九游会在线官网

九游会在线官网

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九游会在线官网采用百度引擎4(Baidu 5)《幻想飞仙手游》是一款仙侠世界的RPG手游,里面有炫酷的羽翼外观,丰富的游戏玩法,写实的魔幻世界场景,增加了画面和内容优化,让玩家游戏体验更佳,后续还会出更多的试炼,赶紧来体验下吧。

1. 九游会在线官网
Despite the fact Marvel’s Runaways will be completing its run on December 13th, it still has plenty of story to tell. In fact, this may be its biggest season, as it finally brings straight-up magic into its tale of teen runaway superheroes, aliens, supervillain parents, intergalactic intrigue, and a lovable pet dinosaur.In fact, the show’s unique mixture of elements was part of the appeal for Elizabeth Hurley, who spoke with Rotten Tomatoes and other journalists during a set visit last August and joins the program as Morgan le Fay.“What I really loved about it is the fact that the grown-ups had great stuff to do and were integral to the plot and had moments of their own. They weren t just feeding the kids [conflict].” That said, Morgan will certainly be feeding conflict to Nico (Lyrica Okano) as “one of the most powerful sorceresses in history and the universe” and the legendary magician of Arthurian legend. And as Hurley put it, “she s definitely bringing a completely different element to the show from a magic point of view. Though she did not appear in Runaways’ second season, she is at the heart of Nico’s troubles toward its conclusion. “Nico is a fledgling baby witch, unsure of her powers, and can t really control herself yet,” Hurley said of the character Morgan is most interested in positioning toward her ends.“We re going to learn more about what that darkness is about, where it comes from, [and] what it s connected to,” added executive producer and showrunner Stephanie Savage.“Nico seems at first [to be Morgan’s] chief adversary, but you ll start to see some connection between her and Tina [Nico’s mother, played by Brittany Ishibashi],” said Savage’s showrunning partner Josh Schwartz. “So mother and daughter might actually find themselves aligned against the larger evil in ways that will surprise people.”(Photo by Hulu)First introduced in 1955’s Black Knight #1 by Stan Lee and Joe Maneely, Morgan was presented as an immortal half-faerie with designs on world conquest well after the fall of Camelot. Projecting her consciousness into the modern day, she caused plenty of trouble for Spider-Man, the Avengers and others. Schwartz and Savage credited co-executive producer Quinton Peeples with pulling the character into the Runways’ orbit. “Based on where we wanted to go and what we wanted to do in terms of Marvel magic, she was a really strong fit for us,” Peeples said.But for the purposes of the show, Morgan will not be reaching out to Nico from the 6th Century. Instead, viewers will find her in a place more familiar to Marvel film watchers: the Dark Dimension featured in Doctor Strange. The strange realm also appeared in Marvel’s Agent Carter and Marvel Clock Dagger, but Peeples said, “Ours is very specific to our show, and I think it expands the vocabulary of what that world is like and how it operates. These rules will be important as Morgan tries to escape its pull.And once she makes her way to 2019 Los Angeles? “She thinks there s room for improvement,” Hurley said.Of course, Morgan’s attempts to join the modern world may not be the Runaways biggest problem when the season begins. When we last saw them, the group was divided, with Karolina (Virginia Gardner) and Chase (Greg Sulkin) captured by Jonah (now played by James Marsters) and the other remaining aliens from his spaceship, who put them in stasis tubes and seemed prepared to serve them up for supper in the finale s closing moments.(Photo by Michael Desmond/Hulu)“We pick up right where we left off last season, and the gang is trying to figure out how to get us out of those tubes,” Gardner told us. “And it takes them a little bit of time. We spend a long time in those tubes.”But Karolina’s time in the tube may give her space to process the Church of Gibborim’s new devotion to her. “She s still very uncomfortable with it,” she said. “Everywhere she goes, people are bowing down to her, and there’s posters of her everywhere.” And while that may continue to be an issue for her, Gardner said Karolina’s big conflict will be figuring out her place with Nico. “We re starting to see Nico get pulled towards this dark side the staff is leading her [toward],” she explained. “Karolina is trying to figure out if Nico is too far gone already or if she can pull her back from this dark side.”To the actor, this ultimately means Morgan is the biggest threat the group will ever face, “beyond the parents, beyond PRIDE, beyond Jonah, beyond any of those things. Morgan le Fay is like a whole new animal for us.”An animal that Rhenzy Feliz told us his character, Alex, considers a “f king maze.” As the one member of the group lacking any powers or abilities, Alex must be “smarter than everybody else in order to contribute.” He teased those contributions may be surprisingly “practical” despite the magic on display. Nonetheless, he warned “one of the big things about this season is that no one s really safe.”(Photo by Michael Desmond/Hulu)That lack of safety is a constant threat in the life of Nico’s father Robert (James Yaegashi), who, as the one of the more reluctant PRIDE parents, always seems to get it the worst, and left last season needing extreme medical care. “It does feel like Robert has nine lives,” Yaegeshi said. “I don t know if that target s ever coming off his back. I think part of the problem is that Robert s comfortable having other people do things [for him], but things are so extreme in this world that when he tries to step out to be the alpha is when he gets in trouble.” His season will begin in the ICU and set off something of an interior journey for the character.A mortally wounded Robert would usually be reason enough for Tina to put aside her own issues and help him, but now that she is possessed by one of the aliens, Ishibashi said the character has little concern for her host’s husband. “They didn t end up using it in the final cut, but there was one take that we did where Tina had put a hastily written sign on him that said ‘Human in Danger’ and pasted it to his shirt,” she said. Instead, much of the actor s time was spent building a new dynamic with Marsters and Brigid Brannagh, who now play formless aliens possessing the actor s former characters. “To establish a new family dynamic is hilarious because all of a sudden, Victor [Marsters] and Stacey [Brannagh] are my mom and dad,” she said. “Jonah, this person who she hates more than anything in the world, who killed her daughter and destroyed her family, is now her father figure.”Curiously, Ishibashi quipped that Nico will like the alien version of her mother better. “She s like, ‘I already thought my mom was crazy,’” the actor joked. She also teased the debut of the aliens’ “Brother” – a character as yet unseen, but inhabiting one of the children.(Photo by Michael Desmond/Hulu)For Marsters, taking over the part of Jonah from Julian McMahon (his version of Jonah was obliterated last season) meant getting a chance to smile on the show for once. His previous character, Victor Stein, was the sort who never had any fun. “There s something really delicious about playing that kind of character,” Marsters said. “But playing a character who does smile and is very confident, is having a good day and he s enjoying being himself and is not morally conflicted about everything It was a lot lighter of an experience.”Another light experience, at least working on set, was the arrival of former Cloak Dagger stars Aubrey Joseph and Olivia Holt for a special crossover episode. At the time, it was unclear if both series would continue past their current seasons, but the excitement about bringing the two shows together was electric.“Olivia and Aubrey [are] super cool people, and so having them on set is awesome. Getting to know them a lot better is awesome,” Feliz said. “Apart from that, the story that we re getting to tell with them, seeing their powers in action and seeing the groups mesh. We re teenagers at the end of the day, so it s like the little snippets and jokes and kind of witty humor going back and forth.”Schwartz said they always wanted to do some sort of crossover as both shows shot their pilots around the same time. “The idea that there are these young heroes walking around in L.A and Louisiana who don t know each other… It just felt too good to miss out on.”“Cloak and Dagger are here to save the day,” he added. “But they re also here to help save some relationships as well.”(Photo by Hulu)Everyone we talked to teased Cloak and Dagger will arrive at one of the most high-stakes moments ever for the series. “The mission that they re on is extremely serious,” said Savage. “And they kind of brought that gravitas.”But it seems Tyrone (Joseph) and Tandy’s (Holt) arrival in Los Angeles will feature lighter moments as well. “[It’s] has been a lot of fun for me because I don t have to come to work every day and scream and cry,” Joseph joked. “Our show is obviously very dark in comparison to their show. It s a lot more lighthearted.” That means the Cloak and Dagger seen on the show will be in much better spirits than when we last saw them at the end of the program’s now-series finale. In fact, discovering other super-powered teens will alleviate some of their tensions. “I think the main thing is just the fact that they re teenagers that are like us,” Joseph explained. “It s kind of like, ‘let s see what s up with these guys.’” He also teased their decision to become proper heroes may have an effect on the Runaways, who may finally be able to see past their own family struggles to a larger world. “I think they re definitely noticing we have these powers for a reason and we re a team for a reason,” he said.So, despite the program coming to its conclusion, it seems to be the culmination of many Marvel TV ideas, with aliens, magic, and superheroes coming together both in conflict and in friendship. In short, it’s a page straight out of the Runaways comic and a fitting end for this part of Marvel’s ongoing tale.The third and final season of Marvel s Runaways premieres on Friday, December 13 on Hulu. In 2017, It, the Certified Fresh adaptation of Stephen King’s 1986 bestselling 1,138 page epic, used every second of its 135-minute running time to make sure paper boats would never be played with again. The Andy Muschietti-directed horror film was a box office hit, pulling in 0 million worldwide, which made it the highest-grossing horror flick of all time and ensured a sequel would be green-lit. Now, in just a few days, the 169-minute It: Chapter Two – which adapts the sections of King’s book focused on the adult Losers Club – is looking to collect more critical accolades and gobble up money the way Pennywise gobbles up fear (and tiny children’s arms).Oh, and yes, you read that right: It: Chapter Two clocks in at 169 minutes, or 2 hours and 49 minutes. (That runtime may seem excessive, but, when compared to the 45 hours it takes to get through the It audiobook, we’re thinking it could have been a lot worse.)The movie opens just months after Quentin Tarantino’s epic Once Upon a Time in Hollywood (2 hours and 40 minutes), and just a week after the release of the Midsommar director’s cut (2 hours and 51 minutes).In October, Netflix will release The Irishman – it will run for 3 hours and 30 minutes.All these minutes – and anticipated bathroom breaks – got us thinking: How does the length of a film affect its quality? Are longer movies, on average, better or worse than shorter movies? To find out, we analyzed the running times of the 1,431 movies that received wide theatrical releases since 2010. (We classified wide releases as 500-plus screens; we didn’t include documentaries.) To break down the data, we divided the films into four categories: Movies less than 100 minutes; movies between 100 and 120 minutes; movies between 120 and 140 minutes; and those epic 140 minute-plus movies whose company It: Chapter Two is about to join.Ultimately, we wanted to know if movies were better off going the longer It: Chapter Two or Once Upon a Time in Hollywood route, or if shorter movies like Crawl, The Farewell, or Eighth Grade averaged higher Tomatometer scores with critics. You can find super Fresh movies in all four categories: The 63-minute Winnie the Pooh (2011) and 182-minute Avengers: Endgame (2019), which are the longest and shortest movies in the data set, both have Tomatometer scores above 90%. But there were clear trends and the results, at least for those who bemoan bloated runtimes, might be surprising.So let s get into the data Less than 100 minutes: The Most Likely to Be Rotten
全球在地化体验,支援12种语言:英语、西班牙语、葡萄牙语、俄语、土耳其语、印尼语、泰语、简中、繁中、阿拉伯语、德语、法语。

2. 公平游戏环境
(Photo by ©Marvel Studios)The numbers look good for Shang-Chi and the Legend of the Ten Rings, which pulled in a record-breaking million across the four-day weekend. They look even better for theaters and the industry. The only people  probably looking at the numbers with some grief are the folks at Paramount, which recently pushed both Jackass Forever and Top Gun: Maverick off this year’s schedule into 2022. That could still turn out to be a good idea and ultimately be looked back upon as just a slight delay for some bigger grosses, assuming the pandemic numbers head in the right direction again. But as the box office numbers have been showing for the past month now, people are still going to the movies – especially when there are no streaming options. But even more important for the industry is the extrapolation of these numbers, which are starting to feel more like pre-2020 instead of 2021. And not to bury the lede, but the box office just had its biggest Labor Day weekend ever. Not bad.King of the Crop: Shang-Chi Breaks Multiple Records, But Can It Be the first 2021 Movie to Hit 0 Million?Only four other times in history has the four-day Labor Day holiday grossed over 0 million, led by the likes of Rob Zombie’s Halloween, Lee Daniels’ The Butler, Guardians of the Galaxy, and The Possession (two of those movies did not even debut in that weekend). The films in this Labor Day weekend s top 10 grossed over 1 million, besting the 4 million over the 2007 holiday which was led by Zombie s Halloween.Last week when we measured the success of Candyman, it was the Thursday-preview numbers that served as our guide. This week, we note that Shang-Chi had the second-best preview numbers during the pandemic, with .8 million. That is more than F9’s .1 million and less than Black Widow’s .2 million, which we should remember was made before the film hit Premier Access on Disney+ on Friday. Shang-Chi had no Premier Access on Friday, nor Saturday, Sunday, Monday, nor going forward.The seven past live-action PG-13 films which have grossed between .3 million and .3 million in Thursday previews include 2014’s Godzilla, Fantastic Beasts and Where To Find Them, Fantastic Beasts: The Crimes of Grindelwald, Transformers: Age of Extinction, The Hobbit: The Desolation of Smaug, and The Amazing Spider-Man 2. They averaged a three-day opening weekend of .5 million, with the second Fantastic Beasts film posting the weakest eventual three-day haul with .1 million. Shang-Chi and the Legend of the Ten Rings posted an estimate of .5 million over just the three days. That may be slightly below the average of those other films, which all had more recognizable name brands than Shang-Chi, but it is also the biggest Labor Day opening ever, the second-best opening of the pandemic, and the third-best September weekend ever behind both of the It films.(Photo by ©Marvel Studios)Those are also the only films to ever open in September and gross over 0 million. That is a number the box office has yet to crack since Bad Boys for Life did it before shutdown in 2020. Black Widow opened to million and could not do it – but it was also available for a price at home. F9 opened to million and came up shy of 5 million, despite being a theatrical exclusive. Only five films have ever grossed million or more in their first five days and failed to gross 0 million: Fifty Shades of Grey, X-Men Origins: Wolverine, The Simpsons Movie, and The Day After Tomorrow are four of them; the fifth is this summer’s Black Widow (i.e. pandemic + home availability = some will avoid the risk).Shang-Chi has very little competition over the next few weeks before Venom: Let There Be Carnage releases in its new just-announced date – Sony was clearly encouraged by this weekend s numbers – and No Time To Die comes out. Add Monday’s holiday to the total and Shang-Chi is estimated to have a gross around million over the four days, very much in line with the pre-pandemic average based on its Thursday numbers. What a difference a day makes! If we can begin to measure some metrics by films just being a day or so off their pre-2019 theatrical exclusive wavelengths, we may be making some progress. Especially if we can all just stay safe out there.The Top Ten And Beyond: Candyman Holds Strong As Free Guy Sets Sights on Passing Jungle Cruise(Photo by 20th Century Studios)Shang-Chi could not deliver the best Labor Day weekend ever all by itself. The continuing success of Free Guy can not be overlooked as it made another .9 million over the weekend and .4 million total over the holiday, bringing its total to .5 million in 25 days. That is over half a million more than what Jungle Cruise had in 26 days (.97 million). Cruise, which has been available on Disney+’s Premier Access, still has a strong presence in the top 5 in its sixth weekend of release and has driven its theatrical total to 6.7 million. Free Guy, without any streaming options until the end of the month, is now likely to surpass Jungle’s numbers and possibly get as high as 0 million. Free Guy’s three-day weekend also ranks 16th all-time amongst fourth weekends for August releases – higher than Rise of the Planet of the Apes, Straight Outta Compton, Rush Hour 3, and Lee Daniels The Butler. It has made 9 million worldwide to date. Jungle Cruise is at 9 million.Candyman contributed even more money to the pot this weekend, making .4 million for a 53% drop from last weekend – better than The Conjuring: The Devil Made Me Do It’s 57% fall from a .1 million start and Old’s 59.3% fall from .8 million. With an increase to .3 million through the holiday, Candyman’s .7 million in 11 days is less than a million behind the pace of HBO Max’s The Suicide Squad, which made .6 million in 10 days. Remember that James Gunn’s day-and-date streaming film fell 71.5% down to .4 million in its second weekend. Candyman is now poised to surpass that film’s total and settle in with around million- million.Paw Patrol: The Movie, which Paramount sacrificed into theaters so Clifford the Big Red Dog could live on someday, grossed .1 million this weekend and an estimated .3 million over the holiday. No family film released in the second half of August has ever grossed million, let alone one streaming at the same time. Paw Patrol finds itself with .5 million after 17 days, which is better than The Angry Birds Movie 2 was doing in the same period in 2019 with a .94 million third weekend and .79 million. It went on to gross .66 million. Expect Paw Patrol to end up in that vicinity – lower than most family films gone hybrid this year, but potentially still higher than Sony’s Peter Rabbit 2, which was exclusive to theaters.On The Vine: James Wan s Original Horror Film, Malignant, a Venice Favorite, and MoreJames Wan’s Malignant may be the closest thing to challenge Shang-Chi’s number 1 slot (but that is still further away than Jim Carrey’s shot at Lauren Holly in Dumb and Dumber). The horror film will also be streaming on HBO Max starting Friday. In more exclusive news, STXFilms is putting the Kristen Bell and Kirby Howell-Baptiste crime comedy, Queenpins, into select Cinemark theaters, just their second during the pandemic after this February’s The Mauritanian. Then Focus will be releasing Paul Schrader’s The Card Counter, which debuted to great critical acclaim at the Venice Film Festival this past week. It currently stands at 97% on the Tomatometer.Full List of Box Office Results: September 3-6, 2021九游会在线官网This Week s Ketchup brings you seven headlines from the world of film development news, covering such titles as Final Destination 6 and the sequel to Spider-Man: Far from Home.This WEEK S TOP STORYPARASITE DIRECTOR BONG JOON-HO MIGHT DO A MUSICAL NEXT (Photo by Kimberly French/©Netflix)Ever since director Bong Joon-ho s surprising victories for Parasite at the Academy Awards last month, discussions about what he might direct next have been frequent online. It wasn t until this week, however, that we got an idea directly from Bong himself, and the surprising answer is, I would love to make a musical. Bong continued, Characters would begin singing, then think, ‘Oh my God, **** this, this is too cheesy,’ and stop suddenly. There are amazing musical films, like Singin’ in the Rain. But when I watch them, I feel very embarrassed and start blushing. So it would have to be… different. Moving from Parasite to a deconstructed musical wouldn t be the first time Bong Joon-ho has switched genre gears drastically, as his filmography has also included a monster movie (The Host), post-apocalyptic science fiction (Snowpiercer), and most recently before Parasite, an action adventure about a genetically modified pig (Okja).Other Top Headlines1. TOM HOLLAND HINTS HIS THIRD SPIDER-MAN WILL BE ABSOLUTELY INSANE (Photo by Chuck Zlotnick/ © Columbia Pictures)The COVID-19 crisis is obviously causing many film productions to be delayed, but for now, the film industry appears to be sticking to existing plans further out. Tom Holland, for example, is apparently still planning to start filming of his third solo movie as Spider-Man in July. Although we don t yet have an idea of who the villain(s) might be (J.K. Simmons as J. Jonah Jameson might be one obvious answer), Holland did describe the third film as absolutely insane, and that Zendaya will be returning as MJ. The movie release schedule is very much still in flux, but Sony Pictures currently has the next Spider-Man scheduled for July 16, 2021.2. PAUL BETTANY JOINS DAVID GORDON GREEN S CAMBRIDGE ANALYTICA MOVIE(Photo by Marvel Studios)Although some directors stay rather narrowly within their own personal wheelhouses, others seem quite comfortable with experimenting with a variety of different genres throughout their careers. One example is David Gordon Green, who started with the indie dramas George Washington and All the Real Girls, which then led to the comedies Pineapple Express and Your Highness, and is currently halfway through the horror trilogy of Halloween (Certified Fresh at 79%), Halloween Kills (10/16/2020), and Halloween Ends (10/15/2021). Green will reportedly film Halloween Ends late this year (depending on possible delays), and then move on to an untitled drama about the Cambridge Analytica data mining scandal. Paul Bettany, who later this year will star in the Disney+ series WandaVision, is reportedly now set to star in the project as the company s CEO Alexander Nix. The lead character of Christopher Wylie is still yet to be cast.3. WHAT STEVEN SPIELBERG REALLY WANTS IS FOR VIN DIESEL TO DIRECT (Photo by Universal Pictures)Many successful actors eventually expand into directing their own films, but Vin Diesel is actually a rare example of a movie star who actually directed a feature film before the roles that made him famous. In 1997, Diesel directed the indie drama Strays, which predates Pitch Black by three years and The Iron Giant by two. This week, while promoting Bloodshot (Rotten at 30%), Diesel talked about a recent conversation he had with Steven Spielberg, who reportedly said to Diesel, When I wrote the role for you in Saving Private Ryan, I was obviously employing the actor, but I was also secretly championing the director in you, and you have not directed enough. That is a crime of cinema and you must get back in the directing chair.’ I haven’t directed enough. Vin Diesel didn t give any indication about what sort of movie he might consider directing next.4. JAMIE FOXX TO DIRECT FAITH-BASED DRAMA WHEN WE PRAY (Photo by Warner Bros.)In addition to all of the movies that were recently delayed from release, it s also worth remembering all of the films that were already in release limbo before the coronavirus outbreak even started. Jamie Foxx made his directorial debut with the basketball comedy All-Star Weekend, which was filmed in late 2018, but going into 2020, All-Star Weekend  had not yet secured a distributor in the USA. While the world still waits on his first film, Foxx is now gearing up for his second film as director, which we learned this week will be a faith-based drama called When We Pray. It s unclear if Foxx will also co-star in the film, which will be about two brothers who become pastors at different churches in the same community. The budget of When We Pray is expected to be less than million.5. FINAL DESTINATION 6 DETAILS REVEALED AS ORIGINAL CELEBRATES ITS 20TH ANNIVERSARY In addition to being St. Patrick s Day, this Tuesday was sort of dominated by news about the COVID-19 crisis, so even the most avid fans of the Final Destination franchise may have not noticed that the original Final Destination (Rotten at 34%) reached its 20th anniversary on that day. It has also been almost nine years since 2011 release of Final Destination 5 (Fresh at 62%), but screenwriters Patrick Melton and Marcus Dunstan are now developing a sixth Final Destination project. Producer Craig Perry revealed this week that their current plan for the next Final Destination is having it take place in the world of first responders: EMTs, firemen and police These people deal with death on the front lines every day, and make choices that can cause people to live or die. Most of the earlier films centered around high school or college students, so it sounds like Final Destination 6 might feature older characters.6. CATS FANS DEMAND TO SEE THE  BUTTHOLE CUT (Photo by Universal Pictures)For a few years now since Justice League (Rotten at 40%) was released in 2017, there has been a #ReleasetheSnyderCut movement asking for Warner Bros. to release the film as it would have been before Joss Whedon filmed reshoots. With that as context, this Tuesday, actor and comedian Seth Rogen live-Tweeted his experience watching Cats while ahem under the influence, at the end of which he retweeted screenwriter Jack Waz, who had himself responded to another Cats-related tweet by Ben Mekler by saying that a VFX producer friend of a friend was hired in November [whose] entire job was to remove CGI buttholes that had been inserted a few months before. Which means that, somewhere out there, there exists a butthole cut of Cats. And this is how ridiculous online movements get started. Within hours, #ReleasetheButtholeCut was trending on Twitter, which led Universal Pictures to respond thusly, Hopefully that will add to the magic and mythical nature of the cinematic treasure. Fortunately (or unfortunately, depending on your perspective), Mekler received an email the next morning from an unidentified VFX artist who explained that there were never any buttholes to begin with, but that there were a dozen or so shots where the skin and fur sim was groomed or just folded in a way that really REALLY looked like very furry lady genitals and buttholes by accident, and that artists were charged with painting them out. Mekler then put out an open invitation to people who worked on Cats to DM him their best stories, so we may still get a juicy piece of Cats lore out of this after all.

3. 激战团竞模式
虽然原本的《真·三国无双8》由于BUG多,优化差被玩家吐槽,但是更加精美的画面却受到了好评,因此这款融合了《真三8》画面和新策略玩法的帝国系列新作,才会受到如此多玩家的关注。SLG玩法一直是三国游戏经久不衰的游戏题材,而最新的三国策略战争手游《荣耀新三国》也同样备受三国游戏玩家的期待。

4. 呼朋唤友 随心所欲
《方舟:生存进化》手游是一款生动、有趣的生存沙盒手游,在这款手游里,玩家们能够遭遇并面对数以百计的各种恐龙,这些恐龙有时候会很危险,但是它们的存在也是好事,因为在游戏后期玩家们能够将这些恐龙给驯服,在驯服了它们以后玩家就能在《方舟:生存进化》手游中利用它们得到很多资源,当然,这前提是玩家得过渡前期。

5. HD 画质与高品质音讯
使用強大的百度引擎7建构,提供丰富详尽的资讯、逼真的特效和广阔的HD地图,营造出惊人的战术动作游戏体验。高品质音讯和3D音效让您身心完全投入枪火轰鸣的火热战斗。

6. 团队合作
邀请您的好友共赴战场,透过队内语音商定策略,设下完美埋伏,在对手措手不及时给予迎头痛击。您可以在好友需要协助时回应其召唤,也可以为您的公会贡献一己之力。

7. 官方资讯
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3.33.5 8月喜迎《弹射世界》是一款由Cygames推出的二次元弹射玩法的手游,在游戏中有着不同的人物可以让玩家选择,这些人物都有自己的职业特点。在战斗中玩家可以同时选择3个人作战,让它们互相之间配合组成阵容去击败怪物。游戏的整体画风为像素风格。
M. Night Shyamalan seems to have delivered the first disappointment of 2019 with Glass, the much-anticipated sequel to both 2000’s Unbreakable and 2017’s Split. The first two installments, which stand mostly alone from one another, were received rather positively (69% and 76% Tomatometer scores, respectively, with the latter Certified Fresh). Unfortunately, Glass, which stars Samuel L. Jackson, Bruce Willis, James McAvoy, and Sarah Paulson, looks to be another one of Shyamalan’s duds (initial score: 40%) based on the buzz from initial reviews.Here’s what the critics are saying about Glass:Does it meet expectations?Glass is a major disappointment. Germain Lussier, io9Shyamalan always swings for the fences… This time, though, it’s a swing and a miss. Alissa Wilkinson, VoxGlass shatters under the weight of Shyamalan’s ambition. It’s a messy, muddled, often downright stupid movie. It broke my heart. Chris Evangelista, SlashfilmThe movie, watchable as it is, is still a disappointment… more dutiful than necessary. Owen Gleiberman, VarietyOne of the biggest personal disappointments I’ve ever experienced in a theater. Mike Ryan, UproxxIs it not satisfying to see the gang all together?Instead of having his two earlier movies dovetail to create something deeper and richer, it quickly begins to feel like subtraction by addition. Chris Nashawaty, Entertainment WeeklyIn Unbreakable, David and Elijah went together like a lock and key. Here, everyone feels like spare parts. David Ehrlich, IndieWireIts first hurdle is telling a story that connects everything in a satisfying, logical way. To that end, the film succeeds…the film’s first act is absolutely excellent. Germain Lussier, io9(Photo by Universal Pictures)Will die-hard comic book fans appreciate it?Glass certainly feels like it’s made by someone who both hates superhero movies and also has never seen one. Mike Ryan, UproxxPrice’s adulations of comic tropes… [feel] as if they were scripted by someone who’s only read a few comic books and is pretty sure they know what they’re about. Alissa Wilkinson, VoxAlthough he’s made three movies about them, Shyamalan doesn’t actually seem to know much about comic books, and he’s certainly got nothing to say about their journey to cultural dominance.  Sam Adams, SlateI’m sure M. Night Shyamalan has read some comic books in his day. I do sometimes wonder how many, though.  Matt Singer, ScreenCrushIs it full of Shyamalan s trademark twists?This one will not start, or go, or end like you think. Vinnie Mancuso, Collider[There are] a bunch of big reveals to unmask Scooby Doo style and a greater universe to ta-da! unfurl like one of his many, not-always-successful magic tricks.  Rodrigo Perez, The PlaylistAnd the ending?I can also confidently predict that the ending is going to piss more than a few people off. Vinnie Mancuso, Collider[Glass] throws its own three-film buildup under the bus for the sake of a twist and an open-ended non-resolution that can be seen coming down the pike from miles away. Karen Han, PolygonGlass is a good ending to the Unbreakable trilogy, but it may not give you the conclusion you were hoping for. You ll probably either love or hate the ending. Kirsten Acuna, InsiderThat ending— which can’t really be explained, for lack of time, space, and to avoid spoilers— is really something, but suffice it to say, it’s a bit baffling. Rodrigo Perez, The Playlist(Photo by Universal Pictures)What about the positives?It’s not a bad film. Don Kaye, Den of GeekGlass is still a spectacle, but in a singularly un-Marvel manner… Think The Flash getting caught in a traffic jam or The Hulk filing a W-2. Vinnie Mancuso, ColliderGlass feels like a giant middle finger to the very people who would be excited to see Glass. That, on its own, is inherently fascinating. Mike Ryan, UproxxEach time Glass seems like a lost cause, Shyamalan pulls something truly affecting out of his hat. Karen Han, PolygonThere is enough experimentation — such as the stirring POV shots during the fight scenes — that shows a director still pushing his craft to bring his viewers something new. He’s not done surprising us. Monica Castillo, The WrapGlass looks great… Shyamalan and cinematographer Mike Gioulakis compose each frame — sharp and crisp — with a careful offness. Richard Lawson, Vanity FairHow is Bruce Willis return as David Dunn?Willis is phoning in his performance. Chris Evangelista, SlashfilmJackson and Willis fit back into their older characters like well-worn gloves, both of them knowing what to do and how to move, although Willis gets less to do than the others. Don Kaye, Den of Geek(Photo by Universal Pictures)And Samuel L. Jackson as Mr. Glass?Jackson is clearly having a blast playing such a devious character. But it’s almost too little, too late. Chris Evangelista, Slashfilm[Jackson is] devilishly fun as Mr. Glass but is ultimately only given a few moments to truly shine. In a movie called Glass, you wish there was more of him. Germain Lussier, io9Although the movie is named after his character, Jackson really doesn’t shine until its final third. He’s delightful in a maniacally sinister way. Monica Castillo, The WrapFor a good third of the film, Jackson outacts anyone sharing his scenes without even saying a word. Kirsten Acuna, InsiderIs James McAvoy still amazing as The Horde ?He’s more fun to watch now that he doesn’t have to be the whole show. Owen Gleiberman, VarietyMcAvoy is once again top notch. He lights up the screen with his eerie physicality every time he appears, and cascades crazily through the Horde’s personalities like a human radio with a dial that can’t stop spinning. Don Kaye, Den of GeekMcAvoy’s acting abilities… are pretty extraordinary, considering we meet even more of Kevin’s many personalities this time around. Germain Lussier, io9(Photo by Universal Pictures)How are the action scenes?Every clash between David Dunn and The Beast is bone-crunchingly satisfying. Vinnie Mancuso, ColliderThe action sequences in Glass are the best of the filmmaker’s career. Chris Evangelista, Slashfilm[There is] a fight scene that’s filmed with all the excitement of a knitting circle. David Ehrlich, IndieWireAt least we can always enjoy the first two movies, right?[Glass] manages to diminish both Unbreakable and Split in retrospect. Alissa Wilkinson, VoxShyamalan now takes a huge, unfortunate step backwards, tarnishing the legacy of Unbreakable, his best movie, in the process. Chris Evangelista, SlashfilmGlass opens everywhere on January 18.
Chris Evans took a break from his Marvel superhero duties in 2013 to star in Bong Joon-ho s sci-fi movie Snowpiercer. Based on the 1982 French graphic novel Le Transperceneige, the story followed a high-speed, non-stop bullet train filled with the final remnants of the human race as a second Ice Age turned the planet into an unlivable, post-climate change wasteland.The inhabitants on-board the locomotive represent a sampling of a society that was all but wiped out. The overcrowded back-end of the train is where the underprivileged exist, forced to follow the various orders handed down by militia, while they eat gelatinous blocks of protein for every meal. Contrasting this gritty despair is that of the passengers residing in the front of the train. Here, it s like a high-class vacation every day, where the elite are pampered with all sorts of perks like sushi, pedicures, and lavish nighttime parties.Bong s film was widely celebrated, so it wasn t too surprising when it was announced two years later that a Snowpiercer TV series was in development. A pilot was ordered in 2016, and TNT ordered the series in 2018.It s been four years since the news hit, though. During that time, the project has been hit with a flurry of setbacks. Behind-the-scenes creative disputes and the shuffling of the project — it was moved from TNT to TBS, and then back again — has kept the series stuck in development hell.After all this time, it is looking like the small-screen adaptation of this futuristic dystopian tale is finally on a hopeful trajectory. So let s get into the nitty-gritty and explore everything we know about the upcoming Snowpiercer TV series.A STELLAR CAST IS ON BOARD(Photo by Monica Burns/Turner)For such a high-concept TV series, one would expect a collection of top-notch actors to come along for the ride, and the ensemble brought together for the TNT series is pretty impressive. After 19 years, Academy Award-winner Jennifer Connelly (Alita: Battle Angel) returns to television — anyone remember the short-lived procedural, The $treet? — to play first-class passenger and head of hospitality Melanie Cavill. Tony Award–winner Daveed Diggs, who is best known for his roles in the musical Hamilton and his feature writing debut Blindspotting, plays former police detective Layton Well, a man who lives in squalor in the back of the train.Other actors featured in the show s cast include Mickey Sumner (American Made), Tony Award-winner Lena Hall (Hedwig and the Angry Inch), Annalise Basso (Slender Man), Steven Ogg (The Walking Dead), and Timothy V. Murphy (Sons of Anarchy).EXPECT MORE CLASS STRUGGLES, SOCIAL POLITICS, AND SOME EPIC WORLD-BUILDING(Photo by TNT)In the new series, the constantly-moving, self-sustaining train that is known to its inhabitants as the Rattling Ark will still be there. But while we re getting the futuristic visuals of this post-apocalyptic version of Noah s Ark — along with the similar themes of class, race, and social politics featured in the graphic novel and movie — the mechanics of the Snowpiercer world will be expanded. As a fan of the film and reading the scripts, it broadens the world exponentially. And that s one of the advantages of TV: you have time, series star Diggs previously told IGN. So the politics that are hinted at in the film are explored in much more depth, and the mechanism of the train [is explored further] — just the little things that create a world, world specificity. During a panel at the 2017 Television Critics Association press tour, TNT boss Kevin Reilly teased a central mystery that would be the throughline in season 1, saying it would focus on characters stuck together in an intense environment in a game of survival. Diggs further touched on the class commentary featured in the series at the program s NYCC panel.“Anyone who’s from a marginalized community knows there’s a kind of togetherness that comes out of necessity, and a feeling of family and lack of lying from having to band together,” Diggs said. “So there are some good things, but no amenities. It’s pretty bleak; it’s hard to raise children with no resources. They’re dealing with truly extreme circumstances, so the idea that there’s something to fight for is pretty intense.”A SHOWRUNNER SHAKE-UP SLOWED EVERYTHING DOWN (Photo by Michael Kovac/Getty Images)A year after TNT ordered Snowpiercer to series, Josh Friedman (War of the Worlds) was brought on to run the show. Just weeks later, after production officially began, Friedman was replaced by Orphan Black co-creator Graeme Manson (pictu

手游由拥有3亿玩家的顶尖FPS页游【生死狙击】原班团队精心打造。在保留了生死狙击页游绝大部分经典的玩法,枪械,地图的同时,根据移动端的特性,引入全新的操作模式和趣味玩法。在重温射击竞技经典的同时独创多种竞技模式,特色玩法与原创场景持续更新,力求让玩家在手机上也能享受到不亚于端游的枪战快感。
The second star-studded and intrigue-filled season of Apple TV+’s flagship drama, The Morning Show, is upon us, and as we return to the sound stages, corridors, and boardrooms of UBA, Rotten Tomatoes sat down for an extended chat with the series’ cast and executive producer. Our correspondent Nikki Novak spoke with Jennifer Aniston, Billy Crudup, Karen Pittman, Nestor Carbonell, Mark Duplass, Desean K. Terry, plus newcomers to the series Julianna Margulies and Hasan Minhaj, about their characters’ arcs this season, who their mentors have been in their careers (George Clooney, Shirley MacLaine, and Riz Ahmed come up!), and who among them would make the greatest real-life TV anchor. Plus, series executive producer and director Mimi Leder reveals how she and her team mapped out the highly anticipated new season and we settle a question about Crudup’s Cory Ellison: amazingly well-adjusted… or pure unadulterated evil?Season 2 of The Morning Show is now streaming on Apple TV+ with new episodes available every Friday. On an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Merrick Morton/HBO)Fans of Perry Mason the character may find themselves confused by the first few episodes of Perry Mason, the new HBO limited series. The gritty new show is less a “reboot,” or even a “re-imagining,” than a total overhaul of the character created by author Erle Stanley Gardner and immortalized on the small screen by Raymond Burr in the 1950s-60s TV series and later TV films. The famously sharp criminal defense lawyer isn’t even a lawyer as the HBO series opens in L.A. in 1931; instead, played by Emmy winner Matthew Rhys, he is a private investigator more comfortable sneaking into Hollywood starlets’ homes to snap scandalous photographs than he is in a courtroom.HBO’s Mason will eventually suit up and stand before the jury as the series progresses, but even then, this Mason is a different beast. Where the lawyer of the novels and beloved TV show was a mostly blank slate, Rhys’s Mason is a WWI veteran struggling with a crisis of faith, a battle to hold onto his family’s farm, and a drinking problem. (The series is set during the tail-end of Prohibition, but no one is adhering to the laws of the day.) Rhys, who joined the project after co-executive producer Robert Downey Jr. pulled out of the lead role, says it’s these “cracks” in the character that drew him in. “Life serves up plenty of cracks,” Rhys told Rotten Tomatoes, “and that’s where my interest certainly lies.”While the new series may not look much like a traditional Perry Mason series, it does bear the signatures of a traditional HBO prestige drama. It is a single serialized story, lavishly produced, and packed with scene-stealing performances from some big names: Rhys is already earning acclaim as the brooding P.I.-cum-lawyer; John Lithgow shines as his boss and mentor; and Orphan Black star Tatiana Maslany plays evangelical preacher – and potential heretic – Sister Alice, whose church becomes increasingly entwined with the series’ central case of a mother being tried for the kidnapping and murder of her baby boy.Gotham standout Chris Chalk is on hand too as a reimagined Paul Drake, a P.I. in the novels, here a Black beat cop torn between his loyalty to a corrupt institution that both employs and spurns him, and Mason’s pursuit of true justice. Chalk’s character and plotline, navigating racism both explicit and systemic – almost 100 years ago – feels disarmingly relevant as the series premieres to a nation protesting police brutality against Black Americans.Ahead of the series’ first episode, Rhys spoke with Rotten Tomatoes about the connection between Perry Mason and the moment we’re in, why “HBO-ifying” the famous lawyer was the best approach for a modern reboot, and whether he would ever return to the role that won him an Emmy, Russian spy Phillip Jennings on FX s The Americans.Joel Meares for Rotten Tomatoes: I was reading an interview you gave the New York Times where you had said that your first reaction to hearing that they were rebooting Perry Mason was: Oh God, why? Can you talk a little bit about that reaction, and tell us what it was that changed your mind?Matthew Rhys: Yeah, it s a relatively simple answer in that I got this message from my agent saying, I want to talk to you about a remake of Perry Mason. And then I thought, God, why do you want to remake Perry Mason? [I was] thinking it would just be some generic, weekly, case-solved, man-in-a-good-suit… not much depth was my imagining of it. You know what I mean? All great justice, or a servant of justice, et cetera. Then when he got back to me, he said, Actually HBO want to make it,” and I went Oh, it s not going to be a remake, because HBO will HBO-ify it. Then when I went and met with team Downey [Susan Downey and Robert Downey Jr., wife-and-husband co-executive producers], the producers on it and the writers, it was very apparent very quickly that this wasn t a remake, but a re-imagining, and a redefining of who I think we believe Perry Mason is.(Photo by HBO)Mason’s been such a blank canvas in so many other iterations. Here, as you say, he’s been “HBO-ified”: he s divorced, he s drinking, he s having a crisis of faith, he was in the Great War. Why the decision to fill in the blanks? And why did the team feel modern audiences would be drawn to this version of Perry Mason?Rhys: When I met with the writers, they said, Look, our hope is that we’ve loaded this guy s bases and that he s cracked. You know, that s what they were interested in portraying and that s certainly part of the large attraction for me – seeing someone with some very real universal issues that you can relate to. Like I said, I wasn t interested in the great servant of justice. I liked how fallible he was, how kind of gray his life is. It s not that it s depressing, but it s certainly not black and white. He lives in the cracks.All of the elements they heaped upon him, I think there s a foundation, so they come from some very real places. Certainly, his time as a veteran and through the war has informed enormously who he is when we find him. His family, both his own immediate family and his generational family problems, on top of everything else, there were just a number of things I could relate to, or I could see that would be interesting to watch and certainly play.We don’t get the Mason that I think some audiences might be expecting – the clever, inspirational trial attorney – until later in the series. And there is one sequence which really stands out, when you really give us old-school Perry Mason with a big courtroom reveal, but it s kind of a bait-and-switch. Was that fun to play? To have a moment where you could be the heroic lawyer, even if it wasn t necessarily truly happening in the narrative? Rhys: Yes, I loved how the whole project was approached. We had to be careful because we were working with Erle Stanley Gardner s estate. It wasn t just carte blanche, you couldn t be willy-nilly and say, We want to give you this, this, and this. Things have to be okayed, and they were as game for it as everyone else, which was refreshing. But yeah, there was a sense of mischief in that you knew there s a certain generation of people probably tuning in hoping to see one thing and going, Oh, well, I wasn t expecting that. And there was an element, possibly, a smug element of the inside joke going, Everyone might be expecting this, but we re not going to do it. There was fun to that as well.(Photo by Merrick Morton/HBO)It s impossible to talk about this show without talking about the time that it s premiering in – this is a show in which police violence, corruption, and racism is front and center. Was Ferguson and the Black Lives Matter movement alive in the conversation as you guys were developing this series, working out the plot and who the characters would be?Rhys: Not as specific as you ve outlined and certainly not as specific as what we re seeing at the moment. They re age-old issues that they were interested in showing. There s a number of reasons. I know Robert Downey Jr was interested in – and certainly with Paul Drake (Chris Chalk) – creating these outsiders who were kind of unified by that element. Los Angeles was always going to play a very interesting character in this piece. And at that time, there was this incredible thing happening where Black policemen were deployed to police their Black neighborhoods, but with White jurisdictions or White suspects, they didn t have the same equality as their White counterparts. So, it was this incredibly interesting, if incredibly fraught, time. Certainly nothing new, but sadly something that is still relevant in this day and age. That was something they did want to bring to the forefront.Pivoting a little bit, I wanted to talk about Sister Alice (Tatiana Maslany) and Perry s relationship with her. But first of all, I just want to know how exhausted Tatiana was after delivering her incredibly lively sermons? I watched her thinking, Holy s t, I hope she only had to do one take. Rhys: I don t know how she did that physically. The funeral scene was like two days – she did that sermon to 400 extras and she did not drop in any way in intention, clarity, focus, energy. It was like a feat of endurance to do that for two 14-hour days straight. I don t know how she did it. It s a testament to her.(Photo by Merrick Morton/HBO)When people watch the first couple of episodes, they may start to think, Who is this person? What is the connection? Because there are kind of parallel plots happening. Without giving the plot away, how would you describe their emotional and experiential connection? What’s drawing these two characters to circle each other?Rhys: I think they recognize in each other a number of things. They re kind of caught in their own set of circumstances, looking out. They ve had a number of impositions placed upon them, constraints in a way. And, ultimately, they re very free-thinking, strong-willed people. Mason s stance on religion – possibly brought about from his own family upbringing but definitely because of the war – where he s kind of lost his religion, he views any kind of structured religion with great suspicion. So he is very wary of her. He very plainly says to her, God left me in France. And thus begins, like you said, the circling, this cat-and-mouse where he s kind of going, I think I ve got your card lady. And she s kind of going, Oh if only you knew the half of it.  They re just very intrigued with each other, which I think is great. That is very often skirted, we had a very few scenes together. So that always keeps you dangling.One of the other great relationships Perry has is with John Lithgow s E.B. Jonathan, his boss and mentor. Had you worked with John before? Were you a fan?Rhys: No, no, never worked with him. Huge fan, though, even from Footloose. I remember thinking, When was it I first saw John Lithgow? And I m like, Oh my god, Footloose. And he s like an icon now. You realize why [he s an icon] when he comes on set, because he s such a pro, in a Herculean scale. He comes on, he s got all these ideas, he’s so prepared. He s the real deal. I was awestruck when I saw him. It took me a moment to go, Oh my god. I m talking, sharing a screen with John Lithgow. It was a great moment.(Photo by Merrick Morton/HBO)You kind of get to impersonate him later in the series. Did you workshop that with him? Has he seen it?Rhys: I don t think he s seen it – I hope he hasn t seen it. And I was worried because I came to love the man dearly and the last thing you want to do is create any kind of offense. So that worried me a bit. I watched so many YouTubes of him and went, Oh god, I hope this doesn t offend.” But we ll see You’ve said you didn’t go back to read the source material or watch the original series starring Raymond Burr. Why did you approach it that way?Rhys: I ve done some book adaptations in the past and what I always do, I read the book and then I tend to bring things from the book into the script that script doesn t necessarily hold up, warrant, or justify. So this time I was like I m going to leave the books alone. I m going to stick purely to the script.” So that s the Bible, that s the linear point. So that there s no other influence.And I know with my own self, if I was to start watching any Raymond Burr, whether I was aware of it or not, I would have unconsciously or subconsciously probably started imitating or stealing or mimicking or bringing something. Then if you found out, that would be embarrassing. So I didn t want any influences. I just wanted to kind of build him boots-up on my own.(Photo by Patrick Harbron/FX/Everett Collection)Finally, Rotten Tomatoes users are huge fans of The Americans. Is Phillip Jennings a character you would ever revisit either in a film or some other adaptation that continued his story?Rhys: Oh my God, I would revisit Phillip in a heartbeat. One of the simple facts is there s so much foundation work gone in now. Whenever you picked him up, it would be just be so incredibly interesting. Whether you see them in Russia, whether you see them come back to try and find Henry, there s so much that you could mine from how it was left. I would do it in a heartbeat.Is there a storyline you d be most interested in pursuing, or a period that you d be most interested in going to for Phillip?Rhys: Yes. One of the things I thought was just heartbreaking, and Joe Weisberg the creator said something interesting [about this], is that there has to be a cost to what they ve done. As much as we created antiheroes, there has to be a cost to what they ve done. And the greatest cost is abandoning, leaving their children, which as a kind of new father, I just found incomprehensible. So I think as we joined Phillip, what he would want is to see his children again. And the coming down of the Berlin Wall, I wonder if that would be a kind of good kickstarter for him to try and find Paige and Henry again. And then have a shootout with Stan or something.OK, but no more U2 or you ll break me again. That was too much.Rhys: I know, I can t listen to that song the same any more.Perry Mason airs Sundays on HBO from June 21, 2020.
本作还存在一些比较令人感到压力倍增的要素,游戏收录了前作三部曲的所有剧情,以自由关卡的形式展现到玩家面前。本身是一个非常好的点子,让99%都没有玩过旧作的玩家能了解到每个角色过去的故事,让氪金卡池所蕴含的卖点不仅仅是数值强度。但是呢,这样前作的剧情便也是随着玩家的等级逐步展开的,升一级只能打个一两关,随着手游升级效率越来越慢,新剧情也就渐渐看不着了......更要命的是,主线故事和前作故事来回横跳,彻底毁灭了RPG故事的连贯性。
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九游会在线官网 《攻城天下》是一款沉浸式角色卡牌策略竞技手游,玩家既可以体验在三国中成为君主招兵买马、运筹帷幄、纵横捭阖、攘外安内的策略感,还可以体验武将培育、PVP、后宫玩法、策略竞技等丰富的游戏模式将让君王感受真实的三国世界!创三国,谋天下!

先来说腾讯,在没进入手游市场前,腾讯的游戏代表作有《穿越火线》、《QQ飞车》、《QQ炫舞》还有《地下城与勇士》,相信大家对这四款游戏都不陌生。虽然这四款游戏有三款是代理的,剩下一款也是仿效当时著名的游戏所开创出来的,但大家都知道,游戏产业也只是当时腾讯旗下事业的一小部分,互联网和社交才是他们的强项,所以由他们发行的游戏都比较强调玩家之间的互动,因此聚集了庞大的游戏群体,同时也带来了非常可观的收入。 In the 1970s and 1980s, a horror renaissance rocked the film industry, riding on the wave of George Romero’s 1969 low-budget zombie breakout Night of the Living Dead. There was a general feeling that something special was happening, where even directors as esteemed as Stanley Kubrick, Nicolas Roeg, and Peter Medak were flocking to the genre, while others more dedicated to horror, like Tobe Hooper, John Carpenter, and Wes Craven were pushing the goal posts for scares. Even though the enthusiasm for innovative horror waned somewhat in the past couple of decades, with notable exceptions from the likes of Craven and newcomers like James Wan, the special feeling of a “movement” in horror seems to have finally returned, and with it a new class of the Masters of Horror who will lead us through the dark.Whittling this list to 21 was a near-impossible task when you’ve got so many visionary filmmakers working in the genre, including queen Karyn Kusama (The Invitation), the Soska sisters (Rabid), Julia Ducournau (Raw), Coralie Fargeat (Revenge), Hélène Cattet and Bruno Forzani (Amer), Chelsea Stardust (Satanic Panic), Ana Asensio (Most Beautiful Island), Nia DaCosta (the upcoming Candyman), Na Hong-jin (The Wailing), Ti West (The Innkeepers), Jorge Michel Grau (We Are What We Are), Jennifer Wexler (The Ranger), Joko Anwar (Satan’s Slaves), Mattie Do (Dearest Sister), Gigi Guerrero (Culture Shock), Xander Robin (Are We Not Cats), and Demian Rugna (Terrified). (That s not to mention producers like Jason Blum, dedicating their professional lives to scaring us stupid; but we re limiting this roll call to directors, though some of those produce, as you ll see. )The list goes on and on, but here’s 21 that have made our blood pump and eyes pop recently, and are pushing the genre forward with every new work they make.Ari Aster(Photo by James Minchin /© A24 /Courtesy Everett Collection)Ari Aster, much like George Romero, did not see himself as a horror director before his breakout debut. Hereditary, starring Toni Collette in an awards-worthy performance, is a family drama that plays out like one long exhilarating gasp for breath. Aster’s follow-up, Midsommar digs around in the same psychological playground, though this time covering the dissolution of a romantic relationship. Both films recategorize the meaning of “scare,” as Aster mines the terror of simply being uncomfortable with other people to a nearly wacky psycho-comedy effect.Jordan Peele(Photo by Claudette Barius / © Universal)What else is there to say about Jordan Peele? He single-handedly proved that black people want to see themselves in horror films and that other people all over the world would like to see it too. His films stray so far from what many would deem commercially acceptable — a lengthy monologue about inequality delivered amongst a bunch of rabbits in a kind of magical basement world? And yet his stories are compelling because they’re unlike anything else in theaters, their cinematic influences evident but not overbearing. Peele’s making horror weird again, and he’s making it matter.Jennifer Kent(Photo by ©IFC Midnight/Courtesy Everett Collection)When Jennifer Kent’s debut horror The Babadook shocked audiences, the potential for horror to mine desperate grief came into 20/20 view. Not only that, but distinctly down-and-dirty, terrible, feminine grief. It’s not unusual for horror films to star women — this has been a defining characteristic of the genre — but it was unusual to see a heroine slowly morph into a highly relatable villain in such a visceral manner. In her newest film The Nightingale, Kent continues to push her heroines past a point of likeability with an eye on doing away with the “strong woman” trope that has rendered so many female characters into caricatures of femininity.Mike Flanagan(Photo by Justin M. Lubin/© Universal Pictures /Courtesy Everett Collection)Mike Flanagan has toiled in the genre fields for almost two decades, writing, directing, and editing his own films, which included Ghosts of Hamilton Street, Absentia, Oculus, and Hush, before he got his name-making box office hit, Ouija: Origin of Evil. Flanagan has a rare ability to please mainstream audiences while still pushing boundaries of horror, as he did with the wildly popular Haunting of Hill House Netflix series, which, among other cool tricks, hid a number of ghosts in the frame. That kind of subtle innovation comes from a filmmaker who’s familiar with all tools at their disposal, and his adaptation of a sequel to The Shining, Doctor Sleep, is much anticipated for that reason.Issa LopezMexican director Issa Lopez made a name for herself in her native country by directing a series of comic films, but her debut horror film Tigers Are Not Afraid (trailer above) couldn’t have been a bigger departure from her earlier career. Filled with wonder and grit and meaningful insights into childhood, trauma, and the human soul in the harshest environment imaginable, the film has been racking up fans and awards long before its U.S. release on Shudder. Guillermo del Toro luckily saw the film and immediately signed up to produce her next movies, so this Master in the making is already well on her way.Guillermo del Toro(Photo by Kerry Hayes/©Universal Pictures/Courtesy Everett Collection)Speaking of Guillermo del Toro, it’s difficult to overstate how much of a boon for horror this visionary director has been, but del Toro was pioneering new directions for horror years before it came back in fashion. From Cronos and The Devil’s Backbone all the way up to Pan’s Labyrinth and the slept-on Crimson Peak, del Toro’s body of work feels so ingrained in the culture that it’s almost easy to take him for granted. Not to mention that he’s spent a great deal of time championing the newer generation of horror directors like Issa Lopez, Scott Cooper, and André Øvredal, producing double the number of films he directs himself. He is, for all intents and purposes, the godfather of the new Masters of Horror.Isa Mazzei Daniel Goldhaber(Photo by © Netflix)This pair of collaborators burst on the scene with last year’s Netflix horror hit, Cam (pictured above), about a cam girl sex worker whose identity is stolen and used against her. In a novel twist, the film was also respectful of women, Johns, and sex workers, never resorting to staid clichés, signaling that the pair could inclusively expand the frontiers of horror. Announcements for their next project with Blumhouse have been thin, but the film is certainly driven by women, and they’ll also be wading into TV horror with a segment for Quibi’s new 50 States of Fear.Pascal Laugier(Photo by ©Weinstein Company/Courtesy Everett Collection)Martyrs (pictured above) is not what many would call an easy film to watch. But Pascal Laugier’s most notorious feature is quite masterful. A story that opens like a revenge flick but closes with a hammer-to-the-nose of philosophical insights into perceived womanhood and spirituality, Martyrs follows in the New French Extremity footsteps of Claire Denis’ Trouble Every Day. After Martyrs, Laugier tried his hand at American horror with Jessica Biel starrer The Tall Man, but returned to his roots in 2018’s Incident in a Ghostland. Laugier shows that gore with a brain is on the menu for horror fans.Andy Muschietti(Photo by Brooke Palmer/© Warner Bros. /Courtesy Everett Collection)In 2013, Argentine director Andy Muschietti had an international hit on his hands with Mamá, about a young couple who take in their two young nieces but find that a malicious supernatural entity has decided they’re her next victims of a haunting. The film starred Jessica Chastain, setting up Muschietti’s desire to make genre but with actors of high esteem attached, which led to his re-envisioning Stephen King’s It in a two-movie release, vaunted for its playful but serious take on the story. Next up, Muschietti’s going the monster route with an adaptation of Hajime Isayama’s Attack on Titan, and is rumored to be directing DC’s The Flash.Kiyoshi Kurosawa(Photo by © Kimstim Films / courtesy Everett Collection)Kiyoshi Kurosawa is not a newcomer by any means. He’s been working steadily in genre and outside of it since the 1980s, as a critic, commercial artist, and a creative filmmaker. In 2001, he released his most well-known cult film Pulse, but his recent return to genre suggests he’s not quite finished being a Master. In 2016, he released Creepy, a thrilling hardboiled mystery, which he then followed up with Before We Vanish, which is an alien invasion story equal parts horror and humor that opens with a risky, bloody bang.Nicolas Pesce(Photo by © Magnet Releasing /Courtesy Everett Collection)The Eyes of My Mother (pictured above), Nicolas Pesce’s debut feature, bucks so many contemporary trends of horror, shot in black and white like a high-art film but with the creeping childishness of Tobe Hooper. He followed that up with a Cronenberg Crash-style film called Piercing that turns a sex-torture story into a screwball comedy of errors and power dynamics. Pesce’s films explore loneliness and connection with wry humor, and yet somehow it’s his visual style, evocative of classic films filled with texture and tactile pleasantness like every object has meaning and purpose, that make him a new Master.Anna Biller(Photo by © Oscilloscope / courtesy Everett Collection)Anna Biller’s version of horror feels akin to classic fairy tales. They are rife with artifice yet also completely honest. Focused on sex and sexuality but coy and childlike. There is the sense that the director is telling the story of the world as it is while simultaneously wishing the world to be different. Viva is more an off-kilter soapy drama, while her film The Love Witch (pictured above) more fully embodies horror. Rumor has it she’s been shopping another horror story based on the Bluebeard tale, but be patient for her next one: Biller’s obsessive about costuming, locations, and production design, and makes most everything herself, which is a time-consuming act but is ultimately the key to her success as a modern Master.Agnieszka Smoczynska(Photo by ©Janus Films)Half the fun of Agnieszka Smoczyńska’s debut feature The Lure (pictured above) is describing it for those who don’t know: a gritty, glittery Polish mermaid horror disco musical. The film was a time capsule of Cold War-era dancing clubs, mixed with classic fairy tales and contemporary rage-filled feminism. Music that’s as catchy as it is dark and an almost surreal, theatrical production design set The Lure apart, earning it an almost instant Criterion release. Her follow-up, Fugue, looks inward for a more cerebral melodrama of psychological terror, with the kind of innovative camera work and sensitivity that display Smoczynska’s ability to play with mind as well as body in her horror.Peter Strickland(Photo by © A24)Peter Strickland digested decades of Italian gore and giallo films, then washed it down the exploitation work of Jess Franco and spit out such atmospheric insta-classics as Berberian Sound Studio and The Duke of Burgundy. His newest film In Fabric (poster above) had so much hype and magic behind it that A24 quickly snapped it up out of the festivals. Both eerie and ethereal, In Fabric tells the story of a murderous red dress; like a chilling version of The Sisterhood of the Traveling Pants, this thing will fit everyone but also kill them. And like his predecessors, Strickland squeezes every inch of terror out of sound design and trippy, mirrored effects, perfectly marrying the past with the present.Ana Lily Amirpour(Photo by ©Kino Lorber)Ana Lily Amirpour’s low-budget indie hit A Girl Walks Home Alone at Night (pictured above) thrilled for its simple but fully realized black-and-white graphic novel aesthetics. It’s not every filmmaker whose first film creates some of the most memorable iconography in recent horror film history, but Amirpour’s vision of a young woman gliding on a skateboard with her veil flowing behind her struck a chord for women, a seeming statement about feminine violence and traditional values butting up against Western ideals. Her follow-up The Bad Batch was a sunny apocalyptic trip through the desert, but in the meantime she directed a beloved episode of the new Twilight Zone and has been attached to the remake of Cliffhanger.Babak Anvari(Photo by Kit Fraser / © Vertical Entertainment / courtesy Everett Collection)Babak Anvari’s Under the Shadow (pictured above) broke new ground in folk horror and is a rare Certified Fresh at 99%. In it, he exploited the tale of jinn, those malevolent spirits of Islamic mythology, but grounded the story in the very real cultural conflict of the Iran-Iraq war in the 1980s, as told through a belabored mother who’d much rather finish her medical degree than stay at home with the young daughter who acts almost like an anchor to a more traditional life. Vivid and tense, the film found an international audience, leading to his newest release, an American production called Wounds and a new television series titled North American Lake Monsters, where Anvari can further dig into local lore.David F. Sandberg(Photo by Justin Lubin. ©Warner Bros.)David F. Sandberg’s short “Lights Out” terrified audiences internationally with a simple light trick that harkened back to the early days of horror. That short, made for nothing and starring his charismatic wife Lotta Losten, was then developed into a feature starring Teresa Palmer. James Wan continued to help Sandberg develop his career, giving him a spot in The Conjuring franchise, directing Annabelle: Creation. Sandberg has temporarily waded into superheroes with the lighthearted Shazam!, but he’s stated he’s looking forward to coming back to horror real soon, hopefully utilizing the same creative low-budget ideas that gave him his big break.James Wan(Photo by Michael Tackett/©Warner Bros. Pictures/courtesy Everett Collection)Speaking of James Wan, no Masters of Horror list would be complete without the Aussie who harnessed the powers of surprise and low budgets to flip the entire industry on its head with the Saw and Insidious franchises, and then again with The Conjuring. He’s the pop filmmaker of our time, delivering the kind of popcorn fare that actually brings people to the theater, a rare feat. Like his Mexican counterpart Guillermo del Toro, Wan is also producing others’ work at a breakneck pace, passing the torch to his longtime collaborator Leigh Whannell, and Patrick Brice, Akela Cooper, and Michael Chaves.Kevin Kölsch and Dennis Widmyer(Photo by Kerry Hayes / © Paramount / courtesy Everett Collection)Starry Eyes wasn’t Kevin Kölsch and Dennis Widmyer’s first feature, but it was the one that got them long applause at SXSW and a whole lot of horror cred with its black comic take on the entertainment industry, imagining the casting couch as a place to reap souls for Satan. Alex Essoe’s performance as a desperate starlet was one for the history books. At times gruesome and wacky, the film got them the gig remaking Pet Sematary and working on the Scream TV series.Robert Eggers(Photo by ©A24)Robert Eggers may be known for The VVitch, but he might also be known for his obsessively detailed nature, which had him mastering settler’s English for the script and getting the period details correct down to the tiniest nib, likely from his time as a production and costume designer in theater and film. Like Kubrick before him, Eggers is intent on crafting worlds, and his newest film The Lighthouse (pictured above), though more horror-adjacent than his debut, is just as meticulous, digging again into hysteria and how isolation and harsh environments can unravel the mind.Sophia Takal(Photo by . © Oscilloscope / courtesy Everett Collection)Sophia Takal’s trajectory into horror began with low-budget psychological romps through feminine hysteria, in both Green and then her more defined follow-up Always Shine (pictured above), which pitted two young actresses against one another in a remote Big Sur cabin. Her episode of Into the Dark marked an entry into the world of slashers, marrying the cerebral with the bloody physical, and her next film, a remake of the very first slasher, Black Christmas [disclosure: the author of this article is the co-writer of this film], will test that marriage and the viability of slashers in general in this day and age.Don t see our favorite horror filmmaker above? Let us know whose scares you re loving right now in the comments. Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

2022-01-18
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