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yomoj48432
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DIY引起早洩能治好嗎?
早洩怎麼治才有效?與攝護腺有關嗎?
引起早洩陽痿的原因
重度早洩吃什麼
性早洩怎麼治療
射精快就是早洩嗎?射精快怎麼辦?
治陽痿早洩吃什麼藥


derra
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KFS KFS KFS KFS KFS KFS KFS



derra
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Marvel has spent a decade telling Natasha Romanoff’s story, but it’s mostly been mumbled and embedded in movies about the men flanking her. Audiences have had to trace the Black Widow’s web through the entertainment juggernaut’s big team-up Avengers films and the stories of Iron Man 2 (2010), Captain America: The Winter Soldier (2014), and Captain America: Civil War (2016), connecting the one-off lines and monologues scattered within.


While US government experiments transformed Steve Rogers into Captain America and spurred Hank Pym to invent magic shrinking juice that would eventually create Ant-Man, those events didn’t happen in a vacuum. Natasha, as played by Scarlett Johansson, was collateral damage on the more brutal end of the same effort, as Russia tried to keep up in the superhuman arms race.


A Secret KGB program, designed with a hefty dose of eugenics, found her as a child and trained her to become one of the coveted Black Widows — a highly trained assassin and spy. To ensure loyalty, the program leads experimented on and sterilized her against her will.


Against all odds, Nat managed to break free from the program and link up with Nick Fury and S.H.I.E.L.D. She was able to put her skills to good use, helping to recruit new Avengers and ultimately to save the world (and half the lives across the universe) by sacrificing her own life in 2019’s Avengers: Endgame.


All this backstory happened without Nat getting a movie of her own.


And though Marvel’s bigger team-up movies treated her like a central figure, it wasn’t until her final appearance in Endgame that the studio crystalized her worldview and showcased her humanity.


As Endgame opens, Natasha’s surviving coworkers have moved on after half the population has been snapped away. Steve Rogers is talking about seeing whales in the Hudson and attending survivor support groups. Tony Stark has moved to the mountains and had a kid. But Nat isn’t ready to give up. She’s still commandeering what remains of the Avengers’ control center, the only member of the team who is still committed to the possibility of saving her friends and everyone else Thanos obliterated. Having a shot at restoring their lives is what ultimately compels her to sacrifice her own. She doesn’t even live to see what comes of her efforts.


So in the present-day MCU, Nat is as dead as any Avenger can ever be. Enter the maddeningly late but satisfying send-off Black Widow, in which we finally get to see Natasha Romanoff’s story in full.


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Nat’s solo venture, directed by Cate Shortland, doesn’t undo the events of Endgame but instead clarifies the character’s decision to die in order to give her teammates and humanity a shot at defeating Thanos. Black Widow is a prequel of sorts, set in the pocket of time between Civil War, when the Avengers temporarily dissolved and many of them landed in jail, and Infinity War, when the team met Thanos for the first time. Nat is on the run from the government, trying to live on her own. That’s when the past she’s been gabbing about for the last decade finally shows up, on-screen and in the flesh.


Unlike typical Marvel movies, Black Widow doesn’t present an apocalypse to avoid or a world breaker to defeat. If Nat decided to ignore the threat that confronts her in Black Widow and keep to herself, the world would keep spinning along — just slightly more nefariously. It turns out one of her pre-Avengers associates has discovered that the program that turned Nat into a super-assassin has also sharpened millions of other girls into Widows like her. Their training was conducted against the girls’ will, just like what happened to Nat.


Almost instantly, you can see what’s she’s about to do. Nat’s inability to separate work from life and coworkers from family doesn’t make her the best cold-blooded assassin. But it does make Nat a pretty good Avenger. Even if Black Widow is years late and can feel retroactive in parts, Nat’s own (very good) movie asserts the character’s legacy in the MCU and what she meant to the franchise as a whole.


Black Widow assembles the shreds of Natasha’s backstory into a fully realized character portrait

Every Marvel movie released since 2008’s Iron Man raises a question that none of the films can ever be cleaved from: Do you need to see the previous Marvel movies to know what’s going on? Black Widow is no exception.


The most important film to keep in mind with regard to Black Widow is 2016’s Captain America: Civil War. That movie sets up Nat’s “current” situation and explains why she’s on the lam.


But even in Civil War, Nat exists largely as a supporting character. The movie doesn’t actually offer that much insight into her interior life.


The plot of Civil War, which began as an event in Marvel’s comic books, was touted as the splintering of the Avengers and the dissolution of the bonds that kept this team together. The root cause was an esoteric set of documents called the Sokovia Accords, which basically said the Avengers should be government-restricted. Tony Stark agreed with them, Captain America didn’t, and boom — this led to the greatest breakup in the MCU.


Civil War’s missed opportunity was showing how the Avengers’ implosion affected Nat most of all.


Black Widow steps in to show us how, unlike her fellow Avengers, Nat has no life outside of the team. As the rest of Marvel’s movies have established, Tony Stark has Pepper Potts and Rhodey. Steve Rogers has Bucky Barnes and Sam Wilson. Wanda has Vision. Ant-Man and Hawkeye have their respective families. Spider-Man has MJ, Ned, and Aunt May. T’Challa has his kingdom. I suppose that’s why Nat was later paired off with Bruce Banner in 2015’s Avengers: Age of Ultron, but then he went missing and didn’t return until Infinity War.


Nat’s Avengers coworkers are her only family. Hence, her urging Steve to keep the team together in Civil War. Nat begs him to keep her family together. She has no compelling argument or overarching strategy for reuniting the Avengers, she just needs the team to keep existing.


“Staying together is more important than how we stay together,” she tells him.


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hktwinfos
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Yep, in the early 2010s, Jan Troell had plans to let Max von Sydow return to Sweden to record his first Swedish film in over ten years, in the role of the journalist Torgny Segerstedt ON 

https://nyews.blog.se/biographical-and-black-and-white-drama/ 



derra
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The first sign that moviegoers were ready to return to theaters came when “Godzilla vs. Kong” stomped into cinemas at the end of March. Even though it also streamed on HBO Max, the movie made $98 million in North American theaters and $436 million worldwide. That was welcome news after a pandemic year that was terrible for movie theaters.


Then, the pent-up demand exploded last week over the Memorial Day holiday with Paramount’s “A Quiet Place Part II,” which was exclusive to theaters and made about $57 million over four days, and Disney’s villain origin myth “Cruella,” which was also available on Disney+ for $29.99 and made $26.5 million in theaters over the same period. While some distributors argue that Disney left as much as $10 million on the table by splitting its audience with streaming, no other movie that opened in theaters and streamed at the same time has performed as well as “Cruella.”


But for all these signs of momentum, and big releases to come this summer like “Black Widow” and “F9,” it’s becoming increasingly clear that the two-hour theatrical release is far from secure. During the pandemic, studios found other avenues for sharing their movies with audiences. After a year of shutdowns, theaters are more heavily leveraged financially. While the studios could go forward without theaters, the reverse is not true. A lot of things have to go right for the two-hour movie theatrical release to endure.


Here are four reasons a return to theaters and moviegoing isn’t a sure thing.


1. The studios are calling the shots.


The halcyon days when top theater chains could threaten not to play any movie that violated their 90-day exclusive are gone. Now theaters have to take what they can get, like Warner Bros.’ 2021 simultaneous releases in theaters and on HBO Max and Universal’s “The Boss Baby” sequel “Family Business,” even if it’s available on the Peacock streaming service.


Some movies will still be exclusive to theaters, including the “Fast and Furious” franchise juggernaut “F9” (June 25). Studio bosses are not looking out for theaters — they’re attending to their own bottom lines — but they still need them.


“Nobody is friends in this business,” said Patrick Corcoran, a spokesman for the National Association of Theater Owners. “It’s all dollars and cents.”


2. Streaming is king.


The theaters believed that Disney would always be there for them. Every year, it releases tent-pole movies from Marvel (“The Avengers” franchise), Lucasfilm (“Star Wars” films) and Pixar (“The Incredibles”) — big-budget movies that are expected to compensate the studio for its less profitable releases. Those films can yield as much as $1 billion each in global box office. Of the 47 movies in the past 25 years that have crossed that magic threshold, Disney released 26. Whether the studio is temporarily making up for pandemic revenue shortfalls or leaning into Wall Street’s current love affair with streaming, theater owners are reeling from the news that some Pixar titles are skipping multiplexes altogether. Pixar has released 23 animated feature films to date — all smash hits.


It makes sense that Pete Docter’s Oscar-winning “Soul” went direct to streaming on Dec. 25 during the pandemic. But the next Pixar release, “Luca,” is going straight to more than 100 million Disney+ subscribers on June 18 — with no surcharge. Losing a Pixar movie at the theater isn’t about just the loss in grosses but also the family audience that buys overpriced popcorn and soda.


Sure, Marvel’s long-delayed “Black Widow,” starring Scarlett Johansson, will drive a huge weekend at the box office on July 9, but as with “Cruella,” theaters are sharing audiences with Disney+. Now all the major studios except Sony have launched streaming sites to compete with Netflix, and Amazon has bought the MGM studio. The streamers are fiercely competing with one another for content. They have huge maws to feed.



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3. Older moviegoers are missing in action.


The pandemic scared seniors out of enclosed interior spaces. So far, younger audiences are driving the return to movies, but independent cinemas, especially, need older customers to come back if they are to thrive. Art films play in theaters over weeks and months to build awareness and value. That doesn’t happen without theaters. “Trying to get back your audience is a marketing challenge,” said Mabel Tam, head film buyer for the independent Landmark Theaters chain. “Every week gets a little better.”


Still, the fall lineup should pull grown-ups back, with films like Ridley Scott’s “House of Gucci” (Nov. 24) and “Downton Abbey 2” (Dec. 22). “The content through 2022 is a stocked cupboard,” said Chris Aronson, president of domestic theatrical distribution at Paramount. “No one is running out of food.”


4. The theater business is not growing.


We will never see another $11 billion year at the domestic box office — five in a row passed that benchmark, ending with 2019’s $11.3 billion. Over the next three years, fallout from consolidation, debt and leases will continue to shutter many cinemas. The strong will survive. The Alamo Drafthouse chain, for one, has emerged from Chapter 11 bankruptcy and plans to open new theaters.


But now more than ever, studios and theaters need synergy. Distributors can now create custom release patterns for their films. They’re learning what works, like getting the most bang from their marketing buck and reaching home customers with the right price points. And theaters are looking for alternate content, such as opera and sports events. “We’re all on a learning curve right now,” said Lisa Bunnell, the president of domestic distribution at Focus Features.


If they know what’s good for them, studios and streamers alike should look past Wall Street smoke and mirrors. “Audiences brand a title,” Mr. Corcoran said. “Look at the Oscars and Golden Globes. They didn’t tune in because the movies were out of the conversation.”


Nothing builds value for a title like three weeks in a movie theater with strong word of mouth.

derra
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Black Widow review: Marvel's spy thriller serves up entertaining family Bond-ing


From opening action to post-credits scene, Scarlet Johansson is on an MCU mission impossible with Florence Pugh, Rachel Weisz and David Harbour.


This could be superspy Black Widow's toughest assignment yet. Two years ago the Marvel Cinematic Universe crescendoed in an interstellar Endgame bursting with a galaxy of superhero stars. So how can a spy flick that barely offers any superpowers follow that? It's an MCU mission impossible requiring the right agents for the assignment. And by surrounding Scarlett Johansson with a pitch-perfect cast of new faces, Black Widow reveals what Marvel does best.


Black Widow is out now in the UK and hits US theaters tomorrow, Friday July 9. It'll also be available to stream on Disney Plus Friday for a $30 Premier Access fee. If you don't want to pay, it'll be free to all subscribers Oct. 6.


Disney's streaming service eased fans back into the MCU with winningly weird TV shows WandaVision and Loki. That means Black Widow's slick but straightforward action could feel even more out of date. Thankfully, this sure-footed, entertaining comic book adventure takes the Bond/Bourne formula and sprinkles it with Marvel magic. Black Widow (the film) is the first solo outing for Natasha Romanova (Johansson), an assassin-turned-Avenger and an ice-cold Russian killer. So why does her movie open with young Natasha enjoying an idyllic childhood in the sun-dappled suburbs of 1990s Ohio? When Marvel's super-cops SHIELD close in, Natasha's nuclear family is revealed to be less all-American and more like The Americans.


Cut to Natasha on the run from US authorities again, except now she's grown up into Scarlett Johansson, and she's in trouble for going rogue in 2016's Captain America: Civil War. Throwing her phone in a fjord, she's soon safely off the grid and tucked up in a bolthole watching James Bond movies on a tiny TV. But trouble still comes a-calling, and this time Natasha faces her own traumatic past as she settles old scores.


From opening flashback to post-credits scene, everyone dons skintight superspy outfits and it's off around the world for an adventure in the style of Bourne and Bond, complete with rooftop snipers, motorbike stunts and hidden supervillain lairs. A Q-style quartermaster even doles out help along the way, while a remorseless masked henchman makes things difficult.


Black Widow isn't as grittily inventive as the brutal, stunt-filled fights of Charlize Theron's similar espionage punch-up Atomic Blonde, or as seductively stylish as recent Bond films like Skyfall. And it remains to be seen if Black Widow's set pieces are as indelible as any stunt in the Mission: Impossible series -- or even Marvel's own memorable moments like Winter Soldier's elevator fight. 


Still, director Cate Shortland takes the spy-on-spy action to the eye-popping next level. Even with no superpowers at play, each relatively grounded fistfight or foot chase quickly dials up to entertainingly ridiculous proportions. It isn't Fast and Furious 9 level of physics-defying ludicrousness (thankfully), but big scenes like an icebound prison break are exhilaratingly heightened enough to be worthy of the big screen.


Most importantly, Black Widow highlights Marvel's biggest (or at least most consistent) strength. The big-budget effects are all very fancy, and there have been plenty of stirring set pieces. But starting with Iron Man in 2008, Marvel movies have had their share of baggy storylines, underwhelming action and forgettable enemies. Black Widow's plot revolves around yet another device the film doesn't seem to care about, while baddie Taskmaster is an undercooked villain. But what makes Marvel movies work every time is the casting. When you get right down to it, the MCU is built on a foundation of characters and stars you want to hang out with.


In this case, Johansson is matched with Florence Pugh, Rachel Weisz and David Harbour as Natasha's spy family. And every one of them is a joy to watch.


It's great to see Pugh on the biggest possible stage after her star-making turns in unsettling horror flick Midsommar and touching wrestling comedy Fighting With My Family. As Natasha's younger "sister," she's like Black Widow with the gloves off. Their spiky sisterly banter is both infectious and touching as they bond over their shared trauma and equally skilled use of violence. Johansson knows exactly what she's doing as she glides from kicks to quips, but Pugh's charming combination of vulnerability, comic timing and general badassery comes very close to stealing the whole show.


Harbour has a ball going from Stranger Things' burly sheriff to larger-than-life superhero. With "Karl" and "Marx" tattooed across his knuckles, the bearded and bear-like Russian hero known as the Red Guardian just wants the Communist Party to feel like a party. Like Pugh, Harbour is in scene-stealing form with his hilarious and grubbily sexy performance.


Rounding out the dysfunctional family, Weisz has less of a showboating role. But she plays amusingly off Harbour's broader performance and brings a touch of class to proceedings. Whether they're together as a unit or sparking off each other individually, the interplay among these four stars carry Black Widow when the relatively straightforward story meanders or action peters out.


There's a lot of pent-up expectation built up around this film. We haven't had a Marvel movie since 2019's triple-whammy of Captain Marvel, Avengers: Endgame and Spider-Man: Far From Home. It's a big change going from a film every few months to nothing for two whole years, so the question is whether the Marvel juggernaut will keep on rolling or whether audiences have cooled toward the whole superhero thing. 



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It doesn't help that Black Widow is hardly as audacious or imaginative as bonkers Marvel TV shows WandaVision and Loki, though it definitely covers similar geopolitical territory to The Falcon and The Winter Soldier with considerably more panache. 


Helpfully, Black Widow is an established character, and fans have wanted to see Johansson in a solo movie for years. Pandemic aside, this film was a long time coming. It's great to see Johansson leading such a slickly entertaining female-centric action flick, and it's not every big-budget blockbuster that tackles the coercion of women's reproductive rights as a means of control.


Smart, sexy and perfectly cast, Black Widow barely has a story to speak of but still manages to be a huge amount of fun. It may be understated compared with Endgame's cosmic histrionics, but still feels worthy of the big screen. The MCU's cinematic comeback is more thrilling than Godzilla, infinitely better than Infinite and gives F9 a run for its money. All thanks to four stars who nailed the assignment.

derra
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The movies 'Black Widow película completa' 'Luca película completa' and Rápidos y Furiosos 9 película completa, which will be released in July this year, is highly anticipated by fans. It's been almost a decade since The Avengers brought together this century's most popular super team. 

derra
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hktwinfos
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『ザ・スーサイド・スクワッド “極”悪党、集結』(ザ・スーサイド・スクワッド ごくあくとう、しゅうけつ、The Suicide Squad)は、DCコミックスのアンチヒーローチームであるスーサイド・スクワッドを基にした2021 https://8grp.co.jp/community/profile/suicidesquad2/ 

Denis Villeneuve regisserar en ny filmatisering av Frank Herberts klassiska science fiction-roman "Dune". https://duneswedenguide.wildapricot.org/ 

Αστέρια: Gael García Bernal, Vicky Krieps, Alex Wolff, Thomasin McKenzie, Eliza Scanlen, Aaron Pierre https://oldgreeceguide.wildapricot.org/ 

Crew: Scarlett Johansson (Executive Producer), Sarah Halley Finn (Casting), Stan Lee (Characters), Kevin Feige (Producer), Shannon Mills (Sound Designer) https://blackwidowgreece.wildapricot.org/ 

Estreno 9 de julio del 2021 (Estados Unidos) Género Cine de superhéroes, acción, ciencia ficción y aventuras Duración 133 minutos https://viudranegraguias.wildapricot.org/ 

معلومات -سيتم اضافة المعلومات المجهولة قريبا، عند الاعلان عنها رسميا.. الرجاء التحقق من الموضوع دوريا- https://architizer.com/firms/the-journey-anime/ 


hktwinfos
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Au cœur de New York, le quartier de Washington Heights est celui de tous les possibles. Usnavi, propriétaire d’un petit café dans le quartier, rêve de renouer avec ses origines, https://intheheightsguider.wildapricot.org/ 

Filmversion des Broadway-Musicals, in dem ein Bodega-Besitzer gemischte Gefühle darüber hat, seinen Laden zu schließen und sich in die Dominikanische https://intheheightsguide.wildapricot.org/ 

En En el barrio, el vecindario conocido como Washington Heights, en el extremo norte de Manhattan, un grupo de inmigrantes están por tener un día de verano, sin luz, https://enelbarrioguide.wildapricot.org/ 

No matter how fast you are, no one outruns their past. Fast & Furious 9 is het negende hoofdstuk uit de Fast & Furious saga, die al twintig jaar bestaat en wereldwijd al meer https://fastandfuriousdutch.wildapricot.org/ 

Lights up on Washington Heights... De geur van een cafecito caliente hangt in de lucht even buiten metrohalte 181st Street, waar de mensen uit deze levendige en hechte https://intheheightsdutch.wildapricot.org/ 

Het vervolg op de succesvolle horrorthriller uit 2018. De familie Abbott heeft hun huis verlaten en moet de gevaren van de buitenwereld onder ogen komen. https://aquietplace2dutch.wildapricot.org/

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