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皇帝成长计划怎么废后采用百度引擎8(Baidu 5)In a Golden Globes ceremony full of jaw-dropping surprises and bunch of moving speeches (some personal, many political), a few moments stood out from the pack on Sunday evening. From grumpy uncle Ricky Gervais on hosting duty to tears from America s sweetheart Tom Hanks and Phoebe Waller-Bridge reminding us that Fleabag has a special relationship with a former president, the Hollywood Foreign Press Association s 77th annual party gave viewers plenty of shocks and awwwws and – host network NBC a few good bleeps.(See the full list of winners here.)Read on to learn about those big wins and more of the best moments of the night.Ricky Gervais Gives Not One F in His Opening MonologueIt was his fifth time hosting, and Ricky Gervais hit the stage with guns blazing, taking aim at the HFPA, NBC, Felicity Huffman, and many of the guests assembled for the awards ceremony.“Let’s go out with a bang. Let’s have a laugh at your expense,” he warned, then said that his limo’s license plate was made by Huffman, who served 11 days in jail for her role in the college admissions scandal. Tepid laughter and uncomfortable smiles everywhere.He called Joe Pesci “Baby Yoda” and the room generally “perverts,” suggesting that Ronan Farrow was coming for them. He said that Martin Scorsese was too short to go on amusement park rides, which The Irishman director agreed with.Tom Hanks’ face during the monologue was everything.tom hanks is killing the meme game tonight #GoldenGlobes pic.twitter.com/8Yl5bgaRQp ellie (@griiffinskane) January 6, 2020Gervais plugged his own streaming show, After Life on Netflix, after offering the streaming giant all the awards. Gervais attacked Cats, of course, saying that James Corden is a fat pussy (and also starring in the film) and Dame Judi Dench likes licking her private parts, which he followed with a hairball joke. He paused midway through that last joke because it was so rough he almost couldn t deliver it.He accused Apple of running sweatshops in China and name-checked Amazon and Disney in the same breath along with ISIS. His point: winners should keep their speeches short, because out-of-touch actors and filmmakers have no business lecturing the public about politics (which many actors and filmmakers, of course, went on to do later in the program – moments which you can find online but which we ve left out here).Shocking Upsets Hit in First Acting Awards of the NightAfter insulting them for working with Apple, Gervais turned the stage over to Jennifer Aniston and Reese Witherspoon. What were expected to be easy wins for Bill Hader for Barry and Jared Harris for Chernobyl, the first two awards of the night, for Best Performance by an Actor in a Television Series – Musical or Comedy and Best Performance by an Actor in a Limited Series or Motion Picture Made for Television, went instead to Ramy star Ramy Youssef and Russell Crowe for The Loudest Voice.“This is thanks to God and Hulu. Look, I know you guys haven’t seen my show. Everyone’s like, ‘Is this an editor?’” Youssef joked, in an earnest speech that helped cut the tension in the room. “My Mom also, by the way, was rooting for Michael Douglas. Egyptians love Michael Douglas. I don’t know if you know this.”Crowe hadn’t flown in for the event. Aniston noted that he remained in Australia to protect his family from bushfires and delivered a message from him attributing the devastation in his country to climate change.The surprises would continue in the male acting categories with Chernobyl’s Stellan Skarsgård, who attributed his win to his eyebrows, taking Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television, a category most prognosticators expected to go to anyone but him.Parasite Director Bong Joon-ho Makes a Case for Foreign-Language Films(Photo by Paul Drinkwater/NBC)In a night full of surprises, one of the least shocking moments came when Korea’s Parasite was named Best Motion Picture – Foreign Language. The movie, which is an Oscar frontrunner for Best Picture, was as sure a thing as you could get. Nevertheless, the win did give us a surprisingly touching moment (at least if you haven’t seen moment-making writer-director Bong Joon-ho on stage before). Joon-ho took the stage with a translator and delivered one of the biggest applause lines of the night, telling the audience and the world watching: “Once you overcome the one-inch–tall barrier of subtitles, you will be introduced to so many more amazing films.” On a night when foreign-language film contenders included incredible movies like Pain and Glory, Portrait of a Lady On Fire, The Farewell, Les Misérables, and his own Parasite, the point hit ho

1. 皇帝成长计划怎么废后
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2. 公平游戏环境

3. 激战团竞模式
Christian Bale and Matt Damon star in Logan director James Mangold s Certified Fresh Ford v Ferrari, out this month, and the race-car drama is already stirring up a ton of awards buzz. The movie tells the story of the Ford Motor Company s attempt to create a car that could outpace the dominant Ferrari team at the 24 Hours of Le Mans race in 1966, and also stars Jon Bernthal as Lee Iacocca and Tracy Letts as Henry Ford II. As the film heads into theaters, we sat down with Damon and Bale – who play car designer Carroll Shelby and driver Ken Miles, respectively – as well as Bernthal, Letts, and Mangold, to talk about recreating the excitement of Formula 1 racing on the big screen and choreographing one of cinema s most hilarious fight scenes. Plus, the guys spill on the first car they ever owned.

4. 呼朋唤友 随心所欲

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 2.99.02022-01-27

5.88.9 8月喜迎This Week s Ketchup brings you more headlines from the world of film development news, covering new titles like Don t Breathe 2, The Flash, Resident Evil, and Thomas Friends.This WEEK S TOP STORYDOCTOR STRANGE TO CO-STAR IN NEXT SPIDER-MAN(Photo by © Walt Disney Studios Motion Pictures)We don t know when the next Avengers will be after Avengers: Endgame, but that movie also became the box office champion of all time (a record that COVID-19 may have made impossible to break), so obviously, Marvel isn t going to give up on the Avengers theme, even if the movies don t have Avengers in the title. The fourth MCU movie on the schedule awaiting release (after Black Widow, Shang-Chi and the Legend of the Ten Rings, and Eternals) will be the not-yet-titled third Spider-Man movie (12/17/2021) starring Tom Holland. Just last week, that movie was the focus of the surprising news that Jamie Foxx will be reprising his role as Electro from The Amazing Spider-Man 2 (starring Andrew Garfield, not Tom Holland). We now know that Benedict Cumberbatch will also be appearing in the next Spider-Man as Spidey s Avengers teammate Doctor Strange, which we l

Henry Cavill has replaced the iconic Man of Steel cape with some sleek white locks and a shiny, sharp sword in Netflix s new fantasy series, The Witcher. Based on the popular stories by Polish author Andrzej Sapkowski, which spawned the wildly popular video game series, the eight-episode first season follows the story of swordsman-for-hire Geralt of Rivia, whose supernatural skills come in handy for profession: hunting monsters. In the series, the solitary warrior seeks princess-in-exile Ciri (Freya Allan) and runs across sorceress Yennefer (Anya Chalotra), who is just discovering her powers at the outset of season 1.As with most recent genre shows of this ilk, comparisons have already been made to Game of Thrones. Netflix has already seen value in their highly-anticipated series and renewed The Witcher for a second season in November. A studio s confidence and noteworthy buzz can work wonders for a fledgling program such as this. But has Netflix s bet paid off? Will The Witcher scratch that White Walker itch? And is the Cavill-starrer strong enough to hack-and-slash its way through the ever-cluttered realm of Peak TV to make an impact?Here’s what critics are saying about The Witcher.HOW DOES IT COMPARE TO THE BOOKS?(Photo by Netflix)Fans of the books and the game are likely to have a field day with the swarm of character references throughout, and whilst it’s paying fan service with how casually these names are mentioned, general unversed audiences may need to pay a bit more closer attention, especially when Cavill is speaking as his low growl can often be inaudible.  —Peter Gray, This Is FilmThe problem is, there s very little reason to get invested enough to attempt to make sense of the whole thing. From the jump, in the very first episode, characters constantly yammer at Geralt about destiny this and destiny that, which isn t nearly as interesting in 2019 as it might have been in the 1980s when the stories were originally published. Even if you love the original stories and books, they re remixed and altered here to the point that they often no longer make sense. —Michael Rougeau, GameSpotIn faithfully adapting the book it brings with it some questionable elements, but it at least adapts these tales with a more modern sensibility.   —Kambole Campbell, Little White LiesIndeed, the one thing that I worry viewers might dislike about The Witcher is that without a strong knowledge of the books, or at least a good grasp on fantasy fiction in general, this show might require some hard work. Game of Thrones is, quite simply, easier to get into.  — Erik Kain, ForbesDOES HENRY CAVILL SLAY?(Photo by Netflix)Henry Cavill’s character  could scan as a spin on the actor’s most notable prior role. Monster hunter Geralt of Rivia resembles a reclusive medieval Superman—all principle, brawn, and jawline—clad in a white wig and cat-like contact lenses. But rather than reheating the Man of Steel, Cavill quickly melts into Geralt, capturing his aloof yet winsome confidence with sardonic one-liners and baritone grunts. —Niv M. Sultan, Slant MagazineThankfully, Cavill as Geralt is beyond anything I expected. While this is a testament to Cavill’s acting, its also because of his ability to nail the physicality that the role deserves.   —Kate Sanchez, But Why ThoCavill delights in every grimace as his grimy, sour Geralt traverses locales familiar to any Dungeons Dragons campaign. Candle-strewn taverns, pornographic wizard illusions, and foolish nobles—no matter the job, Geralt perseveres in true Lawful Neutral form (to keep things in D D terms). A bemused yet not unkind cynicism comes across in Cavill’s slow baritone and rare, slight smile. It’s the best he’s been aside from The Man from U.N.C.L.E. and everyone either hates him or is horny for him.  — Jacob Oller, Paste MagazineREAD ALSO: Henry Cavill on Why He Had To Play the WitcherHOW S THE REST OF THE CAST?(Photo by Netflix)Showrunner Lauren Hissrich and executive producer Tomek Baginski really knocked the casting out of the park with this series. Henry Cavill, Anya Chalotra, Freya Allan, and Joey Batey all bring the necessary gruff, edge, and charm of their famous characters to life throughout the series, and they contrast incredibly well with each other once they all get a chance to unite on screen.   —Matthew Aguilar, comicbookWhile Cavill is the famous face, it’s actually a three-lead show with three distinct storylines, co-starring the Anya Chalotra as the trainee witch Yennefer, and Freya Allan as Ciri, a fugitive teen princess. These two young women are much more interesting than Geralt, partly because they have solid character arcs, but mostly because Henry Cavill is a block of beautifully carved wood.  — Gavia Baker-Whitelaw, Daily DotHOW DETAILED IS THE WORLD-BUILDING?(Photo by Netflix)The production design does look impressive and you really get the sense that money is being fired at this to give it every possible opportunity. The difference, however, is that while The Witcher may exist in a fantastical world, you can never really shake the feeling that you re looking at a set, or that you ve seen some of this before.   —Brian Lloyd, entertainment.ieThere’s not quite enough fully developed characters to make this feel like a big ensemble show like “Thrones,” and so we crave a single center of gravity. The decentralized aspect of “The Witcher,” instead, emphasizes certain faults, like how Cavill doesn’t quite embody the Han Solo aspect of his roguish-hero role enough to hold the screen fully.   —Daniel D Addario, VarietyHOW ARE ITS FIGHT SCENES?(Photo by Netflix)One fight sequence towards the end of episode one is quite special, seemingly achieved in one unbroken take and with Cavill visibly involved, instead of a stunt double. —Rohan Naahar, Hindustan TimesViolence and sexuality are both major components of the source material, and The Witcher certainly doesn’t skimp in either category. The aforementioned carving up of the village riffraff is gruesome, as are Geralt’s frequent encounters with all manner of sinister creatures, and there’s no shortage of bare bodies on display.  —Brent Hankins, Lamplight ReviewThat’s the real star of The Witcher: the fight scenes. Filled with terrifying monsters, brutal thugs, and shots lifted straight from classic horror movies, each battle has been so stylishly executed, they almost feel sensual. The Witcher’s fight scenes aren’t merely good enough to be entertaining, they’re “make you scream like you’re at a playoff game” great.   — Kayla Cobb, DeciderWhere The Witcher succeeds is in its action sequences. A face-off between the super-human Geralt and a Lovecraftian nightmare in a crumbling castle is gruesome and fast-paced. And a struggle between the anti-hero and his lover (Emma Appleton) is appropriately heart-rending. If you like this sort of thing, it’s worth putting up with the bleary plot and dialogue just to get from one confrontation to the next.   — Ed Power, Daily Telegraph (UK)WAIT, IS IT SUPPOSED TO BE FUNNY?(Photo by Netflix)Worse, the wink, wink nature of the oddly misplaced humor makes clear that the writers are clearly trying to have their cake and eat it too, which comes off like an eleven-year-old who’s satisfied enough by dipping a finger into the frosting before licking it off instead of making an actual meal.   —Andrew Bundy, The Playlist“The Witcher” has a lighthearted sense of humor — another difference between it and “Game of Thrones,” whose jokes landed with the force of tankards slammed on oaken boards. We’re not talking high comedy, but you could do worse than watching Cavill, as Geralt, pour out his troubles to his horse, the only creature the Witcher will really open up to.   — Mike Hale, New York Times
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皇帝成长计划怎么废后 As more and more people are compelled to practice social distancing and encouraged to stay home, as movie theaters temporarily shutter their doors, and as studios continue to pull their scheduled 2020 films off the release calendar, we ve decided to reformat the Critics Consensus column to focus on titles that are newly available on the home entertainment market. With that in mind, our list of digital and streming new releases this week includes a political satire written and directed by Jon Stewart, a big man/little girl comedy, and a musical spoof. See below for details.

这是一款创新融合策略卡牌手游。游戏邀请了著名作家马伯庸亲任游戏世界观架构师。在玩法上采用了即时制战斗玩法,并加入灵活BD搭配,多层次策略关卡等等设计。 Gerard Butler’s Has Fallen series is still bringing the action crowds: Angel Has Fallen s .25 million debut is a virtual dead match for previous entry London s .6 million opening. But with Angel the most expensive film in the franchise yet, financiers are also going to be hoping for some hefty international bucks.King of the Crop: I’ve Fallen, But Can Still Get Up To #1(Photo by Simon Varsano / © Lionsgate / courtesy Everett Collection)Angel Has Fallen has gotten into the positive side of Butler’s box office history with a .25 million start, but will it have enough in the tank to recoup its million budget? Olympus Has Fallen was the highest-grossing domestically of the series with .92 million. But it only grossed .34 million overseas resulting in the million production coming up in the red. London Has Fallen dipped at home with just .5 million, but more than doubled the international haul of the first film with 3.23 million. Hence, the green light for Angel.With 39% on the Tomatometer, the movie ranks somewhere in the middle critically for Butler. Compare it to previous entries: 49% and 26%, respectively. This for an actor who has never top-lined a film registering higher than 60%, achieved by RocknRolla and 300 both. With March openings, the Fallen films grossed multiples of 3.25 and 2.88 over their opening weekends. August box office history suggests that should decrease even more, marking Angel for somewhere around a million domestic total, leaving international the duty of making up the rest to the tune of 2 million to match London. Top 10 and Beyond: A Mild Time At The Movies(Photo by Eric Zachanowich/ TM & copyright © Fox Searchlight Pictures)Last week’s top film, Good Boys, which many were expecting to repeat, dropped 45% to .7 million. That puts it at .05 million after 10 days, which puts it about right in line with a more kid-appropriate August release in David Lowery’s remake of Disney’s Pete’s Dragon, which finished with over million. Universal’s primary cash cow, the Fast Furious series, may be showing signs of wear and tear in the U.S., but Hobbs Shaw just opened in China to the tune of 0 million this weekend. That brings its global total to over 8 million – the 8th highest of 2019. Its 7 million at home is still one of the lower bars of the series.Fox Searchlight’s Ready or Not had a lot of support from critics this week (Certified Fresh at 87% on Tomatometer) and many were hoping it would have opened stronger than it did: .55 million over the weekend and .57 million since its debut on Wednesday. That gives Ready a first final estimate between million and million. Not terrible for the million-budgeted film, but additional advertising costs may keep it in the red if word-of-mouth cannot boost its total further.Sony is not just feeling the brunt of anger from Marvel fans this week, but the belated realization that animated films and August do not mix. The latest example is The Angry Birds Movie 2, which is now up to just .09 million after 13 days. The film is currently 7 million behind the global gross of the first film, which in scale is on par with The Secret Life of Pets 2 doing 0 million less than its predecessor. Disney’s The Lion King, on the other hand, is now the 14th film ever to cross the half-billion line domestically and the 9th film to pass .508 billion globally. It needs just over million dollars outside the U.S. to become just the 9th film in history to surpass the billion mark exclusively with international dollars.Rounding out the top 10, Quentin Tarantino’s Once Upon a Time…In Hollywood is now over 2 million and has surpassed Inglourious Basterds to become his second highest-grossing film, behind Django Unchained. Along with Jordan Peele’s Us, it is one of only two 2019 original projects to break 0 million. Scary Stories To Tell in the Dark joined the million club this weekend. Dora and the Lost City of Gold is headed to join that club too, but not much beyond that.We continue to monitor films from the festival circuit as this week Roadside’s The Peanut Butter Falcon, which debuted at SXSW this year, expanded in its third weekend from 49 to 991 theaters and grossed million for a total of .7 million. Last week’s 90%-Tomatometer opener from Sundance, Blinded by the Light, dropped 52% for a .1 million second week haul, bringing its total to .2 million. Neon continued to expand its 93%-approved drama, Luce, into another 102 theaters (for a total of 160), bringing its total to 4,182. Finally there is A24’s The Farewell, which lost a small handful of screens this weekend and grossed another 4,000, bringing its total to .47 million.This Time Last Year: Asians Continues Crazy Rich Domination(Photo by Sanja Bucko/Warner Bros.)Crazy Rich Asians won handily for a second straight week, dropping just 6.4% from the previous weekend and earning another .8 million. The Meg maintained its second place status with .8 million. The best of the new challengers was Melissa McCarthy and the puppets in The Happytime Murders, which opened to .5 million, which is million more than McCarthy’s ensemble film The Kitchen grossed this month. The mechanical dog film, A.X.L., opened to just .79 million. And among limited releases, the remake of Papillon made .09 million in 544 theaters, but Sundance success Searching (Certified Fresh at 92%) would turn out to be the one to keep an eye on after 8,769 in just 9 theaters. The top ten films grossed .55 million and averaged 56.3% on the Tomatometer. This year’s top 10 grossed an estimated .60 Million and averaged 68.5%.On the Vine: Don’t Let Go and Saaho To Open Over Lackluster Holiday Weekend(Photo by Blumhouse)We hit the calm before the storm that will be It: Chapter Two on September 6. But for Labor Day weekend, Hollywood is going old-school in releasing, well, not much. Don’t Let Go, which premiered under the title Relive at Sundance in January, follows David Oyelowo s character on a Frequency-like murder mystery that did not impress the press at the festival this year. It currently stands at 47% on the Tomatometer. The lackluster numbers could then indeed open the door for Bollywood action thriller, Saaho, to find a spot in the top 10 as no film is likely to dominate over the holiday weekend.The Full Top 10: August 23-25Angel Has Fallen (2019) 39% – .25 million (.25 million total)Good Boys (2019) 80% – .75 million (.05 million total)Overcomer (2019) 56% – .20 million (.20 million total)The Lion King (2019) 52% –  .15 million (0.63 million total)Fast & Furious Presents: Hobbs & Shaw (2019) 67% .14 million (7.70 million total)Ready or Not (2019) 88% .55 million (.57 million total)The Angry Birds Movie 2 (2019) 73% – .36 million (.09 million total)Scary Stories (2018) 83% – .00 million (.48 million total)Dora and the Lost City of Gold (2019) 85% – .20 million (.09 million total)Once Upon a Time... In Hollywood (2019) 85% – .00 million (3.18 million total)


e and as a measure of cultural significance. So we broke out our calculators, scoured the internet, and spent hours organizing dollar amounts, Tomatometer scores, and lists upon lists of movies to settle on the Best Summer Ever. Movie-wise, that is.Before we dig into the good stuff, though, a few notes about the process: We began with 1975 the year of Steven Spielberg s Jaws  and included every summer through 2018. We looked at every film released during the months of May through August and collected box office totals (adjusted for inflation) and Tomatometer averages for the top 25 grossing films of each summer. We then ranked them in order for both categories 1975, incidentally, scored the Highest Tomatometer Average of All Summers, while 2007 earned the Highest Total Box Office of All Summers. Lastly, we as a staff curated lists of the most culturally significant films of each summer and made our best attempt to rank every year s summer by the legacy of its most important and influential movies. For this third category, we took into consideration any impact on the industry as a whole, the introductions of new talent and new franchises, and general pop culture relevance on best of and all time lists. For example, a year like 1984, which gave us Ghostbusters, Gremlins, and Sixteen Candles among a slew of others, would rank near the top; on the other hand, a year like 1976, which gave us The Omen, The Outlaw Josey Wales, and The Man Who Fell to Earth, but almost nothing else, ranks at the very bottom. In addition, there were plenty of cases when certain years (including the entirety of the 1990s, surprisingly enough) failed to score high enough in all three metrics (box office, average Tomatometer, cultural significance) or performed well in one metric but scored too low in the others to rank very high overall. Needless to say, the process was long and difficult; many tears were shed, and much blood was spilled.So which summer came out on top when the final calculations were made? Was it the summer when Poltergeist, E.T., Blade Runner, and The Thing all opened in the same month? Or was it the summer that introduced the world to an evil Empire and the plucky Rebels who stood up to it a long time ago in a galaxy far, far away? Or maybe the summer that brought us two of the best superhero movies of all time and paved the way to where we are today? Read on to see the 10 Best Summers Ever, and then click through the decades to see full stats on every summer from 1975 to 2018.See Full Data on Every Summer1970s | 1980s | 1990s | 2000s | 2010sThe 10 Best Summer Movie Seasons Ever10. Summer of 2011Box Office Total: ,162,184,886 (adjusted for inflation)Tomatometer Average: 58.72%Cultural Ranking: 17/44Significant Films: Bridesmaids, Captain America: The First Avenger, Crazy Stupid Love, Harry Potter and the Deathly Hallows Part 2, The Help, Midnight in Paris, Rise of the Planet of the Apes, Thor, X-Men: First Class, Winnie the PoohAs noted further down this list, sequels and reboots were an age-old tradition long before 2011 rolled around, but this summer was especially full of them. One sequel in particular ruled every other film this year, and that was the hotly anticipated final installment of the Harry Potter series. The Deathly Hallows – Part 2 not only earned the top box office spot, but it was also the best-reviewed film of the summer (Certified Fresh at 96%), and whether or not you feel it was plagued by sequelitis or reboot fever, the rest of the year s summer was no slouch, either. We got breakout hits like Bridesmaids, awards contenders like Beginners, The Help, and Midnight in Paris, an animated gem in Winnie the Pooh, acclaimed reboots of Planet of the Apes and X-Men (OK, so that one isn t technically a reboot, but it also kinda was), and the introduction of both Captain America and Thor into the the Marvel Cinematic Universe. Thanks to a more than solid box office showing, a decent Tomatometer average, and a handful of films that have helped shape the movie landscape in the ensuing years, 2011 just managed to eke its way into our overall top 10.9. Summer of 1979Box Office Total: ,930,224,349 (adjusted for inflation)Tomatometer Average: 67.09%Cultural Ranking: 10/44Significant Films: Alien, The Amityville Horror, Apocalypse Now, Breaking Away, Escape from Alcatraz, Monty Python s Life of Brian, Moonraker, The Muppet Movie, Phantasm, Rocky IIThis would be the last year that a horror film would top the summer box office in North America. The movie that pulled it off was The Amityville Horror (29% on the Tomatometer), which also holds the less impressive distinction of being the second-worst–reviewed movie to top a summer box office in our data set (no. 1 is 2009’s Transformers: Revenge of the Fallen, with a Tomatometer of 19%). It’s appropriate that a horror film came out on top in 1979, as this was a year defined by big horror smashes, most of which we remember more frequently, and more fondly, than Amityville — think of titles like Alien and Phantasm. And, speaking of horror, it was also the year that Francis Ford Coppola unleashed Apocalypse Now upon the world (remarkably, the dark, epic war drama was third at the box office for the summer). 1979 had a very high average Tomatometer, as well as enough cultural high points, across many genres, to put it nearer the top of the list – The Muppet Movie, Life of Brian, Moonraker – but a relatively low overall box office means it remains at the back end of the top 10.8. Summer of 1989Box Office Total: ,445,649,578 (adjusted for inflation)Tomatometer Average: 58.88%Cultural Ranking: 4/44Significant Films: The Abyss, Batman, Dead Poets Society, Do the Right Thing, Indiana Jones and the Last Crusade, Lethal Weapon 2, Licence to Kill, Parenthood, Road House, Sex, Lies Videotape, Weekend at Bernie s, When Harry Met SallyHollywood had truly fallen head over heels for sequels by 1989 — a full quarter of this summer s top 20 box office earners were part twos or later installments in franchises. Two sequels earned a place in the top three films of the summer, and year, at the box office (Indiana Jones and the Last Crusade, followed by Lethal Weapon 2), while for Star Trek and A Nightmare on Elm Street (just outside the top 20 of the summer at 21), we were onto our fifth films in their respective series. But it was an original, of sorts — Tim Burton’s Batman — that would dominate the season and, some say, redefine the modern blockbuster. The film broke all sorts of opening weekend records, established the opening weekend as the thing to watch, and, like the blockbusters of today, was supported by a seemingly endless marketing campaign that put awareness through the roof. The movie’s impact on cinema for the three decades that followed is a big part of the reason why 1989 scored big points when we were considering cultural impact. But while the caped crusader was sucking up a lot of the oxygen in the room, there was enough air for the likes of seminal comedies like When Harry Met Sally and Weekend at Bernie s to make an impact, as well as classics like Dead Poets Society, Parenthood, and Road House (don’t fight us on this one). Also, worth noting, and celebrating: the summer of 1989 gave us the first big breakout films of Spike Lee (Do The Right Thing) and Steven Soderbergh (Sex, Lies and Videotape).7. Summer of 1981Box Office Total: ,229,262,780 (adjusted for inflation)Tomatometer Average: 60.50%Cultural Ranking: 5/44Significant Films: An American Werewolf in London, Arthur, Blow Out, Clash of the Titans, Dragonslayer, Escape from New York, The Great Muppet Caper, Heavy Metal, Raiders of the Lost Ark, Superman II1981 was the year the world first met Indiana Jones – and it turned out that the world liked what it saw. Raiders of the Lost Ark topped the summer with almost 0 million, and its 80s sequels would be the second highest earners of their summers, with Temple of Doom just bested by Ghostbusters in 1984 and The Last Crusade coming in behind Tim Burton’s Batman in 1989. Spielberg had already dominated a summer prior to 1981 with Jaws, but with Indy he had given life — as Lucas had done with Star Wars — to a character and idea that could spawn a franchise which would dominate summer moviegoing for decades to come. (Speaking of, Superman II and The Great Muppet Caper also made an impact in the warm months of 1981). Perhaps the big surprise of the summer was Arthur (88% on the Tomatometer), the Dudley Moore comedy, which came in third at the box office with almost 0 million; its sequel was a disaster on all fronts, earning just 14% on the Tomatometer and about million. [Note: This piece originally said Spielberg had dominated two summers prior to 1981, with Jaws and E.T. The latter film was released in 1982; the article has been updated to correct the error.]6. Summer of 2002Box Office Total: ,252,688,780 (adjusted for inflation)Tomatometer Average: 60.68%Cultural Ranking: 21/44Significant Films: About a Boy, The Bourne Identity, Lilo Stitch, Men in Black II, Minority Report, Signs, Spider-Man, Star Wars: Episode II Attack of the Clones, xXx2002 may not immediately strike you as a big year for summer movies, but it raked in quite a bit of cash and ranked in the top third from our data set by average Tomatometer. Plus, it s difficult to downplay the significance of Sam Raimi s Spider-Man, which was not only a hit with critics, but also became the third highest-grossing film of all time in its initial run, behind only Titanic and Star Wars: Episode I The Phantom Menace. Beyond that, while the first X-Men movie a couple of years prior proved there was still interest in superhero films after the Batman franchise had begun to flounder, Spider-Man s tremendous success helped pave the way for future endeavors in the genre. You know, for better or worse, depending on how you feel about it. Other than Spider-Man, though, 2002 also introduced the world to a more contemporary spy with the initials J.B. in The Bourne Identity, which would make an action star out of Matt Damon and spawn a franchise of its own. Finally, this summer brought us a pair of benchmark sci-fi films from two well-known directors: M. Night Shyamalan s Signs was his last Certified Fresh movie until he achieved the distinction again a decade and a half later with 2017 s Split, and the Certified Fresh 91% that Steven Spielberg s Minority Report received would be met (2015 s Bridge of Spies) or exceeded (Catch Me If You Can, which was released later the same year and reached 96%) by the director only twice in the subsequent 16 years.5. Summer of 1977Box Office Total: ,498,651,999 (adjusted for inflation)Tomatometer Average: 64.4%Cultural Ranking: 12/44Significant Films: The Kentucky Fried Movie, The Hills Have Eyes, The Rescuers, Smokey and the Bandit, Sorcerer, The Spy Who Loved Me, Star Wars, SuspiriaNot content to sit back while his buddy Steven Spielberg basked in the glow of Jaws, George Lucas decided to drop a game-changer of his own in 1977, and it not-so-quietly became one of the biggest game-changers of all time. Our data revealed that only 10 of the 43 years we examined featured a film that was not only the best-reviewed but also the biggest box office earner of the summer, and Star Wars is the earliest example to show up on the list. Yes, there was another James Bond movie this year (The Spy Who Loved Me), as well as an early cult-favorite John Landis comedy (The Kentucky Fried Movie), and even one of the most celebrated horror films of all time (Suspiria). But Luke, Leia, and Han ruled 1977 and kickstarted a multi-billion dollar franchise comprised of films, tv series, books, video games, toys, and more that s still going strong to this day. Lucas achieved the kind of ubiquitous pop culture influence that few other filmmakers if any at all will ever see, and even if it had been the only movie released during this summer, 1977 would still have ranked as one of the more important blockbuster years in history.4. Summer of 2015Box Office Total: ,093,563,710 (adjusted for inflation)Tomatometer Average: 61.28%Cultural Ranking: 19/44Significant Films: Amy, Ant-Man, Avengers: Age of Ultron, Entourage, Inside Out, Jurassic World,  Mad Max: Fury Road, Minions, Mission: Impossible Rogue Nation, Shaun the Sheep Movie, Spy, Straight Outta Compton, TrainwreckIf nothing else, Jurassic World was a testament to how incredible Steven Spielberg s Jurassic Park was. The 1993 original is one of the most celebrated and beloved films in the director s distinguished career, and after a 14-year hiatus following the decidedly lackluster Jurassic Park III (50% on the Tomatometer), fans were beside themselves in anticipation of the new installment, even without Spielberg at the helm. And boy, did people show up to see this one. After ending its initial run as the third highest-grossing film of all time, period, Jurassic World still currently sits in seventh position, having been gently knocked down a few spots by the likes of Star Wars: The Force Awakens later that same year and, you know, a couple of Avengers movies. Apart from Jurassic World, though, 2015 also brought us a number of outright amazing films. Pixar s Inside Out was the third-biggest earner of the summer, but it also received rave reviews and became the highest-rated film of the season, as well as one of the best-reviewed animated films of all time. Likewise, the year s highly anticipated new installment of the Mad Max franchise, Fury Road, is currently the best-reviewed action movie of all time. Add titles like Mission: Impossible Rogue Nation, the surprise hit action-comedy Spy, another animated treat in Shaun the Sheep Movie, and F. Gary Gray s musical biopic Straight Outta Compton, which scored the biggest opening of any film by a black director (before he bested himself in 2017 with The Fate of the Furious), and it was a pretty impressive summer on several counts.3. Summer of 1984Box Office Total: ,206,212,855 (adjusted for inflation)Tomatometer Average: 64.08%Cultural Ranking: 2/44Significant Films: Ghostbusters, Gremlins, The Karate Kid, Indiana Jones and the Temple of Doom, The Last Starfighter, The Neverending Story, Once Upon a Time in America, Purple Rain, Red Dawn, Revenge of the Nerds, Sixteen CandlesThe pull of nostalgia has admittedly become a tad cloying these days, but longing for the movies of summers past isn t entirely unreasonable if those summers are anything like 1984. Some of the most beloved films of the decade adventures and teen films and children s fantasies and comedies of all stripes came from the summer of 1984 and became definitive icons of the era. It was an embarrassment of riches, really, and we d be lucky to experience another year so chock-full of cultural touchstones. Ivan Reitman, Bill Murray, Harold Ramis, and Dan Aykroyd (no disrespect to Ernie Hudson; we love you too!) joined forces for Ghostbusters, one of the greatest comedies ever; Joe Dante unleashed a horde of cute but deadly critters both horrifying and hilarious in Gremlins; Daniel-san and Mr. Miyagi showed us the effectiveness of waxing on and off, and the power of a crane kick (but were they the villains all along?); Falkor made everyone long for a luck dragon of their own; and Indiana Jones sat down to a meal of monkey brains and faced down a cult leader who spent his leisure time ripping people s hearts out of their chests just to name a few. The cultural impact this run of films has had over the decades is huge: Ghostbusters was recently rebooted, the next Indiana Jones movie is currently in the works, and the YouTube Red series Cobra Kai turned out to be a surprise winner. On top of all that, 1984 s films were also influential in a much more tangible way: uproar over Temple of Doom and Gremlins ultimately resulted in the creation of the PG-13 rating, which is basically the bread and butter of the movie industry today.2. Summer of 2008Box Office Total: ,292,073,950 (adjusted for inflation)Tomatometer Average: 58.44%Cultural Ranking: 6/44Significant Films: The Dark Knight, Hellboy II, The Incredible Hulk, Indiana Jones and the Kingdom of the Crystal Skull, Iron Man, Mamma Mia!, Man on Wire, Pineapple Express, Sex and the City, Step Brothers, Tropic ThunderLike it or loathe it, superhero movies dominate our current cinema, and 2008 was perhaps the single most significant year for the genre. In July, we had The Dark Knight, which was, until 2018’s Black Panther, the best-reviewed live-action superhero movie of all time, and which featured arguably the best performance ever given in a movie like this, with Heath Ledger’s Oscar-winning turn as the Joker. As Tim Burton had done with Batman almost 20 years before, Christopher Nolan redefined blockbuster cinema again – it could be dark, so serious, and great. And it helped if it was about Batman. Just two months before The Dark Knight’s release, Marvel Studios was doing its own redefining, releasing Iron Man and kicking off phase one of the Marvel Cinematic Universe: 22 Fresh films later, Marvel Studios’ tentpoles are rivaled only by new Star Wars and Jurassic movies. Away from all that spandex, 2008 also gifted us with a landmark Pixar flick (Wall-E), a not-so-well-loved but lucrative Indiana Jones movie, and one of the greatest documentaries of all time, according to the Tomatometer (Man on Wire). For its huge impact on the decade of cinema that followed, and a very healthy box office – the sixth highest-earning year from our data set – 2008 is the salutatorian of our summer movie season class.1. Summer of 1982Box Office Total: ,531,699,214 (adjusted for inflation)Tomatometer Average: 67.3%Cultural Ranking: 1/44Significant Films: Blade Runner, Conan the Barbarian, E.T., Fast Times at Ridgemont High, Mad Max 2: The Road Warrior, An Officer and a Gentleman, Poltergeist, Star Trek II: The Wrath of Khan, The Thing, TronIf Jaws introduced the idea of the summer blockbuster season to the world in 1975, Hollywood essentially produced a near-perfect version of it just seven years later. We could break down the individual releases in analysis, but really, the slate of movies speaks for itself. 1982 offered up a wealth of enduring, genre-defining sci-fi classics, from Blade Runner and Star Trek II: The Wrath of Khan to Tron, Mad Max 2: The Road Warrior, and E.T. the Extra-Terrestrial, which not only topped the box office but also earned the highest Tomatometer score of any film that summer. We also got iconic entries in several genres, including horror (The Thing, Poltergeist), comedy (Fast Times at Ridgemont High), and romantic drama (the groundbreaking An Officer and a Gentleman, for which Louis Gosset Jr. became the first black actor to win the Best Supporting Actor Oscar). This is the kind of lineup that inspires teens to theater-hop, and thanks to a decent box office take, a phenomenal Tomatometer average, and a wealth of culturally significant films, 1982 is officially the best summer ever!See Full Data on Every Summer1970s | 1980s | 1990s | 2000s | 2010s

皇帝成长计划怎么废后 而近期发布的诸多手游都是依靠人们童年的情怀和记忆来博得玩家的关注。不仅是哈利波特魔法觉醒手游,连同前段时间十分热门的摩尔庄园手游也是如此。

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