably reached its apex with 2018’s Hereditary, the directorial debut of Ari Aster, a filmmaker who distilled influences like Roman Polanski and John Carpenter into something that felt new and terrifying. Toni Collette does some of the best work of her notable career as Annie Graham, a woman dealing with grief before being blindsided by unimaginable tragedy. There are a lot of horror directors who are good with tension and atmosphere, but Aster balances that half of his skill set by being a deft director of performance too, drawing daring work from Collette, and then again from Florence Pugh in his acclaimed follow-up Midsommar.Boots Riley: Sorry to Bother You (2018) 93% (Photo by © Annapurna Pictures)The genius behind the legendary rap group The Coup used the same subversive energy he brought to that project when he made his first feature film, a stunning satire that feels like the love child of Terry Gilliam and George Clinton. Lakeith Stanfield stars as a young man who climbs the corporate ladder of a telemarketing company to discover the poisonous culture that lives on top. The plot is smart, but what makes this such a stunning debut is the style and ambition Riley brought to it. It’s the kind of project that makes one instantly curious about what the filmmaker does next.Bradley Cooper: A Star Is Born (2018) 90% (Photo by © Warner Bros. )Some actors segue to the director’s chair with more grace than others. Bradley Cooper not only took to that chair with ease, but he did so in a film he also co-wrote, produced, and starred and sang his heart out in. Remaking the classic William Wellman film for another generation, Cooper knew exactly how to make this classic story connect with modern audiences, stepping out of the spotlight so Lady Gaga could dominate it in the way only she can. The big moments in A Star is Born are already iconic, but what makes this so promising is the way Cooper directs the small, character-driven scenes too. It feels like he could do literally any kind of film he wants for his follow-up.Nia DaCosta: Little Woods (2018) 95% (Photo by © Neon / courtesy Everett Collection)Brought to life through the Sundance Screenwriters and Directors Labs with the help of backing from Kickstarter, Nia DaCosta’s debut was so well-received that Jordan Peele tapped her to direct his anticipated remake of Candyman. What did he see in this debut? A balance of character work with greater themes about the state of large sections of a country that has been devastated by the drug trade. Tessa Thompson stars as a former drug runner in North Dakota who is forced into one final job across the Canadian border.Mati Diop: Atlantics (2019) 95% (Photo by © Netflix)Breakthrough filmmaker Mati Diop clearly learned a thing or two about filmmaking by working with the legendary Claire Denis, but what elevates Atlantics beyond its dreamy visuals is the sense that this is a deeply personal story for the French-Senegalese actress/director. The story of an oceanside community in Senegal, and the class and gender issues that seem to control it, led Diop to become the first black female director ever to appear in competition at the Cannes Film Festival, where her film won the Grand Prix.Olivia Wilde: Booksmart (2019) 96% (Photo by Francois Duhamel / Annapurna Pictures)It’s hard to make a memorable directorial debut with a teen comedy. Most of them are pretty disposable, and they don’t often allow for a director to really show their skills. That’s one of the reasons that Olivia Wilde’s Booksmart felt like such a splash of cold water this year – it’s fresh, new, daring, and wonderfully directed. Not only does Wilde fully embrace the flaws of her teenage characters, she proves that she knows how to use music, editing, and composition to turn what could have been an average comedy into something extraordinary.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail image: Chuck Zlotnick/©Open Road Films/Courtesy Everett Collection, @A24
皇冠体育下载 Alice Eve is a portrait of a lady playing with fire as married Susan Trenchard flirting with duplicitous bachelor John Bellasis (Adam James) in this exclusive look at the third episode of Belgravia. Julian Fellowes’ TV follow-up to Downton Abbey is based on his book of the same name about 19th century London society confronting the upward mobility of the nouveau riche.In episode 3, Reverend Stephen Bellasis (James Fleet) is forced to reveal the depths of his financial problems, causing his son John to set his manipulative sights on Charles Pope (newcomer Jack Bardoe) and Caroline, , Countess of Brockenhurst (Harriet Walter) as a way to make money; meanwhile, Susan isn’t shy about exploiting the Trenchards’ new social circle.About the show: Belgravia is a story of secrets and scandals amongst the upper echelon of London society in the 19th century. When the Trenchards accept an invitation to the now legendary ball hosted by the Duchess of Richmond on the fateful eve of the Battle of Waterloo, it sets in motion a series of events that will have consequences for decades to come as secrets unravel behind the porticoed doors of London s grandest neighborhoods.The limited series reunites Downton Abbey’s award-winning creative team; with Fellowes adapting his bestselling novel for the screen and Carnival’s Gareth Neame and Nigel Marchant executive producing alongside Liz Trubridge and Fellowes. John Alexander (Sense Sensibility, Trust Me) will direct all episodes with Colin Wratten (Killing Eve) producing.In addition to Eve (She’s Out Of My League), Walter (The Crown), Fleet (Four Weddings and a Funeral), James (Band of Brothers), and Bardoe (in his television debut), Belgravia’s cast includes Tamsin Greig (Episodes), Philip Glenister (Mad Dogs), Tara Fitzgerald (Game of Thrones), Ella Purnell (Miss Peregrine’s Home For Peculiar Children), Richard Goulding (The Windsors), Tom Wilkinson (Michael Clayton), Diana Hardcastle (Best Exotic Marigold Hotel), Paul Ritter (Chernobyl), and Saskia Reeves (Luther).Belgravia airs Sundays at 9/8c on Epix.