Oscars 2019

25 Apr 19
Deadline

The Tribeca Film Festival in recent years has opened with documentaries about the soul and institutions which are pillars of New York City, whether it’s Saturday Night Live or local native-turned music mogul Clive Davis, and this year was no exception as the 18th Robert De Niro-Jane Rosenthal co-created event shined a spotlight on Harlem’s holy […]

25 Apr 19
Clune Gap Years

1136-1137:  Windmills Tuesday 16th – Wednesday 17th April 2019 We left the Wildcamping campsite (there’s an oxymoron!)  a.m. – most of our friends and ourselves moving to a pre booked aire at Alblasserdam – and for a farewell meal….. We drove to the Cruquius Museum on the way to the aire – site of Hollands […]

25 Apr 19
Radio Clasic

Regizorul, scenaristul şi producătorul francez recompensat cu Oscar Michel Gondry este invitatul special al celei de-a 18-a ediţii a Festivalului Internaţional de Film Transilvania (TIFF), organizat la Cluj-Napoca, în perioada 31 mai – 9 iunie, potrivit organizatorilor. Premiat cu un Oscar în 2005, pentru scenariul original al filmului “Eternal Sunshine of the Spotless Mind” (2004), […]

25 Apr 19
3AW
THE AVENGERS: ENDGAME **1/2 (181 minutes) M In the interests of not wishing to be accused of being a party pooper, the first and most important thing that needs to be stressed about the very final Marvel superhero movie ever (for now, anyway) is that not one of its 181 minutes is boring. Endgame is good, rollicking fun, entertaining to the last drop with dollops of humour and comic-book pathos mixed in with all the requisite colour and movement as multi-hued energy bolts fly about, swarms of beings do battle with opposing swarms of beings and large things explode. With the onerous task of having to bring matters to a close in the grandiose conflict between uber-villain Thanos (Josh Brolin) and the Avengers, directors Anthony & Joe Russo (Captain America: Winter Soldier/Civil War; Avengers: Infinity War) summon the super-powered roster of characters that have accrued over a staggering range of 21 films since Iron Man and The Incredible Hulk kicked off the super-franchise way back in 2008. Without giving anything away, the film’s basic premise involves the team attempting to reverse the mess Thanos made at the end of Infinity War, which saw many superheroes vanish and set the stage for him to make good on his promise to destroy half the world’s population. This he was able to accomplish by wielding a glove studded by the all-powerful Infinity Stones. So, the logic goes – well, as far as movie logic ever applies in the Marvel Universe, which is pretty loosely – if the remaining superheroes can get the glove they can amend matters and restore order to the universe. (Yes, the DNA of Star Wars courses through all these films, one way or another.) OK, so the stage is set for all the main characters to head off on their own journeys, their collective quest being to defeat Thanos once and for all. Now, everything you need from a Marvel superhero film is here in spades, including some pretty well-thought through personal moments that endow the enterprise with a surprising amount of heart given how much colossal, screen-filling action there is. The first hour especially has plenty of unhurried scenes where people are just talking about the situation and how to get out of it. However intense the FX-blizzard gets – and with a budget of around $400 million, there’s plenty of ear-splitting action and eye candy – these emotional resonances are maintained throughout to ensure that the film is as emotionally satisfying as it is viscerally saturating. This saves Endgame from being the post-content mess that has afflicted many of the first sequels in the Marvel canon, which suffered from being all noise and no heart, the worst offender arguably being the execrable Age of Ultron. With all that said, Endgame is no soul-shaking masterpiece, despite what a lot of reviews seem to be saying. Indeed, early indications are that along with it likely being the biggest film of the year – not a difficult thing to predict given how the fanbase has invested 10 years over 21 films to witness the finale – Endgame might almost be the most overrated. Again, without giving too much away, there is a major point where the film makes it very clear that it’s going to be relying on an old plot device too-often used in sci-fi fantasy films – namely, time travel. The cast even joke about it – cue the inevitable Back to the Future joke – and we laugh. This grants license for Endgame to literally cannibalise the other Marvel films. It’s neatly done, and with some wit and style, but how many times have we seen time travel ued to get film plots out of a jam? Anyone hoping for something fresh and original to propel this final adventure will be disappointed. We’ve long known how sequelitis can infect a follow-up film in the Marvel universe, and it’s a bit of a bummer to see the series use a cop-out cliche as a crutch. Truth be told, most people, of course, won’t care. They also shouldn’t care if they’ve seen all the films in the series or not. Obviously those who have will get all the references in Endgame, but it’s not as though anyone coming in cold will be lost. After all, this is a comic-book movie, not The Godfather. And as for this being the end, well, the series has made about $19 billion, and this film is projected to take about $1.5b. So, applying a bit of Hollywood math, do you think they’ll stop? Of course not. Besides, Guardians of the Galaxy 3 is in production, there’s going to be a Black Widow film, more Spider-man, more Black Panther, more Captain Marvel, more Dr Strange and, with Fox now wholly digested by Disney, the X-Men crew can now get their wrists stamped and enter the Marvel Universe. So, too, The Fantastic Four – provided they finally make a good movie, that is. So anyone who thought Endgame was the end need to draw breath, clutch tightly onto their armrests and brace for another wave of superhero spectacles. And that’s without even mentioning how Wonder Woman and Aquaman have just kickstarted DC Cinematic Universe.   THUNDER ROAD **** (90 minutes) M Small-town police officer Jim Arnaud (Jim Cummings) is a good man stricken with bad fortune. After an awkward and embarrassing appearance at his mother’s funeral his life only seems to get worse. Financially strapped, he’s in a bitter custody battle over his snarky pre-pubescent daughter (Kendal Farr) who is exhibiting bad behavioural traits at school. At work he only seems to have one friend. Jim is not blameless for his lot. Frustrated at every turn, he has an anger problem he is only barely able to contain, a problem that manifests in him constantly apologising for offensive utterances. Even a quiet meeting with a teacher about his daughter demonstrates how close he is to losing it. Thanks to a great, earthy performance by Jim Cummings, who also wrote, directed and produced this award-spangled independent film, the movie offers a moving, engrossing, darkly amusing portrait of a self-effacing man living on the edge who is slowly being pushed by circumstances to a nervous collapse. With terrific performances from a no-name cast, this is another arthouse jewel that deserves attention amidst the present overload of blockbuster signage.   GLORIA BELL ***1/2 (101 minutes) M As if we needed more evidence of what a great, versatile actress Julianne Moore is comes this celebratory film about a defiant spirit battling the unavoidable curse of middle-age malaise. Freshly divorced and hungry for life, Gloria finds herself in an awkward phase of life where she feels too young to be old. Hanging out in pick-up joints for older people she’s looking for some kind of connection to help her in the desperate search for a second wind. Juggling friends, her children and her likeable ex (Brad Garrett in a nice cameo) Gloria embarks on a relationship with an apparently decent gent (John Turturro), who brings his own baggage into her life. Anchored by Moore’s deeply felt performance of a flawed woman, Gloria Bell has the feel of those landmark movies made in the 1970s such as An Unmarried Woman that explored the lives of women who pushed back against stereotypes and grappled for their own sense of identity. Energetically directed by Chilean Sebastian Lelio (Oscar winner for A Fantastic Woman), the film is a remake of sorts of his 2013 film Gloria.   THE HUMMINGBIRD PROJECT ***1/2 (111 minutes) M After quitting their jobs in a powerful digital trading company, two ambitious young hotshots decide to take on their old boss by building a fibre-optic cable from Kansas to New Jersey, only in a straight line. Their wild plan is to gain crucial milliseconds in receiving market-sensitive information, and thus make them rich. Their only problem: their former boss, who is unhappy with the information they have taken from her. In one of his best turns since The Social Network Jesse Eisenberg is a fiery ball of entrepreneurial energy as Vincent, pushing his brainy, laconic colleague and cousin Anton (a bald Alexander Skarsgard) to give their enterprise the technological edge it needs. Breathing down their necks like the world’s sexiest dragon is Eva Torres (Salma Hayek) who does not believe that you can take the personal out of business. She’ll stop at nothing to stop her former proteges. Full of venom, Hayek plays the corporate boss like an ultra-cool Bond villain, keen to crush her competitors under her killer stilettos. Directed with a fine sense of pace by Canadian Kim Nyugen, The Hummingbird Project joins the recent raft of unusual, unusually engrossing business films such as The Big Short, The Founder, The Wolf of Wall Street, Joy and Margin Call. Careful to speak in lay terms, the film is a solidly entertaining yarn exploring the dramas that drive the quest for dollars, as well as giving a modern-day spin on the David vs Goliath parable.   CELESTE * (106 minutes) M Oh, not again. Here’s yet another dull Australian film with no apparent audience in mind and no apparent interest in keeping viewers involved. Radha Mitchell plays a retired opera singer living in a lovely house in a lush Queensland forest. She’s set to perform a special concert when her no-good son (Thomas Cocquerel) turns up needing help. There are mysteries about the backstories to these folk but the leaden direction by Ben Hackworth is so inert you spend much of the film wishing for a crocodile to turn up.
25 Apr 19
Keely's Korner

FIRST LOOK http://www.eonline.com/news ON TELEVISION (THURSDAY 4/25/19) BBC AMERICA: Gran Torino (Premiere) at 8pm BBC AMERICA: Top Gear (Premiere) at 9pm UP TV: Expecting (Premiere) at 9pm CW: Supernatural (Finale) at 8pm FOX: Gotham (Finale) at 8pm FOX: The Orville (Finale) at 9pm With the renewals of All American, Roswell, New Mexico and In the […]

25 Apr 19
Oscar's Race Results

Please check back after the race for results. Thanks, Oscar

25 Apr 19
Nachrichten Welt

Stefanie Sherk, die kanadische Modelin und Schauspielerin des Schauspielers Demian Bichir, ist im Alter von 37 Jahren verstorben. Bichir bestätigte, dass sie zu Hause friedlich starb. "Liebe Freunde, im Namen der Sherk- und der Bichir-Nájera-Familie erkläre ich mit unvorstellbarem Schmerz, dass am 20. April 2019 unsere liebe Stefanie Sherk, meine geliebte und liebevolle Frau, friedlich […]

25 Apr 19
European Film (2019)

Holy Motors (2012) is a strange film. It is perhaps the strangest film that we have watched in class. Devoid of a comprehensible plot that one can hold on to, it presents a day in the life of (what I can only infer) an actor and the various “appointments” he undergoes. The viewing experience was […]

25 Apr 19
VETNET

New issue of IJRVET: Vol. 6, Issue 1 The International Journal for Research in Vocational Education and Training (IJRVET) has published a new issue by now. The first regular edition of 2019 contains the following topics: Karen Struthers and Glenda Strachan: Attracting women into male-dominated trades: Views of young women in Australia Ursula Beicht and Günter Walden: Transition to company-based vocational training in Germany by young people from […]

25 Apr 19
Free Cad Download Center
Carlo Ratti

All eyes should be on China in the race to develop smart cities, says architect Carlo Ratti, who is co-curating this year’s Bi-City Biennale of Urbanism\Architecture in Shenzhen. China offers unique perspectives on how technology can be used to improve public space, according to Ratti, and international architects and urban planners can learn a lot. “Probably

The post “China is one of the best places for experimenting” with urban technology says Carlo Ratti appeared first on Dezeen.

25 Apr 19
The Shutterstock Blog
Have you ever wondered which cameras are behind big-budget films? What about indie films or Netflix Originals? These are the most popular filmmaking cameras today. Let’s dive into the cameras used on this year’s biggest films and see how ARRI, RED, and Panavision came to dominate the camera market for big-budget feature films. ARRI Cameras and Films Image via ARRI. With over 100 years under their belt, ARRI has continued to set the standard for cinematic filmmaking. Used from the ’20s through the ’40s, it was only after WWII that ARRI took off in popularity, and Americans eventually got their hands on the compact ARRIFLEX 35 film cameras they had heard so much about. By the ’60s and ’70s, many directors breaking studio norms were turning to ARRIFLEX 35 cameras. The ARRIFLEX 35 BL was used by Martin Scorsese on Taxi Driver and Raging Bull. In the ’90s, the ARRIFLEX 435 and 535 models were the next massive camera hits. These two cameras went on to capture films like Star Wars: Episode I, Lord of the Rings: The Two Towers, The Fifth Element, Hot Fuzz, and The Avengers. By 2000, the ARRICAM went on to shoot films like Children of Men, Munich, Brokeback Mountain, Casino Royale, The Departed, and a collection of Harry Potter films. That brings us to the 2010s, when ARRI released the first ALEXA — their new digital camera. The ALEXA line continues to be the industry standard, capturing modern blockbusters like Rogue One, The Revenant, Arrival, The Jungle Book, Creed, and nearly every film in the Marvel Cinematic Universe.  2019 Films Shot on ARRI Cameras: Avengers: Endgame — ARRI Alexa 65 IMAX Us —ARRI ALEXA, ALEXA SXT, ALEXA Mini Shazam! —ARRI ALEXA SXT, ALEXA Mini The Lion King —ARRI ALEXA 65, ARRI ALEXA SXT IT: Chapter Two —ARRI ALEXA SXT Aladdin —ARRI ALEXA SXT, ALEXA Mini RED Cameras and Films Image via RED. Even though they’ve been around for 20 years, RED didn’t announce their first camera until 2006 — the RED ONE. By 2009, RED introduced the Digital Stills and Motion Capture (DSMC) system. These cameras included the Epic, Scarlet, and Dragon. In 2015, RED released the DSMC2 system, and has since tried to simplify its naming structure. The DSMC2 brain is available with several sensor types: Monstro 8K VV, Helium 8K S35, Gemini 5K S35, and Dragon-X 5K S35. RED cameras have quickly grown in popularity among commercial and indie filmmakers, and they have been used on major motion pictures — particularly to capture VFX-heavy sequences. 2019 Films Shot on RED Cameras: Rambo V: Last Blood —DSMC2 Gemini S35 Maleficent: Mistress of Evil — DSMC2 Dragged Acrossed Concrete —RED Weapon Helium RED has also partnered with another camera manufacturer — Panavision — to create the Millennium DXL. It’s a Panavision camera using RED’s sensor technology. Upcoming films using the Panavision Millennium DXL include The New Mutants. Panavision Cameras and Films Image via Panavision. In 1953, Panavision started as a company focused on creating anamorphic lenses — popular among CinemaScope filmmakers in the ’50s. The company expanded into general motion picture equipment, primarily focused on cameras and lenses. In 1972, Panavision introduced the Panaflex 35mm camera. It was an instant hit —  subsequent models went on to shoot Rocky, Back to the Future, Star Wars: The Empire Strikes Back, GoldenEye, Batman Returns, and L.A. Confidential. In the ’90s, Panavision released the Millennium camera series, which went on to capture films like The Sixth Sense, Donnie Darko, Harry Potter and the Sorcerer’s Stone, and X-Men. As previously mentioned, Panavision has also partnered with RED to create the digital version of their Millennium cameras — the DXL and DXL2 8K. Panavision is also technically a rival of ARRI’s, but the company owns quite a large supply of ARRI cameras for their rental operations. Their ARRI cameras have been modified to Pan-Arri, which are modified to accept Panavision lenses. 2019 Films Shot on Panavision Cameras: Once Upon a Time in Hollywood — Panavision Panaflex Millennium XL2 Star Wars IX: The Rise of Skywalker — Panavision Panaflex Millennium, Panavision Panaflex System 65 Studio, IMAX MKIV, IMAX MSM 9802 Films with Multiple Cameras When it comes to production, you should always rely on the right camera for the job. That means that films can easily combine multiple types of camera bodies, from several manufacturers. This is pretty standard for big-budget blockbuster films. Whether it’s those with select IMAX sequences — like the upcoming Star Wars IX — or films with VFX-heavy sequences. If you break down Captain Marvel, you’ll find cameras from all three manufacturers above. Captain Marvel Cameras: ARRI Alexa 65, Panavision Sphero 65 Lenses Panavision Millennium DXL, Panavision Sphero 65 Lenses RED Weapon 8K VV Monstro, Panavision Sphero 65 Lenses It’s not uncommon to see multiple cameras used for various aspects of the filmmaking process. You can even go back to the first film in the Marvel Cinematic Universe —  Iron Man was captured on the ARRIFLEX 235, Panavision Panaflex Millennium Camera, and Panavision Panaflex Millennium XL Camera. So is there really a best camera out there? Not really. Every film tends to shoot with what the director and the cinematographer are comfortable with. It’s all about the right camera for the right job, not the camera with the best specs. Cover image via Huns. Want more breakdowns like this? Check out these posts: The Cameras and Lenses Behind 2019’s Oscar-Nominated Films The Cameras Behind Popular Netflix Originals: Films and Series The Cameras and Lenses Behind the Scenes of HBO’s Original Series Building The Ultimate, High-Versatility Cinema Camera Package
25 Apr 19
Free Autocad Blocks & Drawings Download Center
Carlo Ratti

All eyes should be on China in the race to develop smart cities, says architect Carlo Ratti, who is co-curating this year’s Bi-City Biennale of Urbanism\Architecture in Shenzhen. China offers unique perspectives on how technology can be used to improve public space, according to Ratti, and international architects and urban planners can learn a lot. “Probably

The post “China is one of the best places for experimenting” with urban technology says Carlo Ratti appeared first on Dezeen.