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Platform Category:
Earth Observation Satellites
Platform Series/Entity:
Platform-based Instruments:
Orbit Altitude
: 705km
Orbit Inclination
: 98.2 degree
Equator Crossing
: nominally 10 AM
: 99 minutes
Repeat Cycle
: 16 days
Orbit Type
: LEO > Low Earth Orbit > Polar Sun-Synchronous
Related Data Sets
View all 81 records related to this platform
Landsat 7 systematically provides well-calibrated, multispectral, moderate resolution, substantially cloud-free, sun-lit digital images of the Earth's continental and coastal areas with global
coverage on a seasonal basis. It covers the United States every 16 days. Operations were transferred to USGS on Fall 2000.
The Landsat Project is a joint initiative of the U.S. Geological Survey (USGS) and the NASA to gather Earth resource data using a series of satellites. NASA was responsible for developing and launching the spacecrafts, while the USGS is responsible for flight operations, maintenance, and management of all ground data reception, processing, archiving, product generation, and distribution.
The primary objective of the Landsat Project is to ensure a collection of consistently calibrated Earth imagery. Landsat's Global Survey Mission is to establish and execute a data acquisition strategy that ensures repetitive acquisition of observations over the Earth's land mass, coastal boundaries, and coral reefs; and to ensure the data acquired are of maximum utility in supporting the scientific objectives of monitoring changes in the Earth's land surface and associated environment.
Key Landsat 7 Facts [p. 176]
Joint with U.S. Geological Survey (USGS)
Heritage: Landsat 4, 5
Equatorial Crossing: 10:00 a.m. ± 15 mins
Altitude: 705 km ± 5 km (at the equator)
Inclination: 98.2° ± 0.15°
Period: 98.9 min
Repeat cycle: 16 days/233 orbits
Dimensions: 4 m high, 2.7 m diameter
Mass: 1982 kg
Power: 1550 W
Downlink: Three 150 Mbps wideband downlinks
Antennas: 3 gimbaled X-band, 2 omni S-band
Design Life: 5 years
Spacecraft: Lockheed Martin
ETM+: Raytheon Santa Barbara Remote Sensing
Data Archival, Processing, Ground Operations: USGS National Center for Earth
Resources Observation System (EROS) data center
Spacecraft and Sensor Maintenance: NASA GSFC
Calibration: EROS and GSFC
Type: Circular, sun-synchronous
[Summary provided by NASA.]
Online Resource:
Platform Logistics:
Design Life:
5 Years
Launch Date:
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Dutch Tea
Below you will find our large selection of Dutch teas, mainly Pickwick and AH teas. You will also find unique tea of Yeh-Collection: these teas truly make a wonderful gift for any lover of fine tea.
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MTV Spring Break 2010 kicks off March 20, 2010 with sun-drenched programming and musical performances from artists infiltrating screens on MTV, MTV2, mtvU and MTV.com. La fiesta will feature the hottest artists, the hottest MTV stars from another sandy shore, and even some hot competitions with a special Spring Break edition of The Real World / Road Rules Challenge and the second mtvU Spring Break USA Rock, Paper, Scissors ChAMPionships. That's right, hot, hot, and HOT. (It is Mexico, after all…).
What's most important is that Spring Break 2010 will bring the heat to the beach with scorching performances for those lucky Spring Breakers in Acapulco (starting at 1pm CT March 16 – 17 on the beach). MTV will premiere a performance from a different Spring Break artist each night at 8pm from March 22nd through the 26th. B.o.B is set to perform!
For more information on MTV Spring Break 2010, head to over to Springbreak.mtv.com.


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UNIVERSITY PARK, Pa. -- Earlier this month, Penn State was recognized among the nation's top producers of Peace Corps volunteers with 55 undergraduate alumni serving overseas. The University is No. 21 on the Peace Corps' 2013 rankings of colleges and universities in the large school category.
Several events will be held at Penn State to mark Peace Corps Month during March.
-- 6 to 7 p.m. Feb. 27, Career Services Center, Invite the World to Your Table: Returned Peace Corps volunteers (RPCVs) will share this experiences during a potluck dinner.
-- 11 a.m. to 2 p.m. March 1, bottom of the grand staircase in the HUB-Robeson Center: RPCVs will be speaking with students and offering cake to celebrate 52 years of the Peace Corps.
-- 6 to 7 p.m. March 12, Career Services Center, general information session.
-- 6 to 7:30 p.m. March 26, Career Services Center, RPCV panel dicussion.
For more information, call 814-865-4594, email firstname.lastname@example.com, or visit www.peacecorps.gov, http://studentaffairs.psu.edu/career/students/PeaceCorps.shtml or www.facebook.com/peacecorpspennstate.


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Post your reenacting photos for FREE in our photo gallery! Let the world see your great impression!
1946 - Present Day
(Indochina War, Korea, Vietnam,
reenactor.Net's Online Living History Forums
I've wanted to do Forums for awhile now, but it was either too much coding, or I would have to use someone else's system (i.e. ezboard or something -- meaning we had no control over how it was run) or just whatever . I am happy to say I've found something that set up well and is expandable. There is very little there yet, but there will be soon. And, if you're signed up for one time period, you're a member in them all. This works well if you do more than one time period.
P.S. look for more changes at r.Net coming up to make it easier and better for you, the reenactor.
This Korea/Vietnam Reenactor
site is owned by Max Popov
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Militaria Magazine -- One of the very best publications World-WIDE, Militaria specializes in... Militaria! Every magazine is chock full of colour photos of uniforms and kit along with with excellent high quality articles explaining everything. Militaria covers everything to do with the military and militaria during the 20th Century. NO reenactor should be without Militaria -- Get a subscription today.
* Militaria IS a French language magazine, however, I have never had any trouble with it -- especially with Alta-Vista's translation website handy at all times ;-)
1946-2000 Main Page | Korean War Units | Indochina War Units
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U.S. Equal Employment
Opportunity Commission
EEOC offers employers many opportunities to resolve charges of discrimination. Successfully resolving the case through one of these voluntary processes may save you time, effort and money. Methods of resolution include mediation, settlement and conciliation.
EEOC has greatly expanded its mediation program. The program is free, quick, voluntary and confidential. If mediation is successful, there is no investigation.
If the charge filed against your company is eligible for mediation, you will be invited to take part in the mediation process. If mediation is unsuccessful, the charge is referred for investigation.
To learn more about EEOC's mediation program, and how to participate in it, visit the mediation section of the website.
Charges of discrimination may be settled at any time during the investigation. EEOC investigators are experienced in working with the parties to reach satisfactory settlements. You should contact the investigator if you are interested in resolving your charge through settlement.
EEOC is statutorily required to attempt to resolve findings of discrimination through "informal methods of conference, conciliation, and persuasion." See 42 U.S.C. 2000e-5. After the parties have been informed by letter that the evidence gathered during the investigation establishes that there is "reasonable cause" to believe that discrimination has occurred, the parties will be invited to participate in conciliation discussions. During conciliation, your investigator will work with you and the Charging Party to develop an appropriate remedy for the discrimination. We encourage you to take advantage of this final opportunity to resolve the charge prior to EEOC considering the matter for litigation.


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Review: Journey to the West
Stephen Chow's distinctive vision is evident in the seemingly boundless imagination of his scenarios, and in the film's sincere spiritual concerns and generosity toward misfits and outsiders.3.0
Stephen Chow may not be the star of Journey to the West, but his distinctive vision is nevertheless all over his new 3D action epic, not only in the seemingly boundless imagination of his scenarios, but in its sincere spiritual concerns and generosity toward misfits and outsiders. One only needs to note a particular moment during its first big action set piece—a showdown between Buddhist-in-training Tang Sanzang (Zhang Wen) and a demon who takes the form of a giant fish and terrorizes a river village—to grasp Chow's impishly humane sensibility at work. What at first seems like an easy joke, one involving an obese woman jumping onto a makeshift seesaw in order to launch the fish demon into the air and beach it, turns on a dime into a hearteningly heroic moment.
The title refers to the classic 16th-century Chinese novel, but this is hardly a faithful adaptation; instead, Chow uses elements of the source material as a springboard to, among other things, stage a dialogue between two different poles of heroism. On one side, there's Tang, the demon-hunting Buddhist who's so committed to his religious ideals that he shuns all sorts of earthly temptations, especially of the romantic variety. His polar opposite is Duan (Shu Qi), a ruthless female demon hunter who prefers to kick ass and destroy her targets rather than appeal to their inner humanity, as Tang has been taught to do with his book of "300 Nursery Rhymes." Tang finds his religious beliefs rattled upon seeing Duan's impressive displays of might when his attempts at reason prove ineffectual.
Duan, however, isn't entirely your prototypical woman-warrior badass. She does, in fact, fall in love with Tang, even as he staunchly resists her blatant advances, sticking to, among other things, the idea of a "higher" love beyond the merely fleshly. True to her forward nature, however, she goes to some pretty extreme lengths to try to seduce Tang, at one point going so far as to stage an entire elaborate ruse in order to trap him into having sex with her. In some ways, Tang recalls Mui, the acne-ridden baker from Chow's Shaolin Soccer who went to similarly great lengths to win the affections of a lead character afflicted with a similar case of spiritually minded tunnel vision. Do these characters suggest a regressive view of women on Chow's part—an inability to conceive of a female character who, tough as she may be, still ultimately conforms to traditional notions of finding fulfillment through romance? Perhaps the fact that Duan, for all her clumsy attempts at seduction, seems to genuinely admire Tang's asceticism through it all could be seen as a mitigating factor in this particular case. As with Tang's internal religious struggles, Chow is open enough to give all of his characters and themes dialectical shades of gray.
None of this detracts from the sheer exhilaration of seeing Chow's imagination roam free in bringing this oft-adapted Chinese text to life. This is the kind of ceaselessly inventive film in which pop songs are used as potential soothing agents for demons, a warrior grows a giant foot while doing battle with a demon, and a seduction attempt involving a kind of miming spell goes wrong in uproarious fashion. But, as ever with Chow, there are genuinely serious undercurrents throughout the relentless playfulness: a respect for spiritual ambition, a recognition of the horrors of death mixed in with the broad comedy, and ultimately a striving for transcendence. Rarely is it that a CGI-heavy spectacle such as this could be called both entertaining and inspiring in the same breath, but such is the unexpectedly special magic of Journey to the West.
Cast: Shu Qi, Wen Zhang, Huang Bo, Show Luo, Lee Sheung-Ching, Chiu Chi-Ling, Chrissie Chau Director: Stephen Chow Screenwriter: Derek Kwok, Huo Xin, Wang Yun, Fung Chih-Chiang, Lu Zheng Yu, Lee Sheung-Ching, Ivy Kong Distributor: Magnet Releasing Running Time: 110 min Rating: PG-13 Year: 2013 Buy: Video
Review: Come and See Is an Unforgettable Fever Dream of War's Surreality
It suggests that a war's horrors were the ultimate unassimilable experience of the shadowy depths of the human mind.4
War movies largely condition us to look at warfare from a top-down perspective. Rarely do they keep us totally locked out of the commander's map room, the bunker where the top brass exposit backstory, outline goals, or lay out geography for the viewer. Both characters and audience tend to know what's at stake at all times. Not so in Elem Klimov's 1985 film Come and See, in which relentless bombings and frenetic camerawork shatter the Belarusian countryside into an incoherent, fabulistic geography, and the invading Germans appear to coalesce out of the fog on the horizon like menacing apparitions.
We experience the German invasion of Belarus through Flyora (Aleksey Kravchenko), a teenager who joins the local partisan militia after discovering a rifle buried in the sand. The early scene in which he departs from his mother and sisters presents a disconcerting, even alienating complex of emotions: the histrionic panic of his mother (Tatyana Shestakova), who alternately embraces and rails against him; the hardened indifference of the soldiers who've come to retrieve him; and the jejune oblviousness of Floyria himself, who mugs at his younger siblings to mock his mother's concerns. Eager to participate alongside the unit of considerably more weathered men, Flyora feels emasculated when he's forced to remain behind in the partisans' forest encampment with Glasha (Olga Mironova), a local girl implicitly attached to the militia unit because she's sleeping with its commander, Kosach (Liubomiras Laucevicius).
Glasha first takes on nymph-like qualities in Flyora's adolescent imagination, appearing in hazy close-ups that emphasize her blue eyes and the verdant wooded backdrop. This deceptive idyllic disintegrates, however, when the Germans bomb and storm the empty camp, kicking up clouds of dirt and smoke that never seem to fully leave the screen for the rest of Come and See's duration. The two teenagers flee, pushing through the muck of the now-fatal landscape, only to discover more horrors waiting for them back in Flyora's village.
The horrors lurking in the mists of a muggy Eastern European spring may not be what Carl von Clausewitz had in mind when he coined the phrase "the fog of war," but Klimov's masterpiece suggests a redefinition of the term, the evocative phrase signifying the incomprehensible terror of war rather than its tactical incalculables. Come and See's frames are often choked with this fog—watching the film, one almost expects to see condensation on the screen's surface—and Klimov fills the soundtrack with a kind of audio fog: the droning of bombers and surveillance planes, the whine of prolonged eardrum-ringing, an ambient and sparse score by Oleg Yanchenko. It's a cinematic simulacrum of the overwhelming, discombobulating sensory experience of war that would have an influence on virtually every war movie made after it.
And yet, in a crucial sense, there's hardly a more clear-sighted or realistic fiction film about World War II. Klimov refuses to sanitize or sentimentalize the conflict that in his native language is known as the Great Patriotic War. While fleeing back into the woods with Flyora, Glasha momentarily glimpses a heap of bodies, Flyora's family and neighbors, piled on the edge of the village where tendrils of smoke still waft from their chimneys. Despite the fleeting nature of her glance, the image sticks with the viewer, its horror reverberating throughout the film because Klimov doesn't give it redemptive or revelatory power. There's no transcendent truth, no noble human dignity to be dug up from the mass graves of the Holocaust.
Florya and Glasha eventually separate, Flyora joining the surviving men to scour the countryside for food, only to find himself the survivor of a series of atrocities perpetrated by the Germans. A full third of the Nazis' innocent victims were killed in mass executions on the Eastern Front—both by specially assigned SS troops and the regular Wehrmacht (though the myth of a "clean Wehrmacht" lives on to this day). As the end titles of Come and See inform the audience, 628 Belarusian villages were extinguished in the Nazis' genocidal quest for Lebensraum, so-called "living space" for the German Volk. As wide-eyed witness to a portion of this monstrous deed, Flyora's face often fills the film's narrow 4:3 frame—scorched, bloodied, and sooty, trembling with horror at the inhumanity he's seen.
Like his forbears of Soviet montage, Klimov uses a cast stocked with nonprofessionals like Kravchenko, and he doesn't shirk from having them address the camera directly with their gaze. In Klimov's hands, as in Eisenstein's, such shots feel like a call to action, a demand to recognize the humanity at stake in the struggle against fascism. Klimov counterbalances his film's apocalyptic hopelessness with a righteous rage on behalf of the Holocaust's real victims. The film, whose original title was Kill Hitler, takes as its heart-shattering climax a hallucinatory montage of documentary footage that imagines a world without the Nazi leader.
Come and See bears comparison to Andrei Tarkovsky's Ivan's Childhood, which likewise narrates a young boy's conscription into the irregular Russian resistance to German invasion. But whereas Tarkovsky embellishes his vision of a war-torn fairy-tale forest in the direction of moody expressionism, Klimov goes surreal. Attempting to make off with a stolen cow across an open field—in order to feed starving survivors hidden in the woods—Flyoria is blindsided by a German machine-gun attack. Pink tracers dart across the fog-saturated frame, a dreamlike image at once unreal and deadly. Taking cover behind his felled cow, Flyoria awakes in the empty field, now absolutely still, with the mangled animal corpse as his pillow.
As an art form, surrealism was fascinated by the capacity for violence and disorder lurking in the psyche. Without betraying the real—by, in fact, remaining more faithful to it than most fictional remembrances of WWI have been—Come and See suggests that the war's horrors were the ultimate unassimilable experience of the shadowy depths of the human mind. For Klimov, the dreamscapes of war realized surrealism's oneiric brutality.
Cast: Aleksey Kravchenko, Olga Mironova, Liubomiras Laucevicius, Vladas Bagdonas, Jüri Lumiste, Viktors Lorencs, Evgeniy Tilicheev Director: Elem Klimov Screenwriter: Ales Adamovich, Elem Klimov Distributor: Janus Films Running Time: 142 min Rating: NR Year: 1985
Review: Corpus Christi Spins an Ambiguous Morality Tale About True Faith
It's within the murky realm of self-doubt and spiritual anxiety that it's at its most audacious and compelling.3
Using as its jumping-off point the surprisingly common phenomenon of Polish men impersonating priests, Jan Komasa's Corpus Christi weaves an elaborate, thoughtful, and occasionally meandering morality tale about the nature of faith, grief, and community in the 21st century. Daniel (Bartosz Bielenia), a 20-year-old juvenile delinquent, is a recently converted believer, but he's also an opportunist. After finding himself mistaken for a man of the cloth upon arriving in a small, remote town, Daniel decides to strap on the clergy collar from a costume and play the part for real. Better that than head to the sawmill for the backbreaking work his former priest, Father Tomasz (Lukasz Simlat), has lined up for him.
This setup has all the makings of a blackly comic farce, but Komasa and screenwriter Mateusz Pacewicz play the scenario straight, using Daniel's fish-out-of-water status as a catalyst for interrogating the shifting spiritual landscape of a Poland that's grown increasingly disillusioned of both its religious and political institutions. For one, a general wariness (and weariness) of the cold, impersonal ritualism of the Catholic Church helps to explain why many of the townspeople take so quickly to Daniel's irreverent approach to priesthood, particularly his emotional candidness and the genuine compassion he shows for his parish.
That is, of course, once the young man gets past his awkward stabs at learning how to offer confession—by Googling, no less—and reciting Father Tomasz's prayers, discovering that it's easier for him to preach when shooting from the hip. The convenient timing of the town's official priest (Zdzislaw Wardejn) falling ill, thus allowing Daniel to slide comfortably into the man's place, is a narrative gambit that certainly requires a small leap of faith. But it's one that engenders a fascinatingly thorny conflict between a damaged imposter walking the very thin line between the sacred and the profane, a town still reeling from the trauma of a recent car wreck that left seven people dead, and a shady mayor (Leszek Lichota) yearning for a return to normalcy so that his corrupt dealings can run more smoothly.
The grieving process of the family and friends of the six teenagers lost in this tragedy is further complicated by rumors that the other driver had been drinking, leading to his widow (Barbara Kurzaj) being harassed and completely ostracized by the community. The falsity of this widely accepted bit of hearsay shrewdly mirrors Daniel's own embracing of falsehood and inability to transcend the traumatic events and mistakes of his own recent past. Yet, interestingly enough, it's the vehement young man's dogged pursuit of the truth in this manner, all while play-acting the role of ordained leader, that causes a necessary disruption in the quietly tortured little town. His unwavering support of the widow, despite the blowback he gets from the mayor and several of the deceased teenagers' parents, however, appears to have less to do with a pure thirst for justice or truth than with how her mistreatment at the hands of those around her mirrors his own feelings of being rejected by society.
It's a topsy-turvy situation that brings into question the mindlessly placating role that the church and political figures play in returning to the status quo, even if that leaves peoples' sins and darkest secrets forever buried. And while Daniel's adversarial presence both shines a light on the town's hypocrisy and their leaders' corruption, his own duplicity isn't overlooked, preventing Corpus Christi from settling for any sweeping moral generalizations, and lending an ambiguity to the ethics of everyone's behavior in the film.
Whether or not the ends justify the means or fraudulence and faith can coexist in ways that are beneficial to all, possibly even on a spiritual level, are questions that Komasa leaves unanswered. Corpus Christi instead accepts the innate, inescapable ambiguities of faith and the troubling role deception can often play in both keeping the communal peace, and in achieving a true sense of closure and redemption in situations where perhaps neither are truly attainable. Although the film ends on a frightening note of retribution, it's within the murky realm of self-doubt and spiritual anxiety that it's at its most audacious and compelling.
Cast: Bartosz Bielenia, Aleksandra Konieczna, Eliza Rycembel, Tomasz Zietek, Barbara Karzaj, Leszek Lichota, Zdzislaw Wardejn, Lukasz Simlat Director: Jan Komasa Screenwriter: Mateusz Pacewicz Distributor: Film Movement Running Time: 115 min Rating: NR Year: 2019
Review: Stella Meghie's The Photograph Isn't Worth a Thousand Words
The film is at its best when it's focused on the euphoria and tribulations of its central couple's love affair.2.5
Near the middle of Stella Meghie's The Photograph, Michael (Lakeith Stanfield) seduces Mae (Issa Rae) after dropping the needle on a vinyl copy of Al Green's I'm Still In Love with You. The 1972 soul classic is a mainstay in many a foreplay-centric album rotations thanks to the smooth atmospherics set by the Reverend Al's dulcet tones, but it's not the aptness of the music choice that makes this encounter so strikingly sensual. Rather, it's the leisurely, deliberate pacing with which Meghie allows the scene to unfold. As the mellow "For the Good Times" smoothly transitions into the more chipper and frisky "I'm Glad You're Mine," Michael and Mae engage in playful banter and subtle physical flirtations. The sly move of having one song directly spill into the next offers a strong sense of this couple falling in love, and in real time. The subtle surging of their passion occurs along with the tonal change of the songs, lending Michael's seduction of Mae an authentic and deeply felt intimacy.
The strength of this scene, and several others involving the new couple, is in large part due to the effortless chemistry between Rae and Stanfield. When the duo share the screen, there's a palpable and alluring romantic charge to their interactions, and one that's judiciously tempered by their characters' Achilles heels, be it Mae's reluctance to allow herself to become vulnerable or Michael's commitment issues. As Mae and Michael struggle to balance their intensifying feelings toward one another with their professional ambitions and the lingering disappointments of former relationships, they each develop a rich, complex interiority that strengthens the film's portrait of them as individuals and as a couple.
The problems that arise from the clash between Mae and Michael's burgeoning love and their collective baggage are more than enough to carry this romantic drama. But Meghie encumbers the film with a lengthy, flashback-heavy subplot involving the brief but intense love affair that Mae's estranged, recently deceased mother, Christina (Chanté Adams), had in Louisiana before moving away to New York. These flashbacks aren't only intrusive, disrupting the forward momentum and emotional resonance of the film's depiction of Mae and Michael's relationship, but they provide only a thinly sketched-out, banal conflict between a woman who wants a career in the big city and a man content to stay put in the Deep South.
The overly deterministic manner with which Meghie weaves the two stories together adds an unnecessary gravity and turgidity to a film that's at its best when it's focused on Michael and Mae's love story. The intercutting between the two time periods is clunky, and while both narratives eventually dovetail in a manner that makes thematic sense, Meghie extends far too much effort laying out Christina's many mistakes and regrets for an end result that feels both overripe and overwritten. When The Photograph lingers on the euphoria and tribulations of Mae and Michael's love affair, it's rich in carefully observed details, but the gratuitous flourishes in its narrative structure gives it the unsavory pomposity of a Nicholas Sparks novel.
Cast: Lakeith Stanfield, Issa Rae, Chelsea Peretti, Teyonah Parris, Kelvin Harrison Jr., Chanté Adams, Rob Morgan, Courtney B. Vance, Lil Rel Howery, Y'lan Noel, Jasmine Cephas Jones Director: Stella Meghie Screenwriter: Stella Meghie Distributor: Universal Pictures Running Time: 106 min Rating: PG-13 Year: 2020
David Lowery's The Green Knight, Starring Dev Patel, Gets Teaser Trailer
Today, A24 dropped the trailer for haunting mustache enthusiast David Lowery's latest.
Jack of all trades and haunting mustache enthusiast David Lowery is currently in pre-production on the latest live-action adaptation of Peter Pan for Disney, which is bound to be full steam ahead now that The Green Knight is almost in the can. Today, A24 debuted the moody teaser trailer for the film, which stars Dev Patel as Sir Gawain on a quest to defeat the eponymous "tester of men." Scored by Lowery's longtime collaborator Daniel Hart, The Green Knight appears to have been shot and edited in the same minimalist mode of the filmmaker's prior features, which include Ain't Them Bodies Saints and A Ghost Story. Though it's not being billed as a horror film, it's very easy to see from the one-and-a-half-minute clip how Lowery's latest is of a piece with so many A24 horror films before it.
According to A24's official description of the film:
An epic fantasy adventure based on the timeless Arthurian legend, The Green Knight tells the story of Sir Gawain (Dev Patel), King Arthur's reckless and headstrong nephew, who embarks on a daring quest to confront the eponymous Green Knight, a gigantic emerald-skinned stranger and tester of men. Gawain contends with ghosts, giants, thieves, and schemers in what becomes a deeper journey to define his character and prove his worth in the eyes of his family and kingdom by facing the ultimate challenger. From visionary filmmaker David Lowery comes a fresh and bold spin on a classic tale from the knights of the round table.
The Green Knight is written, directed, and edited by Lowery and also stars Alicia Vikander, Joel Edgerton, Sarita Choudhury, Sean Harris, Kate Dickie, and Barry Keoghan.
See the trailer below:
A24 will release The Green Knight this summer.
Review: Onur Tukel's The Misogynists Stagily Addresses the State of a Nation
Tukel's film doesn't live up to the promise of its fleet-footed opening.2
Taking place on the night of the 2016 presidential election, Onur Tukel's The Misogynists begins, fittingly, with the sound of a woman crying. Alice (Christine Campbell) explains to her concerned daughter that she's sad because half of the country has made the wrong decision, prompting the child to respond that her mother has herself been wrong before: "You were wrong when you thought that black man stole your cellphone." Defensively writing off this past instance of casual racism as nothing more than an honest mistake, Alice sends the girl back to bed, after offering a weary "probably not" in response to her asking if she could be elected president someday.
In just a few lines of dialogue, Tukel exposes the moral blind spots and hypocrisy of otherwise well-meaning liberals, not to mention the irresponsible vanity of outrage and despair in the face of a stinging electoral defeat. This short scene highlights the emotional vulnerabilities that often underpin, and undermine, political convictions, and it serves as a perfect encapsulation of almost all of the film's thematic concerns.
Unfortunately, the rest of The Misogynists doesn't live up to the promise of this fleet-footed opening. Set mostly within the confines of one hotel room and featuring sex workers, a Mexican delivery boy, wealthy businessmen, and other roughly sketched characters from the contemporary political imagination, Tukel seems to be aiming for a broad comedy of manners in the key of Whit Stillman and early Richard Linklater, but there isn't enough attention to detail, sense of place, or joie de vivre to make his scenarios come to life.
The narrative revolves around Cameron (Dylan Baker), a friendly but obnoxious Trump supporter. Holed up in the hotel room where he's been living since breaking up with his wife, he invites various visitors to share tequila shots and lines of coke in celebration of Trump's victory, while he holds forth on such hot-button topics as racial hierarchies, gun control, and gender roles. Baker delivers a spirited performance as Cameron, but the character is little more than a one-dimensional stand-in for a particular reactionary attitude, especially compared to the more nuanced and conflicted figures he interacts with. As the script isn't bold enough to dig into the deeper emotional appeal of Trump's nationalistic fervor and old-school machismo, Cameron's smug, pseudo-intellectual cynicism is mostly unconvincing.
Tukel realizes one of his few visual flourishes through the TV in Cameron's hotel room, which switches itself on at random and plays footage in reverse, transfixing whoever happens to be watching. This works well as a metaphor for the re-emergence of political beliefs most people thought to be gone for good, as well as the regression that many of the characters are undergoing in the face of an uncertain future. It provides a hint of the more affecting film that The Misogynists could have been had it transcended the staginess of its setup.
Though the film's dialogue rarely offers enough intellectual insights to justify a general feeling of artificiality, it does effectively evoke the media-poisoned discourse-fatigue that's afflicted us all since before Trump even decided to run for public office. The film shows people across the political spectrum who appear to have argued themselves into a corner in an effort to make sense of their changing society, and their failure to live up to their own beliefs seems to be contributing further to their unhappiness.
Going even further than this, one of the escorts, Sasha (Ivana Miličević), hired by Cameron offers up what's perhaps the film's thesis statement during an argument with her Muslim cab driver, Cairo (Hemang Sharma). She insists on her right to criticize whoever she wants, claiming that "Americans wouldn't have anything to talk about" without this right. This idea of conflict being preferable to silence ties into the ambiguous denouement of The Misogynists. Tukel ultimately seems to suggest that the freedom so many Americans insist upon as the most important value is, in fact, so lonely and terrifying that even the spectacle of the world falling apart is a reassuring distraction.
Cast: Dylan Baker, Trieste Kelly Dunn, Ivana Milicevic, Lou Jay Taylor, Matt Walton, Christine Campbell, Nana Mensah, Rudy De La Cruz, Hemang Sharma, Cynthia Thomas, Darrill Rosen, Karl Jacob, Matt Hopkins Director: Onur Tukel Screenwriter: Onur Tukel Distributor: Factory 25, Oscilloscope Laboratories Running Time: 85 min Rating: NR Year: 2017
Review: Downhill Is a Watered-Down Imitation of a True Provocation
Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.2
Ruben Östlund's 2014 film Force Majeure brims with precisely calibrated depictions of human misery—shots that capture, with a mordant, uncompromising eye, the fragility of contemporary masculinity and the bitter resentments underlying the veneer of domestic contentment. The observations it makes about male cowardice and the stultifying effects of marriage aren't exactly new, but Östlund lends them an indelibly discomfiting vigor through his rigorous yet playful compositions. Given the clarity of that vision, it probably goes without saying that Nat Faxon and Jim Rash's Downhill, an Americanized remake of Östlund's film, faced an uphill battle to not seem like an act of redundancy.
Downhill not only borrows the basic outlines of Force Majeure's plot, but also attempts to mimic its icily cynical sense of humor. The result is a pale imitation of the real thing that never builds an identity of its own. Like its predecessor, Downhill tracks the fallout from a single catastrophically gutless moment, in which Pete (Will Ferrell), the patriarch of an upper-class American family on a ski holiday in the Alps, runs away from an oncoming avalanche, leaving his wife, Billie (Julia Louis-Dreyfus), and two sons, Finn and Emerson (Julian Grey and Ammon Jacob Ford), behind—though not before grabbing his phone.
This scene, which Östlund covers in a single indelible long take in Force Majeure, is broken up here into a conventional series of shots. It's reasonably well-constructed, and it effectively sets up the chain of events that follow, but perhaps inevitably, it doesn't carry the same weight. And the same is true of so much of Downhill as it moves from one mildly amusing cringe-comedy set piece to the next, never making much of an impact.
Comedy of discomfort usually depends on the willingness to linger on an awkward moment, to make it impossible for us to shake off that discomfort. But Faxon, Rash, and co-screenwriter Jesse Armstrong lack the courage of their convictions. They craft some truly cringe-inducing scenarios, such as an explosive debate between Pete and Billie as they attempt to convince a couple of friends, Rosie and Zach (Zoe Chao and Zach Woods), whose version of events about the avalanche is correct. But they don't give us enough time or space to soak in the uneasy atmosphere. During the debate, for example, Billie rouses Finn and Emerson and has them testify before Rosie and Zach that her memory is correct. But almost as soon as the sheer inappropriateness of the decision to bring her kids into the center of a brutal marital dispute hits us, the moment has passed, and the film has moved on to the next gag.
It's hard not to feel like Faxon and Rash are pulling their punches, perhaps anxious that going a little too dark or getting a bit too uncomfortable might upset the delicate sensitivities of an American audience. Rather than really dig into the marital strife at the heart of the film's premise, they're mostly content to step back and let Ferrell and Louis-Dreyfus do their thing. And the two actors bounce off each other with a pleasantly nervous energy, Ferrell's clammy desperation so well contraposed to Louis-Dreyfus's rubber-faced emoting.
Ferrell plays Pete as a man terrified of his own feelings, unable to reveal his deep insecurities to anyone, including himself. Louis-Dreyfus, on the other hand, wears every emotion, however fleeting, right on her face, which is in a state of constant flux. Throughout Downhill, Billie's emotions range from unease to anger to self-doubt to pity, often in the span of seconds. More than anything else, it's Louis-Dreyfus's performance that sticks with you after the film is over.
If Force Majeure was essentially a film about male cowardice, Downhill is in many ways about the lies women must tell themselves to remain sane in a man's world. It's apt, then, that one of the pivotal images in Östlund's film is that of the husband's pathetically weeping face as he breaks down in a fit of self-loathing in front of his wife, and that the most lasting image in this remake is the look of shock, confusion, and rage on Billie's face as Pete tells her the same. Unfortunately, it's one of the few truly striking and meaningful images in the entire film.
Cast: Julia Louis-Dreyfus, Will Ferrell, Miranda Otto, Zoe Chao, Zach Woods, Julian Grey, Kristofer Hivju, Ammon Jacob Ford, Giulio Berruti Director: Nat Faxon, Jim Rash Screenwriter: Jesse Armstrong, Nat Faxon, Jim Rash Distributor: Searchlight Pictures Running Time: 86 min Rating: R Year: 2020
Wes Anderson's The French Dispatch, a Tribute to Journalists, Gets First Trailer
Anderson's latest is described as a "love letter to journalists."
Today, Searchlight Pictures debuted the trailer for The French Dispatch, Wes Anderson's first feature since 2018's Isle of Dogs and first live-action film since 2014's The Grand Budapest Hotel. According to its official description, The French Dispatch "brings to life a collection of stories from the final issue of an American magazine published in a fictional 20th-century French city." The city is Ennui-sur-Blasé and the magazine is run by Arthur Howitzer Jr. (Bill Murray), an American journalist based in France. The trailer, just a hair over two minutes, quickly establishes the workaday (and detail-rich) world of a magazine, a travelogue struggling with just how much politics to bring to its pages during a time of strife.
A French Dispatch is written and directed by Anderson, whose described the film as a "love letter to journalists," and stars Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray, and Owen Wilson. See the trailer below:
Searchlight Pictures will release The French Dispatch on July 24.
Review: Sonic the Hedgehog Doesn't Rock, Even After a New Paintjob
Throughout, any and all subtext is buried under the weight of Jim Carrey's mugging.1.5
It's only fitting that director Jeff Fowler's Sonic the Hedgehog, the belated big-screen debut for the eponymous Sega mascot, feels like a blast from the 1990s. Eschewing the emphasis on world building that pervades so many contemporary blockbusters, the film remains intensely focused on the personal travails of its supersonic protagonist (voiced by Ben Schwartz) and opts for telling a single, complete story over setting up a potential franchise universe. Indeed, despite Sonic being an alien from a distant planet, we only briefly glimpse other realms besides Earth throughout the film, and we only get enough of the blue hedgehog's backstory to know that he fled his homeworld (modeled on the original video game's starter level) after being hunted by other residents afraid of his superpowers.
Using rings that can allow him to pass through dimensions, Sonic ends up on Earth, settling in the woods around Green Hills, Montana. He remains hidden for his own safety but suffers from intense loneliness. This much is obvious from the way he darts around the outskirts of town, watching people from afar or spying on them through windows and pretending to have conversations with them. But Sonic the Hedgehog repeatedly makes its hero reiterate his feelings in endless monologues and voiceover narration. If the best contemporary children's films trust young viewers to follow at least some of the emotional beats of a story on their own, Sonic the Hedgehog is frustratingly old-school in its condescension, as the filmmakers constantly hold the audience's hand in order to make sure that we understand why the hero looks so crestfallen as he, for example, plays group games all by himself.
Eventually, Sonic's high-speed, energy-producing running causes a power surge, and after the Pentagon enlists a private drone contractor, Dr. Robotnik (Jim Carrey), to investigate the cause, the hedgehog finds himself in the government's crosshairs. As originally conceived in the video game, Robotnik had little depth or motivation beyond providing a megalomaniacal impedance to the hero, but there's something gently unnerving about how little updating had to be done to Robotnik's simplistic backstory to credibly present him as a mercenary in a modern military-industrial complex wielding destructive drone technology without oversight.
Of course, that subtext is rapidly buried under the weight of Carrey's mugging. As the actor is wont to do, he lunges at each line like a starving animal, pulling rubber faces and jutting his limbs in angular motions as he says every other word with an exaggerated pronunciation. In depicting a mad scientist, Carrey over-exaggerates the madness at the expense of the rare moments in which Robotnik conveys a more compelling kind of super-genius sociopathy, a tech-libertarian's disregard for anything outside his own advancement.
Through a series of mishaps, Sonic accidentally opens a portal to San Francisco with his rings and drops the remaining transportation devices through it, necessitating a retrieval mission to California. To do so, he enlists Tom Wachowski (James Marsden), a local Green Hills cop, to escort him. Having Sonic travel with Tom is an obvious pretense to give the former his first true friend, but the pairing comes at the expense of all narrative logic. Sonic can sprint from Montana all the way to the Pacific Ocean and back within seconds, yet he opts to tag along in a pickup truck doing 60mph for a mission where time is of the essence.
To Marsden's credit, there's a natural camaraderie between him and the computer-animated Sonic, which is impressive given that the critter was likely represented on set by a tennis ball on a stick. The jokes are almost all uniformly awful, following a formula of some zany thing happening and a character merely describing aloud what just happened in an incredulous voice. But Marsden impressively imbues Tom with a sense of pity as the man contemplates Sonic's life on the run—one that finds the hedgehog living in the shadows and heading to new, sometimes miserable worlds to outrun forces that might exploit and harm him.
For a film that gained notoriety well before its release for how wildly Sonic's original animation diverged from his well-established look, Sonic the Hedgehog does show a clear understanding of the source material and its essential nature. Sonic, fundamentally, is a goofy character with a specific power who just wants friends, and as exasperating as the film can be in its overbearingly clumsy humor, it at least never tries to make the character more complicated than he really is. But the lack of any greater depth to the core of the material limits the possibilities of making any of this meaningful to anyone.
Video games long ago began to reveal their cinematic aspirations, but the Sonic the Hedgehog series to this day continues to channel the old-school cool of platformers that prize gameplay—and testing the player's hand-eye coordination—over matters of story. There's plenty of potential for movies and games to inform one another, but perhaps the only aspect of video game culture that Sonic the Hedgehog brings to cinema is the trend of allowing preemptive fan outrage to necessitate overhauls from already overworked animators.
Cast: Ben Schwartz, James Marsden, Jim Carrey, Tika Sumpter, Adam Pally, Lee Majdoub, Neal McDonough Director: Jeff Fowler Screenwriter: Pat Casey, Josh Miller Distributor: Paramount Pictures Running Time: 99 min Rating: PG Year: 2020 Buy: Soundtrack
Interview: Angela Schanelec on I Was at Home, But…, the Berlin School, & More
The filmmaker discusses her elliptical approach to filmmaking and how she compels our active spectatorship.
One year ago at the Berlin International Film Festival, the Silver Bear for best director went to Angela Schanelec for I Was at Home, But…. The film stars Maren Eggert as Astrid, a Berlin woman recently bereaved of her husband and coping with the subsequent weeklong disappearance and reemergence of her son, Philip (Jakob Lassalle). Astrid's life in the wake of these dual traumas unfolds episodically, as her emotional duress manifests itself as displaced obstinacy and heightened passion in social interactions.
Astrid's emotional struggle is also intercut with dispersed scenes of Philip's class neutrally reciting lines from Hamlet, of a romantic crisis in the life of one of his instructors (the omnipresent Franz Rogowski), and of a donkey and a dog living together in an abandoned schoolhouse. With this film, Schanelec crafts a portrait of grief that can be at once alienating and deeply moving, its fragmentary nature both reflecting the way Astrid and Philip's worlds have been shattered and compelling our active spectatorship.
That latter aspect is typical of Schanelec's body of work, as well as the film movement it has been grouped with. The so-called Berlin School—originally consisting of Schanelec and Thomas Arslan and Christian Petzold, her fellow graduates from the Deutsche Film-und Fernsehakademie Berlin—wasn't the filmmakers' intentional creation, but rather a label often applied to the slow-paced, formalist, and critically engaged art films they made. French critics and the German film magazine Revolver were the first to propagate the coming of a nouvelle vague allemande in the late '90s and early 2000s, and, as Schanelec emphasizes in our interview, particularly in the early days of the "School," the grouping helped the trio's small collection of completed works find places in film festivals.
Now, 25 years into her filmmaking career, Schanelec has an oeuvre that stands on its own—as evidenced by the career retrospectives that have begun to crop up around the world. Last fall, the Vienna International Film Festival organized a comprehensive one. And from February 7 to 13, Film at the Lincoln Center in New York will be showing her films under the program "Dreamed Paths: The Films of Angela Schanelec," which in addition to her shorts and features also includes a program of three films by other filmmakers selected by Schanelec.
Has this retrospective given you reason to revisit earlier work that you haven't in a while, or to revisit your work as a whole? If so, what kinds of insights have stood out to you as you have considered your career up to this point?
I have to say that it's quite exhausting to be confronted with the work of my whole life. There were other retrospectives, earlier retrospectives, and for me it's quite hard. I mean, I'm very happy that there's this interest in my work, there' no question. But it's also quite hard for me.
What's so difficult about it?
Because, I mean, it's not such a big body of work. I started in the '90s, and the first long film was in 1995, so it's 25 years. But between my films is two or three years, so I spend a lot of time with them. And when they are finished, they are finished. And then I have the deep wish to continue with something new. And I think I know my films.
Do you see, then, each film as something new you're exploring? Or do you leave a film with an idea you want to continue working on in the next film?
It's not a new start. It's not a new beginning at all. It's rather a need that emerges from the work on a film, and I follow up on this need in the next film. And this is also not an intellectual or conceptual decision, and often it's very primitive. So, when, for example, I've worked a lot with language, there's a certain fatigue, or there emerges the need to work with images again. If you look at the way my films alternate, there's always, I don't know—in Plätze in Städten [Schanelec's first feature] there's hardly any talking, in Passing Summer lots of talking, then in Marseille, again, hardly any. So, certain needs develop, and they come from exhaustion.
In fact, I noticed that The Dreamed Path has no subtitles on Amazon Prime, and perhaps it doesn't need them because as you said it's one of your films that's so visual.
This is only one point how one film comes from another. Ah, there are lots, but it happens, as I said, not rationally, but instead it emerges from certain needs.
To what degree do you feel an affinity with something called the Berlin School? And if you did, do you feel like it's so-last-decade, do you feel it's over now?
To start at the beginning, it was only Thomas Arsland, Christian Petzold, and I. And Thomas and I had become friends already at the Filmhochschule. And via this concept, "Berlin School," it was much easier to make the films visible, because we hadn't made so many films. But then under the concept "Berlin School," one could show the whole set. Then the films were also shown abroad very often, and naturally that was good, and we were happy with that. But the concept didn't result from collaborative work, but only from a look at the finished films. And we—Thomas and I—never, though we were friends, we never worked together even at the Filmhochschule. There was no cooperation, and correspondingly, the films developed completely differently over the course of these 15 years—or I don't really know how long this concept has existed. If you look at the films only of the three of us, you'll see they're very different from one another. And mine are somewhere different entirely. In my eyes, anyway.
I agree.
And therefore the concept is not relevant for me. What's also positive, though, is this next generation came up—Christoph Hochhäuser, Nicolas Wackerbarth—and the two of them are from Revolver, and are very practiced at communicating. And that was also positive, because for Thomas and I that was unaccustomed. We had much more worked each for ourselves.
Turning to I Was at Home, But …, there's a lot of Hamlet in the film. You translated a volume of Shakespeare plays a couple of years ago, so it's clear why Hamlet appears in it to a certain extent, but I'm wondering what has drawn you to Shakespeare recently, and whether your work translating him served as a kind of germ for the film.
What I can say is that I translated, between the year 2000 and five years ago, six or seven Shakespeare pieces, and Hamlet was quite long ago, but it was the one that impressed me to a very extreme point. It's a very intense work to translate dialogues, because in a way I try to find out how I can say something. It's not a text, it's words which are spoken. And so there's a confrontation, an intense confrontation that belongs to me, that remains present to me. When I began to write the script, I didn't write it with Hamlet in mind. But when I considered, how will one see the students, and I thought, I want to see the students without the teacher. What could they do? They could perform. What could they perform? Hamlet. It came back to me. My confrontation as someone who's staging something with actors—the confrontation with staging—is to be found in the Hamlet scene. That is, what does the spoken word mean in front of a camera, and in comparison to the stage, and all these questions, I could think through them. That's actually it. In a moment in which language is so expressive, like in Shakespeare, that has consequences for the performance, for the expression of the play, because the children simply say the sentences, but they don't really play it. But it's important to understand that just saying it doesn't mean emptiness, it just means to let the body work, I mean to let the body express itself without will, without position.
One thing that I was picking up on in how you use Shakespeare is that when you're going through the kind of grief that Astrid and Philip are going through—especially if you've lost a parent—that's an almost universal experience, and you feel like it's something that has been played through so many times. You feel that grief intensely, but you also feel that you aren't unique—it's in Hamlet, everybody goes through this.
You're completely right. I don't feel unique at all [laughs]. It's interesting that you say it. I never talk about it. It's just sometimes I try to describe that. But what I'm interested in isn't what is special about the individual person. I speak much more about what unites us, about [what is] basically human, than about the individual. So, yeah, to that extent, you're right. That's somehow interesting, somehow very important, because it's important to me that the characters you see can be anyone.
You've spoken of the importance of space in your films—of the emplacement of the characters, so to speak. I Was at Home, But… clearly takes place in Berlin. But to what extent do you see it as a "Berlin film"? Could this story take place somewhere else?
Yeah, for sure it could take place somewhere else. But Germany isn't so big [laughs]. Of course, this film was shot in Berlin because I live there. But there's also a reason why I live in Berlin. There aren't so many alternatives if you want to live in a big city. What's special about Berlin is that many people live there who aren't from the city, and that shapes it. And the streets are very broad in Berlin. One notices this in particular when one wants to shoot a "big city" shot showing a lot of people—that's very hard to find in Berlin. One has to go to Friedrichstraße, or these days Alexanderplatz. But even there, it's simply so wide. And because, before as now, the city is so varied, the tourists aren't totally concentrated. There aren't so many alternatives when one wants to aim at explaining the big city, and a city where there are foreigners. The young man, for example, in the long dialogue scene in the middle, he's applying to be a professor. That's already complicated. So obviously it's a city in which foreigners work at colleges and apply for professorships. There aren't many alternatives to this.
I think that audiences, when watching your films, realize how much work the standards of conventional narrative do for us. Yours have a kind of different infrastructure. They call on us to fill in more of the gaps, especially when it comes to relationships between the characters, which are established largely through implication. How conscious of structure are you when you're writing or conceptualizing your films?
I think I'm very aware of classic storytelling. I'm very aware of it as everyone, as someone who sees films, also as someone who worked a long time in the theater. I'm very aware of it, but I use it in a different way, because my interest is on the moment. For me, every moment is essential as it für sich ["for itself"], as one says in German. So, every moment I see für sich. I don't tell any moment in order that this moment makes me able to tell another moment. So, this is a very different way to narrate. And, yes, maybe this describes it already, that also this classical narration is a narration of storytelling and not how life moves on.
I Was at Home, But… conveys a clear sense of structure. It has these bookends, the scenes with the donkey and the dog. There's a sense of self-parody there: We see the donkey looking out the window, ignoring the dog, and then, soon thereafter, we see Philip's school director doing the same thing with him. I know you're probably sick of being asked "what's with the animals," but is self-parody part of what's going on here?
No, I mean, I didn't reflect on that, what you've said. I had this character of this boy, and he came from nature, and I had this wish to show nature, but I didn't want to show him, so I noticed that I wanted to show animals instead, because they live in nature, more natural than a child can. They aren't missed, you understand what I mean? We were looking on location, scouting for a stable for the animals, and a stable normally doesn't have windows, so we saw many stables where we shot it in Croatia. And then we saw an abandoned schoolhouse, abandoned for 20 years, had a window and a small stage. I saw it and I thought immediately I want to shoot the animals here, not in a stable but in this abandoned house. So, I had the opportunity to let the donkey look out of the window, and I felt that this is good. But I didn't think, "Ah, okay, then it will be a great parody of the school director, who also will look out of the window." He looks out of the window because he's waiting for the mother because he's in a situation where he cannot talk to that child. So, it's easier to look out of the window. Also, the donkey cannot talk to the dog [laughs]. So, for me it doesn't make sense to reflect on that. I just follow and trust my relation to what I want to see and tell.
Every Oscar Best Picture Winner, Ranked
Consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives.
It's a rare type of cinephile who wasn't introduced to the idea of film as more than just idle entertainment by the ritual of the Academy Awards. And it's an even rarer type of cinephile who didn't soon thereafter vehemently reject the Oscar as the ultimate barometer of a film's artistic worth. Those of us who started off with The Godfather, Schindler's List, All About Eve, or Casablanca all eventually got around to Out of Africa, Around the World in 80 Days, The Greatest Show on Earth, Cimarron, and Cavalcade. First loves being first loves, we still find ourselves regressing if for only one night a year, succumbing to the allure of instant canonization even as it comes in the form of repeated slap-in-the-face reminders of Oscar's bracing wrongness: Gladiator, Braveheart, Chicago, Crash. In that sense, consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives. If we had to sit through every one of these movies, the least you can allow us is the chance to show you our scars. Eric Henderson
Editor's Note: This article was originally published on February 26, 2018.
92. Crash (2005)
Crash is set in Archie Bunker's world, a nostalgic land where race is at the forefront of every consciousness during every minute of every day, where elaborately worded slurs are loaded into everyone's speech centers like bullets in a gun, ready to be fired at the instant that disrespect is given. The characters are anachronistic cartoons posing as symbols of contemporary distress. "I can't talk to you right now, Ma," says Don Cheadle's cop, pausing mid-coitus to take a phone call. "I'm fucking a white woman." "Holy shit," another character exclaims. "We ran over a Chinaman!" "I can't look at you," Matt Dillon's cop tells a black female paper-pusher, making like Peter Boyle's character from the 1970 white-man-on-a-rampage melodrama Joe, "without thinking of the five or six qualified white men who could have had your job." Dyno-miiiiiiite! Paul Haggis's depiction of a world where everyone's thoughts and words are filtered through a kind of racist translator chip—like a Spike Lee slur montage padded out to feature length—and then spat into casual conversation is ungenerous, because it depicts every character as an actual or potential acid-spitting bigot, and it's untrue to life, because it ignores the American impulse to at least pretend one isn't a racist for fear of being ostracized by one's peers. Matt Zoller Seitz
What Should Have Won: Munich
91. Cimarron (1931)
As pre-code spectacles go, Cimarron is something of a big-budget exercise in experimentation, though not in the sense that it actually produces anything innovative. Director Wesley Ruggles helms a script spanning 40 years to create what's meant to be eye-catching spectacle; the film's story, which spans 1889 to 1929 in Oklahoma, begins with a restaging of the Oklahoma Land Run of 1889, a sequence that uses 47 cameras to cover some 40 acres of land. From there, heavily theatrical acting styles and overwritten dialogue define most scenes, as Yancey (Richard Dix) and his family try to turn Osage County, Oklahoma into a tenable place to live. Certainly, if only for the fact that it was an early sound western, Cimarron would have been a new audio-visual experience for audiences at the time. Today, and not least because of its racist characterizations, it's little more than an eye and ear sore. Clayton Dillard
What Should Have Won: The Front Page
90. Out of Africa (1985)
Out of Africa is the worst of the bloated, self-important best picture-winning pseudo-epics. It attempts to merge the sweeping visuals of Lawrence of Arabia with a Gone with the Wind-style story. But director Sydney Pollack is neither David Lean nor David O. Selznick, with the interminable result shellacked to the highest of glosses by John Barry's syrupy score. Out of Africa depicts Danish writer Isak Dinesen's (Meryl Streep) time growing coffee in Kenya. "I had a fahhhhhrm in Ahhh-frica," says Dinesen seven times in the first scene, highlighting the aural act of violence that is Streep's accent. This is one of the actress's busiest performances, a full-tilt deployment of her entire arsenal of tics; a scene where Dinesen fends off a hungry lion with a whip sees the actress chewing as much scenery as the animal. Meanwhile, Robert Redford coasts by on his looks and Klaus Maria Brandauer smirks like a syphilitic Cheshire Cat. Whenever Pollack gets visually stuck, he cuts to a sea of dark brown African faces staring at the screen in confusion—an overused, racially suspect punchline. Out of Africa's biggest sin is that it immediately evaporates from memory, as if one's brain were committing a mercy killing. Odie Henderson
What Should Have Won: The Color Purple
89. A Beautiful Mind (2001)
If the cartoonists at Hanna-Barbera wanted to quickly convey the extent of a cartoon character's world travels, they might cut from a shot of, say, Huckleberry Hound walking before the Eiffel Tower to a shot of the pooch prancing before Big Ben. In A Beautiful Mind, a film that doesn't lack for the laziest of short cuts, a young John Nash (Russell Crowe) sits at his desk while special effects morph the exterior of a Princeton dormitory to accentuate the changing seasons: leaves drop, snow gathers and melt, birds chirp. Throughout the film, such hacky artistry is in service not for bringing us closer to the reality of the mathematician's life, but for implicating us in a circus act. Imagine, for a second, the fascinating possibilities of having simply shown Nash talking to dead air for the duration of the film. Doesn't quite sound like a potential Oscar winner, and so Ron Howard and screenwriter Akiva Goldsman decided to articulate schizophrenia's grip on the mind with a bunch of swirling digital numbers and cutesy imaginary encounters. The film is, through and through, quintessentially cornball. If it's impossible in retrospect to believe that A Beautiful Mind's first half is supposed to depict the world as hallucinated by a master mathematician, that's because the film's comprehension of mental duress is fundamentally jejune, the stuff of shock tactics as imagined by connoisseurs of Dead Poet's Society, or the most earnest believers in a cliché I always wished had made it into Roger Ebert's Bigger Little Movie Glossary: Crying While Sliding One's Back Against a Door. Ed Gonzalez
What Should Have Won: Gosford Park
88. Braveheart (1995)
Braveheart substitutes polished aesthetics, quotable speeches, and superficially bravura camerawork for a genuine examination of historical legend, while its would-be woozy romance remains trapped beneath the weight of both its unmerited running time and overly orchestrated sense of tragedy. Never have the Dark Ages appeared so plasticine and manicured as they do through Mel Gibson's panoramic lens, nor has any single image of the director's career been more encapsulating than that of William Wallace, the 13th-century warrior who led the Scots in the First War of Scottish Independence against King Edward I of England, his limbs outstretched in a Christ pose just before his final gutting. In this final moment of masochistic glory, Gibson and Wallace become one, a man of fire and passion ready to kick your ass into complacency. Rob Humanick
What Should Have Won: Babe
87. The Broadway Melody (1930)
Philosophically speaking, Sunrise was the first film to win the award associated with the qualities we now associate with the best picture category, in a year in which the industry tossed The Jazz Singer an honorary award rather than make the field of silents compete against it. In its second year, Oscar embraced the future with both hands, and thanks to The Broadway Melody's win we have a case study for how technical innovations are occasionally anathema to artistic expression. Exactly the sort of clunky apparatus that Singin' in the Rain decades later gently mocked, the film's every shot announces itself as the result of a compromise made to sync image with sound, with neither of them being done any particular justice. A deluge of movie musicals would soon flourish thanks to the advent of sound: Gold Diggers of 1933, Love Me Tonight, Hallelujah, I'm a Bum, all of them as dizzyingly innovative and effortlessly entertaining as the shallow, melodramatic The Broadway Melody is frozen. Eric Henderson
What Should Have Won: In Old Arizona
86. Around the World in 80 Days (1956)
Oscar has awarded expansive tedium more often than not, but even by those pitiful standards, Around the World in 80 Days is a specialized case. Adapting a Jules Verne novel but framing the entire proceedings as a reactionary pre-Space Age paean to days gone by, producer-impresario Mike Todd's dick-swinging epic is regressive in every conceivable way. From David Nivens's entitled superciliousness as Phileas Fogg to Cantinflas's shameless mugging as Fogg's lackey manservant, Passepartout, from their rescue of Shirley MacLaine's Indian princess (admittedly less cringeworthy than, say, Katharine Hepburn in Dragon Seed but still rough to watch) to a William S. Hart-era Wild West shootout between white folks and whooping Native Americans, the entire enterprise distills the world's entire history of cultural appropriation into an endless amusement-park ride. And even that would have some contemporary worth as an eye-popping reminder of shifting attitudes if it were at least watchable. But no, it's three-plus hours of vacation slides you found in your grandparents' attic. Eric Henderson
What Should Have Won: Friendly Persuasion
85. Shakespeare in Love (1998)
As is true of a great deal of the films that have been adorned with the best picture Oscar in the past two decades, John Madden's Shakespeare in Love is a thunderous mediocrity, a beautifully costumed and designed mess, as ultimately amiable as it is nonsensical. The greatest voice the theater has ever seen, the author of an unequaled canon that serves as inspiration for nearly all narrative works in the modern age, William Shakespeare is here portrayed by Joseph Fiennes as an egotistical cad—a loathsome, unrepentant scoundrel and bum who's capable of uttering "Damn, I'm good!" after finishing the first act of a play he's weeks late on. Indeed, the screen's contempt for its chief architects remains as potent and unyielding as it is largely thoughtless and despicable. Hollywood has never been very comfortable, or perhaps capable of, depicting great writers successfully—or, for that matter, taking their struggles seriously and their triumphs sincerely. As Shakespeare in Love unfolds, the penning of Romeo and Juliet is seen as near-accidental, spurred by the Bard's misguided lust for a costume girl. And yet, as the film proceeds through its weedy narrative, focused mainly on the romance between Shakespeare and Viola de Lesseps (Gwyneth Paltrow) and the first production of Romeo and Juliet, the unenviable task of believing that Shakespeare was a genius of tremendous insight and imagination, despite the production's eager insistence that he was simply a jealous coward stricken with luck, becomes an exhausting exercise of imagination. Chris Cabin
What Should Have Won: The Thin Red Line
84. Gladiator (2000)
The '80s and '90s saw a string of duds almost inexplicably become critical and awards darlings, suggesting that mainstream cinema culture was undergoing some kind of intellectual regression. And with the release of Gladiator at the start of the millennium, it didn't appear as if such deterioration was going to slow down any time soon. Directed by Sir Ridley Scott on depressing autopilot, the film displays none of the technically nimble artistry of such classics as Alien and Blade Runner. The overstuffed production meanders through knotty character dilemmas and rote attempts at Shaekepearean esoterica in as bland a manner possible. All the better to elevate Russell Crowe's Maximus to the level of the grandiose, and in the most suspect and laughable of ways. The man is a walking vacuum of personality who the film believes to contain multitudes, and the kicker is how Gladiator, with Maximus taking a moral stand against the brutal culture of ancient Rome and his befriending of an African slave, is viewed through the lens of modern political correctness. In the film's key scene, a gruesome gladiator battle, Maximus righteously screams, "Are you not entertained?!" But the presentation of the scene is as unironic as a crowd-pleasing ESPN highlight reel, or a pep rally pretending at moral conviction. Wes Greene
What Should Have Won: Traffic
83. The Greatest Show on Earth (1952)
As far as tributes to vagrancy and animal abuse go, mid-century American cinema has done worse. But even taking into account Hollywood's then-emerging neo-gigantism, it's shocking how much effort The Greatest Show on Earth goes into missing the forest for the trees. Cecil B. DeMille, then regarded as Hollywood's undisputedly great showman, setting his sights on the big top spectacle of P.T. Barnum ought to have been the ultimate "best of both worlds" proposition. But the allowances modern audiences still grant to DeMille's products of their time—crediting his ability to sustain momentum through grandiose running times, or his balanced eye for scope—lay down and die in the face of this monstrosity, alternately leaden and corny and neither in the right moment. In the same sense that James Stewart's mysterious clown never removes his makeup, anyone exposed to this film today will spend 152 minutes with Emmett Kelly's expression frozen on their own face. Eric Henderson
What Should Have Won: The Quiet Man
82. American Beauty (1999)
A black comedy with a curious opinion of its characters' repellent behaviors, Sam Mendes's American Beauty is also tone-deaf in its belief that the struggle is real for white, wealthy suburbanites. The Burnham clan and their neighbors aren't so much people as they are often offensive caricatures that exist only to service screenwriter Alan Ball's anti-conformist message-mongering. American Beauty's most famous scene, in which Ricky Fitts (Wes Bentley) explains to Jane Burnham (Thora Birch) that a plastic bag floating in the wind is the most beautiful thing in the world, is emblematic of the jejune self-aggrandizement that, like Ball's litany of leaden ironies, abounds throughout the film and works to dubiously sentimentalize the characters' pathologies. Indeed, this is a film that sees only beauty and nobility in transgression, as in Kevin Spacey's Lester Burnham, after yearning to bed his teenage daughter's friend (Mena Suvari), retreating to his corner upon learning that the girl is a virgin. One walks away from American Beauty believing that if its makers could blow themselves, they would. Greene
What Should Have Won: The Insider
81. Argo (2012)
There seems to be a general, taken-for-granted assumption in criticism—or film culture more broadly—that the most unassuming films manage to index complex political and social truths if only by virtue of their unpretentiousness and eagerness to entertain. So it seems fair enough to assume that such cheery popcorn flicks could prove equally insidious in their inconspicuousness. Argo feels like such a film: well-acted, competently directed, and sufficiently entertaining, yet all the more troubling as a result of its breezy pleasures. The problems emerge early, with the history of Iran in the 20th century and especially the events leading to the hostage crisis of 1979 laid out in detailed storyboards. In doing so, Argo effectively—and, perhaps, self-consciously—passes the buck of fealty to the operations of cinema. But regardless of whether or not Ben Affleck's tone-setting meta-gesture—which winkingly acknowledges that this is the film version of a "declassified true story" (as the film was obnoxiously marketed)—is intentional, it's undoubtedly irresponsible, even cowardly—a cheap escape hatch for Argo and Affleck to tuck-roll through any time questions of the film's veracity come to bear. The film is a wet dream of buccaneering American foreign-policy intervention, attempting to absolve its responsibilities for accuracy (or even decency) in its slight, simple story of Affleck's all-American hero whose pluck and gallantry would be for naught were he not also a repentant dad, eager to return home to his half-estranged son. John Semley
What Should Have Won: Zero Dark Thirty
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text:
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text:
Had to implement some small but serious infrastructure.
Needed some usual things for internet operations these days like system monitoring, smart logging, graphing and alerting, high availiability, cloud, ids/ips, and mucho security.
Did this many times for random projects but this one was more serious and so I decided to rethink everything with focus on the security infrastructure. Manuals were read and quite a few quick projects were made and there is more to come so this post will be updated with time. I'll quickly go through the novel things I implemented and novel thoughs I have on the subject. This post will be a mess and there is a lot to write,
this is boring and already exists but I like the way I do things.
lego is a node app plugin system, works by looking for node_modules modules with certain prefix, supports dependency trees and a central config file.
ribcage implements some common things apps need, works on top of lego, has plugins to do logging, remote logging, db connections, web server and some such.
munin is a collection of perl? scripts from '98 ran by crontab. UGH. nagios is.. yeah, same thing.
went with logstash -> elasticsearch -> kibana for data collection/graphing and riemann for alerting. Didn't figure out active system checks yet (a job for nagios usually. stuff like pinging, checking if websites render correctly, potentially crawling them and such)
all kinds of apps write to logstash. my node apps, log data collectors (lumberjack), local system checks IDS, and such, it works well. Data from everywhere is aggregated and graphed together. I've written something simmilar to this stack as one off apps for debugging complex architecture a bunch of times, was very happy to find out that someone actually already works on such a thing pretty seriously.
didn't like collectd as it seemed like something that hangs out in a munin/nagios oldies crowd. so I wrote:
it supports plugins, they are super easy to write. one of the plugins is a meta plugin that runs munin scripts because I'd rather kill myself then write all these data collectors myself.
csi-internet is there for you if you want to draw some computer stuff on a map. Also good to impress your girlfriend if she got used to cmatrix. As a test of a graphing engine it can ping around, do traceroutes and draw heatmaps. Messy atm as looking at pictures was more fun then looking at good code. work in progress. works on top of d3 and datamaps.
Writing tons of iptables rules is for robots and not humans and so I'd fuck it up eventually. pyromaniac is a thing that renders JSON into iptables commands.
hosts =
ip: '10.66.1.70'
port: 443
ip: '10.66.1.11'
port: 22,
from: 'vpn'
port: 666,
from: 'all'
ip: '10.66.1.51'
port: 22
from: 'all'
ip: "10.66.1.2-254"
exports.settings =
forward: [
{ from: 'vpn', to: 'all', comment: 'vpn to everyone TCP' }
{ from: 'vpn', to: 'all', proto: 'udp', comment: 'vpn to everyone UDP' }
hosts: hosts
this program is highly specific to my scenario (machines behind a NAT hypervisor with strict control of each connection) I'm showing an aproach here more then sharing my code as something that will work for you.
I really like this part, but will write it up later when I have more to show
I'm surprised I couldn't find this..
async object or json pattern matching/validation used for validating function/process arguments, api call permissions, messages, etc. supports serialization/deserialization of patterns themselves, which I used to implement a generic db query language on top of this. for now, tests are documentation
extras repository contains cuter things like
uses a few of my libs like nodejs-graph, nodejs-subscriptionman, nodejs-validator2 and others
I've implemented some protocols above this, like
I use it for all kinds of things, like
and I've built a few libs on top of this
I've been hoping to write this for a while, its not a very exciting project so I've been working on this when I'm tired.
its a bit unusual, nodejs-blosxom, ~400 lines of coffescript. this is very much a work in progress, I'd advise you to use it as inspiration more then as a code you run. templates related to my own homepage are included in the repo. might move them laters.


text:
Sunday, March 28, 2010
Lou Dobbs if I post it , it's a fact.
Lou Dobbs, whose views on Immigration roiled controversy, and despicable language on Immigration has exiled himself from CNN.
The longtime CNN anchor announced on his TV show Wednesday that he's leaving the cable network he helped launch in 1980 and, save for a two-year stint with the Web site Space.com, has worked at ever since.
Wednesday's edition of "Lou Dobbs Tonight" was Dobbs' last at CNN. Although his contract was to run for a little more than two additional years, he told viewers CNN agreed to let him out of his contract.
Dobbs left open the possibility he might be moving to the Border…Hmmmmm ? I am wondering which border...... Saludos y hasta la vista Amigo..
My friend Lou, I will make sure you will be received with an open arms ..
6 comments:
- Vicente Duque said...
Guide to Arizona based companies - Boycott these : US Airways, U Haul, Godaddy, Diamondbacks, Cardinals Football, do not drink Budweiser, this is a business of Cindy McCain and John McCain
Boycott Racism : Companies to Boycott, located in Arizona, an Apartheid and Segregation Police State :
John McCain also owned a piece of the Diamondbacks Team, the Diamondbacks give a lot of Money to the Republican Party and receive the Taxpayers Money in Stadiums, many Services, etc ...
Boycott Arizona Cardinals (Football)
Do not go to Diamondbacks games - Do not buy Diamondback Merchandise.
Express your solidarity with Diamondback players such as Juan Guitterez, Gerardo Parra, and Rodrigo Lopez.
Ask MLB ( major league baseball ) to move the 2011 All Star Game out of Phoenix Arizona.
The total population of Major League players of color (39.6 percent) is comprised of Latino (27percent), African-American (10.2 percent) or Asian (2.4 percent).
Boycott all these :
Best Western International, Inc., Headquarters: Phoenix, Arizona
Cold Stone Creamery. Headquarters: Scottsdale, Arizona
CSK Auto (Checker Auto Parts, Schucks Auto Supply, Kragen Auto Parts, Murray's Discount Auto Stores), Headquarters: Phoenix, Arizona
Dial Corporation, Headquarters: Scottsdale, Arizona
Discount Tire Company (America's Tire Company). Headquarters: Scottsdale, Arizona
Fender Musical Instruments Corporation, Headquarters: Scottsdale, Arizona
Go Daddy. Headquarters: Scottsdale, Arizona
Mesa Air Group (Mesa Airlines, Go!, Freedom Airlines). Headquarters: Phoenix, Arizona
P. F. Chang's China Bistro. Headquarters: Phoenix, Arizona
PetSmart. Headquarters: Phoenix, Arizona
Sky Mall, Headquarters: Phoenix, Arizona
Taser International, Headquarters: Scottsdale, Arizona
U-Haul. Headquarters: Phoenix, Arizona
US Airways. Headquarters: Tempe, Arizona
Youth, Minorities, Demography and Politics :
Vicente Duque
- Vicente Duque said...
BeyondChron.com : How to Win the Arizona Boycott : Recruit Enthusiastic Youngsters and Students for a Summer Boycott and continue the Boycott activities beyond the season - Call the conventions and ask cancellations
Adrenaline, Youth, Enthusiasm :
A triumph of the Arizona Boycott would be a Great Wonderful Beautiful Political Stunt with many repercusions not only for Immigration Politics but also for Democratic and Liberty Politics. - Those that want to invade private life and police human beings for their color or facial features would be rebuked.
The Arizona Boycott is a wonderful golden opportunity for youngsters and students that are considering a political career. They would learn what a grassroots movement filled with enthusiasm is ( from the inside ! )
How to Win the Arizona Boycott
May. 11' 2010
by Randy Shaw'
Randy Shaw is the author of Beyond the Fields: Cesar Chavez, the UFW and the Struggle for Justice in the 21st Century, which will be out in paperback in July.
How to Win the Arizona Boycott
Some excerpts :
In the past two weeks, the call for an economic boycott of Arizona has spread far beyond the political arena. In addition to labor and immigrant rights groups, it quickly won support from such unusual suspects as pop singers Shakira and Ricky Martin, the NBA's "Los Phoenix Suns," and the Major League Baseball Players Association. Polls show African-Americans are even more hostile than Latinos to the racist Arizona law, and conventions from multiple groups are already being switched out of state. But boycotts typically start with a flurry of activity. Most then dissipate without building the boycott infrastructure necessary to achieve their original goal. For the Arizona boycott to succeed, activists must follow the lessons of the UFW grape and lettuce boycotts of the 1960's and 1970's, the South Africa divestment campaign of the 1970s and 1980's, and the UNITE HERE "Hotel Rising Boycott" of 2006. And the timing is perfect for a "Boycott Summer," which would boost immigrant rights activism both in Arizona and nationally.
"Boycott Summer"
The critical distinction between successful and failed boycotts is the creation of a boycott infrastructure. In other words, a campaign operation that continues after the media launch event ends, and that builds the boycott through continually harnessing and recruiting volunteers.
The Center for Community Change, its network of affiliated groups, and its labor allies collectively has the staff capability to build an Arizona boycott infrastructure. And while some might argue that focusing on Arizona is a distraction from comprehensive federal reform, at this point the only way a breakthrough can happen on the latter is by activists showing clout on the state boycott.
With summer approaching and many colleges already out, the timing is perfect for a massive "Boycott Summer" campaign in Arizona. Whether this occurs depends on the commitment of boycott groups to build such an infrastructure, which appears to be a golden opportunity to keep immigration reform on the national radar during hearings on proposed Supreme Court Justice Kagan, the ongoing oil spill, financial reforms, and other news.
Recruitment for a Boycott Summer campaign will keep the issue alive across the nation, nationalizing a local struggle in the same way that the UFW used grape and lettuce boycott recruitment to spread word of its struggle with growers in California's Central Valley. Recruits also become troops in the larger battle for federal reform, so their value extends beyond Arizona and will likely continue when they return to school in the fall.
Youth, Minorities, Demography and Politics :
Vicente Duque
- Vicente Duque said...
Three Videos : Arizona Chiefs of Police and Other Super Policemen against Arizona Racism, ten Super Police Chiefs of Top Cities in Department of Justice
With Eric Holder, Secreatry of Justice : Top Policemen of Arizona Cities and other Super Policemen and Chiefs of Police.
The group includes police chiefs from Phoenix (Police Chief Jack Harris) and Tucson (Police Chief Roberto Villaseñor) in Arizona; Los Angeles, California; and Houston, Texas.
"In fact, the majority of us believe [the Arizona law] will actually cause crime to increase," said Chris Burbank, the police chief of Salt Lake City, Utah.
Eric Holder ( Secretary Department of Justice ) said "there would be a decision coming soon on some of the federal issues associated with this," said John Harris, police chief for Sahuarita, Arizona.
"Any resources at this point are going to be useful," noted Tucson, Arizona, Police Chief Roberto Villasenor. "But I don't want to just treat the symptoms of the problem."
"Arizona sheriffs are elected officials and that changes your perspective," noted Philadelphia, Pennsylvania, Police Commissioner Charles Ramsey.
AssociatedPress — May 26, 2010 — After meeting with Attorney General Eric Holder, police chiefs from across Arizona spoke about their opposition to a new law that requires officers to question people who could be illegal immigrants. (May 26)
Ariz. Police Chiefs Decry Immigration Checks
talkradionews — May 26, 2010 — Following a meeting with Attorney General Eric Holder, police chiefs from several Western states held a press conference to discuss concerns regarding Arizonas controversial immigration law. Distributed by Tubemogul.
Police Chiefs Express Concern Over Arizona Immigration Law
ksltube — May 26, 2010 — Salt Lake City's police chief was in Washington, D.C. Wednesday morning to discuss his concerns about Arizona's immigration law.
Salt Lake City police chief pleased with DC immigration meet
You can look for the Videos in YouTube.com or see them directly here in my site :
Vicente Duque
- Vicente Duque said...
Immigrant beaten and electrocuted to death, being tasered by US Customs and Border Patrol in a detention facility - Kicked on the floor and punched by many agents - Five Children born in America
RTAmerica — June 03, 2010 — Anastasio Hernandez Rojas, an immigrant who died after being tasered by US Customs and Border Patrol during Memorial Day weekend, is now being mourned. A father of five children who were born in the United States, Hernandez was recently deported to Mexico after living in the US for many years. Christian Ramirez says this is an excessive use of force and he is asking that criminal investigation be opened so that the perpetrators can be brought to justice.
Immigrant beaten and electrocuted to death
RTAmerica — June 03, 2010 — Friends for Anastasio Hernandez Rojas are holding a vigil after he was killed by US Customs and Border Patrol officers beat him and used a taser on him until he died. The officers have said that Anastasio Hernandez Rojas was out of control and they had to use a taser to restrain him. Enrique Morones says that he is outraged over what has occurred to Anastasio Hernandez Rojas who was deported after being caught for a traffic violation.
Innocent immigrant murdered by Border Patrol
Look for the videos in YouTube.com or watch them directly here :
Vicente Duque
- Unknown said...
I am so glad this just happened, people like this are an extreme danger when they are up to transmit unkind remarks to an audience that unfortunately lacks of sense of understanding and deny them self the right to see further.
- Tony Destroni said...
I hope that everyone who will read your entry will pursue their work also. Likewise to the Latino Business they have to be included on the ranking of paginas amarillas so that their business will be successful and more services they need to provide.


text:
Cabrera's MVP a win for fans, defeat for stats geeks
- Statistics geeks insisted Cabrera was less worthy than Angels rookie center fielder Mike Trout
- Cabrera won the Triple Crown, hitting .330 with 44 HRs and 139 RBI
- Trout excelled in the kind of numbers that a few years ago weren't even considered
The eyes have it.
In a battle of computer analysis versus people who still watch baseball as, you know, a sport, what we saw with our Detroit vision was what most voters saw as well:
Miguel Cabrera is the Most Valuable Player in the American League this year.
"It means a lot," he told reporters over the phone from Miami. "I'm very thankful. ... I thought it was gonna be very close."
So did everyone. But the debate ended Thursday night when the results were announced, with Cabrera earning 22 of the 28 first-place votes from the Baseball Writers' Association of America. It reinforced what Tigers fans have been saying all season: This guy is a monster.
AL MVP:Triple Crown winner Cabrera edges Trout
It also answered the kind of frenzied cyberspace argument that never shadowed baseball 20 years ago but may never stop shadowing it now.
Statistics geeks insisted Cabrera was less worthy than Angels rookie centerfielder Mike Trout. Not because Trout's traditional baseball numbers were better. They weren't. Cabrera had more home runs (44), more runs batted in (139) and a better batting average (.330) than Trout and everyone else in the American League. It gave him the sport's first Triple Crown in 45 years.
But Trout excelled in the kind of numbers that a few years ago weren't even considered, mostly because A) They were impossible to measure, and B) Nobody gave a hoot.
Today, every stat matters. There is no end to the appetite for categories -- from OBP to OPS to WAR. I mean, OMG! The number of triples hit while wearing a certain-colored underwear is probably being measured as we speak.
So in areas such as "how many Cabrera home runs would have gone out in Angel Stadium of Anaheim" or "batting average when leading off an inning" or "Win Probability Added," Trout had the edge. At least this is what we were told.
I mean, did you do the math? I didn't. I like to actually see the sun once in a while.
Plus he has intangibles
Besides, if you live in Detroit, you didn't need a slide rule. This was an easy choice. People here watched Cabrera, 29, tower above the game in 2012. Day after day, game after game, he was a Herculean force. Valuable? What other word was there? How many late-inning heroics? How many clutch hits? And he only missed one game all year.
"During the season, a lot of guys tell me I'm gonna be the MVP," Cabrera said, laughing. "But they said the same thing to Trout."
Yes, it's true, Trout is faster, Trout is a better defensive player, Trout is a leadoff hitter, and Trout edged Cabrera in several of those made-for-Microsoft categories.
But if you are going to go molten deep into intangibles, why stop at things like "which guy hit more homers into the power alleys?" (A real statistic, I am sorry to say.)
Why not also consider such intangibles as locker-room presence? Teammates love playing around -- and around with -- Miggy. He helps the room.
How about his effect on pitchers? Nobody wanted the embarrassment of him slamming a pitch over the wall. The amount of effort pitchers expended on Cabrera or the guy batting ahead of him surely took its toll and affected the pitches other batters saw. Why not find a way to measure that? (Don't worry. I'm sure someone is working on it as we speak.)
What about the debilitating power of a three-run homer? How many opposing teams slumped after Cabrera muscled one out? How about team confidence? You heard everyone from Prince Fielder to Justin Verlander speak in awed tones about being on the same team as Cabrera. Doesn't that embolden teammates and bring out their best?
How about the value of a guy who could shift from first to third base -- as Cabrera did this past season -- to make room for Fielder? Ask manager Jim Leyland how valuable that is.
How about the fact that Cabrera's team made the playoffs and Trout's did not? ("Yes," countered Team Trout, "but the Angels actually won more games.") How about the fact that Cabrera played the whole season while Trout started his in the minors? ("Yes," said the Trout Shouters, "but the Angels won a greater percentage with Trout than Detroit did with Cabrera.")
How about this? How about that? The fact is, voters are not instructed to give more credence to any one category than another. Twenty-eight sportswriters, two from each AL city, decide, in their own minds, what is "valuable" and who displayed it the most.
They chose Cabrera.
By an overwhelming majority.
In the end, memories were more powerful than microchips.
A rival for the future
Which, by the way, speaks to a larger issue about baseball. It is simply being saturated with situational statistics. What other sport keeps coming up with new categories to watch the same game? A box score now reads like an annual report. And this WAR statistic -- which measures the number of wins a player gives his team versus a replacement player of minor league/bench talent (honestly, who comes up with this stuff?) -- is another way of declaring, "Nerds win!"
We need to slow down the shoveling of raw data into the "what can we come up with next?" machine. It is actually creating a divide between those who like to watch the game of baseball and those who want to reduce it to binary code.
To that end, Cabrera's winning was actually a bell ring for the old school. There is also an element of tradition here. The last three Triple Crown winners were also voted as MVP.
"I think they can use both," Cabrera said when asked about computer stats versus old-time performance. "In the end, it's gonna be the same. You gotta play baseball."
This was a nice moment for the Tigers -- and a small consolation prize for owner Mike Ilitch and president Dave Dombrowski, who, like Cabrera, would have traded a World Series ring for any postseason award. But the Tigers now have back-to-back MVPs (Verlander last year), which speaks pretty well for their ability to develop and sign talent. It's also nice that Cabrera has seemingly made a turn for the better with his off-field behavior.
And none of this diminishes the season Trout gave the Los Angeles Angels -- and baseball history. Rarely has a rookie so dominated on so many levels. It is scary to think that Trout, only 21, will get better. And if he improves even incrementally, who is going to beat him for MVP in years to come?
But for today, for this season, anyhow, Cabrera gets the nod. In a season of fits and starts, he was a reliable Tiger, a consistent source of power, and a shadow that fell on opposing pitchers even before he reached the batter's box. He was the meat in the stew that became the American League champions, and while it is possible to argue the other way, it's undeniable to argue this one.
"Hopefully every year it can be a battle like that," Cabrera said.
This year, what you saw is what he got.
The eyes have it.