大家好我是指尖，游戏圈里最近最火的话题莫过于lol手游的上线，而讨论度最多的事情肯定是“lol手游能撼动王者荣耀老大的地位吗”这样的话题，虽然只上线了几天的时间，但是大家也都发现了一个事情，lol在网络搜索的数据正逐步降低，打不过王者也成了玩家们的共识，未来的国内moba手游依然是王者的天下，这一点毋庸置疑。 (Photo by 20th Century Fox)Blockbuster movies cost a bunch of money to make – jaw-dropping special effects and big-name actors don t come cheap. In order to make the expense worth it, movie studios need to pull out all the stops to get moviegoers to buy tickets once the film premieres, and that typically involves a killer marketing campaign. These days, slick trailers, along with all sorts of unique real-world stunts and marketing gimmicks, can be as much of a production as the final movie itself.These memorable marketing campaigns take different forms — sometimes it just takes a really well-done trailer and a memorable use of a song, as seen and heard in the trailer for Jordan Peele’s Us, which retools Luniz’s “I’ve Got 5 on It” in a deliciously creepy way. Other times movie marketers will stage mysterious real-world stunts to get excited fans involved. Whatever the method, a well-done marketing campaign for a well-done movie often means box office success.Here are 10 of the most memorable movie marketing campaigns we ve seen.Jaws 2 (1978) 61% and Alien (1979) 98%(Photo by Universal Pictures/20th Century Fox Film Corp.)Studio: Universal Pictures / 20th Century FoxWhy you remember it: Because of two incredible taglines.Let’s kick things off with a tie, as both films are shining examples of an older era of promotion, before viral marketing was a thing. Jaws was the first blockbuster, but Jaws 2 was briefly the highest-grossing sequel of all time until Rocky II bested it the following year. Part of the film’s success likely has to do with one of the greatest taglines of all time — “Just when you thought it was safe to get back in the water” — the work of famed and innovative producer Andrew J. Kuehn.The following year, Alien came around with one of the other great taglines in movie history, “In space, no one can hear you scream.” Neither of these movies had real-world promotional activations, but they were united in memorable taglines that, thanks to their use of the second-person, made would-be viewers feel part of the cinematic horrors to come.Did it work? As mentioned, Jaws 2 was a huge success, pulling in 8 million. Alien’s box office figure is a little disputed, as some creative Hollywood accounting originally recorded the film as a loss for Fox, but it went on to spawn an iconic, acclaimed sci-fi horror series. And, of course, those two taglines are now forever seared into the public consciousness.Deadpool (2016) 85% Studio: 20th Century FoxWhy you remember it: Because Ryan Reynolds is Deadpool.Deadpool is known as the Merc with a Mouth, and the film’s promotional team sure did have a lot to say about the film. There was so much marketing, and all of it projected an irreverent, slightly naughty sense of fun. There were parody posters, custom emojis, a feud with Wolverine (and Hugh Jackman), a costume reveal via faux-nude spread, and a flaming bag of poop yule log, to name just a few campaign highlights. Then there was Reynolds, who, as the person most responsible for making Deadpool happen, projected his passion for the wise-cracking hero and modeled his own social presence after the Merc.Two years after Deadpool was released, Reynolds and the Fox marketing team went even harder with the promotion of Deadpool 2, taking over the DVD covers of other popular movies at Walmart and handling Stephen Colbert s late-night monologue duties, before going further yet for in its meta promotion of Once Upon a Deadpool. The marketing behind the franchise is now officially one of the reasons we look forward to another Deadpool movie.Did it work? Deadpool made 5 million at the box office and became the highest-grossing R-rated film ever. Not bad for a superhero movie.The Social Network (2010) 96% Studio: Columbia PicturesWhy you remember it: Because “you don’t get to 500 million friends without making a few enemies.”David Fincher’s moody bio-pic about Facebook founder Mark Zuckerberg is really an exceptional villain origin story, and the marketing for the film made that clear. The first trailer is scored to a haunting cover of Radiohead’s “Creep” as sung by a children’s choir, illustrating how there was something unsettling behind all this “friending.” Then there’s the poster, which features Mark Zuckerberg (Jesse Eisenberg) looking at the viewer from the shadows, his face obscured by the memorable and ominous tagline in a crisp Futura font. Both the “choral cover of pop song” and “poster with words on a face” would go on to be often-imitated promotional tropes, but they were just the Google Plus to The Social Network’s Facebook.Did it work? The Social Network made 4.9 million and was nominated for or won a host of major awards. Plus, Zuckerberg had some qualms with the movie – so that s a success.Psycho (1960) 96% Studio: Paramount PicturesWhy you remember it: Because of the secrecy and Alfred Hitchcock’s suspenseful set tour.Modern moviegoers who were too young to remember seeing Psycho in theaters probably remember Hitchcock’s iconic slasher for the famous shower scene. Hitchcock knew that would be the case. Movie trailers weren’t what they were back then — the idea of multi-level movie marketing as we know it today didn’t really emerge until the late 90s. But, Hitchcock was the master of suspense, and he knew how to get an audience shaking with curiosity and anticipation. The trailer for Psycho featured Hitchcock giving a tour of the Bates Motel, offering gory hints of what horrors might have happened there but stopping just short of giving anything away. That, along with a campaign to keep the shocking twist in the movie a secret – which went so far as preventing Paramount Studio execs from reading the script – had audiences eager to see what happened.Did it work? Psycho cost about 0,000 to make and made more than million during its initial release — and this is in 1960s dollars! It was a huge hit, went on to enjoy multiple theatrical reissues, and is generally regarded as a landmark horror movie. So, yeah, Hitchcock’s a great tour guide.Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) 91% (Photo by @ 20th Century Fox)Studio: 20th Century FoxWhy you remember it: Because of Sacha Baron Cohen’s in-character interviews as Borat.It’s fitting that a movie that blurred the lines between comedy and documentary (not to mention acting and reality) would have a similarly meta promotional campaign. Borat wasn’t a new creation, as Cohen’s character had been on the Da Ali G Show for years, but he wasn’t widely known. That let Cohen dupe the movie’s subjects — as well as many would-be ticket-buyers – into thinking that this kooky Borat character might be on the level.Did it work? Borat made 2 million at the box office, much to Kazakhstan’s chagrin.Cloverfield (2008) 78% Studio: Paramount PicturesWhy you remember it: Because of all the rampant speculation about the top-secret mystery plot.A good marketing campaign doesn’t give everything away, it just teases some of the best stuff so that moviegoers are excited to see the rest. Cloverfield’s marketing was so memorable because it gave, well, essentially nothing away. The first trailer, which came by surprise ahead of Transformers screenings, didn’t even include the movie’s title or any plot details. This, along with some innovative virtual tie-ins (shout-out to MySpace), had fans wondering what it might be. A Lost movie? A Godzilla film? An anime adaptation? Something new?Did it work? Like The Blair Witch Project, which pioneered this type of hype-building mystery promotion, Cloverfield was a hit. The film made 0.8 million against a budget of million, and spawned a whole franchise/ universe of sci-fi films united mostly by viral marketing, though none were as successful as the original.Inception (2010) 87% (Photo by @ Warner Bros. Pictures)Studio: Warner Bros. PicturesWhy you remember it: Because of the spinning top mind-game (and the “BWWAAHHHH” sound).Warner Bros. spent 0 million to market Inception, an increasingly rare blockbuster that was wholly original, not a sequel nor an adaptation. To get people excited about an unknown quantity, the studio banked on Christopher Nolan’s post-Dark Knight appeal and made an online viral game involving the spinning top that diehard fans tried to solve. The game unlocked the official trailer, and that was a great piece of advertising too, in no small part because of the booming Inception sound that rightfully became a meme.Did it work? The marketing certainly planted the idea of going to see this movie in a lot of people s’ heads, because Inception made 8.3 million at the box office.The Dark Knight (2008) 94% (Photo by @ 20th Century Fox)Studio: Warner Bros. PicturesWhy you remember it: Because you solved an interactive mystery across a virtual Gotham City, and Heath Ledger’s untimely death.The heroes of DC Comics save the day in fictional cities, like Metropolis. But, to promote the second (and best) of Christopher Nolan’s three Batman movies, the alternate reality game company 42 Entertainment made Gotham City real. Using websites like WhySoSerious.com, fake Gothamite newspapers, and Harvey Dent campaign materials, 42 Entertainment sent fans on a scavenger hunt all over the web and the physical United States — starting with San Diego’s Comic-Con, where one reward was the first image of the movie s Joker. It gave fans a tantalizing glimpse of the drama to come, and let them feel like the Batman, the World’s Greatest Detective, himself. Add to that the tragedy of Heath Ledger’s untimely death ahead of the premiere of his incredible performance as the Joker, and you’ve got a super-powered level of expectations.Did it work? The Dark Knight made over billion at the box office and was popular enough to change the way the Academy Awards work.Paranormal Activity (2007) 83% Studio: Paramount PicturesWhy you remember it: Because you had to demand it.Paranormal Activity was an extremely inexpensive movie, one that seemed destined for a modest indie release and perhaps a chance at becoming a cult classic. But, the marketing team at Paramount had the bright idea of democratizing horror. Trailers were released featuring night-vision footage of shocked and delighted viewing audiences and promising a scary theater experience; would-be moviegoers had to vote on a website, hoping that there would be enough fan demand for Paramount to bring the film to their city or town. The website, which was made with the user-driven event calendar company Eventful’s help, added a sense of urgency and participation in what otherwise might have just been an overlooked found-footage flick.Did it work? Paranormal Activity cost just ,000 to make, and it made more than 3 million at the box office. It is, by most accounts, the most profitable movie ever made.The Blair Witch Project (1999) 86% Studio: Artisan EntertainmentWhy you remember it: Because you thought it was real.Without The Blair Witch Project’s marketing, there would be no Cloverfield, no Inception, and essentially no viral movie marketing as we know it today. In the early days of the internet, Artisan Entertainment’s scrappy online team created a website and surrounding hype campaign that claimed the story of the Blair Witch was true. There were interviews with the “missing” characters’ parents and backstories from investigators trying to solve this “true” story. In the real world, missing posters went up around colleges and at film festivals. Because of all the marketing, The Blair Witch Project wasn’t just a low-budget indie horror flick — it was a real, ongoing mystery. Moviegoers and internet users have gotten more media-savvy, so this feat likely won’t be equaled, but The Blair Witch Project was the perfect storm, a way to use technology, advertising, and psychology to turn “based upon a true story” into box office gold.Did it work? The Blair Witch Project made 8,639,099, which is more than 4,000 times what it cost to make the movie. Also, admit it — you thought, for a second, that it was a documentary.What were some of your favorite movie marketing campaigns? Let us know in the comments!Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
随着技术的不断发展与革新，如今的手机游戏为了吸引玩家，早已不会将游戏的定位局限于某一种类型的游戏，多种类型互相结合诞生出新的游戏，为玩家们带来新颖体验的同时也丰富了游戏的多样性，网易出品的阴阳师结合了角色扮演，卡牌，多人在线竞技等多种元素，无疑是新手游时代市场中的典范。对于中国玩家们来说，三国，武侠，奇幻冒险，仙神的题材和元素是永远的香饽饽，而市场中所有的热门游戏都是联网手游，由此可见，除了游戏本身的可玩性，玩家们如今也更倾向于游戏的互动性，而社交元素也对用户的留存性存在着显著的作用。亚博APP苹果版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
4. 呼朋唤友 随心所欲
(Photo by Buena Vista Pictures, Sony Pictures, Warner Bros, TriStar, MGM / Courtesy: Everett Collecti
5. HD 画质与高品质音讯
9.44.9 8月喜迎It’s the first ever director face-off in our Vs. series, and it’s an epic battle between two of the most influential filmmakers of our time – especially when it comes to action and sci-fi cinema. In the one corner you have Sir Ridley Scott, the man who gave us Alien, Blade Runner, Gladiator, and… The Counselor. (Mean, we know.) In the other corner is James Cameron, the man who gave us Aliens, The Terminator, Titanic, and… Piranha II: The Spawning. (Really.) Which director comes out on top when it comes to box office, Tomatometer and Audience Score, influence, and more? Rotten Tomatoes Contributing Editor Mark Ellis is crunching the numbers and making the big calls and, as ever, if you don’t agree with the verdict, let us know in the comments.Thumbnail images by Everett Collection and ©Fox 2000 courtesy Everett Collection
Leeeeeeeeeeeet’s get ready to rumble… in the Bronx. And in ancient China. And with Chuck Norris. Our latest episode of Vs. might be our most epic yet as we pit the four biggest martial artists/movie stars of all time against each other in one stats-heavy battle royale: Bruce Lee, Jackie Chan, Jet Li, and Donnie Yen. Who is the ultimate fighter? We’re comparing these legends of global cinema across four categories – Box Office, Tomatometer and Audience Scores, Iconic Moments, and a special Wild Card Round – to see who is the one man left standing when all the dust has settled/limbs have been snapped/henchmen have been felled. Will ringmaster Mark Ellis give the W to the Drunken Master, the true Hero, Ip Man himself, or the mother-bleeping Dragon himself? Tune in to find out, and let us know who you think is the greatest of the great in the comments.On an Apple device? Follow Rotten Tomatoes on Apple News.
In retrospect, it s easy to see why Unbreakable was not the box office hit that many were expecting from M. Night Shyamalan in the year 2000. The director had the impossible task of following The Sixth Sense, the second biggest movie of 1999 (behind only The Phantom Menace); he was making a comic-book movie at a time when the genre was out of favor (thanks largely to the silliness of the late- 90s Batman movies); and the studio had marketed it, misleadingly, as a Sense-style thriller. And yet, it s also easy to see why Unbreakable would go on to find a devoted audience on DVD and eventually streaming, and why it would start to pop up in Best Superhero Movies lists in the late 2000s: It s really, really good – and well ahead of its time. The dark, grounded, and refreshing take on the superhero genre also benefited from some incredible performances from Bruce Willis (as train crash survivor and reluctant hero David Dunn) and Samuel L. Jackson (as Elijah Price, a.k.a. Mr. Glass, whose friendly fascination with Dunn belies more villainous intentions). In this oral history of Unbreakable, Jackson tells Rotten Tomatoes about his first impressions of Night ( a little dictatorial ) and the appeal of his fragile villain Elijah, while Shyamalan reveals the origins of his tale and its journey from risky studio proposition to cult favorite.What follows is a history of Unbreakable (2000), and reflection upon it, drawn from sit-down interviews with M. Night Shyamalan and Samuel L. Jackson. ALSO WATCH: An Oral History of Split | An Oral History of Glass“I think you might be a real-life superhero.”M. Night Shyamalan: When I was editing Sixth Sense, I was writing Unbreakable, and the idea originally was a plane crashed and the guy survives and then someone says, “I think you might be a real-life superhero.” But then I put it into a train ’cause I love trains and I felt it was more comic book-y for me. It felt more reasonable that he would survive [a train accident] without a scratch, and so [it] could be dismissed as luck. But then Elijah s character comes to him and says, No, I think you might be a superhero. This idea of a regular person who doesn t have anything to do with superheroes in a world in which that doesn t exist is told: Hey, you know these fake things in comic books? I think they re actually based on people like you.(Photo by © Buena Vista)“He said, ‘Oh I just finished this movie with this kid, and he s writing a movie for us right now.’ Samuel L. Jackson: I was just finishing a job in Morocco and I had to go into Marrakesh. My wife was coming for few days, so we were gonna, I guess, take a holiday. I was in a casino, heard a voice – Bruce! – I turned around, we talked. He asked me what I was doing; I told him. I asked him where he d been, and he said, Oh I just finished this movie with this kid, and he s writing a movie for us right now. I was like, what movie was that, and he told me. I said, Oh, I read that movie. I wanted to be in it. He called Night on the phone, and Night says, Oh, I m writing one of your scenes right now. And we start talking, he tells me what the movie’s about. [I said] don t read it to me, I ll just read it when you send it.“It was really from Quentin that I grabbed that union of Sam and Bruce.”Shyamalan: One of my favorite movies is Pulp Fiction, and I really wanted that flavor that Sam and Bruce gave in Pulp Fiction for Unbreakable. Obviously, [it’s] a totally different story and all that stuff, but that kinda cool, edgy, grounded quality that they both had in that movie I thought [Willis’] quietness versus [Jackson’s] pizazz could be really fun. It was really from Quentin that I grabbed that union.(Photo by © Buena Vista)“His body s so fragile, but he had this great mane of hair like a lion – very strong.”Jackson: I love the character. I m a huge comic book fan. I like the fact that he had this great arc. [He’s] not a weak character at all; he s just fragile, physically fragile. It takes a certain kind of person to be able to accept that they have something like that, carry on and have a strong belief that, If I m this person, there must be some person out there that s opposite me that can justify the fact that God made somebody like me. He had these things that were wrong with him that made him stronger. That s what you want you want a character that definitely knows what he s about. I talked to the costume director about the color scheme; we had great talks about the color scheme and the kind of materials he wanted to use. I kind of brought the hairstyle idea to him and Night accepted it, and then okay, let s build it and see what happens and to give Elijah things that were very distinct. It has a level of strength to it that his body didn t have. His body s so fragile, but he had this great mane of hair like a lion, very strong.Shyamalan: Sam brought that Frederick Douglas look to the table. The hair kinda parted and [created a] big silhouette that I love so much. He definitely brought the pizazz, which is what you expect from Sam.“Those guys were icons and I was being very aggressive about the way we were making the movie.”Shyamalan: I think I was 29 when I was doing Unbreakable. Or maybe even 28 when I wrote it. I was still in the early stages of my career, and those guys were icons… And I was being very aggressive about the way we were making the movie. Long takes. Three-minute takes, two-minute takes, four-minute takes – really aggressive filmmaking. And they just had to trust me. There s no close-ups. There s no this, there s no that. And it s very play-like.(Photo by © Buena Vista)“We were kind of like his puppets in an interesting way.”Jackson: First impression [of Shyamalan]: young, strong ego, a little dictatorial when we first started working together. He had certain ways he wanted us to do things, and he would tell us to do them. I came up through the theater, and theater is essentially a dictatorship – the director tells you to do something, you do it, or they ask you a question, you have to have the right answer to justify what you re doing. Night went further than that. It was like, I already know what you re going to do, and I want you to do it this way. We were kind of like his puppets in an interesting kind of way. There were specific times he would say, “Okay, try not to blink. Just do the whole thing without blinking.” Or he would say, “Don t say the line that way, say it this way,” and I m one of those actors that hates being given line readings. But he was very adamant about it. Bruce and I have been around together for quite a bit, so… it was kind of easy for us to kind of listen to Night and look at each other and go, Yeah, wait till this kid finds out. “We re never gonna mention comic books, superheroes – any of that.”Shyamalan: I think for the studio at that time… it was seen as a fringe element of the movie – that this is about comic books. “Oh, those are those weirdos that hang out at those conventions.” Back then, there was just Comic-Con, and it was very niche at that time. People weren t aware of it. It was more cult-like. So, they said, Let s not make this a cult subject movie; let’s sell it more as a general thriller. We re never gonna mention comic books, superheroes – any of that. That meant you couldn t even [promote] the main plot of the movie because that s the plot of the movie: Hey, I think you re a real-life superhero. That couldn t be said in the ads. It was a really weird and ironic time that the thing that dominates the film industry now was the one thing they were running from. They thought that was the least commercial element of the film. Obviously, times have changed a great deal.(Photo by © Buena Vista)“Immediately as the DVD came out you started to feel the change.”Shyamalan: When the movie opened I think there was a disconnect because [audiences] were thinking it was kind of a sequel to Sixth Sense – it was me and Bruce and we sold it like that. So, there was confusion. People were coming to see a scary movie and that s not what they saw, you know? But immediately as the DVD came out, you started to feel the change in their perception of the movie. And… Oh, wait, this is about comic books? And then again, six months later, six months later, six months later… it just kept growing and growing until I would cross the street and, if you and I were hanging out, invariably someone would come up to us and say: “Unbreakable! I love it, man. When are you making the sequel?ALSO WATCH: An Oral History of Split | An Oral History of Glass
Watch: Patty Jenkins on the making of Wonder Woman 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, director Patty Jenkins takes us behind the scenes of the No Man s Land sequence from 2017 s Wonder Woman.VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLTHE MOVIE: Wonder Woman (2017) 93%Wonder Woman arrived in theaters with so much weight on its shoulders that it was going to take a superhero-level effort for it to really soar. The film was the first major female-led superhero movie since 2005 s Elektra, which hadn t landed too well with critics and audiences. The new Warner Bros. film was also one of the rare big-budget superhero films with a female director – one whose background was mostly in indies (albeit one, Monster, that earned over four times its production budget at the box office and its lead actress an Oscar).The DC Extended Universe was doing big numbers at the box office, but Warner Bros. had yet to have a critical win with its answer to the MCU (the first three films of the DCEU had all been Rotten on the Tomatometer). And it was coming out during a summer when superhero fatigue was a buzzword. And yet. Director Patty Jenkins, star Gal Gadot, and the rest of the Wonder Woman team pulled it off – and then some. The movie was huge, becoming the third biggest movie of 2017 and the biggest earner so far in the DCEU at the domestic box office. On top of that, it was Certified Fresh at 93% on the Tomatometer and would be the best-reviewed comic-book movie of the year (a year that included Logan). Then there was the way it infiltrated the popular culture, a phenomenon captured in photos of young children wielding their shields and lassos and finding, in Diana from Themyscira, someone they believed in and wanted to be. Jenkins tells Rotten Tomatoes she felt the pressure to deliver – for herself as much as anyone.(Photo by Clay Enos/©Warner Bros./courtesy Everett Collection)“The fan who s like, ‘They better do a good job at that movie’ – I was that fan as much as anyone.”“I felt a huge amount of pressure [making Wonder Woman]. For the 10 years that I was talking about it, I knew that it would be a huge amount of pressure, but… I cared as much as anybody. Like, literally, the fan who s like, ‘They better do a good job at that movie’ – I was that fan as much as anyone! There was nothing I could do about it but try. In a weird way you feel the pressure and you almost don t think about it because I m now moving on to being that same audience member saying, ‘This better be as great as it could be’ every day to myself. I ve never done anything with a light attitude and therefore any additional pressure is just like, ‘What are you gonna do?’ It doesn t help and it doesn t hurt and it doesn t really change anything. So you just don t think about it too much.”THE MOMENT: No Man s Land If there was one defining moment of Wonder Woman it was the scene in which Diana, having found her way to the front lines during WWI, steps up out of the trench and into No Man s Land. It was her first big Wonder Woman reveal – that slow-motion shot of her shedding her hood and climbing the ladder still gives us chills – and a perfect distillation of Jenkins and the other filmmakers vision for a Diana, one that spoke to a 21st-century audience as she entered one of the most harrowing scenes of the 20th. The naïvety was gone and a hero was born. [It was like] Superman pulling his shirt open the first time and revealing the S . “I think that the biggest reason I was obsessed with [the scene] was really from a character place. From Diana s point of view, it is: What is the birth of a superhero? Just like Superman pulling his shirt open the first time and revealing the S, these are definitive, incredible moments, and so I knew that Wonder Woman needed an incredible moment and because we were doing her origin story, it really needed to be the moment that she made the decision to go from being a younger person who was hopeful and idealistic to one who decides to be a hero despite knowing more. And so in this story, that was what I cared about. (Photo by @ Warner Bros. Pictures) What it is to be a hero does not become clear to her until No Man s Land. “For me, what was important was that Diana wants to be a hero from day one, but what it is to be a hero does not become clear to her until No Man s Land. Not until No Man s Land does it become: No, it s messy, the world is crazy, it s confusing, it s conflicted, and doing the right thing is incredibly hard and no one will come with you. And her saying, That s what I m going to do, and stepping up over the edge is despite the fact that you can t or you shouldn t and no one will support you. That was such a powerful way for her to step into being like Wonder Woman. The shooting of it was brutal. “On our original plans, there were definitely arguments about [whether we were] really going to put Diana in a Wonder Woman costume out in the freezing cold in the winter [to shoot the No Man’s Land scene], and it s not safe, and we shouldn t do it and whatever. We had to do it — it s the only way to do it. You have to build No Man s Land. It had to be real. It was unfortunate that it also happened in the winter, but it needed to happen in the winter or it might not have looked right. The shooting of it was brutal, and it never looked or felt in the moment like what, of course, it ends up being, because it s just an awful moment [on set] with loud noises and someone standing in the wind and cold. And so in great part it was an act of faith, as I m doing every day here [shooting Wonder Woman 1984]. “I kept using the old Columbia Pictures beginning as a reference. “I kept using the old Columbia Pictures beginning – that opening title card of the woman standing with the clouds behind her – as a reference when I was making Wonder Woman. I wanted it to have this classic grandeur, and so when she came up over No Man s Land, I actually added a touch of that and that painterly grain quality in the clouds and we tinted the smoke – the smoke bombs that were going off and the explosions – so that they would have a kind of beautiful color. (Photo by Courtesy Everett Collection) I literally got them to bring all the musicians back into the studio. “We had finished the whole movie and we had scored it, and I got on the phone with everybody at the studio and all of the producers and said, ‘I need you to give me one more crack at No Man s Land please. And I literally got them to bring all the musicians back into the studio – which is a very expensive and laborious thing to do – and I had our great composer, Rupert Gregson-Williams, write an entirely new piece for it based on a sort of hunch that I had that there was one step further [we could go]. And he actually ended up composing a whole new piece of music that we scored after we had locked everything, which is the score that went in right at the last minute. Everything in my gut told me that song was the right song, but then it was over, it was done, it was out of my hands and the movie was complete – so I really never got a chance to see [the No Man’s Land scene] and know it with an audience until very close to the premiere, when finally it was like, ‘Oh, that s it. That is the scene. That s as far as we got it. We can t do better. We tried everything that we could to do better and there it is.’ And it was pretty incredible, honestly, the night of the premiere when people reacted the way that we did.”THE IMPACT: A Hero Is Born The countdown to Wonder Woman 1984, scheduled for release June 5, 2020, feels different to the time, four or so years ago, when we were anticipating the first film. Back then there was excitement, but there was also weight and there was pressure; today there is only breathless antic
亚博APP苹果版 While sports fans can debate the results of last night s Big Game, fans of Marvel Studios (and sports fans who like Marvel movies) took note of an ad for the upcoming Avengers: Endgame, which aired shortly after kickoff. The tone was serious as it offered some new glimpses of an Earth after half its population disappeared into dust. But it also suggested a call to action for those with enhanced abilities to upend the new status quo. And as it featured substantial new footage from the movie, let s take a look at some of the things we learned from the 30-second television ad.The Survivor Support Group Supports A Time Jump(Photo by Marvel Studios)In the opening moments, we see a changed New York and an empty stadium to reinforce the monumental loss of life in Avengers: Infinity War. In voice over, we re told some have moved on. The scene cuts to a support group for survivors of the catastrophe Steve Rogers (Chris Evans) among them. All of which supports earlier reports that Endgame would take place some time after the Snap at the end of Infinity War. The length of that time jump is still up for debate with the earliest reports suggesting a real-time gap of roughly a year while others suggest Endgame will pick up several years after Infinity War. Either way, we re definitely getting a Leftovers vibe from the support group.Rocket Is An Avenger(Photo by Marvel Studios)We ll get to Rocket s big moment in the ad later. First, let s take a look at moment late in the spot when Steve s voiceover tells us the Avengers have not moved on. The dialogue is presented alongside a slow motion walk of the remaining Avengers. Rocket is among the group as they Well, let s assume they re on their way to deal with Thanos (Josh Brolin). The earlier Endgame teaser echoed a moment from Marvel Comics The Infinity Gauntlet storyline in which the Avengers track Thanos down and find his armor propped up as a scarecrow. Its pretty clear elements of The Infinity Gauntlet will inform Endgame the way Thanos s Snap anchored Infinity War.Alternatively, the slow-motion walk may appear early in the film as the silhouettes of both War Machine (Don Cheadle) and Ant-Man (Paul Rudd) who are featured in a moment of their own appear to be missing. As some astute viewers pointed out, there is also the possibility that an unidentified character was mysteriously edited out of some of the footage in the trailer, including the slow-motion walk.Thor Is Spaceworthy(Photo by Marvel Studios)Our key glimpse of Thor (Chris Hemsworth) in the ad sees him looking out at a lush, green environment. It resembles the place Thanos viewed in Infinity War s closing moments, further suggesting the Avengers will take the battle back to the Mad Titan. There is also the possibility that Thor is looking out across Wakanda, judging from the landscape, but it s difficult to tell. Considering Thor s new weapon Stormbringer can conjure up the Bifrost or a Bifrost like means of interstellar travel we re going to assume he s been using it to search for Thanos and survivors of Infinity War s space team. But what ship is he on in the ad?The Benatar Survives?(Photo by Marvel Studios)In one of the more curious glimpses in the 30-second spot, Tony (Robert Downey Jr.) and Nebula (Karen Gillan) appear to be repairing the Benatar the now-abandoned Guardians of the Galaxy spaceship. This could be a moment from their initial departure from Titan or a flashback to happier times, as the first Endgame trailer revealed a lonely, distraught Tony recording a final message to Pepper Potts. But it could also be a moment from later in the film when the Avengers are reunited and use the Benatar to carry the whole team to Thanos. Well, presuming that s the ship on which we see Thor a few moments later in the ad.Consider the moment when Earthbound Avengers Steve Rogers, Black Widow (Scarlett Johansson), Rhodey, and Bruce Banner (Mark Ruffalo) walk out of their headquarters and look up at something just out of frame. It could be Captain Marvel (Brie Larson), of course, but perhaps she brought the Benatar (and Thor) with her.Rocket Is First Through The Door(Photo by Marvel Studios)Rocket s key moment in the ad sees him bursting through the door of a seemingly simple shack near an unidentified coastline. This could easily be the shack Thanos built for himself on his retirement world, but it could also be something on Earth. The prominence of the seaside and fishing nets in the background to say nothing of the very Earth-like latch on the door suggest more familiar terrain, but perhaps Thanos always wanted a quiet life by the sea. Then again, maybe Rocket turned to fishing during his time on Earth and it s his seaside shack.Yeah, that doesn t seem likely, considering the guns strapped to his sides.Clint Barton Is Hawkeye Again?Ryan FujitaniThe earlier Endgame trailer prominently featured a sword-weilding Clint Barton (Jeremy Renner) in an apparent switch of persona to Ronin an identity his comic book counterpart adopted for a time. But in his Big Game Ad appearance, Clint appears to have a pair of quivers strapped to his back. It is fairly safe to assume Black Widow finds him working as Ronin and convinces him to come back to the Avengers, restoring his costumed persona and key gimmick in the process. After all, what would an Avengers movie (besides Infinity War) be without Hawkeye?Steve Rogers Has His Shield Back(Photo by Marvel Studios)In the lead-up to Infinity War, reports suggested Steve would take on the identity of Nomad, another Steve Rogers alias from the comics. This turned out to be more of a thematic idea than a literal one, as Steve was in fact roaming, but his costume turned out to be a very weathered version of the one he wore in Captain America: Civil War. That said, Steve lacked a proper shield throughout Infinity War, continuing an idea from Civil War about Steve s loss of identity. But as seen in the trailer, Steve has his shield back. Since Endgame is the presumed last stand of Captain America, it makes sense that he would be visually restored to his former self. It happens in the comics all the time, so a moment like that should occur in a movie like Endgame.Avengers: Endgame opens everywhere on April 26.
(Photo by Merie Weismiller Wallace / © Focus Features / Courtesy Everett Collection)Joel Meares for Rotten Tomatoes: Congratulations on the film. When I saw it earlier this year, it took me by complete surprise because I think, like a lot of people, I d gone in thinking I was going to get something a bit more Atomic Blonde or Britney from the “Toxic” music video, and this was a much more grounded, real story and went in directions I was not expecting. Was the goal to tell a more relatable revenge story?Emerald Fennell: I love the revenge genre. I just think it s one of the most pleasurable, cathartic things. But I think that I wanted, for a while, to see if it was possible to make a revenge movie that had all of the pleasures of the genre but had a very real woman at the center of it, kind of behaving in a way that I think real women do. So part of that was thinking: What would I do? If I really wanted to go on my revenge journey, what could I do? I m not very handy, and certainly no good with a machete, so what s within my power? And it started from there.Do you think the fact that people might go in, like I did, expecting something more typical of the genre works to the film’s advantage?Fennell: Absolutely. It s sort of designed to undercut and use those tropes and twist those tropes. It’s always fun [when someone] has a familiarity with the genre so that you can kind of surprise them; that was always very much intentional and really very fun in the writing, trying to find those ways of being surprising. I hope that it s just as gripping and enjoyable as the more traditional version would be, but it also kind of maybe packs a more personal punch.(Photo by © Focus Features)One other thing that may surprise viewers is that you ve chosen to examine the #MeToo moment and rape culture not by looking at a case that might be more sensational – sort of a Weinstein-esque, cut-and-dried, black-and-white case. Rather, this is more the stuff we hear about on college campuses all the time, stuff that we ve probably touched in our real lives in some way – more “Cat Person” or Kavanaugh. Was that your entry point? To tackle #MeToo in a way many people probably have some connection to, even if they don t think of it in that way?Fennell: I guess, [but] it wasn t as deliberate at that. I m not really interested in heroes and villains. I m really interested in good people doing bad things, and growing up as I did in the noughties, this was just endemic, just completely normal. It was the punchline of every Hollywood comedy movie, getting girls drunk. Every coming-of-age story was like: “Give her a drink.” Is there a drunk girl here? “Great!” It was on network TV shows. It was so normal.And that is what is so deeply disturbing to me, is that it s very easy when it s villains, it s very easy when it s people that you don t like. What s very complicated is when it s something that, as you say, almost everyone has an experience with, to some degree, because it was normalized. That s chilling. And where do we go from there, then, when everyone feels slightly differently? Everyone s kind of making their own excuses; nobody s really willing to talk about it openly.So that s kind of where Cassie s journey begins. If there isn t anything wrong with this, why do you feel so attacked or freaked out? I think it s just an interesting place to start.(Photo by © Focus Features)It s interesting to hear you mention the noughties pop culture. You and I both grew up as teens in that era. When you mentioned that culture, all these films came flooding back to me. There s been a lot of talk about grappling with those cultural artifacts; and regarding the ’80s, we saw Molly Ringwald s essay in The New Yorker doing just that, looking at the John Hughes films that she was a part of. Do you have a view as to how we look back on those things, now that elements of them do feel problematic when put under a modern microscope?Fennell: Well, I think the way you hope that society and culture moves on is that we learn as we go, which means you have to find merit in things that maybe have stuff that s problematic. Obviously, I think lots of people think that this film is very sort of scorched-earth, but actually, I do think that, for me, so much of the movie is about forgiveness and redemption and the possibility of those things. But those things only come after some honesty and some self-scrutiny and apology.I do feel like certainly some I m sort of careful never to shame any particular movies, because I think actually times do change, and there ll be things in 20 years, I m sure, that my children will find problematic about stuff. So, I think in order for any of us to move forward in any artistic medium and as a society, [we have to] understand things will change, and that s okay. At the same time, ignoring it isn t useful, so I think it s just important that we acknowledge that there s some stuff that isn t great. But that s of its time, I suppose.(Photo by © Focus Features)You’ve said that you wanted this film not to be a treatise, but to be fun and to entertain. One of the things I think people will love, in addition to the thriller elements and the revenge elements, is the hilarious dialogue, particularly from some of the boys Cassie picks up. I was thinking about the scene with Christopher Mintz-Plasse in the apartment, where he tells her about his novel and offers her “kumquat liqeur.” It’s so cringey. How fun was it to write the most dickish things guys could possibly say in that situation?Fennell: So fun. I love all that stuff, and also stuff like the costumes – giving Sam Richardson a leather trilby and boot-cut jeans with leather shoes. And with Neil, who s Chris Mintz-Plasse s character, we designed the name of the fake album that he s snorting coke off, and we decided to be very, kind of, culture-y appropriate-y. So there are a lot of dreamcatchers. Every woman who worked on this film in the crew, when we went to the set after it had been dressed, they all went: “Yeah, I ve been in this room.”There s so much pleasure in that. That s why I think, partly, the only way of communicating this kind of stuff really effectively is with humor. Because although it s hard material – there are moments in this movie that are abjectly not funny – for me, communicating anything really serious, I ve only ever been able to do that like this. I m only sad that the Chris Mintz-Plasse scene is much shorter than it was [originally], just because the movie is long; the details of his novel are missing [in the final film], but there s a lot of detail about his novel, set in the first person, over the course of one night in New York, from different people s perspective it goes on and on and on and on and on. And there was lots of great stuff about him making her breakfast in bed and his pronunciation of eggs hollandaise [said with a silent “h”]. That stuff, that s so much fun, always.(Photo by Merie Weismiller Wallace / © Focus Features / Courtesy Everett Collection)And Cassie s [dialogue] I love writing, I just love it, I find it so pleasurable. I really, really did want to make a movie that was accessible, that wasn t just for people who d considered this stuff very deeply, but it would be enjoyable and appealing for everyone to see. I never wanted it to be a very bleak, depressing, earnest film. Even though it is, in many ways, all of those things. I tried as best I could to make it a pleasure to watch.Speaking of dialogue, the first spoken words you hear in the movie are f k her, and I was like, okay, that s a bold start and a statement! And the other thing that stood out was how frequently characters used the phrases crazy bitch and nice guy,” which are the exact phrases we so often see people instinctively go to when it comes to labeling men and women, particularly in a he-said/she-said situation. Was that repetition conscious? Fennell: Definitely, I think so. It s hard to have these discussions in a very, completely unique way, because actually, we fall back so quickly on the clichés. You see it with Dean Walker [Connie Britton; in the film, Walker dismissed a victim’s story because the accused was a nice guy ] and the way that she speaks: Well, you know It s all of the things we ve heard with these incidences. And I think, again, it s a mark of people who haven t really interrogated something themselves very much, that actually they just speak in these quite clichéd, old-fashioned terms. Certainly, the crazy f king bitch thing. As Carey s present, I gave her a necklace that said Crazy F king Bitch on it, because I do just think, honestly, I ve definitely come to a stage in my life where I really think of that as a compliment.(Photo by © Focus Features)When it came to casting the so-called nice guys of the movie, it feels like you went through a Rolodex and said, Who are the nicest-seeming men in Hollywood? You’ve got Adam Brody and Max Greenfield and Sam Richardson… Was the idea to cast these people that we know and love from other roles?Fennell: Well, it s a couple of things. I think they re all genuinely brilliant, so I knew that they d be able to do this, but they re kind of playing parts All of these guys think they re nice guys. What is a nice guy? All of them think that they re “nice.” I said to Adam, when we were doing all that stuff, I said, This is the rom-com. You are the star of a rom-com; this is the beginning of a rom-com. This is the messy night where you guys meet, which becomes the love of your life. It s just that often, people don t notice, in real life and in rom-coms, that the girl isn t really having the conversation in the way that they think she is, you know? So that s also really fun, because really, that first scene, or the second scene, rather, in Jerry s [Brody] apartment, it s the beginning of a romantic comedy; it s just that she s not talking. Which most romantic comedies are [like], actually.(Photo by © Focus Features)The other thing that makes the movie so much fun is the style – the colors and framing and all that great stuff. The thing that really stuck out, though – and it’s the noughties teen in me – was this use of pop music: “Stars Are Blind,” “Toxic,” “2 Become 1.” Bo Burnham and Carey spoke to us about the music at Sundance, and they were talking about how the film reclaims a lot of these songs as quality, not just pop dross to be dismissed. What was your thinking behind the musical selections?Fennell: [I chose them] because I love them, I suppose, is kind of a weird answer. But I think that pop music, often female-led pop music, is a bit like nail polish and a bit like wearing pink: it s kind of an indication that you re not a serious person. And that s useful: If the whole movie is kind of about appearances being deceiving, then making it feel as fun and innocuous as possible was good.But also, they re really powerful, these songs, because we re bringing so much to them. The “Toxic” version that s in this movie, it s a mixture of all the different parts of “Toxic” and it s slowed right, right down, so we slowed down the orchestra. But what s so thrilling about it is that everyone instantly recognizes it, even though we ve really abused it and stretched it and kind of changed it. Then the audience is bringing in so much of their own stuff, because they know the lyrics, they know what they mean. It’s about using those personal relationships with the music in a positive way, and also looking at lyrics.“It s Raining Men” [also featured in the film] is a good example of a lyric that is quite sinister when you put it in this context. And the first lines of the movie, even before f k her, are sung, and they re Charli XCX, and they re I was busy thinking about boys. And I think that s what Cassie s been doing, that s what I ve been doing.Finally, speaking of lyrics, my favorite musical moment, or the one that sort of made me go, wow, is your use of Rodgers and Hammerstein’s “Something Wonderful.” Which is markedly different from most of the other songs. Fennell: Yeah.What was your thinking behind including that particular standard, which – when you look at the words – is so potent?Fennell: Again, I just think it s such a moving song. It s one of the most romantic songs ever written, I think, and Rodgers and Hammerstein are just geniuses at that kind of deeply felt romance. But it s also all about an incredibly cruel man who occasionally does something wonderful. When the song is playing over the thing we re seeing, it s a song that excuses behavior.That s always going to be the perfect thing that you re looking for, and that s what we re looking for all the way through this movie, which is stuff that was sort of both on the surface immensely pleasurable, but then underneath, also kind of troubling. And funny, darkly funny.Promising Young Woman is in theaters December 25, 2020.Thumbnail images by Rich Polk/Getty Images, ©Focus FeaturesOn an Apple device? Follow Rotten Tomatoes on Apple News. 终极卡车公路运送是一款非常真正的模拟驾驶卡车的手游，在终极卡车公路运送手游里玩家要驾驶着卡车进行公路运送，你必须在规定的时间内将卡车里的货物运输到指定地点。手游玩法非常真正，手游里各种细节处理得非常到位。3D的场景能让游戏玩家产生很强的代入感，感兴趣的玩家一定需要来下载试试哦！
Ryan Fujitani for Rotten Tomatoes: You ve written, what, literally hundreds of novels across various series R.L. Stine: I know. Now, let s not say the number or I ll have to go take a nap or something. It s 26 years of Goosebumps. Do you believe it? I think they are about 140 titles now. I don t know. How did it happen? The Fear Street series; there are about 80 in the Fear Street series for teenagers.RT: So you ve not only done that, but you ve done short stories, anthologies, even comics. Did you have any inkling that the Goosebumps series in particular would attract the kind of fan following that it did?Stine: No, we had no idea. And we thought we were doing something kind of dangerous. No one had ever done a scary book series for seven-to-12 year olds. It had never been done, and I was really reluctant. For one thing, Fear Street was doing really well, the teen series, and I didn t want to mess that up. I was very reluctant to do Goosebumps. And then finally I said, All right, okay, we ll try two or three. The kind of businessman I am, right? We ll try two or three. And they just sat on the shelves. It took about six months for kids to discover them. I think if it were today with computers and everything, the stores would ve pulled them off the shelf, and that would ve been it.About six months. Somehow, kids discovered them, and then started telling other kids the secret kids network and it just went crazy. There was no advertising, no hype. Nobody knew me. It was just one of those insane things that no one had planned on. Nobody.RT: Considering you were so skeptical about it working, what was it that finally made you take the plunge?Stine: Well, they kept after me, my editors, and then finally I said, All right. If I can think of a good name for the series, let s try a few. And then I tried to figure out how I could do it and not really terrify seven-to-12 year olds, and I decided I d have a blend of horror and humor.RT: It took quite a while for the Goosebumps movie to come to fruition.Stine: 23 years, it took.RT: Was it satisfying to finally see your creations on the big screen in blockbuster scale that way?Stine: Yeah, it was, and it was a wonderful surprise because I had very little input in the movie. No one wants the author around. No one wants the author around, and I just felt so lucky that the film was so good. It really was a good movie, and I was just very happy about that. And also so weird to be a character. It was all about me. How weird is that, right?So I really enjoyed it. Yeah, I had a really good time with it, and it s totally revitalized the Goosebumps book series. We re back. It s been incredible. I just signed on to do six more. Some of us don t know when to quit, right? We just keep going.Goosebumps 2: Haunted Halloween is available to stream and on DVD/Blu-ray now.
亚博APP苹果版 (Photo by Courtesy New Line Cinema Warner Bros. Pictures)When Warner Brothers pushed the release date for Mortal Kombat back an extra week to give some room to its other pandemic water-tester, Godzilla vs. Kong, few people anticipated they were going to have their own one-on-one match for the top of the box office this weekend. All eyes were on the tournament of Outworld (that turned out to not even have a tournament), while Sony’s acquired Funimation line was about to sneak in and nearly knock-out the video game adaptation.King of the Crop: Mortal Kombat Finishes Demon Slayer, But What A Fight!Mortal Kombat and highly anticipated anime Demon Slayer Kimetsu no Yaiba- The Movie: Mugen Train fought for top spot this weekend, and they also duked it out for the claim of Second Best Opening since the pandemic – both opened ahead of Wonder Woman 1984’s .7 million Christmas weekend opening, but trailed Godzilla vs. Kong’s .6 million start. It was Mortal Kombat that would take both honors, with a .5 million haul, compared to Demon Slayer s .5 million.The 1995 Mortal Kombat film opened to .2 million on an August weekend just before kids started going back to school and finished with just over million. Given the recent diminishing returns on the hybrid HBO Max titles, it appears unlikely the 2021 version will reach that total. But even a low-ball figure between and million is further ahead than where Wonder Woman 1984 and Tom Jerry ultimately settled. A good sign, but perhaps not quite the evidence we were looking for that theatrical is making a significant comeback.Demon Slayer, on the other hand, is a triumph for Funimation. Its last theatrical release, Dragon Ball Super: Broly, opened to .8 million in January 2019 and went on to gross .7 million. Demon Slayer’s .8 million from Thursday night previews is also in line with pre-pandemic Thursday night totals for films such as Ready Player One (which grossed the same), and is actually stronger even such titles as Mad Max: Fury Road (.7 million) and the original Iron Man (.5 million).The 0 Million Watch: Godzilla vs. Kong Is Coming for the Milestone(Photo by © Warner Bros., Legendary Pictures)The industry has been watching closely to see if Godzilla vs. Kong is going to be the first film during the pandemic to reach the one-time lauded milestone of 0 million. After 10 days of release it had grossed million; the last film we saw do that was Disney’s Onward last March. By day 19 it had reached million; the last film to do that was Sonic the Hedgehog last February, which actually did that in its first week, but who’s counting? GvK coming in with million in its fourth weekend is closely aligned with the fourth weekend go-round for Tom Jerry (.8 million) and Raya and the Last Dragon (.76 million). Since that time, both of those films have made around an additional -11 million each. Godzilla vs. Kong currently sits at .5 million. Tom Jerry has made a little over million since it was taken off of HBO MAX on its 31st day. There are only five more days to catch GvK at home: After that, will it hold on long enough to cross the 0 million barrier? It is certainly going to be close and we’ll monitor it right here.On These Dates In Box Office History (Photo by Walt Disney Pictures)April 24: In 2011, the Easter hit, Hop, grossed .73 million on this, its 24th day of release to cross the 0 million mark.April 25: An even greater family-movie milestone was hit on this day in 2014 when Disney’s Frozen grossed ,742 to pass 0 million at the domestic box office. It was its 155th day of release. The sequel crossed that same milestone in just 35 days in 2019.What Should Have Been: A Different Day for Wright s Last NightInitially scheduled for September 25 last year, Edgar Wright’s Last Night In Soho was moved to this weekend; unfortunately, it was subsequently moved again to October 22 of this year. We were also expecting Martin Campbell’s The Asset, with Michael Keaton and Samuel L. Jackson, but that film was pushed off the schedule at the end of March and is still awaiting a new release date.On The Vine: Horror, Prestige, and An Old Friend(Photo by © Universal)April wraps up with a little horror, namely the ghost story, Separation, starring Rupert Friend and Brian Cox. Focus Features is releasing the acclaimed immigration drama, Limbo, which received multiple BAFTA nominations and is Fresh at 91% on the Tomatometer. Then, in lieu of his latest film which was once-scheduled to open this week, look out next week for a 10th-anniversary re-release of Edgar Wright’s Scott Pilgrim vs. the World.Full List of Box Office Results: April 23-25, 2021