亚博app官网下载采用百度引擎1（Baidu 7）test of the heroes reflecting his goal in comic books prior to the Crisis series, Psycho-Pirate’s (Bob Frazer) brief appearances in Parts 2 and 3, and, most crucially, Clark’s revelation that Barry and Kara will both die. Sure, he meant during their attempt to slow time in Elseworlds, but fans of the original Crisis will know the deeper meaning immediately.Which makes you wonder if Ollie traded his life for theirs when he spoke with the Monitor Even the crossover s final moment, in which Psycho-Pirate assures Deegan everything will be fine, calls back to the final page of Crisis on Infinite Earths. In both cases, he recites a version of the ad copy for the event series: “Worlds will live. Worlds will die. And the DC Universe will never be the same.”
The holiday movie season typically kicks off in earnest during the first full weekend of November Thor: Ragnarok, The Incredibles, and SPECTRE are just are a few of the blockbuster titles that have drawn audience interest and given the industry a late-year boost. This year s season so far has hardly lived up to even the lowest expectations, with Terminator: Dark Fate and Doctor Sleep suffering lackluster openings. The good news is that there are still many days left in the season, with both mini- and extended vacations coming for kids and their families. So let s look at 10 films that will hopefully rise towards or even exceed what everyone expects from them this season.10. Richard Jewell (2019) 77%Release Date: December 13Estimated Gross: -75 millionClint Eastwood managed to complete Richard Jewell his 12th film as director being released in December quickly for Warner Bros., getting another one in the can just in time for awards season. That strategy didn t quite work out for him last year with The Mule, which nevertheless grossed over 3 million, an impressive 5.92 multiple over just a .5 million opening weekend. Similarly, Million Dollar Baby and Gran Torino opened in limited release but went on to gross 0.4 and 8 million, respectively. Even the return of Dirty Harry in Sudden Impact back in 1983 grossed about 4 million in today’s dollars. The commonality among all of those films is that Eastwood also starred in them. With the exception of American Sniper (his highest-grossing film to date), Eastwood in front of the camera is a bigger box office draw than when he s only behind it (Invictus grossed just .4 million), but the story of Richard Jewell (played by the great Paul Walter Hauser of I, Tonya and BlacKkKlansman) is a fascinating American tale that could resonate with domestic audiences. The trailer has raised some eyebrows about how far this film will lean into a poor white man being destroyed by actual fake news and, like Bombshell, the film could be hampered by audiences who prefer to keep their evenings free of politics. But critics have not been Rotten on Eastwood’s December oeuvre since 1990’s The Rookie, and that could translate into big box office dollars.9. Spies in Disguise (2019) 77%Release Date: December 25Estimated Gross: -85 millionSpider-Man: Into the Spider-Verse grossed over 0 million in 2018, and two years earlier, Illumination’s Sing made over 0 million, but those are the only two animated films since The Prince of Egypt in 1998 to gross over 0 million after opening in December. (That does not include hybrids like Alvin and the Chipmunks, Stuart Little, and Yogi Bear.) Spies in Disguise, with voice work by Will Smith and Tom Holland, has already been delayed three times this year from January to April, then to September, and now to Christmas Day. But even Fox’s animated talking bull, Ferdinand, managed to gross million back in 2017, despite opening on the same day as The Last Jedi and less than a week before Jumanji: Welcome to the Jungle. Likewise, this release appears headed in a familiar direction.8. Ford v Ferrari (2019) 92%Release Date: November 15Estimated Gross: -105 millionMany critics have been referring to this as “your dad’s new favorite movie,” which feels apropos, even with Sam Mendes’ war epic, 1917, hoping to make a technical splash later this season. While that film is likely to earn some accolades, it will also probably get lost in a host of awards hopefuls – not to mention late-season blockbusters – so Ford v Ferrari is poised to make the most of its pole position. James Mangold’s two-and-a-half-hour racing film with Christian Bale and Matt Damon should get off to a strong start nearly two full weeks before Thanksgiving and cruise into mid-December as a staple of the top five at the box office until the big blockbusters take over.7. Little Women (2019) 95%Release Date: December 25Estimated Gross: 0-110 millionGreta Gerwig’s solo directorial debut, Lady Bird, is the highest-grossing film in independent production company A24’s history, making over million in 2017 and thriving into the heart of awards season that year. For her follow-up, Gerwig is taking on a literary classic with a major cast that includes Saoirse Ronan, Meryl Streep, Emma Watson, Laura Dern, and Florence Pugh. Strong reactions have come out of early screenings, suggesting Gerwig is offering a fresh perspective on the material, which has already seen seven other big screen adaptations. If A Beautiful Day in the Neighborhood is the film for adults that takes us from Thanksgiving to Christmas, then this film is likely to take the baton in a sprint to the Academy Awards.6. Cats (2019) 20%Release Date: December 20Estimated Gross: 0-120 millionSince 2002, there have been seven musicals that have opened in December and grossed over 0 million. The genre is on a three-year streak with La La Land (2016, 1.1 million), The Greatest Showman (2017, 4.3 million), and Mary Poppins Returns (2018, 1.9 million). On the other hand, if your name is Andrew Lloyd Webber, the big screen adaptations of your musicals have not been nearly as successful. Evita didn t do too bad in 1996, despite never making it into more than 1,045 theaters ( million), but Joel Schumacher’s The Phantom of the Opera was a big financial and awards disappointment for Warner Bros. in 2004 (.2 million). Can Cats overcome the social media sneers of its trailers to be another winner for Tom Hooper, whose Les Miserables grossed over 8 million in December 2012?5. Knives Out (2019) 97%Release Date: November 27Estimated Gross: 5-125 millionRian Johnson’s affinity for old-school whodunits and twisty narratives (see: Brick and The Brothers Bloom) is finally going to get the audience attention it deserves. Kenneth Branagh’s 2017 adaptation of Murder on the Orient Express built steady success to the tune of over 2 million, so why not give those same mystery-lovers another big cast in a funnier and more lively tale? Among all the films getting released wide this season that made their way through the fall festival circuit, Knives Out currently maintains the highest Tomatometer score, Certified Fresh at 98%. (A Beautiful Day in the Neighborhood comes in second at 97%.) Word of mouth should be strong and brisk for the PG-13 film, and it should become another solid hit for Johnson and Lionsgate.4. A Beautiful Day in the Neighborhood (2019) 95%Release Date: November 22Estimated Gross: 5-135 millionThere are a number of options for families this season, but there is one film that is going to strike a chord with multiple generations. Take a childhood television icon, then cast him with the most beloved actor in Hollywood, and you have the recipe for a genuine success. Tom Hanks as Mr. Rogers is the perfect anecdote to the anxiety and division that seems to be at the forefront of daily life now. Last year’s Won’t You Be My Neighbor? grossed .8 million, making it the ninth highest grossing documentary ever (and four of the films ahead of it are bubblegum pop behind-the-scenes concert movies) and renewing interest in the American television hero. As Hanks heads toward possibly taking the lead in the Best Supporting Actor race, Marielle Heller’s film is likely to be the one adults will recommend at Thanksgiving and for weeks to come.3. Jumanji: The Next Level (2019) 71%Release Date: December 13Estimated Gross: 5-350 millionSpeaking of long waits, it took 22 years for a Jumanji sequel to hit theaters. (No offense to Jon Favreau’s Zathura.) The original with Robin Williams just crossed the 0 million mark and was the tenth highest-grossing film of 1995. The sequel with Dwayne Johnson, Kevin Hart, Jack Black, and Karen Gillan opened five days after The Last Jedi and became the fourth film on a list of 0 million grossers with a five-time multiple over their opening (in fact, it s the second-highest behind Titanic). Sony is going to get the jump on Star Wars this time by opening The Next Level a week before The Rise of Skywalker, just as the holiday hiatus begins for most schools. There will be a number of options going forward, and this looks like it may follow a more traditional sequel pattern: it won t reach the heights of the original but should still reveal a healthy anticipation for another adventure.2. Frozen II (2019) 78%Release Date: November 22Estimated Gross: 0+ millionThat sound you hear is every child in the world asking their parents to take them to see Anna and Elsa s next adventure. 2013 s Frozen was a legitimate phenomenon, even by Disney standards: to date, it is just one of five films to gross over 0 million that achieved that mark by grossing more than five times their opening weekends. It s a list that includes Avatar, Titanic, The Phantom Menace, and, as previously mentioned, Jumanji: Welcome to the Jungle. Think of the films that succeeded because of word-of-mouth while they were in theaters, and then only grew from there to the point that audiences were ready to jump into the next chapter event films like Terminator 2 and The Dark Knight, as well as comedies like Austin Powers: The Spy Who Shagged Me and Pitch Perfect 2. The Toy Story films and last year’s 14-years-in-the-making Incredibles 2 are likely to be comparable to what is in store for Frozen II.1. Star Wars: The Rise of Skywalker (2019) 52%Release Date: December 20Estimated Gross: 0-800 millionThere are definitely a couple of event films closing out 2019, and J.J. Abrams conclusion of the Star Wars saga that began back in 1977 is, without argument, the biggest. Abrams’ The Force Awakens, despite a push from Avengers: Endgame this summer, remains the highest-grossing domestic film of all time. Will The Rise of Skywalker give Endgame a run for its money? We think it s likely to come up a little short to match the latter s record-breaking 7 million opening, though you should also ignore the trolls suggesting it will gross less than The Last Jedi (a.k.a. the eighth highest-grossing domestic film ever). Each Star Wars trilogy has adapted to a pattern: a big first movie, then a second film that grosses less, and then a strong finish, with the third film out-grossing the second but not quite the first. Expect The Rise of Skywalker to fall into that trend. (Photo by Justin Bettman )Writer and producer Tarell Alvin McCraney is clear that he is no activist. Despite a body of work that often grapples with topics of belonging and community, codeswitching and survival, and freedom and healing, the Oscar-winning scribe of the Barry Jenkins–directed Moonlight is just committed to reflecting the world as it is, particularly for those poor, Black, and queer. Therein lies the importance of his television drama David Makes Man, which returns for its second season on the Oprah Winfrey Network this Tuesday. Focused on the struggle to survive in a world that would rather see Black people snuffed out by systematic and systemic oppression, the series is perhaps the realest and most liberating show on TV making plain a vision for the future, and the present, that holds, like a grandmother’s embrace, all of its people.“As an artist who definitely wants to learn and be affected by all of the activism in the world, I try to allow that to make me brave enough to at least bring up the questions that I don t have answers to,” McCraney says of creating work in this moment of ongoing social unrest. That means not “rehashing anything that we know is right or wrong in this work, like the prison industrial complex,” he says. It’s about more nuanced questions, says the writer and series executive producer. “How does [the prison industrial complex] harm our communities, and whom does it harm? And in what ways? And are there other possibilities, like whose voices can be lifted or not in these moments? I was like, ‘I m scared of that question, but at the same time, I m going to talk about it.’” (Photo by Rod Millington / ©2018 Warner Bros. Entertainment Inc. )The first season of David Makes Man centered on a 14-year-old prodigy named David (played exquisitely by Akili McDowell), who lives in the projects of Miami and who is haunted by the death of a father figure and mentor. Bussed out of his community to a mostly white school, David is forced to embody two personas: one to navigate the streets that raised him, and another to succeed in the education system that may offer him a way out. With a strong ensemble cast including Alana Arenas, Isaiah Johnson, Travis Coles, and icon Phylicia Rashad, the series was a critical darling — season 1 is Certified Fresh at 100% on the Tomatometer — and nabbed a Peabody.In season 2 of the series executive produced by Michael B. Jordan, Oprah Winfrey, and showrunner Dee Harris-Lawrence, David is now a rising businessman in his 30s (played by Kwame Patterson) who must choose between the instincts that helped him survive adolescence or finding a new way to live. Ahead of the season’s premiere, Rotten Tomatoes spoke with McCraney about the decision to jump 15 years in the narrative, how the 2020 social uprising and pandemic impacted the show’s storytelling, and the subtle and overt ways queerness shows up in the show.Tre’vell Anderson for Rotten Tomatoes: At the end of season 1, David is still a teenager in school; we start season 2 almost two decades later. Talk to me about the motivation behind that choice. Tarell Alvin McCraney: The decision was in the making of the show. One of the initial passes at the last episode of season 1 was to do a little fast-forward, so you would see David dealing with the issues he had experienced in season 1. So even in the initial pitch, when I spoke to Ms. Winfrey and MBJ, my thought was: I want to show how we pick up these skills. I want to show how the Kobes of the world, the LeBrons, the Ryan Cooglers, how these very particular genius-folk get from being where they are in the communities that they grow up in to navigating mostly white society in these various different ways.In order to do that, I want us to look at how trauma can sort of take a snapshot of who you are in that moment, that moment when the bear attacks, the look on your face and your reaction, and how you keep replicating that moment throughout time, and how you are still that 13-year-old, that 14-year-old, that 15-year-old, even as you re an adult now dealing with your own child, or dealing with your spouse, or dealing with your boss. You re now dealing with them as if it s that moment of collision all because you ve been triggered and haven t found a way to let go of that, or work through it, or find another way. That was always the aim.And rather than make it clinical, you will see David seemingly successful with the trappings of success all around, surviving [but] still not living fully, still thinking everything is a life-or-death situation, still thinking that they ve got to be the best at everything and not taking the time to learn, to be wrong, to be still. There s that meme that s been going around just last week of like, “The best thing we can do for ourselves is to find what triggers us, so that we don t enact those traumas onto other people.” Well, I couldn t have said it better myself for good ol’ David: he has yet to take that time to, as my grandma would say, look back over his life and think things over. That was always the purpose and now we re here, in this chapter of David s life, doing just that. (Photo by Rod Millington / 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: The last time I spoke with you was in the lead up to the series premiere and we talked about the masks we, as Black people, sometimes learn to wear to navigate various spaces. In what ways does that concept manifest for David now?McCraney: In the same way. That s the problem, right? There are moments that you ll see 15-year-old David bring grown self and not really living through grown self, but just wearing it. Same kid, same terrified, same insecure, same childlike imagination. And in some ways, that s great. I mean, who is that friend that can be like, Hey Tre vell, and in the way that they say it, a part of you fully [transports back to that time, even as] it may not be able to in the flesh because we ve grown or changed or shifted our hair or now we got a different eyeliner than we used to wear when we were 15.But as Missy Elliott says, Same teeth, same hoop earrings. Within us, there is a person that is connected to that part of our lives, and that is in there sometimes popping up and not. The masks we put on to go out and be, Oh, I m grown, but that kid s still in there somewhere. And is he OK? Or is he running around terrified? And if you don t stop him from being terrified, if we are not comforting that part of ourselves, I think some real stress and some real damage can happen. It s been thrilling actually doing all of this cause, I swear, it s like affirming to me some of the work I needed to do with myself, but also talking about the ways in which our society, our communities, don t allow this kind of inward looking.Rotten Tomatoes: Production resumed in October after the social uprisings of last summer. Did any of that, or the pandemic, impact the storytelling and ideas you all decided to surface?McCraney: We don t write directly about those times, but a lot of those issues come up, be it care, be it closeness, be it community, be it gentrification. Police reform comes up. One of the things that we kept talking about was, “Who are we at this moment?” and someone asked me earlier today, “Am I an activist?” and I was like, I can t claim that. I feel like activists are superheroes. That s like asking me if I m an Avenger. You’ve got to have a certain skill set and the ones who are out there saving our lives and making space, they have a certain skill set and their analysis is on point.(Photo by Rod Millington / 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: But you have spoken before about purposefully making a show that will stoke very necessary conversations that we as Black people need to have. You and the team seem to have perfected the ability to reflect the specificity of Black trauma in a way that doesn’t feel harmful, and I can see how people might see that as activism. McCraney: Well, how do I talk about the fact that every time I wanted to make a show about a 30-year-old Black man, people were like, Well, Black men don t watch TV. OK, I recognize that the world thinks that; however, if they did, if for some reason a whole bunch of Black people sat around and watched this, what would I want us to be doing? Certainly not just crying the entire time, or certainly not just bemoaning a lot of the pain that we ve been through. Do I want to be in the reality of it? Sure. But I also want to be pointing at a path towards healing. I want to be a part of families being able to come together and watch together and engage together and have dialogue together in a way that may be uncomfortable, but it s not suffering.Where s the line of uncomfortability, but not suffering? bell hooks talks about that in All About Love, that that s love. The intention is that I can make myself uncomfortable in order for you or somebody I love to grow and to be nurtured, but the moment I’m suffering in order for you to be growing or be nurtured, that s not love. So, I don t want anybody to be suffering or having to suffer through what I m doing. Uncomfortability I can take. Uncomfortability is where the growth happens anyway.(Photo by Rod Millington / 2018 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: One of the many beautiful things about this show is its creativity and imagination, its extremely cinematic in approach. What are the conversations you have with the writers room about ensuring that?McCraney: Well, that s the job. That’s the agreement of our show that s different from other shows. There are plenty of shows about people who grew up in the hood. There are plenty of shows about police officers who used to be in the hood. There are plenty of shows about architects who are developing the neighborhoods in which they grew up. We have those shows, but we don t have shows about when the young person who may or may not become a part of the drug operation is trying to do their homework and starts imagining their lineage through water and earth. We don t have those moments, and not because they re not there. I thought, this is where I d love for us to see it and feel it, and remember it. And even though we don t experience the world exactly like David, I am sure that the corner boys have imaginations. I m sure that the corner boys imagined different things than what they re seeing right in front of them. I m sure of it because some of them ended up writing dope rhymes that we listen to. I m sure that the little girls who are playing double dutch one minute and dodging bullets in another, imagine things different and feel things different and wish they could say something like this in their head, but can t in real life. I m sure the mothers who may have been addicted to drugs and are trying to get past that obstacle for the benefit of their children and themselves, sometimes imagine a world that is completely different than the obstacles that they face. And that s our remit, that s our job to explore the interiority of those folks and how their resilience to get through those things can be so compelling, amazing, but also exhausting, tiring. And that maybe there are other things, and other ways and other tools that we need, once we have survived those things, to live. (Photo by Rod Millington / 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)Rotten Tomatoes: I find that the way queerness is incorporated to the show, in both subtle and overt ways, to also be something special. It feels intentional.McCraney: I m glad you brought that up. In full transparency, one of the things that we did early in the first season is engage with consultants on the show. I was like, Yeah, I m queer and I m here, but I want another opinion. I don t want to be the only person refracting back. There were queer people in our writers room, but I also asked Hari [Ziyad] to be a consultant. And so in the way you re talking about it, in the writers room, in the creative process, we had queer reflections in many ways, some that were visible and some [that weren’t]. That was really important to me that it would be reflected in the show because it, again, reminded me of growing up. There were just so many ways that queerness was around me all the time. Sometimes it was talked about. Sometimes it was admonished. Sometimes it was celebrated. But it was just always there.Again, that s why I always say I’m not an activist. Activism takes a great deal of intentionality – and so does art, but also sometimes it s just the way you see it. Sometimes you just go, I see it this way and I m going to paint it that way cause it s easier. How do I be as truthful to this as possible and make sure that I can maintain it with all the respect and love that I can? I feel really honored that [people] think I m some super genius that is figuring this stuff out, but queerness finds a way to be in the picture anyway.David Makes Man season 2 premieres on OWN on Tuesday June 22, 2021. On an Apple device? Follow Rotten Tomatoes on Apple News.
If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at email@example.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
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Christopher Markus and Stephen McFeely (Photo by Jesse Grant/Getty Images for Disney)When Avengers: Infinity War writers Christopher Markus and Stephen McFeely dusted half of the universe – and half of the Avengers – at the end of the film, audiences the world over suddenly knew: anything was possible now. The duo had done what few other blockbuster film writers had done before: massacred multiple popular characters in the blink of an eye (or, as it were, the snap of some fingers).While most fans knew some of those deaths were likely to be reversed, the countdown to Avengers: Endgame has been filled with as much dread as excitement. The question on everyone’s mind: Who else were Markus and McFeely going to off?The writers were, as expected, not going anywhere near that question when they both spoke with Rotten Tomatoes ahead of Endgame’s release. But they did reveal the places where they’ve drawn some deadly inspiration.Joel Meares for Rotten Tomatoes: You guys have totally broken the world’s hearts, and fans expect you might do it again. But what TV or movie deaths have affected you the most?Christopher Markus: I mean, the most prominent killers of our popular culture today – they re not killing the popular culture – but it’s Game of Thrones. I still feel disturbed about… what’s his name?Stephen McFeely: Pedro Pascal.Markus: When Pedro Pascal died versus the Mountain. Yeah, that wasn t supposed to happen. That was very disturbing.McFeely: The easy answer for me is the Han Solo in Carbonite. I was not quite prepared for the movie to end that way.Rotten Tomatoes: You guys have adapted C.S. Lewis with the Narnia films, and worked with the characters of Stan Lee, Jack Kirby, and Marvel here. What’s your approach to working with such storied and beloved works? McFeely: As you said we sort of dealt with it in Narnia. We try to put aside the pressure and the obligation in a way and just try to satisfy us as fans and writers. Assuming that the 12-year-old Steve would appreciate this, then perhaps other 12-year-olds would – or 82-year-olds.Markus: I think if you have respect for the underlying material then you just have to go forward and trust that you re not going to betray it. If you find yourself with a writing gig where you don t respect the underlying material, you might want to think about not doing it.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Rotten Tomatoes: The beloved character you’ve worked with the most is Cap’. [The duo co-write all three Captain America movies.] Did you want to give him – regardless of what happens in the movie – some kind of special moment, sendoff, or closure? Markus: I mean, I definitely have a special affinity for him. He s a guy who we ve put through a lot of hell and [Chris] Evans does a great job of showing that on his face. He certainly I don t want to say he looks tired, [but] I want to say he looks like there s is a battle-weariness to him. And I find it very satisfying to sort of think of all of that while putting him through yet another trial, like Hercules.Rotten Tomatoes: So, we know that the movie is just over 3 hours long, which makes us wonder: How many pages was your screenplay?Markus: Well, [the length of the script] varies depending on how elaborately we described the action. The script actually gets longer as we re in production, because we need – for the service of various departments – to really describe things that we wouldn t ordinarily describe. So it does tend to balloon at a certain point in an unrealistic manner. I would say the operating script was, what, 130 pages?McFeely: 130, yeah.Markus: Yeah, that s probably where we started. We generally assume a page a minute and so we try not to turn in things that are much more than 120 pages. It just was everyone understood it was going to be perhaps a little bigger. Our first drafts were undoubtedly bigger than that, you know? But as we got closer to production and we made hard choices it was probably 130.(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)Rotten Tomatoes: Speaking of the script… there was a lot of talk last year when the Academy announced they were going to do an Achievement in Popular Film category [which never went ahead], that they should instead honor stuntwork. And we’ve seen recently that more popular movies, like Black Panther and Mad Max, are getting Oscar recognition, as are their directors and the people who work on costumes, special effects, music… Given the feat you’ve pulled off balancing so many storylines and characters in Infinity War and Endgame, do you think writers of movies like these deserve more awards recognition than they get?Markus: [Laughing] I m glad you ve asked the question. I feel if I answer it too honestly I ll look like a jerk! My hope is that whether or not people realize it now, I think people later might look back at the Marvel Cinematic Universe and hopefully they ll look at the last four we ve done with the Russos. That s pretty special storytelling. This cumulative serialized storytelling and the high-wire act that it required of all of us is pretty special.I think to maintain a certain level of character within that, so it s not just a series of explosions… Far be it from me to say what recognition it deserves, but I would love the Academy to be perhaps less knee-jerk in its lack of recognition. I would just say, you know, in all categories, these movies re incredibly hard work. For the industry to write them off as a puff piece seems to deny the incredible amount of technical labor that the people making the movies are putting in. They seem to me a much higher bar to achieve than your average drama. So, there you go.Avengers: Endgame is in theaters April 26, 2019Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
亚博app官网下载 (Photo by Universal Pictures/ courtesy Everett Collection)20 Movies To Watch If You Can t Wait For DuneDirector Denis Villeneuve has called Dune the longstanding dream. He s not alone. Since 1965, the Frank Herbert epic has been a bewitching vision shared between the minds of adventurous readers, worming deep into the psyche of grand science-fiction devotees. Of course, Villeneuve stands out among Dune fans – he s the first one in decades who gets to turn the novel into a movie. Like the book, it will follow the path of royal Paul Atreides (Timothée Chalamet), his training in psychokinetic arts, and his family s arrival to rule desert planet Arrakis, the galaxy s sole source of a powerful mineral mixture called spice.Dune will release December 2020, but if you need those inhospitable desert fumes in your life now, you can watch Villeneuve s Blade Runner 2049. Get to the Las Vegas sequence and pretend that s Arrakis wind and sand whipping your face. (The surrounding movie s pretty good, too.) Or just go straight to the well and watch the previous movie version of Dune, directed in 1984 by David Lynch. He s essentially disowned the film, but it s a well-meaning attempt, rendered mostly incomprehensible by the end if you re not familiar with the book – exactly why Villeneuve s Dune will be split into two movies. Dune has long stymied filmmakers (it was actually done decently on TV with the 2000 miniseries), and you ll get the behind-the-scenes treatment of a noble but failed adaptation inside the wonderful documentary Jodorowsky s Dune.Dune towers within the space opera: A genre of sci-fi adventure where pulpy action and plot twists rule the stars, with frequent space and military battles, and streaks of sweeping romance. More space operas from movie history include The Chronicles of Riddick, The Last Starfighter, Flash Gordon, The Fifth Element (there s a literal opera in this), Serenity, and Battle Beyond the Stars, featuring special effects by James Cameron.We all know about the impact of Flash Gordon and The Hidden Fortress on George Lucas when thinking up his own space opera, Star Wars. Dune s influence fills out the rest. The Force is akin to Dune s own all-encompassing mystic system, and Tatooine is essentially a stand-in for Arrakis. So we re including A New Hope here, even though you ve already seen it. We hope.John Carter and Stargate are more in the realm of space fantasies, but the action and arid settings match. Ditto the Earthly, apocalyptic Mad Max Beyond Thunderdome. While there are obviously better movies in the series, it s inside Thunderdome where Max is sculpted as a messianic figure, the type of imagery central to the Dune arc.If space military operations are more your thing, engage with the sleek Ender s Game, or violent propaganda satire Starship Troopers. And if you like what Dune dishes on ecological and environmental notions (with a potential side of giant sand critters), eat up the hippie-dippie Silent Running along with Hayao Miyazaki s early masterpiece Nausicaa of the Valley of the Wind.On ani
The problem they face, and the one we face on an hourly basis, is the very concept of fairness. But as Karli eludes to in her eulogy to Donya Madani and expressly says to Sam a few minutes later, a part of the fairness she seeks is the peace and prosperity she found in the years of the Blip. Fairness is an equitable share of resources and an unprecedented freedom of movement. It is also means the chance to build things as communities united in a humanist philosophy instead of the old distinctions of race, country, and religion.Sam supports these ideals in theory, but as he missed the Blip years, he cannot really understand what it was like. Like Bucky s limited empathy with Ayo about King T Chaka s death, Sam s understanding of the Blip world falters no matter how many times he tells Karli he gets it. Admittedly, it sounds like a paradise to us, but it comes at an unacceptable cost. And as we now know Karli is willing to commit to the grim calculus, it makes their conversation all the sadder. Then there s that moment when Sam almost gets through to her before Walker bursts in. Now, the only way forward is blood for Karli and Walker.Power Broker Watch: Episode 4 Edition(Photo by Marvel Studios)We presume Sam will try to keep the peace, but like Karli, he will be fighting a war on two fronts. For Karli, that second battle will be with the Power Broker, who will be none too thrilled to learn the remaining serum vials are gone. We still don t know who the Power Broker is, however. Like last week, Sharon is still a possibility. Her free movement through Madripoor, access to satellites, and high-tech command station certainly suggest a level of clout and resources far beyond the picture she gave to Sam last week. It is possible she works for S.H.I.E.L.D. or S.W.O.R.D.; in fact, as The Falcon and the Winter Soldier was meant to stream before WandaVision, Sharon s shadiness may have been meant to lead into the agency s first appearance. Or maybe she really did break bad and fund a new Super Soldier program. A showdown between her and Karli would be unexpected.It is also possible the Power Broker will be the special episode 5 cameo showrunner Malcolm Spellman alluded to in recent days. But after all the digital ink we spilled with WandaVision s supposed cameo, we re unwilling to put a lot of thought into this possibility. If it turns out to be Victor Von Doom or Justin Hammer (Sam Rockwell), we ll be pleasantly surprised.The Falcon and the Winter Soldier premieres new episodes on Fridays on Disney+. 一个平台从研发到运营是需要很多的步骤，但是现在加盟商那边已经把需要的步骤都走了一遍，前期道路已经给创业者走通了，只需要创业者认真考察、看好项目加盟就行了。市场上游戏代理公司鱼龙混杂，在选择游戏开发商时要注意哪些没有开发资质、技术研发实力和成功案例的劣质厂商套路了。选对了开发商，让你代理运营手游赚钱更稳妥。