The Phantom 4 Advanced+ from DJI boasts a 3-axis-stabilized gimbal camera with a 20MP, 1â³ CMOS sensor capable of shooting up to 4K 60fps video as well as photo bursts at up to 14 fps. It has a total of five vision sensors for precise navigation where GPS is unavailable and provide two directions of obstacle detection. Additionally, it adopts a titanium and magnesium body for increased rigidity and reduced weight. The drone can achieve a top speed of 45 mph in sport mode and can fly for up to 30 minutes on one battery.
With Michael Ballhaus’s coiled, constantly roving cinematography bringing a measure of unease to the underworld action, The Departed jumps out of the gate like a caged lion freed into the wild, delivering a rapid-fire primer on the congruent paths of state police academy trainees Billy Costigan (Leonardo DiCaprio), an intelligent recruit desperate to reject his family’s criminal past, and Colin Sullivan (Matt Damon), a careerist with political dreams and deep-seated ties to Costello. Sullivan is Costello’s mole in the police department and Costigan is the cop infiltrating Costello’s crew, and both are soon ordered to discover the other’s identity, a dueling-rats conceit William Monahan’s screenplay embellishes with trademark Martin Scorsese preoccupations: Catholicism, double lives, issues of honor, honesty, and deceit, and the bond shared between fathers and sons. Faithful to premise of Infernal Affairs, Scorsese’s adaptation nonetheless substitutes the original’s sleek, cool demeanor with a feverish, foul, funky energy that’s layered with a thin coating of sexual deviance (epitomized by Nicholson’s porn-theater dildo antics) and dysfunction (with Sullivan cast as the impotent son to Costello’s seriously virile papa). Deftly employing classic rock for clever commentary—never more so than with adjacent Nicholson and DiCaprio love scenes subtly linked by Pink Floyd’s “Comfortably Numb”—and swiftly crosscutting between multiple subplots, Scorsese’s film, for much of its 150 minutes, rocks violently, passionately, urgently. Schager
As usual with Romero’s zombie films, there’s plenty of thematic meat to chew in Day of the Dead. Trapped in an antiquated WWII bunker, a group of military and scientific professionals attempt to survive the rise of the undead in two familiar fashions: with reactionary force and intellectualism, respectively. A horror legend with unimpeachable liberal credentials, Romero favors the intellectuals, though one of them, Dr. Logan (Richard Liberty), is also crazy, betraying the barbarous military to use the corpses of slain soldiers for experiments. Which is to say that Logan is a resonant right-wing nightmare of the intellectual who’ll sell his country out for knowledge that might not even matter, yet Day of the Dead is more stimulating to discuss than to watch. After a promising opening, which features a few of Romero’s most graphic and iconic images, the film goes to sleep. The characters are caricatures, which is a stark departure from the fascinating humans of Night of the Living Dead and Dawn of the Dead, and so one’s inspired to impatiently await for the carnage to arrive.
Who’s going to see Sarah McLachlan tomorrow (Saturday) night at the Wilson Center – Cape Fear Community College? Sh… twitter.com/i/web/status/1…
However, one of the biggest events here is the retirement of the lusty 5.5-litre V8 biturbo engine. In its place is the compact but equally bombastic 4.0lV8 engine that powers AMG’s current harem of dragsters. With a maximum output of 430kW/850Nm and a 9-speed automatic transmission, it’s rated with a 0-100km/h time of 4.5 seconds and maximum speed governed to 220km/h (or 240km/h with the AMG Driver’s package). All of that tallies up to an average of 22-25l/100km of fuel wolfed down, as used by the G63 I drove at the media launch in Gauteng.
With 1968’s Night of the Living Dead, Romero bounded out of the gate with a naïf masterpiece, one of those films that benefits from the inexperience of its creators. In this unnerving classic, Romero’s themes are embedded in his adventurous aesthetic, which allows for free association that transcends meaning, achieving surrealism while anticipating the found-footage trend in the process. In subsequent productions, Romero appeared to be eager to live up to the high marker that Night of the Living Dead set, calcifying his formalism so as to be sure that his socialist observations landed. These tendencies are most obvious in the 1970s films that immediately follow Night of the Living Dead and the 1980s films that proceed 1978’s Dawn of the Dead. Day of the Dead, from 1985, revels in the fear of a man who suspects that his monsters may no longer be profound enough for a new age of technologized über-capitalist insensitivity, and these anxieties would also define Romero’s second zombie trilogy, starting with 2005’s Land of the Dead.
Vincent Lindon, who won the Best Actor prize at Cannes two years ago for The Measure Of A Man, certainly looks striking as the industrious Auguste; his haunted, piercing eyes—pools of intelligence at the center of a face half-submerged in gray hair—lock onto the entwined subjects of his appetites, as though he were trying to melt flesh and clay alike with the burning intensity of his stare. Handsomely filmed but sluggishly paced, Rodin initially concerns the artist’s tempestuous affair with one-time disciple, mistress, and famous sculptor in her own right Camille Claudel (Izïa Higelin); early scenes of the two trading inspiration (and spit) suggest a more playful, less worshipful film. But history assures that the two must eventually part, and rather than trim the timeline to the span of their relationship, Doillon lets Claudel disappear from his movie. Given the slog of biographical incident that follows—and the spiky personality Higelin briefly, blessedly supplies—it’s hard not to wish Rodin abandoned Rodin entirely, following his beloved to the loony bin instead. (Though Bruno Dumont, whose reportedly bonkers new heavy-metal musical I was sadly shut out of last night, already covered that territory.)
CAUSES AND AFFECTION: Margie Worthington displays new work alongside local artists in 19th annual Landfall…
“Be on your bunks and be visible! I repeat, be on your bunks and be visible for 11:30 count or you will get a ticket!”
A slightly subtler piece displays her love of theatricality, and shows an actor gazing heavenward, while a performance of “Romeo and Juliet” takes place within the space of her dress, open below her waist.
As you read through the pages of this watch guide, you will find some of the most exciting timepieces available on the market. Some are three-dimensional in scope; others take their design inspiration from the automotive, or even the space industries. Some offer a modern rendition of a classic, while others are quite simply, dramatically different. Just like the auto industry, the watch industry offers a size, shape and engine for everyone. Enjoy.
• Valuable Statistics: The report examines considerations such as production value, capacity in a statistical format that accurately reveals a comprehendible picture of the Automotive Coil Spring market.
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