目前手游的受众人群年龄越来越广泛，小到10岁大到50岁，很多人茶余饭后就会讨论游戏。在手游市场中，游戏题材非常多，相比传统手游，越来越多的玩家喜欢开放世界手游题材，玩家拥有极高的游戏自由度，今天就给大家盘点10款开放世界手游。 Chips, dip, beer, wine, and the invite list — by now you ve got most of your Emmy viewing party officially handled. But what about the ballot? Before you reach for the cardboard paper and crayons, Rotten Tomatoes has whipped up a handy ballot to help keep track of your partygoers Emmy selections. Download our official 2019 Emmys Ballot ballot below, print, and distribute before the awards are handed out! Click here to download and print your 2019 Emmys ballot
可盘游戏app苹果版是一款包含了市面上最新、最热、最好玩的手机游戏、BT版手游、破解版手机游戏等下载，在这里一定会让你找到一款喜爱的手机游戏。并为玩家们提供最新变态版手游礼包，精品游戏合集!找游戏轻松、便捷!亚博买球APPsinging loud for all to hear? Those are all well and good, but unfortunately, they’re only really well and good for about two months a year. But, you know what’s good almost all the time? Every other quote in the movie!Answering the phone? Buddy the elf. What s your favorite color? Taking a trip to Northern California? Francisco! That s fun to say! Francisco Frannncisco Franciscooo… Watching Cersei Lannister plot a scheme? You sit on a throne of lies! Elf Goes Retro(Photo by New Line Cinema)Unlike many Christmas movies of the 21st century, which sought to bring a modern sheen to the holiday, Elf went the opposite direction, drawing artistic inspiration from campy stop-motion holiday classics from Rankin/Bass like Rudolph The Red-Nosed Reindeer, Santa Claus Is Comin’ to Town, and Jack Frost to give a timeless feel to the whole film.In an interview with 20/20 in 2017, director Jon Favreau said, We used stop-motion animation so when you watch it, it doesn t feel like it ages the same way that a film that has a lot of digital effects does. And even when Elf featured CGI, it used it to mimic the same classic stop-motion feel.And it worked. Compared to other CGI-filled Christmas movies from the 2000s including The Santa Clause 2 and 3 (55% and 17% on the Tomatometer, respectively), The Polar Express (55%), and Disney’s A Christmas Carol (54%) Elf’s Certified Fresh 84% ranks on top. And fans agree as well, as last year Elf was selected as the Best Christmas Movie of the 21st Century by FandangoNOW users.
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Death on the Nile (2022) Directed by: Kenneth BranaghStarring: Kenneth Branagh, Gal Gadot, Armie Hammer, Annette Bening, Rose Leslie, Letitia WrightOpening on: February 11, 2022 (formerly September 17, 2021)Kenneth Branagh will return as detective Hercule Poirot following the surprise success of 2017 s Murder on the Orient Express, which Branagh also directed. So far, big names like Gal Gadot, Armie Hammer, Annette Bening, Letitia Wright, and Rose Leslie have joined the whodunit. Uncharted (2022) Directed by: Ruben FleischerStarring: Tom Holland, Mark Wahlberg, Antonio Banderas, Sophia Taylor Ali, Tati GabrielleOpening on: February 18, 2022 (formerly February 11, 2022)This Indiana Jones-styled action-adventure film, based on the popular video game series of the same name, has been floating around in development for more than a decade, but it wasn t until June of 2019 that we got some solid forward movement on it. Tom Holland was confirmed to s
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5.55.6 2月喜迎owski years later. I think it all started when we hit on the name Elvis Presto. The rest kind of evolved from there. Verdict: RottenSuper Bowl XXIVPerformers: Super Bowl XXIV was held in New Orleans and coincided with the 40th anniversary of Charles Schulz s beloved Peanuts comics, so naturally, the league decided to put em both together for a halftime show that celebrated Charlie Brown and the gang, as well as the culture of New Orleans. Performers included singer Irma Thomas, fiddler Doug Kershaw, and clarinetist Pete Fountain plus Snoopy.Critical Response: A tribute to New Orleans, also to the 40th anniversary of the comic strip Peanuts, and maybe also to drugs, wrote Rolling Stone s Rob Sheffield. Because Charlie Brown has what exactly the hell to do with jambalaya and Mardi Gras again? Verdict: RottenSuper Bowl XXVPerformers: By the early 90s, the league — and more importantly, the networks trapped in an annual bidding war for the right to broadcast the show — recognized the need to safeguard against counter-programming luring viewers eyes away at halftime, particularly during a stretch of games that included a series of lopsided victories. Enter New Kids on the Block, who took the stage during Super Bowl XXV s halftime for a Disney-inspired celebration that included a performance of It s a Small World. It was preempted during the broadcast by a Gulf War speech from President George Bush, and overshadowed afterward by Whitney Houston s rendition of The Star-Spangled Banner — all of which was a relief to the New Kids, according to member Donnie Wahlberg.Critical Response: I don’t know how much pride I take in the actual performance, admitted Wahlberg. But I take pride in the fact that we were the first ones to do it. Verdict: Fresh. As Wahlberg noted, the New Kids were the first of-the-moment pop stars to perform during a Super Bowl halftime show even if no one outside the stadium saw it.Super Bowl XXVIPerformers: Held at the Metrodome in Minneapolis, the Super Bowl XXVI halftime show was themed around Winter Magic, featuring Gloria Estefan, Olympic figure skaters Dorothy Hamill and Brian Boitano, and backup from rapping kids, dancers, and members of the 1980 U.S. Olympics hockey team.Critical Response: It may have had its absurdly entertaining moments, but the show was embarrassed by Fox s In Living Color, which aired a Super Halftime Party episode that leeched roughly 22 million viewers away from the game.Verdict: RottenSuper Bowl XXVIIPerformers: Stung by the halftime ratings from the previous year, producers stepped up their game for Super Bowl XXVII, booking Michael Jackson — still out promoting his 1991 Dangerous LP — to perform a three-song set that s widely credited with redefining the league s approach to the show.Critical Response: As the New York Times put it, Michael Jackson’s legacy will forever include this title: King of Pigskin. Verdict: FreshSuper Bowl XXVIIIPerformers: No country artist was bigger in the 90s than Garth Brooks. He didn t play during the Super Bowl XXVIII halftime show, but producers lined up a multi-platinum quartet to bring sufficient star wattage to its Rockin Country Sunday spectacular, hiring Clint Black, Tanya Tucker, Travis Tritt, and the Judds to perform.Critical Response: Country music haters forced to watch this spectacle must have had their worst suspicion confirmed, wrote Entertainment Weekly s Ken Tucker. That country is just pop with with less sophistication. Verdict: RottenSuper Bowl XXIXPerformers: Clearly, this game s halftime show is no stranger to bizarre spectacle, but even in context, Super Bowl XXIX is something special. Designed to tie in with Disneyland s new Indiana Jones and the Temple of the Forbidden Eye attraction, it featured stand-ins for Harrison Ford and Karen Allen on a quest to rescue the stolen Lombardi Trophy (and musical numbers from Patti LaBelle, Tony Bennett, Arturo Sandoval, and the Miami Sound Machine).Critical Response: Words can t quite do it justice, but SB Nation might have summed it up best: Indiana Jones + singers parents will love + Disney music = a halftime show so 1990s it should be wearing spaghetti straps and feathered bangs. Verdict: RottenSuper Bowl XXXPerformers: There s no denying that Diana Ross was well past her hitmaking prime when she took the stage for the Super Bowl XXX halftime show but there s also no arguing that she came to show everyone else how it should be done. Classic songs? Check. A whopping four outfit changes? Check. Leaving the field in a helicopter? Check.Critical Response: A spectacular triumph, wrote Tom Shales for the Washington Post. Perhaps the best halftime show ever. Verdict: FreshSuper Bowl XXXIPerformers: As far as most of us are concerned, the Blues Brothers effectively ceased to exist after John Belushi s untimely passing in 1982. But surviving Brother Dan Aykroyd had other ideas, enlisting Belushi s brother Jim, John Goodman, and the members of ZZ Top for a Super Bowl Blues Brothers Bash that made up in attitude whatever it may have lacked in necessity.Critical Response: The event only served to remind everyone that John Belushi was still dead, wrote the San Francisco Chronicle s Peter Hartlaub, and that Jim Belushi should stick to straight-to-video K-9 sequels. Verdict: James Brown made an appearance, ergo the only possible verdict is Fresh.Super Bowl XXXIIPerformers: The league helped Motown celebrate its 40th anniversary with a halftime musical extravaganza featuring classic Hitsville acts (Smokey Robinson, the Temptations, Martha Reeves) alongside the label s new wave of chart-toppers (Boyz II Men, Queen Latifah). Also: the Grambling State University Marching Band.Critical Response: The set opens with the Temptations in what appear to be full denim suits, shrugged Vox, and only goes downhill from there. Verdict: The presentation might not have been perfect, but the songs are classics. Fresh.Super Bowl XXXIIIPerformers: Pundits chortled when Aerosmith played alongside ‘N Sync and Britney Spears in Super Bowl XXXV, but it was just part of a long tradition of halftime shows built out of wildly disparate ingredients. Case in point: Super Bowl XXXIII s halftime entertainment, which boasted a bill that included Stevie Wonder, Gloria Estefan, and briefly popular swing revivalists Big Bad Voodoo Daddy.Critical Response: Lamenting that Apparently someone thought Stevie Wonder didn’t pack enough star power to command the entire Super Bowl halftime stage, Idolator called the end result all over the place. Verdict: It s far from perfect, but Stevie performing Sir Duke in honor of Duke Ellington s 100th birthday? Fresh.Super Bowl XXXIVPerformers: Once again, Disney took the production reins for a Super Bowl halftime show, offering viewers a Tapestry of Nations that featured an intriguing-looking roster of performers — Phil Collins, Christina Aguilera, Enrique Iglesias, Toni Braxton, and Tina Turner — who were handed a set list that resolutely refused to play to any of their strengths. From Turner s lackluster rendition of Proud Mary to Collins performance of a ballad from the Tarzan soundtrack, this never really got out of second gear.Critical Response: Anything produced by Disney is expected to be corny and sentimental, enough to make you angry and not go to work the next day, wrote Yahoo! Music s Rob O Connor. It takes a full lineup of processed cheese to top the pack. Verdict: RottenSuper Bowl XXXVPerformers: As we ve seen, the Super Bowl has a tendency to toss unrelated acts together for its halftime shows, and as often as not, the results aren t as weirdly entertaining as they might seem on paper. But Super Bowl XXXV bucked that trend with a bill boasting Aerosmith, N Sync, Britney Spears, Mary J. Blige, and Nelly — a wild collision of pop, rock, and R B stars that worked in spite of itself.Critical Response: Adam Graham of the Detroit News called it The most fun halftime show the Super Bowl has ever produced, one whose sheer pop might won’t soon, if ever, be matched. Verdict: FreshSuper Bowl XXXVIPerformers: Understandably a little leery about embracing frivolity so soon after the September 11 attacks, Janet Jackson rebuffed the NFL s overtures for Super Bowl XXXVI — so they turned to U2, who delivered a heartfelt set that included scrolling the victims names on a big screen and culminated with frontman Bono opening his jacket to reveal the American flag.Critical Response: It was, decreed Sports Illustrated, arguably the best Super Bowl halftime show of all time. Verdict: FreshSuper Bowl XXXVIIPerformers: What does Sting have to do with No Doubt? As the Police co-founder told Howard Stern years later, he and frontwoman Gwen Stefani go way back — a bond that manifested itself when she inducted the band into the Rock and Roll Hall of Fame later that year. Stefani and Sting s duet on the Police hit Message in a Bottle stole the show from Shania Twain, who took a critical drubbing for her allegedly lip-synced performance.Critical Response: No thanks to Twain, wrote the Los Angeles Times, Stefani saved the play by doing what she does best, super-charging a Southern California crowd in a stadium setting through sheer force of ska-sonality. Verdict: FreshSuper Bowl XXXVIIIPerformers: You remember this one — even if you don t remember that Jessica Simpson, a University of Houston marching band, Kid Rock, Diddy, and Nelly also performed. Those Super Bowl XXXVIII halftime acts were bumped into the ashbin of history the moment Justin Timberlake caused the Janet Jackson wardrobe malfunction that prompted a record-setting number of TiVo rewinds (as well as a not-inconsiderable number of FCC complaints).Critical Response: For one flashing moment during her performance at Sunday’s game, Janet’s brother was no longer the most scandalous Jackson, quipped Entertainment Weekly.Verdict: RottenSuper Bowl XXXIXPerformers: Breaking with a stretch of combo-platter performances, the NFL lined up Paul McCartney for Super Bowl XXXIX — because if you ve got a former Beatle on the stage, do you really need anybody else? The answer, of course, turned out to be no, not at all. Critical Response: Who cares that football means something totally different in Macca’s hometown of Liverpool? asked Paste. His halftime set of Beatles and solo hits was simple, concise and nearly perfect. Verdict: FreshSuper Bowl XLPerformers: Perhaps only in the context of the Super Bowl could the Rolling Stones still seem somewhat dangerous in 2006. Months after releasing their A Bigger Bang LP, the band played the halftime show — and faced censorship for vaguely naughty lyrics in their classic hit Start Me Up and new single Rough Justice. Trigger-happy mute buttons notwithstanding, it was still the Stones, man.Critical Response: They may have joked about their age — with Mick Jagger introducing (I Can t Get No) Satisfaction by saying This one we could have done at Super Bowl I,' admitted Hitfix, but they didn t come off like a safe nostalgia act. Verdict: FreshSuper Bowl XLIPerformers: Long heralded as one of the most incendiary live performers of his generation, Prince didn t disappoint when the NFL hired him to play the halftime show at Super Bowl XLI. Instead of trotting out his greatest hits, he strolled out in the rain to deliver a fiery, finely calibrated assortment of originals and covers of well-known songs by other artists — all topped off with an unforgettable rendition of Purple Rain. For more than a few viewers, the Super Bowl has never been the same since.Critical Response: Prince, argued Christina Capatides for CBS, singlehandedly made it okay to be sexy, unpredictable and inventive at the Super Bowl again. Verdict: FreshSuper Bowl XLIIPerformers: Aside from a brief flirtation with making outré videos in the 80s, Tom Petty and the Heartbreakers have never been an image-driven band. To their credit, they held fast to that music-first identity at Super Bowl XLII, eschewing the event s traditional glamour in favor of a meat-and-potatoes rock n roll show.Critical Response: Petty wasn t a reason to keep watching at halftime, observed the Village Voice s Tom Breihan. He was a reason not to change the channel. Verdict: FreshSuper Bowl XLIIIPerformers: Telling reporters he d passed up on the chance to play the halftime show before, Bruce Springsteen openly admitted he changed his mind when invited to perform at Super Bowl XLIII because he had a new record (2009 s Working on a Dream) to promote. To a certain breed of rock fan, there s nothing quite like a Springsteen show, particularly with the E Street Band, and with a crowd of millions at their backs, they couldn t help but rock and roll — but maybe it wasn t quite the transcendent spectacle the Boss s fans were used to.Critical Response: While shilling does not carry the sting it once did, perhaps Springsteen let the weight of responsibility limit his imagination in his 12-minute set, Jon Caramanica of the New York Times suggested.Verdict: FreshSuper Bowl XLIVPerformers: They were decades removed from their creative and commercial peak and they hadn t released an album of new material in years, which made the Who something of an odd choice for Super Bowl XLIV. Of course, even if Roger Daltrey and Pete Townshend were the last surviving members of the original lineup, they still pack enough rock n roll punch to sell out stadiums; unfortunately, Townshend was struggling with health issues in the weeks leading up to the game, which contributed to their halftime show s altogether underwhelming air.Critical Response: All that was missing, wrote the New Orleans Times-Picayune s Keith Spera, was Austin Powers. Verdict: RottenSuper Bowl XLVPerformers: It seems fairly likely that the overlap between Black Eyed Peas and Guns N Roses fans is awfully slim, and yet for Super Bowl XLV, organizers lined up a halftime show that found Peas vocalist Fergie trying to wail her way through the GNR hit Sweet Child O Mine with exiled Guns co-founder Slash on guitar. Somewhat predictably, it compared unfavorably with the original.Critical Response: This is how far Slash has fallen, lamented SB Nation s Brian Floyd. Luckily nobody will remember his part as they rip everything else about the show. At least he s got that going for him. Verdict: RottenSuper Bowl XLVIPerformers: Like Bruce Springsteen, Madonna had a new record to promote when she was approached to perform at the Super Bowl halftime show — and she pulled out all the stops, enlisting Nicki Minaj, M.I.A., and stars-of-the-moment LMFAO to join her in a hits-laden set that naturally included her then-current single, Give Me All Your Luvin . The performance wasn t short on spectacle — she entered being pulled on a chariot! — but quite a few critics, while entertained, resented being so transparently sold a bill of goods.Critical Response: Despite its success and extravagance, this whole halftime package most of all was little more than an ingeniously well planned and shockingly transparent advertisement, wrote the Los Angeles Times Randall Roberts, and not much more. Verdict: FreshSuper Bowl XLVIIPerformers: Beyoncé was still months removed from releasing her self-titled fifth solo album when she took the stage during Super Bowl XLVII, but her disbanded girl group Destiny s Child had a new compilation to promote, so it surprised roughly no one that the trio staged a temporary reunion in the midst of Beyoncé s career-encompassing halftime show. Still, whatever it lacked in terms of shock value, it more than made up with stage presentation, choreography, and sheer bootylicious abandon.Critical Response: From the moment she appeared as a giant silhouette against a plume of smoke while the late Green Bay Packers coach Vince Lombardi’s legendary excellence must be pursued Super Bowl speech was heard, wrote the Hollywood Reporter s David Rooney, Beyoncé turned on a high-energy, sexually charged performance with exciting multimedia elements. Verdict: FreshSuper Bowl XLVIIIPerformers: Bruno Mars Unorthodox Jukebox LP was in the midst of its quadruple-platinum chart run when he performed at Super Bowl XLVIII, and although he was only on his second album, he already had more than enough hits under his belt to handle the halftime show on his own — but he still brought out the Red Hot Chili Peppers for a mid-set team-up on the band s 1991 hit Give It Away. The Peppers later admitted they d been miming their performance, but to the folks at home, it didn t matter much.Critical Response: Mars performance was near flawless, but the lift in crowd noise when the Chili Peppers played told a story: on this occasion spontaneous rock dynamism trumped slick soul pop, wrote the Sydney Morning Herald s Peter Vincent.Verdict: FreshSuper Bowl XLIXPerformers: The NFL continued its streak of selecting buzzy younger pop performers when putting together the bill for Super Bowl XLIX, hiring Katy Perry for the halftime show — and although Perry opened her set to include guest appearances from Lenny Kravitz and Missy Elliott, it was totally her show. Well, maybe hers and Left Shark s, but still.Critical Response: With the entertaining, hassle-free show, Perry proved the NFL correct in her selection as halftime, argued USA Today s Chris Chase, calling the show one of the few things the NFL got right this year. Verdict: FreshSuper Bowl 50Performers: For the Super Bowl s grand 50th anniversary celebration, the league lined up Coldplay to headline, with guest appearances from Beyoncé and Bruno Mars with Mark Ronson. Nothing against the guys in Coldplay, but their midtempo catalog isn t exactly suited for this type of event — all of which is to say it s no surprise that most pundits said Beyoncé s performance of Formation was the highlight of the set.Critical Response: By the time Bruno Mars challenged Bey to a dance-off, wrote Vox s Caroline Framke, she d stolen the show once and for all. Verdict: FreshSuper Bowl LIPerformers: The 51st edition of any long-running event is bound to feel a little anticlimactic after all the pageantry that goes along with hitting that half-century milestone, but whatever Lady Gaga s halftime show lacked in built-in anticipation, it more than made up in sheer showmanship. From patriotic opening numbers to jaw-dropping aerial work and a hits-studded set that ran the gamut from chart-topping favorites to newer material, she took command of the biggest audience of her multiplatinum career and never let go. We re here to make you feel good, she told the crowd at one point, and that goal was more than evident in her performance.Critical Response: Lady Gaga’s Super Bowl halftime show, wrote Time s Daniel D addario, stands as among the very best in the history of the form, racing ambitiously through the artist’s entire career and putting forward the qualities of the artist that just work. Verdict: FreshSuper Bowl LIIPerformers: Justin Timberlake returned to the halftime stage for the first time since his Nipplegate fiasco in 2004. And while he didn t bring Janet Jackson back with him for a repeat performance, he did pay tribute to the recently departed Minneapolis hometown hero Prince via what some expected to be a hologram, but was actually a projection of the purple one on a screen.Critical Response: The performance was decent, and Timberlake sounded good and danced even better. As far as half-time shows go, it was satisfactory, a fun but forgettable display of the singer’s substantial talents, wrote The Guardian s Jake Nevins. EW s Darren Franich summed it up: He played it too safe; he took Sexy away. Verdict: Fresh (barely)Super Bowl LIIIPerformers: Maroon 5 took on what promised to be a thankless task, headlining during a year in which controversy rampaged through the NFL over player Colin Kaepernick s kneeling during the National Anthem. (Rihanna and Cardi B reportedly said, Thanks, but no to the gig in solidarity with the former quarterback.) Rappers Travis Scott and Big Boi also performed.Critical Response: Yeesh. Not good. You d think Nickelback played based on the halftime show reviews. The New York Times Jon Caramanica seemed to be satisfying a personal vendetta in his review: Maroon 5 — a quasi-soul, quasi-rock, utterly funkless band likely the third or eighth or maybe 14th choice for a headliner Maroon 5 was a cynically apt choice as easy to forget as mild weather a performance that was dynamically flat, mushy at the edges, worthy of something much worse than derision: a shrug an inessential performance from a band that might have lost some moral authority if it had any moral authority to lose. Vox s headline: Maroon 5 was fine. Writer Alex Abad-Santos went on to elaborate: Maroon 5’s 2019 Super Bowl halftime show was aggressively fine. Some other adjectives round out the picture: basic, flavorless, painful, and tasted like fear. Verdict: RottenSuper Bowl LIVPerformers: Politics raged once more in the background of the Super Bowl in 2020 – which was one of the last major events held in that blissful period we might now call BC, or Before COVID. The national anthem kneeling protest remained a divisive issue and America was gearing up for a fraught election season, but if anyone could unite both sides of the aisle, and the country, it was Jennifer Lopez and Shakira, joined briefly by Bad Bunny and J. Balvin. After Shakira s six-minute set – in which she was the first Latinx artist to perform music in Spanish during a halftime show – J-Lo came in and wowed with a ferociously choreographed journey through her greatest hits, including Let s Get Loud and Waiting For Tonight. Critical Response: Much of the focus leading up to the halftime show was on the milestone being made by having two Latina performers take the stage, and Lopez staged a chills-on-the-back-of-your-neck moment when daughter Emmie Muñiz sang Bruce Springsteen s Born in the USA as mom waved around a cape featuring the Puerto Rican and American flags. After the show there was chatter about some of revealing costumes – come on, we haven t gotten past this?! – and who upstaged whom. [Lopez] pushed further with dance than Shakira did, at the cost of a good grip of singing, Craig Jenkins wrote for Vulture. Her intricate routines nodded to the Super Bowl’s marching-band past, and suggested that someone’s paying attention to the fearlessly vertical routines in Cheer and large-scale productions like Homecoming. But the overwhelming assessment was that this was a landmark halftime show, and one loaded with meaning for the game and the country. For Rolling Stone, Suzy Exposito wrote, as much as this game has further aggravated divisions in the United States — it’s impossible to play down the fact that for 15 fleeting minutes, hundreds of millions of eyes were on Latinas. And not just Latinas, but Latinas getting loud. Verdict: FrescaOn an Apple device? Follow Rotten Tomatoes on Apple News.
(Photo by Lionsgate)Do movie trilogies have Fresher Tomatometer scores and make more money at the box office when one director (or co-directors) oversees all three films? Or, is it better if three different directors each tackle different films in a trilogy? With the wildly successful John Wick: Chapter 3 Parabellum marking the third Certified Fresh John Wick collaboration between director Chad Stahelski and Keanu Reeves (with a fourth on the way!), we decided to do a Tomatometer deep dive into theatrically released trilogies helmed by single directors. We wanted to know how the Tomatometer scores and domestic box office numbers for trilogies like Francis Ford Coppola s The Godfather, Jay Roach’s Austin Powers, and The Wachowskis’ Matrix films compare to trilogies directed by two or three separate directors.Is consistency actually key?After comparing the Tomatometer and box office data of 83 different trilogies we learned that when one person (or a duo like the Wachowskis) directs all three films, their trilogies make more money on average and have much higher Tomatometer averages than the trilogies in which two or three different people direct the entries. There are exceptions to the rule, of course, but the numbers favor The Dark Knight, Spider-Man, and Back to the Future trilogies, which were lucky enough to have Christopher Nolan, Sam Raimi, and Robert Zemeckis see them all the way through.If you’re interested in reading about the trilogy selection process, and seeing the list of selected franchises, you can check them out below. Also, we know Stahelski co-directed John Wick with David Leitch, but Stahelski stayed around to helm the second and third installments when Leitch moved on to direct Atomic Blonde and Deadpool 2; since he has been on the project the entire time, we’re considering him to be “one” director.Here is the data – and the trends we found.The Fewer the Names, the better the trilogy (Photo by © New Line/courtesy Everett Collection)Average Tomatometer for trilogies directed by one person: 68%Average Tomatometer for trilogies directed by two directors: 54%Average Tomatometer for trilogies directed by three directors: 49%Based on the Tomatometer averages, it’s clear that having one person (or team) direct a trilogy is the way to go for Freshness. The 68% Tomatometer average for trilogies with a single director or directing team isn’t super Fresh, but it’s well ahead of the 54% and 49% averages of the trilogies with multiple directors. The Fresh average can be attributed to exceptional franchises such as Richard Linklater’s Before trilogy (97.6% average Tomatometer score), How to Train Your Dragon (94.6%), and The Lord of the Rings (93%), trilogies that received multiple Academy Awards and include no films with Tomatometer scores lower than 91%. Another factor that sets the single director category apart is that 22 of the 34 total trilogies in this category (64.7%) are Fresh, whereas only 14 (56%) and six (24%) of the trilogies in the other two categories have Fresh scores.All Trilogies Drop Off In Quality, But A Single Director Will Help you Stay (Just) Fresh In the End.(Photo by © Sony Pictures/courtesy Everett Collection)Tomatometer averages of the first, second, and third films in trilogies directed by one person or team: 75.5%, 68%, 60.8%Tomatometer averages of the first, second, and third films in trilogies directed by two people: 71%, 47%, 45%Tomatometer averages of the first, second, and third films in trilogies directed by three people: 71.4%, 46.3%, 35.5%The first, second, and third films in trilogies directed by one person or team all have Fresh Tomatometer averages (75.5%, 68%, 60.8%), and the 7.5% Tomatometer drop-off between the first and second film is pretty solid when compared to the 24% and 25.1% drops when it comes to trilogies with two and three directors, respectively. The sequels that contributed to the Fresh Tomatometer averages throughout the series are classics like John Wick: Chapter 2 (89%), Evil Dead 2 (98%), Spider-Man 2 (93%), Before Midnight (98%), The Dark Knight (94%), The Trip to Spain (82%), and The Lord of the Rings: The Return of the King (93%). The coolest (or nerdiest) fact here is how similar the Tomatometer averages for the trilogies directed by two or three people are until their third films (45% compared with 35.5%). The Tomatometer dropoff for trilogies with three directors was caused by soul-crushers such as Robocop 3 (3%), The Bad News Bears Go to Japan (0%), and Crocodile Dundee in Los Angeles (11%).More Directors Equals Less Money (Most of the Time)(Photo by © Walt Disney Studios Motion Pictures)Trilogies directed by one person or team: 2 million domestic box office average (adjusted for inflation)Trilogies directed by two people: 1 million domestic box office averageTrilogies directed by three people: 1 million domestic box office averageThe 2 million total domestic average for trilogies directed by a single person would make any studio executive happy — and probably get them ordering another trilogy ASAP. It helps that eight of the 36 (22.8%) series with a single director or directing team, including the Star Wars prequels and The Hobbit trilogy, made over billion domestically after adjusting for inflation. The 1 and 1 million box office averages for the other groups of trilogies are very respectable. However, only six of the 58 trilogies (10.3%) in the other two categories made over billion domestically; these multi-director trilogies include Iron Man, Beverly Hills Cop, and the original Star Wars trilogy. The newest Star Wars trilogy will likely join their ranks.Domestic box office averages (adjusted for inflation) of the first, second, and third films in trilogies directed by one person or team: 1 million, 6 million, 0 millionDomestic box office averages of the first, second, and third films in trilogies directed by two people or teams: 8 million, 6 million, 5 millionDomestic box office averages of the first, second, and third films in trilogies directed by three people or teams: 8 million, 7 million, millionThe standout trend here is that the box office averages for the movies directed by one person or team all stayed above 0 million – the majority of the first film’s audience kept coming back for more. Trilogies directed by one person also had the smallest box office drop between each film; the million (30%) box office drop from the first to third film is smaller than the 5 (45%) and 6 (60%) million drops for trilogies with two directors and three directors, respectfully.ARE THERE EXCEPTIONS TO THE RULE? (Photo by Quantrell D. Colbert/Universal Pictures)Of course, when it comes to Tomatometer ratings, the Marvel Cinematic Universe (MCU) has proven with their Iron Man (two directors), Thor (three directors), and Captain America (one single director and a directing team) trilogies that it sometimes doesn’t matter how many directors helm the movies. Also, the Pitch Perfect, Hannibal, Star Trek (2009-2016), Meet the Parents, X-Men, Beverly Hills Cop, and Wolverine trilogies pulled in huge amounts of money and had multiple directors. So, trilogies can absolutely work with multiple directors. HOW DID WE PICK THE TRILOGIES?(Photo by Lionsgate)Since John Wick tells the continuing story of Keanu Reeves s titular assassin killing hundreds of henchmen on his quest for revenge, we stuck with trilogies that told a continuous story featuring the same character(s) or plot lines throughout three films. Examples are Richard Linklater’s Before trilogy, and Todd Phillips Hangover trilogy, which saw the exploits of the same characters to a conclusion. We didn’t include trilogies with loose-connections (Noriko Trilogy), similar themes (Three Colors), or actors (Cornetto Trilogy) tying them all together. Also, you may notice that some of the trilogies we included such as the Pirates of the Caribbean, Jason Bourne, Jurassic Park, and Scream franchises went on to have more than three films. We included them because they had three-film narrative arcs that were completed with the third installment (e.g., Indiana Jones and the Last Crusade). Some of these films had fourth (or fifth or sixth installments), but most of these later installments were meant to be part of a new trilogy (e.g. Jurassic World and Scream 4, which was supposed to be the beginning of a new trilogy). If a trilogy did not have complete Tomatometer scores they weren’t included. That’s why you won’t see the Infernal Affairs or Samurai trilogies below. The trilogies also needed to have been released in theaters. We didn’t include series that completed their trilogies with direct-to-DVD releases .Number of Trilogies directed by three people/teams 25: Alien (1979-1992), The Bad News Bears, Beverly Hills Cop, Blade, Blair Witch, Child’s Play (1988-1991), Crocodile Dundee, The Expendables, Free Willy, Friday, Hannibal, Harold Kumar, In the Heat of the Night, Johnny English, The Mighty Ducks, Oh God!, Omen, Pitch Perfect, The Ring, Robocop, Rugrats, Star Wars (1977-1983), Thor, Transporter, xXxNumber of Trilogies directed by two people 24: 50 Shades of Grey, Bridget Jones Diary, Captain America, Cars, The Chronicles of Narnia, The Creature From the Black Lagoon, Divergent, Iron Man, Jason Bourne (2002-2007), Jurassic Park (1993-2001), Kung Fu Panda, Look Who’s Talking, Major League, Meet the Parents, The Mummy, Naked Gun, Poltergeist, Porky s, Rise of the Planet of the Apes, The Santa Clause, Smokey and the Bandit, Star Trek, Taken, Wolverine (2009-2017), X-Men (2000-2006)Number of Trilogies directed by one person 34: Austin Powers, Back to the Future, Before Trilogy, Da Vinci Code, The Dark Knight, Despicable Me, Evil Dead, The Godfather, Hangover, The Hobbit, Hotel Transylvania, How to Train Your Dragon, Indiana Jones (1981-1989), Jackass, John Wick, The Lord of the Rings, Madagascar, Mad Max (1979-1985), Matrix, Maze Runner, Men in Black, The Mexico Trilogy, Night at the Museum, Ocean’s Trilogy, Pirates of the Caribbean (2003-2007), Purge, Riddick, Rush Hour, Scream (1996-2000), Spider-Man, Star Wars Prequels, The Trip, UnbreakableNote: All Tomatometer data is accurate as of May 29, 2019Like this? 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Gregg was doing double-duty while filming Captain Marvel and Marvel’s Agents of S.H.I.E.L.D. season 6, but team Marvel was good at working out his schedule.“Luckily it’s all under the giant powerful Marvel umbrella so the coordination was really good,” Gregg said. “I was shooting some of Captain Marvel during our season, some after. Some quite recently.”We won’t see Gregg’s return to Marvel’s Agents of S.H.I.E.L.D. until this summer, but Gregg has been teasing his new character. He confirmed to Rotten Tomatoes that he will have a new name.“I do have a new costume and a new name apparently,” Gregg said. “They will call me something else.”(Photo by ABC/Image Group LA)Gregg knows his new character name. His costars know it, too, but no one is telling.“I do, yes. Really, the only person who doesn’t know is you,” he teased.The season premiere will see Gregg direct his second episode of the series. Like all Marvel’s Agents of S.H.I.E.L.D. season premieres, it resets everything.“They were kind enough to give me the first episode of this season which is huge, the huge return they always do which is tear everything down to the studs and start over basically,” Gregg said. “People are grieving the loss of Phil Coulson. There’s mysterious non human entities suddenly manifesting on Earth so the Earth crew has to deal with that. Meanwhile, the team’s divided by a whole nother group combing the galaxy for the frozen time traveling iteration of Fitz.”Fitz (Ian De Caestecker) was another casualty of season 5. Fortunately, the way time travel works means there is an earlier version of Fitz out there somewhere. Simmons (Elizabeth Henstridge) is determined to bring him back.“Simmons is not really grieving for Fitz, because she is convinced that she will find him,” Henstridge said. “So we have a little team doing that and then a team back on Earth too.”Daisy (Chloe Bennet) is helping Simmons and the duo are traveling the galaxy.“It’s been a fun season for Simmons and Daisy, because we got to be partners in crime a little bit on our journey trying to find Fitz,” Bennet said.Gregg added: “Daisy’s got her back and they are going to every different kind of species and culture and planet in the galaxy, meeting the species there. And then Daisy’s going to kick their ass until they give up Fitz.”Henstridge also said that the lighter side of Marvel’s Agents of S.H.I.E.L.D. would return after a few seasons of dark drama.“It’s also funny this season,” Henstridge said. “There are some episodes that are really funny that we haven’t been able to do comedy for quite a while. It’s been very serious.”Marvel’s Agents of S.H.I.E.L.D. has been off the air since Avengers: Infinity War opened. The subsequent film Ant Man and the Wasp addressed Thanos’s snap wiping out 50 percent of the universe (at least in its closing moments). Will Marvel’s Agents of S.H.I.E.L.D. be affected by the snap?“I don’t know how that fits into our timeline,” Gregg said. “That’s not something we’re allowed to discuss. If we even say snap, we might vanish.”Henry Simmons did not attend the ABC party, but Gregg also wanted to shout out his character, Mack, becoming director of S.H.I.E.L.D.“One of the other storylines that I find really compelling has to do with Mack, played by Henry Simmons, who has really had a slow journey into the heart of S.H.I.E.L.D.,” Gregg said. “He really puts his ass on the line when he’s there, but I think at times he’s wanted to be out. Now that he’s the Director, watching just the gravity with which he takes that job and how difficult it is on his relationship with Yo-Yo and how dedicated he is to finding a way to pull off what this team needs to pull off, he does an amazing job.”Captain Marvel opens March 8 and Marvel’s Agents of S.H.I.E.L.D. returns to ABC this summer.
The holiday weekend delivered nearly 0 million to a pair of new releases, though each are headed in different directions. One of them is looking to be the biggest film in its series, as well as having the second biggest opening over the Martin Luther King holiday. The other is on the path to become the first big disaster of the new year and decade. It is one of the few negatives within a top 10 set to rank as the fifth-biggest Martin Luther King holiday weekend ever.King of the Crop: Bad Boys for Life Dominates Weekend With .4 Million(Photo by Columbia Pictures)The two biggest MLK holiday moneymakers are American Sniper and Bad Boys for Life. The third entry in the very spaced-out series with Will Smith and Martin Lawrence earned an estimated .2 million over the weekend and .4 million in its first four days. That eclipses the .6 million that Ride Along opened to back in 2014 (the Ice Cube–Kevin Hart comedy was the MLK leader until Eastwood’s film exploded with 7.2 million the following year). Bad Boys II opened to .5 million in the summer of 2003. Bad Boys for Life’s total makes it the seventh best opening amongst sequels opening more than 10 years past their previous entry. It is a list that includes The Force Awakens, Jurassic World, Incredibles 2, Finding Dory, Toy Story 3, Indiana Jones and the Kingdom of the Crystal Skull in front of it, and Men In Black 3, Mad Max: Fury Road, and Terminator 3: Rise of the Machines behind it.Depending on who you talk to, Bad Boys II is either one of the greatest action films ever made (see: Hot Fuzz) or one of the worst, most vile films ever produced (see: Michael Bay). For a July release it may have grossed 8.6 million, but that is still just a 2.97 multiple over its opening, representing on the lower scales of word-of-mouth success for a summer film. Of the 18 films to open between million– million in July only four films had a worse multiple (The Nutty Professor II, Lucy, 2016’s Ghostbusters and The Village). How will the million Bad Boys for Life rank with audiences? On the surface, it would seem unlikely for the film not to replace Paul Blart: Mall Cop as the all-time January champion with 6.33 million. (American Sniper technically began its run in December.) Given this third film is unchartered territory because of the disparity between the Sniper and Ride Along openings, it is hard to pinpoint precisely. On the other hand, only 25 percent of the true January-openers have had a multiple lower than the 2.46 Bad Boys for Life would need to knock down the Mall Cop, even if one of them was Taken 3.
(Photo by ©Marvel Studios 2021. All Rights Reserved.)This weekend offered yet another solid exhibit in the year-long debate over theatrical exclusives vs. day-and-date hybrids – especially when the latter is free as part of a subscription base. The big exclusive that broke a whole bunch of records last week and is primed to become the biggest film of the summer did exactly what the industry wanted it to do this week. Meanwhile, the biggest film debuting in theaters this weekend that is also available on HBO Max had one of the limpest openings of the year across many categories.King of the Crop: Shang-Chi On Track to Be First Pandemic-Era 0 Million Film Disney, Marvel, and the industry in whole wanted to see Shang-Chi and the Legend of the Ten Rings gross million this weekend – and it did, earning .8 million. And it s been giving signs of box office robustness since it opened last week.With a little boost thanks to Labor Day, Shang-Chi became the 102nd film to gross over 0 million in its first five days. More importantly, it was the first film to do it during the pandemic. (Black Widow took six.) That number took it out of the range of the few stragglers we referred to last week, including Black Widow, that appeared to be on solid footing towards 0 million only to fall back hard in weekend two to numbers between million and million. Only two films out of those 102 fell below million in their second outing: Harry Potter and the Half-Blood Prince (.46 million) and Solo: A Star Wars Story (.39 million). The other 100 were all over million and ultimately got to 0 million.After 10 days, that puts Shang-Chi’s total at 5.6 million. No film with 0 million in the bank in that stretch has ever failed to hit 0 million. Even 2014’s Godzilla just got over the hump with 0.67 million and it had a .94 million second weekend. Interestingly enough, the highest-grossing film after ten days to miss the milestone was Marvel’s Black Widow this summer, which had 1.6 million at this point and is finishing with close to 3 million. Of course, that film kept additional money from theaters through its Premier Access availability on Disney+.Shang-Chi is now setting the lines for the forthcoming potential hits that will remain exclusive to theaters, such as No Time To Die, the Venom sequel, and Ghostbusters: Afterlife. Disney also took the step to assure theaters this week that they are committed to their partnership going forward with their live-action lineup – including 20th Century Studios releases – receiving a 45-day theatrical window before heading to streaming.Rotten Returns: Malignant Has Less Than Benign Opening Weekend(Photo by Ron Batzdorff /© Warner Bros. /Courtesy Everett Collection)Warner Bros. did not offer much fanfare in promoting the latest film from the director whose last film, Aquaman, grossed .14 billion. With few press screenings and a late-review embargo, they weren t even able to boast about Malignant s solid Tomatometer score of 75%. (Perhaps they were trying to hide the bonkers twist which we would never spoil here.) Ultimately, the horror movie opened with .6 million. How much the film was cheated out of at the box office for being available at home will be the source of further speculation. So let’s do that.Malignant s .6 million is lower than Wan’s 2007 follow-up to his Saw debut, Dead Silence (.84 million) and only slightly higher than his weakest opening, the underrated Death Sentence (.23 million) later that same year. Wan returned to straight horror with Insidious, which became a solid word-of-mouth success spawning three sequels, including one which he directed that opened to .27 million. In between, he began The Conjuring universe, with the first film in that franchise opening to .85 million. There was a sequel to that (.27 million opening) and the giants Furious 7 (7.18 million opening) and Aquaman (.87 million start on its way to 5 million domestic).This is the fifth film (out of 12 releases) this year in WB’s HBO Max day-and-date experiment to open to under million. Two of those films (The Little Things, Judas and the Black Messiah) were released before the larger vaccine rollout. Two others (Those Who Wish Me Dead, Reminiscence) had more star power than Malignant. None of these films were as IP-friendly as the other releases that performed better, with the exception of possibly In the Heights, which opened to .5 million and still disappointed many with that number. Godzilla vs. Kong is still the only film released day-and-date to theaters and HBO Max to reach 0 million. We’ll see if Dune and The Matrix Resurrections can still overcome the convenience of a home option.The Top Ten And Beyond: Free Guy Returns to No. 2 Position and Crosses 0 Million (Photo by 20th Century Studios)Free Guy became the seventh film of the year to pass the 0 million marker this weekend, moving back up to second place with another .8 million. That’s the second-highest fifth weekend of the year behind only A Quiet Place Part II (.19 million). That also puts it slightly ahead of Jungle Cruise’s pace at the same period and that film (still in the top five) will shortly cross 0 million.In other horror film news, Nia DaCosta’s Candyman update fell 53% in week three to .93 million bringing its total to million. That is now lining it up to be in the orbit of The Suicide Squad’s million, but likely a bit lower when all is said and done. Don’t Breathe 2, also a theatrical exclusive, managed to join the semi-exclusive million club this weekend. It was just the 20th film of 2021 to achieve that, compared to 25 films opening in 1800 theaters or more not to do so. It will be interesting to see how Halloween Kills does next month now that Universal has decided to stream it simultaneously on its Peacock service.Paul Schrader’s The Card Counter is worthy of some history this weekend grossing .1 million in 580 theaters. It may be of superficial significance to the legend who wrote Taxi Driver and Raging Bull, but it’s the first directorial effort of Schrader’s to open with over a million dollars since 1987’s Light of Day with Michael J. Fox and Joan Jett started with .53 million. The film is also a hit with critics (86% on the Tomatometer), ranking up there with some of his highest directorial scores, including Blue Collar (98%), First Reformed (93%), Mishima (89%), Affliction (88%), Light Sleeper (88%). As stated, legend.On The Vine: Tammy Faye and Clint Eastwood Roll Into TheatersIt’s another crowded week coming up. Though none of the films will come close to challenging Shang-Chi for the top spot, can any of them get over million? There is Searchlight’s The Eyes of Tammy Faye, with Jessica Chastain and Andrew Garfield playing the notorious religious figures. Clint Eastwood directs and stars in Cry Macho – that will also be available on HBO Max. Joe Carnahan’s new thriller, Copshop, with Frank Grillo and Gerard Butler, opens up from Open Road, and Focus Features again sticks with an exclusive theatrical release of Justin Chon’s Blue Bayou.Full List of Box Office Results: September 10-12, 2021
亚博买球APP Spoiler warning: The following contains giant spoilers for Avengers: Endgame. So if you don t wanna know what happens, stop right here. Sony Pictures released a new Spider-Man: Far From Home trailer on Monday, coinciding with the end of Avengers: Endgame directors Joe and Anthony Russo’s online spoiler ban. And it is no surprise as the trailer is a huge spoiler for anyone who has not seen the recent Avengers movie. Although, considering that film continues to destroy box office records, we would be very surprised to discover someone who hasn’t seen it.As the trailer is a spoiler, it is filled with useful information for those tracking the progress of the Marvel Cinematic Universe, a few lingering plot points from Endgame, and info on the upcoming Phase 4 of the MCU. So let’s dive in and examine some of the things we learned from the trailer.It Is Set After Endgame(Photo by @ Sony Pictures, @ Marvel Studios)This one might sound obvious, but considering the span of time between Spider-Man: Homecoming and Avengers: Infinity War, there was a suspicion the movie might take place prior to the Snap. Many noted Nick Fury s (Samuel L. Jackson) nice to meet you, Spider-Man in the previous trailer, despite both being at Tony Stark s (Robert Downey Jr.) funeral. Also, Marvel Studios president Kevin Feige recently reframed the film as the last Phase 3 story instead of the first taste of Phase 4. Add Endgame’s five-year time-jump and you get a recipe for a potential Far From Home set sometime in 2017 or 2018.But thanks to its opening moments declaring the passing of Tony Stark and the heart-to-heart between Peter Parker (Tom Holland) and Happy Hogan (Jon Favreau), it is clear the film is indeed set after Endgame. That means the film, even if it is the last Phase 3 chapter, will offer audiences a glimpse into the post-Endgame world. In the previous trailer, we saw notable parts of New York being rebuilt, which suggests the Snap survivors left many of the parts of the world to ruin after half the world’s population disappeared. Beyond those background details, though, the Snap and the five-year gap will have a very personal effect on Peter as he adjusts to the world.Most Of Peter’s Friends Disappeared With Him(Photo by @ Sony Pictures, @ Marvel Studios)MJ (Zendaya), Ned (Jacob Batalon), Betty (Angourie Rice), and even nominal high school bully Flash Thompson (Tony Revolori) are all the same age as Peter – which means they all disappeared in the Snap. That might seem minor, but every single one of them has lost five years. It remains to be seen how many of them returned to a stunned family – in fact, we’re still not clear if Aunt May (Marisa Tomei) lived through the five year gap – or the effect that may have on them going forward. The summer trip to Europe may be as much a chance for them to re-acclimatize to the new world as it is a school activity.But as Laura Harrier and Michael Keaton are currently on the cast list, we expect Liz and her father Adrian experienced the full five years of Endgame. You have to wonder how that changed them We re in the Multiverse Now, and Mysterio Is From A Tangent Reality … Well, Maybe(Photo by @ Sony Pictures, @ Marvel Studios)It seems the Ancient One’s (Tilda Swinton) fears were founded after all as Fury tells Peter the Snap tore a hole in “our dimension.” Peter is also introduced to Quentin Beck (Jake Gyllenhaal), a man who claims to be from an alternate Earth. We’re assuming he is from one of the tangent realities the Ancient One warned Bruce Banner (Mark Ruffalo) about in Endgame. We’re also assuming that “hole” is how Steve Rogers (Chris Evans) managed to get back from the tangent reality he created to have a life with Peggy Carter (Hayley Atwell).Of course, it is always possible Beck is lying. He is Mysterio after all, a guy who faked an alien invasion back in the comics just to rob a bank. If he’s anything like his comic-book counterpart, he could using the Snap to win Fury’s trust. Alternatively, he could be a dimension-hopping bad guy with an interest in ending Spider-Man across the multiverse. Or should we say “Spider-Verse?” There is also the possibility that he is telling the truth and the MCU will give us a 100% noble Mysterio. But that seems quite unlikely. Peter almost always gets betrayed by the people he lets into his confidence, and we expect this to be no different.Captain Marvel is Carol Danvers’ Superhero Name(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)OK, this is a small one, but considering no one in Captain Marvel or Endgame refers to Carol Danvers (Brie Larson) by her superhero codename, we’re clocking this as the first time anyone officially refers to her as Captain Marvel. We also expect the scene in which Peter asks about Thor (Chris Hemsworth) and Captain Marvel will be a little longer and hint at what Bruce, Doctor Strange (Benedict Cumberbatch), and some of the other heroes are doing during this latest crisis.Nick Fury Is In Charge(Photo by @ Sony Pictures, @ Marvel Studios)Also, isn’t interesting to see Nick Fury in charge of an organization again? The manpower and equipment we see in the trailer suggest S.H.I.E.L.D., but S.H.I.E.L.D. patches appear to be absent on the people manning the various work stations surrounding Fury, Peter, and Mysterio in the trailer. Either they have been removed digitally to maintain the surprise or Fury has a new organization entirely. Is it time for S.W.O.R.D. to make its MCU debut? In the comics, their mandate is to keep Earth safe from alien incursions. Would their MCU jurisdiction include alternate Earths?At the same time, the whole notion of tangent realities makes it really easy for Fury to resume his post at S.H.I.E.L.D. while the Agents of S.H.I.E.L.D. television series gets its own world to play with. It still makes them connected, just in a less immediate way.Peter Has A Great Iron Man-level Responsibility, And Could Be Phase 4 s Lead Hero(Photo by @ Sony Pictures, @ Marvel Studios)Considering Phases 1-3 were led by Tony Stark (Robert Downey Jr.), the Far From Home trailer seems to position Peter as the key hero going into Phase 4. Or, at least, that seems to be Peter’s perception. That talk with Happy early on literally puts the weight of Iron Man on him. And the subsequent scene with the NYPD officers raises the question with Spider-Man s reality: is Peter the next Iron Man?Since he still has the Iron Spider suit, signs should be pointing to yes. But it also seems likely that the film will confront this key question: Is Peter a kid, playing at being the Friendly Neighborhood Spider-Man, or is he a man ready to lead the superheroes? It is entirely possible he will walk away from the film knowing he is not the next Iron Man, putting someone else in the hot seat. Then again, the film could see this whole Spider-Man “Home” story cycle in a new light as he accepts the mantle, and the great responsibility which comes with it.Should Phase 4 see Peter s friendly neighborhood grow to the size of a galactic quadrant – or a multidimensional band of realities – Far From Home may set him on this path. At the same time, it may also illustrate for him that he still has a lot to learn before he can lead the Avengers – or whatever they re calling themselves now – in the MCU s bold future.Spider-Man: Far From Home is in theaters July 2, 2019Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.