怪物猎人2g大剑采用百度引擎5（Baidu 9）Last week the yearly box office fell behind the past four years with a margin of 9.1% down from the record-breaking year of 2018. Well, like Jurassic World before it, never count out the nostalgia of new parents and never count out the box office when it comes to big spectacles like The Lion King. It just became the biggest July opener of all-time and this weekend’s top 10 represents one of the best July weekends in box office history.The Lion King of the Crop: 5 Million Grubbed Up(Photo by Disney)Tracking services hit it right on the nose as Lion King hauled in 5 million. That is the 9th highest opening weekend in film history and the best ever in the month of July beating the 2011 record set by the 9.1 million of the final Harry Potter chapter. Disney now owns 12 of the top 13 openings of all-time with that pesky Jurassic World stuck right in the middle of their cash buffet. None of those 12 other films grossed less than 0 million and The Lion King is not going anywhere anytime soon.Audiences appear to love it while critics are pretty split with a 55% on the Tomatometer. Even if they do have LARF (Live-Action-Reimagining-Fatigue) in a year that has already seen Dumbo (46%) and Aladdin (56%), these are the same critics who gave Jon Favreau’s CGI-enhanced remake of The Jungle Book a 94%. So it s still all in the execution. But it will be left up to moviegoers across the world to determine whether it can make the .347 billion necessary to earn a spot in the all-time top 10. After three days of domestic release and 10 globally, The Lion King has grossed 1 milli
Stranger Things returns July 4 to a warm reception from critics for its new season. The first reviews out propelled the season 3 to Certified Fresh status within the day on Sunday, in one of the fastest designations in Rotten Tomatoes history.The series sets its third season in the summer, starting out all warm breezes, sunny skies, baking skin, splashing pools, and young romance. But this is Hawkins, Indiana, and stranger things lurk beneath that veneer of 80s suburban normalcy.Cue the Netflix series Goonies-like crew: supernatural Eleven (Millie Bobby Brown), Mike (Finn Wolfhard), Dustin (Gaten Matarazzo), Lucas (Caleb McLaughlin), Will (Noah Schnapp), Max (Sadie Sink), Nancy (Natalia Dyer), Jonathan (Charlie Heaton), and Steve (Joe Keery).Parents and other siblings also return, including scene-stealing Priah Ferguson as Lucas sister Erica, Dacre Montgomery as Max s bully brother Billy, and, of course, Winona Ryder as Will and Jonathan s mom Joyce and David Harbour as police chief Jim Hopper, who last season adopted the role as Eleven s father in attachment if not legally. In season 3, their bond is stronger than ever.See what critics had to say about Stranger Things: Season 3 (2019) 89% below.Something Old(Photo by Netflix) Reliable, durable and comfortable, ST3 is what you d expect and certainly what you want, if what you want is seasons 1 and 2, with a few big twists along the way. — Verne Gay, NewsdaySomething New(Photo by Netflix) Our heroes are not the goofy young kids they used to be. The third series realigns and reconfigures them in new combinations and allegiances. — Suzi Feay, Financial TimesSomething Borrowed Though there are signs that Stranger Things is on the verge of slowing down (one-note villains, the missing feeling of an unearthed 80s treasure), that s not happening yet in Season 3. — Tim Surette, TV Guide Stranger Things finally becomes the sort of extravagant, exceedingly ambitious adventure spectacle that would have ruled the theaters during the 80s, instead of a TV series merely obsessed with films from that decade. — Kevin Yeoman, ScreenRantSomething True?(Photo by Netflix) On the evidence of this plodding and predictable third season, the Duffers can t skip town soon enough. — Ed Power, Daily Telegraph (UK) It harnesses a Big Summer Mood, a healthy heap of nostalgia and has plenty of fun references. But its story is also convoluted and far too scattered. — Allison Keene, Paste Magazine It s a thin imitation of what we used to have, who could blame anyone for clinging to it? — Judy Berman, TIME MagazineFinal Verdict? (Photo by Netflix) Season 3 balances good-natured laughs with charming nostalgia through likable characters doing battle against looming horrors. Yet it feels like it s propping up its past to justify its present. — Brandon Katz, Observer Despite its rocky start, the creators and performers find a way to pull off the impossible and deliver the best season yet, all while honoring their loyal fan base and challenging them to want more from a series known for playing it safe. — Patrick Cavanaugh, ComicBook.com By doubling down on relationship stories, Season 3 of Stranger Things delivers an oft-charming, deeper-than-expected, and ultimately enjoyable new chapter. — Ben Travers, indieWireLike this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.怪物猎人2g大剑怒火一刀三职业复古传奇手游，免费会员制度，达成指定条件可晋升会员等级。会员决定特权也就是说散人也可以拥有大量会员特权。而且游戏本身运营也不错活动玩法也很多，根据区服的开进会推出更多跨服玩法，激情PK。人物装备可以增加切割攻速暴击等等buff效果，加大打怪速度。装备都是boss身上掉落，可交易拍卖。还有很多的玩法可以上游戏体验一下。
ilms(Photo by © Warner Bros. Pictures)When it was first announced, Justice League was intended to be a two-part film with Snyder and stars Henry Cavill, Gadot, Affleck, Jason Momoa, Fisher, and Ezra Miller convening to film the bulk of the first film and portions of the second at Leavesden Studios in London. Much like the efforts of Warner Bros. Pictures cross-town superhero competition, the plan was for these two films to serve as a culmination of storylines began in Man of Steel and through Batman v Superman: Dawn of Justice, Wonder Woman, and Suicide Squad. Although, once the scripts were developed, Snyder said the two films would tell distinct stories.Then, as filming commenced on Justice League in April of 2016, Batman v Superman was released to the derision of critics (it is at 28% on the Tomatometer) and, seemingly, the industry deciding en mass that the film was a creative disaster. In London, this meant the quiet cancellation of the second Justice League film and a hasty rewrite of the first film’s script to bring its story to a true conclusion. As we now understand it, the first Justice League movie was meant to end with the resurrection of Superman with the second film seeing the League assembling to fight cosmic-level bad guy Darkseid. In the years since it dissolved, Snyder offered fans glimpses of design art and storyboards from the abandoned second film thanks to his social media accounts, and lately has been teasing the first trailer for the Snyder Cut on HBO Max.But even as the film soldiered on in production, it was clear to Snyder and his partners at the studio that a period of reshoots would be required. Most big-budget tentpole releases schedule some additional photography these days, but the high-profile nature of Justice League – and the growing bad buzz around Warners’ attempts to bring the DC Comics heroes to the screen – meant the work was regarded with suspicion. Of course, no one would know just how extensive these reshoots would be until Snyder delivered his first cut.The Snyder Assembly : A First Draft(Photo by Clay Enos/© Warner Bros. Pictures /Courtesy Everett Collection)As with the myth of the six-hour version of David Lynch’s Dune, the notion of the Snyder Cut begins with an assembly of the film – a compilation of the best takes chosen by editors David Brenner, Richard Pearson, Martin Walsh, and Snyder himself representing the scenes as written in the script. Lacking complete special effects, utilizing a temporary soundtrack, and featuring the background studio noise of the scenes as they were filmed, an assembly is meant more to reveal what to cut from the script once the actors, technicians, and filmmakers fill in the gutters left behind by the screenplay. An actor’s expression may more effectively convey a piece of written dialogue, for example. But an assembly will give a director of a multi-million-dollar film the first inkling of what he may need to reshoot to massage the story into shape. For Dune, Lynch went back and reshot the scene in which Paul Atreides (Kyle MacLachlan) drinks the Water of Life to unite ideas and clarify ideas from a number of scenes in the assembly which were ultimately cut from the theatrical release.And while assemblies are not typically released to the public, 20th Century Fox Home Video did release an “assembly cut” of Alien3 in its Alien Quadrilogy DVD box set and the subsequent Alien Anthology Blu-ray set. Roughly 30 minutes longer than the release version, it is a surprisingly finished product which more closely reflects director David Fincher’s vision of the film before the studio took it out of his hands and removed the religious overtones and an entire chase sequence. In fact, we re inclined to believe the original Snyder cut fans were calling for, before production began again in earnest on the project, was more a fine assembly or early director s cut than a true early assemblage of material.February, 2016: The Origin of the Snyder Cut(Photo by © Warner Bros. Pictures)Even before Snyder announced his departure from the film in May of 2017, rumors around town indicated footage from London had failed to wow Warner executives. At this point, reshoots were scheduled and Joss Whedon entered the story. At the time, he was reportedly working on a Batgirl film, but was also assisting Snyder and Warner Bros. with writing new Justice League material. Around this time, February of 2016, rumors circulated indicating Snyder had been fired, but both he and the studio quickly shot this down.But then Snyder’s family experienced an unimaginable tragedy when his daughter Autumn took her own life on March 20, 2017. Snyder subsequently said he continued to work on the film for nearly six weeks after her death in the hopes it would mitigate his grief, but it proved to be no comfort at all. He willingly handed the reins off to Whedon for the reshoots and the post-production phase.In that moment, Snyder’s cut was characterized as unfinished – and considering the realities of major Hollywood filmmaking, that is reasonable to believe. Any extensive visual effects would still be in process for months to come. Color grading, sound mixing, and other stages of the final post-production efforts would not occur until the reshoots were completed.Nonetheless, members of the production like storyboard artist Jay Oliva (who also directed many of the DC Universe Animated direct-to-video titles), Momoa, and composer Junkie XL (who was replaced by Danny Elfman for the theatrical version) all claim the film was in a much more finished state than was suggested at the moment Snyder walked away.The Snyder Cut Direct-to-Streaming Is Nothing New(Photo by © Warner Bros. Pictures)Turning a director s cut from a file on a hard drive somewhere to a marketable product is a specialty of the home video market – a tradition carried through now to streamer HBO Max and Justice League. A 2006 DVD release of Dune offered fans a widescreen version of the film’s television cut, supervised by the same Universal employees who prepared the infamous “Love Conquers All” version of Brazil. Both cuts of that film emerged on a celebrated Criterion Collection laserdisc set which was later released on DVD and Blu-ray.Like Alien3, Alien and Aliens also came to DVD and Blu-ray with alternate director’s cuts representing versions of the films those directors felt more aligned with their original visions.And it was out of this ethos that Alien director Ridley Scott and Warner Bros. Home Entertainment assembled its fabulous DVD and Blu-ray releases of Blade Runner. Its high-end collector’s edition came complete with five cuts of the film and a 45-minute deleted scene compilation which almost counts as a sixth cut. As with Alien, Scott wanted fans to experience every extant version in addition to his preferred “Final Cut.” It was the sort of philosophy perfect from home video at the time and one we wish more directors would subscribe to.But in all of these cases, the films are in finished states. Has there ever been a case in which a director walked away from a film, saw it completed by someone else, only to find his vision restored many years later? As it happens, yes – and in an odd twist of fate, it is a film featuring Superman.The Donner Cut: The Movie that Set the Precedent(Photo by © Warner Bros. Pictures)In 1979, Richard Donner was fired from the two-part Superman production after butting heads with producers Ilya Salkind and Pierre Spengler throughout an arduous 18-month shoot. According to multiple sources, Donner managed to shoot around 70% of Superman II before it was decided to concentrate on making Superman the best it could be – which included moving Superman II’s intended ending to the first film. The suggestion may have come from A Hard Day’s Night director Richard Lester, who was on set as a consultant and would go on to finish Superman II after Donner’s departure. As Director’s Guild rules require the credited director shoot over 50% of a finished film, Lester remounted a number of scenes completed by Donner.And like Whedon’s changes to Justice League, Lester infused Superman II with a broader sense of humor. An off-screen voice shouts “I know some judo!” when the citizens of Metropolis threaten the Kryptonian criminals. A minute later, sight gags dominate while Ursa (Sarah Douglas) “blows them a kiss.” But unlike the theatrical release of Justice League, Superman II was considered the more creatively and financially successful of the two original Superman films until a critical reappraisal some years later.In 2001, editor Michal Thau approached Warner Home Video and Donner about reassembling his version of Superman II from extant material. A few years later, footage of Marlon Brando shot for the film but later deleted became available, making the Donner Cut a possibility. Working with Donner, Thau produced The Donner Cut, which accurately depicts the director’s plans for the film – right down to the original ending he later co-opted for Superman. It is a noble effort which cuts down on the broad humor and ups the drama, but also underscores the missed opportunity. Donner never had the chance to find a new ending for Superman II, leaving his “cut” of the film feeling strangely repetitive.
4. 呼朋唤友 随心所欲
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1.98.9 4月喜迎(Photo by ©Walt Disney Studios Motion Pictures/Lucasfilm Ltd./Courtesy Everett Collection)What do the movies with the highest domestic box office totals for each year since 2010 have in common? None of them have Rotten Tomatometer scores – and they all made over 0 million. In fact, when averaged together, these 10 Fresh blockbusters – Toy Story 3, Harry Potter and the Deathly Hallows Part 2, The Avengers, Iron Man 3, Guardians of the Galaxy, Jurassic World, Finding Dory, Star Wars: Episode VIII The Last Jedi, Black Panther, and Avengers: Endgame – have a super-Fresh Tomatometer average of 90.3%.Currently, the highest domestic (and worldwide) grossing film of 2019 is the 94% Tomatometer-rated Avengers: Endgame, which has earned a mind-snapping total of 8 million domestically and over billion worldwide. By crossing the billion milestone, Avengers: Endgame has joined Titanic, Avatar, Star Wars: Episode VII The Force Awakens, and Avengers: Infinity War in the exclusive “ Billion Club.” What do these movies have in common? Yep, you guessed it again: They’re all Fresh.Recommended: The 50 Highest-Grossing Movies of All TimeRecommended: All 44 Billion-Dollar Movies, Ranked by TomatometerRecommended: 2019 Holiday Box Office PreviewThe success of these Fresh films got us thinking: Are these blockbuster movies Fresh anomalies, or do Fresh movies make more money at the box office generally? Is there a relationship between Tomatometer score and box office performance? (And we stress: a relationship, and not necessarily a causal one; so many factors contribute to box office performance.) To aid us in our data deep dive, we pulled the Tomatometer and domestic box office data for the 1,404 movies that received wide theatrical domestic releases (600-plus screens) since 2010. Here’s what we found…*The box office results have been adjusted for inflation. All calculations accurate as of November 28, 2019.MOVIES WITH FRESH TOMATOMETER SCORES MAKE MORE MONEY THAN ROTTEN MOVIES – ON AVERAGE(Photo by © Walt Disney Studios Motion Pictures, © Marel Studios)Fresh Movies since 2010: Inflated Domestic Average of 4 millionRotten Movies since 2010: Inflated Domestic Average of millionWhen it comes to Tomatometer and domestic box office results, Fresh movies, on average, make more money than Rotten movies. It may sound obvious – good films draw more people to the theater! – and you are probably thinking, “I could’ve told you that,” but the difference is quite startling. The 1 million average for the 636 Fresh movies in the sample is nearly double the million average of the 799 Rotten films. Even if you removed Disney brands Marvel and Pixar, which produce some of the most critically beloved blockbusters, such as Black Panther, Toy Story 4, and Avengers: Endgame, the average for Fresh films since 2010 is still a respectable million.THE FRESHER THE MOVIE, THE BIGGER THE BOX OFFICE BOUNTYIt’s also worth noting that the more Fresh a movie is, the better it is likely to do at the box office, and the more Rotten it is, the worse it is likely to perform. Movies with a 0-20% Tomatometer score had an average domestic box office of million; movies with 80-100% Tomatometer scores averaged 3 million.However, not every Fresh movie makes money: 58 of the 187 (or 42%) wide-release movies that made under million at the box office since 2010 are Fresh. A Fresh rating doesn’t guarantee massive success, and Fresh movies like Green Room and The Raid 2 don’t automatically collect 0 million dollars domestically.MOVIES WITH HIGHER TOMATOMETER SCORES HAVE A BETTER CHANCE OF CLEARING 0 MILLION(Photo by © Warner Bros. Pictures)Some 323 movies have made over 0 million at the domestic box office since 2010. Of those, 219 (68%) have Fresh Tomatometer scores, which means the odds of a movie making more than 0 million increase when it receives a Fresh Tomatometer score. Only 5% of movies with a 0-10% Tomatometer score (or 3 of the 62 movies) – namely Grown Ups 2, The Last Airbender, and Little Fockers – made over 0 million. On the other hand, 41% of the movies with a score above 90% (or 68 of the 164 movies) – such as Spy, Girl’s Trip, and Crazy Rich Asians – cleared the 0 million milestone. That 41% may not seem like a lot, but it’s a big jump over the movies in the 70-80% range, where 33% of the movies broke 0 million.Below is a breakdown of Tomatometer ranges and the average amount of money the movies in them make.0-10% Movies: million10-20% Movies: million20-30% Movies: million30-40% Movies: million40-50% Movies: million50-60% Movies: million60-70% Movies: million70-80% Movies: 0 million80-90% Movies: million90-100% Movies: 2 million
As countless victims over more than three decades would tell you, scary things come in small packages, and this episode of Vs. pits two of the most iconic little baddies against each other. In one corner, we have the rampaging Ruxpin, Chucky from Child s Play, and he faces off against the bad luck of the Irish himself, the Leprechaun. These two tiny terrors have been wreaking havoc on both the big and small screen since the first time fanny packs were cool, but to determine who wins this showdown of diminutive proportions, Rotten Tomatoes Contributing Editor Mark Ellis dives into their box office earnings, Tomatometer and Audience Scores, and origin stories, as well as their most iconic moments. Watch for the final verdict, and if you don t agree, let us know in the comments.Thumbnail image: Everette Collection, ©Lions Gate FilmsOn an Apple device? Follow Rotten Tomatoes on Apple News.
There s not supposed to be a sequel. That was the first thought director Chad Stahelski had when approached to make a second film about the stylish, vengeful assassin, John Wick. But both he and star and collaborator Keanu Reeves were up for the challenge. The two set to work immediately on continuing the story and expanding both the universe of the film and the character at its center. Wick can use sign language, they decided, and he could speak Italian, and, they were going to take the story to Rome. Because, why not? There would be blood oaths and shifting allegiances and an epic fight between Keanu Reeves and Common because why not? It was that attitude, that almost anything was possible with this world and this character, that drove the evolution of the John Wick series from Chapter 2 and right into Chapter 3 Parabellum, releaseing this month. In this exclusive extended interview, Reeves and Stahelski – who directed the Wick sequels solo after co-directing the first film with David Leitch – reveal how they developed the sequel ideas, upped the action ante, and convinced their old friend Laurence Fishburne, with whom both had worked on The Matrix, to join them for the ride. (In the process, they doubled the box office of the original film.) Plus, the pair offer new insights into Chapter 3, detailing Halle Berry s arrival in the John Wick universe and sharing which new action scene they love the most.WATCH AN ORAL HISTORY OF THE FIRST JOHN WICK WITH REEVES AND STAHELSKIJohn Wick: Chapter 3 Parabellum opens in theaters on May 17.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Do the stars of aspiring holiday classic Last Christmas know their classic holiday movies? We put Emilia Clarke and Henry Golding, who headline Paul Feig s new Christmas flick, to the test with a special edition of our game, Name the Review. The game is straightforward enough: The duo reads one-liners from movie reviews of holiday classics and have to guess which movies are being reviewed. Simple right? Not as simple as it sounds. Check out Clarke and Golding as they struggle – hilariously – to guess Yuletide classics from It s A Wonderful Life to The Santa Clause.
(Photo by Jesse Grant/Getty Images)Every casting in the MCU has made headlines, from the inspired albeit unconventional casting of Robert Downey Jr. in Iron Man to the moments-before-San-Diego-Comic-Con casting of Simu Liu in Shang-Chi. Just about everyone has had an opinion on who should play these iconic comic book characters on screen, and they ve been debated, scrutinized, and celebrated in every corner of the internet. But it may surprise some to learn these difficult choices have all rested in the hands of one woman. Over the course of 12 years, 24 films, and hundreds of roles, casting director Sarah Halley Finn has been the unseen force pumping the lifeblood directly into the heart of the MCU. Today, it may seem like a no-brainer now to cast RDJ as Tony Stark or Chris Pratt as Star-Lord, but in the early days, neither name was at the top of the Marvel wish list. It was thanks to Halley Finn s foresight and persistence that both actors were paired with their roles, but the MCU s lead casting director insists her efforts are a collaborative process. Casting over 1,000 roles has allowed Finn to accumulate a few stories of near-castings and tales of actors who took a little more convincing to say yes, some of which she shared with us when we chatted with her a few weeks ago. Read on for our extended conversation with Sarah Halley Finn, in which she chats about casting not only RDJ and Pratt, but also some yet-to-be-cast actors she hopes to add to the ever-growing universe. Iron Man: He wasn t exactly known as an action hero. (Photo by Marvel Studios) The casting is always this collaborative process with the director and the writers and the producers, each trying to find the absolutely perfect embodiment of this character. And as we were working on Iron Man for a couple of months, we were really talking about a lot of different people that could play the part. But we kept coming back to Downey. Of course, everything you see onscreen is the reason why we kept thinking about him. And ultimately, because it wasn t a slam dunk at the time he tested for it. He had been known for Oscar-nominated work. He was an incredible actor. He wasn t exactly known as an action hero. This was a very different kind of role, and he hadn t been doing the same work for a few years, so he was willing to screen test. And that was the proposal that we made to our people as a way to just find out if it was really the way to go for the character. So because he agreed to screen test, we worked on it fast, and really, he came onto the soundstage in high spirits. I remember walking him in and I remember it so crystal clear he came in high spirits. He knew what he wanted to do. I think he felt good, and I think as soon as he said the words, we all knew we had arrived. Captain America: No one else could play Steve Rogers except him. (Photo by Marvel Studios) After Chris Evans turned us down, I think it was the creatives who made that happen. It s Kevin Feige, it s Joe [Johnston]. It was really about helping him understand that there is an exciting character to play. It was not just an idea. He might have had a thought of what this means in the comic book universe but not what ideas it was about. But I know he also considered what this represented for his life and all those kinds of considerations you re aware of that and what he was weighing at the time. But it was really the creative engagement detailing about how he was the perfect person to bring this character to life, how no one else could play Steve Rogers except him and why, and what qualities he had that were perfect for it. And then they got creatively engaged to the point where it s harder to say no. Hulk: I had worked with Mark off-Broadway in New York, and it was really exciting when he jumped in. (Photo by Marvel Studios) Hulk was already in production when I came onto Iron Man, so I was not involved in casting [Edward Norton], and I think for whatever reasons, [Norton] was not involved when I was doing Avengers. So again, it was talking to Joss [Whedon], talking to Kevin, my team. How do we see this character now? What are his qualities? What are we looking for? Who is the best person to bring him to life? I had worked with Mark forever ago, off-Broadway in New York, and I had known him for a long, long time. And it was really exciting when he jumped in, and jumped in quickly. He was cast right before San Diego Comic-Con correct? Yes, but there are hours and hours of stories for every single person, and that happens with more people than you might think, because one of the things is these actors aren t just sent a script. It s not like they re just sent a script that they can say yes or no to it. The scripts are secret. They re confidential. They get hand-delivered with a security guard and they re waiting in the car while you read. It s really sometimes a long process and of engagement with the creatives, with the director, and with Kevin [Feige], to help people understand the world. Maybe there s some artwork, maybe there are some examples of things that can get them to understand what they re going to be playing, but it s not always as easy as it might seem. Thor: Yes, both Liam and Chris Hemsworth read and were the loveliest guys. (Photo by Marvel Studios) It took months. In truth, I have not slept in 10 years. Are you kidding? [Laughs] Yes, both [Liam and Chris Hemsworth] read and were the loveliest guys. But for Thor, Liam was young. He was so young at the time, and it was a long process, and hopefully, we ve gotten it right. But we ve got Liam in our sights. We ll find something for him. [Laughs] It seems like there was no one else to play that part now, but when we were approaching Thor with Kenneth Branagh, we knew this guy had to be part Shakespearean. Asgard had to exist in a complete otherworld and yet be utterly relatable and human. And that was a very difficult combination. And the material we were using for auditions, was a Shakespeare scene. So it took some callbacks, and some work, to really feel like we had arrived there. And then Thor changed entirely with Thor: Ragnorok. Yeah, it s amazing and it s really gratifying for me, because I think another hope when we re casting these roles is that we re going to find actors who have the range to go a really long distance. And I think when Chris Hemsworth broke, we knew he was a movie star, but I don t think people saw in him the performance he just gave in Thor: Ragnarok and Endgame. To see him make that leap to comedy and the way the audiences responded to him, it was so exciting. It s like an actor you know, and yet, you re discovering him in completely a new way, and really fun to be able to surround him with interesting characters like Korg and all the other characters that you see him interact with. Star-Lord: We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms. (Photo by Marvel Studios) Actually [Chris Pratt] came up after he read because there were a lot of things we were trying to accomplish. We really want this to be perfect. We wanted it to be perfect for us, and a movie for the fans, and it was a long search on Guardians of the Galaxy. It doesn t seem like a difficult role, but it s a difficult role. He s heroic, but he s a bit childish. He comes into his own. He s very funny, and he also has this deep issue that he struggles with abandonment from his father and his childhood so there s a lot of layers that go in. We had to find somebody who was really sympathetic but also understood the humor, pace, and rhythms; and could bring all of the dimensions of the character to life. Chris was known for comedy; he wasn t necessarily known as heroic. He also wasn t known as an action guy. Chris had done another audition for me for another Marvel film, and I had seen those kinds of heroic noble qualities in him, and I knew he had the comedy. And I had seen Zero Dark Thirty and Moneyball, so I knew he could bring the action element to the role.And so, I kept bringing it up to James, to the point where James I read in a print [magazine] called me annoying and didn t really see him for the role. He claims that I tricked him. I don t really remember it that way. [Laughs] It just so happened that Pratt was coming to read and James was there at the same time. So, yeah. [Laughs] Well, the one thing I will say, what s great about James is that he was very public on the press tour to be like, No, this is Sarah. I didn t see it, but I m so glad she made me do it. That s also great about working with him. It was very generous of him to be as open as he was about the process. And frankly, we had a lot of humor and that kind of camaraderie throughout the casting process. It really helped, and it helped him work with Chris. It helped Dave Bautista, who hadn t had a lot of acting roles, feel comfortable. And I think that his energy, his humor, his compassion, as an artist and as a director, was infused throughout the whole production. I think you can feel that in all the performances. The Guardians: Ensemble casting takes a lot of thought and a lot of work, and we test things out. (Photo by Marvel Studios) By the way, ensemble casting takes a lot of thought and a lot of work, and we test things out, you know? Once we cast Chris [Pratt], we were able to think about the qualities that he brought to the role, and then how to juxtapose that and how to support that in different ways to make the film interesting. So with [Dave Bautista], we knew that their chemistry was going to be really important, for Drax and Star-Lord to have something. And again, we did some mix and matches. We tried different ideas, but Dave and Chris really clicked. And so, it was being able to see that. And then, conversely, with Zoe [Saldana], we knew we really wanted somebody strong who was going to go up against him and give him a run for his money in a certain way, and she really brought that. And that s the process with any group casting. Rocket: You need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. (Photo by Marvel Studios) I approach voice actors the same exact way I approach the onscreen characters. I think that you need to present the voice as a fully dimensional, living, breathing character, especially with someone like Rocket. There s incredible pathos he brings, and he s damaged and wounded. And yet, you want to care for him, and you want to love him, and you want to laugh with him. And I think the audience got completely behind him. Basically, when we started thinking about the character, we re looking for the essential qualities. Who do we want to convey this emotion? How does the director want that character to come to life? So with Rocket, we had a very good idea of what James wanted, but we went through over a hundred voices, probably more. And that s my team, which is amazing, and taking James thoughts and notes. And we asked the other departments to give us any visual aids we could start pairing and mixing and matching a wide range of vocal qualities, of temperaments, of cadence, to try to see what would and all that comes together for how we could best personify that role. Spider-Man: The search went on for over a year just to cast that one role. (Photo by Chuck Zlotnick/Columbia Pictures) Can I talk about that? [Laughs] Those guys Asa Butterfield, Timothée Chalamet, and even Tom Holland have been really open about discussing it. Yeah, well they re all amazingly talented actors. I can say that much. They re all amazingly talented actors, but again, it was a role that we were trying to combine very specific elements and a range of qualities. So, for various reasons, I think the search went on for over a year just to cast that one role. And I think they ve all gone on and done great, and I think Tom has really done right by the character. The Villains: Michael B. Jordan s role was so poignant. (Photo by Matt Kennedy /© Marvel / © Walt Disney Studios Motion Pictures) I don t think we necessarily approached casting a villain in a different way from casting anybody else. You re still going, What are the essential qualities we re looking for and who s the best person to bring that to life? And in Black Panther, Michael B. Jordan s role was so poignant. It captured everything we hoped to do, which is create a multi-dimensional character who is not one-sided and who audiences can understand even if they re doing bad things. New Faces in the MCU: We can look anywhere. Marvel is so open. (Photo by Courtesy @DisneyStudios Twitter) It gives me so much energy to see more [diversity] in the MCU, and I m so excited to go into work every day, because I feel like there are no limits. We can look anywhere. Marvel is so open. It s a new day, and really, we are going to try anything. We have a deaf actress, Lauren Ridloff, who joined The Eternals, and right now we re looking for an 18-year-old Muslim-Pakistani female. It is beyond exciting. Casting Disney+: We re really approaching the streaming shows like movies. Yeah, it s very early but we re really approaching the streaming shows like movies. They re going to be very satisfying, I hope. We re really not looking at them any differently. They re incredible storytelling. We have incredible writers. We re putting together incredible casts, incredible directors. Very ambitious visions for these shows and the present a lot of new challenges but I m really excited. Casting Oscar Winners: They re able to stretch and do something that might be completely different. (Photo by Chuck Zlotnick ©Marvel Studios 2019) When I first came to the MCU and I was working on Iron Man, I was walking down the hall and somebody was making fun of me and saying, Oh, what, are we just going to have all Academy Award winners and nominees in the film? And I had a moment of panic thinking, Oh, my God, I m going to make the most boring superhero ever. What s it going to be? Nobody s going to relate to it. But [knocks wood] it s worked out well, and I think for these actors, there s a lot to play. There s a huge range to a lot of these characters, and sometimes it s just something really different. Look at what Cate Blanchett did in Thor: Ragnarok. It was fantastic. But Kevin and the mindset at Marvel is very collaborative. It s collaborative with the directors, it s collaborating with the actors. Creatively, they re all able to play in the sandbox. They re able to stretch and do something that might be completely different. So for someone like Brie Larson, yes, it s a leap to go from Room to Captain Marvel, but the way she embraced that character was complete, you know? She did the physical training. She researched it, she dug in with the directors and wanted to find out how to create this character in the way that I think actors approach in a role. So yeah, it was the whole process for her and for every actor to who takes on one of these roles. A Wish List for The Female Avengers? I don t know. I don t know if I can give you a few? I ve got a hundred. But I don t feel like I can No, I can t. I can t say. It s like asking me to pick my favorite kid. I can t do it. But hit me back after [Phase Five], maybe. Then I can tell you. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
怪物猎人2g大剑 (Photo by Warner Bros./courtesy Everett Collection)All Joaquin Phoenix Movies Ranked by TomatometerAfter making three movies in the 80s credited as Leaf and then disappearing, Phoenix returned to the public eye, this time under his birth name Joaquin, for 1995 s To Die For. In that Gus Van Sant erotic thriller, Phoenix plays a high schooler seduced by Nicole Kidman to murder, thus beginning the actor s penchant for performing disturbed, frequently mordant characters, carried further through the 90s in movies like Clay Pigeons, 8MM, and U-Turn.Phoenix became a near-household name after playing sword-and-sandal scumbag Commodus in Best Picture-winner Gladiator, in which he got his first of three Oscar acting nominations. But for several years after, Phoenix remained in character actor mode, taking supporting roles if he found the movie compelling (Quills, Hotel Rwanda, Signs), in between lead star parts such as in Buffalo Soldiers and The Village.In 2005, Phoenix broke into that echelon of truly transformative actors, owning the Johnny Cash role in Walk the Line, which walked him right into a second Oscar nomination. A long period of reunion collaborations has followed, working frequently with clearly favored directors: To Die For s Gus Van Sant (Don t Worry, He Won t Get Far on Foot), James Gray (Two Lovers, We Own the Night), Rwanda s Terry George (Reservation Road), and P.T. Anderson for Inherent Vice and The Master, the latter marking the most recent time he became an Oscar nominee.His last film, Joker, rampaged into theaters riding a wave of controversy and buzz, all the way to become the biggest-grossing R-rated movie ever. So put on that smile as we rank all of Joaquin Phoenix s movies by Tomatometer!