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亚博登录地址注册采用百度引擎6(Baidu 7)(Photo by Quibi)The Best Quibi Shows to Stream NowUpdated as of October 1, 2020New mobile-only streaming service Quibi launched in April with an all-star lineup to rival any other player in the streaming wars: Sophie Turner, Lena Waithe, Liam Hemsworth, Chrissy Teigen, Chance the Rapper, and LeBron James are all in new Quibi shows, with more big names on the way (Steven Spielberg and Zac Efron among them). But did the new service from Jeffrey Katzenberg and Meg Whitman bring an A-game to match all those A-listers?Critics have now weighed in on Quibi s current offering of shows and movies in chapters, and as would be expected, Tomatometers are running the gamut from the super Fresh (hilarious slice of variety Gayme Show) to the middling (Turner s big-budget thriller Survive) to the very Rotten (treacly Thanks A Million, executive-produced by Jennifer Lopez). Some of the big-name bets are definitely paying off – the horror critics are really digging the Sam Raimi–produced epic anthology series 50 Shades of Fright, and James documentary series, I Promise, is currently Fresh at 100%. Others, not so much: Migos rapper Offset s Skrrt is currently stuck in the green end of the Tomatometer.As well as grappling with the content in the new programming, critics across the board are adjusting to Quibi s novel approach to streaming: No show or episode available on Quibi runs more than 10 minutes — thus the Quick Bites — and each can be watched in two formats, vertical and horizontal, with each giving you a different perspective on the action.So far, critics have mostly focused on two of Quibi s programming streams: Its prestige movies in chapters, which include Survive and The Most Dangerous Game, starring Hemsworth, as well as its unscripted originals, which include Teigen s Chrissy s Court and Gayme Show. None of Quibi s news and lifestyle Daily Essentials shows — which include The Rotten Tomatoes Watch List — have received Tomatometer scores as yet.We ll be updating as new shows are released and more scores become available, so stay tuned to this page to keep on top of the best shows Quibi has to offer. As the list grows, we will narrow it down to only the very best, but for now here are all the Quibi shows we have Tomatometer scores for, ranked from Rottenest to Freshest.

1. 亚博登录地址注册
In 2019, it s been hard to escape Adam Driver. The actor has starred in Jim Jarmusch s The Dead Don t Die, is getting plenty of Oscar buzz for his currently-in-theaters Marriage Story, and he will end the year in his last outing – we presume – as Kylo Ren in Star Wars: The Rise of Skywalker. This week he headlines The Report, Amazon Studios critically acclaimed and Certified Fresh new drama about the creation of the Senate Intelligence Committee s almost-7,000–page report into the CIA s use of torture following the 9/11 attacks. Driver plays senate staffer Daniel Jones in the film alongside Annette Bening as Senator Dianne Feinstein, and Jon Hamm. Rotten Tomatoes Jacqueline Coley spoke to Driver, Bening, Hamm, Jones himself, and writer-director Scott Z. Burns about the film at this year s Toronto International Film Festival, digging into what it was like to play real-life newsmakers, the importance of telling this story now, and – crucially – how much Adam Driver is too much Adam Driver?The Report is in limited release November 15, 2019 再说了,有些玩家打了几年王者,皮肤不知道买了多少套,让他全部放弃而选择LOL手游,肯定也不愿意。当然了,也有玩家打王者的同时,也玩LOL手游,两边都不放弃。总的来说,LOL手游刚刚上线,肯定存在很多需要改善的地方,在短时间内的人气是很难真正超越王者荣耀的。毕竟,王者荣耀已经上线这么多年了,拥有了庞大的玩家群体,就算其中有很多是当年LOL端游玩家,也早就习惯了。

2. 公平游戏环境
Netflix’s new series, Jupiter’s Legacy, is a breed apart from many superhero series. The program focuses on the Union of Justice, a group of superheroes who began working together in the 1930s, but lived well into the 21st century and now face the prospect of handing their work off to their children; a second generation of various talents, constitutions, and interests.Although some of its iconography will seem familiar, the story sets out to be a family drama of powers, resentments, high expectations, and at least one masterplan worthy of a Lex Luthor or Hydra. And viewers coming fresh to the series will find a number of unexpected things.Rotten Tomatoes spoke to some of the cast and Jupiter’s Legacy co-creator Mark Millar to determine the five things you need to know before venturing into the show.1. It Is a Generational Saga(Photo by Netflix)The notion of generational superheroes – that is, parent and child (or a close relation) sharing abilities and a costumed identity – is not exactly a new idea in comic books. Titles like Starman and The Flash dived deep into the idea in the 1990s. Also, the more recent Flash TV series broached the topic a few years ago while still fighting a villain of the year, and Superman Lois sees Clark learning how to be there for his teenage sons.But in the case of Jupiter’s Legacy, facing the reality that a younger generation needs to step up is very much the theme of the show.“[It’s] a metaphor for how you can pass on traditions, how you can pass on family values, how you can pass on love and connection,” as star Josh Duhmel, who plays the premiere hero Utopian, put it. “I think that there s a lot to be said for how you raise your kids and how important it is to connect with them or there s a good chance you lose them.”Indeed, the possibility of losing his children quickly becomes one of Utopian’s concerns.(Photo by Marni Grossman/Netflix)As the program begins, his son Brandon Sampson (Andrew Horton) – aka Paragon – makes a choice Utopian disapproves of, setting into motion a lot of soul searching among the Union and their children about what they really want for the future.“I think Brandon puts an enormous amount of pressure upon himself, which definitely doesn t help things,” Horton said when asked about Utopian’s expectations for his son. Brandon and [his sister] Chloe are told by their father that these gifts are to help other people less fortunate. That s an onus on them to use their powers for good and to maybe follow in their parents footsteps. But it s never explicitly said within the show that this is what you must do: You must be the same as us.' Nevertheless, Brandon takes onboard the idea that he should be just like his father and “trips himself up because he s a more flawed human being.”In Horton’s mind, he s kind of always going to be set up for failure when you ve got the Utopian as someone to follow. And to some extent, that fear of failure leads to the choices his sister Chloe (Elena Kampouris) and their cousins make both before the story begins and after Brandon s tactical error.2. It Uses the Concept of the Justice League as Familiar Grounding(Photo by Netflix)Although the original members of the Union have similar abilities, aspects of their look and more specialized powers will remind viewers of DC Comics’ Justice League of America. According to Millar, using that group’s dynamic over, say, the Avengers, is a completely intentional choice.“That s a perfect entry point for the mainstream audience,” he explained. “Those kinds of characters we grew up with also stretch all the way back 5,000 years to the Greek myths and then, really, the Egyptian myths, [and] in some ways go back to Sumer as well, 11,000 years ago — Babylonian myths.”The archetypal stature means a character like Utopian is immediately recognizable even if he has longish white hair and a beard when he first arrives on the scene.“The world is very, very plugged in to the idea of [this] bunch of people: You know, there s a Superman-like guy, there s a Wonder Woman–like woman, in the same way we had Zeus and Jupiter and we had Aphrodite and everything,” Millar said. “These archetypes have been around for a long time, in a way that other superheroes don t really have. There s a pantheon of gods that the Justice League really feels like [and] that people get.”Of course, testing those archetypes via their children becomes one of the key sources of tension within Jupiter’s Legacy.3. It Challenges a Very Specific Code of Superhero Conduct(Photo by Netflix)Taking their cues from pop culture antecedents like the Justice League, the first generation Union members adhere to a strict code Sheldon Sampson (Utopian s civilian name) put down during their founding nearly a century before the story begins: their powers must always be used to help others, they must never govern over the nation, and they do not kill. The code is rooted in Millar’s appreciate of the American culture he grew up experiencing via imported television, film, and music, but it also sets down three easy-to-understand concepts that, nonetheless, lead to a lot of heartache when one must live by them.Duhamel, as himself, admitted he has some issues with the code, but absolutely agrees with his character that super-powered people should not use their powers to force a role in government.“If you give somebody [that] much power, that s just dangerous. They should just be there to serve,” he said.Nevertheless, the prohibition against killing left Duhamel with more angst because he can see situations where lethal force is understandable. One hypothetical he offered will strike a chord with parents: “If somebody is going to take my son out, I m going to take them out first, no matter what.”Conversations with the writers and producers put him more at ease with Sheldon’s absolutely belief that there is always a better way and, as viewers will see, Sheldon always adheres to the code.(Photo by Marni Grossman/Netflix)Mike Wade, who plays original Union member Fitz Small (aka The Flare), thinks his character’s appreciation of the code changes across the 60 or so years he operates as a superhero.“Fitz, I would say, sees Sheldon as an older brother; somebody that Fitz looks up to. A lot of people look up to Sheldon, he explained. So initially, Fitz felt that [same way about the code as Sheldon], but through battle and through sacrifice, [he] might ve changed and might not feel so strongly about the code like a lot of other people do.”Tenika Davis plays Fitz’s daughter Petra – the new Flare – and represents the younger generation on the issue.“Things like the code have to be amended and changed as things develop and grow,” Davis said. “I think the code is one of those things that is a bit outdated. So we respect it for the foundation it provided, but at the same time we re like, Yeah, it probably needs a few updates.' (Photo by Steve Wilkie/Netflix)And, as viewers will see, there is no easy answer on how to respect the code or augment it to meet the challenges both generations of the Union face in the series.“I think it s such a complex issue,” Leslie Bibb added. Bibb plays Grace Sampson, a hero in her own right — the beloved Lady Liberty — and Utopian’s wife. While both the actress and her character see the code as a way of preventing the supers from becoming judge, jury, and executioner, they also understand why some of the younger generation will chafe against it as they face more powerful and ruthless adversaries.“I don t think it s black and white. I think that that s sort of what Grace s dilemma is [as the story unfolds],” she said. “I think that is a cool thing about the show. It doesn t really give you an answer. It poses these questions and hopefully, you walk away and you start thinking, and maybe it starts a conversation about something bigger.”4. It Is Not Ashamed of Superhero Costumes(Photo by Steve Wilkie/Netflix)Another cool thing about the show: it literally wears the pulpy inspiration of the 1930s and ’40s superheroes on its sleeves. Sure, the younger generation may go for the black leather look of modern heroes, but the original Union members proudly wear garish colors into the 21st century.“When I think about my favorite costume ever, costume design ever, in a movie, I would say it s [from the] 1978 Superman,” Millar said. The suit, designed by Yvonne Blake, highlighted the design worn by the Man of Steel in the comics during the 30 years prior to the film. “She didn t really rethink it. She just thought, ‘What does Superman look like?’ and just made that work in real life. We did the same with this, we made it look like the heroes of that period. So the Golden Age heroes would have looked weird if they d had armor or oddly textured, metallic costumes, he said. They just look like superheroes in the very traditional sense, which I love. Nevertheless, the costumes may look strange to viewers as the program begins, but remember: the first generation Union members still represent a 1930s ideal of superheroes.5. It Will Surprise Readers of the Comic Book(Photo by Netflix)While the series is quite faithful to the comics – and its companion piece, Jupiter’s Circle – it will contain a few surprising changes as it unfolds across its eight episodes. But even before those developments transpire, readers may find they like Sheldon’s brother Walter (Ben Daniels) a lot more than they did in the comics.Although Daniels denied any conscious attempt to bring viewers to the character s side, he definitely wanted to convey “what it was like to have Clint Eastwood as your brother, who sails through life when you find it incredibly difficult.”In both the comic book and the show, Walter tends to be the first to naysay Sheldon – even after they get their powers – but as Daniels saw it, “He feels very downtrodden. He s a highly volatile person and highly sensitive person, and he has trouble regulating those emotions.”And though much of his anxiety melts away after his powers give him an almost universal telepathic range, the scars of his younger days remain.“I don t think it s about making him sympathetic. I think it s about making his actions 100 years later more understandable,” he added.亚博登录地址注册拳头为了让玩家体验一个原汁原味的端游,所以说,英雄的技能没有进行改变,全部都是四个技能,我就这么给大家说吧,这样的话是提升了玩家的操作难度,虽然说比端游已经要简单很多,可是你要明白一点,就是手游当中,如果说频繁使用连招会非常难受。我们可以对比一下王者荣耀当中的英雄,基本上都是三个技能,偶尔出现四个以上技能的英雄,基本上都是叫好不叫座。所以说,英雄联盟的手游,可能也会面临这种问题,最终可能就是平A来输出的英雄更胜一筹。

3. 激战团竞模式
(Photo by (c) Touchstone courtesy Everett Collection)On November 19th, 2004, the world was introduced to National Treasure, a PG-rated yarn about a guy named Benjamin Franklin Gates (Nicolas Cage), his “man in a van” Riley (Justin Bartha), and a sorta-kidnapped archivist named Abigail (Diane Kruger) hunting down a fabled Templar treasure. The 131-minute movie was a wonderful breath of fresh throwback air that was unapologetically dorky, stuffed with earnest “aha” moments, and totally cool with readily available bowls of lemons.The Jon Turtletaub (Cool Runnings, While You Were Sleeping, The Meg)-directed movie made 3 million domestically and 7 million at the worldwide box office (0 and 2 million when accounting for inflation), and in 2007 was followed up by the 1 million dollar-grossing National Treasure: Book of Secrets. Sadly, there was no Ottendorf cipher that led to an intricate map that helped conclude the trilogy when lemon juice was squirted on it. Because of this, we’re left with only two big-budget original movies that countless history teachers undoubtedly show their students when they need a nap.Fifteen years later, National Treasure is still a delight that we’ll watch whenever it’s on (and it’s on all the time), and in honor of its anniversary we’re providing five reasons why it’s so unforgettable.1. IT TELLS AN ORIGINAL, PG-RATED STORY THE WHOLE FAMILY CAN ENJOY(Photo by (c) Touchstone courtesy Everett Collection)When National Treasure was released in late 2004, it pulled in an impressive million in its opening weekend and quickly became Nicolas Cage’s highest domestic-grossing live-action film (until the 2007 sequel). It also received an A- CinemaScore and earned a 76% Audience Score on RT, and it was regarded as a “four quadrant” film that brought in adults, families, couples, and the all-important 18- to 24-year-olds who were drawn in by the treasure hunt plot. Produced by Jerry Bruckheimer (Pirates of the Carribbean: The Curse of the Black Pearl, Con Air), National Treasure went on to lead the box office for three weekends and was the highest-grossing movie for 20 straight days.The fact that a PG-rated Disney movie that wasn’t a sequel, a remake, an animated film, or a theme park ride made 3 million domestically is super impressive. In the 21st century, only a select group of original PG-rated movies, like Night at the Museum, The Greatest Showman, and My Big Fat Greek Wedding, managed to clear the 0 million mark.Critics may not have appreciated it at the time (it s at 46% on the Tomatometer), but parents, teenagers, Nicolas Cage fans, and history buffs showed up in droves to watch a movie that never stopped long enough to get boring, dropped “Weird Al” Yankovic references, and featured characters using smarts and deductive logic to defeat a small army of well-armed but not-too-bright thugs. National Treasure must have seemed like an early Christmas gift for people who wanted to avoid cynical holiday movies like Surviving Christmas and Christmas With the Kranks.2. IT S UNABASHEDLY DORKY AND LOTS OF FUN BECAUSE OF IT(Photo by (c) Touchstone courtesy Everett Collection)National Treasure may not be historically accurate, but its earnest tone and unabashed dorkery made it lots of fun. When Gates says, “I’m going to steal the declaration of independence,” he kicks off a rip-roaring treasure hunt that embraces absurdity and probably made a lot of people think twice about touching certain numbers on keypads (you know the moment). Benjamin Gates is nowhere as cool as Indiana Jones or Lara Croft, and he doesn’t care. He simply wants to fulfill his family legacy, prevent bad guys from getting their hands on ancient treasure, and go on a spending spree at an expensive clothing retailer with money he stole from his father Patrick (an immensely likable Jon Voight).The big thrills don’t come during the chase scenes that feature speeding food trucks, they happen during the goofy mental gymnastics the characters undertake to move from one plot point to the next. One of the best moments occurs when Riley (the ostensible sidekick) recognizes the key to a clue before Gates does; hearing him say “I know something about history that you don t know. Hold on one second; let me just take in this moment,” never ceases to make us smile.And in the end, how do Gates and crew get rid of the baddie Ian Howe (Sean Bean) and his henchmen? They spin a yarn and send them off after a red herring while they locate the real treasure. No punches are thrown, no stuffed bunnies are harmed, and most importantly, there are zero crystal skulls. The nice guys win, the bad guys are eventually arrested, and the gang live happily ever after as millionaires after they share their multi-billion-dollar discovery with the world.3. NICOLAS CAGE’S ENTHUSIASM IS CONTAGIOUS (Photo by (c) Touchstone courtesy Everett Collection)National Treasure and its sequel work because of Nicolas Cage’s enthusiastic portrayal of a treasure hunter who is smarter than everyone else and knows way too much about the security systems at the Library of Congress — and its preservation room. In the beginning of the film, when he finds the Charlotte, a legendary boat in the middle of the arctic (it’s explained brilliantly by Riley), he is momentarily stymied. However, after an intense moment spent talking to himself, he comes to the correct answer (it was iron, it was firm, it was resolved, it is the Declaration of Independence!). Sure, the moment is silly, and yes, those “aha” moments continue to come fast and heavy thereafter. However, with Cage at the forefront, you don’t mind. He makes you feel like the meerschaum pipe he finds inside the Charlotte, for example, is the coolest thing ever, and you legitimately appreciate “the intricacy of the scrollwork on the stem.”Cage still loves the character, and recently on his press tour for Primal, he said he’d love to revisit Ben

4. 呼朋唤友 随心所欲
Here come the Men in Black again. More than 20 years after the MIB franchise began with the 1997 comic book adaptation starring Will Smith and Tommy Lee Jones and and seven years since the release of the previous installment, Men in Black: International arrives with new leads, Tessa Thompson and Chris Hemsworth, and new locations. Will the reboot sequel kick off a new series of movies? Should it? Early reviews ahead of its release indicate the MIB should have stuck with just the original trilogy. It might not be as bad as Men in Black II (or is it?), but there’s apparently just no good reason for it to exist.Here’s what critics are saying about Men in Black International:Is this a worthy resurrection?In a sense, it kind of feels like the perfect sequel to the original Men in Black. It’s an entertaining movie made better by the people in it.  Beth Elderkin, io9[It’s] as much fun as a MIB movie should be but with an international spin and some updated swagger.  Sherin Nicole, idobi.comMen in Black International aims to erase any memory that you’ve seen all this before… the last time was a whole lot better.  Eric Kohn, IndieWireThere’s little here that justifies prolonging a series that should probably have been Neuralyzed a couple of movies ago.  Neil Smith, Total FilmThere’s just no reason why Men in Black needed to be revived here other than it exists in an era of eternal intellectual property revival.  David Crow, Den of GeekNothing in the film felt like a vital piece of the Men in Black puzzle.  Anne Cohen, Refinery29[Continues] the trend of reviving known properties past their expiration date… finding comfort in the familiar rather than creating a bold new vision.  Robert Daniels, 812filmreviews(Photo by Columbia Pictures)So it s just more of the same?More of the same just done with flashier effects. Robert Daniels, 812filmreviewsA bland variation on the same MiB routine…[a] baffling cash grab. Eric Kohn, IndieWireThere are enough new ideas in International to set it apart from previous films in the Men in Black franchise. Molly Freeman, ScreenRantIt doesn t go down the remake route… instead of retreads of scenes from the first movie, there are just nods to the franchise s tropes.  Ian Sandwell, Digital SpyBut it doesn t repeat what actually works in the earlier movies?International manages to fundamentally misunderstand practically everything that made the original film so endearing, and so enduring. Joe Skrebels, IGN MoviesThe Men in Black equivalent of a latter-day Die Hard sequel, a movie that succeeds its predecessors in name only and fundamentally misunderstands what made the original appealing. Todd Gilchrist, NerdistIs it memorable on its own?Instantly forgettable. Audiences may feel as if they’ve been instantly ‘neuralysed’ after watching it, but the experience is fun while it lasts. Geoffrey Macnab, IndependentYou can sit through it without much complaint, but you won’t need neuralysing to forget the whole thing an hour or two later. Tim Robey, Daily TelegraphIt’s an improvement over Men in Black II and Men in Black 3, sequels that even its makers may have forgotten. Michael Phillips, Chicago Tribune(Photo by Columbia Pictures)How is the chemistry between Thompson and Hemsworth?The film lives and dies through Chris Hemsworth and Tessa Thompson’s chemistry… these two must have had a lot of fun on set. Danielle Solzman, Solzy at the MoviesIt helps that [they] already established a kind of playfully combative dynamic in Thor: Ragnarok upon which it’s a pleasure to watch them build here. Peter Debruge, VarietyThe easy rapport is still there… [but] because it s a more by-the-book setup, it s slightly less interesting than the dynamic the actors had as Thor and Valkyrie. Molly Freeman, ScreenRantHemsworth and Thompson mine some easy chemistry, though never nearing the perfect alchemy of Smith and Jones before them. Dan Mecca, The Film StageDoes Tessa Thompson stand out?The best thing about the revamped Men in Black series is actually a woman… this is a fine and unexpected showcase for Thompson, whose poise and composure are notable. Todd McCarthy, Hollywood ReporterThe most satisfying thing about this outlandish extension of the MIB series comes from watching her step up to the challenge of co-headlining a blockbuster. Peter Debruge, VarietyShe’s simply interesting and funny and real, while also floating slightly above each new outsized absurdity… she lightens the load and keeps everything moving efficiently. Michael Phillips, Chicago Tribune(Photo by Columbia Pictures)What about Chris Hemsworth?As he proved in 2016’s Ghostbusters reboot, Hemsworth has a natural comic talent that’s been under-exploited in most of his work. Peter Debruge, VarietyHere’s hoping he continues to play funny. Dan Mecca, The Film StageHemsworth has a little fun in the part, but he’s going at half-speed, like everything else. Roger Moore, Movie NationAgent H is basically Thor in a penguin suit. Eric Kohn, IndieWireHow are the villains?I was in awe every time [Les Twins] were onscreen, and their abilities were used to their fullest potential to make an incredibly vivid visual. Beth Elderkin, io9Instead of being horrified by the nasty new alien adversaries H and M are fighting, we’re left perplexed as to why there have now been three movies this year that feature shapeshifting visitors from imperiled planets. David Crow, Den of GeekRebecca Ferguson s fun cameo makes you wish that her alien arms dealer Riza was the main villain. Ian Sandwell, Digital SpyOf the assorted supporting players, Ferguson does the most, and has the most fun with limited screen time. Todd McCarthy, Hollywood ReporterRebecca Ferguson [is] incredible in this tiny role. Robert Daniels, 812filmreviews(Photo by Columbia Pictures)Is there another standout performance in the movie?The true standout is Kumail Nanjiani, putting in memorable voice work as sidekick Pawny…nearly every joke lands when delivered by the saucy little alien. Dan Mecca, The Film StageNanjiani s Pawny is a fun addition. Molly Freeman, ScreenRantHis one liners and matter-of-fact delivery are quotable and will keep you giggling. Sherin Nicole, idobi.comI liken his role to that of Frank in MIB 2 with the exception being that this is a much better film. Danielle Solzman, Solzy at the MoviesPawny’s the funniest creation in a movie that often doesn’t go far enough with its outlandish parade of bug-eyed creations. Eric Kohn, IndieWireNanjiani s tiny alien friend is cute comic relief, even if he feels like a deus ex-machina in the final act. Anne Cohen, Refinery29Is the movie funny?It’s telling the biggest laugh in the film is a direct reference to Hemsworth’s work as an Avenger. Joe Skrebels, IGN MoviesWhat works is what’s funny. Michael Phillips, Chicago TribuneThe jokes land right where they should. Sherin Nicole, idobi.com(Photo by Columbia Pictures)How are the action and special effects?The fight choreography and action sequences are solid… the alien designs in this movie are fantastic. Beth Elderkin, io9Any set pieces here work best when introducing multitudes of fun creatures as well as showing off top-notch set and prop design. Dan Mecca, The Film StageThe action set pieces are largely forgettable, with the exception of the design and powers of the alien adversaries. Molly Freeman, ScreenRant[F. Gary] Gray doesn’t share Barry Sonnenfeld’s skill for juggling live-action and visual effects… in terms of basic execution, Men in Black: International is a mess. Peter Debruge, VarietyWill we look forward to another installment?I’m already anticipating the next film in the series!… Men in Black: International brings a solid foundation for a new trilogy. Danielle Solzman, Solzy at the MoviesNothing demonstrates such constraints more than the film’s ending, which confusingly features an open-ended scene meant to bridge to another installment. Robert Daniels, 812filmreviewsMen in Black: International opens in theaters June 14, 2019.

5. HD 画质与高品质音讯

6. 团队合作

7. 官方资讯

Version 8.35.52022-01-27

8.23.7 3月喜迎Parasite director Bong Joon-ho s path to Oscar glory began at the Cannes Film Festival last year. (Photo by Dominique Charriau/WireImage)At this stage, the Cannes International Film Festival has been postponed, while Venice and Toronto have yet to make any official call.The unpredictability Fear references makes it all the more challenging for freelancers to determine which films to cater their pitches to for the rest of the year.IndieWire’s Kohn echoed those concerns: “The festival usually would create buzz around a film in part because of the live event of a screening, hearing a crowd react to something, and seeing a Q A. And the kind of word-of-mouth in that very specific environment is something you can t replicate online. For certain films, it s just not going to have the same kind of impact.”At the same time, he sees online festivals as an opportunity for critics to jump on coverage for smaller movies that may have otherwise fallen under the radar at a major festival. “If you re a journalist and you re interested in writing about a movie that was supposed to have a premiere, that coverage has so much more currency than it used to,” Kohn says. “It s actually a real opportunity for people who are looking to cover films.”As President of the Chicago Film Critics Association, Tallerico has first-hand experience of making the call to cancel or delay a festival. “I actually produce a film festival in Chicago called the Chicago Critics Film Festival every May, and [this year] we had to pull the plug, of course,” Tallerico says. “Festivals feed the industry, they feed both industries, the film industry and the journalism industry. It definitely hurts that they re gone.”Today s production shutdowns will impact tomorrow s opportunities for critics and writersWhile film releases have been delayed theatrically or pushed to VOD, the television industry continues to churn out content at the moment. Physical production is universally halted, but episodes and/or seasons produced in advance of COVID-19–related shutdowns are rolling out on broadcast and streaming platforms. (Post-production continues remotely in many cases.)Several editors told us that critics well-versed in film coverage should attempt to exercise their TV-reviewing muscles for the time being. But even the TV and streaming content will slow down at some point.In addition to being an editor at RogerEbert.com, Tallerico freelances and is well-versed in television coverage. He predicts that, come summertime, the content drought will be even more deeply felt. “I think places like Netflix and Hulu and all them are going to empty the hopper and then have nothing to put in there because nothing has been produced,” Tallerico says.In short, some critics anticipate dry spells in content, depending upon how long the need for social distancing persists.Production for The CW s Riverdale was shut down in March after a crew member tested positive for the virus. Later that month, several major networks and upcoming blockbusters also halted production. (Photo by Katie Yu/The CW -- © 2020)Jean Bentley is a freelance television reporter for The Hollywood Reporter and InStyle, and former Assistant TV Editor for Rotten Tomatoes. According to Bentley, it’s “business as usual” for television reporters and critics – right now. “I have not really been impacted as much as reporters who cover film because all of those theatrical releases that have been pushed has not happened with TV,” she says.However, she predicts that, when things go back to normal, production scheduling will present major challenges to creatives who may newly be double-booked.“If someone was supposed to be shooting something now and then, say, production resumes in three months – they were already supposed to be doing something else, so now there s a conflict there that they didn t have before,” Bentley says. “I think it s going to result in more [shows] being canceled or just not picked up. Pilot season essentially got canceled and it doesn t seem like a smart proposition to me personally to do it at all, to be quite honest.”Rolling Stone’s Fear foresees similar challenges for film scheduling, as films whose production was shut down will not be finished in time for their original release deadlines. “There are going to be a bunch of holes that are going to be filled, too, because a film that was supposed to be done with its post-production in April, and then be ready for an August or November or a February slot, is not done,” Fear says.The challenge of tone when circumstances keep changingThere are also more nuanced adjustments required during a global pandemic. It’s not only that schedules are in flux and content is unpredictable, both of which impact print publications acutely because of the rigidness of press deadlines. But there’s also an interpersonal and emotional awareness of the ways that people are coping with the new “normal” in the wake of COVID-19, shelter-in-place, and stay-at-home orders.Bilge Ebiri is a movie critic at Vulture. In addition to producing online content, from reviews to feature stories and essays, Ebiri is involved in the print production for New York Magazine, which operates vulture.com. He spoke to the challenges of preparing print content weeks in advance, when global circumstances are changing by the day.“If you re doing it for online, that s one thing, but a lot of what I try to do is work with the print issue,” Ebiri says. “There is this question, when you re in a situation where every day is worse than the previous day: Where are we going to be two weeks from now? Trying to imagine what life is going to be like two weeks from now is already daunting…. If we have some kind of fun, frivolous, inane kind of thing to take people s minds off, in two weeks, this is going to look totally tone deaf.”Inkoo Kang, TV critic at The Hollywood Reporter, described a similar recognition when speaking of an article that she’d pitched before things really took a turn. “There was a review that I was passionate about, but also knew it was sort of this weird, more personal work – a trends piece, essentially, that I think was something that I knew was a little bit more on the frivolous side,” Kang says. “Then suddenly, it seems so incredibly stupid, because it just did not feel like it mattered, compared to everything else that was happening.”She adds: “It was just one of those things where, I don t know, 48 weeks out of the year, this could have been a viable thing to do a commentary piece about. Now people are dying, and the economy is in the toilet. It just did not feel like it mattered on any level.”
Netflix, Black Lives MatterThe original Netflix content debuting in February alone — Malcolm Marie, mother-daughter dramedy Ginny Georgia, the second season of Tiffany Haddish s stand-up comedy showcase They Ready — is worth a look, but then there are the dozens of the streaming service s features and series available to watch (Orange Is the New Black, Dear White People, When They See Us, 13th, Quincy, Da 5 Bloods, #blackAF, Beyonce s Homecoming), plus currently streaming titles like Moonlight, Fruitvale Station, and CW drama All American.Amazon Prime Video, Amplify Black VoicesAmazon’s curated page will feature collections according to three major themes: Black Joy in week 1, Black Love in week 2, Black History Makers in week 3 and Black Girl Magic in week 4, and all of the titles will celebrate the voices of Black actors, producers, writers, and filmmakers. Recent original titles include Steve McQueen’s Small Axe anthology, Tessa Thompson in Sylvie’s Love, and Regina King’s One Night in Miami. Check out films from King’s own recommended watchlist, which includes Blindspotting, If Beale Street Could Talk, Poetic Justice, Selma, and The Color Purple. Amazon also offers classics like Coming to America, Soul Food, and more.HBO Max, Black History Is Our HistoryThe Warner Bros.–backed streaming service is offering hours of curated programming — including films, documentaries, biopics, original programming, and animation that focus on the Black experience — via a central programming hub. Watch celebrated documentaries like John Lewis: Good Trouble or Say Her Name: The Life And Death of Sandra Bland and original programming like Charm City Kings, Lovecraft Country, Watchmen, A Black Lady Sketch Show, and Euphoria. Check back throughout the month for new adds, including Chewing Gum, Drumline, Love Basketball, and Training Day, which will all join the streaming service in February.Hulu, Celebrating Black StoriesHulu promises a not-just-for-February collection of inspiring Black artists, talent, voices, and visionaries. A series hosted by Craig Robinson, Your Attention Please introduces the audience to Black makers, thinkers, creators, and doers who are shaping the future of Black history, and they ll be able to peruse hubs for documentaries and biopics, popular TV shows starring Black leads, and content from the minds of Black creatives. Highlights include films like Sorry to Bother You and Ali, sketch comedy series like Sherman s Showcase and Key Peele, sitcoms like Living Single and black-ish, dramas like Underground and Little Fires Everywhere, and more.FEBRUARY CALENDAR

Best-Reviewed Dramas 2018No drama is purely a drama there are always other themes floating around  and this year s best-reviewed films in the category tackle a variety of issues, in a variety of different ways, to tell their stories. The year s top film is no exception: Spike Lee took a remarkable true story with sociopolitical implications that ring true even today, and earned some of the best reviews he s gotten in decades with BlacKkKlansman.The order of the rank below reflects the Adjusted Score as of December 31, 2018. Scores might change over time.« Previous Category Next Category »
We have been busy at Rotten Tomatoes these last two months recommending tons of movies and TV series to watch during quarantine (you can find a ton of lists here). But sometimes you re not in a position, or mood, to plonk yourself down in front of a screen. Perhaps you re working, or gardening, or cooking, or exercising, or hiding in a closet for a few minutes of peace and quiet away from your kids/pupils/audience. Either way: tough to follow the twists and turns of Ozark as you do that. To help in these moments – and to generally keep you sane and healthy as we endure our collective cabin fever – the RT staff curated a list of 15 scores to pair with different parts of your quarantine life. Looking for something to push you through that last set of burpees? We have an orchestral doozy for you. Got a swoony Zoom date? Try something with French flavors. Want a new soundtrack to your Animal Crossing hours? Daft Punk is here to help.What movie music are you listening to at home? Let us know in the comments. Gattaca (1997) 83%(Photo by © Columbia/courtesy Everett Collection)Composer: Michael NymanThere are moments in Gattaca where nothing much is happening on-screen, but the rich Michael Nyman score is going in hard. In my early Gattaca-watching career (I ve seen the movie eight or nine times now), I thought this was faulty, like the music was overcompensating. Plainly, this was a bad take. The music is devastatingly romantic. And not just how it informs the relationship between Jerome and Irene (Ethan Hawke, Uma Thurman), but also Jerome s love for himself, to believe he is capable of something far beyond his cursed birthright. These times ask us to search for this kind of inner strength, to navigate daily life s new chaos, and carry a torch of hope for the not-too-distant-future. Gattaca s soundtrack, culminating in the impossible beauty of The Arrival, is the music of that guiding light.Listen when: Working from home – this s t is motivating! – but only if you like your job, and you re not on a call. – Alex Vo, EditorRomeo and Juliet (1968) 95%(Photo by Courtesy Everett Collection)Composer: Nino RotaItalian composer Nino Rota has quite the résumé: La Dolce Vita, 8 1/2, and, of course, the first two Godfather films, both of which earned him Oscar nominations, and the second of which got him a win. My personal favorite, though, is his score for Franco Zeffirelli’s 1968 version of Romeo and Juliet, starring Leonard Whiting and Olivia Hussey. Maybe it takes me back to the high school English class in which I first saw the film, but there’s something about Rota’s love theme – a little trepidatious at first before a rousing strings-led swell, all laced with a certain feeling it’s not going to turn out well – that helps me focus when editing or reading. Be warned though: The score’s final tracks, which accompany the tragic finale on screen, are intense. Skip those, re-start from the beginning, and pretend the young lovers had a dagger-less ending.Listen when: You’ve carved out some time in your day to read (and have got your looking interested photo programmed to your Zoom feed). – Joel Meares, Editor-in-ChiefAnatomy of a Murder (1959) 100%(Photo by Courtesy the Everett Collection )Composers: Duke Ellington, Billy StrayhornThere are several reasons why Otto Preminger s Anatomy of a Murder is one of the greatest courtroom dramas ever, but it s arguably best remembered for its striking opening title sequence by Saul Bass and its incredible soundtrack, composed by none other than jazz legend Duke Ellington and his longtime collaborator Billy Strayhorn. Together, Ellington and Strayhorn put together a complete musical package that was alternately sultry ( Flirtibird ), playful ( Happy Anatomy ), melancholic ( Almost Cried ), and mysterious ( Midnight Indigo ), and it all still feels fresh and alive today. Of course, the most memorable song is probably the Main Title theme that accompanies Bass opening credits, but the whole score just drips with style. It s also worth noting that it was not only one of the first soundtracks entirely scored by jazz musicians, but also the first one for a major Hollywood film that was created by an African-American composer. Movie soundtrack or not, it s a masterpiece.Listen when: You re feeling fancy and having a glass of wine in a bubble bath. – Ryan Fujitani, Snr. EditorThe Handmaiden (2016) 95%(Photo by © Amazon Studios /Courtesy Everett Collection)Composer: Jo Yeong-wookThe Handmaiden, like so many others, is the type of film that Bong Joon-ho spoke of when he urged English-speaking audiences to hurdle over the one-inch barrier of subtitles during one of his acceptance speeches last year for Parasite. The Korean- and Japanese-language film, which was not selected for Best International Film in 2016, sadly never reached a wide audience and was instead relegated to join other underrated/unknown non-English gems (most of which are available to stream – so get busy). Due to its under-the-radar status, many not only missed the seductive romance-thriller director Park Chan-wook weaved, but also the humorous and erotic score that plays throughout most of the film. The music, like the film it plays beneath, is surprising and genre-defying, mixing dark themes employing strings, clarinets, and harps with romantic melodies.Listen when: You re scrolling through exotic locales, dreaming of the day you can travel to distant lands once again. – Jacqueline Coley, EditorDrive (2011) 93%(Photo by Richard Foreman Jr/©FilmDistric/Courtesy Everett Collection)Composer: Cliff MartinezYou can split Drive s original Cliff Martinez soundtrack into three categories: Pensive, ethereal, and fittingly, driving. Kick Your Teeth and Skull Crushing are among the pensive songs, and they suggest a shadow looming high over your shoulders, like a clockwork beast wound up to strike. The ethereal songs make you feel like you re drifting through a hazy dream, and have incongruous names like They Broke His Pelvis and Wrong Floor. These two moods converge in the driving songs ( Rubber Head, Where s the Deluxe Version?, Hammer ) that speak to those luxuriating in their delusional power fantasies and modern fairy tales. And, in this world, who can blame them?Listen when: You re out for a sanctioned late-night drive, on the route with the most lights. – VoToy Story (1995) 100% and Toy Story 2 (1999) 100%(Photo by © Walt Disney Studios Motion Pictures, © Pixar)Composer: Randy NewmanOver four films, the themes and movements of Randy Newman’s Toy Story scores have become as familiar to many ’90s kids as “The I
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游戏时长 67分钟

Fargo creator Noah Hawley brought a unique TV universe to life over the course of the show s first three seasons.  The anthology series, which was inspired by the Coen brothers movie of the same name, has set out to explore the good, the evil, and all the quirky tidbits in between. It gave us a cavalcade of memorable characters — from Molly Solverson (Allison Tolman) and her father Lou (Patrick Wilson) to Lorne Malvo (Billy Bob Thornton) and Floyd Gerhardt (Jean Smart), and much, much more — and ventured into the disturbing and surprising facets of the Midwest criminal underworld.The new story finds the show embedded in a 1950s war between Irish and Black gangs, dipping into references to Coen brothers classics like Miller s Crossing and Barton Fink. The ensemble cast includes Chris Rock as Loy Cannon, Jessie Buckley as Oraetta Mayflower, Timothy Olyphant as Dick Deafy Wickware, Glynn Turman as Doctor Senator, Jason Schwartzman as Josto Fadda, and Ben Whishaw as Rabbi Milligan, and gives a varied heft to the new installment, which is a period piece that feels specific to the era while it explores themes of race, gender, and the out-of-reach concept of The American Dream that will surely resonate with today s audiences.Season 4 of the hit FX series returns on Sunday, September 27. How will these new episodes compare to the show s previous seasons on the Tomatometer? Season 1 is currently Certified Fresh at 97%, season 2 holds a whopping 100%, and season 3 is Certified Fresh as well, with a 93% score on the Tomatometer. Here’s what the critics are saying about season 4 of Fargo.HOW IS CHRIS ROCK S PERFORMANCE?(Photo by Matthias Clamer/FX)The stand-up comic is still a bit stilted in scenes requiring more casual conversation, but as the pressure builds and fury mounts, Rock turns Loy into a potent force. — Ben Travers, IndiewirePerhaps the biggest part of what keeps this season of Fargo from achieving the heights of its early seasons is Chris Rock s Loy Cannon. It s not a surprise that Chris Rock, one of the most talented comedians ever, is capable of giving a solid dramatic performance. But it is odd that he s so serious to the point that it doesn t seem like he s having any fun — especially since part of what makes him such an incredible comedic performer is the sense that he s always enjoying himself — and when so many of the actors around him, particularly Timothy Olyphant and Jason Schwartzman, are clearly having a ball. — Liam Mathews, TV GuideHOW IS THE REST OF THE CAST?(Photo by Elizabeth Morris/FX)Jason Schwartzman is also someone who doesn’t often play the heavy (with the obvious exception of Scott Pilgrim vs. the World, of course) and he really steps up here as Josto Fadda. Though when it comes to chameleons, no one has Ben Whishaw beat as Rabbi Milligan, a soldier out of place in the Fadda family, one who’s perhaps one of the most fully defined male characters of the series. Meanwhile, new-to-Americans Gommorah star Salvatore Esposito makes a big but broad impression as the ruthless, Italian-speaking brother of Josto, while Glynn Turman is here to remind us all why he’s a legend of stage and screen. — Liz Shannon Miller, ColliderJessie Buckley’s nurse character, Oraetta Mayflower, is a fascinating creature, a well-spoken professional who throws around words and is hiding something diabolical behind them. There’s an unrepentant outlaw named Swanee Capps who has a foul mouth and a cowboy hat and a heap of quickly developing problems. Salvatore Esposito’s Gaetano Fadda is a huge ball of chaotic dangerous energy, bringing an almost silent-film-era level of physicality to the screen, all bulging eyes and overly expressive movements and just the general vibe that he might literally or metaphorically explode at any moment. I love him. I can’t wait for the rest of you to meet him. — Brian Grubb, UPROXXTHE WRITING NEEDS IMPROVEMENT(Photo by Matthias Clamer/FX)This season, Hawley aims for a macrocosmic perspective on the American experience: Immigrants and their children, slaves and their descendants. Whatever his honorable intentions, that all comes off as the TV writing equivalent of a kid driving dad’s car without realizing cars have brakes. All the details are wrong in every direction, either over the top or unbelievably absent. — Darren Franich, EWFargo has lost its footing in Season 4, succumbing to stylization and caricature and gratuitous over-plotting, and effectively wasting a tremendous cast. We’re left with a weak story and a few banal monologues about race, money, and Life In America. But the nice thing about an anthology series is that once a season is over, it’s really over. Snow melts, seasons change, and this show has earned some generosity … or at least the gift of a short memory. — Shane Ryan, Paste MagazineWITH SO MANY CHARACTERS, THE DEVELOPMENT IS LACKING (Photo by Elizabeth Morris/FX)By the season’s halfway point, there are so many characters and plot threads running that the show gets a little unwieldy, but the way that Fargo established itself as its own entity separate from the movie was thanks to Hawley’s ambition. Better for him to be reaching for something new than just falling back on what worked in the past.— Josh Bell, CBRMany of these characters are dialed up to 11, with the performers going all-in, some of them practically screaming their lines. Most of these characters don’t work, either. Crutchfield’s performance as the teen girl is strong, but the character feels completely out of place. And Olyphant is leaning way too hard on his character’s aloofness. He looks like he’s having fun, though, so that’s something. — Chris Evangelista, SlashfilmFINAL THOUGHTS?I m such an appreciator of the show s eccentric style and rhythms that I m overjoyed to have Fargo back; even when it isn t peak Fargo and despite being weighted down by ambitions that aren t fully realized thus far, there are sweeping swathes of greatness here. — Daniel Fienberg, Hollywood ReporterBut an average season of Fargo is better than the best season of many other series. If it s less worth the long wait, Fargo is at least very welcome to the party now that it s finally arrived. — Kelly Lawler, USA TodayLike America itself, Fargo is a dizzying, delightful swirl of influences. And this move away from the series’ familiar Minnesota home turf is mostly a rollicking success. After all, there’s plenty of snow — and blood — to be found in a Kansas City winter, too. — Alan Sepinwall, Rolling Stone

游戏时长 2.5小时

Ghcxuf Another Disney animated feature has been reimagined in live-action form: Mulan revisits the studio’s 1998 version of a Chinese legend about a young woman posing as a young man in order to join her nation’s war against invaders. The new movie, which is going straight to Disney+, is mostly worth seeing for its visuals alone, according to the first batch of reviews. Critics are mixed on whether it’s a great adaptation, let alone better than the original, and there are disagreements on the performances, but most reviews praise the cinematography, the martial arts choreography, and the direction from Niki Caro.Here’s what critics are saying about Mulan:Is this one of the better Disney remakes?Mulan is the best of the live-action remakes so far.  Kaitlyn Booth, Bleeding Cool[It] knocks previous remakes of beloved Disney animated classics off their magic carpets…. thus far, Mulan is simply the best.  Nancy Wang Yuen, io9Easily one of Disney’s best live-action adaptations of their own animated catalog that unquestionably justifies its existence.  Rodrigo Perez, The PlaylistIt’s easily one of their most accomplished and affecting efforts to date.  Rob Hunter, Film School RejectsDoes it improve on the original?Unlike so many of these re-imaginings from Disney, nearly every aspect of this live-action rendition is an enhancement from its predecessor. Don Shanahan, 25YLI’ll admit I like this version of Mulan more than the cartoon one. There’s no silly talking animal sidekicks or concessions to a kiddie audience. Christopher Lloyd, The Film YapMulan manages to stand apart as its own thing. However, it still lacks a bit of the spirit that made the original film special. Adriana Gomez-Weston, The Cinema SoloistWith a longer run time and facing challenges in the storyline’s delivery, it feels a little like a dulled facsimile of a crisp original. Courtney Howard, Fresh Fiction(Photo by Jasin Boland/© 2020 Disney Enterprises, Inc. All Rights Reserved.)Will fans be upset about the changes?Characters recite entire lyrics in scenes from which songs have been removed. While those lines might sound natural when sung, they’re clunky when spoken. Karen Han, PolygonI had no realization of how much those catchy tunes were deeply rooted in character development and story building until they were erased. Christie Cronan, Raising Whasians[It’s] a bit of a shame, frankly: The stiffly earnest script could have used a little more showbiz pizzazz. Justin Chang, NPRYou can t say it s not trying to do something new. And some of what it s doing works quite well. Angie Han, MashableHow is the humor?Humor was such an intricate part of the animated movie… but there was not one moment where I laughed in this film. Christie Cronan, Raising WhasiansNone of the few comedic beats work. The action is so cartoonish that a bit of humor would’ve gone a long way. Rendy Jones, Rendy ReviewsMulan is serious verging on dour, so bent on presenting itself as a serious war drama that its rare moments of comedy feel almost awkwardly slotted in. Hoai-Tran Bui, SlashfilmWhat about the action?Mulan is a film bolstered by a series of jaw-dropping, wuxia-inflected fighting sequences that are genuinely thrilling… a true action epic. Kate Erbland, IndieWireSome of the early wire-work seems a bit janky, but like Mulan herself, it finds its footing in battle and thrilling action set-pieces. Rob Hunter, Film School RejectsThe wuxia-inspired action sequences are unlike anything we ve seen in other Disney blockbusters, and add a touch of unpredictability to an otherwise staid picture. Angie Han, MashableToo much parkour-type stuff for my taste, but I’m impressed by the sheer scale of the choreography and pageantry, which is positively Kurosawa-esque at times. Christopher Lloyd, The Film Yap(Photo by Jasin Boland/© 2020 Disney Enterprises, Inc. All Rights Reserved.)So it s a visual treat?Mulan is never not a delight for the eyes — it wouldn’t even occur to the film to stop stunning. Inkoo Kang, Hollywood ReporterFrom start to finish, Mulan is a visual feast. One of the most stunningly crafted films this year… no expense was spared in the visual impact of the film. Adriana Gomez-Weston, The Cinema SoloistThe filmmakers utilize stunning exterior locations and fill them with grand battles and expertly staged fight sequences, turning to CGI as tasteful embellishments rather than relying on them. Edwin Arnaudin, Asheville MoviesI cannot get over how all of these stunning visuals included 100% real Asian represented people on screen.. it’s a childhood dream come true. Christie Cronan, Raising WhasiansIf there’s any saving grace, it’s Caro’s direction, which binds together a disjointed script into one gorgeous spectacle of a film. Hoai-Tran Bui, SlashfilmHow is Liu Yifei in the lead?Liu Yifei truly shines as the iconic titular character… she’s a talented actress who carries the film with grace and resilience. She’s also super badass. Rendy Jones, Rendy ReviewsLiu Yifei is superb as Mulan… it s now impossible to imagine anyone else managing to do better with this role. Josh Wilding, ComicBookMovie.comLiu distinctively brings out her tough character’s subtle, softer notes of grace, gumption and vulnerability. She’s a magnetic dynamo with impressive dexterity. Courtney Howard, Fresh FictionLiu has enough charisma for a lead performance, but the script gives her no depth and no meaningful relationships to work with. Inkoo Kang, Hollywood ReporterLiu’s performance is a bit flat and emotionally vacant. Christopher Lloyd, The Film YapHer performance doesn’t offer any of the internality that is required to convey Mulan’s greatest conflict: her turmoil at not being true. Hoai-Tran Bui, Slashfilm(Photo by © 2020 Disney Enterprises, Inc. All Rights Reserved.)And the villains?Lee and Gong Li are the stand-outs in the cast. But then, villains are always more fun. Roger Moore, Movie NationThe weak point, unfortunately, is Jason Scott Lee s big bad, Bori Khan. He s just a bad guy, with somewhat underwhelming and basic motivations, nothing that really makes him stand out. Josh Wilding, ComicBookMovie.comSplitting the villain in two complicates matters further as both need motives… neither improves upon Shan Yu’s desire to take the Emperor’s throne in the 1998 version. Michael J. Casey, Boulder WeeklyIs Gong Li s character a worthy addition?She is an addition that enhances the movie… her powers are very well presented on screen, and she is a lot of fun to watch. Kaitlyn Booth, Bleeding CoolHer tenuous physical and psychological struggles to assert her independence from a maniacal tyrant are far more fascinating than seeing the protagonist who’s 😈😈


亚博登录地址注册 The Film Has A Vintage Look(Photo by @ Warner Bros. Pictures)From the first second, the teaser shows that Joker will look different. The glossier color grading of films like Aquaman and the animated quality of Batman v. Superman: Dawn of Justice have been replaced with an older aesthetic derived from the stripped-down crime dramas the studio produced in the 1970s. While still cleaner than Taxi Driver or Serpico, it is clear Phillips wants to invoke the rundown feel of New York captured in those films for his vision of Gotham City.Of course, those WB-produced films achieved that look by simply going on location and shooting a city in decline, so Joker’s rundown Gotham will look a little artificial. Nonetheless, it still has a sense of place with real exteriors and a mundane-looking Arkham Asylum. While the Dark Knight trilogy tried the stripped-down approach, it never aimed for the 1970s level of grit seen Joker s subways and alleys. It definitely sets the film apart from Joker’s other cinematic appearances.Joaquin Phoenix Transforms Into A Classical Joker(Photo by @ Warner Bros. Pictures)Reportedly, Phoenix lost 50 lbs. for the role. And as seen in certain shots of his back, the transformation is startling. A wiry Joker is not a new idea. That rendition of the character is all over the Batman: Arkham video game series and is a constant design choice in the comics with artists like Jim Aparo and Brian Bolland giving him impossible proportions. But in getting into this “fighting weight,” Phoenix’s whole face takes on the angular visage that artists in comics, animation, and games have been giving the character for decades.It is probably why he so instantly looked the part in those early costume tests the studio released.Of course, lanky proportions are not required when bringing the character to the screen as Cesar Romero, Jack Nicholson, and Heath Ledger proved. And once you add the suit into the mix, the actor’s dedication to a skinny body gets lost under layers of clothing. Nonetheless, Phoenix’s commitment to changing himself into that classic Joker body is commendable. At the same time, we hope he s enjoyed a good meal or two since production wrapped.Arthur Fleck Is Sympathetic(Photo by Warner Bros. Pictures)As the landmark graphic novel The Killing Joke by Alan Moore and Bolland established, the Joker is unknowable — even to himself. Part of what makes him Batman s nemesis is the lack of a simple motivation or even a genuine history. In the 1989 Batman, the character receives an origin as a Gotham City mob enforcer who only turns to theatrics when his boss betrays him and Batman lets him fall into a vat of chemicals. In The Dark Knight, he arrives in town fully formed, but we learn almost nothing about him. This approach was lauded because it skews so close to the comics: the Joker is a force of nature.But now we have Arthur Fleck.In one of the most critical departures from the established comic book canon, Joker sets out to give him a relatable and concrete history. He’s a failed comedian, down on his luck and, as the shot of his notebook reveals, suffering from some sort of mental illness.We also see him being good to his mother, Penny (Frances Conroy), and having a genuine moment with Zazie Beetz’s Sophie. Also, we witness him getting kicked to the curb a lot by Gotham scum of both the blue- and white-collar varieties. The end result is a Joker who is knowable and, ultimately, relatable. He has to be if he is the protagonist of the story. But in doing so, the movie opens up the possibility of the character being viewed as a hero, a thematic choice it must apply carefully and consciously position for its tragic consequences.Thomas Wayne Is A Loudmouth(Photo by @ Warner Bros. Pictures)At one point, rumors surfaced indicating that Alec Baldwin would play a version of Thomas Wayne more akin to a certain publicity-hungry 1980s land developer than the caring patron of the city we usually see. Considering Baldwin is known for playing a parody of that land developer, the casting suggested the film might have a broader tone than the one we are seeing in the teaser.And to that end, the preview offers a glimpse of Thomas Wayne. Played by The Dark Knight Rises veteran Brett Cullen, we see Bruce’s father is more than happy to appear on TV and decry the latest string of Gotham City calamities. Of course, his key statement — “What kind of coward would do so something that cold-blooded? Someone who hides behind a mask.” — is an obvious joke about the Batman, but the overall context of his morning talk show appearance is clear.But it is also clear Wayne will be a little more nuanced than the broad caricature some may have expected during Baldwin’s very brief association with the project. In fact, the tone of the film as presented in the teaser is a far cry from anything one might have expected from The Hangover director Phillips. The apparent seriousness on display, ironically, makes it all the more compelling.It Is A Love Letter To The King Of Comedy(Photo by @ Warner Bros. Pictures)At the same time, Phillips is not forgetting his comedy roots. In fact, the film seems to derive a lot of its soul from Martin Scorsese’s 1982 film, The King of Comedy. In it, Robert De Niro plays a sad-sack, failed comedian whose obsession with a Johnny Carson-esque late-night talk show host (Jerry Lewis) leads to kidnapping and, surprisingly, the character’s best chance at stardom.De Niro’s one appearance in the teaser in front of a multi-colored curtain — a la Carson’s monologue backdrop in the 1970s and early 1980s — invokes the look and tone of King of Comedy. The parallel is pointed and no doubt one of the film’s early selling points. Getting De Niro to essentially play the Lewis role gives the film a very different association from its comic-book trappings.Also consider the banner for Charlie Chaplin’s Modern Times seen in the trailer. That film is a comedy classic with a number of pointed comments about the workaday world crushing the little guy. Sure, Joker is still a comic book movie, but it is pulling ideas and influences from a wide array of sources.The fact most of these sources are ultimately owned by WarnerMedia may even be a joke in itself.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.Joker is in theaters October 4, 2019

·游戏同样是以良垣、良又两兄妹下山打探消息为开端,引出虎啸堂被灭门、百里登风勇救甲轩等经典剧情,当中还穿插了不少手游独家剧情哦!想要更加了解御灵团、了解各个配角的故事,就千万不要错过啦!(慧子才不会说自己是是个配角控呢!) Best-Reviewed Action Adventure Movies 2020A revisionist romp through Victorian England awaits adventurous movie thrill-seekers in Enola Holmes, which fashions young star Millie Bobby Brown, a budding sleuth hot in the footsteps of her famous older brother. Then, the military movie canon gets another medal with The Outpost, depicting the most brutal American conflict out of the Afghanistan War. Tom Hanks Greyhound is nearby in the wings, though its presentation of the war movie is in a more decidedly classical mode. Meanwhile, the post-apocalypse is still going strong in Love and Monsters, and the surprise hit Bad Boys For Life is the best kind of action movie throwback.The order of the rank below reflects the Adjusted Score as of February 28, 2021. Scores might change over time.« Previous Category Next Category »

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