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亚博登录首页APP采用百度引擎7(Baidu 9)英雄联盟手游各位置最强英雄都是那几个,在英雄联盟手游安卓版下载官方下载手游上线后,一直被大家所关心,大家都希望可以练一个强大的本命英雄,享受更好的游戏体验。

1. 亚博登录首页APP
Following a misstep with an attempted cinematic universe, the Universal Classic Monsters brand is on the rebound with a new, “Hitchcockian” version of The Invisible Man. According to the first reviews of the horror remake, going smaller in budget and more topical in its story was the best decision. Well, aside from casting Elisabeth Moss in the lead as the woman being terrorized by the titular foe, an abusive ex-husband with the power to be unseeable even the few negative-leaning takes on the movie celebrate her performance. Is it also scary enough? Will its effects wow you? Do its currently relevant themes resonate? We break it all down below.Here’s what critics are saying about The Invisible Man:Is it a worthy remake?The Invisible Man demands to be seen, because this is the right way to reboot a horror movie.  William Bibbiani, The WrapIt’s everything a remake should be, and then some… One of the best things you will see this year.  Doug Jamieson, The Jam ReportThe Invisible Man is respectful to the classic Universal monster movie with which it shares its name, but this is no reverential retread.  Philip De Semlyen, Time OutThe Invisible Man is a superb genre effort that absolutely deserves to be seen.  Anthony O Connor, FilmInkThis new The Invisible Man is no fun.  Armond White, National ReviewDoes it honor H.G. Wells original story?A truly arresting, up-to-the-moment take on old material that makes it feel as fresh and new as if it had been conceived today. Huw Fullerton, Radio TimesThe new version has so little to do with H.G. Wells’ original story that Wells doesn’t seem to be credited. Anywhere. At all. Not even a Special Thank You. Maybe he turned invisible too. William Bibbiani, The WrapIf Blumhouse had integrity, it would have honored H. G. Wells’ thesis that mankind’s inherent narcissism implicates us all. Armond White, National Review(Photo by Universal Pictures)What does it do for the Universal Classic Monsters brand?Does the legacy proud… We finally have a Universal Monster to be scared of again. Norman Gidney, HorrorBuzz[It’s] a successful restart to Universal s attempts to bring its classic monsters into the modern era. Ian Sandwell, Digital SpyWhere Universal’s monsters are concerned, let’s hope we see more of its like. Kevin Harley, Total FilmIf they wind up all being as exceptional as Leigh Whannell’s The Invisible Man, we have many years of fantastic horror cinema ahead of us. Eric Eisenberg, Cinema BlendWhat will it remind us of?The Invisible Man delivers Hitchcock levels of tension, suspense and outright terror. Edward Douglas, The Weekend WarriorThere’s something Hitchcockian about the way this The Invisible Man plays out. John Nugent, Empire Magazine[Cecilia’s] moments of lucidity and positive intent become increasingly dominated by degrees of disorientation and general out-of-it-ness in ways that remind of some Hitchcock heroines, notably Ingrid Bergman in Notorious. Todd McCarthy, Hollywood ReporterThe Hitchcock glamour and attention to detail are there… I am a huge Hitchcock fan which I think added to my enjoyment of this movie. Grace Randolph, Beyond the Trailer(Photo by Universal Pictures)Is it scary?It puts you right on edge from the get-go and sets up the prospect of how the ordinary can be terrifying. Ian Sandwell, Digital SpyThe idea of Elisabeth Moss stalking around a dark attic with a flashlight may not seem particularly scary, but trust me – in Whannell’s hands, it is. Chris Evangelista, SlashfilmI got so scared, a couple of times I had to look away from the screen, which was hilariously ironic, because of course this is a movie about an invisible man — there’s nothing to see up there. Grace Randolph, Beyond the TrailerShots of nothing portend everything. This subtle approach is incredibly effective, and a reminder of how horror doesn’t always have to be frantic to raise dread. John Nugent, Empire MagazineThe Invisible Man lacks for truly terrifying moments. The film plays more like a thriller than a horror. Jude Dry, IndieWireThe debate will rage over whether to call this a horror movie. Doug Jamieson, The Jam ReportEither way, is it intense?Leigh Whannell, who created some incredible unique action sequences in his last movie, Upgrade, goes whole hog when it comes to the Invisible Man attack sequences. Eric Eisenberg, Cinema BlendThe writer-director well knows how to pace and space his revelations and jolts, how much to show and how much to withhold. Todd McCarthy, Hollywood ReporterThe big action spectacles, when we get there, feel worth the wait, as the filmmakers know when to ramp up the dazzling invisible man effects and when to pull them back. Angie Han, Mashable(Photo by Universal Pictures)How are the effects?The visual effects are flawless. Eric Eisenberg, Cinema BlendThey could easily create any invisible effect with modern technology, but Whannell knows that less is more. Fred Topel, Showbiz CheatSheetThe special effects work can look somewhat hokey. Doug Jamieson, The Jam ReportIs it a more character-driven effort?Moss, Hodge Reid and Kass are all open, inviting actors who earn our investment in their emotions and dilemmas. Todd McCarthy, Hollywood ReporterWith steady character work banking our investment, Whannell tightens the screws to scare. Kevin Harley, Total FilmHow is Elisabeth Moss?She delivers one of the best performances of her career. Eric Eisenberg, Cinema BlendIt’s a captivating and empathetic performance that’s easily her best mainstream cinematic effort to date. Doug Jamieson, The Jam ReportShe is absolutely magnificent, so haunting to watch. Sharronda Williams, Pay or WaitElisabeth Moss is absolutely mesmerizing… The movie is a great showcase for what she’s capable of as an actor. Edward Douglas, The Weekend WarriorThat it works quite as well as it does is down in no small part to Moss herself, who comm In one of our creepiest showdowns yet, we’re pitting two pioneering anthology series against each other: Black Mirror vs. The Twilight Zone. (And yes, we’re looking at all iterations of the Zone.) Which series performs better when it comes to the Tomatometer and Audience Score? Which gave us more iconic moments? (Both delivered big time when it came to iconic porcine moments, right?!). And which had the greatest cultural impact? Join Rotten Tomatoes Contributing Editor Mark Ellis as he travels to another dimension, and into the just-recognizable near future, to see which series takes the creepster crown in the latest edition of Vs.As always, if you don t agree with our choice of winner, let us have it in the comments.
全球在地化体验,支援12种语言:英语、西班牙语、葡萄牙语、俄语、土耳其语、印尼语、泰语、简中、繁中、阿拉伯语、德语、法语。

2. 公平游戏环境
For The Green Knight, acclaimed filmmaker David Lowery’s unique take on Arthurian legend, Dev Patel inhabits one of the most fascinating and complex of Camelot’s heroes, Sir Gawain, title star of an epic poem whose author remains unknown to this day. In the film, as in the poem, the young and brash nephew to the king is in search of a heroic tale all his own, and so it is that when a mysterious and supernatural Green Knight disrupts the royal Christmas festivities with a terrifying challenge, Gawain steps up, sword in hand, ready to create his own legend.In this exclusive extended interview with Rotten Tomatoes, Patel reveals the steps he took to prepare for the role of Gawain in Lowery’s morally thorny and visually groundbreaking film, from collaborating with the director to refine the character on the page to learning to ride a horse for the first time (with the help of some apples from the hotel). Plus, he considers something close to his own heart as an actor: how the quest for greatness can sometimes clash with the desire to remain good.The Green Knight is in theaters from Friday July 30, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.亚博登录首页APP天马神途是一款非常受欢迎的神途RPG手游,采用微操挂机玩法,玩家选定好职业后便有了一系列的任务和副本要求,经典的怪物和地图任你自由闯荡!

3. 激战团竞模式
猫和老鼠手游是一款充满趣味挑战的休闲手游,游戏中汤姆和杰瑞将携手迎接新朋友的到来,玩家能够在游戏中见到儿时熟悉的伙伴,玩法内容丰富,游戏中玩家将加入猫和老鼠的追捕当中,操作简单易上手,玩起来非常有意思。

4. 呼朋唤友 随心所欲
《方舟:生存进化》手游却在国内上线过程中吃尽了版号的苦,其在2018年全球发行(除中国大陆)时正值国内版号收紧,直至今日,该游戏的版号仍未通过。

5. HD 画质与高品质音讯
使用強大的百度引擎5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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9.68.1 1月喜迎可以看到,《三国志11》系列中的内政其实依然有着很高的可玩性,不过面对玩家们日益增长的需求,不知道在后续的《三国志》中,光荣会不会再有所调整?讲到内政的多样性玩法,其实在即将推出的正统三国社交对抗策略手游《荣耀新三国》里,也非常值得尝试。
山海经幻想大陆破解手游是一款剧情丰富,玩法多样的国风仙侠手游,独创的神将系统,召唤战斗力超强的英雄角色和你一起战斗,浪漫的社交姻缘系统,邂逅自己的三世情缘,书写一段浪漫的修仙故事,成就仙界一段非凡的传说!感兴趣的朋友们赶紧下载体验吧!
The Fast Furious franchise – now in presenting mode – continued a long tradition of dropping sharply in its second weekend, though Hobbs Shaw still made enough to hold on for the top spot at the box office for at least one more week. Teenagers did actually come close to dethroning Statham and The Rock, but it was not the kids most expected to lead the way among five new wide releases.King of the Crop: Hobbs Shaw Leads Weekend But Trails In Series(Photo by © Universal Pictures)Since the 50% drop of the surprise hit original back in 2001, the lowest drop among its sequels in their second weekend was the 59.1% for 2006’s Tokyo Drift. That was also the one film that didn t feature Vin Diesel and Paul Walker, and it had the lowest opening (.97 million) and is the only film in the franchise to not gross 7 million or higher. It grossed .51 million, which Hobbs Shaw nearly bested in its opening weekend. Nevertheless, the film – which had the sixth best opening of the series – dropped 57.7% from its first weekend, putting it in the league of the sequels which have fallen 59.1% to 63.9% over time.That brings the film’s total to 8.5 million after 10 days, which is also the sixth best in the series, trailing the 6.49 million of the fourth entry, 2009 s Fast Furious. That film made .23 million in weekend two (after a 61.6% drop) and finished with 5.06 million. Hobbs Shaw is currently hovering just over Rise of the Planet of the Apes for the eighth best gross for an August release after 10 days, but that film also had a stronger second weekend with .83 million. The first spinoff of the Furious franchise is currently looking at a final gross between 0 million and 1 million. The global total for the 0 million production stands at 2 million.Fresh Surprise: Could There Be More Scary Stories To Tell?Joel MearesCBS Films, under the Lionsgate banner, look like they may have a little hit on their hands. The million production Scary Stories To Tell In The Dark had a strong start with a .8 million opening. Lionsgate has had a back-and-forth summer, first with the weaker-than-expected performance of Charlize Theron/Seth Rogen romantic comedy, Long Shot, and then with Luc Besson’s Anna grossing less than million. But in between that they had John Wick: Chapter 3 Parabellum. The ending of Scary Stories suggests there is hope of turning this into a series (so many stories to still tackle), and surely Lionsgate hopes it can outlast some of its 2019 horror counterparts until It: Chapter Two opens after Labor Day and leaves them all in the dust.The Stories opening is slightly better than Annabelle Comes Home’s .26 million. (The Wednesday opener had .46 million in its first three days.) The Pet Sematary remake and The Curse of La Llorona (both “R”-rated) opened to .34 million and .50 million, respectively, and finished with nearly identical grosses of .73 million and .72 million. The “PG-13”-rated Escape Room opened to .23 million and finished with million. Scary Stories ranks as the eighth best horror opening ever in August, ahead of The Last Exorcism (.36 million) and Exorcist: The Beginning (.05 million), both of which also finished with nearly identical totals of .03 million and .82 million, respectively. On first glance, Scary Stories sets a first estimate somewhere between million and million.Rotten Returns: A Rough Weekend for Stories About Crime and Unfair Punishment(Photo by Alison Cohen Rosa / © Warner Bros.)Audiences were either unaware or unwilling to attend the true story of a 2002 NFL prospect falsely accused of rape, Brian Banks. This was only the fifth wide opening in Bleecker Street’s five-year history and the .1 million start – not enough to crack the top 10 – translated into their third-worst per-theater-average (,492), ahead of only Elvis Nixon’s ,224 PTA in 381 theaters back in 2016 and their release of Netflix’s Beasts of No Nation (,645 in 31 theaters). The studio had their fourth highest-grossing film ever this year back in March with Hotel Mumbai (.65 million) and released The Art of Self-Defense last month, which has grossed .41 million to date.Looking even worse, though, is Warner Bros.’ The Kitchen. The movie s 20% Tomatometer score makes it not just one of the worst-reviewed films of the summer – down with The Hustle  (14%) and Men In Black International (22%) – but one of the 10 worst-reviewed wide releases of 2019. Last year, WB did not have a film open to less than million; with .51 million this weekend, The Kitchen becomes the third WB movie to open with less than million this summer after The Sun Is Also A Star (.51 million) and Shaft (.90 million). They had four films open with less than million in 2017. Last summer’s The Happytime Murders, with Melissa McCarthy, opened to .53 million. It was her lowest opening as a headliner to date – until The Kitchen.The Top 10 and Beyond: Dora Gets Slightly Lost as Disney Continues to Rack Up Milestones(Photo by © Paramount Pictures)There were still two more wide releases this week and the results were not great for either. Many actually gave Dora and the Lost City of Gold a puncher’s chance of knocking Hobbs Shaw from the top spot, but it could not even beat Scary Stories. A million opening is not the end of the world, but the million production is going to need some help to turn a profit. That opening is about on par with the August release of Spy Kids 2: The Island of Lost Dreams (.71 million) back in 2002, a film which went on to gross .84 million. Though that would require a 5x multiple over opening weekend, something only four films opening in more than 2,000 theaters have achieved this millennium: Crazy Rich Asians (6.58x), The Help (6.51x), We’re the Millers (5.69x), and The 40 Year-Old Virgin (5.1x).The Art of Racing in the Rain, this week s final wide release, did about half of Dora’s business, making just a little more (.1 million) than this summer’s sequel to A Dog’s Purpose, A Dog’s Journey (.03 million). Advertised as being from the studio that brought you Marley Me, nobody expected it to reach that film’s heights. Though without any decent word-of-mouth, the film will likely not even reach the .64 million that Fox’s 2005 dog drama, Because of Winn-Dixie, made nor will it touch the .35 million that Marley grossed in its opening weekend.(Photo by Andrew Cooper / © Columbia Pictures)Over to some films that can certainly register as success stories. The Lion King has grossed 3.1 million, which is the ninth best ever after 24 days of release. Even though the top 15 films on that list had stronger fourth weekends, the film is still headed for 0 million-to-0 million domestic. With .33 billion worldwide, the film is just .3 million away from becoming one of the 10 highest-grossing films of all time. Then we have Toy Story 4, which is just million away from crossing the billion dollar line and is currently the 43rd highest-grossing film ever; it is also just .3 million away from passing Captain Marvel to become the 3rd-highest domestic grosser of 2019. Spider-Man: Far From Home was already over the billion mark before the weekend; this week it will crack the .1 billion mark and is close to entering the top 25 all-time earners, even if it will come up short of 0 million domestic.Then we have a film that is not a sequel, not a comic book film, not a live-action remake, and not a Pokémon. Quentin Tarantino’s Once Upon a Time…in Hollywood became the first original film of the summer – and just second of 2019 joining Jordan Peele’s Us – to gross over 0 million. Speaking of gross, Tarantino’s acclaimed film is actually right on pace with, of all films, Grown Ups 2, which grossed a virtually identical .6 million in its third weekend and had 1.76 million after 17 days. It ultimately grossed 3.66 million and there is a good chance that Hollywood will eventually pass that number, too.(Photo by © A24)Finally, A24 brought The Farewell into wide release this weekend, putting it in 704 theaters (up from last week’s 409). Lulu Wang’s film, Certified Fresh at 99% on the Tomatometer, grossed just .2 million this weekend, which pales in comparison to other fifth-week releases between 650-750 theaters. The bulk of them are films which got their expansions during awards season, which is an entirely different beast. But there are comparable summer releases out of Sundance like Zach Braff’s Garden State, which was in its second week of wide release in 745 theaters grossing .79 million, and the documentary sensation, March of the Penguins, which expanded into wide release on weekend five (695 theaters) and grossed .38 million.Though there is also a glass-half-full situation as well, as long as A24 continues to expand and keeps chipping its way forward with a million or two each week. Garden State had .85 million after a month of release (The Farewell is at .32 million), never grossed higher than .02 million in a weekend, and was never in more than 813 theaters. It ended up grossing .7 million.This Time Last Year: A Big Shark, A Slender Man, and a Black Klansman Opened(Photo by © Warner Bros. )All 75 feet of The Meg took the number 1 spot at the box office. The giant shark film grossed .4 million and began a climb to over 0 million worldwide. The horror film Slender Man grossed .37 million for fourth place, while Spike Lee’s Oscar-winning BlacKkKlansman opened to .84 million. In milestones, Ant-Man and the Wasp crossed the 0 million mark and Mamma Mia: Here We Go Again passed 0 million. The top 10 films grossed 6.97 million and averaged 64.7% on the Tomatometer; this year’s top 10 grossed 0.32 million and averaged 67.1% with critics.On the Vine: Another Crowded Weekend Led by Potty Mouths And Angry Birds(Photo by © Universal Pictures)It is another packed weekend that could be led by Good Boys, the Seth Rogen production featuring the “R”-rated adventures of Jacob Tremblay, Brady Noon, and Keith L. Williams. Will audiences return for a second flock of The Angry Birds Movie 2 or will it fall victim to the August animation trap right as kids return to school? The same question can be asked of 47 Meters Down: Uncaged, the sequel to the minor sharkbait hit of 2017. Richard Linklater teams with Cate Blanchett on the delayed Where’d You Go, Bernadette, which is his first film not to play any film festivals prior to release since his 2005 remake of Bad News Bears. Finally, one of the sensations of this year’s Sundance was Gurinder Chadha’s Blinded by the Light, starring Viveik Kalra as a guy who becomes inspired to live out his dream as a writer thanks to the music of Bruce Springsteen.The Full Top 10: August 9-11Fast & Furious Presents: Hobbs & Shaw (2019) 67% – .4 million (8.51 million total)Scary Stories to Tell in the Dark (2019) 77% – .8 million (.8 million total)The Lion King (2019) 52% – million (3.1 million total)Dora and the Lost City of Gold (2019) 85% – million ( million total)Once Upon a Time... In Hollywood (2019) 85% – .6 million (0.33 million total)The Art of Racing in the Rain (2019) 44% – .1 million (.1 million total)The Kitchen (2019) 23% – .51 million (.51 million total)Spider-Man: Far From Home (2019) 90% – .3 million (0.97 million total)Toy Story 4 (2019) 97% – .4 million (9.57 million total)The Farewell (2019) 97% – .21 million (.32 million total)

(Photo by Marvel Studios)Who would ve ever thought an exposition dump could be so entertaining? Loki’s finale offered up one of the most astonishing talk-filled reveals yet. And that s considering the answers are still cosmic in nature and obscured ever so slightly by long-range Marvel Studios set-ups. Nevertheless, a welcome guest star navigated that tightrope with aplomb.At the same time, character beats continue (to some extent, anyway) and a new set of problems beset the former God of Mischief (Tom Hiddleston). So let s take a look at what he learned, what occurred after he learned it, and what problems the answer to the series central mystery holds for the Marvel Cinematic Universe at large.Spoiler Alert: The following reveals details of the finale episode of Loki season 1. Stop here if you have not watched “For All Time. Always.” Speculation includes information from Marvel comic books and may also be considered spoilers to some.The Answer Is: He Who Remains(Photo by Marvel Studios)So, as it turns out, our list of suspects from last week proved to be correct in two cases. He Who Remains set the TVA in motion, but it was not Mobius M. Mobius (Owen Wilson). Instead, the person remaining is a 31st century scientist we know to be Nathaniel Richards (Jonathan Majors) — even if he never uses that name here — or better known across the internet the last six weeks as Kang the Conqueror.But is He Who Remains really Kang?For the moment, we ll take He Who Remains at his word. He is a more benevolent Nathaniel who took part in the Multiversal War against variants of himself from other realities and discovered the only way to end the chaos was to eliminate free will including his own. Perhaps not as mind-bendingly strange as the He Who Remains of the comics (perhaps Marvel is saving the notion of a survivor from a previous universe for Galactus), but still a pretty heady concept for those less familiar with the Big Cosmic Ideas 1970s superhero comics, philosophy texts, or really out there sci-fi novels.Also, we ll point out, the origin of the Multiversal War he describes to Loki and Sylvie (Sophia Di Martino) sure sounds like the origin of the Multiverse over at the crosstown rival. In the DC Universe, a scientist named Krona unleashed multiversal energy by using a time viewer to witness the birth of the universe, altering the fabric of reality forever.In He Who Remains case, though, the Crisis on Infinite Earths was a crisis of ego as the variant Nathaniel Richardses fought to dominate the Marvel Multiverse. It suggests Kang, when we meet him in Ant-Man and the Wasp: Quantumania, will be distinct from He Who Remains. It also suggests Majors may end up playing several different versions on Nathaniel Richards during his time in the MCU. As He Who Remains mentions, the character (and his variants) goes by many names, including Rama-Tut, Kang the Conqueror, Immortus, Blue Totem, Victor Timely, Scarlet Centurion, and more. Also, as he shares a name with Reed Richards s father, there is always the possibility he will turn out to be his own ancestor.Then again, considering he presents himself to two Loki variants, can we take anything he said at face value? It is possible he is, indeed, the Nathaniel Richards who became Kang. Allowing the Lokis to proceed this far could be part of his plan to continue dominating reality. Or he s the one who became Immortus and this is part of a gambit to ultimately preserve his preferred timeline.As we also mentioned last week, it is possible for some viewers to see the Kang reveal as anticlimactic. He is not an established character in the context of the series — despite the relentless hinting — and the answer actually moves things away from Loki. We think that sensation would be far worse if the show was a limited series like WandaVision and The Falcon and the Winter Soldier, but now that season 2 is a definite thing, his debut has more of a season 1 finale flavor than it might have otherwise had, especially considering the last image before the credits.Where Is Judge Renslayer?(Photo by Marvel Studios)As we move into a Marvel Multiverse of variants, we re going to refer to the Ravonna Renslayer (Gugu Mbatha-Raw) we ve seen up until now as Judge Renslayer. Much like Nathaniel Richards, naming her variants is going to be important in order to keep things orderly.As we saw in the episode, Judge Renslayer seemingly escaped the coming calamity by leaving the TVA. Her stated motivation was to search for free will, but it is easy to interpret that as following order from He Who Remains. What file did Miss Minutes (Tara Strong) serve up to Judge Renslayer? Was it enough to make her question the TVA s stated purpose entirely or did it strengthen her resolve? Her conversation with Mobius suggests the latter, but considering how long the judge has kept her motivation close to her vest, anything is possible.Meanwhile, it is interesting to note that on He Who Remains preferred timeline, Ravonna Renslayer is the principal at Roosevelt High in 2018. As we re mentioned before, her comic book counterpart was a princess from the 40th century Kang tried his best to woo. She died admitting her affection for him and a variant of Kang went in search of a way to rescue her — leading to further variants of both characters. But if the Ravonna of the MCU is a 21st century Earth woman, will it lead to her meeting Kang under very different circumstances?Also, what sort of trouble could a high school principal get up to that a variant of her would end up near the top of the TVA s command structure? A puzzle for Quantumania to answer, perhaps?Or maybe the point of divergence is the very thing Judge Renslayer went to investigate. Determining why she was plucked away from the timeline may offer some clarity. Then again, that clarity all depends on whether or not she still follows He Who Remains. We re All Villains Here (Photo by Chuck Zlotnick/Marvel Studios)The central question of free will also plays out among the Lokis as Sylvie, seemingly, gives into her nature. At least, that s the way the show is framing it for the moment. Beyond confirming her bond with Loki is romantic — which, truth be told, we re not fond of — her actions here prove she is steadfast in her mission: kill the power behind the TVA.Following through on that suggests she has not grown over the course of the adventure. Instead of the expanded awareness Loki seems to have gained, she remained a prisoner of her predetermined role by killing He Who Remains. And, to be honest, that s a downer. Sylvie proved to be such a wonderful addition to the Marvel mix that we hate to see her ultimately fail (in more personal terms, anyway). We always expected one more betrayal before the season ended, but we never thought it would be her. Until it is resolved next season, it stands as something of a disappointment as it seems contrary to where the character was headed.(Photo by Marvel Studios)And, to be fair, the show also cast doubt on Loki s seeming empathy toward the timeline and the countless lives within it. He could still be trapped in his nature and thinking of the throne — he is still a Loki, after all. It is enough of a doubt to fuel the fight between Loki and Sylvie in terms of the narrative. Nevertheless, we are inclined to believe Loki has changed and his concerns have grown beyond his own immediate desires. The proof: He cares enough about Sylvie to want her to grow beyond vengeance.The show is called Loki, after all, his character development has to be paramount.It is interesting to note that He Who Remains tempts them twice: once with what they wanted before being trimmed from the timeline and then again with control of the Sacred Timeline itself. In the second case, he even frames it by reminding them (and us) that they are all villains. If nothing else, it sets up a new conflict for the second season as Loki and Sylvie will have to determine who the villain really is in this situation.Well, presuming Sylvie even remains at the Citadel at the End of Time. The Multiverse is open to her now and she could try to go home at long last.Or was this her supervillain origin all along?The Multiverse of Possibilities(Photo by © Columbia Pictures / © Marvel / courtesy Everett Collection)One odd thing to consider about Sylvie s killing blow: it means the Sacred Timeline has been undone back to its root. There has always been a Mutliverse now and it contains things like the Sony Spider-Man films, Agents of S.H.I.E.L.D.’s later seasons, and whole wealth of possibilities. Some of which will likely be explored next month when What If ? starts its run.But as the final scene suggests, the change will only be perceptible to Loki, Sylvie, and potentially, Judge Renslayer. Note how Hunter B-15 (Wunmi Mosaku) and Mobius fail to recognize Loki. The TVA has been utterly changed at its core — now owing its existence to either Kang or Immortus. From their point of view, Loki never arrived at the TVA for judgement and the TVA is operating more or less as it always has.At least, that s one possibility.The other: Kang s (or Immortus s) TVA employs more than one variant B-15 and Mobius in its ranks. The ones Loki knows are still up in the control room watching the timeline unravel.Either way, Loki is the only one who can perceive the fundamental shift in things at this point. And we re not just talking about Loki as a series. Out in the wider MCU (and Phase 4), no one is aware of the Multiversal War, Nathaniel Richards, or the existence of variants. Wanda (Elizabeth Olsen) is still reading The Darkhold. Sam Wilson (Anthony Mackie) is still getting used to being Captain America, and Natasha Romanoff (Scarlett Johansson) is still dead. It will be interesting to see if Shang-Chi and the Legend of the Ten Rings or Eternals make any reference to the Multiverse in the coming months.(Photo by Marvel Studios)Granted, there s a definite point at which the events of Loki will come to light for a different set of characters: Doctor Strange in the Multiverse of Madness. And if the rumors about Spider-Man: No Way Home are true, Peter Parker (Tom Holland) may be the first to really experience what the death of He Who Remains means down at a street level.Which is the challenge for Marvel Studios going forward: making the timey-wimey happenings of Loki compatible with more straight-forward things like Secret Invasion or Hawkeye. Then again, one of the advantages of the studio s storytelling technique is that it can set up ideas like these and let them simmer for a project or four.Also, there is an interesting conflict buried under all of this: How can Loki stop Kang and still retain the possibility of free will? As we ve said all along, the problem of free will is unique for the MCU because the characters are, ultimately, beholden to the whims of studio president Kevin Feige. In a very real way, they are incapable of choice. As presented within the context of the story, Nathaniel Richards war is the ultimate result of free will and the Sacred Timeline is the best way to minimize suffering on a multiversal scale. But is becoming a prisoner to his nature the only workable solution?Maybe it won t be Loki s conflict to resolve in the end. Perhaps the only way to stop a Richards is with another Richards — one a bit more, well, fantastic.Loki season 2 is now available to stream in its entirety on Disney+.
(Photo by Rotten Tomatoes)One of Hideo Kojima s most resonant achievements in his 30-year career as a video game designer and director came early. Kojima saved a troubled project at Konami called Metal Gear by reducing the game s combat and emphasizing avoiding detection, pioneering the stealth genre. When it was ported to the Nintendo Entertainment System, it sold over a million copies in America.Kojima returned to the series in 1998 with Metal Gear Solid for the PlayStation, a groundbreaking hybrid of intense stealth action dressed with stylish cinematic flair that went on to move six million units. He designed and directed four more direct Metal Gear sequels, piecing together a complex and occasionally bizarre tale of nanotechnology, nuclear proliferation, military conspiracies, and, yes, love blooming on the battlefield that has found wide appeal beyond core gamers.That explains the cast Kojima was able to put together for his latest game, Death Stranding. Through motion capture, Norman Reedus stars as as Sam Bridges, a cargo carrier tasked with connecting a post-apocalyptic America back online, outpost by outpost. Reedus is joined by Lea Seydoux, Mads Mikkelsen, Margaret Qualley, Lindsay Wagner, Guillermo del Toro, and Nicolas Winding Refn in an audacious boots-on-the-ground epic, which emphasizes collaboration with other players online over violent shootouts in rebuilding America, featuring Kojima s signature maximalist storytelling.He s always worn his inspirations in the open, and the way they weave into his games is part of their crossover charm and fun. You can get a sense of what movies Kojima watches through playing his games: Blade Runner is all over cyberpunk graphic adventure Snatcher, there s plenty of Escape From New York s DNA in Metal Gear Solid, and Death Stranding even has a major character named Die-Hardman. So when Kojima stopped by for a tour of Rotten Tomatoes HQ on the eve of The Game Awards where Death Stranding won Best Game Direction, Best Score/Music, and Best Performance (Mads Mikkelsen) we had to sneak in a Five Favorite Films.
去年在整个世界遭受新型冠状病毒冲击后,人们的消费和娱乐方式发生巨变之时,手游行业成为资本为数不多的避风港,甚至迎来新的发展机会。
如果非要把这两个游戏对比,我认为是46开,王者6,这一点必须承认,王者荣耀真的给腾讯带来了无数的收益,完全不逊色当年的lol端游,lol手游现在想超越王者几乎是做不到的。
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亚博登录首页APP The Fast Furious franchise – now in presenting mode – continued a long tradition of dropping sharply in its second weekend, though Hobbs Shaw still made enough to hold on for the top spot at the box office for at least one more week. Teenagers did actually come close to dethroning Statham and The Rock, but it was not the kids most expected to lead the way among five new wide releases.King of the Crop: Hobbs Shaw Leads Weekend But Trails In Series(Photo by © Universal Pictures)Since the 50% drop of the surprise hit original back in 2001, the lowest drop among its sequels in their second weekend was the 59.1% for 2006’s Tokyo Drift. That was also the one film that didn t feature Vin Diesel and Paul Walker, and it had the lowest opening (.97 million) and is the only film in the franchise to not gross 7 million or higher. It grossed .51 million, which Hobbs Shaw nearly bested in its opening weekend. Nevertheless, the film – which had the sixth best opening of the series – dropped 57.7% from its first weekend, putting it in the league of the sequels which have fallen 59.1% to 63.9% over time.That brings the film’s total to 8.5 million after 10 days, which is also the sixth best in the series, trailing the 6.49 million of the fourth entry, 2009 s Fast Furious. That film made .23 million in weekend two (after a 61.6% drop) and finished with 5.06 million. Hobbs Shaw is currently hovering just over Rise of the Planet of the Apes for the eighth best gross for an August release after 10 days, but that film also had a stronger second weekend with .83 million. The first spinoff of the Furious franchise is currently looking at a final gross between 0 million and 1 million. The global total for the 0 million production stands at 2 million.Fresh Surprise: Could There Be More Scary Stories To Tell?Joel MearesCBS Films, under the Lionsgate banner, look like they may have a little hit on their hands. The million production Scary Stories To Tell In The Dark had a strong start with a .8 million opening. Lionsgate has had a back-and-forth summer, first with the weaker-than-expected performance of Charlize Theron/Seth Rogen romantic comedy, Long Shot, and then with Luc Besson’s Anna grossing less than million. But in between that they had John Wick: Chapter 3 Parabellum. The ending of Scary Stories suggests there is hope of turning this into a series (so many stories to still tackle), and surely Lionsgate hopes it can outlast some of its 2019 horror counterparts until It: Chapter Two opens after Labor Day and leaves them all in the dust.The Stories opening is slightly better than Annabelle Comes Home’s .26 million. (The Wednesday opener had .46 million in its first three days.) The Pet Sematary remake and The Curse of La Llorona (both “R”-rated) opened to .34 million and .50 million, respectively, and finished with nearly identical grosses of .73 million and .72 million. The “PG-13”-rated Escape Room opened to .23 million and finished with million. Scary Stories ranks as the eighth best horror opening ever in August, ahead of The Last Exorcism (.36 million) and Exorcist: The Beginning (.05 million), both of which also finished with nearly identical totals of .03 million and .82 million, respectively. On first glance, Scary Stories sets a first estimate somewhere between million and million.Rotten Returns: A Rough Weekend for Stories About Crime and Unfair Punishment(Photo by Alison Cohen Rosa / © Warner Bros.)Audiences were either unaware or unwilling to attend the true story of a 2002 NFL prospect falsely accused of rape, Brian Banks. This was only the fifth wide opening in Bleecker Street’s five-year history and the .1 million start – not enough to crack the top 10 – translated into their third-worst per-theater-average (,492), ahead of only Elvis Nixon’s ,224 PTA in 381 theaters back in 2016 and their release of Netflix’s Beasts of No Nation (,645 in 31 theaters). The studio had their fourth highest-grossing film ever this year back in March with Hotel Mumbai (.65 million) and released The Art of Self-Defense last month, which has grossed .41 million to date.Looking even worse, though, is Warner Bros.’ The Kitchen. The movie s 20% Tomatometer score makes it not just one of the worst-reviewed films of the summer – down with The Hustle  (14%) and Men In Black International (22%) – but one of the 10 worst-reviewed wide releases of 2019. Last year, WB did not have a film open to less than million; with .51 million this weekend, The Kitchen becomes the third WB movie to open with less than million this summer after The Sun Is Also A Star (.51 million) and Shaft (.90 million). They had four films open with less than million in 2017. Last summer’s The Happytime Murders, with Melissa McCarthy, opened to .53 million. It was her lowest opening as a headliner to date – until The Kitchen.The Top 10 and Beyond: Dora Gets Slightly Lost as Disney Continues to Rack Up Milestones(Photo by © Paramount Pictures)There were still two more wide releases this week and the results were not great for either. Many actually gave Dora and the Lost City of Gold a puncher’s chance of knocking Hobbs Shaw from the top spot, but it could not even beat Scary Stories. A million opening is not the end of the world, but the million production is going to need some help to turn a profit. That opening is about on par with the August release of Spy Kids 2: The Island of Lost Dreams (.71 million) back in 2002, a film which went on to gross .84 million. Though that would require a 5x multiple over opening weekend, something only four films opening in more than 2,000 theaters have achieved this millennium: Crazy Rich Asians (6.58x), The Help (6.51x), We’re the Millers (5.69x), and The 40 Year-Old Virgin (5.1x).The Art of Racing in the Rain, this week s final wide release, did about half of Dora’s business, making just a little more (.1 million) than this summer’s sequel to A Dog’s Purpose, A Dog’s Journey (.03 million). Advertised as being from the studio that brought you Marley Me, nobody expected it to reach that film’s heights. Though without any decent word-of-mouth, the film will likely not even reach the .64 million that Fox’s 2005 dog drama, Because of Winn-Dixie, made nor will it touch the .35 million that Marley grossed in its opening weekend.(Photo by Andrew Cooper / © Columbia Pictures)Over to some films that can certainly register as success stories. The Lion King has grossed 3.1 million, which is the ninth best ever after 24 days of release. Even though the top 15 films on that list had stronger fourth weekends, the film is still headed for 0 million-to-0 million domestic. With .33 billion worldwide, the film is just .3 million away from becoming one of the 10 highest-grossing films of all time. Then we have Toy Story 4, which is just million away from crossing the billion dollar line and is currently the 43rd highest-grossing film ever; it is also just .3 million away from passing Captain Marvel to become the 3rd-highest domestic grosser of 2019. Spider-Man: Far From Home was already over the billion mark before the weekend; this week it will crack the .1 billion mark and is close to entering the top 25 all-time earners, even if it will come up short of 0 million domestic.Then we have a film that is not a sequel, not a comic book film, not a live-action remake, and not a Pokémon. Quentin Tarantino’s Once Upon a Time…in Hollywood became the first original film of the summer – and just second of 2019 joining Jordan Peele’s Us – to gross over 0 million. Speaking of gross, Tarantino’s acclaimed film is actually right on pace with, of all films, Grown Ups 2, which grossed a virtually identical .6 million in its third weekend and had 1.76 million after 17 days. It ultimately grossed 3.66 million and there is a good chance that Hollywood will eventually pass that number, too.(Photo by © A24)Finally, A24 brought The Farewell into wide release this weekend, putting it in 704 theaters (up from last week’s 409). Lulu Wang’s film, Certified Fresh at 99% on the Tomatometer, grossed just .2 million this weekend, which pales in comparison to other fifth-week releases between 650-750 theaters. The bulk of them are films which got their expansions during awards season, which is an entirely different beast. But there are comparable summer releases out of Sundance like Zach Braff’s Garden State, which was in its second week of wide release in 745 theaters grossing .79 million, and the documentary sensation, March of the Penguins, which expanded into wide release on weekend five (695 theaters) and grossed .38 million.Though there is also a glass-half-full situation as well, as long as A24 continues to expand and keeps chipping its way forward with a million or two each week. Garden State had .85 million after a month of release (The Farewell is at .32 million), never grossed higher than .02 million in a weekend, and was never in more than 813 theaters. It ended up grossing .7 million.This Time Last Year: A Big Shark, A Slender Man, and a Black Klansman Opened(Photo by © Warner Bros. )All 75 feet of The Meg took the number 1 spot at the box office. The giant shark film grossed .4 million and began a climb to over 0 million worldwide. The horror film Slender Man grossed .37 million for fourth place, while Spike Lee’s Oscar-winning BlacKkKlansman opened to .84 million. In milestones, Ant-Man and the Wasp crossed the 0 million mark and Mamma Mia: Here We Go Again passed 0 million. The top 10 films grossed 6.97 million and averaged 64.7% on the Tomatometer; this year’s top 10 grossed 0.32 million and averaged 67.1% with critics.On the Vine: Another Crowded Weekend Led by Potty Mouths And Angry Birds(Photo by © Universal Pictures)It is another packed weekend that could be led by Good Boys, the Seth Rogen production featuring the “R”-rated adventures of Jacob Tremblay, Brady Noon, and Keith L. Williams. Will audiences return for a second flock of The Angry Birds Movie 2 or will it fall victim to the August animation trap right as kids return to school? The same question can be asked of 47 Meters Down: Uncaged, the sequel to the minor sharkbait hit of 2017. Richard Linklater teams with Cate Blanchett on the delayed Where’d You Go, Bernadette, which is his first film not to play any film festivals prior to release since his 2005 remake of Bad News Bears. Finally, one of the sensations of this year’s Sundance was Gurinder Chadha’s Blinded by the Light, starring Viveik Kalra as a guy who becomes inspired to live out his dream as a writer thanks to the music of Bruce Springsteen.The Full Top 10: August 9-11Fast & Furious Presents: Hobbs & Shaw (2019) 67% – .4 million (8.51 million total)Scary Stories to Tell in the Dark (2019) 77% – .8 million (.8 million total)The Lion King (2019) 52% – million (3.1 million total)Dora and the Lost City of Gold (2019) 85% – million ( million total)Once Upon a Time... In Hollywood (2019) 85% – .6 million (0.33 million total)The Art of Racing in the Rain (2019) 44% – .1 million (.1 million total)The Kitchen (2019) 23% – .51 million (.51 million total)Spider-Man: Far From Home (2019) 90% – .3 million (0.97 million total)Toy Story 4 (2019) 97% – .4 million (9.57 million total)The Farewell (2019) 97% – .21 million (.32 million total)

我倒真没想到啊,王者荣耀也有整改的一天,这些年来王者荣耀在手游市场的占有率越来越高,逐渐取代一些最早的经典MOBA手游。在MOBA手游火爆的那些年,王者荣耀只是众多手游选择之一,远没有今日这番影响力,今天我们来聊聊当年赫赫有名却被王者荣耀打败的MOBA手游: (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.

2022-01-26
详细资讯
Google Play
游戏官网 官网
語言
英文
目前版本 4.24.3
游戏大小 101 MB
更新时间 2022-01-26
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