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This B1G Trophy is for You, John Walker!
Randy York's N-Sider
Official Blog of the Huskers
As a rainbow peeked its way through Friday's pelting rain that felt more like sleet, Nebraska Head Soccer Coach John Walker stood from afar and watched six seniors, plus all their teammates and families, celebrate like they'd just won something big, like in Big … really, really BIG … so B1G that the entire Big Ten, the oldest intercollegiate athletic conference in the country, could feel the reverberating effect of a one-time soccer power returning to the roots that Walker helped plant two decades ago.
The Huskers got a goal from a freshman forward, another from a junior forward and the last game-clinching goal from, of all people, a senior goal-keeper to turn back Indiana, 3-1 Friday. The victory means the Huskers don't have to wait to see if Michigan loses Saturday because if the Wolverines win, they can no longer catch the 10-1 Big Ten champions with a 6-game winning streak. We congratulated Walker, a quiet, caring, humble man who very respectfully declined to be interviewed. "It's all about these girls," he told me while watching them celebrate. "I want to see it all soak in. They won it."
Yes the Huskers did win, but we have a news flash buried in the third paragraph of this championship story. A senior-led team that also has one of the best freshman players in collegiate soccer cried and hugged and smiled and laughed to their hearts content, but their collective celebration couldn't disguise why they were so jubilant.
Players, Assistants Wanted to Win for Walker
This historic Big Ten trophy which Penn State had won for 15 consecutive seasons will live in Lincoln, and with that, we have an announcement to make: This B1G trophy is for you, John Walker! Your heart, faith, resilience and love for your players and assistant coaches is coming right back at you on this meaningfully memorable Friday.
This is the 11th Walker-coached Nebraska soccer team that will make the NCAA Tournament, regardless of how the Huskers fare in next weekend's Big Ten Soccer Tournament in Champaign, Ill. Walker also has guided two Husker teams to the Elite Eight and six to the Sweet 16. His Nebraska teams had even won eight conference championships before Friday, but this was his first regular-season title since 2000. That's why his players and coaches wanted to win this one for Walker.
"This means the world to me. I'm crying right now because I've spent five years with Coach Walker," senior forward Jordan Jackson said. "I know he's won all those Big 12 titles, but this Big Ten championship is for him because he's the one who lifts us all up. The heart I have on the field comes from him. To me, that's what this was all about. I think he knows that. He just doesn't want the attention. Penn State has owned this trophy for 15 years and after we beat them, we had a different mentality."
Summer, Fall Huddles Ended with Same Chant
The Huskers took on their championship mindset last summer, ending every voluntary workout in a huddle of hands and the same three words – Big Ten Championship! That mantra ended every Nebraska practice and every Husker game this fall. The positively charged mindset was sincere, even though it meant that Nebraska would have to go from a ninth-place conference finish in 2012 to the top of the heap in 2013. Jackson knew the Huskers had to take one step at a time, not an escalator to the top, so that daily process became the fuel for their fire, and they stoked that fire every day.
The spark plug for major parts of that gigantic improvement came from freshman forward Jaycie Johnson, a recruit from metropolitan Kansas City, just like Jordan Jackson. They're the scoring leaders on this Big Ten Championship team. Jaycie, the freshman, has 10 goals and two assists. Jordan, the senior, has eight goals and seven assists. One had a profound recruiting effect on the other but both signed a national letter with Nebraska for one primary reason – because John Walker was the head coach.
"I came to Nebraska because of Coach Walker," said Johnson, who scored another Husker goal Friday, along with Mayme Conroy and Emma Stevens, the goalkeeper. "He just treats everyone like you're his own daughter. He always makes such an individual effort to help you. For me, that's what I wanted – to be comfortable with a coach that can really help you improve every day. He gives every player he coaches all the input you ever need."
Assistants See Emotion in Each Player's Face
Walker's two assistants – Marty Everding, in his 17th season, and Peter Underwood, in his first season, also prefer championships from afar. "It's like being at a wedding," Everding said. "I just enjoy the scenery and watching all these kids have so much fun celebrating. They've worked hard. It's delightful for them. They've earned it."
For Underwood, winning wasn't necessarily the highlight. "It's tough to put in words," he said. "Just look at the emotion on the faces of every girl out there. I couldn't be happier for them. This is a fantastic team. I couldn't be happier for John either because he's a phenomenal coach. He's put so much into it. He cares about every single one of these girls and his entire staff. He's one guy that everyone really wants to work hard for."
Soccer is in its first year of reporting to Steve Waterfield, Nebraska's Senior Associate Athletic Director who joined the Huskers' administrative staff in August. "This is a special moment for the girls," he said. "To go from ninth in the conference one year and then win the championship the next is hard. John's a great coach and a great leader, and I just think it's great when good things happen to good people."
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Randy's N-Sider Column Archive
Voices from Husker Nation
We've been following the Husker soccer team all season. What an accomplishment to win the Big Ten Trophy. This is quite a story to finish 9th last year and 1st this year … something all Huskers can be proud of. Congratulations to all players and coaches and good luck in the Big Ten and NCAA tournaments. Doug & Lisa Roseland, Altamonte Springs, Florida


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Hooksett councilor-at-large candidates debate differences in forum
HOOKSETT -- Contenders for Vincent Lembo's councilor-at-large seat in Hooksett, Marc Miville and David Ross, squared off Tuesday at a forum in the town's public library.
Ross, a former councilor from 2006-2010, spoke to his ability to engage with people with politeness, propriety, and understanding, noting that since resigning in 2010 he had "never really shaken the desire to serve."
"I pride myself on being able to deal with people from all facets of life," he said. "Being quick to listen, slow to speak is an important thing. . I will handle each question by itself, not looking through a particular prism."
Miville, budget committee chairman, described himself as a "data driven guy," a "natural problem solver," and a stickler for process, going so far as to suggest that an assigned parliamentarian should sit on the board, observing and enforcing the council's process.
"If they're making decisions, they need to be doing them the right way," he said. "Whenever the town gets in trouble and ends up in the papers, it's because we're not following process . I'm sitting in the audience watching this stuff, and I want to shout out 'point of order Mr. Chairman!' and I can't."
Ross disagreed, feeling that rigid process was counterproductive.
"Politeness comes first before parliamentarian," said Ross. "It's not a court of law. It's a town council. . They key is having a chairman can bring a gavel down when it's time. . There comes a point where if you get too bogged down in this formality, and nothing gets done."
One hot-button issue the candidates were asked to address was the Police Commission, an often controversial body in the town with its fate currently resting in the hands of the voters.
A petition warrant to abolish it is set to appear on the town ballot.
Miville has been a vocal support of the current Police Commission, and while critical of its previous incarnation, believes in the body's value.
Ross spoke in favor of increasing the size of the commission, arguing that a board of three opened itself up to perception of being a "good ol' boys club," placed excess pressure on its members, and cited difficulties inherent in the commissions being unable to meet and discuss issues without technically forming a quorum and potentially opening themselves up to open meeting law violations.
Miville agreed with Ross on the question of increasing the body's size, but Ross went one step further: should that measure not be successful, a point he was skeptical on, then the commission should be abolished.
Another difference between the two was the possible creation a of a public cable access channel for the town. The proposal, which is a part of the proposed operating budget, takes 1 percent of the 3 percent taken by the town out of Comcast cable fees to establish a public access television channel through Manchester services. The fee currently go into the town's general fund.
Miville is a member of the Comcast Cable subcommittee, and has been a vocal supporter of the plan.
"We're trying to use that (money) for the purpose for which it was intended to be used," Miville said. "We've collected, just in Comcast subscribers alone, well over a million dollars that has not been used at all, not a dime, towards cable access."
Ross, however, argued that public access television was an archaic service.
"I was a big proponent of this 8 years ago. Times have changed. Who watches TV? You can get it on your smart phone now. You can go to the town website and watch meetings right there. I think it's an unnecessary use of funds."
He also described cable franchise fees as "unseemly" and a "protection racket," arguing that more emphasis should be put on the quality of service rather than the revenue for the town that he believes is currently the case.
Three council candidates running unopposed were also allowed to make brief remarks at the beginning of the forum.
Nancy Comai, running to retain her seat on the council, stated that her "platform is this: I wanted to become a part of local government because I think one person can make a difference. I also feel that when I'm ready to sell my house, I want it to be worth something."
Michael Downer's seat has been left open after the councilor announced he would not seek re-election. Don Winterton, who has served on the planning board and the CiP committee, is running for that seat.
Rob Duhaime, a planning board member recently appointed to serve as an interim councilor in the wake of John Danforth's resignation and running for that same seat, spoke of the balance between economic growth and the maintenance of the town's rural character.
The Hooksett town election are May 14 at Cawley Middle School. The polls will be open from 6 a.m. to 7 p.m.

subset: commoncrawl


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Got up at 5 am today and made a two hour trek to a favorite fishing hole.
Got up at 5 am today and made a two hour trek to a favorite fishing hole. I was determined that I would take advantage of this warm weather. Everything went according to plan except someone forgot to give the wind the day off. Launched the boat and made our way out of the channel and onto the lake only to be greeted by 3-4 foot whitecaps! We tried to troll to no avail. It was difficult at best to maintain any type of course or trolling speed while fighting the heavy waves and wind. We should have taken a bigger boat! Our little shallow sided 14 footer had water coming over the bow and the sides. We decided to call it quits after only 2 hours. Had a nice conversation with my brother and a good ride across the state. All in all, it still beats a day at work anyway. Maybe tomorrow will be better!


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X-Men Origins: Wolverine (US - BD)
Gabe gives his belated thoughts on the Blu-ray disc that came over a week late
Bryan Singer's second X-Men film is still my personal favourite superhero movie. It features a tight script, that was tastefully adapted from a popular comic book tale without losing its own sense of voice and image. The acting was top shelf, and the characters were comic book inspired without coming off as too broad. The action and special effects never overtook the story, but served it, and cinematically speaking Singer balanced the pulpy, comedic, melodramatic and allegorical elements, while maintaining an original style. Perhaps even more importantly Singer and company left the door wide open for an even more effective sequel. Unfortunately that sequel was the victim of studio politics, Singer's own disappearance, and a producing staff that thought only in terms of making money. Brett Ratner's X-Men 3: The Last Stand featured short doses of worthiness, but the film's second half was a mess of incoherent action that threw out all the promise of the speedy, but well told first half. The fact that there was some value to the final product made the final disappointment that much more frustrating, but it set the bar for Fox's next X-Men film—the origin story of the most popular mutant, Wolverine.
Like Ratner's film, Gavin Hood's X-Men Origins: Wolverine features a few shining nuggets of goodness, and most of them occur during the beginning of the story. The credit sequence is a golden example of what can be done with the practically immortal character, but ends up simply teasing the audience with the glory of possibility. We aren't allowed to see Wolverine and Sabretooth fighting in any major wars for more than a few fleeting seconds. Then we're introduced to the Weapon X squad, but again this is just a tease, as the team is separated before the end of the act. Despite the stupidly ill-defined super powers, and some lamely staged action (forward facing running back flip, eh?), the squad is filled out with charming actors, who bounce off each other with the film's best dialogue. Thusly, the first fifteen or so minutes contain the three or four movies I'd rather see (even if they're mostly taken from other movies, specifically Saving Private Ryan, Full Metal Jacket, Casualties of War, etc). Instead we're given another fifteen to twenty minutes of minor soap opera antics concerning star-crossed lovers, jealous siblings, and a shadowy government program. It's not exactly soul food, but I suppose it'll do in a pinch and it more than simply in-keeping with the character's historical lineage—it's pretty much verbatim to the comic origin story.
But then the movie keeps going… and it keeps going with Wolverine's memory intact. It's not that Wolverine leaving Weapon X without losing his memory is a total affront to either the traditional or movie version of the character, but with the memories intact the rest of the plot turns into another boring journey to vengeance, and it leads to a joke of an ending that became an internet meme. The last half and a bit of the film serves better as an ad for the Wolverine video game (Blob, Gambit, and Deadpool are such obvious boss battles), and as an ad for the next X-Men prequel (called X-Men: First Class last I heard). This latter half is packed with plot holes, continuity issues, and lapses in simple logic, most of which are brought about by the presence of other plot holes, continuity issues, and lapses in simple logic. To explain one plot hole the script creates another, and the process continues through to the wet thud finale. This is most disappointing because apparently the original script was written by none other than David Benoiff ( The 25th Hour and The Kite Runner), who knows how to tell a coherent story. One can only assume (hope?) that Hitman and G.I. Joe writer Skip Woods' rewrites, along with those of all the other rumoured ghost writers, were the problem, as a constant loss of plot thread seems below the celebrated novelist.
I usually don't really care about special effects quality (I tend to think even the most obvious effect is only as weak as the plot that surrounds it), but some of the digital augmentations in Wolverine are so badly rendered even I was entirely dragged out of the moment. The digital doubles and wire work fighting feature a distinct lack of natural physics, the CG claws somehow look worse than the ones in the 2000 movie, and all the digital vehicles (of which there are many) look like they haven't finished rendering. The set design is pretty enough, but also usually pulls the audience out of Hood's supposedly intended gritty realism. The New Orleans back alley is particularly stage-like. One almost expects Jackman to serenade Gambit with 'Maria' from West Side Story. In-keeping with these more petty complaints, much of the production design is dully similar to the other X-Men films. I love the look of the first two films, but I don't understand the point of an award winning arthouse director like Hood picking up on these visuals, especially when the screenwriters aren't bothered to line the film up narratively with the other films. Mostly Hood doesn't seem all that comfortable working in Singer's sandbox either. The credit and carnival sequences are clearly the strongest scenes of the entire film, visually speaking, and the only bits that don't look like carbon copies of Singer's films, besides the Gambit scene, I suppose, which is colourful, but as previously stated, not even a little realistic.
And speaking of Singer's films and stylistic choices— Wolverine might be the biggest aesthetic failure in prequel film history. We aren't given too many specific dates after the credit sequence rolls, but the Three Mile Island incident occurred in 1979, and the last major marker we're given is the Vietnam War, which was finished in 1975. This logically places the film sometime before 1980. The closest the post-war scenes get to even attempting historical accuracy is the interface control of Deadpool (which is then displayed on a modern LCD, 16x9 monitor). Historical accuracy obviously doesn't have a huge bearing on the quality of a science fiction film, but again, Hood had expressed an interest in placing the story in the confines of a gritty reality, so based on his goals as a filmmaker he has failed. Then there's the matter of continuity between this prequel story and the original three X-Men films. Often it seems continuity is the last thing on anyone's mind, opting instead to something closer to an utter reboot with only Jackman and a putty-faced Patrick Stewart as constant elements. This would be fine, perhaps even preferable given the sad turn out of the third film and Hood's misuse of Singer's style, but no one is willing to stick to any of the changes (outside of Sabretooth, apparently), and the already meandering plot takes several back steps to clear out the slate once more. The film ends somewhere between awkward, coincidental accuracy, and blatant changes to the facts presented in the other films (bone claws being a chief offender).
Unfortunately for the readers in search of some kind of enlightened review my largest complaints are of the total nerd variety, and have less to do with the movie than the treatment of the characters. A few of the character changes work. Liev Schreiber's Sabretooth doesn't even kind of match the version that appeared in the first X-Men, but is far more interesting, and quite possibly the best thing in the entire film. Kevin Durand's Blob is also solid case of comic to film adaptation, and the one case were the film actually improves on the source character. I also have no complaints concerning Taylor Kitsch version of Gambit, besides the fact that he doesn't add anything to the story besides another character in a destructively overstuffed film. These compliments are just as largely due to the actors' performances, which are the film's strongest element, but the whole cast doesn't make out perfectly thanks to some very bad writing choices.
Most fans were the most upset about the treatment of Deadpool. The character is so blatantly mishandled I'm forced to wonder if the choices made weren't part of some cruel joke at the expense of fans. Why hire the perfect actor to play the 'Merc with the Mouth' if you're literally going to take his mouth away from him in his second of two appearances? The solo Deadpool spin-off movie doesn't appear to be in very good shape, but I wonder how the filmmaker's were planning on dealing with the fact that the character (who survives the film) was going to even sort of resemble his comic book counterpart with so many new powers. Still, I hadn't read enough Deadpool comics to care about the character all that much, so my big fan moan pertains to the treatment of Emma Frost, who is a personal favourite thanks to her treatment in Grant Morrison's New X-Men run. The filmmakers chose to utilize the Morrison additions to the character, but without any of the thematic weight that came with them. She's only interesting as a good guy because she was a bad guy for so long, and the use of her diamond power (which in the comic universe is a secondary mutation) leads me to believe her mental powers will be ignored in future instalments. I understand it's just a cameo, but it doesn't instil a whole lot of faith for future adaptations. And then there's 'Wraith', the worthless character that was created specifically for Will.i.am. He's not based on an actual character, besides the fact that he can teleport, which was apparently the actor's choice, not the screenwriters. ( Edit: apparently I'm wrong, and there was a character better known as Kestrel that Wraith is based on. Thanks yesiamaplant.) This is the textbook sample of what is wrong with all non- X2 Fox genre films—instead of developing a script around a story the filmmakers have based it around vague star casting choices, and the hope of spin-off films.
X-Men Origins: Wolverine comes to Blu-ray with some obvious expectations. The transfer looks likely exactly as intended by the filmmakers. I've got very little negative to say concerning this 1080p, 2.35:1 transfer. I'd call it a reference level stuff, but the film itself isn't visually interesting enough to do so. There is a fair amount of fine grain, but it's finer and less obvious than the similar grain found in Fox's recent Dragonball: Evolution release. The bad effects fair especially badly in hi-def, even worse than they did on the big screen. The claws are the big failure. They look like they've been added via traditional hand animation, like something out of Roger Rabbit. The digital backdrops don't fair much better, but at least afford the transfer some nice bright colours, which are mostly missing from the mix of deep dark browns and steel blues. The real-life details look great, and are relatively consistent, though some of the widest wide-shots are lost in the grain if not brightly lit. The veins in Blob's neck fat are a particularly revolting bit of detail that would likely be smoothed on a less effective transfer. Sometimes hard edges are cut inconsistently, but there's rarely any additional noise placed on these edges, and compression artefacts are an extremely minor issue in a few instances.
This DTS-HD soundtrack also features nothing in the way of surprises. It's big and loud, and big and loud. Again, there isn't a lot for me to write about here. The sound designers aren't as imaginative as the sound designers on many other big budget special effects movies (and Nightcrawler's warp effect beats the crap out of Wraith's), but they score a few points for some of the Gambit stuff, like the machine gun effects on his card tricks (Emma Frost's diamond sound effect is strangely missing from some of her transformations). Mostly we're privy a lot of big banging explosions, revving engines, clanging metal claws, and really bassy punches. The surround channels are active throughout the mix, and the directional effects are at their best during the motorcycle vs. helicopter scene, and when Wade Wilson is deflecting bullets with his dual katana blades. Harry Gregson-Williams' score gets the job done, but it lacks the punch of John Ottman's X2 score, and besides a few ace themes, mostly works as traditional and uninteresting underscore. It doesn't help that the score is often pushed so low on the track during the action scenes. The titles are the best samples of the music on the track, and are warm, full, and bassy.
The surprisingly limited special features begin with duelling commentaries. The first track features director Gavin Hood, and it's full of tragedy. Hood is an obviously intelligent guy, and though he's a bit on the pretentious side (not to mention the fact that he has a horrible habit of narrating what occurs on screen) he obviously had some good ideas going into the film. There are dozens of stories concerning Hood's behind the scenes mistreatment, and every fan knows by now how diseased the Fox studio brass is concerning genre work, so the director was given the benefit of the doubt in most geek circles. On the one hand this track increases our opinion of Hood as a smart guy, but there are a few bits that might steer us in the other direction. The most telling moment comes very early in the track, where Hood announces that the incredible credit sequence was shot almost entirely second unit. Perhaps those of us running to Hood's defence were wrong in our assumptions. The second track features producers Lauren Shuler Donner and Ralph Winter. This track is more fact-a-minute based, and less personal, but also interesting in piecing the puzzle of who is to blame for this bad movie. There are moments Donner and Winter talk about certain scenes as if Hood wasn't even on set, and the overall tone seems to say this was their film, not the director's. It's too bad no one will be one hundred percent honest until several years down the line.
There are four PiP 'Bonus View' options: 'X-Connect', 'The Director's Chair', 'Pre-Visualizing Wolverine' and 'X-Facts'. I'm sorry to again announce that I can't work most of this stuff on my Profile 1.0 player (I almost upgraded, but then my set broke, and I had to spend my valuable money on that instead). The 'X-Facts' pop-ups worked, but that was it. As far as trivia tracks go these were actually some of the better I've seen, and cover aspects of the comics that the director and producers don't go into at all during their commentary tracks.
'The Roots of Wolverine: A Conversation with Stan Lee and Len Wein' (16:20, HD) features the character's co-creator and X-Men creator waxing about the Canadian superhero. Lee hits the nail right on the damn head by telling Wein his genius was in not revealing all of Wolverine's back-story, and that the mystery was what kept readers interested. It's a fine little conversation, but it doesn't match the wonderful little documentaries that usually come along with Marvel movie DVDs and Blu-rays. Two guy's talking doesn't quite match a historical journey, complete with the varying artistic renditions of the characters, and interviews with the most important contributors. Lee and Win talk about Chris Claremont but the guy doesn't get a chance to talk for himself.
'Wolverine Unleashed: The Complete Origin' (12:05, HD) is a general making of featurette on the film covering things from early inception and story choices, Jackman's physical preparation (boring), bone-claw make-up, and some of the digital effects. Tonally it's more of an EPK than an informative piece, as everyone sees fit to lick Jackman's jackboots rather than really talk about the process of filmmaking. It's followed by the 'Weapon X Mutant Files' (54:00, HD), ten featurettes about the specific characters that overpopulate the film, including Sabretooth, Stryker, John Wraith, Kayla Silverfox, Blob, Bradley, Gambit, Agent Zero, Deadpool, and Emma Frost. These bits are concerned mostly only with the movie versions of the characters, so once again we miss out on a documentarian's look at these characters, but all in all these little bits are possibly the best part of the extras section, occasionally including quite a bit of special effects information. 'The Thrill of the Chase' (06:00, HD) covers the filming and post-production tinkerings of the dumbass helicopter scene, which probably cost enough money to feed every starving orphan in America for a year.
This brings us to the over-advertised deleted and alternate scenes. There are four scenes total, all with optional commentary from Hood. The first scene features a brief cameo from a young version of Storm. It's a totally pointless bit of fan-baiting, and it's better left out of the film. The second scene features Sabretooth forcing info out of Blob concerning Wolverine. The third was toted as an alternate mind-wiping scene leading most of us to believe that the stupid amnesia bullet was not part of the original plot. In reality Logan chooses to have his mind wiped, but stops the process to save Silverfox from Sabretooth (this is why Logan's red shirt disappears between shots in the theatrical version), and the rest of the movie would've gone on as originally shot. The last is one of the two post-credit additions the filmmakers tossed onto various prints after the film was leaked over the internet. The disc is completed with footage from the film's world premiere original shown on the Fox Movie Channel (06:30, SD), and some Fox Blu-ray ads.
I'll end this with a little grab bag of questions I have concerning the film's extremely holey plot. I didn't have room for in my actual review, which is too long already.
- Why does Gambit crawl onto a roof a block away from a Wolverine and Sabretooth to attack them?
- Why doesn't Stryker give the amnesia bullet to the guy who's mutant power is the ability to shoot guns really well?
- Where does Deadpool put his arm-blades when they aren't extended?
- Why doesn't a guy with a superhuman sense of smell, sight and hearing not notice that his girlfriend isn't only alive, but not full of holes?
And just for the hell of it, I'll add one more cry-baby fan-boy whiny nit-pick: Scott Summers does not have heat vision or laser eyes, he shoots optic blasts. The other X-Men movies 'accurately' portrayed this particular fake science—Cyclops' eye beams act as a force, not a heated laser beam. In this movie the optic blasts cut through things with heat, creating more surgical cuts, and leaving behind hot coals. On his commentary track hood tells us that Deadpool does have an adamantium skeleton, and that Wolverine was able to cut his head off because his claws were heated. This demands the audience a) doesn't notice that there are huge gaps between the claws from which the beam could break through, and b) doesn't remember that the first three X-Men films presented the optic blasts as impact based. The average audience wouldn't be required to know that optic blasts wouldn't heat the metal any more than a sudden gust of air would, but according to the character lore supported by the other films, it wouldn't. Also, hot metal wouldn't actually cut through an equally strong metal, it would be bend against it. This is how blacksmithing works. Anyway, the Blu-ray looks and sounds great, and the extras are good enough, especially for those who have PiP capabilities, but the movie is just as frustrating as it was the first time around.
* Note: The images on this page are not representative of the Blu-ray release.
Review by Gabriel Powers
Some material may be inappropriate for children under 13
Disc Details
Release Date: 15th September 2009
Discs: 2
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 2.35:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 5.1 English, Dolby Digital 5.1 Spanish, Dolby Digital 5.1 French, Dolby Digital 5.1 Portuguese, Dolby Digital 5.1 Descriptive Track
Subtitles: English SDH, Spanish, Cantonese, Mandarin, Portuguese
Extras: Director Commentary, Producers Commentary, The Roots of Wolverine, Wolverine Unleashed, Weapon X Mutant Files, The Thrill of the Chase, Ultimate X-Mode Bonusview, Deleted and Alternate Scenes, Fox Movie Channel Presnets World Premiere, Trailers, BDLive, Digital Copy
Easter Egg: No
Feature Details
Director: Gavin Hood
Cast: Hugh Jackman, Liev Schreiber, Danny Huston, Dominic Monaghan, Ryan Reynolds
Genre: Action, Adventure and Sci-Fi
Length: 107 minutes
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Item not found in the 'UBC Institute of Fisheries Field Records' collection.
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Sep 14, 2017 Jim Franco
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Capital District Transportation Authority - CDTA shared KMSGuidance's post.
23 hours ago
Thank you to all the local businesses that supported our Back to School BBQ at Lansingburgh School District. Thank you Capital District Transportation Authority - CDTA, Snowman Ice Cream, Liberty Pizza, Alpha Lanes, Price Chopper, Teds Fish Fry, Stewarts, Charlies Hot Dog, Advance Auto , Hannaford , and beverages from Food and Deli Corner store! ... See MoreSee Less
Kinderhook Bank shared Capital Region Chamber's post.
1 day ago
Nothing is more important to the growth of business or the success of our region than attracting and retaining top talent. The Chamber's Young Professionals Network (YPN) is currently accepting applications for the 2019 Mentorship Program, which connects ambitious young professionals with high-level business leaders to support each other's professional and personal development.
There are many benefits of mentorship, including exposure to new ideas & ways of thinking and enhanced leadership/management skills. To learn more, visit the Chamber's website here: capitalregionchamber.com/business-resources/executive-mentorship-program/. Applications are being accepted through Friday, October 26. ... See MoreSee Less
Thank you for sharing, Kinderhook Bank!
Empire State Plaza Events was live.
2 days ago
The Infamous Stringdusters at the Hops and Harvest Festival! 🎻 ... See MoreSee Less
Been really digging all these Facebook updates and streaming this summer.
We made the trip from Buffalo to see The String Dusters last night. Great venue and show! Are photos available, does anyone know who the photographers were shooting for that were up by the stage?
Fantastic show! Great job, Plaza Events!
Fearless?! That's worth the trip!
This was so good!!!
An excellent concert, one of the best ever at the Plaza. Congrats to Heather MF and her team!
These guy's are unbelievable thanks for sharing ✌
Empire State Plaza Events added 4 new photos.
2 days ago
And we have WINNERS!!! Thank you to Golden Harvest Farms for donating delicious apple pies! ... See MoreSee Less
2 days ago
Honeysuckle is on stage now in the Beer Garden at the #EmpireStatePlaza! ... See MoreSee Less
We have a beer garden?!😳
Empire State Plaza Events added 2 new photos.
2 days ago
The Lonely Heartstring Band is on stage, the beer garden is open, and food vendors are serving up delicious food at the Hops and Harveat Festival! 🍻🎶 ... See MoreSee Less
What a disappointment... we knew no the bands we're delayed but no food or drink until 7?
Empire State Plaza Events shared Cornerstone at the Plaza's post.
2 days ago
#FYI! Cornerstone at the Plaza is open tonight from 5-8p! Grab a bite to eat before you join us for the Hops and Harvest Festival from 7:30-10p! 🍔🍁🎶SURPRISE! We are opening up for drinks and food prior to the Hops and Harvest Festival with Empire State Plaza Events tonight from 5pm to 8pm!
Join us for drink specials, burgers, wings, quesadillas and more! PLUS your favorite Bartender Donald at the Bar!!!
See you there!
#cornerstoneattheplaza #fallishere #Drinkspecials
#Burgers #Quesadillas #Wings #3bands1night
#pregame #fallattheplaza ... See MoreSee Less


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Bill Shrum reflects on the past year and looks forward to 2013.
Well another year is gone and yes folks it just doesn't seem like it at all. It just seems like yesterday we were bringing in the new year. Now we are bringing in another year, 2013. What it brings is a mystery and the good thing is we don't know at all. That is the fun of it and the old year is gone and is as they say is history.
There has always been a tradition of ringing out the old and ringing in the new. That has been going on for generations and generations. Sometimes that is good but at times we want the good things we have in our life to remain there, not just go away. That is what life is all about.
There are a lot of us, who have lost a number of friends this past year. That always happens. This year I didn't have a close friend or relative, so I am very fortunate for that. But during this thing we call a journey of life it is bound to happen and we acquire courage to get through it. We have done it once before at least and we get through it again.
We made new friends this year and saw some of our old friends leave us. We have done some new adventures and made a few mistakes. My grandmother always said if we don't make mistakes, we aren't living. There are a few people around here that have never heard that old saying before and expect everyone to be perfect. That is not gong to happen in an imperfect world.
It seems that an individual needs to do what they want to do if it makes them happy because that is what happiness is all about. Believe me, it takes a lot of time on this earth to figure that out and embrace the idea. You may think it but it takes a great deal of courage to actually do it. That is what life and life's experiences are all about.
Experiencing new things in a new year is nothing new. Anyone can do it and it is wonderful when you experience new things whatever it is for that individual. This past year, I had never taken over a project as large as Relay for Life. I had wanted to do it for years and found a chance to do it, which was to bring it back to the community. I know I made a few mistakes but I did bring it back and that was my goal.
I wanted to begin another poetry book. I always told myself I didn't have enough time, but I did make time for it and guess what, I am in the process of doing it. That is the first time I have written a new poetry book in over six years. My friends really wanted me to write another book, so I just set my mind to it and before I knew it, it was being written.
Several years ago, I had a friend who always wanted jump out of a plane and parachute to the ground. I thought it was the craziest thing I had ever heard of and still think so. I would never do it and literally don't have the stomach for it. He did it and always loved it and I found out that a couple of years ago he had done it before he passed away.
That is what life is all about — doing things that you always wanted to do and have a chance to do it. Life only comes around once and believe me it comes around fast. This past year I had never done something and I just sat down and decided that wanted to do it and I am going to do it in the upcoming year. If you had asked me several years ago that I would do this, I would have told you no way. But I did. That is what life is all about. Living a life is what it is all about. HAPPY NEW YEAR.


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Scaling Smart
Companies with proven Product-Market fit have reached a very important milestone on the path to creating a sustainable business. This early, critical step is however, only one in a long list of capability building activities that are needed. Knowing where to focus scarce resources is one of many skills required for success.
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Hard work meets opportunity has been used by many to define luck. When opportunity presents itself, you better know where to direct your hard work and other scarce resources. We help companies prioritize and execute on building the key capabilities necessary for success. Resulting in scaling the Right Things, at the Right Time and in the Right Way.
Our work with you, Dwayne Nesmith at Merita Consulting, focused on reducing our customer churn. Beginning with a detailed cohort analysis, we gained a deeper understanding of our marketing and sales campaigns' effectiveness and identified key areas for building better relationships with our customers.Russ Jones CEO, Cargo Chief
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Dwayne was a key contributor on MetaBasis' Board of Advisors. Sharp, savvy and always helpful--Dwayne is the kind of person you want on your team. In the software arena, he's a master with a deep understanding of the underlying technology, emerging trends, business tactics and strategy.Dan Klein Princpal, MetaBasis


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ALGIERS, Algeria (AP) — Islamist militants have told a Mauritanian news outlet that Algerian military helicopters strafed the gas complex where they are holding hostages, killing 35 of the foreigners and 15 of the kidnappers.
The spokesman for the Masked Brigade, which had earlier claimed responsibility for the assault Wednesday on the gas complex deep in the Sahara desert, said Thursday that Abou El Baraa, the leader of the kidnappers, was also killed in the helicopter attack.
The information came from the Nouakchott Information Agency, which has often carried reports from al-Qaida-linked extremist groups.
The militant spokesman said the kidnappers were attacked by Algerian helicopters when they attempted to leave the complex.
The Algerian government would not immediately comment on the standoff and the Associated Press was not able to independently confirm the information.


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The parlor games we played as children were fun, but not as much fun as those we would make up.
The parlor games we played as children were fun, but not as much fun as those we would make up. This story occurred when my Aunt Linda was with me. She was only three years older than me and we grew up together at the round barn south of Utica. We were like brother and sister. I think I may have gotten my onery nature from being around her!
The Greenhills grocery near our house on S. Washington Street had a gumball machine that took a single penny! Alongside was a nickle machine that dispensed small plastic containers that had toys inside. These toys varied from plastic spiders to diamond rings, and even lick'em stick'em tattoos. I have said before, our little toys did not last very long. But those little plastic containers were more fun than the toys themselves. My aunt and I had found a good use for them.
We would lay on the bank of the viaduct facing the highway and we would each throw one half of the little plastic container out into the traffic. The purpose was to see who could get theirs the closest to the tires on the cars zipping by. It was lots of fun, we laid there and laughed for hours throwing those containers out and watching the cars crush them. It was our newly-invented game!
My dog Tippy spotted us on the hill and came running to us. I had taught Tippy to fetch and I was not thinking when I threw the next container out right in front of him. He took off like lightning and I stood up and yelled "No! No! Tippy come back here!"
I knew he would get hit. There weren't a lot of cars back then but it only took one coming from the north. I watched as its front tire hit him and heard a thump and a crunch. I became numb and my eyes filled with tears as my heart came up in my throat. After the next two cars passed, I went out to get him--- crying.
My aunt went to get my parents and as I brought him back to the curb his eyes were open. He was still alive at that point, but I knew enough about animals at that age, he was dying.
He died in my arms as I stumbled down the hill. l could not see well because my tears made everything blurry. Tippy was just a pup, but he was my best friend. Sometimes life's lessons are hard and can hurt.
My parents said we should not have been doing that, and of course they were right. As I dug his grave the ground was blurred from my tears. That day I learned to think ahead of time about consequences of my actions.
I had many dogs named Tippy since, but I stopped using that name when we moved from there. I have a dog named Babe III today. Each Babe through the years had their own personality, even though they all looked the same. I love my dogs.


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OLYMPIA — The Grocery Manufacturers Association, which has contributed $7.2 million to defeat Initiative 522, has disclosed the names of food companies that have donated under its name.
I-522 is a Washington state ballot initiative that would require food manufacturers that sell their product at retail to label products that contain genetically modified material.
The Grocery Manufacturers Association is one of several contributors fighting the labeling effort. Other large contributors include Bayer Cropscience, Dow Agrosciences, DuPont Pioneer and Monsanto. As of Oct. 21, contributions to "No on 522" total $17.1 million, and $13.5 million has been spent.
Contributions to groups that support the initiative total $8.1 million; expenditures are $7.3 million.
The Washington State Attorney General filed a lawsuit Oct. 16, claiming the Grocery Manufacturers Association violated campaign laws by shielding the identity of its contributors.
Elizabeth Larter, spokeswoman for the Yes on 522 campaign, said, "It's clear that they broke the law. They don't want to tell us who is funding the No on 522 campaign just like they don't want Washington consumers to know what is in their food."
The Grocery Manufacturers Association issued a statement saying, "GMA takes great care to understand and comply with all state election and campaign finance laws and is surprised to learn that the Washington State authorities viewed the association's actions as improper.
"GMA will review its actions ... and continue to cooperate with state authorities to fully resolve the issue as promptly as possible."
The association established a political committee and on Oct. 21 released a list of contributors:
• Pinnacle Foods Group LLC $120,846;
• The J. M. Smucker Company $241,091;
• Rich Products Corp. $24,049;
• General Mills Inc. $598,819;
• PepsiCo Inc. $1,620,899;
• Bunge North America Inc. $94,993;
• Bumble Bee Foods, LLC $36,073;
• Bush Brothers & Co. $16,233;
• Moody Dunbar Inc. $1,804;
• Dean Foods Co. $120,245;
• Kellogg Co. $221,852;
• Nestlé USA Inc. $1,052,743;
• ConAgra Foods $285,281;
• Bimbo Bakeries USA $94,693;
• Welch Foods Inc. $28,859;
• Knouse Foods Cooperative Inc. $14,429;
• Bruce Foods Corp. $3,006;
• Abbott Nutrition $127,459;
• Campbell Soup Co. $265,140;
• Del Monte Foods Co. $86,576;
• Sunny Delight Beverages Co. $ 21,043;
• Shearer's Foods Inc. $25,251;
• Mondelez Global LLC $144,895;
• Land O'Lakes Inc. $99,803;
• The Coca-Cola Co. $1,047,332;
• The Hillshire Brands Co. $97,398;
• The Hershey Co. $248,305;
• Hormel Foods Corp. $52,908;
• Clement Pappas & Co. Inc. $21,043;
• McCormick & Co. Inc. $102,208;
• Ocean Spray Cranberries Inc. $55,313;
• FlowersFoods Inc. $141,288;
• Cargill Inc. $98,601; and
• The Clorox Co. $12,024.
Election Day is Nov. 5, and the Secretary of State has mailed ballots to the state's nearly 4 million registered voters.


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Rise of the Planet of the Apes (US - BD RA)
Gabe welcomes our new ape overlords on his knees with a tasteful fruit basket
Rise of the Planet of the Apes smelled like a dark horse hit from the minute it was announced. It was a concept so tailor made to fail it just had to work. Following the disappointment of Tim Burton's ill-received/positively despised 2001 Planet of the Apes remake/reimagining, most would've thought a pseudo remake of the original series' fourth film would be the last thing on the minds of Fox executives. Fox has culled a reputation for being unfriendly to the creative types on genre films under Tom Rothman (to their credit they also took chances with X-Men: First Class in 2011), so the even bigger surprise here was the fact that the studio was entrusting an unusual genre concept (based on an arguably outdated series of films that had already proven problematic in the post-millennial film scene) to a relatively unknown director named Rupert Wyatt. Wyatt had made one modestly budgeted film in the UK called The Escapist (which I haven't seen), but was otherwise a mystery, and certainly not the obvious choice for a nearly $100 million reboot. These chances more than paid off, because not only is Rise a unique and exciting motion picture, it's so well made that its various shortcomings are pretty easily overlooked.
Genetic scientist Will Rodman (James Franco) works for the Gen-Sys biotechnology company, and has been trying to develop a cure for Alzheimer's disease by testing a new gene therapy drug on 13 chimps. The most successful subject is a female nicknamed Bright Eyes (Terry Notary) due to the therapy's effect on her irises. Will is in the middle of a presentation about his findings when Bright Eyes escapes, and runs havoc through the building, ending her rampage by being shot on the presentation table. Will's boss Steven Jacobs (David Oyelowo) puts an end to the project, and orders chimp handler Robert Franklin (Tyler Labine) to put all the test chimpanzees down. Robert and Will then discover that Bright Eyes' action were not an effect of the treatment, but because she was protecting a newborn under her bed. Unwilling to put down another chimp, Robert gives the baby to Will, who hesitantly takes it home, where his Alzheimer's stricken father Charles (John Lithgow) instantly bonds with it, and names it Caesar. It's soon clear that Caesar has inherited his mother's intelligence, and over the next five years Caesar, Will, and Charles develop a close and loving relationship. But as he grows smarter, Caesar also starts to notice the lack of other intelligent apes, and begins to question his place in the world. Meanwhile Charles, who Will had attempted to cure with his treatment, begins to deteriorate at an alarming rate.
The original Planet of the Apes films that work (films one, three and four) work so beautiful largely due to their serious treatment of the subject matter. Despite hordes of rubber monkey masks, and dwindling budgets, these films weren't afraid to delve into heavy emotions and melodrama. Burton didn't understand this, and took his usual rout with the material, creating an action spectacle with its tongue firmly implanted in its cheek. My two favourite films in the original series, Escape from the Planet of the Apes and Conquest of the Planet of the Apes, have their bouts with tongue-in-cheek humour (especially Escape), but ultimately are about characters, and heavy political concepts. In fact, the politics implied by Conquest were so heavy for the time that the film was heavily altered at the eleventh hour to soften the blow of the surprising revolutionary balance. Rise modernizes most of Conquest's concepts, and generally speaking does soften the blow struck by the original film's director's cut version in the end (with good, realistic cause), but is true to the basic themes in its utter respect. In fact, Rise takes even bigger chances with the unusual concept, and spends large swaths of film focused on non-speaking, digitally created apes. There are so many ways this could've gone wrong, and even when it goes right, this approach requires a whole lot of participation from a mainstream audience, which is apparently asking a lot – even following the wild popularity of digital critter-heavy films like Transformers and Avatar.
Rise is, like so many of my favourite summer films of the last few years, an incredibly flawed film that escapes heavy criticism thanks to its dizzyingly high high-points. The occasional weaknesses in the screenplay, written by Rick Jaffa and Amanda Silver (the team behind the 'meh' The Relic and An Eye for an Eye screenplays), are similar to those found in Star Trek, District 9 and X-Men: First Class. Unlike those films, however, I find that the vast majority of this film works quite well as a structured story. The storytelling is straight forward, and features plenty of textbook screenwriting tricks, specifically a stable use of subtle foreshadowing and repeated motifs, and the mechanics of the story fit together with only a handful of rough edges. The missing elements are mostly in the human characters, most of whom are either entirely too flat, or entirely too broad. The ape characters are so brilliantly rounded despite a lack of dialogue that the contrasting dullness of the humans is all the more jarring. I do suspect that this was somewhat intended, as a means to get the human audience to root for the apes, similarly to District 9, which presented mostly cartoonishly evil humans in order to make the more innocent aliens appear more likeable, despite a lack of human facial expression, and a general lack of language. Rise has the advantage here thanks to our familiarity with the ape form, and the similarities between the human and ape physiologies. It's still commendable that Wyatt and the screenwriters were willing to put a mainstream audience in the position of rooting against their own species, and really exciting that it worked. I'm perfectly willing to overlook some of the script's minor nonsense (scientist types overlooking the incredibly obvious fact that a virus is spreading among the humans, or the fact that inhalants really shouldn't work faster than injections, for example) for the sake of the successful chances taken.
I suspect that Wyatt spent so much time working with the technical aspects of the film, and was so focused on making Serkis' performance work, that he kind of forgot that his human cast needed attention. I assume Brian Cox can perform admirably without any effort, and Tyler Labine tends to be an effortless performer as well, but Franco is all over the map, Freida Pinto looks like she's going to fall asleep at any moment, and poor Tom Felton appears to have been hired entirely for his recognizability as Draco Malfoy from the Harry Potter movies. Franco manages to sell a few key moments, but films like Milk and 127 Hours (even Spider-Man 3) prove he's capable of so much more. I'm not sure Pinto has any real talent outside of her blinding beauty, so I'm willing to cut her plenty of slack, but I come away from this film feeling genuinely sorry for Felton, who might have come away from the Harry Potter phenomenon with the heaviest typecasting burden. The one human actor who excels is the ever-dependable John Lithgow, who offers Caesar the human connection he really needs for the audience to buy into his underlying humanity.
The much ballyhooed special effects, which certainly show their seams if you're willing to look closely enough, are so special not because of any giant leaps in technology (which were pretty minor in the big scheme of special effects according to my understanding), but because they have so much character, and they're treated as a natural part of the film atmosphere. The camera is free to move naturally around the apes as if they were actually in the scene, and Wyatt also avoids the temptation to pull the camera out of reality, save perhaps a few of the final act action scenes, where the visual contrast works in the film's favour. Even the impossible single take shots make sense in terms of physical camera work. Wyatt's handle on action is a great counterpoint to the masturbatory digital chaos of Michael Bay's Transformers: Dark of the Moon. There's a big Hollywood scope, but the dynamic sense is more anchored in reality, and the impassioned treatment of the characters ensures a heavier impact. Conrad Buff and Mark Goldblatt's editing is also crucial in producing the correct rhythm to drive the spectacle of the action. The lack of arbitrary quick cutting, and the sense of concrete geography make all the difference.
Of course the biggest special effect in the entire film is Andy Serkis and his familiarity with the motion capture acting process, which he helped pioneer when he played Gollum in Peter Jackson's Lord of the Rings films. Like Gollum, Caesar works because he has a personality rarely found in digital-only performances, and due to advances in technology even more of his performance is captured for this character. That said, Serkis is mostly getting his due credit for the role (fingers crossed for that Oscar nom). It seems like critics are overlooking the fact that there are a handful of distinct character types in the digital apes, equating a series of incredible mo-cap performances. Rocket the alpha short-haired chimp (Terry Notary), Koba the scarred bonobo (Christopher Gordon), Buck the gorilla (Richard Ridings), and (especially) Maurice the circus orangutan (Karin Konoval) are among my favourite characters of the year, and worthy successors of Cornelius and Dr. Zaius.
Rise of the Planet of the Apes is brimming with technology, but it's shot on old fashion 35mm film, which gives the film a nice, slightly grainy texture. Stylistically, director Rupert Wyatt and cinematographer Andrew Lesnie try to maintain something like a natural style, but also choose to blow out a lot of the brightest highlights, and effectively fill out their 2.35:1 frame in a genuinely theatrical fashion. The majority of the look is based in wide, busy shots, but there's also a tendency to shift focus, so between this and the blown out highlights, wide-angle details aren't all that consistently sharp. The DVD copy I was also sent falls apart quite a bit here due to the complexity of elements. Fine details and textures are just about perfect, though there is a slight issue with the CG elements being a bit more highly detailed than the real elements. This doesn't do the effects any favours in terms of interaction, but boy are those ape skin and hair textures incredible. I can't help noticing that there's a bit of an orange and teal base to this palette, but I'm going to ignore that for the sake of my own sanity. Overused or not, the palette allows for plenty of vibrant hue mixes, and some incredibly sharp red and yellow highlights, some of which do exhibit minor bleeding effects, which I actually find quite stylish. The warm and cool contrasts are sharp, and the hues themselves are consistently pure with only the natural grain to sully the clarity. Black levels look great in higher light situations, especially against those blown-out whites, but are a bit dulled during the darkest scenes.
There's really very little down time on this DTS-HD Master Audio 5.1 soundtrack, even though there's plenty of dynamic range in the volume and aggressive nature of the sound. Some of the dialogue heavy, inside set sequences are more or less silent outside the center channel performances, but even these soft and simple mixes feature the possibility of builds in music, or sudden bumps in volume. The surround and stereo channels are lively with basic ambience throughout, but these builds in sound are where the track is at its strongest. The best uses of sound are usually action oriented, and the final act is massive with directional elements and surround channel attacks. The sound design of the apes themselves is also quite effective, creating a mix of reality and movie-magic hyperrealism. Buck the Gorilla's roar is the prime example of ape sound design. His roar is often given a special stereo spread for emphasis. Other cool aural editions include rustling trees, buzzing helicopters, crashing vehicles, and a really punchy machine gun that pops the hell out of the LFE channel. Patrick Doyle's score is on-point the entire film, and is often even used as the sole sound on the track for emphasis. Just when you think he's blown his load, and is repeating himself a little too often, the third act rolls around, and he cuts beautifully between subtle undertones and big boisterous melodic themes. I really wouldn't mind this particular score being nominated come Oscar time.
The extras on this 'not quite as packed as it appears on the box art' disc begin with two audio commentary tracks. The first track features director Rupert Wyatt working solo. Wyatt is warm and prepared, but leaves quite a bit of blank space, and too often speaks about the obvious aspects of the film, specifically tone and technical aspects. I appreciate him pointing out the intricacies of the special effects, and what he's done with the film's serious tone, but these are all too obvious behind the scenes aspects (especially for folks like me that listen to several commentary track over a month period). Things pick up when Wyatt discusses cinematography and style, but overall I was pretty disappointed. The second track features producers/writers Rick Jaffa and Amanda Silver. I'm surprised to say I found this track much more interesting, where Jaffa and Silver touch mostly upon the screenwriting aspects of the film. They discuss the differences between the final film and their early drafts of the script, some of the themes they decided to explore, and despite a fair amount of blank space and stammering this track is an educational look at the organic process of screenwriting.
The commentaries are followed by a collection of 11 deleted/extended scenes (12:00, HD). These are a mix of completed footage, temp effects, storyboards, and cover a series of minor plot points and incidental character interactions. There's one alternate version of a scene that would change Caesar's character quite a bit, and the final scene is a tasty taste of things to come. It's surprising how easy it is to accept Serkis' performance minus effects.
Mythology of the Apes (7:10, HD) starts as a look at the original film series, but pretty quickly morphs into an EPK for this film. It includes brief interviews with Wyatt, Franco, Serkis, and writer/producers Rick Jaffa and Amanda Silver, and features some brief behind the scenes footage mixed with footage from the film. The Genius of Andy Serkis (7:50, HD) rather obviously covers Serkis' work on the film, and features Wyatt, actors Franco, Serkis, Tom Felton, Brian Cox, John Lithgow, Devyn Dalton (who doubled little Caesar), Jaffa, Silver, producers Dylan Clark and Kurt Williams, and effects supervisors Dan Lemmon, Joe Letteri, crushing on his performance and the technical aspects of the film. This doesn't delve too deeply into the process, but acts as a good primer. A New Generation of Apes (9:40, HD) deals specifically with the digital effects, and features more interviews with the effects artists and motion capture performers. The motion capture process, technical aspects of computer animation, and anatomical research are covered.
Next up is a scene breakdown with three angle choices – final scene with PiP reference, early animation, and performance capture (1:30, HD), Breaking Motion Capture Boundaries (8:50, HD), a deconstruction of the process behind mo-capping the Golden Gate Bridge sequence, Composing the Score with Patrick Doyle (8:10, HD), where I learned the chorus is actually singing 'I've got a cookie for you' at one point, and The Great Apes (22:30, HD), individual looks at chimpanzees, gorillas, orangutans, which is actually quite fascinating. The disc also features a character concept art gallery and trailers.
Along with X-Men: First Class, Rise of the Planet of the Apes proves that the Fox brass still have the balls to put unique blockbusters into production, and I find myself no longer assuming the worst for future Fox genre releases. Rise isn't perfect, but it's fresh, fun, and more emotionally involving than the average summer release. This disc looks very good (though the film's style doesn't make for the absolute most stunning transfer you'll ever see), the DTS-HD MA sound is pitch-perfect, and the extras, though not quite what the box promises, are informative and entertaining.
* Note: The above images are taken from the Blu-ray release and resized for the page. Full-resolution captures are available by clicking individual images, but due to .jpg compression they are not necessarily representative of the quality of the transfer.
Review by Gabriel Powers
Disciple Member Join Date: April 2006 Location: Sweden Posts: 775
This is by far one of my favourite films of the year. For your consideration: Andy Serkis for Rise of the Planet of the Apes! Also; can't believe I'm saying this after the catastrophe that was the Academy Awards, but I actually enjoyed James Franco's performance. There really shouldn't be any question about the fact that this should win the Oscar for visual effects.
matt86 Member Join Date: March 2008 Location: United States Posts: 868
Also give credit for fox for not going 3D with this and xmen AND mr poppers penguins and isn't chipmunks them too? Gotta praise them for that. I forget if zookeeper is a fox film but I love not going 3D where they easily could have
Franco is very good in parts, but he's so uneven and bad in other parts. It's frustrating. I would love to see Serkis get a nom, and assume it will get best special effects, but I also think best score and best editing should be considered.
james55011 Banned Join Date: July 2008 Location: United States Posts: 29
Rise of the planet of the apes IS perfect, there is nothing wrong with James Franco's performance,it was not uneven.
hogaburger Contributor Join Date: April 2007 Location: United States Posts: 1,153
james55011 wrote: Rise of the planet of the apes IS perfect, there is nothing wrong with James Franco's performance,it was not uneven.
Is that you Mr.Franco?
Is that you Mr.Franco?
james55011 Banned Join Date: July 2008 Location: United States Posts: 29
Gabe Powers wrote: Ha!Intelligent response
mc_serenity Member Join Date: December 2006 Location: United States Posts: 824
This film cost well over $100M, not the official $93M number Fox was waving around. The ending was reshot a MONTH before the film's release -- which was a better ending than the one in the script -- probably added another $10-$12M to the budget.
I did enjoy this film, and I look forward to seeing the inevitable sequel.
I did enjoy this film, and I look forward to seeing the inevitable sequel.
Chris Gould Editor Join Date: May 2001 Location: United Kingdom Posts: 7,171
james55011 wrote: Gabe Powers wrote: Ha!Intelligent response
Funny as well.
Funny as well.
james55011 wrote: Gabe Powers wrote: Ha!Intelligent response
There is no intelligent response to an argument that equates 'Not-uh!', and people interested in intelligent discussion don't deal in such blind hyperbole.
There is no intelligent response to an argument that equates 'Not-uh!', and people interested in intelligent discussion don't deal in such blind hyperbole.
Matt Contributor Join Date: October 2004 Location: United States Posts: 2,113
Gabe Powers wrote: james55011 wrote: Gabe Powers wrote: Ha!Intelligent response
There is no intelligent response to an argument that equates 'Not-uh!', and people interested in intelligent discussion don't deal in such blind hyperbole.
There is no intelligent response to an argument that equates 'Not-uh!', and people interested in intelligent discussion don't deal in such blind hyperbole.
David Blackwell Senior Member Join Date: February 2004 Location: United States Posts: 2,824
I loved this prequel/ reboot. James Franco was still the weak link in the film sadly.
Wilson Bros Reviewer Join Date: August 2004 Location: United Kingdom Posts: 1,182
The featurette about the music score is hilarious, with Patrick Doyle revealing himself to be a very amusing man with a devious sense of creativity to him. Seeing him getting increasingly hysterical over the "got a cookie for you" composition is a joy to watch, as it culminates him in almost collapsing in silent hysterics whilst the vocals are being recorded in the studio.
The Wilson Bros
The Wilson Bros
Some material may be inappropriate for children under 13
Disc Details
Release Date: 13th December 2011
Discs: 2
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 2.35:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 5.1 English, Dolby Digital 5.1 French, Spanish and English Discriptive Audio
Subtitles: English SDH, Spanish
Extras: Director Commentary, Writers/Producers Commentary, Deleted/Extended/Alternate Scenes, The Genius of Andy Serkis, A New Generation of Apes, Scene Breakdown, Breaking Motion Capture Boundries, The Great Apes, Mythology of the Apes, Composing the Score with Patrick Doyle, Trailers, DVD Copy, Digital Copy
Easter Egg: No
Feature Details
Director: Rupert Wyatt
Cast: James Franco, Andy Serkis, Freida Pinto, John Lithgow, Brian Cox, Tom Felton
Genre: Action, Adventure, Drama and Thriller
Length: 105 minutes
8Review Guide
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North Country planning exec steps down
February 06. 2013 1:58PM
BETHLEHEM - After 18 years as at the helm of northern New Hampshire's regional planning agency, Michael King is stepping down as executive director of the North Country Council.
"I am proud of all we have done over the last 18 years for the North Country region in economic development, transportation planning and community planning," King said. "We have made an impact and it has helped our region tremendously."
King said he plans to remain in the area and spend more time with his grandchildren.
Benoit Lamontagne, president of the board of directors, said King will be missed and remembered for "how he grew and expanded the support services offered to the member communities."
A search committee is accepting resumes through Feb. 22 and is aiming to name a new executive director in mid-March.
King will remain in the position until his successor is hired.
For more information on the North Country Council, contact Lamontagne at firstname.lastname@example.com.


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Choose Philips Genie bulbs for a compact, energy-efficient and affordable alternative. See all benefits
Unfortunately this product is no longer available
All Philips energy saving lamps save energy from the moment you turn the switch. During their lifetime these Philips lamps use fewer kW, resulting in a lower energy bill. The level of energy saving differs per lamp type and technology.
Philips energy saving lamps reduce the amount of energy use in your home, which results in a lower energy bill and less carbon (CO2) output by your energy supplier.
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Philips keeps its promises about performance of its energy saving lamps. You can trust what the Philips packaging is saying about light output, lifetime and wattage equivalents to incandescent lamps.


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Posted on January 25, 2013
When we started this little convention of booklovers we call the Book Fair, it was a weekend event. People had to do all their shopping on Saturday and Sunday.
After a year or two, somebody came up with the idea of a Preview Night for Associates of the library. For reasons which were never made clear to me, this was Thursday night. The arrangement worked very nicely: we had Thursday night as a sort of trial run, all of Friday to clean up after the early birds, and then Saturday and Sunday for the selling of books. This schedule remained in effect for several years.
I think it was Evelyn Lampe who kept pushing for us to sell books on Friday, too, since we were all set up anyhow. The Powers That Were accepted this, particularly after the first year when they found that the extra day did NOT draw income away from Saturday and Sunday. Only a few years after that, they decided to add another whole day of income by pushing the Preview Night back to Wednesday night. Thursday night remained a 4 P.M. to 8 P.M. event for a little while (no one believed people would turn out to buy books on a weekday. Friday, they figured, was just the start of the weekend for people.) Then it became a full Book Fair Day like Friday, Saturday, and Sunday. And there things have stayed ever since.
It isn't for lack of suggestions, though. We've had a number of possible rescheduled Book Fairs, in varying degrees of ingenuity.
SIX DAY BOOK FAIRS: There were two of these. One involved adding a Preview Preview on Tuesday night, for people who were high-level Associates. (I don't know if the level was ever decided on—since we never did it—but it would have been a four-figure number.) Another plan would have extended us the other direction, with Half Price Day falling on Monday rather than Sunday. This was suggested by someone who, deep in her heart, felt that buying books on a Sunday was sinful, but couldn't stay away from Half-Price Day. Adding that extra day would have quieted her conscience.
THREE DAY BOOK FAIR: There are those who feel the whole affair is a disruption of the Library's routine, and needs to be cut back as much as possible. I understand this: it's kind of a disruption of MY routine, taking in the banana boxes filled with accounting textbooks and then sitting down while my blood pressure returns to normal. The objection that a three-day Book Fair wouldn't bring in as much money was dismissed by the proponents of this plan. We could easily make as much in three days as we were making in five. We never found out how that would work, because at the same time, someone else suggested a
SEVEN DAY BOOK FAIR: This person felt adding two days would add two more days' worth of income, which has a certain appeal. They spoiled it by adding that it would also add two more days' worth of volunteer fatigue and staff burnout. But it was easier to understand than the plan for the
SIXTEEN DAY BOOK FAIR: Someone tried to fix the Seven Day Book Fair problems by proposing a Book Fair in which we would open on Sunday, be closed to tidy up on Monday, open again on Tuesday, clean up on Wednesday, reopen on Thursday, and so forth. This idea never got off the drawing board because somehow the person who came up with it accidentally got something mixed in her coffee one morning. A hand grenade, I think it was.
Submitted by Bill Charles on January 29, 2013 Permalink


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This blog is just telling you a little about myself. Where I come from, who I am, what made me who I am today. You'll learn the more blogs I post that each blog has a little more about me. I really hope you enjoy my blogs!
Where do I begin? I suppose I could start off with my name. Hey everyone, my name is Tiana Bedford. Born in Vietnam, Asia, raised in Nebraska, and my freshman year in high school moved to Kirksville, MO. I was adopted when I was eleven months old, and ever since then, lived life to the fullest. When I mean "lived my life to the fullest" I literally mean that. A lot of things have happened in my nineteen years of living.
When I was born, I was born with a cleft pallet/cleft lip. A cleft pallet is basically an opened hole on the roof of your mouth. A cleft lip is basically an all the way through cut on your upper lip. Numerous surgeries were done on my cleft lip and pallet. I wore retainers after retainers, metal items I don't know names of, and constantly driving hours to an orothopedic surgeron. To this day I am wearing a retainer to cover up the hole on the roof of my mouth to help me talk better.
People bullied me in school my entire school career. Called me names, said I had some sort of infection, and they would pretend to spray me with disinfectant spray. Don't feel sorry for me, I grew into the person that I am today because of those people. Throughout the years of finding a job, employers turned me down because of my cleft pallet/lip. They thought I was hard to "understand".
Fast forwarding to 2008. I moved here because my mom had a job offer here, and we had two relatives that lived in Kirksville. Starting out as a freshman here was easy. I was a volleyball player, my cousin was relatively popular, and I could be whoever I wanted to be. To myself, I thought coming to a new school as a high schooler was going to be easy and smooth; I standed corrected. Kirksville High School was not different from the previous schools I've been to. Although I had to keep in mind that every school had a bully.
The biggest years of living in Kirksville were 2010-2012. January 2010, I dropped out of high school to become home schooled due to school district. I coudln't handle the name calling, the bullying, the stress, depression, or the lack of teacher's willing to help. I became home schooled by Hannibal Christian Academy. Finished my Sophomore year, and first semester of Junior year. After my first semester of Junior year, I was never home schooled again.
September 22, 2010, is the day I met a decent person, who now is my husband and father of my beautiful son, Ayden. Levi and I previously known each other in high school, but didn't associate. We were, and still are, from two different worlds. Levi and I are not your average relationship. We didn't fall in love over personalities, or smiles. We didn't decide to get married because we had to, or because we couldn't live without each other. We are the couple you'd call strong, unbreakable, or passionate. I'll tell you why.
Thanksgiving-November 25, 2010, a horrible car accident happened. (In another blog I will write more in depth of the car accident.) I was put in University of Columbia SICU for three weeks, and Rusk Rehabilitation for another week. Doctors gave me a 30% chance of living. Came home on Christmas Eve. Those three weeks of being hooked to several different tubes, not being able to talk, and being in a tremendous amount of pain, I learned something special about Levi. He was compassionate, loving, and a fighter. He was at my bedside every weekend watching basketball games, watching music videos, cartoons, watching the nurses take care of me, give me swabs, and change dressings. That's what made me fall in love with him. In the mist of all the "excitement" going on, he proposed to me December 10, 2010. A check "yes" or "no" proposal. Since I couldn't talk, he thought it'd be fair if he didn't talk either.
June 9, 2011, Levi and I found out we were having a baby. We, as a seventeen year old and twenty-one year old, were frightened. Not knowing how to handle the situation, how to tell the parents, how to go about anyting. Our minds were blank! After finding out we were expecting, we did all the right things. Took care of doctor appointments, ate right, did all the natural things a pregnant woman should do. At twenty-nine weeks I went into premature labor. Fortunately, they were able to stop the contractions, and send me on my merry way.
Thirty-seven weeks-January 15, 2012, Ayden Levi Bedford is born. 8:21pm, 6lbs 13oz. Most precious thing I've ever seen. Labor was well, and we were both healthy. The hospital kept us for twelve hours and sent us home. Two days later I had severe pain throughout my body, couldn't be touched without crying, couldn't walk without screaming, couldn't do anything without being in the smallest amount of pain. Levi insisted on taking me to the emergency room because he was worried about me, and noticed swelling throughout my body. Hours of being in the emergency room, and the last thing I remember was coming back from a CT scan.
I woke up in ICU a week later from being sedated. The nurse and doctor told me I had Strep A bacteria, which is a toxic bacteria that runs throughout your body. They gave me a 20% chance of living. Very uncommon to get, and rarely do people know how they got it. When I woke up I saw baby pictures of my son, but at the time I didn't know he was my son. In my head, I was still pregnant. Repeatedly, people had to tell me what happened, what was done to me, and where my son was. Ayden was put on the fourth floor because I had Strep A, so did he. The doctors figured him and I were infected when he was born. I spent two weeks in the ICU at Northeast Regional. The last three days of my stay, I transfered to the fourth floor to be reunited with Ayden. (More will be explained in another blog.)
Three months finally pass, and I finally start bonding with my son. I start to move around more, and become a little more active in my house. Walking was the hardest activity for me, it became a chore. Today, Ayden is a healthy one year old, who has ambitions and will power! He's strong and so unique. He's a blessing in disguise.
September 22, 2012, Levi and I tie the knot! Our two year anniversary, we got married.
All these challenges, obsticles, nightmares, made me who I am today. A strong, independent, intelligent woman. Through all the hard times, battles, blood, sweat, and tears, I became someone I never thought I'd become. I look at life in a whole different perspective. Never take life for granted! It's too short to waste time being mad, upset, guilty. Life isn't something to fill with regrets or sorrow, it's something to be thankful for. Be lucky that you've got a good life. Someone is always worse off than you, and better off than you.
Thank you for reading!
Tiana B.


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Morenci's Duncan wins high jump for Saints
The Siena Heights University indoor track and field teams competed last weekend at the Findlay Oiler Open.
Phoenix Duncan (Morenci High School) won the high jump, and Beth Heldmeyer was runner-up in the mile run for the Siena Heights women.
Duncan improved on her NAIA Championships automatic qualification with a leap of 5 feet, 6 inches (1.68 meters) — two centimeters better than her previous best of the season (1.66m).
Pole vaulter Lenzey Stidham also improved on an auto mark, taking fourth with a height of 11-7 3/4 (3.55m).
Thrower Taylor Byron added a provisional mark in the shot put, finishing ninth with a 41-10 3/4 (12.77m), and the Saints' 4x400-meter relay squad recorded an automatic-qualifying time of 4:01.52 while taking fifth place.
Members of the 4x400 were Brittney Benschoter (Madison High School), Arika Knannlein, Cassie Keeping and Jalesia Johnson.
Heldmeyer clocked in at 5:37.82 in the mile for her second-place effort, while teammate Melanie Glinski (Sand Creek) was sixth in 5:50.66.
Keeping took fourth in the 60 hurdles with a final time of 9.12 seconds.
Johnson and Benschoter placed sixth and seventh, respectively, in the 400. Johnson crossed the line in 1:00.64, while Benschoter hit the tape in 1:01.16.
Jalyn Lathan was eighth in the 300 with a 45.94, Chara Sykes took eighth in the high jump with a 4-10 1/4 (1.48m) and Elaine Johnson cleared 10-2 (3.10m) for 10th place in the pole vault.
On the men's side, Richard DePalma won the pole vault with an NAIA Championships automatic-qualifying mark, while Doug Dawson ran to a provisional mark in the 400-meter run.
DePalma cleared 16 feet, 3/4 inches (4.90 meters) to lead five Saints in the top six of the vault standings.
Jonathan Clore took second with a 15-1 (4.60m), Matt Leaders and Chris Whiting were fourth and fifth with marks of 14-1 1/4 (4.30m), and Benjamin Herrington placed sixth with a 13-7 1/4 (4.15m).
Dawson was runner-up with his time of 49.38 in the 400.
Zakary Haines added a second-place performance with a time of 36.33 in the 300.
Justin Bateson (Blissfield) took third in the 3,000, clocking in at 9:00.42, while Elroy Daffin Jr. came in third in the high jump with clearance of 6 feet, 4 inches (1.93m).
Heptathletes Travis Derscheid and Chris Schurr finished out their multi-stage event in third and fifth place, respectively.
Derscheid accumulated 4,501 points and finished out the competition with a fourth-place spot in the pole vault at 13-7 1/4 (4.15m). Schurr had 4,448 points and was the top vaulter with a height of 14-11 (4.55m).
Zach Widner placed fourth in the mile run, clocking in at 4:36.57.
Matt Robinet added a fourth-place finish in the 600 with a 1:25.26 and Josh Stump took 10th with a 1:26.98.
Terrell McGee finished fourth in the 800 with a 2:02.77,while teammate Mark Haukereid placed ninth with a 2:07.26.
Daffin added fifth place in the triple jump, stretching 43-8 1/2 (13.32m). Juarrezz Smith also competed and took eighth with a 40-2 1/4 (12.25m).
Gauge Aebersold (Onsted) finished 10th in the shot put with a distance of 48-6 3/4 (14.80m).


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A Palmyra Family Fun day is scheduled Saturday, July 6, at Flower City Park.
A Palmyra Family Fun day is scheduled Saturday, July 6, at Flower City Park. It will include fireworks, food, crafts, a flea market, games, activities, music, a petting zoo, a look at National Guard vehicles and a mechanical bull.
A volleyball tournament is planned, at $75 per team. The winning team will receive a pool party for 25 people.
The schedule lists a pet contest at 10 a.m., hula hoop contest at 10:30 a.m., decorated bicycle contest at 11 a.m., storytelling by W.T. Johnson at 1 p.m., Halls Hall Jammers from 2 p.m. to 4 p.m., watermelon contest at 3 p.m., family triathlon at 4 p.m., and youth firearms safety, 4:30 p.m. to 5:30 p.m.
A talent show (not a contest) will be from 5 p.m. to 6:30 p.m. Participants need to arrive 30 minutes earlier.
At 7 p.m. Jared Keim will perform, and at 8:30 p.m. the VFW and American Legion will present a Color Guard. All military veterans are invited. They will be honored on the Women's Ball Field.
The fireworks display will begin at dark, sponsored by the Palmyra Chamber of Commerce.
For additional details call Mary Schaible at (573) 629-9169 or email firstname.lastname@example.com.


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Study calculates shale energy's economic, jobs impact
Pennsylvania's shale gas industry supports more than 100,000 direct, indirect and induced jobs and will support more than 220,000 jobs by 2020, contributing $26.7 billion to the state's economy, according to a study co-sponsored by the Institute for 21st Century Energy, an affiliate of the U.S. Chamber of Commerce.
Nationwide, the shale oil and gas industries will create 1.5 million jobs by 2015 and 3 million jobs by 2020, said the study prepared by energy research firm IHS. Companies invested $87.3 million in the industry in 2012 and that figure will grow to $353 million by 2035, for a net total investment of more than $5 trillion, IHS said.
Pennsylvania ranks No. 2, behind Texas, in shale energy jobs, the report said.
"Shale energy is a game changer for America and for Pennsylvania," Karen Harbert, president and CEO of the institute, said in a statement.
Shale gas activity in 2012 will generate $1.2 billion in state and local taxes and fees in Pennsylvania, not including the more than $200 million in impact fees collected this year, the HIS study said.
The study credits Pennsylvania with 25,628 direct shale-industry jobs in 2012.
"Shale energy has already provided a major boost to our state, and this study clearly demonstrates that Pennsylvania will see even more jobs and revenue in the coming years," Gene Barr, president and CEO of the Pennsylvania Chamber of Business and Industry, said in a statement.
Critics have charged that industry studies overstate shale's jobs impact. Last year, the Keystone Research Center, reacting to reports that the industry had created 48,000 jobs, reviewed state jobs figures and determined that the core industries in Marcellus Shale development created a significantly smaller 9,288 jobs between the fourth quarters of 2007 and 2010, a period of major industry ramp-up, and that ancillary industries had lost employment.
Joining the institute to underwrite the IHS study were the American Petroleum Institute, American Chemistry Council, America's Natural Gas Alliance and the Natural Gas Supply Association.


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Magnaflow 15898 - Magnaflow Exhaust System for BUICK GS 350; 1968-1973.
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