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365bet体育采用百度引擎2(Baidu 7)Game of Thrones prequel series House of the Dragon released a new teaser trailer in October that provides glimpses of its stars, including Paddy Considine as King Viserys Targaryen, Emma D Arcy as Princess Rhaenyra Targaryen, Matt Smith as Prince Daemon Targaryen, Olivia Cooke as Alicent Hightower, Steve Toussaint as Lord Corlys Velaryon, and Sonoya Mizuno as Prince Daemon s ally Mysaria.HBO had most recently announced new cast and released first-look images of the 2022 series biggest stars in May.(Photo by Ollie Upton/HBO)The series is based on author George R.R. Martin’s A Song of Ice and Fire book series and its companion materials and is set primarily in Westeros during a time of great political upheaval.“House of the Dragon has been in development for several years (though the title has changed a couple of times during that process),” Martin wrote on his blog in response to news of the series pickup announced in 2019. “It was actually the first concept I pitched to HBO when we started talking about a successor show, way back in the summer of 2016.”What It’s About(Photo by HBO)Set 300 years before the events of Game of Thrones, the series tells the story of a turbulent period for House Targaryen, one that set sibling against sibling and dragon against dragon. The point of contention: who should rule on the Iron Throne, of course.“If you’d like to know a bit more of what the show will be about… well, I can’t actually spill those beans,” Martin teased in his blog, “but you might want to pick up a copy of two anthologies I did with Gardner Dozois, Dangerous Women and Rogues, and then move on to Archmaester Gyldayn’s history, Fire Blood.”Dangerous Women includes what press materials describe as a “35,000-word novella” by Martin called “The Princess and the Queen, or, the Blacks and the Greens,” which is “about the Dance of the Dragons, the vast civil war that tore Weste

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(Photo by New Line Cinema / courtesy Everett Collection)In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating with a series of features that look back at the brightest moments on screen of the past two decades – and one year – and the things that have us excited for the future.Jump scare! Are there two more reviled words in the modern horror genre? (Well, maybe human centipede. ) Built on slapping the volume around and throwing up some intrusive imagery, the jump scare s reputation as the ultimate low-effort, low-grade scare tactic hides an uglier truth. They re effective. Especially a well-placed one. You know the kind: The movie is creeping along, you re into the characters and story, when the lights begin to dimmer and the soundtrack drops out, as the camera hangs innocently for a touch too long, and then BAM you find yourself looking down at your seat, having leapt two feet into the air.Since Rotten Tomatoes inception in 1998, there s been no shortage of horror flicks and their endless bag of dirty, freaky tricks. (In fact, this April has been a big month, with Pet Sematary and The Curse of La Llorona!) We re celebrating turning 21 in a myriad of ways, and today it s all about the screams that have echoed over the last two decades, as we present the 21 best jump scares of the last 21 years!Concerned that we didn t have enough zombies on this list, or nothing from A Quiet Place (a.k.a. Jump Scare: The Motion Picture)? Tell us all about it in the comments!21. Unhinged kitchen from Paranormal Activity 2 (2010) 58%Up to this point, the Paranormal Activity movies reserved all their scares for night, allowing the daytime as a sanctuary to do a little character work and tension-relief as the demons slowly draw in. This scene demonstrates sunlight is no safety as your normal sit-down at the kitchen counter transforms into a loud cacophony of cabinets blowing open and clattering china. Though it s been done already to great effect in the likes of Poltergeist and The Sixth sense, the second Paranormal Activity finds a new way to bring heat to the kitchen.20. Are you not the babysitter?  from The House of the Devil (2009) 85% Atmosphere is the first word that comes to mind with Ti West s horror films, and certainly too much is the phrase that comes next for the Ti West critic. Slow burns his films may be,  but West is also enough of a genre fanboy-disciple to know when to pepper in a big jump scare to jolt the audience. Enter The House of the Devil, his breakthrough film, which did the whole 80s nostalgia before Stranger Things was even, well, a thing. Greta Gerwig, still then but a mumblecore muse, plays the babysitter s best friend, characterized, as always, innocent and ill-fated. When she stops for a cigarette, a stranger shows up, identifying her as the babysitter. After some terse talk, the stranger realizes his mistake and makes a quick exit out of the conversation.19. The fake suicide from What Lies Beneath (2000) 47%The only thing more shocking than seeing Harrison Ford play a bad guy? (And we mean a bad guy, not like space rogue bad guy – also, whoops, SPOILER.) This moment, with Ford thinking he s just gotten away with murder again, when the ghosts of ill deeds past and a schnockered Michelle Pfiffer use the transdimensional force to scare the bejeezus out of Ford, sending him for a bloody bonk on the bathroom sink.18. The screaming reflection from The Woman in Black (2012) 66%Musty old mansion. Soft steps in darkness by candlelight. A British guy. Oh, yeah, we got a bona-fide, literary haunted house story here! Daniel Radcliffe takes a cautious look-see from an upper window into the yard, where a child emerges from a grave in the rain and trudges toward the house. And, OF COURSE, suddenly a screaming woman appears in the window reflection. It s a reminder why these stories still chill in the 21st century, and why we ll always be hooked on classics.17. The running girl from Annabelle (2014) 29%The Association s Cherish is the prelude to this prelude in the 1967-set story within The Conjuring franchise. After Annabelle No Relation To The Murder Doll Wallis stops the record player, a subtle shadow appears on the wall behind it, turning the music back on. As Wallis investigates, the rumble of the soundtrack slowly builds, sewing machines clatter, hallways feel longer than ever before, and a girl in a white dress materializes in the background. Suddenly, she s sprinting towards Wallis and suddenly the little girl doens t look so little anymore.16.  What s in the bag? from Audition (1999) 82%Though infamous for its penetrating torture scenes, Audition actually performs as a mystery-thriller for most of the runtime. It s this third act sequence that keys viewers in that things are about to go off the deep end. This sack is ominously one of the few items in the villain s apartment, and when what s inside leaps out, it s quite the shock: A starving man with feet, ear, and fingers missing. And you thought you ve had bad dates before.15. Sidney on set from Scream 3 (2000) 40%Scream 3 took a pretty epic Tomatometer tumble from the first films in the franchise – Scream is Certified Fresh at 79%, Scream 2 is Certified Fresh at 81%, while this movie is Rotten at 36%. And though the tone of the movie is even jokier than Wes Craven’s first two Ghostface outings, there are still some solid scares to be found here. Chief among them, this moment in which Sidney Prescott (Neve Campbell) is on a movie-set recreation of her teenage home. Just as fans are thinking, “Hmmm, I think I’ve seen this before” – including the door-in-door block – Ghostface pops up in her bedroom window. Ah, just like old times.14. Jaws from The Orphanage (2007) 87%The Orphanage is a movie that s confident enough to know that it doesn t need jump scares: It s slow-mounting dread, central mystery and performances, and the deep wellspring of aromatic despair it draws from is more than enough. It s also a movie that knows, hey, why not give the people what they want? Thus, Orphanage s only major jump scare comes when Geraldine Chaplin is on the ground after a traumatic collision, jolting from beneath the cloth, lower jaw akimbo. The scene feels out of place in the movie, which only adds to its effectiveness, and it works because of how, er, tastefully done the shot is.13. Bus hit from Final Destination (2000) 35%The Final Destination series is more famous for its Rube Goldberg-like death sequences than its heart-racing shocks, but this one from the first film still has us looking left, right, and double checking before crossing the road. Is it as good as the infamous Meet Joe Black car-a-palooza that felled Brad Pitt? Maybe not. But we give Final Destination extra credit for maxing out on that special brand of heavy-handed late 1990s/early 2000s teen-slasher irony by having Terry tell her boyfriend to “drop f king dead” right before Fate sends a bus right through her.12. Shark attack from Deep Blue Sea (1999) 59%You either die a hero or live long enough to see yourself get eaten by a mutated shark while trying to give a heroic speech. Such was the fate of one Samuel L. Jackson, who finds himself trapped in an undersea laboratory with other scientists, menaced by one their very own fishy, lethal experiments. Jackson had steadily built his reputation in the 90s as the King of Cool and, using his leading-man capital, dunked on audiences by allowing his character be killed in the most surprising, hilarious, and gratuitous way possible.11. Tongue cluck from Hereditary (2018) 89%One way to figure out the how a jump scare works is watching it with the sound off. By killing a key component (LOUD NOISES!), does it feel earned? Can it still spook? Watch Herediatry s big scare with the sound off and it ll seems like nothing is happening, which actually reveals how good the movie is getting at subverting seemingly normal tics, like clucking your tongue, into something demonic, and just how fortunate it is that it has Toni Collette s all-in performance.10. A face in the window from The Strangers (2008) 48%This atmospheric home invasion thriller is known for its quiet reveals more than its jump scares – figures appear slowly in backgrounds rather than bursting out of closets. But it does deliver one jolt for the ages, as Liv Tyler’s Kristen opens the curtain to discover the “Man in Mask” right there! The rest of the film’s relative quietness only adds to the moment’s effect.9. The lawnmower from Sinister (2012) 63%Film projectors: Something almost inherently unsettling about them, with their grainy footage and the repetitive clack-clack-clack of the spinning reels. Certainly they ve made their mark in horror history, involved in memorable scenes ranging from Peeping Tom to IT. Sinister added its own celluloid to the highlight reel, featuring Ethan Hawke as he investigates the doomed previous occupants of his new house. The search leads to a box of film (which something is insistent he watch, leading to its appearance everywhere around the house), whose content includes POV footage of a person looking down at a lawnmower, as its pushed over grass at night. The lawnmower strays in and out of the camera s light, putting the viewer s eye into a trance, before it suddenly become clear this yard was not cleared before this chore was undertaken.8. The nun attacks from The Conjuring 2 (2016) 80%How good was the nun scene in Conju 2: Valak Boogaloo? It only took four minutes to convince moviegoers, and the people who make movies, that this sister of the unholy cloth deserved her own spinoff. The buildup to the jump scare, with the nun charging at the camera, involves the standard figure-in-the-hallway and eyes-peering-from-shadow tropes remixed into a true nerve-rattler.7. Peek-a-boo from Insidious (2010) 66%A fine example of misdirection, the scene begins with Barbara Hershey describing a nightmare to her son and his family. The narration and the slow, drifting camera ratchets up the tension in an obvious way for the viewer – with the pay-off of a gangly, pointing figure embedded within the dream. Snapping back to the real world, Patrick Wilson s Josh, wearing a shirt the same grey-blue tone shirt of the bland marble painting behind him, sits unaware as the red-faced demon appears behind him, revealing that the movie s threat aren t just restricted to the somnambulist s realm.6. She s mad  from Mama (2013) 63%Two sisters are found alive in the woods five years after their father went on a post-2008 crash killing spree. They re taken in by their uncle and his wife, but something must ve kept the young kids alive all those years, and that something is now inside their home. The apparition Mama, who tilts back and forth like she s constantly under water, suddenly leaps forward to attack. The camera tracks the children as they run up the stairs and seek safety, with plenty of dark corners and walls to conceal edits as director Andy Muschietti (IT) aims to present this at first as a horrific, unbroken single take.5. 360 spin from Rec (2007) 89%A residential building is mysteriously under quarantine. A tenacious, lightly unscrupulous news reporter and her cameraman get into the building to find the reason: an outbreak of fast zombies. The claustrophobic setting of [rec] teems with jump-scare potential, and the movie certainly cashes in, with hordes of blank-eyed, frothing bitey runners around every corner. The best one comes when they ascend an attic in search for an escape route or outbreak source, lifting the camera up and pivoting the camera – slowly, of course – in a carousel of darkness before coming lens-to-face with a young zombie, who screeches and swats at the screen.. Never mind, we ll take our chances with the radon in the basement, thankyouverymuch.4. Night vision revelation from The Descent (2005) 86%Director Neil Marshall’s friends-stuck-in-a-cave movie is claustrophobically terrifying long before the monsters sh365bet体育Watch: David Yates on the final battle of Harry Potter and the Deathly Hallows Part 2 above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, director David Yates breaks down the Harry Potter franchise s defining, climactic battle between good and evil.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: Harry Potter and the Deathly Hallows: Part 2 (2011) 96%Movies rarely come with the kinds of lofty expectations that were foisted upon the Harry Potter franchise, but movies are also rarely adapted from existing properties that are widely beloved, pop culture-defining global sensations. Thankfully, Warner Bros. found the right people to place both in front of and behind the camera to bring J.K. Rowling s Wizarding World to cinematic life, and the result was one of the most critically and commercially successful film franchises ever to flicker across the big screen.David Yates has served as the series go-to director beginning with the fifth film, Harry Potter and the Order of the Phoenix; he s since helmed every movie in the franchise, including the two recent Fantastic Beasts spinoff installments. His biggest challenge lay in bringing the original series to a close in Harry Potter and the Deathly Hallows Part 1 and Part 2, the latter of which was to feature the climactic battle between Daniel Radcliffe s Harry Potter and Ralph Fiennes Lord Voldemort. But Yates had a specific vision in mind for the final book in the series.(Photo by Jaap Buitendijk/Warner Bros.)“I read the book and it felt, to me, that you could create two interesting films.” It was Lionel Wigram, who s one of our lovely producers, who felt maybe this movie could fall into two parts, because it was quite an extensive book. I read the book and it felt, to me, that you could create two interesting films. One was very much the kind of blockbuster, entertaining conclusion to the whole series, which had lots of bells and whistles and lots of battles and a great deal of scale, and then the first one  when Harry, Ron, and Hermione are out in the real world for the very first time, away from school, having to learn some really hard life lessons that, to me, felt like it could operate almost as an independent movie on its own terms. Very small-scale, very delicate. A much more intimate movie, if you will.I used to joke with Steve Kloves, who adapted Hallows Parts 1 and 2, that we were probably making the most expensive European art house movie ever with Hallows Part 1, because it didn t feel like a big movie, with all the bells and whistles. It felt much more intimate and much more delicate than that. And then, of course, with Part 2, we were able to finally round out the series, and that felt much more appropriate that we sort of went out with a bang. You stick with what you feel is right and what s true, fundamentally. And I think we did it. There was this feeling that, there had been seven movies, and you had to kind of come out in a way that fulfilled everyone s expectations. Especially your own, in terms of turning this epic story that Jo had created. So I think that was probably the biggest challenge, and knowing that expectations were sky high, and that people wanted to have a properly satisfying emotional resolution to this series of stories. Knowing that you have those expectations on your shoulders, you follow your instincts, and you stick with what you feel is right and what s true, fundamentally. And I think we did it. Just sitting with an audience in all the test screenings as we were finishing the film, you could feel it in the room that people who had stuck with you on that journey across all those movies felt moved and elated by the end. It was a very satisfying feeling. The Moment: Harry Potter and Lord Voldemort DuelBeginning with the first film in 2001, each of the Harry Potter movies came somewhere between four or five years after their source novels were published. In other words, when Harry Potter and the Deathly Hallows Part 2 arrived in 2011, book readers already knew what was coming: an epic showdown between Harry Potter and Lord Voldemort. As Yates explains, he made a conscious decision to deviate from the book.(Photo by Warner Bros.)“I always felt it would be wonderful to give this confrontation almost the feel of a Western.” This relationship has been ongoing throughout this series of stories, but it s only really in this final movie that we get to spend some substantial time with them finally facing each other. In the book, that confrontation takes place in the Great Hall, and I always felt that it was important, in a way, having waited seven movies for this confrontation to finally take place, I always felt it would be wonderful to give this confrontation almost the feel of a Western. So it s very iconically defined by these two figures in this vast courtyard, facing off with each other. Not with necessarily a big audience, as took place in the book, but something that felt much more singular, and the architecture and the landscape of the school was very much like a Western.Harry sort of carries the spirit of Voldemort, in part, and they have this unity, and I had this idea that Harry and Voldemort are at the top of a school tower, and as they confronted each other Dan would grab Ralph, and actually pull him off this tower, and they would apparate around the school together, and as they apparated around the school together, we d explore this weird visual synthesis that exists between the two of them, and they d eventually tumble down into the courtyard. The sequence became about a boy facing down this demon that had haunted him right throughout his childhood. So, I always wanted to get it out of the Great Hall, away from an audience, so the sequence became much more about a boy facing down this nemesis, this demon that had haunted him right throughout his childhood. This is the figure that had killed his parents. And so it became a much more iconic, singular battle between these two figures. I like that singularity and I like that simplicity, because you could really focus right into Harry s eyes and Voldemort s realization, in the moment when he loses the Elder Wand, that he s beaten. So for me, I like taking it into this down and dirty place, where it was literally a scramble in the mud to finally decide who was gonna win that battle that had been going on for such a long time. And that leanness and earthiness was always something that I felt was right for that final confrontation. The Impact: Fantastic Success and How to Find It(Photo by Warner Bros.)J.K. Rowling s Harry Potter novels were a worldwide phenomenon unto themselves, but the film series launched that phenomenon even further into the stratosphere. The so-called Wizarding World now includes a spinoff film series, theme park attractions, video games, and even a West End stage production that follows up on Harry Potter s story 19 years after the events of Deathly Hallows. The series early and frequent success spawned a mad rush to find the next Young Adult-aimed sensation, and others like The Hunger Games, Twilight, Divergent, and The Maze Runner as well as a slew of unsuccessful would-be franchise-starters followed in its footsteps.The Harry Potter series is also one of just a handful that can boast Certified Fresh installments from beginning to end, signaling consistent critical acclaim, and it ranks as the third highest-grossing of all time, behind only the Marvel Cinematic Universe and the Star Wars saga. Harry Potter and the Deathly Hallows Part 2 is the culmination of seven movies over the course of a decade, and to put it in context, it s not only the best-reviewed film of the series at a Certified Fresh 96% on the Tomatometer, but it s also the highest-grossing of the bunch, earning a massive .3 billion at the global box office. That was enough to make it one of the top 10 highest-grossing films of all time until the recent release of Avengers: Endgame knocked it down to number 11. Still, that s no small feat.Of course, for those who can t get enough of the Potterverse, there s still the Fantastic Beasts films, the most recent of which opened just last November. It s unlikely that series will be able to replicate Harry Potter s extraordinary accomplishments, but as David Yates  Harry Potter and the Deathly Hallows Part 2 so clearly demonstrated, it takes time and a whole lot of careful craftsmanship to build to a fantastic, emotionally gratifying finale. Given another decade s worth of thoughtful storytelling, Fantastic Beasts may yet earn its own Harry vs. Voldemort moment.Harry Potter and the Deathly Hallows Part 2 was released on July 15, 2011. Buy or rent it at FandangNOW.

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2.93.3 0月喜迎(Photo by Pixar / courtesy Everett Collection)All Pixar Movies Ranked By TomatometerWhen Disney distributed Pixar s Toy Story as an autumn alternative to traditional 2D animated features in 1995, could the studio have predicted that it would instead set the gold standard and template for theatrical cartoons for decades to come? After all, the slide from peak Disney Renaissance had only just begun (their releases that year were Pocahontas and A Goofy Movie) and Pixar was up to that point a studio that only made commercials and shorts; a feature-length 3D animated movie was a miracle in of itself, and they were not equipped to churn out quality yearly releases like Walt Disney Animation.Pixar s follow-up took three years to hit theaters, and though A Bug s Life is looked back on in the canon as a minor Pixar effort, everyone in 1998 rushed out to see it, and it again ended up grossing more than Disney s then recent works like Hercules and Mulan. 1999 s Toy Story 2 was a cultural event, and established Pixar as the one to take animation to the highest heights in the new century. What followed was a then-unprecedented run of Certified Fresh hits and box office smashes, from Monsters, Inc. and Finding Nemo to The Incredibles, WALL-E, and Up.2011 s Cars 2 broke the streak with Pixar s first Rotten film, and the studio has since spent the past decade oscillating between returning to the sequel well (Monsters University, Finding Dory) and pulling up original property (Coco, Inside Out), closing out with Toy Story 4. For 2020, Onward was pulled from theaters after two due to the pandemic, while Soul went straight to Disney+ in hopes of salvaging a year of chaos. Now, let s take a long look at the past 25 years, ranking all Pixar movies by Tomatometer!MORE DISNEY: All Disney+ Shows and Original Movies Ranked | The 100 Best Movies on Disney+ | All Disney Animated Movies Ranked | All Star Wars Movies Ranked | All MCU Movies Ranked
Watch: Actor Andy Serkis on the making of The Lord of the Rings: The Two Towers above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, The Lord of the Rings: The Two Towers actor Andy Serkis recalls auditioning for Peter Jackson, creating the sound of Gollum, and shooting the movie s most chilling scene. VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLTHE MOVIE: The Lord of the Rings: The Two Towers (2002) 95%The Two Towers was the film that proved Fellowship wasn t a fluke – that director Peter Jackson s Lord of the Rings trilogy was going to be a landmark event, with each entry equal to the last. It showed that Jackson and his fellow writers had the skill to match their gargantuan ambition. A year after Fellowship stunned moviegoers, the world once again joined a large collection of characters on their journeys across Middle-earth – Gandalf the (now) White, Sam and Frodo, Aragorn, and the rest – but it was one character, with two natures, who would steal the show. Andy Serkis s Gollum, only glimpsed in Fellowship, took center stage in The Two Towers, and Serkis s performance, along with the technology that made it possible, would change cinema for decades to come. Here, the actor remembers auditioning for the role – one he thought at the time was only going to involve his voice. Can you just get me a decent audition for one of the proper roles? “The way that the job had been explained to me was that they were making these films of The Lord of the Rings down in New Zealand and that they wanted a voice for a digital character. One of my first responses to my agent was, ‘Well, you know, I m not really a voice actor. Can you just get me a decent audition for one of the proper roles?’ When I found out it was Gollum it was like, ‘Wow, gosh, that s a really exciting character.’ I d read The Hobbit when I was at school and I remembered [Gollum] hugely from that. I was fortunate enough to witness my cat throwing up a fur ball It suddenly gave me this idea. I d never considered myself a voice actor, just a regular actor, and I had to kind of think my way into it. I started to work on this notion that he s called Gollum because of the way he sounds – and what would make his voice sound like that? I started to think about constriction of the throat, and as I was doing that, I was actually fortunate enough to witness my cat throwing up a fur ball. It suddenly gave me this idea that the whole physicality of the role would be determined by this force within, which is kind of built out of guilt and torment – this involuntary physical action is what caused this sound coming out of his mouth. The cat throwing up a fur ball is actually what generated the idea for this involuntary spewing out of words. Andy Serkis in motion-capture suit while shooting The Two Towers. (Photo by New Line/courtesy Everett Collection) We are looking at this new technology called motion capture. “[My audition] was at the American [International] Church in Tottenham Court Road in London, and I d already done one audition on tape for Peter. I went inside, and down this long corridor there was this tiny little room. It was quite mysterious actually, and I remember sitting in that corridor waiting for my turn. Then I went down into the corridor, went into the room, and met Pete and Fran [Walsh]… They were saying to me, ‘You ll be on set and you ll be working with these guys, but finally you ll be manifested as a CG character; we are looking at this new technology called motion capture. It s in its early stages and we re not quite sure how it s going to work, and it ll be a cross between that and some animation.’ I said, ‘Look, the only way I can do this character is by acting it out, by actually playing it. I m not a voice actor as such. I ve never done that.’ I started to crawl around and get into character and go through the coughing-up-fur-ball voice and sort of getting into the scene, and played the tortured nature of Gollum. Pete was giggling away, and I thought, ‘OK.’ I think they were just really tickled by what I was doing. Pete was sort of crawling around too with his camera and filming it from various different angles and all sorts of different ways of shooting it.”Gollum as he appears in 2003 s The Return of the King. (Photo by @ New Line/courtesy Everett Collection) When I saw the first fully re-sculpted version of Gollum, it totally looked like my dad. Gradually they asked me to play the former role of Smeagol, before he becomes Gollum. Once that had happened, they decided to redesign the whole of Gollum s face just around my features. Then my performance was filmed on 35mm for every scene, and then the animators, using faders… would then match every single facial expression of mine. In fact, when I first saw the first fully re-sculpted version of Gollum, it absolutely, totally looked like my dad, which was kind of freaky and extraordinary and made sense really. Now I know what I m going to look like when I m you know, 22 years older.”THE MOMENT: Gollum and Smeagol TalkThe Two Towers packs its 179 minutes with a slew of memorable moments and sequences – chief among them the 40-minute-long climactic Battle of Helm s Deep, still considered by many the greatest battle committed to film. Yet it s the dialogue between Gollum and Smeagol, a tortured, moonlit exchange between both sides of the one soul, that lingers. The almost photo-realistic realization of the creature impresses, but it s the writing, sharp editing, and Serkis s performance that make it more than just a memorable evolution in film technology. Gollum is basically an addict or a Ring junkie. “The evolution of the character changed en route. Rather than it just being Gollum, we teased out the notion of Gollum as being this almost schizophrenic personality, and we pushed the voice in different directions. Working with Fran Walsh, and [co-writer] Philippa Boyens as well, we pushed the notion of Gollum being the more visceral, brutal kind of survivor character and Smeagol being the young, innocent sibling, if you like – abused sibling. I had to find for myself something tangible, something real, in the real world, so that the power of the Ring would resonate, and so for me it was really about addiction. Gollum is basically an addict or a Ring junkie. His physicality as such was very much based on someone suffering the terrible physical symptoms of a very strong addiction. It s tearing the body apart and tearing the mind apart, and the decrepitude of his body and the tortured, twisted, emaciated look was the externalizing of what was going on inside his mind and soul. Then Philippa and Fran pushed the writing to really embolden those ideas, and that was exemplified with the scene in The Two Towers where Gollum literally talks to himself. Andy Serkis as Gollum in The Return of the King (Photo by @ New Line/courtesy Everett Collection)“At that time we couldn t do on-set, physical motion capture I would have to go back onto a motion-capture stage. “At that time we couldn t do on-set, physical motion capture. That was something that s actually happened since. For instance, in the Apes movies that I was involved in, we had direct capture on set with motion-capture cameras in the trees – on location, capturing everything in one take. At that point, in the early stages, especially in The Two Towers, I would have to go back onto a motion-capture stage and repeat [the scene] a third time [after shooting it first with the other actors, then again reading lines out of frame with the other actors shooting it]. I would have to then do my performance again on my own in a motion-capture stage. We shot [the scene of Gollum and Smeagol talking] on a location, so the tree that he used and the rocks that he was sort of hiding behind and going either side of in the first few shots, that was all built. That was a real set, and we shot all that on a location, doing that two-part process. We constructed the whole scene like that, with the fallen log and Gollum eventually jumping down and spinning around with all the leaves and all of that being kicked up. It was maybe a month later that we went back into the motion-capture stage and we were able to refine that. Peter Jackson directing on the set of The Two Towers. (Photo by @ New Line/courtesy Everett Collection) You re not going to run out of film, you don t have to change lights, you don t have to do anything. You can just concentrate on performance. “There was rewriting. The thing is with Fran and Philippa and Pete, there s always a sort of constant rewriting of the script and evolving the script, and with every take they re looking for something new and something fresh in the moment. Also, from a writing point of view, once they ve shot something, they like to be able to go back in, and with performance capture you have that ability. That is one of the joyful things about performance capture: the ability to completely improvise and try something different, and keep going and keep going and exploring, without the pressure of being on a live-action film set. You re not going to run out of film, you don t have to change lights, you don t have to do anything. You can just concentrate on performance, which is an amazing thing.”THE IMPACT: An Unexpected Journey The Lord of the Rings trilogy would make almost billion worldwide, and its conclusion, The Return of the King, would win Best Picture at the Academy Awards (the two previous films were also nominated in the category, but neither won). The trilogy s impact on film, and studio decision-making, was huge: the 2000s saw a number of fantasy titles get the green light, Jackson would later return to Middle-earth with The Hobbit films, and viewers of TV smash Game of Thrones say its makers owe much to what Jackson and his team put into cinemas every December between 2001 and 2003. For Serkis, The Lord of the Rings was life-changing; he would become the go-to actor for performance-capture roles, starring in The Rise of the Planet of the Apes and its sequels as Caesar, as King Kong in Jackson s 2005 take on that classic story, and he would direct his own film, Mowgli, which would push technology to new places. With each step, the technology advanced and the wow-factor intensified – what remained constant was the strength of the Serkis performance driving it. If I lifted up my arm, Gollum would lift his. The first epiphany moment for me, where I realized how much I loved performance capture, or motion capture as it was at the time, was being on the motion-capture stage and seeing in real time: If I lifted up my arm, Gollum would lift his. I could see a gray-shaded model of Gollum lifting up his arm, and that for me cemented this affair, really, with the technology, and the realization of what it could actually do. It allows an actor to actually play anything. It opened up so many possibilities for me over the last two decades. Andy Serkis at the Two Towers premiere in New York City, December 2002. (Photo by @ New Line / courtesy Everett Collection) I could literally feel the audience leaning in, not quite sure what this was. Was this an actor? Was this a creature? I ll never forget [when I first saw the character on the big screen]. It was at the Ziegfeld Theater in New York; it was at the world premiere of The Two Towers. The movie just was so potent and powerful, with the halls of Helm s Deep. Politically where we were – it was just post-911 and there was this sense of doom, of just the world changing. The world seemed so fractured and dangerous and frightening, and seeing that film, it just felt so much like it was reflecting that in some way. It was a very potent experience; such an amazing experience seeing it with a live audience. I did have this extraordinary experience when [the scene with Gollum and Smeagol talking] came up. I could literally feel the audience leaning in and just, like, not quite sure what this was. They couldn t quite work it out. Was this an actor? Was this a creature? Literally people were leaning forward in their seats – it was like real hairs-on-the-back of the neck stuff, actually. Andy Serkis in motion-capture suit shooting The Rise of the Planet of the Apes. (Photo by ©20th Century Fox Film Corp. All rights reserved/Courtesy Everett Collection) People either feel something very strongly about him, towards him, or they feel themselves to be like him in some way. That character for me defined a big, big turning point in my career, and opened up a huge world. You know, there isn t a single day that goes past when someone doesn t come up to me and talk to me about Gollum. I mean, it really is quite extraordinary. He s a beloved character, because I think everyone feels something for him. They either feel something very strongly about him, towards him, or they kind of feel themselves to be like him in some way. I think that s why people do respond to that character, that there is self-recognition in there – we re not all heroes, we are flawed.”The Lord of the Rings: The Two Towers was released on December 18, 2002. Buy or rent it at FandangNOW.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
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想必很多热爱FPS手游的小伙伴已经在12月25号体验了使命召唤手游,这款单预约就达到了6000万玩家的手游,是否真的如此给力?树哥也是体验了2天之后决定写这篇文章的,我只想说:还是低估了它!不愧是正版授权的纯正使命召唤!本文我们将以游戏玩法上来进行测评,看看使命召唤手游是不是真的对得起玩家们2年的等待!
在智能手机刚普及的年代,各种酷跑类游戏占据着手游市场,国产手游《天天酷跑》以其独特的横屏操作机制、精致可爱的画风、独一无二的社交属性杀出重围。但在更多的手游出现的环境下,《天天酷跑》单一的玩法,以及其不合理的充值体验使他跌落神坛,遗憾地落寞在玩家的回忆中。
(Photo by Merrick Morton/HBO)Fans of Perry Mason the character may find themselves confused by the first few episodes of Perry Mason, the new HBO limited series. The gritty new show is less a “reboot,” or even a “re-imagining,” than a total overhaul of the character created by author Erle Stanley Gardner and immortalized on the small screen by Raymond Burr in the 1950s-60s TV series and later TV films. The famously sharp criminal defense lawyer isn’t even a lawyer as the HBO series opens in L.A. in 1931; instead, played by Emmy winner Matthew Rhys, he is a private investigator more comfortable sneaking into Hollywood starlets’ homes to snap scandalous photographs than he is in a courtroom.HBO’s Mason will eventually suit up and stand before the jury as the series progresses, but even then, this Mason is a different beast. Where the lawyer of the novels and beloved TV show was a mostly blank slate, Rhys’s Mason is a WWI veteran struggling with a crisis of faith, a battle to hold onto his family’s farm, and a drinking problem. (The series is set during the tail-end of Prohibition, but no one is adhering to the laws of the day.) Rhys, who joined the project after co-executive producer Robert Downey Jr. pulled out of the lead role, says it’s these “cracks” in the character that drew him in. “Life serves up plenty of cracks,” Rhys told Rotten Tomatoes, “and that’s where my interest certainly lies.”While the new series may not look much like a traditional Perry Mason series, it does bear the signatures of a traditional HBO prestige drama. It is a single serialized story, lavishly produced, and packed with scene-stealing performances from some big names: Rhys is already earning acclaim as the brooding P.I.-cum-lawyer; John Lithgow shines as his boss and mentor; and Orphan Black star Tatiana Maslany plays evangelical preacher – and potential heretic – Sister Alice, whose church becomes increasingly entwined with the series’ central case of a mother being tried for the kidnapping and murder of her baby boy.Gotham standout Chris Chalk is on hand too as a reimagined Paul Drake, a P.I. in the novels, here a Black beat cop torn between his loyalty to a corrupt institution that both employs and spurns him, and Mason’s pursuit of true justice. Chalk’s character and plotline, navigating racism both explicit and systemic – almost 100 years ago – feels disarmingly relevant as the series premieres to a nation protesting police brutality against Black Americans.Ahead of the series’ first episode, Rhys spoke with Rotten Tomatoes about the connection between Perry Mason and the moment we’re in, why “HBO-ifying” the famous lawyer was the best approach for a modern reboot, and whether he would ever return to the role that won him an Emmy, Russian spy Phillip Jennings on FX s The Americans.Joel Meares for Rotten Tomatoes: I was reading an interview you gave the New York Times where you had said that your first reaction to hearing that they were rebooting Perry Mason was: Oh God, why? Can you talk a little bit about that reaction, and tell us what it was that changed your mind?Matthew Rhys: Yeah, it s a relatively simple answer in that I got this message from my agent saying, I want to talk to you about a remake of Perry Mason. And then I thought, God, why do you want to remake Perry Mason? [I was] thinking it would just be some generic, weekly, case-solved, man-in-a-good-suit… not much depth was my imagining of it. You know what I mean? All great justice, or a servant of justice, et cetera. Then when he got back to me, he said, Actually HBO want to make it,” and I went Oh, it s not going to be a remake, because HBO will HBO-ify it. Then when I went and met with team Downey [Susan Downey and Robert Downey Jr., wife-and-husband co-executive producers], the producers on it and the writers, it was very apparent very quickly that this wasn t a remake, but a re-imagining, and a redefining of who I think we believe Perry Mason is.(Photo by HBO)Mason’s been such a blank canvas in so many other iterations. Here, as you say, he’s been “HBO-ified”: he s divorced, he s drinking, he s having a crisis of faith, he was in the Great War. Why the decision to fill in the blanks? And why did the team feel modern audiences would be drawn to this version of Perry Mason?Rhys: When I met with the writers, they said, Look, our hope is that we’ve loaded this guy s bases and that he s cracked. You know, that s what they were interested in portraying and that s certainly part of the large attraction for me – seeing someone with some very real universal issues that you can relate to. Like I said, I wasn t interested in the great servant of justice. I liked how fallible he was, how kind of gray his life is. It s not that it s depressing, but it s certainly not black and white. He lives in the cracks.All of the elements they heaped upon him, I think there s a foundation, so they come from some very real places. Certainly, his time as a veteran and through the war has informed enormously who he is when we find him. His family, both his own immediate family and his generational family problems, on top of everything else, there were just a number of things I could relate to, or I could see that would be interesting to watch and certainly play.We don’t get the Mason that I think some audiences might be expecting – the clever, inspirational trial attorney – until later in the series. And there is one sequence which really stands out, when you really give us old-school Perry Mason with a big courtroom reveal, but it s kind of a bait-and-switch. Was that fun to play? To have a moment where you could be the heroic lawyer, even if it wasn t necessarily truly happening in the narrative? Rhys: Yes, I loved how the whole project was approached. We had to be careful because we were working with Erle Stanley Gardner s estate. It wasn t just carte blanche, you couldn t be willy-nilly and say, We want to give you this, this, and this. Things have to be okayed, and they were as game for it as everyone else, which was refreshing. But yeah, there was a sense of mischief in that you knew there s a certain generation of people probably tuning in hoping to see one thing and going, Oh, well, I wasn t expecting that. And there was an element, possibly, a smug element of the inside joke going, Everyone might be expecting this, but we re not going to do it. There was fun to that as well.(Photo by Merrick Morton/HBO)It s impossible to talk about this show without talking about the time that it s premiering in – this is a show in which police violence, corruption, and racism is front and center. Was Ferguson and the Black Lives Matter movement alive in the conversation as you guys were developing this series, working out the plot and who the characters would be?Rhys: Not as specific as you ve outlined and certainly not as specific as what we re seeing at the moment. They re age-old issues that they were interested in showing. There s a number of reasons. I know Robert Downey Jr was interested in – and certainly with Paul Drake (Chris Chalk) – creating these outsiders who were kind of unified by that element. Los Angeles was always going to play a very interesting character in this piece. And at that time, there was this incredible thing happening where Black policemen were deployed to police their Black neighborhoods, but with White jurisdictions or White suspects, they didn t have the same equality as their White counterparts. So, it was this incredibly interesting, if incredibly fraught, time. Certainly nothing new, but sadly something that is still relevant in this day and age. That was something they did want to bring to the forefront.Pivoting a little bit, I wanted to talk about Sister Alice (Tatiana Maslany) and Perry s relationship with her. But first of all, I just want to know how exhausted Tatiana was after delivering her incredibly lively sermons? I watched her thinking, Holy s t, I hope she only had to do one take. Rhys: I don t know how she did that physically. The funeral scene was like two days – she did that sermon to 400 extras and she did not drop in any way in intention, clarity, focus, energy. It was like a feat of endurance to do that for two 14-hour days straight. I don t know how she did it. It s a testament to her.(Photo by Merrick Morton/HBO)When people watch the first couple of episodes, they may start to think, Who is this person? What is the connection? Because there are kind of parallel plots happening. Without giving the plot away, how would you describe their emotional and experiential connection? What’s drawing these two characters to circle each other?Rhys: I think they recognize in each other a number of things. They re kind of caught in their own set of circumstances, looking out. They ve had a number of impositions placed upon them, constraints in a way. And, ultimately, they re very free-thinking, strong-willed people. Mason s stance on religion – possibly brought about from his own family upbringing but definitely because of the war – where he s kind of lost his religion, he views any kind of structured religion with great suspicion. So he is very wary of her. He very plainly says to her, God left me in France. And thus begins, like you said, the circling, this cat-and-mouse where he s kind of going, I think I ve got your card lady. And she s kind of going, Oh if only you knew the half of it.  They re just very intrigued with each other, which I think is great. That is very often skirted, we had a very few scenes together. So that always keeps you dangling.One of the other great relationships Perry has is with John Lithgow s E.B. Jonathan, his boss and mentor. Had you worked with John before? Were you a fan?Rhys: No, no, never worked with him. Huge fan, though, even from Footloose. I remember thinking, When was it I first saw John Lithgow? And I m like, Oh my god, Footloose. And he s like an icon now. You realize why [he s an icon] when he comes on set, because he s such a pro, in a Herculean scale. He comes on, he s got all these ideas, he’s so prepared. He s the real deal. I was awestruck when I saw him. It took me a moment to go, Oh my god. I m talking, sharing a screen with John Lithgow. It was a great moment.(Photo by Merrick Morton/HBO)You kind of get to impersonate him later in the series. Did you workshop that with him? Has he seen it?Rhys: I don t think he s seen it – I hope he hasn t seen it. And I was worried because I came to love the man dearly and the last thing you want to do is create any kind of offense. So that worried me a bit. I watched so many YouTubes of him and went, Oh god, I hope this doesn t offend.” But we ll see You’ve said you didn’t go back to read the source material or watch the original series starring Raymond Burr. Why did you approach it that way?Rhys: I ve done some book adaptations in the past and what I always do, I read the book and then I tend to bring things from the book into the script that script doesn t necessarily hold up, warrant, or justify. So this time I was like I m going to leave the books alone. I m going to stick purely to the script.” So that s the Bible, that s the linear point. So that there s no other influence.And I know with my own self, if I was to start watching any Raymond Burr, whether I was aware of it or not, I would have unconsciously or subconsciously probably started imitating or stealing or mimicking or bringing something. Then if you found out, that would be embarrassing. So I didn t want any influences. I just wanted to kind of build him boots-up on my own.(Photo by Patrick Harbron/FX/Everett Collection)Finally, Rotten Tomatoes users are huge fans of The Americans. Is Phillip Jennings a character you would ever revisit either in a film or some other adaptation that continued his story?Rhys: Oh my God, I would revisit Phillip in a heartbeat. One of the simple facts is there s so much foundation work gone in now. Whenever you picked him up, it would be just be so incredibly interesting. Whether you see them in Russia, whether you see them come back to try and find Henry, there s so much that you could mine from how it was left. I would do it in a heartbeat.Is there a storyline you d be most interested in pursuing, or a period that you d be most interested in going to for Phillip?Rhys: Yes. One of the things I thought was just heartbreaking, and Joe Weisberg the creator said something interesting [about this], is that there has to be a cost to what they ve done. As much as we created antiheroes, there has to be a cost to what they ve done. And the greatest cost is abandoning, leaving their children, which as a kind of new father, I just found incomprehensible. So I think as we joined Phillip, what he would want is to see his children again. And the coming down of the Berlin Wall, I wonder if that would be a kind of good kickstarter for him to try and find Paige and Henry again. And then have a shootout with Stan or something.OK, but no more U2 or you ll break me again. That was too much.Rhys: I know, I can t listen to that song the same any more.Perry Mason airs Sundays on HBO from June 21, 2020.
首先第一就是先自己做一下市场调研,看看手游这个市场怎么样?是否有前景?辨别平台是否正规,可以从多方面考察,公司经营场地,营业执照,平台内的游戏是否是正规有版号,是否有运行资质,签订正规合同等等,这样去对比几家看哪家可信度和性比价比较好,再安排实地考察一番。
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365bet体育 Do androids dream of having kids? That seems to be at least one of the questions that Raised By Wolves, the new Ridley Scott–executive produced series coming to HBO Max in September, is asking. Created by Aaron Guzikowski (the writer of Denis Villeneuve s Prisoners) and starring Amanda Collin and Abubakar Salim as Mother and Father (the main robots in question), the show takes viewers to a distant planet in the far-off future where a new synthetic-led human civilization is in the making.Mother and Father try to live a solitary life, cultivating an atheistic society, but the threat of humanity and its theology, looms nearby. The Mithraic is the perceived enemy and this neo-puritanical religious space army might be all that s left of Earth s population. Vikings alum Travis Fimmel is at the center of this plot, and it d be easy to identify his character, Marcus, as the villain. But Raised By Wolves subverts expectations, leaving the viewer to question which side of this struggle is worth rooting for: the well-intentioned, yet thoroughly lethal robot parents or the possibly misguided human zealots looking for a new planet to call home?As he did with the likes of Blade Runner and Alien, Scott puts his signature sci-fi world-building skills to use here and directs the show s first two episodes. But is the HBO Max series a hit? Here s what critics are saying about Raised By Wolves.AMANDA COLLIN S MOTHER STEALS THE SHOW(Photo by Coco Van Oppens/HBO Max)Collin approaches her role as Mother in a unique way that equals Alicia Vikander s role in EX MACHINA and Rutger Hauer s in BLADE RUNNER. Mother is an android with warrior-like skills and abilities that make her a powerful weapon. She alone can rival the entirety of the Mithraic faction and yet she shows a lot of vulnerability as she protects not only her son Campion (Winta McGrath) but several other children as well. — Alex Maidy, JoBlo s Movie NetworkMother is a fearsome figure, and Collin plays her with tightrope terror: She s a new god, an anxious mom, or maybe just a broken appliance stumbling toward obsolescence. — Darren Franich, Entertainment WeeklyTHE CHARACTER DEVELOPMENT NEEDS IMPROVEMENT(Photo by Coco Van Oppens/HBO Max)When Mother and Father do things that make no particular internal sense, you can at least excuse it with, They re androids and they re weird. It s less easy to pass off how consistently inconsistent and weakly developed every other character in the series is. As much as I appreciate Guzikowski s willingness not to overly explain the Mithraic religion or the dystopian world that led to humanity fleeing Earth, it s astonishing how dull Marcus, Sue and everybody else on the ark are. — Daniel Fienberg, Hollywood ReporterAs with most aspects of “Raised by Wolves,” these characters are too derivative to compel, and extraordinarily frustrating from a show that purports itself a true novelty. A show that can’t find more uses for women than “wife” and “mother” isn’t one that’s thinking even halfway outside the box, let alone lightyears beyond our earthly orbit. — Caroline Framke, VarietyTHE SCIENCE VS. RELIGION THEME IS A BIT POLARIZINGAaron PrunerThe conflict between rationality and religion is sometimes presented in overly simplistic terms, and Guzikowski hedges his bets by using the fictional Mithraic religion (named for a Roman mystery religion) rather than an existing faith tradition, which makes the show’s philosophical debates a bit toothless. — Josh Bell, CBRThe Mithraics are portrayed as warmongers who set out to crush atheists in the name of Sol, their god, and are essentially holy crusaders from space, right down to their knightly armor. Their faith is cultish and infectious, presenting discussions about religion s place in humanity, and though they espouse virtuous living, they contradict their beliefs with self-preservation and violence — Tim Surette, TV GuideIT S THE TYPE OF OPERATIC SCI-FI RIDLEY SCOTT FANS WILL LOVERaised by Wolves is sci-fi television of a rare breed. While premium cable and streaming services have been raising the bar in the genre for years, Raised by Wolves leaps ahead in craft, scale, and vision. Its novelistic storytelling and slow-burn pacing ask much of its audience, but it offers rewards in kind. For those willing to engage, Raised by Wolves is a stunning work of operatic science fiction that will linger in your mind well after the credits of each episode roll. — Jamie Lovett, ComicBook.comReplicants, Synthetics Androids oh my! After Blade Runner

2021-11-30
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目前版本 0.93.9
游戏大小 809 MB
更新时间 2021-11-30
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