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亚博网址链接采用百度引擎7(Baidu 3)烽火台手游一款玩法非常激情刺激的策略战争,不一样的模式不同的玩法,轻松的模式和战斗,让玩家可以享受三国战役带来的乐趣,刺激激情热血好玩,不同的游戏模式和玩法,玩家都能享受,展现自己的游戏操作,帮助玩家更好的完成冒险,赶快试试吧!

1. 亚博网址链接
天赋方面,手游有基石天赋,端游移除的“妙手预兆”也重新回来了!剩余的符文则进行了简化整合,玩家可以在攻击型、防御型、功能型里各选一个进行搭配。 A Quiet Place Part II may have fallen to second place (barely), but these are all fairly solid numbers in its favor. The first film dropped just 34.3% during its second weekend to .97 million and was bested by Rampage by less than million; Part II fell 59% this weekend to .5 million, which is a much steeper drop than fellow million Memorial Day weekend films (Madagascar, Kung Fu Panda 2, 2005’s The Longest Yard), which fell between 40.5-49.9%, but it is in the vicinity of Godzilla vs. Kong, which fell 56.9% off its opening weekend after a front-loaded Wednesday-Thursday start and million less in its Friday-Sunday weekend than the Quiet Place sequel.Krasinski’s film is becoming the new standard to beat in this period, taking in over million in its first 10 days, and is hoping to pass GvK to become the first film since Sonic the Hedgehog on February 23, 2020 to gross 0 million. After 3,000 this weekend, GvK stands at .1 million; if Quiet falls off just 55% or less from last week s weekdays haul, it could reach 0 million by Thursday. A Quiet Place Part II is currently on pace somewhere between Mad Max: Fury Road and Terminator Salvation, which would put it on the path for somewhere between 0 million and 140 million when all is said and done. It’s nice to be able to consider first estimates again as theaters begin to make their comeback.Meanwhile, Cruella – which, like A Quiet Place II this weekend, made news when it was announced a sequel was on the way – took in .2 million this weekend, which is the third-best second weekend of the pandemic era. But the .6 million it has made to date puts it in the territory of After Earth and Battleship, two notorious failures for their studios that finished with million and million domestically. Even aided by international grosses of 3 million and 7 million, they were expensive failures. Cruella’s costs have been widely disparate in reports, but the answer is likely somewhere between the 0 million and 9 million budgets of those summertime busts, and Disney’s film has only made million internationally so far, less than the premium streaming total of -plus million it made last weekend. They must be feeling optimistic given the sequel announcement.On These Dates In Box Office History
全球在地化体验,支援12种语言:英语、西班牙语、葡萄牙语、俄语、土耳其语、印尼语、泰语、简中、繁中、阿拉伯语、德语、法语。

2. 公平游戏环境
Adjusted Score: 109805% Critics Consensus: Another gorgeously animated, skillfully voiced entry in the Disney canon, Raya and the Last Dragon continues the studio's increased representation while reaffirming that its classic formula is just as reliable as ever. Synopsis: Long ago, in the fantasy world of Kumandra, humans and dragons lived together in harmony. But when sinister monsters known... [More] Starring: Kelly Marie Tran, Awkwafina, Izaac Wang, Gemma Chan Directed By: Don Hall, Carlos López Estrada亚博网址链接在国服的《使命召唤手游》里目前开放的游戏模式有,团队竞技、爆破模式、个人竞技和特殊站基本都是FPS老一套的模式。让小编失望的是《使命召唤手游》PVE的内容太少,一些经典的任务如果加入进来,那可能会让游戏变得更丰富。目前也没有吃鸡模式,估计是怕分流《和平精英》,不排除以后更新会加进来。

3. 激战团竞模式
宝可梦世界是一款非常好玩的冒险养成手游,游戏用3d的模型,像素的画风完美地还原了精灵宝可梦的世界,在这里,玩家可以真实体验到宝可梦训

4. 呼朋唤友 随心所欲
Mike Flanagan changed the way genre television worked when his adaptation of Shirley Jackson s The Haunting of Hill House premiered to Netflix in 2018. The series showcased the director s interest in exploring family dynamics amid the backdrop of trauma, addiction, and abuse. The result was a heartfelt and absolutely terrifying piece of entertainment. And two years later, his team is back with The Haunting of Bly Manor — a spooky new installment, just in time for the Halloween season.This time around, the franchise utilizes the literary works of Henry James, mostly his classic ghost story The Turn of the Screw, which tells the story of a young governess who moves into an estate in Essex, England to look after two troubled young children. Bly Manor once again finds Flanagan and his crew traversing the concepts of life, death, love, and grief, and digs into the ways these emotional highs and lows inform our overall human existence.The series brings back members of the previous installment s cast — Victoria Pedretti, Oliver Jackson-Cohen, Kate Siegel, and Henry Thomas — and introduces newcomers T Nia Miller, Rahul Kohli, Tahirah Sharif, Amelia Eve, and child actors Amelie Bea Smith and Benjamin Evan Ainsworth, who play the orphaned siblings.Season 2 of Netflix s hit horror series returns on Friday, October 9. How will the nine-episode installment compare to its predecessor? The Haunting of Hill House is currently Certified Fresh at 93% on the Tomatometer. Here’s what the critics are saying about The Haunting of Bly Manor.How does it compare to Hill House?(Photo by Eike Schrotet, © Netflix)In this second season, Flanagan has struck an artful balance of family drama, gothic horror, character work, and romance. One important note, though – there are significantly fewer jump scares, which may be a plus or a minus depending on your affinity for those. — Hannah Lodge, Screen RexBeing more concerned with romance than trauma, Bly’s is a very different Haunting to that of Hill House, but one that also feels to have suffered from Flanagan’s more hands-off approach (his direction limited to a single episode this time around). There are some bold storytelling choices and a fluid chronology keeps things interesting, but this is neither as intricate nor intriguing as the time-bending puzzle box that made up the show’s first season. Most crucially, though, Bly never manages to chill the blood in quite the same way. — James Dyer, Empire MagazineIt s perhaps slightly unfair to keep comparing this to Hill House. Bly Manor shares similar connective tissues – there are the same slow-creeping wide shots and plenty of jump scares – but the new series is very fun. A strange term, perhaps, to use to describe a show that will haunt you long after the credits roll, but one that s apt for Bly Manor. The scares will have you grabbing your quarantine buddy s hand, but never quite chilling you to the bone. — Jack Shepherd, Games RadarHow are the performances this time around? (Photo by Eike Schrotet, © Netflix)The performances range from good to extraordinary, with T Nia Miller and Amelia Eve proving themselves especially outstanding. — Charlie Ridgley, ComicBook.comHaunting vets Pedretti, Thomas, and Oliver Jackson-Cohen (who plays Henry Wingrave’s slippery valet, Peter Quint) get to do most of the showy emoting, but the performances never go too far over the top (as they did sometimes in the occasionally maudlin Hill House). The standouts though are T’Nia Miller, who handles her character’s dramatic heavy lifting with incredible subtlety, and Rahul Kohli, whose mischievous take on Owen injects some much-needed lightness and joy into Bly Manor’s gloom. — Cheryl Eddy, io9.comJackson-Cohen is a particular standout this season as Peter Quint, an employee of Bly s absent owner Henry Wingrave (Thomas). One of the characters lifted straight from Turn of the Screw, Peter sows discord in the manor, poisoning all he touches in a magnetic performance from Jackson-Cohen that is a far cry from the vulnerable Luke Crain in The Haunting s freshmen outing. This is not the only instance in which it seems Flanagan purposefully gave a returning actor a role wholly different from what they did in Hill House, but no one meets the occasion quite like Jackson-Cohen does. — Sadie Gennis, TV GuideAnd what about the kids?(Photo by Eike Schrotet, © Netflix)Doctor Sleep and Hill House proved that Flanagan has an affinity for bringing out the very best in child actors and once again, this can be applied here. Amelie Smith is a great delight as young Flora Wingrave and Benjamin Evan Ainsworth is excellent as Miles Wingrave. The children offer an entirely opposite perspective to the horrors. They’re almost complicit and in the know of the strange happenings around the Bly estate. Flanagan is able to create intrigue through their mysterious connection to the Manor’s ghosts. — Ben Rolph, Discussing FilmChild actors are often not the best, if I am being honest, but Amelie Smith who plays Flora, and Benjamin Evan Ainsworth, who plays Miles, are extraordinary. — Tessa Smith, Mama s GeekyThese two unfortunate souls, who find in Pedretti’s character an eager and solicitous au pair, are played by Amelie Bea Smith and Benjamin Evan Ainsworth; the two child performers have mastered the art of sweet-natured mischief, explaining away their chaos as the stuff of children even when it seems to originate from a deeper and more sinister wellspring. — Daniel D Addario, VarietyIs it just as beautifully made as the original?(Photo by Eike Schrotet, © Netflix)Even without Flanagan behind the camera 90% of the time, this is an exquisite example of modern horror filmmaking craft, a ravishing marriage of eye-wateringly beautiful cinematography – which bears Flanagan’s signature soft focus that’s practically a brand unto itself at this point – lived-in production design, and crisp editing. Bar a few wonky CGI moments – namely the unintentionally goofy sight of a glasses-clad figure who haunts Dani – it is a visual feast to soak in per Netflix’s 4K HDR presentation. — Shaun Munro, Flickering MythBly is visually stunning, weaving symbolic elements into the emotional heart of the story without feeling cheap or gimmicky. The choice to set this season in the ’80s is an interesting one, too, and the nostalgia never overtakes the narrative. There are the inevitable ’80s clothes, but it’s the context of the time period that aides one of the season’s major arcs. After all, much of Bly’s story takes place on the historic grounds of the estate, centering on a mysterious and magnetic lake surrounded by lush gardens, gothic statues, and a quaint chapel. This, in turn, allows the story more room to unfold in a single location rather than through flashbacks. Every visual choice impacts the story in some way and will likely be satisfying and poignant on rewatch. — Jenn Adams, Consequence of SoundBut wait, is this a love story or a horror series?(Photo by Eike Schrotet, © Netflix)Underneath the lore and horror elements, Bly Manor is predominantly a love story, keener with focusing on the complexities and secrets of the characters than shock value, so as to curate an effective narrative. You’ll be shocked at how much conversation takes place throughout the season with the lack of spectacle surprising. But some of those relationships are the most compelling aspects Flanagan unspools. The specifics of which are too spoilery to delve into. — Nate Adams, The Only CriticBut the romances that slowly form as the season progresses are indeed effective – even sweet. In fact, they work much better than the horror elements, which are often muddled and confusing in trying to create mythology – as well as rules – for the ghosts haunting Bly Manor. The love stories blossoming here are tender and sweet. And, yes, in keeping with the best gothic romance tradition, more than a bit tragic. — Chris Evangelista, SlashFilmBly Manor is interested in the metaphor of ghosts as regret; every phantom that’s haunting these characters is tied to some underlying remorse. The regret of staying with an abuser until it was too late. The regret of hurting a loved one, no matter how unintentional. The regret of loves not admitted in the first place. — Vinnie Mancuso, ColliderAny final thoughts?(Photo by Eike Schrotet, © Netflix)Flanagan’s horror is the tender sort; his great big heart beats through the scarier fare. But that heart feels appropriate for Bly Manor. It’s a less dark place than Hill House. A great, good place, even. Just beware of the hallways at night. — Lindsey Romain, NerdistNetflix s The Haunting of Bly Manor lacks the terrifying punch of its more horror-charged predecessor, The Haunting of Hill House. However, creator and director Mike Flanagan is able to imbue this new chapter with rich character development and a memorable love story. — David Griffin, IGNAn old-fashioned gothic horror-romance, with almost no gore, and no gratuitous sex or nudity, The Haunting of Bly Manor neatly checks off all the holiday viewing boxes. — Gena Radcliffe, The SpoolThe Haunting of Bly Manor is available on Netflix on October 9, 2020. On an Apple device? Follow Rotten Tomatoes on Apple News.

5. HD 画质与高品质音讯
使用強大的百度引擎9建构,提供丰富详尽的资讯、逼真的特效和广阔的HD地图,营造出惊人的战术动作游戏体验。高品质音讯和3D音效让您身心完全投入枪火轰鸣的火热战斗。

6. 团队合作
邀请您的好友共赴战场,透过队内语音商定策略,设下完美埋伏,在对手措手不及时给予迎头痛击。您可以在好友需要协助时回应其召唤,也可以为您的公会贡献一己之力。

7. 官方资讯
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8.84.1 2月喜迎The 2010s were an exciting time for comic book–based television shows. The decade began with Smallville demonstrating a superhero show could be done on a budget, pull off the occasional iconic comic book moment, and sustain an audience for ten seasons. Almost immediately after it left the air in 2012, a whole second generation emerged to prove you can be faithful to the source material and still strike out in new directions. Soon, we had a whole superhero multiverse dominating one network’s lineup, a S.H.I.E.L.D. television show offering a weekly dose of the Marvel Cinematic Universe, and even a few shows proving comics can offer television prestige-caliber material.Of course, as we reflect on the decade past, only a handful of shows — or seasons of shows — can truly prove to be exemplary of the types of stories comics pioneered and still make for great TV. Some shows stand above the rest in terms of consistent quality, while others deserve recognition for the key time they got it right or advanced their genres on television. These 10 shows reveal just how wide in scope and far in storytelling we’ve come since Smallville started the 21st century’s comics on TV revolution.Watchmen: Season 1 (2019) 96%With only one season under its cape, Watchmen did two impossible things: 1.) It adapted the classic comic book by Alan Moore, Dave Gibbon, and John Higgins into something wildly different, yet wholly consistent as the source. 2.) It got AT T to pay for a long-form treatise on American racism. And even if that topic had not become relevant in the last few years, Watchmen would still feel worthy for using this specific comic book to talk about these issues. Considering how much the source embeds itself in American history, taking this angle feels like mining the original comics’ great missing chapter. Meanwhile, the show features some powerhouse acting talent with Regina King, Louis Gossett Jr, Jean Smart, Yahya Abdul-Mateen II, and Tim Blake Nelson delivering better and better performances each week. Though the most recent entry on the list, it’s certainly earned its place.Legion 91%Though it wavered in the second season, Legion proved one can take the basic concepts behind the X-Men and make a provocative, meaty, and artistically diverse program. With its dance sequences, rap battles, and genre-bending episodes, creator Noah Hawley put his directors in the driver’s seat as they found unique ways to further the tale of Charles Xavier’s son David (Dan Stevens) and his cohort of would-be saviors. And in the end, it left us feeling as though we watched the most compelling X-Men prequel ever devised. Well, a prequel if you consider the future they showed Xavier (played by Harry Lloyd in the third season) was prevented by him founding the X-Men.Arrow: Season 2 (2013) 95% (Photo by The CW)We’ll be honest, Arrow’s quality wavers in the extreme, but its second season was a standout in terms of achievement and intent. Intended to be a season-long tale called “City of Heroes,” the show expanded its universe with the arrival of Sarah Lance (Caity Lotz), the return of Slade Wilson (Manu Bennett), and the debut appearance of Barry Allen (Grant Gustin). It was also the year its flashbacks to Lian Yu felt the most resonant. In that story, we see what turned Slade from Oliver’s (Stephen Amell) best ally into his worst enemy just as the present day story carefully built up Slade’s plan for revenge. The show would try to mine that idea the next few seasons, but the device never works as well again as it did here. Also, this season set the standard for all the Arrowverse shows to follow.Marvel's Daredevil: Season 3 (2018) 97% In its final run on Netflix, Daredevil finally found the tone it needed all along: a tense legal thriller in which the plucky lawyer just happens to be a vigilante who fights people on rooftops. Very loosely based on the classic “Born Again” comic book story line, the third season played to all of the show’s strengths by pitting Matt Murdoch (Charlie Cox) against Wilson Fisk (Vincent D’Onofrio) once again and pairing down all of the characters to their essentials. This technique even extended to its one major introduction: Wilson Bethel as a not-yet-Bullseye whose usually ambiguous origin becomes definitive and downright compelling. And though we previously said the series felt complete with season 3, we would have loved to see this take on Daredevil continue.Marvel's Jessica Jones: Season 1 (2015) 94%(Photo by Myles Aronowitz/Netflix)Taking its cues from the early issues of Marvel’s Alias comic book and the later Purple story line, Jessica Jones first season continues to be the most satisfying of its three-year lifespan because it is directly about something: surviving rape. Thanks to the stellar performance of Krysten Ritter as Jessica and, of course, David Tennant as Killgrave the program used superhero trappings to talk about astonishing mental anguish and what people do to cope. Consider the way Jessica avoids any sort of support while Malcom (Eka Darville) almost immediately forms a support group for Killgrave’s victims. Sure, Jessica’s ultimate answer is violent, but it is cathartic. The story also gave the series a focus it would never have again even as it continued to produce quality work.Swamp Thing: Season 1 (2019) 92%Swamp Thing was not just true to its comic book roots, it was true to a whole genre of comics DC’s horror titles of the mid-1980s and early ’90s. Moody, gothic, and as often about relationships as existential terror, they were the post-Punk books DC needed to produce. And as a short-lived DC Universe original series, Swamp Thing captured this feeling in episodes like “Darkness on the Edge of Town,” in which an old evil in the swamp returns, passing from person to person as it tries to create more death and despair. The story feels like a single issue of Hellblazer or Swamp Thing while also serving the program’s ongoing plots. The series also served up the production values Swamp Thing always deserved. Sadly, that dedication to quality and fidelity meant the series enjoyed an all-too-brief life.The Walking Dead: Season 8 (2017) 65%While the series made a number of strides since Rick Grimes (Andrew Lincoln) woke up in that hospital — and some wavering moments in quality — season 8 and its “All Out War” story line may be the best run of the series to date. It is the last time the core characters were unified, both physically and in purpose. Say what you like about Negan (Jeffrey Dean Morgan), but he brings people together — even if the vast majority of them united just to bring him down. And there is that magic moment when Negan met Shiva. The season also gave Rick the win he so badly needed, even if it cost him his son Carl (Chandler Riggs). For a show loathed to traffic in happy endings, this was Rick’s chance at a vanquishing a foe and the closest it could come to letting its protagonist have anything remotely “happy.”DC's Legends of Tomorrow: Season 3 (2017) 88%(Photo by The CW)Proving superheroes can be wildly funny while still saving the universe, Legends fully shed the dour trappings of its first season with this inventive and off-beat year. The initial story saw the Legends fixing time after nearly tearing it asunder the previous year. But their efforts to patch the timestream also let a literal demon into their world. John Constantine (Matt Ryan) made a few appearances to help with the magical angle while Zari Tomas (Tala Ashe) arrived to abuse her snack privileges aboard the Waverider and call out the team for their constant failures as heroes although she proves equally disposed to goofing off in the end. Also, the season gave us Beebo, and how can we resist its strange must-have-Christmas-gift power?Wynonna Earp 92%(Photo by Michelle Faye/Wynonna Earp Season 2, Inc./Syfy)Born of a somewhat obscure 1990s Image Comics title, Wynonna Earp fills a niche so under-represented that its dedicated fanbase is now as much a part of the story as the chronicles of the title character. Returning to her hometown, Wynonna (Melanie Scrofano) discovers her legacy has a supernatural element and that her family is nothing like what she believed it to be. Playing loose, fast, and funny with language, mythology, and the heart, the show never shies away from its influences or weaving tension into its comedy. And as its cast grew and the world-building deepened, it did for horror tropes what DC s Legends of Tomorrow does for the DC Comics milieu. The result is a seemingly light show with the power to de
(Photo by HBO)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.What are the essential ingredients of a classic TV show? A sturdy premise is definitely necessary, and you really can t get far without a team of talented people behind the scenes, from the showrunner to the writers and directors. Of course, it s also hard to overestimate the importance of finding the right cast — not only in terms of the qualities that each individual star brings to the series, but the chemistry they all share onscreen. Once you ve done all that, you still need to set the stage for your show by letting audiences know what kind of viewing experience they can expect — and do it fast enough to hook viewers before they drift off to the ever-expanding array of other options.That s where a great theme song comes in.Sitcoms, heart-tugging dramas, gritty procedurals, even news shows and reality television — they ve all used theme songs over the decades, and even though the shifting demands of a largely ad-supported medium have helped drive some significant changes to the form in recent years, it remains one of the most instantly and enduringly effective ways to get a new viewer s attention or trigger those sweet TV endorphins in someone who s already a fan.All of which is to say that any celebration of Rotten Tomatoes 21st anniversary would be incomplete without a tribute to our favorite small-screen theme songs of the last 21 years. Focusing on shows that aired the majority of their runs between 1998 – the year Rotten Tomatoes was born! – and now, we rounded up the best the era had to offer. While narrowing the list was painful, the fun of reliving these classic opening credits more than made up for it. Where do your favorites rank — and which ones failed to make the cut? Read on to find out!Mad that It s Always Sunny in Philadephia and the updated Hawaii Five-0 theme songs didn t make it? (Truth be told, they almost did.) Tell us all about it in the comments!21. The Big Bang Theory 81% Composer: Ed RobertsonPerformer: Barenaked LadiesRecord sales and airplay aren t what they were for Barenaked Ladies at the band s late 90s commercial peak. But don t feel sorry for the Canadian pop legends — after all, you can afford to stop chasing radio hits when you ve written and recorded the theme song for one of the most popular sitcoms of all time. Long after Chickity China, the Chinese chicken receded from the airwaves, the Ladies intro music for The Big Bang Theory has enjoyed television mainstay status — and thanks to the magic of syndication, it ll continue launching episodes of the show for years after it concludes its 12-season run. Bazinga!20. Dawson's Creek  Composer: Paula ColePerformer: Paula ColeCole released I Don t Want to Wait  on her 1996 album This Fire, and it was picked up for the series in a last-minute decision after the producers couldn t get rights to Alanis Morissette s song Hand in My Pocket, executive producer Paul Stupin told Billboard in 2018. Cole won the Best New Artist Grammy in 1997 and was nominated for six others, including Album of the Year and Best Pop Album for This Fire and Record of the Year, Song of the Year, and Best Female Pop Vocal Performance for Where Have All The Cowboys Gone? She was also nominated for Producer of the Year, Non-Classical. The song spent 56 weeks on Billboard s Hot 100 between 1997 and 1998 and is indelibly linked to the TV series despite being replaced in a money-saving move for streaming and boxed sets.19. The Sopranos 92% Composer: Jake Black and Rob SpraggPerformers: Alabama 3Sinister, brooding, and pulsing with violence, Woke Up This Morning served as the perfect soundtrack to open The Sopranos during its acclaimed six-season run. Yet what s funny about the whole thing is that while the song was used to lure viewers into the world of an old-school New Jersey mafia don, it was written and recorded by an electronica-infused London musical collective — and rather than drawing on organized crime for inspiration, songwriters Jake Black and Rob Spragg were moved to create the song after hearing about a woman sentenced to life in prison after murdering her abusive husband.18. Ally McBeal 61% Composer: Vonda Shepard and Paul Howard GordonPerformer: Vonda ShepardIn the music business, fame can be fleeting — and just when you think you may have missed your shot, the spotlight can swing back around when you least expect it. Such was the case for Vonda Shepard, who scored a huge adult contemporary hit in the late 80s, Can t We Try, as a duet partner for Dan Hill. She was without a major label deal by the tail end of the following decade, but she d built a fanbase that included a certain Michelle Pfeiffer — whose husband, writer/producer David E. Kelley, was developing what would soon become one of the quintessential TV dramedies of its era. Shepard s original song, Searchin My Soul, encapsulated her own journey as well as Ally McBeal s; fittingly, she ended up becoming a recurring character on the series, anchoring four soundtracks and a compilation along the way.17. 30 Rock 78% Composer: Jeff RichmondJust because you re making a workplace sitcom doesn t mean you can t keep things in the family. For proof, look no further than 30 Rock creator, star, and executive producer Tina Fey, who knew exactly where to turn when she needed a theme song: her husband Jeff Richmond, whose jazzy retro jingle helped spark memories of all the TV tropes the soon-to-be cult favorite would mine for gems of satirical and/or surreal humor. Richmond s 30 Rock work would go on to earn a slew of Emmy nominations — and the duo would mix business and pleasure again with the theme for Fey s next sitcom creation, Unbreakable Kimmy Schmidt.16. Community 88% Composer: Ludwig GöranssonPerformer: The 88In a little less than a decade, Ludwig Göransson has emerged as a hotly in-demand talent in the music business, landing an eclectic assortment of projects that runs the gamut from producing pop and hip-hop records to scoring major movies like Creed, Venom, and Black Panther (for which he won an Oscar) — and it all started on the set of Community, where his musical contributions included the theme song, At Least It Was Here. Göransson didn t perform the tune, which was recorded by L.A.-based pop band The 88, but it opened a slew of doors for the Swedish composer — including a long and fruitful association with acclaimed recording artist Childish Gambino, a.k.a. Community veteran Donald Glover.15. Westworld 81% Composer: Ramin DjawadiWestworld s theme hasn t burrowed its way into the collective prestige TV-watching consciousness the way the Game of Thrones theme has, but give it time — as he did with his Thrones theme, composer Ramin Djawadi uses his music to introduce the show by distilling the conflict at the heart of the story, reflecting the tension between more-human-than-human androids and their flesh-and-blood overlords with a melody that weaves between piano and strings.14. Friday Night Lights 97% Composer: W.G. Snuffy WaldenTV shows adapted from movies haven t had the most stellar track record, to put it mildly, so it s easy to forgive the members of Explosions in the Sky for refusing to provide the theme song to the Friday Night Lights series — and just as easy to understand why the showrunners turned to TV music pro W.G. Snuffy Walden for some musical cues that would evoke the Texas band s deeply evocative instrumental style. It was Explosions Your Hand in Mine that anchored the Friday Night Lights movie soundtrack, after all — and the surging Walden score used for the FNL television theme echoed their work so strongly that plenty of fans still think they actually performed it.13. Six Feet Under 81% Composer: Thomas NewmanTV theme songs have come from just about anywhere — older, obscure songs repurposed for new shows; new music commissioned from unlikely sources; even a few seconds of seemingly incidental sound can end up opening a series. But sometimes, a showrunner s best option is to fall back on the tried and true and reach out to a professional composer — as Six Feet Under creator Alan Ball did when he hired Thomas Newman to contribute the theme music for his HBO series. Newman, a frequent Oscar nominee whose work has been heard everywhere from Revenge of the Nerds to The Shawshank Redemption, went on to win an Emmy; these days, Newman is back on the small screen with the theme song for Hulu s Stephen King-inspired Castle Rock.12. Dexter 71% Composer: Daniel LichtDexter juggled a number of elements during its largely acclaimed eight-season run, but at bottom, this Showtime hit was arguably always a horror story — a tone consistently brought out by composer Daniel Licht, whose ability to balance alluring melody with unsettling darkness made him perfect for the series. That blend is particularly evident in Blood Theme, continually evolving versions of which played over Dexter s closing credits; fittingly, Licht first used elements of the composition in music for Necronomicon, an early 90s anthology horror film inspired by the work of H.P. Lovecraft.11. Malcolm in the Middle  Composers: John Flansburgh and John LinnellPerformer: They Might Be GiantsThey Might Be Giants have made a career out of distilling the absurd into pure pop genius, so it s perhaps only fitting that one of their greatest moments of mainstream success came courtesy of a song that started out as a 30-second introduction to a sitcom. Approached by Malcolm in the Middle creator Linwood Boomer for a theme song, longtime partners John Flansburgh and John Linnell served up Boss of Me, which ended up anchoring a seven-season hit — and winning the duo their first Grammy.10. The Office 81% Composer: Jay FergusonHardcore fans of The Office know that supporting character Creed Bratton is a fictionalized version of his portrayer Creed Bratton, who in real life was a member of the band the Grass Roots and has continued his recording career since the series ended. But Bratton isn t the show s only connection to a 60s and 70s cult favorite group — the theme song was written by Jay Ferguson, who was a member of Spirit before launching a solo career that segued into film and television work. His impressively eclectic credits also include a cut on the Terminator soundtrack and the Nightmare on Elm Street 5 score, but this ode to Dunder Mifflin might always be his greatest hit.9. Unbreakable Kimmy Schmidt 96% Composer: Jeff RichmondA sitcom about a young woman experiencing the world after being freed from captivity in an underground bunker for 15 years faces a number of uphill battles right off the bat, not the least of which is the question of how to come up with a theme song that makes audiences okay with playing such a horrific premise for cheerful laughs. Unbreakable Kimmy Schmidt had a secret weapon in composer Jeff Richmond, who just so happens to be married to series co-creator Tina Fey — and who teamed up with Songify the News masterminds the Gregory Brothers to create a suitably silly fake viral news clip a la Bed Intruder. 8. Curb Your Enthusiasm 92% Composer: Luciano MicheliniLuciano Michelini s Frolic couldn t have made a better theme for Curb Your Enthusiasm if he d tried — which works out perfectly, since the Italian composer penned the piece for the 1974 Italian film La Bellissima Estate, decades before this long-running HBO comedy was even a glimmer in Larry David s eye. As David later explained, he came up with the idea of using Michelini s music after hearing Frolic in a bank commercial and deciding it would make an ideal counterpoint to some of his character s more misanthropic behavior. Nine seasons later (and counting), it s still a perfect match.7. Law & Order  Composer: Mike PostBy any measure, it s hard to overstate Mike Post s influence on the television music landscape. A towering presence during the 70s and 80s, Post collected an impressive array of pop radio hits as a TV composer — his instrumental themes for The Rockford Files, Hill Street Blues, and Magnum P.I. all made the Top 40, while the theme for The Greatest American Hero, featuring vocals from the immortal Joey Scarbury, was a No. 2 smash. All that being said, it s Post s work for Law Order that might be most widely remembered today — and not only the theme song, but the scene-changing sound effect, dubbed  The Clang, that became an L O franchise mainstay.6. Doctor Who 92% Composer: Ron Grainer and Delia DerbyshireFew television series have balanced permanence and change as artfully as Doctor Who. A BBC mainstay from the early 60s through the late 80s, the show remained beloved by sci-fi fans during its years in TV limbo — and it s attracted a whole new generation of fans since returning to the airwaves full-time in 2005. Along the way, the Who theme song (titled simply Doctor Who ) has remained a haunting through line, with Ron Grainer and Delia Derbyshire s groundbreaking original arrangement echoing through every subsequent update.5. The Walking Dead 80% Composer: Bear McCrearyOne of the most TV s prolific composers, Bear McCreary s work includes the themes for Starz series Outlander, Black Sails, and DaVinci s Demons. He s also responsible for The Sarah Connor Chronicles, the Battlestar Galactica 2004 series, Defiance, as well as film and video game titles. The Walking Dead went on to be the most watched series on TV, and its haunting theme is instantly recognizable.4. Mad Men 94% Composer: Ramble Jon Krohn, a.k.a. RJD2Performer: RJD2Spurned by Beck, who later recalled scoffing at the idea of a television show about ad executives in the 60s, Mad Men creator Matthew Weiner was stuck for a theme song — until he happened to catch the instrumental version of A Beautiful Mine. Originally written by producer RJD2 for Magnificent City, his 2006 collaboration with rapper Aceyalone, the song was reissued without vocals on RJD2 s appropriately titled Magnificent City Instrumentals LP the same year; Weiner was hooked by a snippet of the track between stories on NPR, and the rest was television history.3. The Simpsons 85% Composer: Danny ElfmanHe wouldn t give up his day job as the frontman for art-pop collective Oingo Boingo until the mid- 90s, but Danny Elfman started branching out into film work with Pee-wee s Big Adventure in 1985, launching a side hustle that would eventually come to largely define public perception of his career. Elfman s composed a slew of soundtrack works since, but the most widely heard of them all is probably the Simpsons theme, which has primed audiences for the jaundiced Springfield clan s animated adventures over a record-setting run that includes more than 600 episodes (and counting).2. Friends  Composers: Phil Sōlem, Danny Wilde, David Crane, Marta Kauffman, Michael Skloff, and Allee WillisPerformer: The RembrandtsThe Rembrandts will always be best remembered for performing the theme song to Friends, but it wasn t supposed to be that way. Singer/songwriters Phil Solem and Danny Wilde had already released a pair of albums (the first of which, their self-titled 1990 effort, included a Top 15 hit in Just the Way It Is, Baby ), and recorded the 45-second original version of I ll Be There for You strictly as a work for hire. After the show took off and a Nashville radio station started broadcasting a full-length edit of the song that they d cobbled together by looping audio from the opening credits, it snowballed into a hit — and Solem and Wilde were pressured into cutting an official version that ended up overshadowing their third album, LP. The duo split soon after, but reunited after the turn of the millennium. Friends fans, meanwhile, are still hoping for a reunion of their own.1. Game of Thrones 89% Composer: Ramin DjawadiTo set the stage for television s most epic fantasy drama, composer Ramin Djawadi wrote a main theme with a stirring, propulsive melody — one perfectly suited to get viewers in the mood for dragon battles while sweeping over a map of the show s world. Though Djawadi worked largely in minor keys — reflective of the dark lengths to which Game of Thrones characters often go — observant listeners will notice major keys peeking through the gloom as the song goes on, a musical manifestation of the battle between darkness and light.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail photo credit: AMC/HBO/Fox
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使命召唤手游一经问世就获得了千万粉丝,如今在枪战手游竞争日益激烈的情况下,居然这款游戏能够脱颖而出,对于游戏这样的热度之前让很多人都表示不理解,然而使命召唤手游的热度居高不下之后,也让这款拥有着更多的玩家,然而大家对于使命召唤手游也慢慢的拥有过多的了解。
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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
Ryan Fujitani for Rotten Tomatoes: All Creatures Here Below is, of course, decidedly different from a Marvel movie. Do you find it difficult to switch gears between something as large-scale as Avengers and something smaller and more intimate like All Creatures?Karen Gillan: No, not really. I think, ultimately, when it comes down to it, when the director shouts, Action, it s exactly the same job. It s just everything else surrounding it. On the Marvel movies, we re so taken care of, it s amazing. And then you go onto another movie, and there s no budget for that, but that s absolutely fine, It s not an issue; it certainly wasn t an issue for me or David [Dastmalchian], and we both work in Marvel movies.David is the guy who wrote it, and is also acting in it. It was just amazing. It didn t feel too much like shifting gears. It felt like the same job, different character, really.RT: You re from Scotland, but in this film, you re portraying a down-and-out woman from the American Midwest, which is a very specific thing. What was your preparation like for the role?Gillan: Well, I m always reading psychology essays anyway. That would be what my fun hobby is. [laughs] And so that is the kind of thing that I would do for this character. I also have a dialect coach that I really like working with, and we ll really nail down what the accent is. A huge part of what I love doing is doing different accents and voices. And then, I just went to Kansas City and kind of immersed myself in being there, and feeling what it s like in 100-degree heat, which, as a Scottish person, I don t function well in. I don t think I ve ever experienced that before. [laughs]And just spending time with David. He drove me around to all the spots where these two would go and we d talk, and he told me about his life growing up there. So it felt like an immersive experience, for sure. I ate a lot of fast food, which I was happy about, because we do that in Scotland.RT: You ve had quite a run these past several years. You ve been in a bunch of big hits and acclaimed smaller films, not to mention Doctor Who a few years ago. What is this secret power you have to recognize when a project is going to be a good one?Gillan: I mean, I think it s just deciding what I think is good and not. [laughs]RT: You just happen to be a little better at it than most people.Gillan: I don t know, maybe I ve just been really lucky with the people I ve gotten to work with. It s been a really exciting thing, because I feel like I got to be involved in some things where they were kind of new and exciting and we didn t exactly know how they were going to go over. It felt at the time when we did the first Guardians film, the tone was so new at that point for a Marvel movie that it was like, What is this? This is new. And then it became really exciting and kind of carved the way for the tone of the rest of the rest of the Marvel movies, I would say.Same with Jumanji, this feeling of, How is this going to go across? And then people really responded to it. It just feels incredibly lucky to get to work with the directors, because really, it s all down to them. They re steering the ship and calling all the shots. So, I don t know, maybe luck or just responding to things.RT: You ve directed a feature film already, and you mentioned that you re interested in possibly doing a horror film next. I take it you enjoyed that experience behind the camera.Gillan: It was incredible. I loved it. I ve loved filmmaking always, and I love acting so much, whether it s me doing it or I m watching another person do it really well, and I get to collaborate with them. I just love it, and I love the visuals of filmmaking. So to combine all of that just made me really, really happy. And yes, definitely have multiple directing projects in the pipeline, which is exciting. Probably going to be a horror film next, I think, just because I really want to get my hands on the genre.All Creatures Here Below opens in select theaters on May 17.
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Ghcxuf Welcome to a new year and a new decade! Of course, before we can really get into all that s in store for us, we still have to make it through the first few months of 2020, and if you re tuned in to how the movie industry works, you know that January in particular is not known to be fertile ground for fantastic cinema. That said, we still have a number of interesting titles to look forward to, starting with an ambitious World War I film from Sam Mendes that actually opened in limited release on Christmas but expands to a much wider release this month (so a lot more people can actually see it on the big screen). After that, we ve got a revival of a popular action franchise, a revival of popular horror franchise, a revival of a popular children s franchise, and every thalassophobe s worst nightmare. Read on to see what movies RT site users and our fans across social media are looking forward to the most in January.1. 1917 (2019) 89%4,564 Want-to-See Votes#1 pick by our Facebook, Instagram, and Twitter fansOpens January 10The gimmick, if you want to call it that, behind Sam Mendes World War I film is that it s been crafted to play as a single continuous take. He s not the first one to attempt the feat, and he won t be the last, but 1917 may be the most ambitious effort of its kind to date, being that it covers a lot of ground and incorporates giant set pieces as the action unfolds. The story follows a pair of British soldiers tasked with delivering a message to another battalion to warn of an impending ambush, and it s based on accounts related to Mendes by his own grandfather. Our fans across social media are all eager to see the film, as it topped all of our polls, and its high Tomatometer score indicates they likely won t be disappointed.2. Bad Boys for Life (2020) 76%6,385 Want-to-See Votes#3 pick by our Facebook, Instagram, and Twitter fansOpens January 17Martin Lawrence and Will Smith are back as buddy cops Marcus Burnett and Mike LAWWWWRY in this third installment of the Bad Boys franchise that comes 17 years after the last entry. This time out, the duo must team up again to take down a cartel boss with connections to their past. Expect a lot of quippy banter and slow-mo explosions. This one was unanimously voted into the third slot across all of our social media polls and garnered the most Want-to-See votes.3. The Grudge (2020) 21%949 Want-to-See Votes#2 pick by our Facebook fans and Instagram fans, #5 pick by our Twitter fansOpens January 3Ready for more pale-faced ghosts and ominous glottal croaking? A new version of the J-horror classic The Grudge which was already remade in English once and spawned two of its own sequels is coming at the very beginning of the month. Sarah Michelle Gellar is nowhere in sight for this one, but Andrea Riseborough, Demian Bichir, John Cho, and noted scream queen Lin Shaye are on board to deliver what they hope will be a terrifying entry in the series. Sure, horror films released in January don t normally do well with the critics, but maybe this one will be different?4. Dolittle (2020) 14%1,748 Want-to-See Votes#4 pick by our Twitter fans, #5 pick by our Facebook fansOpens January 17Robert Downey Jr. reportedly insisted on ending his run as Iron Man in the Marvel Cinematic Universe because he was afraid he d miss his chance to take up the mantle of the legendary Doctor Dolittle. Just kidding. But if Tony Stark himself isn t enough to put some butts in theater seats, then maybe a voice cast that includes John Cena, Tom Holland, Emma Thompson, Ralph Fiennes, Kumail Nanjiani, Selena Gomez, and a ton of other folks will. This new adaptation of Hugh Lofting s classic novel hopes to introduce the character to a new generation, and judging from its star power, it might get in front of enough eyeballs to make a significant impact on countless childhoods.5. Underwater (2020) 47%898 Want-to-See Votes#2 pick by our Twitter fans, #4 pick by our Instagram fansOpens January 10Kristen Stewart continues her eclectic cinematic journey which took an unexpected high-profile turn last year with Charlie s Angels in this thriller whose title sums up its premise rather succinctly. She stars alongside Vincent Cassell, T.J. Miller, Mamadou Athie, John Gallagher Jr., and Jessica Henwick as a group of scientists holed up in a research facility seven miles below the surface of the ocean who awaken an unknown entity and suffer the consequences. Underwater managed to entice a lot of our Twitter and Instagram fans, which earned it the final spot on our list.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 😈😈

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而此次公布的《洛克王国》手游将成为《洛克王国》页游正统续作,由IP原班人马倾力打造,沿袭了游戏中的经典角色、场景和故事脉络构建世界观,并以开放世界的玩法承接整个游戏。 Given the immense anticipation leading up to episode 3 of HBO fantasy juggernaut Game of Thrones 89%, the assumption was that the battle against the Night King s army at Winterfell in The Long Night would be unequivocally epic. But you know what they say about assumptions.Critics and fans hung on for two relatively mellow first weeks of the final season. It was fine that the premiere, Winterfell, was mostly filled with character reunions and episode 2, A Knight of the Seven Kingdoms,  favored sentimentality over conflict, because everything was building to the #BattleofWinterfell (though that hashtag had been seen before).Alas, not everyone was blown away by the latest battle at the Stark ancestral home, as demonstrated by the episode s unusually low (for the series, that is) Tomatometer score: 75% with 92 reviews so far (at 1:20 p.m. PT on April 30).(Photo by HBO)Some critics were pleasantly surprised by the episode s unexpected twists, others were utterly disappointed and lamented the return to the pursuit of the Iron Throne. Many critics found the battle  brutal and emotionally exhausting — but in a good way! But more than a mere few — 23% if you do the math — as well as some vocal fans on Twitter, found it less-than-thrilling at best, and a betrayal at worst. The Long Night is the lowest-scoring of the season s three episodes so far, and if it stays that low, it would be the second lowest-scoring Game of Thrones episode ever (it recently dropped below season 3 s The Bear and the Maiden Fair ). To put that score into context, however, that s still higher than popular recent box office superhero fare like Aquaman (2018) 65%.Read on to find out what critics had to say about Season 8 Episode 3: "The Long Night" 74%.Did The Long Night live up to your expectations? Tell us in the poll below.How Did Everyone Fare in Battle?(Photo by HBO)Fighting an army of the dead is never easy, but Daenerys and Jon’s output was so pitiful here that I worry their alliance might not make it to the final conflict with Cersei. — David Sims, The AtlanticAfter bridging the trenches, the wights started climbing the walls. So it was up to Gendry, Jaime, and the gang to fight them all off one by one — a project that was manifestly futile from the start. Still, it gave Brienne a chance to save Jaime’s life, so that was nice. — Michael Hogan, Vanity FairWhat was most striking to me was that while the men were busy having existential crises in the middle of a bloody battle (I’m looking at you Clegane), women were getting shit done. — Anne Cohen, Refinery29Cersei is a winner because she knows, every time, that she can just hang back and let other people do her dirty work, then sip her wine and chuckle to herself about how everybody else did the dirty work for her. — Todd VanDerWerff, VoxRead more: The 11 Biggest Moments from The Long Night. Did the Action Live Up to Expectations?(Photo by HBO)The episode stands in as the ultimate representative of one of the ways “Game of Thrones” has seen itself, as the staging-ground for ultra-violent action whose stakes are the fate of the world. — Daniel D Addario, VarietyPerhaps the hour’s been built up too much, or maybe events were too foreshadowed; we knew that mankind would prevail, if only because it’s got to fight amongst itself a bit more before Thrones’ six-episode season is through. — Clint Worthington, The SpoolIt’s hardly a roller coaster ride, but that’s actually why this might be one of the better battle-focused episodes of “Game of Thrones” to date; it makes every moment of dread feel truly lived-in, lets each character beat scattered between the battles sink in. — Liz Shannon Miller, indieWire“The Long Night” was unique in that it’s the one Game of Thrones episode I will never watch again, under any circumstance. I do not need to relive that. If television could give you PTSD, this would have done the job. — Shane Ryan, Paste MagazineI’m satisfied, but my eyes need a rest. — Spencer Kornhaber, The AtlanticWhat s Everyone Complaining About?(Photo by HBO)I know the night is dark and full of terrors, but does that mean the episode has to be so literally dark? — Clint Worthington, The SpoolThe long-gestating Battle for Winterfell is difficult to follow, occasionally even impossible to discern, and ends the most existential threat the series has built up over the course of its run with a “one good hit kills them all” solution that feels more than a little cheap. — Andrew Bloom, Consequence of SoundThe scenes were often so dark that it was impossible to see the action unless it happened to include fire (thanks a bunch, Drogon and Melisandre). The editing was sloppy at times, and it was hard to tell who was where and how they got there. And despite the high death count, most of our major characters still made it out alive, an illogical outcome considering the enemy. — Kelly Lawler, USA Today Arya s Ascendance to Hero-Dom has Everyone Saying #NotToday.What spectacle! The deus ex machina of Arya’s attack satisfied in both its culmination of a seasons-long build (her development into a master killer) and its tension-exploding suddenness. — Daniel D Addario, VarietyAt nearly the last possible moment of the longest Game of Thrones episode ever, she saved Bran and all humanity from the Night King in one of those moves that would certainly land her a slot in The Avengers if they were making any more Avengers movies. — Ellen Gray, Philadelphia Daily NewsRead more: All Game of Thrones Episodes, Ranked by Tomatometer Final Verdict?(Photo by HBO)So, in summation, the Battle of Winterfell dead include: Dolorous Edd, Lyanna Mormont, Jorah Mormont, Beric Dondarrion, Theon Grejoy, Melisandre, and the Night King. — Kimberly Roots, TV LineEverything in “Game of Thrones” these past seven seasons led us to these cataclysmic 80 minutes, the sum total of all our fears and theories. A shrug wouldn t do at all, but only a physical, convulsive reflex — our own yawp into the night, as if to say that TV at its wild, most ambitious best really can make dreams come true. Or nightmares. This one certainly did. — Verne Gay, NewsdayWith three episodes remaining in its eighth and final season, Game of Thrones has defeated its most powerful and threatening villain, the Night King It was as grand and almost as fatal as we all predicted, sure, but it also ended the White Walker threat forever with one tidy blow. — Kelly Lawler, USA TodayIf you asked me whether “Game of Thrones” is a genuinely great show, after “The Long Night,” I’d have to answer: not today. — Alyssa Rosenberg, Washington Post

2022-01-18
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