I think you have to see Charlie Kaufman's "Synecdoche, New York" twice. I watched it the first time and knew it was a great film and that I had not mastered it. The second time because I needed to. The third time because I will want to. It will open to confused audiences and live indefinitely. A lot of people these days don't even go to a movie once. There are alternatives. It doesn't have to be the movies, but we must somehow dream. If we don't "go to the movies" in any form, our minds wither and sicken.
Here is how life is supposed to work. We come out of ourselves and unfold into the world. We try to realize our desires. We fold back into ourselves, and then we die. "Synecdoche, New York" follows a life that ages from about 40 to 80 on that scale. Caden Cotard (Philip Seymour Hoffman) is a theater director, with all of the hangups and self-pity, all the grandiosity and sniffles, all the arrogance and fear, typical of his job. In other words, he could be me. He could be you. The job, the name, the race, the gender, the environment, all change. The human remains pretty much the same.
In the process, we place the people in our lives into compartments and define how they should behave to our advantage. Because we cannot force them to follow our desires, we deal with projections of them created in our minds. But they will be contrary and have wills of their own. Eventually new projections of us are dealing with new projections of them. Sometimes versions of ourselves disagree. We succumb to temptation -- but, oh, father, what else was I gonna do? I feel like hell. I repent. I'll do it again.
Hold that trajectory in mind and let it interact with age, discouragement, greater wisdom and more uncertainty. You will understand what "Synecdoche, New York" is trying to say about the life of Caden Cotard and the lives in his lives. Charlie Kaufman is one of the few truly important writers to make screenplays his medium. David Mamet is another. That is not the same as a great writer (Faulkner, Pinter, Cocteau) who writes screenplays. Kaufman is writing in the upper reaches with Bergman. Now for the first time he directs.
"Synecdoche, New York" is not a film about the theater, although it looks like one. A theater director is an ideal character for representing the role Kaufman thinks we all play. The magnificent sets, which stack independent rooms on top of one another, are the compartments we assign to our life's enterprises. The actors are the people in roles we cast from our point of view. Some of them play doubles assigned to do what there's not world enough and time for. They have a way of acting independently, in violation of instructions. They try to control their own projections. Meanwhile, the source of all this activity grows older and tired, sick and despairing. Is this real or a dream? The world is but a stage, and we are mere actors upon it. It's all a play. The play is real.
We often find instances where one version of a particular release has a resolution deficit in comparison with the other and it's usually the Xbox 360 game that has the advantage, but curiously this is not the case with de Blob 2. The PS3 game is clearly operating at native 720p with 2x multi-sampling anti-aliasing (MSAA), while the Xbox 360 version is lower, in the region of 1152x640 (again with 2x MSAA). Owing to the nature of the artwork, the games still look close, but 360 definitely appears blurrier. Bloom-style post-processing on the edges does hide the uglier upscaling artifacts, however.
The only downside is that the developers have had to limit frame-rate in order to support true stereoscopy. As you can see from the performance analysis, the fixed 60Hz refresh is halved to accommodate the additional rendering time. While this does have some impact on the game's fluidity, and the sensation that you're participating in an interactive CG movie, the depth given to the world and the objects in it more than makes up the deficit.
PlayStation 3 also has the advantage in this mode too. The implementation of full HDMI 1.4 means that a full 720p resolution is allocated to each eye, maintaining de Blob 2's pristine look. In contrast, the Xbox 360 game makes do with the same side-by-side 3D implementation seen in Call of Duty: Black Ops, meaning that pixels are horizontally expanded by a factor of 100 per cent when the display renders the image.
Exiled from the USA because of the blacklist Joseph Losey did some of his bestwork in the United Kingdom and he has a really good thriller here. Not muchof a mystery other than the question is why couldn't the police see who it wasin the first place.Young Alec McCowen is now on death row after his girlfriend was found strangledto death in her family's home where he had been spending the weekend. Likefather like son, Michael Redgrave an alcoholic writer who has been living inCanada comes back to the UK to visit with his son now on death row. He'sbeen convicted of her death and was too drunk at the time to offer any meaningful evidence in his defense.It was at Leo McKern's home where the deed was done. He's a foulmouthedill tempered automobile manufacturer who terrorizes his family like wife AnnTodd and son Paul Daneman who is McCowen's best friend. He's also a bitunbalanced and everyone around him is afraid.The real suspense is in Redgrave battling his own demons and not returning tothe bottle. The pressure to do so is great, but Redgrave summons up enoughstrength to resist. It's a masterful very subtly cerebral type performance. Heand McKern take the acting honors.For fans of Redgrave and McKern this is a must.
Some time ago, Alec Graham was sentenced to die following the death of his girlfriend. Amazingly enough, Alec's father, David (Michael Redgrave), never learns about this until it seems too late as he's been in in-patient treatment for his alcoholism. He manages to make it to Britain the day before the boy's to be executed. Considering that David is a drunk and was never there for Alec, there's no surprise when the young man wants nothing to do with him nor his promises to help him. During the duration of the film, David reinvestigates the case. Could he possibly help? And, can David stay sober long enough to be of some use?There is a big problem with the film...it seems pretty obvious who is the real killer and it should be to everyone. This guy is super-angry and very explosive all the time, you wonder why he wasn't considered a prime suspect or, perhaps, he knows more than he's telling. It defies common sense...which makes for a more mediocre film. Too bad...it could have easily been better...though the ending was pretty good.
TIME WITHOUT PITY is a British drama with some unusually dark and well-drawn characters in the cast. The lead actor is the great Michael Redgrave (DEAD OF NIGHT) who plays a washed-up alcoholic who arrives in England from Canada when he learns that his son has been accused of murder and is due to be hanged shortly.Redgrave believes that his son is innocent and must work to uncover the real culprit and bring him to justice before his son hangs, but it won't be an easy job, especially when the stress of the situation gets to him and he begins drinking again. As such, TIME WITHOUT PITY is a rather depressing and grimly realistic movie despite the contrivances of the plot; it feels more like THE LOST WEEKEND than a thriller in its depiction of the depths the human spirit will sink to.The supporting cast is very good including a stand-out turn from a young Leo McKern. Renee Houston, Lois Maxwell, Ann Todd, and Joan Plowright are the females of the cast, while Peter Cushing plays a lawyer just before he made the big time in THE CURSE OF FRANKNSTEIN, and there's a brief role for fellow Hammer actor Richard Wordsworth. I wouldn't call this a perfect film by any means, but the twist ending is particularly good and worth the wait.
Ethics statement: I am not paid by Canon. I went to check out the C300 today on my own time (and a damn parking ticket for my trouble!) so I could see what it was like and report back here. I hope to do a review in the next 10 days where I can share my opinion on it. As always, fair and unbiased.
Philip,If i use EF glass, i do not like IRIS CONTROL WHEEL on left part of c300. It is too far back. It is much better to have it closer to lens or under the EFlens. Regarding ZF Zeiss. Nice glass but nothing fast on wide end and opposite focus direction. It is time for me to invest in PL Set. Russian S35 illuminas look good at $35,000. All T1.3.Another choice to try Chinese ZE rehouse of Zeiss. Might take risk on cheapest one 50mm f1.4 at $1,000.Thanks jiri
I genuinely feel for the first time in the day to day variety of jobs jack of all trades broadcast world we have a real contender the others Sony, Panasonic etc with all their far too numerous flaws to mention are aimed at a different market indi film, art house, low grade, loads of add ons, miles of loose cables, adaptors etc etc a bit of rain and it all falls apart. The Canon out of the box will give me what I want and all those glorious lenses many of which I already own tilt shift oh yes. I also will not need an army of fetchers, carriers, pullers and pushes to make the thing work effectively just me and a sound recordist.
Philip you are correct but these lens have auto focus motors in them already. Even having auto focus before hitting record is a plus, because sometimes focus can be a challenge. Even a little focus diagram for manual focus would be a nice feature.
I sometimes do not always believe companies when they say something. My gut tells me they Canon has not developed a good auto focus for large chips yet. The D7000 auto focus is so bad I rather use a flip camcorder.
Last fall, with the release of the PT-AX100U, Panasonic introduced a new concept as far as home theater projectors are concerned-they boosted potential light output to 2000 ANSI lumens and incorporated a sensor to measure ambient light. With this information, the projector's "Light Harmonizer" would increase or decrease lumen output based on ambient light, thus making it more versatile for a variety of home entertainment applications. Now comes the second generation of this design, the PT-AX200U. There is nothing revolutionary about this new model-it is simply a refinement of the outstanding AX100, with a few new features and a much lower price. Most of the specs are still the same-2000 ANSI lumens maximum light output, 6,000:1 contrast, 1280x720p resolution LCD panels, and a very quiet fan. It is a video projector uniquely designed for a wide range of home entertainment uses.Specifications ANSI lumens: 2000 Contrast (full on/off): 6000:1 with auto-iris Light Engine: 1280x720, native 16:9, 3x 0.7" PolySi LCD with a 220W UHM lamp. Video Compatibility: HDTV 1080p/60, 1080p/50, 1080p/24, 1080i, 720p, 576p, 576i, 480p. NTSC/PAL/SECAM. Data Compatibility: Computer resolutions up to SXGA. Connection Panel: Two HDMI inputs, one VGA input, one set of component YPbPr inputs, one S-Video input, one composite input, one serial port, one Kensington lock point, hardwired power on/off switch. Lens and 1e1e36bf2d