What would happen if the most generic background character in your favorite video game suddenly became self-aware and decided he wanted to be the hero? The new action-comedy Free Guy has one answer, as it follows the chipper Guy (Ryan Reynolds), a nondescript bank teller in an open-world video game who is reprogrammed by rogue developers and takes it upon himself to save the game from being shut down.Ahead of the film s release, Rotten Tomatoes correspondent Erik Davis chatted about the film with director Shawn Levy and the cast of the film, including Reynolds and co-stars Jodie Comer, Lil Rel Howery, Joe Keery, and Utkarsh Ambudkar. Reynolds reminisces about his obsession with Ms. Pac-Man ( I just loved how hungry she was ), and Comer reveals the Springsteen hit that pumps her up. Then Keery and Ambudkar talk about uncomfortable, stripper-tight costumes, as well as working alongside the unbridled, Robin Williams-esque energy of Taika Waititi. Plus, Levy and the cast talk about complex world-building and whether or not they considered making a game based on the one depicted in the movie. Check out their interview in the video above.Free Guy is in theaters now. On an Apple device? Follow Rotten Tomatoes on Apple News. 随着手游市场的持续火热，各个曾经的经典端游也纷纷推出了自己的手游版，以抢占日益火热的手游市场。在端游拥有强大号召力的英雄联盟也不能免俗，终于迎来了自己的手游化版本。
4. 呼朋唤友 随心所欲
(Photo by Touchstone Pictures, Fox, and Marvel Studios)“Know Your Critic” is a column in which we interview Tomatometer-approved critics about their screening and reviewing habits, pet peeves, and personal favorites.In just the few years since she founded her multimedia platform Pay or Wait, Sharronda Williams has become a go-to source for her audiences. She’s interviewed major creatives from directors like Spike Lee to actors such as Melissa McCarthy and Octavia Spencer. Her expertise and sharp wit shine brightest in her video reviews on YouTube, in which Williams always offers both nuance and a sense of humor.“For me, it s very intentional that people see me, that I m funny at times,” Williams said in an interview with Rotten Tomatoes. “I try to make people feel like they re talking to themselves, I never want to make people feel as though, I m not smart enough to be a film critic, right?”Williams’ decision to appear on-camera is a reflection of her desire to offer visibility for Black women like herself, and to transparently represent her experience. No matter what she’s reviewing, she is aware of the many subjectivities at play: her own, the creatives’, and the audiences’.“Sometimes it is hard to let go of your experience as a Black person in this country, because you see the film in a totally different viewpoint,” Williams said.“When we re talking about issues, especially that are still a sore subject in America s history – when it s confronting slavery, and confronting racism and how it still plagues this nation to this day – it s very hard to make sure that you re doing your job as a critic,” Williams said. “These are experiences that are lived that are witnessed day in and day out.”As Williams grows her audience, she has become – and hopes to remain – a voice for movie fans and up-and-coming critics alike.Sharronda Williams is the founder of Pay or Wait, a YouTube channel and an online publication centered on entertainment reviews and interviews. Find her on Twitter: @payorwait.What’s your favorite seat in a movie theater?I like to sit in the back, middle. I love being in the middle of the screen. I feel like I have all of the viewpoints I need to see. I also hate when people kick my seat, I hate to hear people chew in my ear. The only downfall to that being my favorite seat is, I can see everyone and their cellphones.You get to see people s reactions, too. I love people-watching and seeing how the movie makes them feel. That s why – even for press screenings, when they put you in the front – I really like sitting in the back, because I love watching the audience s reaction as well.Does that ever play into how you review a film or how you discuss it?I love going to screenings for kids’ movies because I really love to be able to tell how it s going to hold a child s attention. I bring my god-children with me – they re still getting into going to the movies.That and comic book movies, I love – I have to see it with an audience.I totally agree – comic book movie experiences are made by the audience.I literally still remember the audience s reaction to the end of Endgame, when you hear Steve say, Avengers, assemble! And then when you hear Sam say, On your left. It s just brings me back to that emotion of what was happening in the theater at that time. You can t beat a theater experience, you really can t.(Photo by Liam Daniel/Netflix)What has been your favorite thing to watch in quarantine this past year?The obvious is Bridgerton, because it gave me romance, it gave me entanglements, it gave me messy drama. It s what I live for. It made me feel like I was in a whole relationship, I was totally invested.Did you binge the show, or do you avoid binge-watching?I actually watched Bridgerton a couple of months before it released and I was like, Oh my gosh, this show is so good. I was literally calling my colleagues like, You need to go, you need to request Bridgerton. Do it right now. It s going to be a hit, just thank me later. So yeah, I binged the whole thing.I had to pause halfway through – I think it was the fourth episode – when the Duke… the whole scene in the garden. When he said he still wasn t going to marry her, I lost it. I had to take a couple of hours of a break because I was so upset at him that I couldn t even deal. I had to come back to it the next day.That scene infuriated me. I cannot stand when people know they could be happy and will not choose happiness.Yes, because it was his pride! I was like, What are you doing?”When you are reviewing, do you go in cold?I do reviews on YouTube and trailer reactions are this huge thing. Every time a trailer comes out, they re like, Hey, can you do a trailer reaction? And then I have to disappoint everyone and tell them that I don t watch trailers. I like to go in completely blind.This started when Southpaw came out. I hadn t seen any trailer, I just knew it was a boxing movie with Jake Gyllenhaal. That s all I needed: Jake Gyllenhaal shirtless. Done, I m there.So, I get into the movie and we re watching it, and then Rachel McAdams character dies. I literally was the only one who gasped in the middle of the movie theater. My friend turned to me, she was like, What is wrong with you? I was like, She just died! And she was just like, Girl, that was in the trailer! And I was like, See! I will never watch another trailer again after this, never. What makes a “good” movie?It makes me feel something. I mean, that s why we watch movies! We want to be excited. Sometimes we want to be sad or we want to be happy, we want to laugh.Movies that cause thoughts or discussion. Movies that promote change or a change within, that make you want to be a better person, make you analyze yourself as a person. Those movies that truly stick with you afterwards, and you re still thinking about the next day, that you re still having conversations with your friends about. I think those are such good movies, because it just truly shows the impact of a creative work.Was there a movie or a television series that you watched that made you want to become a critic?I can tell you one that made me understand the importance of being a Black critic. That was Detroit.When Detroit came out, it was really interesting because I would read reviews but I also watch YouTube videos. That s what helped me solidify why I do what I do – and really, just seeing a lot of the people miss a lot of the historical things that someone growing up in the Black experience, that this is my life.When they show The Great Migration portrait – the famous illustration in Black culture. Growing up, everyone had this picture in their house. We ve seen this on Black TV shows. I saw that a lot of non-Black critics, they didn t understand what that illustration meant. Or, they didn t understand the importance of how certain characters are portrayed, especially when we re dealing with real events that have happened, that have shaped our country as a whole.I think it really helped me understand the importance of my voice, the importance of why we ask for diversity in film criticism. The beautiful journey of watching from different viewpoints, different experiences – how they re really shaped, how you view films, how you criticize films. That was a movie that helped me to keep going, even in times when I felt like giving up – my perspective as a Black woman, why it s so necessary and essential to film criticism.(Photo by Warner Bros./Courtesy Everett Collection)What are you most proud of in your career thus far?I remember the first time I got an email from Rotten Tomatoes. When I first started, I remember going to the website and looking at the qualifications and I m like, Child, I m never going to get this. We re going to put this on the back burner forever. Being a part of Rotten Tomatoes, being able to say that when you see the Tomatometer on commercials or whatnot that, Hey, my review counts towards that. Most recently, I got my first pull quote for Judas and the Black Messiah. I remember I was asleep and I woke up and everyone was like, Oh my goodness, I just saw your name on TV during SNL! Having my brother call me as I try and drift off, I just saw your name. I was watching Judas and the Black Messiah and then I watched this trailer afterwards where your name popped up. I think that is when I was like, Whoa, this is serious, this is real. You know?Do you remember a time when you were watching something, a movie or a television series, where you saw a character that reflected your experience?Living Single was one of my first experiences. Before I got into film criticism, I used to want to be a lawyer in college. I remember growing up and watching Maxine Shaw on Living Single and I was like, Oh my goodness, it s a Black woman as a lawyer. And she lives by herself, and she has these friends, and she s lives this great life. What is the hardest review you ve ever produced?The most recent one was Antebellum. It was really hard.I always want to make sure that I respect the role of creatives – that they took the time and the energy to put their art into the world for a lot of people to consume it and form their own opinions.It s challenging as a Black critic – and I think a lot of people will agree whether they will publicly admit it or not – because we don t get a lot of films or TV shows that center around the Black experience that star Black women. Because we don t get so many, it becomes very hard because you understand the importance of seeing someone like Janelle Monáe on screen, a woman leading this film. That was a really hard review, critiquing a work that features a Black woman, that features an issue that is very close to me as someone who lives the Black experience each day – especially when you don t necessarily connect with it.It s hard, because personally you want to see more of this on screen and you don t want to knock down someone s ability to create. Especially because it s so hard for Black people to be able to create in this industry, and to actually have their projects seen by the masses. But you also want to make sure that the stories that are being told, the stories that are portrayed, and these characters – who are my aunts, my uncles, my mother, my sister, my brother – you want to make sure that it is being done in a great light.Because in this world, what you see on TV, people take it as gospel Unfortunately, that s just the society we live in. What we see on TV, we basically say, This is what Black people do, this is how they act. If you see Black caricatures, that is how people see us. The situation makes it hard as a critic, especially a Black critic.
5. HD 画质与高品质音讯
亚博下载 (Photo by Jeff Kravitz/FilmMagic)For many years, the Super Bowl halftime show was treated pretty much like halftime at any other football game you might go to, only on a bigger scale — which is to say that while there was entertainment, it wasn t necessarily the type of thing you d go out of your way to watch. Before the NFL had to worry about counter-programming, halftime basically meant marching bands — a tradition that s continued into modern-day games, albeit with a good deal more spectacle (and platinum pop stars) included as part of the package. With Super Bowl LV looming large over the upcoming weekend — and a performance from headliner The Weeknd — we take a look back at the evolution of the Super Bowl halftime show, beginning with the 1970s.Up with PeopleThe Super Bowl s early halftime shows were dominated by marching bands, but they had some competition — most significantly courtesy of Up with People, the multi-cultural performance troupe that sprung out of the Moral Re-Armament movement of the 60s. Between 1976 and 1986, Up with People performed during four halftime shows, and added a fifth performance to their list with an appearance during the pre-game show for Super Bowl XXV in 1991. Trends have long since passed Up with People by, but they ll forever remain a fascinating footnote in Super Bowl history.Super Bowl XXIPerformers: By the time Up with People made their final halftime show appearance in 1986, it was clear the troupe was perceived as silly and old-fashioned. Naturally, the NFL went younger and hipper the following year by hiring George Burns and Mickey Rooney to topline the halftime entertainment for a salute to Hollywood s 100th anniversary, which featured the Grambling and USC marching bands, some high school drill teams, and a handful of Disney characters. Audience demographics were obviously not yet a key concern for the league.Critical Response: There s no denying that Burns and Rooney were a pair of Hollywood legends, but this halftime show was a spectacle past its prime when it aired, and it s widely derided today as one of the Super Bowl s worst.Verdict: RottenSuper Bowl XXIIPerformers: Radio City Music Hall served as the producer for Super Bowl XXII s halftime show, hiring Chubby Checker to perform with the Rockettes and the marching bands for San Diego State University and USC. Although Checker was enjoying something of a comeback at the time, thanks to his appearance with the Fat Boys on a cover of his signature hit The Twist, this show didn t exactly have its finger on the pulse of a generation.Critical Response: Describing a show that contained 44 Rockettes, 88 pianos, a 400-piece swing band and a jowly Chubby Checker, high atop a make-believe jukebox, singing the famous 1960s aria, Let s Twist Again, Like We Did Last Summer,' the Los Angeles Times snarked, the musicale represented the quiet, understated good taste that has become the hallmark of the Super Bowl. Verdict: RottenSuper Bowl XXIIIPerformers: Give the NFL this much: when you name a show Be Bop Bamboozled in 3-D, you re pretty much telling people up front what they can expect to get. Super Bowl XXIII s halftime entertainment was led by Elvis Presto, the nom de guerre adopted by a former Solid Gold dancer turned Elvis impersonator, and included 3D footage (viewable with glasses obtained courtesy of a tie-in promotion with Diet Coke) and what was billed as the world s biggest card trick. Critical Response: It was all meant to be very tongue-in-cheek. It’s all very much a lampoon, laughed producer Dan Witk