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亚博登录APP采用百度引擎3(Baidu 2)The Expanse Cast and Creators on Their Explosive Fifth Season Dominique Tipper, Steven Strait, Wes Chatham, Shohreh Aghdashloo, and more talk about the new season, the significance of The Churn, and whether they'd like an Expanse video game. Plus, what comes after the sixth and final season? by RT Staff | December 22, 2020 | Comments

1. 亚博登录APP
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. Ryan Reynolds stars in Free Guy, a movie about a video game character who suddenly breaks from his expected monotony to reach his full potential. And as it turns out, it’s also a movie that breaks from expectations to reach its full potential. That’s the consensus from the surprisingly very positive reviews from the new action-comedy, which hits theaters on August 13.While familiar in its premise and the latest movie to capitalize on a studio’s willingness to mash up famous pop culture IP, Free Guy is said to be a lot of fun, with tons of action, laughs, and heart, plus a bunch of surprises that critics aren’t divulging. The only place where reviews really disagree, though, is in where they land on Taika Waititi’s scene-chewing villainous role.Here’s what critics are saying about Free Guy:Is Free Guy more than it seems? “Free Guy is way better than you may have been expecting — in fact, it’s absolutely joyful.” Germain Lussier, io9.com“A very pleasant surprise.” Mark Cassidy, ComicBookMovie.com“Free Guy is surprisingly far more complex than expected.” Robert Daniels, The Playlist“I never expected to see a film that hilariously deals with philosophical conundrums the way The Good Place used to.” Sherin Nicole, idobi.com“One of the summer’s bigger surprises.” Joey Magidson, Awards RadarHow does it compare to other video game movies?“The best-ever video-game movie.” Ian Sandwell, Digital Spy“One of the best video game movies that Hollywood has managed to churn out.” Hoai-Tran Bui, Slashfilm“[One] of the best video game-themed movies in recent memory.” Germain Lussier, io9.com(Photo by 20th Century Studios)Will it appeal to gamers?“It actually understands what makes video games tick.” Hoai-Tran Bui, Slashfilm“There are numerous Easter eggs for gamers to find in the background details and, crucially, it s done with love for the culture, rather than any cynicism.” Ian Sandwell, Digital Spy“Very clearly a movie aimed at young gamers… and for a film aimed at gamers, it seems pretty oblivious to what that audience actually wants in a game.” Rob Hunter, Film School Rejects“When branching off the core story and trying to bring in certain elements, gamers may be less impressed with some of the gag choices.” Aaron Neuwirth, We Live EntertainmentWhat about non-gamers?“While it’s very respectful and true to gaming culture, it’s one of those movies that almost anyone could watch and find enjoyment in.” Germain Lussier, io9.com“If you’re not into video games, I wouldn’t say that’s a hurdle for Free Guy any more than not being into Lego is a hurdle for The Lego Movie.” Matt Goldberg, Collider“Free Guy is fun and visually stunning enough to hold the interest of anyone looking for a literal escape to something far away from the real world.” Catherine Springer, AwardsWatch“Free Guy is nothing if not a movie that wins you over in spite of your better judgment and best defenses.” David Ehrlich, IndieWire(Photo by 20th Century Studios)How is the action?“The film is loaded with wall-to-wall action, albeit the cartoonish kind that makes this solid family entertainment.” Chris Bumbray, JoBlo“The action is used not just to entertain, but to develop characters, which in turn endears them to the audience.” Germain Lussier, io9.comAnd the visuals?“The world-building is incredible… The set design and VFX are impeccable and engaging.” Yolanda Machado, Nerdist“They’re just flashy enough to make the world of Free City seem both fun to live in and kind of real.” Germain Lussier, io9.comWhat about the script?“Incredibly uplifting.” Matt Goldberg, Collider“However predictable, the journey to get there makes up for it by being akin to a rocket ship.” Germain Lussier, io9.com“So much energy has been poured into the creation of Free City that the plot suffered as a result.”  Ian Sandwell, Digital Spy“If it sounds complicated, plot-wise, that s because it is, overly so, to the point that the film has to stop a couple of times to explain itself to some extent, although certain plot points remain unexplained, perhaps because the credited screenwriters could not remember the narrative point and/or lost the cocktail napkin on which the script was originally jotted down upon.” Peter Martin, Screen Anarchy“Free Guy is the unfortunate example that fails to add anything new… It neglects to build character and narrative of its own.” Rob Hunter, Film School Rejects(Photo by 20th Century Studios)Is it funny?“One of the funniest movies of the year.” Robert Daniels, The Playlist“Hilarious thanks to a few laugh-out-loud surprises courtesy of the merger between 20th Century Studios and the Walt Disney Company.” Joey Morona, Cleveland Plain DealerBut does it have heart?“It really believes in itself…there’s a real, beating heart beneath all that plastic packaging of Free Guy” Hoai-Tran Bui, Slashfilm“Will make your heart swell and burst.” Joey Morona, Cleveland Plain DealerDoes the r
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2. 公平游戏环境
That is roughly an average of a .8 million opening weekend for these 15 films that opened between .55 million and .1 million in previews. Not to be found on that list, of course, is any film to open during the pandemic; The Invisible Man is the closest film we have to that and it opened less than two weeks before things truly started shutting down. Thursday-night previews began coming back in April and have come back more full-time since Memorial Day weekend. In that time we have seen Old start with .5 million and open with .8 million and other horror films bringing in smaller numbers such as The Forever Purge (.33 million/.5 million), Escape Room: Tournament of Champions (.2 million/.8 million), and Don’t Breathe 2 (5,000/.6 million).Candyman, which like all of those films is a theatrical exclusive, bested all of them on Thursday and found itself with a .4 million opening weekend. That puts it more in line with the general average we had seen for horror movies prior to the pandemic. Certainly, this is also a one-off that is benefiting from significant name recognition, as did A Quiet Place Part II and The Conjuring: The Devil Made Me Do It (which, even with HBO Max status, began with .1 million), so even the science of numbers suggests we have to wait for more patterns to emerge. Between this strong late-summer start and the continuing success of Free Guy, we may not be back to full pre-pandemic strength but the numbers do not appear to be going in the wrong direction either.The Top 10 And Beyond: The Free Guy Success Story Continues As Jungle Cruise Crosses 0 MillionFree Guy continues to be one of the most positive stories of the summer box office. It dropped just 27% this weekend, earning another .6 million. How positive is that? It is only the best third-weekend of any film during the pandemic, ahead of A Quiet Place Part II ( million), Black Widow (.6 million), and F9 (.4 million). Free Guy is not going to approach the loftier grosses of those movies and still trails the pace of Jungle Cruise by about .5 million overall. But its third weekend bested Cruise’s (.1 million) and that film just crossed the 0 million line after making million this weekend. (That itself the second-best fifth weekend behind A Quiet Place Part II (.1 million) and ahead of F9 (.8 million)). Free Guy may take a bigger hit with Shang-Chi opening next weekend, but with .3 million in the coffers so far, it should remain ahead of Godzilla vs. Kong’s pace this week and remain on track to cross 0 million. Its global total stands at 9 million.Last week’s minor breakout success, Paw Patrol: The Movie, fell back 50% and brought in another .6 million this weekend. How does that stack up with fellow kids movies also streaming during their theatrical runs? There’s HBO Max s Space Jam: A New Legacy (fell 69.1% down to .5 million in its second weekend) and Tom Jerry (fell 53.9% to .5 million), as well as Peacock’s The Boss Baby: Family Business (fell 44% down to .8 million). Peter Rabbit 2, a theatrical exclusive, dropped 39% to million in its second weekend. Paw Patrol’s 10-day haul of .1 million puts it ahead of Tom Jerry’s .8 million, but it will likely fall short of the March release’s million total.On The Vine: Shang-Chi Offers a Test for Theatrical Exclusives The all-time best Labor Day weekend is about to become another of Disney’s conquests as Marvel’s Shang-Chi and the Legend of the Ten Rings opens. The film will be the first of Disney’s slate not made available with Premier Access on Disney+ since the pandemic began. Though, even with theatrical exclusivity, Shang-Chi is unlikely to beat Black Widow’s current total of 0 million, even though it could top the box office for three-to-five weeks straight.Full List of Box Office Results: August 27-29, 2021亚博登录APP使命召唤手游上线之后仿佛在国产游戏圈当中异常火爆,这一款游戏延续了使命召唤系列的一贯传统,游戏质量获得了众多玩家的好评和认可,使命召唤手游气势磅礴,好像有希望能够成为手游界当中的王者。

3. 激战团竞模式
I mean the thing with Ugetsu, and the whole Apu Trilogy [discussed next], that I was really looking at when I was making First Cow, was that they are super low-to-the-ground films. You get to the ambition of the potter in Ugetsu, and the sort of dream sequences of it. I love the way it s filmed, in the way the small villages are filmed, and the way you re in this hutch all the time and everyone is super low-to-the-ground. I mean everyone s sitting on the floor all the time and you re wandering through these small towns and you re inside these hutches, and I liked that Cookie [in First Cow] is sort of a down-to-the-ground guy – he s a forager.There are caste systems in both Ugetsu and the Apu Trilogy, and both of the protagonists are sort of at the bottom of the food chain and surviving hand-to-mouth. In the case of Ugetsu, I found that character relatable as far as King Lu [in First Cow] goes – he really wants to get a toe hold in the next level, and he s very seduced by getting there; he just has kind of a narrow vision of like, “I ve got to get to this place.” He also knows that he has to find a backdoor into it. And they’re all craftspeople in Ugetsu, and in First Cow Cookie is a cook and they re constantly making things, and King Lu is sewing his slippers – it s a life of just endless making of things because it’s how you re surviving.

4. 呼朋唤友 随心所欲
Binge Guide: The 5 Most Bingeable Shows Ever! For our 2020 Fall TV Survey, we asked 1,000 Rotten Tomatoes users which shows made for the best binge — here are their top picks. by Debbie Day | September 21, 2020 | Comments

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

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

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Behind the Zero(Photo by 20th Century Fox)The story behind the notorious adaptation of Martin Amis’ 1989 novel London Fields is infinitely juicier and more dramatic than the one on-screen, but that’s setting the bar exceedingly low. It s a lurid, salacious show-business melodrama involving a novel overflowing with sex and murder and the legal intrigue it inspired when an attempt was made to adapt it. The latter pitted a director eager to take his name off a picture he felt no longer represented his vision against producers he accused of adding incendiary elements against his will and a glamorous movie star couple (Johnny Depp and Amber Heard) whose marriage would explode publicly in a flurry of abuse allegations in the long years between the time London Fields was made and when it was finally released.The movie was supposed to screen at the 2015 Toronto International Film Festival until director Matthew Cullen, a music video hotshot, sued the producers for non-payment and failure to allow the promised creative control. Amber Heard, meanwhile, was sued by producers for million for failing to promote the film and publicly siding with Cullen. Heard, in turn, counter-sued, alleging that the producers used a body double to get around a nudity clause in her contract.Cullen, Heard, and several of the male leads all objected to a producer adding postmodern elements into the film, including 9/11 imagery and pornographic sequences that suggested an Asylum knock-off of the orgy scenes in Eyes Wide Shut. For years, the movie existed in a state of creative and legal limbo as different cuts were produced and legal issues were very publicly hashed out, giving the movie the kind of terrible publicity that would sink a film even if it was not as staggeringly awful as London Fields is.London Fields was finally released in 2018 to universally withering reviews (including the notorious zero rating here) and near-record box-office lows, grossing a paltry 9,000 over its opening weekend, the worst tally for a film released in over 600 theaters since 2008’s Proud American. By that time, Heard and Depp, who has an uncredited role as a peacocking dandy of a loan shark/darts champion, had gone through an ugly, public divorce that cast an ominous shadow over the already troubled film.How toxic is London Fields? Director Matthew Cullen told The Hollywood Reporter of the movie’s seething pans, I ve read the reviews. I agree with them. The Zero(Photo by Paladin)Heard stars in London Fields as Nicola Six. She’s less an unusually sexy woman than sex incarnate, a black widow of a seductress who enjoys toying mercilessly with the schmucks caught up in her web before going in for the kill.She’s a ridiculous cartoon of heavy-breathing, vampish old-school sexuality. She’s a dame to kill for, a sex bomb with the ability to reduce grown men to drooling children. She s Jessica Rabbit if she really were bad, not just drawn that way. But Nicola has another gift as well: she’s clairvoyant, albeit only to the degree that the movie needs her to be at any moment she can see far enough into the future to know that she will be murdered by one of three men unhealthily obsessed with her.First up is a rail-thin, dead-eyed Billy Bob Thornton as Sam Young, our hard-boiled narrator, a world-weary failed writer with a dark secret involving his own imminent death. Sam lucks into a decidedly one-sided apartment swap with Mark Asprey (Jason Isaacs), an obscenely successful hack writer  who lives in the same posh London building as Nicola.Sam knows that Nicola is going to die, violently, in ostensibly dramatic fashion. He believes he can get a best-seller out of lightly fictionalizing his own British misadventures, but only if he’s actually there to watch the death happen. So the scribe makes Nicola a rather curious proposal: he wants permission to be there during her demise for creative and artistic reasons, of course, in addition to a desire to make loads of money. Nicola grants it, seemingly without giving the matter any consideration.(Photo by Paladin)Thornton is uncharacteristically terrible as one of the most exhausted cliches in fiction: the desperate writer who functions as the all-powerful God of the world they’ve created but who can’t begin to figure out the complexities of real life. Thornton possesses extraordinary charisma in the right roles, and he s famously an award-winning screenwriter in real life, but he s a thin, grey mist of a man here, a burnt out “intellectual” who whispers wall-to-wall narration full of nuggets of unbearable pretension like, “Love is blind, but it makes you see the blind man. It makes you search him out with eyes of love.”Then there’s Keith Talent (Jim Sturgess), a right proper soccer hooligan/Andy Capp type who seems to have staggered in drunkenly from a lesser Guy Ritchie crime comedy. He’s a broad caricature of a boorish, ignorant working-class bloke what enjoys downing a pint or twelve at the pub, watching footie with his mates, and shagging fit birds. Nicola is, of course, the fittest of fit birds. She cannot enter a man’s life without completely overtaking it, and Keith’s all-consuming desire to shag Nicola takes precedence over everything.Last and certainly least in the three-way contest to either win Nicola’s heart and/or murder her is Guy Clinch (Theo James). Guy has the manners, breeding, and expensive attire of a proper member of the educated bourgeoisie, but Nicola’s teasing manipulation transforms him into a preposterously gullible half-wit.For example, Nicola enlists Guy s help to locate two desperate people known only as Enola Gay and Little Boy the names, of course, of the plane that dropped the first atomic bomb on Hiroshima and the bomb itself. In a more knowing film, that would qualify as a sly joke about the way Guy’s desire for Nicola clouds his judgement and renders him hopeless against even the most transparent of ruses. Instead, London Fields plays this development completely straight, and Guy learns the true nature of Enola Gay and Little Boy via a book and erupts with rage at Nicola’s trickery. In order for the film s idiotic plot to work, everyone other than Nicola has to be as stupid as the filmmakers assume the audience is.At the core of London Fields’ staggering awfulness lies a fundamental confusion about the nature of its material. Is this a parody of the heavy-breathing, sex-saturated, melodramatic, viciously misogynistic cliches of erotic thrillers, neo-Noir, and crime fiction? Or is it a straightforward, moody, pretentious exploration of sex and death and art and destiny?(Photo by Paladin)The film is at its best when it embraces the trashy, delirious comedy lurking just under the surface, like Keith dancing for joy in the rain to Dire Straits’ “Money for Nothing” after receiving, you guessed it money for nothing from Nicola. Or the fact that the flamboyant world of professional darts figures so prominently in the plot.Speaking of which, Depp overacts with trademark brazenness here in a hammy star turn as a big shot in the overlapping worlds of darts and organized crime. As is almost invariably the case with late-period Depp, ninety percent of the character comes through baroque sartorial choices. He is essentially nothing more than a walking wardrobe here, and at this point, encouraging Depp to overact is a recipe for disaster.For Nicola and Sam, death lurks in the very near future, so at least they get to leave this hell eventually, and in the meantime, they ve got something to do. They’re lucky in that respect.In the most groan-inducing self-referential touch in a meta-narrative positively teeming with them, Nicola, who could only ever be a fictional character (an obscenely, broadly drawn one at that) indignantly tells Sam, “I’m not one of your one dimensional characters, Sam.” That’s true only in the sense that Nicola would need to be fleshed out further to qualify even as one-dimensional.In an even clumsier reference to the characters in this appalling fiction knowing, on some level, that they are characters in a very bad movie, Sam tells Nicola, “I’m pretty worried that the critics are going to call you a male fantasy figure.”The critics would call her, and the movie, much worse. Even the film s own director did.Final Verdict(Photo by 20th Century Fox)Believe the hype! London Fields is an impressively idiotic insult to the noble, shadow-laden legacy of classic film noir and its contemporary bastardization, the neo-noir. It seldom rises even to the level of passable neo-noir: it’s closer to a heavy-breathing “erotic” thriller, the kind that fills Cinemax’s nighttime programming, albeit with an inexplicably prestigious, star-studded cast and an unlikely literary pedigree.London Fields’ path to the big screen was long, complicated, and fraught, but it might have worked out better for everyone involved, particularly Heard, if this boondoggle had never been released at all.Nathan Rabin is the author of six books and the proprietor of Nathan Rabin’s Happy Place.Follow Nathan on Twitter: @NathanRabin
Originally planned for one 24-hour period in August, DC FanDome wisely split into two events. August s Hall of Heroes focused on DC film efforts (with a few video game and TV presentations mixed in), while this past weekend s Explore The Multiverse centered on television, cosplay, fan interaction, and even a comic book or two. Despite switching to an on-demand system to deliver videos to the DC faithful, the September FanDome still offered an overwhelming amount of content.Luckily, we re here to parse through all of the television presentations as DC and Warner Bros. Television offered a surprising number of videos to watch. A few shows, like Black Lightning and Titans, mainly celebrated their existing seasons while other programs, like Batwoman and the upcoming Superman Lois, were better positioned to tease their 2021 seasons. So let s take a look at a few of the key takeaways from the weekend to get a sense of how we ll be spending next year in the DC Multiverse.1. Superman Lois Will Be A Family Drama With SuperheroicsFulfilling the idea Lois Clark: The New Adventures of Superman teased just before it was cancelled, The CW s upcoming Superman Lois will be something no other Superman TV could be: a family drama. Clark and Lois are married. They re not only married, they have two teenage boys, executive producer and showrunner Todd Helbing explained. The mission is, in part, to tell a story that is as grounded as it can be and still have Superman. The show will explore what it means to have children when the parents have demanding jobs like an investigative journalist and the world s most famous superhero.The show will also explore the sort of children people like Lois Lane (Elizabeth Tulloch) and Clark Kent (Tyler Hoechlin) would produce. Thanks to last year s Crisis on Infinite Earths, the couple now have a teenage son Jonathan (who appeared as an infant at the start of Crisis ) and his fraternal twin brother. According to Helbing, the writers used the universe-altering effects of the Crisis to age the kids up (and bring Jon s brother into existence) because teenagers create more conflict on family shows. Additionally, we wanted to present two kids with wildly different skill sets. Their skills, and the Kent family bond, will be tested in a somewhat familiar backdrop: Smallville. For reasons that will become clear, the family moves back to Clark s hometown —not that it s the idyllic place Clark remembers. I came from a small town in the Midwest. Helbing said. We had a business leave and the town started to dry up. Despite Smallville s upcoming economic trouble, Helbing said Clark and Lois will still find it easier to raise children [there] than it is in Metropolis. The storyline with the sons is really compelling, Tulloch said, also noting that though Lois s dedication to her work remains, the reporter wonders how much it alienates her children.Hoechlin suggested Clark will also face a similar internal conflict: When is it OK to turn off the world? he asked in regards to Superman making family time. The actor s father was a doctor and he recalled all the times he was called away to attend to his practice. It s a perspective shift for me to look back on how he accomplished that and wore both hats.

(Photo by ©Universal, ©IFC Films courtesy Everett Collection)In late 2012, when it was announced that James Gunn was going to write and direct the Marvel superhero movie Guardians of the Galaxy, the immediate response from a lot of folks was either “What?” or “Who?” The people who exclaimed the former were hardcore Troma fans who passed around copies of Tromeo and Juliet on VHS, who showed up to watch Slither on its opening weekend in 2006, and who drove to one of the mere 39 theaters that played Super in 2011. The people who thought “Who?” were likely already familiar with Gunn s work as the writer of movies like Scooby-Doo, Scooby-Doo 2: Monsters Unleashed, or Zack Snyder s Dawn of the Dead   even if they didn t recognize his name.Disney and Marvel displayed creative, outside-the-box thinking by hiring Gunn, and the decision has since proved lucrative, as the two Guardians of the Galaxy films have grossed over .6 billion at the worldwide box office. But if you ve seen Super, a film about a short-order cook with a short temper who bludgeons criminals with a pipe wrench, it s easy to wonder how Gunn s profane, violent streak would gel with a PG-13 Marvel blockbuster. In the end, Gunn mustered up all of the pelvic sorcery (for Groot’s dance moves) he built up during 20-plus years in the industry to create an awesome mix of comedy, action, and protagonists who claim their sexual exploits aboard a filthy ship have left the walls/floors/ceilings(?) looking like a Jackson Pollock painting when inspected with a black light.To celebrate the 15th anniversary of Slither (March 31st, 2006) and the 10th anniversary of Super (April 1st, 2011), we look back at how Gunn’s pre-Marvel films helped prepare him for big-budget success.1. Super And Slither Allowed Gunn to Explore the Beautiful Side of Ugly Things(Photo by (c) Universal courtesy Everett Collection)What’s refreshing about James Gunn is that he’s always been open about his directorial style and how he tells his stories. In an interview for the release of the Slither DVD in 2006, Gunn said, “I think that all of my movies have sort of a contrast between ugly and beautiful in them.” Then in 2011, while doing press for Super, Gunn gave another interview during which he said, “I can’t be told life is beautiful through a normal positive thinking book or a Hallmark movie; that language doesn’t work for me. The language that works for me is the language of f ed up cinema and comics and things like that. To find the beauty, I really need to go through a darker channel than most people.”Looking through his filmography, these statements make a lot of sense; he has consistently crafted movies about broken characters finding their way with the aid of music, crass humor, and ultra-violence. For example, there’s an “ugly and beautiful” moment in Slither that cuts between a dance party to celebrate the opening of deer-hunting season and a woman being attacked by tentacles that will turn her into a vessel for alien leech babies. In Super, Gunn treats us to a murderous rampage scored by the peppy Monsters song “God Knows My Name” that features brightly-lit animated segments and a concrete block falling 20-feet onto an unsuspecting drug dealer s head.These contrasting scenes are nothing compared to the ugly and beautiful” mayhem that would appear in Guardians of the Galaxy Vol. 2. During one scene early in the film, three protagonists absolutely murder the living daylights out of hundreds of space pirates who were dumb enough to stage a mutiny. Fueled by the Jay the Americans song “Come a Little Bit Closer,” the rampage depicts the heroes, led by Michael Rooker, smiling like maniacs while they blow holes through their victims chests. Sure, blockbuster cinema has seen plenty of murder; it’s just rare to see the murderers enjoying themselves so much.Of course, things don t pan out so well for Rooker s Yondu in GotG2, but his heroic death is celebrated in bittersweet fashion with a brilliant fireworks display at the end of the film. Gunn may take his characters through dark times, but he finds beauty in those moments. In Super, it takes the form of a second chance for Sarah (Liv Tyler), Franks ex-wife and a former addict, who moves on to make an actual difference in other people’s lives (don’t worry, she doesn’t become a murderous superhero). Gunn wants his characters to have emotional catharsis; they just have to get dirty first.2. Slither Revealed His Passion for Subversion(Photo by (c) Universal courtesy Everett Collection)Back in 2006, Gunn referred to Slither as “the weird kid in the back of the class that is putting his boogers underneath the desk.” Slither was an oddity at the time, in that it wasn’t a remake, it didn’t feature any popular teen actors, and it was loaded with unexpected amounts of over-the-top midnight movie gore. At the end of its theatrical run, the million-budgeted, R-rated film only made million at the box office, as audiences were hesitant to spend money on something so loaded with boogers. However, critics and a new group of loyal Gunn-lovers appreciated the “weird kid” film that was able to sprinkle charming profanities into any line of dialogue.The film revolves around a man named Grant Grant (Michael Rooker) who is infected by an extraterrestrial parasite that transforms him into a monster capable of scalping the hairlines off of people with a flick of a tentacle. The million-year-old parasite wants to destroy the Earth, but it meets its match in Grant s wife Starla (Elizabeth Banks), the foul-mouthed Mayor Jack MacRready (Gregg Henry and a nice The Thing reference), teenager Kylie (Tania Saulnier), and police chief Bill Pardy (Nathan Fillion).While the creature effects and slime look excellent, it’s the human characters who steal the show. Fillion in particular feels like he was born to read Gunn’s dialogue, and he has zero issues being the “dude in distress.” In a refreshing twist, Starla and Kylie are the true heroes who battle gross slugs, finish off Grant, and put up with a plethora of profane, annoying men.Slither wears its “weird kid” badge proudly, and the singular vision and script likely hurt its box office chances. That said, the same thing happened to The Thing, Tremors, From Dusk Till Dawn, In the Mouth of Madness, and You’re Next  movies, in other words, that went hard on humor, gore, or tentacles and found their audiences on VHS or DVD.3. Super Pushed the Label Dark Comedy to Its LimitsWhile some of the dialogue in 2011 s Super sounds a bit like fingernails on a chalkboard nowadays, it’s hard to hate on the million-budgeted dark superhero satire about a man named Frank (Rainn Wilson) who really just wants crime to shut up. It’s a grim and grimy experience whose protagonist is a 30-something loner who thinks happy people are arrogant because happiness is overrated, and who fights crime by waiting behind dumpsters for it to happen in front of him. He’s the kind of wet noodle that doesn’t stick to a wall, and mostly does what others tell him to do – he even cooks eggs for Jacques (Kevin Bacon), the drug dealer who stole his wife away from him.Frank s origin story, as it were, is appropriately loony. One day, while watching television and lamenting the loss of his wife, he receives a message from God in the guise of the Holy Avenger (Nathan Fillion). Fueled by delusions of grandeur, Frank becomes The Crimson Bolt, a pipe wrench–wielding vigilante who makes even The Punisher look sane.For added superhero insanity, Frank is compelled to team up with a young psychopath named Libby (Elliot Page), who has to be reminded not to murder people when she s fighting crime. The pair fuel the worst impulses in each other, which produces alternately uncomfortable and violent encounters and ultimately results in Libby s gruesome, untimely death, which comes so unexpectedly it s played both for shock value and for laughs.Super is the rare superhero film that shows how ugly real violence can be. You won’t see Captain America striking a pose as he mows down pseudo-Nazis or Thor looking svelte during a rain-drenched fistfight. What you get is Rainn Wilson breathing heavily as he bludgeons someone with a wrench. Once again, Gunn plumbs the dark channels of his psyche to tell a story about a man who murders criminals so that one woman can right her ship, beat her addictions, and do something good for the world.4. Gunn Experimented – Wildly – With Balancing Humor, Horror, and Violence“I’m tryin’ to get a buzz on, but I can’t. I’m too buff, got too much muscle mass.” With these immortal words, the audience grew to love Slither s Police Chief Bill Pardy, who is terrible with grenades but great with one-liners. Throughout Slither, Pardy keeps things lighthearted even as hundreds of people die and he’s attacked by animatronic deer. When bodies explode, Pardy is there to do something dumb to mitigate the disgust with a dose of levity. It s an effective tool that Gunn would use with great success in the Guardians of the Galaxy movies think lines like “I’m Marry Poppins, y’all” or “I am going to die surrounded by the biggest idiots in the galaxy.”Balancing comedy with horror is a delicate job; you want to provide a release from the tension, but you don’t want the horror to be watered down with too many jokes. The same goes for PG-13 Marvel properties. Gunn couldn’t afford to alienate the mainstream with over-the-top provocative dialogue, but he was able to infuse some Gunn-isms into a very mainstream movie.Gunn has two mainstream R-rated screenplays that have earned Rotten Tomatometer scores, namely Super (49%) and The Belko Experiment (54%). Both films lean heavily into mean territory, and their scripts have difficulty finding a balanced tone. The Belko Experiment largely eschewed humor altogether as director Greg McClean (Rogue, Wolf Creek) chose instead to focus on the darker, more violent aspects of Gunn s script. Super does play up its extreme violence with comedy, but the coarse humor and dialogue feel like an extra weight on the audience s shoulders as they watch a 100-minute violent meltdown. Even so, Gunn s experimentation with tonal shifts is evident in both scripts, and his ability to harness his wildest instincts since then have helped make him a unique filmmaker.5. On Slither, Super, and More, Gunn Perfected Offbeat Group Dynamics and CamaraderieLooking back, it’s clear how James Gunn’s career trajectory led him to success with edgy comic book adaptations like Guardians of the Galaxy and the upcoming The Suicide Squad.Gunn has thrived when adapting or re-imagining properties for the modern age. The two PG-rated Scooby-Doo movies he wrote pulled in 0 million Scooby snacks domestically (adjusted for inflation); his screenplay for Zack Snyder’s Dawn of the Dead in 2004 helped launch Snyder s career and proved horror remakes don t have to be Rotten; and while Slither and Super weren t instant hits upon release, they’ve become cult classics that helped Gunn refine his skills and gave him insight into eclectic superheroes, visual effects, and time-consuming makeup and prosthetic applications.When it comes to his characters, his past adaptations and scripts share a similar theme, too. The Scooby-Doo films are about a gang of total opposites (and a talking dog) who team up to investigate ghosts and occasionally eat a cotton candy monster alive while it screams in pain. The Specials is about the seventh-best superhero squad on the planet. Dawn of the Dead is about a group of strangers who hide out in a shopping mall during a zombie apocalypse. Slither features a mismatched crew defending the world, and Super is about A-hole “Superheroes” who form an alliance against Kevin Bacon. Heck, even Tromeo and Juliet is an adaptation of Shakespeare’s famous tragedy about two families at war.(Photo by Jay Maidment/Walt Disney Studios Motion Pictures)In other words, Gunn clearly has a thing for unlikely makeshift families and mismatched strangers thrown together by circumstance themes that echo strongly in the Guardians of the Galaxy movies and that will likely play a big role in The Suicide Squad. Gunn has found a way to combine his style with Marvel’s and soon, DC s mainstream sensibilities, and he’s become one of the most well-respected names in the industry. His experiences on both Slither and Super helped him evolve as a director, and you can see their DNA clearly in the blockbuster fare that planted his name squarely on the lips of comic book geeks and superhero movie fans across the world.Slither was released on March 31, 2006. Super was released on April 1, 2011.On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Marvel Comics)As Marvel Studios and Disney+ continue to chart new waters with their new Marvel television shows a selection of limited (and potentially not so limited) series with deep ties to their film franchise they continue to surprise moviegoers and thrill fans of the comics with their deep pulls from the comic book library. One such character is She-Hulk; her origins are fascinating, and her conquest of the streaming landscape will fulfill a destiny that has eluded her for decades. At the same time, nothing in her world is that grandiose for long, so let’s take a look at what we know about the She-Hulk series so far and get a feel for what it might be like and how it could expand the Marvel Cinematic Universe.She-Hulk Was Created To Prevent A TV Show(Photo by ©Universal Television courtesy Everett Collection)Created by John Buscema and Stan Lee in 1980, Jennifer Walters is the cousin of Bruce Banner. After she is accidentally shot by mobsters looking for her father, Bruce volunteers to save her life with a blood transfusion. The procedure transfers some of his gamma-irradiated power into Jen. Initially, she Hulks out whenever she gets angry, but her powers and why they manifest become more nuanced over the years. Oh, also, she happens to be an attorney working in New York, which makes things a little bit tough when she starts showing up to court all green.Unlike her cousin (at least, up until Avengers: Endgame), Jennifer develops great control of her powers, maintaining her wits even if she ends up a little short-tempered as She-Hulk. Additionally, she can go for a very long without reverting to a purely human form. In fact, she prefers being somewhere between human and Hulk.But as legend tells it, She-Hulk was created at a time when Marvel was branching out into television with the very successful The Incredible Hulk TV series starring Bill Bixby and Lou Ferrigno. The show s producer, Kenneth Johnson, also had success with The Six Million Dollar Man spin-off, The Bionic Woman. Fearful he would think of a gender-swapped Hulk first, Marvel rushed She-Hulk into the pages of her very own title, The Savage She-Hulk, which ran for 25 issues. Afterward, She-Hulk would guest star in other comic titles and eventually join the Avengers and the Fantastic Four. She would also get her own title again, as well as various miniseries and short-run comics.(Photo by Marvel Comics)Once trademarks were secured, Marvel shopped Jen around as a potential series in her own right. She nearly made her TV debut in 1990 s The Death of the Incredible Hulk TV movie. ABC was also circling a She-Hulk series around the same time, but neither her cameo nor the series came to fruition. Soon after, Larry Cohen began working on a She-Hulk film with Brigitte Nielsen set to star, but that never materialized either.At one point in the 2010s, ABC and Marvel Television were also developing a female-led series that very well could have been another attempt at She-Hulk. That plan, whichever character it was based on, was snapped into dust when Marvel Studios took control of all TV operation in the summer of 2019. Around the same time, studio president Kevin Feige announced at the 2019 D23 Expo that She-Hulk would join the roster of Disney+ series. The other series announced that day included Hawkeye, Ms. Marvel, and Moon Knight, and while all four premises could make great television, She-Hulk has long been ready for prime time.A Lawyer By Day And An Avenger By Night(Photo by Marvel Comics)To a certain extent, the pitch for She-Hulk should be one of the easiest sells in television: a single female lawyer who also happens to be a Marvel superhero. In fact, this was the basis for a 2014 She-Hulk comic book series by writer Charles Soule – a practicing attorney at the time ­­ ­­ artist Javier Pulido, and colorist Munsta Vincente. After a number of years guest-starring in superhero books (and with a new She-Hulk taking Jen s place), Soule and his team moved her to the DUMBO neighborhood of Brooklyn, where she went into a small practice defending other super-powered beings. Along for the ride were the potentially supernatural paralegal Angie Huang, her pet monkey Hei Hei, and Patsy Walker (a.k.a. Hellcat) as a private eye on retainer.Jen’s cases included representing Doctor Doom’s son s attempt to obtain political asylum, clearing an aged Steve Rogers of a wrongful death wrap stemming all the way back to 1940s, and getting a small-time villain s widow her due share of a patent stolen by Stark Industries. It even had a “season-long mystery” in the form of the Blue File – a incident Jen was involved in but could not remember to save her life.Additionally, Jen’s office was in a building filled with other super-powered entrepreneurs, and by the series’ conclusion, Howard the Duck moved in down the hall. Playful with Marvel history and with gripping storytelling in its own right, the Soule She-Hulk series can be seen as a proof of concept for the TV show Marvel Television wanted to make or the show Marvel Studios will make.(Photo by Albert L. Ortega, Rodin Eckenroth/Getty Images)We’re betting the series will have a similar comedic edge, thanks to lead writer Jessica Gao and executive producer Kat Coiro. Gao cut her teeth as a writer on Rick and Morty – she wrote the meme-friendly Pickle Rick episode. Her other credits include episodes of Robot Chicken and The Mighty B! Coiro, meanwhile, is a veteran director from shows like It’s Always Sunny in Philadelphia and Brooklyn Nine-Nine. She is currently slated to helm the pilot and direct several more episodes.Of course, the comedy Gao and Coiro may mine from the comics is not limited to Soule’s time with the character; writers like John Byrne and Peter David also found the premise to be a solid driver of laughs. They also found the character offered plenty of dramatic stakes. A more recent run by writer Mariko Tamaki reframed Jen’s ability to Hulk out as a form of PTSD, using the concept for a more serious tale. Though she eventually returned to super-heroing as She-Hulk, the story illustrated just how malleable the character could be, and it re-established that Jen could live her life in a more human guise.The Face Of Jennifer Walters(Photo by Dee Cercone/Everett Collection)After years of speculation and names like Betty Gilpin, Alison Brie, and Kerry Washington bandied about by fans, Marvel shocked everyone by signing up Orphan Black’s Tatiana Maslany to play Jen. As her BBC America series revealed, she is great with drama and no slouch with comedy. Various guest roles on shows like Parks and Recreation also underscored those comedic chops.That should work in her favor, as the series appears to be leaning more into that aspect of the character than, say, an Avengers-style adventure or the more serious drama of Tamaki’s story. But Maslany’s casting left people wondering if she will play Jen and She-Hulk, or if someone else will be her Lou Ferrigno and slather on some green paint to portray Shulkie. For much of her time in the comics, Jen has remained a statuesque (and green) force for justice and the law. Maslany’s relatively diminutive height suggests one of two equally valid options: she will Hulk out when necessary or, like Mark Ruffalo’s Bruce in Avengers: Endgame, her entire performance will be motion captured so Jen can be animated into every scene. These Marvel shows are said to be quite expensive, so the money is there to do it. Alternatively, the story could see Jen learning to balance herself with a more Hulk-half and see her practicing law as She-Hulk by the end of the first season. Well, assuming She-Hulk is intended as a multi-season series, of course. Marvel has been imprecise about its status as a limited series like WandaVision or Loki.The fact is, there is a great story to tell with Maslany as Jen – and that’s before you consider all of the Marvel elements it could introduce or even reintroduce.The Courts As A Window Into Marvel’s Manhattan(Photo by Marvel Comics)When Marvel Television and Marvel Studios became separate corporate entities thanks to a restructuring at Disney, the plan to keep everything connected dissipated, leaving Manhattan as the purview of the Netflix Defenders scheme. Marvel’s other famous lawyer, Matt Murdoch (Charlie Cox), led the way on Daredevil while Patsy Walker transformed into Trish Walker (Rachael Taylor) on Jessica Jones.But when plans for the Marvel series on Disney+ became public, Netflix became less interested in committing to more Defenders. Across 2018 and 2019, a bloodbath ensued as Luke Cage, Daredevil, Iron Fist, The Punisher, and Jessica Jones were all cancelled. Though various reasons were offered, it was clear Disney becoming a direct competitor of Netflix soured the relationship.As a New York-based lawyer – sometimes with her own firm, sometimes as part of a bigger and more prestigious one – Jen is the perfect character to re-introduce some of these lost Manhattan residents. We’d love to see Taylor return as a reformed Hellcat who works for Jen as a repayment for getting her out of the Raft early. We’d also love to see the character re-imagined as a more direct version of the Patsy Walker seen in the pages of Soule s She-Hulk. And it only seems like a matter of time before Jen faces Matt Murdoch in court – either played by Cox or someone entirely new.(Photo by Barry Wetcher/©Netflix, David Giesbrecht/©Netflix)Timing is, of course, an issue. Marvel has something of a non-compete clause with Netflix regarding the characters on those shows. The clause is set to expire two years after each show debuted its final season on Netflix, but Marvel cannot even begin to talk about developing shows with the characters in the interim. As it happens, characters from Luke Cage are, presumably, available to Marvel Studios now as that series debuted its final season on June 18, 2018. Matt Murdoch, Foggy, and the rest of Daredevil s crew will likely be free for use in a month s time. Jessica Jones characters, however, must remain sidelined until June 14, 2021. The situation may keep Hellcat from being part of the main She-Hulk cast, but Marvel could probably pull off a special guest appearance by Cox’s Murdoch if they are so inclined.Meanwhile, She-Hulk could also suggest things like the Baxter Building (home of the Fantastic Four), Doctor Doom’s homeland of Latveria, or, potentially, the Mutant teens who call Xavier’s School for Gifted Youngsters in Westchester County home.That’s one of the great things about She-Hulk as a format: it can be as small as a courtroom drama or go as big as an Avengers film.A Phase 4 (Or Phase 5) Surprise(Photo by Marvel Comics)It is currently unclear when the series will debut on Disney+. Going by the original D23 plan, it was set to be part of the MCU’s Phase 5 calendar and premiere sometime after Hawkeye. But with that series still lacking a critical star, it appears She-Hulk is moving into the post-Loki slot for the end of Phase 4 and a potential late 2021 release. Of course, that could change quickly, so consider a 2022 debut the most likely scenario.On an Apple device? Follow Rotten Tomatoes on Apple News.
手游国服版本的配音老师是李晔,其实她是端游英文播报的配音,不过,由于很多玩家进行反馈,官方此前也表示会优化手游的语音播报,可能会提供多种语音播放选择。
又是一款PC游戏的移植,不过《暗黑破坏神:不朽》却没有上面那款手游那么坎坷。去年年底的时候,暴雪官方已经邀请了全球媒体与部分澳洲玩家参与了限时的Alpha技术测试,博士也和大家分享了游戏感受。《暗黑破坏神:不朽》自然是有氪金系统的,不过你如果对PVP没有兴趣,只想和朋友一起去刷装备,那么这款随时随地都可以玩的《暗黑》手游还是值得推荐的!
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6.3
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7 天前

游戏时长 51分钟

Two of Netflix’s biggest titles are returning this month for a summer binge — and that’s just the half of it! With the reboot of Veronica Mars on Hulu, the final season of Suits on USA, and Sarah Jessica Parker still charming away on HBO, there’s plenty to keep us busy in front of the small screen. Catch up on it all below.Divorce 78% (HBO)What it is: After reaching household-name status and everygirl envy on Sex and the City, Sarah Jessica Parker makes her way back to prestige TV’s small screen with Divorce, where she stars as Frances, a middle-aged mother and beleaguered wife to Robert (Thomas Hayden Church), who, after having an affair, realizes they’d both be better off without having a ring on it.Why you should watch it: Parker has always been a fine actress, and she puts her well-practiced on-screen skill set to excellent use here, mining creator Sharon Horgan’s (Catastrophe) emotionally hefty and darkly humorous scripts with empathetic aplomb. Season 3 premieres July 1 on HBO.Where to watch it: Amazon, FandangoNow, Google Play, HBONow, Microsoft, VuduCommitment: Approx. 9 hours (for the first two seasons)Stranger Things 93% (Netflix)What it is: A dark mystery overtakes a rural Indiana town when the young Will Byers goes missing and a young girl with a shaved head and telekinetic abilities appears. Something sinister and supernatural has come out to play — and that’s just the pilot! So buckle up. Why you should watch it: It was the synth-laden soundtrack heard ’round the world three summers ago when Stranger Things dropped out of nowhere onto Netflix and took us all by storm. A back-to-form Winona Ryder, career-best David Harbour, and breakout stars by way of all its kids (but particularly Emmy nominee Millie Bobby Brown) are pitch-perfect and paired with plenty of ’80s-era horror nostalgia to make you want to watch this series again and again — and there ain’t nothin’ strange about it. Season 3 streams July 4 on Netflix.Where to watch it: NetflixCommitment: Approx. 17 hours (for the first two seasons)Harlots 97% (Hulu)What it is: Set in 1763 London, Hulu’s Harlots charts the lives of sex workers in two warring brothels, one led by Margaret (Samantha Morton) and the other by Lydia (Lesley Manville). The series, from creators Alison Newman and Moira Buffini, is a period drama inspired by the true-life accounts documented in The Covent Garden Ladies by Hallie Rubenhold, but don’t let its nonfictional nature bore you: Harlots is more juicy than dry.Why you should watch it: Harlots is so much more than a show about sex — in fact, that subject is met with less titillation and more sterile professionalism. It instead subs in rich and complex characters, mostly women, and a backdrop that allows for explorations of gender and class in 18th century England. Furthermore, Oscar nominees Morton and Manville get the chance here to showcase just why they’re both widely considered British acting royalty. Season 3 premieres July 10 on Hulu.Where to watch it: Amazon, HuluCommitment: Approx. 12 hours (for the first two seasons)Snowfall 87% (FX)What it is: Created by the late John Singleton, Eric Amadio, and Dave Andron (the latter of whom serves as showrunner), Snowfall follows in the footsteps of other FX dramas like Atlanta in that it tells the story of an ostracized community in ways that we haven’t seen before — this time by dramatizing the rise and breakout of the first crack epidemic in 1984 Los Angeles and its greater impact on American culture at large.Why you should watch it: As riveting as it is eye-opening, this street crime series pulls no punches in its portrayal of the drug trade and its implications in both micro and macro spheres. Startling performances from its ensemble of relative newcomers also bring us into a world that until now has been left off narrative television — and they keep a hold on us there. Season 3 premieres July 10 on FX.Where to watch it: Amazon, FandangoNow, Google Play, Microsoft, VuduCommitment: Approx. 15 hours (for the first two seasons)Grantchester 95% (PBS)What it is: Fans of period drama from the other side of the pond will have plenty to sink their teeth into with Grantchester. All is not as it seems in the series’ titular village, and clergyman Sidney Chambers (James Norton of the excellent Happy Valley) is caught in the middle, balancing his faith and obligatory duties while investigating a series of crimes in the area.Why you should watch it: Based on James Runcie’s book series and adapted for the screen by Daisy Coulam, this U.K. transfer from ITV has drama to spare. While at face value it may seem like the prim and proper British drama, underneath this clerical collar are festering secrets and dark pasts that bubble to the surface over the course of Grantchester’s hour-long episodes. Each season is only six installments, so there’s plenty of time to binge and catch up before season 4 premieres July 14 on PBS.Where to watch it: Amazon, FandangoNow, Google Play, Microsoft, VuduCommitment: Approx. 15 hours (for the first three seasons)Suits 90% (USA)What it is: Creator Aaron Korsh struck gold in 2011 with this popular legal drama — and it’s got nine acclaimed seasons to prove it! The premise is simple: Mike Ross (Patrick J. Adams) is a law school dropout and brilliant fraudster who, upon impressing New York City’s top closer, Harvey Specter (Gabriel Macht), lands a job as Harvey’s associate despite not having a license to practice law. But Mike proves that he’s up to snuff, and together he and Harvey work to keep his sordid past and illegitimacy a secret.Why you should watch it: Suits came into the international spotlight in recent years thanks to a new royal named Meghan Markle, but if that wasn’t reason enough for you to catch up on this USA Network affair, we’ve got a few more for you. The series works because it’s in on its own fun, and its high concept rags-to-riches premise rings true thanks to the chemistry of Adams and Macht. It’s a steep order to binge eight seasons, of course, but the show’s two charming leads and a formidable supporting cast have kept us coming back for more. Suits’ ninth and final season premieres July 17 on USA. (Fittingly, its new spin-off series, Pearson, also premieres that night on USA.)Where to watch it: Amazon, FandangoNow, Google Play, Microsoft, VuduCommitment: Approx. 94 hours (for the first eight seasons)Workin' Moms (Netflix)What it is: Creator and star Catherine Reitman plays the leader of a central group of friends and working moms as they make the transition from maternity leave back to office life.Why you should watch it: Being a mom is a full-time job paid in sleepless nights, dirty diapers, and, of course, unconditional love. Pair the laundry list of responsibilities that come with that job with a salaried 9-to-5, however, and tragic comedy is sure to ensue. That’s where Reitman comes in, translating it all for this semi-autobiographical sitcom. The Canadian series has already aired three seasons across the border; season 2 is finally making it to Netflix in the U.S. July 25.Where to watch it: NetflixCommitment: Approx. 6.5 hours (for the first season)Orange Is the New Black 90% (Netflix)What it is: Jenji Kohan’s runaway (but locked-up) Netflix hit is ensemble work at its finest, following the day-to-day lives of the ladies of Litchfield Penitentiary and exploring the diverse crimes that got them there.Why you should watch it: Inspired by Piper Kerman’s (here Piper Chapman, played by Taylor Schilling) real-life account of her arrest and imprisonment for drug-related money laundering, this hour-long dramedy opens up to include the equally heartbreaking (and often humorous) biographies of fellow inmates played by Emmy winner Uzo Aduba, Laverne Cox, Danielle Brooks, Natasha Lyonne, Samira Wiley, and others. From season to season, Orange — revolutionary and acclaimed for its on-screen diversity — becomes more and more timely, tackling everything from trans rights to gender equality to Black Lives Matter. Its seventh and final season streams July 26 on Netflix.Where to watch it: NetflixCommitment: Approx. 68 hours (for the first six seasons)Veronica Mars 91% (Hulu)What it is: Set in the fictional town of Neptune, California, Veronica Mars follows the criminally charming Kristen Bell as our titular hero who cracks mounting mysteries as a high schooler and self-started private investigator.Why you should watch it: Veronica Mars is a CW cult classic from the early 2000s with an especially impassioned fanbase (its 2014 feature film was fully funded on Kickstarter) — and there’s no better time than now to see what all the hype is about. Its long-awaited fourth season returns July 26 on Hulu.Where to watch: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 48 hours (for the first three seasons)The Letdown 91% (Netflix)What it is: They say misery loves company, and The Letdown has that in spades, charting the ups and downs of being a first-time mother through the eyes of Audrey, a woman trying to keep her head above water while being more than “just a mom.”Why you should watch it: This Australian comedy from creators Alison Bell and Sarah Scheller (the former of whom also stars) finds the pitch-black humor in newborn motherhood with the richly dry humor and self-deprecation native to its home country. Season 2 streams in full July 31 on Netflix.Where to watch: NetflixCommitment: About 3 hours (for the first season)Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Thumbnail photo credit: JoJo Whilden/Netflix; Netflix; Hulu

游戏时长 0.5小时

Ghcxuf It’s time for a new hit movie musical, and Netflix hopes The Prom will rise to the occasion. Fortunately for them, if the first reviews are any indication, Ryan Murphy’s adaptation of the Broadway show will fit the bill and delight subscribers of all ages with its mix of old-school razzle-dazzle and progressive subject matter.The Prom, which arrives on the streaming service December 11, stars Meryl Streep, James Corden, Nicole Kidman, and Andrew Rannells as egocentric showbiz types from NYC who descend upon a conservative Midwest American town to help a teen (Jo Ellen Pellman) whose sexual orientation has caused her school to cancel the titular dance. For both its message of tolerance and its lively spectacle, it seems like it might just be the movie of the year.Here’s what critics are saying about The Prom:Should Ryan Murphy fans flock to the movie?It s a perfect combination of filmmaker and material.  Ian Sandwell, Digital SpyThis film is well inside Ryan Murphy’s Glee wheelhouse.  Fionnuala Halligan, Screen InternationalMurphy is back in Glee territory here, for better or worse.  David Rooney, Hollywood ReporterRyan Murphy again finds the underdog vibe of Glee that captured pop culture’s imagination.  Brian Truitt, USA TodayThe Prom demonstrates that Murphy has matured as a filmmaker since his Glee days.  Courtney Howard, Fresh FictionThe Prom is the best of what Murphy can offer Hollywood — a taste of the past with its eyes on the future.  Jude Dry, IndieWire(Photo by Melinda Sue Gordon/Netflix)Is it a worthy adaptation of the musical?[Murphy’s] real achievement is making The Prom feel like a film rather than a captured-on-camera stage production, one that still retains the let’s-put-on-a-show energy of live theater. Thom Geier, The Wrap[The] stage vision translates surprisingly well to the screen thanks to the movie’s visual flair. Jude Dry, IndieWireBut what if you don t care for musicals?It probably goes without saying, but anybody with an aversion to musicals or Murphy s previous work, such as Glee, should stay well clear of The Prom. Ian Sandwell, Digital SpyRegrettably, much of the film s humor comes in the form of musical theater in-jokes. Mary Sollosi, Entertainment WeeklyIn recent years, there’s been a spate of musicals that you’ll enjoy even if you don’t like musicals … The Prom is no such musical. Ben Travis, Empire MagazineRyan Murphy offers a fun and lightweight musical that will certainly not win over the sort of people who detest the genre but will likely entertain those who do. Lewis Knight, Daily MirrorThe Prom isn’t quite as ubiquitous as, say, Cats or Les Miserables, and thus Murphy’s film will feel refreshing for a streaming audience often itching to watch Netflix’s next big thing. Brian Truitt, USA Today(Photo by Melinda Sue Gordon/Netflix)And what about fans of old-school musicals?Aside from its impassioned overtures for LGBTQ+ rights, The Prom has all the makings of a classic Hollywood musical. Jude Dry, IndieWireIf The Prom is a proudly liberated musical, it’s also one that’s so defiantly square, with a vibe that reaches back to the incandescently wholesome musicals of the studio system. Owen Gleiberman, VarietyIt will frustrate audiences who prefer their musicals with subtlety and nuance. Doug Jamieson, The Jam ReportHow are the songs?The heartrending songs Pellman and [Ariana] DeBose deliver are sweet and, more importantly, powerfully poignant. Courtney Howard, Fresh FictionCatchy in the moment, even if they seldom linger long in the head. David Rooney, Hollywood ReporterThe songs truly are terrible. Jesse Hassenger, AV ClubRyan FujitaniHow is Meryl Streep?Streep is transcendent… a genuine campy hoot. Courtney Howard, Fresh FictionStreep is consistently hilarious. David Rooney, Hollywood ReporterStreep absolutely shines in her most endearing role in years. Doug Jamieson, The Jam ReportMeryl Streep is having the most fun in years as she revels in her character s awfulness. Ian Sandwell, Digital SpyAs fantastic as every cast member is — and there isn’t a dud in the bunch — it’s still Streep’s show. Jude Dry, IndieWireAnd James Corden?I don’t think he has ever been better. Scott Menzel, We Live EntertainmentHe burrows so deeply into the character’s quibbling insouciance that he gives him a three-dimensional essence. He’s soulfully funny and touching. Owen Gleiberman, VarietyCorden’s performance feels the most like a caricature and comes across as especially calculated, with some moments landing with comedic heft but most of them not. Lewis Knight, Daily MirrorIt s a flat performance without much heart… This is a role that cries out for Nathan Lane. David Rooney, Hollywood ReporterMurphy made a major error in the casting of James Corden as the musical s gay male lead character… a flaw that undoes a lot of the good work elsewhere. Corden camp[s] it up to the point of being regressive and offensive… His performance comes across as dated and strikes a sour note. Ian Sandwell, Digital Spy(Photo by Melinda Sue Gordon/Netflix)And what about their young castmates?I would certainly be remiss if I did not mention newcomer Jo Ellen Pellman who absolutely steals every scene that she is in. Scott Menzel, We Live Entertainment[Pelllman is] “one of the discoveries of the year. Ian Sandwell, Digital SpyPellman makes an assured debut. Yet it’s DeBose who turns in a star-making performance. Courtney Howard, Fresh FictionPellman holds her own throughout, plus she and DeBose… form a dynamic pairing essential to the film’s aspirational themes. Brian Truitt, USA TodayDoes Pellman s Emma get enough screen time?The film really sparkles when [Pellman and DeBose] are in the spotlight. If only the focus was on them more often. Emily Maskell, Little White LiesWhere’s Emma in all of this?… The Prom doesn’t seem especially interested in accepting Emma as an individual person. Jesse Hassenger, AV ClubThis, though, is Emma’s story, and she gets lost in the mix…the character feels thin. Ben Travis, Empire MagazineIt s a shame the film doesn t spend more time with Emma as a character as this is truly her story, even if sometimes the Broadway divas are more fun. Lewis Knight, Daily MirrorThe movie belongs not to the people with the painful problem, who actually overcome something difficult, but the quartet of invaders… The film has way too much in common with the egomaniacs at its center. Mary Sollosi, Entertainment Weekly(Photo by Melinda Sue Gordon/Netflix)Does it convey its message convincingly?The Prom is very much a movie about the two Americas, and part of its luster is that it portrays the conservative Midwestern one with dignity, even as it attacks the impulses of bigotry. Owen Gleiberman, VarietyBob Martin and Chad Beguelin’s script goes as soft as cafeteria Jell-O when it comes to the Indiana crowd. Thom Geier, The WrapIts core message of inclusivity and tolerance is more than welcome, even if it’s more fun to watch the self-absorbed Broadway stars learn their lessons than the PTA come to heel. Fionnuala Halligan, Screen InternationalThe Prom is better at satirically skewering Broadway than it is at seriously skewering homophobia, which feels like a missed opportunity. Ben Travis, Empire MagazineShould you keep the tissues handy?There won t be a dry eye in the house come the finale. Ian Sandwell, Digital SpyI’ve watched the film twice already, and I teared up both times. Scott Menzel, We Live EntertainmentThe tear-jerking climax is worth the wait, despite the choppy waters along the way. Lewis Knight, Daily Mirror(Photo by Melinda Sue Gordon/Netflix)Is The Prom the perfect way to end 2020?After the year we’ve all had, Netflix’s glorious musical comedy The Prom couldn’t have come at a better time. Brian Truitt, USA TodayThis is a feel great musical extravaganza that is exactly what the world needs in 2020. Scott Menzel, We Live EntertainmentThe Prom is everything you need right now. Jude Dry, IndieWire[It’s] an eye-poppingly vibrant finale to a grim year. Ben Travis, Empire MagazineThe Prom premieres on Netflix on Friday, December 11, 2020.On an Apple device? Follow Rotten Tomatoes on Apple News. 😈😈

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亚博登录APP 在如今手游市场当中没有上线的游戏,能够称得上是大ip级别的,恐怕就只有英雄联盟手游和DNF手游了,这两款手游在国内上线只能够说是困难重重来形容,因为大多都是早就要说上线了,但是一直拖着没上线,而英雄联盟手游国服是已经确定会在今年当中一定会上线,不过DNF手游的上线时间还是挺迷的,早在去年就说定了,上线时间一直到如今都没有任何的消息。

(Photo by Warner Bros)Toronto International Film Festival just announced the lineup for their 2019 fest and looks like it s going to be a banner year. Running September 5 15, these 10 days kick off awards seasons, with TIFF in recent years ascending as one of the premier tastemakers in gold trophies, while maintaining its cool, upstart cred and internet hype-friendly selections. Here are some notable entries for 2019, followed by the full festival list.Joker is probably the highest-profile selection, a standalone supervillain story starring Joaquin Phoenix as he tracks the origins of Batman s greatest foe. Knives Out is Rian Johnson s post-Last Jedi flick, a contempo murder mystery with a decked-out cast. The Lighthouse is the latest from The Witch s Robert Eggers, a black-and-white fantasy/horror film starring Robert Pattinson and Willem Dafoe and set in the 1890s. Jojo Rabbit is from director Taika Waititi (who also stars as Adolf Hitler), returning to his indie roots before he ll be back for Thor: Love and Thunder.Women are staying in the picture with multiple major films. The festival will be closing with Radioactive, Marjane Satrapi s biopic of Marie Curie starring Rosamund Pike. Marielle Heller follows the Best Actor and Actress-nominated Can You Ever Forgive Me? with promise of another major performance with Tom Hanks in A Beautiful Day in the Neighborhood, all about the legendary Fred Rogers. Kasi Lemmons is putting out Harriet, starring Cynthia Erivo as Harriet Tubman, who led hundreds of American slaves to freedom on the Underground Railroad. Hustlers was made by Lorene Scafaria, and that one depicts the true story of strippers who ripped off Wall Street brokers, echoing the female-driven heist flick Widows. Meanwhile, the animated Abominable was co-directed by Jill Culton, bringing a little breezy levity to the fest.GalaOpening night: Once Were Brothers: Robbie Robertson and The Band, directed by Daniel RoherClosing night: Radioactive, directed by Marjane SatrapiA Beautiful Day in the Neighborhood, directed by Marielle HellerAbominable, directed by Jill CultonAmerican Woman, directed by Semi ChellasBlackbird, directed by  Roger MichellClemency, directed by Chinonye ChukwuFord v Ferrari, directed by James MangoldHarriet, directed by Kasi LemmonsHustlers, directed by Lorene ScafariaJoker, directed by Todd PhillipsJust Mercy, directed by Destin Daniel CrettonOrdinary Love, directed by Lisa Barros D Sa, Glenn LeyburnThe Goldfinch, directed by John CrowleyThe Sky Is Pink, directed by Shonali BoseThe Song of Names, directed by François GirardTrue History of the Kelly Gang, directed by Justin KurzelWestern Stars, directed by Thom Zimny, Bruce SpringsteenSpecial presentationsA Herdade, directed by Tiago GuedesBad Education, directed by Cory FinleyComing Home Again, directed by Wayne WangDolemite is My Name, directed by Craig BrewerEma, directed by Pablo LarraínEndings, Beginnings, directed by Drake DoremusFrankie, directed by Ira SachsGreed, directed by Michael WinterbottomGuest of Honour, directed by Atom EgoyanHeroic Losers, directed by Sebastian BorenszteinHoney Boy, directed by Alma Har elHope Gap, directed by William NicholsonHow to Build a Girl, directed by Coky GiedroycI Am Woman, directed by Unjoo MoonJojo Rabbit, directed by Taika WaititiJudy, directed by Rupert GooldKnives Out, directed by Rian JohnsonLa Belle Époque, directed by Nicolas BedosMarriage Story, directed by Noah BaumbachMilitary Wives, directed by Peter CattaneoMotherless Brooklyn, directed by Edward NortonNo. 7 Cherry Lane, directed by YonfanPain and Glory, directed by Pedro AlmodóvarParasite, directed by Bong Joon-hoPelican Blood, directed by Katrin GebbePortrait of a Lady on Fire, directed by Céline SciammaSaturday Fiction, directed by Lou YeThe Friend, directed by Gabriela CowperthwaiteThe Laundromat, directed by Steven SoderberghThe Lighthouse, directed by Robert EggersThe Other Lamb, directed by Malgorzata SzumowskaThe Painted Bird, directed by Václav MarhoulThe Personal History of David Copperfield, directed by Armando IannucciThe Report, directed by Scott Z BurnsThe Two Popes, directed by Fernando MeirellesUncut Gems, directed by Benny Safdie, Josh SafdieWeathering With You, directed by Makoto ShinkaiWhile at War, directed by Alejandro Amenábar 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.

2022-01-22
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更新时间 2022-01-22
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