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魔兽世界炉石天马采用百度引擎4(Baidu 4)ds an incredible cast, with the likes of Ben Schwartz (now of Sonic the Hedgehog fame) and Lisa Kudrow, and even the late Fred Willard contributing to its star-studded comedic roster. — Andrew Dex, Starburst(Photo by Aaron Epstein/Netflix)With a little finessing, Space Force could blossom into something greatThis is one show that is easy to binge-watch and should be renewed for a second season at a minimum, if not longer. Netflix and Carrell have another hit on their hands that is enjoyable and entertaining, especially if they keep Malkovich as part of the cast. —Allison Skornick-Rose, Flick DirectStill, Space Force comes at a time when audiences could use a bit of laughter and self-care. Mostly, the comedy is harmless and skates by on the charm of its ensemble cast (Don Lake deserves a shout-out for playing assistant Brad). Even if it doesn’t quite achieve the astronomical heights suggested by its wacky premise, there’s enough fuel in the tank to help the inaugural season coast on fumes. —Nate Adams, The Only CriticSpace Force maximizes the absurdity, turning this patently terrible situation into one in which laughter comes as a kind of release valve from a huge, churning sea of frustration.In other words, the series is rather well-suited to the current moment. —Sonia Saraiya, Vanity Fair

1. 魔兽世界炉石天马
All good things must come to an end, and with the season 6B premiere of Vikings hitting our television screens on December 30, the end of History’s beloved series is near.The first 10 episodes of the season served as the perfect setup to its final, killing off a few major characters — we still haven’t quite recovered from Lagertha’s (Katheryn Winnick) unceremonious stabbing — and setting in motion an epic conclusion for Ragnar’s sons, now seven years in the making.But before Vikings sets sail to Valhalla for good, we’ve got several lingering questions we’d like to see answered, especially considering the midseason finale that left our central hero’s fate in the balance.Is Bjorn Dead or Alive After Getting Stabbed by Ivar?(Photo by Jonathan Hession/History)No surprise here: The biggest burning question going into this final stretch of episodes is whether or not Bjorn (Alexander Ludwig) actually died by Ivar’s sword, as shown in a surreal and disorienting battle at the tail end of 6A. Is he gravely wounded? Was it all a dream? Or is this actually the last that we’ll see of Ludwig’s formidable warrior?Speaking with Rotten Tomatoes, creator Michael Hirst remained characteristically tight-lipped about what’s to come, but he did tease that dead or alive, Bjorn will continue to be a presence this season. Just as Ragnar (Travis Fimmel) continues to be a name on everyone’s lips, his first son also casts a long shadow in life and in death.“These are presences in the show right to the end, powerful presences, part of the pantheon and sort of mythic figures in the Vikings world,” Hirst said. “So they’re still alive in many different ways.”And for what it’s worth, Ludwig, without giving away his character’s fate, told us that there’s no other way he’d rather the show end  — what Hirst has crafted is exactly what it should be.“I’m really objective, and I hate watching myself because I’m always really hard on myself, but I will say that I do love this show as a fan, I really do, and as somebody who’s incredibly critical of everything I do, I believe that this show is ending exactly how it should,” Ludwig said. “The fans are going to be really happy with the ending.”Scanning the latest trailers for the final season, Ludwig’s Bjorn is shown to be bedridden and surrounded by loved ones and viking leaders, which likely dispels any online theories that the battle sequence that ended in Ivar stabbing his brother was all a surreal dream. So perhaps he’s wounded and will live to fight another day? There are also glimpses of Bjorn riding horseback, and the season’s promotional poster itself features a grizzled, sword-wielding Bjorn, all indicating that we haven’t seen the last of him in battle yet. (Thank the gods!) Anything less would leave us feeling a bit cheated, considering the pedigree of loss and hardship Bjorn has weathered along the way, most recently the death of Lagertha, his unborn child, and Hali, his son by Torvi, and the loss of the elected crown.What Is Ivar’s Endgame With Oleg, Igor, and Hvitserk?(Photo by Bernard Walsh/History)We all know at this point just how masterful a strategist Ivar (Alex Høgh Andersen) truly is. And now that it appears the Rus army wrapped season 6A with a clear upper hand over Bjorn and King Harald (Peter Franzén), one must wonder what will come of his alliance with the young King Igor (Oran Glynn O Donovan), the rightful heir to Kievian Rus, and his manipulative, calculating uncle, Prince Oleg (Danila Kozlovsky). Of course, Ivar has had his eyes on the throne for years and is currently promised to inherit the crown as Norway’s King. But what if Oleg betrays that promise? Audiences have been privy to the mounting gameplay Ivar’s been aligning against Oleg should a coup be deemed necessary, so we’re eager to see how their relationship develops in these last 10 episodes. Where Oleg’s wife, Katia (Alicia Agneson) — whom Ivar believes is his dead wife resurrected — fits into that scheme also remains to be seen. But for now, as indicated in the finale earlier this year, the mood is joyous, celebratory, and drunk.As for Hvitserk (Marco Ilsø), he and Ivar have always had a, let’s say, contentious relationship. The fact that they’re back in arms together after Hvitserk accidentally killed Lagertha, was spared execution, and under Bjorn’s orders was banished from Kattegat — and, let’s not forget, after Ivar killed Thora (Eve Connolly) at the end of season 5 — definitely reeks of trouble. Too much baggage, resentments, and habits of fratricide sit between them and a happy, brotherly ending. How it all plays out, though — will Hvitserk make good on his supposed fate to kill Ivar? — is at this point anyone’s guess.King Harald Is Assumed Dead on the Battlefield — What Will Become of Norway?(Photo by Jonathan Hession/History)If there was ever a moment to prove that he deserved to be crowned King of Norway, the battle with the Rus at the end of 6A was it. Unfortunately, King Harald wasn’t quite up to snuff. (Are we all that surprised?) When news arrives of the approaching Rus army, Harald is unable to bring Norway’s kingdoms together for battle and is ultimately left shorthanded and unprepared. Throw into the mix the fact that he raped Bjorn’s wife, Ingrid, before that battle, we can’t say we were all that sad to see him bleeding out on the field. But never speak too soon: We never got any confirmation that he died after Erik the Red (Eric Johnson) left him for such and took his crown, so his future on the series is still unclear. And speaking of Erik, we can’t help but wonder what he’s going to do with the crown, leaving Harald for dead and with the knowledge that Bjorn is gravely injured, it appears as if Norway may need to find a new head to rest its power upon.Will Torvi and Ubbe Finally Make it to the Golden Land?(Photo by Jonathan Hession/History)We also expect these final episodes to conclude the years-long setup of how the vikings will make their way from Iceland to the so-called Golden Land — widely anticipated to be North America. On that quest by way of Iceland is Torvi (Georgia Hirst) and Ubbe (Jordan Patrick Smith), and at the end of season 6A, they had invited the help of Othere (Ray Stevenson), a mysterious wanderer who’s claimed to have charted the western seas and in his travels came up this “golden land.” Soon after his appearance in Iceland, it’s learned that he is actually a converted Anglo-Saxon monk named Athelstan, and he is hoarding a violent past. After killing a viking and taking his name, he left the missionary life behind and is now infiltrating the voyage efforts of Torvi and Ubbe. As it stands, his intention is unclear, and given his history, we’re not immediately on board to trust him. But if he can lead our heroes to the Golden Land, then perhaps it’s worth it to keep him around. Plus, if anyone has the answers behind Floki’s true fate, it may well be Othere.Another note of interest: Let’s loop back to Erik the Red. In real-world vikings history, Leif Erikson was the first viking to set foot on North America and went on to settle Newfoundland. Erik the Red, as it so happens, is Leif Erikson’s father. So were Hirst to stick closely to the factual history of the matter (which, of course, is not always the case in Vikings), we may also see Erik somehow involving himself in the Iceland camp’s voyage west.What Characters From Vikings’ Past Will Return Before the Finale?(Photo by Jonathan Hession/History)Speaking of Floki (Gustaf Skarsgård), wouldn’t it be nice to get some definitive closure on our favorite ship builder before Vikings comes to an end? It also gets us thinking about who else may show up between now and the series finale. The first half of season 6 has largely zeroed in on Iceland, Scandinavia, and Rus; is a trip back to Wessex and our friend King Alfred (Ferdia Walsh-Peelo) in store? Rollo (Clive Standen) is already known for making an unannounced grand return to the series; should we be holding our breath for him? And as Hirst says himself, these characters never really die. Could Ragnar and Lagertha appear in flashbacks or dreams? Is there room for a full-on cast reunion onscreen? We hope so!Whoever comes back for this last round of action, Ludwig assures us that it’s happening: “Some of the fan-favorites may or may not make a return, and I’m really, really looking forward to the response,” he said. “I don’t think there’s a better way that it could’ve ended.”And about that ending, Hirst said that we should prepare to say goodbye to more major players than just Lagertha: “I had to kill off some of the characters I’ve loved the most, and that was never easy,” he said.But he promises that every shocking twist in the remainder of this journey is worth it and all feed the larger story he’s long had in the pipeline.“What I can say is that these episodes are literally full of surprises and unexpected visitations or appearances, and the thing to expect is the unexpected,” he said. “I’m not going to go into detail, but the show is rounded off in many respects, and I hope in a very satisfactory way. That was what I needed to do.”In the end, what if you’re not happy with the result? Well, Hirst rests easy with the knowledge that he is the only one to blame.“You know there are certain shows, and you probably could name them — very good shows that had very poor endings,” he teased. “And I suspect that that was because there were a number of people involved in the decision about how they should end and how they should be written, and people would disagree. But in this case, it was just me, and the only person I could argue with was myself. So I felt that if I was able to conclude these different storylines — there are three different storylines in these 10 episodes — if I could conclude them satisfactorily and with justice, then I was fairly sure that the audience would find the ending satisfying, too, because these are characters I love, these are characters I lived with for seven years. So I didn’t want to cheat anybody, and I worked very hard not to do that.”Vikings’ final episodes premiere December 30, 2020, on Amazon Prime Video.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week. 而在七月份上线也有两点好处,一个是正值学生暑假,LOL手游这种游戏本身玩家最多的就是学生。还有就是7月份也代表了前两个赛季已经结束了,S3赛季也来了,在新的赛季上线国服独立的服务器也是非常好的办法,所以KS主播九岁猜测在七月份上线就最靠谱了。

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冰雪变态版(激活码),一款玩法超刺激的传奇手游平台,冰雪系列的精品传奇,让你欢乐享受不停,刺激对决玩的更加开心,每天喝兄弟们尽情对战,2020年末最亮眼的传奇手游,一上线就吸引了超多的玩家。魔兽世界炉石天马(Photo by Jessica Miglio/Netflix © 2021)Talking to Fear Street trilogy director Leigh Janiak, you get the feeling that if she were to find herself in a Scream movie she d probably survive a call from Ghostface. Not necessarily because she could out-fight or outrun him (though, having simultaneously directed three interconnected slasher flicks set in different time periods and released them all at the same time to Certified Fresh critical acclaim, we re not questioning her stamina!). But because she knows so much about horror movies. Whatever trick questions a masked killer could throw at Janiak in some menacing late-night quiz-before-you-die call, we re pretty sure Janiak would emerge with straight A s and zero punctures.Janiak s incredible knowledge of, and reverence for, the genre is evident all over her ambitious horror triptych, now available on Netflix: Fear Street Part One: 1994, Fear Street Part Two: 1978, and Fear Street Part Three: 1666. Drawn from the books of R.L. Stine, the three films tell the story of a rag-tag group of friends from Shadyside – the wrong side of the tracks according to the uppity citizens of the more manicured Sunnyvale – who are trying to get to the bottom of a centuries-old mystery that has been unleashing a new mass murderer upon their town with each generation. The trilogy s three parts all have their own slasher flavor, with 1994 playing as a Scream-like mid- 90s horror-comedy, 1978 aping the campfire carnage of Friday the 13th and Sleepaway Camp, and 1666 echoing Robert Eggers  The Witch – with a heavy dollop of The Crucible stirred into the cauldron.For horror fans, there are references and Easter eggs galore, from the use of Scream composer Marco Beltrami to co-write the music to the shock kills that will give in-the-know slasher aficionados a giddy rush of deja vu.(Photo by Jessica Miglio/Netflix © 2021)The director s knowledge and passion for horror is even more apparent when you speak with her, as Rotten Tomatoes recently did, in the wake of Fear Street s success – and buzz building about a possible new set of films. (She describes meeting Beltrami as the biggest fangirl moment of her life.) Janiak says part of the challenge in directing the films was to balance all that geeky enthusiasm for the genre with telling a story that feels fresh and current, something that goes beyond impersonation and homage. The key to doing that, she says, was in where she put the focus. Unlike the giants of the slasher genre from decades past, which centered their stories largely on upper- and middle-class kids – straight white kids at that – Fear Street s central characters seem to emerge from the sidelines of those movies, diverse in background and orientation, and happy to f k with slasherdom s moral order. That was the reason that I felt like we could explore making Fear Street, said Janiak, whose Certified Fresh Honeymoon marked her as a genre talent to watch when it was released in 2014. When I started to have these early conversations with the producers, that was the central question, which is, We have a huge, amazing tradition of great slasher movies for decades and decades, so what are we going to bring that s going to justify making the movie? How do we say that this makes sense? For me, that lay in this opportunity to shine a light on these characters that are not usually in the spotlight. With the Fear Street films charting on Netflix, and horror fans waiting for news of sequels and spin-offs, Janiak went deep with us on how she created a horror phenomenon, from constructing an epic homage to Scream s iconic opening scene and writing an overall love letter to her favorite films to giving a new generation its own memorable kills. (Yes, we talked about the bread slicer at length.) Plus, she talks the power of balancing buoyancy and brutality in crafting a slasher, the current energy behind the genre, and what s next for her – which, yes, could very well involve a return to the Fear Street universe.Spoiler warning: The below interview contains spoilers for all three Fear Street movies. Joel Meares for Rotten Tomatoes: I want to start with your connection to the Fear Street books. Growing up in the ’90s, I really loved the Fear Street books, and Christopher Pike as well, that edgy teen horror genre. What was it that appealed to you about the Fear Street books?Leigh Janiak: I was also a teenager like you in the ’90s. I don t know exactly what it was about the Fear Street books, and the Christopher Pike books, but I think that there was just something appealing about reading these things which described the world that I lived in, but way crazier. Do you know what I mean? Way more violent. But I think there s something about that, for sure, and the teenage-girl experience. You re living in this already semi-unsafe world, where you re taught to walk home at night with your keys between your fingers, and things like that. There s something about reading about this world, which is super dangerous and insane, but manageable. There s that ability to dip into this crazy world – I loved it and it felt really edgy. It felt subversive. It felt like I was maybe reading something that I shouldn t be reading.Rotten Tomatoes: I think you really carry that spirit into these films. But also I was watching, thinking, Who is the age bracket for this? You balance this hard “R” gore with this lighter fun tone that s super exciting. How did you think about pitching it in that way, and striking that balance between going too hard and keeping it still light and fun?Janiak: I felt like, because they were primarily slasher movies, we had to be living in that R-rated world. We had to be violent, and we had to be bloody, and we had to have all of the kills. But I also did want to stay true to the spirit of the books, which always had this element of fun. I felt like, even when things get dark or get violent in the books, there s still this buoyancy. It s fun, I don t know how else to describe it. That, to me, was always the line. Obviously, in movie three, we dip into a different tonal place by design, but for movie one and movie two, it was always watching that line of staying true to what the slasher genre would be – if we were in the ’90s, we’re paying homage to those mid-’90s slashers – and then stepping into this different world. Just walking that line between fun, and then keeping the subversive quality also, of the memory of what those books were, if that makes sense, which I think helped live in that R-rated world, too.(Photo by © Netflix) Rotten Tomatoes: Speaking of mid-’90s slashers, you kick off with this great homage to the opening of Scream with Maya Hawke getting murdered in the mall. First, just how many times you ve watched the opening scene of Scream?! Also, you re taking on a beast among slasher fans, to pay homage to that scene and try to be as scary: What was your approach to creating that opening?Janiak: That one, for sure, it was all about orienting the audience and saying, Okay, we re going to live in this world, the tonal world, of the ’90s slasher. Scream, obviously, is, in my opinion, the greatest example of this. And to answer your question, I can t even count the amount of times that I ve seen that movie, let alone the opening sequence of it. It s just so brilliant. I’m getting off topic, but every time I watch it, it s that thing when you feel, Oh, f k. That s so good it stresses me out.” The script, and the way it s shot, and the scares, and the fun. Anyway, obviously I love that movie. So, when we were shooting, I wanted to very much be sending that love letter, and immediately orienting the audience into, Okay, this is it. This is creepy, this is scary. But again, there s the funny quality of Heather (Hawke) getting scared by the mask when she s in the gag joke store, all of those things.The moment that was the most important to me of the whole sequence is when she takes off Skull Mask s mask, and reveals that it s Ryan, the guy that she was talking to, because I think that, to me, was the moment of just telegraphing to the audience: Okay, we re living in this place where we re going to be very much paying homage to those ’90s classics, but all bets are off as far as what your expectations are. Usually, you d be waiting to see who s behind the mask for the entire movie, and that s not what this is. That was the goal of that opening sequence.(Photo by Netflix © 2021)Rotten Tomatoes: It was so effective. I was giddy. I ve seen Scream a million times. It s my favorite movie, so when I saw this opening, I was like, Oh, s t. I m in this trilogy now. I want to ask you about striking the balance between homage and not going too far with that, because there were scenes in the school corridor where I was getting flashbacks; I got a sense of deja vu in the bathroom. How did you strike that balance between honoring the source material, placing Easter eggs for people, but also making it its own thing and not just a series of references?Janiak: I think that you hit the nail on the head, because it was this weird thing of, Okay, how do we give the audience a good dose of nostalgia? – like you said, pay homage, send a love letter,” all of those things – but not have it dip into parody or just mimicry. For me, that laid in making our characters and our story this unique thing so that tonally we would be in this world that we understood – we’d be revisiting sequences, set pieces, things like that, that we ve seen in these movies – but the point of view of our characters and the journey that they re on is different. And this goes into the representation in the Fear Street movies that we tried to create, of showing people who just weren t as represented, if at all, in the movies of ’90s, ’80s, or ’70s. That, to me, was our emotional heart and our narrative was the thing that was new. Then, that let us live in that world in-between, I hope.Rotten Tomatoes: Yeah, it s very interesting. During the pandemic, I ve gone back – I ve seen these movies a million times – but I re-watched the Scream movies, the I Know What You Did Last Summer movies, the Urban Legends – even Valentine. And you notice these are really un-diverse films. It s quite shocking to go back to it in a 2021 context. So I wanted to talk about the idea of putting people who are on the periphery of those movies, if they’re even ever seen in those movies, at the center of yours. It s much more diverse, but it s also the folks who break the horror rules, so to speak, who are the heroes and the survivors in the Fear Street movies.Janiak: That was the reason that I felt like we could explore making Fear Street. When I started to have these early conversations with the producers, that was the central question, which is, We have a huge, amazing tradition of great slasher movies for decades and decades, so what are we going to bring that s going to justify making the movie? How do we say that this makes sense? For me, that lay in this opportunity to shine a light on these characters that are not usually in the spotlight.(Photo by © Netflix)The cool thing about having the Fear Street books was it allowed us to create this mythology, which builds who these characters are at their core, into the central narrative, the central constructs of the entire story, which is that division between Shadyside and Sunnyvale, the haves and the have-nots. The idea that Solomon was this white man who felt entitled to this other world and he used these two girls, who didn t fit in the box that society wanted them to be in back then, as scapegoats. By being able to tell the entire story of Shadyside s trauma, these characters that have felt the systemic oppression brought via these killers for century after century, that made the franchise seem exciting and new for me as a filmmaker.Rotten Tomatoes: I mentioned the “rules” before. Obviously, they were enunciated very explicitly by Randy in Scream – no sex, no drugs etc – but they ve been built up for decades and decades, with characters traditionally punished for violating them. You have these characters break them, but there s never any judgment or morality brought into the equation from the filmmaker s eye. I think about the scene in 1666, where the kids are in the woods and they re taking the berries and tripping, and it s this really beautiful, modern, non-judgmental approach to that experience. And I love later when the character says something like, We were just in the woods having some applejack – this is pretty normal, guys. Was that an intentional thing as well, to reframe the morality of these films?Janiak: Absolutely. I m glad that you talked about that, because that was also one of the things that we felt would be said to be new about these movies. Our characters are outsiders, yes, but they re also doing the thing that they re not supposed to be doing that normally we would pass judgment on. To be able to show this teenage spirit, that in whatever century we happen to find these characters in: Kids are kids, teens are teens. These are just kids, specifically within the world of Shadyside, who are trying to live. They re just trying to live their life, and they ve got all these other things just pushing down on them. We obviously, hopefully, are coming back. I need to show how they can beat those things and come out on top. It was certainly a decision to not pass judgment on these moments and to reframe the entire point of view of the audience on these scenarios that we ve seen in other movies traditionally.(Photo by © Netflix)Rotten Tomatoes: I want to talk kills, because there are some amazing kills in this trilogy. I was reading an interview with the team that s making Scream 2022, and they were talking about how some of the best kills in horror movies are the ones you can identify with a single word or a single idea – it s the “garage door kill” or something like that. I think about this trilogy and I m immediately, like, Bread slicer! What was your approach to creating some really memorable and iconic kills. Did you have a frame of reference or an approach?Janiak: Part of the fun of the slasher genre, to me, is finding ways that people can get killed or destroyed that you would never imagine, just like the garage in Scream. It s so brilliant. We were always looking for places that we could do something like that. Specifically, like I say, in the ’90s, one of the things that I loved about the world was that we could take suburbia, we could take the familiar places of suburbia, like the grocery store, the hospital, school, all of them, and destroy it, and then twist it. When we would go into the locations, we d always be thinking of ways that we could deconstruct that and cause more chaos – to make the familiar basically become unfamiliar and become horrific.I think that was the idea of the bakery, which we had, obviously, before we ever scouted. It was this idea of, Oh, a bakery: What a beautiful, wonderful place. There are cakes, there s all these really appealing things How can we make this horrific? I just remember the earliest image for that idea was just frosting mixed with blood. When that had come into my mind, everything went backwards from there.The bread slicer kill – I don t know how it could not be anyone s favorite. Julia Rehwald, who played Kate, just crushed it. Her pain and her fear, everything about her performance in that, it s just so visceral. It s not usually like that. When you re filming a horror movie, it s always challenging because there s just a million people around, and there are lights and all of the things, and the mood is not necessarily there, but her performance in that moment was just so intense that we were all kind of like, S t. (Photo by © Netflix)Rotten Tomatoes: It s an All Bets Are Off moment, because I think everyone thought something was going to stop that bread slicer. When nothing did, I was like, Oh, s t. Okay. That s what this movie is.  Janiak: That was a hard moment, too, but I think ultimately we decided that even though we re in the third act of that first movie, we re just in the first act of the trilogy, and it felt like we needed While I wanted the movie to always be fun, I also wanted it to be real stakes and real pain and real emotion; these were characters we cared about and not just a body count for the sake of a body count. It was hard killing her and Simon because I love them so much, but ultimately it felt like that needed to be part of a motivation for Deena and Josh and Sam pushing forward.Rotten Tomatoes: One of the biggest geek-out moments for ’90s horror fans is that you had Scream composer Marco Beltrami come on and do the score. Was that a geek-out moment for you, too, and what discussions did you have about the music you wanted for the movie?Janiak: Oh my gosh. First of all, I think that Marco s brilliant, and I think that his scores for the original Scream, and the subsequent ones as well, reinvented what horror music could sound like – because it s so light and bombastic. You have these big orchestral movements happening, and there s chaos underneath always. It often lives in a major key. It s just very current, and it s also written and choreographed to movement in a scene in a way that, at least in the past 20 years, horror music doesn t do. It tends to be more tonal, sitting there in the background, almost wallpaper-y. He was just the opposite of that.Marco was the only composer that I thought about for this, and really was like, Oh, all of my eggs are in this basket. He must do this. I remember I went to his studio up in Malibu, and it s up on this hill, and it s really a trek for me from Los Feliz, from the east side of LA. I ve never had such a fan-girl moment with anyone.(Photo by Jessica Miglio/Netflix © 2021)He understood exactly what we wanted from the ’90s, that we were obviously going to be taking inspiration from what he invented. Then, there was the ’70s, Jerry Goldsmith and the original Omen score and those sounds from the late ’70s, were what was going to influence our 1978 score. (Goldsmith was one of Marco s mentors; Marco actually did some of the music for The Omen reboot that they did in 2006, so that made sense.) Then, obviously, we talked about a score that would be a little more ritualistic, a little more tonal, with more percussion for 1666, and I think he was just very excited about the whole project as an experiment of everything. I think also we were all like, Oh my God, this is so much music, but it was incredible. We recorded at Abbey Road in London and it was just an unbelievable experience. I feel so lucky that we were able to have him.Rotten Tomatoes: I read something Tweeted the other day by Michael Kennedy, who wrote Freaky and the upcoming Time Cut, where he said we were having a real slasher moment. You’ve just put out these three great movies, we ve got a Candyman movie coming out, a Halloween movie, a Scream movie, Freaky just came out… even A24 is making a slasher! Do you feel some energy behind the genre right now? And in the same way we think about the ’90s as this very meta slasher renaissance, are there any defining qualities yet to the current slasher moment?Janiak: I hope that we re in a moment. I hope that we re in this renaissance with slashers, because I love them so much. I think the thing, for me, is that I love where horror has evolved to in the past 15 years or whatever, but it s been dark. It s been really intense in a psychological or emotional way. I think that one of the great things, again, about the slasher genre is that it allows you to have a little bit of “joy” is a really weird word to describe for people that are so being brutally murdered, but I think there is joy, there is buoyancy through slashers. There s fun.(Photo by © Netflix)It feels like You finish the movie and you don t want to go and blow your head off, which I think is a crazy thing to say, but also there s just something that captures that popcorn moment, being in the theater and just having that fun on a Friday night. I think people are hungry for that. I don t know, but that s what I think is the tonal thing about those slasher movies that hopefully will flourish in the next few years as we get the Candyman movie and Scream and all of the things.Rotten Tomatoes: Speaking of more slasher films, what is next for you? And given what we saw in the mid-credits scene for Fear Street Part Three: 1666, would you ever return to this world of Fear Street? Janiak: Absolutely, I would certainly return to the world. I don t know when, but I definitely would. I think that the Fear Street universe is so full, and I think that we ve done a good job of setting the table, and I think that there s a lot of room for additional trilogies and standalone movies. There s a lot of things that make me excited about it, so absolutely. It is a lot of work to do a trilogy all at once, but, for me, it was a very positive experience. I think that s because I had an amazing cast and crew around me. We were all excited, and the work was extremely difficult, but also it was fun to go to work, so that was lovely. Right now, I m about to start shooting The Staircase, a couple episodes of that, with HBO.Rotten Tomatoes: Do you have an idea for more movies in the Fear Street universe?Janiak: That s something that I won t talk about… but, yeah.The Fear Street trilogy is now streaming on Netflix.On an Apple device? Follow Rotten Tomatoes on Apple News.

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In Regina King’s Certified Fresh directorial debut, One Night In Miami, four icons – Cassius Clay, Malcolm X, Sam Cooke, and Jim Brown – spend a wild (and fictional) evening together in a Magic City motel room bonding, drinking, and heatedly debating the best ways to advance the lives of Black people in America. Is it better to change the system from the inside, as Cooke says, or is the system itself the thing that needs to change, as X argues. Reviews of the film, which will no doubt be a big player this awards season, have heralded King’s skillful translation of Kemp Powers’ play to the big screen, as well as the performances of its four leads: Leslie Odom Jr. (Cooke), Eli Goree (Clay), Aldis Hodge (Brown), and Kingsley Ben Adir (Malcom X). In this exclusive and extended sit down with the four actors, they share how they prepared for and eventually inhabited the larger-than-life figures, from perfecting accents and swagger to transforming physically and digging deep into the ideologies that drove them.On an Apple device? Follow Rotten Tomatoes on Apple News.

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7. 官方资讯

Version 6.71.42022-01-24

0.18.8 1月喜迎Marvel Entertainment s shakeup in 2019 allowed new Chief Creative Officer Kevin Feige to install his vision of the Marvel Cinematic Universe on the series being created TV and streaming. While Marvel shows have generally trended high on the Tomatometer, the corporate refresh is being proven out one title at a time, as — one pandemic later — fans have been treated to Certified Fresh titles WandaVision (91%) and The Falcon and the Winter Soldier (89%).It s no surprise then that the highly anticipated drop of a series about one of the MCU s most popular characters, God of Mischief Loki, who has been played by Tom Hiddleston in six MCU films, would be met with critical acclaim.Here’s what critics, who have seen the first two episodes of the series, are saying about Loki season 1:How Does the MCU Feature Films Version of Loki Hold Up in a Series? (Photo by Marvel Studios)Hiddleston seamlessly slides back into the Asgardian God role as the annoying, obnoxious adopted brother of Thor.—Allison Rose, FlickDirect Loki really is really just a character study of one particularly complex and as Loki fans will attest fun character. Moreover, a second season has been ordered, so the potential for variant timelines and do-overs multiply from there.—Verne Gay, NewsdayThe key to Loki both the character and the show is always Tom Hiddleston.—Allison Keene, Paste MagazineThrough Hiddleston s nuanced performance, we get to see Loki s quirks and qualities laid bare at last-depths of character that have only been hinted at.—Kaila Hale-Stern, The Mary SueLoki works because the filmmakers and cast click perfectly and give us a series that tells a story we have never seen before.—Alex Maidy, JoBlo s Movie NetworkThankfully, Hiddleston does what he does best and that is to embody the Norse God to perfection.—Britany Murphy, Geeks of ColorHiddleston s deep, purring voice and Shakespearean training also do wonders for Loki s melodramatic speeches, flourishing in this new Disney+ miniseries. The rest of the show, however, is less impressive.—Gavia Baker-Whitelaw, The Daily DotThe god of mischief is back! Time is on Loki s side with charm, humor and a dash of humanity. Easily the best Marvel series to date.—Christie Cronan, Raising WhasiansWith Hiddleston s assured performance at the center, Loki gets off to a promising start with a twisty mystery and fascinating world-building.—Rachel LaBonte, Screen RantA longtime favorite of MCU fans, Hiddleston has never been better as the God of Mischief, savoring every arrogant syllable of his (frequent) soliloquies, while also being given more opportunity than ever before to explore the character s nature.—Brent Hankins, The Lamplight ReviewIs the Story Worthy of the God of Mischief?The Beetlejuice-like atmosphere and wildly creative details of the TVA are hugely appealing, as is how the exploration of time will challenge Loki to assess/reassess his actions.—Perri Nemiroff, Perri Nemiroff (YouTube)It s nevertheless a bit of a letdown when you realize halfway through the dense first episode that one of the MCU s ostensibly most unpredictable lead characters has somehow landed in the most predictable of setups.—Caroline Framke, VarietyLoki can get bogged down in its discussion of timelines and multiverses but thankfully the creative team keeps the narrative engine humming, filling the screen with eye-catching details.—Tim Grierson, Screen InternationalThe approach is bold, the pacing is brisk, and the mix of humor within the narrative is perfectly balanced.—Dewey Singleton, AwardsWatchBalancing the standard Marvel comedy with strong character beats and heart-tugging moments, Loki is a well-balanced series that never once takes itself too seriously.—Adam Barnhardt, ComicBook.comLoki has a lot of potential, but in the first two episodes at least, a sluggish narrative and four phases worth of back story weigh things down more t
The last ever Arrow panel at Comic-Con on Saturday turned out to be surprising emotional. While the stars of the series still have several episodes to shoot, they all became overwhelmed with the prospect of letting their characters go. But during the session, a spontaneous outpouring of admiration for series star Stephen Amell led to the start of tears.After the panel, several members of the cast and crew assured Rotten Tomatoes they did not plan to open the waterworks. “It’s always a benefit,” quipped executive producer Marc Guggenheim, before adding the whole group just found themselves navigating that territory in response to questions.“It’s not every day you see Stephen cry,” added co-star Katie Cassidy-Rodgers. “The thing about this that’s really incredible is that it all started with Arrow and Stephen. it was time to pay respect.”“I don’t do particularly well anticipating appreciation,” Amell explained. “It catches me off-guard.”Nonetheless, a season of emotional closures is on the menu for the series’ final year.“In the first three episodes, Oliver has closure with five characters that I never thought he’d get closure with. And it happens in very unexpected ways,” Amell said. “They may not know it, but he knows it. He’s left a lot of loose ends along the way, and I hope over the course of the year that we’re going to tie up as many as possible.”The final season will see Amell’s Oliver Queen taking on a mission for The Monitor (LaMonica Garrett), which will presumably take Green Arrow into different realms of time and space. And considering the glimpses we saw of former nemesis Prometheus (Josh Segarra) during the panel, anything will be possible as Arrow prepared for its last bow.Snowpiercer Series Finally Gets a TrailerWondering how the Snowpiercer TV series will tie in to the 2013 film? Well, the first trailer for the long-in-development drama reveals that it takes place nearly a decade before the events of the movie. And showrunner Graeme Manson (co-creator of Orphan Black), revealed that visually, the series takes on the look of director Bong Joon-ho s film, but the ideas of the French graphic novels on which the movie was based. We pull from [Le Transperceneige], he said. They re a source of inspiration, and a number of things we ve pulled out of that. I think the show has the feel of the movie and a lot of the ideas of the graphic novels. He also revealed that the series is able to visit so many previously unseen areas of the train. The difference between the show and the movie really is the movie was such a terrific adventure story that started in the tail and charged completely linearly up to the engine, he said. The show, meanwhile, will spend time in every area. Our heart is in the tail, but we spend time in every single class. The Expanse Cast Rides High on Waves of GratitudeThe Expanse cast and series creators radiate excitement and gratitude when talking about season 4 — the season saved by Amazon s Jeff Bezos and a massive fan-fueled campaign. The series panel featured cast members Steven Strait, Wes Chatham, Shohreh Aghdashloo, Cas Anvar, Dominique Tipper, and Frankie Adams as well as executive producers Naren Shankar and Ty Franck.Actor Burn Gorman (Pacific Rim) joins the cast this season, in which the U.N. sends the Rocinante crew on a mission to explore new worlds beyond the Ring Gate. The Gate has given humanity access to thousands of Earth-like planets, creating a land rush and heightening tensions between the opposing forces of Earth, Mars, and the Belt. The first of these planets to be inhabited, Ilus, is rich with natural resources, but also spotted with the mysterious ruins of a long-dead alien civilization. While Earthers, Martians, and Belters all maneuver for control of the planet, these early explorers are unaware of its dangers.The Expanse season 4 lands on Amazon Prime Video on December 13.The Orville Moves to Hulu.@hulu will be entering the galaxy as #TheOrville takes off as a new Hulu Original.Season 3 of The Orville will stream exclusively on Hulu in 2020. The Orville (@TheOrville) July 20, 2019The upcoming third season of Seth MacFarlane s space-set drama The Orville will have a new home: The series is moving to Hulu, where it will debut season 3 in late 2020. As the show has evolved and become more ambitious production-wise, I determined that I would not be able to deliver episodes until 2020, which would be challenging for the network. So we began to discuss how best to support the third season in a way that worked for the show, MacFarlane explained in a press release announcing the news, which was revealed at the show s panel.Is Impulse s Henry a Hero or a Villain in Season 2?Lauren LeFranc, showrunner of YouTube’s original sci-fi series Impulse, told fans at the series SDCC panel that the show will delve deeper into the mythology and origins of teleportation in its upcoming second season, due this fall. Injecting more action and humor into the mix, Impulse will continue to give voice to trauma survivors, while also be digging further into the dynamics of our core heroes — and there’ll be a few new baddies thrown into the mix.Henry’s powers will evolve in a chaotic, violent manner, LeFranc warned. And if you’re expecting her to become a full-blown superhero, star Maddie Hasson says to expect the unexpected.“We talk a lot about heroes in the first season, and in the second season we talk a lot about villains,” she explained. “You get to decide what Henry is, and it’s not always what it seems.”Project Blue Book Headed to Roswell in Season 2The upcoming second season of History Channel s UFO-themed Project Blue Book will delve deeper into some famous alleged government coverups that have remained unsolved to this day.David O Leary and executive producer Sean Jablonski told the crowd at the show s SDCC panel that Area 51 and Roswell are just a couple of the cases they ll be exploring. Combine that with the Butch Sundance dynamic of Aiden Gillen s Dr. Hyneck and Michael Malarkey s Captain Quinn, it sounds like the new episodes will be a noir adventure that s sure to make you believe we re not alone in the universe. Project Blue Book returns to History in the winter.

Naomi Nagata s (Dominique Tipper) old friend and crewmate Cyn (Brent Sexton) steps up to extract her from a shakedown in a bar at Pallas Station in this sneak peek at The Expanse season 5, episode 3, Mother. His colleague Karal (Olunike Adeliyi), however, accuses Naomi of trying to collect the bounty on Naomi s ex/their boss Marco Inaros, who leads a violent faction of the Outer Planets Alliance.Episodes 1-3 of the new season launch on Amazon Prime Video on Wednesday, December 16 with the remainder of the season s 10 episodes released weekly on Wednesdays.
In a scene from the The Blacklist season 7 s penultimate episode,  Roy Cain, Raymond “Red” Reddington (James Spader) informs Liz Keen (Megan Boone) that she is the heir to his criminal empire, but Liz did not sign up for this.About the episode: As the Task Force investigates a kidnapping executed by seemingly impossible abductors, Dembe lands in a perilous situation. Meanwhile, a recent health scare causes Red to think about a successor. Tom Wopat, Laila Robins and Al Roker guest star.The Blacklist episode Roy Cain airs Friday, May 8 at 8/7C on NBC.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
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This weekend felt like a crucial mid-term for theatrical releases. Between the hybrid release controversies of the summer and the continued lack of attendance for non-IP originals, particularly those aimed at adults, it is still anyone’s guess what we are headed for come the holiday movie season. Barring the return of some new surge of virus infections (at least those numbers are headed in the right direction) people will hopefully feel safer filling seats at their local theaters. They certainly had a choice this weekend between staying home and buying a ticket. The latter won for one film while the former created some dismal numbers for another, casting a shadow over anything not part of a franchise the rest of the year.King of the Crop: Halloween Kills its Hybrid Release with million Debut(Photo by Universal Pictures)Before the pandemic, the focus on this weekend’s #1 movie would have been the drop from its predecessor’s million start in 2018. Halloween Kills’ million weekend is a 33.8% drop from three years ago, but even that can be put in a positive perspective looking at other sequel drops of this stature over the years. Among R-rated sequels to films opening over million, 300: Rise of an Empire (36.4%), Ted 2 (38.4%), Paranormal Activity 4 (44.8%), Sex and the City 2 (45.6%), The Matrix Revolutions (47.1%), and The Hangover Part III (51.5%) all dropped further. Alien: Covenant fell 29.1% from Prometheus but didn’t have nearly as far to fall as Halloween Kills did, leaving It: Chapter 2 (26.2%) and Deadpool 2 (5.23%) as the higher standards. The point is that this is a really terrific number for David Gordon Green’s sequel..4 million is the sixth-best opening of the pandemic. As it marks the third consecutive week of a film opening over million, that statistic may quickly become an afterthought, though it shouldn’t. Where Halloween Kills busted the ceiling this weekend was in the hybrid streaming wars. After it was announced the film would simultaneously premiere on the Peacock service the same day it premiered in theaters, its chances for widespread theatrical success appeared to be kneecapped. The first film was a rather frontloaded success story, posting just a 2.09 multiple over its opening weekend. Halloween Kills may be down 34% from the 2018 opening, but it is up 58% from the year’s best hybrid HBO MAX openings, with Godzilla vs. Kong and Space Jam: A New Legacy each in the million realm. Kong already had a two-day head start with .4 million prior to the weekend and to date is the only hybrid release (sans an additional fee) to crack the 0 million barrier. And that was a March 31 release that took over 11 weeks to reach that milestone. Halloween Kills is already halfway there in just three days.Kills also nearly doubled up The Suicide Squad (.2 million) for the best “R”-rated opening of the year in any release strategy. 54 million Peacock subscribers at last count compared to roughly 73 million for HBO MAX. (And those are late July numbers.) The five biggest WB/HBO MAX openings dropped like flies in their second weekends Godzilla vs. Kong (56.9%), The Conjuring: The Devil Made Me Do It (57.1%), Space Jam: A New Legacy (69.1%), The Suicide Squad (71.5%), and Mortal Kombat (73.2%). 2018’s Halloween fell 58.8% to .4 million in weekend two, so there’s a good chance Kills falls below million next weekend, especially if people realize they actually have Peacock on their cable service. Those who actually still have cable service.Rotten Returns: Ridley Scott s The Last Duel Reinforces a Grim Trend(Photo by 20th Century Studios)What may actually be the bigger story this weekend is the continuing failure of non-IP films aimed at adults to draw them in. Ridley Scott’s The Last Duel was speculated to at least get into eight-digit territory this weekend. Its fate was all but sealed when it opened to just 0,000 in previews Thursday night, and the final numbers were even worse than imagined. The historical drama with a cast boasting Matt Damon, Adam Driver, Jodie Comer, and Ben Affleck grossed a mere .8 million this weekend. That is less than Damon in Stillwater did this summer (.18 million) and the worst start for a Damon-led film opening in over 3,000 theaters. The previous low was We Bought a Zoo (.36 million), which nevertheless went on to gross over million over its 2011 holiday season release.There is a strong chance that The Last Duel will not even be able to leg itself out enough to outgross All the Pretty Horses (.5 million) or Stillwater (.2 million), leaving it as the third-lowest grossing Damon-led film ahead of only Suburbicon (.77 million) and Promised Land (.59 million), both of which were released in fewer than 2,050 theaters. The story is far grimmer than anything surrounding Damon’s perceived star power, though. The Last Duel represents a continuing trend in the pandemic box office for anything other than a sequel, franchise, universe-builder, or Disneyland ride to break out among audiences. Free Guy, Raya and the Last Dragon, and Old are the only films outside of those categories to gross over million this year. The Last Duel is about to become the third theatrical-exclusive film released this year in over 3,000 theaters that fails to gross even million.The Top 10 and Beyond: No Time to Die Takes Aim at 0 Million(Photo by Nicola Dove/©MGM)No Time To Die missed the opportunity to become the fifth film of the pandemic to gross 0 million in its first 10 days; instead it will take 11. With .3 million this weekend (a 56% drop) the 25th James Bond film is just shy of the milestone. That is a slightly better second weekend than F9 had ( million), though Bond is still nearly million behind its pace while also about million ahead of A Quiet Place Part II’s 10-day run. The film has a good chance to stick around the Top Five into just before Thanksgiving (and could hang on enough into that holiday) so we’ll stick with a final gross between 0-170 million domestically. Globally the film is over 7 million and could actually surpass F9’s 6 million to become the highest-grossing film of the pandemic era.Venom: Let There Be Carnage fell to .5 million (the second-best third weekend of the year), bringing its total to just over 8 million, still on a very solid pace for 0 million. That is about million below Shang-Chi’s third weekend and overall about million behind its 17-day pace. Shang-Chi and the Legend of the Ten Rings drove its total to over 8 million and is going to settle into the 5 million territory, suggesting that the Venom sequel will come in somewhere around the original Venom’s total of 3 million.The Addams Family 2, which is also on VOD for .99, is not far behind the pace of The Boss Baby: Family Business, which was also streaming on Peacock s subscription tiers. That animated film finished with over million. Addams looks to be in line to come in between -55 million. A24’s odd folktale, Lamb, managed to stay put in eighth place, falling from just over million to 3,000 and driving its total to million. Not too shabby, all things considered, and the studio can put this on its mantle along with the knowledge that David Lowery’s The Green Knight is going to outgross Ridley Scott’s The Last Duel.On the Vine: A Timothée Chalamet Double Feature with Denis Villeneuve s Dune and Wes Anderson s The French Dispatch(Photo by Courtesy of Warner Bros. Pictures and Legendary Pictures)Fear is the mind killer next week when Denis Villeneuve hopes people will take his advice and see his adaptation of Frank Herbert’s Dune on the big screen instead of watching it from their sofas on HBO MAX, which will begin streaming the film Thursday night. Actually theaters and the home service will be showing Dune: Part One, as the opening title card announces it. There is no release date or production start date for Dune: Part Two. Also finally opening is the animated film, Ron’s Gone Wrong, and Wes Anderson’s latest, The French Dispatch.Full List of Box Office Results: October 8-10, 2021


魔兽世界炉石天马 We’re reaching the dog days of summer, people! Sometimes, you’ve just gotta post up in front of the air conditioner between trips to the beach and enjoy a nice TV binge. That’s where we come in. With several returning sophomore series and two long-running favorites bidding adieu, there’s plenty to keep you busy this August. Catch it all below.Dear White People 95% (Netflix)What it is: Based on writer-director Justin Simien’s 2014 film of the same name, Dear White People takes place on a predominantly white Ivy League college campus and, through the perspective of several different African-American characters, explores and satirizes the racial tensions, microaggressions, and social injustices experienced while there.Why you should watch it:  As funny as it is revealing, this ensemble piece for Netflix fearlessly goes where other network and primetime programs don’t dare to, not just representing the current social and political climate, but crystallizing lasting truths within it. Airtight scripts and a bevy of standout performances make the upcoming third season a must-watch for fans new and old. Season 3 premieres in full Aug. 2 on Netflix.Where to watch it: NetflixCommitment: Approx. 10 hours (for the first two seasons)Preacher 87% (AMC)What it is: Sam Catlin, Evan Goldberg, and Seth Rogen teamed up back in 2016 to adapt Garth Ennis and Steve Dillon’s cult comic book about a preacher named Jesse Custer (Dominic Cooper) who’s on a violently allegorical quest to “find God” — plus vampires, exploding holy men, extraterrestrial entities, and gun-slinging exes (played by Ruth Negga, no less). The series, now entering its fourth and final season on AMC, has reached comparable cult status.Why you should watch it: If the above soundbite wasn’t at least enticing, this series is probably not for you. But if your interest is piqued, Preacher is sheer perfection. Unapologetically bloody, brazen, and bad to the bone, this series came at the height of peak genre TV and to this day runs with the best of them. Season 4 premieres Aug. 4 on AMC.Where to watch it: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 25 hours (for the first three seasons)GLOW 92% (Netflix)What it is: From creators Liz Flahive and Carly Mensch, GLOW (taken from the real-life ’80s entertainment series, Gorgeous Ladies of Wrestling), follows a pair of down-and-out actresses who unwittingly find themselves cast in a televised women’s wrestling league. Following both their personal and professional lives, the dramedy centers on Ruth Wilder (Alison Brie), Debbie Eagan (Betty Gilpin), and the man who runs the league, Sam Sylvia (Marc Maron).Why you should watch it: On paper, GLOW sounds like the kind of series that’s just so crazy it might work. Then again, it is from producer Jenji Kohan (Weeds, Orange Is the New Black), so it boasts a creative team that has a track record of doing just that. Utterly unique in the world of the half-hour dramedy, this standout series is lead by a stellar cast of kickass ladies (and even more behind the camera). Season 3 premieres in full Aug. 9 on Netflix.Where to watch it: NetflixCommitment: Approx. 10 hours (for the first two seasons)RELATED: Video: GLOW Stars Alison Brie, Marc Maron, and Betty Gilpin Play ‘Wrestler or Rapper’ Succession 94% (HBO)What it is: Succession is all about what happens when powerful people behave badly and — sometimes — are faced with consequences. Charting one media mogul family’s changing of the guard (with back-stabbing, side-dealing, and bribing a-plenty), the series, from creator Jesse Armstrong, stars Jeremy Strong, Kieran Culkin, Sarah Snook, Natalie Gold, and Emmy winner Brian Cox as the central Roy family patriarch.Why you should watch it: If HBO viewers love two things, it’s watching disparate characters fighting for a throne (hello, Game of Thrones) and extreme, dramatic family discord (Six Feet Under, The Sopranos, Big Love need we go on?). Fortunately, the power-hungry media family of Succession has both in spades, and it boasts top-tier performances to match. Why else would it be recognized with a fistful of 2019 Emmy nominations, including best drama series? Catch up before season 2 premieres Aug. 11 on HBO.Where to watch it: Amazon, FandangoNow, Google Play, HBO Now, Microsoft, VuduCommitment: Approx. 10 hours (for the first season)Lodge 49 93% (AMC)What it is: Set in the sun-drenched but dry-spelled locale of Long Beach, California, creator Jim Gavin’s Lodge 49 follows ex-surfer and current burnout Dud Dudley (Wyatt Russell, son of Kurt Russell and Goldie Hawn) as he tries to get his life back together by going with the flow — a fate that brings him to the adrift, philosophically-minded community of Lodge 49. Why you should watch it: What an odd little series Lodge 49 is, but if you stick with it, the magic that’s at play slowly comes to the fore and makes the experience all the more worthwhile. To say much more of the fate that’s in store for viewers of this wholly-original hour-long comedy is to do a disservice to its long-view intention, but you won’t be sorry for following Russell’s “The Dude”–esque hero to the titular lodge’s doorstep. Season 2 premieres Aug. 12 on AMC.Where to watch it: Amazon, Google Play, Hulu, MicrosoftCommitment: Approx. 7.5 hours (for the first season)The Terror 87% (AMC)What it is: Based on Dan Simmons’ 2007 novel of the same name, The Terror is a horror anthology series from creators David Kajganich, Max Borenstein, and Alexander Woo. Season 1 takes the real-world tragedy of the 1845 disappearance and ultimate mass death aboard two British expedition ships and fictionalizes it as a tale of monsters and survival.Why you should watch it: While it’s an anthology series, you’d be remiss to skip out on The Terror’s first season before tuning into round 2: The Terror: Infamy. Creatively suspenseful, tragic, and altogether horrifying, it’s a 10-episode order that fans of the genre will love. Season 2 premieres Aug. 12 on AMC. Where to watch it: Amazon, Google Play, Hulu, Microsoft, VuduCommitment: Approx. 8 hours (for the first season)RELATED: The Terror Truths Revealed in a Gruesome Finale and Insights from the Horror Series’ Showrunners Sacred Games 76% (Netflix)What it is: Netflix’s first original series made in India is a doozy of a police thriller. Based on Vikram Chandra s 2006 novel of the same name, Sacred Games follows Sartaj Singh of the Mumbai police as he battles personal demons and dives head-first into the city’s dark underbelly of crime and corruption in an effort to save it.Why you should watch it: The series begins with an anonymous call to Sartaj claiming that a looming disaster will wipe out Mumbai’s population in 25 days. Sacred Games’ race-against-the-clock premise does wonders here, keeping viewers on the edge of their seats and eager for more. Season 2 premieres in full Aug. 15 on Netflix.Where to watch it: NetflixCommitment: Approx. 6.5 hours (for the first season)Mindhunter 97% (Netflix)What it is: Mindhunter follows FBI agents Holden Ford and Bill Tench — co-founders, along with psychologist Wendy Carr, of the Bureau s Behavioral Science Unit — as they interview imprisoned serial killers in hopes of understanding patterns of behavior and solving open murder cases in 1977.Why you should watch it: Ripped from the pages of Mindhunter: Inside the FBI s Elite Serial Crime Unit by John E. Douglas and Mark Olshaker, Joe Penhall’s twisty series from executive producers David Fincher and Charlize Theron will keep you guessing to the very end — which is exactly why it became a bit of a phenomenon at the time of its 2017 premiere. Now, two years later, an excellent Jonathan Groff returns as Agent Ford to tackle one of the best-known killers of our time: Charles Manson. Season 2 premieres in full Aug. 16 on Netflix.Where to watch it: NetflixCommitment: Approx. 8 hours (for the first season)RELATED: Mindhunter Stars on Diving Too Deep Into Serial Killer Psychology, Hopes for Season 2 The Affair 86% (Showtime)What it is: As the old adage goes, love is a battlefield, and with The Affair, we’re here to witness some emotional warfare. The titular indiscretion comes about when Alison and Noah meet on Long Island, consummate their desires, and in turn destroy their respective marriages to Cole and Helen, respectively. The Affair is told through the four main players’ rotating perspectives.Why you should watch it: The Golden Globes love to honor a rookie series, but it’s not for nothing that The Affair swept the ceremony after its first season by winning best drama series and best lead actress for Ruth Wilson. Maura Tierney then went on to win for her supporting turn the following year. Male leads Dominic West and Joshua Jackson, though lacking trophies for their roles, are also stellar. Dense and emotionally trying as it may be, they each play characters that you’ll feel for as the dissipation of their happiness and potential reconciliation plays out each week. As the seasons progress, The Affair ups its drama and stakes until what is sure to be a blistering finale. Its fifth and final season premieres Aug. 25 on Showtime.Where to watch: Amazon, FandangoNOW, Google Play, Microsoft, VuduCommitment: Approx. 40 hours (for the first four seasons)Power 81% (Starz)What it is: From creator Courtney Kemp Agboh and starring Omari Hardwick as main anti-hero James St. Patrick, Power charts James’ life as he runs a popular nightclub in New York City while moonlighting as an underground drug kingpin. How he keeps it all together while leading a double life is just the tip of the iceberg of this series’ juicy, dramatic hit.Why you should watch it: Over the course of its five seasons, this gritty crime drama has succeeded with a formidable ensemble cast, providing criminally compelling and gloriously soapy performances. Its sixth and final season, which will be split into two halves between 2019 and and 2020, premieres Aug. 25 on Starz.Where to watch it: Amazon, FandangoNOW, Google Play, Hulu, Microsoft, VuduCommitment: About 50 hours (for the five seasons)Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

The Marvel Cinematic Universe hasn’t had a Rotten movie yet, and the franchise isn’t about to go south with its 21st installment. Captain Marvel is another success for the studio, though according to the first reviews of the movie, it may not quite qualify as top-tier Marvel. Many critics say the story and action are somewhat disappointing, but we’re introduced to many great new characters in a good-enough entry into the superhero genre canon.Here’s what the critics are saying about Captain Marvel:Does it meet expectations?Captain Marvel is the female-driven Marvel film that we’ve been waiting for. Danielle Solzman, Solzy at the MoviesThere are a lot of expectations riding on Marvel’s first female-led (and first female co-directed) feature, and I am happy to report that the film does indeed live up to the hype. Kate Gardner, The Mary SueCaptain Marvel is a must-see for superhero fans, especially those who have craved more female-led stories. Molly Freeman, ScreenRantEngaging, entertaining and empowering, this new and terrific iteration spotlights a strong, complex, fearless woman finding her voice, power and place in the universe. Courtney Howard, Fresh FictionAll-in-all it’s fine, but nothing to get too excited about. And it could have and should have been so much better. Lindsey Bahr, Associated PressHow does it compare to others in the MCU?I do wish there was more of a “wow” factor throughout. There just wasn’t enough at stake. Catalina Combs, Black Girl NerdsThe picture is not dull, exactly, just mundane, marked by unimaginative plotting, cut-rate villains, a bland visual style and a lack of elan in every department. Todd McCarthy, Hollywood ReporterAs generic and retrograde as Black Panther was specific and revolutionary, Captain Marvel is a frustrating disappointment. David Ehrlich, IndieWireCaptain Marvel is one of the studio’s better offerings…[but] It feels less visionary and divergent next to Black Panther. Hannah Woodhead, Little White LiesLuckily, Captain Marvel doesn t have to be better than all of the MCU s previous films to be something enjoyable. Kayti Burt, Den of Geek(Photo by Marvel Studios)What will women think of it?This film gives us the very definition of girl power with a female-led superhero story that encourages and celebrates women empowerment, independence, and confidence. Catalina Combs, Black Girl NerdsThere are plenty of moments where the target market (and beyond) will see themselves reflected. Wholly satisfactory one-liners she drops in the climax provide inspiration – specifically for female filmgoers’ liberation from guilt and doubt. Courtney Howard, Fresh FictionCaptain Marvel doesn’t quite become the powerful feminist movie it purports to be, but it is empowering.  Hoai-Tran Bui, SlashfilmHow is Brie Larson in the lead?Larson is a damn near perfect Carol. She’s funny, tough, and deeply compassionate. Larson conveys so much through a twitch of the lips or a change in expression. Kate Gardner, The Mary SueLarson manages to capture a fiery but playful sense of humor in her character that deftly avoids the tropes associated with naive, superpowered outsiders making first contact with humans.  Meg Downey, IGNLarson s performance is key to the success of Captain Marvel and the actress shoulders that burden exceptionally, nailing the cocky and snarky but ultimately good-hearted hero. Molly Freeman, ScreenRantLarson effortlessly displays the full range of emotions of a woman grappling with her own identity and self-worth…there’s an ease to Larson’s performance and easy chemistry with every character she comes in contact with. Hoai-Tran Bui, SlashfilmThe performance is fine, if not exciting or inspiring. Todd McCarthy, Hollywood ReporterAnd the character herself?I spent over two hours with Captain Marvel/Carol Danvers and I still have no idea what her personality is. Lindsey Bahr, Associated PressCaptain Marvel is far and away the least compelling thing about Captain Marvel…Not since Edward Norton’s Hulk has the MCU offered such a two-dimensional title hero. David Ehrlich, IndieWireCaptain Marvel gives us the rare female action hero who is funny, knows she’s funny, and enjoys it. Susana Polo, Polygon(Photo by Marvel Studios)What about the supporting characters?The buddy cop dynamic of Fury and Carol is easily the strongest relationship. Kayti Burt, Den of GeekThe relationship between Carol and Maria Rambeau… is the team up we want more of. It’s the type of female relationship we don’t get to see regularly on screen. Catalina Combs, Black Girl NerdsThe best female friendship the MCU has ever seen…it is the strength of Maria and Carol’s relationship that elevates the film to another level. Yolanda Machado, io9The film’s busy third act would be a mess if not for its deep bench of supporting characters, who connect to each other in a number of warm and wonderful ways. David Ehrlich, IndieWireHow is Ben Mendelsohn s Villain?He s a far cry from a traditional MCU villain, but what he lacks in deviousness he makes up for in a genuinely charming sense of humor. Meg Downey, IGNAll too often, great actors kind of get lost in these type of alien/villain roles, but Mendelsohn brings a humanity (Skrullanity?) to this role I was not at all expecting. Mike Ryan, UproxxThe film’s MVP is without a doubt Ben Mendelsohn…He’s given much more to do here than in his last high-profile Hollywood gig and appears to be having an absolute blast doing it. Hannah Woodhead, Little White LiesWhat s this we re hearing about a scene-stealing cat?Goose is the real MVP and I need him in every MCU film from now on. Yolanda Machado, io9Get that cat a spinoff. Kate Gardner, The Mary Sue(Photo by Marvel Studios)What s with all the Star Wars comparisons?This is a full-on, strange, sci-fi film. Some of the scenes reminded me of Rey snapping into the endless mirrors during The Last Jedi. Mike Ryan, UproxxTaking a look at the Kree capital for the first time on screen is similar to the first time we saw Coruscant in Star Wars: Episode 1- The Phantom Menace. Danielle Solzman, Solzy at the MoviesCaptain Marvel makes Solo: A Star Wars Story look bright and cheerful in comparison. Matt Singer, ScreenCrushExperiencing the film s final moments is not unlike the experience of watching the final moments of Rogue One, so cleverly does the film weave its way into existing canon. Kayti Burt, Den of GeekThe climactic sky battle is a spectacular vision, a Star Wars-style dogfight that takes place over sun-washed canyons. Owen Gleiberman, VarietyHow are the action scenes?The action in Captain Marvel is on autopilot — all rapid cuts and no rhythm, and very clearly shot by a second unit who were well-versed in the technical aspects of such a scene. Hoai-Tran Bui, SlashfilmWith the added troubles typical to Marvel Studios movies in terms of their CGI, Captain Marvel s action is lacking at times. Molly Freeman, ScreenRantDoes Captain Marvel make us hopeful for the future of the MCU?If Captain Marvel is indicative of the future of the Marvel Cinematic Universe, then the franchise is more vital and impressive than it has ever been. Brandon Zachary, CBRLarson and Carol are both welcome additions to the massive shared universe with what we can only hope are bright futures ahead of them. Meg Downey, IGNIf our new core characters for the franchise will be T’Challa, Peter, and Carol, then the universe is in good hands. Kate Gardner, The Mary SueIf Captain Marvel is any indication, these movies are about to get a little more weird. Mike Ryan, UproxxI came out of the film not caring all that much about her beyond what her dazzling powers might mean for the next Avengers film, which is perhaps the lamest way of all to experience these movies. Lindsey Bahr, Associated PressCaptain Marvel opens everywhere on March 8. 最后,游戏行业可以多重变现,以归客手游平台为例,归客手游的代理商可以直接拿到厂商给的返点,没有中间克扣,还会有免费全程无限期培训,从后台操作到前端推广,全套系统化培训。你可以招募代理拓宽推广渠道,也可以推广游戏获得流水。无论您是个人还是工作室,无论您有没有经验,都可以在这里快速学习,拓展客户。


Disney+ announces price lower than Netflix, Hawkeye gets a series while previously announced series get titles, Game of Thrones goes licensing-mad for final season, The Walking Dead gets another spin-off, American Horror Story teaser trailer, Titans casts Bruce Wayne, and more.TOP STORYAvengers Assemble on Disney+(Photo by Marvel Studios)On Thursday evening, Disney CEO Bob Iger presented to investors, detailing the company s streaming plans: Disney+ launches November 12, 2019, and will cost .99 per month. Series titles announced so far include:Marvel Studios’ series Loki starring Tom Hiddleston, reprising his role as the mischief makerThe Falcon and The Winter Soldier, a live-action series with Anthony Mackie returning as Falcon and Sebastian Stan reprising his role as Winter SoldierWandaVision, a live-action series with Elizabeth Olsen returning as Wanda Maximoff and Paul Bettany reprising his role as The VisionHawkeye might not have gotten as much screen time as his fellow Avengers in the most recent Marvel superhero team-up movies, but that will be rectified with the archer s own series, in which Jeremy Renner will star, acco

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