Thursday, 31 March 2011
New Green Lantern footage will be shown tomorrow at CinemaCon and there is a new trailer coming soon, so we might have answers to some questions very soon.
It's our last pre-E3 podcast today, which means there's sure to be a little gaming news from Nintendo mixed in there for you to chew on, along with some Samsung Q1 UMPC goings on, our take on (and support of) Gary Shapiro and the CEA driving a stake in the ground for disenfranchised digital consumers everywhere, and some interesting news in the DVR space from TiVo and Yahoo. We'll take our usual cellphone related voicemails too (we can talk about other stuff -- promise), so listen up before the Engadget Podcast hits the mean streets of LA next week to play some games.
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Peter Rojas and Ryan Block
J J J - 'Suits' in Japan
54:33, 24.7 MB, MP3
00:37 - Nintendo Wii -- the Revolution gets a real name
10:53 - Nintendo to announce DS Lite pricing / release dates on Thursday?
12:52 - Samsung Q1 UMPC to go on sale May 7th for $1,100
14:31 - Eye-Fi embeds WiFi into your SD flash
18:09 - Gary Shapiro and the CEA take a stand
24:00 - Apple trying to include iPod video content on Blu-ray discs?
28:00 - Yahoo Go TV takes Meedio and does it for free
31:31 - TiVo's Series2 DT 80 and 180hour dual tuner boxes
36:13 - Listener Voicemail
Contact the podcast: 1-888-ENGADGET, Engadget (Gizmo Project) or podcast at engadget dawt comPermalink | Email this | Comments
I'm up early and I'm watching Mike and Mike on the Deuce and they bring up Magic's eulogy at Michael Jackson's Memorial. And his story stood out so much because we, as the fans, got to see MJ as a human. That mental image of one of the top 5 basketball players to ever live, IMHO, and the King of Pop, sitting on the floor eating a bucket of KFC just brought that level of "humanity". You have to stop and ask that, "Michael is like me?" and then quickly realize that it was Michael's CHEF that brought out the bucket, as well as his CHEF ask Magic what he wanted. As Golic put it, "I never went to any of my friends' homes and had anyone's chef ask me what I wanted to eat." Pho realz though!
It's sad to think that the millions and millions of people who regard ourselves as fans to be dumbstruck at this level of humanity from Michael. It's sad that I have put MJ on this pedestal to even think that a bucket of fried chicken was beyond him. Yet, this tub of Original or Extra Crispy, puts us on the same level fascinates and at the same time humbles me. Douche (Donny Deutch) says that it was wrong for the American public to deify him, and in this respect, I have to agree. Don't get me wrong, I think Douche is an ASSHOLE, albeit a misguided asshole, for slamming MJ at this hour, but he has that point right. I put MJ on a level where I felt nothing can touch him based on his ability to not only change the world through his humanitarian efforts but for always touching me with his music. Michael's music hit the nerve of the soul which sustains me. Every dance move he hit and every note he sang changed a part of my life. Put on Off the Wall or Human Nature, and I lose it. Workin' Day and Night and Another Part of Me doesn't provide escape - it makes the world around me a better place to live in. That's where I differ GREATLY with Mr. Deutch's comment. Music can change lives. Music effects the soul on so many levels that it can't help but change lives which in turn spreads the love of its creator to many more people. Music changes lives. And no one has ever changed my life as Michael Jackson has on that level.
Magic's story made me realize that this man, who changed my life through music, is, at the end, just a man. And on that level, I can empathize with his family cuz that's how they remember him. My pain of his death pales in comparison, because I personally know how it is to lose a member of a family when they pass unexpectedly. The feeling of death which submerges into the soul like a knife and withdraws the source of life - breath. I've felt that. I know that feeling of being physically huddled around each other as a group to cry over the loss of a brother. My heart goes out to them and his kids. C'mon, Paris' "my daddy..." puts everything in perspective. And that bucket of KFC made me realize the pain the family and those who knew him on that level must be going through.
Rest in Paradise, Michael. You deserve it.
30 Days of Night screenwriter Stuart Beattie has signed on to write and direct I, Frankenstein for Lakeshore Entertainment. The film will be based on the Darkstorm Studios graphic novel by Kevin Grevioux, one of the writers behind 2003's vampire-werewolf action flick Underworld. I, Frankenstein features the classic literary monster as a modern-day private detective who deals with both humans and other supernatural creatures -- including Dracula, now a mob boss, and the Invisible Man, a secret agent. More details after the jump.
The project was first greenlit  by Lakeshore Entertainment last year, at which time Underworld: Rise of the Lycans helmer Patrick Tatopoulos was set to direct. Production was scheduled to begin last summer, but never took off. The Hollywood Reporter  states that with Beattie now on board, shooting is expected to begin this fall.
Beattie is a relative unknown in the U.S., but made a splash in his native Australia last year with Tomorrow, When the War Began, which he wrote and directed from a series of novels by John Marsden. The teen action/adventure movie received generally positive reviews and became the highest-grossing domestic film of 2010 in Australia. Unfortunately, it has yet to see a real release in the U.S. Beattie is set to direct back-to-back sequels to TWTWB, which will also be based on Marsden's books.
I haven't read the I, Frankenstein books, so I don't know if they address this issue. But -- hold on, it's about to get real lit-nerdy up in here -- I feel compelled to point out that in Mary Shelley's original work, Frankenstein is not the name of the monster, but the name of the doctor who created the monster. In Shelley's book, the monster has no name. OK, sorry -- nerd rant over.
Literary inaccuracies aside, this project sounds potentially entertaining, if not especially fresh. The premise reminds me a bit too much of films like Hellboy, Constantine and the upcoming Dylan Dog: Dead of Night . (All of which, it should be noted, were also based on comic books.) Then again, Constantine wasn't exactly a horror classic and Dylan Dog looks, frankly, mediocre, so perhaps there's still room for Beattie and Grevioux to own the supernatural-investigator subgenre.
Discuss: Are you excited for I, Frankenstein? Are any other former English majors bothered ever-so-slightly by the Frankenstein/Frankenstein's monster thing?
Rhyme Asylum is a hip hop group from London that formed in 2002. The group is composed of artists Possessed, Psiklone and Skirmish. Rhyme Asylum can also be associated with rapper Reain (aka Whashisface), who features on several of their songs and also paired with Possessed in the JumpOff Freestyle World Rap Championships in 2006. The group have been praised for delivering ground breaking, raw lyricism.Their recognition originates from the infamous Deal Real open mic sessions between 2004-5. Their debut album "State Of Lunacy" was released in June 2008. It featured US rappers Copywrite and Diabolic, and an album cover designed by the Skam2?, who has previously designed for Eminem, D12, A Tribe Called Quest, Naughty By Nature and Ill Bill.
Wednesday, 30 March 2011
So, what's going to happen when a couple-hundred-thousand fans from around the world swoop into Sochi in 2014, along with a flotilla of international media and all the world's greatest athletes? The Winter Olympics will happen, and the power will flow. It has to, and it will thanks to that unassuming looking shipping container above. It's being assembled at Ener1's facility outside of Indianapolis, and it's actually a giant battery holding an amazing one megawatt-hour of power. That's enough to juice 1,000 average homes for an hour, or to act as the mother of all UPS's. Join us for a look inside and a video show how each of those packs is made.
Gallery: Ener1 factory tour
Filed under: Misc. GadgetsPermalink | | Email this | Comments
Everything is always interesting from another view point. In this interview with Ed Schultz on The Ed Show after the memorial was eye-opening. But that's his point of view. I don't agree, but that's his opinion.
Here's the mp3 since I'm not able to get the vid from my dvr.
CAN'T WAIT for the next season to start! "Black on Black Crime!" as Rampage puts it.
Tonight Paramount Pictures, Marvel Entertainment and DreamWorks Animation presented footage from JJ Abrams' Super 8, Thor, Captain America, Kung Fu Panda 2, and Puss in Boots. The DreamWorks Animation footage was basically a shortened version of the presentation we saw in Los Angeles a couple weeks back (article here ). After the jump you can read my thoughts and reactions to the other footage screened tonight, along with a video blog. We try to keep everything as spoiler free as possible, and don't get into anything detail-wise that you wouldn't have picked up from the movie trailers. So feel free to read/watch my/our reactions without being spoiled.
Video Blog with Frosty from Collider  and Alex from FirstShowing :
Super 8: We saw the same 22 minutes of footage that was screened to New York City press last week -- 22 minutes that consisted of two sequences of the film:
The group of kids filming a zombie movie with their Super 8 camera at the train station right next to where the train crashes.
And a sequence later on in the film where, whatever escaped from the train, causes havoc at a gas station.
That is the extent of the plot details you'll get in this report. Here are a couple observations:
As you probably remember, the teaser trailer showed a pickup truck ram the train, causing it to derail and some sort of creature escapes. In the movie we see this action from the kids point of view, which is entirely new shots. I don't believe any of the footage from the teaser trailer is actually in the film.
The thing that impressed me the most about the footage was the authenticity of the interactions between this group of children. Elle Fanning is a stand-out.
JJ Abrams is still rocking the lens flares. I know many people complained about this in Star Trek but I didn't find�distracting in that movie and believed it added a�unique�visual�aesthetic to the look of the future. That said, the lens flares are�a tiny bit more distracting in this period piece.
I know that many people, including Abrams, are comparing this film to Spielberg's Amblin-era movies, but the interactions between the kids seemed more comparable to movies like Stand By Me or maybe The Sandlot. I get the sense that this might be Abrams' most personal story yet. It doesn't feel like a homage. I don't get winks and nods to the various Spielberg films. As far as I can tell, he isn't referencing shots and sequences Tarantino-style.�Sure, the movie feels like it exists in the same universe and time as Spielberg's 1970's-1980's films.
I can't tell you how excited I am to see the full movie. To be honest, I don't want to see any more footage -- this is the type of movie I just want to experience.
Thor: We were shown 20-or-so minutes from the middle of the movie
Thor is banished to Earth, where he encounters Natalie Portman, Kat Dennings and Stellan Skarsg�rd's characters.
He is in search of his Hammer which also fell to Earth, and as you saw in the Iron Man 2 epilogue, has been discovered by SHIELD.
We see the sequence shown in the trailers where Thor breaks into SHIELD's compound to recover his hammer, which is stuck in the middle of a crater.
Here are my observations:
You may remember that I was very unimpressed by the 5-minutes of footage they screened at Comic Con. They even mentioned that director Kenneth Branagh was upset that Marvel screened the footage in 3D, since it was far from finished (many people ragged on the horrible nature of the 3D conversion). I came out of the presentation tonight very�impressed�with the Thor footage, and I'm now even more excited to see Thor than I am Captain America.
I've been under the belief that Thor would pose the biggest marketing challenge for Marvel as the Asgard wardrobe could be easily mocked. I was shocked at just how accessible the footage we saw was to non comic book or fantasy viewers. That said, most of the footage we screened took place on Earth (aside from the first scene and a closing shot) -- so that might be why. I have also talked with some people (like Alex from FirstShowing) who were put off by the jokes and interactions on the Earth segments. I personally think they nailed the right�balance of trying to appease comic book fans and have the story appeal to wide�audiences.
When movie studios present early footage to press or fans, it is usually footage from the first or third acts, the�beginning�or the end of the movie. Any screenwriter will tell you that the first and third acts are easier to write than the middle. Act two is the hardest, and is usually where a lot of movies fall apart. The fact that Marvel chose to screen 20 minutes from the middle of the movie probably means something. Either they feel they nailed act two or they are nervous about the Asgard footage of the first act of the movie.
Captain America: They screened 20 minutes of footage, which was made up of four scenes (three of which were shown�briefly�in the trailers):
Opening scene from the movie which is set in present day with (possible spoiler invisotext) people discovering Captain America's shield in Antartica. (invisotext end)
Abraham Erskine (Stanley Tucci) and��Howard Stark (Dominic Cooper) inject Steve Rogers (Chris Evans) with the super soldier�serum.
Captain America meets with Howard Stark to look at his high tech�weaponry, and has a run in with Peggy Carter (Hayley Atwell)
Captain America gets his shield, which Peggy tests out (as shown at the end of the recent trailer)
I've been very much looking forward for Captain America. Coming out of Comic Con, it excited me much more so than Thor. I've even really loved the recent trailers, and have been getting that Indiana Jones vibe that director Joe Johnston has been aiming for. And while I'm still excited to see the movie, I was left slightly disappointed by the footage at CinemaCon.
My main worry is the film's tone -- it kind of has this slightly cheesy jokey vibe about it. I guess the scenes are probably comparable in tone to The Rocketeer, which was also directed by Johnston. A couple people around me in the theatre vocally groaned at some of the jokes. But with any presentation of this kind, I'm very aware that we're seeing the footage out of context -- it might work a lot better within the film itself.
At the same time Ebert, who was currently on the air with Siskel & Ebert, was doing an interview with Omni Magazine and the famous Chicago Sun-Times film critic was asked about how fierce the competition between television and movies would be in the future. His answer, given almost 25 years ago, was just about right on the money. Read what he said after the jump.
Thanks to Pale Of Future  for digging up this awesome nugget and the Los Angeles Times  for alerting us to it.
OMNI: How will the fierce competition between television and the movies work out in the future?
EBERT: We will have high-definition, wide-screen television sets and a push-button dialing system to order the movie you want at the time you want it. You'll not go to a video store but instead order a movie on demand and then pay for it. Videocassette tapes as we know them now will be obsolete both for showing prerecorded movies and for recording movies. People will record films on 8mm and will play them back using laser-disk/CD technology.
I also am very, very excited by the fact that before long, alternative films will penetrate the entire country. Today seventy-five percent of the gross from a typical art film in America comes from as few as six --six-- different theaters in six different cities. Ninety percent of the American motion-picture marketplace never shows art films. With this revolution in delivery and distribution, anyone, in any size town or hamlet, will see the movies he or she wants to see. It will be the same as it's always been with books. You can be a hermit and still read any author you choose.
How crazy is that? Who even knew what high definition or on demand was in 1987? Granted, he was wrong about 8mm, but his description of a technology that didn't exist yet - DVD's - as a "laser-disk/CD" is spot on.
Ebert also said this:
By the year 2000 or so, a motion picture will cost as much money as it now costs to publish a book or make a phonograph album.
Ignoring the archaic thought of a "phonograph album," this sentiment also happened. You can make a movie for practically nothing now with the right technology when, in 1987, you needed a film camera and expensive films or a very large camcorder that recorded in a horribly low quality videotape.
Maybe because this fortuitous quote has been dug up, Mr. Ebert will let us know what the future holds for us 25 year from now? What do you all think?
Tuesday, 29 March 2011
Aaron Johnson and Taylor Kitsch are the leads; Benicio Del Toro and Salma Hayek are looking like the two key cartel characters, and multiple actresses are reading for the role of the female friend. Blake Lively, Abbie Cornish & Teresa Palmer are all said to be possible names, though Deadline  also says Oliver Stone might go with a 'discovery.' Oliver Stone, Shane Salerno and novel author Don Winslow are working on the script now.
After the break,� a total change of gears: a Universal film based on the musical In the Heights is no longer happening, for the moment.
Universal will no longer make a film based on the Broadway musical In the Heights. This Is It director Kenny Ortega was set to direct, but now thanks to a combination of a high budget and the need for an all-Latin cast, something the studio sees as niche, the film isn't happening. Deadline says that the idea was to offset the budget by putting high-profile Latin actors in some small key roles, but that didn't come together. So: poof.
Lin-Manuel Miranda, creator of the musical, said,
I have had nothing but a positive experience with Universal Pictures. We weren't able to make the film version of In The Heights together, but I'm looking forward to working with them in the near future. Moving forward, I'm excited to explore other options to make the In The Heights movie a reality.
Other studios and companies can take a crack at the property, and there is a good chance that someone else will be able to come up with a version that costs less than what Universal was planning. [Deadline ]