text:
Prodigy Ventures Inc. Cancels Previously Issued Options
Toronto, Ontario--(Newsfile Corp. - September 29, 2015) - Prodigy Ventures Inc. (TSXV: PGV) (the "Corporation") today announced that it has cancelled the options issued on September 22, 2015. The options were issued subject to receipt of regulatory approval and, given the limited trading in the Corporation's common shares since the completion of its qualifying transaction, the TSX Venture Exchange has indicated that the pricing of such options cannot yet be set. Once additional trading has occurred and/or more time has passed the Corporation will review the issuance of options with the TSX Venture Exchange and will issue a further press release when options are able to be granted.
PRODIGY VENTURES INC.
Andrew Hilton
Andrew.Hilton@Prodigy.Ventures
Sign up to receive news releases by email for Prodigy Ventures Inc. or all companies belonging to the Banking/Financial Services industry.
Prodigy Ventures Inc. Retains Virtus Advisory Group to Provide Corporate Communication Services and Trapeze Capital Corp. for Market Making Services
Prodigy Ventures Inc. Announces Issuance of Options
2016-12-20 12:18 PM EST
Prodigy Ventures Inc. Launches iVideo Greetings for Android


text:
Deaf Can! Coffee Changes Lives, One Bean at a Time
Pictured: Baristas at Deaf Can! Coffee | Photo credit: Deaf Can! Coffee
A deaf person can do anything a hearing person can do. A deaf person can be an actress, a missionary, a baseball player and even a barista and they're doing just that in a training center in Kingston, Jamaica. Deaf Can! Coffee is paving the way in educating and employing young men and women on how to roast, brew, and sell coffee.
With a full-time staff of 13 and 12 students enrolled at a time in their training program, the organization offers graduates several employment opportunities upon completion. The program is flexible, depending on the time the student applies and can take as little as two weeks or as long as two years to be completed. The goal is to enter the workforce immediately afterward.
Brewing from Jamaica to Kenya
Deaf Can! Coffee has a multitude of partnerships with local coffee shops, restaurant chains, a local Toyota car dealership, and surrounding hotels during the busy tourist season. They're also in the process of developing a program in Kenya, Africa. Like Jamaica, Kenya grows and exports coffee, but they're not too popular when it comes to consuming it (Jamaicans prefer tea instead). In addition, Deaf Can! Coffee is changing the coffee culture.
The uniqueness of the program is creating awareness in the community. Not only is coffee consumption on the rise with the locals, but it's also organically generating a newfound appreciation for the coffee bean. There's no one else roasting coffee and offering cold-brewed coffee on tap.
Pictured: Baristas of Deaf Can! Coffee preparing drinks | Photo credit: Deaf Can! Coffee
This unique barista program started with deaf students from the Caribbean Christian Centre for the Deaf taking a field trip to a local coffee farm owned and ran by a deaf farmer. Everlin Clarke, the inspirational coffee farmer, was confident, knowledgeable and a stable family man. He was a physical, tangible example that a deaf person could do anything.
Before this experience, the students faced the same problems that others do in the deaf community, including language access and being looked down upon by those without a hearing impairment. It was at this moment in time when their outlook shifted. Clarke told the students, "If you believe you can't, you never will."
These words left a lasting impression on the students. So much so, that shortly after the visit in February 2015, they began to experiment with roasting their own coffee beans, posting videos on Facebook of them playing around with a roasting machine. Others began to encourage them to use the machine to make coffee.
BLK & Bold Fights for Social Justice One Cup of Coffee at a Time
Bringing Kenya's Coffee Producers to the Fore with Vava Coffee
A Coffee Social Enterprise is Born
Two months after picking up their new hobby, university students from northern Iowa stumbled upon the Facebook videos and during a mission trip to Kingston, donated an espresso machine. Insisting raising the money to pay for half of the machine, soon to be Deaf Can! students later decided to take the machine to a deaf community workshop and serve coffee.
This was an introduction to social enterprise and sparked the idea to roast and serve coffee for mobile events. At this point, there was no looking back and Deaf Can! Coffee was born later that year on the campus of Caribbean Christian Centre for the Deaf. "Look at them as a person. See that they are a person. See what they can do," says Blake Widmer, one of the founders of Deaf Can! Coffee.
Stories were shared, an understanding was gained, and a shift in the culture began. In 2016, Digitel (a local telephone company) gave the students a grant to build a training center. This allowed the program to grow, evolve, and accept more trainees. They also gained renowned exposure and in 2017, Deaf Can! Coffee was nominated for a global United Nations project.
The professional baristas have gotten over the fear of interacting with customers and are now teaching others in the program. Deaf Can! Coffee's online e-commerce offers coffee as well as merchandise for sale (T-shirts, tote bags and coffee mugs).
The organization's social media bio states, "We are a Gospel-rooted social enterprise that exists to engage, equip, and empower deaf youth to believe in their abilities, dream big, and thrive." They are doing just that and changing how society sees deaf people; as real people. After all, that's what we all want. No matter what makes us different, we all want to be seen and accepted for who we are.
To support Deaf Can! Coffee and watch the baristas in action visit https://www.deafcancoffee.com and follow them on Instagram, Twitter and Facebook.

redpajama_set_name: RedPajamaCommonCrawl


text:
Rożnów is een plaats in het Poolse district Nowosądecki, woiwodschap Klein-Polen. De plaats maakt deel uit van de gemeente Gródek nad Dunajcem en telt 1700 inwoners.

Plaats in Klein-Polen

redpajama_set_name: RedPajamaWikipedia


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Marvel NOW! Trailer: Cable and X-Force #1
By Russ Burlingame - September 6, 2017 10:50 pm EDT
Marvel Comics has released a trailer for Cable & X-Force #1, out in stores now from writer Dennis Hopeless and artist Salvador Larroca. The series, which follows Cable as he puts together a team of morally-questionable former X-types, is one of two X-Force titles launching through the Marvel NOW! initiative. Check out the video and formal information from Marvel below.
Marvel NOW! – CABLE & X-FORCE
This December, the deadliest mutant team of all debuts in Cable And X-Force #1, beginning the all-new ongoing series from rising star creators Dennis Hopeless (Avengers Arena) and Salvador Larroca (Invincible Iron Man). As part of Marvel NOW!, Cable And X-Force joins a number of titles that will take the Marvel Universe in an exciting all-new direction, as the industry's top creators join the top Super Heroes to deliver all-new ongoing series, great for new and lapsed readers alike! Cable is back NOW! He has a new X-Force consisting of Colossus, Forge, Domino and Dr. Nemesis and they are all caught red-handed at the scene of a terrorist attack on a major American corporation whose CEO has expressed anti-mutant views. Now Cable and X-Force are on the run, with the Uncanny Avengers in hot pursuit.


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Вальтер Брак (; 20 ноября 1880, Берлин — 19 июля 1919, Берлин) — немецкий пловец, чемпион и серебряный призёр летних Олимпийских игр 1904.

На Играх 1904 в Сент-Луисе Брак участвовал только в двух дисциплинах — 100 ярдов на спине и 440 ярдов брассом. В первой гонке он занял первое место с результатом 1:16,8 и выиграл золотую медаль. Во второй занял вторую позицию и получил серебряную награду.

Ссылки
 Вальтер Брак на sports-reference.com

Персоналии по алфавиту
Родившиеся в 1880 году
Родившиеся 20 ноября
Родившиеся в Берлине
Умершие в 1919 году
Умершие 19 июля
Умершие в Берлине
Чемпионы летних Олимпийских игр 1904 года
Серебряные призёры летних Олимпийских игр 1904 года
Пловцы Германии
Пловцы на летних Олимпийских играх 1904 года
Олимпийские чемпионы от Германии
Олимпийские чемпионы по плаванию
Включённые в Зал Славы мирового плавания


text:
Una força centrípeta és una força que fa que un cos segueixi una trajectòria corba. La seva direcció és sempre perpendicular al moviment del cos, i apunta cap al punt fix del centre de curvatura instantani de la trajectòria. En la mecànica newtoniana, la gravetat dona la força centrípeta responsable de les òrbites astronòmiques.

Un exemple comú on apareix la força centrípeta és el cas on un cos es mou amb velocitat uniforme al llarg d'un camí circular. La força centrípeta té direcció i sentit cap al centre de curvatura, i forma un angle recte amb el vector desplaçament. El físic neerlandès Christiaan Huygens en va fer la descripció matemàtica el 1659.

Fórmula

La magnitud de la força centrípeta en un objecte de massa m que es mou a una velocitat tangencial v en una trajectòria amb un radi de curvatura r és:

on  és l'acceleració centrípeta.

La direcció de la força és cap al centre del cercle en què es mou l'objecte, o la circumferència osculadora (el cercle que millor encaixa amb la trajectòria local de l'objecte, si la trajectòria no és circular).
La velocitat a la fórmula està elevada al quadrat, així que el doble de velocitat requereix quatre cops la força. La relació inversa amb el radi de curvatura mostra que la meitat de la distància radial necessita el doble de força. Aquesta força de vegades s'escriu en termes de la velocitat angular ω de l'objecte al voltant del cercle, relacionada amb la velocitat tangencial a través de la fórmula

pel qual

Expressada amb el període orbital T per una volta al cercle,

l'equació esdevé

En acceleradors de partícules, les velocitats poden ser properes a la velocitat de la llum al buit, així que la mateixa massa en repòs exerceix ara una major inèrcia (massa relativística) i per tant necessita una força superior per aconseguir la mateixa acceleració centrípeta, pel que l'equació esdevé:

on

s'anomena factor de Lorentz.

De forma més intuïtiva:

que indica com canvia el moment lineal relativista ()

Vegeu també
 Acceleració centrípeta
 Força centrífuga

Referències

Bibliografia addicional

 Centripetal force  vs. Centrifugal force , from an online Regents Exam physics tutorial by the Oswego City School District

centrípeta
Mecànica
Cinemàtica


text:
Q: Trying to get a PHP variable defined in a custom post into a javascript file. Null value. Using wp_localize_script I'm trying to get a PHP variable that is created from some custom fields on a custom page (page-custom.php) inserted into a Javascript file.
The custom fields work perfectly, and the images are displayed on the page, but I can't get them into my Javascript file.
In my header.php at the top I have:
    function drum_scripts() {
        wp_enqueue_script( 'animated', get_template_directory_uri() . '/js/animated.js' );
        wp_localize_script('animated', 'MyScriptParams', array(
            'foo' => $meta['image'],
            )
        );
    }

    add_action( 'wp_enqueue_scripts', 'drum_scripts' );

In my javascript I have:
    $(function() {
        $(".animated").hover(
            function() {
                $(this).attr("src", MyScriptParams.foo);
            },
            function() {
                $(this).attr("src", "img/gallery1_500px.jpg");
            }
        );
    });

and in page-custom.php I have:
    $custom_query = new WP_Query( $args );
    while ($custom_query->have_posts()) : $custom_query->the_post();

    $meta = get_post_meta( $post->ID, 'your_fields', true );

The javascript is working, but its not pulling the variable through. I know its something to do with the order of the code, but I'm not sure where to put it.
Here is the full code for page-custom.php
<?php get_header(); ?>

    <?php

            $args =  array(
               'post_type' => 'drummers',
               'orderby' => 'menu_order',
               'order' => 'ASC'
);

            $custom_query = new WP_Query( $args );
                while ($custom_query->have_posts()) : $custom_query->the_post();

            //GETS THE POST ID FROM WP_QUERY
            $post_id = get_the_ID();

            //PULLS THE DATA FROM THE CUSTOM FIELDS BOX ON DRUMMERS PAGE
            $meta = get_post_meta( $post->ID, 'your_fields', true );

            wp_localize_script('animated', 'MyScriptParams', array(
            'foo' => $meta['image']

        )
    );

echo $meta['image'];echo $meta['image'];echo $meta['image'];

    ?>

        <?php if ( has_post_thumbnail() ) {
                the_post_thumbnail('', array( 'class' => "img-fluid animated drummers_face$post_id"));
        } ?>

          <h2 class="drummers_face_detail<?php echo $post_id ?>"><a href="<?php the_permalink(); ?>"><?php the_title(); ?>

View details »

Text Input
<?php echo $meta['text']; ?>

        <img src="<?php echo $meta['image']; ?>">

        <?php echo $meta['image']; ?>

    <?php

            endwhile;
    ?>

<?php get_footer(); ?>

A: Adding JavaScript with wp_enqueue_script:
Firstly, although it may work (if you add it before the call of wp_head()), but you should never add wp_enqueue_script CODE in header.php. Use theme's functions.php file for that.
Secondly, the following line in your CODE is problematic:
wp_enqueue_script( 'animated', get_template_directory_uri() . '/js/animated.js' );

As you've used jQuery in your animated.js file, you must say WordPress that it depends on jQuery. This is how you do that with CODE:
wp_enqueue_script( 'animated', get_template_directory_uri() . '/js/animated.js', array( 'jquery' ) );

Thirdly, you've assigned $meta variable in page-custom.php template file, so you can only call wp_localize_script after that, otherwise the variable will remain null. Also, since this template file will execute after header.php, you must add /js/animated.js in footer, like this:
wp_enqueue_script( 'animated', get_template_directory_uri() . '/js/animated.js', array( 'jquery' ), null, true );

So, your final CODE for adding /js/animated.js will be (in functions.php):
    // This CODE should be in functions.php file
    function drum_scripts() {
        wp_enqueue_script( 'animated', get_template_directory_uri() . '/js/animated.js', array( 'jquery' ), null, true );
    }

    add_action( 'wp_enqueue_scripts', 'drum_scripts' );

Placing wp_localize_script once the variable is accessible:
Since you are assigning the $meta variable in page-custom.php file, you should add the call to wp_localize_script there:
    $custom_query = new WP_Query( $args );
        while ($custom_query->have_posts()) : $custom_query->the_post();

    $meta = get_post_meta( $post->ID, 'your_fields', true );

    // $meta[image] is only accessible after the above CODE is executed
    wp_localize_script('animated', 'MyScriptParams', array(
            'foo' => $meta['image']
        )
    );

JavaScript CODE with jQuery:
jQuery $ variable may not be defined in that scope. So instead of using this CODE:
    $(function() {
        $(".animated").hover(
            function() {
                $(this).attr("src", MyScriptParams.foo);
            },
            function() {
                $(this).attr("src", "img/gallery1_500px.jpg");
            }
        );
    });

Use the following CODE in your theme's /js/animated.js file:
    (function($) {
        // assuming you have .animated CSS class in the right place
        $(".animated").hover(
            function() {
                $(this).attr("src", MyScriptParams.foo);
            },
            function() {
                $(this).attr("src", "img/gallery1_500px.jpg");
            }
        );
    })(jQuery);

Now if everything else is OK in your CODE, the modified CODE should work.
You may learn WordPress execution order from Here, if you want to know what's happening where.
Update:
Your page-custom.php doesn't look right at all. Definitely there are errors in your PHP file & many errors - which is out of scope for this question. However, Just to make sure wp_localize_script is working, use this simple CODE below for the page-custom.php file (only this CODE, not your CODE):
    <?php get_header(); ?>

        <?php
            wp_localize_script('animated', 'MyScriptParams', array(
                'foo' => "It Works!"
                )
            );
        ?>

    <?php get_footer(); ?>

The rule of thumb for debugging a problem is to make simple things right first & then build up from that. We can't fix many problems at once. If after using the above CODE your alert is It Works!, then you'll know for sure that the problem is in your PHP CODE.

redpajama_set_name: RedPajamaStackExchange


In spite of a few well-placed roadblocks on my path to participate in a 5k fun run, I'm 23 pound lighter than I was earlier this year. With my heart deemed healthy and my blood pressure readings stable, I figure it's time to test my stamina again.
I plan to resume my walking regimen and see where it leads. I think my dogs are more excited about the prospect than I am.
This entry was posted in Couch to 5k, Life's Struggles, Living, Uncategorized and tagged Couch to 5k, exercise, fitness, healthy, jogging, running, walking, weight loss, workout on August 11, 2018 by roushwm.


text:
Tucker bag is a traditional Australian term for a storage bag used by travellers in the outback, typically a swagman or bushman, for carrying subsistence food. In its basic design a tucker bag is a pouch or bag with a single entry typically closed with a drawstring, and may have been made of leather or oilskin.

The tucker bag should not be confused with the swag, also carried by outback travellers, whether on foot, horse or pushbike, which may have comprised blankets (usually blue, hence "bluey", another name for a swag), waterproof sheet, personal effects, and basic cooking implements such as a billy. The swag would generally be carried as a sausage-shaped roll slung over the shoulder, and the tucker bag in front.

The term "tucker bag" appears in a number of traditional Australian songs and poems, including Waltzing Matilda "Whose is that jumbuck you've got in your tucker bag?", reflecting the tucker bag's place in Australian culture and history.

Tucker box
Bullockies and drivers of horse-drawn vehicles were not so constrained by the need for portability, so a greater quantity of food could be carried in a tucker box, as exemplified by the story of the Dog on the Tuckerbox. The contents would be similar, though: salt beef, tea, flour and sugar or golden syrup and perhaps tinned jam.

Train crews' tucker boxes would contain more than food: a tin plate, pannikin (small pan or cup), eating utensils and toiletries. Most crews would not take meat with them but would buy it at the town where they ended their shift, since there were no refrigeration facilities on board.

"Tucker box" has been a model of domestic chest freezer built in Australia under the Whirlpool brand name.

See also
Bush tucker

References

Australian slang
Bags


COLLISTAR is one of the most exciting beauty brands hailing from Italy, Europe. Not only does the brand boost of great skincare and makeup products, its mighty comprehensive range of bodycare products is really quite something else! One of its body scrubs even sold a million jars in its last year of launch! Now you can get Collistar from Sasa Malaysia too!
Thanks to Sasa I have got the chance to review the Collistar Talasso Scrub revitalizing exfoliating salts with essential oils.
The scrub has essential oil hence it smells good.
How to use it? Massage the product onto the body, paying particular attention to the roughest parts, rinse off under shower.
The result is quite promising, my skin feel smoother and skin color is more even. So what are you waiting for? Go get one at Sasa Malaysia, It is selling at RM145 for 400ml.
i love collistar..! unfortuntely it is not available here in Msia. i luv the hair mask (bought it in italy ~ my hair become very dry bcoz of the cold & dry weather). & the price is quite cheap over there. planned to buy another bottle, googled & found out the nearest available store is SaSa Hong Kong.. :( Not even in spore!


text:
LRC Podcast
100% score on Charity Navigator!
LRC Systems Receives Grant Award from
the Gordon and Betty Moore Foundation
SF-Based Leader of Research-Based Solutions for Scientific Breakthroughs
to Work with Innovative Global Team on the Symbiosis in Aquatic Systems Initiative
San Francisco, CA: Today, Laboratory for Research in Complex Systems (LRC), announced it has been awarded a grant to join 41 other international scientific teams working collaboratively on The Gordon and Betty Moore Foundation's Symbiosis in Aquatic Systems Initiative. The Moore Foundation fosters path-breaking scientific discovery, environmental conservation, patient care improvements and preservation of the special character of the Bay Area. The funding will provide the scientific community with new tools and laboratory techniques to develop new model systems and capabilities in the understanding of aquatic symbioses.
Symbiosis is a phenomenon where two organisms live in a tight physical association and benefit from each other. Such associations not only are thought to be at the origin of complex life, they also continue to keep shaping it by playing a central role in the ecology and evolution of present-day species. Scientists at LRC aim to gain a better understanding of one particular type of symbiosis - chemosynthetic symbiosis - where microbes or animals harness the power of chemosynthetic bacteria that are capable of producing organic compounds in the dark. Discovered in the deep sea in the '70s, chemosynthetic symbioses are ubiquitous on Earth. Despite their common occurrence, however, lack of good model systems to design experiments and test hypotheses have hampered efforts to better understand the process and the exciting biology behind these associations.
With this grant, LRC will receive support to pursue ambitious research aimed at conceptual and methodological advances in symbiotic systems where the same symbiont is associated with different hosts. "The Moore Foundation's commitment to blending leaders in aquatic symbiosis research with scientists from other areas for sharing perspectives and fostering integrative brainstorming echoes LRC's mission to serve as an ideas hub for high-level transdisciplinary research to propel innovations that can change the world," said Dr. Shailesh Date, founder CEO of LRC Systems. "Collaborating with these brilliant teams will foster new ideas and principles that could push the aquatic symbiosis field years ahead."
Aquatic environments are Earth's largest natural habitat with evolutionary processes continuously underway. A significant portion of Earth's biodiversity lives in marine and freshwater ecosystems with much of this unexplored. Understanding the biological interdependence of organisms within these aquatic environments provides critical insight into their evolution and role in ecological systems. The Symbiosis in Aquatic Systems Initiative will provide learnings on the role symbiotic interactions play in the larger world's evolution and function.
For more information about the LRC team and its role in the Symbiosis in Aquatic Systems Initiative, visit https://www.lrc.systems.
To learn about the Moore Foundation's Symbiosis in Aquatic Systems Initiative, visit https://www.moore.org/article-detail?newsUrlName=building-community-to-accelerate-the-pace-of-model-system-development-in-aquatic-symbiosis.
About LRC Systems
Laboratory for Research in Complex Systems (LRC) develops powerful research-based solutions that drive scientific, commercial and social breakthroughs. Led by a team of trailblazers from industry and academia, LRC uniquely combines advances in natural and quantitative sciences with cutting-edge technology to help solve fundamental health, economic and social problems for public and private organizations. LRC serves as an ideas hub for high-level transdisciplinary research that is bigger, faster and more impactful, to propel innovations that can change the world.
Aimee Eichelberger
Aimee (at) superior-pr (dot) com
LABORATORY FOR RESEARCH IN COMPLEX SYSTEMS
WEB
1336 North Carolan #206
655 Oak Grove Ave. #1417
Menlo Park, CA 94025
Global Viral ("DBA" Laboratory for Research in Complex Systems) is a registered 501(c)(3) nonprofit corporation.
© 2019-2021 LRC SYSTEMS


Desiccated coconut export increased four times over at Rs 112 crore while copra exports rose three times over at Rs 94 crore.
In the past few years, Indian coconut oil prices ruled higher than global rates.
KOCHI: Exports of Indian coconut products have seen a 50% surge year-on-year as shortage has raised the prices of coconut in major producing countries like the Philippines and Sri Lanka.
Following rising shipments of coconut oil, desiccated coconut products — copra and fresh coconut – export for the eight months till November reached Rs 1,447 crore, which is nearly the total export of coconut products achieved in 2015-16. Exports stood at Rs 1,450 crore in the last fiscal.
The growth of coconut products exports is normally dependent on activated carbon, which recorded just 8% growth from a year earlier at Rs 466 crore in eight months. But in the same period, coconut oil recorded a 178% jump at Rs 319 crore.
"We were competitive in the global market as our price was Rs 110 per kg compared with Rs 130 per kg of Sri Lanka. Huge stock of coconuts in Tamil Nadu helped boost export," said Mayilsamy, MD of Shrika Oil Industries.
But the situation changed last Feb and international prices swelled by 30% resulting in shipments of more bulk quantities of coconut oil from India, said Vasanthakumar VC, statistical officer of Coconut Development Board.
Use of coconuts in more value-added products and declining yield from aging trees also contributed to lower supply of oil in the world market.


Central Railway has made special arrangements for this year's Diwali festive season, with special trains scheduled to run between Mumbai and Gorakhpur, Manduadih, Karmali and Sawantwadi in October and November 2017. You must carry a valid ID documentary proof for your journey.
There are 8 weekly unreserved specials, with 22 General Second Class coaches, including guard's brake vans.
Arrival: Lokmanya Tilak Terminus at 00.20hrs. on every third day.
Halts: Kalyan, Igatpuri, Nasik Road, Bhusaval, Khandwa, Itarsi, Jabalpur, Katni, Satna, Manikpur, Chheoki, Varanasi, Aunrihar Jn, Mau Jn, Bhatni and DeoriaSadar.
From: Lokmanya Tilak Terminus at 00.45hrs. on every Wednesday from 11th October to 1st November 2017.
Arrival: Manduadih at 04.45hrs. next day.
From: Manduadih at 06.30hrs. on every Thursday from 12th October to 2nd November 2017.
Arrival: Lokmanya Tilak Terminus at 07.30hrs. next day.
Halts: Kalyan, Igatpuri, Nasik Road, Bhusaval, Khandwa, Itarsi, Jabalpur, Katni, Satna, Manikpur, Allahabad, Allahabad Jn and Gyanpur.
There are 6 weekly reserved specials, with one AC 2-Tier, three AC 3-Tier, 13 Sleeper Class and three Second Class.
From: Lokmanya Tilak Terminus at 01.10hrs on every Friday, from 13th October to 27th October 2017.
Arrival: Karmali at 12.00hrs. on the same day.
From: Karmali at 13.00hrs on every Friday from 13th October to 27th October 2017.
Arrival: Lokmanya Tilak Terminus at 00.20hrs. next day.
Halts: Thane, Panvel, Roha, Khed, Chiplun, Sangameshwar Road, Ratnagiri, Kankavali, Kudal and Thivim.
There are 6 weekly reserved specials, with one AC 2-Tier, three AC 3-Tier, 8 Sleeper Class and 6 Second Class, including guard's brake vans.
From: Lokmanya Tilak Terminus at 01.10hrs. on every Monday from 16th October to 30th October 2017.
Arrival: Sawantwadi Road at 10.00hrs. same day.
From: Sawantwadi Road at 13.45hrs. on every Monday from 16th October to 30th October 2017.
Arrival: Lokmanya Tilak Terminus at 00.35hrs. next day.
Halts: Thane, Panvel, Roha, Khed, Chiplun, Sangameshwar Road, Ratnagiri, Kankavali, Kudal.
You can book your tickets at all Passenger Reservation System (PRS) locations and at the IRCTC website. Open an account with IRCTC and simply log in and book your tickets at: IRCTC e-Ticketing website.
Another option is to book IRCTC outstation railway tickets on mobile phone by SMS.
Tickets can be booked through UTS system for unreserved specials and unreserved coaches in special trains.
Important note: Make sure that you are carrying valid ID proof for all reserved tickets.
South Central Railway has announced 8 special trains between major stations in Andhra Pradesh state to Ajmer on the occasion of Annual Urs festival. Continue reading the article to know more details about the special trains running by South Central Railway for the benefit of the Passengers.
Planned to travel from Chennai to south region such as Tirunelveli and Nagercoil or vice versa? You have a happy news that special trains are being operated between these stations from 08th January 2015. It was announced by Tamil Nadu Southern Railway department. The ticket reservations for all special trains started from today (04-01-2015) itself. The detailed information is illustrated in this article. Read on to know the train numbers, timings and schedule.
Useful information at a glance to help people during the festival rush hour season.I'm sure this would have helped many people this season to plan their journeys. Does the IRCTC website charge more during the peak seasons?
Yes, IRCTC has a different fare for peak seasons, these being from 1st April to 31st July and from 1st September to 31st January.
As opposed to this, the lean season is from 1st February to 31st March and from 1st August to 31st August.
In the case of popular trains, the peak season's fares is applied for the entire year for journeys undertaken in AC first and AC 2-tier classes. I think by 'popular' trains it is meant trains like Rajdhani, Duronto, etc.


text:
Appeals Civil Rights Regional
End of the Legal Road for Dozens of California Inmates With Valley Fever
February 1, 2019 February 1, 2019 MATTHEW RENDA
Central Valley, diseases, Ninth Circuit, prisons
SAN FRANCISCO (CN) – Dozens of California inmates who said they were subjected to cruel and unusual punishment after contracting a potentially deadly disease while imprisoned in Central Valley facilities saw their lawsuits tossed by the Ninth Circuit on Friday.
The three-judge panel ruled unanimously that prison officials named by the prisoners in their lawsuits are entitled to qualified immunity. Many of the named defendants weren't even responsible for placement of inmates, the panel found.
"We hold that several of the defendants cannot be sued at all because they were not personally involved in any alleged violations," U.S. Circuit Judge Andrew Kleinfeld wrote for the majority.
The appeal involved four lawsuits brought by different groups of prisoners who had contracted Valley Fever while in prison. Some of the plaintiffs were the families of inmates who died of the disease.
Ian Wallach, attorney for several of the defendants, decried the decision as "awful."
"There were hundreds of inmates affected with a serious form of this disease and now they are left without any form of remedy," Wallach said in a telephone interview.
The Central Valley has long been a hotbed of Valley Fever, which stems from fungal spores embedded in the region's soil. When the soil is kicked up, as it often is by the area's famed agriculture, people can inhale the spores.
About half of those who inhale the spores remain symptom-free, but others can develop serious disorders as a result of the infection including rash, fatigue, fever, cough, headaches and pain. A small, but statistically significant portion of exposed individuals can develop serious infections of the bones, brain or lungs resulting in organ failure and even death. Studies have shown males and people of African descent are particularly susceptible to the more serious forms of Valley Fever.
"The families of 40 clients who died and hundreds of others who have the most serious form of the disease are left to fend for themselves," Wallach said.
California has recognized the problem of Valley Fever in its prison system and, beginning in 2007, made accommodations to move certain vulnerable members of the population out of Central Valley penitentiaries. These include pregnant women, those with HIV, and others with chronic lung problems.
But Wallach said it wasn't enough and the state should have moved quicker to move black inmates to other prisons where the risk of infection was significantly lower.
"It's cruel and unusual punishment to hold people in a place where they are 14 times more likely to contract a fatal illness," he said.
A federal monitor assigned to oversee the health conditions of the inmate population eventually ordered state officials to move black and Filipino inmates out of the Avenal and Pleasant Valley state prisons.
But Wallach said the order came too late and, in many cases, black inmates were left to languish in prisons susceptible to the disease as recently as 2013.
Judge Kleinfeld said the federal government's intercession further bolsters the state officials' qualified immunity defense.
"It is especially significant that state officials could have reasonably believed that they were not violating the inmates' Eighth Amendment rights because the officials reported to the federal receiver," he wrote.
The judge also said that because so many people choose to live and work in the Central Valley despite the presence of Valley Fever, it is difficult to say imprisoning inmates in the area could amount to cruel and unusual punishment.
Finally, the court acknowledged that Valley Fever does affect black men disproportionately, but said it is difficult to argue state officials violated the rights of black inmates by treating them the same as white ones.
"It would not have been clear to a reasonable person, acting on the officials' information and motivated by their purposes, that the Equal Protection Clause required excluding African American inmates from these prisons based on race," Kleinfeld wrote
The judges said they recognized the legitimacy of the inmates' plight and acknowledged the seriousness of Valley Fever, but said they could not conclude the defendants "had to segregate prisoners by race or do more than the federal receiver told them to do."
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Q: How can I add Microsoft authentication to my react native app? I have a React-Native application in development that is an extension of a current web application. The web application makes use of MSAL to authenticate the users and I want to do this as well with the mobile app.
I have not really managed to find anything relevant, and what I have found was out of date or for the ReactJS framework.
I have been trying to make use of the MSAL-react-native component however it isn't that well documented so I'm lost over there as well

A: Use react-native-msal for Microsoft authentication

A: Enable authentication in your own React Application by using Azure Active Directory B2C:

For more information please check: https://learn.microsoft.com/en-us/azure/active-directory-b2c/enable-authentication-react-spa-app


Symptomatic treatment of hammertoes consists of such things as open toed shoes or hammertoe pads. There are over the counter corn removers for temporally reducing the painful callous often seen with the hammertoe. These medications must be used with caution. They are a mild acid that burns the callous off. These medications should never Hammer toes be used for corns or callouses between the toes. Persons with diabetes or bad circulation should never use these products.
When walking, your heels repeatedly hit the ground with considerable force. They have to be able to absorb the impact and provide a firm support for the weight of the body. When pain develops in the heel, it can be very disabling, making every step a problem, affecting your posture. There are various types of heel Heel Pain. Some of the most common are heel spurs (plantar fasciitis); heel bursitis and heel bumps.


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Progress VirginiaProgress UnpackedNewsNY Times Highlights Report on "Pervasive" Influence of ALEC on Virginia Legislature
NY Times Highlights Report on "Pervasive" Influence of ALEC on Virginia Legislature
Posted on February 13, 2012 January 18, 2017 by LaTwyla Mathias
This morning the New York Times Editorial page profiled ProgressVA's report on the influence of a "little-known conservative organization financed by millions of corporate dollars" on Virginia's legislature. The American Legislative Exchange Council, or ALEC, is responsible for over 50 bills introduced in the General Assembly in recent years.
The editorial concluded, "ALEC's work…further demonstrates the pervasive influence of corporate money and right-wing groups on the state legislative process. There is no group with any comparable influence on the left. Lawmakers who eagerly do ALEC's bidding have much to answer for. Voters have a right to know whether the representatives they elect are actually writing the laws, or whether the job has been outsourced to big corporate interests."
For a copy of the full report, visit //www.progressva.org/alec and check out the full New York Times editorial below the fold.
The New York Times The Big Money Behind State Laws
It is no coincidence that so many state legislatures have spent the last year taking the same destructive actions: making it harder for minorities and other groups that support Democrats to vote, obstructing health care reform, weakening environmental regulations and breaking the spines of public- and private-sector unions. All of these efforts are being backed — in some cases, orchestrated — by a little-known conservative organization financed by millions of corporate dollars.
The American Legislative Exchange Council was founded in 1973 by the right-wing activist Paul Weyrich; its big funders include Exxon Mobil, the Olin and Scaife families and foundations tied to Koch Industries. Many of the largest corporations are represented on its board.
ALEC has written model legislation on a host of subjects dear to corporate and conservative interests, and supporting lawmakers have introduced these bills in dozens of states. A recent study of the group's impact in Virginia showed that more than 50 of its bills were introduced there, many practically word for word. The study, by the liberal group ProgressVA, found that ALEC had been involved in writing bills that would:
Prohibit penalizing residents for failing to obtain health insurance, undermining the individual mandate in the reform law. The bill, which ALEC says has been introduced in 38 states, was signed into law and became the basis for Virginia's legal challenge to heath care reform.
Require voters to show a form of identification. Versions of this bill passed both chambers this month.
Encourage school districts to contract with private virtual-education companies. (One such company was the corporate co-chair of ALEC's education committee.) The bill was signed into law.
Call for a federal constitutional amendment to permit the repeal of any federal law on a two-thirds vote of state legislatures. The bill failed.
Legalize use of deadly force in defending one's home. Bills to this effect, which recently passed both houses, have been backed by the National Rifle Association, a longtime member of ALEC.
ALEC's influence in the Virginia statehouse is pervasive, the study showed. The House of Delegates speaker, William Howell, has been on the board since 2003 and was national chairman in 2009. He has sponsored or pushed many of the group's bills, including several benefiting specific companies that support ALEC financially, like one that would reduce a single company's asbestos liability. At least 115 other state legislators have ties to the group, including paying membership dues, attending meetings and sponsoring bills. The state has spent more than $230,000 sending lawmakers to ALEC conferences since 2001.
Similar efforts have gone on in many other states. The group has been particularly active in weakening environmental regulations and fighting the Environmental Protection Agency. ALEC's publication, "E.P.A.'s Regulatory Train Wreck," outlines steps lawmakers can take, including curtailing the power of state regulators.
There is nothing illegal or unethical about ALEC's work, except that it further demonstrates the pervasive influence of corporate money and right-wing groups on the state legislative process. There is no group with any comparable influence on the left. Lawmakers who eagerly do ALEC's bidding have much to answer for. Voters have a right to know whether the representatives they elect are actually writing the laws, or whether the job has been outsourced to big corporate interests.
Posted in News, Uncategorized
Hero & Zero January 15, 2020
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Home » The Latest Good, Bad and Ugly News from Sweden
The Latest Good, Bad and Ugly News from Sweden
Now There Are Plans for 'e-Krona' in Cash-Shy Sweden
Sweden is becoming increasingly cashless. Credit and debit cards are now by far the most common mode of payment while mobile payments have become as common as cash. A parliament committee has proposed that the largest banks should be forced to handle cash in an effort to halt the development. This year, only 13 percent of Swedes paid for their most recent purchase in cash, down from 39 percent in 2010. Read the full story.
Sweden predicted to face downturn after economic boom.
According to the National Institute on Economic Research, Sweden's growth rate will peak at 2.4 percent this year and then come to a halt in 2019. Moreover, while the unemployment rate is expected to continue to sink in the coming year and dip to 6.2 percent, it will then start to rise, the Institute's latest prognosis states. Read the full story.
After the failure of centre-right Ulf Kristersson (left) to form a government, the Social Democrat leader Stefan Löfven (right) is currently leading the Swedish government coalition negotiations. © News Øresund – Johan Wessman (CC BY 3.0)
The battle for which party will lead the next Swedish government drags on. Support for the far-right Sweden Democrats rose significantly in the election on 9 September (it is now the third-biggest party with 17.5% of votes and 62 parliamentary seats), while mainstream parties both on the left and the right declined. Read the full story.
The Good, True, Bad and Ugly from Sweden this Week
The Good, The Bad and The Ugly from Sweden this week
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Inside Dolce & Gabbana's Diamond-Spiked Alta Moda Weekend in Milan
by Style.com
Here's a fantasy to savor: You are wealthy beyond common comprehension—and far beyond mere lottery-winning daydream. You might own a vast oil field, a huge natural gas concession, or maybe some tech company that the Nasdaq can't get enough of. Perhaps you are the scion of an immensely wealthy family concern, or a Saudi princess, or a Russian who made economic hay when the Soviet Union collapsed—then got out before the ruble did, too. The details are immaterial. But the bottom line is that your bottom line is outrageously perky. You are the one percent of the one percent. And you like to look good—no, you like to look unique.
So here's the question: What are you going to wear? For you, the boutiques of Bond Street and Madison are like Gap. Red-carpet clothes are overexposed by actresses who—can you imagine?—get paid to wear them. Even the couture collections in Paris are a touch déclassé, for where's the mystery in wearing a dress that anyone can see on a Style.com show gallery?
This is an extremely niche (and, it goes without saying, extremely privileged) rationale—socioeconomics demands it—but it does exist. And for the last five seasons, Dolce & Gabbana has served its subscribers with the Alta Moda collections. These began in July 2012 in Taormina, Sicily; continued 12 months later in Venice; and then moved onto Capri in 2014. Those winter collections were interspersed by summer collections, shown in January in Milan immediately after the Paris couture shows. They were born of what seemed at the time the perverse decision to absorb D&G, the commercially successful but—the designers said then—creatively unfulfilling second line into their main ready-to-wear offering. As Domenico Dolce told me after their final D&G show in 2011: "We don't want to be the richest men in the cemetery. We love trends, but we want to stay in our mood, our style. If you appreciate it, I appreciate it."
Alta Moda is Dolce & Gabbana—Sicily-infused, lace-dripped, Baroque, wantonly Catholic—but on diamond-spiked steroids. A roster that now stands at nearly 200 clients supports a full, freestanding atelier in Milan. Each collection is accompanied by a jewelry offering—also handmade. The manner in which it operates is willfully anachronistic, for the sake of fantasy: All communication between client and atelier, for instance, must be handwritten. And instead of a quick in-then-out show, each presentation is staggered over several days to allow appointments and several lunches, dinners, and a closing party—each event an opportunity for clients to wear their pieces as well as to buy more.
Unfortunately, part of the deal for journalists invited to attend Alta Moda is that naming these clients is verboten. But we can quote them. "Paris couture has become unsatisfying: It is not what it once was. Now you are just a number to them, and there is no relationship with the house. Here, it is different—it is like a special club. And it is fun." This, as said by the client (and, I'm pretty sure, princess) who sat alongside me earlier today, handily crystalizes the sentiment of the Alta Moda guests.
This Friday Dolce & Gabbana presented what aficionados argued afterward might be the most sensually overwhelming Alta Moda collection yet. Last July, after Capri, the designers decided to take their inspiration from La Scala—Milan's 18th-century opera house—and arranged a meeting with its artistic director, Alexander Pereira, in November to ask permission to use the house's vintage ballet posters as motifs in the collection. More in hope than expectation, Dolce also inquired if there might be any chance of holding their show in the theater—something never done before—because, he said: "If I hadn't asked the question, it would have kept bothering me." Pereira agreed, and Gabbana added: "Afterward, I was trying to keep a straight face, but in the car home I was screaming. For us to be here is amazing—like touching the sky with your finger." The designers said they have both been coming here since they were age 7 or so—Dolce's regular box is number 17. "La Scala is Italy—it is Verdi, Pavarotti, Toscanini, Rossini, Bolle," said Dolce. "And it is more than Italy, too—it is Nureyev, it is Callas."
The show was interwoven with performances from the dancer Roberto Bolle and members of La Scala's company and school, choreographed by him. The first movement of clothes homaged the attire of ballet: Typically teamed with mink shorts or silk cady trousers and flat, jeweled boots, there was a series of feminized men's corpetto jackets, in silk brocade or soft alligator, decorated with gemstones and painted leather curlicues that came lined in mink with a silk raffia-effect trim. Slowly, the focus panned from stage to audience. A series of 15 or so black dresses, some cantilevered at the hip, some with eye-ambush detail at the neckline, all sensuous, slunk past. Two dresses, their skirts amplified with golden boning, were one-offs made in silk tulle hand-painted with florals or etched with silver-streaked orbs—vintage fabrics sourced by the Alta Moda team. Those vintage stage bills were used in a finale of tulle fantasy-ballerina gowns. Accessories included mink clutch bags and a pair of shoes handmade of filigreed gold, with what appeared to be a ruby inset in each toe: Each weighed about a pound.
During the show, clients noted the pieces that most caught their eye. And at a lunch of cotoletta alla Milanese afterward held in the foyer of La Scala under the eye of a statue of Rossini, they began to order—via a staff of Alta Moda ambassadors—or made arrangements to view and commission personalized versions. As one client said at that lunch: "What I like is that I know what I buy here is mine, for me only. It is exquisite. And to be here to see it is beautiful, too."
During the last two years, the Milan Alta Moda shows have ended with a dinner, then a party—typically raucous—and then the guests disperse back to their real (unreal) worlds. This season, however, another 24 hours has been added to the schedule to allow for the Alta project's newest category: Alta Sartoria.
Held at lunchtime today, this is a version of Dolce & Gabbana's amplified couture, but for men. It came about, said Gabbana, after the husbands, partners, or otherwise significant masculine others of Alta Moda clients began asking for pieces of their own. When one female client from a small nation in Asia bought a gown hand-printed with a re-creation of a Canaletto at the Alta Moda Venice show in 2013, her husband asked for a jacket in the same material—but the designers were initially unable to provide it because they did not have the rights to re-create the painting on a second garment. They got it to him eventually, then decided to create this new masculine Alta venture.
"They have their own style of life," said Gabbana, "and this allows them to have total creativity in choosing what they want for that life. So this is not just a fashion show: The clients can choose what they want—anything—in any color they want, or material. Or they can ask for something different. It looks grandiose and magnificent, but we are trying to present it with simplicity. We want a simple, friendly relationship with our clients."
Held in the newly refurbished primo piano of Palazzo Labus, the 16th-century building (refurbished in the 19th century by the studio of Piermarini, which also worked on La Scala) on Corso Venezia that houses the 25-tailor Dolce & Gabbana Sartoria, this men's collection was barely less extravagant than the women's that preceded it. Yet it began gently, with a series of classical suiting—often double-breasted, clinically fitted, in canonical patterns, with foulard ties, pocket squares, and floral buttonholes. An astrakhan hat and scarf teamed with a frogged double-breasted overcoat, and shiny pinned slippers augured an acceleration of va-voom: white suiting with cavalry flashed trousers, kaleidoscopically brocaded and pinned evening coats, an outrageous purple-lined evening dressing-gown coat worn with mink mittens. One look starred a fox bomber jacket that Gabbana had originally commissioned for himself—"and it is fantastic, amazing. But when am I going to wear it?" The show eddied to its finale on a tide of reinterpreted evening classics—white tie, shortened tailcoats, tuxedos—with more look-at-me slippers. My favorite looks incorporated the Sartoria's customizable silk pajamas—one of its strongest-selling categories—into a deeply louche approximation of daywear. The overall emanation was bohemian tsarist gilded by Fabergé. When Domenico Dolce walked the runway afterward, he clutched his head as if to fend off the applause.
Tonight, Palazzo Labus will host the final installment in this two-day, both-gender, entirely immersive wardrobe proposition for the 21st-century supranational superrich. The dress code? "Express Yourself"—which entirely sums up the more-is-more, artisan-realized, quintessential excess of this entirely atypical fashion project.
—Luke Leitch, Style.com


Hanger is just a very simple but addictive power video game by Christian Ostman. Finish every degree without sacrificing an entire body area. Use right and left arrows . Press SPACE to discharge the rope, then press to hold. Burn along to scale the rope. Once you cross the line, fresh degree with increased harmful barriers begins. Hanger video game on the web, an addicting art video game for adolescents and grown ups. Much pleasure together with all the Hanger video game!


You are invited to attend as a guest at any time! Just be prepared to say a few words about yourself. Here are details on where and when to find us and how to get in touch.
You love the Mercury spirit? You've been our guest and want to be part of our great training platform? You share our enthusiasm?
Our Vice President Membership is there to discuss your objectives with you and help you fill in your membership application.
In the next step, the board will decide on your application. This decision needs to be ratified by members at the following meeting.
After our members have voted in favor of your application, we'll ask you to pay your membership dues. Once that's done you're a Mercury member!
As a guest: It costs nothing to visit us!
As a member: You pay a €20 one-time registration fee plus €60 in membership dues every six months, in April and October (as of June 2018).
The registration fee covers your your first path on Pathways Toastmasters' education program, made available via Toastmasters' Basecamp. The regular dues include a subscription to the monthly Toastmaster magazine. Furthermore they cover costs for renting the venue, fees for contest participation, prints, snacks and more.


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Q: Я пытался установить metasploit на Ubuntu увы безуспешно( когда я запускаю терминал у меня вылазит вот такая ошибка:

bash: /home/yan/.rvm/scripts/rvm: No such file or directory
  /usr/bin/env: 'bash\r': No such file or directory bash:
  /home/yan/.rvm/scripts/rvm: No such file or directory

Метасплоит пытался ставить вот от сюда:
https://www.darkoperator.com/installing-metasploit-in-ubunt

A: Через 6 часов проведеных за компом у меня получилось.
Первая команда: cp /etc/skel/.bashrc ~
А потом нужно удалить строку из файла /etc/bash.bashrc
Для этого запустите файл от имени администратора.
Вот как будет выглядеть файл bash.bashrc:
type rvm >/dev/null 2>/dev/null || echo ${PATH} |
 export PATH="${PATH}:/usr/local/rvm/bin"


text:
Tag Archives: Lilly Wachowski
The Matrix Revolutions (2003) Review
Age Rating: Medium level violence
Keanu Reeves as Neo
Laurence Fishburne as Morpheus
Carrie-Anne Moss as Trinity
Hugo Weaving as Smith
Jada Pinkett Smith as Niobe
Director: Lana Wachowski, Lilly Wachowski
Neo, humanity's only hope of stopping the war and saving Zion, attempts to broker peace between the machines and humans. However, he must first confront his arch nemesis, the rogue agent Smith.
I rewatched the first two Matrix movies earlier in the year in preparation for the fourth movie, The Matrix Resurrections. However I ended up just rewatching the first two movies and didn't get around to completing the trilogy. As it was approaching the release date of the newest film, I decided to attempt to rewatch the whole trilogy again, and I'm glad I did. I'll admit I wasn't such a huge fan of these movies previously, even the original I thought was just decent. However in spite of my issues with it, along with it being an incredibly impactful, influential and technically impressive movie, The Matrix was a great film in itself. Even the more recent rewatch of Reloaded had me really liking it. It's definitely messy and overstuffed but It was interesting, bold and ambitious with its ideas and I might've even enjoyed it more than the original. I was curious about how I would find Revolutions since I have only seen it once and I don't remember much except that it seems to be the least liked out of the trilogy by many people. However I'm glad to say that I liked it about as much as the previous two films.
Something noteworthy about The Matrix Revolutions is that it is very much a continuation from Reloaded, in fact you could say that the two movies combined are a singular sequel to The Matrix. So try not to watch them months apart or anything. The Matrix Reloaded had a ton of exposition for the lore and the themes, way more than the first movie. Revolutions has some of this but its not nearly as overwhelming. I do appreciate the dialogue in Reloaded from my rewatch (along with grasping what people were actually talking about), but I appreciate Revolutions easing off that a bit. It's also not as convoluted, you don't get a scene like the infamous Architect scene from Reloaded. It does seem to lean more into action scenes than long philosophical conversations about reason and purpose. With all that being said, Revolutions can still deliver on the ideas, and its certainly not short on ambition. Reloaded could feel a little bloated at points with both the themes and action being dialled up, and could feel a little unbalanced, Revolutions on the other hand feels more focused and consistent. Something that I know people don't like about Revolutions is that there isn't a whole lot of time in the actual Matrix. Most of the Matrix's screentime take place in the first third, whereas most of the movie takes place in Zion, the last human city. There's even a very long battle in Zion against the machine which lasts well over 30 minutes. It can feel a little too long and no doubt they could've been shaved down those scenes a bit. However these scenes are nonetheless effective, with the action having a lot of tension and weight to them as the threat of the machines feel overwhelming and scary. Thankfully the Zion action isn't the last action we get, as we get a final action scene taking place in the Matrix which I found very satisfying. I found the ending to be quite fitting and conclusive, and so I'm wondering how Resurrections will connect with it.
Keanu Reeves, Carrie-Anne Moss and Laurence Fishburne are back again in their roles of Neo, Trinity and Morpheus and I think they were really good once again. Like with Reloaded, is also a lot of focus on the romance between Neo and Trinity. Their relationship was one of the worst parts of the first movie because there was virtually no chemistry between the actors, and with the writing, it just sort of comes out of nowhere in the film. However this is mitigated in Reloaded and Revolutions, and the scenes between these two are particularly great. Hugo Weaving as Agent Smith continues to be a considerably scene chewing and highly enjoyable villain. Whereas in Reloaded he was a supporting villain who occasionally showed up to be a problem, here he takes on an even larger villainous role. He steals every scene he's in and is one of the highlights of an already great film.
The Wachowskis direct this incredibly well as expected, and it's great on a technical level. The Matrix movies all look amazing, but this is probably the best looking of the trilogy, from the scenes in the matrix to the scenes in Zion. The action scenes and set pieces are impressive, and even the CGI holds up well (at least compared to some of the CGI in Reloaded). We only get about a third of the movie in the Matrix, but those gunfights and battle scenes are nonetheless impressive. The divisive battle between the humans of Zion and the Sentinels was actually quite impressive, if a bit too long and chaotic. It's a real spectacle from the visual effects to the scale, and the Sentinels feel more scary and unstoppable than they have ever before. The real highlight action scene for me is the climactic fight between Neo and Smith, playing out like a big anime fight. Like all the Matrix movies, it's unapologetically over the top, and while that might be seen as 'too much', it only makes the movie better for me. Don Davis's dramatic choral score is epic like in the previous movies, and really elevates the tension and scale in many of the scenes.
The Matrix Revolutions is a very divisive conclusion to the original trilogy, but one that I really liked. It may have some of the typical Matrix issues like some clunky and stiff dialogue, and some occasional messiness, but on the whole it succeeds. The themes and the direction the story go in was impressive, and the technical aspects and action are enthralling to watch. At risk of going off topic, I have to say that there is something quite refreshing watching the Matrix sequels, as the Wachowskis take the follow ups to their critically acclaimed movie in the directions they want to take them, regardless of what audiences want, and I will always appreciate when filmmakers do that. Even if they don't 100% work, the sequels are ambitious if nothing else, and I'm glad to be one of the people who really like the sequels as much as the first movie. After being successfully 'Matrix Pilled' for all 3 movies, I'm looking forward to seeing how The Matrix Resurrections turns out.
This entry was posted in Action, Sci-Fi and tagged 2003, 2003 movies, Carrie-Anne Moss, Hugo Weaving, Jada Pinkett Smith, Keanu Reeves, Lana Wachowski, Laurence Fishburne, Lilly Wachowski, The Matrix Revolutions on December 26, 2021 by thecinemacritic.
The Matrix Reloaded (2003) Review
Age Rating: contains violence & sex scenes
Hugo Weaving as Agent Smith
Harold Perrineau as Link
Randall Duk Kim as Keymaker
Gloria Foster as The Oracle
Director: Lilly Wachowski and Lana Wachowski
At the Oracle's (Gloria Foster) behest, Neo (Keanu Reeves) attempts to rescue the Keymaker (Randall Duk Kim) and realises that to save Zion within 72 hours, he must confront the Architect (Helmut Bakaitis). Meanwhile, Zion prepares for war against the machines.
The Matrix sequels aren't the most beloved of movies, but I remember being one of the people who enjoyed them. I was familiar enough with the first Matrix movie, however I hadn't watched the sequels more than once each. So I thought I should check them out again, especially as the fourth film would be coming in 2021. Overall, I do like The Matrix Reloaded even though it definitely has a lot of very visible issues.
The Matrix Reloaded really does feel like The Wachowskis letting loose and in some ways it was nice to see them go all out on everything. However, it also resulted in the movie being quite overindulgent and bloated, and in some ways it made the movie work against itself. The script at many points was a bit unfocused, not helped by the weird pacing. While there were some interesting parts, I found much of the movie to be boring and bland at points. Reloaded couldn't find the balance between exposition and action like the first one did, doing away with the careful structure, and replacing it with a fairly complex but messy and convoluted plot with nonsensical philosophical overtones. The film throws so much information at you, and a lot of the time, I was not able to follow what was going on. Even thinking back on it after a more recent viewing, it's hard to remember the key plot points. The first Matrix movie had a lot of people talking and having very serious conversations about high concepts. In Reloaded, it takes things to a ridiculous extent with even more preachy philosophical stuff, and it comes across as rather forced. The dialogue driven elements of the film felt overly complex and bloated, and it really bogged down the movie when it got to these moments. The heavy handed dialogue does mostly tone down in the second half of the movie, with the exception of the infamous 'Architect scene'. Without getting into that too much, while I understand the context of the scene and why the dialogue is written like that, it just borders on self-parody. It's really no surprise why this scene has been parodied so much. Reloaded also has a rather unsatisfying cliffhanger ending, and although it's the second part of a trilogy, it really feels like part 1 of 2 of a Matrix sequel (with part 2 being Matrix Revolutions). Despite everything, there were some interesting aspects. Some story aspects and interactions were interesting and I liked some of the ideas presented. I wouldn't even say that I disliked the story. However, even as someone who doesn't exactly love the first Matrix, that movie handles things a lot better than Reloaded.
The acting generally remains the same as in the previous movie, pretty generic and not all that great. Some actors are better than others, for example I enjoyed Laurence Fishburne as Morpheus (like in the first movie). However I still don't think Keanu Reeves and Carrie Anne Moss are that good in their roles of Neo and Trinity. Their performances are rather bland and stiff and while I feel like that was part of their given direction, it hinders the performance greatly. It only feels worse given that it's the sequels and they are still acting the same. Something I didn't buy in the first movie at all was the sudden mention of Neo and Trinity being in love with each other despite nothing prior in the movie indicating that at all. Well it's certainly not sudden in Reloaded as the film constantly pushes this relationship and it feels really forced. There's still no chemistry between the two leads and it's not made any more believable here. Even the new additions to the cast don't really bring much new to talk about. I will say that Hugo Weaving made such a big impression in the first movie as Agent Smith, that despite his fate at the end of the last movie, they found a way to bring him back and he's entertaining whenever he's on screen as always.
Once again, the Wachowski Sisters direct this, and props to them for pushing the boundaries even though the technology wasn't quite there yet. The first Matrix seemed to embrace looking cool over functionality, I kind of respect that and it adds something to their aesthetic. The second movie is no exception. This movie has so many goofy moments which somehow adds to the movie's entertainment. Neo flying for Superman for example is silly but fun. The cinematography is gorgeous, and the action scenes are generally quite good. In fact, Reloaded has some of the most memorable action scenes of the whole trilogy. It goes for more over the top action, more so than the first movie, and that is actually quite welcome. The choreography ranges from ridiculous to kind of awesome. There is a fight scene between Neo and many Agent Smiths, it was absolutely insane and only gets sillier as it progresses along, but it's quite entertaining. There's also a long extensive action sequence taking place on a freeway, and it's one of my favourite scenes in the whole film, being both thrilling and entertaining. One flaw in the action scenes of the Matrix sequels however is that now that Neo is basically a superhero, it removes any tension from any action scene he's in. Not to say that his action scenes aren't good though, they are still fun. The CGI is impressive at times but overall, it is a bit dated for today. The 3D models can be good in one moment, and then extremely fake in another (the Neo vs Smiths fight being a strong example of this). Finally, there's the amazing score from Don Davis, and the score is even better than the score in the first movie.
The Matrix Reloaded is a very frustrating movie. To a degree I respect the ambition and scope of it, as well as the refusal to just repeat the first movie again. This does also lead to some of its worse aspects though, with the overindulgence (especially with the writing), heavy exposition, an overly complicated plot and script and more. By the end I didn't have a clear idea of what I watched, and not in a good way. With that said, I do enjoy the movie. Some moments and ideas were well done, and the movie is worth watching for the action alone, even if some of the effects haven't held up well. I'll need to rewatch The Matrix Revolutions to see if it's that much better than Reloaded, but I'm not expecting much.
This entry was posted in Action, Sci-Fi and tagged 2003, 2003 movies, Carrie-Anne Moss, Harold Perrineau, Hugo Weaving, Jada Pinkett Smith, Keanu Reeves, Lana Wachowski, Laurence Fishburne, Lilly Wachowski, Randall Duk Kim on September 15, 2021 by thecinemacritic.
Bound (1996) Review
Gina Gershon as Corky
Jennifer Tilly as Violet
Joe Pantoliano as Caesar
John Ryan as Mickey Malnato
Director: Lana Wachowski and Lilly Wachowski
Violet (Jennifer Tilly), the mistress of the gangster Caesar (Joe Pantoliano), is in a torrid love affair with Corky (Gina Gershon). For Violet to dump Caesar, they formulate a plan to rob millions of dollars of stashed mob cash, blaming him for it.
I had watched all of the films from directors Lana and Lilly Wachowski except for their first film, Bound, which I heard was really good. I really didn't know much about this movie going in. However it was great, and I think it might actually be their best film yet.
Bound's plot is relatively simple, yet quite effective and handled very well. It is essentially a modern noir, but with aspects that make it stand out. Its script is meticulously refined, the characters are more than just mere caricatures, and the relationship between the lead characters is well realised. Bound does seem to have a selling point with the lead character being lesbians, but it's not the only thing that the film is about, while making that storyline feel very human and believable. The movie actually has a creative take on a whole lot of stale genre tropes, playing with gender and femme fatal cliches and subverting them. At the same time there are a lot of enjoyable noir elements on display, there's a good balance of satisfying and subverting tropes. The pacing is electric, and the plot and characters are always in motion. The film has a lot of energy, and between the snappy dialogue, the scenes of tensions and suspense, there is so much going on. The first act's slow build of tension is done to really sell Corky and Violet's relationship and motivation into doing what they do for the rest of the movie. Then the second and third acts deliver a lot of suspenseful moments that are unpredictable, which are made even more tense given that most of them take place in a claustrophobic setting. The film does have some very cheesy dialogue, especially in the first act, but so does a lot of classic noirs. That's also not to mention that there is a general self awareness throughout, so the cheesiness doesn't seem out of place. The humour actually plays nicely together with the building of tension, and they have a satisfying payoff. Something that is impressive, especially given that its their first movie, is that the Wachowskis don't compromise with any of its aspects, whether it's the illustration of a lesbian affair, or the surprisingly brutal violence which the movie shows unflinchingly. It's bold for a debut, and they definitely showed themselves as bold filmmakers with this one movie.
This movie is also perfectly cast and well-acted. Gina Gershon and Jennifer Tilly are perfect in the lead roles of Corky and Violet respectively, they give amazing performances and have great chemistry as we watch their romance grow throughout the movie. They are believable as two lovers trying to make their ways out, especially with Violet trying to escape from her gangster boyfriend played by Joe Pantoliano. Speaking of which, Pantoliano could almost be seen as a third lead in this movie and this might be the best I've seen him in a movie. He kind of steals the show as a paranoid mob thug who's at times entertaining and hilarious and other times threatening.
As said earlier, Bound is the debut film from the Wachowskis, and this has to be one of the most confident debut movies I've seen from first time directors. It's directed incredibly well and in such a stylish way, you can pick up on some iconic stylistic choices and see how it would influence their later movies. It is great seeing the Wachowskis work with a smaller scope instead of the big and grandiose action and sci-fi genres and stories that they are known for. It is small in scope but is so polished at the same time. It has a low budget of $6 million but every technical aspect is perfect. Bill Pope shoots this movie incredibly well, and the camera work with the high angle shots and close up shots felt very professional for a debut film. The editing is great and adds tension when needed, especially in the last two third of the movie. It is very well scored by Don Davis (who would also compose the scores for the Matrix movies), and the sound design fits well for this simplistic story.
Bound is a bold and confident debut from Lana and Lilly Wachowski, and a great movie in itself. The acting particularly from Tilly, Gershon and Pantoliano is great, the story is tight and captivating, and it's directed very well. As much as the Wachowskis are known for their big budget movies, I would love to see them work with smaller scale material again. At this point, I'm pretty sure Bound is my favourite movie from them so far.
This entry was posted in Crime, Thriller and tagged 1996, 1996 movies, Gina Gershon, Jennifer Tilly, Joe Pantoliano, John Ryan, Lana Wachowski, Lilly Wachowski on September 13, 2021 by thecinemacritic.
The Matrix (1999) Retrospective Review
Age Rating: Violence
Joe Pantoliano as Cypher
Thomas A. Anderson (Keanu Reeves) is a man living two lives. By day he is an average computer programmer and by night a hacker known as Neo. Neo has always questioned his reality, but the truth is far beyond his imagination. Nero finds himself targeted by the police when he is contacted by Morpheus (Laurence Fishburne), a legendary computer hacker branded a terrorist by the government. As a rebel against the machines, Neo must confront the agents: super powerful computer programs devoted to stopping Neo and the entire human rebellion.
The Matrix is one of the most iconic movies of all time. Its impact is absolutely massive to say the least, influencing so many other films, it just came out of nowhere at the time. I remember that I liked it when I first watched it, however with every viewing I liked it less. I know that the fourth Matrix is in the process of made, so I knew I had to come back to re-watching the original trilogy. Having rewatched The Matrix more recently, I can say that it's still pretty good, even if I'm not exactly a big fan of it.
I'm writing this review with the assumption that you've actually seen The Matrix. If you haven't seen it, basically just go and watch it as soon as possible. It's not just influential on a filmmaking level, but also on a story level. 1999 was especially a big year for films about identity, with the likes of Fight Club, American Beauty and Being John Malkovich, and that certainly extended to The Matrix. There are many philosophical ideas and themes and it has been analysed to death, so I won't get into it here. There are some parts of it which I find a bit silly (like some of the overt religious metaphors which are just a little too obvious) but they don't take me out of the experience too much. The first half is introducing to the real world, with lead character Thomas Anderson AKA Neo being our eyes as he learns about everything. I can't say this with certainty, but I'm pretty sure that it did the best job possible at introducing these things to the audience, however there's no doubt that not everyone will understand the concepts of the movie. I will say that watching it again, it does sort of drag, especially knowing where the story is leading (on top of Neo just not being a particularly interesting character and we are stuck with him for the entirety of the movie). The second half and particularly the third act is where it ramps up the action and it becomes entertaining. There are some really dumb moments in that second half, but I was fine with most of it.
Keanu Reeves before 1999 been known as an actor for roles in movies like Speed, Bill and Ted's Excellent Adventure and Point Break. However, it was his role of Neo that launched his career even further. I'm a big fan of Keanu Reeves, but to put it bluntly, his here performance is bland, and even people who like the movie usually agree on that. Now some have made the argument that it was done so that the audience can picture themselves in his role. I can get that idea, but it doesn't change him being a particularly uninteresting character to watch. Carrie Anne Moss as her character of Trinity was also sort of bland, mainly with her line deliveries. I know that she can act better from other things that she's been in, but here she's almost as bland as Keanu was, and I'm not exactly sure why. Even the other characters in the movie came across as more human than those two. The romance between the two is absolutely laughable. I don't recall it being much better in the sequels, but at least they interacted with each other more. There are hints throughout the first movie that Trinity likes Neo and he sort of likes her back (I think at least, I didn't pick that up from Keanu's performance), but aside from the scene where they first meet up, they don't interact all that much until the third act. At the end, basically after Neo dies after being shot multiple times by Agent Smith, Trinity in a way saves him basically with "the power of love". It's a silly scene in itself, but the lack of an actual believable romance makes it all the more worse. Laurence Fishburne is great as Morpheus, he does have a lot of moments where it gives a lot of philosophical word dumps, but he delivers them quite well. Hugo Weaving is iconic as Agent Smith, and it's all to do with his performance. There's nothing really much to say about the rest of the cast. Joe Pantaliano is the obvious betrayer, and the other members of the crew on the ship aren't memorable and disposable, and you don't really get to know them at all.
The Wachowski Sisters did a really good job directing this. There are some truly revolutionary sequences that inspired so many other films and imitators, its immense level of influence cannot be overstated. People have made fun of the green tint when it comes to the scenes that take place The Matrix, but it does add some uniqueness to them. Not all the effects hold up, but it doesn't affect the viewing experience too much, most of it is fine, and no doubt was fantastic for its time. You can tell often that it was the 90s with the use of the slow mo, and some of the music choices. The action is fantastic, endlessly entertaining, and the stuntwork is great.
The Matrix has its issues, not all of the story and characters worked for me, and I had some problems throughout. However, it is entertaining at many points, well made and directed despite some dated elements, and I appreciate it quite a bit, especially the impact it had made. It's not a movie that I'm exactly wanting to return back to often, but it is absolutely essential viewing.
This entry was posted in Action, Sci-Fi and tagged 1999, 1999 movies, Carrie-Anne Moss, Hugo Weaving, Joe Pantoliano, Keanu Reeves, Lana Wachowski, Laurence Fishburne, Lilly Wachowski, The Matrix on August 8, 2020 by thecinemacritic.
Speed Racer (2008) Review
Emile Hirsch as Speed Racer
Christina Ricci as Trixie
John Goodman as Pops Racer
Susan Sarandon as Mom Racer
Matthew Fox as Racer X
Benno Fürmann as Inspector Detector
Hiroyuki Sanada as Mr. Musha
Rain as Taejo Togokahn
Richard Roundtree as Ben Burns
Director: The Wachowskis
Born into a family business of race cars, Speed Racer (Emile Hirsch) is one of the track's hot stars. Sitting at the wheel of his Mach 5, he consistently deflates the competition. When Speed turns down an offer from the head of Royalton Industries, he uncovers a secret. Powerful moguls fix the races to boost profits. Hoping to beat the executive, Speed enters the same arduous cross-country race that killed his brother.
The Wachowskis haven't always been making the best movies in recent years. For every Cloud Atlas they make there's a Jupiter Ascending. Even though Jupiter Ascending was a really terrible movie (hilariously bad) I don't actually think it's their worst movie. That dishonour has to go to Speed Racer, a movie that oddly enough seemed to have been gaining a cult following recently. With its conflicting tone, obnoxious style it was honestly a real pain to sit through. I'm not sure how this movie could end up being this bad with the amount of talented people involved.
I never really found this story interesting at all, not once did it really grab my attention. This film really doesn't know what it wants to be. On one hand it goes all out crazy with it's fast and in-your-face style and it's obnoxious and childish comic relief (which I'll get to later) but at other times it tries to be serious. I haven't watched the cartoon it was based on but I have a feeling that it never should have been turned into a live action movie, certain shows don't translate well to the big screen. This movie is way longer than it needed to be, over 2 hours long, after a while it somehow became boring. The dialogue was most of the time cheesy, the comedy was really bad, but it mostly comes from the comedic relief, which I will go into more later on. So overall the story was uninteresting, the dialogue was cheesy and often terrible, and the comedy was awful.
Most of the actors are fine here, but I have no idea what many of them are actually doing in this movie. Like, what is John Goodman, Christina Ricci and Susan Sarandon doing here? They are way too talented to be in this movie. The acting for the most part is tolerable, so in a sense its really the best part of the movie. With that said, it also has one of the worst parts of the movie, the comic relief, which consists of a kid and a monkey, which are some of the worst comic relief I've seen in a movie, they are worse than Kate Capshaw in Indiana Jones and the Temple of Doom and Jar Jar Binks from Phantom Menace. That's saying a lot. They offer absolutely nothing to the movie. They aren't likable, they aren't funny, they are obnoxious, there's absolutely nothing to like about them, yet the film constantly forces them into scenes and dedicates entire scenes to their antics and 'comedic moments'. I hated them.
I didn't think the movie would be very good going in but I thought that there would at least good action scenes as the Wachowskis are involved. However that's not the case, every car action scene looks like a McDonalds toy commercial, not a big budget movie. The way they filmed action wasn't very entertaining. There were 2 fight scenes, the first was fine but the second was absolutely obnoxious. Even the editing is horrible, during driving (or whatever) there are heads that scroll in front of the screen for no reason. If there's one thing that really annoyed me about the movie, it's the style and direction. It was so obnoxious.
I'm of the opinion that Speed Racer is the Wachowski's worst movie (yes, worse than Jupiter Ascending). The style and editing was obnoxious, the comic relief was irritating, the action scenes were poorly filmed and the film somehow becomes tiring in the worst possible way. The only aspect which didn't flat out suck was the acting from most of the actors. Aside from that, I have to say that Speed Racer is one of the most painful movies I've watched, and that is saying a lot.
This entry was posted in Action, Family, Sci-Fi and tagged 2008, 2008 movies, Benno Fürmann, Christina Ricci, Emile Hirsch, Hiroyuki Sanada, John Goodman, Lana Wachowski, Lilly Wachowski, Matthew Fox, Rain, Richard Roundtree, Speed Racer, Susan Sarandon on April 27, 2017 by thecinemacritic.
Jupiter Ascending (2015) Review
Mila Kunis as Jupiter Jones
Channing Tatum as Caine Wise
Sean Bean as Stinger Apini
Eddie Redmayne as Balem Abrasax
Douglas Booth as Titus Abrasax
Tuppence Middleton as Kalique Abrasax
Gugu Mbatha-Raw as Famulus
Jupiter Jones (Mila Kunis) was born under signs that predicted future greatness, but her reality as a woman consists of cleaning other people's houses and endless bad breaks. Caine (Channing Tatum), a genetically engineered hunter, arrives on Earth to locate her, making Jupiter finally aware of the great destiny that awaits her: Jupiter's genetic signature marks her as the next in line for an extraordinary inheritance that could alter the balance of the cosmos.
As directors, the Wachowskis haven't found much success in big budget films since The Matrix and Jupiter Ascending goes down as one of their (debatably) biggest failures. Although the technical side with the special effects and soundtrack might be nice, its dialogue is bad, its story is predictable and it doesn't make a whole lot of sense. It's times like this when I think that The Matrix was a fluke.
The writing for this movie is all over the place and I didn't really care about what was going on. A lot of the time it felt like the film was padding out the scenes more than it had to as there are lots of exposition scenes full of unnecessary and drawn out dialogue and it does nothing to drive the plot forward. Because of this I felt overall bored with what was going on. The film also has some weird concepts, for example Jupiter can control bees because they are genetically modified to recognise royalty. There is also a romance between Mila and Channing which was really forced, I never really bought the relationship, it comes straight out of nowhere and the film doesn't seem to have a reason to have it. It doesn't help that the romantic dialogue is very cheesy and terrible. There are also lots of unresolved plot holes and inconsistencies which really don't work at all.
Mila Kunis doesn't seem that well suited in her role, however to be fair she doesn't have much to work with. Jupiter isn't given any character depth and doesn't have an interesting personality. On top of that she doesn't do much of anything and has to be saved so many times. She doesn't need to shoot guns or anything but she should at least show leadership or develop by the end of the film. Channing Tatum is decent and does his best to act through his terrible make up. Sean Bean does as much as he can in this movie despite appearing for only 10 minutes. Eddie Redmayne plays the main villain and his performance is basically if you crossed an asthmatic Voldemort with Zod from Man of Steel. He whispers most of his dialogue but sometimes out of nowhere he starts screaming. He was one of the few entertaining aspects of the film for how crazy he was, however it is still a pretty bad performance from a great (and academy award winning) actor.
Some of the designs of the aliens are fine but at times they are really distracting. It's like the Wachowskis made these designs because they looked similar to other sci-fi designs that other better films used. The visual effects for the most part are nice to watch, even though you can tell that there's a blue/green screens being used. The action scenes are also well filmed and they were the most entertaining parts of the film. The soundtrack is also quite good, I just wished it was used in a much better Sci-Fi movie.
The best way to describe this film is that it's like The Phantom Menace with better special effects. There's a lot of exposition that they try to put in to make the film seem more epic than it really is and the action scenes are the best part of the movie. After many attempts at having a large blockbuster it's clear that the Wachowskis should take a break from blockbusters.
This entry was posted in Action, Adventure, Sci-Fi and tagged Andy Wachowski, Channing Tatum, Douglas Booth, Eddie Redmayne, Gugu Mbatha-Raw, Jupiter Ascending, Lana Wachowski, Lilly Wachowski, Mila Kunis, Sean Bean, Tuppence Middleton on August 6, 2015 by thecinemacritic.
The Matrix (1999) Review
Director: Andy Wachowski and Lana Wachowski
In the year of 1999, Thomas Anderson (Keanu Reeves) is living two lives; by day a computer programmer and by night a computer hacker under the alias of Neo. He is contacted by Morpheus (Lawrence Fishburne), a legendary computer hacker who gives Neo the truth of the real world. The real world is a wasteland where most of humanity is imprisoned within an artificial reality known as the Matrix. Neo joins Morpheus in the struggle to overthrow the Matrix.
The Matrix is a film that was absolutely revolutionary when it came out. The world created by the Wachowskis is nothing like anyone has seen before and of course the action scenes are some of the best ever created. If you haven't seen this movie yet, I won't spoil too much of it but you really need to check it out as soon as possible. The Matrix is a classic that hasn't grown old in 15 years, and it looks like it never will.
First of all the world and philosophy of the Matrix is well crafted. Learning about the Matrix can get a bit complicated and may take more than one viewing to get it all because of how complex it is and how many concepts it has. The idea of the world not being quite what it seems has been made many times before but not in this way. The first time I watched it, I didn't pick up on the metaphors the movie had because I didn't think it would have any, I just thought it was an action science fiction movie. I watched an video analysis of Fight Club and it had comparisons to the Matrix, particularly the society aspect. With a new perspective I re-watched The Matrix it and I noticed the hidden metaphors that I didn't see before. This film has many different types of moments, those explaining the world and its philosophy and those being action scenes and both are done really well. One problem I have with this movie is the ending; it was a bit abrupt and could've been a bit longer. It wasn't bad, but I felt that after all the events prior to the ending, the film could've afforded to slow down a bit its in concluding.
The roles were played well by Keanu Reeves, Carrie Anne Moss, Lawrence Fishburne and the rest of the cast. Hugo Weaving is a stand out performance as Agent Smith, a programme who guards the Matrix. Weaving really plays him as a force to be reckoned with and he is a joy to watch. One of the only flaws I have with this movie is that despite the fact that I can remember them in many scenes, by the end I still don't feel like I really got to know them that well, however that can be forgiven as the universe of this movie isn't like most other sci-fi movies.
One thing that is in all of the Matrix movies is the green tint look. There are a lot of times where the movie has quite a green filter in it, mostly when characters are in the Matrix. The film also uses slow-mo very well and it really adds to the action scenes. It wouldn't be right to talk about the Matrix without talking about the special effects. It is really cool seeing people doing things that they wouldn't do normally like jump long distances and perhaps most famously – bullet dodging. The camera tricks used for shooting the bullet dodging scenes is also one of the revolutionary things about this movie. The soundtrack composed by Don Davis really adds something to the scenes.
One of the most original and well executed science fiction films of all time, The Matrix deserves to be seen at least once in your lifetime. A complex and interesting world, combined with well filmed action scenes makes it an all time classic that will be remembered for all the years to come.
This entry was posted in Action, Sci-Fi and tagged 1999, 1999 movies, Carrie-Anne Moss, film, Hugo Weaving, Joe Pantoliano, Keanu Reeves, Lana Wachowski, Laurence Fishburne, Lilly Wachowski, movie, movie reviews, movies, The Matrix on July 10, 2014 by thecinemacritic.


It seems that the chap I was mentioning before, at least I think I did (Fibrofog) is Jay Z Two Cents or something similar.
Due to the disappearence to the Canadian duo I have now added this chap to my susbscriptions, something I am very choosey about doing. However I liked his frank and funny approach to testing and reviewing things.
I am, I will admit, heavily looking into things right now and ... will be for the next couple of weeks to which after this I am going to be ... taking action regarding a few bits and pieces.
I have also been looking at more up to date games and even purchased a copy of PC Gamer recently. Now I had the first ever copy of that along with a few others. Some of these are no longer in existence and some are.
The titles I have read about have me somewhat excited I must say and I have a driven determination to try and achieve things over the next month!
However I do tend to like single player itles to multi player ones so I will have to check and make sure as to what is what and not make any mistakes in a months time.
I was interested in X Rebirth as I played all the others but my word does it get a panning from people so ... maybe not?!
I also like Role Playing games along with open world games that can last you a long time, several weeks as opposed to several hours.
None of the follow ups to these have been announced quite unfortunately. Many are stating they are some way off but I whink maybe as not as far off as many think due to the launch of the new consoles of the PS3 and XBone?!
But I will have to check them out further and was also interested in Metro Last Light.
There are the Wolfenstein and Watch Dog titles too. Dragon Age Inquisition along with Tom Clancy's The Division and Dying Light. Also the H1Z1 sounds interesting thus far. Also Project Cars or any ohter driving game I can find I think will be of major interest?!
I also have a rough list of things that comprise .. umm ... ten things ... ooooh wait no? THIRTEEN things, lol. These are not games!
There are a few others rumoured about that seem interesting however I have lost count of the amount of hype a imminent title has acquired only for it to be a let down upon release for one reason or another. These companies should really not sell themselves out to parent companies who will treat them like musians are treated and rushed something out that is unfinished.
What I also foind surprising is that in this day and age where you can write things to optical disks so easily or provide your own downloadable content that things are still squeezed in this way? Especially now that you have things like Kickstarter too where scores of people go wading through it for projects of interest!
I mean there is very big name in music that got around all this kind of thing and will not pander to the greedy execs wanting money immediately and not content to wait and that of course is Radiohead.
Whatever I do in about one month from now you can bet that my best camera will be at the ready and fully put to work! I am also leaning in a direction I have not done so before and never wanted to before. Yet I am pretty sure that this time around I am going to dive into that area?!
Also I am interested in looking into Dishonoured which I nearly bought when it came out but was not too sure, but now their is talk of Dishonoured 2 and hopefully this will be followed, or preceded, by Fallout 4 (read rumour Boston was scouted for this) and then Elder Scrolls 6?!
I have another blog whereby it always seems that everything I do comes togeether at the same time along with things being released in the media. Maybe this endeavour will follow suit?!
One month from now this blog will get a great deal of content along these lines as will my YouTube account!
At long bloody last and should be the first of two, maybe more?!