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Parents need to know that this film contains no obscenity or violence, but it does depict some rude and coarse behavior on the part of journalists and other public figures. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.

Kevin! I think you're giving Fox too much credit. My hunch is that both its home entertainment and movie channel arms are being overseen by very young people who have no sense of film history and think that movies actually started with the "Star War" series.

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The entire time I was reading the book (especially in the more action-dense parts), it reminded me of one of those Jackie Chan espionage action adventure Hollywood blockbusters. While Outfoxed was by no means written like a screenplay, the constant switching between third POVs from different characters and sides exudes a dynamic akin to what we often encounter in movies. It definitely created more tension, which is perfect considering the type of story Outfoxed is telling. The impression I got from reading Outfoxed was that if hypothetically it were to be adapted to a screenplay, it would definitely be easier to adapt than other books purely because of its writing style and storyline.

We all know the feeling: desperately scanning through endless menus of Netflix choices, eyes glazing over, knowing that our impulsive thumbs are going to doom us to some terrible midseason episode of a worthless show we hated the first time. Actually, the best movies on Netflix are staggeringly good right now.

A somewhat more literal case in point may be found in the work of artist Barbara Lattanzi, who has created a series of image processing systems called idiomorphic software, which function as handlers for online media. These include EG Serene, which is named after Ernie Gehr's Serene Velocity and which takes any piece of Quicktime video and provides controllers that allow users to approximate the editing patterns found in Serene Velocity (1970)The system works with any piece of video footage but Lattanzi recommends using content such as pornography, surveillance footage, or home movies.; and HF Critical Mass, which operates on the same principle in order to mimic the editing of Hollis Frampton's Critical Mass (1971).Another example is Japanese filmmaker Sueoka Ichiro, who has completed a series of short films and gallery-based installations titled Requiem for Avant-Garde Film. Sueoka's body of work includes titles such as A Film in Which There did NOT Appear Sprocket Holes, Edge Lettering without Dirt Particles, which references George Landow's Film in Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles and etc. (1966, 16mm, 4mins, US); A flick film in which there appear Liz and Franky is composed under the score of ARNULF RAINER by P. Kubelka on NTSC (2000), which uses footage of Elizabeth Taylor from Elephant Walk (1954) and Frank Sinatra from Come Blow Your Horn (1963) to substitute for the alternating white and black frames of Kubelka's Arnulf Rainer (1960); and Studies for Serene Velocity (2003), which offers a direct homage to Ernie Gehr's Serene Velocity, exploring the length of a hallway through rapidly varying focal lengths. Lattanzi's tongue-in-cheek homage to Gehr and Frampton, whose obsession with film's materiality represents the apotheosis of cinematic medium specificity, highlights a key distinction between film and digital media. Structural filmmakers' fetishistic relationship to their apparatus of production is largely denied to makers of digital media, whose creative interactions largely take place within the domain of software and therefore rarely reference the role of the computer as object-machine. Lattanzi's work instead places its emphasis on interface over physicality and on constructing systems that handle and reconfigure pre-existing media into new patterns. Idiomorphic software offers users a form of empowerment and control that is of an entirely different order than conventional interactive narratives. It also suggests ways to talk about the specificity of digital media that do not simply replicate the formalist impulses of Structural film.

This is why Thompson is dangerous; not because he's accurate, well-researched, logical or clever, or because any of his legal threats hold the slightest amount of water, but because no matter how many times he's proven wrong or outfoxed by the legions of gamers and game companies who dispute his every move, he will still be an ideal soundbite provider for the mainstream media.

Ultimately, though, however much Jack Thompson's diatribes may serve to poison public opinion in America's right-wing against the videogames industry, he poses remarkably little real danger to the industry. Empty vessels make most noise, and Thompson's hollow threats and misinformed ranting will gradually run out of wind as the mainstream media inevitably finds a new whipping boy and stops trotting out violent videogames to fill column inches. Entire generations have now grown up with videogames, and see right through the posturing of people like Thompson; as those generations age, videogames will become more and more acceptable to the public, just as rock and roll music and movies did before them.

Thatcher survived every ordeal that the men's world set for her. She mastered each and every portfolio they placed in front of her. She outfoxed the men in political strategy; she outlasted them in stamina and showed a steelier backbone than they did when she dispatched the Navy to recapture the Falkland Islands and told George Bush senior not to "go wobbly" over Iraq's invasion of Kuwait.

To my taste, the evil in Rowling's books is always a bit too constrained and contained, and the befuddled "muggles" of the ordinary grown-up world are too easily outfoxed. (Indeed, given the immense popularity of the Potter books among children and grown-ups around the globe, where exactly are true muggles to be found? Osama bin Laden and Pat Robertson, perhaps?) Compared to the theological and literary density of Tolkien and Lewis, both rooted in a tragic vision of human nature, Rowling's fairy-tale coming-of-age fantasies strike me as sweet but a little thin. I certainly don't begrudge any of her readers the immense joy they derive from her books, but I'm not all that interested. Go off and have your fun at Hogwarts; I'll be happier at home with the espresso-depresso crowd: Ingmar Bergman, Edgar Allan Poe, Kierkegaard and maybe a stack of "Swamp Thing" comics.

IGNATIUS: I don't know if you can say they outfoxed the Americans, since this is the outcome that the United States wants. In a sense, the Russians were pressured into doing the thing that the United States has been wanting them to do now for two years, which is to move in and take ownership of the chemical weapons problem. Russian President Putin is getting some credit for this. And I think the feeling in the White House is that's fine. I wrote a year ago that U.S. policy should be focused on winning a Nobel Peace Prize for Vladimir Putin. In other words, pushing him towards precisely what he seems to have done this week. And I think that's right. It's fine for Putin to get credit doing things that are in America's interest.

Since his death in 2011, there have been several movies and documentaries about Apple co-founder and tech guru Steve Jobs, but this 2015 biopic is among the best. Michael Fassbender brings the turtleneck-loving visionary to life in the film, which covers three different product launches that took place between 1984 and 1998. Unlike many other Jobs films, this movie also focuses on his relationship with his daughter, Lisa, whom he had with ex-girlfriend Chrisann Brennan and refused to support for many years, despite his massive wealth.

Famous and controversial WWII tank commander General George S. Patton is the subject of this 1970s biopic, which remains among the most iconic movies ever made. George C. Scott took on the role of Patton and won an Academy Award for it (one of seven the picture took home). The film was in the works for several years before production went underway, as the United States Department of Defense was not keen on signing off on the project.

Normally, the scanner's autofocus system looks at the center of the frame to perform its focus adjustments. On the Dimage Multi Scan Pro, you can specify what specific point on the film you want it to adjust for, or what part of the film you want to manually adjust the focus based on. These are very useful features, in that we've sometimes seen scanner autofocus systems outfoxed by low-contrast, or poorly-focused originals. In the case of severely curled film, you may opt for sharp focus in one part of the frame, at the cost of poorer focus elsewhere. The Dimage Scan Multi Pro accommodates such situations with the aforementioned option of specifying the point of focus. be457b7860