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九游会官方采用百度引擎4(Baidu 5)Who Could Be Nominated For the Best Director Oscar?Quentin Tarantino, Bong Joon-ho and more these are the directors who already have a shot at the Oscar.Posted by The Rotten Tomatoes Channel on Friday, September 20, 2019Continuing with our Ridiculously Early Oscar Predictions series, we move on to the visionaries who occupy the director s chair. The Best Director Oscar category has always been one of the most hotly contested races of the season. It goes without saying that filmmaking is a director s medium; as television is the medium of writers. Under the guidance of producers though many on our list act as producers, too directors sculpt the script and project the

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由于Apex英雄手游国内还没有公测,国内应用商店也就还没支持下载这款手游。但是也不要担心,唐老鸭推荐大家一款好用的工具软件,叫做奇游手游加速器。作为老牌加速器,奇游在Apex英雄手游A测时期就已经支持预注册。XDM可以直接用奇游下载游戏包,且不用看广告。 So, what exactly has changed? Let’s dive in. Traditionally, Top Critic status was mostly awarded to ‘top’ publications rather than individuals, so that the Tomatometer-approved critics working for Top Critic publications were given the label on our site when their reviews were published. We’ve removed that requirement so that individuals who write for multiple publications or for themselves, and aren’t necessarily working for one masthead full-time, can be Top Critics.At a time when being “on staff” is rarer and rarer for journalists, this change makes the Top Critics pool more representative of the active critics’ community at large.The criteria are still rigorous – these are the top critics, after all. We’re looking for the highest quality work, the deepest commitment to criticism, and significant reach. To that end, we’ve introduced new metrics that potential individual and publication Top Critics must hit, including how long they’ve been publishing reviews for, how frequently they do so, and audience size benchmarks. (For critics and publications serving underrepresented groups, the metric minimums are looked at on a case-by-case basis.). If you’d like to check out the new criteria, you can do so HERE.Also new is our Top Critics Advisory Committee, which works closely with the Rotten Tomatoes team to evaluate candidates. The Board, made up of several critics and industry professionals of diverse backgrounds and prominence, will meet regularly to consider potential Top Critics, which will be designated on a rolling basis.(Photo by © Rotten Tomatoes)How do the new criteria impact the makeup of our Top Critics? With the launch of the revamp, we’re adding 170 new individually approved Top Critics. (And note: previously approved Top Critic publications and individuals aren’t losing their designation; we’re looking to add more voices, not remove them.) Among the new Top Critics, 60 percent are women, an estimated 25 percent are people of color, and 24 percent publish via video and podcasts.At Rotten Tomatoes, we are committed to building an inclusive critics community that reflects not just the current media landscape, but the global entertainment audience. Modernizing our Top Critics selection process is a big part of that and continues the work we did in revamping our overall critics’ criteria in 2018, which introduced more fresh voices and platforms into the pool of opinion that makes up our Tomatometer scores. You can read about those changes HERE.Now, a richer and more diverse set of reviewers will be showcased as Top Critics, spotlighted at the top of our movie and TV pages and playing their part in Certified Fresh designations. If you see that little red star next to one of their names, go on and check out their work – we think you’ll like it.

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For The Green Knight, acclaimed filmmaker David Lowery’s unique take on Arthurian legend, Dev Patel inhabits one of the most fascinating and complex of Camelot’s heroes, Sir Gawain, title star of an epic poem whose author remains unknown to this day. In the film, as in the poem, the young and brash nephew to the king is in search of a heroic tale all his own, and so it is that when a mysterious and supernatural Green Knight disrupts the royal Christmas festivities with a terrifying challenge, Gawain steps up, sword in hand, ready to create his own legend.In this exclusive extended interview with Rotten Tomatoes, Patel reveals the steps he took to prepare for the role of Gawain in Lowery’s morally thorny and visually groundbreaking film, from collaborating with the director to refine the character on the page to learning to ride a horse for the first time (with the help of some apples from the hotel). Plus, he considers something close to his own heart as an actor: how the quest for greatness can sometimes clash with the desire to remain good.The Green Knight is in theaters from Friday July 30, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.

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7.75.7 9月喜迎To kick off a new football season, Rotten Tomatoes asked former NFL quarterback Chris Simms to tell us which five football films made the biggest impression on him. The NBC Sports NFL and college football analyst surprised us with some unexpected titles.The 2019 NFL season kicks off when the Packers face the Bears on Thursday, September 5 at 7:30 ET on NBC.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
The first How To Train Your Dragon remains one of the five biggest word-of-mouth sensations ever to open in March in over 2,500 theaters. Then How To Train Your Dragon 2 opened just a bit better than its predecessor in the summer of 2014. This weekend, the final chapter of the animated trilogy is living up to all the expectations its predecessors have set.King of the Crop: Dragon Poised To Become Franchise’s Biggest Success(Photo by Universal Pictures)How To Train Your Dragon: The Hidden World maintains the strong critical support of the series, registering a 91% on the Tomatometer compared to the first two s 98% 92%, respectively. The 2010 original opened to .7 million and finished with 7.5 million (a 4.97 multiple) and the 2014 sequel started with .4 million and ended with 7 million (a 3.57 multiple.) The Hidden World was expected to gross somewhere in-between that range but instead defied the tracking services and made .5 million over the weekend. That is the eighth best opening ever in February, the second for an animated film behind The Lego Movie’s million start, and the biggest opening of 2019 until Captain Marvel opens in two weeks. And with a production budget that has shrunk from 5 to 5 to 9 million, The Hidden World is going to be the most profitable film in the series.Rotten Returns: Why Are We (Not) Fighting?(Photo by WWE Films)How To Train Your Dragon was not the only film to register over 90% on the Tomatometer this weekend, but audiences just were not swayed to attend Fighting with My Family. The Stephen Merchant wrestling dramedy opened to just million after a four-theater limited stint last week produced 8,780. The selling of Dwayne Johnson’s two-scene cameo (as himself) and a “surprise” screening at Sundance to build buzz a month ago was not enough to get it into eight digits. The Top Ten And Beyond: Alita Takes A Dive, But The Upside Reaches Milestone(Photo by 20th Century Fox)While box office analysts have been fighting the good fight for Alita: Battle Angel all week, this weekend’s numbers tell a much different story. Sure it is important to watch the international dollars flow in – and they are to the current tune of nearly 4 million – but as I mentioned here last week anything under 0 million domestic means it is unlikely to break even. Of the 16 films with an opening weekend between -29 million, Alita’s million is the second lowest second weekend ever, ahead of only last year’s Pacific Rim: Uprising. Thanks to an extra day on the schedule and previews on Jan. 31, Alita is just about even with Uprising total’s .3 million gross but it is getting nowhere close to 0 million here in the U.S. and is still going to need around 0 million to get out of the red.By tomorrow, The Upside should hit the 0 million mark as it continues to chase Glass, which at 7.9 million appears will finish south of The Village’s 4 million. The Lego Movie 2 is not there yet, but it will be despite its final estimates being downgraded to the 0 million range rather than 0. Ralph Breaks the Internet will be hitting 0 million domestic this week and it has cleared over 4 million worldwide.It’s going to take What Men Want and Isn’t It Romantic to pool their resources to reach 0 million. Both Cold Pursuit and Happy Death Day 2U are going to come in somewhere around million each. Roadside Attractions’ Run the Race (40% at RT) made it into the Top Ten with .27 million. Finally, Peter Jackson’s WWI documentary, They Shall Not Grow Old, has now grossed .4 million, now more than what Mortal Engines made in its theatrical run.This Time Last Year: T’Challa Ruled But A Pair Of Future Classics Were Born(Photo by © Marvel Studios)Black Panther was going nowhere from the #1 spot with 1.6 million, which was the second highest second weekend of all time behind Star Wars: The Force Awakens. That was until Avengers: Infinity War came along a few months later and knocked it back to third. Ryan Coogler’s film passed the 0 million mark in just its tenth day. Opening against it were two films that have already begun to stand the test of time. Game Night (84%) opened in second to million and Alex Garland’s Annihiliation (88%) was fourth with million. Those films helped raise the average of the Top Ten on the Tomatometer to 61.5% as they grossed 7 million. This year’s Top Ten grossed 2.0 And averaged 66.1% on the Tomatometer.On the Vine: Madea Aims For #1 And Neil Jordan Returns To Wide Release(Photo by Lionsgate)Tyler Perry returns with his first directorial effort in four months with A Madea Family Funeral. Perry has not cracked the million mark since 2016 but when his most famous character appears in the title those films have averaged a .7 million opening and a final gross of .6 million. Focus is also going wide with Neil Jordan’s latest, Greta. The 2018 Toronto Film Festival premiere has a 71% on the Tomatometer and is Jordan’s first wide release since 2007’s The Brave One.The Full Top 10: February 15-18How to Train Your Dragon: The Hidden World (2019) 90% – .52 million (.02 million total)Alita: Battle Angel (2019) 61% – .00 million (.68 million total)The LEGO Movie 2: The Second Part (2019) 84% – .01 million (.61 million total)Fighting With My Family (2019) 93% – .01 million (.01 million total)Isn't It Romantic (2019) 70% – .51 million (.7 million total)What Men Want (2019) 41% – .20 million (.06 million total)Happy Death Day 2U (2019) 71% – .98 million (.61 million total)Cold Pursuit (2019) 68% – .3 million (.08 million total)The Upside (2017) 43% – .21 million (.74 million total)Run the Race (2018) 40% – .27 million (.27 million total)

(Photo by Tommaso Boddi/Getty Images for AMC)It should come as no surprise that Christmas is not Greg Nicotero’s favorite holiday.“Do I even have to answer that question? Of course Halloween is my favorite holiday,” The Walking Dead and Shudder’s Creepshow series executive producer told Rotten Tomatoes. “I know that there s going to be a bunch of zombie heads on spikes in my front yard for sure. The zombie heads are easy. The spikes are harder for me, because now I have to make them. But I got a bunch of zombie heads that I want to line up along the street outside of my house.”Trick-or-treaters, be on the lookout, because as the co-founder of the Oscar and Emmy-winning KNB EFX Group special effects studio, Nicotero’s lawn decorations of horror will obviously top anything you can buy at Target. In addition to the more than 400 TV and movie projects he and KNB have worked on since they formed in 1988, Nicotero’s handiwork is an integral part of the look of The Walking Dead, which he has been a part of since the show premiered on Halloween 2010.In honor of the series’ 10th anniversary, we talked to Nicotero about how he was actually part of the series before it became a series thanks to his friendship with Frank Darabont, why he thinks the show’s Western vibes are a big reason it propelled zombies into the mainstream, and how the upcoming spin-off with Carol (Melissa McBride) and Daryl (played by his good friend and Nic Norman’s restaurant partner Norman Reedus) has been building since season 2.Nicotero also talks about the cast and crew’s famously close relationships (including the only person he told about how nervous he was to direct his first episode), how TWD and Creepshow are dealing with filming during the pandemic, and the very cool zombie idea he’d like to try out before The Walking Dead wraps after season 11.(Photo by Mark Hill/AMC)Kim Potts for Rotten Tomatoes: How are you doing?Greg Nicotero: I m really good. We re filming away on Creepshow, and it s been super fun, surprisingly. I was a little concerned about all of the crazy COVID procedures making it more tedious and less fun, but it s been a blast. The actors have been great, and the crew has been great. We re having a really good time, so it feels great to be back at it again. You get to set, and you ve got your mask on and your face shield, but when you re in it, you forget about all that stuff, and you get a chance to focus on what you love doing.You re also working on the additional Walking Dead season 10 episode that will air next year?Nicotero: Yeah. The challenge is sort of getting out of one bubble and getting myself into another bubble, then getting tested, then doing set work, and then tested again, because you can t go from one set to the other without getting tested and put into another bubble. We probably started prepping Walking Dead stuff back in July, just sort of making adjustments in what we were doing for the show to allow for accelerated makeup times and easier application and all kinds of scenarios. I was working on Walking Dead July, August, and September, and then in September we started shooting Creepshow again. It s been kind of busy.Has it forced you to make any storyline changes in either show?Nicotero: The Walking Dead stuff is really intended to be these kind of episodes that are a little more production-friendly … because you re dipping your toes in the water a little bit. With Creepshow, we re primarily a stage show, so we don t have to go out into the world very often, and that allows us to be a little bit more self-contained. Fortunately, not a lot of people kiss in either show, so we’re not worrying too much about somebody kissing someone. It s definitely a change in the way that we are accustomed to doing things, but so far, so good.Are you directing any of the six remaining season 10 episodes?Nicotero: No. Originally, (TWD showrunner) Angela (Kang) had called and asked me if I wanted to and, unfortunately, because of when the pandemic hit and everything shut down, Creepshow was set to start shooting, and we had prepped the first two episodes. I think in my head originally, I was like, “Well, I can shoot Creepshow and then run over and do Walking Dead,” and then I thought, “That s insane. I would literally die.” Until January, I m all the way up to my eyeballs in Creepshow.(Photo by AMC)Halloween this year marks the 10th anniversary of The Walking Dead. Does it feel to you like it s been a decade? I always think of the show as all of you making an hour-long movie, for TV, every week.Nicotero: Yeah, it feels like it s been 100 years. Honestly, time has a very different meaning when you re on a show of this magnitude for this duration, because there are some episodes I remember like they were yesterday. There are other episodes that I m like, “I don t even remember that,” just because we ve done so many episodes. Even when I go to the studio, and I ll stand on the backlot and be like, “This is where the prison was, and then that s where the Heaps were, and then, oh, this is the scene where they thought that Carol was dead and they put a grave in the prison field …” There are numerous beautiful moments of the show, and some of them get lost in the fact that we ve been on for such a long time, and I kind of forget some of them.I just recently went back and rewatched Game of Thrones with my son, Deven, and there was so much stuff that I was able to appreciate about the show going back and seeing it after a little bit of time. I m looking forward to doing that with Walking Dead, going back to the beginning and really sort of looking at what the DNA of the show was then and the great scenes that we crafted and the great moments with Chandler (Riggs) and with Emily (Kinney). There are so many people that you start going back and thinking about what amazing work they did. God bless Scott Wilson, because I had some of the greatest moments of my career with Scott. I ll be forever grateful that I got a chance to be a part of his life.I don t think I’ve ever talked to you about this: how did your involvement with the show begin? Nicotero: Frank (Darabont) is one of my best friends, still to this day, and probably a year before the show was ever put into production, he had given me the script and was like, “Okay, we re going to do The Walking Dead.” The irony behind all of this was I remember buying the first issue of the comic book when I was working with Robert Rodriguez in Austin, Texas. There was a great comic book shop there, and I bought the first issue. Frank and I had always talked about the idea of wanting to do a zombie project, because he loved Night of the Living Dead. His No. 1 criteria was, it s got to be the right stories. It really needs to be about survival and what people do, what they become in order to survive.I remember one night specifically, one dinner, where we were talking about it. I don t think we ever thought about it as a TV show, because this was years before Walking Dead even happened. At that point, zombie television wasn t even a thing. No one would have ever imagined doing a TV show with zombies in it. We were talking about a movie. Then a couple of years later he sent the script over and was like, “Hey, man, this is what we re going to do.” We had designed a couple of zombie busts that he took to his meetings to help sell the show, because one of the big questions that every network asked was, “Well, how are you going to do the zombies? No one s ever done anything like this on television before.” (Frank) was like, “Oh, it s easy. I got this guy, Greg Nicotero, and he makes zombie busts, and this is what the zombies are going to look like.”(Photo by Scott Garfield/AMC)There are so few of you left from the beginning, but you ve been there even before it was even a show.Nicotero: I remember talking about the opening scene with Frank, with a little girl at the gas station, and I said, “You know, Frank, the Dawn of the Dead remake had a very similar sequence where there s a little girl zombie at the beginning,” and he was like, “Yeah, I don t care about that. It doesn t matter. This is going to be our show.”I would have never imagined that the mainstream would have sort of caught up to everything that I have loved since I was a kid, which is zombie movies. Before The Walking Dead, zombies were a very, very niche sort of sub-genre that appealed to a specific group of people. I think what Frank was able to do was really break the mold and show that The Walking Dead really is a Western. Andy (Lincoln) always, always talked about that a lot; his inspiration for Rick Grimes was Clint Eastwood and The Outlaw Josie Wales. That was something that was very important, because a lot of the actors, when we did season 1, they hadn t seen a lot of zombie stuff. They hadn t seen Night of the Living Dead. They hadn t seen Dawn of the Dead. Even though that was a lot of the inspiration for the show, they were approaching it like Frank, from sort of a dramatic survival standpoint.I have to say that the cast that we put together for season 1, with Sarah Callies and Steven Yeun and Jon Bernthal and Laurie Holden and Jeff DeMunn … what a cast. I mean, the cast was absolutely astonishing and that s where Frank always excels, his ensemble casting. He did it in The Green Mile. He did it in Shawshank (Redemption). He did it in The Mist. And, of course, there are Norman (Reedus) and Melissa (McBride), who have been on the show since day one.Do you think it s that focus on those aspects, those dramatic aspects and the kind of survival, the universal, human themes is what really helped the show cross over to the mainstream?Nicotero: Absolutely. Absolutely, because a lot of times in zombie movies, prior to The Walking Dead, the gore was the big element, the horror was the big element, and I think there were a lot of instances where people might have been turned off by the gore. Even when you talk to people that watch The Walking Dead, they had this preconceived notion about it until they watched it, and when they experienced it through the eyes of Rick Grimes, who is waking up in the hospital, and he s learning about what the world is, the first thing people would say is, “It s not a show about zombies.” I m like, “No, it s a show about survival, and it s a show about what people are willing to do in a situation like that.” Of course the zombies are a big part of it, and I m very proud of the contribution that I ve made to the show and that my team has made to the show, but a lot of the drive for the show has been about those specific character moments where the audience can identify with Maggie or Glenn or Hershel and put themselves in those characters positions and imagine what they would or would not have been able to do.(Photo by Gene Page/AMC)Do you have a favorite episode or storyline? You ve been involved in so many of the great ones, but can you choose just one?Nicotero: I would probably say one of my favorite episodes is the episode where Merle fights The Governor and Merle dies [“This Sorrowful Life”]. The moment where Norman just literally poured his soul out when he saw Merle as a walker. I ll never forget filming that. I ll never forget people calling me and saying, “How the fuck did you make me cry in a show like this?” I ve had so many amazing moments working with Norman and working with Melissa. I mean, having filmed Andy s last episode, and the number of people that I ve had to kill on the show, that’s never fun.I don t know if I could pick just one episode. I think the episode where the walkers invade Alexandria [“Start to Finish”], and that was like our Night of Living Dead homage. I would probably go back and watch episodes and not even remember like, “Oh, I shot that episode. That s right,” because we’ve had so many, so many moments. Negan s introduction [“Last Day on Earth”, which was certainly controversial, but I m tremendously proud of what we did, and Jeffrey (Dean Morgan s) performance and shooting 12 pages of dialogue in two nights is, it s a little bonkers in the TV schedule. So yeah, I just don t know if I could pick one.Has the show ever made you cry?Nicotero: I think there have been characters that died (that have made me cry). I think the moment with Jeffrey DeMunn, that was the first episode I had ever directed [“Judge, Jury, Executioner”], and, yeah, I got emotional when I shot it and when I watched the first cut. Chandler was a little boy. I remember Chandler running down through the field and shooting his reaction to seeing Jeff on the ground with his stomach torn open and blood bubbling out of it, and just how hysterical everybody got. To see the fear in Jeffrey s eyes when Norman walked over with the gun and said, “I m sorry, brother, it was intense.That episode was just … I was so terrified, because it was the first hour of television that I had ever directed, and I had my little graphs and my little charts of where the camera would go. I think probably Andy was the only person that I had shared with him like, “I m scared sh less here,” but I trusted my instincts, I trusted my camera department, and I trusted my actors. If you look at the episodes in season 2, 3, and 3, those episodes are so dense. There s so much story that we re telling, and it just propelled us. If you watch that episode, which was written by Angela, there s so much. You re telling an entire season s worth of story in that one episode.That s what I mean. They were like movies every week.Nicotero: Oh, without a doubt. There s not one moment where there s a frame of film that doesn t serve something, that doesn t serve a character, a story point, the propulsion of the show as it s moving forward. I ve rewatched that episode recently, and it s just crazy what we did. I think we shot that in seven days maybe.(Photo by Gene Page/AMC)You are responsible for starting The Walking Dead Zombie School, to train the zombie actors on the show. How has that evolved through the seasons? I m guessing that just from watching the show, people are coming to you a little more prepared at this point.Nicotero: Definitely. In fact, I don t think we ve done Zombie School in two years, because at this point, we have our troupe of zombie performers and actors, and I think the people that we love, we bring them back over and over again. At the beginning, we wanted to make sure that we were maintaining the aesthetic of what we wanted for the zombies, but also, they had to be able to perform with the actors. They have to be able to die well, they had to be able to be convincing as zombies. What you don t want to do is spend an entire hour or two fine tuning background zombie performances that would then be taking away from shooting the rest of the scene, so it was always very important that the zombies were well directed in terms of their performance and what was expected of them. Every season, I would say we d probably end up with like 20 people that were just standout performers, and a lot of them initially came from a place in Georgia called Netherworld, which is a haunted house attraction that would open in September/October. A lot of those people that had been working at that attraction ended up being some of our best zombie performers.The Walking Dead cast and crew have been known to be very close, even though there are a lot of changes with all the character deaths. How have you maintained that?Nicotero: Well, listen, the dynamic of the cast changes as certain actors leave and other actors come in, so it evolves. It s a very organic thing. I think one of the unique things about any show that has a tightknit family is when you re in the trenches with them, you re sharing something that you can t share with anybody else. That was something I learned working with Quentin Tarantino. When we were doing Inglourious Basterds, he had looked at me one day and said, “You know, there s nobody else I would ever want to be in the trenches with,” and that really stuck with me a lot, because I realized that it s a shared experience, and I have a bond with this crew and these actors that no one can ever take away from me and no one can replace. I still keep in touch with most of the actors from the show, even if it s once a month, just a quick text saying, “Hey, how s it going?” I talk to Sonequa (Martin-Green) a lot. I talk to (Michael) Cudlitz a lot. I talk to Alanna (Masterson) a lot. Of course, on the show, Norman and Jeffrey and Christian (Serratos)  and Lauren (Cohan). Even during the pandemic, I would just find myself calling Khary (Payton) to just see how he is doing. or I would call Seth (Gilliam).When you ve been in these intense situations with these people for so long, they just become part of your life. I m grateful, forever grateful, for that and for the friendships that I have. I talked to Jeffrey DeMunn not long ago. It s like that never goes away. When you work on a movie, that goes for six months or eight months, then it s gone, and you move on. When you re doing serialized television, you come back year after year, and you come back with the same people. You watch their children grow up, and you watch them get married or divorced or whatever happens, but you end up being a part of that whole scenario. It s fun for me to look at Andy s kids and Jeffrey (Dean Morgan) s kids. Jeffrey s son is really into special effects makeup, so I would send him little makeup kits and little zombie wounds and things. I send videos to Andy from set of the creatures from Creepshow so that he can show it to his kids, because they re sort of now at that age where they re kind of fascinated with the monster aspect of it.(Photo by AMC)You mentioned Carol and Daryl, and how Norman and Melissa are the other people still with the show who have been there from the beginning. Their characters, separately and together, are so beloved that they’re going to be their own spinoff. Since you’ve witnessed it all, is that relationship something that developed organically? Nicotero: With Daryl, that was a creation of Frank Darabont, and I remember specifically when we were casting for the show, Frank had called me one day and said, “Hey, I m thinking about this guy Norman Reedus to play Daryl, and I know that you had worked with him on Masters of Horror. What did you think of him?”  I gave him a huge thumbs up, but I said, “Listen, let s reach out to the director and get a review from John Carpenter.” John couldn t say enough good things about Norman. The next thing I knew, I was sitting in the van dressed up as a zombie for (“Tell It to the Frogs”), and Norman s sitting in the chair next to me. I didn t even realize that the deal had gone through. He didn t recognize me because I was dressed up as a zombie. I had my zombie teeth in, and I was trying to talk to him. Ironically enough, I am the first zombie that Daryl kills in the series.I think the way that season 2 was crafted and the way that Daryl s character evolved into somebody who was not going to give up looking for Carol’s daughter, Sophia, that s really where that bond began, because of Daryl s undying commitment to find Sophia. Between Melissa s brilliant performance as Carol and Norman, they just fell together so perfectly that you couldn t have planned it. It just worked amazingly well and kept growing from there.
Best-Reviewed Horror Movies 2019It was a banner year for horror – in fact, the only year with an overall Fresh rating for the genre in decades. And it kicked off with a bang: Jordan Peele’s Get Out follow-up, the doppelganger invasion thriller and audacious social satire, Us, blew minds at its South By Southwest premiere in March and stayed top of the year’s horror pack for the nine months that followed. It was quite a year for other second features, too, with Robert Eggers’ The Lighthouse and Ari Aster’s Midsommar doubling up on the “elevated” horror they provided with their debuts, The Witch and Hereditary. Issa Lopez, whose Tigers Are Not Afraid delivered artful fantasy chills, will next direct a werewolf film under the eye of producer Guillermo del Toro.The order of the rank below reflects the Adjusted Score as of December 31, 2019. Scores might change over time.« Previous Category Next Category »
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David Fincher’s first movie since 2014’s Gone Girl is a throwback to Old Hollywood, even recapturing some of the look and sound of films from the 1940s. Mank is also a passion project, a biopic scripted by his father, Jack Fincher, and focused on screenwriter Herman Mankiewicz and the creation of Citizen Kane.According to the first reviews, the movie won’t exactly go down in history as famously as the Orson Welles classic it’s about, but with great performances by Gary Oldman as the titular protagonist and Amanda Seyfried, plus its unique retro aesthetic, it’s sure to be very popular with Netflix subscribers and awards organizations alike.Here’s what critics are saying about Mank:How does it compare to David Fincher s other films?It’s one of David Fincher’s finest works.  Eric Eisenberg, Cinema BlendOne of his most personal – and most beautiful… it would be tempting to say this is his Citizen Kane.  James Mottram, South China Morning PostHis best movie since The Social Network and one of his most audacious filmmaking experiments since Benjamin Button.  Eric Kohn, IndieWireThe film is pure Fincher — technical and artistic mastery, combined with a script that is perhaps too cerebral or self-referential for many viewers.  J. Don Birnam, Splash ReportMank is, markedly, the least-enjoyable film he’s ever directed.  Nick Newman, The Film StageWill fans of classic movies like it?Mank is a tale of Old Hollywood that’s more steeped in Old Hollywood than just about any movie you’ve seen, and the effect is to lend it a dizzying time-machine splendor. Owen Gleiberman, VarietyThe most gorgeous piece of cinema you ll see anywhere…meant to match the look and feel of its era, as if it s eight decades ago and you just bought a ticket. Peter Travers, ABC NewsThis is a film that transports you back in time. Chris Evangelista, SlashfilmCatnip for devotees of Turner Classic Movies… Mank [is] necessary, if not entirely fulfilling, viewing for film lovers. Alonso Duralde, The Wrap(Photo by Netflix)Will it have broad appeal?Mank’s premise and subject matter would seem to appeal only to a cinephile or fan of a bygone era, but there also lies powerful themes of addiction, genius, collaboration, betrayal, and painful political home-truths. Lewis Knight, Daily MirrorThere’s a way that it’s almost more inside baseball than it needed to be. And that could limit its appeal. Owen Gleiberman, VarietyIt will not be everyone’s cup of tea… a film about people sitting around talking, discussing scripts, or even intrigue, is not superficially appealing. J. Don Birnam, Splash ReportDo you need to see Citizen Kane first?While seeing Citizen Kane before Mank isn’t mandatory, you’ll have a greater appreciation for Fincher’s craft and technique when you can clearly see how he’s echoing the style of Welles’ seminal picture. Matt Goldberg, ColliderThere is some pleasure in spotting the winks and legends and shout-outs, but… you have to give the unfamiliar viewer reasons to care. By the end of Mank, even I wasn’t sure any of this mattered all that much. Jason Bailey, The PlaylistBut does it honor that film s legacy?It only enhances one’s appreciation of the genius 1941 movie at the center of its plot. Eric Eisenberg, Cinema BlendThose looking for a movie about the development of Citizen Kane will likely be disappointed and would be better suited watching the 1999 TV movie RKO 281. Matt Goldberg, Collider[It] never fully nails how the dream of Kane came to be. Owen Gleiberman, Variety(Photo by Netflix)How is Gary Oldman s central performance?One of the greatest performances of his career – which is a statement that should be taken with extreme weight. Eric Eisenberg, Cinema BlendA performance every bit as immersive as his Oscar-winning Winston Churchill in Darkest Hour. James Mottram, South China Morning PostAs is usually the case with the actor, he grabs hold of the role and shakes the life out of it. Chris Evangelista, SlashfilmOldman is giving one of his more engaging performances in recent memory. Alonso Duralde, The WrapSomebody younger should have portrayed the Oscar-winning screenwriter.  This isn’t to take anything away from Oldman’s performance, but to each their own. Danielle Solzman, Solzy at the MoviesWhat about Amanda Seyfried?Amanda Seyfried is a wonderful scene-stealer. Eric Eisenberg, Cinema BlendIt’s the best thing she’s done in her career. James Mottram, South China Morning PostAmanda Seyfried, as Marion Davies, is by far the most human presence, the closest to a lifeblood. Nick Newman, The Film StageHer awards-worthy performance is likely to score her a well earned Oscar nomination. Erik Anderson, AwardsWatchHer awards-worthy performance is likely to score her a well earned Oscar nomination. Lewis Knight, Daily MirrorRyan FujitaniHow is the late Jack Fincher s screenplay?Jack Fincher’s script is brilliant, both in structure and detail. Eric Eisenberg, Cinema BlendThe script is punchy and not afraid to lean into melodrama, and Fincher is clearly having fun bringing his father’s words to life. Chris Evangelista, SlashfilmFincher’s script is wildly uneven, however, but when it hits, it really hits. Jason Bailey, The PlaylistWhat the script never quite cracks is the machinery of the creative process. Leah Greenblatt, Entertainment WeeklyPerhaps it’s inevitable that a screenplay about the screenwriter of Citizen Kane could never live up to its subject’s greatest work. Anna Menta, DeciderHow does the film look?It’s possible to go into a kind of trance at just how beautiful this film looks. Peter Bradshaw, GuardianThe style opens the doors to all varieties of callbacks to the specific and memorable aesthetics of Citizen Kane, instantly making you fall back into the time period. Eric Eisenberg, Cinema BlendYour eyes may see the black and white color as too crisp and intelligible to fully believe this is an 80-year-old movie, but Fincher and his team come deliriously close. J. Don Birnam, Splash ReportThe commitment to immersing us into a 1930s/1940s mood is impressive but I wish cinematographer Erik Messerschmidt had adopted the classic Academy ratio of the time as well. Erik Anderson, AwardsWatchWhy does [Fincher] shoot digitally, on the Red Monstro Monochrome, rather than 35mm, giving the picture an unmistakable (and sometimes unfortunate) digital sheen? Jason Bailey, The Playlist(Photo by Gisele Schmidt/Netflix)And how does it sound?The audio here is not what you’re used to hearing from a Netflix movie… it sounds like the type of audio you’d hear were you watching Mank in some grand movie palace. Chris Evangelista, SlashfilmTrent Reznor and Atticus Ross imbue their score with that same level of commitment to the period that’s unlike anything they’ve ever done. Erik Anderson, AwardsWatchAtticus Ross and Trent Reznor also deliver a seamlessly blended and moody score befitting the origin story of Welles’s directorial masterpiece. Lewis Knight, Daily MirrorBenny Goldman could have written the score, which nattily punctuates the beats on the type of dialogue Mankiewicz was famous for. Fionnuala Halligan, Screen InternationalIs there enough here to care about?Mank left me oddly cold despite its magnificent craftsmanship  The emotional punch never lands, and so while Mank has no problem earning the viewer’s respect, it struggles to find our adoration. Matt Goldberg, ColliderFor all its crisp and glitz its relevant post-capitalist concerns and lament for the theatrical experience Mank is without emotion. Robert Daniels, IGNA movie that mostly unfolds at a distance — esthetically ravishing but emotionally remote. David Rooney, Hollywood Reporter(Photo by Netflix)Will Mank still rank high on end-of-year lists?It’s one of the year’s best films. Erik Anderson, AwardsWatchOne of the very best movies of the year. Peter Travers, ABC NewsUnquestionably one of the best of 2020. Eric Eisenberg, Cinema BlendWithout a doubt one, of the year’s very best. Lindsey Bahr, Associated PressIt’s Netflix’s richest production to date. Hannah Woodhead, Little White LiesMank‘s bad parts don’t outweigh its copious good parts, but it’s not quite the grand slam cinephiles were hoping for. Anna Menta, DeciderMank is still a treat; for those looking for more, we always have Citizen Kane to fall back on, after all. Fionnuala Halligan, Screen InternationalMank opens in limited release theaters on November 13, 2020, then heads to Netflix on December 4, 2020.On an Apple device? Follow Rotten Tomatoes on Apple News.

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Ghcxuf This Week s Ketchup brings you seven headlines from the world of film development news, covering such titles as Borderlands, Dungeons Dragons, Scream 5, and Spider-Verse 2. This WEEK S TOP STORYTAIKA WAITITI CONFIRMED TO DIRECT A STAR WARS MOVIE(Photo by Jasin Boland/©Marvel/©Walt Disney Studios Motion Pictures)Back in January, the week s Top Story was that Thor: Ragnarok and Jojo Rabbit director Taika Waititi was in talks to direct an upcoming Star Wars movie, and this week, that project got a little bit closer to actually happening. Waititi s negotiations with Disney have now been completed, and Waititi will also co-write his Star Wars movie along with screenwriter Krysty Wilson-Cairns, who just last year made her feature film debut writing 1917, for which she received an Academy Award nomination. Walt Disney Pictures currently has three Star Wars movies scheduled for December in the years 2022, 2024, and 2026, but it is unclear in which year Waititi s film might be released. One obvious factor is that Waititi also still has to start filming Thor: Love and Thunder, which is currently scheduled for release on February 11, 2022 (which suggests that he probably would not be able to also deliver a Star Wars movie just ten months later).Other Top Headlines1. TOM CRUISE TO BE THE SOLAR SYSTEM S FIRST OUTER SPACE MOVIE STAR (Photo by ©Universal Pictures)It was probably always inevitable, but Hollywood is finally making its way to outer space, and one of the industry s biggest stars will be along for the ride. Tom Cruise and Elon Musk s Space X are now collaborating on the solar system s first narrative feature film to be filmed in outer space. The action adventure will not be part of Cruise s Mission: Impossible franchise, and no studio is currently attached. It s also not yet known who will be writing or directing the film, which is an important point, because that director will ostensibly have to make repeated trips into space. NASA was also quick to announce this week that the project will also film on the International Space Station, which suggests that Cruise may be spending some time on the station himself, possibly for an extended period. Cruise will next be seen in Top Gun: Maverick (12/23/2020), and then in Mission: Impossible 7 (11/19/2021) and Mission: Impossible 8 (11/4/2022).2. CATE BLANCHETT IN TALKS TO STAR IN BORDERLANDS VIDEO GAME ADAPTATION(Photo by Lisa Tomasetti/©Sony Pictures Classics)Despite some recent Fresh efforts, we re not quite at the point where it would be normal to consider Academy Award winners for video game movies. Maybe this week s casting news is a sign of change in the air, though, because current Mrs. America star Cate Blanchett is now in talks to star in the Borderlands movie as popular character Lilith, A.K.A. the Firehawk (and a member of the Siren class). Borderlands is a first-person shooter franchise set on a distant mining colony planet in the far future, and the games are known for their humor and quirky characters. Lionsgate s Borderlands will be directed by Eli Roth, who is currently best known for horror movies like Hostel and The Green Inferno (and for co-starring in Quentin Tarantino s Inglourious Basterds). With Blanchett now in the mix, the standard for has been raised a bit for the rest of the cast selections.3. DISNEY RUMORED TO WANT KAREN GILLAN AS NEW PIRATES OF THE CARIBBEAN STAR (Photo by Priscilla Grant/Everett Collection)We should state very clearly right up front that this story is currently a rumor, but it also comes from a site that just last week was the first to report on Disney s plans for a live-action Hercules remake from producers Joe and Anthony Russo. If their source is accurate, Walt Disney Pictures is reportedly hoping to cast Karen Gillan, who already stars as Nebula in the Marvel Cinematic Universe, as the new female lead in the upcoming reboot of Pirates of the Caribbean. If true, Gillan would play the character Redd, who has already been a meet and greet character at Disney s theme parks since 2018. There is no current release date or any other information about a new Pirates of the Caribbean movie (including whether Redd will definitely be the lead character), but the expectation is that Johnny Depp will probably not return as Captain Jack Sparrow.4. JUNGLE CRUISE STARS DWAYNE JOHNSON AND EMILY BLUNT TO REUNITE FOR BALL AND CHAIN (Photo by Walt Disney Studios)Emily Blunt and Dwayne Johnson co-starred together in Disney s Jungle Cruise, which has been pushed back a full year to July 30, 2021 from its original release date (July 24, 2020). Even so, Dwayne Johnson and Emily Blunt are already preparing for another film together as they are both attached to star in the superhero project Ball and Chain, based on a 1999 comic book. Johnson and Blunt will play a married couple planning on breaking up who end up with super powers but only when they re together. The Ball and Chain screenplay was written by Emly V. Gordon, who is best known for The Big Sick (Certified Fresh at 98%), a comedy about her own relationship with Kumail Nanjiani. In somewhat related news, Arrowverse showrunner Marc Guggenheim is now writing an adaptation of Rob Liefeld s Prophet, about a cryogenically frozen super-soldier who is mistakenly awaken before the mission for which he was created. 😈😈


九游会官方 (Click to enlarge.)After five grueling rounds, we can finally declare that Godzilla has won the Movie Monster Showdown, proving that he is, in fact, the King of the Monsters! As it turned out, the only opponent that gave our favorite radioactive lizard anything close to a challenge was King Kong, who lost to Godzilla by a margin of 54% to 46% in the final round of voting. Until that point, the closest match-up the killer kaiju faced was from Pirates of the Caribbean s Kraken, who failed to muster higher than 16% of the vote. On the other hand, while Kong also defeated all of his opponents pretty handily, his average margin of victory was a bit slimmer, with his greatest challenge coming from the T-Rex of Jurassic Park. Will the latest big screen face-off between the two, Godzilla vs. Kong, finish with a similar result? Only those who have seen the film know the answer.Thanks again to everyone who participated, and we hope you had as much fun following along with the contest as we had putting it together. You never know when the next showdown bracket will appear on RT, so stay tuned, and stay out of the way of any giant monsters stomping through your city.Recommended: Godzilla vs. Kong First ReviewsRecommended: Godzilla vs. Kong Who Wins?Recommended: All Godzilla Movies Ranked

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 rtiswrong@rottentomatoes.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. (Photo by New Line Cinema, Universal Pictures, Dimension Films courtesy Everett Collection)In the month of November 2003, the world was treated to three instant Christmas classics in Elf, Love Actually, and Bad Santa, and in the 15 years since, we ve never again reached that level of holiday film perfection. What did these three movies do that made them into Christmas legends and marked 2003 as a Christmas movie season to remember? We looked into it and came up with some answers.1. They Turned Christmas on Its Head and Started Some Trends(Photo by Dimension Films courtesy Everett Collection)At a time when holiday movies were skewing younger, simpler, and more outlandish, these three films went against the trend of saccharine, family-centric entertainment and told compelling stories with complex characters in non-traditional situations. Bad Santa took the iconic character of Santa Claus (and the slightly less iconic character of the Mall Santa), and transformed him into a hard-drinking, sex-addicted criminal with seedy friends and morals looser than his big red suit. Miracle on 34th Street this is not. With a strict R rating, this was not a movie for kids, but Bad Santa was never about appealing to families, and by playing into its raunchiness, it created a whole new style of holiday film.Since then, this grown-up Christmas trope has been channeled in recent movies like Office Christmas Party, A Very Harold Kumar 3D Christmas, and The Night Before, but none have mastered it quite like Bad Santa.In a similar vein, what Bad Santa did for grit, Love Actually did for romance. By crafting an ensemble romantic comedy around a holiday, Love Actually shockingly created a whole subgenre, with recent films New Year’s Eve, Valentine’s Day, and Mother’s Day all trying to recapture what Love Actually created.Love Actually also brought about a surge in Christmas romantic comedies that is still felt to this day. Films like A Christmas Prince, The Princess Switch, and whatever other movie came out on Netflix while you were reading this can thank Love Actually for turning the Christmas season into the season of love.At the same time, Elf may appear like a simple holiday movie for children, but its humor and irreverent take on the holiday season is more than suitable for all ages. It may borrow from many classic holiday film tropes, but it is first and foremost a comedy. It’s heartwarming and festive, but also so clever and genuinely hilarious that it transcends typical holiday family fare and becomes something every adult not just parents of young children can enjoy watching.2. They Launched the Careers of Some Huge Stars(Photo by New Line Cinema)A large part of what makes Bad Santa, Love Actually, and Elf so great is the acting; could anyone else have pulled off Papa Elf, or danced as charmingly as Hugh Grant, or grumbled and belched his way through Bad Santa as convincingly as Billy Bob Thornton? But beyond their established stars, each film managed to find some Christmas magic in relatively unknown actors who would go on to bigger and better things.Thornton had already been nominated for three Oscars (and won one, for the screenplay of Sling Blade) when he starred in Bad Santa, but one of his co-stars would go on to become a thrice-nominated Oscar darling as well. Playing the blink-and-you’ll-miss-it role of prostitute Opal, Octavia Spencer’s few lines didn’t lead to instant recognition, but they did show off the acting chops that would lead to turns in The Help, Hidden Figures, and The Shape of Water, all three of which earned her Best Supporting Actress nominations from the Academy, and the first of which resulted in a win.Love Actually also served as an inflection point for some of its actors, with established movie stars, up-and-comers, and others waiting to break through. Nowhere is this breakthrough more apparent than in the love triangle between Juliet, Peter, and Mark or as we now know them, Keira Knightley, Chiwetel Ejiofor, and Andrew Lincoln.(Photo by Universal Pictures)In 2003, Keira Knightley was in the midst of a moment. Fresh off Bend It Like Beckham and the first installment in billion-dollar Pirates of the Caribbean franchise, Knightley came to the 2003 holiday season on a wave of fame and carried her success both into Love Actually and beyond. Her scene partners haven’t fallen far behind, though.Playing the lovestruck Mark, Lincoln may not resemble the post-apocalyptic sheriff from The Walking Dead that would turn him into a worldwide celebrity, and few might have predicted that the young actor playing Juliet’s husband, a then relatively unknown Chiwetel Ejiofor, would go on to receive an Oscar nomination for his lead role in the Best Picture-winning 12 Years A Slave.As for Elf, you might think that it was obviously going to be a hit with comedy legend Will Ferrell and the adorkable Zooey Deschanel as its leads, but it was an adventurous pairing at the time. Ferrell had just finished a legacy-making run on Saturday Night Live, and he had appeared in small roles in just over a dozen films, but it was still unknown whether he could lead a movie. The success of Elf led Ferrell to a career in comedy blockbusters like Anchorman, Step Brothers, The Other Guys, Daddy’s Home, and many more. As for Deschanel, she would go on to star in romantic comedies like 500 Days of Summer, Yes Man, and the hit sitcom New Girl. Not bad for a lowly mall elf.3. They’re Still Fan Favorites, and We Can Prove It(Photo by New Line Cinema)Despite coming out 15 years ago, these three movies are already holiday staples, and there is actual evidence to back that up.A year ago, FandangoNOW users were asked to vote for the best Christmas movie of the 21st century unsurprisingly, Elf  was the fan favorite, followed by The Polar Express, Love Actually in the third spot, and Bad Santa finishing fifth. More recently, FandangoNOW also asked its millennial users to rank which movies they plan on streaming this holiday season, and this time Elf slipped to second-most popular, while Love Actually came in eighth and Bad Santa finished in the 15th spot. A similar study of Roku users searches from the 2017 holiday season shows Elf as the most searched-for Christmas movie, and Love Actually as the ninth most sought after.Plus, even the Tomatometer agrees! In Rotten Tomatoes’ recent list of The 50 Best Christmas Movies of All Time, Elf, Love Actually, and Bad Santa all made the cut.4. They Were All Box Office Hits(Photo by Universal Pictures)You’d think there’s only room for so many Christmas movies in one month, but that wasn’t the case in 2003. Despite all three films being released within three weeks of each other, Elf, Love Actually, and Bad Santa were surprise hits. In fact, Elf and Love Actually both raked in more than 0 million dollars worldwide. And they opened on the same weekend!Elf opened at #2 in the box office with a very healthy million in its first weekend, and it didn’t leave the Top 10 until after the new year. Over the course of its run, it made more than 0 million in the U.S. and nearly million abroad.Love Actually was also a Top 10 film in America for five consecutive weeks, but it did most of its heavy lifting overseas. The British production held the top spot in the U.K. box office for its first four weeks in release and spent four more weeks as a Top 5 film there, earning more than million during its British run.Even the R-rated Bad Santa made more than million over its run, which, coupled with a production budget of only million, was more than enough to convince a studio to take a chance on Bad Santa 2 but let’s not talk about that.In total, these three holiday classics made over 0,000,000 worldwide during one holiday season. So, what was it that made these three films so financially successful, popular, and impactful?Elf, Love Actually, and Bad Santa each appealed to an audience that hadn’t been totally captured in a holiday film. Whether it was the romance of Love Actually, the humor and heart of Elf, or the raunchiness of Bad Santa, each offered a unique perspective on the holiday and created a following that is now arguably stronger than ever.Also, these are simply three elfin’ good movies.Elf and Love Actually were released on November 7, 2003. Bad Santa was released on November 26, 2003.

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