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“Brothers” (My 0-10 rating: 7)

Genre: Drama, War.

Director: Jim Sheridan

Screenplay: David Benioff

Cast: Tobey Maguire, Jake Gyllenhaal, Natalie Portman, Sam Shepard, Mare Winningham

Time: 1 hr., 50 min.

Rating: R (romance intimacy, vulgarity, some disturbing violence, torture)

Powerful theme, major moral questions, but marred somewhat by uneven dramatic pacing.

“Brothers,” in timely fashion, is the first film to deal with the effects of the Afghanistan war on our Marines. Hesitate before going to see it due to a few scenes of mind-bending atrocity.

As long as the film is into its sequences of anger and fury, it’s horrendously well done. When, however, it tries to develop its essential intimacies in love relationships it suffers from stop-and-go momentum which abruptly slows its progression. Still, no doubt about it, its basic atrocity hook in the sequence depicting the barbaric and inhumanly savage punishments exacted by the Taliban (shot in Abiquiu, New Mexico) is so mind-shattering that I heard and felt the audience gasp and cringe in every part of the theater.

This is Tobey Maguire’s deepest and broadest role ever, and he accomplishes it with a commendably studied finesse. He clearly wants you to suffer his anguish and humiliation with him. You’re to be no passive observer in this. Add, in no lesser energy, the absorbing performance by Jake Gyllenhaal and the film overcomes its shortfalls.

Supported by flawlessly impactful performances at all adult and child roles, the ugly ironies of war achieve a uniqueness when one homecoming Marine carries within his embattled psyche a memory of trauma so catastrophic that he’s a walking blockbuster. Natalie Portman, playing his wife, and Sam Shepard, as his father, roll with and against his force in a dynamic that keeps you glued.

Thirtysomething Captain Sam Cahill (Tobey Maguire), loving husband to his high school sweetheart Grace (Natalie Portman) and devoted father to two young girls, is facing his fourth tour of duty as a Marine, this one to Afghanistan. And into this emotion-laden scene in suburbia now arrives Tommy Cahill (Jake Gyllenhaal), Sam’s younger brother. While Sam has always been the very model of the responsible family man and dutiful soldier, Tommy, just released from jail, is an aimless drifter, the exact opposite to Sam in every way.

But Tommy is also the life-of-the-party in any social situation. He’s a provocateur, insensitive perhaps, but nonetheless the center of charm with his adroit wit and roguish personality. And he’s into that very role now on his first night of freedom, moving into prominence at Sam’s farewell dinner in the presence also of their parents, Elsie (Mare Winningham) and Hank Cahill (Sam Shepard), himself a retired Marine. It’s more than plain that Hank is contemptuous of Tommy.

Soon comes the drama. On a mission in Afghanistan, Sam’s chopper is shot down in the bleak and remote mountains. Sam is officially presumed dead. Back at home, his family is just receiving the full shock of being told of this catastrophe, facing the inevitable stark emptiness within themselves.

Tommy feels a surge of family loyalty and responsibility, now stepping forth to shelter Grace and the children under his wings, to say nothing of how he must now face himself.

But as fate would have it, Sam is not dead. Having been captured by the Taliban in the foreboding Pamir Mountains, Sam is barely surviving, mentally and physically, under the horrendous traumas of his captivity in which the Taliban captors force him to do an unimaginable act. So that even as he is being de-humanized and mentally changed forever, his brother Tommy is gaining character strength back home.

In fact, Grace and Tommy are getting into each other. Once regarding each other coldly, now they find themselves in shame and wariness over their mutual attraction. But, especially in regards to Tommy’s wonderful rapport with her kids, it is happening.

Predictably, of course, the climax will build over what’s to happen when Sam comes home. For Sam, who’s become withdrawn and explosive in his time of captivity, harbors immediate suspicion of an attraction between Tom and Grace.

The energy of this family have changed strikingly. Loyalty, love and masculinity are now on the line. And a mind shattered.

Again, caution, should you elect to see this movie. As to what effect it may have on our resolve in the coming troop surge in Afghanistan, there’s a real question as to whether the American public will rise and demand hard action against the grotesquely ugly Taliban, or, will say Let’s Get Out!

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Marty Meltz, http://www.martymoviereviews.com, was the 30-year movie critic for the statewide Award-winning Maine Sunday Telegram until the column’s termination for budget cuts at end of 2007.

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Big Changes on the Horizon | Jon Glassberg

The videos will focus on unique types of climbing movement and the real life application of these strange and often confusing techniques. Finally, the last stop and the destination for this editing train is a feature length LT11 video …

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John Ford is one of America’s foremost Academy Award-winning film directors. His impressive and influential directing style has included adaptations of classic 20th century American novels like The Grapes of Wrath along with some of the most exciting Westerns in motion picture history. Ford’s impressive directorial career includes more films than could possibly be listed here and his use of stunning cinematography is legendary.

Born in Cape Elizabeth, Maine on February 1, 1894, John was the tenth of eleven children in his family. He grew up in the Munjoy Hill area of Portland, Maine trying his hand at farming, fishing, running a saloon, and even dabbling a little in politics serving as an alderman.

On July 3, 1920, John married Mary McBryde Smith. Together they had two children and remained married until his death on August 31, 1973.

The Beginning of His Career

Following the footsteps of his older brother Frank, who was a prominent actor-director in his own right, John moved to Hollywood in 1914. He began working on brother Frank’s films as a handyman, stuntman, and on occasion even an actor. Wanting to create a name for himself, John began his career at Universal Studios directing silent films. This was a busy time in Ford’s career as he directed 62 shorts and features between 1917 and 1928.

In 1920, Ford left Universal to sign with the William Fox studio where he directed his first major success The Iron Horse in 1924. This historical drama told the story of the First Transcontinental Railroad and was an epic undertaking. Filmed on location in Sierra Nevada the film went on to become one of the top grossing films of the decade. It was during the 1920’s that Ford would became president of the Motion Picture Directors Association, later to become the Directors Guild of America.

The War Years

While serving as a Commander in the United States Navy during World War II, Ford made documentaries for the Navy Department. During that time he would win two more Academy Awards for the semi-documentary The Battle of Midway (1942), and for the propaganda film December 7 (1943). At the conclusion of the war, Ford became a Rear Admiral in the United States Navel Reserve.

Award Winning Success

John Ford had the pleasure of working with the top film superstars of his era, and they with him. In total, Ford was to win six Academy Awards with four being for Best Director. He still holds the record for the most Best Director awards and was the first to win consecutive honors in 1940 for The Grapes of Wrath and in 1941 for How Green Was My Valley.

Surprisingly, although noted as one of the greatest director of Westerns, Ford won no Academy Awards for these efforts. He was however, nominated as Best Director for the 1939 film Stagecoach which provided the first major picture starring role for John Wayne.

John Ford’s tremendous directorial talent would also lead to his being the first to receive an American Institute Life Achievement Award as well as being awarded the Presidential Medal of Freedom by US President Richard Nixon.

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Carl DiNello is a Blogger whose passion is Hollywood history and those movies from the 1920’s – 1950’s that make up this rich history.

Hollywood Movie Memories… Movies to Remember and Discover!

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Never happened. Never.

Yet with some new film releases, that’s an oft-seen proclamation . True in some film publicity department’s dreams, maybe. But in no way is it in the range of the real.

Back on earth, first let’s look at a stark realization:

Think now of all the well-known, ongoing contests in the world which are judged subjectively, that is, by a judge’s decision, not by points directly scored by the players. Amazingly, there exists one in which decisions of “the best” are made in which each and every judge (critic) uses his and her own rules. To make matters even more absurd, very few had a background in their subject before getting their reviewing job.

Step back for a moment and look at contest fields in general: cat shows, dog shows, cattle shows at fairs, the judged events at the Olympics — in every case the judges, usually having rigorous backgrounds for the job, have in front of them a systematic list of long-established checkpoints, clear and concise criteria which the contestants must pass in order to be adjudged Best.

But in film? If you look at ten different film critics’ 10-Best lists at the end of each year, you’ll see strikingly different choices (sometimes two lists contain not a single title in common), often offering titles you’ve never even heard of. Why?

OK, let’s back off again and get a perspective here:

Hollywood and independent filmmakers put out about 400 movies a year. About half of those are in very limited release. Syndicated film critics get a chance to see only 150 or so broad releases plus about 75 randomly chosen low-budget independents from the entire field. Some films get seen, some don’t. So what we’ve got here are vastly different playing fields from which the “Best” is chosen.

And yet another field: the Academy Award for Best Picture, a choice, you’ve correctly gathered over the years, which is the result of film studio multi-million-dollar vote-getting campaigns. The 5300 Academy voters, most of whom don’t see any more movies in a year than you do, must nominate and vote only upon what’s shoved in front of them. No promo, no nomination. And the backgrounds of the voters? Actors sure know acting. Cameramen sure know cinematography. Editors sure know editing. Sound engineers sure know sound. Music directors sure know music. At least we can safely say that the film directors group knows the total art and craft of the motion picture..

Now back to film critics. As with Academy voters with no rules. None.

I used to go on a lot of national press junkets. Got to see the critics’ advanced previews, meet the stars, the production personnel. And other film critics. With my own background — a lifetime photographer, maker of a nature film and several TV commercials, worker at an Augusta, Maine movie studio at all levels of production, ardent student and analyzer of the visual arts — I felt pretty adequate. Over many years of junkets I got to talk to maybe 100 critics from all over the country. My upfront question to them. Hey, how’d ya get into film reviewing? What had you been doing?

Replies: 30 percent from sportswriting. 30 per cent from live theater. 30 per cent from regular street reporting. 10 per cent: unrelated to writing or film. From film studies or direct filmmaking experience? None.

So how do you judge a movie? From 100 different critics: 100 different answers.

Yet any and all, one must admit, are good writers. That background they have. Solid and totally competent, very schooled in professional journalism. But how they’re judging a movie is something else.

Consider “W.,” Oliver Stone’s film about you-know-who. On a scale of 0 – 100, leading critic Roger Ebert gave it 100. TIME MAGAZINE, on that same scale. gave it a 40, as did the WASHINGTON POST and the NEW YORKER. “Fascinating. No other word for it,” pronounced Ebert. But, from TIME, “W.” isn’t tragedy or farce; it’s illustrated journalism.” And from the POST, “a rushed, wildly uneven, tonally jumbled caricature.” And the NEW YORKER. “Why did Stone make the movie? He doesn’t discover anything new.”

Now here’s an eye-popper: The new film, “State of Play.” On that scale of 1 – 100?

THE BALTIMORE SUN and PREMIERE gave it 100. ENTERTAINMENT WEEKLY gave it a 91. THE NEW YORK POST? O. Yep, that’s zero.

Hey, all of these critics are writers of sharp intellect. There’s a lot valid and even admirable in their points. But, see now, this is what bothers me about this kind of criticism as it bears on Mr. & Mrs. Moviegoer’s quest for simple entertainment in a movie. Do most filmgoers even care about whether a movie is analyzed as “tragedy or farce?” Or if it’s “illustrated journalism”? Or whether it’s “jumbled caricature”? Or about discovering anything new?

Or, at the subliminal levels of fascination with a movie, that is, the gut level — which is ultimately all that matters — isn’t the filmgoer, without describing it in words, more taken up this film’s ongoing close-ups of intense faces, gripping you, hauling you, hammering you, into a chilling realization of where this man W., always on the edge of the disabling energy of alcoholism, was taking the country.

In a word, are audiences interested more in substance or delivery? In another word, forget not the ancient adage of show biz, “It ain’t the joke; it’s the way you tell it.”

All the critics agree? Impossible. A movie is a personality too complex in all its appeals for that to happen. So are critics. So are you.

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http://www.martymoviereviews.com
Marty Meltz, 30-year former films critic for the Portland (Maine) Sunday Telegram. Offering right-to-the-point reviews that address directly the question of the film’s entertainment value to you. Films have personalities. It doesn’t matter who wrote it, who directs it, who stars in it, if it doesn’t reach out to you with charisma. I examine its honesty and intelligence. Are you being respected, or are you being jerked around?

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New Moon, the sequel to Twilight is going to be filmed, starting early March. The movie scenes will include many locations, thus will not be all filmed in the one area. The cast has been confirmed, and the film will be directed by new guy, Chris Weitz. The New Moon movie will be an interesting movie to see when it comes out, as there are high expectations by the huge twilight fan base, and being pressed for time, can the Twilight Saga live up to its name?

To give variety to the audience, the New Moon Movie will be filmed in a mixture of locations. Los Angeles, California, USA is on the list, most likely a lot of work to be done in the studios however they may decide to film outside to capture city scenarios. Portland, Oregon, USA was used back when Twilight was filmed, containing stunning scenery, it should reveal some exciting scenes. A new contender being film location Rome, Lazio, Italy is set to be used in the movie. Adding a foreign location to the mix will surely create an in-depth movie. Last but not least, Vancouver, British Columbia, Canada is going to be another filming location.

All of the cast are going to be kept busy filming in all these different locations, but I am sure they will be able to deliver a magnificent production, along with the new director Chris Wietz who will be able to fill the hearts of the ever so eager Twilight Saga fans.

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Dedicated to posting the latest information on the New Moon Movie, New-Moon-Movie.Net has the latest updates, interviews, videos, pictures and more on the net. Come join us and embark on an adventure to the release of the New Moon Movie.

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Hey, big surprise. “Percy Jackson & The Olympians: The Lightning Thief” is almost totally fun for everybody, with enormously imaginative and spellbinding digital effects, has a pretty decent script and is terrifically educational while being never less than top entertainment.

Critically, it’s being compared unfavorably to Harry Potter. Unfair. This is not Harry Potter and isn’t supposed to be. It has its own singular delights and its concepts of what Greek gods do are often very humorous. Granted, by virtue of its attractive and appealing leads, it’s pitched hard to teenagers, but its attractions are numerous and never cheap.

In fact, if one wants to push the Harry Potter qualities, it must be said that “Percy Jackson” is more intellectually accessible and won’t bother you with attracting pseudo-sophisticated analysis. It’s just easy, visually jolting fun with solid family values and worthwhile ancient mythology elements. It’s another of those many movies which you pick apart afterwards but you know darned well you were spellbound through most of it.

In ancient Greek mythology — which here in the film turns out to be not mythology at all — the gods walked among ordinary people and even bore them children, called demigods. Three of the gods, the big honchos, were the brothers Zeus, Poseidon and Hades.

Well now, here’s New York teenager Percy (Logan Lerman) who is living with single mom Sally (Catherine Keener) and her no-good boyfriend Gabe Ugliano (Joe Pentoliano). What Percy has never known is that his real father is Poseidon (Kevin McKidd), the Greek god of the oceans. So Percy is a demi-god, son of a god and a human.

Although he has been aware of some strange personal talents, like being easily able to exist underwater for over seven minutes, he’ll presently find out about his demi-god status during a museum field trip on Greek antiquities. Turns out that up in the celestial world, the gods of Mount Olympus, headed by chief god Zeus (Sean Bean), are quite upset. Seems that Zeus’ famed and feared master lightning bolt has disappeared and he seriously suspects that Percy, son of his brother Poseidon, has ripped it off. This bolt, of course, as per the classical mythology, is the ultimate weapon of the universe, perfectly able to rain total destruction.

Percy’s teacher is Mr. Brunner (Pierce Brosnan), his friend is Grover (Brandon T. Jackson). They, it will become clear, are hybrid human-animal creatures whose mission it is to protect him in the imminent Olympian showdown.

Complicating matters is that his mom has mysteriously disappeared. It will be learned that she had been kidnapped by Hades (Steve Coogan), the god of the underworld. Percy’s mission then involves a double goal: find and rescue his mom, and prove his own innocence to his dad, Poseidon. And maybe find the sword? At a remote, magical camp for demi-gods and centaurs is Annabeth (Alexandra Daddario), who is the daughter of Athena, the Goddess of Wisdom (Melina Kanakaredes) and is a martial arts and swordsperson extraordinaire. Percy also finds that Mr. Brunner, a.k.a. Chiron the centaur, and handsome-but-suspicious young Luke (Jack Abel), messenger to the gods, are in charge. Bodyguard sidekick Grover, now also revealed as a centaur, stands by.

As always in such epic tales, they will meet many a monster, like the snake-headed Medusa (Uma Thurman). Strangely, she is peculiarly vulnerable to being hit and demolished by a Ford pick-up. Meantime, Percy’s power with water. he being the son of the god of the seas, will come in handy.

There was so much immense, earth-destructive power on display in the effects that I never got tired of them.

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Marty Meltz, http://www.martymoviereviews.com, was the 30-year films critic for the New England Award-winning Maine Sunday Telegram until his column was terminated for budget cuts on Dec. 31, 2007.

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Excerpted from the Vegas Movie Studio: Basics and Beyond, this will give you a short idea of editing inside most any.

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Actually, plausibility goes on hold after just a bit when it becomes obvious that this movie isn’t interested in having you sit there looking for it. This isn’t about plausibility. It’s about lurching you into psychological escape mode early on and just letting your gripping sense of outrage bounce back and forth from the aggrieved protagonist to his gaudy methods of retribution. In no time, you give up on where to place your sympathies.

In this tale of diabolical revenge, a convict, from his cell, engineers a killing campaign which terrorizes the Philadelphia police and justice departments. It all started when this man, Clyde Shelton (Gerard Butler), once an upright, honest family man, who lost his wife and daughter during a brutal home intrusion by inhuman thugs. When the killers are captured, a rising young city prosecutor, Nick Rice (Jamie Foxx), is assigned to the case. Much to his chagrin, however, his boss orders him to plea bargain with one of the accomplices to rat on another participant in return for a light sentence.

Clyde is shocked. His wife and child had been stabbed to death before his eyes and one of the killers is to go free after a short sentence.

Now ten years later, after a detailed, rigged lethal injection execution goes awry, Clyde manages to capture the now released attacker of his family and put him to death by grisly slow dismemberment torture. Clyde Shelton boldly steps forward and confesses to the killing. Sentenced to prison, he nonetheless gets in a chilling threat to Nick: Fix the screwed-up system of justice or else the major figures in that trial of long ago will die.

Somehow he manages to begin implementing this threat. Those individuals are found dead one by one. People associated with them are in terror. This is a genius sociopath operating, apparently from his prison cell. Nick, and only Nick, can stop it, but how? This killer is always one step ahead of him. And Nick’s own family is now targeted as is the entire justice and police department.

You can indeed be quite exhausted by this movie. Yes, it can be criticized from a variety of standpoints. But its capabilities in entertaining you with unusual vigor is not one of them.

“Law Abiding Citizen” (my 0-10 quality rating: 7)

Genre: Psychological Thriller.

Director: F. Gary Gray

Screenwriter: Kurt Wimmer

Cast: Jamie Foxx, Gerard Butler, Bruce McGill, Colm Meaney, Leslie Bibb,

Michael Irby, Regina Hall, Viola Davis.

Time: 1 hr., 48 min.

Rating: R (strong bloody brutal violence and torture, a scene of rape, and pervasive vulgarity)

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Marty Meltz, http://www.martymoviereviews.com, was the films critic for the multiple Award-winning Maine Sunday Telegram for 30 years until budget cuts terminated his column.

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Video makes case for Wickenden signage | WPRI.com

A viral Youtube video hopes to be part of the solution to the "construction confusion." Jaunty music and the popular "MTV-style" video editing techniques — fast cuts, sped-up video and constant movement — ask the question: where's …

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Blazers Game Time | Portland Trailblazers Fans Smash Phoenix Suns Van

Portland Trailblazers Fans Smash Phoenix Suns Van in the video titled Blazers Game Time. Brought to you by Bad Habitat of Surreal Music Portland hip hop.

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[Video] Portland Cello Project at McMenamins Old St. Francis School. Thursday, March 25th, 2010, 10:24 am by Ben Salmon. It was quite the scene last night in Father Luke's Room at Bend's McMenamins Old St. Francis School, where the Portland … from the opera “Carmen,” the theme song from the film “Crouching Tiger, Hidden Dragon,” Rihanna's hit song “Hard” and Dave Brubeck's famous “Take Five.” They also accompanied Portland artist Catherine Feeny on three gorgeous songs. …

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“Brooklyn’s Finest”

My 0-10 rating: 7

Genre: Crime, Drama

Director: Antoine Fuqua

Screenwriter: Michael C. Martin, Brad Caleb Kane

Starring: Richard Gere, Ethan Hawke, Don Cheadle, Jesse Williams, Ellen Barkin, Wesley Snipes, Lili Taylor, Will Patton, Vincent D’Onofrio

Time: 2 hrs., 13 min.

Rating: R (for bloody violence throughout, strong sexuality including graphic sex, nudity, drug content and pervasive vulgarity)

Gushing with bloody shootings, with enough of it to satiate even the most bloodthirsty violence aficionado for the next year, “Brooklyn’s Finest” is immersed, almost drowned, in its gripping delivery.

This is by director Antoine Fuqua who did the similarly mega-powered photographic juggernaut, the 2001 “Training Day,” a film which set a fairly unreachable standard of shadowy visual embellishment of everything falling within the reach of the camera.

Again, drugs are the basic generators of all the evil, and desperate humans are the drivers of a plot that amounts to little more than a wearisome cliche in itself but is buried under character close-ups of such scorching intensity that your attention is riveted mercilessly. Fuqua’s method to his madness comes at you like a tsunami of human hostility, leaving your senses immobilized possibly for hours afterwards.

From the beginning, it’s obvious that the crime and corruption-ridden East Brooklyn streets are cellars of sudden death where no man can make the same mistake once — and a man’s shadow might not be his own. Burning suspicions, catastrophically greedy motives, instant revenge and the erasing of individuals with chilling efficiency make the expression “lifestyle” irrelevant and deathstyle the only point.

Performances are uniformly outstanding with a virility of rare compulsion with each male and female player going at it as though this will be the ultimate judgment of his or her career.

Plot values are rather inconsequential. The sheer power of the portrayals of the violence are the focus of darkest artistry.

As the story makes clear immediately, things do seem rather like hell itself on East Brooklyn. Our key characters — three cops — are Eddie (Richard Gere) who is stumbling through his last seven days on the job, Tango (Don Cheadle) who’s an undercover cop whose wife has left him over related issues, he now facing issues with his chief (Will Patton) and a hard-driving, snarling and snapping federal agent Smith (Ellen Barkin) who want him to set up his buddy Caz (Wesley Snipes) who’s a drug dealer with Tango to be rewarded with a desk job, and narcotics cop Sal Procida (Ethan Hawke), an undeserving father who’s forever complaining that his house is too small for his family even as he loafs around in a huge basement entertainment room playing poker with his friends.

Those are your basics, all played as stereotypes you’ve seen in films back into time. Filling out personalities are interludes between Eddie and his hooker girlfriend (Shannon Kane). Tango’s inner conflicts over the prospect of betraying his best buddy, and the fact of Sal’s having five kids and a wife (Lili Taylor) who’s pregnant with twins, he being given to attending the confession booth.

They’re all headed for ugly stuff involving unmitigated police corruption and downbeat with inner and exterior conflicts for each bleakly scripted cop. Yet with all the film’s power, its center on raw violence has an even tone which does not work to its advantage. In irony, the violence actually becomes monotonous at times.

Steel yourself for this. Then come and see what you think.

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Marty Meltz, http://www.martymoviereviews.com, was the 30-year films critic for the Award-winning Maine Sunday Telegram until his column was budget-cut on Dec. 31, 2007.

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The instructions that come with your speakers will give you recommendation for where to place them within a room but below are a few things to consider as you begin setting up your new home theater speakers.

CENTER CHANNEL SPEAKER

This speaker’s main purpose is to anchor sounds on-screen, like dialogue.

Tips for placement of the center channel speaker:

1. Center it directly above or below your television.

2. If you place it above the television, the front edge of the speaker should line up precisely with the front edge of the television. This will cut down on any kind of sound “bouncing around” inside the television cabinet.

3. The tweeter of this particular speaker should be at the same height as the tweeters of the front speakers. If you can accomplish this to within 24 inches, that will allow for the best sound quality.

4. The front speakers and this particular speaker should be spaced the same distance away from your planned listening position.

FRONT SPEAKERS: BOTH LEFT AND RIGHT

These speakers have two distinct purposes. They reproduce stereo music sound while also handling a movie’s soundtrack.

Tips for placement of the front speakers:

1. Find your optimal listening position. Now space the two front speakers at points in the room that are equal is distance to that position, with one to the left and one to the right. The front right, front left and center channel speakers should all be approximately the same distance from where you are sitting, with the tweeters of each directed at your ears. Don’t just eyeball this and get an approximate distance, as even an inch variation in the distance of the speakers can make a noticeable difference in your home audio system’s sound quality.

2. These speakers’ tweeters should be even to your ear level when seated in the optimal listening position. Smaller home theater speakers can be mounted on the wall or placed on a speaker stand. Floor standing speakers normally have this covered in their design.

SURROUND SPEAKERS

The purpose of the surround speakers is to provide low and high level sound from other parts of the room, creating a movie theater feel in your home theater. The surround speaker placement will depend on the size of your home theater, the shape of the room, and the space needed for the actual speakers. Be creative and experiment with the placement of these particular speakers throughout the room.

Tips for placement of the surround speakers:

1. Place the primary pair to the right and to the left of your optimal listening position. This can be done in line with your position or just behind it. When placement to the side is impossible, or when you have a surround system with more than two surround speakers, you may wish to place the speakers behind the listening position, with the sound being directed toward the front of the room.

2. These speakers should be placed at approximately ear level when you are in a standing position.

3. Experiment with the aiming of these speakers when mounted on the walls. Sometimes good results can be achieved when you point them up at the ceiling or back at the rear corners of the room.

SUBWOOFER

A home theater subwoofer provides your home audio system with all the low bass frequencies needed for a movie theater, surround sound experience. However, it is one of the least difficult to position. In most cases, you can position your home theater subwoofer anywhere in your home theater and still get good results.

There is no one “perfect” placement for any given home theater speaker. No two rooms’ acoustics will be the same, all speakers will have various sonic characteristics, and no two ears will hear any given sound identically. This doesn’t mean you will never achieve the best sound quality from your home audio system. All it means is take the advice given and modify it when you actually install your home theater speakers to accommodate your specific needs.

~Ben Anton, 2007

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Ben Anton lives in Portland, OR.
Learn more about the benefits of in-wall home theater speaker placement at Ronny’s 5th St. Audio Vision, a Eugene-based home theater retailer and installer.

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MIA music video elicits strong online response

If singer/rapper MIA's purpose was to get people talking about her new single “Born Free,” she succeeded. Read the rest here: MIA music video elicits strong online response.

Portland Tweed Ride Video & Pictures « Portland Events: Music, Art …

2 Responses to “Portland Tweed Ride Video & Pictures”. A few events this weekend. « Bike Blog NYC Says: February 1, 2010 at 10:19 am. [...] from PDXpipeline.com and [...] Callie Says: February 1, 2010 at 6:20 pm …

YOUTUBE Loretta Lynn & Jack White “Portland, Oregon” | Music …

See Music Videos www.bvmtv.com that you CAN'T See on You Tube ! +Live Chat and Embed video codes! In 2004, Lynn made a comeback. … Loretta Lynn & Jack White “Portland, Oregon” …

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Beethoven Festival Weekend: Oregon Symphony | May 15-17 « Portland …

75+ Portland Events, Parties & Free Tickets | May 13-16 « Portland Events: Music, Art, Entertainment, Sustainability | PDXPIPELINE.com Says: May 13, 2010 at 1:09 pm. [...] Beethoven Festival Weekend: Oregon Symphony | May 15-17 [...] …

Above the Fold | Music, Video, MP3, Film, TV, Politics | Live: The …

Live: The Lonely Forest | Doug Fir | Portland, OR [03.03.10]. Photos by Justin Andert. Washington's The Lonely Forest came through Portland last night and played a vibrant set for a full crowd at Doug Fir. The band is touring with We …

MTV Lets Us Know Portland Has Bands, Basements, Rain, Trees …

I saw most of the video. everyone is white as a kite. is that how Portland is too? Williamsburg x 100, white hipster kids? no ethnic diversity or people from different social and economic strata? … Portland is a great city and I'm fortunate to be able to make a living playing music here. I can't speak for the bagels, but the vibe is pleasant and creative and I love the weather. …

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“Avatar”

(my 0-10 rating: 9)

Genre: Action-Adventure, Sci-Fi, Fantasy

Director: James Cameron

Screenplay: James Cameron

Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang

Time: 2 hrs., 40 min.

Rating: PG-13 (intense warfare, sensuality, vulgarity)

Take the most spectacular sci-fi special effects space epic you’ve seen so far since the first Star Wars — and “Avatar” transcends it, in visuals and concept, by light years. Five years in production and with a new concept in technology. So what’s that mean to you?

Well, ultimately bedazzling special effects, not surprisingly. But also, James Cameron’s grandly visionary super-spectacle wants you to be not merely hypnotized totally but deeply emotionally involved. That is, these are not the effects designed for adolescent boys at video games but for an adult audience trying to get some serious soul. The grand references to quantum theory of eternal energy, the Sacred Feminine in god worship and the spirituality of all animals and nature, have here raised the bar considerably in the sci-fi genre. And with sharp reference to the spiritual way of life of the Native American of old and to the essence of the Akashic Records of classic Buddhism, this is a good start in proposing high intelligence into the genre.

The grace and care with which Cameron portrays the love relationship, and its meaning within the grand view, is actually quite exquisite. The film, already destined for classical status, keeps a firm grip on hard pro-environment message, along with anti-mining and anti-corporate greed. Sarah Palin lovers need not attend. The planetscape settings created by computer, are extraordinary, and in fact singular, in their imagination and absolutely hypnotic and breathtaking textures and atmosphere. The film must be faulted from a perfect rating by the surprising failing in the credibility of its ending battle. More on that after the plot description.

It’s the year 2154. Jake Scully (Sam Worthington), a Marine hero confined to a wheelchair, is recruited by a multinational corporation, operating through the U.S. Air Force, Marines, and a brutish, almost caricatured Col. Miles Quaritch (Stephen Lang) in a matter of ultimate Earth-threatening urgency. Seems that total depletion of earth’s energy supply is imminent. This corporation along with a military component, 30 years ago, had established a mining operation on the planet Pandora, light years away. The goal has been to mine a rare mineral that can save Earth. Problem: the atmosphere of Pandora is toxic to earthlings.

Another: the natives, the Na’vi, a tribe of sensuous 12-foot tall and proud, fluidly moving blue-skinned forest dwellers, are hostile; not by nature but because the earth people there want the land on which they live. For the moment, the corporate people must live in military base oxygen cocoons. But for more sophisticated operations, the Avatar Program has been designed. An “avatar,” by definition is an embodiment of another being, in this case an actual transfer of consciousness into beings that travel in fortified armor and robotics.

Jake, re-born by this process into a handsome Na’vi avatar form with full intelligence and emotions, can now walk again. The form is under his mental control, like a puppet, from the ship. He has a long braided ponytail, a zebra-striped lean body and huge yellow eyes. He can run and leap like a gazelle. For Neytiri (Zoe Saldana), the tribal leader’s daughter who’s rescued him in the forest from a gigantic beast, he’s quite the attraction. She takes him in to learn the arts of the warrior and the rituals of her culture.

But he’s also to learn just who the enemy is, namely, the corporate assaulters upon the environment who brought him to Pandora, they who aim to demolish the land on which the Na’vi live. And, in the way of a cowboy taming a wild stallion, he’ll have to bring a mighty flying dragon-like creature to accept him as its rider. Also, back on board the ship and realizing who’s friend and foe here is top scientist, Dr. Grace Augustine (Sigourney Weaver). The finale will include a spectacle to make the word stupendous seem small, as mighty machine-gun decked military droids and vessels go into fierce action against Na’vi primitive tactics.

Now that ending: I felt irked by incredulity in that. We are to understand that by pure will, the Na’vis summoned all their 2000 or so people and attacked 22nd century gigantic machines of steel and technology with bows and arrows. Sometimes you’d see an arrow piercing the super windshields. Meantime, the Na’vi warriors, both male and female, are being mowed down by the guns — which, rather absurdly, are still of our 2009 variety. No more weapons evolution? And, of course, you know who wins. Always. I had a hard time sitting through that. Really. But your eyes and minds need a movie like this. It will leave you withered in gasping.

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Marty Meltz, http://www.martymoviereviews.com, was the 30-year films critic for the Award-winning Maine Sunday Telegram till it was terminated 12-31-07 for budget cuts. His total published experience numbered 36 years.

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There are a number of things that you should consider before purchasing home theater speakers. Depending upon the brand you purchase and the components that make up the rest of your system, you might find that you experience unwanted distortion or that the speakers you choose simply can’t handle the volumes at which you set your surround sound system. Take the time to talk to employees at the home theater equipment store and, if possible, listen to demo speakers that have been set up in-store so that you can get a feel for any distortion that might occur.

There are a lot of speaker systems out there, ranging from the PSB Image Series to the various Dali Ikon lines. To help you in making the right decision, make sure that you keep the following considerations in mind.

Distortion

One of the most common causes of audio distortion is having the volume set too high or having too much power coming through the speaker cables. Different speakers can have different amounts of distortion, so it’s important that you choose a brand that will have as little distortion as possible. This is definitely one situation in which you want to talk to a professional. Provide them with as much information about your home theater system as you can, including the type of receiver and amplifier that you’re using and how you plan to have the speakers mounted, so that they can better match you with something that will meet your needs.

Placement Requirements

Not all speakers are going to be mounted the same way, or even be the same size. You’re going to have to consider the space that’s available to you as well as the types that you want to include in your home theater system. You’ll need to choose from among tower speakers, in-wall speakers, wall-mounted speakers, and even in-cabinet speakers in order to decide how you want your speakers to appear. Tower speakers will require floor space or at least something to set them on, whereas wall-mounted speakers will need to have enough support within the walls to keep them from pulling out their mountings. In-wall speakers are unobtrusive, but require alterations to the walls that can be inconvenient if you decide to remove them later, while in-cabinet speakers are built in to you entertainment center or other audio cabinet but are limited on where they can be placed. Of course, a combination of different types can be used as well to help you get the most out of your speaker arrangement.

Volume Limitations

Just as some speakers will start generating distortions at higher volumes, others can also be seriously damaged if you try to turn the volume up to a higher level than they are designed to handle. Home theater speakers that can handle higher volumes may cost a bit more, but that cost is worth it if you plan on having music, movies, or other audio playing at higher levels. If you don’t want to have your audio system turned up very high, you might be better off with standard speakers.

Bass/Treble

It is important to remember that specialized speakers such as woofers and tweeters are also available and can be used to customize your audio experience to your preferences. Be sure to get assistance in designing your home theater system’s speaker arrangement so that you can bring out exactly the sounds that you most want. Many audio professionals can help you to find the perfect balance that will take your surround sound audio to the next level and make sure that you’re finished with the end result.

~Ben Anton, 2008

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Ben Anton lives in Portland, OR and writes for Ronny’s 5th St. Audio Vision.
We invite you view the latest in in-cabinet and in-wall home theater speakers from vendors like PSB and Dali at Ronny’s online home theater audio and video retail store.

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Interview with Adam Stennett for Disquieted – PORT – Portland art …

I will use computer programs that other people would scoff at to do video work and sound, I do music too. AS: Yeah. Give yourself a problem and find a way to solve it. That's the process. Use whatever you have at hand. …

Kush Chronicles: NBA Player Under Investigation For Being Involved …

Independent Music Promotion, Exclusive New Hip Hop and R&B Releases, Rare Remixes, Gospel Music, and New Music Videos. Home · About · Urban Music 2000.com · Forum · Buy Urban Music 2000 … Three years later, he was arrested on charges of underage drinking, and faced charges in Portland after police said they could smell marijuana coming from his car. Randolph's latest arrest was in 2009 on charges of drunken driving in Los Angeles. Come on, we have GOT to do better! …

Kele Okereke: "Tenderoni" (Live Video)

He played a show in Dublin over the weekend, and above is video of "Tenderoni," his lead single. Dude apparently needs two drummers to do his music now, and he really just wanted to dance awkwardly in a Portland Trail Blazers jersey, …

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