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华体会官网app下载采用百度引擎3(Baidu 0)Best-Reviewed Horror Movies 2020Seems cinema had a lot of demons to exorcise this year, starting with The Invisible Man, which just proves 8,000th time s the charm when it comes to Universal figuring out how to make its classic monsters work in a modern era. Similarly, H.P. Lovecraft must be dancing (nervously, of course) in his grave thanks to The Color Out of Space, arguably the best adaption of his work since 1985 s Re-Animator. If you were stuck at home, the streamers made sure they got you where you sleep with breakout horror hits like the South Sudan immigrant story creeper His House, the Zoom-unfriendly Host, and Satanic panicker Anything For Jackson. Other highlights from a strong scary year include A24 s annual shocker (Saint Maud), Brandon Cronenberg fully assimilating into the family-name business (Possessor), and La Llorona, which seeks to take its namesake back from the 2019 Conjuring-adjacent American movie.The order of the rank below reflects the Adjusted Score as of February 28, 2021. Scores might change over time.« Previous Category Next Category »

1. 华体会官网app下载
英雄联盟手游不删档公测上线已经超过了3天。从一个新游上线的角度可以看到,这次LOL手游不愧是拳头重磅推出的心血之作,虽然姗姗来迟,但势头似乎超过了预期。有端游11年的持久铺垫,不仅在全球范围内积累大批LOL忠实粉丝,玩家群体更涵盖了85后,整个90后甚至00后,玩家体量可谓“游戏之最”。在电竞贡献方面,整个英雄联盟大IP,在推动电竞全球化发展方面也起到了不可或缺的作用。 hat show’s producers is running the Dirty John series.“There’s this fun, twisted fairy-tale aspect to the story,” Alexandra Cunningham tells Rotten Tomatoes, explaining that her adaptation doesn’t just add visuals, but is actually able to expand on the emotions of the story by dramatizing it. “A lot of things we’ve maintained — the spine and the scaffolding of the story — because they are so compelling and true and heart-wrenching. We put a lot more flesh on some bones.”For instance, Cunningham says she was able to address a concern people who listened to the podcast or read the Los Angeles Times articles had raised: Many listeners thought Debra Newell was “an incredibly stupid woman” for falling for Meehan’s exploitative schtick in the first place.Casting Britton as Newell certainly helped Cunningham combat this perception, and she framed the events in ways that should make viewers more empathetic towards the main character. She was also able to add some more depth to Meehan, who was not a participant in the podcast for reasons that are obvious to anybody who listened to the end. The show can follow Meehan as he goes about whatever dodgy business he was involved in, whereas the non-fiction podcast had to keep the speculation at a distance.“It gives you an even more complete picture of this man and commits you more emotionally than [you would have been] just [reading] the descriptions of what he did in the podcast, since you’re sort of watching them along with him,” Cunningham says. “It’s a point-of-view perspective that the podcast couldn’t do.”Up and Vanished Continues the InvestigationTrue crime might be podcasting’s leading genre, but don’t forget that it’s also been a TV mainstay for decades, dramatized or not. The recent Up and Vanished special, about Tara Grinstead, a teacher and former beauty queen who went missing in Georgia three years ago, is as much a sequel to host Payne Lindsey’s original podcast as it is an adaptation.“Both mediums rely on good storytelling,” Lindsey says of the difference between podcasts and TV. “Even though a podcast is strictly audio, listeners develop their own visuals for the story. It’s kind of a more intimate experience, and sometimes I think it actually makes the audience feel closer to the people involved.”The podcast medium offered Lindsey one thing that TV doesn’t. Because podcasts are typically cheaper and faster to make than TV shows, Up and Vanished was able to generate renewed interest in the case that led to a crucial break in real time.“That would have been a lot harder to do with a television crew on the ground, following a production schedule, along with all of the other elements that make a TV show,” he says.The Future(Photo by Syed family/HBO)The three November podcast-inspired shows are quite different from another, revealing the fundamental wrinkle in any discussion about the future of podcasts on TV: It’s a medium, not single genre.“There’s a spread of genre that makes this a little hard to talk about efficiently,” journalist Quah says.The scripted drama–turned–prestige TV Homecoming is a very different beast than the two true-crime podcasts, even if Dirty John turned from non-fiction to scripted when Bravo dramatized it. There are also improvisational comedy podcasts like Comedy Bang Bang and My Brother My Brother and Me, both of which did their audio counterparts proud on TV (and both of which continue in podcast form, though not on television). Then there are the talk shows-with-a-twist, like Desus Mero and even Bill Simmons’ Any Given Wednesday (to a certain extent), which launched as a result of the hosts’ popular podcasts.There are even more TV adaptations in the works: Crimetown, a non-fiction podcast about corruption in Providence, Rhode Island, is coming to FX, as is the spooky Welcome to the Night Vale. Fantastically popular podcast Serial is getting an HBO documentary, The Case Against Adnan Syed (pictured above), but a scripted television adaptation of the murder-mystery by The LEGO Movie’s Chris Lord and Phil Miller has been in development hell since 2015. Limetown, a scripted horror podcast, will hit Facebook Watch and star Jessica Biel.Some of these shows will be good certainly. Others, maybe not so much. That they began their lives as podcasts doesn’t give them an inherent advantage or disadvantage over any other type of adaptation, aside from maybe being more buzzworthy than other series.“Isn’t it the story that’s more crucial? You wouldn’t say books make good movies — it depends on the book,” Homecoming’s Bloomberg says.Podcasts have a lot of things going for them: They’re cheap to make, generally flexible productions to undertake, and can connect with large audiences in an intimate way. They’re not a guarantee for success on TV, but the right podcast with the right creative team can, ideally, become something new — something that’s more than just a podcast with pictures.“The fundamental thing,” Quah says, “is to create something native to the experience.”
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
(Photo by Amazon Prime)Podcasts are invading the TV medium in earnest with adaptations of top series dropping across broadcast and streaming — and even more on the way.It used to be that the only way to experience a hit podcast was to pop in your earbuds. But now, it’s just as easy to plop yourself down on the couch and turn on the TV. Three podcast adaptations made their television debuts in November 2018 alone — Amazon’s Homecoming, Bravo’s Dirty John, and Oxygen’s Up and Vanished. The first two are now up for Golden Globe awards on Sunday for best drama series and best performance by and actress in a TV drama (Julia Roberts) for Homecoming and best actress in a limited series or TV movie for Connie Britton s Dirty John performance.Though the three shows are hardly the first podcasts to make the jump to TV, they do seem to be indicative of the growing trend.“This year was a big pivotal moment because you had very aggressive formal interest from television and film studios, as well as coordinated and formalized attempts by podcast companies to build that pipeline,” explains Nicholas Quah, a journalist who covers podcasts and writes a newsletter about the industry, Hot Pod. Quah credits one outlet in particular, Gimlet Media, for jumpstarting the adaptation process. The ambitious company’s non-fiction, real-time account of its founding, Startup, became the ABC sitcom Alex Inc., starring Zach Braff.While the saccharine ABC comedy was quickly canceled (its 40% Tomatometer score reflects its critical appeal), the company’s second attempt has been a resounding success. The Julia Roberts–starring Amazon Prime Video series Homecoming, based on the fiction podcast of the same name, is Certified Fresh with a glowing 98% Tomatometer score. That these two podcasts from the same company had such drastically different fates once they reached the small screen speaks to how variable the podcast-to-TV trend is.Good podcasts don’t inherently make great TV. There are some things that podcasts can do that TV can’t, and the reverse is certainly true as well. Rotten Tomatoes spoke to the creators of all three of November’s shows to learn about what went into adapting these podcasts, and what that means for the future.Homecoming’s New Televised HomeEven as a podcast, something about Homecoming always felt cinematic. The scripted radio drama, a psychological thriller about a facility whose purported mission of helping returning veterans transition to civilian life might mask something more nefarious, featured top-tier talent from the start. Actors Catherine Keener and Oscar Isaac voiced main characters, and the dialogue-driven script resembled the flow of a TV show or film. It was a natural fit for television, and many of its characteristics stayed the same when it jumped mediums. The podcast’s creators and writers, Eli Horowitz and Micah Bloomberg, oversaw the TV show as well, with Mr. Robot creator Sam Esmail executive producing and directing. There were some changes, though, like a new, possibly even more star-studded cast (Julia Roberts!), and the whole “adding visuals” thing.“In the podcast, we really had complete control of information, the questions, and the scope of the story,” Horowitz tells Rotten Tomatoes, noting how the audio-only version of the story didn’t have room for background details or questions. If a character didn’t mention something, it didn’t exist. On a TV show, though, the way objects are arranged on a character’s desk can be telling.“In the podcast, the whole world is based on voices and ambient tones and when people are speaking to another person,” Bloomberg adds. “When you go to script format or visual, there’s a way to communicate stuff faster and more precise when you can see it.”He cites the opening of the Amazon show’s fourth episode, a wordless montage of a drug manufacturing process, as a prime example.“That’s the type of communication that is totally unavailable to the podcast,” he says,” [that] you get so much story from in this two- or three-minute scene.”Then again, there are other things a podcast does that a television show can’t.“Audio offers this real immediacy and authenticity and connection with the characters,” Horowitz says. “You can really sink into these conversations and listen to the way you would any conversation. Television, I don’t think, has that. There’s a greater sense of artifice, a greater sense of separation between you and it.”Horowitz and Bloomberg say they were both focused on making a story that was right for the specific medium when working on both versions of the show. Neither is “the definitive” version, they say. Some people will like both, some might prefer the podcast, and others, like Bloomberg’s mom, will prefer the show.“My mom couldn’t listen to the podcast,” Bloomberg recalls. “She was bored to tears by it, but she watched the show all in one sitting, got to the end, and was crying. I think they offer different people different stuff, so I think they’re both great in different ways.”Dirty John Gets the Bravo TreatmentDirty John, now approaching its series finale, is a different sort of adaptation than Homecoming. Bravo’s series dramatizes the popular true-crime podcast from the Los Angeles Times, which followed the exploits of John Meehan, a serial liar who conned his way into a dangerous, abusive relationship with well-off Orange County designer Debra Newell.Bravo’s scripted dramatization casts Eric Bana and Connie Britton as the main characters, and retells the story with an uncanny mix of ridiculousness and creepiness. It’s akin to a ripped-from-the-headlines version of Desperate Housewives, which makes sense, given that one of t华体会官网app下载1. Hallelujah As anyone who has ever watched a televised talent competition will tell you, Leonard Cohen’s “Hallelujah” has been subjected to its fair share of abuse over the years. Nowhere, though, has the song been more thoroughly beaten up than in this scene from Zack Snyder’s Watchmen, an otherwise fascinating superhero flick that has its hardcore defenders. What was a powerful moment in the graphic novel is laughable here, as Nite Owl (Patrick Wilson) and Silk Spectre (Malin Akerman) trade grunty-faces in their steampunk binoculars-looking sex pod all while the booming voice of Cohen… booms. Just when you think it can’t get any worse, the pod shoots flames at the moment of climax. Disagree, passionately? Let us know in the comments, and share your favorite so-bad-they re-good movie sex scenes.

3. 激战团竞模式
垃圾大亨软件简介本站提供垃圾大亨游戏免费下载不同的选择,除了自己参与垃圾回收的工作外,这款游戏中呢,快来本站下载垃圾大亨手游吧。

4. 呼朋唤友 随心所欲
King of the Crop: “Original” Us Takes Records For Horror, March and “R”-Rated Films(Photo by Universal)Let’s lay out some pretty amazing facts about Us’ million weekend. That is the highest opening ever for an original “R”-rated film. The 11 “R” films to open higher were either sequels or adapted from popular books. Us is also the biggest opening ever for an original live-action film in March and an original horror film in any month. Only It and last year’s Halloween opener higher. But…can it outgross Get Out s 6 million?Us has already doubled Get Out’s .4 million opening. A good start indeed. It is the 142nd film to open with million or more. Of those previous 141 films, do you know how many failed to reach the 6 million earned by Get Out? Six. (Fifty Shades of Grey, Halloween 2018, Fast and Furious, Quantum of Solace, X-Men: Apocalypse, 2012). That is already 95.7% in favor of Us besting Get Out’s total. The number to watch next week when Dumbo knocks Us back to second is whether its second weekend is over or under million.Rotten Returns: Captive State Takes A Dive(Photo by Focus Features)In its second week, Focus Features’ Captive State could not remain in a Top 10 where four finishers made less than million this weekend. That is because it took an estimated 70.7% drop to only 8,000. The million production that has grossed all of .2 million in 10 days of release is the second film of 2018 to have a 70% drop or higher. (Replicas fell 81.5%.) In 2018 there were six wide releases that dropped as much in their second weekend – Mortal Engines, Assassination Nation, Gringo, Super Troopers 2, Kin, and Once Upon a Deadpool.Top 10 and Beyond: Captain Marvel Hits Top 10 Of MCU(Photo by Disney)One film already carving its path amongst the all-timers at the box office is Captain Marvel. With another million this weekend its total stands at 1 million, the 21st-best total for a film after 17 days of release. Its worldwide total currently stands at 0 million – or – the 7th highest-grossing film based on a Marvel property ever.Among other victories in the Top 10 this week we have How To Train Your Dragon: The Hidden World, which is up to 8 million worldwide, just million behind the original (which is still the series’ domestic champion with 7.5 million.) If estimates hold on A Madea Family Funeral it will officially be the third highest-grossing film of Tyler Perry’s directorial career. Finally while the numbers are not giant for Five Feet Apart, a 34% drop from last week means the million production has now grossed over million and should get itself at least over million when all is said and done.This Time Last Year: Pacific Rim Led, But Would Soon Fall(Photo by Warner Bros)One of the biggest bombs of 2018, nevertheless, opened to no. 1 this weekend. Pacific Rim Uprising began with .1 million and later finished with just under million total domestically. Black Panther was finally knocked back to second place with another million as it had amassed over 1 million after six weekends. Also opening with Sherlock Gnomes (.6 million), Paul Apostle of Christ (.1 million), Midnight Sun ( million) and Steven Soderbergh’s Unsane which missed the top ten with .7 million. Leading the per-theater-average charge was Wes Anderson’s Isle of Dogs (,011 on each of its 27 screens for .62 million.) Fifty Shades Freed also managed to finally cross the 0 million mark.On the Vine: Elephants and a Beach Bum(Photo by Dumbo)Disney releases the first of their 2019 live-action remakes with Dumbo. Tim Burton’s 2010 adaptation of Alice in Wonderland was the biggest success of his career and Dumbo could very well end up being his second highest global success. Also opening wide is PureFlix’s abortion drama, Unplanned, the first “R”-rated release for the Christian-based company. Finally, Neon releases Harmony Korine’s The Beach Bum with Matthew McConaughey. The Full Top 10: March 22-24Us (2019) 93% – .25 million (.25 million total)Captain Marvel (2019) 79% – .02 million (1.49 million total)Wonder Park (2019) 34% – .00 million (.47 million total)Five Feet Apart (2019) 53% – .75 million (.46 million total)How to Train Your Dragon: The Hidden World (2019) 90% – .53 million (5.75 million total)Tyler Perry's A Madea Family Funeral (2019) 11% – .50 million (.88 million total)Gloria Bell (2018) 91% – .80 million (.49 million total)No manches Frida 2 (2019) 13% – .78 million (.62 million total)The LEGO Movie 2: The Second Part (2019) 84% – .13 million (3.32 million total)Alita: Battle Angel (2019) 61% – .01 million (.87 million total)

5. HD 画质与高品质音讯
使用強大的百度引擎7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。

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1.56.8 6月喜迎春暖花开,阴云密布,看似平静而又传奇,大陆之下有着无限的奇幻神秘气息。当你走进释闪手游的新领域时,你可以立即沉浸在游戏的无限回忆中。那些熟悉的超级BOSS也会送你免费的礼物,做好接收礼物的准备吧!
Binge Guide: 5 Shows to Watch if You Love Lupin If the Netflix crime caper has stolen your heart, here are a few more shows about thieves and heists you should check out. by RT Staff | February 9, 2021 | Comments
北通W1手游手柄模式:猎魂觉醒再获苹果官方推荐网易超真实3D团队狩猎手游《猎魂觉醒》已经发布,便凭借着独具匠心的游戏内容、质感细腻的游戏画面,获得了玩家的大量玩家的好评和肯定。

当然,冒险家也需要吃饭,如何打工赚钱也是我们必须思考的问题。《天谕》手游为此设计了完善的社会玩法体系,用专门的生活技能、生活职业来呈现游戏中的“生活部分”。
To close out the reinvigorated X-Men saga, Dark Phoenix reunites the franchise s stellar cast to retell one of the most iconic storylines from the comics. Ahead of its release, RT correspondent Maude Garrett sat down with producer/writer/director Simon Kinberg and stars Michael Fassbender, James McAvoy, Jessica Chastain, Sophie Turner, Evan Peters, Alexandra Shipp, and Tye Sheridan to talk about the new film. Check out the interviews to find out how Michael Fassbender and James McAvoy feel about potential knighthood, what McAvoy thinks about shaving his head, and which MCU heroes the cast would like to team up with.Dark Phoenix opens everywhere on June 7.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
有一部分人说是因为国内审查需要换名字,但是官方也应该发个公告说一说这个事情吧,再比如无双剑姬→华剑战姬,无双两个字都不行吗,而且端游都能审核通过,为什么手游就不行
This October, Tom Hardy returns to the big screen as Eddie Brock in Venom: Let There Be Carnage, a sequel to the smash hit film in which we first met the dogged journalist and his foul-mouthed (and very hungry) symbiote. The new film is directed by Andy Serkis and co-stars Woody Harrelson as Carnage, the fan-favorite villain teased at the end of the original film.Ahead of the movie’s release, Rotten Tomatoes correspondent Erik Davis spoke with Serkis, Hardy, Harrelson, and Naomie Harris (who plays another villain, Shriek) about what’s in store for audiences in the “lean and mean” sequel, the developing bromance between Brock and Venom, and what finally drew Harrelson to the Marvel family.Plus, Hardy – as star and producer – reveals he’s “100%” in on crossover movies and the multi-verse… Hear that, Mr. Holland?Venom: Let There Be Carnage is in theaters from Friday October 1, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
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华体会官网app下载 This week s Ketchup brings you more headlines from the world of film development news, covering such titles as Blade, The Marvels, Red Sonja, and Superman.This WEEK S TOP STORYNEW DETAILS EMERGE ABOUT WB S NEXT SUPERMAN(Photo by ©Warner Bros. courtesy Everett Collection)Three months ago, we learned that Warner Bros. had hired award-winning novelist and comics writer Ta-Nehisi Coates to start work on what was expected to be a Black Superman movie. This week, new details emerged about the studio s plans, including their goal of hiring a director of color for the job. Warner Bros. is reportedly working from a short list that includes Barry Jenkins (Moonlight), Steven Caple Jr. (Creed II), J.D. Dillard (Sleight), Regina King (One Night in Miami), and Shaka King (Judas and the Black Messiah). Ta-Nehisi Coates isn t expected to finish his Superman screenplay until just before Christmas, but Warner Bros. appears to be motivated to use the rest of 2021 to gear up. That will also likely include casting their new Superman himself, and you can see some of the possible candidates in this piece. As for what Coates Superman screenplay is actually about, no villain has been revealed yet, but Superman is still expected to be Kal-El from the planet Krypton, and it might be a period piece set in the 20th century. This film is also not expected to be part of the DC Extended Universe (which includes The Flash, in which Sasha Calle will play the first Latina Supergirl), but will instead be more of a standalone film similar to Joaquin Phoenix s Joker (Fresh at 68%), or the upcoming The Batman (3/4/2022), starring Robert Pattinson.Other Top Headlines1. MARVEL S PHASE 4 TO INCLUDE THE MARVELS, BLACK PANTHER 2: WAKANDA FOREVER(Photo by Marvel Studios)As accessibility to COVID-19 vaccines promises the return of the moviegoing experience, Marvel Studios released a sizzle reel this week highlighting their upcoming films for 2021, 2022, and 2023, including what appears to be the rest of their Phase 4 roster. The video includes our first look at footage from Eternals (11/5/2021) from recent Academy Award-winning director Chloé Zhao (Nomadland) and a release date for Guardians of the Galaxy Vol 3 (5/5/2023). Two of Marvel s upcoming sequels also received new titles, as the movies formerly called Black Panther 2 and Captain Marvel 2 are now officially titled Black Panther: Wakanda Forever (7/8/2022) and The Marvels (11/11/2022), which will see Brie Larson s Carol Danvers joined by Disney+ stars Teyonah Parris (Monica Rambeau from WandaVision) and Iman Vellani (Kamala Khan from the upcoming Ms. Marvel). The video ends with a blue 4 surrounded by a circle, which suggests the final film of Phase 4 will be Fantastic Four, although no release date is given, and we don t know any cast yet.2. MARVEL S BLADE REBOOT APPARENTLY DELAYED OUT OF PHASE 4 (Photo by ©New Line Cinema courtesy Everett Collection)At San Diego Comic-Con in 2019, Marvel Studios announced their films for Phase 4, as well as plans for Blade and Fantastic Four, which, at the time, were not expected to be included in Phase  4. This week, however, Fantastic Four seemed to be teased at the end of Marvel s new sizzle reel, while the Blade reboot starring Mahershala Ali was missing altogether. As it turned out, an explanation for this was to be found somewhat buried in The Hollywood Reporter s story this week about Warner Bros. hunt for a Superman director. Although they have very little else in common, both Blade and Superman will feature black leads, and both studios are seeking black or African American directors, which means both Marvel and Warner Bros. are working from similar shortlists of possible directors. It s for this reason that Marvel has apparently pushed the production start date of Blade from this September back almost a year to July, 2022 instead. In addition to giving Marvel more time to hire their Blade director, this delay will also allow screenwriter Stacy Osei-Kuffour (HBO s Watchmen) more time to fine-tune  the Blade screenplay.3. JOJO RABBIT STAR TO PORTRAY OLYMPIC GYMNAST KERRI STRUG (Photo by Scott Green/©Bleecker Street Media)Currently 20 years old, New Zealand actress Thomasin McKenzie had a major breakout role in 2018 s Leave No Trace (Certified Fresh at 100%), which was followed one year later by Taika Waititi s Jojo Rabbit (Certified Fresh at 80%), in which she was basically the female lead (Scarlett Johansson played more of a supporting role). McKenzie has stayed pretty busy in the last two years (even with COVID-19), which includes roles in M. Night Shyamalan s Old (7/23/2021), Edgar Wright s Last Night in Soho (10/22/2021), and Jane Campion s The Power of the Dog. Actress-turned-director Olivia Wilde has also been staying busy following her directorial debut with Booksmart (Certified Fresh at 96%), as she recently wrapped Don t Worry Darling (starring Flroence Pugh, Harry Styles, and Chris Pine), and she s also developing a Sony Pictures superhero movie expected to be Spider-Woman (or something similar). Last year, just before the COVID-19 pandemic fully struck, Wilde also signed on to direct a biopic called Perfect, about 1992 and 1996 Olympic gymnast Kerri Strug, and it appears Perfect is getting closer to being Wilde s next as director. Thomasin McKenzie is now signed to star in Perfect as Strug, who is perhaps best known for participating in the vault competition despite an injured knee, which meant that she then had to be carried to the podium by her coach. Filming of Perfect is expected to start in January following the release of Don t Worry, Darling.4. TENET STAR TEAMING UP WITH ROGUE ONE DIERCTOR FOR TRUE LOVE (Photo by Melinda Sue Gordon/©Warner Bros.)As COVID-19 kept many theaters in the USA closed for at least several months, many films were delayed until 2021, and others were picked up by various streaming outlets (and still are doing so). One of the directors who didn t give up on a theatrical release (for better or worse) was Christopher Nolan, whose Tenet (Fresh at 70%) was released in theaters unlike many other Warner Bros. films, which debuted instead on HBO Max. The star of Tenet was John David Washington (BlacKkKlansman, Malcolm Marie), and this week, Washington signed on to star in the next film from another sc-fi/action director, as he will star in a new film called True Love for director Gareth Edwards (Monsters, Godzilla, Rogue One: A Star Wars Story). The premise of True Love is being kept secret, except that it s a sci-fi story set in the near future, and the title also obviously suggests a romantic element.5. AMY ADAMS TO STAR AS A SCIENTIST WHOSE WORK INSPIRED JAMES CAMERON S AVATAR (Photo by Jef Hernandez/Everett Collection)The world is still waiting for James Cameron s first Avatar sequel, which is currently scheduled for December 16, 2022, eight years after the sequel s first announced release date in 2014. As it might turn out, another movie related to Avatar could feasibly end up being released before Avatar 2. Amy Adams Bond Group Entertainment and Jake Gyllenhaal s Nine Stories production companies are teaming up for an adaptation of the memoir Finding the Mother Tree by scientist Suzanne Simard, with Amy Adams also attached to star in the film as Simard. The memoir is described as a scientific detective story about Simard s studies into the hidden fungus networks underground that trees use to communicate. The connection to Avatar comes in the form of the Tree of Souls featured in that film, which was inspired by Simard s work.6. IT DIRECTOR TEAMING UP WITH THE COUPLE BEHIND THE BIG SICK (Photo by Priscilla Grant/Everett Collection)After years of delays (it was once scheduled for release on March 23, 2018), Warner Bros. The Flash has finally started filming under director Andy Muschietti (Mama, IT, IT: Chapter Two), and at the same time, Muschietti has already started developing another future project. Muschietti and his wife Barbara are teaming up with another husband-wife duo, Kumail Nanjiani and Emily V. Gordon, who co-wrote the 2017 indie comedy hit The Big Sick (Certified Fresh at 98%), based on their own experiences together. The project bringing these two couples together is an adaptation  ofthe Edward Gorey illustrated book The Doubtful Guest, which tells the story of a strange penguin-like creature that drops in unexpectedly at a family manor. It s not yet clear if the film will be adapted as live action (perhaps with a tone like The Babadook), a live-action children s movie, or something else.7. KAITLYN DEVER FROM BOOKSMART LANDS ROMEO JULIET SPINOFF (Photo by Francois Duhamel/©Annapurna Pictures)In literature, there is a form of story called parallel fiction, in which characters from popular works are expanded upon in their own stories. Famous examples of this include Wicked (from The Wizard of Oz), The Mists of Avalon (from the Arthurian Legends), Rosencrantz and Guildenstern are Dead (from Hamlet), and Alan Moore s League of Extraordinary Gentlemen (from dozens of Victorian Era works). This story involves a supporting character from William Shakespeare s Romeo Juliet getting her own movie, starring Kaitlyn Dever from Booksmart (Certified Fresh at 96%). That character will be Rosaline, who was Juliet s cousin, and at the beginning of Shakespeare s play, Romeo s romantic interest. Rosaline will be a modern, revisionist, rom-com take on the entire story (which suggests something more like 10 Things I Hate About You or Clueless), and it makes its way to production at 20th Century Studios after a long development cycle at MGM.8. OWEN WILSON S SECRET HEADQUARTERS TO BE DISCOVERED (Photo by Dee Cercone/Everett Collection)In the CW superhero series Stargirl, Luke Wilson plays a former superhero sidekick who secretly moves back to his hometown, where he has a secret base in a car garage where he keeps a 15-foot-tall robot. That particular character beat might be a coincidence, but this week, Luke s brother Owen Wilson signed with producer Jerry Bruckheimer to star in a family-friendly superhero action movie called Secret Headquarters. It s not yet known for sure who Wilson will be playing, but the premise of Secret Headquarters is about a kid who discovers the secret headquarters of the world’s most powerful superhero hidden beneath his home and must defend it with his group of friends when villains attack. From that, we can probably guess that Wilson might be the hero in question, one of the supervillains, or the kid s dad. Secret Headquarters will be directed by the team of Henry Joost and Ariel Schulman, who also directed the Netflix movie Project Power (Fresh at 61%).9. MARVEL VILLAIN HANNAH JOHN-KAMEN TO DON THE ARMOR OF RED SONJA  (Photo by Ben Rothstein/©Marvel/©Walt Disney Studios Motion Pictures)Some movies have roads to production that are relatively easy to explain, and then there s Red Sonja. Originally created by Marvel Comics as a supporting character in Conan the Barbarian (not the movie), Red Sonja eventually got her own movie in 1985, starring Brigitte Nielsen and Arnold Schwarzenegger, except that he wasn t playing Conan the Barbarian, which remains a weird thing that happened. Fast forward to the 2000s, when director Robert Rodriguez spent several years trying to remake Red Sonja and got as far as making a poster with Rose McGowan in costume kneeling above a release year of 2009 and then that didn t happen either. Then, it also didn t happen under director Bryan Singer. Long story short, this week, Hannah John-Kamen (Ghost from Ant-Man and the Wasp) is now officially attached to star as Red Sonja for indie director Joey Soloway. We should note that the Red Sonja rights (and the Conan rights, and the Robert E. Howard stories she s loosely based on) have all exchanged hands repeatedly since the 1970s, so this Red Sonja movie is now basically its own thing, and is unlikely to have any connections to Conan (and definitely not Marvel).On an Apple device? Follow Rotten Tomatoes on Apple News.

除了以上几款知名游戏,在榜单中我们可以看到《eve》手游,FFBE幻影战争,苍之骑士团,魔法门等在外服颇有名气的手游也顺利过审,在其中特别要强调的是《坎特伯雷公主与骑士唤醒冠军之剑的奇幻冒险?》,这个如此搞怪的名字其实就是我们吹了很久的GT(守护者传说),这款精致的像素游戏已经经受了无数喜爱此类游戏的玩家的考验,是绝对值得一试的作品,再加上之前我们有做的《伊甸园的荣耀》作为国内手游也顺利过审,年后的游戏市场可能十分血腥,玩家的选择也会更多。 (Photo by Touchstone courtesy Everett Collection)Filmmakers like Cameron Crowe, John Hughes, and Bob Clark may make us think the 1980s were the true renaissance of movies made for and about teens, but let’s not discount the 1990s – specifically one year in particular: 1999.Depending on your definition of teen movie, there were up to 19 films in this genre released that year, according to Phillip Iscove, the television writer and co-host of the all-things-1999-movies podcast, Podcast Like It’s 1999. Even more important, Iscove says, is that teen rom-coms like 10 Things I Hate About You and She s All That, black comedies like Jawbreaker and Cruel Intentions, and coming-of-age films like The Wood and American Pie still resonate with those who grew up in and around that era because “there’s a universality that they’re trying to hit.”But why this year in particular? Surprisingly, it’s not just because one of them featured Heath Ledger singing in the high school bleachers.The Clueless and Romeo + Juliet Effect(Photo by Paramount courtesy Everett Collection)Before we dive into the year of 1999, let’s act like Alicia Silverstone’s Cher Horowitz from Clueless and totally pause at the mid-‘90s. Writer-director Amy Heckerling adapted that 1996 film from Jane Austen’s classic novel, Emma, replacing Regency-era British aristocracy with a posh Beverly Hills high school while star Silverstone kicked the dumb blonde trope out with last season’s fashions. A year before this, Baz Lurhmann’s flashy Romeo + Juliet set the Bard’s famous play about star-crossed teen lovers in a gritty, steamy beach city and made male lead Leonardo DiCaprio a teen heartthrob (his female counterpart, Claire Danes, was already known to younger audiences thanks to her cult TV show, My So-Called Life).So it shouldn’t be a surprise that, by the time greenlights, casting, and production turnarounds were through, we’d land in 1999 with 10 Things I Hate About You, an adaptation of Shakespeare’s marital comedy The Taming of the Shrew about elaborate scheming to marry off one daughter in order to gain access to another; She’s All That, which is rooted in George Bernard Shaw’s Pygmalion, a play about teaching a lowly flower salesgirl how to pass in high society; and Cruel Intentions, which is based on Les Liaisons dangereuses, Pierre Choderlos de Laclos’s novel about bored socialites who break hearts for sport.“Clueless was proof-of-concept that there’s an audience [for modern adaptations of classic works] if it’s done well,” says Neil Landau, a screenwriter and professor at UCLA School of Theater, Film and Television. “Adults who greenlight movies love when it’s source material. It doesn’t feel as frivolous. I think the young people see them because of the canon and the things you study in high school.”Plus, he says, these works were in the public domain and therefore cheap to get licensing rights.Independents Studios + DVD Sales = Boffo Profits(Photo by Paramount courtesy Everett Collection)It’s also important to remember what was going on in the industry itself at that time. She’s All That was distributed by Miramax when it still was the hip younger sibling brought in to spice up Disney. 10 Things I Hate About You was distributed by Touchstone Pictures, which is also part of Disney. American Pie was produced by Summit when it was still considered an independent studio. Then there’s MTV Films, which, Iscove reminds us, had an ambitious slate in 1999 that included Varsity Blues, Election, 200 Cigarettes, and The Wood – all movies for or about teens and young adults that were released in July or earlier of that year. He says, nowadays, companies like Annapurna Pictures (Everybody Wants Some!!) and A24 (The Bling Ring, Eighth Grade) excel at distributing and producing these films, but it’s not all they do.Part of this is because we’ve since changed how we look for these types of movies. Tim Gray, the senior vice president and awards editor at Variety, says his trade magazine wrote in 1998 that “DVD players were expected to hit 1.4 million in 1999.” He says that number may sound like small potatoes, but it was a strong indicator that the public was willing to commit to a new technology – especially since he says Variety also ran an advertisement around that time saying that “it would be a billion industry within a decade.” Since teen movies were still cheap to make, Gray says that “indie companies were emboldened by that idea” of DVD viewership the way that video cassette players in the 1980s made Hollywood realize that there was still business to be had once a film left theaters.Iscove argues that the desire for teens to see themselves on screen hasn’t changed – just how they find them may have evolved. We all know what “Netflix and chill” is code for, but think of the success of films like To All The Boys I’ve Loved Before and Alex Strangelove and realize that the kids may want to watch something on streaming channels too.White Male Humor Still Dominated(Photo by Universal Pictures courtesy Everett Collection)The late ‘90s was still a time when white, male, heteronormative bro-culture dominated, especially since the (mostly male) development executives who were green-lighting these films had themselves been raised on now-questionable films like Porky’s and Risky Business. While there are exceptions – Jawbreaker, Election this was an era where teen boys were straight, cis-gender, and supposed to treat sex like a conquest (see: Cruel Intentions and American Pie) and where teen girls were supposed to be OK with prettying themselves up and potentially dumbing themselves down in the name of popularity (see: 10 Things I Hate About You and She’s All That). Oftentimes, these kids were white, suburban, and entitled. When the idea of sexual assault is brought up, such as Julia Stiles’ Katarina’s reveal toward the end of 10 Things, it’s done in an almost blink-and-you’ll-miss-it way.“It was the beginning of the ending of an era,” says UCLA’s Landau of this period when “virginity is a rite of passage for boys. For girls, it was filled with shame and stigma.” He says this only influenced mainstream views, as chances are girls and young women were going with boys in their age brackets to see these movies either in groups or on dates.However, these norms have evolved considerably since 1999. Director Kay Cannon’s summer 2018 hit Blockers threw the double-standard that girls can’t own their own sexuality in our faces. Some of the biggest successes to come out of the recent South by Southwest film festival were Booksmart and Snatchers, which mock the finger-wagging trope of “good girls don’t do that.” As for films about boys and sex? Another hit from SXSW was Good Boys, which still has rauchy humor but – as the trailer reminds us – features boys from a much more innocent age.We may never get another year as robust with movies that cater specifically to the teen audience as we did in 1999, and we may never again get teen movies quite like the ones we saw that year. But thanks to films like Blockers, like Eighth Grade, like The Spectacular Now, Dope, The Edge of Seventeen, Sing Street, and Lady Bird, we can rest assured that the genre is in good hands, and the adolescents of today won t lack for entertainment that speaks to them on a personal level too.Check out our list of every 1999 teen movie ranked here. What were your favorites? Tell us in the comments!Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

2022-01-29
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