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Before going in the house to his own graduation party Mason sits in his friend’s car, nipping on a flask, afraid to walk in and face all that love. — Sean Elder TOP FIVE To say that Chris Rock’s new movie is just a rom-com is like saying a Cadillac is just a car. Rock’s vehicle (which he wrote, directed and stars in) is a pimped-out model, with raunchy performances by great black comedians including Cedric the Entertainer and Tracy Morgan, but underneath its ’hood exterior it’s more like Annie Hall. Though also an homage to stand-up comedy (Rock plays Andre Allen, a formerly funny comedian who sold out playing a cop in a bear costume, as implausibly popular as the Birdman that follows Michael Keaton around), Top Five is not a series of one-liners, or even, for the most part, payoff jokes. At its best the film lets the cast riff, as in a scene in a crowded apartment in the projects where Morgan’s character and other sketchy friends and relations vie to convince the journalist played by Rosario Dawson that they were way funnier than Rock was. He was only funny when he was drunk, we’re told (Allen and Dawson’s character are both in recovery) and we are left with the image of a drunk Oprah, one of the film’s many resonant gags. Like a good Rock routine, Top Five grabs an odd assortment of cultural references and turns them upside down, like Allen’s assertion that it was the original Planet of the Apes that caused the assassination of Martin Luther King Jr. That anyone can get a laugh out of that tragedy (in the same season that Selma comes to the screen) is a testament to the genius behind the wheel. —Sean Elder THE UNKNOWN KNOWN “There are known knowns. That is to say, there are things that we know we don’t know. There are things we don’t know we don’t know. —Donald Rumsfeld And then, of course, there are the “unknown knowns. The first unknown known of Donald Rumsfeld’s life was his wife, Joyce H. Pierson, whom he married right after graduating from Princeton in 1954.

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Drawing line to differentiate a local militant and one from foreign land, does not matter as both are doing same activity and any country worth its salt cannot accept it as a forgiving mistake. Raising of gun against nation is something, no country can accept and people involved have to be dealt as law of land demands. “BJP is of the firm belief that all nationalist forces need to be respected and those involved in anti-national activities be taught an exemplary lesson for others to follow, added Arun Kumar Gupta. Our police and special forces cannot be made to remain quiet and accept these situations but they be given full authority to deal with these elements as situation warrants. It is this lackluster and appeasing policy and attitude of previous Governments in the country, which have brought things to this level that anybody, if so desires, can talk or work against the nation without any question or action. “BJP cannot and will not accept these under any circumstances and would only work for the development of state and nation and any force coming in the way to harm nation would be dealt as strongly as needed”, added Arun Kumar Gupta. BJP further wondered as to how a nation can progress when indisciplined citizen is given so much of importance over the law abiding and nationalist one, and appeasement policy, whether for stone pelter, separatist or militants, is always ready to be given on platter. Arun Kumar Gupta further said that enough is enough and no their would not be any more tolerating of such activity which is against the interests of the nation. It was attended by District President Ali, District Office bearers and Mandal Presidents. This working committee meeting had different sessions, wherein party leaders spoke on history of BJP, role of a Karyakarta, ideology of BJP besides reporting on political activities and organizational set up at District and Mandal levels. Sat Sharma, while addressing the meeting, said that BJP has a healthy practice of providing an opportunity to its activists to meet after three months at National, State, District and Mandal levels and get themselves updates with the new developments and formulate strategy for future programmes to be undertaken at all levels. He said that “BJP is a party with a difference is not a mere slogan but the same is visible in its activities, programmes and policies”, Sat said and added that our nationalist philosophy is also a distinct feature of the party. Ashok Kaul, while seeking details related to the constitution of District and Mandal teams, said that successful conduct of any activity of the party depends on its well knit units at every level and it is indeed a matter of pride that the BJP activists even in a place of harsh weather conditions are working to strengthen the party. He said that the present day BJP has grown up into a big tree and credit goes to the dedication and commitment of great patriots who never compromised on principles and sacrificed their lives for the cause of the nation in the state.


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The rough going of the few months it has been opened, M. The figures show that the State, street theatres maintained a fairly high average. Weather some are offering and the prices could have easily tenanted this latter part of week was propitious, asked, the following is Saturday house for a ten-woek period if it with the result business picked up. The management did not try to hide the age of the picture, but some of the outside houses, which took advantage of the Liberty's extensive advertisinflTf were not ao modest. On the Kansas side of the city the picture waa also shown simultaneously with the Liberty's run. Th;. the managers on the Kansas side are not slow to take advantage of the advertising of the big Kansas City, Missouri, houses, is shown last week when two of the feature at Newman's Twelfth Street theatre on this side. The of the best of the summer for all o'f the houses. The weather was cool and the fans got started back with something like their old -time regularity. The big outside houses are continuing to offer well known films at popular prices and are making a fight to keep their neighboring Day casion of his If, recent trip to (Metro) comes in. The Karlton looks to be suffering through the Stanley Co. Hart National). Not so good. First letand lis children, wlf6, Winifred Wcstover, of 10.


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Not all aspects of the city, however, are of equal interest here. The camera is especially drawn to glass and reflective surfaces, and to spaces in which light and shadow are at play. The film is silent except for the opening, which features solo piano as the camera slowly encircles a sculpture at the Louvre, and the final frames, which are accompanied by explosive rock music. All in all, Invention makes for a spellbinding viewing experience, unspooling a nonstop stream of sensations and a non-narrative suspense. But once the movie ended, I read the “artist’s statement” in the presskit and learned a great deal about Lewis’s conceptual framework for the film — almost none of which, I should say here, was evident from “simply” watching Invention. Lewis means for the film to have an entire background narrative: A camera is “born” into a world without cinema, and proceeds to “learn” about this world by moving through the space of cities — through modernity itself. There is a historical backstory to this choice: Lewis believes that 17th century baroque architecture marked the beginnings of the modern, and when people first moved through its architecture (he cites the buildings of Francesco Borromini as an example), they experienced “cinema” for the first time. At the same time, Playtime insists, with great humour and strange precision, that the modern city is simply an invention of the cinema, but also that cinema is only the imagination of that very same city. This is its brilliance, I believe, and this is why I watch the film over and over again. I, too, cannot decide whether my films, for instance, depict the city or if they are helplessly produced by the city. The title of Lewis’s film is a nod to Louis Lumiere’s well-known line about cinema being “an invention without a future”. Lewis is trying to imagine the inverse: a future without an invention. It proceeds to narrate the journey, in elliptical fashion, of Betty, a scholar who travels to museums in Dakar and Paris to do anthropological work. We occasionally see her ingest pills and have hallucinatory experiences; and we watch her linger over old photographs that might be from a personal album.


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The driver’s door was locked, and the keys were still in the ignition with my equipment, questions and paper still locked in the car. She had relied on my previous level of preparation and had a notebook, but without the questions or any recording equipment. Luckily, the teacher had printed the list of questions I had emailed. I was frustrated because I didn’t want to miss any part of this conversation. The teacher was a wealth of information, but the information came out at warp speed and I worried about being able to keep up. I wrote my notes on the back of the question sheet from the teacher and we had a very interesting discussion. My husband met us in the parking lot just as we left our interview. Later, I was able to retrieve the audio through iTunes and convert it to listen on my PC. I have since begun looking at other apps to capture audio on my iPhone so I have a better backup plan for the future, and my coworker now carries audio equipment at least so we are always prepared. In collaboration with Kelly Goto, I’ll be running a workshop called Synthesis to Ideation:Making Research Real. In previous editions we have looked far and near for ponderous consumer experiences. This time around we are looking a little closer at the messages targeting us and what meanings they explicitly and unintentionally reveal. Sure, the crew didn’t seem to know what the options were, where words like “beef” and “chicken” were interchangeable options (and one attendant was freestyling with the radical “lentils” offering). Given the uncertainty, I went for the most-likely-to-keep-me-from-dying-of-low-blood-sugar-option: pasta.


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The country has a lot of paranormal stories, but somebody investigating them, in the same line as Americans, would be difficult to portray. And I didn’t want to imitate American movies, because if you do that, you always come out worse, “In the end, I think the movie turned out a little bit better than the producer thought it would,” he continues. “While we U. . series. “The producer wanted to do X 99. Photos: Copyright Buena Vista International Spain what was happening between them. I the living I Filming at the actual locahappening tion of this strange i didn’t work out, though. “It was impossible to shoot there,” W- sa3rs. “We shot near but in very isolated small towns. Nobody knows about these places. laronga Madrid, places, One of the things that distin- guishes 99. from most genre films is its variance of pacing. After its startling opening scene, the first 90 minutes or so unfold as a deliberately paced mystery as Lara tries to uncover the secrets of the small town; then, in the final act, it takes a plunge ga's emphasis remains on their intense emotional content and not on graphic violence.


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This is a narrow river, probably no wider than the Bow. Sill comon. The Strait of Canso is narrow and ungodly deep. It's no different than a valley or ridge only there happens to be water in it. In fairness I don't think it's over analyzing, in TV and movies We're used to seeing the shoreline be narrow with a gradual sec. If you want to get picky and overanalyze, why are there no wonky currents or undertow. So a deep river doesn't seem like it should be an issue. I think she might have taken the face from the hall of faces. Frey did ask if she was new as he had not seen her before. They gave the accountants a show but never the engineers. How is the scorpion made, how do they build their castles. How thick to the walls have to be to withstand dragon fire. Why doesn't the Great Wall suffer from frost heave. They needed less time on accounting more time on engineering.