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February jobs report: Stronger than expected
(MoneyWatch) The Labor Department said 236,000 jobs were created in February and the unemployment rate edged lower to 7.7 percent from 7.9 percent. This level of job growth is welcome, but many are taking a wait and see approach to the job situation until the effects of sequestration are fully known.
The February employment report is the last one before the government's across the board spending cuts go into effect. Economists are waiting to see whether the Congressional Budget Office's projection of 750,000 fewer jobs comes to fruition or whether the U.S. economy is strong enough to weather the cuts and continue to create enough private sector jobs to compensate for the government jobs that could vanish.
Capital Economics framed the bullish case on the economy, noting, "Despite the continued drag from fiscal austerity, the outlook for the economy is improving." The improvement can be seen in a few ways: Business investment is accelerating, due to robust earnings growth; housing will no longer be a headwind for the economy and instead will contribute to growth; manufacturing has started to pick up after a break; and consumers appear to be absorbing the expiration of the payroll tax cut, without too large a hit to confidence or spending. Taken together, the analysis projects a slowdown in growth to about 1 percent for the first half of the year, followed by a second-half annualized rate of 2.5 percent.}
While the analysis acknowledges big risks to the economy (U.S. government shutdown or another chapter in the eurozone crisis), the general gist is that the economy is doing just fine and as a result, job creation should continue, despite the Washington antics.
Arguing the bearish case on the economy is the Economic Cycle Research Institute (ECRI), which declared that the U.S. economy was "tipping into a recession" in September 2011. Eighteen months later, ECRI is sticking to the call and noting that despite improvement in the housing and stock markets, the economy is stuck at "stall speed" and the research group is "not seeing signs of an imminent growth upturn that so many claim to see."
Admittedly, ECRI is in the minority on the recession call for the economy, but there are plenty of skeptics who believe that as the effects of sequestration are more fully felt in the next 30 to 60 days, the U.S. economy will slow down, job creation will suffer and for those lucky enough to have jobs, incomes will remain stuck.
Regardless of how well the average worker's 401(k) is doing, income is still the largest contributor to overall financial health and confidence. Sentier Research recently updated its report on wages and income and the results are sobering. The average U.S. household is doing worse today than it was at the end of the recession.
The median annual household income in January 2013 of $51,584 was 4.5 percent lower than the median of $54,008 in June 2009, which is when the recovery began. As if that were not enough, household income now is 6.2 percent lower than it was on the eve of the recession (December 2007), and is 7.3 percent lower than the median of $55,659 in January 2000.
Academic analysis aside, these figures are what Americans are struggling to overcome. Until household income and wage growth accelerates, most U.S. workers don't really care whether economists call this a recession or a slow-growth recovery; they just want to make more money.
February jobs report
-- Jobs created: +236K (Revisions from Jan and Dec: -15K)
-- Private jobs created: +246K
-- Government jobs lost: -10K
-- Unemployment rate: 7.7 percent (from 7.9 percent)
-- Broad unemployment rate: 14.3 percent (includes the official rate plus "marginally attached workers," those who are neither working nor looking for work, but say they want a job and have looked for work recently; and people who are employed part-time for economic reasons, meaning they want full-time work but took a part-time schedule instead because that's all they could find)
-- Total unemployed: 12 million (down from 12.2)
-- Long-term unemployed: 4.8 million, 40.2 percent of the total unemployed
-- Participation rate: 63.5 (below the 66 to 67 percent rate that was normal over the last 20 years; 2/3 of recent decline is due to demographics)
-- Average work week: 34.5
-- Hourly earnings: $23.82 (over last 12 months, up 2.1 percent)
-- Professional and Business services: +73K
-- Health services: +32K
-- Construction: +48K
-- Retail: +24K
Editor's note: CBS MoneyWatch initially published an Associated Press story on the unemployment report, which we have since replaced with this staff-written article. You can find the initial AP report and reader comments here.


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subset: commoncrawl


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All items > Knives > Folding Knives > Microtech (Folding) > Microtech DOC
- Overall Length:9.00"
- Blade Length:3.75"
- Cutting Edge:3.25"
- Blade Thickness:0.16"
- Blade Material:Elmax
- Blade Style:Spear Point
- Blade Grind:Flat
- Finish:Black
- Edge Type:Plain
- Handle Length:5.50"
- Handle Thickness:0.60"
- Handle Material:Aluminum
- Color:Black, Blue
- Frame/Liner:Stainless Steel
- Weight:7.17 oz.
- User:Right Hand
- Pocket Clip:Tip-Up
- Knife Type:Manual
- Opener:Flipper
- Lock Type:Frame Lock
- Brand:Microtech
- Model:DOC
- Model Number:153-1BL
- Designer:Mick Strider, Anthony Marfione
- Country of Origin:USA
- Best Use:Tactical
- Product Type:Knife
The Microtech D.O.C. Flipper is a manual action folder from Microtech that harnesses the design genius of Anthony Marfione and Mick Strider. It features a 6061-T6 aluminum handle with traction inserts. The blade is a spear point style with unique bevels that put more steel at the tip. This knife opens using the flipper and feels comfortable in grip with an index choil below and jimping up top.
This model features a black finished blade with a plain edge. Blue anodized aluminum handle with black finished hardware and pocket clip.


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Jonathan Richter
Jonathan Richter is an active conductor, vocalist, and music educator based in the Boston area. In addition to his role as director of the Youth Chorale, Young Women's Chorale and Youth Camerata at the New England Conservatory, Richter also serves on the faculties of Roger Williams University in Bristol, RI and the Walnut Hill School for the Arts in Natick, MA. Additionally, he is currently pursuing a Doctor of Musical Arts degree in choral conducting at Boston University.
From 2009-2011, Richter was the Director of Vocal Music at Plymouth North and South High Schools, the two public high schools in Plymouth, Massachusetts. Prior to his appointment in Plymouth, he completed a Master of Music degree in choral conducting at Yale University and bachelor's degrees in music (B.A.) and education (B.S.) at the University of Connecticut. He has studied conducting with Ann Howard Jones, Marguerite L. Brooks, Simon Carrington and Peter Bagley. Additionally, Richter has participated in masterclasses and private conducting lessons with Helmuth Rilling, Stephen Layton, Nicholas McGegan and Paul Hillier. Jonathan and his wife Arielle live in Braintree, Massachusetts.


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Thrown into fast lane, Walter gets up to speed
Ex-Raider still has a long road ahead
- |
FOXBOROUGH - Quarterback Andrew Walter blew out his right throwing shoulder in his final game at Arizona State, then was drafted by the Oakland Raiders.
Both were painful in their own ways.
But thankfully for Walter, he's starting to see some light after four-plus years buried in Oakland's "Black Hole.'' Following the Patriots' surprising release of Kevin O'Connell on Sunday, the 27-year-old just might be the answer to the all-important question: Who is the top backup to Tom Brady?
Tomorrow night will provide a better indication of where he stands, as he figures to receive extended playing time when the Patriots finish their preseason by hosting the Giants at Gillette Stadium. To understand what that means to Walter, consider the football life he's lived since late 2004. It started with the devastating injury to his shoulder (AC joint).
"Because of that, I wasn't able to do the Senior Bowl, combine, Pro Day, any of that stuff. I really was kind of an anomaly,'' he said. "That is tough, because people in the NFL put so much emphasis on that process. That's how they judge players.''
Yet Raiders owner Al Davis has a unique judging method. With the reputation of being enamored with both size and speed - which is reflected in a variety of personnel decisions, most recently the first-round selection of speedy but unpolished receiver Darrius Heyward-Bey - he scooped up the 6-foot-6-inch Walter in the third round of the 2005 draft.
Four years in Oakland left Walter battered and in search of stability.
He didn't play his rookie season, still recovering from shoulder surgery. The next season, he started eight games and was a punching bag to opposing defenses, absorbing 46 sacks while throwing three touchdown passes and 13 interceptions.
The following April, the Raiders selected quarterback-of-the-future JaMarcus Russell with the No. 1 overall selection. Walter played in just three games after Russell's arrival (one start), a time in which he asked the Raiders for his release. The wish wasn't granted until this summer. "It was a long time coming,'' he said.
His years with the Raiders were defined by constant change.
"I had four different head coaches in four years, three different offenses, five different offensive coordinators, and six or seven different play-callers. For a quarterback, when continuity is so important on the offensive side of the ball, we had none of that,'' he said. "Needless to say, it was a very rough time, a time of adversity, for sure.''
So when Walter finally was granted his freedom, he didn't have to think hard about joining the Patriots once they expressed interest. It helped when he considered that Tom Brady, now in his 10th season, had essentially played in just one offensive system. That's stability-plus.
Walter, who looked at his watch yesterday to remind himself how long he's been with the team (Aug. 3), has been on a crash course since his arrival.
"This is a complicated offense, with terminology different than anything I've been exposed to,'' he said of the fourth NFL offensive system he's learned. "This is very much memorization and to have to do that in a truncated period of time is difficult. That's sort of added to the hectic quality, the hectic feel of learning everybody's name, trying to get familiar with the offense, get familiar with the area, a million things like that.
"As far as the organization goes, you can tell it's run very efficiently. Coming from where I came from, I sense the differences and see them.''
He's hoping the difference shows in his own play, with tomorrow night a big step in the process.
In limited action in last Friday's exhibition win over the Redskins, Walter fumbled a snap late in the game that could have been costly if a timeout had not been granted a split second before the miscue. His only other action came in the preseason opener against the Eagles, when he was 5 of 9 for 62 yards.
Even with Walter and rookie free agent Brian Hoyer quarterbacks behind Brady, the Patriots still could acquire a veteran. Speculation has linked them to Eagles veteran A.J. Feeley, a player whom Philadelphia's front office has received inquiries on from multiple clubs of late, but Walter isn't concerning himself with such things out of his control.
He's more focused on finally having some stability around him, which gives him the best chance to shine. Finally.
"The quarterback position is different than any position in sports - if everything around you is firing on all cylinders or on a high level, then you have the ability to go out and play well,'' said Walter, who was born in Phoenix and grew up in Grand Junction, Colo. "It's no guarantee you will, but if things aren't, then you really don't have that opportunity.
"Coming to New England, I don't look at it as trying to rectify the past, or attach my name to something different. You work so hard and spend so much time to prepare every week, if you're a part of a team that wins, it makes it that much better. That's my motivation - to be part of something great, as opposed to working so hard the last four years and not having much to show for it in regards to wins and losses, specifically wins.''
Mike Reiss can be reached at email@example.com.


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Votre titre Audible gratuit
In Chimera, John Barth injects his signature wit into the tales of Scheherezade of the Thousand and One Nights; Perseus, the slayer of Medusa; and Bellerophon, who tamed the winged horse Pegasus. In a book that the Washington Post called "stylishly maned, tragically songful, and serpentinely elegant", Barth retells these tales from varying perspectives, examining the myths' relationship to reality and their resonance with the contemporary world. A winner of the National Book Award, this feisty, witty, sometimes bawdy book provoked Playboy to comment, "There's every chance in the world that John Barth is a genius."
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- Erez
- 11/01/2012
Brilliant, but left me unfulfilled
I'll start with the positive: if you're looking for infinitely sophisticated, superbly written and masterfully narrated postmodern (meta-)fiction, look no further. The book is a prime example of the genre, and the narrator does a perfect job.
For me, however, there was something lacking. Had this been my first exposure to this type of fiction, I imagine I would have thought it the most amazing thing I'd ever read, but as things stand, I find that the style hasn't aged well. The structure, the language and the cleverness of it all are mind-boggling, but still it never drew more than a chuckle from me. It felt like an exercise in cleverness. The book isn't bad, far from it. I just felt that it lacked a point.
4 sur 4 personne(s) ont trouvé cet avis utile.
- Darwin8u
- 26/04/2014
An Anachronistic Book of Three Novellas
I seemed to often fall backwards into Barth. Chimera was on my radar, but I didn't know much about it. So I was lucky I guess to read it right after finishing Grave's The Greek Myths. Lucky stars or indulgent gods I guess.
Anywho, John Barth re+(tales|tails|tells) two Greek myths (and one Persian frame) into a anachronistic book of three novellas. Somewhat related, but still a dance and music of prose. I thought "Dunyazadiad" was a great set up. It roared. Funny, tight, and always a bit perverse and naughty, Barth takes the story of Scheherazade from tales of the 1001 Nights and reframes the frame story, then flips and pulls it. By the end it felt a bit like watching a biche de mer (sea cucumber) vomit its intestines into a funky twin story.
I thought the second novella, Persiad, was pitch perfect. The story is that of Perseus' and the narrator's search for immortality. The language, rhythm, jokes, structure were flawless. It seemed like a ball hit perfectly that hovers, hums and hangs in space. It was a story that seemed to bend the rules of literary gravity. Like an ouroboros the tail of this story snakes around into a self-eating, circular POMO myth that ends in the stars, or perhaps not.
The third and longest novella "Bellerophoniad" bleats and tells the story of Bellerophon, another Greek hero seeking sex, drugs, adventure and immortality like Perseus and the rest of us mere mortals and wannabe demigoddamwriters. It was the emasculated goat of the trilogy, but damn what a fine wether. It didn't quite live up to its potential or my hope, but contained enough genius to cause several PhD candidates to ruminate themselves into literary pretzels and precarious dissertations for the next 50 years
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- Rollingcrone
- 27/08/2012
Singularly not impressed.
What disappointed you about Chimera?
I may as well have listening to a middle school slander fest. Give me the mythology (it is rich enough), or make the tales come from some elementary cafeteria....
Would you ever listen to anything by John Barth again?
Not sure.
Would you be willing to try another one of Kevin Pariseau's performances?
Not sure.
What reaction did this book spark in you? Anger, sadness, disappointment?
Disappointment, poorly spent credit.
0 sur 5 personne(s) ont trouvé cet avis utile.


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KANSAS CITY, Kan.—The Barry women's soccer team moved up two spots in the NSCAA/Continental Tire NCAA Division II Women's National Poll this week, checking in at 18 after entering the poll last week at 20.
The Bucs (12-3-1, 7-0-1 SSC), winners of the Sunshine State Conference regular-season title, are on a roll, going 8-0-1 in their last nine games. They have scored 19 goals, while allowing only three during the streak.
The Bucs, who received a quarterfinal bye, host the SSC Championship on Friday and Sunday, Nov. 8-10. They open on Friday night against the winner of the Saint Leo/Florida Tech game at 7:00 pm.
The NSCAA/Continental Tire College Rankings are a week-to-week status of qualified programs and announced Tuesdays during the College Highlights and Rankings Show on NSCAATV. More information about NSCAA college rankings can be found at NSCAATV's college rankings page.


text: Not one, not two, not three, but four enterprising and besotted Seattleites decided to run on the field in a single game this weekend. One even took the streaking part literally. (Warning: video provides copious-yet-blurry shots of bare man-ass, and the towel does eventually fall off.) And once again, Jon Bois has plotted their trajectories, probed their strategies, and gone deep inside their twisted mindsets. [SB Nation]


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Some medicines may cause a decrease in your
desire for sex or in your body's ability to make sex pleasurable (such as vaginal
dryness or inability to have an erection). These medicines include:
If you are taking a prescription medicine and think it might be
interfering with your sexual interest and activity, talk with your doctor. He or she may be able to change your dosage or substitute another
medicine that does not have these side effects.
Take your medicines exactly as prescribed. Call your doctor if you think you are having a problem with your medicine.
ByHealthwise StaffPrimary Medical ReviewerAnne C. Poinier, MD - Internal MedicineE. Gregory Thompson, MD - Internal MedicineSpecialist Medical ReviewerCarla J. Herman, MD, MPH - Geriatric Medicine
Current as ofMay 4, 2017
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Last modified on: 8 September 2017


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Guy Ali Tells How Alfamega Put Him Away for 7 years
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Original (original) Previous Year (old) Solved Question Paper of DBT BET JRF 2010 Examination (Department of Biotechnology- Biotechnology Eligibility Test – Junior Research Fellowship) with Answer Key and Explanations as PDF. DBT BET JRF aspirants can download the question paper as single PDF file for your exam preparation. Please feel free to inform us for any mistakes in the answer key provided.
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UCL Museums & Collections
UCL Museums & Collections
Uniquely for a London university, our vast, outstanding collections are available to inspire exciting learning and pioneering research by the UCL community, schools and the public.
Grant Museum of Zoology
The only remaining university zoological museum in London.
Petrie Museum of Egyptian Archaeology
One of the greatest collections of Egyptian and Sudanese archaeology in the world.
UCL Art Museum
The museum is home to 10,000 works of art from the 1500s to the present day.
The Galton Collection
Scientific instruments, papers and personal memorabilia of Sir Francis Galton FRS
Institute of Archaeology Collections
Including prehistoric ceramics and stone artefacts, and collections of Classical Greek and Roman ceramics.
Geology Collections
A wealth of rocks, minerals and fossils collected globally over the past 175 years.
Ethnography Collections
A variety of objects exemplifying material culture, textiles and artefacts from all over the world.
Science and Engineering Collections
A wealth of scientific objects from work conducted at UCL over the past two centuries.
Jeremy Bentham auto-icon
Bentham's auto-icon came to UCL in 1850 and has been cared for here ever since.
Explore UCL Museums & Collections
Part of Museum Mile


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Review: Cirque du Soleil: Worlds Away 3D1.5
As a brand, Cirque du Soleil is a pretty safe bet for quality, its live shows defined by precision and grace despite their growing commercialism. So it's rather sad, then, that Cirque du Soleil: Worlds Away 3D falls low on the stereoscopic totem pole, the phenomenon's wonder reduced to one more bit of blasé, eye-popping excess. Given the ingredients, one would think the film would be at least somewhat marvelous, as all those acrobatics are surely amenable to the format, and sitting in the producer's chair is 3D innovator James Cameron. It would seem, however, that Cameron merely supplied the fancy cameras, turning the project over to Shrek director Andrew Adamson and a team of craftsmen ill-equipped to thrillingly capture the action. Shot by music-video veteran Brett Turnbull, with additional filming by prolific live-music lenser David Mallet, the movie is something of a compositional nightmare—worlds away from the artistry so associated with Cirque. When the camera can even manage to stay with a performer, it's in a manner that's jerky and inelegant, and many numbers are filmed with scant regard for foreground-background harmony, a flaw especially odd for something requiring 3D glasses. Clowns, dancers, and trapeze artists all suffer visual amputation thanks to the poor framing, and the few memorable shots are better left forgotten, like the tableau of a contortionist's spread legs lining up with a fountain's V-shaped spray. Indeed, something seems a bit off in the universe when the big-screen version of the world's preeminent circus act can be upstaged and out-classed by the latest Step Up installment.
The movie opens handsomely, and with promise, as a young woman, unnamed but credited as Mia (Erica Linz), approaches an old-fashioned circus with eyes wide, her pixie haircut and elfin features complementing the fairy-tale ambiance. She exchanges glances with a handsome acrobat known only as the Aerialist (Igor Zaripov), and during his act, the two both fall through a magical hole under the big top, winding up in a world that could have been co-imagined by Julie Taymor and Tarsem Singh. However briefly, the new realm's unveiling maintains the mystery of the film's intro, the camera cowering before a massive red curtain, whose drawing back is as ominous as it is exciting. What follows is an enchanting segment of Cirque du Soleil's O, an aquatic-themed production with some Busby Berkeley-style choreography and swimming performers who actually move like fish. The pleasure is short-lived, though, as the cinematography's failings set in fairly quickly, and the 3D engagement doesn't go far beyond the kicking of water at the lens.
O is one of seven Cirque shows regularly performed in Las Vegas, and portions from all seven find their way into this film. The mishmash was a horrid decision on the part of the filmmakers, for not only do Mia and her Aerialist encounter the appropriately mythic allure of Mystére and Zumanity (the latter offering a standout scene that mixes the liquid with the planetary), they also stumble across the pop pomposity of Viva ELVIS, Criss Angel BeLIEve, and The Beatles LOVE, none of which mesh well with the core idea of being whisked away to a parallel realm. Not that the narrative boasts much congruity to begin with. Guided by a clown, whose presence, thankfully, helps keep Cirque's wordless, vaudevillian nature intact, Mia essentially spends the movie window shopping, the only through line of her performance pop-ins being the search for her handsome high-flyer. There's certainly the occasional awe-inspiring stop, like a set piece from KÀ involving a rotating, gravity-defying stage that evokes 2001's obelisk, but again, the photography renders the sequence a busy mess, never allowing viewers to calmly or satisfyingly take it in. With the emergence of films like Pina and Samsara, not to mention the rapid growth of mainstream concert docs, flicks about live performance seem as in vogue as 3D itself. But with Cirque du Soleil, the only way to fly is to catch a production in the flesh, which, given 3D ticket prices, probably won't put too much larger a hole in your pocket.
Cast: Erica Linz, Igor Zaripov, Lutz Halbhubner, John Clarke, Dallas Barnett, Tanya Drewery, Sarah Houbolt Director: Andrew Adamson Screenwriter: Andrew Adamson Distributor: Paramount Pictures Running Time: 91 min Rating: NR Year: 2012 Buy: Video
Review: Come to Daddy Invests a Familiar Scenario with a Crazed Energy
Ant Timpson's feature debut is a crazed parody of the self-pity inherent in familial resentments.3
Ant Timpson's Come to Daddy is a crazed parody of the self-pity inherent in familial resentments. Norval (Elijah Wood) is a thirtysomething man who is invited by his estranged father, Gordon (Stephen McHattie), to meet him at his remote coastal cabin in a gesture of reconciliation. Norval and Gordon offer a pronounced study of contrasts: Gordon is a wiry, macho drunk who's so bitter he seems to be losing his mind, while Norval is diminutive, vulnerable, somewhat fey, and on the wagon as a response to his own alcohol issues. In Gordon's eccentric and gorgeous home, which resembles a lighthouse, the two men dance around the riddle of this reunion: Why does Gordan want to reconcile now?
Early on, it's clear that Norval desperately wants Gordon's approval, which Wood plays with a nakedness that gives the film an air of poignancy. The counterpoint to that poignancy is McHattie, who doubles down on Gordon's irrational selfishness, giving a performance that's both hilarious and eerily unpredictable. Wood and McHattie have stunning anti-chemistry, fashioning a sonata of loneliness and passive aggression out of silences, tics, and outbursts that eventually become violent. Timpson and screenwriter Toby Harvard have conceived Come to Daddy as a generational dramedy that goes spectacularly cuckoo, and the film's joke is that things are much worse between Norval and Gordan than the heartbroken son imagines.
The tension between Norval and Gordon suggests a distillation of the differences between baby boomers and millennials writ large and broadly, with Norval as an over-sensitive man-child who lives with his mother, while Gordon is a lout who's mourning his own irrelevancy. This contrast reaches a crescendo when Norval attempts to impress Gordon by lying about his knowing Elton John, which leads to a pair of resonant and intertwined punchlines. Gordon doesn't exactly strike one as an Elton John fan, which underscores Norval's cluelessness on the subject of working-class machismo, and Gordon also isn't as out of it as he appears to be, calling Norval out on his deception with an acute and amusingly random sense of cruelty.
McHattie's great gravelly voice renders regular words obscene and obscene words blasphemous. Later on, it's truly disturbing when Gordon calls Norval a "cunt," repeating the word as a mantra and bringing out into the open the contempt that's been in the air from the start of the visit. Not long after this altercation, Timpson dramatically changes gears, springing a twist that's out of the M. Night Shyamalan playbook and switching genres entirely.
Unlike many Shyamalan films, which seem constructed out of Mad Libs, Come to Daddy retains an emotional consistency. The film's last hour could almost be Norval's fantasy: a retreat from Gordon's astonishing rejection. Come to Daddy structurally resembles Edgar Wright's The World's End, which became a lurid fantasy at the moment that its antihero's illusions were shattered. After Gordon impugns Norval's masculinity, the two men are plunged into a delirious underworld in which Norval must learn to be a killer, and in which he's even provided with a new father figure, Brian, who's played by Martin Donovan with a soothing energy that serves as a respite from McHattie's guttural gesticulations.
By film's end, Norval gets the reconciliation of his dreams at a considerable cost, though he never learns why his father sent for him in the first place. Come to Daddy has a tang of real sadness, suggesting that family is composed of a coterie of arbitrarily assembled strangers.
Cast: Elijah Wood, Stephen McHattie, Martin Donovan, Michael Smiley, Madeleine Sami, Ona Grauer, Simon Chin Director: Ant Timpson Screenwriter: Toby Harvard Running Time: 93 min Rating: NR Year: 2019
Every Marvel Cinematic Universe Movie Ranked
On the eve of Avengers: Endgame's release, we ranked the 22 films in the Marvel Cinematic Universe.
Most of Marvel Studios's films are the cinematic equivalent of breadcrumbs, which have been dropped into theaters strategically so as to keep one looking for the next sequel or crossover, when the endless televisual exposition will eventually, theoretically yield an event of actual consequence. Occasionally, however, a Marvel film transcends this impersonality and justifies one's patience. Weird, stylish, and surprisingly lyrical, Ant-Man, Iron Man 3, and Doctor Strange attest to the benefits of the old Hollywood-style studio system that Marvel has resurrected: Under the umbrella of structure and quota is security, which can bequeath qualified freedom. Chuck Bowen
Editor's Note: This article was originally published on April 25, 2018.
22. The Incredible Hulk (2008)
The aesthetic dexterity and psychological depth of Ang Lee's Hulk is corrupted by Marvel's "reboot" of the superhero franchise, Louis Leterrier's intermittently kinetic but depressingly shallow The Incredible Hulk. In response to complaints that Lee's unjustly excoriated 2003 effort was too talky and slow, Leterrier swings the pendulum to the opposite side of the spectrum, delivering a slam-bang spectacle so lacking in weight that, until the impressive finale, the film seems downright terrified of character and relationship development, as if too much conversation or—gasp!—subtextual heft will immediately alienate coveted young male fanboys. Nick Schager
21. Iron Man 2 (2010)
Upgraded with the latest CGI hardware but also more shoddy screenwriting software than its system can withstand, Iron Man 2 is an example of subtraction by addition. For a sequel designed to deliver what its predecessor did not, Jon Favreau's follow-up to his 2008 blockbuster piles on incidents and characters it doesn't need while still managing to skimp on the combat that should be this franchise's bread and butter but which remains an element only trotted out at sporadic intervals and in modest portions. Schager
20. Captain Marvel (2018)
As another of the character-introducing MCU stories existing mostly to feed new superheroes into the Avengers series, Captain Marvel looks like something of a trial run. You know the drill: If the film lands with audiences, then you can count on Captain Marvel (Brie Larson)—like Iron Man, Captain America, Thor, and even Ant-Man before her—getting her own series. But if not, then, hey, she's at least assured of being asked to pop by the game room at Stark Industries for a kibitz in somebody else's franchise down the road. Based on what's on display here, Captain Marvel could well get her own star turn again at some point, but hopefully it will be with a different crew behind the camera. Chris Barsanti
19. Avengers: Endgame (2019)
There's some fleeting fun to be had when Avengers: Endgame turns into a sort of heist film, occasioning what effectively amounts to an in-motion recap of prior entries in the MCU. Yet every serious narrative beat is ultimately undercut by pro-forma storytelling (the emotional beats never linger, as the characters are always race-race-racing to the next big plot point), or by faux-improvised humor, with ringmaster Tony "Iron Man" Stark (Robert Downey Jr., so clearly ready to be done with this universe) leading the sardonic-tongued charge. Elsewhere, bona fide celebs like Michael Douglas, Michelle Pfeiffer, and Natalie Portman are reduced to glorified extras. Even the glow of movie stardom is dimmed by the supernova that is the Marvel machine's at best competently produced weightlessness. Keith Uhlich
18. Avengers: Infinity War (2018)
What is this, a crossover episode? After 18 films, the overlords at Marvel Studios have gathered almost all of their indentured servants, er, star-studded stable together into the ever-crashing, ever-booming, and ever-banging extravaganza Avengers: Infinity War. Whether you look at this whirling dervish and see a gleefully grandiose entertainment or a depressing exemplar of the culturally degraded present moment will depend on your investment—in all senses of that term—in Marvel's carefully cultivated mythos. The film is all manic monotony. It's passably numbing in the moment. And despite the hard-luck finish—something an obligatory post-credits sequence goes a long way toward neutering—it's instantly forgettable. Strange thing to say about a film featuring Peter Dinklage as the tallest dwarf in the universe. Keith
17. Thor (2011)
With some notable exceptions, Marvel Studios-produced films usually plateau at a glossy but totally indistinct level of mediocrity, and Thor continues the trend of weakly jumpstarting a franchise based on a Marvel comic with an adequate but instantly forgettable origin story. Kenneth Branagh's film is reasonably well put-together, but unlike even his worst films, it has no internal life, instead feeling like an impersonal, assembly-line product. The film's most notable feature is that it serves as a continuation of the Marvel Cinematic Universe set up by the Iron Man movies. Characters from those films pop up during Thor's main narrative and after the end credits, living up to Marvel's commitment to populating their films with the same bland versions of perfectly acceptable characters. While Thor is certainly competent, that's just not enough. Simon Abrams
16. Captain America: The First Avenger (2011)
A spectacle of star-spangled superheroics, Captain America: The First Avenger gives sturdy big-screen treatment to Marvel's square-jawed—and square—jingoistic military man. With Joe Johnston delivering pyrotechnical action-adventure in a period guise, à la The Rocketeer (which was similarly fixated on its female lead's buxom chest), this costumed-crusader saga is a capable, if somewhat unremarkable, affair beset by the same origin-story shortcomings that plagued another U.S.-virtue-via-army-weaponry fable, Iron Man—namely, a bifurcated structure in which the introductory first half exceeds, in compelling drama and kick-ass thrills, the latter fight-the-baddies combat. Schager
15. Avengers: Age of Ultron (2015)
While writer-director Joss Whedon takes considerable strides to make Avengers: Age of Ultron's narrative feel more nuanced and personal, his few sublime scenes of expressive melodrama are drowned out by the massive amounts of exposition and backstory that make up most of the dialogue and subsequently make the film feel overworked. When the talk isn't about the intricate plot and the characters' mythology, it's a whole lot of dick-centric jabs. In cases like the competition over who can pick up Thor's (Chris Hemsworth) hammer, there's a vague sense that Whedon is in on the joke, but then there's a plethora of other exchanges that don't seem so tongue in cheek. The bro-isms that underscore these interpersonal relations might explain why Scarlett Johansson's Natasha Romanoff strikes up a romance with Bruce Banner (Mark Ruffalo), a.k.a. the Hulk, the only male Avenger who isn't consistently preoccupied with the size of his…ego. The growing relationship between Romanoff and Banner is the tender heart of Age of Ultron, and Whedon clearly thrills in the cheesy but heartfelt melodrama that builds between them. Unfortunately, as the film has approximately another half-dozen or so plotlines to tend to, this section of the story barely makes up a sixth of the narrative. Chris Cabin
Review: Body at Brighton Rock Is a Horror Film in Desperate Need of Thrills
Appearing to recognize the flimsiness of her material, Roxanne Benjamin overcompensates with insistent direction.1.5
Roxanne Benjamin's Body at Brighton Rock briefly exudes a daffy comic pulse as it traces a park ranger, Wendy (Karina Fontes), showing up late to a meeting. Wendy's boss and co-workers lecture her for being locked up in her own head, but it's to seemingly little avail. Fontes plays the moment with likeable aplomb, and Benjamin succinctly establishes the social dynamics of the park office, though these scenes turn out to be a form of misdirection. Seeking to prove herself, Wendy accepts an assignment out in the woods surrounding the fictional Brighton Rock peak, against her co-workers' protests. At this point, Benjamin's film leaves the office and supporting characters behind, becoming a two-hander between its protagonist and a theoretically fearsome setting.
Compared to the setting of The Blair Witch Project, or even of a comparatively polished film like Backwoods, the forest of Body at Brighton Rock feels tamed. In fairness, this is partially the point: Wendy is a ranger lost in a park after all, and Benjamin clearly wants us to feel the danger of a place that's touristy on the surface yet is still ultimately wild and chaotic. Benjamin also sets most of Body at Brighton Rock in the bright sunlight, deliberately playing against horror-movie clichés of dark and spooky woods at night. That ambition is both admirable and regrettable, as a film this conceptually thin can use all the gimmickry it can get.
Most narratives about people out in the wild pivot on a macho idea of pampered individuals learning to conquer their weaknesses and connect with their primordial nature. Benjamin mostly resists this conceit, recognizing its hoariness, but doesn't replace it with anything, leaving a hollowness at her film's center. Wendy doesn't have to come of age, but there should be some sense of her emotional progression as she finds a dead body, spends a night in the woods, and hallucinates a variety of repetitive scares. Instead, Wendy is simply presented as an avatar for the audience, and so the plot becomes a collection of stuff happening to her.
Though clocking in at a lean 87 minutes, Body at Brighton Rock feels padded out. Appearing to recognize the flimsiness of her material, Benjamin overcompensates with insistent direction. For instance, Wendy's climb up a rock wall is goosed with quick cuts when a sustained shot of her against the rock would've been more frightening. And the score is always attempting to will nonexistent tension into being, conjuring a frenzy that simply isn't on the screen.
One scene does linger in the memory. When Wendy encounters a bear, Benjamin underscores both the woman's fear and the graceful poignancy of the hungry animal. This moment lacks the show-off gruesomeness of the bear attack in The Revenant and is all the better for it. Benjamin imbues her set piece with docudramatic immediacy, which lends authenticity to the film's one insane flourish: Wendy turning a can of bear spray into a blowtorch in an act of self-defense. The largely buttoned-down Body at Brighton Rock could use more moments like that.
Cast: Karina Fontes, Casey Adams, Emily Althaus, Miranda Bailey, Matt Peters, John Getz Director: Roxanne Benjamin Screenwriter: Roxanne Benjamin Distributor: Magnet Releasing Running Time: 87 min Rating: R Year: 2019
Review: The White Crow Sees Art As Being Above and Beyond Politics
Ralph Fiennes's film too conspicuously avoids an overt political perspective.2
Director Ralph Fiennes's The White Crow, which tells the true story of ballet dancer Rudolf Nureyev's 1961 defection to France, opens in a small office in Leningrad, where ballet instructor Aleksander Ivanovich Pushkin (Fiennes, speaking lightly accented Russian) is assuring a security-apparatus bureaucrat that Nureyev's defection isn't political. "It's about dance," the soft-spoken Pushkin says. "He knows nothing about politics."
We might consider that a manifesto for The White Crow itself, because throughout the film, the West, as embodied by thriving, early-'60s Paris, is identified "apolitically" with individual freedom and artistic expression. Pushkin's interview with the nameless bureaucrat serves as a framing device, within which the film cuts between three different timelines in Nureyev's (Oleg Ivenko) life, culminating in his decision, under duress from the KGB, to defect to France.
The first of these timelines concerns Nureyev's bleak childhood in Siberia. Famously, the dancer was born on a train, a scene that the film articulates in shorthand, with color-drained, blue-gray footage it will use for all its scenes set in war-torn Russia. Fiennes and screenwriter David Hare construct a correlation between Nureyev's natal mobility and his adult need to go places, cutting from the train to the Mariinsky Ballet Company's flight to Paris in 1961. In Paris, the arrogant Nureyev carelessly pushes the boundaries set by the company's KGB chaperones, leaving the hotel before dawn to spend the morning in the Louvre, and staying out all night at gay clubs and cabarets with Westerners.
On the Paris social scene, he befriends Clara Saint (Adéle Exarchopoulos), a beautiful socialite whose main attraction for Nureyev appears to be that she's recently bereaved (her fiancé recently died in a car accident). It's here the film articulates one of its major themes, and one of Nureyev's fascinations: the creation of beauty from ugliness. In the Louvre every morning, Nureyev contemplates Théodore Géricault's The Raft of the Medusa, a Romantic depiction of death and suffering. So too, does Nureyev's expressive dancing—traditionally feminine in its naked passion, according to him—turn the ugliness of his childhood into something beautiful.
Ultimately, the film suggests, the fiercely individualist Nureyev will defect because the West makes this transmutation of pain into beauty—that is, the expressive freedom of the individual artist—possible. It's an historical argument that has basis in fact but which is troublesome here in its thoroughgoing de-politicization of art in the West. Unlike Paweł Pawlikowski's masterful Cold War, which problematizes cultural authenticity in both communist Poland and '50s Paris, The White Crow presents Paris as the gateway to a realm of pure, unmediated self-expression. In reproducing the romantic cliché of the artist as tortured genius, this biopic is certainly not alone nor even the worst sinner, but its representation of art as a realm above and beyond politics is too idealized. It functions to make the West seem an aesthete's utopia, even as the film appears to avoid an overt political perspective.
The film's third timeline begins six years prior to the trip to Paris, with Nureyev's arrival at the Mariinsky school in Leningrad. There, Nureyev insists on taking classes from Pushkin rather than from his assigned teacher, and he and Pushkin develop a personal friendship. The friendship is complicated by Nureyev's barely concealed affair with Pushkin's wife, Xenia (Chulpan Khamatova), and made all the more awkward by the young man's clear sexual preference for men (it's also implied that Pushkin himself is a closeted gay man).
Fiennes's Pushkin ends up feeling one-note, always wearing the same tender expression, with affected gestures one suspects are meant to denote the grace of a former ballet dancer but seem all the time like the strategic choices of an actor acting. Ivenko, by contrast, disappears into his role, lending a depth to his ambitious and irascible character that makes the man sympathetic even as he thoughtlessly insults Clara and betrays Pushkin.
Despite Ivenko's convincing performance, The White Crow is weighed down by its multifold flashback structure, particularly the monochromatic vignettes from the dancer's childhood. While these flashbacks provide a psychological rationale for Nureyev's incorrigible individualism and barely suppressed inner conflict, the digital color draining of these scenes increasingly feels like a cheap way of connoting the dire conditions of postwar Russia. Rather than merely oppressive, these flashbacks start to feel redundant, a quality one might attribute to the film's overly elaborate narrative structure as a whole.
Cast: Oleg Ivenko, Adèle Exarchopoulos, Ralph Fiennes, Raphaël Personnaz, Chulpan Khamatova, Sergei Polunin, Calypso Valois, Louis Hoffman, Olivier Rabourdin Director: Ralph Fiennes Screenwriter: David Hare Distributor: Sony Pictures Classics Running Time: 127 min Rating: R Year: 2018
Review: J.T. LeRoy Is a Scarcely Subjective Telling of Great Literary Hoax
It's disappointing that so much of the film feels like mere tilling of the soil.2
J.T. LeRoy was known as the author of three books across the late 1990s and early aughts. A reclusive, HIV-positive trans man, LeRoy was hailed as a wunderkind upon the publication of Sarah, which the San Francisco Chronicle boldly called "comically Dickensian." In actuality, LeRoy never existed, as he was a persona, or avatar, willed to vivid life by writer Laura Albert as a means of saying what she felt she couldn't say as herself.
As co-writer and director Justin Kelly's film J.T. LeRoy begins, demand for LeRoy is at a fever pitch, perhaps even at a breaking point, as Albert (Laura Dern) is seen desperately recruiting her younger sister-in-law, Savannah Knoop (Kristen Stewart), to play the part of this persona in public, with Albert assuming the role of LeRoy's overbearing handler, "Speedie." It's a spectacular ruse that the pair managed to sustain for six years.
It's hard to not look at such a weird set of circumstances and see its resultant mold-breaking controversy as foreshadowing, perhaps even enabling our present-day social-media moment and obsession with identity politics. As an examination of the power of celebrity and the easily muddled nature of truth, the film seems to implicitly understand that the creation and eventual exposure of the LeRoy hoax speaks to something deep in the heart of a culture in the midst of an identity crisis, but based on what's on screen, it's hard to say exactly what that is.
Highly aware of its own meta-textual richness, the film, adapted by Kelly and Knoop herself from her memoir Girl Boy Girl: How I Became JT LeRoy, is at its most interesting when it feels like its inhabiting rather than telling LeRoy's story. When Speedy and LeRoy engage with fans and press in a haphazard fashion, there's suspense in the spectacle of every question and answer that's exchanged—that a grand ruse will be exposed at any moment.
Dern and Stewart convince us that such a stunt could be pulled off not so much in spite of but thanks to its utter absurdity, and among many standout details in the film is a moment when Speedy and LeRoy greet a collaborator (Courtney Love, one of many real-life celebrities who were enmeshed in the real-life saga) with a gift bag consisting of mini-onions, baked beans, and a neck pillow. Such details feel too strange to not be true, and they lend a sublime authenticity to the climactic images of Stewart, as LeRoy by way of Knoop, at the Cannes Film Festival—a cinematic black hole of sorts, with the spectators at the event horizon.
It's disappointing, then, that so much of J.T. LeRoy feels like mere tilling of the soil. Cursive on-screen text and a ponderous, recurring voiceover lend the film the quality of a notebook doodle. Worse, though, are Kelly's flat compositions and the script's impersonal adherence to the beats of biopic storytelling. Aesthetically and narratively, the film lacks the fire—the slippery subjectivity—that we associate with the explosiveness of the J.T. LeRoy saga.
Though successful in presenting how something so outlandish could happen with such apparent ease, J.T. LeRoy fails to sufficiently probe the deeply personal needs of both authors and consumers that drive creation. Dern and Stewart do such a fine job of telling us how it feels to be someone else that you wish for the filmmaking to meet them at their level.
Cast: Kristen Stewart, Laura Dern, Kelvin Harrison Jr., Jim Sturgess, Courtney Love, Diane Kruger Director: Justin Kelly Screenwriter: Justin Kelly, Savannah Knoop Distributor: Universal Studios Home Entertainment Content Group Running Time: 108 min Rating: R Year: 2018
Ang Lee's Gemini Man, Starring Will Smith, Gets Official Trailer
Ang Lee's three-year marriage to the 120fps format appears to be in strong shape.
Ang Lee's last film, Billy Lynn's Long Halftime Walk, was praised on these pages for astoundingly animating the mind of its young soldier. The film, shot in 3D at a resolution of 4K, was supposed to be some kind of game-changer. But its 120fps format, which is almost three times the 48fps that Peter Jackson used for The Hobbit, annoyed just about everyone for resembling a soap opera or football game.
Nonetheless, Lee's has remained committed to the format. His latest film, Gemini Man, tells the story of an aging assassin (played by Will Smith) who's being chased by a younger clone of himself. Admittedly, the hyper-real textures of the film look more convincing than those of either Billy Lynn's Long Halftime Walk or The Hobbit. But you can make your own assessment from the two-minute trailer that Paramount Pictures released today:
Paramount Pictures will release Gemini Man on October 11.
Review: Avengers: Endgame Is, Above All Else, a Triumph of Corporate Synergy
Every serious narrative beat in the film is ultimately undercut by pro-forma storytelling, or by faux-improvised humor.1.5
"Let's get that son of a bitch," says Captain America (Chris Evans) near the beginning of Anthony and Joe Russo's Avengers: Endgame, the supposed big-screen finale to the Marvel Cinematic Universe as we now know it. Cap, that sacred symbol of American might, is of course profaning Thanos (Josh Brolin), the purple colossus whose hand of fate, bedecked with the six Infinity Stones, erased half the world's population during the cliffhanger climax of last year's Avengers: Infinity War. The victims included many among the superheroic, several of whom have movies on the docket. So there's no way the remaining commodities—I mean, Avengers—are going to go down without a fight.
It'll take a while to get to the final showdown, of course. About two hours and 45 minutes of the three-hour running time, to be exact, all of it filled to bursting with goofy one-liners, aching stares into the middle distance, and lots and lots of wibbly wobbly, timey wimey digressions. Almost all of the Avengers's founding team members are on hand, with a considerably more grizzled and cynical Clint "Hawkeye" Barton (Jeremy Renner) providing most of the pathos. Also in attendance are Scott "Ant-Man" Lang (Paul Rudd) and Carol "Captain Marvel" Danvers (Brie Larson), the latter of whose won't-take-no-guff brashness is especially endearing to a certain gruff, hammer-wielding Asgardian.
I'd tell you more about the film, but then I'd have to kill myself at the spoiler-averse Marvel Studios's behest. Even noting certain elements out of context—like, say, "Nerd Hulk" or "Lebowski Thor"—might be considered too revealing by the powers that be. So, let's dance around the narrative architecture and instead ruminate on whether this 22nd entry in the MCU serves as a satisfying culmination of all that's preceded it.
That's a firm no, though the Russo brothers and screenwriters Christopher Markus and Stephen McFeely certainly lean hard into the dewy-eyed, apocalyptic sturm und drang. You'd think they were putting the finishing touches on the Bible. There are allusions to The Leftovers, J.G. Ballard's The Terminal Beach, and Picasso's Guernica, though there's never a sense, as in those works, that society is truly in irrevocable decay. It's all good, even when it isn't: Death is a mostly reversible ploy, and sacrifice is a self-centered concept, a burnish to the ego above all else. It's telling that, in one scene, Captain America stops to admire his own ass.
There's some fleeting fun to be had when Endgame turns into a sort of heist film, occasioning what effectively amounts to an in-motion recap of prior entries in the MCU. Yet every serious narrative beat is ultimately undercut by pro-forma storytelling (the emotional beats never linger, as the characters are always race-race-racing to the next big plot point), or by faux-improvised humor, with ringmaster Tony "Iron Man" Stark (Robert Downey Jr., so clearly ready to be done with this universe) leading the sardonic-tongued charge. Elsewhere, bona fide celebs like Michael Douglas, Michelle Pfeiffer, and Natalie Portman are reduced to glorified extras. Even the glow of movie stardom is dimmed by the supernova that is the Marvel machine's at best competently produced weightlessness.
Cast: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Benedict Wong, Jon Favreau, Bradley Cooper, Gwyneth Paltrow, Josh Brolin, Evangeline Lilly, Tessa Thompson, Frank Grillo, Winston Duke Director: Anthony Russo, Joe Russo Screenwriter: Christopher Markus, Stephen McFeely Distributor: Walt Disney Studios Motion Pictures Running Time: 181 min Rating: PG-13 Year: 2019
Cannes Directors' Fortnight Lineup Includes The Lighthouse, Zombi Child, and More
In addition to Directors' Fortnight, the festival announced the films that would screen as part of the ACID lineup.
Five days after Cannes artistic director Thierry Fremaux revealed the films that would be competing for the Palm d'Or this year on the Croisette, the Cannes Film Festival has announced the films that will screen as part of the prestigious Directors' Fortnight. Among those are Robert Eggers's The Lighthouse, a dark fantasy horror film starring Willem Dafoe and Robert Pattinson shot on 35mm black-and-white film stock, and Bertrand Bonello's Zombi Child, which recounts the destiny of Clairvius Narcisse, a Haitian man who was famously said to have been turned him into a zombie.
See below for the full lineup, followed by the ACID slate.
Directors' Fortnight Lineup:
Opening Film
Deerskin (Quentin Dupieux)
Official Selection
Alice and the Mayor (Nicolas Pariser)
And Then We Danced (Levan Akin)
The Halt (Lav Diaz)
Dogs Don't Wear Pants (Jukka-Pekka Valkeapää)
Song Without a Name (Melina León)
Ghost Tropic (Bas Devos)
Give Me Liberty (Kirill Mikhanvovsky)
First Love (Takashi Miike)
The Lighthouse (Robert Eggers)
Lillian (Andreas Horwath)
Oleg (Juris Kursietis)
Blow It to Bits (Lech Kowalski)
The Orphanage (Shahrbanoo Sadat)
Les Particules (Blaise Harrison)
Perdrix (Erwan Le Duc)
For the Money (Alejo Moguillansky)
Sick Sick Sick (Alice Furtado)
Tlamess (Ala Eddine Slim)
To Live to Sing (Johnny Ma)
An Easy Girl (Rebecca Zlotowski)
Wounds (Babak Anvari)
Zombi Child (Bertrand Bonello)
Closing Film
Yves (Benoît Forgeard)
Special Screenings
Red 11 (Roberto Rodriguez)
The Staggering Girl (Luca Guadagnino)
Two Sisters Who Are Not Sisters (Beatrice Gibson)
The Marvelous Misadventures of the Stone Lady (Gabriel Abrantes)
Grand Bouquet (Nao Yoshigai)
Je Te Tiens (Sergio Caballero)
Movements (Dahee Jeong)
Olla (Ariane Labed)
Piece of Meat (Jerrold Chong and Huang Junxiang)
Ghost Pleasure (Morgan Simon)
Stay Awake, Be Ready (An Pham Thien)
ACID Lineup:
Blind Spot (Pierre Trividic, Patrick-Mario Bernard)
Des Hommes (Jean-Robert Viallet, Alice Odiot)
Indianara (Aude Chevalier-Beaumel, Marcello Barbosa)
Kongo (Hadrien La Vapeur, Corto Vaclav)
Mickey and the Bear (Annabelle Attanasio)
Solo (Artemio Benki)
As Happy as Possible (Alain Raoust)
Take Me Somewhere Nice (Ena Sendijarevic)
Vif-Argent (Stéphane Batut)
Third Annual ACID Trip
Las Vegas (Juan Villegas)
Brief Story from the Green Planet (Santiago Loza)
Sangre Blanca (Barbara Sarasola-Day)
Review: Carmine Street Guitars Is a Beautiful Portrait of an Everyday Paradise
The film celebrates the thingness of things, as well as the assuring clarity and lucidity that can arise from devotion to knowledge.3.5
The concept of Carmine Street Guitars is simplicity itself. Director Ron Mann documents the legendary Greenwich Village guitar store of the film's title over a period of five days, watching as mostly famous customers stroll in to peruse and play instruments and shoot the breeze with guitar maker Rick Kelly. There's no voiceover, no overt narrative, and little orienting text—and none of the encounters in this film are structured or presented as info-bite-style interviews. Mann artfully sustains the illusion of someone who's just hanging out, capturing whatever draws his attention. Consequentially, the documentary communicates the magic of this place even to someone who's never been to New York City.
Mann has a knack for telling you more than he appears to be. Fashioning intimate compositions, he surveys Kelly and his apprentice, Cindy Hulej, as they build guitars together in companionable silence. Kelly and Hulej are a poignant study in contrasts: Kelly is a graying sixtysomething man with a bit of a belly, while Cindy is a lean twentysomething woman who, with her bright blond hair and multiple tattoos, suggests a rock star. Occasionally, Hulej will solicit Kelly's approval for one of her designs or for the artwork or poetry she's burning into the back of a guitar, which he grants with a humble hesitation that subtly says, "You don't need my approval." Meanwhile, up front in the store, Kelly's mother answers the phone. At one point, she says she's happy to be here, though, at her age, she's happy to be anywhere.
Shots of Kelly and Hulej working also allow one to savor the tactility of Carmine Street Guitars itself. Hulej works to the left of the back of the store, while Kelly stays to the right of it. Above Kelly is a storage of wooden planks taken from various landmarks of New York, such as Chumley's and McSorley's. Kelly poetically says that he likes to build guitars from the "bones of New York." The resin dries out in older wood, allowing for more openings in the material which in turn yields greater resonation. Such fascinating details arise naturally in the film's images and conversations. Over the course of Carmine Street Guitars, Kelly fashions a McSorley's plank into an incredibly evocative guitar, as the gnarled wood gives it the appearance of possessing scar tissue. Near the end of the documentary, musician Charlie Sexton walks in and plays this guitar, and the idea of scar tissue takes on a different meaning. Sexton, Kelly, and the store itself are textured survivors of another era.
This is never explicitly stated in Carmine Street Guitars, but the film offers an analogue daydream in a 21st century that's been nearly gentrified to death by corporations. The building next to Carmine Street Guitars was once used by Jackson Pollack and is now being sold by a yuppie real estate agent for six million dollars. The yuppie walks into the guitar shop, drooling over the potential sales opportunity, and his entrance feels like an obscenity—a return to the reality that we frequent stores like Carmine Street Guitars, and films like Carmine Street Guitars, in order to evade. It's only at this point that Kelly's democratic bonhomie hardens into defensive contempt, as he virtually refuses to speak to the agent. This episode haunts the film, suggesting a fate that can only be bidden off for so much longer.
Carmine Street Guitars celebrates the thingness of things, as well as the assuring clarity and lucidity that can arise from devotion to knowledge. Kelly's guitar shop is a cocoon, a place of contemplation, and so it feels inevitable when Jim Jarmusch walks into the store. After all, Jarmusch's recent films, like Only Lovers Left Alive and Paterson, also celebrate creation and erudition while ruing the arrival of a new culture that's hostile to such desires. Kelly and Jarmusch talk about the filmmaker's new guitar, which is partially made from Catalpa wood, leading to a riff on the trees that have been formative in each man's life. In another moving interlude, Wilco guitarist Nels Cline searches for a guitar for frontman Jeff Tweedy, settling on an instrument that reflects Kelly's own characteristic design: a telecaster with a dropped horn. Such moments reveal artisanship to be a form of communion, as a personal object for Kelly has been refashioned into a symbol of another artistic partnership.
These themes and associations bob under Carmine Street Guitars's surface, as musicians noodle around with Kelly. This pregnant sense of implication is Mann's supreme achievement, and as such the film risks being taken for granted as a charming little diversion, when it should be celebrated as a beautiful portrait of an everyday paradise. When Hulej weeps in gratitude, on her fifth anniversary of working for Carmine Street Guitars, you want to weep with her.
Review: Hyènas Brilliantly Chips Away at a City's Colonialist Architecture
Djibril Diop Mambéty's 1992 film resonates primarily for its lacerating comedic writing and pacing.4
Djibril Diop Mambéty spared no one when mercilessly depicting populations who were simultaneously eating themselves from within and being exploited by the economic interests of outside forces. Mambéty's great Touki Bouki from 1973 viewed this dual process through the prism of the postcolonial relationship between Senegal and France. And in Mambéty's second feature, 1992's Hyènas, Senegal is pitted against larger global institutions, such as the World Bank, that prey on small nations whose financial instability makes them more likely to embrace warped logic and false promises at their own expense.
Mambéty confines the proceedings to Colobane, a small commune in Dakar, where its population and governmental order are turned upside down by the return of former resident Linguere Ramatou (Ami Diakhate), whose newfound wealth has become a subject of much dispute and angst within the community. The woman, who's said by locals to be "richer than the World Bank," becomes Mambéty's stand-in for how an institutional form of thinking, with its financial rather than human emphasis, corrupts local interests by vacuously promising short-term riches to citizens that, in turn, produce long-term financial crises.
One of Mambéty's primary strengths is how his sense of detail instantly brings the locations of his films to life. Hyènas opens within the market owned by Dramaan (Mansour Diouf), a beloved local merchant whose generosity with patrons is almost immediately apparent, as he allows several customers to purchase expensive goods on credit rather than having them pay up front. Mambéty establishes each nook and cranny of the market's space through a series of static shots that gradually reveal the amount of people—none of which offer payment for their acquisitions—toiling around the premises. When Dramaan's wife (Faly Gueye) appears, and Dramaan says, out of her earshot, that she disapproves of his business practices, it's the first suggestion in Mambéty's carefully plotted script that mutual trust is the first casualty in the exchange of money between people linked to differing motivations. As the Colobane community takes even greater advantage of Dramaan later in the film, Hyènas further turns the man's plight into an absurdist tale of capitalism's follies.
Linguere's return to Colobane provides the film with its driving plot device, as she announces to the population that she will pump hundreds of millions of dollars into the community in exchange for Dramaan's murder. Linguere was abandoned by Dramaan years prior after giving birth to their daughter and has come back with the sole intention of wreaking havoc on the man's life. At least, it initially seems that way; in a later scene, Linguere explains, "The world has made me a whore," and so she plans to "turn the world into a whorehouse."
Mambéty imagines how Linguere's wealth co-signs her agenda of revenge; her dangling of expensive goods over the heads of locals hungry for their piece of the pie is akin to the lie of global monetary cooperation promised by organizations like the International Monetary Fund. Senegal, once again, becomes dependent on global rather than local sources of income and exchange. Mambéty, though, follows the thematic example set by Ousmane Sembène's Xala, in which a Senegalese politician's sexual impotence is a symbol of his corruption, by refusing to exonerate local officials within Senegal for their complicity in embracing Westernization. When Dramaan meets with Colobane's mayor (Mamadou Mahourédia Gueye) to discuss the bounty that's been placed on his head, the latter says, "[Leopold] Senghor himself went for a walk with the Queen of England…if we were savages, they would not come here." By implicating the mayor's deference to Western forms of knowledge and self-definition, Mambéty deftly wrestles with the complexity of corruption's reach.
Despite its rather serious and finally tragic appraisal of Senegal's quagmire within the world system, Hyènas resonates primarily for its lacerating comedic writing and pacing. As Dramaan comes to mistakenly believe that he will be elected Colobane's next mayor, only to learn that, in fact, he's more likely to be killed before an election takes place, Mambéty ratchets up the film's ludicrousness to simultaneously critique the Senegalese government and widespread consumerism, and with equal ferocity. This is best encapsulated by the moment where Dramaan realizes that everyone who isn't paying him seems to own the same, new pair of yellow boots made in Burkina Faso. Dramaan's market, filled with foreign goods ranging from European tobacco to Coca-Cola, is itself exploiting its owner; the man has paid a high price for quality only for the local marketplace to abuse his ambitions.
These ideas also propelled Touki Bouki, in which a pair of college-aged youths from Dakar, a city adored with so many Pepsi logos and Mobil oil towers, (dream of migrating to France. In a memorable scene from that film, a pair of French professors dismiss Senegal's local culture by articulating the distinctly colonialist logic of France's superiority. While Hyènas forgoes such an explicit drag of French supremacy, the film's lucid indignation and satirical take on Senegal's raw deal proves just as convincing.
Cast: Ami Diakhate, Mansour Diouf, Calgou Fall, Faly Gueye, Mamadou Mahourédia Gueye, Issa Ramagelissa Samb, Dijbril Diop Mambéty Director: Djibril Diop Mambéty Screenwriter: Djibril Diop Mambéty Distributor: Metrograph Pictures Running Time: 110 min Rating: NR Year: 1992
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text:
Contributed by Jérémie Bouchaud, Director & Principal Analyst, MEMS, iSuppli
When a sensor makes it into the cell phone market it can consider itself to be in the "big league." As iSuppli reports in the news section of this issue, Steve Jobs' recent announcement of the new Apple iPhone 4G featuring a 3-axis gyroscope is certainly good news for the small pool of suppliers of these devices. And, given its trendsetting nature and the way the company helped establish accelerometers in cell phones, Apple could not be a better champion to establish this device among other phone manufacturers.
This article looks at the reasons why the gyroscope has finally "earned its spurs" for mobile phones, and at the applications that will support its implementation in the coming years.
Gyroscopes Coming to a Cell Phone Near You
iSuppli anticipated the first gyroscopes would come into cell phones this summer (see interview in EEtimes in May http://www.eetimes.com/news/latest/showArticle.jhtml?articleID=224701537 ). But 1 year to 2 years ago, this seemed to be a more remote possibility. What has changed since then?
- Significant progress has been made on the showstoppers: power consumption and device size, and price.
- The success of "virtual" 3-axis gyroscopes in gaming combined with 3-axis accelerometers, especially in the Nintendo Wii Motion Plus since June 2009. iSuppli calls it "virtual" because Nintendo's accessory combines a 2-axis gyro from InvenSense with a 1-axis gyro from Epson Toyocom. This game controller demonstrated just how well a 6-axis solution (3-axis accelerometer + 3-axis gyroscope) works and makes the motion recognition smoother and more precise. This has stimulated the imagination of handset makers.
- The race between InvenSense and STMicroelectronics for 3-axis gyroscopes has accelerated progress. Both companies expended huge efforts on bringing 3-axis gyroscopes, which resulted in market entrance at the end of 2009. Cell phone makers now appear confident that 3-axis gyroscopes will follow the same curve as 3-axis accelerometers, becoming quickly affordable and readily available in volume.
The most important functions in cell phones in 2010 and 2011 will be the "user interface" in using 3-axis gyroscopes in combination with 3-axis accelerometers, OIS or optical image stabilization (using 2 axes from the available 3-axes) and dead reckoning for in-vehicle navigation systems. From 2012, gyroscopes will start to be used in pedestrian navigation, especially for in-door use. Only a few phones will follow Apple with gyroscopes in 2010, but gyroscopes will rapidly gain in popularity in the smart phone segment in the next 4 years.
While some 2-axis gyroscopes will ship into cell phones for image stabilization (OIS), iSuppli expects that 3-axis parts will dominate in handling OIS, user interfaces and dead reckoning, and also anticipates that most will ship as part of a multi-sensor package, especially as a 5 or 6-axis IMU featuring an accelerometer, for the following reasons:
- The signal from gyroscopes is almost always combined with accelerometers.
- All existing and potential suppliers of gyroscopes for cell phones have accelerometers in-house—InvenSense, STMicroelectronics, Kionix, Freescale, ADI, and Qualtre.
- In contrast to electronic compasses, the gyroscope is not sensitive to Electro Magnetic Interference (EMI), and a 6-axis IMU can be placed anywhere on the PCB, while the placement of a 6-axis compass is more critical due to EMI.
User Interface and Gaming
While 3-axis accelerometers have proven that they can be used for a number of gesture-based user interfaces, the motion recognition can largely benefit from the addition of a gyroscope. From 3 axis to 6 axis, one moves "from good to great." Since June 2009 the success of the games introduced with the Wii Motion Plus that adds 3-axis gyroscope to the 3-axis accelerometer from the Nintendo main controller is the best demonstration. In essence, adding a 2 axis gyroscope or even 3 axis gyroscope to the gyroscope gives software developers measurement of 3-D motion with higher precision, accuracy and responsiveness. Especially in the low-frequency motion, the addition of the gyroscope considerably improves the responsiveness.
At the Mobile World Congress in February 2010. InvenSense demonstrated gesture commands using the gyroscope for a number of applications including Flip for next page / Tap on the back for next picture / Zoom-in and Zoom-out / Turning face down to stop ringing / Shortcut: writing a letter in the air e.g. C for camera / Image rotation / 3-D signature "in the air."
While many applications are already listed, the real killer application for 6-axis IMU user interfaces has probably not been found yet. One must probably still wait for a couple of months after the iPhone 4G is released to see what will come out of the imagination of the developers.
Steve Jobs' demonstration seems to indicate that gaming applications will first benefit from the gyroscope. One cannot transpose the Wii Motion Plus experience one-to-one to a handset, since the handset is both the controller and the screen. A 6-axis device can be beneficial as follows:
- The gyroscope can provide an incremental increase of the responsiveness and accuracy of the command for the common tilt-based games.
- More interestingly, some games are using the phone as a game controller only, without the need for the screen. Some apps on the App store turn the phone into a light saber for example. This kind of game can be considerably enhanced with the gyroscope especially as they will follow much more precisely the movements of the wrist.
- The gyroscope can complement the compass for immersive games using Augmented Reality. While the compass performs best with slow rotation, adding a gyroscope should greatly increase the accuracy and responsiveness of these sensors in games like SkySiege (see the excellent video http://www.youtube.com/watch?v=lWsqKDhGVo0&feature=player_embedded#), the player is not static but actively moving himself and the phone in all axes.
Navigation Applications
Gyroscopes are well established for automotive in-dash navigation systems. Some high-end PNDs also feature various combinations of either accelerometer, gyroscope, magnetic compass, and/or pressure sensor. The future of navigation is however with the mobile handset, which already overtook PNDs and in-dash OEM systems as the dominant navigation device in 2009, and will amount to more than 85% of the navigation market in units by 2014.
Even more interesting is pedestrian navigation technology, up until recently limited by availability of maps—a situation that is changing rapidly. Companies like the market leader Navteq now offer more than 100 city maps, with 150 expected by the end of 2010. But content for indoor navigation is in still in its infancy, although some shopping malls maps appeared in the U.S. at the end of 2009. There are several startups pushing these new frontiers and by year-end, one of these, Micello, aims to offer 5,000 indoor maps across the U.S. Navteq is also active and plans its first maps by this time.
What does it mean for gyroscopes? The first cell phones that will benefit from gyroscopes will support dead reckoning for in-vehicle navigation, though not yet pedestrian navigation. By 2011, expect a breakthrough for real sensor-based navigation using multiple sensors, although iSuppli does not believe in a pure inertial solution, rather a combination with Wi-Fi and cellular tower triangulation.
Some of the companies working on solutions for indoor location include CSR-SiRF, Qualcomm and start-ups such as Rosum, Qubulus and InSiteo. The gyroscope will be used for dead reckoning, combined with an accelerometer. Since inexpensive gyroscopes will be used, drift will be a limiting factor; with typical drift of 2°-3°/hr over 5 min, gyroscope operate for 5 minutes to 10 minutes with a final accuracy of 10m to 30m.
For indoor navigation, compasses will complement gyroscopes, and vice versa. While compasses work well when held still, they are slow to re-adjust when the user turns quickly, and gyroscopes are good at measuring fast rotational motions. On the other hand, a compass can recalibrate a gyroscope.
All in all, there are several killer applications for consumer MEMS gyroscopes and all the planets now appeared correctly aligned to ensure their future integration and market success.
This analysis is extracted from iSuppli's report "H1 2010 Motion Sensors for Mobile Handsets"
More info on www.isuppli.com/MEMS-and-Sensors


text:
Deep sea coral. White "black coral" Leiopathes glaberrima. A cerianthid anemone
is on the sea floor in lower left.
Image ID: expn1157, Voyage To Inner Space - Exploring the Seas With NOAA Collect
Photo Date: 2008 October 1 1548
Credit: Lophelia II 2008: Deepwater Coral Expedition: Reefs, Rigs, and Wrecks
• High Resolution Photo Available
of the U.S. Department of Commerce, National Oceanic & Atmospheric
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Last Updated:
November 10, 2017


text:
Business School Offering $74,000 Scholarship for Best Tweet
Twitter skills are going to score one student a full ride to The University of Iowa's Henry B. Tippie School of Management.
To win the $37,200-a-year scholarship, applicants have to answer one of their essay questions within Twitter's 140 character limit. The Trippie School's website does encourage that links to other social media "such as blogs, video, Facebook, or a web page" be included in the Tweet, to show the applicants' creativity.
"Social media is a powerful tool for business communication, and is driving change in today's business world. We see it as a natural way to set yourself apart as an MBA applicant," the website continues.
However, it will take more than just a clever tweet to get a into Tippie. Prospective students are only eligible for the scholarship if the more traditional part of their application also meets the school's standards for acceptance.
[via Yahoo]


text:
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imagineinternet needed a new web page design and created a contest on 99designs.
A winner was selected from 55 designs submitted by 13 freelance designers.
This should be a really great design project! No need for clutter, just something stylish and professional. Check out the complete brief at http://www.gowebsolutions.com/dev/c…tbrief.pdf
imagine internet
- style
- unique design
- web 2.0 styles used
- see brief
- clutter
- lack of dimension in design
- see brief for more details