Nick R

The interesting snooker player?

Or they can stick a two star rating on the poster and use cunning compositional tricks to imply it's four. A bit like how SFX magazine's covers always look like they say SEX. https://www.independent.co.uk/arts-entertainment/films/news/tom-hardy-s-legend-film-snuck-a-2-star-review-onto-its-poster-made-it-look-like-5-10492505.html (The headline says five, but it was clearly meant to fit the pattern of four star ratings in that column.)

Did you win an award for that King Kong "Cinema: it's the experience that counts" video as well, @kerraig UK?

What Max Payne 3 had one too. What's the point in a nightclub level that doesn't begin with you smashing through a window in slow motion and headshotting several bad guys before landing? Also this:

@CrashedAlex I have a question about the Burnout games that I've been curious about for a while. The first time I ever heard about Burnout was in Edge's pre-release feature on the first game. One of the things mentioned in that interview that's always stuck in my memory as a great idea was the way that the traffic crossing your path at 90° crossroads was set up to be triggered based on your speed toward the junction, so that almost every time you crossed it, you'd have a spectacular near-miss. But those 90° junctions with traffic crossing your path seemed to get less and less prominent as the series went on. My questions are: what are your memories of developing that feature, and am I right that the de-emphasising of those right-angled crossroads in the sequels was an intentional change? My guess is that those crossroads were a horrendously difficult thing to balance: to make it seem like the player is surviving them fairly, instead of only making it through either thanks to pure random luck in the traffic pattern, or because the game is giving them a helping hand. (And a front-facing camera angle is not good for judging traffic coming at you from the side!) Was this why those junctions became less prominent in the sequels?

I wouldn't be surprised if it was the other way round: I think there was one of the interviews McQuarrie did for M:I (maybe somewhere in the seventeen hour, two-part Empire podcast?) where he says that Cruise really strongly dislikes the look of digital compared to celluloid. (Ironic considering he starred in Collateral, one of the first big movies where the advantages of digital photography were mentioned and praised in reviews.) Also it's funny that I ended up being the one who posted this, since I've never had a TV that has motion smoothing as a feature! I dislike the label "soap opera effect" because, as accurate a description as it may be, it represents a snobbish film vs TV mindset, that there's something special and superior about 24fps film as opposed to 50i video for TV broadcast. I don't have any particular affection for soaps, but I resent the way this attitude also dismisses things like sitcoms; I'd argue that most of my favourite sitcom episodes are a lot funnier than my favourite comedy films. People talk romantically about how the pioneers in the early days of cinema somehow alighted on this magical 24Hz projection frequency that strikes the perfect blend between reality and fantasy; convincing motion while disguising the artiface. And then on the other side you have people saying that 24fps only came about because of technical limitations, that people are only attached to it because it's what they were brought up with, and that filmmakers should be free to experiment with modern technology in situations where it might be advantageous (like shooting action). I lean toward the latter. I know that native high frame rate filming is very different from the automated interpolation used by TVs, but I have to mention The Hobbit. I only saw one of the three Hobbit movies in 48fps, and although it was sometimes distracting (especially in the more subdued talky scenes, where it made subtle arm and head movements seem twitchy and on fast-forward), I enjoyed the novelty of the sensation. I hope that the Avatar sequels do get released in 48fps/60fps/whateverfps formats because it's a sensation I'd like to have again.

Yeah but the motorbike scene was great. (Are you going to do your video on it that you mentioned in the film's thread?)

Cruise and McQuarrie doing their bit to raise awareness of a horrifying condition that YOU - yes YOU - can help solve:

Well that was much better than pretty much anything else this series. Frogs, triangles, and

The PS1 StarCraft clone KKND Krossfire had one that my friend always insisted on watching every time we started the game up...

Give The Spy Who Came in from the Cold a try. Like you I struggled to get into Tinker Tailor... In my case it was because I struggled to remember so many names of men in subtly different positions within Circus bureaucracy! I should probably give the book another try, now I've seen both the TV series and the movie and can put faces to some of the characters. The Spy Who Came in From the Cold, on the other hand, is a lot more focused on a small set of characters.

I think the rumour came about because the 29th November is a year to the day since the Infinity War trailer.