One of the most anticipated movies of 2020, and one of the few tentpole releases still opening this year, Christoper Nolan’s Tenet is… Christopher Nolan’s Tenet. That is to say, based on the mostly-positive first reviews of the sci-fi spy thriller, you know what you’re getting into, but also you have no idea. The movie, which stars John David Washington and Robert Pattinson, appears to be another difficult one to describe, plot-wise, in part because of spoilers, but it s also celebrated for its action and mind-blowing effects, even if you don’t care about any of the characters. And while some critics suggest the film needs to be seen on the big screen, we encourage you to check here for the latest information on how movie theaters are implementing new safety regulations in light of COVID-19.With that said, here’s what critics are saying about Tenet:How does it compare to the rest of Nolan s filmography?It’s one of his most daring sci-fi narratives yet, and the results are truly phenomenal. Linda Marric, The Jewish ChronicleTenet exceeds our already sky-high expectations… It is undeniably the most audacious film of his career – which is saying something. James Mottram, South China Morning PostTenet is as intricately and exquisitely designed as Nolan’s earlier work. It boasts some of the most spectacular, memorable set-pieces of his career. Clarisse Loughrey, IndependentTenet is not Christopher Nolan’s masterpiece, but it is another thrilling entry into his canon. Matt Purslow, IGNTenet is the first time I felt he gets too carried away with his own concept. Casey Chong, Casey s Movie Mania(Photo by Melinda Sue Gordon/©2020 Warner Bros. Entertainment Inc.)So what is it about, anyway?What’s narratively most interesting about it is strictly off-limits in any pre-screening discussion. Guy Lodge, VarietyWe’re not even sure we could spoil this one if we tried. Simon Miraudo, Student EdgeThe palindromic title has some narrative correlation — albeit in an exhausting, rather joyless way. Mike McCahill, IndieWireCan we expect another mind-bending delight?If Nolan s Inception baked your noodle, prepare for a whole new level of bewilderment. Andy Lea, Daily StarTenet will have you saying Wow, but also Huh?, Wha …? and WTF??!!! Radheyan Simonpillai, NOW TorontoTenet is not in itself that difficult to understand: It’s more convoluted than it is complex, wider than it is deep, and there’s more linearity to its form than you might guess. Guy Lodge, VarietyThe fun with Tenet lies not in trying to decipher the whats or the whys but in simply admiring the how. Adam Woodward, Little White LiesI watched the movie twice for this review, and still feel very confused about what is supposed to be going on and why. Leslie Felperin, Hollywood Reporter(Photo by Melinda Sue Gordon/©2020 Warner Bros. Entertainment Inc.)Is it more about the visuals?Tenet frequently delivers mind-blowing moments that are unlike anything you ve seen (or even thought about) before. Ian Sandwell, Digital SpyTenet is best approached as an experience to be felt rather than comprehensively understood. Sit back, relax and prepare to have your mind blown. James Mottram, South China Morning PostAn absolute treat as a Movie Event… Tenet’s deployment of stupefying practical special effects is pure wizardry. Shannon Conellan, MashableNolan’s commitment to shooting practically achieves an effect akin to first seeing the T-Rex stomp onscreen in Jurassic Park – it’s a film that shows you the impossible in a way that’s indistinguishable from reality. Jordan Farley, Total FilmTake away the time-bending gimmick, and Tenet is a series of timidly generic set pieces: heists, car chases, bomb disposals, more heists… but gosh, does he blow stuff up good. Jessica Kiang, New York TimesHow is the action?The action exceeds anything Nolan has ever done before. Radheyan Simonpillai, NOW TorontoThe sheer meticulousness of Nolan’s grand-canvas action aesthetic is enthralling, as if to compensate for the stray loose threads and teasing paradoxes of his screenplay — or perhaps simply to underline that they don’t matter all that much. Guy Lodge, VarietyIf Nolan has out-Nolaned himself, it’s in the action set-pieces which, despite being of head-scrambling technical intricacy, are sharper than Occam’s razor and carried off with astonishing economy. Adam Woodward, Little White LiesBig, bombastic and does everything with the most epic scale possible. It’s a lot like being punched in the face by Cinema™, in the best and worst ways. Tom Beasley, Flickering Myth(Photo by Melinda Sue Gordon/©2020 Warner Bros. Entertainment Inc.)Are the stakes compelling?It’s the rare action film where the characters don’t just say the world will end if they fail in their mission – you feel it, too. Clarisse Loughrey, IndependentTenet’s stakes are too high, perhaps, to really have any emotional impact. Rosie Fletcher, Den of GeekWhat is the movie reminiscent of?Tenet revisits the terrain of 2000’s Memento with more money… yet plot-wise, Tenet has more in common with Minority Report. Mike McCahill, IndieWireTenet can feel like a 0 million remake of Primer, with a fiendishly brilliant but confounding narrative that practically demands one or two rewatches to fully appreciate the big picture. Jordan Farley, Total FilmIt may echo the cleverness of Rian Johnson’s Looper and Shane Carruth’s Primer in its dizzying disregard for linear chronology, but the plotting is muddled rather than complex. Nicholas Barber, The WrapIt’s reminiscent of Steven Knight’s Serenity influences range from La Jetée to From Russia With Love. Radheyan Simonpillai, NOW TorontoBut what does it really feel like?Nolan has made his own Bond film here, borrowing everything he likes about it, binning everything he doesn’t, then Nolaning it all up. Alex Godfrey, Empire MagazineThe fanciest James Bond romp you ever did see, complete with dizzy global location-hopping, car chases that slip and loop like spaghetti, and bespoke tailoring you actually want to reach into the screen and stroke. Guy Lodge, VarietyThis is absolutely Nolan delivering his James Bond movie, only Bond never had to deal with inverted bullets. Ian Sandwell, Digital Spy(Photo by Melinda Sue Gordon/©2020 Warner Bros. Entertainment Inc.)How is the cast?David Washington is rock solid in the lead role… Robert Pattinson brings his A-game. Adam Woodward, Little White LiesRobert Pattinson puts in a truly electrifying turn. Linda Marric, The Jewish ChronicleOnly Elizabeth Debicki and Kenneth Branagh made quite an impression in their respective roles. Casey Chong, Casey s Movie ManiaBranagh is unexpectedly fearsome. Clarisse Loughrey, IndependentBut do we care about their characters enough?Though leads John David Washington, Robert Pattinson, and Elizabeth Debicki bring a level of solid integrity to their characters while wrapped up in flawless costumes, we’re left without any idea of who they actually are. Shannon Conellan, MashableTenet suggests Nolan no longer has any interest in human beings beyond assets on a poster or dots on a diagram. Simon Miraudo, Student EdgeTenet is by no means a movie about race. But Washington does appear to lean into what his race brings to the role. Radheyan Simonpillai, NOW TorontoWhat are the movie s biggest issues?Tenet’s coldness is what keeps it just short of greatness… the viewer’s investment is purely intellectual. Laura Potier, Starburst[It] feels strangely hollow and coldly detached. So detached to the point that Nolan’s otherwise great acting ensemble fails to connect emotionally. Casey Chong, Casey s Movie ManiaIt’s hard to work out what’s happening. It’s harder still to care. Donald Clarke, Irish TimesFor a film which prides itself on its innovative outlook, its portrayal of gender roles can feel surprisingly old-fashioned. Linda Marric, The Jewish ChronicleRyan FujitaniDo we need to see it in a theater (if we can)?This is certainly the biggest bang for your buck of the year so far. See it on the biggest screen you can with the very best sound system. Rosie Fletcher, Den of GeekViewed solely from its technical point-of-view… This is a must-see on the biggest screen possible. Casey Chong, Casey s Movie ManiaIt’s best experienced in a huge, dark room. Matt Purslow, IGNDemands to be seen in a cinema, and on the biggest possible screen… But Tenet will later thrive in home viewing formats, giving viewers the chance to pause and go back over tricky passages. Jonathan Romney, Los Angeles Times[Note: Information on movie theater safety precautions can be found here.]Tenet will debut in several global markets on August 26-28 and open in limited theaters in the U.S. on September 3 before expanding wider around the world. 虽然赛马娘手游应该是CY在今年的一大力作，但是想要国服实装还是非常遥远的事情。并且因为赛马娘手游采取了和怪物弹珠一样的竖屏游戏模式，即使她在不久的将来登录国服，也需要玩家去适应竖屏的游戏方式。
After decades of failed attempts and unsuccessful efforts, Frank Herbert’s Dune has been adapted into one of the most anticipated movies of the year — if not millennia. Does Denis Villeneuve (Arrival) finally do the classic science fiction novel(s) justice? The first reviews of his star-studded and visually epic new movie, also known as Dune: Part One, answer mostly in the affirmative. However, there’s a fairly uniform disappointment in how it ends without an ending.Here’s what critics are saying about Dune:Is this the Dune we ve always wanted? “Denis Villeneuve’s movie is the film interpretation that fans have been waiting to see for decades.” Eric Eisenberg, Cinema Blend“For science fiction devotees, especially those who have long-worshipped Frank Herbert’s dense tome…Villeneuve’s Dune is the adaptation you always dreamed of.” Ben Travis, Empire Magazine“[It] honors the source material in the most satisfying way possible. Dune 2021 is a modern-day work of art.” Jimmy O, JoBlo s Movie Emporium“The missing link bridging the multiplex and the arthouse… Good heavens, what a film.” Xan Brooks, Guardian“For all its amazing imagery and A-list stars and very cool interpretations of the nerdier aspects of Herbert’s book, this version of Dune doesn’t fully coalesce.” Scott Collura, IGNWill it make us forget about David Lynch s version?“His Dune is the opposite of Lynch’s, methodical and cerebral, set against pastels and smoke and long stretches of moodiness.” Roger Friedman, Showbiz 411“Denis Villeneuve hasn’t succeeded where the likes of David Lynch and Alejandro Jodorowsky have already failed, [but] his Dune is at least uniquely dispiriting.” David Ehrlich, IndieWire“I’ll always love Lynch’s Dune, a severely compromised dream-work that (not surprising given Lynch’s own inclination) had little use for Herbert’s messaging. But Villeneuve’s movie is Dune.” Glenn Kenny, RogerEbert.com(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)Is it a satisfying adaptation?“This first chapter explores a very complex and detailed story with clarity and style. More importantly, it does so without sacrificing the impressive detail of Frank Herbert’s original vision.” Jimmy O, JoBlo s Movie Emporium“Denis Villeneuve and his collaborators have cracked the code with their approach… extraordinary in its ability to directly translate the source material across mediums without compromise.” Eric Eisenberg, Cinema Blend“A more significant casualty is the book’s layered interiority, its skill at turning unspoken perceptions and motives into drama; the writers have managed this material without mastering it.” Justin Chang, Los Angeles Times“If anything falls short of Herbert s particular vision it s the movie s sandworms.” Leah Greenblatt, Entertainment WeeklyIs it OK if you haven t read the book?“Thankfully, Dune isn’t particularly hard to follow.” Rodrigo Perez, The Playlist“Though there’s plenty to establish, Villeneuve makes surprisingly light work of it all… Dune is never as formidable as it threatens to be.” Ben Travis, Empire Magazine“The script does a good job with exposition without making it seem like EXPOSITION… but by the same token, there may not be any reason for you to be interested in Dune if you’re not a science-fiction-movie person anyway.” Glenn Kenny, RogerEbert.com“It’s not a film that requires any familiarity with the source material… Stretches in the early parts of Dune are a layman’s terms guide to Herbert’s incredibly intricate and uniquely realized universe.” Adam Solomons, AwardsWatch“If you come in not knowing the difference between a Holtzman shield and a hole in the floor, it s a longer walk.” Leah Greenblatt, Entertainment Weekly“We don’t really learn much about individual characters in the film, making it hard to grasp or care about the stakes of the story.” Richard Lawson, Vanity Fair(Photo by Chiabella James/©Warner Bros. Entertainment Inc.)How is Denis Villeneuve as director?“Villeneuve’s true talent is less in the staging of violence than in the queasy anticipation of it… That gift serves him well enough in Dune.” Justin Chang, Los Angeles Times“Those who find Villeneuve to be a self-serious, humorless, and pretentious bore likely won’t be changing their minds anytime soon after Dune, but that just might be their loss.” Rodrigo Perez, The Playlist“To say I have not admired Villeneuve’s prior films is something of an understatement. But I can’t deny that he’s made a more-than-satisfactory movie of the book.” Glenn Kenny, RogerEbert.com“The unforgiving starkness will unsettle even some of Villeneuve’s greatest fans.” Donald Clarke, Irish Times“For all of Villeneuve’s awe-inducing vision, he loses sight of why Frank Herbert’s foundational sci-fi opus is worthy of this epic spectacle in the first place.” David Ehrlich, IndieWire“He’s an overloader, and only the keenest and most urgent of scripts can survive beneath that weight. Dune, unfortunately, is not one of those.” Richard Lawson, Vanity FairHow does it compare to his other work?“It’s an arthouse blockbuster in the vein of his Blade Runner 2049, but even less concerned with commercial appeal, which is admirably bold.” Rodrigo Perez, The Playlist“Much like the haunting Blade Runner 2049, the director has taken the time to explore numerous characters without sacrificing the main story and themes.” Jimmy O, JoBlo s Movie Emporium“Like Blade Runner 2049 and especially Arrival, Dune is another unusually philosophical speculative fiction that ponders the difficulties of language and coexistence.” Justin Chang, Los Angeles Times“If you loved Arrival and Blade Runner 2049, then Dune is perhaps Denis Villeneuve at his Villeneuviest.” Richard Trenholm, CNET(Photo by Chiabella James/©Warner Bros. Entertainment Inc.)Is it reminiscent of anything else?“Think of it as Game of Thrones in space or Star Wars if it never got off Tatooine.” Steve Pond, The Wrap“Impressively ambitious in scale, like Villeneuve mashing up the worlds of Star Wars and Game of Thrones.” Brian Truitt, USA Today“Arguably [many of its elements are] all things that Star Wars features too, but just much more dense, sophisticated, and less child-like.” Rodrigo Perez, The Playlist“Dune feels most reminiscent of The Lord Of The Rings: The Fellowship Of The Ring.” Ben Travis, Empire Magazine“Much like the semi-recent classic Peter Jackson’s The Fellowship of the Rings in the LOTR trilogy, this is only the beginning of the story… [and] Denis Villeneuve has created one of the best fantasy feature since Peter Jackson’s journey into Middle Earth.” Jimmy O, JoBlo s Movie Emporium“Historical comparisons are of no use. None of us has been anywhere like this before. They can put that on the poster.” Donald Clarke, Irish Times“It sets a new standard for modern sci-fi epics.” Germain Lussier, io9.comIs there enough action for mainstream audiences?“Dune is consistently gripping and plot driven.” Adam Solomons, AwardsWatch“Even though it may be a slow burn, the action set pieces do not disappoint, neither does the filmmaker sacrifice the subtle themes and ideas explored throughout.” Jimmy O, JoBlo s Movie Emporium“The pacing is perfect. Villeneuve makes you wait just long enough, so when the action moves to Arrakis you’re just as eager to venture into the desert as Paul.” Ben Travis, Empire Magazine“This version of Dune sometimes feels as if it aims to impress you more than entertain you… but it’s also a formidable cinematic accomplishment.” Steve Pond, The Wrap“It feels like a drag in its back half.” Scott Collura, IGN(Photo by Chiabella James/©Warner Bros. Entertainment Inc.)How are the visuals?“Cinematographer Grieg Fraser has outdone himself from frame to frame, set piece to set piece, creating jaw dropping pieces of art that are impressionistic, sensational, and other worldly.” Roger Friedman, Showbiz 411“It’s all a feast for the eyes. The visuals are mind-blowing.” Jimmy O, JoBlo s Movie Emporium“Aesthetically, Dune is pretty damn monumental and enveloping, and for audiences that potentially may find the plot confusing, the film still works on a deeply experiential, visceral level.” Rodrigo Perez, The Playlist“The sense of scale conjured up is, from moment to moment, frequently astonishing.” Ben Travis, Empire Magazine“Dune looks great, but outside of the fantastical design, the muted palette borders on drab.” Richard Trenholm, CNETAnd how does it sound?“Dune [is] a symphony for the ears as well as a feast for the eyes.” Justin Chang, Los Angeles Times“Dune is also an auditory journey, not only featuring enveloping sound editing, but one of the best scores Hans Zimmer has ever composed.” Eric Eisenberg, Cinema Blend“The visual vastness is matched by a Hans Zimmer score that is, to use a technical term, full-Zimmer.” Ben Travis, Empire Magazine“Composer Hans Zimmer inspires great awe with a booming score, but not one BRAAAM in sight, thankfully.” Rodrigo Perez, The Playlist What is the overall experience like?“As a visual and visceral experience, Dune is undeniably transporting. As a spectacle for the mind and heart, it never quite leaves Earth behind.” Justin Chang, Los Angeles Times“Dune is certainly capable of transporting us to its alien landscapes via its many technical achievements… There is no detail spared in immersing us in this fantastical world.” Scott Collura, IGN“You feel like you’re looking into a window across space and time… The line between fiction and reality fades from your mind, and it’s breathtaking.” Eric Eisenberg, Cinema Blend“Villeneuve’s Dune is the sandworm exploding out from the darkness below. It is a film of such literal and emotional largeness that it overwhelms the senses.” Clarisse Loughrey, Independent(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)How are the performances?“Chalamet confirms on a grand scale what arthouse audiences have long known about his charisma.” David Crow, Den of Geek“Timothee Chalamet once again gives another exceptional performance.” Jimmy O, JoBlo s Movie Emporium“Among the uniformly excellent performances, Timothée Chalamet holds his own in his first blockbuster leading role.” Ben Travis, Empire Magazine“Chalamet, playing it earnestly and effectively, is perfectly cast here, and both Ferguson and Isaac are excellent, as is Skarsgård.” Pete Hammond, Deadline“Everyone flawlessly gets at the core of who they are playing. Timothee Chalamet, Rebecca Ferguson and Oscar Isaac are the triumvirate that lead the cast, and they are all phenomenal.” Eric Eisenberg, Cinema Blend“Momoa, in particular, bringing a swagger and excitement beyond anything we’ve seen from him before.” Germain Lussier, io9.com“The actors here all give good, serious performances, but in a sense it isn’t an actor’s film, because they are playing archetypes.” Catherine Bray, Film of the Week“No one has much time to distinguish themselves, all functioning as mere fleshy cogs in Villeneuve’s churning machine.” Richard Lawson, Vanity FairIs it a fun movie?“The script benefits from injecting occasional bits of humor into the universe-shaping events of the film.” Scott Collura, IGN“Dune is so aesthetically rich and monolithic that a few brief, misguided stabs at Marvel-style humor early on feel almost like blasphemy.” Leah Greenblatt, Entertainment Weekly“If what you love most about Marvel is the quips, you might not like Dune very much…it is deadly serious…a relief I hadn’t realized I needed.” Catherine Bray, Film of the Week“While Villeneuve has been and likely remains one of the most humorless filmmakers alive, the novel wasn’t a barrel of laughs either, and it’s salutary that Villeneuve honored the scant light notes in the script.” Glenn Kenny, RogerEbert.com“Dune lumbers with such aloof, uninviting self-seriousness that it’s hard to love, hard to even celebrate as an assured piece of tentpole authorship.” Richard Lawson, Vanity Fair“My only grievance is that hardly anyone in this film ever smiles…everyone in Dune is grimly serious. You kind of wish someone would shake Paul’s hand with a joy buzzer.” Roger Friedman, Showbiz 411(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)Does it feel unfinished?“The film is ultimately a long and overwrought prologue — a prelude to action rather than its own autonomous story.” Richard Lawson, Vanity Fair“The real meal doesn’t really begin until Part Two, and that’s probably one of the minor disappointments of its inconclusive finale.” Rodrigo Perez, The Playlist“It does wind up feeling incomplete… like the serving of a decadent and delicious appetizer that comes out while the epic entrée to come is still braising in the kitchen.” Eric Eisenberg, Cinema Blend“It feels so completely sure of itself and so legitimately stunning, that it’s a huge shame that the next chapter is in fact subject to the whims of the marketplace… Surely, there has to be more.” Catherine Bray, Film of the Week“To be left dangling without Dune: Part Two would be a particular heartbreak. Here’s hoping we won’t only be seeing it in our dreams.” Ben Travis, Empire MagazineIs it difficult to assess this first chapter on its own?“It will require reassessment when the rest of the director’s vision is revealed – and if there is a movie god, we’ll see that happen sooner rather than later.” Eric Eisenberg, Cinema Blend“What could happen in the future isn’t something you can think about when critiquing a movie though. There’s this movie, this story, and if it doesn’t work on its own, that would problem. It’s not a problem here.” Germain Lussier, io9.comDune is in theaters and on HBO Max on October 22, 2021.亚博网APP下载《问道》手游是原来端游团队打造的回合制游戏，游戏保留端游的精华，主要是道教文化中五行相生相克为核心的玩法，通过特有的道行系统，配置五行战斗。
ead, this competition is starting to feel like the first matchup between Godzilla and King Kong in King Kong vs. Godzilla, in which King Kong brought rocks to an atomic heat ray fight.Godzilla’s deeper bench once again proved to be the game changer, as low-rated movies like Godzilla (1998), Godzilla: The Planet Eater (2019), and Godzilla’s Revenge (1971), were offset by beloved films like Shin Godzilla (2016), Godzilla: King of the Monsters (2019) and Godzilla vs. Biollante (1989). What’s slightly surprising is that Peter Jackson s King Kong has a 50% Audience Score, and only Kong: Skull Island (2017) and King Kong (1933) have scores above 65%. There’s not much audience love for Kong, but based on the 72.6% Audience Score average for the MonsterVerse films in general and early critical buzz for Godzilla vs. Kong, it’s possible that both of the big fellas could add another solid Audience Score to their tallies.Godzilla: 2 Kong: 0Round 3 Box OfficeKing Kong: 0 million average (4 films)Godzilla: 2 million average (4 films)Highest grossing: King Kong (2005), 0 millionLowest grossing: King Kong Lives, million(Photo by (c)Universal courtesy Everett Collection)We have ourselves a match! This round was difficult to tally because the majority of Godzilla and Kong films did not have reliable box office data. This meant we had to stick with domestic earnings for the eight films that received wide theatrical releases. It’s nice that the two were finally on a level playing field, and that allowed Kong to pull the victory.The win in this round wasn’t a fluke, as the Kong Big Three” King Kong (1976), King Kong (2005), and Kong: Skull Island pulled in over 0 million domestically (adjusted for inflation). The 0 million total easily bests the 0 million that Godzilla (1998), Godzilla (2014), and Godzilla: King of the Monsters grossed in the United States. The lone highlight for the Godzilla squad is that its lowest-grossing film, Godzilla 2000, earned a million dollar box office which was more than the million that King Kong Lives grossed.Godzilla: 2 Kong: 1Round 4 Screen TimeKing Kong: 22.1% of runtime on average (8 films)Godzilla: 14% of runtime on average(32 films)Film with most screen time: King Kong Lives, 33.6%Film with least screen time: Invasion of Astro-Monster, 6%(Photo by ©DeLaurentiis Entertainment Group courtesy Everett Collection)We broke this round up into percentages of screen time. If a monster is on-screen for 30 minutes of a 100-minute film, it means they’re on-screen for 30% of the film’s running time. If we simply added up screen time it wouldn’t be fair as Godzilla has been in many more movies. So, we found and utilized some very reliable sources and prior Rotten Tomatoes editorials to come up with our numbers (the latter also explains why more on-screen time is better in monster movies).Godzilla and Kong’s first films gave us a clear clue as to who would be victorious in this round. In 1933, King Kong ran amok for 18 of the film s 125 minutes. In comparison, Godzilla was only on-screen for eight minutes of his 98-minute debut in 1954. Then, in 1962 when they battled, King Kong appeared for 16 minutes while Godzilla only popped up for nine. Historically, Kong has always enjoyed more screen time, and the trend continues in the MonsterVerse, as Kong is on-screen for 14 minutes in Kong: Skull Island, while Godzilla can only be seen for 22 combined minutes in Godzilla (10) and Godzilla: King of the Monsters (12). Kong wins!Godzilla: 2 Kong: 2Round 5 Property DestructionKing Kong: Estimated .5 billion (adjusted for inflation) The destruction of Atami Castle was very expensive. Also, trains aren’t cheap. Throw in damage (or destruction) to theaters, cars, helicopters, the city of Atami in general, tanks, streets and sidewalks, trolleys, and airplanes, and you have easily over billion in damages.Godzilla: We don t even know where to begin He has destroyed numerous cities, including Tokyo multiple times. The submarine he destroyed in Godzilla (1998) is worth 0 million alone. Dwayne Johnson and his 13 trillion in damage would be jealous.(Photo by ©Warner Bross. Pictures)Between Tokyo, San Francisco, Hawaii, New York City, Fukuoka, Tokai, Osaka, Yokohama, Nagoya, Paris, Kyoto, Tateyama and about a dozen other cities, Godzilla has done his best to keep construction crews working around the world. His worldwide tussles and rampages have caused trillions of dollars in damage, as multiple cities, bridges, and skyscrapers have had to be rebuilt (multiple times). On top of destroying cities, Godzilla has also laid waste to expensive Antarctic laboratories, nuclear submarines, and iconic bridges that cost billions to build. Every time Godzilla takes a step, he leaves a massive footprint in the concrete, which is impressively costly in itself. The trillions of dollars in repairs are no exaggeration, as analysts suggest that just one attack on Tokyo would cost up to 5 billion in damages.While vastly mismatched here, though, King Kong is no slouch, as he’s wrecked his fair share of buildings and helicopters. His battle with Mechani-Kong in King Kong Escapes wreaked havoc on Tokyo, as skyscrapers, houses, and other buildings were flattened. Also, his destruction of the Atami Castle in King Kong vs. Godzilla cost a lot of money, as Japanese castles can cost up to 6 million to build. Let’s not forget that he’s caused a ton of damage in New York City on multiple occasions, as he’s left skyscrapers in need of repair and cable cars flattened. So, while he hasn’t come anywhere near Godzilla in regards to destruction, he has nothing to feel bad about. He’s smashed a lot of things, too.Godzilla: 3 Kong: 2Round 6 Most Impressive VictoryKing Kong: Godzilla in King Kong vs. Godzilla (1962)Godzilla: Gigan, Zilla, Kumonga, Kamakuras, Rodan, King Caesar, Anguirus, Ebirah, Hedorah, and Keizer Ghidorah in Godzilla: Final Wars (2004)(Photo by Everett Collection)Despite the fact that Godzilla has battled dozens of monsters and won, King Kong gets the point here for actually defeating Godzilla in King Kong vs. Godzilla. What makes Kong’s win impressive is that he got the win away from home against a larger, stronger opponent. Not only that, he was drugged before the fight to make his transportation easier, which means he was probably drowsy and dehydrated after the long journey. Do yourself a favor and watch the original fight. It’s a legit bunkhouse brawl that features the two monsters rolling in the dirt and winging sloppy punches at each other — it’s beautiful.It’s worth noting that Godzilla has the greatest bragging rights here because of what he did in Godzilla: Final Wars. The 2004 film features him defeating Gigan, Zilla, Kumonga, Kamacuras, Rodan, King Caesar, Anguirus, Ebirah, Hedorah, and Keizer Ghidorah. Godzilla ran through a who’s-who of monsters, and the movie ended with him pulverising Keizer Ghidorah with the deluxe version of his red spiral atomic breath.Kong’s victories against Mechani-Kong, the skullcrawlers, dinosaurs, water creatures, and snakes are all super impressive, and he deserves to win this round for the upset he pulled on Godzilla. That said, Godzilla knows that what he accomplished in Final Wars is legendary, and we don t think he ll lose any sleep over this one.Godzilla: 3 Kong: 3Tiebreaker Lightning RoundBest Fight: King Kong vs. the Tyrannosaurus Rex in King Kong (1933)(Photo by Everett Collection)You might be thinking we’re joking, but the Kong vs. T-Rex brawl in King Kong is a legendary piece of work — and it features the first time Kong is seen fighting anything. Also, props to Kong for landing a sweet single-leg takedown during the fight. It’s actually quite realistic, and still looks great today.Godzilla: 3 Kong: 4Better Evolution: Godzilla(Photo by ©New World courtesy Everett Collection)Kong has always been something of a sympathetic, misunderstood character, but since his first appearance in 1954, Godzilla has gradually progressed from angry irradiated sea monster to Earth’s protector. Not bad, and his turnaround wins him the round easily.Godzilla: 4 Kong: 4Best Villain: Godzilla Ghidorah, the Three-Headed Monster (Photo by ©Warner Bros.)We know that the humans in King Kong are horrible, and their greed leads to the death of Kong (many times in the various films). However, no human is as villainous as Ghidorah, the Three-Headed Monster, who made his first appearance in the 1964 film Ghidorah, the Three-Headed Monster. Ghidorah is the ultimate villain because it would destroy the world and laugh about it while Godzilla lies defeated at its feet. It’s an easy win, and it seals the deal for Godzilla.Godzilla: 5 Kong: 4Godzilla Wins!There you have it! After a grueling battle, Godzilla emerges victorious and wins the decision. Will the new film mirror these results? Could it change the outcome? We ll just have to wait and see.Godzilla vs. Kong is in theaters and on HBO Max on March 31, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
3.88.6 4月喜迎(Photo by © Altered Innocence / Courtesy: Everett Collection)30 Essential LGBTQ+ Horror MoviesAs long as there have been horror films, there have been queer horror films. Before homosexuality was formally legislated out of existence in Hollywood by the Production Code — commonly referred to as the Hays Code, which established mandates for “moral standards” in motion pictures and banned depictions of “sexual perversity” — the legendary filmmaker James Whale was building the foundation for American genre cinema with films like Frankenstein, The Old Dark House, and The Invisible Man. Here was Whale, a gay man, building horror in his own image and having astounding box office success as some groups were lobbying Hollywood to censor queerness out of existence. Fortunately, they weren’t creative enough to drive the big bad Other away.In the century since America became the world’s leader in horror film production, the genre became a bastion for the outsiders, the marginalized, the people made monsters by self-appointed adjudicators of sin, and who saw themselves in the supposed “villains” at the center of stories like Dracula’s Daughter. On rare occasion, queer folks were given real protagonists to root for, like Theo in The Haunting, but it wasn’t until the Hays Code was abandoned in the late 1960s that sexuality outside the bounds of heteronormativity became more overt. (Not to say it was all positive representation, but the lesbian vampire wave of the 1970s certainly signified that the puritans were losing the culture wars in genre.) The Moral Majority reign of the Reagan Era slammed up against the AIDS crisis, and the excess and tumult of the 80s gave rise to ultra-stylish and sexualized gore in movies like The Hunger and Hellraiser. The indie cinema boom at the turn of turn of the millennium coincided with the emergence of New Queer Cinema, and eccentric coming-of-age darlings like May and Ginger Snaps provided an alternative to the glossy studio slashers of the time. Now in 2020, we can choose from a lesbian domestic drama involving a baby werewolf in Good Manners, a transfeminist vampire movie in Bit, or a French slasher set in a gay porn community with Knife + Heart. The monsters are out of the closet, and they’re never going back in. Here are our 30 essential LGBTQ+ horror movies, in order of release. – Jordan Crucchiola
(Photo by Alberto Rodriguez/E! Entertainment)The people have spoken, and the full list of winners from Sunday s E! People s Choice Awards 2018 are in.Disney-Marvel blockbuster film Avengers: Infinity War and, on TV, Shadowhunters: The Mortal Instruments scored the most awards between the titles and their stars. Nicki Minaj and BTS also won multiple awards each in the music categories.John Legend took on double duty as both presenter and performer, receiving a standing ovation for his performance of U2 s Pride (In the Name of Love). Melissa McCarthy and Victoria Beckham picked up their awards for People s Icon of 2018 and Fashion Icon, respectively, which were announced previously. The inaugural People s Champion Awardwas given to attorney and activist Bryan Stevenson, the founder and executive director of the Equal Justice Initiative in Montgomery, Alabama.Check out the winners in every other category below.Movies | TV | Music | Pop CultureMOVIESMovie of 2018
When the children s cartoon Avatar: The Last Airbender aired on Nickelodeon from 2005 to 2008, it was unlike anything kids or adults had ever seen. The show was praised for its art direction, soundtrack, cultural references, humor, and most importantly, its themes, as Avatar was not afraid to explore concepts rarely touched on in youth entertainment. And now, with the show arriving on Netflix after what feels like a 100-year sleep, it is about to be introduced to a whole new audience while simultaneously reminding hardcore fans what made it so special. And to go along with the show s reemergence into the pop culture mainstream, Rotten Tomatoes’ Mark Ellis is delivering five titles you may have missed that tackle many of the same themes, have similar animation styles, and contain characters that follow a similar journey.
Taylor (cont.): The scale of the scene was big for me, at the time, because I hadn t really done anything big and epic yet. That came later, and the show hadn t gotten its big budget boost until later. So, by the terms of the time, it was a bigger deal, and we didn t have much money, and we didn t have enough extras, and we couldn t afford the visual effects that we had planned, so it was all very sort of getting by by the seat of our pants. But I remember talking to my DP, Alik Sakharov, and both of us agreeing that the core, it was really a story about a father and his two daughters, and sticking to that dynamic guided us through how we handled the scene.In fact, the most emotional moments for me were some of the stuff between the way we crosscut between Ned and his daughters and, certainly, between Ned and Arya, who sort of inherits the narrative at the end of that episode. We hand off from Ned and take it to her in a way that I was happy with, because of course, her character, like all characters, has a long road ahead of them, and we re going to grow with them. But I remember being very conscious about saying, OK, we re finishing Ned, but the story continues and we re passing the narrative, passing the consciousness, passing the subjectivity to this young girl. So, we did that with pictures and with sound, and I was happy with how it turned out.(Photo by HBO)Can you also talk a little bit about the performances of your actors, in that moment?Taylor: Yeah. Again, it hung mostly on the three. Ned Stark was the linchpin, the centerpiece of the whole thing, and his performance I still think is just heartbreaking and beautiful. It s partly because I have daughters, and I sort of know what it d be like. I can t know, but I think I identify with him up there: a combination of anguish and shame and despair. His performance was perfect.Our two actresses were so young and were going to develop and build and grow so much, but I think they did amazing work, both of them, in that scene. Joffrey also is great as the consummate villain, with his pettiness and naiveté on display. I did watch it recently and was impressed with everyone, and when you go to a wide shot, everyone is absolutely in character. Cersei and Sansa, and even Varys and everyone is really playing their relationship to this moment, intensely. I was very happy.All anybody really wants to know is what Ned Stark was whispering when he was about to get his head chopped off, and that s the question I get a million times. I know I spoke to him about what would be going through his head and what he would be doing, and we agreed that he d be praying to his own gods and trying to make peace and trying to accept. So I know he came up with a prayer, probably talking to our language guy and our writers, but it was nothing scripted. It was really his invention, but it was to do with the prayers to his gods.(Photo by HBO)The series would have been so different if he had survived, and it seems obvious, but can you talk a little bit about how essential that moment is in the series overall?Taylor: I think it s true that it is the turning point. Some friends and I have talked about the show and one of the things we have come to believe is that it s an epic show that has a kind of the pilot episode is the first season. It s not like the first episode sets you up. It s such a scale of storytelling that really the whole first season is the pilot. It s the turning point of Ned being destroyed and the dragons being born. The stakes rise and chaos is initiated.The Starks and everyone is sort of scattered to the winds, and all the seasons that follow are about the slow reconnection of those people that were scattered. In that way, it really does launch the story forward and shape what s to come. [In] the eighth season, the culmination is everyone coming back together, everyone finding their place in the battle that will finish things, and much of that comes from what happened that day.What was your first experience watching Ned s beheading with people who weren t involved with the production and didn t know what was coming?Taylor: That was a revelation, partly because of that scene, and also because we didn t know when we were doing it the scale of the audience response to the series as a whole, so we had no idea that we would find this audience. I was most stunned by the way that Ned connected to every demographic and to every economic level. It was such effective storytelling and such a great performance on his part and doing what fantasy can do, which sort of transposes to an environment where everybody, I think, can relate.I was really taken aback and impressed that the people who seemed torn up by it really took Ned as their character. As I said, I was struck by [how] it cut across all categories, and frequently we re aware of how our society and our time is fractured along any number of measurable lines, and in that moment I was struck by how much everybody had taken that character into their hearts and identified with them and felt the loss of him, which was inspiring.I think that was the first moment that people started posting video reactions on the internet, right? Taylor: Yeah. I remember seeing something on YouTube, and one young man was watching and he was just beside himself. It was just devastating. He was so upset with us and stuff. It was the best audience response you could find.Going back, would you do anything differently with that moment?Taylor: Yes. Of course. I mean, I look at it now and I see the crudeness of some of it. Some I can blame on budget and time and stuff. But also I think I ve gotten better at handling scenes of that scale, so I think I might have done a better job with the camera. But I can t think of anything to change in terms of the performance the actors gave, and I can t argue with the emotional impact that it has, so in that way I m not trying to redo it in my head.Moment: Mother of Dragons(Photo by HBO)Next is the Mother of Dragons scene. Viewers watched Daenerys walk into the fire and everyone thinks she s sacrificing herself. She thinks she might be, too. Can you tell us about building that moment with your actors?Taylor: A lot was going on there, obviously. It s a tragedy, it s a funeral, it s the end of things, and as we discovered, it s the beginning of everything, too. I know — I ve heard this, and we spoke about it — that Emilia did not think her character expected to die in the flames. She didn t know what was coming, but whatever came she felt was right. So there s a wonderful look she gives to Iain Glen when he s all torn up. When she s about to walk in she looks at him, and it s such a forgiving, letting go look from such a place of wisdom. I thought it was really beautiful, and that, for me, was the attitude that Emilia had Daenerys take into the flames — that she knew the rightness of what she was doing.Partly it s a culture where when the King dies, the Queen goes with him, but she s a Targaryen. I think in her mind she knew flames were not going to be the problem, that something was going to happen, or that she was going to a place, that it wasn t necessarily her death that she was walking to. Certainly nobody, including her, expected the birth that happened with her three sidekicks.But that was the beginning of the new dawn. One detail that I was happy with and proud of was that I believe, in the book, that scene plays at night, and the dragons are born in the night. I remember pushing for the transition to be to dawn, so that when the dragons are born they re born into the dawn of a new day. It was partly a storytelling thing, to say that this has ended and now this is beginning, but it was also because we had that amazing location. I wanted to make sure that we saw it, and that we could back off and hear the dragons voices scaled. If it was night we couldn t have afforded to light it because we didn t have any money back then. I remembering being very happy with [it]. One of my favorite moments is the transition to dawn when Iain Glen s character walks in and we follow his feet and his sword in to discover her for the first time, and that transition to dawn meant a lot to me.(Photo by HBO)It was beautiful.Taylor: That location was in Malta and it s beautiful, right by the coast. It s all ocean on the right side of frame and desert on the left, but we had to erase the ocean and replace it with desert to make it look like we were in the right setting. It was funny to take such a beautiful image with this glistening sea and erase it all and put more sand in.I was going to ask about some of the effects in that moment, because obviously, the dragons. Can you just talk a little bit about coordinating to get the exact right baby dragon experience?Taylor: On the day Emilia did a great job of having nothing to work with, and none of us had seen the dragons yet. [Showrunners] David [Benioff] and Dan [Weiss] kept talking about [how] they wanted them to be absolutely biologically believable. In all the research they d done with dragons, they threw away anything that had four feet and wings. They wanted to go off physiognomy and physiology that was real, so they looked at bats and creatures where the forelimbs are the wings. That became a big part of the design of the creatures.Just the fact that these awesome beings would enter the story as tiny, fragile, squeaky dependent creatures was a hint, or a gesture toward the scale of where we were going — that eventually they were going to be the size of jumbo jets. But at this point they were nothing.That relates to another question I had about when you re building these moments to film, taking into consideration what s to come for the character. How much of that is part of your filmmaking process?Taylor: You always want to know, because a lot of it, the way you would weight a certain moment comes from knowing where you re headed and playing against that, sometimes, or being true to it but playing against it. Certainly Daenerys has one of the strongest arcs in television. She was basically chattel — she s an object being sold off at the beginning, and she rises to become the most powerful person in that world.I think we were all guided by a dim awareness of her overall arc, but I had no grasp of the details, certainly, of where we were going. I m sure she had had talks with David and Dan. They probably gave her a lot more insight to where her character was going than I was privy to at the time. I just knew that this was the beginning of something very, very big.In fact, I think even when we did that scene I was naive about the scale of the storytelling. I thought that in season 2 the dragons would be something substantial to contend with, but they were not even preteen by season 2. I ve always been impressed with how they were taking their time to build layer on layer of things, and the dragons are one case where David and Dan had a very clear idea of the long game they were playing.Moment: Viserion Becomes an Ice DragonSpeaking of dragons, that brings me to the third big twist. We lose one of those baby dragons. Well, he gets adopted.Taylor: He s co-opted, appropriated. Yeah. I remember when I had been away from the show and I was coming back to do one episode, because it worked out schedule-wise. I saw that I was getting the second-to-last episode, which usually, in HBO terms, means you re getting a big one because there s a season structure where the second-to-last episode pulls out all the stops, and frequently the last episode is kind of a denouement.I thought, Oh, that s great. But then I started seeing the other scripts and realizing that in that season, every episode was huge. Every episode had a major huge event or battle or something, so I realized that that was just the nature of the show that had grown so much since I had been away. But then, when I read my script, I got to that moment with the dragon and I knew the power of what is was, because partly [in] killing off any longstanding character, the incredible upheaval it means for the balance of power is major.But also the fact that you re basically killing a puppy. You know it s going to have a very strong resonance with the audience, so I was really grateful to be able to handle that moment. The reveal of the turn at the end, of course, was one of the yummiest episode-enders I d ever been given — when we see the blue eye open and know what that means. Mostly it was just gratitude being able to do it. I remember designing all the sequences with the dragon, and it was great to be able to work at the scale of storytelling that so much of the show has driven you to this point.