Call Me By Your Name director Luca Guadagnino has been announced to helm a new Scarface, the gangland kingpin epic that has seen iterations in 1932 and 1982. Obviously, the latter Brian De Palma-directed, Al Pacino-starring version has had a monumental impact on pop culture and remains widely seen today.A new Scarface has long been in the works with multiple big names attached, including Diego Luna as star, and with significant script work by Joel and Ethan Coen. In its last known stage of development, the story was going to be set in Los Angeles. But considering Guadagnino s freewheeling take on Suspiria, who knows what elements he ll keep, or whether he ll have an entirely novel approach to the story. Will there still be a guy named Tony, and will he spell it with a Y ?But going off on its last known details, we ve questioned our followers on social platforms and took some staff suggestions, to create this poll: Who would you cast in the Scarface remake? (Photo by Warner Bros./ courtesy Everett Collection)All 46 Movies That Made Over A Billion Dollars, Ranked by TomatometerWe heard it in a Hollywood movie once: A million dollars isn t cool. You know what s cool? A billion dollars. And in this town, it s true. A movie making that minimum seven figures isn t cool, it s a box office bomb. But 10 figures? Now we re talking. Cracking a billion dollars globally requires a mighty recipe of the hottest stars, the shiniest filmmaking technology, and an engaging plot with twists and turns that never becomes super-duper complicated. And, of course, you ll need an audience willing to turn out in droves the world over, from America to Lebanon to Zambia.Now we ve compiled all of the movies that have achieved just that and ranked them by Tomatometer. It s a compelling window into our era of blockbusters and inflation. The Transformers and Pirates of the Caribbean series each have multiple entries, in the years before the franchises were run into the ground. Alice in Wonderland showed the way for Disney and these newfangled live-action remakes. The last Lord of the Rings was rewarded by fans with the highest gross of the trilogy, goodwill that transferred into The Hobbit: An Unexpected Journey, and then evaporated after that. The presence of the Jurassic and Star Wars movies, along with Skyfall, shows you can still wring plenty of money out of long-in-the-tooth franchise.Then there s the superheroes. The Dark Knight movies officially ushered in the era of big business for those who take their comic-book moviemaking seriously. Marvel took a lighter step, focusing on interconnected stories that create serious FOMO for those who skip the multiplex line, in movies like Avengers, Spider-Man, Captain Marvel, and Black Panther.And now as Star Wars: The Rise of Skywalker forces itself into the mix, we re ranking every movie that reached billion by Tomatometer ! And if you want to go more in-depth, check out our article on The 50 Highest-Grossing Movies Ever, which includes some of those lesser specimens that couldn t quite break a billion.
对于主要追求成长和社交乐趣的传统MMORPG手游而言，游戏场景虽然通常是宣传卖点，但很多时候并不是开发重点。与很多产品不同的是，《天谕》手游在场景表现与细节层面上的设计却反其道而行，几乎做到了极致。穿云入海，鱼群傍身的画面冲击力，虽然不会影响具体的玩家属性和数值，但是它带来视觉冲击大概率会让每一位玩家难以忘怀。亚博网APP下载The news that Patrick Stewart had, after 19 years, agreed to return to the character of Jean-Luc Picard, the Star Trek role that made him a global celebrity, sparked loads of excitement among the fanbase. As the 79-year-old actor explained, the decision to head back into the universe that Gene Roddenberry created, relied on the caveat that Picard would boldly go where no Star Trek series has gone before. I don t mean to give any offense to anyone, but I struggled a little bit with this issue, Stewart told select members of the press at the official junket for Star Trek: Picard. I was so obsessed with this idea that we must leave The Next Generation behind, that we must pull the curtain down on that and explore new things. In the latest Star Trek series on CBS All Access, a strong ensemble of Star Trek newcomers join Stewart; Isa Briones plays the mysterious Dahj, Michelle Hurd appears as former Starfleet Officer Raffi Musiker, Alison Pill plays Dr. Agnes Jurati, and Santiago Cabrera takes on the role of hot-headed pilot, Chris Rios. It is not the same world when we wrapped The Next Generation, Stewart continued. And I argued that I wanted that change and that world to be reflected insofar as it affected Jean-Luc and what had happened to him. The backstory of those 19 years is very, very important. But the great thing about it is — and I wasn t prepared for this — I discovered I also lived through those 19 years; Patrick had lived through them. And I had changed. I m different. I feel differently about the world that I m living in, and in subtle ways. (Photo by Matt Kennedy/CBS)As Star Trek fans know, there are multiple timelines that exist within this cinematic universe. That can add continuity confusion, depending on a viewer s expectations with Star Trek: Picard. Showrunner Alex Kurtzman explained that the Romulan supernova that impacted the events of J.J. Abrams 2009 movie, which sparked a new timeline and universe separate from the original Star Trek series — this event is also referenced in Picard — is the catalyst for the vastly different timelines that exist across the Star Trek universe. That s a lot to take in for new viewers, but the return of Stewart in his iconic role will most likely be a huge draw for people to tune in. Through all the strife Picard has been dealt since we last saw him, he s still the highly-revered Starfleet admiral fans have grown to love and respect. We live in a continuity of a timeline, Kurtzman said. There s emotional experiences that have certainly informed the show, but [Patrick Stewart] did not want to just play the part he had played in the same way. And I think you ll find, as you go on that, fundamentally, Picard, as a character, has not changed. He s not the dark angry version of Picard. He s still very much the man you know from Next Generation. But the circumstances of his life have changed radically and threw him off course. And so he s really wrestling with who he is now and what it means to be Picard in a world where not only does he not have an army, but things are very, very gray. How do you hold on to your clear moral compass in a world that s very gray? There is no greater captain in my mind for that challenge than Picard. (Photo by James Dimmock/CBS)According to series co-creator Michael Chabon, one of the themes Star Trek: Picard explores is the it s never too late concept of age and retrospection. This, according to Chabon, is something mostly unseen in the Star Trek universe. What we haven t ever had before, not just on Star Trek, but on almost any television show ever, and certainly any kind of serious dramatic television show is a central protagonist — a hero — who is effectively 80-years-old. Patrick was 78 when we started, he is 79 now. Jean-Luc Picard, in canon, is about 92. To have a person at that point in his life, reckoning with that question of: What does it mean to be a man, a human, a captain, a leader? And now he s an old man and he s still trying to answer that question, just like Star Trek is always trying to answer that question, but he s answering it in a different way than he did before. (Photo by James Dimmock/CBS)Discovery ended up being the first series in the Star Trek television universe that strayed from the narrative formula of exploring a different mission on-board a starship in every episode. Star Trek: Picard takes that storytelling baton and runs with it. Not only does much of the program take place on Earth, the series, which Kurtzman identifies as the first true adult drama in the world of Star Trek, hones its focus on the characters in the world and not just that of Jean-Luc Picard. Uniquely, that s a kind of storytelling which I don t think has been done much, period. Much less, in Star Trek, executive producer Akiva Goldsman added. So we re super delighted by that prospect because, as storytellers, it gets us to do the narrative hours in a way that s different and complicated. Relationships get to change and move, and you get to show one thing and then reverse it up. (Photo by James Dimmock/CBS)As much as the team was able to switch things up and delve into a more character-driven storyline, essentially creating a 10-hour movie, in the process, Goldsman asserted that Star Trek: Picard was made for both the die-hard Trek fans and newbies alike. We re trying to be able to deliver emotion and information and philosophy and character in a way that is engaging because you re watching it, Goldsman said. And if you know everything about it, you re like, Well, that was cool. And if you know nothing about it, you re like, Well, that was cool. And it might be cool, differently. It may have more color, or more revelation, depending on where you live in that spectrum of audience. But we really, really wanted to be welcoming of a listener s heart. Because that s part of the story we re trying to tell. Chabon agreed: We were absolutely committed to the idea that we wanted to make a show that, if you ve never seen Star Trek — if you re not sure what Star Trek really is even all about and you think you don t like Star Trek because what you ve seen before hasn t really grabbed you — or if you re a total novice, you will be able to sit down and still watch the show and enjoy it. (Photo by James Dimmock/CBS)Of course, having Patrick Stewart involved helps. The familiarity of fans to the actor, whose cinematic repertoire blossomed greatly after leaving the world of Star Trek behind, will surely help bring newbies into the fold. And, against his previous wishes, Stewart eventually warmed up to the notion of bringing some Next Generation characters and storylines back for another go in Picard. I was involved in meetings I d never been involved in as an actor before, Stewart, who had the added responsibility of co-executive producer on the series, explained. I could contribute. And I began, increasingly, to feel my colleagues from Next Generation, we need to see them. They, too, can reflect how the times have changed. I think it was the right thing to do. And I hope, with time, we are able to see more. To keep track, four familiar faces will be joining Jean-Luc Picard on this new adventure. Brent Spiner is reprising his role as android Commander Data. Marina Sirtis is returning, alongside Jonathan Frakes — who, once again, steps behind the camera to direct — as Deanna Troi and William Riker, respectively. Star Trek: Voyager s Jeri Ryan and Star Trek: The Next Generation s Jonathan Del Arco will be bringing their beloved Borg characters, Seven of Nine and Hugh, to this new tale, as well.(Photo by James Dimmock/CBS)Thematically, Star Trek has always operated best when it s held a mirror up to society to show us what works and what needs fixing. The first interracial kiss on television happened in the original series, between Captain James T. Kirk (William Shatner) and Uhura (Nichelle Nichols). Star Trek has always been a series based on the ideas of inclusion and exclusion while digging into the evolving question: what is humanity? These are some of the ways Roddenberry s concept has thrived for over the past five decades. And that s a trend that continues in Star Trek: Picard. This was one of the shows that our family, as a family, would happily sit down and watch, Michelle Hurd explained. When I got this job, that s the first thing I remembered: sitting with my mom and dad and my two sisters and watching the show. Not only because of Uhur,a but the fact that it was telling the stories of people who were other, the people who were pushed away. It just really brought me back to the understanding that Star Trek is more than just a show; it s a place where we can all be seen and represented and it makes me so proud to be part of it. Every Star Trek has a bridge family, and, in Picard, a rag-tag crew eventually forms. But every unit needs a leader, and Stewart discovered stepping back into his most iconic role was quite easy. He s never left me, the actor admitted during the 2020 Television Critics Association winter press tour.(Photo by James Dimmock/CBS)Jean-Luc Picard may have been gone from our screens for nearly two decades, but his return is coming at just the right time, Kurtzman said. Right now more than ever, we need great leaders. We need great leaders like Jean-Luc Picard. And we don t have them, Kurtzman added. My hope is that we will inspire people to remember that and think about that deeply. And the next generation that is now much more vocal about many of the problems they ve been left with, because of previous generations, will look to something like Star Trek and say it s possible. You know, maybe we won t get there in our lifetime. But maybe we can lay brick for our children s children to get there. Star Trek: Picard premieres on Thursday, January 22 on CBS All Access.
bygone family-focused adventure films like Honey I Shrunk The Kids than the first two films, there’s plenty here for viewers of all ages.” Marya E. Gates, Nerdist“One of those rare movies that’s a genuine four-quadrant treat… A film that will entertain adults as much as kids, fans and much as newbies.” Jane Crowther, Total FilmIs it funny?“The jokes are very funny.” Johnny Oleksinski, New York Post“[It] retains the other key aspect of the original formula: the deadpan drollery and sharp timing… Afterlife’s engaging cast has the comic beats down.” Sheri Linden, Hollywood Reporter“[It’s] sometimes amusing.” Sean O Connell, CinemaBlend(Photo by Columbia Pictures)Does it have heart?“Bring the tissues because you are going to need them.” Scott Menzel, We Live Entertainment“Jason Reitman, son of the original film’s director Ivan Reitman, injects a large helping of heart into the franchise.” Marya E. Gates, Nerdist“Certain moments, which I wouldn’t dare spoil, literally filled my heart to the brim…It’s the emotion of it all that works best, making a good flick great.” Joey Magidson, Awards Radar“The younger Reitman’s film resorts to extreme, and frankly questionable, measures to tug at the pre-existing fanbase’s heartstrings.” William Bibbiani, The Wrap“In its climactic sequence, the movie gives in to a more than a bit of self-congratulatory schmaltz — catnip for fans.” Sheri Linden, Hollywood ReporterHow is the screenplay?“Reitman and co-writer Gil Kenan have crafted a cheeky, witty, well-paced, and heartfelt script that constantly delights.” Rosie Knight, IGN Movies“The script as a whole doesn t just respect the source material, but it also respects the characters and the audience.” Kaitlyn Booth, Bleeding Cool“There’s so much plot, character, and backstory stuffed in, a few crucial connections get frustratingly pushed to the side or left way too vague.” Germain Lussier, io9.com“It takes nearly an hour (51 minutes, to be exact) for any ghosts to appear.” Peter Debruge, VarietyWhat about the special effects?“The special effects are again dynamite here.” Pete Hammond, Deadline“Special effects have advanced light-years since 1984, and yet Reitman (the younger) makes the respectable decision to stick to the look of the original film.” Peter Debruge, Variety“Those effects are certainly smoother this time around, even while keeping within the visual vernacular of the 1984 film.” Sheri Linden, Hollywood Reporter“The practical effects make the visuals in Ghostbusters: Afterlife far more like the films earlier in the franchise than most of today’s effects-heavy films.” Marya E. Gates, Nerdist(Photo by Columbia Pictures)Are there any standouts in the cast?“McKenna Grace as Phoebe walks away with pretty much the entire movie, which is really impressive considering the caliber of talent that we have here.” Kaitlyn Booth, Bleeding Cool“McKenna Grace is the kind of talent that only comes around once in a generation.” Rosie Knight, IGN Movies“Phoebe is by far the best thing about Ghostbusters: Afterlife. McKenna Grace… gives a truly revelatory, star-making performance here.” Germain Lussier, io9.com“Grace is just aces here…This is Grace’s show, and she really makes it a main event.” Joey Magidson, Awards Radar“You simply cannot look away from Grace when she is on screen. She’s funny and smart, but in a way that feels authentic and true.” Marya E. Gates, Nerdist“McKenna Grace gives the standout performance..if the franchise wanted to move forward with her in a leading role, I’d say we were in good hands.” Sean O Connell, CinemaBlendWhat about the rest of the cast?“Logan Kim as Podcast, Phoebe’s motormouth classmate who documents everything, is like a fun-size John Candy.” Olly Richards, Empire Magazine“Kim proves himself as a new comedic talent. His scenes with Grace are some of the best in the movie and deliver a few of its biggest laughs.” Rosie Knight, IGN Movies“[Paul Rudd] continues to prove himself a comedy MVP, earning half the movie’s big laughs.” Peter Debruge, Variety“[Carrie] Coon is wonderful as always.” Marya E. Gates, Nerdist“The excellent Carrie Coon is completely underused here.” Germain Lussier, io9.com(Photo by Columbia Pictures)Does director Jason Reitman do his father proud?“The real star here is Jason Reitman who, like Phoebe, rediscovers and reinvents his own family cinematic legacy.” Pete Hammond, Deadline“You can feel Reitman’s thrill in it, the enthusiasm of a man who has known Ghostbusters since he was six.” Olly Richards, Empire Magazine“Jason Reitman was literally born to make this movie… with all the love and affection of a fan, but with the moviemaking chops that have nearly won him an Academy Award.” Joey Magidson, Awards Radar“Reitman’s direction may be sharp and professional, but that’s only in the service of familiar material, so it falls to an excellent cast to make the most of a very repetitive situation.” William Bibbiani, The WrapWill we want another Ghostbusters movie?“When Ghostbusters: Afterlife ends, it leaves you wanting more.” David Crow, Den of Geek“The film does enough world-building that you leave hoping to see more from these characters in the future.” Germain Lussier, io9.com“If this serves as a launchpad for a new phase in the franchise, with such a dynamic lead as Phoebe at the helm, I’m willing to follow her anywhere.” Marya E. Gates, Nerdist“[Phoebe is] character I want to see busting ghosts in future installments.” Joey Magidson, Awards Radar“By the time the lights go up, one gets the distinct impression that all that really mattered was clearing the slate and setting this franchise up for future exploitation.” William Bibbiani, The WrapGhostbusters: Afterlife is in theaters on November 19, 2021.
4. 呼朋唤友 随心所欲
Watch: Chad Stahelski on the making of The Matrix above.In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, stunt double Chad Stahelski recalls working with Keanu Reeves to create some of the most memorable action sequences ever seen on screens.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLThe Movie: The Matrix (1999) 88%It was 20 years ago when the world stood on the cusp of digital revolution. A new Star Wars was coming out, ditching handmade green puppets in favor of shellacking a movie in CG. The internet was still a sparse superhighway, stretching empty in-between frontier cities of anonymity and information gardens. A new millennium nested beyond the horizon, yet persistent trembling hinted that something awful would befall humanity when the clock struck midnight on December 31st: Y2K. The news cycle warned connected online systems would fail, banking accounts were to shatter, airlines would have to ground all planes as modern life as we knew it screeched to a halt.No movie captured this zeitgeist of exhilaration and paranoia more than The Matrix, which opened in U.S. theaters on March 31, 1999. Like peak-James Cameron, the Wachowskis used state-of-the-art filmmaking techniques to pit man against the sleek, technological hell of our own creation. Perhaps we were slaves to our own comfort and science. And perhaps there would be a way to escape it. Enter Neo – the pale, withdrawn hacker played by Keanu Reeves – who discovers the true nature of our world: A shared simulation we processed in our minds as we slumbered in oozing pods, generating energy for the sentient machines that had turned our race into cattle. It would take a red pill, some kung fu, and guns, lots of guns, to wake up and win this war.The Matrix combined existentialist philosophy with anime-inspired visual wizardry, wrapped with the perfect mix of CG and practical effects to make this wild world feel grimy, tactile, and lived-in. Chad Stahelski was among the chief operators in selling this new reality as Reeves stunt double, with first-hand experience in witnessing how the Wachowskis crafted this remarkable film. His working relationship with Reeves started here and has never ended, with the duo upholding The Matrix s legacy of high-impact filmmaking with the Stahelski-directed John Wick movies. Stahleski here recalls the enlightening, bone-crunching trip.(Photo by Warner Bros./courtesy Everett Collection)“Holy s t, this is something pretty different.” I wasn’t hired initially at the beginning. I came on right after they started principal photography. At the time it was a script that read pretty crazy and didn’t make a lot of sense on paper. It filmed in Sydney, Australia. I get there, I get off the plane, I meet Yuen Woo-ping and his fight team, and within about four hours of being there it’s like, Holy s t, this is something pretty different.' “The Wachowskis somehow, through force of sheer will and creative genius, got those shots.” If you had seen the storyboards we’d been given before we shot even a frame of the movie, and see how close they were to the final edited product, [you d see] the genius of the Wachowskis. No matter what the adversities were on The Matrix, the Wachowskis somehow, through force of sheer will and creative genius, got those shots. Got exactly what they wanted. Got the framing they wanted, and molded each and every one of us, both performers and department heads, to get their vision. It was one of the most precise, arduous things I’ve ever done in my life. [They had] attention to detail, complete nuance of every scene. In between takes they’d watch the fashion channel, they would do research in martial arts films. I’ve never seen two directors that had such an all-encompassing knowledge of every single department and aspect of the film. The Wachowskis. (Photo by Warner Bros./courtesy Everett Collection)“They actually made breakdowns of other kung fu movies.” [The Wachowskis would] take an old Jet Li or Jackie Chan movie, download it on their computers, and re-edit it just to understand why those edits worked, or understand the moves. They actually made breakdowns of other kung fu movies. They weren’t martial art or stunt people, but they went in and actually learned, through experience and exposure, different martial arts or different styles of kung fu so they could put them in. The Moment: The Government LobbyIn a movie that drips with coolness like cascading lines of green code, you d think it d be tough to pull out the moment. But there was little debate that it wouldn t be the lobby scene, where leather-clad Neo and Trinity (Carrie-Anne Moss) stage a full assault to rescue resistance leader Morpheus from capture. The set literally explodes in a hail of bullets, shot with signature slo-mo and kinetic gunplay and combat, all to a pulsating techno soundtrack. In 1999, it was the apex of style.“There’s about 4,000 squibs in the walls, so when we yell action, you’re probably not going to be able to see anything.” It was literally walking in off the plane, drop bags off at the hotel, go stretch at gym, [and then] going into the government lobby choreography pieces. The Wachowskis very quiet, very soft-spoken directors had come in and said, We re gonna do this, we wanna do this, and there’s about 4,000 squibs in the walls so when we yell action, you’re probably not going to be able to see anything. Nowadays, we do it all digitally so it’s pretty quick resets, but it was pretty impressive at the time [what] went into it.The first time when Keanu runs down the hallway and the guns are going off and everybody’s shooting at him – that was a week of prep just for the special-effects guys laying in all the squibs. So every time you do a take, it’s a half-day. So you get one go at it and if you miss, everybody goes home and they spend another day resetting the new panels in to blow it up again. (Photo by Warner Bros./courtesy Everett Collection)“Keanu nailed it first take.” “So Keanu and I both had to back up to our number one marks and pretty much try to do all the choreography and the one-handed cartwheel and all the shooting with your eyes closed. Because once the squibs started going off, you couldn’t see anything. You had to count your steps and kinda go into it. And I remember looking at him and going Uh, OK, this could be a little tricky. And he’s like Eh, OK. And he nailed it first take. So that was pretty cool.The government lobby was a difficult sequence stunt-wise, but it probably wasn’t the hardest thing we did there. I mean, figuring out bullet time. The dojo fight was probably physically the toughest for Keanu. Logistically, the subway probably had a lot more stunt work and wirework than the government lobby. But then again you had Carrie-Anne walking on a wall, which was probably her most difficult wire move in the whole film. And Keanu doing an aerial cartwheel over an M16, picking it up, and shooting three guys. (Photo by Warner Bros./courtesy Everett Collection)“You can copy it, but it’s not the same as putting all those little pieces together.” A lot of guys can try and copy The Matrix, meaning you do a low angle thing here and you cover this kick in a wide. You can copy it, but it’s not the same as putting all those little pieces together. What the Wachowskis taught us the most was [how] you build a world. I ll relate this to John Wick so maybe it’s a little bit easier to understand. The color, the wardrobe, the suit, the house, the pajama bottoms, the way the gun style works. The emotional hook with the dog and the puppy. All that comes from working with the Wachowskis. Every little thing builds the world. You never blink. You never let the audience think, Oh they’re just kinda doing a cool move, they’re just kinda doing a cool color. Every little thing goes into building the world. Every little aspect, on camera, off camera, how you train the cast, what the dialogue rhythm is, know your editing style, just really, really immersing people. The Impact: A New Standard in ActionThe Matrix broadened the tastes of audiences, and what they expected out of action movies. It officially signaled the end of the burly macho stars of the 80s, who had hung on for dear life past the mid- 90s, and into more fluid fights, elaborate maneuvers, and lighter-than-air wirework. Fight choreographer Yuen Woo-ping s name was literally used in marketing future movies he worked on, the highlight being the Best Picture-nominated Crouching Tiger, Hidden Dragon.The Matrix had a fetishistic obsession with its own action sequences, something you ll see later in Wanted, Kick-Ass, or Zack Snyder movies. Meanwhile, spoofing The Matrix became its own kind of cultural cred, as seen in movies and shows like Scary Movie, Deuce Bigalow: Male Gigolo, The Simpsons, Spaced, Shrek, and Kung Pow, or the Nintendo 64 game Conker s Bad Fur Day, and beyond.But for the people who made the movie, it s the camaraderie that endures, and the gift of knowing that they got to participate in one of the most beloved, influential movies of the last 21 years.“To work on it, to be part of it, it is by far my favorite film.”“We use Laurence Fishburne [in the John Wick series], and I bumped into Carrie-Anne, and I bumped into Hugo Weaving the last couple of years and they still Every single person, including department heads and cast that worked on that movie, still f king cheer when it comes on. Everyone’s very proud of it. They can actually step outside their own performances and go That’s f king cool. For people in the business, that’s not a normal thing you can do. We all count ourselves as incredibly fortunate to have worked on that. Keanu and I see each other about every day, so we watched [The Matrix] again and had a nice talk about it yesterday. I don’t necessarily want to speak for Keanu, but it’s, like, still one of his favorite films of all time. To work on it, to be part of it, it is by far my favorite film. Reeves and Stahelski. (Photo by Christopher Jue/Getty Images)“I’m both proud and somewhat ashamed to say it, but without the Wachowskis we couldn’t have done John Wick.”“The Wachowskis wanted to immerse us in a world that was both real and extreme. And when you sit and watch The Matrix, you are wrapped up in that movie. You are wrapped up in the real-world part of it, you’re wrapped up in the matrix part of it. You buy it all. They thought it down to a molecular level of detail. I’m both proud and somewhat ashamed to say it, but without the Wachowskis we couldn’t have done John Wick. We took a lot of lessons from them and hopefully tried to honor what they taught us by doing what we could with that. “How cool is it that I get to watch The Matrix with Keanu Reeves?”“Because of my relationship with Keanu, because we still work together and all that stuff I mean how cool is it that I get to watch The Matrix with Keanu Reeves? And we still laugh, and we still cheer! And to see Keanu Reeves, the actual Neo sitting in a chair, where we’re both having a scotch watching The Matrix like that, or just to pull up a scene to fucking relive old times or something, or to get an idea, and to see Keanu Reeves jump up and go F k yeah! That’s awesome! I mean, I’m not gonna lie to you, that’s pretty cool! The Matrix was released on March 31, 1999. Buy or rent it at FandangNOW.
5. HD 画质与高品质音讯
Back in 1975, Steven Spielberg released a little movie about a killer shark into the world and changed the film industry forever, turning cinema into event entertainment and raking in boatloads of cash. More than four decades later, Hollywood continues to churn out its biggest, most spectacular movies during the summer months, and fans flock to theaters hungry for thrills and expecting to be wowed. All of this made us wonder about summer movie seasons past, not just from a commercial standpoint, but also from a critical perspectiv
In a nation where a movie called Crazy Rich Asians breaks theatrical records, K-pop albums can hit #1 on the Billboard charts, and anime and vintage Japanese pop songs connect online communities together violent hate crimes against Asians have skyrocketed. Where Minari is foreign according to the Golden Globes, despite being written and directed by an American filmmaker, telling a story set in and about America. It s a movie that exists within an enormous entertainment industry which pushes progress, yet regularly reports its box office demographic breakdowns by defining Asians as literally Other. In this moment of achievement and anger arrives Raya and the Last Dragon, releasing simultaneously in theaters and on Disney+ on March 5. Kelly Marie Tran leads a majority Asian-American voice cast as Raya, who resurrects a legendary yet juvenile dragon (Awkwafina) to assist undoing a spell that has rendered her father and kingdom-people to stone. The rest of the cast including Gemma Chan, Daniel Dae Kim, Sandra Oh, and Benedict Wong reflect the eclectic, imaginative world of Raya, which draws influence and inspiration from Malaysia, Thailand, Myanmar, the Philippines, and more Southeast Asian countries.We spoke with Qui Nguyen, who co-wrote Raya and the Last Dragon with Adele Lum. A Vietnamese-American playwright who got into Marvel s writers program, and has written and worked on stories for Incorporated, The Society, and Dispatches from Elsewhere, Nguyen gets his first credited movie screenplay with Raya. Here, he talks about how he got into the Disney fold, the opportunity of helping create something that will inspire the next generation, and making sure the fights (and all the food!) was just right in the new film.(Photo by Disney)Alex Vo for Rotten Tomatoes: So I’m pretty sure you’re the first Vietnamese-American writer to be credited for screenplay on a major Hollywood production.Qui Nguyen: That’s crazy. I didn t know that. I mean, it s been a complete blessing to do this. This goes down to the big dream: Being a writer and to be able to tell a story like this for my kids.I grew up in Arkansas. I didn t ever see anyone who looked like me. And I didn t really get to see myself up on screen except for Vietnam War movies. So we were either sidekicks or we were victims. To be able to be part of this film and create characters who celebrate Southeast Asian cultures specifically one that is voiced by Kelly Marie Tran which my kids can see and feel empowered by is such a big deal. I got to affect and change and shape a character that will be part of the Disney canon forever.What was the process of joining Disney and this project? What was it like once you got into the studio?Nguyen: I was actually already working on the lot across the street from Disney over at Marvel as part of the writers program. And I came across the street just as a general meeting that happens out here in LA. I met with one of the execs here and she was like, Hey, would you ever want to do something like this? I was just very, very honest with her: It would be a dream to be able to make a big Hollywood film. To make a movie as big as something like this that I know everyone will see that would celebrate us.Ironically, I came back and interviewed with Don [Hall], the co-director of Raya, on a different project. And I ended up working with him on that. I still am working with him on that movie. And then about a year-and-a-half ago, Raya was coming up and they were at a point where they wanted to solidify the script. Adele was shaping the world and the characters at that point. And then I came in and they teamed me up with the Adele to officially write the script with Don and Carlos [López Estrada] as directors. And we created something that I think both Adele and I are very proud of.(Photo by Disney)An initial script had already been written by the time Adele and you joined. How much was changed or developed from there?Nguyen: At its inception, Disney wanted something that celebrates Southeast Asian cultures. They wanted to do an epic fantasy film, and they wanted to base it around a female warrior who is basically bringing a whole bunch of fractured countries together to save it through unity. A part of that first pitch that still exists to this day. And through that, there were iterations that Adele worked on. She wrote different scripts of it, just exploring the world, exploring the characters, before you re like, Oh, this is the plot. And then by the time I came in, a lot of the DNA is there. The father-daughter relationship is there. A lot of the character archetypes that were there. When I came in, I had the chance to shape the characters. I was like, Here’s the personality that we should give Raya that s different than the lone warrior that we re used to seeing. It was stuff like that, helping shape the specificity of the world. We knew that the movie was always going to be about unity. But unity isn t a verb. It s really hard to do that. So the one extra step was going, “Well, how do you achieve unity?” You have to find the bravery to trust, especially trusting people that perhaps wronged you. And so what does that take? It was the active thing we tried to imbue Raya with throughout the journey in this film.Being Asian-American is not a monolithic experience. Japanese-American history is very different from Korean-American history and that’s different from Chinese-American history. Is there anything about being Vietnamese-American, or Vietnamese history, that you brought specifically to Raya?Nguyen: It s hard to go into specific details without spoiling it, but the things that were important to me was definitely the chance to create these characters that someone that looked like me could see and be very, very proud of.I have kids and it s something I always think about a lot. It’s one thing for me to tell them to be proud of who they are and the cultures that they come from, because I m their dad and that s what I m supposed to do. But it doesn t land the same way as when you get to see it on a big screen. There is something very empowering because for the longest time, we ve always had to put our faces on people that don t look like us. I was like, I have to pretend to be Captain America. I had to pretend to be Peter Parker. I can pretend to be Black Panther, but I m putting it on their face. It’s something else to have the kid next to me who has blonde hair and blue eyes, look up, and go, Oh, I want to be Raya. Or this person who s Black say, I want to be Raya. That positive influence is something that is really, really important, to give that context for my kids.(Photo by Disney)You’re a martial arts advocate and beyond writing you also helped ensure the accuracy of the fights in Raya, that even though it’s a fantasy movie, the action is grounded and realistic. Anything you’re particularly proud of?Nguyen: I was one of the five consultants on this film, and it was a big pleasure of mine because it s a big passion. I ve been a lifelong martial artist. Like, if you loved Karate Kid, you could go study Kenpo karate. If you loved Bruce Lee, then you could go study Wing Chun or Jeet Kune Do. I wanted it so if you saw Raya and you loved it, you could actually go study the martial arts. Pencak silat, Muay Thai kickboxing, traditional Vietnamese wrestling, Arnis, Kali those were the martial arts that I really wanted to show off.But I think if I m being super selfish about it, there was a part of me that wanted to do this because martial arts is how I connected with my father. One of the central relationships in the film is about Raya and her dad. Her dad turning to stone and that desire to save him is the thing that s going to drive her. And I was like, Well, what is something that I personally connect with Raya s dad teaches her how to fight, and my dad taught me how to fight. These traditional martial arts of our cultures is a very visceral thing. And now it s something I do with my kids. I m now teaching them martial arts that I grew up with.There’s a fight in the movie where you could tell that it s a Pencak silat fighter and a Muay Thai fighter. They re throwing knees and elbows at each other. That s not something you often see in an animated film. There is a version where you can amp that up and make it into a hard R action movie if you wanted to. Obviously, we don t ever cross that line. But it is something that I think that I m excited for my dad to see, because obviously I want to make a movie that my kids will enjoy watching, but I also want to watch a movie that I can sit with my parents and go, Hey, dad, this is for you and mom. This is a celebration of all of us and the achievement of the American dream that you set up for me. When I started out to being a writer, they thought I was going to be a bum my whole life. And for 15 years of my life, I probably was a bum. And now to be here doing this, they finally get it. And they’re so proud. It’s also just one of those things that I got to connect with Kelly Marie Tran a little bit about that stuff.
The Crown: Season 4 (2020) – Netflix About the show: As the 1970s are drawing to a close, Queen Elizabeth (Olivia Colman) and her family find themselves preoccupied with safeguarding the line of succession by securing an appropriate bride for Prince Charles (Josh O’Connor), who is still unmarried at 30. As the nation begins to feel the impact of divisive policies introduced by Britain s first female Prime Minister Margaret Thatcher (Gillian Anderson), tensions arise between her and the Queen which only grow worse as Thatcher leads the country into the Falklands War, generating conflict within the Commonwealth. While Charles’ romance with a young Lady Diana Spencer (Emma Corrin) provides a much-needed fairytale to unite the British people, behind closed doors, the Royal family is becoming increasingly divided.Why You Should Watch It: The Emmy-winning series missed out on major-category awards for season 3, despite being led by Oscar-winner Colman and a Certified Fresh 90% Tomatometer score. (The title did scoop up trophies, however, for Outstanding Period Costumes and Outstanding Production Design for a Narrative Period or Fantasy Program – One Hour Or More.) With the addition of storylines for Thatcher and Lady Diana, season 4 offers fans even more historical drama to snack on.Premiere Date: Sunday, Nov. 15, 2020
The Internet did it: The Snyder Cut of Justice League is happening, coming to HBO Max in 2021. The campaign to release the director’s version of the DC superhero team-up flick, and Warner Bros.’ move to do just that, arguably represents the single greatest act of “fan service” in movie history. But what does this move – and others like it (hello, redesigned Sonic!) – mean for the future of movies and filmmakers’ ability to take creative risks? That’s what we’re asking in this video deep dive into fan service, where we break down what exactly “fan service” is; take you through the history of fan campaigns and studios’ successful (and sometimes unsuccessful) attempts to please lovers of certain IP; and contemplate what it all means for some of our favorite franchises.On an Apple device? Follow Rotten Tomatoes on Apple News.
不过《泰拉瑞亚》手游上线之后，很多问题就得到了解决。《泰拉瑞亚》手游最高支持8人联机，而且在游戏里面，还有匹配功能，玩家们可以进入其他玩家的房间。在TAPTAP平台上，还有《泰拉瑞亚》的论坛，玩家们需要帮助，亦或者找志同道合的朋友，都可以前往论坛寻找！ If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at email@example.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
亚博网APP下载 Best-Reviewed Comic Book Graphic Novel Movies 2020It s a woman s world in the realm when it comes to making the leap from page to screen, starting with Margot Robbie getting her chance to take the spotlight as Harley Quinn in the wild Cathy Yan-directed romp Birds of Prey. Charlize Theron showed she s nowhere near done kicking ass with The Old Guard, as a hellbent immortal out for revenge under the direction of Gina Prince-Bythewood. And Patty Jenkins and Gal Gadot re-teamed for Wonder Woman 1984. Chris Hemsworth, always happy to play a supporting role for the ladies like he did in 2016 s Ghostbusters, follows behind with his stunt-rockin Extraction.The order of the rank below reflects the Adjusted Score as of February 28, 2021. Scores might change over time.« Previous Category Next Category »