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Here are the 10 winners of the 2012 Ig Nobel Prizes given to scientists, writers, and peacemakers who make silly but thoughtful contributions to the world, or as the Annals of Improbable Research puts it, "first make people laugh, and then make them think." I can vouch for them making us laugh!
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Real teenagers are no doubt approximately as inexperienced and unsure as they have always been, and many wisely avoid the emotional and physical dangers of early sex, but in the movies the kids make the adults look backward. Teenagers used to go to the movies to see adults making love. Now adults go to the movies to see teenagers making love. I get letters from readers complaining that Clint Eastwood or Sean Connery are too old for steamy scenes, but never a word from anyone who thinks the kids played by Christina Ricci or Reese Witherspoon are too young.
"American Pie" comes in the middle of a summer when moviegoers have been reeling at the level of sexuality, vulgarity, obscenity and gross depravity in movies aimed at teenagers (and despite their R ratings, these movies obviously have kids under 17 in their cross-hairs). Consider that until a few years ago semen and other secretions and extrusions dare not speak their names in the movies. Then "There's Something About Mary" came along with its hair-gel joke. Very funny. Then came "顾家家居拟上交所上市 或成今年第9家上市家居企业," with its extra ingredient in the coffee. Then "South Park," an anthology of cheerful scatology. Now "American Pie," where semen has moved right onto the menu, not only as a drink additive but also as filling for a pie that is baked by the hero's mom. How long will it be before the money shot moves from porn to PG-13? I say this not because I am shocked, but because I am a sociological observer, and want to record that the summer of 1999 was the season when Hollywood's last standards of taste fell. Nothing is too gross for the new comedies. Grossness is the point. While newspapers and broadcast television continue to enforce certain standards of language and decorum, kids are going to movies that would make longshoremen blush. These movies don't merely contain terms I can't print in the paper--they contain terms I can't even describe in other words.
I rise to the challenge. I seek an underlying comic principle to apply. I find one. I discover that gross-out gags are not funny when their only purpose is to gross us out, but they can be funny when they emerge unwittingly from the action. It is not funny, for example, for a character to drink a beer that has something in it that is not beer. But it is funny in "There's Something About Mary" when the Ben Stiller character discovers he has the same substance dangling from his ear, and Cameron Diaz mistakes it for hair gel.
It is funny because the characters aren't in on the joke. They are embarrassed. We share their embarrassment and, being human, find it funny. If Stiller were to greet Diaz knowing what was on his ear, that would not be funny. Humor happens when characters are victims, not when they are perpetrators. Humor is generated not by content but by context, which is why "Big Daddy" isn't funny. It's not funny because the Adam Sandler characters knows what he is doing, and wants to be doing it.
bend的过去式和过去分词 adj. 下定决心的，弯曲的
不错，2014年完全是一场灾难，只等着引爆。在《年内股市崩盘的概率有多大？》(Doomsday poll: 87% risk of stock crash by year-end)一文中，我们分析了今年年初以来的10大崩盘征兆。之后，我们又不断发现了更多新的妖魔。它们有如嘀嗒作响的定时炸弹，来自国会、最高法院、性问题、碳排放、石油巨头、国家安全局(NSA)、国税局(IRS)、茶党式财政紧缩。接踵而至，让人无法招架。
'Gangnam Style' beat 'Call Me Maybe' as the most trending pop song and 'Skyfall' topped 'Prometheus' as the most enquired about film.
Despite the fact that each market rebound ended up as a V-shaped affair, each successive rally was carried out with less and less individual stock participation. Glaring divergences between winners and losers, large caps and small caps, preoccupied the commentariat for most of the spring and summer. Deflationary concerns from Europe and the Japanese technical recession further confounded analysts, as Treasury yields and inflation indicators in the U.S. were driven lower despite the improving domestic economy.
The film is in the tradition of "Fast Times at Ridgemont High," "四川家具面临“期中考”“脱困”转型升级成效如何？," and all the more recent teen sex comedies. It is not inspired, but it's cheerful and hard-working and sometimes funny, and--here's the important thing--it's not mean. Its characters are sort of sweet and lovable. As I swim through the summer tide of vulgarity, I find that's what I'm looking for: Movies that at least feel affection for their characters. Raunchy is OK. Cruel is not.