亚博体彩买球靠谱

亚博体彩买球靠谱

开发者入驻
5.68.7 版本更新
下载6459追踪54455
0.5
使用 亿龙 用户端下载
暂停
2022-01-29
720p
720p
540p
360p
全萤幕
简介

亚博体彩买球靠谱采用百度引擎2(Baidu 9)The summer of 1984 has become one of the temporal junction points for the space-time continuum of the modern film geek. Along with 1982, the titles from these seasons are notable for the films that took years to become classics as much as the ones that became instant phenomenons. One date in particular is notable for checking all the boxes as the perfect storm in cinema history namely June 8, 1984, which saw the release of two beloved genre films from a pair of maverick directors that would go on to capture the imaginations of viewers for generations to come: Ghostbusters and Gremlins.With that in mind, we decided to take a look back through the past several decades to see how frequently two classics opened to the general public on the same day. While we found plenty of instances when two noteworthy films shared the same release date, only a handful of them really blew us away, and we plucked 10 from the pack that we thought were particularly fun choices. Read on for the full list, beginning with the iconic pair that inspired it in the first place.GHOSTBUSTERS GREMLINS(Photo by Columbia Pictures, Warner Bros.)Date: June 8, 1984While some folks were seeing Beat Street, most of the country was split between Ivan Reitman’s Ghostbusters and Joe Dante’s Gremlins. Opening atop the box office at .5 million and .5 million, respectively, the two films went on to become the second and fourth highest-grossing films of the year with 9 and 8 million each. It is actually rather rare to find two films that opened on the same weekend and enjoyed a similar level of success, since studios are often reluctant to challenge films preordained to be blockbusters. But sometimes history can change the tune of that strategy as films take on a life of their own, and sometimes you just get two phenomenal, groundbreaking movies in the same week that, even after three and a half decades have passed, still resonate with audiences new and old.STAR TREK II: THE WRATH OF KHAN   POLTERGEIST(Photo by Paramount Pictures, MGM)Date: June 4, 1982A week before a boy named Elliott met his new alien friend, movi

1. 亚博体彩买球靠谱
(Photo by Touchstone Pictures, Fox, and Marvel Studios)“Know Your Critic” is a column in which we interview Tomatometer-approved critics about their screening and reviewing habits, pet peeves, and personal favorites.In just the few years since she founded her multimedia platform Pay or Wait, Sharronda Williams has become a go-to source for her audiences. She’s interviewed major creatives from directors like Spike Lee to actors such as Melissa McCarthy and Octavia Spencer. Her expertise and sharp wit shine brightest in her video reviews on YouTube, in which Williams always offers both nuance and a sense of humor.“For me, it s very intentional that people see me, that I m funny at times,” Williams said in an interview with Rotten Tomatoes. “I try to make people feel like they re talking to themselves, I never want to make people feel as though, I m not smart enough to be a film critic, right?”Williams’ decision to appear on-camera is a reflection of her desire to offer visibility for Black women like herself, and to transparently represent her experience. No matter what she’s reviewing, she is aware of the many subjectivities at play: her own, the creatives’, and the audiences’.“Sometimes it is hard to let go of your experience as a Black person in this country, because you see the film in a totally different viewpoint,” Williams said.“When we re talking about issues, especially that are still a sore subject in America s history – when it s confronting slavery, and confronting racism and how it still plagues this nation to this day – it s very hard to make sure that you re doing your job as a critic,” Williams said. “These are experiences that are lived that are witnessed day in and day out.”As Williams grows her audience, she has become – and hopes to remain – a voice for movie fans and up-and-coming critics alike.Sharronda Williams is the founder of Pay or Wait, a YouTube channel and an online publication centered on entertainment reviews and interviews. Find her on Twitter: @payorwait.What’s your favorite seat in a movie theater?I like to sit in the back, middle. I love being in the middle of the screen. I feel like I have all of the viewpoints I need to see. I also hate when people kick my seat, I hate to hear people chew in my ear. The only downfall to that being my favorite seat is, I can see everyone and their cellphones.You get to see people s reactions, too. I love people-watching and seeing how the movie makes them feel. That s why – even for press screenings, when they put you in the front – I really like sitting in the back, because I love watching the audience s reaction as well.Does that ever play into how you review a film or how you discuss it?I love going to screenings for kids’ movies because I really love to be able to tell how it s going to hold a child s attention. I bring my god-children with me – they re still getting into going to the movies.That and comic book movies, I love – I have to see it with an audience.I totally agree – comic book movie experiences are made by the audience.I literally still remember the audience s reaction to the end of Endgame, when you hear Steve say, Avengers, assemble! And then when you hear Sam say, On your left. It s just brings me back to that emotion of what was happening in the theater at that time. You can t beat a theater experience, you really can t.(Photo by Liam Daniel/Netflix)What has been your favorite thing to watch in quarantine this past year?The obvious is Bridgerton, because it gave me romance, it gave me entanglements, it gave me messy drama. It s what I live for. It made me feel like I was in a whole relationship, I was totally invested.Did you binge the show, or do you avoid binge-watching?I actually watched Bridgerton a couple of months before it released and I was like, Oh my gosh, this show is so good. I was literally calling my colleagues like, You need to go, you need to request Bridgerton. Do it right now. It s going to be a hit, just thank me later. So yeah, I binged the whole thing.I had to pause halfway through – I think it was the fourth episode – when the Duke… the whole scene in the garden. When he said he still wasn t going to marry her, I lost it. I had to take a couple of hours of a break because I was so upset at him that I couldn t even deal. I had to come back to it the next day.That scene infuriated me. I cannot stand when people know they could be happy and will not choose happiness.Yes, because it was his pride! I was like, What are you doing?”When you are reviewing, do you go in cold?I do reviews on YouTube and trailer reactions are this huge thing. Every time a trailer comes out, they re like, Hey, can you do a trailer reaction? And then I have to disappoint everyone and tell them that I don t watch trailers. I like to go in completely blind.This started when Southpaw came out. I hadn t seen any trailer, I just knew it was a boxing movie with Jake Gyllenhaal. That s all I needed: Jake Gyllenhaal shirtless. Done, I m there.So, I get into the movie and we re watching it, and then Rachel McAdams  character dies. I literally was the only one who gasped in the middle of the movie theater. My friend turned to me, she was like, What is wrong with you? I was like, She just died! And she was just like, Girl, that was in the trailer! And I was like, See! I will never watch another trailer again after this, never. What makes a “good” movie?It makes me feel something. I mean, that s why we watch movies! We want to be excited. Sometimes we want to be sad or we want to be happy, we want to laugh.Movies that cause thoughts or discussion. Movies that promote change or a change within, that make you want to be a better person, make you analyze yourself as a person. Those movies that truly stick with you afterwards, and you re still thinking about the next day, that you re still having conversations with your friends about. I think those are such good movies, because it just truly shows the impact of a creative work.Was there a movie or a television series that you watched that made you want to become a critic?I can tell you one that made me understand the importance of being a Black critic. That was Detroit.When Detroit came out, it was really interesting because I would read reviews but I also watch YouTube videos. That s what helped me solidify why I do what I do – and really, just seeing a lot of the people miss a lot of the historical things that someone growing up in the Black experience, that this is my life.When they show The Great Migration portrait – the famous illustration in Black culture. Growing up, everyone had this picture in their house. We ve seen this on Black TV shows. I saw that a lot of non-Black critics, they didn t understand what that illustration meant. Or, they didn t understand the importance of how certain characters are portrayed, especially when we re dealing with real events that have happened, that have shaped our country as a whole.I think it really helped me understand the importance of my voice, the importance of why we ask for diversity in film criticism. The beautiful journey of watching from different viewpoints, different experiences – how they re really shaped, how you view films, how you criticize films. That was a movie that helped me to keep going, even in times when I felt like giving up – my perspective as a Black woman, why it s so necessary and essential to film criticism.(Photo by Warner Bros./Courtesy Everett Collection)What are you most proud of in your career thus far?I remember the first time I got an email from Rotten Tomatoes. When I first started, I remember going to the website and looking at the qualifications and I m like, Child, I m never going to get this. We re going to put this on the back burner forever. Being a part of Rotten Tomatoes, being able to say that when you see the Tomatometer on commercials or whatnot that, Hey, my review counts towards that. Most recently, I got my first pull quote for Judas and the Black Messiah. I remember I was asleep and I woke up and everyone was like, Oh my goodness, I just saw your name on TV during SNL! Having my brother call me as I try and drift off, I just saw your name. I was watching Judas and the Black Messiah and then I watched this trailer afterwards where your name popped up. I think that is when I was like, Whoa, this is serious, this is real. You know?Do you remember a time when you were watching something, a movie or a television series, where you saw a character that reflected your experience?Living Single was one of my first experiences. Before I got into film criticism, I used to want to be a lawyer in college. I remember growing up and watching Maxine Shaw on Living Single and I was like, Oh my goodness, it s a Black woman as a lawyer. And she lives by herself, and she has these friends, and she s lives this great life. What is the hardest review you ve ever produced?The most recent one was Antebellum. It was really hard.I always want to make sure that I respect the role of creatives – that they took the time and the energy to put their art into the world for a lot of people to consume it and form their own opinions.It s challenging as a Black critic – and I think a lot of people will agree whether they will publicly admit it or not – because we don t get a lot of films or TV shows that center around the Black experience that star Black women. Because we don t get so many, it becomes very hard because you understand the importance of seeing someone like Janelle Monáe on screen, a woman leading this film. That was a really hard review, critiquing a work that features a Black woman, that features an issue that is very close to me as someone who lives the Black experience each day – especially when you don t necessarily connect with it.It s hard, because personally you want to see more of this on screen and you don t want to knock down someone s ability to create. Especially because it s so hard for Black people to be able to create in this industry, and to actually have their projects seen by the masses. But you also want to make sure that the stories that are being told, the stories that are portrayed, and these characters – who are my aunts, my uncles, my mother, my sister, my brother – you want to make sure that it is being done in a great light.Because in this world, what you see on TV, people take it as gospel Unfortunately, that s just the society we live in. What we see on TV, we basically say, This is what Black people do, this is how they act. If you see Black caricatures, that is how people see us. The situation makes it hard as a critic, especially a Black critic. 这些特点都导致了手游市场不俗的潜力以及广泛的受众群体,但手机端的缺点也显而易见。借鉴国内两款主流FPS手游的表现,即和平精英手游以及使命召唤手游的表现。影响Apex手游端发展的一个主要问题就是画面的移植程度和操作系统的开发。由于手机配置的限制,手游的画面一定是大打折扣的。能否将画面的效果尽力移植,并且在大部分主流手机配置可以接受的情况下,使玩家拥有一个稳定、流畅的游戏体验,是Apexmobile的主要挑战之一。由于跨平台承载系统的不同,手游的操作方式一定是与端游大相径庭的。对比Switch平台的游戏体验,操作系统的开发与简化会直接影响到玩家的游戏体验,从而对市场中受众群体的数量产生巨大影响。
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
Studio Ghibli is arguably the most recognizable and beloved animated studio outside of Disney/Pixar, one that has proven time and time again that animation is more than just entertainment aimed at kids thanks to critically acclaimed movies that challenge what you can do in the medium. So it s easy to understand, then, that the moment one of the studio s main directors, Hayao Miyazaki decided to retire (the first time), fans around the world began searching for a successor. Rather than a studio, could it be an auteur like Mamoru Hosoda (Summer Wars, Mirai) or Makoto Shinkai (Your Name, Weathering with You)? Would it be a studio founded by former Ghibli employees like Studio Ponoc, makers of 2018 s Mary and the Witch s Flower?It might, in fact, be none of the above. In truth, the animation studio that best captures the magic of Studio Ghibli and the themes they explore, all while carving out an identity and space in the industry of its own, is Cartoon Saloon. The Irish studio founded in 1999 has earned Academy Awards nominations for every single feature film it s produced, and all of them are Certified Fresh at 90% or above on the Tomatometer. Its latest offering, Wolfwalkers, is being called the best animated film of the year by several critics, and it demonstrates why Cartoon Saloon s unique blend of traditional animation and folklore make it the true successor to Studio Ghibli.Their Films Deal with Folklore and Myth(Photo by ©Apple TV+)You don t need to be familiar with yōkai or kodama to appreciate Princess Mononoke, and you certainly don t need to know what a tanuki is in order to enjoy Pom Poko, but with both, you certainly do get the feeling that you re watching a movie that s deeply rooted in Japanese culture. Hayao Miyazaki and the people at Studio Ghibli don t really adapt specific folktales the way Disney does, but they add creatures and beliefs as flavor to deepen the story and the cultural context. My Neighbor Totoro s titular character may not be based on any specific creature of lore, but he is still instantly recognizable as an uniquely Japanese being.The movies of Cartoon Saloon aren t direct adaptations of any particular tales either, but they incorporate folkloric creatures and beliefs. Wolfwalkers takes its central concept from old myths about natives of the Kilkenny region in Ireland being able to transform into wolves while their bodies lie in a sort of trance, while Song of the Sea is about selkies, or humans that could transform into seals. These two movies, as well as the studio s feature debut The Secret of Kells, make up an unofficial trilogy about Irish folklore, using legends and myths to tell fantastical stories about the conflict that arises when belief and tradition are threatened or abandoned.Even if The Secret of Kells and Wolfwalkers are period pieces steeped in important moments of Irish history, there is a universality to their stories. You don t need to know about Oliver Cromwell s conquest of Ireland to understand Wolfwalkers central conflict and how it affects its main character s relationship with her father — who works for Cromwell himself. But it does add some context that grounds the film in a real place and a real moment in time.They Explore Humanity s Relationship with Nature(Photo by Cartoon Saloon)As evident even in their earliest films, a big part of Ghibli movies is the focus on humanity s fragile relationship with the environment and the struggle between nature and industrial progress. Miyazaki s films in particular often explore how technology causes people to drift away from their cultural traditions while factories damage the land they live on. Perhaps the most obvious example of this is Princess Mononoke, a movie all about nature fighting back when humans start burning down forests to expand their towns and their industry.Song of the Sea is partially about a Celtic goddess who threatens to destroy the world, but director Tomm Moore uses that as a starting point to tell a story about what happens when people begin to lose their cultural identity. Like many a Miyazaki film, Song of the Sea depicts the city as an oppressive, dirty place that drowns the freedom of the country and its children as the ones who are best suited carry on the country s cultural heritage while the city s inhabitants forget about it.Wolfwalkers definitely takes some pointers from Princess Mononoke in its central conflict — a group of humans who set out to kill every wolf in the nearby woods — except the nature vs. industry conflict is used as an allegory for the Cromwellian ideal of taming the wild Irish lands and burning down traditions to replace them with English principles. As with Song of the Sea, the distinction between the city and the country informs the visual style as well. Kilkenny and its walls are drawn with geometric rigidity, and it almost resembles a prison as it looms in the background — just like the city cars in Song of the Sea, which only serve to spew black smoke and narrowly avoid hitting innocent children. Meanwhile, the art style of the woods, trees, and wolf of the forest are more sketched-out, with traditional Celtic spiral pattens to show the wolves haven t been tamed, for they represent the real cultural Ireland.Their Visual Styles are Exquisite and Unique(Photo by ©Apple TV+)As a studio grows and its films become more popular, a visual style is bound to emerge. Anyone can recognize Disney s particular trademarks, just as all of Pixar films take on a similar visual language. Studio Ghibli s films are instantly recognizable too, and yet they all feel and look incredibly different from each other. This balance between versatility and recognizability is the key to Cartoon Saloon.The Irish studio s unique visual style appears in every one of their movies, which feel like they belong in a strange sort of multiverse. At a time when CG animation is everywhere, Cartoon Saloon s style feels defiant and stunning, but each of their films feels distinct from one another, as they try to capture the aesthetic of their subject matter. The Secret of Kells feels like an illustrated picture book to mimic the illuminated Christian tome that gives it its name, whereas The Breadwinner looks and feels distinctly like Afghan art, and Wolfwalkers pays homage to the wood-cut illustrations of the 1600s. By now, you know how to recognize a Cartoon Saloon film, but they always manage to offer some surprises, too.They Aren t Afraid of the Dark(Photo by ©Apple TV+)Though animation has a bit of a reputation for being kids entertainment in the West, Studio Ghibli is a perfect example of why this is entirely untrue. Not only do their more kid-friendly movies like Kiki s Delivery Service tackle deeper and darker subjects like depression, but no one would dare call Grave of the Fireflies — a movie about two kids trying to survive in Japan during WWII — a kids movie.Similarly, Cartoon Saloon s movies are certainly entertainment made for broader audiences, but they also often go to darker places. The studio s debut film, The Secret of Kells deals with an incoming Viking invasion, and Song of the Sea s main theme is grief and loss, but they are still stories being told through the eyes of kids. The protagonist of Wolfwalkers is literally hunted by her father at one point, but it s The Breadwinner, the studio s third feature, that best exemplifies their diversity in storytelling. The film follows a young Afghan girl posing as a boy to help her family survive after her father is imprisoned as a dissident by the ruling Taliban. This film is clearly aimed at a slightly older audience — hence its PG-13 rating — as it explores a more mature subject matter in its war-torn world, and even the colors are more naturalistic compared to the rest of the studio s filmography.They Entrust the Future to Children(Photo by ©Apple TV+)It s not only that Cartoon Saloon s movies can get dark, it s that the worlds of the films feel like they re approaching a cataclysmic ending, even as they somehow remain optimistic about the future.A village is threatened by Vikings coming to destroy it; a little girl is engulfed in a war; a sea deity wants to turn the world to stone; the new people in charge want to burn the forest down. There s a sense of urgency and doom looming large over each of Cartoon Saloon s feature films, brought upon by the hubris of man — a theme the studio shares with Ghibli. Hayao Miyazaki s movies in particular often deal with the error of trusting mankind to treat the world with respect. And yet, both studios seem to deeply trust their young protagonists and believe that children are the ones who will save the Earth. Parvana faces horrible, horrible things in The Breadwinner, but in her own small way, she wins in the end. War and evil will continue and people will still reject wolves and nature, but at least the children will be all right and grow up to do incredible things, hopefully with the lessons they ve learned throughout their journeys in both Studio Ghibli s and Cartoon Saloon s films firmly rooted in their hearts.Wolfwalkers debuted on November 13, 2020 and is currently available to stream on Apple TV+.On an Apple device? Follow Rotten Tomatoes on Apple News.亚博体彩买球靠谱When Dear White People season 3 hit Netflix this summer, the comedy continued its streak as one of the best-reviewed shows on television. Season 3 – for which creator Justin Simien brought his dynamic cast of students back to Winchester University for junior year – is currently rated Fresh at 89% on the Tomatometer.  Still packed with biting social commentary, the storylines this year broke new ground for the characters and the narrative format.Rotten Tomatoes spoke with star Logan Browning, who plays the bombastic and outspoken Samantha, who after two seasons hosting her campus radio show Dear White People, leaves her beloved show and host identity behind in the latest season. Below, the actress discusses what she s watching on TV right now, what she and Issa Rae get up to during their epic yacht parties, and season 3 of Dear White People.WHAT IS APPOINTMENT TV FOR YOU?(Photo by Jennifer Clasen/HBO)The most recent thing that I got to appointment watch was Big Little Lies, and I did that with my friend Camille because it came on every Sunday and I have HBO NOW. That s the most recent thing I was able to watch every time it came on.Rotten Tomatoes: How do you make time to watch it together?We are very considerate of each other s time. We would check in on every Saturday and be like, Hey are you busy on Sunday? Do you want to wait to watch it on Monday? And then we d always alternate whose house we re going to so no one s having to constantly host and no one s having to constantly make the trek to the other person s place. And then, of course, we d order food and we don t start it until we have our food, which gets to be a problem sometimes because it just gets later and later when you re waiting for your Postmates or Uber Eats delivery. And then, we try really, really hard not to pause it. We ll look at each other at certain moments throughout the whole thing like, Are we on the same page here? I ve tried multiple times to pause it and talk to Camille about it and she s like, No, we have to just keep going. Yes, we have to power through and we will discuss it after just like a movie. That s what it requires.WHAT’S ON YOUR DVR?Well, I m one of those people who does not have cable. I only have streaming. I have Hulu Live, but the way my life works, I never get to use it. I wouldn t know what to DVR if I had one.WHAT’S IN YOUR STREAMING QUEUE?(Photo by Netflix)I m in the middle of bingeing Queer Eye. I like to mix my fiction and my feel-good reality shows. I m also in the middle of Stranger Things. I will start Fleabag soon, though, because I have heard so many great things about it.WHAT’S COMING SOON THAT YOU CAN’T WAIT FOR?(Photo by HBO)Oh, that s easy. Insecure season 3. That is whenever they release it — in like 2040! [laughs] I feel it s never going to be here, but I can t wait.RT: Didn t you and Issa Rae just throw a yacht party together? Did you ask her about it? I didn t. But I should have brought that up. Where s my season three, sis? We mad, Issa. We mad! [laughs] No, I know, she s busy making movies. She can live.(Photo by Netflix)Jacqueline Coley for Rotten Tomatoes: Coming into season 3, it s the students junior year and they re more mature than last season. Everybody s growing up and growing out in different ways. Talk about the maturity of this season.I think that the characters have to grow. That s a lot of what college is about: finding yourself, your voice, and just figuring out how the world wants you to behave, versus how you react to the world, versus how you want to create your own narrative for the rest of your next couple of years. All of the characters have core issues that they ll always probably deal with. I know Justin has said this before, As a writer, you want to create problems for your characters and then never solve them, and I find that fascinating because in every season we just get closer to solving these problems. But ultimately, the things in our lives that we feel are our problems are really a part of something. That s our shadow self, right? It s a part of you that will always be with you. You just learn how to work around it, with it, and through it. That s kind of what all these characters are doing. They have things in their lives that they come up against and they ve just got to figure out how to work through it. The tagline of the season is: Grow by any means necessary.RT: Samantha s in a different place this time.  Talk to me about coming back to Sam without Dear White People as her thing.It s funny. Sam was always experiencing the retaliation of the radio show at her mic. That s gone this year and it s difficult for Sam. Because in the long run she hopes this will be a vacation, and that whenever she s got her life together she can come back to it. But in the end, she s like, I don t know if I m ready to really jump back into this. And when you get to that moment, you have to decide, is this thing that I ve created staying the same or is it going to change? That also happened with the show Dear White People too. Justin, Yvette [Lee Bowser, showrunner], all of the cast and crew have together created this series and now this season has been all about change. So now it s like, Well, what happens next? Do you just keep running with that? Do you create something new? In a lot of ways Sam s exploration this season parallels the show s.RT: Justin tackled two big issues within the black community this year: The Tyler Perry effect, in which a person may be thought to perpetuate stereotypes in the eyes of some, but in others estimation is an icon who fights for representation. The other issue being #MeToo through the eyes of black women. What was it like exploring those two storylines?I very much appreciated both of the storylines. I mean, with the Tyler Perry reference, as someone who worked for the man himself and grew up in Atlanta going to Tyler Perry plays and films, I m honestly grateful that Justin got to this point in his life where he can realize that there s room for all of us. I appreciate it because as a Black person in America, we are all so different and we all get to consume whatever content we want. A lot of the reason I was able to be in L.A. during the writers strike or when I wasn t working was because of the work I did with Tyler. And with the #MeToo storyline from every angle, everyone was super supportive. There are a lot of instances in and women s lives — and in men s lives — that they don t talk about because they re not sure if it was taboo or if they just unknowingly put themselves in an improper situation. What [Dear White People] shows is that opening up to people and having people not judge you when you are sharing those kinds of things with them allows for support, or it should. I feel that on so many levels.(Photo by Netflix)RT: Dear White People has been consistently rated Fresh on Rotten Tomatoes but some still take issue with the title. What would you say to those that still cannot seem to get past the name? Ultimately, what makes this show so great is that it exists. It s art that dares to exist. This kind of art couldn t and didn t always exist on any platform. To the people who can t get past something like the title? They truly don t bother me. Because if you can t get past it, then you re not ready for it. And that s OK because the show isn t about that. The show s not trying to force anyone to do anything. The show will always exist. Maybe in 30 years it won t exist on Netflix, but it will be in the canon of television and maybe one day people will be ready for it — even if they aren t now. But for the people who are ready for it and who ve been craving it, they deserve to have it. They also deserve to have it in peace, but you know America.Dear White People seasons 1-3 are now streaming on Netflix.

3. 激战团竞模式
Adjusted Score: -1% Critics Consensus: While Treadstone is as action-packed and frenetically paced as you'd expect from the Bourne universe, it lacks the narrative momentum and cohesion necessary to set it apart.

4. 呼朋唤友 随心所欲
最近腾讯代理的《妄想山海》手游,上线短短时间已经吸引了许多忠实的玩家。虽然网络上的评分似乎并不高,但真正玩进去的玩家,几乎都非常沉迷。其实到底好不好玩,一定要自己尝试过后才知道。作为一款重度非休闲手

5. HD 画质与高品质音讯
使用強大的百度引擎1建构,提供丰富详尽的资讯、逼真的特效和广阔的HD地图,营造出惊人的战术动作游戏体验。高品质音讯和3D音效让您身心完全投入枪火轰鸣的火热战斗。

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

7. 官方资讯
更多资讯请关注我们的官方社群:
官方网站:http://hbyilong.com/app/468655/23088.html
Facebook粉丝页:http://hbyilong.com/app/474726/10211.html
Twitter:http://hbyilong.com/app/904117/34110.html

展开
更新
Version 4.10.72022-01-29
查看全部

8.10.1 0月喜迎Adjusted Score: -1% Critics Consensus: Dear White People's endearing excellence returns, but with an added layer of emotional maturity that enhances the show's powerful, relevant meditations on race relations in America.
一人一个区无vip传奇是可以进入一人区三端互通的极品传奇手游,玩家将能够直接在游戏感受到最原始复古的传奇玩法,这款传奇贯彻了经典传奇的核心玩法,是一款能够一个人一个区的无vip装备全靠打的经典传奇手游,有兴趣的小伙伴欢迎下载体验。
(Photo by Addison Wright)Addison Wright s Hiplet: Because We Can is part of the Scene In Color Film Series, presented by Target, which shines a light on incredible filmmaking talent. As part of the series, three emerging filmmakers will receive mentorship from producer Will Packer, and their films are available to watch on Rotten Tomatoes, MovieClips Indie Channel, Peacock, and the NBC App.Chicago filmmaker Addison Wright discovered the subjects of his short film, Hiplet, while browsing the Explore section of Instagram. When he learned that the “hiplet” dancers – who fuse traditional ballet with hip-hop and have become viral sensations – were also based in Chicago, he knew he had to make a film about them.The film he first had in mind was not the exact film he would end up making: Initially, Wright wanted to shoot the troupe dancing in a ballroom that had, at one point in its history, been a white-only space; but when he got to talking to the dancers, and learned about what hiplet meant to them, he realized he wanted to give them time in the film to tell their own stories.Wright, who has been inspired by ’90s music videos, as well as directors like Spike Lee, Hype Williams, Spike Jonze, and Chris Cunningham, says: “The project evolved from a music video that had a story behind it – placing them in this establishment that was white-only at one point – into a short film, a documentary where they break the fourth wall and express themselves and tell the world about the adversity that they face being hiplet ballerinas.”Hiplet is the first film for the director, a graduate of Delaware State University who’s been making films for more than seven years. And it’s been an auspicious debut: Hiplet was an Official Selection at the 2020 South by Southwest Film Festival.His next project will be a feature, a love story set in Chicago’s Bronzeville neighborhood. “I didn’t grow up seeing a lot of Black love stories like that,” Wright says. “One of my favorite movies is A Bronx Tale. I’ve just always been compelled by that, that movie is just really good. To be able to make a film like that, that people of color can watch and go, ‘That’s me, I say the same things, I do the same things’… I want to add to that genre.”See more shorts and meet more filmmakers from the Scene in Color Film Series.

168手游ro手游白犬属性网新游福利群:5榴弹刀在哪20大话手游八大高手与志同道合的小伙伴一起打游戏盖世大侠手游官网,新游必有激充小钱的活码,新服火爆鼠必定活动大区有礼包,以满足玩家cf手游特种喵的月神怎么地各种需求为准则,期海贼王手游肉盾躲避痴汉待你的加入!
龙族神途手游是一款很好玩的全新超人气传奇手游。龙族神途手游中有各种霸气的职业体验秒杀的快感就是这么简单,游戏中玩家体验全新的打怪升级之旅,后期不喜欢还可以转职的哦,游戏中玩家们可以感受不一样的经典恢弘去奇妙的仙境世界去探索解锁更多专属的技能招式无畏的多服务器之间激体验最完美的游戏激情带来热血呈现。
(Photo by © Saban Films)Every time a new zombie movie – or new season of The Walking Dead – comes out, cries of the death of creativity and the oversaturation of the genre start flooding in.Though the days of George A. Romero may be gone, the zombie sub-genre has never been as popular as it is now, with new projects coming out constantly. Some are bound to be less than stellar, but if you look hard enough you can still find innovative and unique zombie movies that remind you why we’re still so fascinated with the undead.To help you plan your Halloween watch-list with some spooky brain-eating ghouls that you may not have seen, we’ve put together a list highlighting 10 zombie movies from this decade that changed the game and showed there is still plenty of life left in the genre.
火影忍者手游将于8月6日开启木叶运动会,包含一系列玩法,下面就为大家带来火影忍者手游木叶运动会玩法一览,一起来看看吧。
评分 & 评价
5.7
1.7 万 个评价
论坛
6230

亚博体彩买球靠谱 egoers had a choice between worms in ears or maggots in meat. The return of the Enterprise crew was challenged by their archenemy from the episode Space Seed, and it became what is considered to this day to be the definitive Star Trek adventure. Tobe Hooper’s Poltergeist actually opened that weekend to less than half of what Khan grossed, but audiences kept it in theaters past that Halloween, and it became not just the eighth highest-grossing film of the year (Khan was sixth), but has endured as one of the classic horror films passed down to new generations.BLADE RUNNER   THE THING(Photo by Warner Bros., Universal Pictures)Date: June 25, 1982Even the most loyal genre enthusiasts may not have appreciated this date at the time. It was two weeks into the run of audiences falling in love with Steven Spielberg’s E.T. and a shift into darker, nastier science-fiction may not have been what they were in the mood for. Ridley Scott’s follow-up to Alien opened in fourth and John Carpenter’s grisly remake of The Thing (From Another World) was a distant eighth. Cut to decades of home video, cable, and revival screenings later, and they are now both considered irreplaceable, seminal examples of genre filmmaking.RAISING ARIZONA   EVIL DEAD 2(Photo by 20th Century Fox, Rosebud Communications Releasing)Date: Mar. 13, 1987While the sequel/remake to Sam Raimi’s cult horror classic was finding its audience in 330 theaters, Joel and Ethan Coen’s follow-up to their breakthrough, Blood Simple, was released in one theater and had one of the best per-theater-averages for a single screen release in the 1980s. No film did better in 1987 than Raising Arizona did in as few theaters (.8 million in fewer than 700 theaters), and Evil Dead 2 made nearly million in no more than 310. No one would confuse their success in the moment with that of Ghostbusters or Gremlins, but the kinetic energy and wildly energetic performances in both films have been finding new fans for decades.DIE HARD   A FISH CALLED WANDA(Photo by 20th Century Fox, MGM)Date: July 15, 1988After a decade defined by the muscle-bound heroes created by Sylvester Stallone and Arnold Schwarzenegger, a new action hero was born with John McClane in Die Hard. Please God, don’t let me die, said the average-Joe cop played by Bruce Willis, and an icon was born in a film that would be foolish to leave off any list of the greatest action films ever made. While McClane fought international bearer bond bandits, an English barrister by the name of Archie Leach was matching wits with American diamond thieves in A Fish Called Wanda, written by Monty Python’s John Cleese and directed by Ealing Studios’ Charles Crichton. It opened in limited release and found a broader audience three weeks later a reminder that sometimes classics are right under your nose whether you realize it at the time or not. These films were the seventh and twelfth highest-grossing movies of 1988, but their cultural impact is priceless.BOYZ N THE HOOD  POINT BREAK(Photo by Columbia Pictures, 20th Century Fox)Date: July 12, 1991Two vastly different visions of Southern California opened on the same day in 1991, and each struck a major chord in the zeitgeist for different reasons, and at different times. The recently passed John Singleton exploded onto the scene with the most potent cultural commentary on the African-American community since Do the Right Thing, and the success of Boyz N the Hood led to his becoming the youngest director nominated for the Academy Award for Best Director, not to mention the first African-American ever. Meanwhile, on the other side of street, Patrick Swayze and Keanu Reeves were surfing and robbing banks. Though it was hardly a major success at the time, Point Break has grown its following over the years, partly for Keanu’s newfound cult hero status, but also for the unmistakable technique (and commentary on Reagan-era action films) from Kathryn Bigelow, who 18 years later would become the first woman to win the Best Director Oscar.PULP FICTION   HOOP DREAMS(Photo by Miramax Films, Fine Line Features)Date: Oct. 14, 1994After notable festival successes at Sundance and Cannes, two of the most influential films of the 1990s opened in theaters. Reservoir Dogs was Quentin Tarantino’s calling card, but Pulp Fiction was the movie that brought his unique blend of dialogue, violence, and cinematic homage to the masses. His fractured narrative became the most replicated style for the rest of the decade and beyond. Meanwhile, Steve James’ three-hour documentary about two Chicago basketball players opened in just three theaters, but thanks in part to extensive praise and coverage by Gene Siskel and Roger Ebert, it became the second highest-grossing documentary ever (behind only Madonna: Truth or Dare) at the time and helped change the landscape for the format as a viable commercial entity.TOY STORY CASINO(Photo by Buena Vista, Universal Pictures)Date: Nov. 22, 1995Few likely remember the other Thanksgiving releases (Money Train and Nick of Time) that came out the same weekend Toy Story and Casino hit theaters. It isn t just because they are forgettable films, but because the latter two marked a return to a familiar universe for one legend and the beginning of another in the world of animation. Pixar’s debut came in the midst of the Disney animated renaissance that peaked a year earlier with The Lion King. Toy Story introduced moviegoers to a revolutionary style of animation that, along with the friendship of Woody and Buzz and lessons in growing older, has endured through two sequels with a third on the horizon. Over in the next cinema, Martin Scorsese returned to the mob world for his tale of the end of their reign in Las Vegas. While some have seen Casino as treading some of the same water as Goodfellas, Scorsese has acknowledged it as a de facto sequel in respects, and the film continues to be reassessed by critics as an essential chapter in the filmmaker’s oeuvre of greed, hubris, and the collapse that follows.JUMANJI  HEAT(Photo by Sony Pictures, Warner Bros.)Date: Dec. 15, 1995After families flocked to Pixar’s Toy Story for three weeks, they then made Joe Johnston’s fantasy adventure the No. 1 film in the country, and it became one of just 10 films that year to gross 0 million. Jumanji has seen a resurgence after the passing of its star Robin Williams in 2014 and the immense success of Jumanji: Welcome to the Jungle in 2017, the sequel to which is scheduled to be released later this year. Adults, meanwhile, got the first face-to-face encounter between Al Pacino and Robert DeNiro in Michael Mann’s epic crime drama Heat. It functioned as a showcase not only for the two legendary actors, but also for the greatest moments from the films Mann made that nobody saw (particularly his TV film, L.A. Takedown). The gritty thriller has been celebrated by audiences for decades, and it s now considered Mann’s most recognizable crime drama.THE MATRIX  10 THINGS I HATE ABOUT YOU(Photo by Warner Bros., Buena Vista Pictures)Date: Mar. 31, 1999What Pulp Fiction did for crime narratives, The Matrix did for sci-fi and special effects. Keanu Reeves appears again on this list, putting his stamp on yet another seminal action extravaganza. The Wachowskis molded together cyberpunk, a little Terminator, and even some philosophy into a film that became the highest-grossing film ever released in March or April. Though the sequels split fans, the original endures to this day. 1999 was also a watershed year for teen movies, and The Matrix found itself competing against one of the defining films of that era. At the time, 10 Things I Hate About You failed to pull audiences away from the Wachowskis explosive adventure, and several others in its own genre proved more profitable that year (American Pie, She’s All That, Never Been Kissed, Varsity Blues, and Cruel Intentions all did better). But 20 years later, the film has outlasted that barrage and become celebrated as a seminal coming-of-age film for audiences of a certain age. Like Clueless four years earlier, 10 Things relied on classic literature for its inspiration and featured early work from a young powerhouse cast that included Joseph Gordon-Levitt, Julia Stiles, Gabrielle Union and, of course, the late Heath Ledger.ELF LOVE ACTUALLY(Photo by New Line Cinema, Universal Pictures)Date: Nov. 7, 2003Before Ron Burgundy, there was Buddy the elf, and before Love Actually, there was no such thing as love. OK, maybe not exactly, but in their own ways, both Elf and Love Actually have become staples of Christmas viewing, perpetually programmed on television alongside other modern regulars like A Christmas Story and It s A Wonderful Life. Will Ferrell had not had anything close to a success like this (out-dueling even The Matrix Revolutions), and to this day, it is still his highest-grossing live-action film. Richard Curtis’ film, on the other hand, was a more modest success at the time, but it has since been referenced in everything from proposals to parodies to politics. For a genre that is often replicated ad nauseum, this sprawling romantic epic has rarely been duplicated in the territory it covers.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

ecs think is marketable,” Rodriguez says, adding that this means they have to have original series because they learned “early on” that options from mainstream outlets were limiting. And while they do have name-recognizable content like the original Queer as Folk and Gay of Thrones, the popular Funny or Die webseries from Queer Eye’s Jonathan Van Ness, Rodriguez and Daniels point to other titles in their catalogue like the drag-themed docu-series, Queens of Kings, and Before I Got Famous. That web series stars Xingcheng You, a Chinese immigrant who is both looking for love and his big break in Hollywood, and focuses on stereotypes that still exist in the gay dating culture.For A/V Club Enthusiasts: Rooster TeethRooster Teeth was launched in 2003 by some friends who wanted to be the next Quentin Tarantino or Kevin Smith, but couldn’t get into festivals. Co-founder Bernie Burns told journalists at the summer 2018 Television Critics Association press tour that their service took off when “we discovered and pioneered a method of animation where we could use the 3D gaming engines in popular video games to make animation.” This led to what he touts as the longest-running digital series ever, the military-themed sci-fi comedy Red vs. Blue. They also have reality series, live-action shorts, and more.For Cult Classic Connoisseurs: Shout! FactoryWho needs reboots when you can have the classics? The TV vertical of this digitized tribute to old-school charm has everything from cult classics like Mystery Science Theater 3000 (85% Tomatometer) to relics from the years of rabbit ears like Father Knows Best and Car 54, Where Are You?. There’s also original programming like Why We Love It, a web series that strives to justify users’ love for programming of acquired taste like Rowan Atkinson’s Mr. Bean and the Nicolas Cage–Jennifer Beals campfest Vampire’s Kiss (61% TM). Gene Pao, Shout! Factory’s Senior Vice President of Digital Media, says that, “over the years we’ve found that viewers are particularly interested in ‘modernized nostalgia’ — cult and classic TV and film that shape today’s pop culture.” Shout! plays into this with marathon viewings like MST3K Turkey Day on Thanksgiving, during which Pao says “viewers can interact with each other via chat.”For Horror Buffs: ShudderThis AMC-owned streaming service celebrates the worlds of gore and supernatural. And while it doesn’t have its parent company’s juggernaut, The Walking Dead, its TV section does live up to its promise of offering “a constant stream of killer content.” Titles include AMC s adaptation of author Joe Hill s NOS4A2 (70% Tomatometer), and the documentary series Robert Kirkman’s Secret History of Comics as well as original programming like its anthology, Neil Gaiman s Likely Stories, and a partnering TWD’s Greg Nicotero on a revamp of the classic Creepshow. Shudder general manager Craig Engler says “we can do shows that other people can’t” because they aren’t as beholden to ratings.For Indie Aficionados: Sundance NowA SVOD companion to SundanceTV, General Manager Jan Diedrichsen told journalists at the winter 2018 TCA press tour that the goal of both is to find a way to “best serve fans of premium indie content in a deeper way.” This service is the home for original programming like This Close (100% Tomatometer), a rom-com of sorts about two best friends and their relationship woes that’s based on series of shorts from the 2017 Sundance Film Festival. There are also series that originated on its linear channel counterpart, like the Joanne Froggatt–Ioan Gruffudd thriller Liar (62% Tomatometer) and other fine options.For Francophiles: TV5monde (and others)(Photo by TV5monde US)Grab the macarons and red wine! This Paris-based network offers a way to watch popular French series with the aid of subtitles (and without the need of a passport). Streaming is available through Sling, and programs include the 2019 rom-com hit Un si grand soleil, which centers on family and friends in Marseille, and the police detective drama Caïn.For BET Fans Craving More: Urban Movie ChannelDespite its title, UMC actually has a rather robust TV section as well. These include episodes of WE tv’s long-running reality series, Growing Up Hip Hop. Original series include the drama 5th Ward, which is based on director Greg Carter s similarly named movie. “We pay very close attention to viewership trends and feedback from our subscribers to understand what’s working and what’s not and use that as a guide for greenlight decisions on any new or classic series,” UMC General Manager Sylvia George says, adding that their primary target audience is black women. “At a high level, the type of programming that resonates with UMC viewers ranges from romantic dramas and comedies to female-driven stories to series that push the envelope in a compelling and relatable way.”For Cinephiles: Criterion ChannelAfter the November 2018 death of FilmStruck, several other streaming options clamored to become the rightful heir to the cinephile throne, and the Criterion Collection’s streaming component is quickly rising up that rank. In addition to celebrating classic and cult cinema from around the world, the channel also has special features like behind-the-scenes footage and a guest programmer series.If Criterion isn’t to your liking, other streamers that concentrate on classic and/or under-the-radar cinema include SnagFilms and MUBI. Services like Kanopy and Hoopla have similar offerings and work in conjunction with local libraries.For Those Who Love The Great White Way: BroadwayHDLots of theater fans would like to give regular regards to Broadway, but not all of them can take regular pilgrimages to New York City (or afford the ticket prices once they’re there). In those instances, there’s BroadwayHD. The service, which Tony Award-winning producers Stewart F. Lane and Bonnie Comley founded in 2015, offers full-length stage plays and musicals at legal and considerably much better quality than those grainy videos you can find on YouTube. Productions have included musicals like 42nd Street, Falsettos, She Loves Me, and Cats, as well as renditions of Shakespeare.For When You Want Some Badass Cinema: Brown SugarSometimes you need to see some foxy ladies in tight pants kicking perps to the curb. And, for that, Brown Sugar offers Blaxploitation classics like Coffy (plus, send-ups of the horror genre like Blackenstein). But there are also more recent and — dare we say — more wholesome offerings too, like the Al Green concert Everything’s Gonna Be All Right and the family-friendly A Baby for Christmas.For Those Who Want Just The Facts: DocsvilleThere’s more to documentaries than Netflix’s latest true-crime obsession or brilliantly shot nature footage narrated by David Attenborough. This SVOD option is a warehouse of some thought-provoking visual storytelling from around the world that covers everything from Joan Rivers: A Piece of Work, a look at the legacy of the controversial yet influential comedian, to a nearly three-minute short on the privilege of having a toilet.For similar options, perhaps with more of a science bent, there’s CuriosityStream.For The Warm and Fuzzies: Hallmark Movies NowSometimes you may want a cup of hot chocolate and the chance to see perfectly lit people in winter wonderlands — even if it’s July. The Hallmark Movies Now option has an assortment of its holiday-themed classics as well as movies about weddings, beach-side flings, and other scenarios that result in emotionally charged embraces. There are television series and specials that include adaptation of biblical stories and classic novels.If HMN options feel too mainstream, there are also OTTs that specialize in Christian-themed programming like Pure Flix and Dove Channel (that would be a reference to the bird, not to shampoo and body wash).For Mainlining Martial Arts: Hi-YahDescribed as “the sound of mayhem, of flying fists and roundhouse kicks” on its website, this service — which is available for a fee as an add-on to Amazon and though Roku and other devices — is a warehouse of martial arts favorites. And that definition is a loose one. The service also has horror films, thrillers, period pieces, and more that also happen to showcase people who can destroy you while barely breaking a sweat.For Supporters of Public Broadcasting: PBS Video AppFrom Poldark and PBS NewsHour to Ken Burns documentaries and Call the Midwife, there s probably something educational and/or entertaining to find on PBS video app. Or just turn it on for some background music; there are also recordings of Great Performances and Austin City Limits shows.For Live Music Without Dealing with LiveNation: QelloConcerts are great ways to celebrate your favorite artists with peers who appreciate them as much as you do. They’re also loud, expensive and usually hassles to get to. For those who can’t (or won’t) handle all that grunt work, there’s Qello. This service lets you watch concerts and documentary footage on demand, be it Paul McCartney or Beyoncé. But its greatest asset might be that it helps cure a nostalgic hunger for artists whom we are no longer able to watch perform, such as Tom Petty or David Bowie. This week s Ketchup brings you more headlines from the world of film development news, covering such titles as Blade the Vampire Slayer, Captain Marvel 2, and Face/Off.This WEEK S TOP STORYA WIZARD OF OZ REMAKE IS IN THE WORKS(Photo by Everett Collection)Although the Oz books by author L. Frank Baum are well known, one could argue that the 1939 movie The Wizard of Oz left such a strong legacy that it kept the number of later Oz movies to a relative minimum, including The Wiz (Rotten at 42%), Return to Oz (Rotten at 53%), and 2013 s Oz the Great and Powerful (Rotten at 57%). With this week s news, however, there are now three major productions in development based on or inspired by those books. Just last week, the Wicked movie (based on the stage musical prequel) received a breath of fresh air in the form of Crazy Rich Asians director Jon M. Chu, who joined the project. And then, this week, the animated adaptation of the spin-off book Toto: The Dog-Gone Amazing Story of the Wizard of Oz made its next step toward production via a new deal between Warner Bros. and the animation studio Animal Logic. As big of a deal as both Wicked and Toto might potentially be, however, the third project announced this week has the potential to be the biggest, as New Line Cinema is now developing a new adaptation of L. Frank Baum s original novel The Wonderful Wizard of Oz, which was the direct inspiration for the classic 1939 film The Wizard of Oz. New Line has hired director Nicole Kassell (The Woodsman, Certified Fresh at 88%) to start development on the film, which unlike other adaptations can use elements from the 1939 movie, like the ruby slippers. Kassell also recently directed three episodes of HBO s Watchmen.Other Top Headlines1. SANDRA BULLOCK JOINS BRAD PITT S ACTION MOVIE BULLET TRAIN(Photo by ©Warner Bros.)Sandra Bullock and Brad Pitt have been two of Hollywood s biggest stars since the 1990s, but they ve never appeard together in the same movie. As of this week, that s about to change, as Bullock has joined the ensemble cast of the action movie Bullet Train, alongside Brad Pitt, Zazie Beetz (Deadpool 2), Aaron Taylor Johnson (Avengers: Age of Ultron), Michael Shannon, Brian Tyree Henry, Joey King, Logan Lerman, and Masi Oka. David Leitch (Atomic Blonde, Deadpool 2, Fast Furious Presents: Hobbs Shaw) is directing Bullet Train from a screenplay by Zak Olkewicz (in what may be his first released film) adapted from the novel Maria Beetle by Japanese author Kōtarō Isaka, which tells the story of five assassins aboard a bullet train in Japan who discover that their targets are all related. Although Pitt is expected to be one of the assassins, it s not yet clear if Sandra Bullock is playing one, too.2. VELVET BUZZSAW ACTRESS CAST AS MYSTERIOUS CAPTAIN MARVEL 2 VILLAIN(Photo by ©Strand Releasing courtesy Everett Collection)The Marvel Cinematic Universe occasionally recruits its villains from relative comic book obscurity. In addition to major villains like Thanos, Dormammu, Hela, The Red Skull, and Ultron, Guardians of the Galaxy Vol. 2 gave us Ayesha, and the various Black Order villains in Avengers: Infinity War weren t even introduced in the comics until as recently as 2013. So, when an MCU villain is cast, but Marvel doesn t say who it is, we re left wondering if it s someone iconic or someone even diehard comics fans might need to look up on a wiki site. That leads us to the news today that Velvet Buzzsaw co-star Zawe Ashton has been cast as the main villain in Captain Marvel 2 (keeping in mind, of course, that Marvel movies frequently have more than one villain). Ashton is joining a cast that already includes Brie Larson (obviously), Teyonah Parris (Monica Rambeau from WandaVision), and Iman Vellani (Kamala Khan from the upcoming Disney+ series Ms. Marvel). Captain Marvel 2 will be directed by Nia DaCosta, whose highly anticipated sequel Candyman (8/27/2021) is due out this year after a delay prompted by the COVID-19 pandemic. Marvel Studios currently has scheduled Captain Marvel 2 for release on November 11, 2022.3. JACK BLACK WILL VOICE CLAPTRAP IN THE BORDERLANDS MOVIE(Photo by Hopper Stone/©Columbia Pictures)The Borderlands video game franchise is built around several characters who represent standard gaming tropes, but probably the most popular character in the games is the comedic robot NPC (non-player character) Claptrap. The first time we ever heard about casting for the Borderlands movie was in May of 2020, when Cate Blanchett started negotiations to play Lilith, the Siren, which established that the Borderlands movie is aiming for A-list stars. That was a trend we saw continue two weeks ago when Kevin Hart also joined the project as Roland, the Soldier. The third cast member to be announced was Jamie Lee Curtis (who also has two more Halloween movies coming in 2021 and 2022), who will play the scientist Dr. Tannis, another NPC in the games. That news was followed this week by the news that Jack Black will provide the voice of Claptrap, meaning that both characters cast this week aren t any of the games playable characters. Like Blanchett, Jack Black previously worked with director Eli Roth on the kids movie The House with a Clock in its Walls (Fresh at  65%), and more recently, he co-starred alongside Hart in the sequel Jumanji: The Next Level.4. WATCHMEN SCREENWRITER TO ADAPT MARVEL S BLADE STARRING MAHERSHALA ALI (Photo by ©New Line Cinema courtesy Everett Collection)One of the most surprising announcements at Marvel Studios San Diego Comic-Con presentation in 2019 was the news that the vampire hunter Blade would be rebooted for the MCU with two-time Academy Award winner Mahershala Ali attached to take over the role. This week, Blade took its next step forward by hiring screenwriter Stacy Osei-Kuffour, who previously worked on the HBO Max superhero show Watchmen. Blade does not yet have a director or a release date, but Kevin Feige confirmed in 2019 that it would be part of Marvel s Phase 5 (we re currently in Phase 4). According to The Hollywood Reporter, the title of the film will be Blade the Vampire Slayer (not to be confused with Buffy the Vampire Slayer). In somewhat related news, Hong Chau, who co-starred in Watchmen as the (borderline) antagonist Lady Trieu, has joined Brendan Fraser in The Whale, the next film from director Darren Aronofsky (The Wrestler, Black Swan), about a man who weighs over 600 pounds.5. ELISABETH MOSS JOINS MOVIE ABOUT THE MAKING OF THE GODFATHER (Photo by Mark Rogers/©Universal Pictures)One of the projects that Armie Hammer s dropped out of following his recent downfall was the Paramount+ series The Offer, about the behind-the-scenes drama behind the making of The Godfather (Certified Fresh at 98%). The true story of the making of The Godfather was to be both a series and a feature film, and Oscar Isaac and Jake Gyllenhaal have both been attached to star in the untitled feature film for a while now, as director Francis Ford Coppola and Paramount executive Robert Evans, respectively. This week, the film gained its third cast member, as Elisabeth Moss has joined the untitled project as Francis Ford Coppola s wife, Eleanor Coppola, who later went on to have her own directorial career. Whatever it ends up being titled, this making-of-The-Godfather feature film will be directed by Barry Levinson, whose recent films The Wizard of Lies, and Paterno were also based on true stories.6. MICHELLE RODRIGUEZ JOINS DUNGEONS DRAGONS (Photo by Giles Keyte/©Universal Pictures)Last year marked the 20th anniversary of the first live-action Dungeons Dragons (Rotten at 10%), and about the fifth anniversary of the start of development on a new reboot of the franchise (not counting the two direct-to-video sequels to the 2000 version). In 2017, Dungeons Dragons moved from Warner Bros. to Paramount Pictures, where the latter s Star Trek star Chris Pine signed on in December. This week, Dungeons Dragons signed two more stars, both of whom have had their biggest box office successes with Universal Pictures franchises. Fast and the Furious star Michelle Rodriguez and Justice Smith (Jurassic World: Fallen Kingdom, Detective Pikachu) have both signed on to co-star in Paramount s reboot of Dungeons Dragons, based on the popular role-playing game franchise. As with Chris Pine, the specifics about what sorts of characters they will play hasn t been announced yet. Dungeons Dragons (5/27/2022) will be directed for Paramount Pictures by the team of John Francis Daley and Jonathan Goldstein, who previously directed the Vacation reboot (Rotten at 27%) in 2015 and the much better received 2018 comedy Game Night (Certified Fresh at 85%).7. ADAM WINGARD WILL DIRECT A REBOOT/SEQUEL OF FACE/OFF(Photo by ©Paramount Pictures courtesy Everett Collection)It feels like decades now that Hollywood has been obsessed with rebooting, remaking, and reimagining the movies of the 1980s, but slowly, gradually, the focus is turning to the much-maligned decade of the 1990s. If one movie is an iconic example of the 1990s action movie, there s a strong argument to be made for director John Woo s 1997 film Face/Off (Certified Fresh at 92%), starring Nicolas Cage and John Travolta as two men on opposite sides of the law who literally exchange faces. Director Adam Wingard (The Guest, Blair Witch, Death Note) most recently directed the upcoming monster movie Godzilla vs Kong (3/31/2021), so he s currently looking towards future projects, and one of them will be a reboot of the Face/Off franchise that will take the form of a sequel to the original film with a new cast. Of course, if any movie lends itself to being both remade and sequelized at the same time, it s Face/Off, since the premise basically negates any continuity issues.8. RUMOR CONTROL: SUPERMAN WON T BE IN SHAZAM! FURY OF THE GODS AFTER ALL (Photo by Clay Enos/©Warner Bros.)After the DC Comics movie Shazam! (Certified Fresh at 90%) ended with a comedy beat featuring a body double as Superman, fans were probably not at all surprised by online speculation and rumors that Henry Cavill would be co-starring as the Man of Steel in the sequel Shazam! Fury of the Gods (6/2/2023). Well, Variety debunked that rumor this week, as the trade publication has confirmed that Henry Cavill will not be joining Zachary Levi and Asher Angel in Shazam! Fury of the Gods as Superman. Shazam! director David F. Sandberg also Tweeted recently that halfway through shooting Shazam the plan was still for Cavill to be in it. Scoopers could have scooped that and been right at the time but wrong in the end. 9. ANIMATION STUDIO BEHIND ICE AGE, RIO, AND THE PEANUTS MOVIE TO SHUT DOWN(Photo by ©20th Century Fox Film Corp.)Walt Disney Pictures was already a massive hive of competing subsidiaries (including both Pixar and Walt Disney Animation Studios) before the 2019 finalization of the acquisition of the various Fox TV and film properties. So, this week s news is not particularly surprising, but it is still always sad to hear about the shutdown of a major employer, and for over 20 years, Blue Sky Studios was exactly that, with nearly 450 employees. Blue Sky released 13 animated feature films, including Ice Age and its four sequels, Rio (and Rio 2), Dr. Seuss Horton Hears a Who, The Peanuts Movie, and most recently and finally, Spies in Disguise. Specifically, the reason for Blue Sky shutting down is the COVID-19 pandemic. Although the Blue Sky library is still part of Disney, as are their intellectual properties, one project which will be canned is the animated adaptation of the Nimona webcomic by creator Noelle Stevenson, whose Lumberjanes was also at one point in development at 20th Century Fox as an animated feature. Nimona has previously been scheduled for release on January 14, 2022, and when it was cancelled, the film still had 10 months of production left.On an Apple device? Follow Rotten Tomatoes on Apple News.

2022-01-29
详细资讯
Google Play
游戏官网 官网
語言
英文
目前版本 4.38.9
游戏大小 554 MB
更新时间 2022-01-29
网路 需要
网路工具 需要
所需权限