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  1. The movie is out on November 24th Sony Pictures Entertainment has released a new trailer for Resident Evil: Welcome to Raccoon City, the next live-action film based on the popular horror video game franchise, ahead of the movie’s November 24th release in theaters. The movie, which is a reboot for the film side of the franchise, looks to be filled with Resident Evil hallmarks. It takes place in Raccoon City, series mainstays Claire Redfield, Leon Kennedy, Jill Valentine, and Chris Redfield are all featured, something about the Umbrella Corporation is apparently at the heart of the conflict, and the main characters look like they will spend some time fleeing zombies in a spooky mansion. (There’s even a part in the trailer where a zombie dog shatters a window.) Here’s the official synopsis of the film, if you want to know a bit more about what to expect: In RESIDENT EVIL: WELCOME TO RACCOON CITY, once the booming home of pharmaceutical giant Umbrella Corporation, Raccoon City is now a dying Midwestern town. The company’s exodus left the city a wasteland…with great evil brewing below the surface. When that evil is unleashed, a group of survivors must work together to uncover the truth behind Umbrella and make it through the night. Welcome to Raccoon City caps what’s been a good year for Resident Evil fans. Capcom released the excellent Resident Evil Village in May, and the TV series Resident Evil: Infinite Darkness premiered on Netflix in July. And if you still have a hunger for more Resident Evil content ahead of Welcome to Raccoon City’s release, you can always watch one of the six other Resident Evil films. Resident Evil: Welcome to Raccoon City trailer goes back to the beginning
  2. "This is what the end of the world looks like. At least we have front-row seats." Eternals, assemble! (l-r) Kingo (Kumail Nanjiani), Makkari (Lauren Ridloff), Gilgamesh (Don Lee), Thena (Angelina Jolie), Ikaris (Richard Madden), Ajak (Salma Hayek), Sersi (Gemma Chan), Sprite (Lia McHugh), and Phastos (Brian Tyree Henry). First image of article image gallery. Please visit the source link to see all images. Plot details have been scant to date for Eternals, Marvel's forthcoming film based on the comic book series of the same name, created by Jack Kirby in 1976. We now have the final trailer, and it's a doozy: nearly three full minutes of mostly new footage, heavy on exposition and the striking CGI-heavy visuals Marvel is known for. The trailer also answers one obvious burning question: Just where were these incredibly powerful eternal beings when all the action with Thanos wiping out half of humanity was going down? I mean, humanity really could have used their help. As I've written about previously, the comic book storyline is about alien Celestials who visited Earth a million years ago, creating two divergent races—the Eternals and the Deviants—by way of genetic experiments. Those experiments were also responsible for the rare emergence of super-power-granting mutations in certain humans. The Eternals protect the human race from the Deviants, and the two races engage in recurrent violent clashes. The Eternals' immortality and powers come from cosmic energy and their ability to channel it. A new Eternals comic series, written by Kieron Gillen with art by Esad Ribić, was launched in January of this year. We know the film takes place after the events of Avengers: Endgame and that an unexpected tragedy will force the Eternals out of hiding to join forces with humans to fight their ancient enemy, the Deviants. An extended teaser dropped in May, set to a mournful cover of "The End of the World." The teaser didn't convey much information in terms of plot, but it did give us glimpses of our primary characters over the course of centuries. The cast features Angelina Jolie as Thena, a fierce warrior who can fashion weapons out of cosmic energy; Don Lee as Gilgamesh, one of the oldest and strongest Eternals; Salma Hayek as Ajak, who has healing powers; Brian Tyree Henry as Phastos, an inventor who is also the first gay superhero in the MCU; and Richard Madden as Ikaris, who has super-strength and can fly and shoot cosmic energy beams from his eyes. Ikaris has a love affair spanning centuries with Gemma Chan's Sersi, who nonetheless is dating Dane Whitman (Kit Harrington), a human warrior with a mystical sword. (Cue all the "You know nothing, Dane Whitman" jokes.) There is also Kumail Nanjiani as Kingo, who can shoot energy projectiles from his hands; Lauren Ridloff as Makkari, the first deaf superhero in the MCU; Liz McHugh as Sprite, who can project illusions and appears as a 12-year-old girl; and Barry Keoghan as Druig, who can control minds. The supporting cast includes Haaz Sleiman, an architect married to Phastos (they also have a child), and Ozer Ercan as a smuggler. The trailer opens with Hayek's Ajak on horseback, riding to meet Ikaris on the porch of a rural farmhouse. It's her job to provide the initial narrative exposition. "Five years ago, Thanos erased over half of the population of the universe," she tells Ikaris. "A lot of people on this planet brought everyone back with a snap of a finger. The sudden return of the population provided the necessary energy for the Emergence to begin." We see a powerful burst of celestial energy and something drop down to Earth with the force of a meteorite impact, as Ikaris asks how long they have. Answer: seven days. Next it's Chan's turn as Sersi to provide the expository voice-over for Dane's (and our) benefit. "We're Eternals," she explains. "We came here 7,000 years ago to protect humans from the Deviants." Dane asks the question we've all been wondering: Where were the Eternals when the Avengers and their allies were battling Thanos—not to mention "all the other terrible things throughout history?" She replies that their instructions were to not interfere in human conflicts "unless Deviants were involved." That's a rather unsatisfactory answer that raises another obvious question: Who gave those instructions? Cut to a shot of an imposing red-hued humanoid figure—perhaps the head Celestial? With the Emergence coming, it's time for the Eternals to make like the Avengers and assemble, even though some of them haven't met for centuries. They find Gilgamesh and Thena engaged in a bit of combat training, with some great shots of Thena wielding a gorgeous shape-shifting weapon of cosmic energy. There's a volcanic eruption, a battle against a monster that emerges from the sea, and the occasional spot of humor. ("You know what's never saved the planet? Your sarcasm," an irritated Phastos says to an unrepentant Druig at one point.) It's not long before Thena finds herself confronting a Deviant general named Kro. "We've loved these people since the day we arrived," Thena tells him. "When you love something, you protect it." Kro replies, "You can't protect any of them." And, of course, we get one last humorous scene to lighten the apocalyptic mood, as Ikaris accidentally breaks a table from Ikea's fall collection after assuming it must be made of vibranium or something. Eternals hits theaters on November 5, 2021. Given the continued rapid spread of the delta variant, we recommend only going to see movies in theaters if you have been fully vaccinated and wear a mask for the duration of the film. Final trailer for Marvel Studios' Eternals. Listing image by YouTube/Marvel Studios Final Eternals trailer is heavy on exposition, eye-popping visuals (To view the article's image gallery, please visit the above link)
  3. Hi No, dont point me to google, i did that without succes. Vlc can stream movies from your android phone to a smart tv via wifi but doesnt suport subtitles. So, does someone know an app on android that can cast movies on smart tvs but with subs ? Thanks.
  4. I have been using Movie Explorer for a few years but it has stopped working (it fails to grab imdb info). I emailed the dev: It was so simple. You added your directory(s) and hit 'apply' which worked with scene release titles too: I'm looking for a no nonsense simple program that grabs IMdB info and works with scene releases. There is Movie Monkey but it doesn't work well with scene titles.
  5. The franchise monsters known as the Shriekers are back in Tremors: Shrieker Island, the series’ seventh installment burrowing to DVD & Blu-ray on October 20. Burt Gummer (Michael Gross) is suffering from PTGD – “post-traumatic Graboid disorder,” jokes Jon Heder‘s character in this exclusive clip from Shrieker Island. Heder has found Gummer isolated on an island and is there in an attempt to convince the Tremors veteran to come out of retirement. In the island-set seventh movie… “When a nature preserve in the Solomon Islands is infiltrated by Graboids, Ass Blasters, and Shriekers, two of the preserve’s top scientists recruit Burt Gummer (Michael Gross), monster hunter extraordinaire, to eradicate the infestation. While there, Burt picks up a potential new protégé and encounters lost love.” An even longer synopsis adds some more details… “When a group of wealthy trophy hunters genetically modify Graboid eggs to create the ultimate hunting experience, it isn’t long before their prey escapes the confines of their small island and begin terrorizing the inhabitants of a nearby island research facility. The head of the research facility and her second-in-command Jimmy locate the one man who is an expert in killing Graboids: the one and only and now reluctant, Burt Gummer. Once on board, Burt leads the group in an all-out war against the larger, faster, and terrifyingly intelligent Graboids and the swiftly multiplying Shriekers!” Brian Brightly wrote the screenplay with Universal Home Entertainment regular Don Michael Paul returning to direct. He previously got behind the camera for Tremors 5: Bloodlines and 2018’s Tremors: A Cold Day in Hell, as well as several other Universal home video titles. Source
  6. EXCLUSIVE: Jessica Jones star Krysten Ritter, Winslow Fegley And Lidya Jewett are set to star in the Netflix family pic Night Books with David Yarovesky on board to direct. Sam Raimi and Robert Tapert will produce through Ghost House Pictures along with MXN Entertainment’s Mason Novick and Michelle Knudsen. Based on the J.A. White horror-fantasy children’s book, the story follows Alex (Fegley), a boy obsessed with scary stories, who is imprisoned by an evil young witch (Ritter) in her contemporary New York City apartment. He meets Yasmin (Jewett), who is also trapped there, and learns he must tell a new scary story every night in order to stay alive. Mikki Daughtry and Tobias Iaconis will adapt the script. Ghost House Pictures’ Romel Adam will exec produce and MXN Entertainment’s Tracy Kopulsky will co-produce. Yarovesky broke on to the scene with his horror pic The Hive in 2014 and would follow that up with Brightburn. That film put him on the radar of execs around town for his stylistic dark take on the superhero origin tale. Ritter has strong ties to Netflix after starring the Marvel series Jessica Jones. Other recent credits include Big Eyes and Don’t Trust the B in Apartment 23. Fegley is best known for his starring role in Timmy Failure: Mistakes Were Made. Jewett’s credits include Feel the Beat and Good Girls. Fegley is repped by The Gersh Agency, Susan Wright at Ann Wright Representatives and Frankfurt Kurnit Klein & Selz, Jewett is repped by Paradigm, Luber Roklin Entertainment and Myman Greenspan. Ritter is repped by Industry, Principal Entertainment LA, WME and Brecheen, Feldman, Breimer, Silver & Thompson. Yarovesky is repped by UTA and Kaplan / Perrone Entertainment. Daughtry and Iaconis are repped by Verve and Lit Entertainment. Nightbooks joins Netflix’s growing slate of live action family films featuring kids and teens, which includes upcoming release A Babysitter’s Guide to Monster Hunting directed by Rachel Talalay (Sherlock) and starring Tamara Smart and Oona Lawrence; and recent releases The Sleepover directed by Trish Sie (Pitch Perfect 3) and starring Sadie Stanley and Maxwell Simkins; Feel the Beat, directed by Elissa Down (The Honor List) and starring Sofia Carson; WWE’s The Main Event, directed by Jay Karas (Ali Wong: Hard Knock Wife) and starring Seth Carr; and 2019 comedy Tall Girl, directed by Nzingha Stewart (Little Fires Everywhere) and starring Ava Michelle; Other upcoming films include Finding Ohana, directed by Jude Weng (Fresh Off the Boat); and A Week Away directed by Roman White (Summer Forever). Source
  7. Browse, sort and search your movie collection in various layouts and views Movie Collector's main screen is highly customizable, so that you can make it look the way you want. Choose between: Multiple layouts for the main screen folder, list and details panels. List, Images or Card View for your movie lists. Different templates for the movie details panel. Light, Dark and System skins for all screens. Easily add DVDs and Blu-Rays to your database, by Title or by Barcode Adding new movies to your personal movie database is quick and easy: Just search our online movie database by title or by barcode. Select the movie and/or DVD/Blu-Ray edition you own. Click the Add button. Our Core online movie database will then automatically provide Full movie details like year, cast, crew, IMDb Rating, Plot, etc.. Cover art, movie posters, backdrop art and trailer videos. For TV Series, full episode details (plot, first air dates, cast) and screen shot images. Adding movies by title: Adding movies by barcode: Organize your movie files by scanning your folders Movie Collector can also catalog your movie files. Just let it scan your computer for digital movie files, then link the files to your movies or episode entries. After that, the movies can be played right from your movie details panel. Free CLZ Cloud storage for backups, syncing and sharing Use the free CLZ Cloud service to: always have an online backup of your movie database. synchronize your data to other computers and mobile devices. share your movie list online, for friends and family (example). Other features and tools Efficiently edit your data using field defaults, batch editing, direct editing in main screen list, etc.. Add missing cover images by searching the internet with the built-in Find Image Online tool. Customize your database by renaming existing fields, or by creating your own User Defined Fields. Manage your loans with the integrated Loan Manager system. Export your movie database to Text or XML files. Print movie lists in any order, with your configurable columns. Homepage:https://www.collectorz.com/movie/movie-collector Download:http://installers.collectorz.com/movie-win/moviecollectorsetup1847.exe
  8. Why'd ya spill yer beans? — First trailer for The Lighthouse evokes early films from a bygone age It's Director Robert Eggers' follow-up to his 2015 breakout film, The Witch. Willem Dafoe and Robert Pattinson star in A24’s Cannes favorite,The Lighthouse. A24 just keeps churning out smart, intriguing, thought-provoking films, and today the studio dropped the first trailer for its latest offering in the horror genre, The Lighthouse. At first glance, what sets this apart is the choice to shoot entirely on 35mm black-and-white film—better to evoke a bygone age. Set in 1890, Director Robert Eggers' vision was inspired by a real-life 1801 tragedy involving two Welsh lighthouse keepers trapped in a storm. It was inspired as well by classic tales by Herman Melville, H.P. Lovecraft, and Algernon Blackwood. It's kind of a ghost story, featuring two lighthouse keepers (Willem Dafoe and Robert Pattinson) on a remote and mysterious New England island, and both gradually go mad from the isolation. The Lighthouse made its debut at the Cannes Film Festival earlier this year to rave reviews, earning a best movie honor from the International Federation of Film Critics—a first for A24. Eggers described the film to Deadline Hollywood as “something a little weirder” than his 2015 breakout film, The Witch, calling it “more dreadful than horror.” It was shot entirely on black-and-white 35mm film, with the same square frame and aspect ratio (1.19:1) favored by early pioneering filmmakers like Fritz Lang and G.W. Pabst. Per IMDB, "To enhance the image, making it resemble early photography, a custom cyan filter made by Schneider Filters that emulated the look and feel of orthochromatic film from the late 19th century was used." Eggers has said he did this because "the spaces in this movie are meant to feel confined... The idea of widescreen only came about in the 1950s. We wanted to take people back further than that." The trailer wisely keeps most of the plot details very vague, letting us instead savor the technical achievement of the haunting black-and-white cinematography. It's period horror that looks like an old-time Hollywood Golden Age film. In fact, it's the kind of film Alfred Hitchcock might have made, in the vein of Rope or Rear Window, both of which feature equally constrained settings. And audiences who have had the chance to see the film so far have responded positively. The Lighthouse has a 98% favorability rating on Rotten Tomatoes. The consensus? It's "a gripping story brilliantly filmed and led by a pair of powerhouse performances." “How long have we been on this rock? Five weeks? Two days?” Dafoe's Thomas Wake wonders aloud. We see the two men going about their daily chores and bonding over drinks at night. But the isolation begins to take its toll on the men's psychological states, and they struggle to distinguish between reality and hallucination. There's a massive storm, what looks like a flood, and an attack by some kind of sea monster (or maybe just an octopus), plus a shot of Winslow lovingly holding a small mermaid sculpture. And throughout, we hear Wake's incessant question: "Why'd ya spill yer beans?" What does it all mean? Who knows? Like The Witch, it's probably best to know as little as possible about the plot going in. The Lighthouse will screen at the upcoming Toronto Film Festival in September. It is slated for theatrical release on October 18, 2019. Listing image by YouTube/A24 Source: First trailer for The Lighthouse evokes early films from a bygone age (Ars Technica) (To view the article's image gallery, please visit the above link.)
  9. A movie’s performance gets plenty of buzz these days. Not just how well it does with critics, but how well it is doing in the box office – how much people are paying for it. Avengers: Endgame drew plenty of hype as it steadily rose to become the highest grossing film of all time. Conversely, many gasped in horror as the Cats movie became one of the most unprofitable movies ever made. But just how much does a movie need to breakeven? To answer it very quickly, a ballpark figure for most blockbusters is twice or more of their initial budget. This is how we got to that figure: Breaking down the costs There are generally two parts of financing a film: Making the movie itself and marketing it. The first expense, making the film, includes everything from paying the cast and crew, creating the set, special effects and other post-production. Then comes marketing, which is getting people aware that the film is coming out. Marketing budgets vary greatly. Smaller films don’t usually market themselves as aggressively, while films with a budget of more than around $75 million commonly fall around half the amount of the film’s production budget. This includes circulating ads and trailers, working with other companies for product tie-ins and creating events for greater visibility and awareness. While many movies stick to trailers on YouTube and TV, other films go the extra mile to get people’s attention. Take Star Wars for example. On top of tie-ins with cereal boxes and Uniqlo, Disney has been trying desperately to break into the lucrative Chinese market, putting 500 Stormtroopers on the Great Wall of China for several of their movie launches. The studios have even poured money into Frozen displays and events in malls in faraway countries like Malaysia to garner hype around the movie. Rental, props, actors in multiple locations – you can imagine just how much money is poured into getting the word around. It’s not just about tickets sold either. Studios haven’t made their money back just because the box office figures on Wikipedia doubles its budget. Theatres get a cut of this a film’s earnings too. Every studio has a varying degree of bargaining power with cinemas they sell the film to. The larger a film, the more people it will probably draw to the cinemas. Studios can use this bargaining power to demand a bigger cut and set the number of screenings. But on average, studios normally take in 50% of domestic ticket earnings, and 30% of internationally. This ratio isn’t constant either. Studios often take less of the cut after the second of third week of running, to entice theatres to keep their films playing. This further complicates the breakeven-point of a movie. To put these percentages into perspective, let’s use the example of a $150 million movie listed on Wikipedia, including marketing costs. It needs to make profits of $105 million internationally and $45 million domestically to recuperate costs. But with the cut given to cinemas, these films need to make box office figures of approximately $350 million internationally and $90 million domestically, breaking even at $440 million. Suddenly, big-budget films just got a lot riskier to green light. Movies on red alert Given how much films need to earn just to breakeven, these films are surely getting their studios nervous. Doolittle (out 17 Jan) cost a whopping $175 million to make, with a marketing budget of around $90 million. It’ll need to take in well over $700 million to recuperate its losses. With early reviews panning the movie, we may have found the Cats of 2020. Young Adult movies based on books don’t seem to be doing too well lately. Artemis Fowl could continue this downward trend, needing to make around $600 million to salvage its $190 million production and marketing budget. Godzilla vs Kong could be in for trouble if it goes the way of Godzilla: King of the Monsters, which took in only $385 million from its $200 million budget. We don’t know the exact budget yet, but given the scale of these behemoths, we’re expecting a similar sum that would need north of $600 million to remedy. What about Netflix? Films today are shifting to a new medium that makes box office performance difficult to follow. With streaming services today, earnings work differently. They don’t have to pay for screening prices – their performance mostly depends on their views, which indicates to the streaming service how many viewers a film is attracting to their platform. For the most part, this is the key concern for streaming platforms, and determines funding for its sequels. The tricky thing is, Netflix rarely earns more for a film that does really well. Viewers have already paid the price of entry – the subscription fee – and can watch any amount of shows they want. This leads to only one future: advertisements. That’s the only way each film will get the profits it truly deserves. source
  10. Hobbs and Shaw: a McLaren, a McGuffin, banter, and plenty of action Jason Statham, The Rock, and Idris Elba star in this Fast and Furious spinoff. It's August, the height of summer, and that means it's time for the season's traditional tent pole action movies. Hobbs and Shaw, the new Fast and Furious spinoff starring Idris Elba, Dwayne "The Rock" Johnson, Vanessa Kirby, and Jason Statham has just reached the cinemas, and to say I'd been looking forward to catching up with the franchise's latest is an understatement. The Rock is Luke Hobbs, an "always gets his man" type working for the US Diplomatic Security Service. Statham plays Deckard Shaw, a former British spec-ops fellow. Both characters were introduced in previous movies as antiheroes, but after teaming up—kind of—in 2017's Fate of the Furious, the forces of destiny (or the writers) have thrown them together in a buddy movie. I don't want to give too much away about the plot, but there's a McGuffin, and Brixton—played by Idris Elba—wants it. He wants it bad. The problem is, the McGuffin has been injected into Vanessa Kirby's Hattie Shaw, MI6 spy and Deckard's sister. Obviously neither the Shaws nor Hobbses want Brixton to get his hands on the McGuffin, and the story goes from there. It's not groundbreaking stuff. Director David Leitch is not re-writing the rules of narrative cinema. The film is formulaic. But it's a formula that's proven to work in the past, and it does so again in Hobbs and Shaw. This is a movie with a lot of action. A lot. Ignore complaints that the trailer gives the movie away—in films like this the plot is merely something that keeps us moving from fight scene to set piece to fight scene to set piece. Oh, and because it's a Fast and Furious film, there's the occasional bit of wholesome positivity about the importance of family or working together as a team. Hobbs and Shaw bicker at each other throughout the movie. It's wonderful. The Stath appears at times to reprise his Rick Ford character from Spy, and we've seen the Rock crack wise in everything from The Rundown to Baywatch, so it's no surprise they're both great at it here. Kirby succeeds in holding her own; refreshingly the movie avoids the damsel in distress trope. Elba's performance is less humorous, but that's OK—he's the bad guy. And there are some great supporting actors, including Eddie Marsan, Ryan Reynolds, Hellen Mirren, and Cliff Curtis. Are there car chases? I like car chases. Did I mention there was a lot of action in this movie? It's a Fast and Furious jam, so obviously a lot of that involves car chases. Without giving anything away, let me say that many Range Rovers died to make this film. There's also a McLaren 720S that gets a little scraped up, but that's OK because we see that Deckard Shaw has several more where that one came from. Plus a Mini Cooper that he strongly infers he used to conduct The Italian Job. Actually, we do get to see where the McLarens came from because McLaren's Disney-meets-NASA HQ shows up, too—only it's been relocated to a remote part of Ukraine where it's functioning as the nerve center for Eteon, the evil organization that Hobbses and the Shaws are trying to stop. Finally, a word of warning, and this is important: if you want to enjoy this film, you must be able to suspend your disbelief. I'm serious—thinking too hard about any of it will just bring the whole edifice crashing to earth. If you're going to be bothered by unrealistic depictions of bionics, biotech, cars that are bigger on the inside than the outside, how hand grenades work, how jumping out of tall buildings works, the logistics involved in getting the same MH-60 helicopter from one side of the planet to the other, transforming electric motorcycles, or a chain of hot rods and customs trying to drag a helicopter back to Earth using just one pair of wheels, then you will probably not enjoy this film. On the other hand, if you're content to sit back for 135 minutes and just go with it, I'm confident you'll get your money's worth from Hobbs and Shaw. Listing image by Universal Pictures Source: Hobbs and Shaw: a McLaren, a McGuffin, banter, and plenty of action (Ars Technica) (To view the article's image gallery, please visit the above link.)
  11. AC/DC: It’s Tesla duking it out with Edison in The Current War trailer A casualty of the Weinstein Co. scandal and bankruptcy finally gets a broad release. Benedict Cumberbatch and Nicholas Hoult play arch-rivals Thomas Edison and Nikola Tesla, respectively, locked in a race to electrify the world in The Current War. In The Current War, brilliant inventors and arch-rivals Thomas Edison (Benedict Cumberbatch) and Nikola Tesla (Nicholas Hoult) engage in increasingly vicious tactics in the battle to determine whether direct current (DC) or alternating current (AC) technology will ultimately bring electricity to the world at large. The film is based on an especially riveting period in the history of science: the so-called "war of the currents." Produced by Martin Scorsese and directed by Alfonso Gomez-Rejon, The Current War actually premiered in 2017 at the Toronto Film Festival, and the Weinstein Company signed on as distributors. But then Harvey Weinstein was credibly accused of sexual abuse and stepped down from the company. The Current War was shelved and eventually sold off when the company declared bankruptcy, ending up with 101 Studios. And now it will get a broad theatrical release, in a slightly different form. Per Gomez-Rejon, he has added five additional scenes and trimmed ten minutes from the runtime. In the late 19th century, most motors still ran on DC power, and attempts to create an AC version had failed. In 1882, while working as an electrical engineer with a Hungarian telephone company, Tesla conceived of a rotating magnetic field produced by two or more alternating currents out of step with each other—a sort of magnetic whirlwind that could be used to drive an electric motor. Within a few months he'd sketched out plans for all the components of a full power generating system. Tesla emigrated to the US two years later and joined Thomas Edison’s lab in Menlo Park, New Jersey. But Edison brusquely dismissed Tesla’s idea for an AC system of power generation—largely because Edison had already invested heavily in promoting his own DC system. Hundreds of central power stations were cropping up across America, each using different combinations of circuits and equipment. Edison’s Pearl Street generating station in Manhattan supplied DC power to a few hundred mansions of wealthy New Yorkers, as well as a smattering of mills, factories, and theaters in the city. George Westinghouse espoused AC, with more than 30 plants in operation by 1887. Whoever emerged victorious stood to gain a veritable monopoly on a highly lucrative market. When Tesla quit his job with Edison in a huff after being denied a promised bonus, Westinghouse was waiting in the wings and hired him. That's when things got nasty. Edison's propaganda machine pumped out hundreds of flyers and pamphlets on the dangers of alternating current, even electrocuting small animals in front of newspaper reporters. He called this being “Westinghoused.” Tesla countered with spectacular public lectures to demonstrate the safety of AC current, shooting sparks from his fingertips, making light bulbs glow, and even melting metals by running current through his body. "My boys and I caught in a jar what before now has only flashed across the night sky." The trailer gives us tantalizing flashes of much of this, opening with Cumberbatch's Edison announcing, "My boys and I caught in a jar what before now has only flashed across the night sky." Tesla, meanwhile, tells Michael Shannon's Westinghouse that he dreams of surpassing Edison and becoming "the greatest provider of electrical power in the whole world." We see the propaganda sheets, the claims that AC power will kill people, and lots of nifty-looking electrical equipment from that era—a time of rapid invention that essentially remade the world. “If you want to be remembered, it’s simple: Shoot a president," the film's Westinghouse declares. "But if you prefer to have what I call a legacy, you leave the world a better place than you found it.” Of course, we already know which man ultimately won the war of the currents. In 1893, the Columbian Exposition in Chicago chose AC to light up its “White City,” the centerpiece of its World of Tomorrow exhibit. That successful demonstration was sufficient to give the victory to Westinghouse and Tesla. But it will be interesting to see how well The Current War depicts these two larger-than-life personalities, and their shared antagonism, on the silver screen—a business sector where Edison did emerge victorious. The Current War hits theaters October 4, 2019. Listing image by YouTube/101 Studios Source: AC/DC: It’s Tesla duking it out with Edison in The Current War trailer (Ars Technica) (To view the article's image gallery, please visit the above link.)
  12. Top Gun: Maverick world premiere trailer: It’s not just F-18s this time Two-minute trailer is scant on details, so we pick apart Maverick's return. San Diego Comic Con's tentpole Thursday morning panel, dedicated to the Paramount and Skydance film Terminator: Dark Fate, saw an interruption from another big face at that combined film company: Tom Cruise. Tom, apparently, couldn't let Arnold Schwarzenegger have all the fun, as he used the opportunity to reveal the first public footage of next year's Top Gun: Maverick. The two-minute trailer is at its most impressive when we see Cruise continuing his streak for performing his own stunts, as he's established in so many Mission: Impossible films up until now. Unless Cruise and company have figured out a whole new level of CGI and green-screen trickery, that sure looks like the actor himself piloting an F-18 as it takes off from a Naval aircraft carrier at sea—and then pulling some serious Gs while flying over a snowy mountainside in formation. In terms of plot, we see a face-off with a rear admiral played by actor Ed Harris. Harris is angry about Cruise's unwillingness to retire after "30-plus years of service" and his continued status as a Navy captain. "You should at least be a two-star admiral by now," Harris says. Eventually, Harris insists that "your kind is headed for extinction," which might hint to the Navy's increased emphasis on automation or remotely controlled crafts. "Maybe so, sir," Cruise replies. "But not today." The most tantalizing plot hint in the trailer comes from Cruise's choice of attire in two snippets: a pressure suit, which isn't standard-issue attire for sitting in an F-18. Sure enough, at one point, Cruise is seen sitting in something other than the iconic Navy aircraft. We may very well be missing a good angle on an otherwise standard-issue Navy aircraft option, but knowing Cruise's flair for the dramatic, Occam's razor likely does not apply. Everything else notable in the trailer, including our first look at Jon Hamm and Jennifer Connelly as new Top Gun characters, can be seen in the above gallery. Or you can watch the dramatic trailer below. Top Gun: Maverick world premiere trailer Listing image by Paramount / Skydance Source: Top Gun: Maverick world premiere trailer: It’s not just F-18s this time (Ars Technica) (To view the article's image gallery, please visit the above link.)
  13. New trailer for IT Chapter Two ratchets up the horror Pennywise gets nostalgic: "For 27 years I dreamt of you. I craved you. I missed you." In IT Chapter Two, the Losers Club must confront the horrors of the past and put an end to the unspeakable evil that has terrorized the town for so long. Pennywise the demonic clown gleefully inflicts all manner of psychological and physical torment on the grown-up members of the Losers Club in a new trailer for IT Chapter Two. The trailer was shown during New Line Cinema's "ScareDiego" event, a prelude to San Diego Comic-Con that's been happening annually for the last three years. (Some spoilers for first film and novel below.) Set in 1989, IT essentially adapted half of King's original novel, telling the story of a group of misfit kids calling themselves "The Losers Club." The kids discover their small town of Derry is home to an ancient, trans-dimensional evil that awakens every 27 years to prey mostly on children by taking the form of an evil clown named Pennywise. Bill (Jaeden Lieberher) loses his little brother, Georgie, to Pennywise, and the group decides to take on Pennywise and drive him into early hibernation, where he will hopefully starve. But Beverly (Sophia Lillis) has a vision warning that Pennywise will return on schedule in 27 years, and they must be ready to fight him anew. IT: Chapter Two revisits our protagonists 27 years later, as they all return to Derry to as adults for a reunion of sorts. The first trailer dropped in May, featuring an adult Beverly (Jessica Chastain) returning to the house she grew up in and sitting down for tea with the elderly woman now living there. But that old woman turns out to be much more menacing than she first appeared. All grown up This new trailer gives us a lot more terrifying footage of what's in store for the Loser's Club as they gather in Derry as adults for a reunion. Most of them left Derry and built successful lives elsewhere—at least on the surface. "Something happens when you leave this town," Mike Hanson (Isaiah Mustafa) says in a voiceover. "The farther away, the hazier it all gets." He's the only one who stayed: "I remember all of it." Mike tells his friends that they didn't destroy It completely 27 years ago, and he reminds them of their childhood oath: if It ever came back, they would return to fight again. Well, Pennywise is back, and he's itching for a rematch. That means the Losers Club must confront the horrors of its past and put an end to the unspeakable evil that has terrorized the town for so long. It's not a welcome prospect. "I've seen all of us die," Beverly Marshall confesses. "It consumes us from the inside, until we don't have a choice anymore." Horrors unleashed The trailer is a study in contrasts. Images of the Losers Club's younger selves are juxtaposed with them as adults. Images of a bright sunny day in the seemingly wholesome town of Derry mix with dank shots of Pennywise's domain—the sewers and a funhouse at the local amusement park. That provides the setting for a wrenching sequence in which Bill Denbrough (James McAvoy) finds himself trapped in a maze of mirrors, watching as a gloating Pennywise attacks a young boy. "For 27 years, I dreamt of you," Pennywise (Bill Skarsgård) rasps in another voiceover. "I craved you. I missed you." Skarsgård's maniacal performance has haunted the dreams of many a moviegoer during the last two years. It looks like we're in for a few more nightmares. IT Chapter Two hits theaters September 6, 2019. Listing image by YouTube/Warner Bros. Source: New trailer for IT Chapter Two ratchets up the horror (Ars Technica) (To view the article's image galleries, please visit the above link.)
  14. Netflix will make The Trial of the Chicago 7 free to watch on YouTube this weekend. You can watch the Aaron Sorkin movie free of charge from Friday, February 19th at 12:00 a.m. PT to Saturday, February 20th at 11:59 p.m. PT. The YouTube special screening comes on the 51st anniversary of the verdict and sentencing in the trial, which took place from Feb. 18, 1970, to Feb. 20, 1970. The film is based on the infamous 1969 trial of seven defendants charged by the federal government with conspiracy and more, arising from the countercultural protests in Chicago at the 1968 Democratic National Convention. The trial transfixed the nation and sparked a conversation about mayhem intended to undermine the U.S. government.
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