Pixar’s latest, Soul, is heading to the streaming service Disney+ on Christmas Day, but the animated feature just premiered for its first audience at the London Film Festival, and the first reactions out of that social-distancing screening are unsurprisingly positive. Initial reviews aren’t in total agreement, however, on whether Soul is great or just pretty good.Directed by Up and Inside Out helmer Pete Docter, the movie is being praised for its visuals, soundtrack, and representation more than its storytelling, which follows a Black jazz musician (voiced by Jamie Foxx) prematurely experiencing an abstractly rendered afterlife and teaming up with another character (Tina Fey) who isn’t ready to move on to their next realm. Even if it’s not peak Pixar, we can apparently still expect better than much of the studio’s output, as well as most any other films out this year.Here’s what critics are saying about Soul:How does it rank as a Pixar movie?It’s one of the very best Pixar efforts in years. Kaleem Aftab, IndieWireTheir latest original story is their best work since 2015’s Inside Out. Hannah Woodhead, Little White LiesPerhaps the most ambitious film ever attempted by Pixar. Jason Solomons, The WrapIt’s a little Pixar-lite… For such big ideas, it’s surprisingly slight. Alex Godfrey, Empire MagazineWhat would have been one of Pixar’s best films had it been released a decade earlier now feels like one of their more formulaic efforts… Soul is a mid tier Pixar effort. Alistair Ryder, AwardsWatchDoes it feel related to any specific predecessor?Certainly, it will feel recognizable to those who have seen Docter’s prior film, Inside Out, and [it] may, indeed, be some kind of spiritual continuation. Joe Utichi, DeadlineIn many ways, Soul is an extension of his prior film [Inside Out], a similar examination of self doubt and existential insecurity. Alistair Ryder, AwardsWatchWhile Coco may have tread some of this turf first, Pixar’s latest life-after-death saga has its own distinctive twist. Kaleem Aftab, IndieWireIf Coco dealt with The Great Beyond and letting go, Soul is about grabbing what you’ve got with both hands and celebrating the joy of being alive. Hannah Woodhead, Little White LiesRyan FujitaniWill kids appreciate it?Although there’s plenty for kids to enjoy this feels like the most adult-themed Pixar movie yet. James Mottram, South China Morning PostSoul feels more consciously geared towards an older audience, which makes sense considering most of the children who grew up with Pixar’s earliest films are now in their thirties and forties. Hannah Woodhead, Little White LiesWhile this picture might skew towards a slightly older audience than Pixar’s usual demographic, a whole new generation of junior jazz fans could be created. Wendy Ide, Screen InternationalThis is a cartoon for children of all ages. Jason Solomons, The WrapShould we bring tissues?Adults will sob until their muscles ache. Clarisse Loughrey, IndependentThere won t be a dry eye in your living room and when you ve recovered from that, Soul hits you with a perfect final line that ll set you off again. Ian Sandwell, Digital SpyIt’s the emotion that overwhelms. Soul will leave you feeling warm – both inside and out. James Mottram, South China Morning PostIt remains a film with a deeply emotional core… In short, it has soul. Joe Utichi, DeadlineThe stakes seem strangely low, all things considered, without the big weepy gut punches you might hope for, certainly of the potency that Docter unleashed in Up and Inside Out. Alex Godfrey, Empire MagazineSoul lacks its promise of true heart-wrench and touch, the shredding of one’s heart isn’t there. Ben Rolph, Discussing Film(Photo by Pixar)How does the film look?The hand animation — fluttering, graceful, lightning-fast — will be studied by students of the medium with awe in years to come. Leslie Felperin, Hollywood ReporterThe animation – whether it’s the bustle of New York or the pastel-shaded celestial afterlife – is stunning. James Mottram, South China Morning PostSoul might be Pixar’s most exquisitely lit film – cinematographers Matt Aspbury and Ian Megibben fill both worlds with textures to die for. Alex Godfrey, Empire MagazineThe juxtaposition of the two art styles helps to distinguish the places in which the narrative shifts from one mode to the next… It provides a beautiful roadmap with which to navigate the mess. Liam Macleod, HeyUGuysDoes it do justice to the Big Apple?This New York is just a notch away from reality, and so authentically, lovingly executed, you can feel it. It’s all gloriously lived-in, which is fitting for a film that’s an ode to life. Alex Godfrey, Empire MagazineNew York has never looked as pretty as it does in the Pixar universe. Hannah Woodhead, Little White Lies(Photo by Pixar)And how about representation?Joe’s blackness isn’t relegated to a side issue; it’s baked into the essence of the character, and treated as a crucial aspect of his humanity. Kaleem Aftab, IndieWireSoul manages to avoid feeling tokenistic or patronizing… Racial identity isn t really the point; in the end, it s a movie more about jazz and spiritual essence — soul, if you will, in every sense of the word. Leslie Felperin, Hollywood ReporterHow s the music?With music at its core, it’s no surprise that the soundtrack is one of the company’s best… A dizzying combination of musical identities that underscore the movie’s layered trajectory. Kaleem Aftab, IndieWirePossibly the best soundtrack in a Pixar film since the first Toy Story. Leslie Felperin, Hollywood ReporterAnd the story?Soul manages to juggle the surreal humor of Inside Out in tandem with its most grounded, socially-conscious narrative ever, and it’s a real wonder to watch those ingredients congeal. Kaleem Aftab, IndieWireOnly in the final stages do the knots of plot complexity get the better of the characters, but audiences will have been well won over by then. Jason Solomons, The WrapThere is nothing in Soul that feels particularly original… with the story feeling cobbled together by an algorithm that’s been fed all of Pixar’s greatest hits. Alistair Ryder, AwardsWatchAfter its incredible first act, things start to stall in the second act after a critical story point. Ian Sandwell, Digital SpySmacking all of [the plot elements] together robs the film of any sense of thematic or tonal cohesion and constantly breaks the flow. Liam Macleod, HeyUGuys(Photo by Pixar)Are there any other problems?Some of the comedy leans towards the clumsy and juvenile and the lines between life and death seem to fall apart at the end, even outside of interventions from cosmic beings. Liam Macleod, HeyUGuysI felt some residual disappointment, a lingering tinge of regret that it doesn’t have the courage of all its convictions… What’s missing at the end, is a bit of soul. Jason Solomons, The WrapWill it satisfy viewers as a Disney+ release?The Disney+ move automatically makes it the best Disney+ movie yet – although you will wish you d seen it on the big screen. Ian Sandwell, Digital SpyWhat a pity for those living in regions where Soul will launch on streaming service Disney+ rather than in cinemas, where it truly belongs. James Mottram, South China Morning PostA pity, as it s a work that especially benefits from a theatrical-sized screen and a top-of-the-range sound system; immersion into its world is vital to the film s impact. Leslie Felperin, Hollywood ReporterSome of the gorgeous splendor of the computer-generated animation is bound to be lost on smaller screens. Jason Solomons, The WrapThis is a picture which cries out to be seen on the big screen. Wendy Ide, Screen InternationalSoul will debut on Disney+ on December 25, 2020.On an Apple device? Follow Rotten Tomatoes on Apple News. (Photo by HBO)One of the top-scoring series of the past year, Coel’s remarkable look at the trauma of sexual assault was lauded as a favorite for nomination in the categories of Best Performance By An Actress In A Limited Series, Anthology Series or a Motion Picture Made for Television and Best Television Limited Series, Anthology Series or Motion Picture Made for Television — the actress-director for her role perhaps more so than the series overall. The Certified Fresh series, which currently has a 98% score on the Tomatometer, lost its spot to fellow HBO limited series The Undoing, which is Certified Fresh at 78%. Not that the nominations of The Undoing and its star Nicole Kidman were exactly a surprise, but Coel’s achievement with I May Destroy You was infinitely more deserving.SURPRISE: Bryan Cranston and Jeff Daniels for Limited Series Best Actor(Photo by Skip Bolen/Showtime)On one hand, it s no surprise that the HFPA likes to honor actors they ve recognized before, and Cranston (Your Honor) and Daniels (The Comey Rule) certainly fit the bill. This is Cranston s eighth nod (with one win) and Daniels fifth. But on the other hand, the shows they re being recognized for aren t necessarily the most critically hailed projects either has been in. Your Honor is Rotten at 44%, and miniseries The Comey Rule is Fresh at just 68%, missing the bar set for Certified Fresh designation. Cranston and Daniels are both masters of their craft, of course, but were they the best of this particular year? Normal People’s Paul Mescal and Fargo’s Chris Rock are right there, people.SNUB:
手游在发展壮大，不断挤压端游的生存环境，但端游也并非被动挨打，凭借着玩法上的深挖与内容上的突破努力还击。至于手游何时才能“掐死”端游这个问题，我想也只有时间能给我们一个答案。亚美体育官方入口It feels as though the character Batwoman has been on TV for a while — what with her splashing around in summer 2018 headlines and making a special appearance in last year’s Arrowverse “Elseworlds” crossover — but the debut episode of The CW s Batwoman will be the real beginning of Kate Kane s (Ruby Rose) television journey.You may already know Batwoman is Bruce Wayne s only living relative, an accomplished fighter, and very out and proud. But that s only a sliver of who she is, what she s fighting for, and why she has a series all her own. And combined with her ties to the already-sprawling CW multiverse of superheroes, it might be helpful to get a primer on what to expect when you sit down to watch Batwoman. Here are a few things you should know about this hero as her series begins.1. It’s Set On Earth-1(Photo by Elizabeth Morris/The CW)Currently, The CW airs six superhero shows set on three different Earths. The Earth-1 of Arrow, The Flash, and DC’s Legends of Tomorrow, Supergirl’s Earth-38, and the undesignated Earth of Black Lightning. The latter two occur on different Earths because they were not developed as CW shows — Supergirl first aired on CBS and Black Lighting was developed for Fox — but their alternate universe homes also pay homage to DC Comics and its fascination with alternate realities.But as last year’s “Elseworlds” crossover made clear, Batwoman takes place on Earth-1. Which means it is possible for characters from The Flash and Arrow to make easy visits to Gotham City. Of course, that famous DC town was not always available to Arrowverse producer Greg Berlanti. Thanks in part to the way DC Entertainment handles film and television rights, the use of Gotham City icons had to be approved by several levels of management. Even a passing reference to Batman in an episode of Arrow a few years ago required executives at DC, Warner Bros, and Fox to sign off on it as Gotham was still on the air on Fox and Batman movies are always in development.Some of those barriers have been cleared to make Batwoman possible, but it means you may be waiting some time to see your favorite Gotham City villains on the show. Most of the marquee rogues are typically reserved or Batman feature films and, thanks to a deal made with 20th Century Fox in the 1960s, the Fox broadcast network always has first dibs to Batman characters on television. There are exceptions, though, like Tommy Elliot — the more recent villain known as Hush — who will appear in the form of actor Gabriel Mann in upcoming episodes and Magpie (Rachel Matthews), a fairly minor villain from the 1980s. Both appeared on Gotham, but are easier for the series to tap than, say, the Penguin.That said, Kate has her own rogues gallery, including the murderous and twisted Alice (Rachel Skarsten) and, if previews are anything to go by, the Crows private security firm run by her father Jacob (Dougray Scott).2. Gotham City Has Its Own Cast Of Characters(Photo by Kimberley French/The CW)Besides Kate, Jacob and Alice, the Gotham of Batwoman will be fairly populated from the first episode on. Other characters include Kate s stepmother Catherine Hamilton-Kane (Elizabeth Anweis), stepsister Mary Hamilton (Nicole Kang), Wayne Industries caretaker Luke Fox (Camrus Johnson), and Crow agent Sophie Moore (Meagan Tandy).Applying the old evil-stepmother trope, Kate and Catherine do not get along. Kate is a loner who left home after high school, while Catherine is a mover-and-shaker in the Wayne-less Gotham. She does have a vested interest in reversing the city s reputation as a crime-riddled hellhole, however, which is definitely compatible with Kate s new job ridding her city of bad guys. Med student Mary, meanwhile, may be on better terms with Kate, but her real challenge is keeping her off-the-books health clinic in the tough part of Gotham a secret.As for Luke (based on the DC Comics Batwing character) and Sophie, it s best you watch the debut episode without a great deal of background on either, as they are the people Kate ends up interacting with the most — and for very different reasons.And since we re talking about Gotham citizens, it might helpful to mention Gotham itself is more a grounded Dark Knight place than the sometimes cartoonish city of Gotham. Which is to say, people behave a little more like everyday folks instead of the mad, wonderful, and shouting denizens of the former Fox television show. It s an important contrast for a Gotham set on The CW s Earth-1.3. The First Few Episodes Take Place Prior To “Elseworlds”(Photo by JSquared Photography/The CW)While Kate has a distinctive look, as seen in “Elseworlds,” it may be an episode or two before Rose is actually wearing that particular Batwoman super-suit. As revealed at screenings during San Diego Comic-Con this summer (and one at NYCC this weekend), the first episode takes viewers back to the moment Kate returned to Gotham after a self-imposed exile and discovers her cousin Bruce’s secret identity. Consequently, the complete Batwoman costume may not be seen on screen for a few episodes.From a narrative standpoint, this is the right way to go as it means things like the Batwoman wig and red cape get to mean something to the audience. But for those watching the continuity between Batwoman and the other CW superhero shows, this means a good chunk of the first season occurred prior to last year’s “Elseworlds” crossover.And just to make things even more confusing, the timeline has to sync up before December’s “Crisis on Infinite Earths” crossover, since Kate will be featured in the story.In its own strange way, this also honors DC Comics and the way it tells stories, just without a helpful editorial caption to tell you these events are taking a place a year and a half ago. As you actually watch Batwoman, this may not matter too much in the short term — it has to tell its own story after all — but it may come up in December.4. It Is An Origin Story(Photo by Kimberley French/The CW)As mentioned above, a large part of the show s first season will form an origin story. It seemingly takes its cues from Batwoman: Elegy, a story by Greg Rucka and J.H. Williams III that really set the tone for Kate in the DC Comics universe. It reveals key details about Kate’s past — getting kidnapped with her twin sister at a young age, getting kicked out of the military when her same-sex relationship was exposed, etc. — and serving as a de facto origin tale even though Kate had been operating as Batwoman for a good year or two prior to Elegy’s publication in the pages of Detective Comics.On the show, some of these details are getting remixed, but it will depart from Elegy in a key way — it will spend far more time showing Kate becoming Batwoman. Back in the comics, the character was always fully formed. But for television, it is important to see Kate making certain choices, literally learning the ropes and cementing her identity.We have to admit that choice is dramatic satisfying for a series like this. And, as it happens, Berlanti pulled this off before on Arrow. Halfway through its second season it introduced Barry Allen (Grant Gustin), a visiting crime scene analyst who began a quasi-relationship with Felicity Smoak (Emily Bett Rickards). By the end of the season, he was struck by lightning and awarded with his own show. Thanks to the Arrow appearance, the audience had the chance to decide if they liked Barry while the first season of The Flash saw him discovering powers and hitting certain important milestones.And like Barry at the time of his debut, Kate is a person a lot of viewers only know through reputation or her brief appearance in the Arrowverse last year. Giving her a handful of episodes of self-discovery gives the new program — and the audience — plenty of time to obtain a clearer picture of Kate.5. It Is An Action Show(Photo by Robert Falconer/The CW)Thanks to the success of The Flash, the subsequent Arrowverse shows have been filled with metahumans and crazy super powers. Even the fairly grounded Black Lighting, which exists outside the Arrowverse framework, indulges in its super-power displays and, indeed, made the collection of metahumans a key part of its storyline. But Batwoman is a return to the pure action show roots of Arrow. Like that series early days, Kate, her associates, and her enemies will lack for big, bright powers.Granted, that’s baked right into the premise — members of the Batman family are generally conventional humans trained for peak performance — but it means the show will have a different feel than what you might expect. This is doubly true as Arrow finds itself dealing with alternate realities and a multiverse entity as part of its eighth and final season. Week-to-week, this means you should expect a lot more close-quarters fighting and, perhaps, a reliance on gadgets. Hopefully, the latter will set the program apart from Arrow, which avoided trick arrows for a long time.The return to action also means the show will be less tied to the campier elements of the DC Universe. That’s probably a good decision as Batwoman is paired on Sundays nights with Supergirl, a show filled with powered aliens and a generous helping of goofy camp to offset its often-serious stories. And considering the rumblings that a “World’s Finest” team-up between the two heroes may eventually happen, contrasting their worlds can only be a net positive. A similar difference in tone helped set The Flash apart from Arrow.But considering Batwoman’s comic book past includes some wild monsters, aliens, and prophecies, we wouldn’t put it past the production team to introduce something decidedly fantastical into the mix after “Crisis on Infinite Earths” or in the first season finale.Until that occurs, though, expect Batwoman to be a show about fighting for one s identity. Whether or not that s a meta-commentary on the show itself (and its place in the Arrowverse) remains to be seen.Batwoman airs Sundays at 8 p.m. on The CW.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
The bad streak for horror continues, as nobody came out for Brahms: The Boy II. STX withheld the movie from critics and got themselves 5,000 in Thursday night previews, which was a bit more than the 0,000 that The Lazarus Effect made back in 2015. Only, that film went on to gross .2 million that weekend and Brahms’ .9 million is much closer to Pride Prejudice and Zombies (.32 million) which had 0,000 in previews. When reviews started to trickle in on Friday, The Boy II was resting at 0% for much of the day, before it managed to get out of the single digits and currently sits at 11%. That is still in the territory of films like Rings (8%), Slender Man (7%), and the 2017 Flatliners remake (4%). Even the film’s light million budget isn t going to be recouped.The Top 10 And Beyond: The Call of the Wild Isn t Looking GoodThe Call of the Wild may actually be looking at more rotten returns than Brahms, but let’s at least start with a few positives. The new adaptation of Jack London’s classic novel with Harrison Ford opened to .8 million, higher than the -20 million projected for it. Among CGI dog movies, the number is not exactly Scooby-Doo (.15 million) or Scooby-Doo 2: Monsters Unleashed (.43 million), but it is still a higher opening than Eight Below (.18 million), which went on to gross over million when it opened in February of 2006. (Those numbers with inflation would be about .83 and 4.43 million today.) The problem is that The Call of the Wild’s budget has been reported as anywhere from 5-150 million. That is not far away from Dolittle, which began with .84 million and is up to million domestically and 4 million worldwide. Even if we split the difference on those budget numbers, The Call of the Wild is going to need to go north of 0 million to break even, and it s only made 10% of that worldwide in its opening weekend. This may not be Dark Phoenix bad, but it could still end up as one of the biggest losers in the long history of Fox not a great way to launch 20th Century Studios.Birds of Prey dropped another 59% this weekend to million, bringing its total up to .5 million. Last year’s Alita had less than Birds with .2 million but had a higher third weekend with .22 million. It finished with .7 million. That suggests Birds will finish somewhere between -92 million domestically. As of this weekend, after just another million overseas, it has grossed 3 million worldwide. It will need over 0 million just to break even.Sony’s Bad Boys for Life earned another .8 million, bringing its total up to 1.1 million after 38 days of release. That places it right in the middle of a group of films that includes World War Z, SPECTRE, The Mummy Returns, and Superman Returns, among others. What do they all have in common? Each got over the 0 million mark; Bad Boys’ global total is over 0 million. Sony’s Jumanji: The Next Level also continues to go strong, bringing its domestic total to 1 million and worldwide total to 7 million, while Fantasy Island under the Blumhouse banner dropped 66% and is up over million.The films that were battling it out for Best Picture remain in the Top Ten, with Parasite drawing in another .2 million and bringing its total to nearly million, officially the fifth-highest grossing film not in the English language. It is less than million away from passing Hero for fourth place. Sam Mendes’ 1917 is also rising up a very specific chart, ranking up there with the highest-grossing films about war. Clint Eastwood’s American Sniper remains the chart-topper, while the next three films on the list are about the same war – Saving Private Ryan, Pearl Harbor and Dunkirk. Now in fifth place with almost 2 million, 1917 can boast it is the highest-grossing film ever about WWI. That’s good news for Universal, still staring down the losses of Cats and Dolittle, and they can add The Photograph to that list, as it dropped a whopping 77% in its second weekend down to .8 million. With a total under million, that is not going to be near enough to recoup its million budget.Focus’ new remake of Jane Austen’s Emma. (87%) did not exactly break any records this week, but it can brag about having the current best per-theater-average of the young year. In five theaters this weekend, the film starring Anya Taylor-Joy in the title role grossed 0,000 for a ,000 PTA. Amazon’s Seberg (38%), which was pushed back from its original December release, grossed ,487 in three theaters, giving it the second best PTA of the year. In 357 theaters, Impractical Jokers: The Movie (57%) just missed the top ten, grossing .60 million, a PTA just behind Oscilloscope’s CatVideoFest2020, which grossed 0,150 in 30 theaters. Magnolia’s Once Were Brothers: Robbie Robertson and the Band (77%) had the third best PTA of the week with ,500 in four theaters. Neon’s Portrait of a Lady on Fire (98%) expanded to 130 theaters and grossed 5,000. Its total stands at .45 million.
4. 呼朋唤友 随心所欲
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Ron Perlman has played some monster characters throughout his career, notably the titular Hellboy in two Guillermo del Toro–directed films about that red, horned, cigar-smoking comic book anti-hero; the grizzled gang leader Clay Morrow in FX biker drama Sons of Anarchy; and even his breakout role as Vincent from CBS s live-action Beauty and the Beast series, in which he starred opposite Linda Hamilton. With his latest series, he adds to the list. A lot of the characters that I ve played without makeup that are, you know, seemingly human are the most monstrous things I ve ever done, Perlman told Rotten Tomatoes when discussing new Peacock series, The Capture, which premieres on the launch day of NBC s new streaming service.The Capture — so incredibly well-rendered and so smart, the actor said — takes viewers deep into a highly surveilled world in which anyone with the wherewithal, and motive, can alter video footage and place a crime that never happened at the foot of a would-be criminal of their choosing.In the six-episode series, which was recently renewed by the BBC for a second season, Perlman plays Frank Napier, a CIA official leading a small team that monitors CCTV, the UK s expansive network of security cameras, in the name of upholding justice. But at what cost does such justice come where video evidence of a crime that was supposedly committed, may have been a hoax all along?(Photo by BBC/Heyday Films/Nick Wall)Perlman co-stars opposite Holliday Grainger (Patrick Melrose) as DI Rachel Carey and Callum Turner (Fantastic Beasts: The Crimes of Grindelwald) as Shawn Emery, a former soldier framed for murder. With recent technological breakthroughs in deep-fake technology and the ever-growing trend of distrusting facts, the series fictional concept of Correction (the truth-altering tech featured in the series) feels both completely terrifying and absolutely plausible. [It s about] things I m personally obsessed with, in regards to the people that we look to in order to keep us safe and protected, Perlman said. How pure can we expect their motivations to be? Are their personal agendas spilling over into the things that (we hope) they do for purely ideological reasons? You know, for, hopefully, the greater good? These are all important questions to ask, especially when the news cycle is continuously recounting stories of law enforcement entities and government agencies that aren t exactly serving the people s best interests.Speaking on the series, and the many issues currently facing Americans, Perlman is quick to identify the ripped apart nature of our politics where you don t know what you re being sold or who s selling it to you, a lot of the time. And for an actor who has been famously outspoken in his progressive beliefs on Twitter — he was briefly suspended from the platform in 2019 for comments made in a now-deleted tweet celebrating the death of Koch Industries Vice Chairman David Koch, and he recently got involved in an online scuffle with Republican Sen. Ted Cruz — his decision to play a conservative-leaning character in a questionable position of power becomes more intriguing.In The Capture, Perlman s Frank makes some callous choices and steps over the line of morality more than once in the interest of upholding national and international security. When asked if Napier is a monster, the actor has trouble giving a definitive answer. You can make an argument that Frank is so multifaceted that it s hard to figure out where the monster in him ends and the humanity begins, Perlman explained. So I mean, one of the fascinating things about trying to figure out how to play the guy is, for the whole history of the show, you ll walk away not knowing, was he a good guy? Was he a bad guy? I just don t know. (Photo by Sony Pictures)On the big screen, Perlman continues to team up with his close friend Del Toro. In the long-awaited new adaptation of Pinocchio, he plays Mangiafuoco, a character known to many as Stromboli, thanks to Walt Disney s 1940 film classic.He also appears in Paul W.S. Anderson s upcoming Monster Hunter, a big-budget movie adaptation of Capcom s action role-playing video game of the same name that stars Milla Jovovich and Tony Jaa. The movie was scheduled to open this September, but has been pushed back to April 2021. Perlman, who described his role as Admiral in the flick to Comic Book Movie as a lot of chewing the scenery, was mostly mum about specific story details, but gave an impression of what to expect. I m not a gamer, so I m not familiar with the video game, Perlman said. I know that it has a huge following and huge popularity. I know that the production that Sony gave it, under the great leadership of Paul W.S. Anderson, was top draw. You know, it was just such a phenomenal experience and seemed like we were making a big-time movie — lots of titillating juicy battle scenes and chase scenes. There are a lot of high stakes, so this should be a good one to watch. And what about that a highly-publicized Twitter spat between Perlman and Cruz? The whole thing began after the U.S. Soccer Federation repealed its policy that prohibited athletes from kneeling during the national anthem as an act of protest against police brutality.The news drew ire from the likes of President Donald Trump and Republican Congressman Matt Gaetz who shamed the sports institution. Perlman soon added his two cents on Twitter, saying, The US Soccer team called and you guessed it said they couldn’t give any less of a f k about what you two dips ts think.”A follow-up tweet, directed at Gaetz and showing a photo of Rep. Jim Jordan, a former wrestling coach accused of ignoring athletes reports of abuse by a doctor at Ohio State University, caught the attention of Cruz and sparked the war of words between the actor and the senator, who challenged Perlman to a wrestling match — with Jordan.The bizarre back-and-forth led Perlman to present a counteroffer to Cruz, promoting the idea that if the senator himself would face him in the ring, he d donate ,000 dollars to Black Lives Matter. They traded a few more barbs before things quieted down, but Perlman is still up for the challenge.Though he has made it very clear that he ll never play Hellboy on the big screen again, Perlman said he may be willing to reprise the role through voice-over in a virtual wrestling match with Cruz — perhaps in an animated special akin to, say, MTV s old Celebrity Death Match cartoon series. Would he step into Hellboy s shoes one more time for such a special occasion? Absolutely, said Perlman, laughing. [Cruz has] just said so many things that are so damaging to the concept of human discourse. He s one of the guys who has the most deleterious effect on the American consciousness, which is: He s designed to make us cynical. He s designed to make us disengaged. He s designed his whole modus operandi to say stuff that makes us into disbelievers rather than people who are rallying around some beautiful concepts that Americans pledge allegiance to. He s a diabolical villain. And so any chance I get virtually to have a smackdown with this motherf er, I would jump at the opportunity. The Capture launches on Peacock on July 15.
(Photo by DC Universe)With Friday’s episode of Titans, the members of the Doom Patrol not only made their live-action debut on DC Universe, but also teased their own upcoming eponymous series thanks to voice cameos from stars Brendan Fraser and Matt Bomer and an in-the-flesh appearance by co-star April Bowlby. Portrayed as a group of misfits sheltering fellow oddity Garfield Logan (Ryan Potter), the characters also distinguished themselves from the Titans cast thanks to their strange circumstances, humor, and a family dynamic Dick Grayson (Brenton Thwaites) is far from cultivating.Who and what are the Doom Patrol? How far back does the group s DC Comics history go, and what does it say about the upcoming series? Read on for a primer on the world’s strangest heroes.Secret Origins(Photo by DC Universe)The Doom Patrol debuted as a strip in 1963 My Greatest Adventure #80, written by Arnold Drake and Bob Haney with art by Bruno Premiani. The initial four-member team was comprised of Rita Farr (a.k.a. Elasti-girl), an Olympic swimmer-turned-actor who can stretch to tremendous sizes after she is exposed to unusual volcanic gases; Cliff Steele (a.k.a. Robotman), a race car driver whose brain is saved after a car crash destroys his body; Larry Trainor (a.k.a. Negative Man), a test pilot whose body became negatively charged after exposure to radiation during a test-flight; and Dr. Niles Caulder (a.k.a. The Chief), a paraplegic genius and inventor who inspires the rest to use their augmented abilities for the greater good even as their conditions leave them outcast from a society which fears and hates them. If the premise reminds you of X-Men, which debuted two months after the first Doom Patrol strip, Drake always suspected Stan Lee somehow caught wind of his concept — though in his later years, he suggested they both reached for fruit from the same creative vineyard independently and simultaneously.While Drake s new superhero strip saved My Greatest Adventure from cancellation, the title was renamed Doom Patrol five issues later. In 1965 s Doom Patrol #99, Garfield Logan (a.k.a. Beast Boy) was introduced as the survivor of an experimental cure for a rare disease which gave him the ability to change into any animal. He remained with the group for a time before seeking his fortune in Hollywood and joining the Titans West.Doom Patrol itself survived another three years before its popularity declined and the book was finally cancelled. In response to the cancellation and his own anger toward DC at the time, Drake took the highly unusual step of killing off the team.A new team created by writer Paul Kupperburg — featuring a revived Robotman, a new Negative Woman, and Caulder’s previously unseen wife Celsius — emerged in 1977, but failed to capture the imagination of readers during an infamous downturn in DC s fortunes known as The DC Implosion. Ten years later, Kupperburg tried again with a third Doom Patrol team, but he was replaced in issue #18 by Grant Morrison. The new take on the team, which saw Robotman, the Chief, and Negative Man return with new additions like Crazy Jane — a woman with dissociative personality disorder and a superpower for each of her personas — and a mobile, conscious street known as Danny — yes, an actual sentient city street — is considered one of the definitive versions thanks to its surrealist adventures and reinvention of the Chief as the team’s ultimate enemy.After Morrison’s departure, writers including Rachel Pollack, John Arcrudi, John Byrne, and Keith Giffen took over Doom Patrol to varying degrees of success. In 2016, My Chemical Romance frontman Gerard Way revamped the concept for his DC Young Animal label. Featuring art by Nick Darrington, the new Doom Patrol went in new strange directions while honoring a lot of what came before — Robotman was present as ever while Danny became a world all his own.A Titans Debut(Photo by DC Universe)Much of Drake and Haney’s concept is on display within the Doom Patrol episode of Titans, with hints of Morrison s influence. Fraser gives Cliff a wistful tone as Rachel (Teagan Croft) describes her dinner to him. Bomer’s Negative Man is the definition of hip. Rita Farr (April Bowlby) tries her best to keep her studio-trained composure, but it is easy to see the cracks in her facade as her powers always seem to get the best of her. As a group, though, the strong bond between them is already on display. At this point in Titans own story, it is a welcome relief to see some superpowered beings acting as a family — but it also offers a tease of the dynamic viewers will eventually see on Doom Patrol.With the Chief, played in the episode by a menacing Bruno Bichir, Caulder’s seeming benevolence falls away pretty quickly. By the time he has Rachel strapped to a hospital bed, one is willing to believe he arranged the accidents that caused Cliff, Larry, and Rita to become super-powered oddities.Arguably the most important character to introduce here was Cliff. As a member of every Doom Patrol iteration, he is the de facto face of the whole concept. His condition — a human brain in a robot body — also makes him one of the easiest Doom Patrol characters to “get” and bond with. Luckily, Fraser voices the character as though he’d been playing Cliff for years, which is important as he will be playing Robotman for a long time to come.Doom Patrol 2019(Photo by DC Universe)That long time to come will begin next year with the arrival of DC Universe’s Doom Patrol series. Fraser, Bomer, and Bowlby return as their characters, but actors Jake Michaels and Dwain Murphy, who inhabited the Robotman and Negative Man suits, have been replaced by Riley Shanahan and Matthew Zuk. And in a move that may seem surprising, one key Doom Patrol member will have a new face when they make the leap to their own series: the Chief.In August, the streaming service announced that former James Bond, Timothy Dalton, would take over the Niles Caulder role. It is an inspired choice as Dalton is capable of both the compassion and menace Caulder can offer in equal measure. And after seeing Bichir’s take on the character, it makes sense to dial back Caulder to someone who would believably inspire the devotion Cliff, Larry, and Rita seem to have for the man.Plus there is a story point to be built from Caulder suddenly having a new personality, face, and accent: In the early Doom Patrol strips, the gang did not know the Chief s real name. Circumstances ultimately forced him to divulge these details, but it established Caulder s secretive tendencies. And what better way to establish the grandiose nature of the Chief s secretiveness on screen than for Cliff, Larry, and Rita to learn the man they thought gave them a home was nothing but a proxy?The group seems off to a fine start as Fraser, Bomer, and Bowlby offer the three key characters a lot of life. On the Doom Patrol series, Diane Guerrero will join them as Crazy Jane from Grant Morrison s run. The team will face off against Alan Tudyk’s Mr. Nobody, a character created by Drake for one issue but expanded upon by Morrison into a major team antagonist. The inclusion of the Morrison characters suggests the show will be more consciously absurd than their appearance on Titans would suggest, which would definitely be the right tone for this group. Additionally, missing Titan Cyborg (Jovian Wade) will give the Doom Patrol a mission that is difficult to refuse, but will completely alter their lives forever. The 13-episode series from longtime DC TV producer Greg Berlanti and Being Human s Jeremy Carver is expected to debut in February 2019.It is unclear, however, if Danny the Street will make his presence known.New episodes of Titans are released Fridays on DC Universe. Doom Patrol will premiere in 2019.
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亚美体育官方入口 ck Stewart in the upcoming untitled series that will explore the next chapter of Star Trek: The Next Generation’s Jean-Luc Picard.Live From New York (Photo by Universal Pictures)NBC announced that Adam Sandler, Emma Thompson, and Paul Rudd are the final three Saturday Night Live hosts for the sketch comedy series’ current 44th season. Former cast member Sandler will return to the show to host for the very first time on May 4, with musical guest Shawn Mendes; Thompson will make her debut on May 11, with musical guests the Jonas Brothers; and Rudd will close out the season on May 17 with musical guest DJ Khaled.And the Peabody Awards Go To…(Photo by BBC America)The winners of the 78th annual Peabody Awards, which honor excellence in broadcasting and electronic media, were announced this week. TV recipients include Barry, Pose, The Good Place, Killing Eve, The Americans, The End of the F ing World, Hannah Gadsby s Nanette, Patriot Act With Hasan Minhaj, Random Acts of Flyness, and Steven Universe.On the documentary side, PBS cleaned up with six out of the eight programs honored. They include HBO’s A Dangerous Son, a view into the myriad challenges parents face when raising children with mental health issues; Hulu’s Minding the Gap, the Oscar-nominated film about generational abuse and growing up as told through the eyes of a group of midwestern skateboarders; and PBS’ entries: Independent Lens: Dolores, an exhilarating portrait of activist and community organizer Dolores Huerta; Independent Lens: The Judge, a profile the Middle East’s first female Sharia law judge, Kholoud Faqih; Lorraine Hansberry: Sighted Eyes/Feeling Heart, a tribute to the essayist, journalist, playwright, and fearless advocate for social justice; POV: The Apology, a portrait of the personal journeys of three “comfort women” forced into institutionalized sexual slavery during World War II; Frontline: The Facebook Dilemma, an in-depth investigation into the Silicon Valley giant; and The Jazz Ambassadors, look at the important contribution of jazz music and musicians to Cold War diplomacy, American race relations, emerging black identities, and newly independent developing nations around the world.From Stage to Screen with Ryan MurphyRyan Murphy is bringing another recent Broadway hit to Netflix: The Boys in the Band. The mega-producer announced last week that he’s bringing current show The Prom to the streaming service for a “movie event,” and this week he revealed that he’s also reuniting the cast of 2018’s The Boys in the Band over the summer for a film. View this post on Instagram Last summer, THE BOYS IN THE BAND were on Broadway, breaking house records at The Booth. THIS summer, The Boys In the Band will be filming a Netflix movie event. The incomparable Joe Mantello, who directed the Broadway revival, will direct the film adaptation. The Broadway cast of BOYS was so important to me, and as equally groundbreaking as Mart Crowley s seminal work. Everyone in the cast was out and proud and feeling so blessed to mark the 50th anniversary of Mart s landmark play. The entire Broadway cast will reprise their roles in the film. I can t wait to be on set with Joe and Jim Parsons, Zachary Quinto, Andrew Rannells, Matt Bomer, Charlie Carver, Robin de Jesus, Tuc Watkins, Michael Benjamin Washington and Brian Hutchison. I will be producing the film with David Stone and Ned Martel. Look for THE BOYS on Netflix in 2020.A post shared by Ryan Murphy (@mrrpmurphy) on Apr 17, 2019 at 10:46am PDT
综上所述，前四种玩家也基本是王者玩家的中流砥柱，你让他们放弃现在的圈子去玩另一个moba游戏，基本不太现实。再加上现在国家对于手游的严格管控，所以lolm对王者近两年的威胁不会太大，也不会分流太多。 Zack Snyder confesses that he’d still be working on Zack Snyder’s Justice League if HBO Max’s release date didn’t put a hard deadline on the project – he’s a perfectionist! – but when he did finally put “pens down” on the film and characters that have been with him for so many years, it was a moment of catharsis. (And a time to open a few bottles of wine.) In an extended interview with Rotten Tomatoes Editor-in-Chief Joel Meares, Snyder went deep on his journey to Zack Snyder’s Justice League, recalling the most moving moments of the #ReleaseTheSnyderCut campaign, why it was so important to put Ray Fisher’s Cyborg at the center of his story, the joy writing and directing Jared Leto and Ben Affleck for a new Joker/Batman scene, and what he wants the world to know about the passionate DC and Snyder fans who made the #SnyderCut a reality.Watch the interview above and read it below.(Photo by HBO Max)Joel Meares for Rotten Tomatoes: You ve been with this project for so long, in so many different ways, and with these characters for even longer than that. And I m wondering, with that in mind, what was the “pens down” moment where you were like, Okay, this is it. This is the finished product. And how did you feel in that moment?Zack Snyder: We all had a glass of wine and toasted each other, the whole group – Debbie and I, and my visual effects team and my editorial team. I called a bunch of my friends who have worked on it, and we all just kind of had this cathartic moment where we said, Okay, it s done. It was funny because it was kind of a schedule [thing] – the schedule made it happen, thank God. If the pandemic… or if this movie was due to release in another month or two, we d still be working on it, I m sure. Thank God because they put us up against the clock; it was cool, it was a nice way to stop.Rotten Tomatoes: So you were tempted to keep going and tinkering?Snyder: Oh my god. I don t think we ever would ve stopped if we [didn’t have that deadline].(Photo by HBO Max)Rotten Tomatoes: I want to take you back to another moment – when you got the call from Toby Emmerich and the studio said, It s a go. We re going to do this. Can you talk a little bit about that call and what the feeling was to know that it was finally going to happen?Snyder: There was an initial call that said, Do you want to release the movie right off of your laptop, just as it is? I was like, Yeah, I don t think I want to do that. That doesn t really seem like it s going to be good for anybody. And then I said, Hey, let me just come into the studio and tell you what I would do. I went in and I just told them about the scope and scale and what I thought I could achieve. And then they all came over to the house and watched the movie that I had, down in my theater. And they were like, Okay, let s do it. First of all, it was a huge undertaking – it was a moment of dread and a moment of adulation. We had definitely reached a kind of cathartic tipping point where we felt like healing could start for all of us.(Photo by HBO Max)Rotten Tomatoes: “Scope and scale” – it s huge. What was it like to paint on this size of canvas and with this length to give the room to tell these stories as fully as you wanted to, and have – I don t know about complete artistic freedom – but to really stretch that muscle?Snyder: I mean, not to say we didn t have any oversight – we had the budget, we had these other things, constraints of COVID, there s a lot of things that did kind of keep us in the box, thank God. But as far as just me doing what I thought was cool, it s a hundred percent that. This is the cut that I completed in January of 2017 – give or take a little bit of squishing, but essentially that s it. So, to come back to it and sort of re-experience it was also quite a sort of reunion, if you will. And to see how it was going to – with all the visual facts and the design and everything – really be realized.(Photo by HBO Max)Rotten Tomatoes: You’ve said that Cyborg is really the heart of the movie, and you do absolutely get that sense watching it – to the extent that the title lands on this beautiful shot of Ray. And you get so much of this story about this man. Why was it important for you to really center Ray s character, Victor, in your story?Snyder: Chris Terrio and I, we had long conversations about it when we were getting ready to write the script for Justice League. When we were banging out the story, we felt like Cyborg as a character was really the one we wanted to focus on. We felt like he s an incredible character in the DC universe, he s an important character in the DC universe, and he just really needed his story told in a way that – in context of these other Gods – that established him in that pantheon. And that was really a thing we just, we really focused on from the beginning, and then it s really fun to see it realized because Ray does an incredible job.Rotten Tomatoes: Have you spoken to Ray and the others? I assume some of them have seen the film in its complete form – what s the reaction been like to seeing this vision?Snyder: Ray hasn t seen it yet, he s seeing it hopefully the next couple of days. But yeah, they ve been really supportive and incredibly enthusiastic about the film and about me being able to get it finished.(Photo by HBO Max)Rotten Tomatoes: So, we wouldn t be here without the fans and the huge campaign that brought us to this point. There are so many amazing stories of what happened during that campaign, and I m wondering, is there a moment, an interaction – I don t know if it s the retweets or it s the billboard or what it is – that really stands out to you as the thing that you ll take with you from this #ReleaseTheSnyderCut campaign?Snyder: Yeah. So many memories really, to be honest. I remember when there was the Comic-Con bus stops, that kind of started it. And then there was that big, gigantic billboard in Times Square. I think that made me really start to go, Wow, I don t know what these guys are up to, but this is legitimate caring. And whether it be the airplanes flying around Warner Bros. towing banners, or the million fruit baskets delivered to Ann Sarnoff when she became president of Warner – I think it was a combination of all those things really.But I really think in the end, it s just how supportive they ve been of the American Foundation for Suicide Prevention and mental health awareness. Really that is the jewel in the crown of what they ve accomplished. For me, it s better than any movie – the persistent campaign that these guys have mounted in regard to suicide prevention and mental health awareness. That s really it. I mean, they ve saved lives with their campaign and that s the bottom line. It’s fun to make a movie, but that s really cool stuff.(Photo by HBO Max)Rotten Tomatoes: Yeah. And that probably bleeds into what I assume you might say about the next question. But a lot of the discourse around fandom does, recently at least, tend to focus on “toxic” or negative fandom. And I m talking to you from Rotten Tomatoes, and we are part of the story in some ways – some fans don t like the scores on some of the films, etc. But for those who only focus on the negative side of fandom, what do you want people to know about fans of DC and fans of yours and what they ve been doing?Snyder: Listen, I think the fans… and, of course, you can t throw a blanket over the entire thing because this is a bunch of individuals. These people aren t professionals they re not paid to do anything they re just fans of the movies and, in my case, they just want the movie out there that I had designed and created originally. Then, along the way, they got involved in my cause for whatever reason; they had some sort of empathy or they had an experience themselves. And it s a combination of those things that I think has made the fans, this community that I interact with, what they are.Are there occasions of fandom where it gets out of control? Absolutely. We all know that. But the reality is that these fans used their voices to change the course of a giant corporation and to basically get a movie released that [might never have been released]. Someone would say, Oh, are you ever going to make a sequel? I m like, Well, there s no plan and Warner Bros. really has no interest in making a sequel with me. But is it more likely that a sequel to this movie would have been made than what happened? And the answer to that is yes. It just speaks to their actual power and I m proud to be associated with them.(Photo by HBO Max)Rotten Tomatoes: One of the scenes that s going to really impress fans, I think, is one at the end, towards the end… but I don’t know are we allowed to talk about this in context at this point, or…Snyder: I don t know. You tell me.Rotten Tomatoes: Okay, so you bring together two iconic characters. You ve obviously dropped the hints of what s happening. As a fan and as somebody who s worked on this for a long time, what was it like to put them together and write that script and shoot something new for this film?Snyder: The scene was important to me because I felt like, if this is the last gasp of Zack Snyder s DC universe, which is fine –Rotten Tomatoes: It s more than a gasp. It s a booming shout!Snyder: The last “booming shout,” then, fair enough. I really wanted to say, I have a little bit of unfinished business and that is to bring these two characters together. And also I m a fan of, and very excited by, the Knightmare post-Darkseid world and love it. I have always loved the concept and was working my way here as best I could with these movies. It’s always fun to sort of dabble in that world – really fun to get to write and do a little scene setting.(Photo by HBO Max)Rotten Tomatoes: I want to talk to you about director s cuts in general and how important you feel it is for directors in your position to be able to get their vision out into the world. You ve had a few instances where you ve been able to give us alternative cuts and things, and there are rumors of other cuts of DC movies and other movies flying around. For you, who has a fandom that’s really interested in your vision, why is it important they get to see get to see a film as intended?I ve made director’s cuts of almost every movie I ve ever made, except for, I think, Legend of the Guardians: The Owls of Ga’Hoole and Man of Steel. And I would argue that the Sucker Punch director s cut isn t really the full movie – that s the one movie I would say, Oh yeah, there s a cut of that movie that no one s ever seen. But otherwise… Watchmen director s cut, I prefer the BvS Ultimate Edition, which is the director’s cut; I prefer it because I just feel like it s less encumbered by the studio and by the notes and just by the constraints of what they think a movie has to be and its length. “Nobody wants to see a three-hour movie” – I don t agree with that a hundred percent.As far as other filmmakers go and their experience with director s cuts, I can t say exactly. It s personal to me, the way I ve dealt with it, it s a way I kind of justified making changes to the movies that I worked on – it’s knowing that I can always just release a director’s cut and at least these feel like, Okay, well, there s the real movie. (Photo by HBO Max)And I understand the balance between art and commerce – that you do have to strike a balance sometimes. The theatrical cut of Watchmen is based entirely on the maximum running length of film in IMAX. The film could be no longer than two hours and 20 minutes, or it would have fallen off the spool. That s where you see the sort of two things coming together, and you have to accept that if you want the movie that way [in IMAX]. And I did, so I m fine. My point is only that it is a business and so, “What will the market bear?” is a real question.Is it my hope that this movement might generate a little bit more power for some directors that are in a situation where they re not sure if they re going to get their movie completed? That d be great. But this is a very particular situation, I think, in that the breadcrumbs lead directly to a narrative that the fans were able to put together and turn into a rallying cry. It was a perfect storm of all those things. And the charities and their cause and the whole thing has a kind of blended reality that I think would be hard to duplicate. But would I hope that someone benefits from this? Absolutely, that would be great.Rotten Tomatoes: Finally, will you be going to Rotten Tomatoes when the reviews are posted?Snyder: I m only human.Zack Snyder s Justice League is available on HBO Max from Thursday, March 18, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.