Multimedia messaging will be available on the iPhone starting Sept. 25, according to AT&T, the exclusive carrier of the popular smartphone in the United States.
"We’ve been working for the past several months to prepare our systems and network to ensure the best possible experience with MMS when it launches," AT&T said on its Web site. "We know that iPhone users will embrace MMS."
"Embrace" might be an understatement. Users of the iPhone have been waiting patiently for the feature. For years, many phones have had the ability to send photos, videos and audio files along with text messages, which is known as multimedia messaging.
Last spring, Apple said MMS for photos and audio files — but not video — would be among the new features of the iPhone 3.0 software, released in June. AT&T said the feature would be enabled by the end of summer.
In recent weeks, two class-action lawsuits were filed against AT&T and Apple over the delay of MMS. The suits, one filed in a U.S. District Court in Louisiana, the other in a federal district court in Illinois, contend that consumers were misled about MMS availability.
Multimedia messaging will work on both the iPhone 3G, released in 2008, and the iPhone 3GS, which came out in July. Apple says MMS will not work on first-generation iPhones, those released in 2007, because of the phone's hardware.
The iPhone is already one of the most data-intensive smartphones, not only because of Web surfing and e-mail, but because users have tens of thousands of programs, or "apps" they can choose to add to the phone from Apple's App Store.
"The unique capabilities and high usage of the iPhone’s multimedia capabilities required us to work on our network MMS architecture to carry the expected record volumes of MMS traffic and ensure an excellent experience from Day One," said AT&T. "We appreciate your patience as we work toward that end.
Friday, September 18, 2009
Multimedia messaging will be available on the iPhone starting Sept. 25, according to AT&T, the exclusive carrier of the popular smartphone in the United States.
Wednesday, September 16, 2009
Inglourious Basterds is a 2009 film written and directed by Quentin Tarantino and released in August 2009 by The Weinstein Company and Universal Pictures. It was filmed in several locations, among them Germany and France, beginning in October 2008. The film, set in German-occupied France, tells the story of two plots to assassinate the Nazi political leadership, one planned by a young French Jewish cinema proprietress, the other by a team of American soldiers called the "Basterds".
Tarantino has said that despite its being a war film, Inglourious Basterds is a "spaghetti western but with World War II iconography". In addition to spaghetti westerns, the film also pays homage to the World War II "macaroni combat" sub-genre (itself heavily influenced by spaghetti-westerns).
Inglourious Basterds was accepted into the main selection at the 62nd Cannes Film Festival in competition for the prestigious Palme d'Or and had its world premiere there in May. It was the only U.S. film to win an award at Cannes that year, earning a Best Actor award for Christoph Waltz.
by Roger Ebert
Quentin Tarantino’s “Inglourious Basterds” is a big, bold, audacious war movie that will annoy some, startle others and demonstrate once again that he’s the real thing, a director of quixotic delights. For starters (and at this late stage after the premiere in May at Cannes, I don’t believe I’m spoiling anything), he provides World War II with a much-needed alternative ending. For once the basterds get what’s coming to them.
From the title, ripped off from a 1978 B-movie, to the Western sound of the Ennio Morricone opening music to the key location, a movie theater, the film embeds Tarantino’s love of the movies. The deep, rich colors of 35mm film provide tactile pleasure. A character at the beginning and end, not seen in between, brings the story full circle. The “basterds” themselves, savage fighters dropped behind Nazi lines, are an unmistakable nod to the Dirty Dozen.
And above all, there are three iconic characters, drawn broadly and with love: the Hero, the Nazi and the Girl. These three, played by Brad Pitt, Christoph Waltz and Melanie Laurent, are seen with that Tarantino knack of taking a character and making it a Character, definitive, larger than life, approaching satire in its intensity but not — quite — going that far. Let’s say they feel bigger than most of the people we meet in movies.
The story begins in Nazi-occupied France, early in the war, when the cruel, droll Nazi Col. Hans Landa (Waltz) arrives at an isolated dairy farm where he believes the farmer (Denis Menochet) is hiding Jews. He’s right, and a young woman named Shosanna (Melanie Laurent) flees into the woods. It is for this scene, and his performance throughout the movie, that Christoph Waltz deserves an Oscar nomination to go with his best actor award from Cannes. He creates a character unlike any Nazi — indeed, anyone at all — I’ve seen in a movie: evil, sardonic, ironic, mannered, absurd.
The Hero is Brad Pitt, as Lt. Aldo Raine, leader of the Basterds. Tarantino probably wants us to hear “Aldo Ray,” star of countless war films and B pictures. Raine is played by Pitt as a broad caricature of a hard-talking Southern boy who wants each of his men to bring him 100 Nazi scalps. For years, his band improbably survives in France and massacres Nazis, and can turn out in formal eveningwear at a moment’s notice. Pitt’s version of Italian is worthy of a Marx brother.
The Girl is Shosanna, played by Laurent as a curvy siren with red lipstick and, at the film’s end, a slinky red dress. Tarantino photographs her with the absorption of a fetishist, with closeups of shoes, lips, a facial veil and details of body and dress. You can’t tell me he hasn’t seen the work of the Scottish artist Jack Vettriano, and his noir paintings of the cigarette-smoking ladies in red.
Shosanna calculatingly flirts with Frederick Zoller (Daniel Bruhl), a Nazi war hero and now movie star; he persuades Joseph Goebbels to hold the premiere of his new war film in her theater. This sets up a plot that includes Tarantino breaking several rules in order to provide documentary footage about how flammable nitrate film prints are.
A Tarantino film resists categorization. “Inglourious Basterds” is no more about war than “Pulp Fiction” is about — what the hell is it about? Of course nothing in the movie is possible, except that it’s so bloody entertaining. His actors don’t chew the scenery, but they lick it. He’s a master at bringing performances as far as they can go toward iconographic exaggeration.
After I saw “Inglourious Basterds” at Cannes, although I was writing a daily blog, I resisted giving an immediate opinion about it. I knew Tarantino had made a considerable film, but I wanted it to settle, and to see it again. I’m glad I did. Like a lot of real movies, you relish it more the next time. Immediately after “Pulp Fiction” played at Cannes, QT asked me what I thought. “It’s either the best film of the year or the worst film,” I said. I hardly knew what the hell had happened to me. The answer was: the best film. Tarantino films have a way of growing on you. It’s not enough to see them once.
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Tuesday, September 15, 2009
Could you imagine the summit of the artist, that called pick up artist?
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Sunday, September 06, 2009
This beatiful movie with the world war II setting,bring romance to all of you who has been watch this movie which bring very excellent by the director Joe Wright (pride and prejudice) about this luxe adaptation of Ian McEwan's stunning 2002 best-selling novel.
Treacheries committed in the name of art and expiation sought are McEwan's themes at their grandest, but director Joe Wright (Pride & Prejudice) and screenwriter Christopher Hampton (Dangerous Liaisons) are convinced that what a moviegoer wants from a literary adaptation is refinement and good breeding. Their movie is abundantly attractive, every scene serenely composed, and every character so fair in love and war that, when the lights come up, it's too easy to say, ''That was good and sad and romantic and classy, now what's for dinner?'' Turning the last page of McEwan's book, in contrast, you're more likely to be shaking from direct devastation and intensity of experience. Different mediums, different messages, I guess — except that the book-loving and movie-loving me holds fast to the conviction that the right artistic alchemy can indeed turn a great book into a different but equally great movie.
This isn't that. So it falls to composer Dario Marianelli to supply the course-correcting clackety bits that shore up the subtext. It makes sense that the clicks and pings embedded in the melodious musical themes arrive haltingly at first — in imitation of a young typist's mechanical limitations. After all, Briony Tallis (the breathtakingly self-possessed Irish talent Saoirse Ronan, who has porcelain skin and a pitiless blue-eyed stare), a self-serious writer-in-training from a rich, idle English family, is all of 13 years old in 1935 when she creates what she doesn't yet know will remain the most important fiction of her career.
The drama-prone adolescent observes sexual electricity between her glamorous older sister, Cecilia (Keira Knightley, she of the smoky eyes and knife-edge shoulder blades), and Robbie (James McAvoy, he of the utilitarian boyish masculinity), the college-educated son of the family housekeeper, on whom Briony, too, has a crush. And drawing on her own girlish fantasies, sexual naïveté, and artist's dangerous talent for revenge, one night she tells a whopper of a tale accusing Robbie of a crime he didn't commit, a fiction that nevertheless sends him off to jail for years. Knightley and McAvoy don't have much chemistry between them, but they do share handsome, planed features, they speak a richly clipped, 1930s-movie-style English-from-England, and they look positively Abercrombie & Fitchalicious together. So watching Cecilia watching Robbie led away by cops, we can approximately feel her pain.
The very opposite of happily-ever-after enchantment, the story Briony tells ruins lives for decades to come — including that of the storyteller. And as it does, Marianelli's score quickens, increasing the agitated tempo of speed-typing and turning the dingggg that announces a full stop and carriagereturn into a kind of time's-up accusation. Robbie eventually moves from prison to war — he becomes a lovesick soldier in France, one of thousands on the beach at the British retreat from Dunkirk in 1940, in a world where the killing is real, not a fairy tale. Wright stages a tricky, seamless, five-minute-plus single-shot Steadicam tour across that battle-wrecked beach with a gallantry that aims for terrible-majesty-of-war cinematic ambition but settles for a disconnected Wow, bloody awesome camera work. Cecilia becomes a nurse. And, imitating the sister from whom she's now estranged, Briony (played in young adulthood by Romola Garai) herself seeks redemptive nursing war work, at one point furiously scrubbing blood from her hands in one of the movie's less subtle editorial signifiers. (She also continues to write wherever she can, even in a hospital storage closet — because, like any true writer, she can't not.)
In the end — an ending of such power and narrative originality (in both book and movie) that those who know it ought never breathe a word to those who don't — Briony is an old woman, her stricken stare taken up by Vanessa Redgrave. As ever, the attention to detail is careful — the way Redgrave's bearing echoes Garai's, which echoes Ronan's. Even the defeated, sexless dress worn by old Briony rewards the viewer for remembering the virginal, sexless frock worn by young Briony. Atonement is cultured and tidy like that. It's a nice movie where magnificence is in order.
- Achievment :
Academy Awards, 2008
Winning Oscar :
Best Achievement in Music Written for Motion Pictures, Original Score
Nominated Oscar :
Best Achievement in Art Direction
Sarah Greenwood (art director)
Katie Spencer (set decorator)
Best Achievement in Cinematography
Best Achievement in Costume Design
Best Motion Picture of the Year
Best Performance by an Actress in a Supporting Role
Best Writing, Screenplay Based on Material Previously Produced or Published
Art Directors Guild 2008
Excellence in Production Design Award
BAFTA Film Award 2008
Winning Best Film
Best Production Design
Golden Globe 2008
Best Motion Picture - Drama
Best Original Score - Motion Picture
Are you ready for adventure; for danger; for death? Are you ready for the third episode in the Ice Age series? Boldly going where no other mammals dare to tread, the lovable bunch of sub-zero heroes, Manny, Ellie and Diego, are led from the comfort of their icy surroundings, as they know it, into a dangerous, but tropical and submerged dinosaur world below the ice layers, all because Sid the wreckless sloth reckons he has he has the superior parenting skills of Jolie or Madge. Yes, Ice Age 3: Dawn of the Dinosaurs does offer more adventure, animated theatrics and thrilling chases - and all in 3D, even though the plot isn't exactly rocket science. But try as hard as any film critic might to knock the latest tale, the saga's infectious, slapstick fun brings out the kid in all of us, and melts any cynical old heart.
In addition, a new Ice Age star is born: Introducing Buck, top weasel for both adults and the kids, alike. Talent flavour of the day/month/year, new L.A. resident Simon Pegg is - as ever - hilarious voicing the part, sounding like an animated 'Jack Sparrow' weasel (complete with pirate eyepatch) who leads the loveable herd to safety from the dinosaurs. Buck provides the adult gags, whilst sparking a nostalgic, adventurous 'Peter Pan spirit' in all us older viewers - cue the childish 'yukky broccoli' moment. It's also exciting to see the endearing characters turn adventurers in this third episode - in both the 'other worlds' and parenthood sense - rather than pace the snowy terrain like in films past. The ancient hidden world under the ice is reminiscent of all the exciting underwater worlds that have yet to be discovered in our oceans, too.
Scrat is still trying to nab the ever-elusive nut (while, maybe, finding true love); Manny and Ellie await the birth of their mini-mammoth; Diego the Sabre-toothed tiger wonders if he's growing too "soft" hanging with his pals, and Sid the sloth gets into trouble when he creates his own makeshift family by hijacking some dinosaur eggs. ---------
On a mission to rescue the hapless Sid, the gang ventures into a mysterious underground world, where they have some close encounters with dinosaurs, battle flora and fauna, run amuck - and meet a relentless, one-eyed, dino-hunting weasel named Buck. ------
Film Facts --------
Official site: http://www.iceage3.co.uk/
Directors: Carlos Saldanha, Michael Thurmeier
Cast: Ray Romano ('Manfred 'Manny' the Mammoth' (voice)), John Leguizamo ('Sid' (voice)), Denis Leary ('Diego' (voice)), Simon Pegg ('Buck' (voice)), Queen Latifah ('Ellie' (voice)), Seann William Scott ('Crash' (voice)), Josh Peck ('Eddie' (voice)), Chris Wedge ('Scrat' (voice)), Atticus Shaffer ('Animal Boy' (voice)), Joey King ('Beaver' (voice))
LOS ANGELES (Reuters) - Reigning champ "The Final Destination" fended off a challenge from Sandra Bullock's latest romantic comedy to lead the U.S. Labor Day holiday box office in North America for a second weekend, according to studio estimates issued on Sunday.
"The Final Destination," the fourth movie in a horror franchise about disastrous occurrences, earned $12.4 million during the three days beginning Friday. The 10-day haul for the Warner Bros release rose to $47.6 million, buoyed by premium pricing for 3D screenings.
Warner Bros is a unit of Time Warner Inc.
"All About Steve," a critical bomb starring Bullock as a lovelorn crossword-puzzle expert, followed with $11.2 million, the best performance among three weak newcomers.
That marked a considerable drop from the $33.6 million launch of her previous hit "The Proposal" in June. "All About Steve" co-star Bradley Cooper did even better that month with the $45 million debut of his summer smash "The Hangover."
But the new picture played in 2,251 theaters, about 900 less than either "The Proposal," "The Final Destination" or "The Hangover." It was also released at a time -- the dying days of summer -- when the studios are clearing out underperformers so they can focus on their awards-season hopefuls.
"We're thrilled with the number," said an official at 20th Century Fox, a unit of News Corp. Bullock also produced the movie, whose audience was about two-thirds female, according to Fox.
"Inglourious Basterds" slipped one place to No. 3 with $10.8 million, taking the three-week tally for Quentin Tarantino's World War Two picture to $91 million. It needs just $17 million more to become his biggest film in North America, a title currently held by his 1994 breakthrough "Pulp Fiction" ($108 million).
The new film's foreign total stands at $83 million, and it already ranks as Tarantino's highest-grossing release in eight markets, including Germany, Russia and Turkey.
"Basterds" was co-financed by the closely held Weinstein Co and General Electric Co's Universal Pictures.
Of the other two new releases, both targeted at male youngsters, "Gamer" opened at No. 4 with $9 million, and "Extract" at No. 10 with just under $4.2 million.
Lionsgate's "Gamer" stars Gerard Butler ("300") as a heroic killer frantically reducing the population count. Miramax Films' "Extract," another workplace satire from "Office Space" director and "Beavis and Butt-head" creator Mike Judge, stars Jason Bateman and Mila Kunis.
Lionsgate is a unit of Lions Gate Entertainment Corp. Miramax is a unit of Walt Disney Co.
(Editing by Eric Beech)