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Bloodier and more violent than his own tastes preferred, THE LIVING DEAD GIRL forced Rollin to work against the grain in his own preferred genre - and he transformed himself in the process. In the unsettling, bloody finale, Blanchard's performance was so intense, so extreme in its confused appetite, revulsion, and glee, the take was nearly interrupted out of concern for the actress's mental health. It's one of the most emotionally incendiary finales in horror film history.

One of the most incendiary finales in horror film history." - Tim Lucas, Editor of VIDEO WATCHDOGPressFor press and publicity inquiries, please email [email protected]. A selection of press materials for this title may be available for downloadhere.

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Original Sin is a 2001 American erotic thriller film starring Antonio Banderas and Angelina Jolie. It is based on the novel Waltz into Darkness by Cornell Woolrich, and is a remake of the 1969 Franois Truffaut film Mississippi Mermaid. The film was produced by actress Michelle Pfeiffer's production company, Via Rosa Productions.

It was rumored that the chemistry between Jolie and Banderas led to a relationship, which they denied.[10] The film had to be cut to achieve a R-rating, which director Michael Cristofer called censorship.[11]

On Rotten Tomatoes the film has a 12% approval rating based on 90 reviews and an average rating of 3.40/10. The site's consensus states: "Laughably melodramatic, Original Sin features bad acting, poor dialogue and even worse plotting."[12] On Metacritic, it has a score of 33 based on reviews from 24 critics, indicating generally unfavorable reviews.[13]

Road Trip is a 2000 American road sex comedy film[5] directed by Todd Phillips and written by Scot Armstrong and Phillips. The film stars Breckin Meyer, Seann William Scott, Paulo Costanzo, and DJ Qualls as four college friends who embark on an 1,800-mile (2,900 km) road trip to retrieve an illicit tape mistakenly mailed to a girlfriend. The film gathered a cult following over the years.

The fictional 'University of Ithaca' is based on both Ithaca College and Cornell University, each located in Ithaca, New York. Filming took place from October 16, 1999 to December 27, 1999 on the campuses of Woodward Academy, Georgia Tech, Emory University, and the University of Georgia.[6][7] The university seen in a flyover in the opening scene is actually Harvard University; the same footage was later used in the film Old School in 2003. The diner scene was shot in Lawrenceville, Georgia at the Gwinnett Diner, as it says on the coffee mugs. One of the final scenes of the tour was filmed at Founders Park at the University of Southern California.

Review aggregation website Rotten Tomatoes gives Road Trip an approval rating of 57% based on 93 reviews, with an average rating of 5.3/10. The site's critics consensus reads: "Some humor is hit or miss, depending on the audience tastes, but the movie is funny overall. Mixed reviews for the cast, especially for MTV's Tom Green."[8] Metacritic assigned the film a weighted average score of 55 out of 100 based on 32 critics, indicating "mixed or average reviews".[9]

At the 2000 Stinkers Bad Movie Awards, Green won both Worst Supporting Actor and Most Unfunny Comic Relief for his role in both this film and Charlie's Angels. The film itself also received a nomination for Oldest Looking Teenagers, but lost to Remember the Titans.[10]

The film opened on May 19, 2000, alongside Dinosaur and Small Time Crooks. It was ranked No. 3 at the North American box office behind Gladiator and Dinosaur, making US$15,484,004, in its opening weekend.[11][4]

A direct-to-video sequel entitled Beer Pong was released on August 11, 2009, this time by Paramount Famous Productions as Paramount Pictures had acquired DreamWorks' back catalog in its (since undone) 2006 purchase of the company.[12] Only two of the original cast or crew appear in the sequel film, DJ Qualls as Kyle Edwards and Rhoda Griffis as Tour Group Mom.

After Sex is a 2007 American romantic comedy-drama film written and directed by Eric Amadio. The plot revolves around several couples having conversations after having sex.[1] It looks at the complexity of modern-day relationships told through eight separate couples. Through dialogue and compromising situations, the film goes from the beginning of a relationship to the aftermath of one, and examines every stage in between.

Since some films use DTS audio, others AC3, some use avi, mp4, mkv as the file format, some use x264, x265, etc. as the video codec. Not all end devices can handle these many formats and also due to the available bandwidth between the media server and the device, the media servers transcode the video formats on the fly. However, this costs a lot of computing capacity. Otherwise, I would like to run the media server on a small VM or a Raspberry. But even if I rent a very expensive server, like the one I currently have, it often reaches its load limit (even if two people are streaming).

For example, a 1080p film in Google Drive has 10.2 GB - as a streaming format in 1080p it only has 3.1 GB. That's brilliant: Google Drive has taken over the transcoding work. It converts any video, including 4k films, into streaming versions that use mp4 x264 as the video codec and mp4a aac as the audio codec - codecs that almost every device supports. Transcoding by the server would be unnecessary.

I didn't start by claiming that most people would use encryption anyway. I was just questioning this claim. Encrypting video files (I was explicitly talking about films and series, but not any private files) doesn't seem to make much sense. Apart from that, I am not convinced by the argument that a feature should not come because most (and therefore not: all, but it is left open whether a large proportion of rclone users might not use encryption after all) wouldn't need the feature at all. rclone has countless features that most people don't need. Nevertheless, rclone has them because some people need them.

For example, I only know or read about people who use rclone as a mount for their Plex or Emby library and primarily store films and series. But I don't often spend time in the rclone forum or Reddit, but rather on various scene sites. An encryption? People who simply want to run a functional private media library have not ventured into such subject areas. It's also not about a function like yt-dlp. First of all, yt-dlp does not support interception of streaming formats from G Drive, secondly it uses ffmpeg, which would not be necessary for the feature I want rclone to have. The files do not have to be transcoded. Like any other file, they should be output by rclone as normal. This means: if you retrieve a file "video.mp4" on Google Drive and have previously said "preferred-1080" in your rclone command, then rclone does not intercept the original file from the Drive API, but the MP4 that is on the Google servers and which can be received via HTTP request instead.

I'm using rclone to manage my footage archive (I'm a video shooter and for example some interviews when shooting with the latest 4K/6K cameras can generate single video files in excess of 100GB each), also a ProRes444 video master of a feature documentary film is approx 1TB (again SINGLE FILE).

"Ma Belle, My Beauty" is all about longing: longing for connection, longing for artistic expression, longing what for what used to be. Trying to enter the past, thinking that what you are looking for is in the rear-view mirror, is a losing situation, as the three main characters, who once were in a polyamorous relationship, discover. Everyone has (ostensibly) moved on, and yet there is ambivalence, there are regrets. The polyamorous aspect to "Ma Belle, My Beauty," written and directed by New Orleans filmmaker Marion Hill (it is her first full-length feature), adds a layer of complexity to what is a fairly straightforward romantic drama. "Ma Belle, My Beauty" takes place in the south of France, among sunny vineyards, ice-cold streams, beautiful country houses, populated by fascinating people. Anchored by four very good performances, "Ma Belle, My Beauty" unfortunately suffers from inertia and a lack of conflict. There is conflict, but it's presented in such a languishing way that it leaves the film grasping for something solid to hold onto.

When the film starts, Bertie (Idella Johnson) and her husband Fred (Lucien Guignard) have decamped from New Orleans to live in Fred's parents' country house in the south of France. Both of them are musicians, Fred a jazz guitarist, and Bertie a jazz singer. They are in the midst of planning for a European tour when suddenly Lane (Hannah Pepper), who was once the "third" in the relationship, shows up. Lane's visit was Fred's idea, and they both kept it a secret from Bertie. Bertie is ambushed. She has a lot of anger towards Lane, who vanished for no reason, presumably exiting the relationship. They've been out of touch ever since. In the intervening years, Fred and Bertie tied the knot. It's clear, though, that Fred wants to get the three-way relationship up and running again. He thinks it will be good for Bertie. Bertie is suffering from artistic malaise. She doesn't want to go on tour. Fred thinks Lane might spark Bertie back into her creativity, even saying to Lane at one point, "She hasn't sung like that since you left."

During a difficult conversation near the very end of the movie, Bertie says to Lane, "I don't care. I don't have the space to care." Having seen what we've seen over the course of the film, her words make sense. Everyone wants something of Bertie. Everyone wants her to be different, grow in a different way, do things they think she should do: go on tour, go to rehearsals, commit to singing, start up the thing again with Lane. She's tired of all of it. But being tired of something, and "not having the space to care" is not dramatic. "Ma Belle, My Beauty" obviously cares about its subject, and treats it with respect. But the atmosphere established doesn't leave enough room for real conflict or even expression. There's only so much a longing glance can say. e24fc04721