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笑傲江湖ol华山心法采用百度引擎4(Baidu 8)As a lot of folks in Hollywood will tell you, nobody signs on to a movie thinking it s going to be bad. Sometimes, though, due to any number of reasons, things just don t line up the way everyone thought they would, and you end up with a stinker. That said, actors who are consummate professionals will always put forth maximum effort into any role they accept, and every once in a while, it results in a memorable performance in an otherwise forgettable film. We re here to celebrate those performances and make sure these talented actors efforts don t go unrecognized, even if the movies surrounding them were mostly dismissed.Jasmine Guy in Harlem Nights (1989) 21%(Photo by Paramount Pictures)In 1987, five years after the success of Robert Townsend s Hollywood Shuffle, studios were looking to capitalize on Black content, and fresh off the success of Beverly Hills Cop, Paramount gave Eddie Murphy a few million dollars to make his passion project. Casting his comedy idols in a minority-led Cotton Club-style crime-comedy, Murphy made a film that was hilarious and stylish. Still, critics savaged the effort as a vanity project with no plot and little substance. The film did boast dazzling costumes, the best of which were worn by Jasmine Guy as she played the femme fatale Dominique La Rue. Primarily known for her comedic role as the southern daddy s girl Whitley Gilbert on the Cosby Show spinoff A Different World, Guy showed she could bring the goods as the seductive and deadly mistress of the local mob boss. In between the laughs that Richard Pryor, Redd Foxx, and Della Reece provided, La Rue was a welcome, well-acted change of pace; it s a shame that Murphy s script rarely rose to the level of her performance.Meryl Streep and Goldie Hawn in Death Becomes Her (1992) 54%(Photo by Universal Pictures)Look, we can barely believe Robert Zemeckis’ dark and hilarious 103-minute catfight is Rotten on the Tomatometer, either. But at the time of release, critics were underwhelmed by what they saw as pretty ineffective satire, even as they praised the movie’s innovative special effects – “There’s a hole in my stomach!” – and the two women to whom they were generously applied. As long-time rivals and youth-obsessed divas Madeline Ashton and Helen Sharp, Meryl Streep and Goldie Hawn are fabulous monstrosities, all daytime-soap stares and Disney-witch snarls. Their work is big – huge, really – but always grounded in a deep sadness that flavors this showcase for pre-Jurassic Park Industrial Light and Magic with a compelling dose of tragedy.Bette Midler in Hocus Pocus (1993) 38%Ryan FujitaniAll three Sanderson sisters in Hocus Pocus probably deserve to be on this list: Sarah Jessica Parker brings great sensuality to what could have been a throwaway role and Kathy Najimy is an incomparable doof. But we’re singling out Midler because, in a film where no corner of scenery goes un-munched-upon, it’s Midler as lead witch Winifred who goes home with the fullest belly. Flaming red hair high and front teeth comically bucked, she delivers a huge performance, hilarious and nasty all at once, her expressions destined to be enshrined forever by nostalgic millennials in the galleries if giphy. Everyone is good in this movie, true, but we don’t know whether fans would still be clamoring for a sequel without Midler’s iconic performance of “I Put A Spell On You.”Raul Julia in Street Fighter (1994) 13%(Photo by Universal Pictures)Nothing ever goes exactly as planned on a movie shoot, but Street Fighter s journey to infamy was besotted with one catastrophe after another. The lead star was a coked-up, unreliable diva. A military coup in Thailand shut down road access. None of the actors were getting martial arts training, and were losing weight in the Southeast Asia humidity. And Raul Julia, who played the psychotic M. Bison, showed up withered and frail, besieged by stomach cancer treatment. Yet, the latter proved to be Street Fighter s most enduring asset, as Julia laid it all on the line for his final role. Julia s performance is big, unguarded, and wild, but with the good taste to stop short of chewing the scenery. You don t laugh at what he s created here, you actually cheer on this kind of menace, as Julia scissor kicks the movie up a notch with goofy, infectious energy.Angelina Jolie in Hackers (1995) 32%(Photo by Everett Collection)Angelina Jolie is no stranger to being the very-good-thing in a not-very-good movie: Think Gone In 60 Seconds, the Tomb Raider movies, or even the flick that won her an Oscar, Girl, Interrupted, which is – surprisingly for some – Rotten at 54% on the Tomatometer. In Hackers, the ahead-of-its-time 1995 techno thriller released the same year as The Net and Johnny Mnemonic, Jolie showed exactly why she would become a mega star. Her high school hacker Kate commands the screen, thanks to Jolie’s committed performance and the signature screen charisma that has kept people ponying up to see her in movies, good, bad, and Rotten as hell. Interestingly, Jolie beat out the likes of Hilary Swank and Liv Tyler for the Hackers role – only her second big-screen job.Gina Gershon in Showgirls (1995) 22%(Photo by United Artists courtesy Everett Collection)Showgirls’ reputation may be on an upswing with its newfound status as a cult-classic queer favorite, and the documentary You Don’t Nomi detailing how the movie came to this point, but one thing the world has always agreed on – even as the film collected six Razzies following its release and became a global punchline – is that Gina Gershon is brilliant as coke-sniffing meanie Cristal Connors. If you’ve got a favorite Showgirls line – from “I like nice t s” to “I used to love doggy chow” – chances are Cristal snarled it.Jim Carrey in Batman Forever (1995) 38%(Photo by Warner Bros. courtesy Everett Collection)Actors can come to set, nail their lines, and, if they have a little something extra, help pull better performances from the cast around them. As the Riddler in Batman Forever, Jim Carrey achieved this with Tommy Lee Jones, who offered an uncharacteristically unhinged take on Two-Face. Jones also reportedly detested Carrey. This alleged animosity actually underscored the tenuous alliance formed by the two villains, as Jones worked to keep up with Carrey s manic hopping and shrill flights into delusional grandeur. Ironically, it was the latter who gave the dual performance in Forever; Two-Face is Two-Face the entire movie, but Carrey had to first build the pathetic, sympathetic Edward Nygma, a sad wretch whose tragic end would give rise to the question-baiting, green-spandexed loon. It was another showcase for Carrey s knack for merging comedy and drama, first glimpsed in Dumb Dumber and The Mask, and soon to bloom in full with The Truman Show and Eternal Sunshine of the Spotless Mind.Phil Hartman in Jingle All the Way (1996) 17%(Photo by 20th Century Fox Film Corp.)Jingle All the Way is both worse than you think and better than your remember. The first two acts achieve moments of genuine charm and amusement from its gag-based physical comedy, as Arnold Schwarzenegger embarks on his increasingly absurd trek to find an action figure for his son on Christmas Eve. Then it hits the breaking point in a forced action finale with poor effects. But who s rock-solid throughout the movie? Phil Hartman, who plays Schwarzenegger s neighbor and a local soccer mom-seducer, a skeevy suburban Lothario who s got the hots for Arnie s wife. Jingle s most famous line ( Put the cookie down, now! ) wouldn t have become a meme if it wasn t cut against Hartman s inappropriately orgasmic consumption of said cookie. And Hartman s delivery of the line You can t bench-press your way out of this one! is so underrated; he was the only one who could cut through the farce of putting Schwarzenegger in a family comedy where everyone pretends everything s totally normal.Robin Williams in Patch Adams (1998) 22%(Photo by Everett Collection)Director Tom Shadyac followed up the Certified Fresh Jim Carrey vehicle Liar, Liar by partnering with another comic genius for Patch Adams, the true story of an unconventional medical student dedicated to treating the whole patient, not just the disease. Usually with clown routines. The movie has rightly been slapped around for its manipulative sentimentality – Shadyac does everything but squeeze lemons into the audience’s eyes to “earn” the movie’s many tears  – but at its heart is a frenzied, moving, and wholly committed performance from Robin Williams, near the beginning of a streak of sentimental ’90s roles that included What Dreams May Come and Bicentennial Man. His work was called out for being a bit “much” at the time, but for those missing the late Williams’ energy and that rare ability to have us chortling through our tears, it’s frankly a feast.Ewan McGregor in Star Wars: Episode I -- The Phantom Menace (1999) 52%(Photo by Everett Collection)The Star Wars Prequel Trilogy has undergone something of a reappraisal in recent years, at least by fans who remember Episodes I, II, and III fondly, but the fact remains that The Phantom Menace is one of the worst-received entries in the saga, due to a plodding story, stiff acting, and at least one character who rubbed audiences in every wrong way. For his part, Liam Neeson brought the requisite gravitas to play Jedi mentor Qui-Gon Jinn, but it was his padawan, a young Obi-Wan Kenobi played by Ewan McGregor, who stole the show and became an instant fan-favorite. Although McGregor would truly blossom in the role over the next two films, this is where he established himself as one of the saga s most reliable anchors, giving fans a reason to stay with the franchise despite The Phantom Menace s shortcomings. Hell, one look at our recent Star Wars showdown bracket is all you need to see how influential his work was.Parker Posey in Scream 3 (2000) 40%(Photo by Dimension Films)Scream 3 has gotten some later-in-life appreciation in the #MeToo era: As well as a wink-wink, nudge-nudge horror satire, it’s a pretty bold attack on systemic sexual abuse in Hollywood – featuring a Harvey Weinstein-style producer character… in a movie produced by the Weinsteins. It might be the most meta movie ever made, and years ahead of its time. Still, it remains the bottom of the slasher series’ offerings, with critics lashing it for leaning too hard into laughs over scares, and its 39% Tomatometer score makes it the only Rotten Scream movie to date. The highlight of the film is 1990s indie darling Parker Posey as actress Jennifer Jolie, who is cast to play Courteney Cox’s reporter, Gale Weathers, in the movie-within-the-movie, Stab 3. (We said it was meta.) Parker is nervy and hilarious as she shadows the “real” Weathers across the studio backlot, imitating her moves and line delivery, and a total scream when she gets into full breakdown mode, jittery cigarette rarely out of shot, as the bodies start piling up. You rarely believe she’s genuinely terrified at any point – when cornered by Ghostface she begins shrieking, “You can’t kill me! I’m the killer in Stab 3!” – but in this high-camp low-point for the series, she’s a treat.Denzel Washington in Man on Fire (2004) 38%(Photo by 20th Century Fox Film Corp.)Let s be real, here: When is Denzel Washington ever not good? This wasn t the first time he and director Tony Scott had collaborated (they did Crimson Tide in 1995), nor was it the last (they would go on to work together three more times, including Scott s final film, Unstoppable), but it was the relentless violent streak and punishing run time that made Man on Fire the least of their collaborations. That said, Scott and Washington clearly had an understanding, and even when the final product as a whole failed to deliver, Denzel was always reliably irresistible. As a vigilante out for revenge, he s all bile and gritted teeth, and he seems to pull a shocking sadistic streak from somewhere deep within. He s so compelling that you can t help but root for him, even when he s doing the absolute dirtiest of dirty work.Tobin Bell in the Saw Franchise(Photo by Steve Wilkie/©Lions Gate courtesy Everett Collection)Jigsaw is a rare breed in the horror villain world: He was human. Nobody seemed able to stop him, yet there was nothing supernatural about the monster he couldn t take an axe to the head or survive a house fire. What Jigsaw did have was a wonderfully warped sense of justice, drawers full of blueprints for death-dealing traps, a lot of time apparently, and Tobin Bell s chilled-over performances to bring the guy to cinematic life. The simple, menacing purr of Jigsaw s I want to play a game by Bell was enough to send shivers down our spines, and let us know we weren t about to break out the Parcheesi board. If anything, Bell was too good and reliable, as the Saw franchise hung on to the character well beyond his shelf life, until he became the only good thing about the later sequels.Sung Kang in The Fast and the Furious: Tokyo Drift (2006) 38%(Photo by ©Universal Pictures courtesy Everett Collection)Tokyo Drift is sort of the neglected stepchild of the Fast and Furious series, a somewhat franchise-adjacent detour that takes viewers all the way to Japan and introduces a completely new cast with pretty much no connection to either of the two films that preceded it. It didn t help that the star of the film was Lucas Black, whose middle name might as well be Flat and whose lack of presence on screen essentially doomed the project from the get-go. But if there was one bright spot in the film, it was the calm, collected, perpetually peckish Han, as played by Sung Kang. Immensely likable with a hint of mystery behind his sly smirk, Han came to represent the heart and soul of the franchise and one of its most compelling characters, so much so that fans actively campaigned (#JusticeForHan) to bring him back. Guess who shows up at the end of the trailer for F9?Charlize Theron in Snow White and the Huntsman (2012) 49%Ryan FujitaniSnow White and the Huntsman was an entirely unnecessary and borderline nonsensical retelling of the Snow White fairy tale that earned mixed reviews from critics and fans. Star Kristen Stewart, who was miscast as Snow White, gave us a heroine no one wanted to root for, and her onset affair with director Rupert Sanders overshadowed any good points the film had to offer. This was supremely unfortunate as one of the best parts of the film was Charlize Theron as the Evil Queen Ravenna, by way of Ursula from The Little Mermaid meets 101 Dalmatians Cruella de Vil in all the best ways. Literally dripping in gold, courtesy of her magical mirror, and wearing medieval goth couture, Theron s Ravenna was captivating and deliciously entertaining despite acting opposite a CGI effect. It s a testiment to Theron s talent that she delivered such a flawless performance while playing off tennis balls on set.Joseph Gordon-Levitt in Frank Miller's Sin City: A Dame to Kill For (2014) 42%(Photo by Dimension Films)If you ever need to make a case for not waiting too long for a sequel, Sin City: A Dame to Kill For should be Exhibit A. In 2005, Sin City was a surprise hit, earning 0 million at the box office, and the popularity only grew from there. However, for a host of reasons, it took over nine years to commission a sequel, and by that time, tastes had changed; even the most ardent fans had moved on. In addition to A Dame to Kill For s woeful timing, the new script lacked the originality and crispness of the first installment, save for one standout performance. Joseph Gordon-Levitt proved in Rian Johnson s Brick that he was an actor tailor-made for noir, and his work here only furthers that legacy. Playing Johnny, the brash cardman, he drips bravado and determination as he risks his last dollar for revenge. Slick and stylized, he and Eva Green are the only things that hook the audience; it s only a shame everything else pales (pun intended) in comparison.Eddie Redmayne in Jupiter Ascending (2015) 28%(Photo by ©Warner Bros. Pictures)The Wachowskis  Jupiter Ascending is only slightly less ambitious than Cloud Atlas, but it s also arguably a lot goofier, with inane dialogue, baffling turns of plot, and gaudy special effects. But oh, did Eddie Redmayne ever come to play. If he was looking for a change of pace after his Oscar-winning portrayal of Stephen Hawking in The Theory of Everything, he certainly found it in the role of Balem Abrasax, the effete eldest sibling of a ruling family who speaks in sighs and whispers one moment and erupts like a banshee the next. This is scenery-chewing with style, and Redmayne digs into every line with gusto. It s absolutely glorious to behold, and it s quite possibly the only memorable thing about the film.Chris Pratt and Jennifer Lawrence in Passengers (2016) 30%(Photo by Jaimie Trueblood/Columbia Pictures)Passengers failed mostly due to its unfortunate and problematic premise. A mechanic in cryogenic sleep is awakened early on an 80-year trip to a colony in space. Facing the prospect of dying alone, he sabotages a fellow passenger s pod because he thinks she s his soulmate. By essentially dooming his lady love to a life of isolation and assuming she would fall in love with him which she does the film was so distasteful that critics found little to enjoy despite stellar visuals and impressively futuristic production design. Obvious problems aside, Passengers also features two standout performances from Jennifer Lawrence and Christ Pratt. Lawrence showcases the chops that won her the Oscar just four years prior, Pratt is surprisingly good in a dramatic role, and the pair have undeniable chemistry. If not for the queasy feeling you get thinking about why they are together, this could have been an adventurous sci-fi romance.Viola Davis in Suicide Squad (2016) 26%Ryan FujitaniThere are a lot of things wrong with Suicide Squad, from tonal issues to paper-thin characters, dull action sequences to atrocious dialogue, and whatever Jared Leto was trying to do as the Joker. Regarding the latter, not all of the acting is bad, thankfully. Margot Robbie s take on Harley Quinn is fun and exciting, and it earned her a solo joint (sort of) that opened earlier this year to solid reviews. But one of the unsung bright spots of the film is Viola Davis Amanda Waller, who initially behaves just shady enough to make you suspect her of ulterior motives and then succeeds in delivering one of the few genuine surprises in the film. She does the best she can with what she s given and grounds the story as arguably the most interesting character, which says a lot about the antiheroic ensemble that surrounds her. There s a reason she s one of the very few people who are returning for James Gunn s hopefully much better follow-up next year.Octavia Spencer in Ma (2019) 56%(Photo by Anna Kooris/Universal Pictures)Critics were fairly split on Ma, Tate Taylor’s schlocky thriller about a loner who exacts revenge on her high school tormenters by befriending – and then targeting – their own teenage children. But all agreed that whatever you thought of the gory, campy flick, Octavia Spencer delivered big time as title character. Whether tearing up the dance floor to “Kung Fu Fighting,” staring down her prey across a crowded room, or transfusing dog’s blood into a naked former high school crush – really – Spencer is hilarious, sympathetic, and completely menacing.What are some of your favorite performances in Rotten movies? Let us know in the comments. Thumbnail image by Universal Pictures

1. 笑傲江湖ol华山心法
曾经最火的吃鸡手游《和平精英》,也因为增加了很多氪金因素和玩法的单调,被很多人逐渐抛弃。吃鸡类型手游,对于很多玩家来说,很难取得胜利的喜悦。毕竟,每一局都只有一支队伍或是一个人赢得最终的胜利,像是《绝地求生》、《堡垒之夜》、《APEX英雄》等不同游戏遇到了玩家减少的情况。就当众多玩家期待《英雄联盟》手游和《地下城与勇士》手游的时候,腾讯又拿出了《使命召唤》手游这张“王牌”! After a year off the air, Marvel’s Agents of S.H.I.E.L.D. returns to ABC for its sixth season on Friday, May 10 with a refreshed premise, a seeming departure from its big screen Marvel Cinematic Universe cousin, and a new director at the center of television’s Strategic Homeland Intervention, Enforcement and Logistics Division. Luckily, Rotten Tomatoes had the chance to visit S.H.I.E.L.D. HQ and debrief the cast ahead of the new season s premiere.As first revealed at the end of season 5, Alfonso Mackenzie — better known as “Mack” — succeeded the dying Phil Coulson (Clark Gregg) as the head of the agency after Daisy Johnson (Chloe Bennet) turned down the position. Season 6 picks up sometime after Coulson’s apparent death, with Mack now firmly entrenched as S.H.I.E.L.D.’s director. It is a leadership role actor Henry Simmons, who plays Mack, said he loves. In previous seasons, Mack was most frequently seen offering a bewildered punchline about the group s latest adversary or impossible scenario. But now he s front and center.“Now, you have to drive the scenes as a director. I was talking with Clark about this, Simmons said. The weird thing is when you become director you feel responsible for each person, for what s happening in the scene. It s weird. And I enjoy that. I am grateful for the fact that they put it in my hands.”(Photo by ABC/Mitch Haaseth)As the actor recalled, Mack started as a mechanic who wound up in S.H.I.E.L.D. prior to the events of Captain America: The Winter Soldier. He first became part of Coulson’s team when another faction of S.H.I.E.L.D. wanted to test their loyalty following the revelation that Hydra had infiltrated the organization. But after years of dealing with demons and traveling though time, Mack grew to respect Coulson and his team.And as seen in some of the previews for the new season, Mack still refers back to a hologram of Coulson contained within Nick Fury’s (Samuel L. Jackson) toolbox from earlier seasons.“This is a daily thing,” Simmons explained. “Mack really relies on this hologram for advice, for direction … there s a lot to deal with. We have a member that s out there somewhere, a team member that we have to find. And we have an occurrence that s happening around Earth that is unpredictable and deadly.”Both objectives will hopefully allow Mack to prove to himself he was the right choice to succeed Coulson, a theme executive producer Jeff Bell said will recur through the season. In the same way that Coulson questioned his ability after Fury — Can I be a director? Do I have what it takes?  — I think Mack is going through his own version of that, he said.Meanwhile, the missing team member Simmons mentioned is Fitz (Iain De Caestecker), who also died at the end of season 5. But thanks to the malleable nature of time travel on the series, an earlier version of Fitz is still alive somewhere in deep space and it’s up to a team comprised of Daisy, Jemma Simmons (Elizabeth Henstridge), Agent Piper (Briana Venskus), and Agent Davis (Maximilian Osinski) to find him.(Photo by ABC/Mitch Haaseth)For Daisy, the mission is particularly fraught considering the future version of Fitz tried to kill her to prevent the world from ending. (Things got a little crazy last season.) But this Fitz never hurt her.“I think the one thing that connects all of them is that they re all trying to be the best versions of themselves, but still at the end of the day, there s darkness within every character, Bennet said.That darkness may be most apparent in Jemma Simmons, whose dedication to finding Fitz tests the patience of the others as the season begins.“Ethically she s just so biased on finding him. So she is not worried about other people s feelings. She doesn t care what the consequences are,” Henstridge said of her character’s state of mind. She noted the character has become single-minded before, but never to this extent — threatening the lives of the others. “She s can t fit anything else in her head at the moment, because as soon as she starts to think about other people, she ll start to think about the crazy odds of what she s trying to do and she ll break down.”For Piper and Davis, the mission means a certain sacrifice, but for Venskus and Osinski, it means a promotion. After appearing on the series off-and-on for the past four years, both will feature regularly for the first time this season. It means an expansion of the characters and a new role for them to share.“We are kind of like the everyman of the show,” Osinski explained, adding, “We don t have superpowers; we don t have robotic arms or special weapons. Said Venskus, “We re the ones who are more surprised by things still — which is kind of cool. We provide that comedic relief of being, like, ‘This isn t normal, right?’”They are, however, highly trained S.H.I.E.L.D. agents who managed to survive just about every upheaval since S.H.I.E.L.D. s initial fall in The Winter Soldier. As Venskus put it, that means Piper went to from learning about aliens in her first episode to treating space travel like “no big deal” in season 6. And if previous seasons are any indication, the duo s deep space adventure will continue for quite awhile.(Photo by ABC/Matthias Clamer)Back on Earth, Mack and the rest of the team face those anomalies Simmons mentioned. They crisscross the planet in something resembling a pattern. And as previews have hinted at, it may have something to do with Gregg’s new character, Sarge; a sort of “anti-Coulson” who is as much of a mystery as the anomalies.“They have a similar drive and focus,” Gregg said of Coulson and Sarge. “They re both, I think, not someone whose willpower you want to question. But everything else, the moral framework, all that stuff, is different.”According to executive producer Jed Whedon, Sarge’s frame of mind will be “so shocking to people” that it “actually has its own power.” At the same time, watching Sarge make the choices he does while looking and sounding like Coulson “gives those moments more weight than they normally would have.”“It was very, very hard to get my balance,” Gregg said of switching gears into Sarge. “It really felt odd. There s a part of [his thinking] that s so clean. He has a mission and he does [it] life means nothing to him. He wants what he wants. And he s going to get it done. And that s very freeing, and it s kind of sexy, it feels like it s fun. And yet I had a lot of questions about how he s justifying that.”One character also having a hard time justifying Sarge’s presence is Agent Melinda May (Ming-Na Wen). She stayed with Coulson during his last days and returned to S.H.I.E.L.D. a “freer” person. As Wen put it, “She doesn t have the burden of dealing with either him being sick or die or come back after he died and die again.”(Photo by ABC/Matthias Clamer)Of course, that sense of freedom gets “skewered” when she first sees Sarge.“It s a moment of disbelief and major angst for her,” Wen explained. But once May understands the real story behind Sarge, the character will have a familiar Melinda May reaction. “She s pissed,” Wen added. “She s really pissed.”Beyond her reaction to Coulson, May brings her experience and honesty back to S.H.I.E.L.D. This includes an advisory role to Mack and Yo-Yo (Natalia Cordova- Buckley). The latter continues to serve as a S.H.I.E.L.D. agent and, but Cordova-Buckley noted that her character has undergone a shift from the rebellious Yo-Yo we first met.“It was really interesting for me to go from a girl that s so [about] her word, her mind, her beliefs, and always really going against anything that goes against that,  Cordova-Buckley said, to now saying, You know what, there s a bigger picture. I need to be more diplomatic. I need to settle the fire down and find my way within the institution, the bureaucracy, and all that stuff. ”That said, Cordova-Buckley said Yo-Yo may still decline a leadership position within S.H.I.E.L.D., although she would become a great leader if circumstances forced the role upon her.“I get a sense that she would rather be a mentor of sorts to young children, to Inhumans coming up, to sort of be the leader underground, she said. Not the face of [a group]. (Photo by ABC/Matthias Clamer)Circumstances always change quickly for S.H.I.E.L.D., both within its world and without. Last season, events appeared to coincide with Thanos s (Josh Brolin) arrival on Earth to collect the Time and Mind Stones. But as the series was unclear when it would coming back — or even if it would come back — they could not plan a proper connection with the events of Avengers: Infinity War or Avengers: Endgame. That means the slightest bit of retconning will be on display in the season to come.“However the Time Lords want to work it out, all of this had to happen before the Snap,” executive producer Jeph Loeb explained. “Otherwise, we d be living in the world that was brilliantly showed in Endgame.”Then again, perhaps Agents of S.H.I.E.L.D. will employ the notion of tangent timelines to explain itself in some yet-to-be-written episode. The show always excels at finding the odd corners of the MCU to examine and that would be a fine one to use. In the meantime, though, S.H.I.E.L.D. has plenty of personal crises and intergalactic stakes to keep themselves busy ahead of the already planned season 7.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Agents of S.H.I.E.L.D. airs Fridays at 8 p.m. on ABC.

2. 公平游戏环境

3. 激战团竞模式
Mowgli: Legend of the Jungle (2018) 53% In 2016, Disney released a live action/CGI hybrid remake of The Jungle Book, a musical adventure based on the Rudyard Kipling book of the same name, and it was a runaway success. Even before that film went into production, however, Warner Bros. had already begun development on their own adaptation of Kipling s book, with Christian Bale, Cate Blanchett, Benedict Cumberbatch, and Naomie Harris lending their voices to the animal characters and Andy Serkis, who voices Mowgli s bear friend Baloo, at the helm as director. The end result is Mowgli: Legend of the Jungle, a decidedly darker take on the source material that follows a young boy raised by wolves who must decide whether to remain in the jungle or return to civilization. The film opens in a handful of theaters this week, with an eventual release on Netflix next Friday, and according to critics, its move to the streaming platform may have been a strategic one by Warner Bros. While Serkis passion for the project is clear and the A-list cast is reliably effective, critics say Mowgli suffers from comparisons to the Disney film, both in the quality of its special effects and in the consistency of its tone, and the final product is a messy if ambitious misfire.

4. 呼朋唤友 随心所欲

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 7.25.42022-01-18

6.48.5 1月喜迎Gates and engage in more historical nonsense. Let’s hope Disney forks over another 0 million so he can finish the trilogy, whether that happens in theaters or on Disney+.4. SEAN BEAN LIVES! (Photo by (c) Touchstone courtesy Everett Collection)We’ve been programmed to accept that Sean Bean always dies in a spectacular fashion (e.g., Goldeneye ouch), and when his Ian Howe doesn’t fall prey to a Templar trap or an ancient catapult in National Treasure, it’s beautifully unexpected. While it would have been appropriate for Gates to let loose a one-liner  something like “I’ll treasure this moment” or “Prepare to meet your forefathers” as he sent Howe to an elaborate death, it doesn’t happen. In the end, Howe is simply arrested, which leaves him on the chessboard for future installments.After watching Bean die in (spoilers ahead!) Game of Thrones, Black Death, Equilibrium, Don’t Say a Word, The Island, Patriot Games, and The Lord of the Rings: The Fellowship of the Ring, just to name a few, it’s nice to know one of his fictional characters is still alive. Early scenes between Ben and Ian show us that the two genuinely like each other, and Ian isn’t happy about his sudden heel turn. As the film progresses, Ian turns out to be a suitable antagonist who is always one step behind, but never far. Plus, the more you watch the the movie, the more you begin to like Howe s henchmen, namely Phil, Shaw, Powell, and Shippen, if only because they seem friendly with Ben, and they aren’t completely terrible at being henchmen.5. IT HELPED FILL THE INDIANA JONES VOID(Photo by (c) Touchstone courtesy Everett Collection)Smack dab in between The Mummy Returns and The Mummy: Tomb of the Dragon Emperor, and four years before Indiana Jones helped coin the term “nuking the fridge” in Indiana Jones and the Kingdom of the Crystal Skull, National Treasure filled a much needed void. The constant travel, puzzle solving, justified thievery, and ancient treasures satiated our thirst for globetrotting adventure; from grounded ships in the Arctic to the reflecting pool in Washington D.C., the frantic pace and constant clues made the most of a proven crowd-pleasing formula.Throw in the fact that Benjamin Franklin Gates, Patrick Gates, and John Adams Gates (Christopher Plummer) are named after American forefathers, and you have a movie that embraces history and isn’t subtle about it. Plus, the 0 million budget, the use of actual landmark locations, and the wonderful production design by Norris Spencer ensured the film would age surprisingly well over time. These types of films don’t really exist anymore, and that’s one of the reasons why we still love it now. Also, we think Indy himself would approve of the way Gates and his crew made sure the treasure was shared with the world, because “it belongs in a museum!”National Treasure was released on November 19, 2004.
“What an amazing journey it’s been. I’ve been reading your comments, and the outpouring of love and support for our cast and crew has been truly overwhelming,” Schreiber wrote. “I know the big question on everyone’s mind is whether there will be a season 8. Truth is it’s in the networks hands. So if you want more, reach out to them at @showtime, @raydonovan, and @cbstv and let them know how you feel. Either way it’s been an amazing ride and we have all of you to thank for it. Xo Liev.”CASTING NEWS: MORE CAST ANNOUNCED FOR MARVEL’S M.O.D.O.K. WITH PATTON OSWALT AS A SUPERVILLAIN IN A MIDLIFE CRISIS(Photo by Marvel)Patton Oswalt will voice the titular megalomaniacal supervillain M.O.D.O.K. in the upcoming animated Hulu series Marvel’s M.O.D.O.K. Marvel’s first animated comedy for adults finds M.O.D.O.K. (Mental Organism Designed Only for Killing) in the thick of a midlife crisis: just as his marriage is crumbling, he has been ousted as the leader of his evildoing organization, A.I.M. (Advanced Idea Mechanics). Other cast members voicing M.O.D.O.K.’s family and foes: Aimee Garcia (Lucifer) as M.O.D.O.K.’s wife, Jodie, a mommy blogger; Ben Schwartz (Parks and Recreation) as M.O.D.O.K.’s son, Lou; Melissa Fumero (Brooklyn Nine-Nine) as Melissa. M.O.D.O.K.’s teen daughter; Wendi McLendon-Covey (The Goldbergs) as Monica, M.O.D.O.K.’s work rival; Saturday Night Live’s Beck Bennett as Austin Van Der Sleet, M.O.D.O.K.’s new twentysomething boss; Jon Daly (Curb Your Enthusiasm) as Super Adaptoid, the snarky machine that wants to overwrite his programming and possibly turn on M.O.D.O.K.; and Sam Richardson (Veep) as Gary, M.O.D.O.K.’s loyal minion.Katey Sagal has been cast as the lead in Rebel, ABC’s drama pilot about a legal advocate without a law degree, based on Erin Brockovich. The series is from Grey’s Anatomy showrunner Krista Vernoff. Sagal is currently guest starring as Dan Connor’s girlfriend on The Conners.GLOW star Betty Gilpin will play Ann Coulter in FX’s upcoming Impeachment: American Crime Story season, about the Bill Clinton–Monica Lewinsky scandal. Comedian Billy Eichner will portray Matt Drudge in the series. (DEADLINE)Dean Norris, the Claws star and Breaking Bad alum who will make a guest appearance in the upcoming fifth season of Better Call Saul, has signed on to star in Chuck Lorre’s CBS comedy pilot The United States of Al. The series stars Parker Young as Riley, a Marine combat veteran who struggles to readjust to life at home in Ohio. He bonds with Awalmir/Al, the interpreter who served with his unit in Afghanistan, and who has just moved to America. Norris will play Riley’s dad, also a Marine, who Riley lives with upon his return to Ohio. (DEADLINE)Rosario Dawson will star in DMZ, the HBO Max series from Ava DuVernay. The series, based on the comic book of the same name, set in a futuristic Manhattan that is the site of a brutal civil war. Dawson will play Alma, a medic who is trying to find her missing son. (DEADLINE)DEVELOPMENT NEWS: AWARDS SEASON FAVORITE PARASITE WILL LIVE ON, ON HBO(Photo by Neon)Parasite, the Korean-language thriller that racked up six Oscar nominations, including Best Picture, will live on as an HBO limited series. Best Director Oscar nominee Bong Joon-ho told The Hollywood Reporter the series will feature stories “that happen in between the sequences in the film.”Seth Rogen will co-produce an adaptation of the comic book Fear Agent for Amazon. THR reports Amazon won a fierce bidding war for the project, which tells the story of Heath Huston: “Interstellar invaders. Time travel. Clones of clones of clones, and lots of whiskey. Whether he’s battling the scourge of space, going back in time to stop the alien invasion that changed Earth forever, or winning his ex-wife back, there’s nothing that Heath Huston won’t do to try to right the wrongs and gets his family back. He is, after all, the last Fear Agent.”Justin Long will host and executive produce a new Disney+ competition series called Shop Class. Premiering on the streaming service on Feb. 28, the show will feature groups of young people challenged to design and build unique projects in each episode, while a panel of experts will evaluate and test the structures to determine a winning team. (THR)Facebook Watch has greenlit Red Table Talk, the Jada Pinkett Smith–hosted talk show, for three seasons, through 2022. In addition, Facebook Watch and producer Pinkett Smith will launch a new talk show in the franchise: Red Table Talk: The Estefans, featuring Gloria Estefan, her daughter Emily and her niece Lili.Bill Simmons is doing for music what his award-winning, consistently great 30 for 30 series has done for sports. The Ringer creator is teaming with HBO for a six-part docuseries that will explore larger issues and acts in the music industry. HBO was an investor in The Ringer and Ringer Films, which produced the Andre the Giant documentary, about the legendary wrestler and actor, for the cable network.Comedian Bert Kreischer will star in the Netflix improv comedy Cabin, in which he and celebrity friends like Anthony Anderson, Joel McHale, and Caitlyn Jenner will attempt to cleanse their “mind, body, and soul” at a remote cabin via “bizarre therapy techniques, intense physical challenges, and ridiculously improvised encounters with nature,” often with “disastrous” results, according to Netflix.Drew Barrymore’s fall 2020 daytime talk show, The Drew Barrymore Show, has cleared 85 percent of the country. Barrymore is also an executive producer on the series, which will be distributed by CBS Television Distribution.NBA legend, author, and activist Kareem Abdul-Jabbar will executive produce and be featured in the History Channel documentary Black Patriots, a “comprehensive picture of the African-American experience during the Revolutionary War,” with focus on Crispus Attucks, Peter Salem, Phillis Wheatley and James Armistead Lafayette. The special airs on Feb. 19.Lorena Bobbitt, the subject of an Amazon docuseries last year, will produce a fully authorized Lifetime movie about her life. Bobbitt, who became a household name in 1993 after she cut off her abusive husband’s penis, will be the subject of I Was Lorena Bobbitt, which will air during the second half of 2020 and document her tabloid fame in the ’90s and her work as an advocacy work on behalf of abused women.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Behind the Zero(Photo by Sony Pictures Home Entertainment)John Travolta is as notorious for his bizarre and unfortunate choices in roles as he is famous for his performances in movies like Grease, Saturday Night Fever, and Urban Cowboy. He s a perpetual comeback kid, if only because he always has dispiriting professional nadirs to come back from. That was certainly the case in 1994 when he joined an ambitious, offbeat ensemble crime comedy called Pulp Fiction, which came on the heels of 1993’s Look Who’s Talking Now, the disastrous second sequel to his 1989 comeback movie and, of course, a recipient of the infamous zero percent on Rotten Tomatoes.By the time Look Who’s Talking Now died at the box office, the franchise had drifted far away from both the emotional core that initially made it culturally and emotionally resonant and the cutesy gimmick that helped make it a surprise box-office smash. A recently announced series reboot may be able to recapture some of that initial charm, but as the sequels demonstrated, there s only so much you can do with the same idea.Writer-director Amy Heckerling’s 1989 original was a rare hit romantic comedy rooted in middle-aged single motherhood. To make the film more palatable to a mass audience, the inner monologue of star Kirstie Alley s pre-verbal baby was voiced by a wisecracking Bruce Willis. The result was a surprise smash with a decidedly limited premise that nevertheless inspired a full trilogy of movies. Look Who’s Talking is not Lord of the Rings  it does not probe into any themes that would require an entire series of films to explore. It’s a minor miracle that it worked even a single time, but stretching it over three films is sadistic, to audiences and characters alike.The ZeroLook Who’s Talking had a cheesy but cute and effective gimmick: who hasn t wondered what babies are thinking in their pre-verbal state? Who hasn’t pondered what might be going on inside those adorable little heads? Look Who’s Talking Now, the first entry in the series not to be written and/or directed by Amy Heckerling (Fast Times at Ridgemont High, Clueless), tries to do the same with pooches, but the novelty and freshness has been lost.The film opens with parents James (Travolta) and Mollie (Alley) chasing after a now partly grown-up Mikey (David Gallagher) and his little sister Julie (Tabitha Lupien). They can both talk, unfortunately, so now the creatures whose inner monologues we hear are a little further down the food chain.Danny DeVito steps sadly into the fray to voice scruffy, oversexed mutt Rocks, who earned his name by doing his business in the backseat on the way home. Don’t worry, though; there are lots of creepy, inappropriate sex jokes to go along with all the poop jokes.Rocks is like the Tramp in Lady and the Tramp, in the sense that Look Who’s Talking Now baldly and badly steals from the Disney animated classic. Diane Keaton plays the aristocratic Lady to Rocks’ salt-of-the-earth Tramp as the voice of Daphne, a poodle given to the family by Samantha D’Bonne (Lysette Anthony), a 30-year-old ice queen and titan of industry who hires James to be her personal pilot as the first step in an elaborate plan to seduce him away from his family.As for the children, Mikey is not only capable of speaking for himself, he looks like he should probably start thinking pretty seriously about college in the years ahead. The gimmick that initially defined the character and the franchise is long gone, leaving behind only another gratingly precocious moppet tormented by questions of Santa Claus’ authenticity.(Photo by TriStar courtesy Everett Collection)In a bid to get him back into the Yuletide spirit, James, Mollie and sister Julie the latter clad in a tutu and angel wings lip-sync their way through Alvin The Chipmunks The Chipmunk Song (Christmas Don t Be Late), that exemplar of Eisenhower-era uber-kitsch. The performance is supposed to be so adorable that Mikey s skepticism and disillusionment are rendered powerless before its heartwarming power. Instead, it s a moment of David Lynchian horror, a close cousin to the sequence in Blue Velvet when Dean Stockwell lip-syncs to In Dreams, but infinitely more disturbing due to context.It’s almost impressive that the makers of Look Who’s Talking Now managed to create a family movie about dogs and children that isn t cute in the least, but rather unintentionally disturbing . Little Julie, for example, has an obsession with basketball players specifically Charles Barkley that is supposed to pay off in a fantasy sequence in which this tiny, self-conscious girl challenges the NBA legend to a game of one-on-one, taunting him with “Let’s get busy!”Barkley’s bewildering cameo here at least ensures that Space Jam is not the single worst film he’s ever been a part of.Later, Julie decides that she can fly like Peter Pan, so she climbs up a series of shelves and prepares to dive onto the carpet before she’s scooped up by her alarmed mother. We re meant to find it adorable that this precocious child misunderstands the adult world. Instead, she s like a creepy ghost-girl from a J-Horror shocker, seemingly possessed by evil spirits in at least a couple of scenes. Look Who’s Talking Now may skip through genres randomly, but its many horrific elements are unintentional.Rocks is like the character DeVito plays on It’s Always Sunny in Philadelphia, but less appealing or capable of self-restraint. He calls a female dog a bitch, responds to Daphne’s introduction with a Wayne’s World-style shwing, and, before he falls in love with Daphne, accuses her of being the product of inbreeding.That might seem wildly inappropriate for what is ostensibly a family movie franchise rooted in the ability to hear an adorable little baby’s thoughts, but by this point, the series had somehow morphed into a bad-taste marital sex comedy primarily concerned with whether or not James will be able to successfully avoid sleeping with his manipulative, hot-to-trot ice queen of a boss.(Photo by TriStar courtesy Everett Collection)Since there’s nothing kids enjoy more than sexual jealousy, they’ll particularly enjoy the many scenes of Mollie brooding about her husband violating the sanctity of marriage with a world-conquering dynamo who throws her own unemployed messiness into even sharper relief. Alley can make for a relatable, vulnerable, sympathetic heroine, or she can be a sloppy, blubbering, desperate mess. We get the latter here.In another fantasy sequence, Mollie dreams about James cheating on her while he dreams about her cheating on him with a character played by a returning George Segal. Eventually they realize they’re in a dream together and that they have control over their actions, and we are briefly treated to a lovely little production number with Travolta and Alley gliding across the dance floor like Fred Astaire and Ginger Rogers. It’s an example of what a world-class performer like Travolta can bring to even the dodgiest and most desperate of projects, but it also just made me wish that I was watching literally any other movie in which Travolta dances, including even Be Cool, another unnecessary, god-awful sequel that is nonetheless infinitely better than Look Who’s Talking Now, if only for Dwayne Johnson’s performance.But it somehow gets even worse and less dignified for Travolta and company. For reasons known only to the filmmakers, Look Who’s Talking Now ends with a music video-style showcase for French baby rapper/one-hit wonder Jordy, who scored an international hit with 1992’s Dur dur d être bébé! (It s Tough to Be a Baby) when he was a mere four years old. Jordy was a grizzled has-been of five or six by the time the movie opened, but that didn t stop the franchise from closing its ostensibly final chapter, fundamentally, with a product placement for a Christmas song by the pre-pubescent European pop star. Alley, Travolta, and the children from the film are all there for Jordy as he delivers lyrics like Can you feel something in the air? A super nice feeling of holiness. Needless to say, It s Christmas, C est Noel failed to become a new holiday standard. But it’s an utterly bizarre and yet wholly appropriate way to end a singularly misguided sequel that deviated so far from what made the original successful that they barely seem to inhabit the same universe, let alone the same film series.Final Verdict(Photo by TriStar courtesy Everett Collection)Thanks largely to the mega-watt movie star charm of John Travolta , Look Who’s Talking Now is not completely worthless. But it is astonishingly misconceived, the concluding entry in a series that never should have been a trilogy. It’s so bad it reflects poorly on sequels as a whole  they are rightly disparaged for being frequently terrible, strained, and unnecessary, but in the entire undignified history of sequels, few can compete with Look Who’s Talking Now for sheer pointlessness.Nathan Rabin is the author of six books and the proprietor of Nathan Rabin’s Happy Place.Follow Nathan on Twitter: @NathanRabinLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

(Photo by Christopher Polk/Getty Images)Typically this time of year, the awards season begins to take shape, and while we have new glimmers of hope courtesy of One Night in Miami and Nomadland, many niggling questions remain unanswered. Which films are in contention? Will theaters be open in time to screen contenders? Will the current films on the calendar hold their dates?In truth, the entire season is in jeopardy, depending on how you look at it, with so many questions still left unanswered after most of the major film festivals have concluded. On the precipice of an unprecedented season, we thought we would kick off our awards coverage with a detailed breakdown of what we know and what we don t about the 2020-2021 season.A Disruption in the Timeline(Photo by Kevin Winter/Getty Images)Earlier this year, the Academy announced that, due to the COVID-19 pandemic, they would be pushing back the deadlines and ceremony date for Oscars 2021. The show, which will air live on ABC Sunday, April 25, 2021, was originally scheduled for February 28, 2021. Coinciding with the Oscars celebration, the Academy Museum of Motion Pictures, initially scheduled to open to the public on December 14, 2020, will open on April 30, 2021.With this change, the Academy also announced that the eligibility period will extend to February 28th, 2021. The extension was made in the hopes of giving theaters more time to return to normal, but as the COVID-19 crisis continues, the chances of that happening are rapidly dwindling. Other awards contests like the Golden Globes, Critics Choice Awards, and Independent Spirits have followed suit and moved to later dates, which line up with Oscar season, though most of the major critic groups, like the NYFCC and LAFCA, have chosen to keep a calendar year eligibility. The Oscars have also removed the theatrical screening requirement, allowing for VOD releases to compete if they were intended for a theatrical run. The extension is a significant change but should have little effect on which films are in contention, but the VOD option may usher in quite a few non-traditional Oscar hopefuls. Be sure to bookmark our 2020-2021 awards calendar if you want to keep up to date on all the award show changes.The Netflix Season(Photo by Netflix)As digital screenings will be the way this year, many are dubbing it the Netflix Season. As the streaming giant is not beholden to traditional box office considerations they are the studio best equipped to navigate these uncertain times, and their awards slate is quite ambitious. Netflix recently picked up the Best Actress contender Pieces of A Woman, starring Vanessa Kirby, as well as Euphoria creator Sam Levinson’s quarantine-filmed Malcolm Marie, adding the pair to their already crowded roster of nearly 20 films set to compete in 2021.Previously released films like Spike Lee’s Da 5 Bloods and I’m Thinking of Ending Things are very much in the thick of contention for several categories, and Aaron Sorkin’s The Trial of the Chicago 7 and Radha Blank’s Sundance winner The Forty-Year-Old Version are scheduled to hit the platform soon. Ron Howard’s Hillbilly Elegy, David Fincher’s Mank, and George Clooney’s The Midnight Sky are in post-production and remain undated, but pundits are banking that they will bring the goods. A-list casts acting in “awards-friendly” source material is precisely what Oscar voters love.However, with a handful of strong candidates and no need to consider box office viability, Netflix can carefully plot out their release calendar to drum up timely buzz as often as possible. The recent tragic death of Chadwick Boseman will likely have a significant impact on the release of Viola Davis’ Ma Rainey’s Black Bottom, but the August Wilson adaptation is still expected to join the titles mentioned above in what will likely be a Netflix vs. Netflix race in several categories. In short, Netflix is in the driver s seat this year with the most competitive titles and release date flexibility, so it might be a foregone conclusion that they will be the big winner on Oscar night no matter what happens next.A New Campaign Playbook(Photo by Kevork Djansezian/Getty Images)This year s Emmys taught us that the typical campaign strategy playbook has been thrown out the window. The glitzy Hollywood parties and cocktail mixers will likely be completely absent from the season with a few exceptions. Also, with limited theatrical/drive-in releases, the post-screening Q As that typically drive ticket sales and buzz are also not possible.More importantly, though, the festival calendar has been nearly removed from the equation entirely. The Toronto International Film Festival and New York Film Festival, normally critical for a film s long-term chances, have been able to proceed with virtual screenings and drive-in events, but the typical post-premiere buzz that is generated was decidedly muted. That buzz only affects audience interest in the films, but it also marshals the attention of voters, something that will be difficult to command given the limitations of COVID-19.After they were forced to cancel their yearly event, the Telluride Film Festival put on a large A-list drive-in event to premiere Nomadland simultaneously with Venice and TIFF. Venice continued with the scaled-down slate, but each festival s place as a key piece of the awards landscape has been considerably affected. Awards strategists and studios, therefore, have been relying on virtual events and catered meals sent directly to industry professionals and voters as a way to keep their films top of the mind.Big Budget Exodus Creates an Indie Lover s Paradise (Photo by Chiabella James/Warner Bros. Entertainment)A few days ago, Disney announced an adjustment to their film calendar, shortly after Universal and Warner Brothers had done the same: West Side Story, The French Dispatch, Candyman, and A Quiet Place II all vacated their dates. Currently, the only viable big-budget awards options still on the calendar are Dune and Disney s animated musical Soul, both of which are still expected to hit theaters. However, the chances of that are still in question as theaters are still largely closed in New York and Los Angeles. This lack of studio options could set up an indies first season, which would be an interesting turn of events after films like Joker, Black Panther, Mad Max: Fury Road, Bohemian Rhapsody, and 1917 brought blockbusters to the Best Picture race in recent years.Though many may lament the lack of studio releases, there s an equally vocal contingent that s celebrating the chance to have a true indie season. This year s Oscars may closely mirror the season s penultimate event, the Independent Spirit Awards. There are only a handful of films left on the schedule with budgets over million, but there is a legitimate chance they all could still vacate their dates. This may be the first time in recent memory without a single big-budget Best Picture nominee.(Photo by Plan B Entertainment)Despite the pandemic, 2021 has already seen a promising crop of Oscar-worthy films, but most films in contention this year had to forego a traditional theatrical release to go straight to VOD.  Sundance favorites like Minari, The 40-year Old Version, and The Father have not been released yet but are almost certainly contenders. Small indie releases like Never Rarely Sometimes Always, The Assistant, Miss Juneteenth, and First Cow could battle it out against fall releases like Nomadland and One Night in Miami, giving multiple films from female directors a chance to pull nominations. And those are just the dated titles. Ma Rainey s Black Bottom, Mank, Promising Young Woman, The French Dispatch, and Pieces of a Woman are all on several Oscar shortlists, though we still don t know if they will release in time for this year s contest.On the studio side, Disney s Soul and Dune are the most likely options for a big-budget Best Picture nominee, but the chances both stay the course and release as scheduled is still very much in the air. It is very reasonable to think that Dune, Wonder Woman 1984, and Soul will all follow the lead of No Time to Die, which very recently fled 2020 for an April, 2021 release, in which case the indies will undoubtedly dominate in most of the major categories.Will It Happen?Ryan FujitaniThough it is the most unlikely scenario, there is a question about whether or not the season will actually happen. Yes, that would be extreme, but let s break it down. The Academy of Motion Pictures Arts and Sciences is a non-profit organization chiefly dedicated to honoring, preserving, and helping shepherd the art of motion pictures. The organization s biggest fundraiser to help achieve that mission is the fees they earn from their contract with ABC to broadcast the Oscars; the Academy earns the majority of its operating budget from this one event. So in that respect, the Academy s true top priority is not film preservation but keeping ABC happy and the ratings high so that they don t lose their biggest revenue source. This is not a cynical statement, just a cold hard fact. That fact was also partially the motivation for things like the recent membership changes, the telecast, and the ill-conceived Popular Film Oscar.With a pricey new Academy museum currently under construction and awards show ratings in steady decline, the Academy is acutely aware that relevance is important. If the Oscars cease to be a premiere advertising event, their contract will not be as valuable, or worse, they could lose it altogether. This is a reason to hold the show no matter what, but if the lack of marquee names and big-budget hits leads to lackluster viewership, the results could be catastrophic for their revenue prospects. If they don t proceed with the season, it would certainly be damaging, but the Board of Governors who run the Academy might decide that skipping a year and coming back strong would be a better bet.The Emmys double-digit decrease in viewership for their socially distant ceremony last month was also a worrying sign, but coupled with the Oscars 20% decrease in viewership from 2018 to 2019, it s hard to imagine there s any scenario that won t see a significant audience drop-off. If that s likely to happen, the case can be made just to bite the bullet and put on a variety show to celebrate the Academy and push the competitive ceremony to 2022. For this, they would have to pool all eligible films from both 2020 and 2021. Admittedly this sounds far-fetched, but if we see a rise in COVID-19 cases, lockdowns, and production issues, we may end up with the same number of eligible films during that two-year time period. Moreover, if theaters are still shuttered and studios are still holding films, 2021 may look more like 2020, and if it does, will the show go on?In end, the decision lies with the Board of Governors, and if they believe that their revenue, relevancy, or brand will be severely damaged by a limited season, they might vote to pull out altogether. This is the nuclear option and the least likely, but it wouldn t be the first time that the Academy has had to back off on a plan. Let s not forget the Popular Oscar was a real thing until it wasn t.On an Apple device? Follow Rotten Tomatoes on Apple News.
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笑傲江湖ol华山心法 If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at rtiswrong@rottentomatoes.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.

使命召唤这段时间可以说是赚足了头彩啊,首先就是我们期待的使命召唤手游终于在十一月份的时候登录测试服了,这一刻我相信很多玩家已经等了好久了,因为此前使命召唤一直都是在国外发展的,而且发展的还算可以,国外的粉丝数量也是非常多的。各方面也都是有真材实学的,但是使命召唤手游这边似乎发展的有点不太顺利。测试结束之后,有很多玩家表示游戏制作的太差了,根本没有3A大作的水准,这是什么情况? 有一说一,这个手游的完成度还挺高。不过玩法方面没啥好说的,还是战旗那套熟悉的规则,地形加成、属性克制、弓克飞。这几年的战旗类游戏都在强化RPG的部分,所以技能树和装备升级也是必不可少。不过这倒是和手游很搭,玩家需要肝/氪才能拉满。


contenders than ever before.Here’s what else the Tomatometer data revealed about the past, present, and (hopefully) future of February movies.We’re Living in a Golden Age for February Releases(Photo by Universal Pictures)The past two Februarys haven’t just given us a few good movies; they’ve produced some of their respective years’ biggest hits, like Get Out (2017, 98%) and Black Panther (2018, 97%), both Certified Fresh Golden Tomato Awards winners. Those two are the films that got us thinking about the Februar-enaissance in the first place, but it doesn’t stop there. Besides Get Out, 2017 saw a record six Certified Fresh releases – I Am Not Your Negro (98%), The Lego Batman Movie (90%), John Wick: Chapter 2 (89%), Kedi (98%), and A United Kingdom (84%), in addition to Jordan Peele s thriller. That’s more than either March or April had that year.Februray Tomatometer Averages are Higher than Ever in the 2010s(Photo by 20th Century Fox)Boasting an average Tomatometer score of 52% (so far), this past decade has produced some of the best February releases of all time, and it’s not even close. The 2010s saw more than a 10-point jump from the 2000s (41%) and higher average scores than either the 1990s (45%) or 1980s (46%). Or, to look at it another way, we’ve gotten exactly as many Certified Fresh movies in the past nine years as we did in the 1990s and 2000s combined. (That’d be 38 total, with 24 of those coming in the last five.)The streak first started in 2010, which – despite not having any major hits – still got high marks, thanks to the fact that half of its releases were considered Fresh. But it was 2016 that was the decade’s best year to date, with an average Tomatometer score of 60% and Certified Fresh movies like Deadpool (84%), Hail, Caesar! (86%), The Witch (91%), Eddie the Eagle (81%), and Michael Moore’s Where to Invade Next (78%) leading the way.There Have Always Been Good Movies in February You Just Have to Look For Them(Photo by Sony Pictures Classics)Even though the 2000s were lean times for February releases, you still have to go all the way back to 2003 to find a time when the month got shut out on our annual list of the year’s Top 100 movies. That’s 15 years and counting. In fact, at least one February release has landed in the Top 50 every year since 2008, and in the Top 20 since 2014.In recent years, art house sleepers and international hits like Academy Award-winner A Fantastic Woman (93%), The Lunchbox (96%), and ‘71 (95%), as well as documentaries like The Wild Parrots of Telegraph Hill (95%), have helped give audiences plenty of Certified Fresh options, so long as you’re willing to look beyond the month’s higher-profile wide releases.February’s Got the Oscars – And a Few Oscar-Worthy Movies, TooBack in 2004, the Academy Awards telecast officially moved from March to late February. That said, just because the month now boasts Hollywood’s most prestigious awards ceremony doesn’t mean it’s been a boon for its releases’ Oscar hopes. That’s mostly because it’s a lot easier to launch a successful awards season campaign in early December than to sustain one for an entire year. But that stigma is starting to change, thanks to recent February Best Picture nominees like Get Out and Black Panther (which won three of the seven Oscars it was nominated for this year). Going back further, in 1992, The Silence of the Lambs (Certified Fresh at 96%) became only the third movie in Oscar history to sweep the Big Five (Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay) despite – you guessed it – coming out the previous February.Some of Your All-Time Favorites Are February Releases(Photo by Universal Pictures courtesy Everett Collection)OK, so, yes, you can go ahead and blame February for clunkers like Norbit (9%) and The Roommate (4%). But it’s also given us a few movies that we’re willing to bet might be in your personal top ten. We already name-checked beloved hits like Office Space and Bill Ted and the Oscar-winning Silence of the Lambs, but there’s so much more: fan favorite comedies like Billy Madison, Old School, and Super Troopers; adrenaline-pumping martial arts movies like Rumble in the Bronx, Bloodsport, and  Ong Bak; and how’s this for a blast from the past? You know all your favorite ‘80s movies – classics like The Breakfast Club, Pretty in Pink, Hairspray, and Footloose? They all debuted in February, too. (Also a February release: the 1999 Brendan Fraser vehicle Blast from the Past. Just saying.)Surprise! It’s Not a Great Month for Romance(Photo by Ron Batzdorff/New Line Cinema courtesy Everett Collection)You’d think February would be a boom time for movie romance, what with Valentine’s Day helping to get audiences in the mood. But critics were just not that into He’s Just Not That Into You (40%), or the Fifty Shades trilogy, or McConaughey/Hudson rom-coms like Fool’s Gold (11%) and How to Lose a Guy in 10 Days (42%), or Nicholas Sparks’ Safe Haven (13%) and Dear John (29%). If you’re looking to celebrate with a highly-rated February holiday movie, skip Garry Marshall’s Valentine’s Day (18%) and opt for 1993’s Groundhog Day (96%), a movie you can easily watch again and again. And again.Sequels Haven’t Fared Much Better(Photo by Philippe Antonello/Paramount Pictures)Aside from The LEGO Movie, which saw its sequel open to strong reviews earlier this month, February historically hasn’t been a great time for would-be franchises. Typically, when a February release performs well enough to merit a sequel, the next movie in the series gets moved to a more prime placement on the release calendar (see: Deadpool, Wayne’s World, Ace Ventura: Pet Detective, Goon, Kingsman: The Secret Service). And if a series premieres during a more desirable month, but its next installment gets pushed to February? That might as well be the kiss of death.The month is a veritable wasteland of lesser sequels, from Zoolander 2 (22%) and Hot Tub Time Machine 2 (14%) to My Girl 2 (27%), and A Good Day to Die Hard (15%), among others. The lone exception that disproves the rule is John Wick: Chapter 2 – after successfully beating the February sequel curse with a Certified Fresh Tomatometer score of 89%, Chapter 3 will be coming out this May. (Also, if we’ve learned anything from those movies, it’s never to bet against John Wick.)February’s Comic Book Movies Have Gotten Much, Much Better(Photo by Marvel Studios)Looking over the numbers, one big reason stands out for why Tomatometer scores got so much better in the 2010s than they were in the 2000s: namely, the comic book movies got better. Even though we tend to think of superhero movies as prime summer blockbuster fare, the month of February has seen its fair share of crusading crimefighters over the years. But while proto-Marvel movies like Daredevil (44%) and Nicolas Cage’s Ghost Rider franchise dragged down their years’ respective averages, critically-acclaimed hits like Black Panther and Deadpool (and the superhero-inspired Chronicle  Certified Fresh at 85%) seriously boosted theirs.2001 Was One of the Worst Februarys on Record – And 1993 Was One of the Best(Photo by Universal Pictures)With an average Tomatometer score of only 32%, February 2001 was one of the worst months to be a movie fan, with lackluster fare like Saving Silverman (18%), 3000 Miles to Graceland (14%), and Sweet November (15%). The following February wasn’t much better either. Thanks to the Certified Fresh Monsoon Wedding (95%), 2002 had a slightly higher Tomatometer average at 36%, but overall quality was down, with less than 15% of the monthly offerings earning a Fresh rating. Still, 1990 had it even worse – with a whopping three movies (Madhouse, Loose Cannons, and Heart Condition) all earning zeros on the Tomatometer.On the flipside, 2017 had a trio of films all land scores of 98% or higher (Get Out, I Am Not Your Negro, and Kedi), boosting its average score to 57%. But 1993 was even better, earning top marks with a 66% Tomatometer average, thanks to an impressive run of above-average options (Strictly Ballroom  95%, Like Water for Chocolate  91%, Army of Darkness  72%, and Robert Rodriguez’s breakout debut El Mariachi  93%) alongside very few Rotten ones.And the Title of “Mr. February” Goes To…(Photo by Myles Aronowitz/Universal courtesy Everett Collection)No surprises here, if you’ve been paying attention to the release calendar lately: it’s Liam Neeson. Thanks to films like Non-Stop and Unknown and this month’s Cold Pursuit, “Movies Where Liam Neeson Beats Everyone Up” might as well be its own February-specific genre. The acclaimed actor-turned-action hero has been showing up in February thrillers ever since 1992’s Under Suspicion, giving him a record-tying six February movies for an average Tomatometer score of 51%. Other February fixtures include Adam Sandler (47% over five films) and Nic Cage (24% over six films).Love or loathed something this February – or in Februarys past? Let us know in the comments.

笑傲江湖ol华山心法 Captain Marvel is finally out in theaters and while it is set some 20 years prior to the current issues facing the Avengers following Avengers: Infinity War, the film offered a few intriguing clues to next month’s Avengers: Endgame and the ways Marvel’s newest hero may be involved in it. Also, there may even be some clues to the next phase of the Marvel Cinematic Universe following the events of Endgame buried within Captain Marvel s plot. So let s dive in and see what we can guess about Marvel Studios next few moves from its most recent release.Of course, there are spoilers from here on out. Key spoilers in fact, so read on with caution.Carol Will Be Part Of The Fight(Photo by Marvel Studios)While all the previous Avengers: Endgame trailers have kept her presence something of a secret, Captain Marvel’s mid-credits stinger scene confirmed what just about everyone assumed would be the case – Carol Danvers (Brie Larson) will be part of the fight against Thanos (Josh Brolin). While Carol was not part of the team dedicated to stopping Thanos in the comic book story The Infinity Gauntlet, her predecessor Mar-Vell took on Thanos a number of times prior to the Gauntlet storyline.The release pattern of the two films certainly pointed to Carol’s presence in Endgame, but seeing her arrive at the Avengers base makes the team’s situation seem less dire. As seen in Captain Marvel, Carol is a powerhouse and potentially strong enough to physically restrain Thanos. And even when it comes to the Gauntlet, battered as it is at the end of Avengers: Infinity War, she may have an advantage.Carol Is Powered By The Space StoneBecause the psyche-magnetron – source of Carol s powers in the comics – was just a little too crazy for film, Carol’s powers derive from that old Phase I MacGuffin, the Tesseract. As we learn in Captain Marvel, Mar-Vell (Annette Bening) acquired the Tesseract in the 1980s and began using it to build a “light speed engine” capable of relocating the Skrull population far from the designs of the Kree Empire.Her experiment never really worked out, though, as the Kree attacked her experimental craft. Once it crashed, Carol blew up the engine, saturating her body with the energy of the Space Stone. As Ronan (Lee Pace) remarks late in the film, she’s the real weapon.And we think that might give her an advantage over Thanos if he tries to use the Gauntlet against the Avengers in Endgame. It is possible she may even be able to pry the Space Stone away from his control and make his absolute power a little less absolute. It may just be the thing the rest of the group needs to gain control of the Gauntlet and undo the Snap.At least, that’s one guess. Tying her to the Tesseract and even the Avengers Initiative makes sense on a thematic level, but it also suggests a ways for the Avengers to succeed in Endgame.Carol Hasn’t Aged(Photo by @ Marvel Studios)In the stinger scene, we couldn’t help but notice that Carol hasn’t aged. We’re going to assume that has something to do with the Space Stone energy. And while that may not really be a point to address in Endgame, it suggests subsequent Captain Marvel movies may keep their options in regards to story wide open.According to reports of Endgame footage screened for Disney shareholders on Thursday, Carol tells the Avengers she never returned to Earth because species other than the Skrulls needed her help. Nick Fury’s (Samuel L. Jackson) page in the Infinity War credit sequence was the first indication Earth needed any sort of help. It suggests no one she knows out in the universe turned to dust, but she had to have noticed people vanishing en masse throughout her area of influence, right?That could suggest the Infinity Stones are not as powerful as legend tells, but we expect the more important aspect of Carol staying away from Earth is to set up future Captain Marvel movies set between the first film and Endgame. Alternatively, her lack of aging opens the door to a Captain Marvel 2 set after Endgame. After all, she has to explain herself to Maria Rambeau (Lashana Lynch) and Monica Rambeau (Akira Akbar) at some point, right? They cannot be pleased that her estimated return time of “before you know it” is 20-odd years later.And now we have to wonder if either of them survived the Snap.No Skrull Secret Invasion … Not Yet Anyway(Photo by @ Marvel Studios)In one of the more pleasant and interesting turns within Captain Marvel, the shapeshifting Skrulls were not Carol’s ultimate enemy. Instead, we learn they are refugees from a Kree war of aggression. Their ultimate aim: escaping from the Empire’s grasp.In our extensive look at the Skrulls, we noticed they only became aggressive after encountering the Kree, entering into a war that spanned millennia. We were inclined to believe that would be the case in Captain Marvel as well and that it might lead to a Skrull invasion of Earth following Endgame. But with the Skrulls only taking to battle to defend themselves and their nominal leader Talos (Ben Mendelsohn) becoming Carol’s ally halfway through the film, that Skrull secret invasion seems much less likely than it did a week ago.Of course, we also took note of Mendelsohn s Talos as he proclaimed “this is only the beginning” when he was reunited with his fellow Skrulls aboard Mar-Vell’s ship. That may just be an artifact of the actor playing so many bad guys of late, but it could indicate a heel-turn from the character or the alien race as a whole in a subsequent MCU phase. For the moment, we’re happy to see that aspect of Captain Marvel’s script defy expectations and introduce the Skrulls in a new, sympathetic way.The Infinity WatchAnd while we’re pondering MCU Phases past Endgame, there is always the possibility Carol’s tie to the Space Stone will lead to her taking on a new role: its protector. After the events of the comics  The Infinity Gauntlet, six people were chosen to take care of the Infinity Gems (as they were called at the time) in lieu of anyone obtaining the full powers of the Gauntlet again. The group included Gamora, Drax, Pip the Troll, Moondragon – two characters not yet seen in the MCU – and, shockingly, Thanos!(Photo by @ Marvel Studios)As in the comics, the Infinity Stones of the MCU cannot be destroyed, so everyone is better off knowing where they are rather than scattering them again only for someone (like, say, a Kree commander) to collect them and reassemble the Gauntlet.Should such a plan become an aspect of the post-Endgame MCU, Carol is the obvious choice to guard the Space Stone. She’s already tied to it. The plan would also presumably see Doctor Strange (Benedict Cumberbatch) reclaiming the Time Stone and the Mind Stone recreating Vision (Paul Bettany). Considering the end of The Infinity Gauntlet, the Soul Stone could be entrusted to Thanos or it could returned to the Red Skull (Ross Marquand) – interesting that the Soul Stone would be safest in the possession of a villain – with the Reality Stone choosing to stay with the Scarlet Witch (Elizabeth Olsen). Though her power originally came from the Mind Stone, she has been color-

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