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5635
|
dbpedia
|
3
| 8
|
https://www.deepfocusreview.com/reviews/oceans/
|
en
|
Oceans
|
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[] |
[] |
[
"Documentary"
] | null |
[
"Brian Eggert"
] |
2010-04-22T00:00:56+00:00
|
Read an in-depth review and critical analysis of Oceans by film critic Brian Eggert on Deep Focus Review.
|
en
|
Deep Focus Review
|
https://www.deepfocusreview.com/reviews/oceans/
|
The greatest achievement of Oceans, the sea-themed documentary, which debuted in theaters on Earth Day 2010, is that filmmakers Jacques Cluzaud and Jacques Perrin expose the viewer to sights in nature that we’ve never seen, some familiar and some new. The film demonstrates the incredible size of the sea, forcing us to regard the oceans as a world separate from our own. But it also emphasizes how our worlds, the human and the aquatic, remain severely linked. The marine creatures on display here defy imagination; they’re so odd that even the most inventive science-fiction writers haven’t conceived anything like them. And yet, the film makes more common underwater life, such as humpback whales and great white sharks, seem strange and new.
The documentary was distributed by The House of Mouse’s environmentalist appendage Disneynature, which last year, also on Earth Day, released Earth theatrically as a re-edit of the televised BBC/Discovery Channel miniseries Planet Earth. Their first film felt like a Disney safari for children, complete with three family oriented stories to keep young viewers involved. The presentation of Oceans is not so much an ongoing chronicle of a particular animal group. Nor does it shy away from the brutal reality of oceanic life, as Earth did. Rather it examines with awe the world-within-a-world that exists under the sea. Indeed, afterward, you may feel like there’s another planet below the water’s surface, the population of which feels alien to us surface-dwellers. Still, the filmmakers take great care to make sure viewers understand how the life above and below the surface of the oceans are invariably connected.
Cluzaud and Perrin charmed the entire world in 2001 with Winged Migration, which exhibited an expansive scale and beauty, in turn making us feel pretty small in the grand scheme of the planet. But that film’s scope pales in comparison to the vastness of the waterworld explored by the documentarians. Inspired no doubt by the great accounts of underwater explorer Jacques Cousteau (whose poetic ruminations about ocean wildlife built upon the foundational influence of Jean Painlevé), the filmmakers consider the oceans another universe. Such is the overall theme of the film—astonishment over the blue cosmos that humans so disregard and exploit.
The film begins with children playing on a beach. One of them gazes out at the open waves, looking in equal parts awe and curiosity at the impressive seascape. And as viewers, we too feel like children gaping into the fantastical environment put on view. Shot in more than fifty locations around the globe over a period of four years, the expensive production feels massive. Narrator Pierce Brosnan conducts us through the lovely spectacles, from colorful reef life to the tragic ritual of newborn sea turtles being preyed upon by frigate birds. There’s a fascinating kung-fu battle between a mantis shrimp and a crab, an impressive cuttlefish light show, and some jaw-dropping footage of majestic blue whales. Though there’s a conspicuous lack of deep-sea bioluminescent creatures, it’s an immense ocean, so maybe in the sequel. For now, consider that the film covers only a small selection of marine life, and suddenly the oceans seem as extensive as stars in the night sky.
Throughout we’re reminded, but not beaten over the head of the results of human influence on the oceans, the damage we’ve caused, and the important role we play in their preservation. From a satellite view, we see startling images of freshwater rivers black with pollution draining out into the blue oceans. These scenes never feel preachy and the film never stands up on a soapbox, but Cluzaud and Perrin do remind the viewer that “human indifference is surely the ocean’s greatest threat.” It’s impossible to regard Nature anymore without reflecting on the troubling damage the human race has caused the environment. This documentary doesn’t take an overtly political stand, but it does force the viewer to question what role the human race plays in the global ecosystem; that of a participant, or an apathetic parasite?
Oceans places a valid argument underneath the stirring natural drama at the forefront, but it’s the splendor of the film that will stay with audiences. The filmmakers, who include backers from Participant Media (the production company behind socially conscious films like Food, Inc. and The Informant!), care about the film’s subject, as evident in every gorgeous frame. This is especially true given the promotional expense Disneynature has invested into this documentary, by donating portions of the film’s opening weekend proceeds to save our coral reefs.
As a feature documentary, Oceans is a simple and captivating treat to behold, particularly on a large screen (Disneynature’s new annual tradition of a nature documentary on Earth Day is a welcome one, especially with African Cats coming this time next year). Audiences will be immersed for nearly two hours of underwater exploration, enough to wish this was only the first entry in an ongoing miniseries about ocean life. Despite leaving the audience craving more, it’s also a sign of a successful documentary if you find yourself looking for more on the subject at hand afterward. If you find yourself in this position, consider adding some Cousteau and Painlevé to your rental queue.
|
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5635
|
dbpedia
|
1
| 64
|
https://www.usmagazine.com/entertainment/pictures/oceans-movies-stars-whove-been-in-the-franchise/
|
en
|
'Ocean's' Movies: Stars Who've Been in the Franchise
|
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[] |
[] |
[
""
] | null |
[
"Meredith Nardino"
] |
2022-12-08T01:30:23+00:00
|
George Clooney, Brad Pitt and Julia Roberts are just a few of the A-listers who've graced the 'Ocean's' franchise — read more
|
en
|
/wp-content/uploads/2020/05/cropped-us-logo.png?w=32&quality=86&strip=all
|
Us Weekly
|
https://www.usmagazine.com/entertainment/pictures/oceans-movies-stars-whove-been-in-the-franchise/
|
Roll out the red carpet! Since the first installment of the Ocean’s series, A-list actors have crowded the big screen to pull off the ultimate cons.
Based on the classic 1960 film of the same name, 2001’s Ocean’s Eleven assembled a team of some of the biggest names in Hollywood at the time, including George Clooney, Brad Pitt, Matt Damon, Julia Roberts and more. The commercial success of the modern heist movie spurred two sequels, Ocean’s Twelve (2004) and Ocean’s Thirteen (2007). The trilogy raked in $1.17 billion worldwide.
Across each of the three films, most of the iconic supporting ensemble returned to reprise their roles. When Bernie Mac died in August 2008, director Steven Soderbergh was hesitant to promise fans a fourth movie without one of the series’ integral stars.
“I don’t think any of us would want to return to that,” the filmmaker told MTV four months after the actor’s passing. “It’s sad because that was a fun group of people to hang out with.”
Though Danny Ocean’s story may have come to an end with the central trilogy, writer and director Gary Ross had other ideas. In October 2015, it was confirmed that an all-female spinoff was in the works. By the next year, filming had begun with Sandra Bullock, Cate Blanchett, Sarah Paulson, Anne Hathaway and more rounding out the all-star cast. Ocean’s 8 hit theaters in June 2018, exactly 11 years after Ocean’s Thirteen was released.
While some viewers were skeptical that the stars of the spinoff could echo the same charm as the original cast, the actresses knew they were setting an important precedent.
“I do honestly feel like it’s Groundhog Day. This film is a wonderful, fun romp and piece of entertainment,” Blanchett told USA Today of the experience in June 2018. “If this is being forced by the media to stand for all female-centric films, it’s an enormous pressure — it’s unsustainable. And [whether it succeeds or fails], it makes it difficult for other films with women at the center to sink or swim on their own merit.”
Scroll down to see more of the major Hollywood stars who’ve graced the Ocean’s franchise.
|
||||
5635
|
dbpedia
|
0
| 28
|
https://intloceanfilmfest.org/
|
en
|
INTERNATIONAL OCEAN FILM FOUNDATION
|
http://static1.squarespace.com/static/561471cbe4b085f35a2cb156/t/64dd1712d0119d6f2b81aadb/1692210962696/Untitled+design+%283%29.jpg?format=1500w
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|
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[] |
[] |
[
""
] | null |
[] | null |
Every year, IOFF produces an acclaimed festival of ocean-themed films from all over the world that are largely unavailable to the general public. Themes range from marine science and industry to sports and adventure. We look for films that entertain, educate, and encourage active participation in oc
|
en
|
https://images.squarespace-cdn.com/content/v1/561471cbe4b085f35a2cb156/1590347129342-0LLX8CNGSVUCVEKA8R9I/favicon.ico
|
International Ocean Film Foundation
|
https://intloceanfilmfest.org
|
Screening is followed by a Q&A with Director David Schurmann.
A sweeping family adventure, My Penguin Friend is a triumphant tale of friendship between a lonely father and a little lost penguin who recharges his spirit and heals his family with an unshakable, ocean-crossing loyalty. Humble fisherman João (Jean Reno) has turned away from the world in the wake of tragedy. Based on an emotional true story that riveted the world and filmed on the spectacular coasts of Brazil and Argentina, My Penguin Friend is a tale that traverses the magic of the ocean, the beauty of nature, and the transformative power of love.
Register HERE.
|
||
5635
|
dbpedia
|
2
| 27
|
https://www.npr.org/2024/08/08/nx-s1-5061698/this-week-in-science-the-moons-atmosphere-sea-lion-cartographers-and-the-perseids
|
en
|
This week in science: the moon's atmosphere, sea lion cartographers and the Perseids
|
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[] |
[] |
[
""
] | null |
[
"Regina Barber",
"Berly McCoy"
] |
2024-08-08T00:00:00
|
NPR's Ailsa Chang talks with Regina Barber and Berly McCoy of Short Wave about the formation of the moon's wispy atmosphere, sea lion cameras and the Perseid meteor shower.
|
en
|
NPR
|
https://www.npr.org/2024/08/08/nx-s1-5061698/this-week-in-science-the-moons-atmosphere-sea-lion-cartographers-and-the-perseids
|
AILSA CHANG, HOST:
It's time now for our regular science news roundup with our friends at NPR's Short Wave podcast, Regina Barber and Berly McCoy. Hey to both of you.
BERLY MCCOY, BYLINE: Hey.
REGINA BARBER, BYLINE: Hey, Ailsa.
CHANG: So you guys have brought us three science stories that caught your attention this week. Let's hear it. What are they?
BARBER: How sea lions are helping scientists map the ocean.
MCCOY: What you need to know about the Perseid meteor shower this weekend.
CHANG: OK.
BARBER: And where the moon's barely there atmosphere comes from.
CHANG: All right. Well, I want to start with the sea lion cartographers.
MCCOY: Yes. So researchers glued underwater cameras onto Australian sea lions, and then they used that footage to look at where they spent their time.
CHANG: Wait. They glued the cameras onto the sea lions?
MCCOY: Yes.
CHANG: Was that totally uncomfortable?
MCCOY: So these cameras are super lightweight, and the researchers are very gentle with the animals, and they get them back in the water as soon as possible.
CHANG: Well, what do we want to know about where sea lions are hanging out all the time?
BARBER: Well, the Australian seaons are an endangered species, and their population has declined by more than 60% in the last 40 years. And even though researchers have a broad sense of, like, where these sea lions spend their time hunting, there's a lot of specifics researchers don't know.
CHANG: OK. Well, how common is it for scientists to attach cameras to animals? Like, I see people do this with their dogs all the time, not me because Mickey (ph) is really sedentary, but, like, how common is this?
MCCOY: Yes. I would actually like to see Mickey's footage. But for marine animals, it's actually not that uncommon.
CHANG: Oh, really?
BARBER: Well, researchers had attached suction cameras to whales to do things like understand their behavior and acoustics, but it's rare to map the animals', like, habitat using these cameras. And they also use the footage to explore unmapped areas of the ocean.
CHANG: So neat. So, like, they can script these sea lions into becoming soldiers for science?
MCCOY: Kind of, yeah. But for the area that they mapped, it's a cheaper and less time-intensive way than sending divers down or remotely operated vehicles.
CHANG: That totally makes sense. All right. So how did they get these cameras back from the sea lines after gluing them on?
MCCOY: Well, because the researchers also attach trackers to the sea lions, they could monitor their location, wait until they came back to land and then gently remove the cameras.
BARBER: And once they get that video footage back, they identified six different habitats on the sea floor. And the scientists use this habitat data to build a computer model that can predict sea lion habitats in other areas. And this work was published this week in the journal Frontiers In Marine Science.
MCCOY: And, Ailsa, this is potentially a new way for other scientists to study the ocean. I talked with a whale researcher who was not involved in this work, whose name, out of respect, I will let him say...
MAEVE HACINBAJANAGH: My name is Maeve Hacinbajanagh (ph).
MCCOY: So Maeve said it inspired him to go back through the video footage that he's collected from humpback whales to see what else he could learn about their environment.
HACINBAJANAGH: And I think it would complete a lot of missing information on the underwater environment in general.
MCCOY: And he thinks it could encourage other researchers to do the same. But for me, the videos are just really fun to watch.
CHANG: All right. I'm going to switch gears a little bit right now and talk about the Perseid meteor shower. Should I be out in my backyard star gazing pretty soon?
MCCOY: Well, I don't know about your back yard because, like, light pollution, but it might be worth venturing outside of LA for. So this weekend is the peak of the Perseids, which NASA calls the best meteor shower of the year. Because sometimes people have reported seeing 90 or more every hour.
CHANG: Wow.
BARBER: Yeah. The Perseids are known for leaving these, like, long trains, kind of like the wake of a motor boat but in the sky.
CHANG: That's so cool.
BARBER: And these are ionized molecules left behind in the Earth's atmosphere as the meteor heats up the air in its path.
CHANG: Whoa. Well, can you remind us, like, what are the Perseid meteor showers caused by?
MCCOY: Yeah, so the Earth orbits around the sun every year, right? So that means every year around July or August, we pass through these clouds of ice and dust left over from the comet Swift-Tuttle or 109P. And when that debris hits our Earth's atmosphere, it usually burns up, which creates these bright shooting stars that we see in the sky, like the Perseids.
CHANG: Pretty. OK. I'm convinced. I'm totally going to check this out. What is the best time for me to watch?
BARBER: Your best time to spot a shooting star is going to be this Sunday night, like, after the moon sets around midnight and the sky is really dark. But even then, even if it's dark, you still need to have, like, 30 minutes to let your eyes adjust to that darkness. And be patient. Like, at best, you'll see like two a minute.
CHANG: Oh, my God. So slow. But I'll try.
BARBER: Yeah, exactly. Yeah. People expect there to be, like, showers, and it's not quite that.
CHANG: I think my eyes are going to dry out from staring so continuously. But OK. Let's stay in space and talk about this barely-there atmosphere of the moon. Like, what does that even mean for an atmosphere to be barely there?
BARBER: Yeah. It means the moon has, like, a very thin atmosphere, and it's composed of atoms that are, like, so spread out, they barely interact. It's like the tiniest wisp of an atmosphere. Because unlike Earth, which has active volcanoes that spew out gas, and Earth has enough gravity to, like, hold on to all that gas and make an atmosphere, the moon has no active volcanoes and, like, very little gravity.
MCCOY: But a new paper out this week helps to explain some of the mystery of how that tiny atmosphere got there.
CHANG: Oh, I love mysteries. So how did the moon's atmosphere get there?
MCCOY: OK. Well, I should first give you a little bit of a back story. So scientists have been debating this for decades. They even sent a lunar orbiter called LADEE up 11 years ago to investigate this, and it couldn't come up with a definitive answer. But there are two working ideas for how this atmosphere formed. So, OK, the first one is meteorite impacts. So when meteorites, even tiny ones, hit the moon surface, the energy from that impact vaporizes the soil, and the atoms from that collision go up into the air and create this thin atmosphere.
BARBER: Yeah. The other process involves solar winds, so that's the other part of the debate. Solar winds are just high-energy particles, like, flowing from the sun. And these particles are going so fast that they hit the lunar soil and that knocks particles out, and those particles go up and create an atmosphere.
CHANG: Dang. OK, solar winds or meteorites crashing into the moon.
BARBER: Yeah.
CHANG: I mean, that's wild. Which one ended up being right?
MCCOY: Well, that's where this new paper comes in. Scientists looked at actual lunar soil and rocks brought back by the Apollo astronauts for answers.
BARBER: Yeah, and these samples are very precious. Humans have only gone to the moon a handful of times. The lead author of this paper, Nicole Nie, told me that she was pretty nervous.
NICOLE NIE: Before I started to work on lunar samples, I spent three years to develop the chemical method to make sure that I can do it right.
MCCOY: She and her colleagues published the results of these chemical analyses in the journal Science Advances, and they determined that the majority of the moon's atmosphere, about 70%, was because of meteorite impacts.
CHANG: OK. So the moon's unsolved mystery is solved.
BARBER: Right. So the big deal is that this might actually tell something about other planetary bodies, like things beyond the moon, maybe the atmosphere around Mercury or even planets outside of our solar system.
CHANG: That is very, very cool. And that is Regina Barber and Berly McCoy from NPR's science podcast, Short Wave. If you liked the stories they brought us today, then every Tuesday this summer, you can hear their Space Camp series. It's awesome. It looks at all the things in outer space, all the things. Thank you to both of you.
MCCOY: All the things.
BARBER: Thank you so much.
MCCOY: Thanks, Ailsa.
CHANG: And special thanks to the U.S. Space and Rocket Center, home of Space Camp.
Copyright © 2024 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.
NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.
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https://www.filmtracks.com/titles/oceans.html
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Filmtracks: Oceans (Bruno Coulais)
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Includes reviews, audio clips, track listings, pictures, and other notes about the soundtrack for Oceans by Bruno Coulais
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https://www.filmtracks.com/titles/oceans.html
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PRINTER FRIENDLY VIEW
(inverts site colors)
Buy it... if you seek a competent, occasionally impressive compliment to George Fenton's popular music of similar expansive scope for nature documentaries of the last ten years.
Avoid it... if you expect to hear either the exotic instrumental creativity of Bruno Coulais' Winged Migration or a distinct thematic flow through a score that is instead carried by three or four immensely superior cues of individual character.
EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #1,628 WRITTEN 7/2/10
Coulais
Oceans: (Bruno Coulais) More than a decade after the British reinvigorated the genre of nature documentary, films and series with spectacular photography and a pro-environment message continue to illuminate the majesty of the planet and generate decent profits. Disney created a subsidiary called Disneynature to distribute the best of European nature documentaries in America, the first being the BBC production of Earth in 2008 and following with the slightly less fiscally successful but still impressive French film Oceans for Earth Day in 2010. The latter was directed and produced by Oscar-winner Jacques Perrin, who used $66 million dollars to coordinate four years of filming in over 50 different locales around the Earth to capture wildlife in the oceans and the detrimental affects of human filth on their existence. The American version distributed by Disney was sanitized for young audiences, removing 20 minutes of material and utilizing the services of Pierce Brosnan as narrator. Always a highlight of these documentaries has been their musical scores, an element of the productions that often became, like the narrator, an overarching central character of consistency. With George Fenton in the lead, these projects throughout the 2000's have also allowed, like their strictly IMAX predecessors, for grandiose symphonic scores of immense scope and instrumental diversity. After all, such incredible visuals deserve the richest of music, and fortunately, the long, flowing format of most of these films' scenes also yields lengthy, concert-like development of interesting motifs. It was no surprise that Perrin sought the services of composer Bruno Coulais for Oceans; their collaboration over the past ten years includes the bird documentary Winged Migration and the Academy Award nominated music for The Chorus in 2004. Coulais' career has been slowing gaining international recognition since, especially with his work for the cult favorite Coraline. In all of these assignments, Coulais has demonstrated senses for both lyrical beauty and instrumental creativity, the latter often extending to devious levels. No better a canvas for this merging of melody and diversity exists than these grand environmental documentaries, and the composer does not disappoint. It's not likely that his music for Oceans will supplant Fenton's at the forefront of awareness for soundtrack collectors, but it's a strong entry with a few stunning, standout cues that make its album a more enjoyable listening experience than the less accessible, sound effects-riddled Winged Migration.
One of the inevitable aspects of these documentary scores is a slightly schizophrenic character when appreciated outside of context, for different locations and species require starkly disparate tones in their music. This is once again the case with Oceans, though not to the obvious, genre-hopping extent that Fenton's scores sometimes exhibit. The instrumentation for Coulais is largely consistent, employing a dynamic orchestra and accenting it with eerie synthetic tones for moments of mystery and a touch of vocals for three distinctive cues. The latter varies from straight choral accompaniment of the ensemble ("Les Massacres") to Coraline-like distorted children's solo ("Etranges Creatures"), old-fashioned lyrical singing in English ("Ocean Will"), and a creepy, hidden children's vocal at the very end of the album. Glassy synthetic effects define "Le Recif de Jour" while awkward dissonant bass distortion a la Brad Fiedel produces discomfort in "L'Arrivee des Araignees." Harp dominates the minimalistic atmosphere of "Le Festin de l'Ocean." Violin rhythms similar to James Newton Howard's The Village grace "Le Temps des Decouvertes" and "A l'Aventure." Massive brass in "La Cavalerie des Dauphins" over frantic string ostinatos is a highlight. Thematically, Coulais fails to really define the score with a single primary identity, through there are three themes that are all effectively developed on their own in multiple cues. The opening "La Fusee" introduces two of them, concluding with a swelling string and harp idea that elegantly switches between minor and major modes; this theme bookends the score by closing out "Aquarium" in similar fashion. Before that theme in "La Fusee" is a brief reference on xylophone to a theme that carries the entirety of "Danses" and is reprised in an echo in "Disparus." The "Danses" cue is one of the score's most memorable, its waltz dancing with a clever, twisted allure that sounds like a cross between the famous The Addams Family theme and the Hedwig theme from John Williams' original Harry Potter score. The final theme in Oceans is its dramatic powerhouse, combining harp with haunting mixed chorus and full orchestra in a distinctly sea-faring tribute to the ominous aspect of the ocean's power in "Les Massacres." This theme becomes the song "Ocean Will" at the end of the soundtrack, and Coulais' application of varied vocal tones in these two pieces is masterful. Together, these cues of thematic development are fantastic highlights worth the attention of any film score collector, but Oceans is still, on the whole, a bit nebulous in its narrative. Those memorable cues make the hour long album (sans the American version's Demi Lovato/Joe Jonas song duet) a solid recommendation, though due to the product's origins in France, expect to pay import prices elsewhere. **** @Amazon.com: CD or Download
VIEWER RATINGS
276 TOTAL VOTES
Average: 3.52 Stars ***** 94 **** 61 *** 52 ** 33 * 36 (View results for all titles)
COMMENTS
1 TOTAL COMMENTS
Bruno Coulais is the S**T
Attack of the Drones - July 10, 2010, at 1:22 p.m. 1 comment (1614 views)
TRACK LISTINGS AND AUDIO
Total Time: 61:12
1. La Fusee (3:04)
2. La Cavalerie des Dauphins (2:27)
3. Le Festin de l'Ocean (0:44)
4. Le Temps des Decouvertes (2:31)
5. La Danse des Dauphins (1:19)
6. L'Eveil (3:03)
7. Les Otaries (2:14)
8. Le Nouveau Monde (1:37)
9. Le Recif de Nuit (3:58)
10. Danses (4:00)
11. Le Recif de Jour (1:57)
12. L'Arrivee des Araignees (2:05)
13. A l'Aventure (3:38)
14. Cavalerie Sous la Mer (3:01)
15. Le Nouvel Ocean (4:24)
16. Jusqu'a la Source (1:41)
17. Les Massacres (5:18)
18. Disparus (3:44)
19. Etranges Creatures (1:54)
20. Aquarium (2:43)
21. Ocean Will (6:04)
NOTES AND QUOTES
The insert includes no extra information about the score or film. Its credits are in French.
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https://ufprism.com/2023/03/07/that-thing-with-the-guy-in-the-place-a-love-letter-to-oceans-eleven-on-its-twenty-first-anniversary/
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“That Thing with the Guy in the Place”: A Love Letter to “Ocean’s Eleven” on its Twenty-First Anniversary
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Photo Credit: IMDB By: Andrea Bravo Steven Soderbergh’s 2001 film “Ocean’s Eleven” turns twenty-one years old on Dec. 7 — in other words, it’s the perfect time to revisit a classic heist film and its underappreciated sequel, “Ocean’s Twelve.” The cinematography of the first film is as smooth and effortlessly stylish as its protagonists, con-men…
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UF PRISM
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https://ufprism.com/2023/03/07/that-thing-with-the-guy-in-the-place-a-love-letter-to-oceans-eleven-on-its-twenty-first-anniversary/
|
Photo Credit: IMDB
By: Andrea Bravo
Steven Soderbergh’s 2001 film “Ocean’s Eleven” turns twenty-one years old on Dec. 7 — in other words, it’s the perfect time to revisit a classic heist film and its underappreciated sequel, “Ocean’s Twelve.”
The cinematography of the first film is as smooth and effortlessly stylish as its protagonists, con-men Danny Ocean (George Clooney), his partner-in-crime Rusty Ryan (Brad Pitt), and their associates (a star-studded cast that includes Don Cheadle, Carl Reiner, Elliott Gould, and Matt Damon). There’s one particularly good shot in which a crowd of people all turn as one to watch the demolition of a casino behind them — all, that is, except for Danny, an island in a sea of people, his gaze fixed on his ex-wife, Tess (played by Julia Roberts); and Linus, a rookie thief, who is in turn watching Danny. It’s a subtle hint at Danny’s priorities — rather than turning to look at the three casinos he’s about to rob, he watches Tess, which foreshadows what his goal is all along; the heist and the $160 million he’s about to steal are a ridiculously, entertainingly convoluted way to win her back.
The heist in question, as well as the planning and preparation it takes to accomplish, make up a large part of the film, and the snappy editing ensures the plot never drags its feet. It’s a tightly made film, where all the dialogue and little scenes pay off in the end. Sonderbergh, who also worked as the director of photography for “Eleven,” employs clever transition shots, like a zoom into cotton-candy colored balloons in a car, and then a zoom out of the same balloons, now being carried across the floor of the casino; the titular eleven thieves move like chess players on a board, and we switch from one character to another with comic book panel-esque transitions across the casino floor, or from one scene to another, with elevator doors closing to reveal Reuben’s (Elliott Gould, playing a wealthy casino owner and the heist’s bankroll) over-the-top Las Vegas pool. The film’s lighting revels in artificial colors — Danny, Rusty and the crew are frequently cast in the deep cobalt blues and bright reds of circus tents and Hollywood nightclubs; and the yellow-gold gilded insides of Vegas casinos.
The dialogue and shot compositions are a master class in showing and not telling — Danny’s first meeting with Tess after spending four years in prison has the camera fixed tightly on their faces, and as the tension in their words increases — “I only lied about being a thief, I don’t do that anymore.” “Steal?” “Lie.” — the closeness starts to feel suffocating.
They talk around whatever it was that happened four years ago, like they want to avoid pressing at a bruise, and just as the heavy, unspoken history between the two becomes almost too much to bear, they’re interrupted, the film cuts to a wider shot of the restaurant, and the audience lets out a breath they didn’t realize they were holding.
The framing, too, is telling: the estranged Danny and Tess are subtly but firmly divided by the mullions between the window panes of the restaurant. Danny and Rusty, on the other hand, are continually placed together, either shoulder-to-shoulder or on either side of the frame, bookending another character between them. They are visually presented as a team, one so familiar and instinctive that they anticipate each other’s sentences before they’re even spoken.
Julia Roberts isn’t given much to do as Tess in “Ocean’s Eleven,” and despite her easy chemistry with Clooney, is only opposite him in a handful of scenes, so much of the charm of the movie comes instead from the rapport between Danny and Rusty, who have some of the most amusing exchanges of dialogue in the whole film. Take, for example, the speech Danny gives to Rusty when he’s trying to rope him into the heist of the three casinos:
“Why not do it [the heist]? …Because the house always wins. Play long enough, you never change the stakes, the house takes you — unless, when that perfect hand comes along, you bet big, and then you take the house.”
This is an impossibly cool speech, smoothly delivered, but the real clincher is the little exchange between Rusty and Danny right after it:
“Been practicing that speech, haven’t you?”
“Little bit…Did I rush? It felt like I rushed.”
“No, it was good, I liked it.”
It’s a harmless push at Danny’s vulnerability, reminding him how well Rusty can read him, and an admittance of where Rusty’s loyalties lie; he didn’t really need the speech, didn’t need to be talked into the heist, because where Danny goes, he’ll follow, and the other characters know it too.
One of the strongest points of “Ocean’s Eleven” is how the history between the two, and between the film’s other characters, is alluded to and hinted at, but never directly addressed. Danny and Rusty’s reputation as a team precedes them; when they’re apart, you know the other isn’t far behind — Basher (Don Cheadle) and Tess both ask after Danny when they run into Rusty, and when Danny goes to Frank Catton (Bernie Mac) immediately after getting out of prison, it’s to find Rusty. Take the parenthetical attached to Danny’s conversation with Frank: “(directly, this is why he’s here) You seen him [Rusty]?”
The script cleverly alludes to the history between other characters in the same way; Reuben offhandedly thanks Danny and Rusty for their help with “that thing with the guy in the place,” and we never find out, what, exactly, the thing was, but we know they won his loyalty for it. These are little asides that don’t add much to the overarching plot, but flesh out these characters’ world in a way that makes their relationships seem warmer and more meaningful than a heist movie has any right to be. Danny and Rusty, in their tag-team way of speaking, say to Reuben: “It was our pleasure.” and “I’d never been to Belize.” The heart of the film lies in these moments of purely human silliness, in the inherent vulnerability of having so many years of history with one person.
It’s also the strongest point of the film’s oft-maligned sequel, “Ocean’s Twelve,” in which both Soderbergh and the Ocean crew are faced with the question — what do you do after pulling off the heist of the century? Soderbergh’s answer is, of course, to have our previously unflappable protagonists fail, flop and otherwise fumble not one, but three smaller heists. Whereas in “Eleven,” we see the thieves at their most smooth, in “Twelve,” they’re left scrambling after Andy Garcia’s Terry Benedict, the owner of the three casinos they stole from, tracks them down and demands the money back — with interest. This kicks off a terrifically fun montage (similar to one in “Eleven” which introduces the crew) of Benedict threatening each character in turn, as we get to see what the characters have done after pulling off the multi-million dollar heist.
Like in “Eleven,” Danny and Rusty begin the film separately, with Danny doing his best at domesticity and retirement with Tess in Connecticut; and Rusty running a hotel — badly, and again as a sort of lonely attempt at domesticity. Once they and the rest of the crew reunite, though, the dynamics established in the previous film give us some of the best exchanges of dialogue across all three “Ocean’s” films. Our heroes are on their back foot, and we get to see a new side of them as they try and fail to come up with nearly $200 million in two weeks.
One scene in the first act of the film, where all eleven discuss a plan to steal a valuable document from an agoraphobic collector, is surprisingly funny for a conversation that is juggling eleven different characters at once, and is filmed from angles and perspectives that makes the audience feel almost like they’re part of the conversation. That’s the trick to a good heist film — to make the audience feel like they’re in on the joke — even though, of course, we’re not — the film pulls the rug out from under the audience’s feet in the third act of “Eleven,” and too many times to count in “Twelve.”
“Ocean’s Twelve” also introduces the delightful Catherine Zeta-Jones as Isabel, Rusty’s detective ex-girlfriend, and Vincent Cassel as the delightfully insufferable Francois Toulour, a rival thief. The plot is undeniably thin, and the feasibility (or lack thereof) of the heists they pull is made up for by pure shenanigans — how do you get past a moving laser field? With a capoeira dance routine, apparently.
There’s a lightness to the tone that is almost incongruous with the premise — if the thieves don’t come up with the money in two weeks, Benedict has promised to kill them. The nonchalance exuded by Rusty alone is enough to defuse the tension of both films, as even the threat of imminent death or arrest doesn’t stop him from snacking on something in almost every scene he’s in (including, but not limited to: a fruit cup, a lollipop, ice cream, nachos and a shrimp cocktail).
The film is also experimental in a technical sense, making use of wordless sequences (which wouldn’t work nearly as well without David Holmes’ suave, jazzy soundtrack), one in black-and-white, another sped-up and one scene, in which Danny and the crew are carted off to prison, is made up entirely of crash zooms into each character and set to a dreary violin instrumental. The transition shots in “Twelve” are characterized by an eclectic assortment of fonts, freeze frames of our heroes pulling funny faces, and funky trumpet instrumentals, campy in every sense of the word. That sentiment could be applied to the film as a whole: it’s silly, but somehow it works.
The “Ocean’s” films are the Mamma Mia films of the heist genre — pure shenanigans with a great soundtrack, funky visuals, and actors that are clearly having a blast, all of which makes “Ocean’s Eleven” and “Twelve” contagiously fun and rewatchable. Perhaps the spirit of the “Ocean’s” movies is best summed up by Terry and Reuben’s discussion at the end of “Twelve” regarding what kind of thief Danny is: “Actually, Danny doesn’t feel like he lost in all this. Hard to believe, but that’s how he feels.”
Maybe that’s how we should approach the films — maybe the money doesn’t matter so much as whether or not we had fun.
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https://rogersmovienation.com/2023/02/01/movie-review-ocean-boy-comes-of-age-amid-big-waves-and-family-dysfunction/
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en
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Movie Review: “Ocean Boy” (“Bosch & Rockit”) comes of age amid Big Waves and family dysfunction
|
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[
"Roger Moore →"
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2023-02-01T00:00:00
|
A kid who longs to grow up to be a pro surfer rides waves and surfs through the shoals of a seriously dysfunctional home life in "Ocean Boy," which was titled "Bosch & Rockit" in Australia, where this "true story" really happened. Tyler Atkins is a model and reality TV star who won Australia's version…
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en
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Movie Nation
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https://rogersmovienation.com/2023/02/01/movie-review-ocean-boy-comes-of-age-amid-big-waves-and-family-dysfunction/
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A kid who longs to grow up to be a pro surfer rides waves and surfs through the shoals of a seriously dysfunctional home life in “Ocean Boy,” which was titled “Bosch & Rockit” in Australia, where this “true story” really happened.
Tyler Atkins is a model and reality TV star who won Australia’s version of “Amazing Race” and banked that notoriety to make a fictionalized account of growing up inthee water and even on the lam when he was supposed to be in school, thanks to his irresponsible parents.
It’s sentimental, a kind of corny, cliched coming-of-age picture with just enough “ocean” to it to feel exotic, with pretty settings and prettier actors dressing-up an idealized take on a childhood that couldn’t have been any picnic, no matter how much dramatic license he takes with it.
But Luke Hemsworth of “West World” and the down-and-dirty drugs-and-dropouts settings make it worth a look, if not a film to really sink your teeth into.
“Bosch” is a farm lad gone to seed, a single dad with a pot-growing-and-distributing business that pays the bills and keeps the kid in surfboards.
Rockit, played by Rasmus King, is a blond Adonis in his early teens, but a product of such tuned-out parenting that the kids in school bully the pretty boy they call “Dum Dum.”
Mum’s not in the picture, and from Dad’s illegal business, free-spending (vintage Mach I Mustang) and womanizing ways, we can think of a few reasons that’s the case.
The kid’s just looking for any excuse to surf at dawn and cut school.
It all goes sideways when the old-mate/dirty cop Bosch is in business with lets an even dirtier detective (Martin Sacks) in on their operation. His suggestion that they start “making some real money” isn’t a suggestion.
“We’re farmers here, we don’t SELL coke” falls on deaf ears. One ill-timed bush fire later, Bosch sees their whole lives go up in flames, revealing their business to legitimate police, but with a lot of payola and cocaine lost as well. The dirty wants to get to him first.
Bosch grabs some cash and the kid and they go “on holiday.”
They can’t give their real names, can’t use credit cards and can’t make plans past camping on a far-off beach, or moving into a “surfer motel.” Not that this slows Bosch’s roll when the fetching Bev (Isabel Lucas) crosses his field of view.
Atkins and his co-writer Drue Metz do a decent job of making the “like father/like son” stuff funny and sometimes unsettling. Rockit curses just just like dad and picks up a blunt because “YOU do it.” He buys Dad’s “My real job” whopper, and blithely swipes enough cash to buy a new surfboard.
When your father’s so unconcerned for your well-being that he can’t be bothered to feed you or alter his “get a date” impulses to buy groceries, the kid learns to put himself first and last, just like the old man.
The period piece milieu — it wasn’t THAT long ago — feels lived-in and credible. Maybe you could lay low like this in pre-Internet Oz. And I always get a kick out of any fresh serving of Aussie slang, “Blow ins” being tourists, “grommet” a small kid, and so on.
Hemsworth makes a fine, burly presence at the heart of this, and we see much of their life and his travails from his point of view. The messaging, about how loving your kid isn’t enough to make you a good parent, goes down easy the way Hemsworth plays it. He’s a lout, and lovable at it.
But the comic bits are strained,. A clumsily-handled introduction of young love (Savannah La Rain) and the third act arrival of ever-absent Mum (Leanna Walsman) have to fit in between less and less frequent updates on the manhunt underway for Bosch.
“Ocean Boy” is awkward and ungainly — as if made by someone determined to hit his life’s real-or-fictional waypoints, to gloss up his own image while playing up the obstacles he had to overcome, but incapable of managing any of that particularly gracefully.
Rating: unrated, drug abuse, violence, profanity
Cast: Luke Hemsworth, Rasmus King, Isabel Lucas, Leanna Walsman and Martin Sacks.
Credits: Directed by Tyler Atkins, scripted by Tyler Atkins and Drue Metz. A Gravitas Ventures release.
Running time: 1:46
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dbpedia
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2
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https://www.nature.com/articles/s41467-024-51119-w
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en
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Transparent composites for efficient neutron detection
|
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2024-08-08T00:00:00
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Transparent, inorganic composite materials are of broad interest, from structural components in astronomical telescopes and mirror supports to solid-state lasers, smart window devices, and gravitational wave detectors. Despite great progress in material synthesis, it remains a standing challenge to fabricate such transparent glass composites with high crystallinity (HC-TGC). Here, we demonstrate the co-solidification of a mixture of melts with a stark contrast in crystallization habit as an approach for preparing HC-TGC materials. The melts used in this approach are selected so that glass formation and crystal precipitation occur simultaneously and synergistically, avoiding the formation of interfacial cracks, residual pores, and delamination effects. Using this method, various unusual hybridized HC-TGC materials such as oxychloride, oxybromide, and oxyiodide composite systems were fabricated in dense, bulk shapes. These materials exhibit intriguing optical properties and neutron response-ability. Using such HC-TGC materials, we develop a neutron detector and demonstrate the application for efficient neutron monitoring and even single neutron detection. We expect that these findings may help to bring about a generation of fully inorganic, transparent composites with synergistic combinations of conventionally incompatible materials. Transparent composites are significant for various applications. Here, the authors propose the co-solidification strategy of crystal and glass melts for preparing transparent glass composite with high crystallinity and apply for neutron detection.
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en
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/static/images/favicons/nature/apple-touch-icon-f39cb19454.png
|
Nature
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https://www.nature.com/articles/s41467-024-51119-w
|
The rational combination of inorganic glass and crystal phases into transparent, fully inorganic composite materials is of great interest in fields where the processing ability and surface quality of dense, bulk glasses can be combined with the optical, electronic, or magnetic functionality of the crystalline phase. Such materials have found applications in fields ranging from optical memory1,2, large-capacity telecommunication3,4, smart window5,6, and advanced lighting7,8,9,10,11 to gravitational wave detection12,13. Although recent progress in the synthesis of transparent glass composites (TGCs) has led to a rich library of materials, a remaining challenge has been the fabrication of TGCs with exceptionally high crystallinity (HC-TGC)14. Attempts to overcome this bottleneck include high-pressure assisted sintering or crystallization, containerless15,16 or arc-image processing17, and glass ceramic processing through direct crystallization of a precursor glass18. All of these approaches underly stringent experimental limitations. For example, a fundamental prerequisite of optical transparency is a sufficiently low crystallite size, optical isotropy, and reduced variations in optical refraction between the composite partners and at their phase boundaries. The selection of glass chemical formulations known to exhibit spatially homogeneous, controllable bulk crystallization to a volume fraction beyond 80% is still small. In particular, thermally incompatible materials with strongly deviating stability ranges, or materials with high mutual solubility are challenging to combine within a single composite. Moreover, accurate microstructural design is usually possible only within narrow processing windows, further limited by secondary crystallization effects, phase boundary reactions, and crystal growth19,20,21. For these reasons, most current TGCs derive from oxide phases; combining non-oxide crystals with an oxide glass matrix at a high crystal volume fraction has been outside of current technology.
Neutron detection is widely used in various scientific and technological fields, such as high-energy physics, geological resource exploration, and nuclear medicine22,23,24,25,26. Since neutrons do not interact with matter through Coulomb forces, it has been challenging to realize neutron detection. Currently employed methods, therefore, employ indirect detection using nuclear reactions. Such methods rely on elemental isotopes27,28,29,30 with high neutron capture cross section, for example, 6Li or 10B. Single crystals and glasses rich in these isotopes are therefore sought as active detector materials31,32,33. However, single crystal detector materials are currently available only in limited sizes, in centimeter scale for commercial Cs2LiYCl6:Ce. Current detector glasses have low light yield (e.g., ~6000 photons/neutron for commercial GS20 lithium glass). Composites bridging these two classes of materials might overcome these issues; they might simultaneously enable larger samples and enhanced light yield34. For example, crystal powder composites of ZnS:Ag and 6LiF have been applied successfully in several neutron scattering facilities, including the Japan Proton Accelerator Research Complex (J-PARC, Japan)35, the Spallation Neutron Source (SNS, United States)36, the ISIS Neutron and Muon Source (ISIS, United Kingdom)37 and the China Spallation Neutron Source (CSNS, China)38. However, it is a totally opaque material that needs to be shaped into a thin film with a certain thickness for balancing photon generation and extraction. Alternatively, HC-TGC materials might overcome all of the above issues: they could offer glass-forming ability, high yield, and optical transparency for facile photon extraction.
Here, we present such HC-TGC materials using a versatile synthesis procedure enabling a broad variety of chemical formulations and microstructural designs. Our approach is based on the solidification of a mixture of melts with a stark contrast in crystallization habit. In this solidification process, one of the melts undergoes a glass transition, whereas the other crystallizes. As a result, the HC-TGC formed having the target crystalline phase. This previously unexplored approach circumvents the limitations of conventional ceramic technology; it avoids extensive protocols of thermal processing and, by this, interference from secondary reactions such as competing phase transitions, crystal growth, or interfacial degradation. In this way, hybrid HC-TGC materials such as oxychloride, oxybromide, and oxyiodide composite systems are obtained, which have thus far been outside of the synthetic capabilities of classical ceramic processing. These HC-TGC materials exhibit superior optical properties and neutron response-ability; as a proof of concept, efficient neutron monitoring and single neutron detection are demonstrated.
The current synthesis procedure benefits from the notable differences in the solidification process of various melts. In particular, melts may solidify by a first order phase transition, forming one or more crystalline phases, or through a glass transition. The latter requires sufficiently deep supercooling, which, in turn, is affected by liquid fragility39 and the difference between the liquidus temperature Tl and the glass transition temperature Tg. The solidification behavior is typically illustrated by using time-temperature-transformation (TTT) diagrams, as illustrated in Fig. 1a. The transition lines drawn within such diagrams represent the practical stability limits of observed phases or material regimes as a function of time and temperature. The melt-crystal transition features a sudden volume change, which often causes micro-cracking, delamination, or residual stress in conventionally processed ceramic products (Fig. 1b). When crystallizing a melt during cooling, crystal nucleation and growth occur simultaneously. As a result, the obtained polycrystalline solid is usually opaque and exhibits larger crystallites and a wider distribution of crystallite sizes. In contrast, the glass transition occurs without a volume jump, and the obtained material is a homogeneous relic of the original liquid. Starting from these distinct differences. We now consider the possibility. When these liquids are combined in such a way that one solidifies into a glass whereas the other crystallizes in similar temperature ranges (but the glass-forming liquids solidify at a somewhat lower temperature as compared to the crystallizing one, see Fig. 1a), synchronous solidification occurs. In this case, the glass (evolving from a viscous, super-cooled liquid) facilitates stress dissipation and contributes to a mechanically robust composite, and crystal growth is limited to the relic structure of the precursor emulsion (Fig. 1c).
Microstructure of the SrCl2 HC-TGC material
To validate this hypothesis, we designed an oxychloride system composed of crystalline SrCl2 and a borate glass phase, given the different crystallization nature of their precursor melts: SrCl2 has a more ionic character, whereas the borate glass phase is more covalent, network forming. Both melts exhibit similar melting ranges. SrCl2 has a melting temperature of 1147 K, and borate glasses (SrO-B2O3) can be melted at around 1400 K. In a typical synthesis procedure, 100 g of raw materials with the molar ratio of SrCl2:borate glass of 9:1 were homogeneously mixed and co-melted at 1423 K. Interestingly, co-melting with a short duration of ~15 min allowed to obtain a clear melt (the photograph of clear melt is shown in Supplementary Fig. 1); direct solidification of this melt by rapid quenching led to transparent samples (Fig. 2a). In contrast, pure SrCl2 otherwise fabricated by the same process is totally opaque (Supplementary Fig. 2). The sample size can easily reach the scale of 101 cm; in our laboratory, it was limited only by the available mold size. The microstructure of this sample was investigated by confocal optical microscopy, X-ray diffraction (XRD), and Raman spectroscopy. Optical microscopy revealed a dense microstructure with particles with an average, rather homogeneous size of ~10 µm. These particles are separated by a thin boundary layer (Fig. 2b). The thickness of this layer was estimated by selective etching to ~1 µm (Supplementary Fig. 3a, b). XRD confirmed the high crystallinity of the sample, with cubic SrCl2 (PDF 01-075-1623) as the sole crystal phase (Fig. 2c). The corresponding Raman spectrum taken on a single particle exhibited a sharp band located at 184 cm−1, characteristic for cubic SrCl2 (Fig. 2d)40. In contrast, spectra taken in the boundary layer exhibited bands at ~818, 907, and 1236 cm−1, in accordance with the Raman scattering fingerprint of borate glass (inset of Fig. 2d)41. The elemental composition of the particle and of the boundary region was determined by energy dispersive spectroscopy (EDS) (Supplementary Figs. 4 and 5). The particle region was found to be stoichiometric SrCl2, with traces of oxygen, but no other impurities. For the boundary region, Sr, Cl, and O were detected. Raman line scans were collected across three adjacent particles, monitoring the peak height intensity of Raman scattering at 184 cm−1 (The fingerprint peak of SrCl2) and 907 cm−1 (The fingerprint peak of borate glass), as shown in Fig. 2e and Supplementary Fig. 6. These line scans clearly reflect the alternating presence of SrCl2 and of a borate glass phase, with a period of ~10 µm (consistent with the observed average size of the SrCl2 particles). A real Raman mapping analysis further confirmed that SrCl2 particles are homogeneously distributed and isolated by a thin borate glass layer (Fig. 2f). Finally, confocal microscopy provided a similar view in three dimensions (Fig. 2g). Taken together, these data clearly show that the current HC-TGC is composed of cubic SrCl2 crystals surrounded by thin layers of a borate glass phase. The overall crystallinity reaches up to about 85 vol%.
Formation mechanisms of the SrCl2 HC-TGC material
We investigated the formation mechanism of HC-TGC materials via the co-solidification of the mixture of melts in two regards, i.e., understanding how the highly regular SrCl2-borate glass microstructure evolves, and which factors govern the resultant composite’s optical transparency. First, the formation mechanism of SrCl2 HC-TGC was studied. To this end, we performed molecular dynamic simulations on the structure evolution from melt to solid. Figure 3a presents the atomic configurations and packing manner of the SrCl2-borate glass system at various temperatures from 1500 K to 300 K. Chemical heterogeneity can be observed at various stages from melt to solid. Snapshots of structural models indicate that the heterogeneity evolves from [-Sr-Cl-] and [-B-O-] clusters. These clusters are supposed to behave as the embryos of the crystalline SrCl2 and borate glass phases, respectively. In-situ high-temperature confocal microscopy was employed to study the solidification process of HC-TGC materials (Fig. 3b). Upon cooling from 1073 K – 1042 K, SrCl2 particles precipitated, and their size rapidly increased. In contrast, no obvious particles can be observed in the pure borate glass system (Fig. 3c). Based above studies, the possible formation mechanism of SrCl2 HC-TGC can be summarized as follows. Firstly, the melts with a stark contrast in crystallization habits need to be mixed sufficiently to ensure that crystal precipitation occurs uniformly. Secondly, during solidification, the target SrCl2 crystal rapidly precipitates from the mixture of melts. In contrast, the melt contains [-B-O-] clusters is repelled from the crystal and remains in liquid throughout the crystal precipitation process because of its low tendency to crystallization. As a result, SrCl2 crystal particles can be well-protected by the soft glass phase. Thirdly, when the temperature is further decreased, the glass phase gradually loses its mobility and solidifies at the boundary.
To test the tailor-ability of the HC-TGC microstructure, a series of samples was produced by varying the mole ratio of SrCl2:borate glass, as denoted “A” to “F” in Fig. 3d. The corresponding nominal compositions of the samples are listed in Supplementary Table 1. Sample microstructures were studied after etching the crystalline fraction of SrCl2 (Fig. 3e). The volume ratio of crystalline SrCl2 and borate glass can be finely tailored from ~85% (A) to 80% (B), 60% (C), and 45% (D) (as shown in Supplementary Fig. 7). The average crystal size of SrCl2 changed from 16 to 13, 10 and 6 μm, respectively. In samples E and F, no obvious SrCl2 crystal was observed. Following the demonstration of tunable microstructure, the origin of optical transparency was investigated. SrCl2 crystal (cubic) and the borate glass phase are both isotropic. The refractive indices nD were measured to be 1.65042 and 1.643 at 589 nm (sodium D-line), respectively. The microstructures with small birefringence and refractive index difference are expected to simultaneously contribute to the excellent optical transmission of the SrCl2 HC-TGC material (as shown in Supplementary Fig. 8). For the purpose of demonstration, on these lines, we produced a range of dense HC-TGC materials involving chlorides (LiCl, NaCl, KCl, RbCl, CsCl, CaCl2, BaCl2, KSr2Cl5, CsSrCl3, and CsCaCl3), bromides (SrBr2), and iodides (CsI) (Supplementary Figs. 9–20).
Optical and scintillation properties of the Eu-doped SrCl2 HC-TGC material
The interest in HC-TGC materials involving unusual material combinations such as those considered here arises from the optical properties of the crystal phase, combined with the processing capabilities of direct melt-solidification and the protective function of the interfacial glass layer. In particular, chlorides, bromides, and iodides exhibit a low phonon energy (e.g., ~200 cm−1 for crystalline SrCl2)43 and wide optical transmission windows extending into the mid-infrared spectral range. This facilitates internal quantum emission as well as subsequent light extraction. Rare earth species are typically used as internal emission centers. In the present case, Europium (Eu) was employed as the active dopant. Figure 4a shows the photoluminescence spectra of the Eu-doped composite with variable crystal volume fraction. The intense blue emission band at ~402 nm and the weak red emission bands at ~590, ~610, and ~651 nm are ascribed to the characteristic 4f65d1 → 4f7(8S7/2) electronic transition of Eu2+ and 5D0 → 7F0,1,2,3 transitions of Eu3+44,45. The Eu-doped SrCl2 HC-TGC material (sample A) exhibits the strongest blue emission (~150 times higher in intensity than the red emission). We assume that this is a result of the selective incorporation of Eu2+ into crystalline SrCl2. The weak red emission, on the other hand, comes from the residual Eu3+ in the boundary glass phase. The corresponding excitation-emission map reveals no significant emission shift when the excitation wavelength is varied, indicating that Eu2+ centers occupy a single structural site (Fig. 4b). In addition, same as the Eu-doped SrCl2 crystal, the emission of Eu-doped SrCl2 HC-TGC material also exhibits narrowband feature. The emission decay feature was also confirmed by dynamic luminescence spectroscopy, which shows a single exponential function (Fig. 4c). The average decay lifetime was calculated at ~400 ns, which is typical for the 5d-4f transition of Eu2+. The bright emission and fast decay dynamics imply great potential as a scintillating material. Figure 4d, e exhibit the scintillating emission of Eu-doped composites with variable volume content of SrCl2 crystal, under excitation with X-ray and α-particle irradiation, respectively. Among the sample series, the Eu-doped SrCl2 HC-TGC material (sample A) exhibits the brightest scintillating luminescence, with an observed intensity of the emission peak exceeding that of commercial BGO crystals by a factor of 8 (X-ray excitation) and 25 (α-particles excitation). Figure 4f summarizes the emission intensity observed for various composites as a function of crystalline SrCl2 volume fraction. The X-ray induced blue emission sharply increases with higher crystallinity. Together with the high optical transparency of Eu-doped SrCl2 HC-TGC material (Supplementary Fig. 8), the experimental results firmly demonstrate that the proposed approach for HC-TGC materials provides an effective strategy towards transparent optical composites with performance close to that of a corresponding single crystal.
HC-TGC derived detector for thermal neutron detection
More excitingly, we demonstrate that the present composite material enables neutron detection, a significant challenge for current scintillator materials. The principle relies on the cooperative action of the interfacial glass phase and the active SrCl2 crystals. It involves detecting the scintillating emission generated by neutron interaction. As illustrated in the inset of Fig. 5a, neutrons are blocked by 10B isotope species, which are part of the intergranular glass phase via 10B(n, α)7Li nuclear reaction. Assumedly, these releases charged 7Li and α-particle46. The resultant particles ionize Eu2+ in crystalline SrCl2 directly or indirectly through secondary electrons, generating visible scintillating emission that can be detected by optical spectroscopy. To evaluate this hypothesis, we systematically studied neutron detection properties in various samples. Excitingly, a strong neutron signal can be detected in HC-TGC, with a light yield of about 4700 photons/neutron (Fig. 5a). It is necessary to point out that no neutron signal can be detected neither in pure borate glass nor in SrCl2 crystal (as shown in Supplementary Figs. 21 and 22), demonstrating that only the interaction of the two components in the composites enables its functionality.
To shed more light on the physical mechanism behind the robust neutron detection ability, we made a detailed analysis of the neutron-composite interaction using the Monte Carlo approach with the Geant4 toolkit47,48,49. As illustrated in Supplementary Fig. 23, the nuclear reaction products (α-particles and 7Li nucleus) mediated by 10B(n, α)7Li reaction are highly active with kinetic energies of ~1.47 MeV and ~0.83 MeV, respectively. Thus, their relaxation processes and the local environment may govern the energy deposition efficiency. The relaxation processes of α-particles and 7Li nucleus were analyzed, and their mean free path lengths were calculated to be ~5 µm and ~2 µm, respectively. Based on this, the composite configuration-dependent neutron deposition can be obtained and summarized in Fig. 5b. It can be observed that the energy deposition efficiency of neutrons strongly relies on the glass/crystal ratio in the composite (and, by this, on the crystallite thickness). It reaches the peak level of 1.09 MeV/neutron with the crystalline SrCl2 ratio of 92 vol% (with a thick SrCl2 blocking layer). Figure 5c, d present the distribution of the energy deposition in the composite with two different configurations. In the HC-TGC, the energy collection efficiency is rather high, and almost 61% of the energy released via nuclear reaction can be successfully harvested (Fig. 5c). In stark contrast, in the composite with a relatively low crystal volume fraction (and in turn, with a thick borate glass blocking layer, Fig. 5d), most of the α-particles and 7Li nucleus are dissipated in the borate glass, and only ~18% of energy can be captured for generating the photon signal. In the case of pure crystalline SrCl2, because of the absence of the borate glass, the neutron capture ability is significantly reduced compared with that of HC-TGC material, resulting in a dramatic decrease in detection efficiency. Together, these observations confirm that the unique, spatially homogeneous microstructure of the HC-TGC and the collective action of the glass and of the crystal phase enable synergistic neutron transformation and energy deposition, resulting in a greatly improved neutron detection efficiency.
From these material observations, a neutron detector device was elaborated (as illustrated in Fig. 5e). The neutron detector was built with SrCl2 HC-TGC material, a photomultiplier tube (PMT), a high-voltage power supply, a multichannel analyzer (MCA), and a computer. In this detector, the SrCl2 HC-TGC material was processed into a round shape with the same diameter as the PMT and covered with an aluminum foil reflector to increase the collection efficiency of scintillation photons. The covered HC-TGC has one window to couple with the PMT using optical silicone grease. The PMT was driven using a high-voltage power supply, and the signals from the PMT were collected by an MCA. Finally, the results from the MCA, such as pulse shape and pulse-height spectrum, were displayed on the computer. This detector was applied for online monitoring of neutrons in CSNS (Fig. 5e). The detector is located at ~11 m away from the radiation source. Figure 5f shows a typical time-of-flight (ToF) spectrum obtained from the detector. The intense peak at ~0 ms originates from γ rays, which arrive at the detector first. A characteristic broad band centered at ~5 ms is associated with the thermal neutron group. Because the average flight speed of thermal neutrons is ~2200 m·s−1, the theoretical time interval between γ rays and the thermal neutron group should be ~5 ms, which is well consistent with the experiment results. The shoulder band close to the gamma signal peak originates from fast neutrons. The above results firmly demonstrate that utilizing an HC-TGC derived detector enables the achievement of rich radiation information and clearly distinguishes neutrons from other radiation. In addition, the detector permits the capture of a single neutron signal. Figure 5g shows a snapshot of the arrived signal in the time window of ~6 ms, and attractively, around 300 ~ 400 single neutron events can be screened within 1 ms. The enlarged Figure in Fig. 5g presents a typical single neutron signal. Furthermore, it should be noted that all of the chemical components in the device are in natural abundance. This contrasts with a conventional neutron detector, which strictly relies on enriched isotopes.
In summary, we have presented and demonstrated a strategy to construct HC-TGC materials from the mixture of melts with a stark contrast in crystallization habit. Significantly, the strategy is general and can be applied to various unusual HC-TGC materials such as oxychloride, oxybromide, and oxyiodide composite systems. By using these HC-TGC materials, an efficient neutron detector has been developed, and its practical applications for neutron monitoring have been demonstrated. Our findings are expected to generate a new composite with promising applications in photonics, nuclear, and other related fields.
Material synthesis
HC-TGC materials were fabricated through the melt-quenching method. The raw materials were mixtures of halide crystal powders (e.g., SrCl2 powder) and halide oxide glass powders (e.g., borate glass with the nominal composition of SrO:B2O3 = 40:60 mol%) with designed molar percentages. These mixtures were put into the alumina crucibles and melted at 1423 K for 1 ~ 15 min. Small HC-TGC samples (e.g., 5 g) can be fabricated within a short duration (1 ~ 5 min). Large HC-TGC samples (e.g., 100 g) should be fabricated for a long duration (about 15 min). Then, the melt was cast into the cold stainless-steel molds and cooled to room temperature naturally. Finally, the HC-TGC was fabricated and processed into various shapes by a wire-cutting machine. In addition, the raw materials and melting temperatures of other HC-TGC materials involving chlorides (LiCl, NaCl, KCl, RbCl, CsCl, CaCl2, BaCl2, KSr2Cl5, CsSrCl3, and CsCaCl3), bromides (SrBr2), and iodides (CsI) are shown in Table 1.
Material characterization
The X-ray diffraction was tested on the PANalytical X’Pert PRO X-ray instrument, and block HC-TGC samples with polished surfaces were used for measurement. Raman spectra were tested on the Renishaw InVia laser confocal Raman spectrometer. The microstructures of the HC-TGC materials were studied on an SEM (ZEISS, EVO, Germany) equipped with an energy-dispersive X-ray spectrometer (Oxford Instruments, X-Max, U.K.) and Electron probe X-ray micro-analyzer. The HC-TGC samples were etched by using a mixture liquid of ethanol (90 vol%) and water (10 vol%). The confocal microscope was imaged on a laser confocal microscope (Lecia, DM5500 Q, Germany, and Lecia, TCS SP8, Germany). Pr3+ dopant with red emission was used as the fluorescence probe, and 405 nm laser was employed as the excitation source. The excitation and photoluminescence spectra were recorded using a fiber spectrometer (Ocean Optics, Maya 2000 Pro, USA) equipped with a xenon arc lamp. The HC-TGC samples were fine-polished on both sides, with a thickness of ~1 mm. The transmission mode was used for this measurement. The decay curve was recorded using a fluorescence spectrophotometer (Edinburgh Instrument Ltd., FLS920, U.K.). The monitoring wavelength is 403 nm, and the excitation wavelength is 330 nm. The radioluminescence spectra and α-particle excited luminescence spectra were measured in a special facility, which consisted of a miniature X-ray tube (AMPTEK Inc., Mini-X-OEM, USA) with Rh target X-ray tube and 241Am as α-particle sources, and a fiber spectrometer (Ocean Optics, Maya 2000 Pro, USA) as a detector. The tube voltage is 40 keV, and the range of tube current was 0 ~ 100 μA. The HC-TGC samples were fine-polished on both sides, with a thickness of ~1 mm. The transmission mode was used for this measurement. The neutron-related properties were measured at the China Spallation Neutron Source (CSNS). The system consists of a photomultiplier tube assembly (HAMAMATSU, H1949-51, Japan), a high-voltage power supplier (ISEG, SHR High Precision High Voltage Power Supply, Germany), a multichannel analyzer (TOFTEK, DAQBOX-32, China), and a computer. The operating voltage of the photomultiplier tube assembly was −1700 V. The threshold of the multichannel analyzer was set at 7.5 mV for energy spectrum measurement. The integral time of the multichannel analyzer needed to be adjusted according to the decay time of the dopants.
Molecular dynamics simulation
The LAMMPS package was employed to simulate the glass structure. The system was composed of 3017 atoms. The initial configurations were generated with experimental density using packmol package. Interactions between atoms were simulated using Born-Mayer potential, and the charges of B, Sr, Cl, and O were set to +1.8, +2.0, −1.0, and −1.412, respectively. The timestep was set to 1 fs, and the Columb interactions were solved using the particle-particle-particle-mesh method. All systems were heated for 200 ps at 4000 K using the NVT ensemble after energy minimization to eliminate abnormal stacking between atoms. Subsequently, the system was cooled at a rate of 1 K ps−1 under the NPT ensemble. During the quenching process, a 100 ps NVE ensemble was performed every 300 K to gather enough configurations and snapshots. Meanwhile, the phase separation was investigated, assuming that the thermal expansion coefficient was fixed to be the value of 250 × 10−7 K−1. In the final period, a 100 ps NVE at 300 K was used to obtain enough trajectories for structural analysis.
Monte Carlo simulation
The Monte Carlo method was used to study the interaction between neutron and HC-TGC materials. The energy deposited distribution on HC-TGC was investigated with the help of the Geant4 toolkit, and the resulting data were analyzed using ROOT applications. C + + language was used to set the X-ray source and the model of HC-TGC materials. The energy of the thermal neutron is set at 0.025 eV, which is in thermal equilibrium with the surrounding temperature (290 K). The HC-TGC model was set to be 1 mm thick and 1 × 1 cm2 large. To reduce the computational time of simulation, the structures of the HC-TGC model were simplified as periodic layer structures of the halide crystal phase and glass phase (as shown in Supplementary Fig. 23). The unit thickness of the halide crystal phase and glass phase is 10 μm. The layer thickness of the halide crystal phase in the unit can be switched from 0.1 μm (1 vol% of halide crystal phase in composite) to 9.9 μm (99 vol% of halide crystal phase in composite). The energy deposited distribution was investigated by using the default physics lists, which can be selected in Geant4 by referring to the Geant4 Physics Reference Manual. The event number in each run was set to be 105.
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3
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https://scifi.stackexchange.com/questions/274576/b-movie-identification-tunnel-under-the-pacific-ocean
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en
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B-Movie identification: tunnel under the Pacific ocean
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2023-04-05T12:07:25
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This movie has been running around in my head long enough, using up valuable brain cycles.
It would have been shown as a Saturday morning movie in the UK, circa '80s.
Villians were Chinese and were
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en
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https://cdn.sstatic.net/Sites/scifi/Img/favicon.ico?v=65d99c90ab93
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Science Fiction & Fantasy Stack Exchange
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https://scifi.stackexchange.com/questions/274576/b-movie-identification-tunnel-under-the-pacific-ocean
|
This movie has been running around in my head long enough, using up valuable brain cycles.
It would have been shown as a Saturday morning movie in the UK, circa '80s.
Villians were Chinese and were tunneling under the Pacific. From what little I can remember I believe it was some form of invasion. Sorry for so little information.
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1
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https://www.intofilm.org/films/4014
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en
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Ocean's Eleven
|
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/img/f/favicon.ico
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UNAVAILABLE TO STREAM
This film is not currently available to stream, and we no longer run a DVD service. Find a different film to stream now.
If you're interested in this film being added to the Into Film+ streaming service, please let us know and we’ll explore adding it. Find out more.
UNAVAILABLE TO STREAM
This film is not currently available to stream, and we no longer run a DVD service. Find a different film to stream now.
If you're interested in this film being added to the Into Film+ streaming service, please let us know and we’ll explore adding it. Find out more.
LOGIN/CREATE AN ACCOUNT
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5635
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0
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https://english.stackexchange.com/questions/72813/why-use-the-for-oceans-seas-rivers-etc-but-not-lakes
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en
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Why use "the" for oceans/seas/rivers etc. but not lakes?
|
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2012-06-28T03:52:21
|
Possibly two questions in here: Are these sentence constructions logical, and if they are, why are they different?
I swam across the Ocmulgee River.
I swam across the Pacific Ocean.
I swam a...
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en
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https://cdn.sstatic.net/Sites/english/Img/favicon.ico?v=52ad6b0c151a
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English Language & Usage Stack Exchange
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https://english.stackexchange.com/questions/72813/why-use-the-for-oceans-seas-rivers-etc-but-not-lakes
|
I'd say you are correct about the placement of the generic word being the reason for using (or not using) 'the' , and all your examples are phrased correctly. Notice that 'Falls' is different also in that it is a plural.
Edit: I have found the answer:
From Wikipedia:
In English, nouns must in most cases be preceded by an article that specifies the presence or absence of definiteness of the noun. The definite article is the in all cases other than generic references, which use the zero article (i.e., the absence of an article), while indefiniteness is expressed with a or an for singular nouns or the zero article for plural or non-count nouns.
From Monmouth University:
The definite article 'the' is used before both singular and plural nouns when the noun is specific. The names of geographic places are specific names and may require definite articles: names of rivers, oceans, seas, geographical areas, deserts, forests, gulfs, peninsulas, groups of lakes (the Great Lakes), mountain ranges, and chains of islands.
No article is necessary before the following specific nouns: Singular names of countries or territories, cities, towns, states, streets, lakes, bays, mountains, continents, islands, languages, sports, academic subjects.
The use of definite articles with names for inanimate objects in English should be understood on a case-by-case basis. There is, as far as I know, no principled reason behind the distribution of definite articles.
Here is what Hawthorne and Manley (2012) say on the subject:
in English there are various situations where names in subject position require articles. Thus, when modifying names with adjectives we almost always add articles: ‘A/The bleary-eyed Bill Clinton emerged’, ‘Now the incredibly agile Jordan is weaving through his opponents’....
Even unmodified singular names are often prefixed by the definite article, such as names for rivers and newspapers.... Moreover, no deep distinction divides names that are prefixed by the article and those that are not. Names for oceans typically have an article, while names for lakes typically do not; in California, numerical names for highways have them (‘take the 405’), while on the east coast they do not (‘take 287’). One might object that, for example, in ‘the Thames’ the article is somehow fused into the name and no longer functions as a determiner. But note that the article gets distanced from the name when adjectives are added: ‘the mighty Thames’, ‘the vast Pacific’, ‘the notorious Wall Street Journal’ and so on.
Hawthorne and Manley, The Reference Book (2012).
From this passage, we observe:
Name for rivers typically have articles ("the Thames", "the Nile", "the Niagara River").
Names for oceans typically have articles ("the Atlantic", "the Indian Ocean").
Names for lakes typically don't ("Lake Erie", "Lake Michigan").
In California, names for highways have articles ("take the 405").
On the east coast, names for highways don't have them ("take 287").
Names for newspapers typically have articles ("the Wall Street Journal", "the New York Times").
We might add:
Like oceans, seas also have articles ("the Mediterranean Sea", "the Black Sea").
Waterfalls typically don't have articles ("Niagara Falls", "Victoria Falls")
Canyons sometimes have articles, but sometimes don't ("the Grand Canyon", "Colca Canyon")
You can make similar observations about names for bridges, buildings, squares, publications, etc.
Why names for some types of geological features and artifactual entities seem to require the definite article while others don't is an open question. There may be no principled reason.
I'd say you are correct about the placement of the generic word being the reason for using (or not using) 'the', and all your examples are phrased correctly. Notice that 'Falls' is different also in that it is a plural.
From Wikipedia:
An article is a word that is used alongside a noun (…) to specify grammatical definiteness of the noun, and in some languages extending to volume or numerical scope. The articles in English grammar are the and a/an, and in certain contexts some. "An" and "a" are modern forms of the Old English "an", which in Anglian dialects was the number "one" (compare "on" in Saxon dialects) and survived into Modern Scots as the number "owan". Both "on" (respelled "one" by the Norman language) and "an" survived into Modern English, with "one" used as the number and "an" ("a", before nouns that begin with a consonant sound) as an indefinite article. […]
The definite article is used to refer to a particular member of a group or class. It may be something that the speaker has already mentioned or it may be something uniquely specified.
However, recent developments show that definite articles are morphological elements linked to certain noun types due to lexicalization. Under this point of view, definiteness does not play a role in the selection of a definite article more than the lexical entry attached to the article.
From Monmouth University:
The definite article 'the' is used before both singular and plural nouns when the noun is specific. The names of geographic places are specific names and may require definite articles: names of rivers, oceans, seas, geographical areas, deserts, forests, gulfs, peninsulas, groups of lakes (the Great Lakes), mountain ranges, and chains of islands.
No article is necessary before the following specific nouns: Singular names of countries or territories, cities, towns, states, streets, lakes, bays, mountains, continents, islands, languages, sports, academic subjects.
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5635
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dbpedia
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0
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https://disney.fandom.com/wiki/Oceans
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en
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Oceans
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https://static.wikia.nocookie.net/disney/images/2/2b/Disney-Nature-Oceans2.jpg/revision/latest?cb=20120423171818
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"Contributors to Disney Wiki"
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2024-07-12T14:06:28+00:00
|
Oceans (French: Océans) is a 2010 French nature documentary film by Jacques Perrin distributed in the United States by Disneynature. It was released on April 22, 2010 in 1,200 theaters in the US for Earth Day. The film explores Earth's five oceans. It is Disneynature's third release following...
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en
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https://static.wikia.nocookie.net/disney/images/4/4a/Site-favicon.ico/revision/latest?cb=20210616080713
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Disney Wiki
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https://disney.fandom.com/wiki/Oceans
|
Oceans (French: Océans) is a 2010 French nature documentary film by Jacques Perrin distributed in the United States by Disneynature. It was released on April 22, 2010 in 1,200 theaters in the US for Earth Day. The film explores Earth's five oceans. It is Disneynature's third release following Earth and The Crimson Wing in 2009. The version distributed in the USA and Canada by DisneyNature is 20 minutes shorter than the world version of the film, and is edited for a youth audience. The European version was not edited the same way, and contained strong scenes of massacres of sea animals, recreated through special effects.
Budgeted at $80 million, it was filmed in over 50 different places and took four years to film. The movie is a high-quality filming documentary featuring ocean animals. It reflects the need to respect nature and demonstrates the negative aspects of human activity on animals.
Oceans is directed and produced by Jacques Perrin, director Jacques Cluzaud with producer Nicolas Mauvernay, editors Catherine Mauchain and Vincent Schmitt, art director Arnaud Le Roch.
Visual effects were produced by visual effect supervisor Nicolas Chevallier, VFX producers Alain Lalanne and Edouard Valton, digital artists Mickael Goussard, Jean-Louis Kalifa, Julien Buisseret, Olivier Sicot, Nicolas Evrard.
Plot[]
Oceans gives you details and facts about the journey of the ocean. The film begins on a beach and there are boys and one of them wonders what the ocean is. The scene cuts to the Galapagos where a clan of marine iguanas and horseshoe crabs wander. Then at night, a rocket takes off and surprises the two clans. Meanwhile, the rocket takes off to outer space. Then goes to the trench where the larvae of sea urchin, and the crustacean egg lie. Then comes to a swarm of moon jellyfish. Then at day, a different type of jellyfish float along the current. Later at the coast of South Africa, a hungry mob of common dolphins, Gannets, bronze whaler sharks, and brydes whales hunt sardines. After the feast, manta rays gobble down a few sardines. moments later, a blanket octopus swims quietly along the current. Meanwhile the sardines start making odd shapes. At a beach, sea lions rest in the sun. In deeper water, a humpback whale and her calf start to flipper slap, spyhop, and breach. Meanwhile, the sea lions start hunting. the others on the beach, watching sally lightfoot crabs crawl on the sand. The hunting sea lions are returning home, but some are eaten by a great white shark, and a killer whale. In the deeper waters, a blue whale, the largest marine mammals in the world, feasts on some krill. At twilight, frigatebirds are flying back to their nests. At night, many underwater carnivores are out to hunt on the reef, including the mantis shrimp who kills a crab in the movie. In Australia, a Spanish dancer comes out of its home. At day, bottlenose dolphins are leaping on the waves. Meanwhile, a dugong and green sea turtle are feasting on sea grass. On the beach, baby sea turtles have to make it to the ocean without being eaten by frigatebirds, which only one baby turtle survives. In the sea, sailfish are feasting on fish. At a coral reef, creatures are minding their own business. Beyond the reef, a cuttlefish is eating crabs. After that, garden eels and razorfish act really smooth. After that, spider crabs start war. Meanwhile humpback whales, blue whales, sunfish, blue sharks, sperm whales and whale sharks migrate. Then a bunch of spinner dolphins, yellowfin tuna and manta rays swim for a long time. Far away an Asian sheepshead wrasse is mating. Miles away a sea otter is smashing clams. In Alaska, the humpback whales have made it to the feeding grounds. The scene cuts to netted sea animals including tuna, whale sharks, sailfish, sea turtles, and sunfish. Along the way the fishing boat as a hard time fighting the waves. Then a satellite shows the trash in the ocean. Underwater has a lot of trash, which is destroying a fur seal's home. The scene cuts to the 2 polar regions, the Arctic in the north and Antarctica in the south, including penguins, seals, walruses, belugas, narwhals, and polar bears. Then, Scuba divers are discovering the ocean, and one of them swims with a great white shark! At the end the narrator says we shouldn't ask what exactly is the ocean, we should ask what exactly are we.
Production[]
Filming[]
Most of the documentary was shot on the sea in boats, submarines, and even scuba-diving.
Music[]
Demi Lovato and Joe Jonas recorded a special duet for Disney's North American release titled, "Make a Wave". The documentary was accompanied by a score composed by Bruno Coulais, performed by the Paris Philharmonic Orchestra. The score features Coulais' trademark instrumentation and musical style, combining solo players, electronic enhancement effects and other unusual musical elements. Three themes are featured within the score, one of them adapted into a song entitled "Océan Will Be".
Reception[]
The film has received positive reviews from critics. At the review aggregation website Rotten Tomatoes, the movie has received an 81% fresh rating from overall critics from 62 reviews. Its consenus states "Oceans adds another visually stunning chapter to the Disney Nature library." Among Rotten Tomatoes' "Cream of the Crop", which consists of popular and notable critics from the top newspapers, websites, television, and radio programs, the film holds an overall approval rating of 84% based on 19 reviews. Another review aggregator, Metacritic, which assigns a weighted average from 0-100 of top reviews from mainstream critics, gave the film an average score of 79% based on 20 reviews. The world version of the film received much more praise than the USA and Canada version.
The film opened briefly at #1, grossing $2,466,530 from 1,206 theaters on opening day; an excellent number in documentary standards, despite being far from the opening day total of its predecessor, Earth. However, the film was overshadowed by its competition with The Back-Up Plan and The Losers as well as continued success from How to Train Your Dragon and Date Night. The film grossed $6 million over the Friday-Sunday period, reaching eighth place at the box office, and taking somewhat less than Earth's $8.8 million, but taking more than March of the Penguins. It was the third highest-grossing opening for a documentary film. Despite grossing an additional $4 million over the week, the film collapsed 57% in its second weekend, a steeper drop than its predecessor, taking in $2.6 million from 1,210 theaters. The film earned an additional $2 million over the week and $1.6 million in its third weekend as well as expanding to 1,232 theaters and remaining in tenth place. The film was not a box office success as it closed on July 15, 2010 after only 85 days of release, earning $19,422,319 domestically. However, the film earned $63,229,120 overseas for a total of $82,651,439 worldwide, making it financially successful.
The film was released on DVD and a DVD + Blu-ray Combo Pack on October 19, 2010.
Gallery[]
References[]
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https://reef-world.org/blog/ocean-conservation-shows
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9 Ocean Conservation Movies & TV Shows We Love — The Reef
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[
"Melissa"
] |
2020-03-25T13:46:00+08:00
|
The events of the last few weeks have left many of us confined to our homes with more time on our hands than usual. For many, that inevitably leads to bingeing TV shows and movies – but it doesn’t necessarily mean you can’t learn a thing or two along the way. There are plenty of shows, series and fi
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en
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https://images.squarespace-cdn.com/content/v1/5603a46be4b00b785628b729/1459841232738-CE7ESPVQ2GWYIUT4YOAW/favicon.ico
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The Reef-World Foundation
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https://reef-world.org/blog/ocean-conservation-shows
|
You won’t be surprised to see us kicking off this roundup with the legend that is David Attenborough. Despite the ocean covering two thirds of the Earth’s surface, we know very little about it. Yet, the spectacular Blue Planet series will give you a fascinating insight into the mysteries of the deep we do know. Prepare to be transported to a range of magical and mysterious underwater ecosystems – and see some events never before seen by human eyes – through the documentary’s magnificent footage
For even more of Sir David, check out Climate Change – The Facts.
Mission Blue
“No ocean, no life. No ocean, no us.” Sylvia Earle
From one legend to another, we couldn’t do an ocean-movie roundup without mentioning “Her Deepness” - the inimitable marine biologist, oceanographer, diver and explorer: Sylvia Earle. Mission Blue is a Netflix original documentary which follow’s Sylvia Earle’s journey in trying to raise awareness of the dire threats faced by our oceans. Learn how and why she’s made it her life’s purpose to speak for the ocean, calling for us to protect the ocean in the same way we now protect the land through a global network of marine protected areas.
Directed by Jeff Orlowski, this Netflix documentary details a global campaign to research and record the disappearance of coral reefs around the world. It was an ambitious production: with more than 500 hours spent underwater, footage captured in over 30 different countries and over 500 people – including scientists, divers and photographers – coming together to support this film capturing the state of coral reefs and the threats they face.
This documentary, which recorded how some corals glow in vibrant colours in a last desperate effort to survive increasing ocean heat waves – inspired the UN Environment Programme’s Glowing campaign. Glowing aims to make the world take notice of glowing corals and the warning they represent. For more information about the campaign and how you can support it, visit https://www.glowing.org/.
BBC’s Shark
Love sharks? Want to watch a season with footage of more than 30 different species? Then you’ll love BBC’s Shark series. This wildlife series meets scientists from around the world who are studying the ocean’s apex predators to find out more about their social interactions, courtships, hunting behaviours (they even use analysis of hunting behaviour to predict the most likely time of day for a shark attack) and the things that threaten their survival.
Today, most people are well aware of the problem plastic poses for our ocean. But back in 2016, when this documentary was made, much less was known about the threat of plastic pollution. What started out as a mission to film blue whales – the world’s largest living animal – changed course when the documentary-maker found plastic waste choking the oceans. The documentary then investigates the scale of the plastic problem and tries to find solutions to save our polluted oceans.
Sharkwater
"The animal we fear the most is the one we can't live without." - Rob Stewart
Humans are killing up to 150 million sharks a year. As a result, shark populations have decreased a staggering 90%. Join filmmaker Rob Stewart in his thrilling quest to find out why people are killing the ocean’s top predator and what he can do to stop it before it’s too late.
If you love manta rays, and want to find out more about conservation efforts for this enigmatic species, this documentary is for you. Travel to the stunning Mozambican coastline to learn how marine biologist Dr. Andrea Marshall – aka the “Queen of Mantas” – came to the country to study this enigmatic species. Andrea was the first person in the world to complete a PhD on manta rays and now works tirelessly to spearhead conservation efforts for the species. The documentary’s breathtaking underwater footage will transport you to another world, where you’ll learn about these huge, intelligent and graceful animals through incredible close-up encounters.
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https://www.documentary.org/online-feature/it-becomes-selfish-talk-about-yourself-tommaso-santambrogios-cuba-oceans-are-real
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en
|
“It Becomes Selfish to Talk About Yourself:” Tommaso Santambrogio’s Cuba in ‘Oceans Are the Real Continents’
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2024-06-07T16:43:10-07:00
|
Tommaso Santambrogio’s Oceans Are the Real Continents (2023), which opens on a black-and-white shot of an older Cuban woman sweeping her doorway, reminiscent of the indulgent, and seemingly quotidian scenes in Alfonso Cuarón’s Roma and Wim Wenders’ Perfect Days, is a film that captures the human condition in all its humor, pain and joy.
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en
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International Documentary Association
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https://www.documentary.org/online-feature/it-becomes-selfish-talk-about-yourself-tommaso-santambrogios-cuba-oceans-are-real
|
Tommaso Santambrogio’s Oceans Are the Real Continents (2023), which opens on a black-and-white shot of an older Cuban woman sweeping her doorway, reminiscent of the indulgent, and seemingly quotidian scenes in Alfonso Cuarón’s Roma and Wim Wenders’ Perfect Days, is a film that captures the human condition in all its humor, pain and joy. Santambrogio’s debut docudrama feature, which premiered at Venice Days in 2023, is a triptych that follows three generations of characters in San Antonio de los Baños, where time seemingly stands still.
Entrancingly poetic, Oceans Are the Real Continents originated as a short film directed by Santambrogio in 2019 and bears the same title. The short features Alex and Edith—a young artist couple—who transform their daily routines into expressions of intimacy for the other. In the feature, Santambrogio expands on Alex and Edith’s story as they try to preserve their love while still pursuing their independent dreams—Alex as a dance teacher in Cuba and Edith as a puppeteer in the process of relocating to Rome, Italy. Intertwined with their story are narratives featuring Milagros, an elderly woman who sells peanut cones and spends her days reading letters from a former lover; and Frank and Alain, two nine-year-old boys who dream of emigrating to the U.S. to play for the Yankees.
All played by non-professional actors, these characters come together to share their stories and celebrate the small joys of their daily lives while also facing the uncertainty of their futures. Oceans Are the Real Continents played at Film at Lincoln Center during the annual “Open Roads: New Italian Cinema” series June 2–6, and is distributed by Fandango and Film Movement. This interview has been edited for length and clarity.
DOCUMENTARY: You’re Italian and made a film shot in Cuba—how did this come about?
TOMMASO SANTAMBROGIO: Though I’m originally from Northern Italy, I’ve been living between Milan and Cuba since I was a child. My father is connected to Cuba, so when I was a child I grew up in Cuban culture. The first time I ever left Italy was to go to Cuba and then I visited every three years. So I have grown up in Cuba and have seen the changes. It’s a country that I am really attached to.
D: I love the idea of having an adopted culture—you’re not from somewhere or there is no blood line but you feel a strong connection. It’s fascinating when someone is not from a place but they are still able to feel that heart and culture and to bring it to life on screen. I’m curious about the perspective you bring from an outsider’s point of view.
TS: The only way to tell a story that is not your own story or when you’re not from that country is to be more open to listening, to be a vehicle to the story, and not be the protagonist of that story. Nowadays, cinema focuses on talking about yourself but I think after a while, it becomes selfish to talk about yourself. There are increasing nationalist attitudes and the closing of borders. It’s important to be open to others, to listen, and to have an anthropological approach to art, and even to life.
Aside from my approach, it was really important to meet the right people—Alexander, Edith, Milagro, and the children. These are all really close friends; we are kind of a family. If I had not met them it would not have been possible to make Oceans. It would have been another kind of movie. Although I wrote the film, we were constantly writing together and sharing experiences together. We exchanged opinions about the characters, took their past memories, and built up their narrative arcs out of their real experiences.
D: I know Oceans started off as a short film with just Edith and Alexander. How did you meet them?
TS: I was studying in film school in Cuba and I had this idea of exploring this theme of separation. I experienced a lot of people who left and could not come back. I saw migration caused by sports, like boxing and baseball.
A Cuban producer introduced me to Edith because she had just broken up with a boyfriend who left because of this type of migration and she had a lot to say about this topic. After we spent the whole day talking she said, “I must introduce you to my close friend Alexander,” and then we spent 3 weeks together. Then he took me to meet Milagros, who lives across from La Casa de la Cultura where Alexander teaches dance. He took me to have a coffee at Milagros’ house and I read her real letters.
D: These are her real letters that she reads in the films?
TS: They are based on real letters from a former lover, her ex-husband, who she had a baby with. Some of the letters were really short or had a lot of references that could not be explained in the film. But I wrote the film’s letter after I read all of her letters and together we built up their narrative structure.
D: When did you decide to expand Oceans to incorporate the other stories and characters?
TS: I had this idea of telling three different stories on the topic of separation. Present, past, and future. I originally shot it without children but then realized I needed the children to tell the story I wanted to tell.
D: How did you find the children?
TS: Alexander and I cast the children. It was the only part of the film that had cast actors. However, casting here in San Antonio de los Baños, a very small place, is untraditional. We spent two months meeting all types of children and running through playful exercises with them. This helped us measure if they could be comfortable with the camera and other people.
Alain was very easy to cast as he was the more extroverted child character. When I met Frank, even though he was very shy, I found him to be so cinematic and touching. We did a workshop for six months where they took baseball lessons and dance classes with Alexander and visited all of the locations. We would play and create the dynamics together. Alain and Frank never had a real script; their scenes were all based on their memory of what we played and our experiences spent together.
D: I know these actors are non-professional actors—can you speak to your filming process?
TS: I wrote the script beforehand with the characters’ input, but once shooting started, I left space for improvising and change because we were all so connected in what we were doing we had the freedom without any pressure to stick to one thing.
With Alexander and Edith, we wrote together so they were living and acting as they were writing. With Milagros, we focused on the body and her movements and actions. To me, she represents the body of Cuba. We worked on her pace, actions, relationship with the house and the train station. It was more of a performative attitude. With the children, they never read the script so it was about creating the dynamics in the right way through memory and games.
It was really important that they could be natural and spontaneous. I wasn’t interested in imposing my words in their mouths. I wanted them to be free to express themselves in the way they would normally react and talk. It was the same with Edith and Alexander, but it was a bit different because they are artists and naturally more conscious of their actions.
D: It’s interesting because you’re taking real people, real stories but then dramatizing it a little bit. I know you come from a documentary background and Oceans is considered a docudrama.
TS: I see Oceans similar to what the French call fiction du réel—fiction of reality. It’s interesting to do this type of cinema because we are living in this new society where artificial intelligence takes up so much space and the borders between what is real and not real are so thin. To get back to reality you can’t start from your own mind, you must take what is real and tell a story that is really necessary. That’s why I got into documentaries in the first place. I love fiction and experimental cinema, but still the experimentation in documentaries is really the most interesting part of cinema nowadays.
D: Who are some of your filmmaker influences?
TS: I have so many filmmakers who have inspired me in many ways. Growing up, early Italian cinema and Neorealism was a big influence, with directors like Pasolini, Antonioni, Rossellini. Nowadays, I love Miguel Gomes, who works between documentary and fiction. I was at Cannes last week and was really surprised, in a positive way, that directors like Jia Zhangke, an iconic Chinese director, were working on documentaries in order to create that fiction story in a new and different way. So many masters are getting back to that perspective.
D: You shot your early short films yourself, which is common for documentary filmmakers. However, for Oceans you collaborated with cinematographer Lorenzo Casadio Vannucci. Did you like sharing the camera?
TS: He is really a master, Lorenzo. He studied in Cuba and had worked on a lot of documentaries prior to Oceans. We first collaborated on a mid-length docudrama last year called Taxibol which premiered at Telluride in 2023. We split up the filming and for the first time, I started to let go. I was used to having the camera in my hands and controlling the lighting and aesthetic, but trusting someone who can give you even more than you can do is amazing. I love the collective process of filmmaking. Having the right people is the most important part of the movie.
D: It’s uncanny because though parts are fictionalized, Edith actually does move to Italy so these actors are experiencing real things before they even happen in the film. Do you think this had an impact on your actors?
TS: So many of our characters were actually in the process of leaving Cuba while we were filming. Edith left for Italy a day after shooting. She was actually doing the same embassy process that she goes through in the film, in real life. There was so much cinéma vérité. It was getting more painful for all of the actors during shooting because they were digging up what they were feeling in the past and doing a psychoanalysis of what they were living through.
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https://www.britannica.com/topic/Oceans-8
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Ocean’s 8 | film by Ross [2018]
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Other articles where Ocean’s 8 is discussed: Awkwafina: Early comedic roles: …a coming-of-age movie on Netflix; Ocean’s 8, an all-female variation of Ocean’s Eleven, the classic heist movie starring Frank Sinatra that was remade in the 21st century with George Clooney in the lead role; and Crazy Rich Asians, the film adaptation of the best-selling novel by Kevin Kwan. That same…
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en
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/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/Oceans-8
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In Awkwafina: Early comedic roles
…a coming-of-age movie on Netflix; Ocean’s 8, an all-female variation of Ocean’s Eleven, the classic heist movie starring Frank Sinatra that was remade in the 21st century with George Clooney in the lead role; and Crazy Rich Asians, the film adaptation of the best-selling novel by Kevin Kwan. That same…
Read More
In Cate Blanchett: Hepburn, Dylan, and Academy Awards
…next year she starred in Ocean’s 8, the female-driven reboot of the Ocean’s Eleven franchise from the early 2000s, and The House with a Clock in Its Walls, an adaptation of a 1973 children’s fantasy novel.
Read More
In Helena Bonham Carter
Bonham Carter then appeared in Ocean’s 8 (2018), a female-driven reboot of the Ocean’s Eleven franchise from the early 2000s. In 2020 she was cast as the title character’s mother in Enola Holmes, an action adventure based on a young-adult series about the teenaged sister of Sherlock Holmes; she reprised…
Read More
In Sandra Bullock
…of a jewelry heist in Ocean’s 8, the female-driven reboot of the Ocean’s franchise. She was also cast as a mother who takes a perilous journey blindfolded in Bird Box, a supernatural thriller in which an obscure force causes destruction to those who look upon it. In her next film,…
Read More
In James Corden
…in such high-profile movies as Ocean’s 8 (2018). He also lent his voice to several popular animated films, including Trolls (2016) and its follow-up, Trolls World Tour (2020); The Emoji Movie (2017); Peter Rabbit (2018) and its sequel (2021); and Smallfoot (2018). In addition, he provided the voice of an
Read More
In Anne Hathaway: The Dark Knight Rises, Les Misérables, and Interstellar
…as a self-absorbed actress in Ocean’s 8 (2018), a female-driven reboot of the Ocean’s Eleven franchise from the earlier 2000s. Her credits from 2019 included Serenity, a thriller in which her character solicits her ex-husband (Matthew McConaughey) to commit murder; the comedy The Hustle, about two rival con artists; Modern…
Read More
In Mindy Kaling
…the mostly female cast of Ocean’s 8 (2018), a reboot of the Ocean’s Eleven franchise from the early 2000s. In 2019 Kaling wrote her first feature-length screenplay, Late Night, in which she also starred as a diversity hire on the writing team of a nightly talk show. She later voiced…
Read More
In Rihanna: Other activities: acting and Fenty Beauty
…appeared as a hacker in Ocean’s 8 (2018), a female-driven reboot of the Ocean’s Eleven franchise from the early 2000s. In 2019 she starred with Donald Glover in the musical Guava Island; it premiered at the Coachella Valley Festival before streaming on Amazon.
Read More
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https://www.rogerebert.com/reviews/oceans-thirteen-2007
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Ocean's Thirteen movie review (2007)
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The genius of the past decays remorselessly into the routine of the present, and one example is the downfall of the caper picture. The classic caper genre had rules set in stone. It began (1) with an impregnable fortress (vault, casino, museum, or even Fort Knox). Then we met (2) a group of men who hoped to impregnate it. There was (3) a setup about the defenses of the fortress, and (4) a chalk talk in which the mastermind told the others what they were going to do and how they were going to do it. This had the advantage of also briefing the audience, so that the actual caper could proceed in suspenseful silence while we understood what they were doing and why.
|
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/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png
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https://www.rogerebert.com/
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https://www.rogerebert.com/reviews/oceans-thirteen-2007
|
The genius of the past decays remorselessly into the routine of the present, and one example is the downfall of the caper picture. The classic caper genre had rules set in stone. It began (1) with an impregnable fortress (vault, casino, museum, or even Fort Knox). Then we met (2) a group of men who hoped to impregnate it. There was (3) a setup about the defenses of the fortress, and (4) a chalk talk in which the mastermind told the others what they were going to do and how they were going to do it. This had the advantage of also briefing the audience, so that the actual caper could proceed in suspenseful silence while we understood what they were doing and why.
The modern caper movie, such as Steven Soderbergh's "Ocean's Thirteen," dispenses with such tiresome exposition and contains mostly action and movie-star behavior. Only the characters know what the plan is, and we are expected to watch in gratitude and amazement as they disclose it out of their offscreen planning and plotting. Fair enough, if it's done with energy and style. If, however their plan involves elements that are preposterously impossible, I feel as if I'm watching one of Scrooge McDuck's schemes.
All of the "Ocean's" movies, including the long-ago Sinatra version (1960), are remade or inspired by a great French caper movie, Jean-Pierre Melville's "Bob le Flambeur" ("Bob the Gambler," 1956), in which Bob actually laid down chalk lines in an open field to walk his accomplices through a raid on a casino. The movie is available on DVD in the Criterion Collection; see what you're missing now that the formula has been adapted for ADD sufferers.
"Ocean's Thirteen" begins as aging and beloved casino legend Reuben Tishkoff (Elliott Gould) plans to open his latest and greatest Vegas casino. Alas, he has taken for a partner the devious double-crosser Willie Banks (Al Pacino, very good), who swindles him out of the casino and lands him in the emergency room with shock and grief. Then Reuben's loyal friends (played by George Clooney, Brad Pitt, Don Cheadle, Bernie Mac, Matt Damon, etc.) gather at his bedside and vow to sabotage the opening of the new casino.
I don't know what kind of resources these rootless but glamorous men have, except that they are apparently unlimited. They manufacture trick-card shufflers, sabotage the roulette wheels and even give the man they think is the guru of casino ratings (David Paymer) something resembling the heartbreak of psoriasis. These plans are not explained; they are simply pulled out of the heroes' hats, or thin air.
To be sure, Soderbergh is a gifted director and (under a pseudonym) cinematographer, and he has a first-rate cast. Most moviegoers will probably feel they got their money's worth, and that's the bottom line. But I grew impatient with the lickety-split pacing. This material is interesting enough that it needs care and attention, not the relentlessness of a slide show.
I know full well I'm expected to Suspend My Disbelief. Unfortunately, my disbelief is very heavy, and during "Ocean's Thirteen," the suspension cable snapped. I think that was when they decided to manufacture a fake earthquake to scare all the high-rollers on opening night. How did they plan to do this? Why, by digging under the casino with one of the giant tunnel boring machines used to dig the Chunnel between England and France.
Yes, you can buy your own. There were originally 11. One sold on eBay for around $7 million. A boring machine, I find, weighs about 600 tons. How easy do you think it would be for a handful of Vegas slicksters to buy such a machine, transport it to America, move it cross-country, and use it to drill a tunnel under the Strip (which never sleeps), all the while removing untold tons of earth, rock and sand without being noticed? And without causing earthquakes in all the other casinos they bored under?
I am reminded of that IMAX documentary about climbing Mt. Everest. All I could think of was, if it's hard for the climbers, think about how hard it is for the guys carrying the big IMAX camera up the mountain. I wanted to see a doc about them. Now if you had a movie about smuggling a 600-ton tunnel boring machine under Vegas, that would be a caper.
"Ocean's Thirteen" proceeds with insouciant dialogue, studied casualness, and a lotta stuff happening, none of which I cared much about because the movie doesn't pause to develop the characters, who are forced to make do with their movie-star personas. Take Don Cheadle, for example. After the magnificence of his performance in "Hotel Rwanda" and the subtle, funny, sad power of his leading role in Kasi Lemmons' upcoming "Talk to Me," we get him hanging around in this film, looking like they needed him to get to 13. I guess he has to make movies like this to pay the mortgage. My advice? Rent. You have no idea about the headaches of homeownership.
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https://evaschon.wordpress.com/2022/06/07/movie-review-oceans-11-1960/
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movie review: Ocean’s 11 (1960).
|
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2022-06-07T00:00:00
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source. Ocean's 11 tells the story of eleven guys, headed up by one Danny Ocean (Frank Sinatra), who plan an elaborate heist—one that involves stealing hundreds of thousands (if not millions) of dollars from five Las Vegas hotels (all on the same night). The film takes a lot of time to showcase the personalities and…
|
en
|
THE CAFFEINATED FANGIRL
|
https://evaschon.wordpress.com/2022/06/07/movie-review-oceans-11-1960/
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5635
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dbpedia
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2
| 92
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https://www.southcoasttoday.com/story/entertainment/local/2001/12/06/remake-60-s-caper-film/50334904007/
|
en
|
Remake of the 60's caper film is suave and slick - "Ocean's Eleven"
|
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""
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[
"Roger Ebert, Chicago Sun-Times, New Bedford Standard-Times"
] |
2001-12-06T00:00:00
|
Directed and photographed by Steven Soderbergh. Starring George Clooney, Brad Pitt, Andy Garcia, Julia Roberts, Casey Affleck, Scott Caan, Don Cheadle and Matt Damon. Running time 116 minutes. Rated …
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en
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Standard-Times
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https://www.southcoasttoday.com/story/entertainment/local/2001/12/06/remake-60-s-caper-film/50334904007/
|
Directed and photographed by Steven Soderbergh. Starring George Clooney, Brad Pitt, Andy Garcia, Julia Roberts, Casey Affleck, Scott Caan, Don Cheadle and Matt Damon. Running time 116 minutes. Rated PG-13, for some language and sexual content.
,
Serious pianists sometimes pound out a little honky-tonk just for fun. That's like what Steven Soderbergh is doing in "Ocean's Eleven." This is a standard genre picture, a remake of the 1960 Frank Sinatra caper, and Soderbergh, who usually aims higher, does it as a sort of lark. It's slick, all right Directors this good don't usually handle material this routine. It has yearnings above its natural level, as if hoping to redeem itself and metamorphose into a really good movie.
The movie stars George Clooney, who can be powerfully impassive better than almost anybody, as Danny Ocean, fresh out of prison and eager for a new job. He's a smooth operator who, his parole board notes, figured in a dozen investigations where he was never charged. He contacts his old sidekick Rusty Ryan (Brad Pitt) with a scheme to steal millions from not one but three Las Vegas casinos. Amazingly, the movie specifies and shoots in real casinos (the Mirage, the MGM Grand and the Bellagio) and incorporates the destruction of the Desert Inn.
Casing the job, Rusty sees the casino owner (Andy Garcia) with a woman he recognizes Tess Ocean (Julia Roberts), Danny's ex-wife. "Tell me it isn't about her," Rusty begs Danny. Of course it is. Ocean wants to steal from his ex-wife's current lover AND get her back again. They assemble a team, including Matt Damon, Don Cheadle and Casey Affleck. I suppose there are 11 in all, although even during a long tracking shot I forgot to count.
The outlines of a caper movie are long and well established The scary external shot of the impenetrable targets, the inside information, and voice-over as we see guards going about their work, the plan with the split-second timing. "Ocean's Eleven" even includes an elaborate full-scale mock-up of the strong room used by the three casinos, leading to such practical questions as (1) why does it need to be this elaborate? (2) how much did it cost? and (3) who contracted it for them, or did they knock it together themselves overnight?
The movie excels in its delivery of dialogue. The screenplay by Ted Griffin is elegantly epigrammatic, with dialogue that sounds like a cross between Noel Coward and a 1940s noir thriller.
Roberts You're a thief and a liar.
Clooney I only lied about being a thief.
R You don't do that anymore?
C Steal?
R Lie.
They do this so well I was reminded of the classic exchanges between Bogart and Bacall. And notice, too, the conversation involving Clooney, Roberts and Garcia, when the casino boss finds the ex-husband at Tess' table in the dining room. The two men, of course, despise each other, but are so smooth and cool we note it only in the precision of their timing and word choices, leading up to a final exchange in which Danny, leaving the table, says "Harry" in a way that uses the first name with inappropriate familiarity, and Harry responds "Danny" on precisely the same note.
Brad Pitt has a nice dialogue passage too, when he's briefing the Matt Damon character. The jargon is all about strategy and entirely in modern terms, but listen to the music instead of the words and you realize it's a riff on Hamlet's instructions to the players.
As movie capers go, the specifics in "Ocean's Eleven" are not necessarily state-of-the-art. I can think of more ingeniously executed plans, most recently in "The Score," but then this is not a movie about suspense but about suavity. George Clooney and Julia Roberts deliberately evoke the elegance of stars like Cary Grant and Ingrid Bergman, Andy Garcia is as smooth, groomed, polished and tailored as George Raft, and the movie blessedly ends not with a shoot-out but with a complicated plot finesse.
I enjoyed it. It didn't shake me up and I wasn't much involved, but I liked it as a five-finger exercise. Now it's time for Soderbergh to get back to work.
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7 Movies To Watch About Ocean Conservation
|
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] |
[] |
[] |
[
""
] | null |
[
"lisamcintyre2"
] |
2020-08-17T13:53:04.642000+00:00
|
Movies, especially documentaries, have the power to not only educate us about issues, but to show them to us. Here are some eye opening films you can watch online about ocean conservation problems in the world today. They are all available on streaming platforms or for free at the links provided. 1. Sharkwater (2006)Released in 2006, Sharkwater was written and directed by recently deceased conservationist Rob Stewart. Inspired by Stewart’s life-long love of sharks, Sharkwater helped to change p
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en
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SeaSmart Ocean
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https://www.seasmartocean.org/post/7-movies-to-watch-about-ocean-conservation
|
Movies, especially documentaries, have the power to not only educate us about issues, but to show them to us. Here are some eye opening films you can watch online about ocean conservation problems in the world today. They are all available on streaming platforms or for free at the links provided.
1. Sharkwater (2006)
Released in 2006, Sharkwater was written and directed by recently deceased conservationist Rob Stewart. Inspired by Stewart’s life-long love of sharks, Sharkwater helped to change public perception of the ocean’s apex predators. Instead of portraying them as killers to be feared, Stewart uses stunning footage of sharks in their natural environment to reinforce the message that their survival is essential to the future health of the oceans.
Stewart also reveals the truth about the millions of sharks slaughtered each year in order to meet the demand of the Asian shark fin industry. Later, he teams up with conservation organization Sea Shepherd to expose corruption in the Cocos Island and Galapagos marine reserves. The ensuing conflict between the conservationists and the local authorities provides a powerful example of how important it is for each of us to take our own stand for the oceans.
WATCH: On Amazon Prime or for free at https://vimeo.com/88724551.
2. Chasing Coral (2017)
Chasing Coral is a 2017 documentary film about a team of divers, scientists and photographers around the world who document the disappearance of coral reefs. It was filmed over three years, with 500+ hours underwater, includes footage from over 30 countries, and was made with the support of over 500 people around the world.
WATCH: On Netflix or for free at https://www.youtube.com/watch?v=aGGBGcjdjXA.
3. The Cove (2009)
Winner of the Academy Award for Best Documentary in 2009, The Cove was written and directed by Mark Monroe and Louie Psihoyos respectively. It draws the eyes of the world to Taiji, Japan, where hundreds of dolphins are corralled in a secret cove each year. Some of the dolphins are captured and sold to aquariums around the world to live a life of confinement away from their families; while the rest are indiscriminately slaughtered.
The Cove follows the story of Ric O’Barry, a former dolphin trainer seeking redemption for his role in perpetuating dolphin captivity. It documents the difficulties O’Barry and his team faced whilst filming undercover in Taiji, and exposes the risk of eating dolphin meat contaminated with mercury. Above all, the documentary raises awareness of the inhumane way in which Taiji dolphins are killed and sheds light on the true origins of captive dolphins seized from the wild.
WATCH: On Amazon Prime or for free at http://www.documentarymania.com/player.php?title=The%20Cove.
4. Blackfish (2013)
Nominated for a BAFTA and released in 2013, Blackfish is the brainchild of writer and director Gabriela Cowperthwaite. It explores the inhumanity of keeping intelligent cetaceans in captivity; and in particular, acts as an indictment of SeaWorld, the multi-million dollar corporation currently housing 22 orcas at its United States theme parks. The documentary achieves these two goals by following the story of Tilikum, the SeaWorld orca involved in three human deaths.
Cowperthwaite uses shocking footage of captive orcas and interviews with ex-trainers to illustrate the trauma inflicted on whales like Tilikum and to explain how that trauma triggers violent behavior. Of all the documentaries in this article, Blackfish has perhaps had the most impact. As a direct result of the falling ticket sales and public pressure triggered by the film, SeaWorld has ceased its captive orca breeding program – making this the last generation of SeaWorld orcas.
WATCH: On Netflix, Hulu, Amazon Prime, or for free at https://www.area-documental.com/player.php?titulo=Blackfish.
5. A Plastic Ocean (2016)
The film begins when journalist Craig Leeson, searching for the elusive blue whale, discovers plastic waste in what should be pristine ocean. In this adventure documentary, Craig teams up with free diver Tanya Streeter and an international team of scientists and researchers, and they travel to twenty locations around the world over the next four years to explore the fragile state of our oceans, uncover alarming truths about plastic pollution, and reveal working solutions that can be put into immediate effect.
WATCH: On Netflix or at http://www.documentarymania.com/player.php?title=A%20Plastic%20Ocean.
6. Racing Extinction (2015)
In Racing Extinction, a team of artists and activists exposes the hidden world of extinction with never-before-seen images that will change the way we see the planet. Two worlds drive extinction across the globe, potentially resulting in the loss of half of all species. The international wildlife trade creates bogus markets at the expense of creatures that have survived on this planet for millions of years. And the other surrounds us, hiding in plain sight — a world that the oil and gas companies don’t want the rest of us to see. Using covert tactics and state-of-the-art technology, the Racing Extinction team exposes these two worlds in an inspiring affirmation to preserve life as we know it. (From the Academy Award® Winning Filmmakers of “The Cove”)
WATCH: On Amazon Prime or for free at https://www.documentarymania.com/player.php?title=Racing%20Extinction.
7. End of the Line (2009)
Directed by Rupert Murray and based on the book by Charles Clover, End of the Line was released in 2009. The documentary focuses on the effect of overfishing, and on the way in which human greed has depleted the world’s fish stocks. Filmed over the course of two years, the documentary features footage from all over the world. It focuses especially on the imminent extinction of the bluefin tuna, using the decimation of Newfoundland’s cod population as a cautionary tale.
End of the Line uses examples like these to illustrate the repercussions of overfishing, both for the oceans and for humans, many of whom will surely starve if seafood becomes unavailable. In addition to raising awareness of these looming disasters, the film also offers solutions. It serves as a call to action for consumers, encouraging them to choose sustainably sourced seafood and to put pressure on governments to implement tougher fishing laws.
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https://www.metalsucks.net/2013/04/10/watch-andrei-tarkovskys-stalker-the-russian-science-fiction-film-that-inspired-the-oceans-pelagial/
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en
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Watch Andrei Tarkovsky's Stalker, the Russian Science Fiction Film That Inspired The Ocean's Pelagial
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[] |
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[
""
] | null |
[
"MetalSucks",
"Axl Rosenberg",
"Hesher Keenan",
"Derek Tobias",
"Mandy Scythe"
] |
2013-04-10T00:00:00
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It's not the fastest moving movie ever made, but it is a masterpiece.
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en
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MetalSucks
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https://www.metalsucks.net/2013/04/10/watch-andrei-tarkovskys-stalker-the-russian-science-fiction-film-that-inspired-the-oceans-pelagial/
|
As Dave Mustein noted in his glowing review yesterday, the lyrics on The Ocean’s new album, Pelagial, are based upon Stalker, a 1979 Russian science fiction film which is considered a classic in some circles. The film’s visionary director, Andrei Tarkovsky, has a hardcore film geek following (including the late Ingmar Bergman, who allegedly considered Tarkovsky the greatest filmmaker of all time) because he only made seven feature-length films before dying of lung cancer at the age of fifty-four. You may be inadvertently familiar with Tarkovsky in a roundabout way: in 1972 he adapted Stanisław Lem’s novel Solaris into a film, and then in 2002 Steven Soderbergh and James Cameron made their own version of the novel starring George Clooney.
In any case: No Clean Singing has brought it to my attention that Stalker is available for viewing, complete with English subtitles, via YouTube. (Obviously this isn’t a legal upload, but I’ll look the other way if you will.) Obviously, if you’re interested in Pelagial, watching Stalker has the potential to allow you to hear the album in a whole new way. But speaking as someone who went through a “Tarkvosky phase” in college (oh, to be nineteen and already know everything again), I would recommend watching Stalker even if you’re not interested in Pelagial… although I’m not gonna lie, Tarkovsky’s movies are glacially paced (his original Solaris features a dialogue-free shot of car driving down a highway that must last about seventeen hours). They’re also mind-bending masterpieces, though, so it’s worth the effort it may take you to get through it.
To further entice or dissuade you from viewing the film, here’s Amazon’s description:
“One of Andrei Tarkovsky(Solaris, The Sacrifice) most acclaimed films, Stalker is an unforgettable film experience that evokes the spiritual lucidity of Carl Dreyer and the unbridled imagination of Philip K. Dick. Since its release in 1979, Stalker has inspired filmmakers as diverse as David Lynch and Steven Spielberg and ensnared audiences in a labyrinth of striking imagery revealing the familiar in the strange, the poetic in the disturbing and the mythic in the mordant. In the near future, an unseen alien force has taken possession of an area of Russian wilderness that authorities, have dubbed The Zone. The only thing known for sure about the region is that few who enter it ever return. Led by a Stalker one of a small group of outlaws able to safely navigate the Zone, a renegade scientist and a cynical, burnt out writer penetrate the dangers outside in search of the power and transcendence rumored to exist inside. The Stalker longs to un-do a mysterious physical transformation the Zone has performed on his young daughter. The scientist will risk anything to see that reason triumphs over faith. The writer seeks a germ of inspiration that the crumbling and corrupt world beyond the Zone no longer provides. Together, these three men become desperate pilgrims walking a desolate trail leading to one of the most enigmatic and tantalizing endings in the history of cinema. A haunting and honest meditation on the intersections of science, feeling, and faith.Stalker is both profoundly unsettling and deeply moving.”
Now go make some popcorn (or maybe borscht in this case) and enjoy (or find yourself bored to tears by) Stalker:
http://www.youtube.com/watch?feature=player_detailpage&v=MUoog4wd8j8
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0
| 33
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https://call-for-papers.sas.upenn.edu/cfp/2023/10/14/oceans-seas-and-shorelines-in-film-under-contract-with-routledge
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en
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call for papers
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2023-10-14T00:00:00
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en
| null |
We would like to invite humanities and social science scholars to contribute to our edited volume, ‘Oceans Seas and Shorelines in Film’, to be published in 2024/25 by Routledge in the Oceans Seas and Shorelines: a natural and cultural environmental history series.
Film is the most influential of all of the cultural media, combining powerful audio and visual formulas to recreate the world for the purpose of telling a story. It implicitly and explicitly conveys important aspects of real and imagined social change and exchange within a variety of environmental contexts, but the role of the environment and the impact of human agency on the environment has rarely been a focus of critical enquiry.
This pioneering volume of essays seeks to contribute to our understanding of how the filmic medium has represented oceans, seas and shorelines, from the early twentieth century to the present, to shape perception of and behaviour towards these environments. We are open to a variety of approaches to the subject but wish to stress the relationship between the natural and cultural environments as a contribution to current environmental debate.
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3
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https://thegnainsider.com/50945/entertainment/oceans-eleven-review/
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en
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Ocean’s Eleven review
|
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[
"Camden Keener"
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Today I will be doing a spoiler-free review of Ocean’s Eleven. With all of the crime/heist movies that have been made, I feel like this one doesn’t get talked about nearly enough. In my opinion, it is the quintessential heist film, and everything about it is fantastic. I’ll start with the cast, which is absolutely...
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en
|
The GNA Insider
|
https://thegnainsider.com/50945/entertainment/oceans-eleven-review/
|
Today I will be doing a spoiler-free review of Ocean’s Eleven. With all of the crime/heist movies that have been made, I feel like this one doesn’t get talked about nearly enough. In my opinion, it is the quintessential heist film, and everything about it is fantastic. I’ll start with the cast, which is absolutely loaded from top to bottom, and might be the best cast I’ve ever seen for a movie. The main character is Danny Ocean, played by George Clooney, and you have his ex-wife Tess Ocean played by Julia Roberts. Danny Ocean is planning one of the biggest heists ever on a Las Vegas casino, and he needs a massive crew. On that crew, is Linus Caldwell played by Matt Damon, Rusty Ryan played by Brad Pitt, Frank Catton played by Bernie Mac, Virgil Malloy played by Casey Affleck, Turk Malloy played by Scott Caan, Basher Tarr played by Don Cheadle, Livingston Dell played by Eddie Jemison, Saul Bloom played by Carl Reiner, and Reuben Tishkoff played by Elliot Gould. If you don’t know any of these actors, look into them and see how fantastic they all are separately. This cast alone would make any movie stellar but it definitely isn’t just the cast that makes it special. An intertwined story with fantastic directing, and also a great way of telling the story, especially in the last 30 minutes. The movie is only 1h and 56m, but it somehow doesn’t even feel that long. Some of the best pacing I’ve ever seen in a movie, as this completely flies by the entire time and there really isn’t a slow or boring spot.
The antagonist of this movie is the owner of the Las Vegas Casino that all of these characters are robbing, named Terry Benedict, played by Andy Garcia. I was a massive fan of his performance, as he wasn’t over the top at all, and he was very subtle, but that worked perfectly here. He does a great job of making you root even more for the guys committing the crime. Another thing I love about this movie is that it never really takes itself completely seriously. There are so many one liners and little comedy bits, along with Brad Pitt just eating stuff throughout the movie, that you can tell it doesn’t take itself too seriously. I was also a big fan of the score, as it just goes really well with what’s happening and makes the movie flow a lot better. The chemistry between all of the characters is something special to watch too. The back and forth between Brad Pitt and George Clooney is amazing, and Matt Damon goes perfectly with those two as well. Casey Affleck and Scott Caan bounce off each other really well while playing twins, and Carl Reiner just perfectly fits in with the entire cast.
I always rate the movies I watch and I rate them based on 10 things in the movie. Those things are: action, acting, cinematography, pacing, score, characters, ending, plot, protagonist, and antagonist. I rate all of those pieces 1-10 and then after that, I add up the scores of all 10 of them and get a total score out of 100. I gave this movie a 94/100, and like I’ve said the entire time this is just fantastic, and is easily the best heist movie I’ve seen.
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https://www.georgeavelez.com/the-cinemonographcollection/filmmaking-lessons-from-the-oceans-trilogy-oceans-twleve-oceans-thirteen
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en
|
'Ocean's Twelve' & 'Ocean's Thirteen Review & Analysis — George A. Velez
|
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[
"George A. Velez"
] |
2022-09-02T09:00:00-04:00
|
An analysis of the Steven Soderbergh’s ‘Ocean’s Trilogy’ and its commentary on filmmaking
|
en
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https://assets.squarespace.com/universal/default-favicon.ico
|
George A. Velez
|
https://www.georgeavelez.com/the-cinemonographcollection/filmmaking-lessons-from-the-oceans-trilogy-oceans-twleve-oceans-thirteen
|
The People v. Ocean’s Twelve
Ocean’s Eleven made $450 million on an $85 million budget. So, obviously, you know what that means. Ocean’s Twelve was a highly-anticipated sequel. Everyone was coming back. The movie takes place in Europe. It was bigger and more ambitious. When the movie came out, audiences and critics went, “The fuck?” It wasn’t well-received. It was called sloppy and smug. I shared a lot of these sentiments. Then I kept rewatching it. It was the obligatory sequel I had to sit through when I rewatched the trilogy. Then something clicked: It was the most accurate movie about what it’s like to make movies. I love this movie.
Ocean’s Twelve takes a lot of chances. It has all the things that made the first one great: Movie stars, glamour, fun characters, and a love story. But Steven Soderbergh is not going to do what you expect him to. Ocean’s Eleven is probably his most accessible film but Soderbergh is the experimental indie darling at heart. He’s going to break apart everything you expect from a genre and present it in a way you did not expect. Ocean’s Twelve is an indie arthouse film disguised as a crowd-pleasing Hollywood blockbuster. An indie-style film with a $120 million budget and movie stars.
The premise is Terry Benedict catches up with Ocean’s Eleven and demands his money back with interest or he’s gonna murder them. By the way, Benedict got the money back from the insurance company and he plans to murder them anyway. Terry Benedict is fucking crazy. Since the crew is too hot to work in the states, they head to Europe. This location dictates the filmmaking style of the whole film. Eleven was a Hollywood film. Twelve is a European film. European cinema is challenging for an American audience. It doesn’t follow the same rules. Twelve has non-traditional editing choices. Steven Soderbergh (also, the cinematographer of the series) has changed the visual language of the film, experimenting with color, zooms, and long takes. He pushes the film stock till the image is grainy, which is something most filmmakers try to avoid. He embraces the imperfections of certain filmmaking techniques, a sharp contrast to the precise and disciplined Eleven.
It’s a movie about how hard it is to make a sequel. And in doing that, it explores how hard it is to make a movie. There are great movies about making movies: 8 1/2, Irma Vep, and Day for Night, for example. But Ocean’s Twelve is the best movie about making movies. There is a scene where Danny and Rusty are walking and talking trying to crack their next heist. They talk about Roman Nagel, who’s “pushing this holographic technology. Can reproduce anything 3D.” They talk about how life outside capers sucks. Danny says. “Can’t turn my brain off. It’s me. I go into some place and all I can do is see the angles. It’s what I do. It’s what I’ve always done. I love it.” Danny and Rusty are the director-producer duo that loves what they do. They’re in a changing industry where it’s tough to stay fresh and come up with new ideas in a world where you could make anything appear digitally. They put this modern technology to use in their heist eventually. Danny and Rusty have to stay one step ahead when all eyes are on them. They have to keep the momentum and do something new. It’s the position Steven Soderbergh was in when he made this movie; a position any filmmaker can relate to.
Who Am I Supposed to be?
I’m going to talk about the most controversial elements of Ocean’s Twelve. Danny, Rusty, and the entire crew get arrested. In an act of desperation, Linus, Basher, and Turk call the twelfth member of the crew: Tess Ocean. Throughout the film, Linus has been saying Tess looks like a celebrity but before he can say the celebrity’s name, someone cuts him off. The crew asks Tess to impersonate said celebrity: Julia Roberts. This is a plot point that lost certain audience members forever. Tess is supposed to pretend to be Julia Roberts visiting a museum to distract everyone while Linus swipes Fabergé Coronation egg. Basher gives Tess tips on how to convincingly mimic Julia Roberts’ accent. Which is another in-joke because Don Cheadle was criticized for his terrible brilliant accent. During this part of the caper, the crew bumps into Bruce Willis, playing himself. Tess now has to pretend to be Julia Roberts in front of a celebrity. It doesn’t work.
The movie broke the fourth wall. Some even say jumped the shark. Again, I used to feel this way as well. But this scene is more than about being cute and winking at the audience. This is Soderbergh’s way of saying “this has been about filmmaking the whole time.” Bruce Willis and Julia Robert in this scene is a reference to Robert Altman’s The Player, a comedy that satirizes Hollywood. In that film, Bruce Willis and Julia Roberts play themselves and star in a highly anticipated courtroom drama that’s rewritten to include a false happy ending. Soderbergh is satirizing Hollywood, talking about how hard it is to be an artist in the film industry.
The person that sold Ocean’s Eleven to Benedict was a French master thief named François Toulour AKA The Night Fox. He sold them out because Toulour’s mentor didn’t correct someone when they said The Benedict Job was the best heist he’d ever seen. Toulour sold them out so he and Danny can race to steal the same item: the Coronation Egg. Toulour being French is not accident. Danny and Toulour’s rivalry symbolizes the debate over Auteur Theory. Auteur Theory is something that gained prominence when François Truffaut wrote the director is the “author” of the film. It gives the director credit for the success of the film. It should also be noted that Toulour and Truffaut share the same first name. Toulour is hellbent on receiving respect and adoration for his accomplishments. He’s no slouch. He’s definitely one of the best in the world. After all, he stole a yacht no one could find.
When everyone meets up after Benedict has found them, they all take umbrage at the fact that he said, “I’m not the only one in the world looking for Ocean’s Eleven.” Frank says he’s a private contractor. Livingston says the moniker is insulting and Basher says, “We all added our areas of expertise. Without us, it don’t leave you head, mate” Danny doesn’t care about this credit. He just like stealing because he enjoys it and he loves working with a crew. He’s a director who loved the collaboration. Toulour on the other hand, works alone. And that’s what leads to his downfall. Toulour believes in auteur theory and that’s not what filmmaking is about.
Most film trilogies are terrible. The hype has died down. By the time you’ve started the third one, the industry has changed so drastically. The third one is usually considered shit. You’re not as fresh or cool as you used to be. And that’s what Ocean’s Thirteen is about. The world is changing. The industry will move on without us. Ocean’s Thirteen is a swan song. Not only for the trilogy but an era in Hollywood.
In 2007, Hollywood was a different place. Superhero movies weren’t as prominent in 2001. The Dark Knight and the MCU were only a year away. But even before that, comic book films were picking up a lot of steam. Every studio was trying to get their hands on whatever comic property they could find. Pretty soon, movie stars would be old hat. Superheroes would be the new movie stars.
Digital cinematography is also on the horizon. David Fincher and Michael Mann have just shot their previous films on digital cameras and they’ve been singing their praises. Steven Soderbergh will shoot his next films, Che Part 1 & 2, on the RED One camera. Ocean’s Thirteen will be the last movie Steven Soderbergh will shoot on celluloid. Thirteen is back in Las Vegas but it builds on the visual grammar of Twelve. The film is more colorful, has more elaborate and experimental montages, longer takes, and more complex blocking. The perfect way to film a final installment.
Sinatra’s Hand
When the movie starts, times are changing for our crew. Reuben has been swindled out of a contract by Las Vegas mogul, Willy Bank (Al Pacino). They were opening a casino. Reuben suffers a heart attack and becomes bedridden, refusing to speak. Willy and Reuben are from a different generation. They take pride in being around so long that they’ve shaken Sinatra’s hand. There is a code amongst those who have shaken his hand. Bank doesn’t care about Sinatra’s hand or the code. He’s used Reuben’s money and resources to get what he wants and now he’s muscling him out of the casino. Bank evolved. He stayed current with trends and technology. Reuben has spent too much time worrying about his legacy and the old days. He isn’t sharp anymore and that’s led to him getting played.
The crew has one mission: ruin Willy Bank. They plan to prevent his hotel from winning The Five Diamond Award, an award he’s won numerous times for his previous hotels, and to rig all the games in his casino so it loses money on opening night. The crew finds themselves stuck. They ask for the help of Roman Nagel who tells them they’re “analog players in a digital world,” echoing where the industry is headed in terms of cinematography. Problems are popping up left and right. Willy Bank’s casino has the most sophisticated security systems in the world. Malloy organizes a strike in the dice manufacturing factory in Mexico. In 2007, a Writer’s Strike was on the horizon. And finally, the crew is running out of money. Without Reuben, the crew has to finance the caper themselves.
They decide to go to the only person that can give them money for the heist: Terry Benedict. That’s how desperate they are. They go to someone they hate just as much as Willy Bank. However, he’s their only option. Terry Benedict is now the movie studio. Reuben was the movie studio they loved working with. He gave them creative control and was a wonderful collaborator. Benedict just cares about beating his rival. But Benedict is not the collaborator Reuben was. He has concessions. He wants to be the first person paid, his investment doubled, and the crew to steal Bank’s other Five Diamond Awards, his most prize possessions. The studio has made its demands and now the money can be made. So, the crew has compromised itself but the heist can be made. The filmmakers have made their deal with the studio and the movie is back in production.
Frank Sinatra’s ghost haunts this movie more than others. It’s the first movie where he is mentioned by name and the first movie to feature one of his songs. Danny, Rusty, and the crew are able to make Bank’s casino lose money, they prevent him from winning the Five Diamond Award, and they’ve stolen the rest of the Five Diamonds. His time in Las Vegas is finished. He’s been around so long, he shook Sinatra’s hand; something Danny points out in their last conversation together. Bank should have been a collaborator; a true partner. He should have known better.
The crew is triumphant against the metaphorical movie studios (Bank and Benedict). The last time we see them echoes the Bellagio Fountains scene in Eleven. They watch the fireworks while we hear Frank Sinatra sing, This Town. It’s ironically joyous. The melody is bombastic while we hear Sinatra sing, “This town is a use you town and abuse you town.” It could be a song about Vegas or…Hollywood.
The streaming bubble has burst. Everyone wanted content until the bubble burst. Now, streaming services are reevaluating their content as they lose subscribers. The market is oversaturated. There are too many services and they’ve spent too much money on content that people are not paying attention to. Streaming looked like a promising hub for a lot of filmmakers, whether you’re established or up and coming. Now people are losing their jobs. Narrative departments are being slashed. Now, filmmakers are wondering where the hell we’re gonna go. And if you go to the movies, blockbusters rarely take chances like Ocean’s Twelve. No one knows what’s happening and everyone is worried. I wonder what Danny and Rusty are up to. Hopefully, they’ve adapted and can tell us struggling filmmakers where to go…or give us tips on how to rob casinos.
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5635
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https://www.newday.com/films/three-ocean-advocates
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en
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Three Ocean Advocates
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https://www.newday.com/themes/custom/newday/favicon.ico
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https://www.newday.com/themes/custom/newday/favicon.ico
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2024-04-22T12:00:00+00:00
|
Inspiring Change for a Healthy Ocean
|
en
|
/themes/custom/newday/favicon.ico
|
https://www.newday.com/films/three-ocean-advocates
|
Our oceans cover 70% of the earth and is the largest habitat on our planet. It provides over 50% of the oxygen we breathe, absorbs heat and carbon dioxide, and it is brimming with an amazing array of biodiversity that not only provides food for 3 billion people on the planet, but also supports a myriad of recreational activities. The ocean is in trouble, we know the causes, we have solutions and we can take actions to restore the health of the oceans.
The ocean advocates featured in this film share their stories and a glimpse into the challenges the ocean is currently facing. A California artist transforms plastic washed ashore into lifelike portraits of ocean heroes who have deepened our understanding of our interconnections to the ocean’s health. A California fisherman works with regulators and other fishermen to protect whales that are negatively impacted by the very fishing from which he makes his living. By taking photos over ten years, a curious snorkeler unknowingly creates an historic record of the life on the coral reefs surrounding the US Virgin Islands, capturing the astonishingly fast degradations of this once bountiful habitats. Follow these creative, passionate ocean stewards and be inspired to consider what actions you can take to support ocean health.
ANDREA E LELAND: For many years I have traveled, filmed, and lived in the Caribbean. Swimming daily in the ocean, I have seen first-hand the changes that are taking place. The reefs are bleaching and dying from viruses, micro- plastic particles and plastic waste are accumulating on our beaches, powerful hurricanes are destroying both the land and the seas. As a filmmaker, I felt compelled to take action to expose these issues and to provide hope by focusing on citizen scientists who are taking steps to heal the ocean. They show us you don’t have to be an expert to take action to heal our planet.
CYNTHIA ABBOTT: As someone who has lived near the ocean my entire life, I have been witness to its sad demise. The health of the ocean is at a critical turning point with only a few years left before we have done irreversible damage. As an environmental filmmaker, I believe the power of storytelling can change our collective vision of the ocean and create a new hopeful vision for the ocean’s future – one that is protected and thriving through our everyday actions.
|
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5635
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dbpedia
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2
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https://sites.psu.edu/jbpassion/2018/11/15/oceans-eight-an-introduction/
|
en
|
Ocean’s Eight: An Introduction – Women in Action Films
|
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[] |
2018-11-15T00:00:00
|
en
|
https://sites.psu.edu/jbpassion/2018/11/15/oceans-eight-an-introduction/
|
All of the previous movies I’ve discussed have been superhero or sci-fi movies, but I made this blog to talk about women in all types of action movies. I don’t know exactly if Ocean’s Eight is classified as an “action” film, but it’s one that is interesting to look at when examining female leads in traditionally male-led genres (or in this case, a previously male-dominated franchise).
When it was announced that Ocean’s Eight would be released, most people recognized that it was a reboot of the 2001 Ocean’s Eleven trilogy starring George Clooney, Brad Pitt, and Matt Damon among many others. However, the franchise actually began with the 1960 film Ocean’s 11, which starred Frank Sinatra and Dean Martin. All four of these movies centered around thief Danny Ocean (played by Sinatra and Clooney) and the team that he assembles to execute elaborate heists, characterized by their unique twists and surprises.
Both versions of the eleven person team are exclusively male. In Ocean’s Twelve, the 2004 sequel, Ocean’s wife, Tess (Julia Roberts), joins the team, but she takes on an incredibly minor role after being roped into the plot after the original plot goes awry. In Ocean’s Thirteen, another man is added to the group.
The original eleven members of Ocean’s team were highly skilled in particular areas – often the best in the world at their trade. But, in Ocean’s Twelve, Tess doesn’t have any special abilities that make her an indispensable part of the team. As previously mentioned, she was a last minute addition to the team and strongly protested being a part of her husband’s criminal activities. She is only necessary for their plan because of her striking resemblance to Julia Roberts. Although this is incredibly funny and leads to many jokes, it means that the only thing she brought to the team was her appearance.
Ocean’s Eight features an eight woman team, led by Danny’s younger sister, Debbie Ocean (Sandra Bullock). It stars incredibly talented actresses: Bullock, Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna, and Helena Bonham Carter. However, when it was first announced, some critics were worried that the all-female continuation of the original trilogy would end up similar to the 2016 Ghostbusters reboot, which received very harsh reviews and was critiqued by opponents to female reinterpretations of male-dominated franchises for not living up to the original movie. Ocean’s Eight did not elicit the same level of sexist hatred, but how did it compare to the original trilogy?
To be continued…
|
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5635
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dbpedia
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0
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https://www.themoviewaffler.com/2016/10/new-release-review-light-between-oceans.html
|
en
|
The Movie Waffler
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Movies, TV, reviews, interviews, previews, trailers, posters
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https://www.themoviewaffler.com/favicon.ico
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The Movie Waffler
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https://www.themoviewaffler.com/2016/10/new-release-review-light-between-oceans.html
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Best casinos not on gam stop are highly sought after and even offer no deposit bonuses.
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5635
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dbpedia
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1
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https://www.indiewire.com/news/general-news/steven-soderbergh-turned-down-oceans-franchise-return-1234944367/
|
en
|
Steven Soderbergh Turned Down Offer to Return to ‘Ocean’s’ Films: ‘The Series Was Very Much Concluded for Me’
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[
"Samantha Bergeson"
] |
2024-01-16T16:30:00+00:00
|
"Ocean's 11" director Steven Soderbergh confirmed he is done with the "Ocean's" franchise after directing the trilogy.
|
en
|
IndieWire
|
https://www.indiewire.com/news/general-news/steven-soderbergh-turned-down-oceans-franchise-return-1234944367/
|
Steven Soderbergh said he turned down the opportunity to return to the “Ocean’s” franchise, more than a decade and a half after directing”Ocean’s Thirteen.”
The director, who also helmed films “Ocean’s Eleven” and “Ocean’s Twelve” and produced spinoff “Ocean’s Eight,” told Variety that he is not planning to return to the heist series, regardless of the planned prequel and George Clooney’s sequel idea. The prequel film will star Margot Robbie and Ryan Gosling and will take place in 1960s Europe; Clooney’s follow-up is described as a “Going In Style”-esque conclusion set after the events of 2007’s “Ocean’s Thirteen.”
However, Soderbergh is sitting out involvement in both.
“After we made the third movie, I felt like the series was very much concluded for me,” Soderbergh said of the Warner Bros.-distributed films. “When the studio approached me to see if I’d be involved in continuing the franchise, I told them no, because it just doesn’t feel like a move forward for me.”
He added, “I’m chasing something else.”
Soderbergh concluded the “Magic Mike” trilogy with 2023 film “Magic Mike’s Last Dance.” The writer/director helmed supernatural horror film “Presence,” which will debut at Sundance 2024. This year’s festival also marks the 35th anniversary of his debut “Sex, Lies and Videotape.”
“Ocean’s” actor Don Cheadle said in 2021 that Soderbergh was toying with the idea of returning to the “Ocean’s” world before ensemble cast member Bernie Mac died. Cheadle later collaborated with Soderbergh on Max film “No Sudden Move,” during which the actor claimed Soderbergh was open to revisiting “Ocean’s.”
“We were talking about it [after ‘Ocean’s Thirteen’], and then Bernie [Mac] passed, and very quickly we were like, ‘No, we don’t want to do it,'” Cheadle told Entertainment Weekly at the time. “But I just did a movie with Stephen and he said, ‘I think there may be a way to do it again. I’m thinking about it.’ And it didn’t go much further than that. But I don’t know; I don’t know who all would be in it. I imagine the main group of us would be in. It would be interesting to see.”
“Ocean’s” star Clooney said during the 2023 TCM Classic Film Festival alongside Soderbergh that “Ocean’s Eleven” marked a turning point in Hollywood and in some ways, a return to form for blockbuster actors like Clooney’s co-stars Brad Pitt, Casey Affleck, Matt Damon, Elliott Gould, Julia Roberts, and more.
“The studios were making very big, broad, not very good films at that time. Steven had this idea of trying to infuse all of this independent film stuff that all of these young filmmakers were learning back into the studio system,” Clooney said. “It was going to get back to the things that they were doing from like 1964 to 1975.”
|
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https://www.vox.com/summer-movies/2018/6/6/17413244/oceans-series-eleven-11-12-13-8-sinatra-pitt
|
en
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The enduring appeal of the Ocean’s movies, explained
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[] |
[] |
[
""
] | null |
[
"Alissa Wilkinson"
] |
2018-06-06T00:00:00
|
They’re popular for the same reason the Avengers movies succeed.
|
en
|
/static-assets/icons/favicon.ico
|
Vox
|
https://www.vox.com/summer-movies/2018/6/6/17413244/oceans-series-eleven-11-12-13-8-sinatra-pitt
|
What makes the Ocean’s movies so alluring?
It’s no surprise that America loves heist movies with sexy, star-studded casts. And it makes sense that Hollywood loves them too (just take a look at the box office numbers). But there are lots of heist movies with ensemble casts, some of which, at the end of the day, are probably better films.
So what makes us keep going back to the Ocean’s series? The first movie came out almost six decades ago, in 1960, and starred five members of the “Rat Pack” — Frank Sinatra, Dean Martin, Sammy Davis Jr., Joey Bishop, and Peter Lawford — alongside a host of other well-known actors, including Angie Dickinson. In 2001, Steven Soderbergh remade the movie, this time with George Clooney and Brad Pitt in Sinatra and Martin’s roles and a murderer’s row of established and emerging movie stars: Bernie Mac, Don Cheadle, Andy Garcia, Elliott Gould, Carl Reiner, Casey Affleck, a baby-faced Matt Damon, and Julia Roberts.
That film was so successful that it spawned two more, Ocean’s Twelve in 2004 and Ocean’s Thirteen in 2007. And with each new addition, the cast just kept adding luminaries like Catherine Zeta-Jones, Al Pacino, and Ellen Barkin. The critical opinion on the films has grown tepid, but audiences still flock to them, and their popularity is enough to have spawned a new film: Ocean’s 8, which exists in the same universe as the trilogy but tells a new story. And it stars mostly women, in stark contrast to the four films that came before it.
Five films in — one original, one reboot, two sequels, and now a kind of “sidequel” — it’s worth asking: What’s the special appeal of the Ocean’s films? There are lots of answers to this, but one thing seems obvious: The Ocean’s movies feature the OG superhero supergroup — on not one but two levels.
The Ocean’s films scratched the Avengers itch before the Avengers made it to the big screen
Certainly the characters in the Ocean’s films aren’t literal superheroes. But Danny Ocean’s gang of thieves aren’t all that far off either.
Both the 1960 and 2001 versions, for instance, spend a lot of time (half the film, for the 1960 version) assembling the team — a classic move in superhero supergroup movies — and naming each of their individual strengths that make them a vital part of the team.
And those strengths seem pretty impressive. Some of them are just very good at diverting attention. Others are excellent at lock-picking or pickpocketing. There’s the contortionist who can worm his way around ladders and the guys who know everything about explosives — and, of course, there’s Danny Ocean, whose main superpower is basically convincing people to do what he wants them to do.
None of these characters alone could pull off a heist as big as the movies want them to (stealing precious and heavily guarded jewels, for instance, or knocking over a bunch of Las Vegas casinos). But together, their powers combine to make something great. They’re not trying to save the world or defeat any villains; they’re just trying to settle scores and get a bunch of cash. But their combined abilities make them extremely powerful.
The films never spend too much time explaining how or why they got this way. In fact, we don’t know a lot about the characters at all — there aren’t really any individual origin stories, only the team’s origin story. In the 2001 version, Clooney’s Danny, arguably, is the most fleshed out, but that’s only because we know about his time in prison and his marriage to Roberts’s Tess. In the 1960 version, the most we get about almost anyone is that they were all members of the 82nd Airborne during World War II, and the heist is partly just a way to relive their glory days.
Watching them assemble to complete what seems like an impossible task (and then another, and another) is undeniably exciting in the same way that putting together a team of actual superheroes, as in the Avengers (or, if you prefer, the Fellowship of the Ring). How, we find ourselves wondering, will each character use their power? How will each piece of the puzzle fit together to pull off the perfect heist?
For my money (so to speak), Soderbergh’s 2001 reboot is the most fun of all of these: It has the thrill of finding out which cool, suave actor will show up next, but it also sails along rhythmically in a way the 1960 film doesn’t, skillfully building up tension and excitement. It’s like watching jazz, or a soccer team setting up the perfect play. Something about it is an unmitigated joy — even if, at the end of the day, you would never condone thievery.
But they’re supergroup movies of the second order too
There’s a second level of pleasure to the movies as well: We’re not just watching top-notch multitalented characters; we’re also very aware that we’re watching bona fide movie stars. The Ocean’s movies are all about actor supergroups.
From the start, the Ocean’s trilogy has always been about the fun of watching a whole bunch of your favorite glamorous stars show up in the same movie and appear to be having a great time — a tradition the new film ably extends. Like the Marvel or DC universes, which generate a great deal of excitement purely through casting announcements (Iron Man likely would never have been as big of a hit without Robert Downey Jr. in the lead), they’re built to advertise themselves to audiences purely on the strength of who’s in them.
That’s why the original film starred the Rat Pack, many of whom sing in the film as well. You’re not just there to watch some cool dudes steal some money; you’re there to watch some cool actors have the kind of good time together onscreen that you imagine they have every weekend at someone’s posh poolside party, and wish you were there too.
That’s why the trilogy starred Clooney and Pitt, undeniably Hollywood’s leading men in the ’00s, and added all kinds of faces to the mix that would give audiences the hit of happiness that comes with seeing your favorite actor onscreen. The films also tried to make it clear, in a slight and teasing way, that the actors were in on the joke; the clearest example of this is the bit in Ocean’s Twelve in which Tess (played by Julia Roberts) is part of a plot that involves her uncanny resemblance to ... Julia Roberts. (It’s foiled by the appearance of Bruce Willis, playing Bruce Willis, who of course knows the real “Julia.”)
Ocean’s 8 has followed this trend, casting Sandra Bullock as Debbie Ocean (Danny’s estranged sister), alongside Cate Blanchett, Helena Bonham Carter, Anne Hathaway, Awkwafina, Sarah Paulson, Mindy Kaling, and Rihanna. The marketing for Ocean’s 8 has been pretty clear: You want to see this movie because these women are all terrific actors you already love. And basically, you know what you’ll get — a fabulous heist (with everyone in excellent coats) and the pleasure of watching some talented thieves pull off an impossible heist.
There is, of course, a lot about the assembly of actors that feels old-fashioned (even in Ocean’s Thirteen, made barely more than a decade ago). Save for Tess, Danny’s (estranged) wife, the main cast in all four movies is made up of men, and for the most part, they’re white men who don’t seem particularly down on their luck except in their own eyes — all of which seems like at least a lack of imagination on the part of the filmmakers about who counts as a “movie star.”
But that is in many ways a relic of an older Hollywood — and as Fran Hoepfner put it in her great Bright Wall/Dark Room piece on the trilogy, “They’re truly of the zeitgeist, from a time in which we still wanted a group of mostly white men to get over on all those guys. The sweetness, the style, the pop culture references, the banter ... That’s the enduring magic, the backflip.”
And in the end, that may be the biggest joking wink of the Ocean’s films: They are true star-studded heist films, not just because of what happens in the story but also what happens in the audience. We know they’re a little silly — but they do too. We know they’re here to steal our hearts and a little of our money and time, but we’re okay with it. In a lot of ways, it’s a pleasure to be tricked so smoothly, and with so much panache.
|
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5635
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dbpedia
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2
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https://www.usgs.gov/special-topics/water-science-school/science/hardness-water
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en
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Hardness of Water
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2019-10-22T09:00:00+00:00
|
In scientific terms, water hardness is generally the amount of dissolved calcium and magnesium in water. But in layman's terms, you may notice water hardness when your hands still feel slimy after washing with soap and water, or when your drinking glasses at home become less than crystal clear. Learn a lot more about water hardness on the Water Science School site.
|
en
|
/themes/custom/usgs_tantalum/favicon.ico
|
https://www.usgs.gov/special-topics/water-science-school/science/hardness-water
|
• Water Science School HOME • Water Properties topics • Water Quality topics •
Water Hardness
The simple definition of water hardness is the amount of dissolved calcium and magnesium in the water. Hard water is high in dissolved minerals, largely calcium and magnesium. You may have felt the effects of hard water, literally, the last time you washed your hands. Depending on the hardness of your water, after using soap to wash you may have felt like there was a film of residue left on your hands. In hard water, soap reacts with the calcium (which is relatively high in hard water) to form "soap scum". When using hard water, more soap or detergent is needed to get things clean, be it your hands, hair, or your laundry.
Have you done a load of dishes in the dishwasher, taken out the glasses, and noticed spots or film on them? This is more hard-water residue—not dangerous, but unsightly. Many industrial and domestic water users are concerned about the hardness of their water. When hard water is heated, such as in a home water heater, solid deposits of calcium carbonate can form. This scale can reduce the life of equipment, raise the costs of heating the water, lower the efficiency of electric water heaters, and clog pipes. And, yes, mineral buildup will occur in your home coffee maker too, which is why some people occasionally run vinegar (an acid) through the pot. The acidity of vinegar helps to dissolve mineral particles by making them charged. These newly charged particles become attracted to the positive and negative charges in water and can be washed away easily.
But hard water can have some benefits, too. Humans need minerals to stay healthy, and the World Health Organization (WHO) states that drinking-water may be a contributor of calcium and magnesium in the diet and could be important for those who are marginal for calcium and magnesium intake.
Measures of water hardness
Hardness is caused by compounds of calcium and magnesium, and by a variety of other metals. General guidelines for classification of waters are: 0 to 60 mg/L (milligrams per liter) as calcium carbonate is classified as soft; 61 to 120 mg/L as moderately hard; 121 to 180 mg/L as hard; and more than 180 mg/L as very hard.
Water systems using groundwater as a source are concerned with water hardness, since as water moves through soil and rock it dissolves small amounts of naturally-occurring minerals and carries them into the groundwater supply. Water is a great solvent for calcium and magnesium, so if the minerals are present in the soil around a water-supply well, hard water may be delivered to homes. Water hardness varies throughout the United States. In areas of the country where the water is relatively hard (see map below), industries might have to spend money to soften their water, as hard water can damage equipment. Hard water can even shorten the life of fabrics and clothes (does this mean that high-school students who live in areas with hard water keep up with the latest fashions since their clothes wear out faster?).
As the image of the inside of a water-supply pipe shows, long-term movement of hard water through a pipe can result in what is called scale buildup. Just as in the human body where blood vessels can be reduced in inside diameter due to cholesterol buildup, water pipes can gradually close up resulting in less water movement through the pipe and a lowering of water pressure.
Water hardness in the United States
Note to Readers:
Water hardness is based on major-ion chemistry concentrations. Major-ion chemistry in groundwater is relatively stable and generally does not change over time. Although this map illustrates data from 1975, these data have been found to be accurate and useful in current assessments.
There are, however, several caveats about the nature, use, and interpretations of these data:
the data illustrated represent water hardness on a national and regional scale and must be so interpreted;
the 1975 data are not designed to be used to make local decisions or decisions on the scale of individual homeowner property; and
information that is directly relevant to water hardness and other chemical properties at a home or immediate locale should be provided by the local health agency, local water utility, or by the vendor of a local water-softening system.
Hardness of groundwater from domestic wells, a USGS study
A study from the National Water-Quality Assessment (NAWQA) Project assessed water-quality conditions for about 2,100 domestic wells across the United States. Water hardness was one water-quality parameter studied; results are shown in the map below.
Want to know more about hardness of water? Follow me to the Chloride, Salinity, and Dissolved Solids website!
• Water Science School HOME • Water Properties topics • Water Quality topics •
Water Hardness
The simple definition of water hardness is the amount of dissolved calcium and magnesium in the water. Hard water is high in dissolved minerals, largely calcium and magnesium. You may have felt the effects of hard water, literally, the last time you washed your hands. Depending on the hardness of your water, after using soap to wash you may have felt like there was a film of residue left on your hands. In hard water, soap reacts with the calcium (which is relatively high in hard water) to form "soap scum". When using hard water, more soap or detergent is needed to get things clean, be it your hands, hair, or your laundry.
Have you done a load of dishes in the dishwasher, taken out the glasses, and noticed spots or film on them? This is more hard-water residue—not dangerous, but unsightly. Many industrial and domestic water users are concerned about the hardness of their water. When hard water is heated, such as in a home water heater, solid deposits of calcium carbonate can form. This scale can reduce the life of equipment, raise the costs of heating the water, lower the efficiency of electric water heaters, and clog pipes. And, yes, mineral buildup will occur in your home coffee maker too, which is why some people occasionally run vinegar (an acid) through the pot. The acidity of vinegar helps to dissolve mineral particles by making them charged. These newly charged particles become attracted to the positive and negative charges in water and can be washed away easily.
But hard water can have some benefits, too. Humans need minerals to stay healthy, and the World Health Organization (WHO) states that drinking-water may be a contributor of calcium and magnesium in the diet and could be important for those who are marginal for calcium and magnesium intake.
Measures of water hardness
Hardness is caused by compounds of calcium and magnesium, and by a variety of other metals. General guidelines for classification of waters are: 0 to 60 mg/L (milligrams per liter) as calcium carbonate is classified as soft; 61 to 120 mg/L as moderately hard; 121 to 180 mg/L as hard; and more than 180 mg/L as very hard.
Water systems using groundwater as a source are concerned with water hardness, since as water moves through soil and rock it dissolves small amounts of naturally-occurring minerals and carries them into the groundwater supply. Water is a great solvent for calcium and magnesium, so if the minerals are present in the soil around a water-supply well, hard water may be delivered to homes. Water hardness varies throughout the United States. In areas of the country where the water is relatively hard (see map below), industries might have to spend money to soften their water, as hard water can damage equipment. Hard water can even shorten the life of fabrics and clothes (does this mean that high-school students who live in areas with hard water keep up with the latest fashions since their clothes wear out faster?).
As the image of the inside of a water-supply pipe shows, long-term movement of hard water through a pipe can result in what is called scale buildup. Just as in the human body where blood vessels can be reduced in inside diameter due to cholesterol buildup, water pipes can gradually close up resulting in less water movement through the pipe and a lowering of water pressure.
Water hardness in the United States
Note to Readers:
Water hardness is based on major-ion chemistry concentrations. Major-ion chemistry in groundwater is relatively stable and generally does not change over time. Although this map illustrates data from 1975, these data have been found to be accurate and useful in current assessments.
There are, however, several caveats about the nature, use, and interpretations of these data:
the data illustrated represent water hardness on a national and regional scale and must be so interpreted;
the 1975 data are not designed to be used to make local decisions or decisions on the scale of individual homeowner property; and
information that is directly relevant to water hardness and other chemical properties at a home or immediate locale should be provided by the local health agency, local water utility, or by the vendor of a local water-softening system.
Hardness of groundwater from domestic wells, a USGS study
A study from the National Water-Quality Assessment (NAWQA) Project assessed water-quality conditions for about 2,100 domestic wells across the United States. Water hardness was one water-quality parameter studied; results are shown in the map below.
Want to know more about hardness of water? Follow me to the Chloride, Salinity, and Dissolved Solids website!
|
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5635
|
dbpedia
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1
| 53
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https://www.the-numbers.com/movies/franchise/Oceans-Eleven
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en
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Ocean's Eleven Franchise Box Office History
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Ocean's Eleven franchise box office earnings
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https://the-numbers.com/images/logo_2021/favicon.ico
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The Numbers
|
https://www.the-numbers.com/movies/franchise/Oceans-Eleven
|
Release DateTitleDomestic
Video Sales
to DateWatch Now May 7, 2002Ocean's Eleven Netflix iTunes Google Apr 12, 2005Ocean's Twelve $3,421,331 Netflix iTunes Google Nov 13, 2007Ocean's Thirteen $49,083,237 Netflix iTunes Google Nov 13, 2007Ocean's Trilogy $52,011,160 iTunes Google Aug 21, 2018Ocean’s 8 $15,897,585 Hulu Amazon iTunes Google Vudu Oct 2, 2018Oceans 4-Film Collection Totals$120,413,313
Our DVD and Blu-ray sales estimates are based on weekly retail surveys, which we use to build a weekly market share estimate for each title we are tracking. The market share is converted into a weekly sales estimate based on industry reports on the overall size of the market, including reports published in Media Play News.
For example, if our weekly retail survey estimates that a particular title sold 1% of all units that week, and the industry reports sales of 1,500,000 units in total, we will estimate 15,000 units were sold of that title. The consumer spending estimate is based on the average sales price for the title in the retailers we survey.
We refine our estimates from week to week as more data becomes available. In particular, we adjust weekly sales figures for the quarter once the total market estimates are published by the Digital Entertainment Group. Figures will therefore fluctuate each week, and totals for individual titles can go up or down as we update our estimates.
Because sales figures are estimated based on sampling, they will be more accurate for higher-selling titles.
Weekend projections: Equalizer’s $34-million debut makes it most consistent franchise in history
September 3rd, 2023
The Equalizer 3 will fall short of a franchise-best opening, but will maintain the remarkable consistency of the franchise by opening with a projected $34.5 million from Friday to Sunday, according to Sony’s Sunday-morning estimate. That falls neatly between the openings of The Equalizer 2 ($36.0 million) and The Equalizer ($34.1 million) to make this the most consistent franchise in movie history. More...
Home Market Releases for October 2nd, 2018
October 2nd, 2018
It’s an off week on the home market with no blockbusters to deal with. There are two solid midlevel hits, The First Purge and Sicario: Day of the Soldado, but neither of those are Pick of the Week contenders. (Ant-Man and the Wasp is also coming out this week, but only on Video on Demand). There are some high quality picks: Leave No Trace, Three Identical Strangers, Molly, The Spiral Staircase, and Hyouka. It was a close race, but in the end, I went with Leave No Trace Blu-ray as Pick of the Week. More...
Home Market Releases for September 11th, 2018
September 10th, 2018
It is not a very busy week on the home market. Ocean’s 8 is the biggest release of the week, but it is not a Pick of the Week contender. In fact, there was only one real contender for that title, Hearts Beat Loud on Blu-ray. That said, Ocean’s 8 is worth picking up, as is Modern Family: Season Nine. More...
Weekend Wrap-Up: Ocean’s 8 has Franchise Best Opening with $41.61 million
June 12th, 2018
The weekend was very kind to Ocean’s 8, as it opened with $41.61 million. This is not only the top result this weekend, it is the best opening weekend in the franchise. Hereditary also opened on the high end of expectations, leaving just Hotel Artemis as the only disappointment of the weekend. Overall, the box office rose 13% from last weekend to $120 million. More importantly, this was 17% lower than the same weekend last year. That said, it could have been worse and 2018 still has a 5.1% / $250 million lead over 2017 at $5.11 billion to $4.86 billion. More...
Friday Estimates: Ocean’s 8 Opens With $15 million, Fallen Kingdom Will Steal its Thunder
June 9th, 2018
Two of the three new releases opened well on Friday. Ocean’s 8 open with $15.8 million, putting it on pace for an opening weekend of $42 million. This is the best opening in the franchise. It is also the cheapest installment in the franchise with a $70 million production budget, so it won’t need amazing legs to break even during its initial push into the home market. Its reviews are 69% positive, while it earned a B plus from CinemaScore. Neither of those results are particularly good, but they are no reason to panic either. Unfortunately, it won’t have the same legs as its predecessors, as the market has changed in the past decade. Furthermore, films with predominately female casts don’t do as well internationally, so the film will rely a little more on its domestic numbers to break even. That said, Warner Bros. should be happy with this result. More...
2018 Preview: June
June 1st, 2018
This May was an odd month, as Avengers: Infinity War opened on the last weekend of April, rather than the first weekend of May. This meant May started out slowly, but Deadpool 2 and Solo: A Star Wars Story did well enough to give 2018 a healthy lead over 2017. Looking forward, there are two potential monster hits this month, Incredibles 2 and Jurassic World: Fallen Kingdom, and another $100 million hit, Ocean’s 8. Last June, there were four $100 million hits, led by Wonder Woman, which pulled in over $400 million. I think 2018 and 2017 will be an even match at the top, so 2018 will have to rely on depth to improve upon its lead over 2017. More...
Featured Blu-ray / DVD Review: The Thieves
February 11th, 2013
The Thieves cost $14 million to make, making it one of the most expensive South Korean films made. It also became one of the country's biggest hits, second only to The Host in terms of tickets sold in its native country. It wasn't able to find a major audience here, but it did perform well compared to most limited releases. Should the home market prove to be more lucrative? More...
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3
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https://mediadiversified.org/2018/06/26/oceans-8-recognises-everyday-racial-politics/
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en
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Ocean’s 8 recognises everyday racial politics
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2018-06-26T00:00:00
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Ami Nisa discusses the politics of privilege and femininity in the in the all-women heist re-make Ocean’s 8
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en
|
Media Diversified
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https://mediadiversified.org/2018/06/26/oceans-8-recognises-everyday-racial-politics/
|
Ami Nisa discusses the politics of privilege and femininity in the in the all-women heist re-make Ocean’s 8
[CONTAINS SPOILERS] Ocean’s 8 (2018) is a satisfying, light-hearted film that follows the formula of its predecessors; Debbie Ocean (Sandra Bullock), the sister of George Clooney’s Danny Ocean puts together a crack team to pull of a jewel heist at the Met Gala. Only this time, the team is all women, including three women of colour. Like the rest of the internet, I was ecstatic when the initial promo images came out showing a cast that included Rihanna, Mindy Kaling, Awkwafina, Sarah Paulson, Cate Blanchett, and not forgetting my own personal idol Sandra Bullock. Although I was excited about the film, I felt some trepidation before going to see it. I was disappointed by Ghostbusters (2016) and felt cynical over the trend for gender-switching films, as a way for Hollywood to rehash old franchises and not invest in new stories. I still largely stick by this view, but Ocean’s 8 has affected me in such a way that I haven’t experienced in many years at the cinema – as a brown woman, it recognised the racial politics of my everyday experience, whilst also bringing me joy.
When looking through a list of contenders to join the Ocean’s 8 team, Debbie vetoes Lou’s (Cate Blanchett) suggestion of a qualified man because he’s ‘too visible’. At the crux of Ocean’s 8, is the message that it is women’s invisibility that enables them to succeed in the con. As Nine Ball (Rihanna) highlights in her disguise as a janitor – who is more invisible than working-class black women? The all-white board do not see her as a threat when she interrupts their highly confidential meeting to plant her recording device. Amita (Mindy Kaling) and Constance (Awkwafina) seamlessly blend into their roles as a waitress, personal assistant, and pot-washer because we are accustomed to seeing non-white bodies embody these lower socio-economic spaces. In the meantime, Lou and Tammy (Sarah Paulson) are able to move in the whiter, managerial roles. The old adage, of working twice as hard to get half as far, rang true in Oceans.
Ocean’s 8 isn’t revolutionary in its representations of these women, instead it shows the ways in which they subvert their own specific stereotypes and act on their known privileges in order to succeed in their mission. There’s no rebuttal to the notion of classed, white female privilege here, as Debbie waltzes into a department store and effortlessly picks out the cosmetics she needs.
She is able to live out her con like socialite and faux art luminary Anna Delvey because of her perceived, high, status. In the same vein Rose (Helena Bonham-Carter) plays upon the notion of the white female kooky artist, to stretch out her viewing of the Toussaint necklace, whilst Amita is the assistant who us tasked with the practicalities of the role.
Ocean’s 8 can be criticised for centring around the Met Ball, because it codes a certain type of capitalist aesthetic with femininity, yet it is undeniably a joyful experience to see these women just present at an A-list event in such an elitist institution. Much like Beyonce and Jay-Z’s recent video for Apeshit, the effect of seeing these glamourous women of colour exiting the Metropolitan Museum smuggling the diamonds in plain sight, is euphoric. You take those, most-likely-stolen-from-the-global-south-in-the-first-place, jewels back! As a brown woman, there was an inexplicable triumphant feeling to see women of colour allowed to exist in a mainstream Hollywood film without violence and trauma inflicted upon their bodies. Without having to be the sexualised vessel upon which filmmakers express their othering desires. These characters are allowed to exist as simply women, which is not a luxury usually afforded to women of colour. Due to the diversity of the cast, the women of colour do not end up holding the burden of being the only non-white face. These women are allowed to be multi-dimensional characters and not hold the weight of all representation on their shoulders. They can be hackers, they can be romantic diamond experts, skateboarders, and have happy endings, which is something I’m yet to see in mainstream cinema.
If you enjoyed this, and want more like it, then please consider making a donation, it can be anything from £2 and takes no time at all. Or give what you can afford from £2 per month and become an MD member.
Ami Nisa works at an independent cinema in the North East of England and is soon to embark on a PhD in American Horror Film. Her interests include intersectional feminism, trashy tv, and Sandra Bullock. You can find her on twitter @_aminisa.
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dbpedia
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https://armitageagonistes.wordpress.com/tag/oceans-8/
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Armitage Agonistes
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2018-06-12T23:47:15-05:00
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Posts about Ocean’s 8 written by Perry
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https://secure.gravatar.com/blavatar/7b81ab57e0c404bb672ac0f89bc338d4687c8c7a02672884e562e6ea7147aeee?s=32
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Armitage Agonistes
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https://armitageagonistes.wordpress.com/tag/oceans-8/
|
Part I – No Spoilers ( except what’s in trailers and some reviews)
One would think that with all my eagerness and planning to see Ocean’s 8 asap, I would have gotten this post up sooner – but it was not to be.
All I expected from this movie was a fun, relaxing time, some laughs, glamor, an intelligent plot with twists and some good acting, with the bonus of Richard Armitage. I’d have seen this film with or without him because I’m a fan of heist movies,and was already familiar with the Ocean’s franchise. Ocean’s 11 was great fun. Ocean’s 12 was unwatchable and Ocean’s 13, was not the cleverest, but the funniest.
I wasn’t disappointed. I enjoyed every minute of the movie and think it could have been longer to include more. It’s worth seeing more than once to take everything in. Some explanations and one or two line bits of dialogue move so quickly, it’s possible to miss something key – something that matters later. I saw the film twice, sort of, and had to go back over it in my mind to see what I missed the first time. I plan to see it a few more times when I can.
I had my usual issues when watching Richard Armitage’s work for the first time. I experience anxiety or heightened excitement. This was the case with Ocean’s 8, but to a lesser degree- maybe because he doesn’t have that much screen time ( though more than I anticipated) and also because there is so much else to focus on – the stars, the cameos, the plan, and of course, New York City – and so familiar to me especially, the Metropolitan Museum and the neighborhood around it. ( A relationship I’ll share another time)
The formula of this franchise is to assemble a stunning, large, mostly A-list, diverse cast who play experts, either as con artists, actors, hackers and other talents, whose mission is to execute some impossible heist. There is always some revenge or payback reason for choosing the mark , aside from the potentially huge financial score.
Ocean’s 8 keeps the flavor and general outline of the Ocean’s franchise without artificially wedding itself to the precise formula. We’ve got an A-list ensemble crew of female artists well known in their fields – big talent. There’s a seemingly impossible heist and a fast moving pace. We don’t have a real villain, not even an antagonist in the present, but we do have a revenge plot and the male version of the stunning female – but without the recognition of a Julia Roberts or Catherine Zeta Jones. What a bummer – All we have is Richard Armitage, as the mastermind’s ex, who put her in prison for five years plus years, and if possible, he’s gonna pay for that. He doesn’t bring that A List recognition ( ask @DanaSchwartzzz about that) and he’s not evil or menacing. His only contribution on screen is some some fine acting in a small but glamorous role and his knock out good looks. And while his screen time and dialogue is minimal, his character, Claude Becker, gets a lot of mention when he’s off screen. He’s essential to Debbie’s plot.
This was an almost perfect movie for me to want to see. It would have been more perfect for me, if Claude Becker had been drawn differently, but I’ll get to that in Part 2.
If you’re reading this, you know that Debbie Ocean ( Sandra Bullock), Danny’s sister, has been released from prison after she was set up by Claude Becker, her ex-boyfriend. It’s not clear right away what he did to her, but early in the film, it becomes clear that she’s got a grudge. She meets up with her former partner, and it seems like another lover, Lou (Cate Blanchette) and Debbie and Lou begin to plan their heist. But right off the bat, in one of the earliest scenes in the film, Debbie can’t seem to help herself – she takes herself to Claude’s art gallery for no specific reason. Curiosity? Threats? Warning? Whatever the reason, it’s obvious from the beginning, that Debbie hasn’t let go. As she explains later – maybe she just needs closure.
This initial and very brief scene is one of my favorites and it contains a delightful treat for Richard Armitage fans. I was deeming this as a spoiler at first, but then I discovered that bless her heart, RA_US saw fit to publish it on Twitter, so the jig is up.
In order to highlight in a flash that Becker has some chops in the Art world and may be a social somebody, the first glance into the gallery is a shot of two piles of what looks like GQ magazine on a table, all alike, all with Claude Becker on the cover. It’s hard to read the text, but not many Richard Armitage fans would fail to identify the photo – it’s this fan favorite by Leslie Hassler:
That Claude would stack these magazines, and no others, in his art gallery, says a lot about the sort of guy he is and his self image. It’s hard to read most of the text, but one can’t miss the upper right hand corner which boasts How to Starve Artists, which is something to be said for a gallery owner. ( Photoshoppers, if you can do better with the text, please advise). In addition, there’s a scene before Debbie enters, where he’s bragging to some woman about the number and location of his satellite galleries.
When Lou learns this of Debbie’s visit, she’s annoyed. Her view is that there shouldn’t be a job within a job, or as she puts it later, she doesn’t understand why Debbie has to put an asterisk on every job. Basically, Lou’s not on board if this heist is about revenge, and Debbie promises her that it isn’t. Hmmm. We’ll see. One of the trailers actually spoils this.
The mark in this heist is a $ 150M diamond necklace by Cartier, that’s been stashed away in the Cartier vault 50 feet underground for 50 years. The challenge? How to get it above ground and around the neck of Daphne Kluger ( Anne Hathaway) a leading lady actress and sponsor of that year’s Met Gala. The job? Robbing the necklace right off her neck at the Met Gala, an homage to fashion and the famous – the party of the year.
They’ve got 5 or 6 weeks to get it together.
Debbie and Lou start to put together their crew of women. They hash out some names for the positions that need filling, and Debbie makes it clear she doesn’t want any guys because guys get noticed, women don’t and this is one time they don’t want to be noticed. One by one the team is collected.
The team consists of fashion designer Rose (Helena Bonham Carter), hacker Nine Ball (Rihanna), fence Tammy (Sarah Paulson), jeweler Amita (Mindy Kaling) and pickpocket Constance (Awkafina) and Debbie’s long time friend, and maybe lover, Lou, (Cate Blanchett). ( Yup – we know – that’s only 7)
I’l give credit here to some of these bits. The assembly of the team is fun to watch as either Debbie or Lou, or both, knock heads to figure out who to choose and more or less audition their candidates. But we get only the briefest backstory for most of the crew. Best for me was Rose, the designer, who is on her last designer legs, having put all she has ( which isn’t much by this time – she’s 5 million in debt) into a last collection. You don’t want to miss this fashion show, or the snide remarks about the frocks. I’ve often thought when I’ve seen HBC on the red carpet – what the hell was she thinking? But Rose’s fashion collection takes the cake and is as far from HBC’s style as can be possible. It’s a gas.
I was also charmed by Awkafina, who gets no back story at all – but I think she lights up the screen, despite that I couldn’t always understand what the hell she was saying, or Rihanna, for that matter due to their street talk.
But overall, I was a little disappointed in the hiring process, (Rihanna, the Hacker, shows up out of seemingly thin air) and her qualifications are only that she’s the best hacker there is, who isn’t a Russian man. But she’s a damned good one.
Once they get together, however, there are some clever and humorous moments between and among them, for example when suburban mom, Tammy (The Fence) is juggling Debbie’s recruitment of her with bratty kids somewhere in Westchester or Nine Ball is demonstrating to Debbie and Lou how bad their internet security is – and how rad she is at her job. But, on the whole, I didn’t feel the same sort of bonding among this group as I did with the male versions of Ocean. It grows as they work together, and there’s definitely precision teamwork during the heist and in some lead-ups, but that strong connection wasn’t there for me until the final scenes.
But there are are fun scenes where the group or most of them is together in their hideout Brooklyn loft, especially the scene where Debbie gives a power point presentation of the heist and a couple of the crew, who have never been glamorous or rich, but are just, you know, girls who want to have fun, wish they can just go to the party without stealing anything.
What makes a successful con artist is that expert’s knowledge of human nature. She has to know how a stranger will react in order to manipulate him or her into acting to further the plan. Debbie and company are masters of this, and even the newbies learn fast. They have to convince Rose, the designer, to become a criminal, in order to get herself out of debt. Her mission – to manipulate movie star Daphne Kluger into allowing Rose, a has been designer, to style Daphne for the Met Gala – and to convince her to insist on wearing the Toussaint necklace hidden in the Cartier vault. Debbie and Lou have Daphne figured out, so their plan works, with Rose’s help. Then they have to convince Cartier to give up the necklace, which has been underground, literally, for years. Their knowledge of human nature is successful. Whether it’s the security team at the Met that needs to be enticed to change their procedures so security can be hacked, or Cartier and Vogue personnel, some private guards at the Met during the Gala, or fiddling with the seating arrangements. Not all of this requires high tech equipment or expertise – just a feel for how someone will react to a situation. Debbie knows
Watching these pieces unfold was delightful, and some of the ruses were super clever. If I didn’t laugh out loud, I certainly smiled a lot, or gave a frequent chuckle.
Then there is the use of modern tech, which was actually educational. Using 3-D printers, specially fitted glasses with wireless signals, hacking into Facebook pages, using computer cameras, and security systems, a little biology, a touch of chemistry, 1,000 safety pins- nothing the viewer could not understand… the plan falls into place – or some of it. The audience never knows the whole plan until it happens, and sometimes, afterwards.
Like the original Ocean films, a lot of the action takes place in flashbacks or simultaneous action with voice-over narration. But listen and watch carefully, because few facts are mentioned twice.
Fortunately, otherwise it would be a total bore, there are a few hiccups that need quick thinking technical skills, and occasionally, a little sister, to work out the bugs. Some of the most fun bits were those that solved problems and this provided a much needed bit of tension – even though we know it’ll work out.
For any fashionista, this movie is a winner. From the everyday outfits the crew wear, especially Cate Blanchett and Helen Bonham-Carter, to the fabulous gowns and jewels at the Gala, it’s a feast for the eyes. Not every dress was a winner in my eyes, in fact, the most boring ( and I think this was intentional) had to be the Valentino getup Rose makes Daphne wear to show off the necklace. While I thought the train on the beaded coat/cape made an impact as she walked up the Met stairs and I know that kind of hand beading costs a small fortune, the strapless dress was quite simple and not at all as avant garde as it should have been for the key celebrity sponsor. I’d say, lose the cape/coat, bead the dress instead and add a train.As it was, my college roommate wore a similar design a million years ago when she was Daisy Chain Princess.
Compare it to what she actually wore this year, also Valentino: ( I hate it, but…)
Honestly, I was taken aback when I realized, as the text on the screen gave the date, that we’d gotten to the night of the Gala so soon, though I’m not certain what more planning could have been done up to that point. I realized after, that I’d seen just about every bit of preparation (minus one or two surprises) unfold, yet It just seemed rushed to me.
Of course, another highlight of the film are the cameos of the celebrities, all filmed at the Met during a few nights. I can’t say I caught every one of them, it moved sort of fast. Debbie gets into a conversation in German with Heidi Klum, Zac Posner is sitting at the main table with Daphne and Claude, Anna Wintour has two or three cameos, the Kardashians show up, Serena is there, and a host of others at the Gala and a pre Gala luncheon. I need to see the film again to spot them all ( if I know them all).
And of course, the Met Gala is where we see quite a bit of Claude Becker ( also the pre event luncheon), as he ministers to a healthy and then not so healthy Daphne.
By this time, Debbie has disclosed to the crew exactly what went on between them which caused her imprisonment, and his conduct at the Gala is a call back to that.
The producers went all out for authenticity in this movie. As with every Met Gala, they came up with a credible theme, Scepter and Orb: Five Centuries of Royal Dress and a realistic, totally fabulous exhibit that seemed authentic.
I won’t say much about the night of the Met Gala here, because I don’t want to give away spoilers. I’ll just say that the execution of the robbery was pure entertainment, with just enough tension and possible screw ups to keep it interesting, though, as with most of the film, one has to suspend disbelief to enjoy. Still, most of it wasn’t totally impossible. And, we get another scene with Debbie and Claude, which has a big pay off later and some great reaction acting by Armitage.
As the evening ends, and the heist is a success, each crew member sheds her disguise, if she’s been wearing one, and exits in formal dress with the most beatific expressions, proud, strong and decked out. The small audience in the very large theater I was in cheered – in English and Spanish.
After the theft – enter Insurance investigator John Frasier, played by James Corden. Every scene he’s in is a winner – some of the funniest stuff in the film with most of the main characters, including, as we know from trailers, Claude Becker, Debbie and Daphne. He’s described as a little Columbo without the raincoat, meaning don’t be fooled into thinking he’s not pretty sharp. Debbie’s not fooled.
I’ve said now that at least two or three scenes were my favorite parts, but no – I have to add that the wind up, the finish, just before the final scenes, or let’s say, right up to that now iconic Subway scene ( along with a few things I’m saving for the spoilers post) are my favorites. Wait – no – it’s the scene with Daphne and Claude in his apartment because (a) it’s entirely looney and (b) ha! They had him take his shirt off!
So, if I have a zillion favorites, and few criticisms, and Richard Armitage, I’d say that overall it was a wild ride and a roaring success.
Anne Hathaway was a riot – is she or isn’t she number 8 – of course she is – but how? She stole the film, along with Corden. Sandra Bullock was Sandra Bullock. Cate Blanchett was a little annoying. I didn’t like the accent she chose – was it Brooklyn or some Boston dock worker? And there was a sort of nothingness to her role, except for the parts that hinted at her history with Debbie. Awkafina and Rihanna were charming. Sarah Paulson was uninteresting and Helen Bonham Carter was fun and her usual ditzy. Some supporting actors, as employees of Cartier and the Met Security team were entertaining – as men in this film, they were all sort of bumbling. In fact, every man in the film except Corden was bumbling, and he acted bumbling.
The Claude Becker scenes were sprinkled throughout the film, so one never had to go too long without seeing him, although he didn’t have much dialogue (British accent). A lot of his stuff was background, visual with voice over, a few hellos with chit chat, and some dialogue. This isn’t that easy, so fortunately they cast an actor who excels at reaction and physical acting. I look forward to a very close analysis of this from some expert.
3,000 words – see part 2.
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https://www.columbian.com/news/2024/aug/08/forecasters-still-predict-highly-active-atlantic-hurricane-season-in-mid-season-update/
|
en
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Forecasters still predict highly active Atlantic hurricane season in mid-season update
|
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[
"Associated Press"
] |
2024-08-08T00:00:00
|
MIAMI (AP) — Federal forecasters are still predicting a highly active Atlantic hurricane season thanks to near-record sea surface temperatures and the possibility of La Nina, officials said Thursday.
|
en
|
The Columbian
|
https://www.columbian.com/news/2024/aug/08/forecasters-still-predict-highly-active-atlantic-hurricane-season-in-mid-season-update/
|
MIAMI (AP) — Federal forecasters are still predicting a highly active Atlantic hurricane season thanks to near-record sea surface temperatures and the possibility of La Nina, officials said Thursday.
The National Oceanic and Atmospheric Administration’s updated hurricane outlook said atmospheric and oceanic conditions have set the stage for an extremely active hurricane season that could rank among the busiest on record.
“The hurricane season got off to an early and violent start with Hurricane Beryl, the earliest category-5 Atlantic hurricane on record,” NOAA Administrator Rick Spinrad said in a statement. “NOAA’s update to the hurricane seasonal outlook is an important reminder that the peak of hurricane season is right around the corner, when historically the most significant impacts from hurricanes and tropical storms tend to occur.”
Not much has changed from predictions released in May. Forecasters tweaked the number of expected named storms from 17 to 25 to 17 to 24. Of those named storms, 8 to 13 are still likely to become hurricanes with sustained winds of at least 75 mph, including 4 to 7 major hurricanes with at least 111 mph winds.
An average Atlantic hurricane season produces 14 named storms, seven of them hurricanes and three major hurricanes. Hurricane season runs from June 1 through Nov. 30.
The updated outlook includes two tropical storms and two hurricanes that have already formed this year. The latest storm, Hurricane Debby, hit the Gulf Coast of Florida on Monday and was still moving through the Carolinas as a tropical storm on Thursday.
When meteorologists look at how busy a hurricane season is, two factors matter most: ocean temperatures in the Atlantic where storms spin up and need warm water for fuel, and whether there is a La Nina or El Nino, the natural and periodic cooling or warming of Pacific Ocean waters that changes weather patterns worldwide. A La Nina tends to turbocharge Atlantic storm activity while depressing storminess in the Pacific and an El Nino does the opposite.
La Nina usually reduces high-altitude winds that can decapitate hurricanes, and generally during a La Nina there’s more instability or storminess in the atmosphere, which can seed hurricane development. Storms get their energy from hot water. An El Nino that contributed to record warm ocean temperatures for about a year ended in June, and forecasters are expecting a La Nina to emerge some time between September and November. That could overlap with peak hurricane season, which is usually mid-August to mid-October.
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https://www.patriotledger.com/story/entertainment/movies/2010/04/22/movie-review-disney-documentary-oceans/40273596007/
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en
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MOVIE REVIEW: Disney documentary 'Oceans' an awe-inspiring celebration of life under the sea
|
[
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"Ed Symkus, The Patriot Ledger"
] |
2010-04-22T00:00:00
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Disney Studios, once renowned for its feature-length live-action nature films, rebooted its nature-based documentary arm last year with the Disneynature release of the good-looking but under-whelming…
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en
|
The Patriot Ledger
|
https://www.patriotledger.com/story/entertainment/movies/2010/04/22/movie-review-disney-documentary-oceans/40273596007/
|
Disney might still be best-known as the king of cartoons, but five or six decades ago, the studio was equally renowned for its feature-length live-action nature films, such as the Oscar-winning “Beaver Valley” and the wonderful “Perri,” the squirrel-adventure film that nabbed a Golden Bear in Berlin.
Disney rebooted its nature-based documentary arm last year with the Disneynature release of the good-looking but under-whelming “Earth,” but all is forgiven with its newest entry, “Oceans,” which was shot over, in, and under the watery wilds of five seas.
Sure, there are plenty of opportunities to check out films about the ocean and its inhabitants on myriad cable stations. But I don’t care how big your home entertainment center is, nothing is going to take the place of a huge movie screen to capture the majesty that this film goes after and gets.
From the first shot of cameras following a dinosaur-like marine iguana floating through the sea, to one of the last scenes, which gives a whole new meaning to the term “swimming with sharks,” this film is an awe-inspiring celebration of another world.
We meet creatures down there that are so alien to anything on land (and to most of the sea life we’re familiar with), this film could easily pass for science fiction.
There’s nothing to do but gawk in wonder at a glowing, pulsating bloom of jellyfish or a bright orange magic carpet-like blanket octopus. Most viewers will likely gasp or at least say “wow!” at the sight of the delicate leafy sea dragon or the hunting prowess of the mantis shrimp – one truly nasty crustacean.
A big chunk of the film focuses on the fact that it’s a fish-eat-fish world down there. But it’s not much different when the cameras come up for air, fixing their lenses on hapless sea lions being gobbled down by great white sharks and Orcas, or on frigate birds going after newborn sea turtles, as they make a mad dash from the beach to the safety of the water.
There’s some entertaining and smartly written narration, delivered in a relaxed, casual manner by Pierce Brosnan. He might offer a bit of biographical information on a certain species of fish, address the variety of underwater life by noting that “down here it’s like nature has given everything a try,” or state that “anyone who knows the sea will tell you of her power.” That last part is a prompt for the film to focus on the habitat instead of the inhabitants. We see gigantic waves crashing onto shore, wrapping around lighthouses, and threatening to swallow small boats and big ships.
When it isn’t gazing at or explaining what’s down there, “Oceans” shifts, smoothly and without any lecturing, to the environmental side of things. The blue fin tuna is in danger of extinction because of overfishing. Many other sea creatures are getting caught in the huge tuna nets. Satellite images show polluted rivers emptying into oceans. There’s mention of rising water temperatures and melting ice floes.
Some parts of the film will make you laugh (slipping and sliding penguins), others will give you the willies (battalions of spider crabs attacking each other, like marauding armies in a Sam Peckinpah film). One jaw-dropping sequence, of a massive blue whale gliding by the camera, is reminiscent of the huge imperial ship in the opening scene of “Star Wars.” If in the unlikely event viewer attention starts to drift, thank goodness for an order the directors called for many times: Cue the dolphins!
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https://www.wickedlocal.com/story/old-colony-memorial/2022/11/22/ocean-child-movie-films-at-plymouth-beach/69657986007/
|
en
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Move over, Moby, the mermaids are here: Plymouth Beach featured in 'Ocean Child'
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[] |
[
""
] | null |
[
"Wicked Local",
"David R. Smith"
] |
2022-11-22T00:00:00
|
Plymouth Beach was used as a filming location to tell a story of mermaids and enchantment by local writer and filmmaker Marilyn Swick.
|
en
|
wickedlocal.com
|
https://www.wickedlocal.com/story/old-colony-memorial/2022/11/22/ocean-child-movie-films-at-plymouth-beach/69657986007/
|
Filmmakers Marilyn Swick and Laurie Koons use Plymouth Beach as a location for their children-themed mermaid short 'Ocean Child'
PLYMOUTH — Once the whales started showing up in the waters off Manomet this summer, it was predictable as the tides that mermaids would soon follow.
And they did.
Only they swam a little further up the coast to Plymouth Beach about a month after their fellow, though - no offense - less adorable, mammals had moved on.
Their arrival didn’t go unnoticed.
Several mermaids chilling out on large rocks with their colorful fins and decorated faces is enough to draw attention, but with one of them playing the saxophone, their cover was bound to be blown.
“There were so many people gathered at beach to watch us film,” filmmaker and Plymouth resident Marilyn Swick said. “I think we got the last great weekend in September.”
The unexpected sight was one of several scenes filmed in Plymouth for the upcoming short film “Ocean Child,” which Swick co-wrote with Laura Koons, her creative collaborator of seven years she met while living in Texas.
Other scenes and scenery were filmed in Oahu, Hawaii.
While Hawaii and its beaches are indisputably beautiful and warm, Swick said filming at Plymouth Beach was perfect for what she had in mind.
“We chose Plymouth Beach because the rocky beaches would best serve to showcase our mystical mermaid cove, and we loved the rocks,” she said.
The cast of “Ocean Child” traveled from Hawaii, around New England, Texas and Virginia for the shoot.
The storyline follows Hope, a young "merhuman" (part mermaid, part human) attending the underwater School of Mermaidology and Neptunism, an enchanted school for people like her.
The film follows another short of theirs from 2017, “To Wish Upon a Starfish,” which first established Hope’s character and background.
On the first full moon Hope's 10th birthday, she is gifted with knowledge of her mermaid heritage. She is furthering her mermaid education requirements, which includes learning spells, by attending the school.
“They’re only good spells, only happy things and enchantments,” said Swick, who noted romance comedies, fantasy films and family movies are more to her taste than horror or action flicks.
On the eve of her 18th birthday, she must choose to either reside with the merpeople or remain human for life.
Swick said the initial short was filmed as a “proof of concept” piece, highlighting the characters and key elements of the idea to present for further development as a full-length film, or as Swick and Koons hope, a series on a streaming service.
“Ocean Child” characters include Queen Amara of the Seven Seas and Aria, the school’s music teacher who sings and plays a magical saxophone.
Swick plays Hope’s grandmother Serena, who was the original Queen of the Seven Seas. She is also a merhuman, as was her son, Hope’s father, but she gave up her mermaid life when she fell in love with a sailor on the Navy ship The Blue Ghost.
“The best part of writing the concept was researching the fascinating mermaid legends and folklore from around the world,” Koons said. “It was so interesting to learn how many remain enchanted by mermaids and how these stories transcend us universally.”
The latest screenplay has already been winning nominations and awards across the film festival circuits for the past several years, as have a number of her other projects.
Several New England-area actors and crew members were brought in for the project, and Swick and Koons are pleased by both the quality of who they found and what their work on the movie represents.
“As female screenwriters, directors and producers, it was important to us that our New England-based crew was primarily female,” Swick said. "I’m super excited about our mostly female crew. It’s not always easy to find a female cinematographer, sound engineer, gaffer and grip.”
Editing has started already started, she said, adding it is on time to be completed by Dec. 1.
“Ocean Child” will begin its journey in the Academy Award-qualifying film festival circuit in 2023 with the hope it is optioned by one of the networks.
While Swick is a SAG-AFTRA actor, screenwriter, songwriter, director and producer, as well as serving on the Board of Women Songwriters Hall of Fame, that’s not her day job, nor is it her only passion.
She and her husband, Dr, Todd Swick, a neurologist specializing in sleep disorders, were lured north by the state’s host of pharmaceutical companies and research laboratories. They each work in the field for companies based in Boston and Cambridge. She is a senior project manager at Clinilabs, and he is a senior medical director at Takeda.
She also raises show horses in Texas, where they remain year round.
"It's too cold up here for them," she said.
She is similarly devoted to her two retired grand champion Dobermans, Zoey and Lexi, the latter of whom plays Hope's trusted companion, mermaid tail and all.
Swick said she and Koons are ready for the work ahead, if for no other reason that they believe their story of self-learning and acceptance is just the right remedy for the times
“It’s a beautiful mystical mermaid story that spans generations, ethnicities ability, ages and genders,” Swick said. “We feel like it’s time for a story like this again."
Besides, she asked, "Who doesn't love a good mermaid story?"
.
|
|||||
5635
|
dbpedia
|
3
| 24
|
https://www.netflix.com/title/81014008
|
en
|
Netflix Official Site
|
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[] |
[] |
[
"watch movies",
"movies online",
"watch TV",
"TV online",
"TV shows online",
"watch TV shows",
"stream movies",
"stream tv",
"instant streaming",
"watch online",
"movies",
"watch movies Germany",
"watch TV online",
"no download",
"full length movies"
] | null |
[] |
2021-03-24T00:00:00
|
Passionate about ocean life, a filmmaker sets out to document the harm that humans do to marine species — and uncovers alarming global corruption. Watch trailers & learn more.
|
en
|
https://assets.nflxext.com/us/ffe/siteui/common/icons/nficon2023.ico
|
https://www.netflix.com/de-en/title/81014008
|
Watch offline
Download and watch everywhere you go.
Go behind the scenes of Netflix TV shows and movies, see what's coming soon and watch bonus videos on Tudum.com.
|
|||||
5635
|
dbpedia
|
2
| 44
|
https://theoceancleanup.com/great-pacific-garbage-patch/
|
en
|
The Great Pacific Garbage Patch
|
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[
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[] |
2019-02-21T21:06:44+00:00
|
The Great Pacific Garbage Patch is the largest accumulation of plastic in the open ocean. Learn more about its location, size, contents and impact here.
|
en
|
The Ocean Cleanup
|
https://theoceancleanup.com/great-pacific-garbage-patch/
|
The Great Pacific Garbage Patch is the largest accumulation of ocean plastic in the world and is located between Hawaii and California. Scientists of The Ocean Cleanup have conducted the most extensive analysis ever of this area.
What is the great pacific garbage patch?
The Great Pacific Garbage Patch (GPGP) is the largest of the five offshore plastic accumulation zones in the worldâs oceans. It is located halfway between Hawaii and California.
PLASTIC ACCUMULATION
It is estimated that 1.15 to 2.41 million tonnes of plastic are entering the ocean each year from rivers. More than half of this plastic is less dense than the water, meaning that it will not sink once it encounters the sea.
The stronger, more buoyant plastics show resiliency in the marine environment, allowing them to be transported over extended distances. They persist at the sea surface as they make their way offshore, transported by converging currents and finally accumulating in the patch.
Once these plastics enter the gyre, they are unlikely to leave the area until they degrade into smaller microplastics under the effects of sun, waves and marine life. As more and more plastics are discarded into the environment, microplastic concentration in the Great Pacific Garbage Patch will only continue to increase.
ESTIMATION OF SIZE
The GPGP covers an estimated surface area of 1.6 million square kilometers, an area twice the size of Texas or three times the size of France.
To formulate this number, the team of scientists behind this research conducted the most elaborate sampling method ever coordinated.
This consisted of a fleet of 30 boats, 652 surface nets and two flights over the patch to gather aerial imagery of the debris.
Sampling at different locations within the same time period allowed a more accurate estimate of the size of the patch and the plastic drifting in it.
LOCATION
Due to seasonal and interannual variabilities of winds and currents, the GPGP’s location and shape are constantly changing. Only floating objects that are predominantly influenced by currents and less by winds were likely to remain within the patch.
By simulating concentration levels in the North Pacific, the researchers were able to follow the location of the patch, demonstrating significant seasonal and interannual variations. On average the patch orbits around 32°N and 145°W. However, the team observed seasonal shift from west to east and substantial variations in latitude (North to South) depending on the year.
How much plastic floats in the great pacific garbage patch?
At the time of sampling, there were more than 1.8 trillion pieces of plastic in the patch that weigh an estimated 100,000 tonnes. These figures are much higher than previous calculations.
TOTAL MASS AND COUNT
The mass of the plastic in the Great Pacific Garbage Patch (GPGP) was estimated to be approximately 100,000 tonnes, which is 4-16 times more than previous calculations. This weight is also equivalent to more than 740 Boeing 777s.
The center of the GPGP has the highest density and the further boundaries are the least dense.
A total of 1.8 trillion plastic pieces were estimated to be floating in the patch – a plastic count that is equivalent to 250 pieces of debris for every human in the world.
Using a similar approach as they did when figuring the mass, the team chose to employ conservative estimations of the plastic count. While 1.8 trillion is a mid-range value for the total count, their calculations estimated that it may be range from 1.1 to up to 3.6 trillion pieces.
Concentration
Using data from multiple reconnaissance missions, a mass concentration model was produced to visualize the plastic distribution in the patch.
The mass concentration model, pictured below, shows how the concentration levels gradually decrease by orders of magnitude towards the outside boundaries of the GPGP. The center concentration levels contain the highest density, reaching 100s of kg/km² while decreasing down to 10 kg/km² in the outermost region.
These results prove that plastic pollution at sea, while densely distributed within the patch, is scattered and does not form a solid mass, thus demystifying the trash island concept.
Vertical distribution
The Ocean Cleanup measured the vertical distribution of plastic during six expeditions between 2013 to 2015. Results from these expeditions proved that the buoyant plastic mass is distributed within the top few meters of the ocean. ,
Factors such as wind speed, sea state, and plastic buoyancy will influence vertical mixing. However, buoyant plastic will eventually float back to the surface in calmer seas. Larger pieces were observed to resurface much more rapidly than smaller pieces.
Persistency
Characteristics of the debris in the Great Pacific Garbage Patch, such as plastic type and age, prove that plastic has the capacity to persist in this region.
Plastic in the patch has also been measured since the 1970’s and the calculations from subsequent years show that microplastic mass concentration is increasing exponentially – proving that the input of plastic in the patch is greater than the output. Unless sources are mitigated, this number will continue to rise.
What types of plastic float in the Great Pacific Garbage Patch
The vast majority of plastics retrieved were made of rigid or hard polyethylene (PE) or polypropylene (PP), or derelict fishing gear (nets and ropes particularly). Ranging in size from small fragments to larger objects and meter-sized fishing nets.
Size classes
Plastic within the patch was categorized into four size classes:
– Microplastics (0.05 – 0.5 cm)
– Mesoplastics (0.5 â 5 cm)
– Macroplastics (5 â 50 cm)
– Megaplastics (anything above 50 cm)
When accounting for the total mass, 92% of the debris found in the patch consists of objects larger than 0.5 cm, and three-quarters of the total mass is made of macro- and mega plastic. However, in terms of object count, 94% of the total is represented by microplastics.
Categorization types
Once the plastics were collected, a team of volunteers classified the plastic into:
– Type H: Hard plastic, plastic sheet or film;
– Type N: Plastic lines, ropes, and fishing nets;
– Type P: Pre-production plastics (cylinders, spheres or disks);
– Type F: Fragments made of foamed materials
These plastic types were then screened for clues on age and origin. This was performed by examining each object for dates, languages, trademarks, symbols or ‘made in’ statements.
Why large debris matter
Because the plastics have been shown to persist in this region, they will likely break down into smaller plastics while floating in the GPGP.
This deterioration into microplastics is usually the result of sun exposure, waves, marine life, and temperature changes. Microplastics have been discovered floating within the water surface layers, but also in the water column or as far down as the ocean floor.
Once they become this small, microplastics are very difficult to remove and are often mistaken for food by marine animals.
What are the effects on marine life and humans?
Not only does plastic pollution in the Great Pacific Garbage Patch pose risks for the safety and health of marine animals, but there are health and economic implications for humans as well.
Impact on wildlife
Plastic has increasingly become a ubiquitous substance in the ocean. Due to its size and color, animals confuse the plastic for food, causing malnutrition; it poses entanglement risks and threatens their overall behavior, health, and existence.
Studies have shown that about 900 species have encountered marine debris, and 92% of these interactions are with plastic. 17% of the species affected by plastic are on the IUCN (International Union for Conservation of Nature) Red List of Threatened Species.
Toxic for Sea Surface Feeders
Floating at the surface of the Great Pacific Garbage Patch (GPGP) is 180x more plastic than marine life. Animals migrating through or inhabiting this area are then likely consuming plastic in the patch. For example, sea turtles by-caught in fisheries operating within and around the patch can have up to 74% (by dry weight) of their diets composed of ocean plastics. Laysan albatross chicks from Kure Atoll and Oahu Island have around 45% of their wet mass composed of plastics from surface waters of the GPGP.
Since 84% of this plastic was found to have at least one Persistent Bio-accumulative Toxic Persistent Bio-accumulative Toxic (PBT) chemical, animals consuming this debris are therefore ingesting the chemicals attached to the plastic.
Entanglement of Marine Life
Fishing nets account for 46% of the mass in the GPGP and they can be dangerous for animals who swim or collide into them and cannot extract themselves from the net. Interaction with these discarded nets, also known as ghost nets , often results in the death of the marine life involved.
Impact on Humans and Society
Once plastic enters the marine food web, there is a possibility that it will contaminate the human food chain as well. Efforts to clean and eradicate ocean plastic have also caused significant financial burdens.
Affects the Human Foodchain
Through a process called bioaccumulation, chemicals in plastics will enter the body of the animal feeding on the plastic, and as the feeder becomes prey, the chemicals will pass to the predator – making their way up the food web that includes humans. These chemicals that affected the plastic feeders could then be present within the human as well.
Affects the Economy
According to a study conducted in collaboration with Deloitte, yearly economic costs due to marine plastic are estimated to be between $6-19bn USD. The costs stem from its impact on tourism, fisheries and aquaculture, and (governmental) cleanups. These costs do not include the impact on human health and the marine ecosystem (due to insufficient research available). This means that intercepting plastic in rivers is much more cost-effective than dealing with the consequences downstream. Learn more in our interactive map.
How did The Ocean Cleanup conduct its research?
Resulting from several research missions, traveling across and above the GPGP, The Ocean Cleanup team compiled an unprecedented amount of data to better understand the plastic that persists in this region.
Research Expeditions
Scientists have been studying this area since the 1970’s – usually by means of dragging a small sampling net through the debris. This method showed a bias towards smaller objects and did not provide much insight into the larger pieces, and, thus, the entire scope of the GPGP.
Over the course of three years, researchers at The Ocean Cleanup went on several data collection missions. This included the Multi-Level-Trawl expedition, where they analyzed the depth at which buoyant plastic debris may be vertically distributed; the Mega Expedition using vessels to cross the patch with many trawls at once; and the Aerial Expedition which involved the use of a plane flying at low altitude to observe the debris from above.
2015 – Multi-Level-Trawl Expedition
Realizing that previous methods of analyzing the plastic in the patch needed improvement, The Ocean Cleanup designed a new research tool, called the multi-level-trawl, which allowed measurements of 11 water layers simultaneously going as far down as 5 meters below surface level. This trawl was then used in the Vertical Distribution Research.
The multi-level-trawl allowed the team to study further down into the water and understand to which depths buoyant plastic may be distributed. Through these studies, it was observed that buoyant plastic floats primarily in the first few meters of the water.
2015 – Mega Expedition
In 2015, 30 vessels and 652 surface nets, in parallel, crossed the GPGP as part of the Mega Expedition.
Numerous vessel owners offered the use of their ships for the mission. Of those ships, many carried behind them a Manta-trawl; including one mothership, the 171ft long Ocean Starr, which was able to carry two 6-meter-wide trawls and a survey balloon.
The fleet returned with over 1.2 million plastic samples that rendered an unprecedented amount of plastic measurements from the three months of study. Scientists present on the expedition noted that there was an alarming amount of plastic floating in the patch, and their preliminary findings indicated that there were more large objects than originally expected.
2016 – Aerial Expedition
After the Mega Expedition, the team wanted to learn more about these large plastic pieces that were difficult to come by. Megaplastics are more scattered than the smaller plastics, and, to study this important aspect of the patch, the team needed to cover an even larger area.
Using a C-130 Hercules aircraft, The Ocean Cleanup surveyed 311 km² with advanced sensors and an RGB camera (CS-4800i) that captured one photo every second of flight time. They took two flights and came back with over 7,000 single frame mosaics from the mission.
Ocean Research Laboratory
Once the ocean plastic was brought back to the Netherlands, it then needed to be counted, classified and analyzed.
Counting and Classifying
The first step in analyzing the plastic was to quantify it – to turn this physical matter into data.
Every piece of plastic that was recovered was cleaned, counted and classified by size and type. In total, 1.2 million plastic samples were counted, one by one, and were used to further study the physical properties and toxicity of the plastic that floats in the GPGP.
Understanding Physical Properties
Not only is the size and count of the plastic in the GPGP important to calculate, but the way in which the plastic interacts in the water helps the team learn more about the buoyancy and depths of the plastic.
To test this, various experiments were performed on the plastic in environments that were intended to replicate oceanic conditions and particularly salinity. Laboratory tests were conducted to measure the vertical speed of the plastic as it resurfaces.
Understanding Toxicity
It is commonly known that harmful PBT (Persistent Bio-accumulative Toxic) chemicals are found in ocean plastics, so researchers at The Ocean Cleanup tested plastic samples from the expeditions for their chemical levels. Their results helped them to realize what chemicals are present in the patch and what that means for animals feeding there.
Plastics ranging from various type and size were analyzed by placing them in mixtures that would allow the various chemicals to be identified. A process known as Chromatography. They found through various tests that 84% of the plastics in the GPGP contain at least one type of PBT chemical.
Ocean Plastic Data Science
Numerous computational and mathematical processes and methods were used throughout the study of the GPGP, allowing the team to visualize and characterize many features of the patch and the plastic within it.
Turning Ocean Plastic into Data
When the manta trawls samples were captured and then brought on the vessel, several criteria were noted in the datasheets, including the date, duration, and final coordinates of each tow.
With this information, the team was able to identify the exact location where the plastic was retrieved. The location and duration of all tows were confirmed during a post-processing phase by inspecting all the recorded datasheets against GPS trackers that were installed on all participating vessels. The total distance of tows, for example, combined with the net’s characteristics allowed the researchers to estimate the total surveyed surface.
Process Aerial Expedition Data
Aboard the C-130 Hercules aircraft used for the Aerial Expedition were three types of sensors: Lidar (an advanced active sensor that is similar to that used on Google’s autonomous cars), SWIR imager (an infrared camera to detect ocean plastic) and an RGB camera.
There were 3 sensor technicians, 7 navigation personnel and 10 researchers who helped track the plastic from above and monitor the equipment on board.
The data from this expedition were then analyzed and processed resulting in multispectral and geo-referenced imagery that was used to screen the surface area for plastic by trained observers and a machine-learning algorithm, providing spatial distribution of larger debris (>0.5m).
A Key to Convert Pixels into Kilograms
The mass of the plastic debris in the GPGP was calculated using imagery from the Aerial Expedition. By comparing the top view surface against dry mass of multiple objects collected during the first expedition at sea, including ghost nets, the team was able to make these estimations.
Merge all the Data into Comprehensive Computer Models
The data and imagery gathered from these objectives were eventually used by our team of computational modelers to build various models and computer-generated graphics. These served as a visual representation of the studies and tests that had been performed during the expeditions.
Research of this nature is crucial when understanding the many facets of the GPGP. These models have helped the engineers at The Ocean Cleanup to further improve the design of the cleanup system, which was deployed mid-2018.
We also use modeling to identify the pathways that bring plastic to the gyres. In 2022 our researchers published a new study based on over 6000 plastic objects (over 5 cm in size) captured in the GPGP by our System 001/B cleaning system in 2019. We then compared our field observations with our âvirtual particleâ modeling results, allowing us to see the most statistically probable sources of GPGP plastic.
This indicated that over 75% of plastics in the GPGP â not only the 46% made up of fishing nets, as we discovered in 2018 â are attributable to offshore fishing activities. More research will be required in order to discover if this also applies to the other garbage patches around the world.
|
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https://movies.stackexchange.com/questions/80270/accurate-translations-of-yens-cantonese-dialogue-from-oceans-eleven
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en
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Accurate Translations of Yen's Cantonese dialogue from Ocean's Eleven?
|
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""
] | null |
[] |
2017-09-12T05:00:12
|
I've always been curious what Yen is saying when he speaks Cantonese in the movie Ocean's Eleven.
I'm going to post some rough translations I managed to get from Google Translate, but I'm sure the...
|
en
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https://cdn.sstatic.net/Sites/movies/Img/favicon.ico?v=74d8f37ba4ec
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Movies & TV Stack Exchange
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https://movies.stackexchange.com/questions/80270/accurate-translations-of-yens-cantonese-dialogue-from-oceans-eleven
|
I've always been curious what Yen is saying when he speaks Cantonese in the movie Ocean's Eleven.
I'm going to post some rough translations I managed to get from Google Translate, but I'm sure they're a little off. I'd love for a fluent Cantonese speaker to help get them right.
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3
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https://www.moderntimes.review/deep-rising/
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en
|
First attack, then think: digging pp the ocean grounds
|
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[] |
[
""
] | null |
[
"Dieter Wieczorek",
"fr-fr.facebook.com"
] |
2023-12-07T12:41:21+00:00
|
Exposing the catastrophic consequences of deep-sea mining on marine ecosystems.
|
en
|
MODERN TIMES REVIEW
|
https://www.moderntimes.review/deep-rising/
|
In times when we do not even know whether we have (or not) exceeded some critical no-return points of climate change, as even in the Amazon where more CO2 is spread out than absorbed, Matthieu Rytz confronts us with the challenging truth about the tendencies in attacking the oceans.
Still, the deep ocean grounds have recently been considered entirely lifeless. Now, science has delivered a panorama of a highly complex and fragile ecosystem with hundreds of thousands of mostly still unknown creatures. This is the scenery where all life on earth began and spread from. The life rhythms there are scaled in much longer terms than the frenetic life forms facing the sun. Creatures easily get thousands of years old. Some only recently discovered microbes are even 100 million years old. They are the most important organisms, the ones that run the planet and make it habitable.
The green paradox
The dark and suggestive voice of Jason Momoa in Rytz’s Deep Rising remembers the complex connections between the oceans with its countless, still unimaginable life forms, and the atmosphere, land, and ice sheets. Oceans are creating the conditions for life on earth. Without their support, human life would become unbearable.
Deep Rising, now presented in Warsaw’s Watch Docs Human Right International Film Festival, quickly confronts the spectator with the life-challenging global risk: 4 billion dollars have already been invested in digging up all kinds of rare metals in the up to 4,000 meters deep ocean grounds, materials urgently needed for the worldwide battery fabrication. A project of this size can’t fail when we follow Gerald Barron, the Deep Green Resources CEO. He is convinced: «We know what we need to do to get the licenses.»
Indeed, here is the paradox: the «#green economy#» focused on batteries needs to destroy natural grounds, and faces all kinds of still unknown consequences. Attack first, think later seems to be the motto, and indeed, the life in the deep ocean grounds, once touched and destroyed, will be lost forever.
life in the deep ocean grounds, once touched and destroyed, will be lost forever.
The new oil
In some short sequences, Rytz also documents the devastating natural consequences of land mining, where the energy to capture the metals is produced with huge amounts of dirties: coal, gas, and oil incinerations worldwide. The surrounding ecosystems are collapsing regularly. The so-called green revolution, based on batteries, isn’t a solution. Batteries are just the new oil.
The actual battle on receiving digging licenses between the most powerful companies stays in clear contradiction of all essays of negation about the ocean properties for many decades. Since J.F. Kennedy’s 1966 declaration of huge interest in ocean exploitation, negotiations followed to declare them as human heritage. Every benefit should be shared equally between the nations. In 1979, the «Law of the Sea Conference» officially started. Finally, negations were confirmed in 1982 during a world conference in a declaration signed by most present nation representatives.
Those times are over! Only leading capitalistic organisations have the means to explore. Gerald Barron mentions a 900 Million tonnes exploration only on his own account, followed or even overpassed by the exploring activities of China, Russia, and Europe, just to name the firsts. Local resistance against the destruction of their living grounds is smashed as usual.
Lost excess
Matthieu Rytz surrounded these breathtaking facts with two aesthetic counterforces. Through mind-blowing beautiful images, he delivers the beauty of the fragile deep ocean creatures. His visual materials come from at least ten research institutes, foundations, companies, and scientific centres. These images can only suggest the life forms of uncountable amounts of still-unknown, mostly fragile organisms. These tasty deep ocean interactions are visually contrasted with the considerable machinery attacking them, industrial boots, over-dimensional power shovels, and the cold interiors of the conference rooms, where deadly decisions occur.
Another «flight line» (using Gilles Deleuze’s term) is the compositions of Ólafur Arnalds, which infiltrate most of the scenarios, from the deep ground up to the sky, images, from panoramic views to tiny laboratories, sponsor parties, and decisions makers’ rooms. The near-to-madness human activities are surrounded and framed by largely higher forces, the sound wave, which indicates what they are: unconscious and lost excesses condemned to fail.
Of course, the mining companies have another strategic argument, declaring their activities as only temporary to cover urgent needs, forgetting, of course, that batteries getting restored again will consume metals.
However, Matthieu Rytz doesn’t leave the spectator without any hope. The first good message is that some primary companies have recently faced internal and growing external conflicts, also caused by a lack of transparency and their sharing of interests. More importantly, green hydrogen and innovative battery chemistry are gaining momentum on a large scale, so providing energy without extraction seems possible now.
Still, the real problem can only be found on a deeper level. If humans don’t change their relationship to their surroundings and don’t overpass their most usual behaviour, to make a profit (out of everything), there will not be a resort from their auto-destruction.
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dbpedia
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1
| 50
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https://filmsfortheearth.org/en/film/oceans/
|
en
|
Films for the Earth
|
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[] |
[] |
[
""
] | null |
[] |
2011-01-29T18:19:54+00:00
|
en
|
Films for the Earth
|
https://filmsfortheearth.org/en/film/oceans/
|
An extraordinary nature documentary, with stunning imagery and previously unseen features, about life in the oceans. A powerful and emotional experience, that reveals the secrets of underwater world. The team behind “Oceans” present the most diverse ecosystem and its harmonic rhythm, from majestic whales to the bizarre creatures of the deep. The film explores the marine species of Earth’s five oceans and reflects on the negative aspects of human activity on the environment. Pierce Brosnan provides the English narration.
After the success of films “Microcosmos” and “Winged Migration” (German title: Nomaden der Lüfte), Jacques Perrin and Jacques Cluzaud take their documentary skills on a voyage to the deep blue oceans. They teamed up with divers, marine biologists and technicians for four years for this journey of discovery. Thanks to the state-of-the-art cameras and equipment, they were able to show the world the mysterious inner workings of life under water.
|
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5635
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dbpedia
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0
| 84
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https://www.vice.com/en/article/zm8gn4/oceans-8-is-a-goddamn-breath-of-fresh-air
|
en
|
‘Ocean’s 8’ Is a Goddamn Breath of Fresh Air
|
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[] |
[] |
[
""
] | null |
[
"Nicole Clark",
"Pan Qian Yi",
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2018-06-08T21:20:49+00:00
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Like its predecessors, it’s a breezy film, but it’s also quietly revolutionary.
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VICE
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https://www.vice.com/en/article/oceans-8-is-a-goddamn-breath-of-fresh-air/
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The heist film is a well-trodden genre—for men. It is almost always the guys who get together to steal something valuable, which is perhaps why I’ve never understood the pleasure of the heist movie. The women, if they got to be on the team at all, always landed second-banana status at best—think Ellen Page in Inception, or Isla Fisher in Now You See Me. Bling Ring, in 2013, finally starred a squad comprised of women, but that was an indie film rather than a full-fledged blockbuster a la Baby Driver or the omnipresent Mission: Impossible franchise.
Ocean’s 8, with a budget of $70 million, is probably the first marquee heist movie with an all-women core cast, which ought to be recognized as the landmark it is. The latest sequel spawned by Ocean’s 11—directed by Gary Ross, though the original’s director Steven Soderbergh stays on as a producer—features Debbie Ocean (Sandra Bullock), Danny Ocean’s sister, emerging from a stint in prison with an elaborate plan to rob Cartier’s most expensive necklace, the Toussaint. This necklace is valued at $150 million and stored in a vault, etc. etc. It requires a group of exactly seven—Debbie Ocean has calculated this precisely—to steal it. Cue the montage.
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The previous Ocean’s installments were full of funny disguises, but Ocean’s 8 greatest triumph is the way it leans into the notion that women can pull off the ultimate con simply because they would never be suspects. This seems to echo the larger theme of women-led films and television shows this summer, as in Killing Eve’s insistence that only a woman could get closer to her target to strike him in the femoral artery without him noticing.
Like its predecessors, Ocean’s 8 is a breezy film, but it’s also quietly revolutionary. Unlike so many blockbusters, it’s actually diverse, and the way the female con artists are deployed even suggests a critique of Hollywood’s ethnic typecasting. The film’s skinny white women are able to infiltrate Vogue and pose at Met Gala attendees, while the women of color act as janitorial staff, though all three of them are the most technically proficient—Rihanna plays the hacker, Awkwafina the pickpocket, and Mindy Kaling the jeweler who has to reset a complex diamond piece in a time crunch.
The hijinks of the plot are fun, but the script is really only remarkable for the space it gives these actresses to perform. And they don’t let anyone down. Bullock and Cate Blanchett are impenetrable as the team’s core, Debbie and Lou, a sometimes flirtatious duo that also single-handedly revive the edginess of old lady names. Rihanna and Awkwafina embody their characters with a nonchalantly confident pastiche that balances out Mindy Kaling and Sarah Paulson’s quieter performances. Anne Hathaway breathlessly plays the narcissistic starlet Daphne Kluger, who has more self-awareness than one would expect from a diva. And Helena Bonham Carter is magnificent in her performance of neuroticism and “bad acting,” a kind of delivery that calls to mind her hallmark embodiment of Hermione Granger in the last Harry Potter movie.
It wouldn’t be an Ocean’s movie without huge, knowing, obvious winks to the audience. In setting the Ocean’s 8 heist at the Met Gala, we get the greatest con of all—that of A-list actresses playing laypeople at an event where we literally just saw them in real life. Seeing Rihanna as Nine Ball emerge onto the red carpet in a stunning red gown is funny specifically because we all remember her recent iconic costuming as a Pope. The setting also allows for cameo after cameo: Serena Williams, Gigi Hadid, Anna Wintour, Heidi Klum—the last of which lets Bullock show off her command of German.
The film is so utterly of its time it feels like a time capsule from 2018: One of the cutest bits involves Awkwafina teaching Mindy Kaling how to use Tinder. It is also obviously the kind of movie that there has been a hunger for—it’s set to make $40 million in its opening weekend.
Ocean’s 8 has been criticized for being sexist for its focus on jewels, but the stereotype of women as diamond-obsessed is actually upended by the film. Every time our heroines appear to be staring at the jewels for an unnaturally long time—so that they can eventually steal them—they pass off their fascination as an endemically feminine pastime. (Men have stolen jewels too, like in Ocean’s 13, but critics have never cast men as being obsessed with fine necklaces.)
It may not be a reimagining of the entire genre—it is, after all, the fourth entry in a series. But if this is the direction the franchise is leaning, I will gladly give them my money for another sequel. They won’t even have to steal it.
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https://www.goodreads.com/book/show/240926.Ocean_s_11
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Ocean's 11
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Read 23 reviews from the world’s largest community
for readers. Ex-convict Danny Ocean and his team of talented con men come up with an ingenious scheme to…
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/favicon.ico
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https://www.goodreads.com/book/show/240926.Ocean_s_11
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October 1, 2022
So unterhaltsam und spannend wie der Film.
June 22, 2018
Read before the movie. It was quite Ok, but I still stick to the wonderful film.
Read
May 26, 2020
This book kept me interested and wanting to hear more inconstantly, I loved it from the massive heists just to the charterers. This book is about a few people who decided to plan a heist. I wish I could tell you more but the book is just so good you'll have to read it yourself. I would recommend this book to anyone upwards of there teens and that enjoy criminal books or just anyone who's interested in this book it's truly amazing.
December 27, 2010
Has anyone ever successfully robbed a casino? Many wonder the different options one can take in illegally stealing from a bank vault similar to those of nuclear silos. But only one man, Daniel Ocean, has the exact plan and courage to take on such a task. Ocean, a top hit man criminal type is at it again right after he gets out of jail. His target: 3 five-star casinos located in downtown Las Vegas.
This edition of the fabulous 70's classic integrates modern technology with Ocean's (and his men) plot to overtake Terry Benedict for messing him over and stealing his woman. If you have not yet seen the movie, then this book is just for you.
Be ready, however, to experience great jumps as the story hops around different scenes and explains most but not all the details. You will have to figure the rest out yourself.
If you liked the movie, this book is literally just the script written in paragraph form. It adds a bit more of an insight of the characters, and is still generally entertaining. If you're a die-hard fan (like myself) of the series, you'll like this book.
More of Purplycookie’s Reviews @: http://www.goodreads.com/purplycookie
Book Details:
Title Ocean's 11
Author Dewey Gram
Reviewed By Purplycookie
February 22, 2020
It's difficult to turn a movie into a book. It's usually the other way around, and when this is the case, the book is usually better than the movie.
August 1, 2015
Low quality chewing gum. Written in a fast cut screen way, this would have been better as a graphic novel. The story is fine: it's a heist, with a bunch of specialists. You have to wonder why guys like this (always guys, never gals) appear to be only able to make money illegally - perhaps it pays better? If so, it's an indictment of how society treats its experts. Aha, because 'fiction'.
Anyway.
Coincidences abound: people get hurt, but only for that scene. After the scene, they might screw their eyes up, but it does not prevent them doing acrobatics or improbable jumps. Gadgets abound: the 'spider' to hijack the video feed is a clever idea; the remote control driving is interesting; the fast costume changes, the 'make it look like I was there all along', the various slight of hands.... Part of me felt there wasn't time for the various things to happen, but 'because fiction' allows time, and disbelief, to be suspended.
Why two stars? Because it felt like the movie, not like a book: this is a short story writ long, in large font with wide spacing. One dimensional characters (except for Ocean). Deus ex machina inserts to make your eyebrows stand above your forehead. More 'guess what's than a six year old telling a tall tale.
January 2, 2008
Book is based on the screenplay and is basically a scene for scene write up of the updated movie. That said, if you liked the movie or the subject matter (vegas/casino related) you'll enjoy it. Very fast read.
May 10, 2012
Characters-3.5
Storyline/Plot-5
Writing-3
Overall- 3.8
I got this book because I'm a huge fan of the movie.
For me the movie is a lot better. I think the characters are more developed and you get a better sense of them. Of course I love the storyline.
March 6, 2018
If you like the movie, you will like this book. If you have not seen the movie and are into witty heist stories, this is worth a read. The only perk of the movie over the book were the high intensity movie scenes were anti-climatic in writing.
July 18, 2019
Exactly like the movie because it's a novel based on the screenplay. So doesn't matter if you watch the movie first. The book doesn't give descriptions of the charters, because they are Julia Roberts, George Clooney, Brad Pitt etc.
March 28, 2008
Kannte den Film schon und hab ihn sehr gemocht. Das Buch dazu war ebenso interessant. Alles wußte ich ja doch nicht mehr und so wurde es nicht langweilig. Schnell gelesen ist das Buch zudem auch.
April 6, 2018
Love con artist type reads and this one does not disappoint, the ending in the old Rat Pack original was pretty funny
June 7, 2017
BEST MYSTERY/ACTION BOOK EVER. LOVED IT.
Read
January 21, 2021
In this action packed thriller, it takes you through the journey of two friends ( Danny Ocean and Rusty Ryan) who plan a mischievous heist to rob $150 million from Terry Benedict, who is a big time casino owner In Las Vegas. Danny Ocean seeked Vengeance on Benedict because he had been associated with Ocean's ex-lover (Tess). Risk taking, Explosions, and shoot outs, this tale will leave you on the edge of your seat and wanting more. Dewey Gram really made the life of a gangster in the 1960s come to life, capturing the good and bad in people, who are from different ends of the wealth spectrum.
Gram allows you to fully visualise the story he is trying to portray, and with that it brings you into the minds of the characters which allows you to feel all of their sneaky, and snakish thoughts. If you are a lover of The Hunter , then you will be thrilled with this action filled masterpiece.
September 19, 2023
Dewey can bring it, but Dewey didn't bring it. Somebody had Dewey on a tight leash. Pearls (Dewey) before swine (Warner Bros.)
Read the novelization of Sneakers instead.
April 1, 2015
In Las Vegas,Nevada, the usual people coming from all over are far from usual. But they all come looking for a good time and getting lucky from casinos. Anyone can win big but sometimes there are other means than gambling to do it, even though it is still gambling. Wouldn't you say robbing a casino is a gamble.
In Danny Ocean's case robbing a casino isn't a gamble but another job. Even if he doesn't even care about the money. He really just wants to get revenge. I love the plot of this book and the way it is written. I like it so much because I can relate to the way Danny and Rusty talk to each other and the way they talk to other people. If you have that one friend that you can tell what they are going to do before they do it then you can understand their relationship.
Maybe a little scattered from scene to scene the author does change the image in your head very frequently, has if to always keep you focused and in tuned to the planning and execution. Though not such a long story it really is full of lots of action and interaction between characters, which is probably why I loved reading it every second. If any of this sounds interesting to you or like your cup of tea, then I would definitely read it as soon as possible.
This entire review has been hidden because of spoilers.
February 15, 2016
Ik hou van de Ocean's 11, Ocean's 12 en Ocean's 13 films! Dit boek was net zo leuk als de film en ik vind het jammer dat er de laatste twee niet in boek vorm zijn geschreven.
July 21, 2007
Really captures teh spirit and humor of the movie, though it doesn't add much. Still a fun read.
Read
April 9, 2009
i saw the movie :P
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https://education.nationalgeographic.org/resource/all-about-the-ocean/
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All About the Ocean
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The ocean covers 70 percent of Earth's surface.
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/favicon.png
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https://education.nationalgeographic.org/resource/all-about-the-ocean
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This article is also available in Spanish.
The ocean covers 70 percent of Earth's surface. It contains about 1.35 billion cubic kilometers (324 million cubic miles) of water, which is about 97 percent of all the water on Earth. The ocean makes all life on Earth possible, and makes the planet appear blue when viewed from space. Earth is the only planet in our solar system that is definitely known to contain liquid water.
Although the ocean is one continuous body of water, oceanographers have divided it into five principal areas: the Pacific, Atlantic, Indian, Arctic, and Southern Oceans. The Atlantic, Indian, and Pacific Oceans merge into icy waters around Antarctica.
Climate
The ocean plays a vital role in climate and weather. The sunâs heat causes water to evaporate, adding moisture to the air. The oceans provide most of this evaporated water. The water vapor condenses to form clouds, which release their moisture as rain or other kinds of precipitation. All life on Earth depends on this process, called the water cycle.
The atmosphere receives much of its heat from the ocean. As the sun warms the water, the ocean transfers heat to the atmosphere. In turn, the atmosphere distributes the heat around the globe.
Because water absorbs and loses heat more slowly than land masses, the ocean helps balance global temperatures by absorbing heat in the summer and releasing it in the winter. Without the ocean to help regulate global temperatures, Earthâs climate would be bitterly cold.
Ocean Formation
After Earth began to form about 4.6 billion years ago, it gradually separated into layers of lighter and heavier rock. The lighter rock rose and formed Earthâs crust. The heavier rock sank and formed Earthâs core and mantle.
The oceanâs water came from rocks inside the newly forming Earth. As the molten rocks cooled, they released water vapor and other gases. Eventually, the water vapor condensed and covered the crust with a primitive ocean. Today, hot gases from the Earthâs interior continue to produce new water at the bottom of the ocean.
Ocean Floor
Scientists began mapping the ocean floor in the 1920s. They used instruments called echo sounders, which measure water depths using sound waves. Echo sounders use sonar technology. Sonar is an acronym for SOund Navigation And Ranging. The sonar showed that the ocean floor has dramatic physical features, including huge mountains, deep canyons, steep cliffs, and wide plains.
The oceanâs crust is a thin layer of volcanic rock called basalt. The ocean floor is divided into several different areas. The first is the continental shelf, the nearly flat, underwater extension of a continent. Continental shelves vary in width. They are usually wide along low-lying land, and narrow along mountainous coasts.
A shelf is covered in sediment from the nearby continent. Some of the sediment is deposited by rivers and trapped by features such as natural dams. Most sediment comes from the last glacial period, or Ice Age, when the oceans receded and exposed the continental shelf. This sediment is called relict sediment.
At the outer edge of the continental shelf, the land drops off sharply in what is called the continental slope. The slope descends almost to the bottom of the ocean. Then it tapers off into a gentler slope known as the continental rise. The continental rise descends to the deep ocean floor, which is called the abyssal plain.
Abyssal plains are broad, flat areas that lie at depths of about 4,000 to 6,000 meters (13,123 to 19,680 feet). Abyssal plains cover 30 percent of the ocean floor and are the flattest feature on Earth. They are covered by fine-grained sediment like clay and silt. Pelagic sediments, the remains of small ocean organisms, also drift down from upper layers of the ocean. Scattered across abyssal plains are abyssal hills and underwater volcanic peaks called seamounts.
Rising from the abyssal plains in each major ocean is a huge chain of mostly undersea mountains. Called the mid-ocean ridge, the chain circles Earth, stretching more than 64,000 kilometers (40,000 miles). Much of the mid-ocean ridge is split by a deep central rift, or crack. Mid-ocean ridges mark the boundaries between tectonic plates. Molten rock from Earthâs interior wells up from the rift, building new seafloor in a process called seafloor spreading. A major portion of the ridge runs down the middle of the Atlantic Ocean and is known as the Mid-Atlantic Ridge. It was not directly seen or explored until 1973.
Some areas of the ocean floor have deep, narrow depressions called ocean trenches. They are the deepest parts of the ocean. The deepest spot of all is the Challenger Deep, which lies in the Mariana Trench in the Pacific Ocean near the island of Guam. Its true depth is not known, but the most accurate measurements put the Challenger Deep at 11,000 meters (36,198 feet) below the oceanâs surfaceâthatâs more than 2,000 meters (6,000 feet) taller than Mount Everest, Earthâs highest point. The pressure in the Challenger Deep is about eight tons per square inch.
Ocean Life Zones
From the shoreline to the deepest seafloor, the ocean teems with life. The hundreds of thousands of marine species range from microscopic algae to the largest creature to have ever lived on Earth, the blue whale.
The ocean has five major life zones, each with organisms uniquely adapted to their specific marine ecosystem.
The epipelagic zone (1) is the sunlit upper layer of the ocean. It reaches from the surface to about 200 meters (660 feet) deep. The epipelagic zone is also known as the photic or euphotic zone, and can exist in lakes as well as the ocean.
The sunlight in the epipelagic zone allows photosynthesis to occur. Photosynthesis is the process by which some organisms convert sunlight and carbon dioxide into energy and oxygen. In the ocean, photosynthesis takes place in plants and algae. Plants such as seagrass are similar to land plantsâthey have roots, stems, and leaves. Algae is a type of aquatic organism that can photosynthesize sunlight. Large algae such as kelp are called seaweed.
Phytoplankton also live in the epipelagic zone. Phytoplankton are microscopic organisms that include plants, algae, and bacteria. They are only visible when billions of them form algal blooms, and appear as green or blue splotches in the ocean.
Phytoplankton are a basis of the ocean food web. Through photosynthesis, phytoplankton are responsible for almost half the oxygen released into Earthâs atmosphere. Animals such as krill (a type of shrimp), fish, and microscopic organisms called zooplankton all eat phytoplankton. In turn, these animals are eaten by whales, bigger fish, ocean birds, and human beings.
The next zone down, stretching to about 1,000 meters (3,300 feet) deep, is the mesopelagic zone (2). This zone is also known as the twilight zone because the light there is very dim. The lack of sunlight means there are no plants in the mesopelagic zone, but large fish and whales dive there to hunt prey. Fish in this zone are small and luminous. One of the most common is the lanternfish, which has organs along its side that produce light.
Sometimes, animals from the mesopelagic zone (such as sperm whales (Physeter macrocephalus) and squid) dive into the bathypelagic zone (3), which reaches to about 4,000 meters (13,100 feet) deep. The bathypelagic zone is also known as the midnight zone because no light reaches it.
Animals that live in the bathypelagic zone are small, but they often have huge mouths, sharp teeth, and expandable stomachs that let them eat any food that comes along. Most of this food comes from the remains of plants and animals drifting down from upper pelagic zones. Many bathypelagic animals do not have eyes because they are unneeded in the dark. Because the pressure is so great and it is so difficult to find nutrients, fish in the bathypelagic zone move slowly and have strong gills to extract oxygen from the water.
The water at the bottom of the ocean, the abyssopelagic zone (4), is very salty and cold (2 degrees Celsius, or 35 degrees Fahrenheit). At depths up to 6,000 meters (19,700 feet), the pressure is very strongâ11,000 pounds per square inch. This makes it impossible for most animals to live. Animals in this zone have bizarre adaptations to cope with their ecosystem. Many fish have jaws that look unhinged. The jaws allow them to drag their open mouth along the seafloor to find food, such as mussels, shrimp, and microscopic organisms.
Many of the animals in this zone, including squid and fish, are bioluminescent. Bioluminescent organisms produce light through chemical reactions in their bodies. A type of angler fish, for example, has a glowing growth extending in front of its huge, toothy mouth. When smaller fish are attracted to the light, the angler fish simply snaps its jaws to eat its prey.
The deepest ocean zone, found in trenches and canyons, is called the hadalpelagic zone (5). Few organisms live here. They include tiny isopods, a type of crustacean related to crabs and shrimp.
Invertebrates such as sponges and sea cucumbers thrive in the abyssopelagic and hadalpelagic zones. Like many sea stars and jellyfish, these animals are almost entirely dependent on falling parts of dead or decaying plants and animals, called marine detritus.
Not all bottom dwellers, however, depend on marine detritus. In 1977, oceanographers discovered a community of creatures on the ocean floor that feed on bacteria around openings called hydrothermal vents. These vents discharge superheated water enriched with minerals from Earthâs interior. The minerals nourish unique bacteria, which in turn nourish creatures such as crabs, clams, and tube worms.
Ocean Currents
Currents are streams of water running through a larger body of water. Oceans, rivers, and streams have currents. The oceanâs salinity and temperature and the coastâs geographic features determine an ocean currentâs behavior. Earthâs rotation and wind also influence ocean currents. Currents flowing near the surface transport heat from the tropics to the poles and move cooler water back toward the Equator. This keeps the ocean from becoming extremely hot or cold.
Deep, cold currents transport oxygen to organisms throughout the ocean. They also carry rich supplies of nutrients that all living things need. The nutrients come from plankton and the remains of other organisms that drift down and decay on the ocean floor.
Along some coasts, winds and currents produce a phenomenon called upwelling. As winds push surface water away from shore, deep currents of cold water rise to take its place. This upwelling of deep water brings up nutrients that nourish new growth of plankton, providing food for fish. Ocean food chains constantly recycle food and energy this way.
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Mara continues searching for her husband after he goes missing during a routine research dive in the Atlantic. Haunted by his memories and grieving his absence, Mara must find a way to uncover what really happened.
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Unsere Ozeane (2008)
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[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] |
2010-02-25T00:00:00
|
Unsere Ozeane: Directed by Jacques Perrin, Jacques Cluzaud. With Pierce Brosnan, Pedro Armendáriz Jr., Jacques Perrin, Rie Miyazawa. An ecological drama/documentary, filmed throughout the globe. Part thriller, part meditation on the vanishing wonders of the sub-aquatic world.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0765128/
|
I like nature documentaries just as much as the next person, likewise with my sister, and I found Oceans to be visually stunning and fascinating to watch. Oceans contains the best underwater photography I have seen in a long time and the colours are so sharp and vivid. The animals are a joy, ranging to cute to menacing it was fascinating learning about them. The narration while occasionally having the odd overly-sentimental pang, is intelligently written, with a strong emotional impact with me either biting my nails or being moved by some of the events, and Pierce Brosnan's delivery of it is both inspired and understated.
Overall, fascinating and a feast visually. 9/10 Bethany Cox
|
|||||
5635
|
dbpedia
|
0
| 92
|
https://www.countryliving.com/life/entertainment/g44729717/beach-movies/
|
en
|
31 Greatest Beach Movies for Endless Sun and Surf
|
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[] |
[
""
] | null |
[
"Leah Hall"
] |
2023-08-08T22:26:04.103412-04:00
|
You'll practically feel the sand between your toes with these beach themed flicks. Stream these movies for a fun beach themed movie night.
|
en
|
/_assets/design-tokens/countryliving/static/images/favicon.3bd4cac.ico
|
Country Living
|
https://www.countryliving.com/life/entertainment/g44729717/beach-movies/
|
The beach is the ultimate destination to escape from all of life's problems. There is just something about the warm sun and crashing waves that creates the perfect atmosphere for relaxation. But, if a beach trip isn't in your future or you're busy battling the woes of winter far from the coast, you're in need of a virtual pick me up. Even from hundreds of miles away a good beach movie can bring that feel good energy to life right where you are. So whether you're banking on a little beach virtual reality or you're one of the lucky ones searching for a movie to watch at the beach, you're sure to find the perfect selection of beach movies right here!
All of these movies are either set at the beach or have plenty of beach vacation scenes. From Vista del Mar to the Hamptons to Greece, we've covered all of the prime beach destinations so you can transport yourself to your ideal beach destination. If you're looking for a movie that might make you a tab bit scared of the ocean, queue up Jaws! If you're here for a laugh, watch Barb & Star Go to Vista Del Mar or 50 First Dates. Stream The Last Song or Cast Away for a touch of beachside drama. You can't go wrong with these beach movies! For the full experience whip up a batch of Piña Coladas, kick off your shoes and enjoy the show!
Looking for more movie recommendations?
|
||||
5635
|
dbpedia
|
3
| 28
|
https://www.imdb.com/title/tt0240772/
|
en
|
Ocean's Eleven (2001)
|
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[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] |
2002-01-10T00:00:00
|
Ocean's Eleven: Directed by Steven Soderbergh. With George Clooney, Cecelia Ann Birt, Paul L. Nolan, Carol Florence. Danny Ocean, a gangster, rounds up a gang of associates to stage a sophisticated and elaborate casino heist which involves robbing three Las Vegas casinos simultaneously during a popular boxing event.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0240772/
|
Danny Ocean, a gangster, rounds up a gang of associates to stage a sophisticated and elaborate casino heist which involves robbing three Las Vegas casinos simultaneously during a popular box... Read allDanny Ocean, a gangster, rounds up a gang of associates to stage a sophisticated and elaborate casino heist which involves robbing three Las Vegas casinos simultaneously during a popular boxing event.Danny Ocean, a gangster, rounds up a gang of associates to stage a sophisticated and elaborate casino heist which involves robbing three Las Vegas casinos simultaneously during a popular boxing event.
|
|||||
5635
|
dbpedia
|
3
| 53
|
https://booksaremyfavouriteandbest.com/2017/06/16/book-vs-film-the-light-between-the-oceans/
|
en
|
Book vs. Film: The Light Between the Oceans
|
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] |
[] |
[
""
] | null |
[] |
2017-06-16T00:00:00
|
Book. The scenery in the movie was spectacular but Stedman created a sense of isolation in the book that was pretty special. The plot is more believable in the book. In the movie there are too many visits to the mainland. The 'battle' between Tom and Isabel was carefully balanced in the book and driven…
|
en
|
booksaremyfavouriteandbest
|
https://booksaremyfavouriteandbest.com/2017/06/16/book-vs-film-the-light-between-the-oceans/
|
Book.
The scenery in the movie was spectacular but Stedman created a sense of isolation in the book that was pretty special.
The plot is more believable in the book. In the movie there are too many visits to the mainland.
The ‘battle’ between Tom and Isabel was carefully balanced in the book and driven by grief. In the movie, Isabel seemed petulant and Tom weak.
Films will always struggle when the story hinges on a very long passage of time.
Book here. Film here.
Save
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|
|||||
5635
|
dbpedia
|
2
| 48
|
https://www.vikingrivercruises.com/frequently-asked-questions.html
|
en
|
Frequently Asked Questions
|
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[] | null |
You have questions - we have answers.
|
en
|
/favicon.ico
| null |
2024-2027 RIVER CRUISE AND AIR FARES: Offer applies to bookings made from August 1-31, 2024. Terms & conditions for select promotions may vary. $25 deposit is applicable to all River itineraries. Special fares plus up to FREE International airfare valid on select departures of Grand European Tour, Lyon Provence & the Rhineland, European Sojourn and Capitals of Eastern Europe, Paris to the Swiss Alps, Cities of Light, London DDAY & Paris, Rhine & Main Explorer. Airfares may vary on other gateways & departures. Airfare does not have to be purchased to get cruise\cruisetour offer. All prices are in US dollars and for US residents only. Additional restrictions may apply. 2024: Pay in full by August 31, 2024 or at time of booking if within 120 days of departure. 2025: Pay in full by September 30, 2024. 2026: Pay in full by March 31, 2025. 2027: Pay in full by November 30, 2025. Offers expires August 31, 2024.
$25 DEPOSIT: $25 DEPOSIT: For itineraries 35 days or less, a $25 deposit applies to January 2025 & onward departures; for itineraries greater than 35 days, a $25 deposit applies to March 2025 & onward departures; World Cruise products excluded; call for details.
AIR UPGRADE: Upgrade to Premium Economy air from $799 per person or Business Class air from $3,499 per person based on select gateways and dates. Additional airline-imposed baggage charges may apply; for more information visit Airline Luggage Restrictions . Air prices are per person based on cruise/cruisetour check-in date and include transfers plus all government taxes/fees of approximately $160 and air fuel surcharges. Air seats are limited; airfares are subject to change and are not guaranteed until full payment of air is received. For more information about customized air services and US gateways, visit the Viking Air Plus page.
GENERAL RESTRICTIONS: Cruise fares listed are cruise only in U.S. dollars, per person, based on double occupancy. Single supplement savings are off applicable rates. Cruise fares listed are valid for U.S. residents only. All fares and offers are for new bookings only and are subject to availability, may not combinable with other offers except Viking Explorer Society Travel Credits and Viking Referral Rewards, are capacity-controlled and may be withdrawn at any time without prior notice. Special fares are based upon published full brochure fares; cruise fares do not include pre-paid charges, optional facilities, and personal charges, as defined in the terms and conditions of the Passenger Ticket Contract which may be viewed elsewhere on this website. Full brochure fares may not have resulted in actual sales in all stateroom categories and may not have been in effect during the last 90 days. Promotional fares may remain in effect after the expiration date. Air promotion applies to roundtrip flights only from select Viking Cruises U.S. gateways and includes airport-to-ship or hotel transfers, air taxes and air fuel surcharges. Roundtrip airport transfers are included when air is purchased with a cruise or cruisetour package; if air is not purchased from Viking, transfers may be purchased separately. All transfers must be in conjunction with a Viking-purchased cruise, cruisetour, land extension or extra hotel nights. Viking reserves the right to correct errors or omissions and to change any and all fares at any time. For up-to-date prices, please call Viking or your Travel Agent. Additional terms and conditions may apply. Complete terms and conditions may be found in the Passenger Ticket Contract.
AIR OFFER RESTRICTIONS: Offer expires August 31, 2024.
|
|||||
5635
|
dbpedia
|
0
| 10
|
https://theasc.com/articles/oceans-eleven-smooth-operators
|
en
|
The American Society of Cinematographers
|
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[
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2024-08-06T16:00:00-07:00
|
Steven Soderbergh doubles down as both director and cinematographer on Warner Bros.’ high-stakes heist remake.
|
en
|
The American Society of Cinematographers
|
https://theasc.com/articles/oceans-eleven-smooth-operators
|
Having a combo director cinematographer on a project is very common in the commercial and documentary realms, but rare in the world of features. A few cinematogaphers have lit a scene and then taken a seat in a director’s chair. Luciano Tovoli, ASC, AIC, did so in 1982 for II Generale delTarmata morte (The General of the Dead Army). John Alonzo, ASC directed and shot three telefilms, Champions: A Love Story and Portrait of a Stripper in 1979 and Belle Starr in 1980. Even Gregg Toland, ASC pulled double duty once for the feature-length documentary December 7th (1943), which he co-directed with John Ford. However, one would be hard-pressed to find a feature director who has added cinematographic duties to his responsibilities. One is director Peter Hyams, who has been shooting his own movies for many years.
“I don’t think this should be a trend,” Soderbergh concedes. “I was trained as a still photographer. I’ve been shooting since I was 13, and I’ve worked with really terrific cinematographers whom I’ve bombarded with questions and watched very closely in order to learn [the craft]. When I decided that I was going to try it, I thought about it at length. It’s not something I take lightly. I’ve just found a way of working that feels very comfortable for me; it has more to do with getting to what I consider to be the right set of solutions for a given problem as quickly as possible, and increasing the intimacy [I have] with both the actors and the film itself.
“The lighting was very reality-based. First we looked at what the reality was, and then we tried to make it work. We may have needed to enhance a few things for dramatic purposes or just to get an exposure, but we wanted the movie to look as if it wasn’t lit at all.”
— gaffer James Plannette
“Part of what I do in my spare time is study,” he says in regard to the continual learning process that defines the art of cinematography. “I read AC. I watch very closely what other cinematographers do, and I borrow all the time. I’m sure I’m not alone in tracking the people I respect, making sure I see everything they do more than once to get a sense of how they accomplish the various effects they employ.”
Soderbergh, who did some camera operating on both The Limey and Erin Brockovich, joined the Local 600 union as a director of photography to shoot Traffic. The pseudonym came into play because the Writers Guild wouldn’t allow him to take the credit of “Directed and Photographed by” for the film, and he didn’t feel comfortable having his name in the billing block twice. Local 600 granted him permission to use the pseudonym Peter Andrews, a moniker that combined his father’s first and middle names. “It was a great way to pay tribute to my dad, who’s not around anymore and is the person who gave me the film bug,” he says. “Ironically, the Writers Guild was willing to allow me to combine the [director-photographer] credit on Oceans. But I thought it was good karma to leave it the way it was.”
For a while following the release of Traffic, Soderbergh was rather mum about the cinematographic aspects of his work. “I wanted to be very careful not to make it seem like this was something I took lightly, or make it out to seem like anything that unusual. I wasn’t interested in waving a flag about, and I’m still not. But at the same time, I want to share information. That’s what this magazine is about. I’m somebody who believes in giving anyone who cares to listen the benefit of whatever experience I’ve had.”
For Oceans Eleven, Soderbergh re-teamed with his ace gaffer from Traffic, James Plannette, a 29-year lighting veteran who’s gaffed such films such as E.T., Someone to Watch Over Me and Braveheart, among many others. “He’s the perfect combination of experience, enthusiasm and flexibility,” Soderbergh declares. “I need somebody who has ideas when I don’t have any, and who also doesn’t get bent out of shape when I have very specific ideas. He’ll try anything and knows what the effect will be because he’s so grounded in all the photographic technical skills you accrue when you’ve been doing this for decades. Anybody watching us work would see very quickly that we’re linked at the hip
Plannette quips, “Because he’s the cinematographer as well, he does the director’s part, and then he never leaves the set. If we’re headed in the right direction, that’s great. And if we’re not, he’ll say, ‘Maybe this isn’t quite what we want,’ and we’ll change it. It’s a very collaborative effort and a pleasurable experience. He doesn’t have a tremendous amount of experience as a cinematographer, but he has a great eye and great taste. Together we end up in the right place.”
“I spent more time as a cinematographer waiting for the director to figure out what he wanted to do than the other way around,” jokes Soderbergh. “There were days when I was stumped directorially. For the first time on any movie I’ve made, there were elaborate setups that I’d spend an hour and a half or two hours on, only to tear them down before we even shot them. But I was able to figure out the right approach by doing the wrong thing. Once that was done, deciding how to light was usually a quick conversation between Jim and me. Luckily, the crew I work with is so efficient that I had the luxury of starting over and knowing that I’d still make my day.”
Oceans Eleven is composed in a very slick style that
complements the cool characters and their hip hangouts. The filmmakers
received their lighting cues, or vibe, if you will, from the natural
aesthetics of the locations. Soderbergh explains, “When we went on the
tech scouts, which are my least favorite part of filmmaking, we’d show
up, and it was either great and we didn’t want to, as Jim puts it, ‘put
our foot through a Rembrandt,’ meaning we’d shoot it pretty much as was,
or it was not terrific and we’d discuss how to make it feel a little
more organic to our film and what we were trying to do without violating
it. Sometimes it was as simple as adding some color somewhere.”
Plannette elaborates, “The lighting was very reality-based. First we looked at what the reality was, and then we tried to make it work. We may have needed to enhance a few things for dramatic purposes or just to get an exposure, but we wanted the movie to look as if it wasn’t lit at all.”
To get that kind of exposure, Soderbergh placed strong demands on his film stocks, Kodak Vision 500T 5279 and Vision 250D 5246. “We ended up shooting almost all of the film with 5279 pushed two stops but rated at 1200 ASA,” he says. “In a sense, we’re pushing two stops but shooting only a stop and a half over. Even though the movie is designed to be slick and elegant, it doesn’t feel too glossy because it’s got a little bit of grit in it, and I loved the contrast [the stock] gave me. I’m really happy with the way that looks, and it affords you so much flexibility. We tested the 800-speed [5289] as well, and I found that the 79 was sharper. I’m incredibly impressed with how robust the 79 is.”
“In theory, of course,” says Plannette, “if you push 500 two stops you rate it at 2000, but we didn’t feel we were getting a full two stops. The ASA was derived based on getting decent printer lights at the lab. About 95 percent of the 79 is printed at 24- 31-25. We felt that was a good middle-of-the-scale printer light, and we altered our ASA to get that. We had an Eastman Kodak rep at our dailies one day, and when we told him we were pushing two stops he found it hard to believe.”
“At the beginning of each day,” Soderbergh says, “we’d shoot a gray card, and we’d build into the gray card whatever adjustments needed to be made to hit those printer lights. If we were going for a warm look, we’d put lA blue on the gray scale so that it would come back looking a bit warmer. If we wanted the scene to be printed down, we’d shoot the gray scale in a way so that when our printer lights were used, the scene would be down. We tried to take all the guesswork out of it.”
The results are tight grain control, inky blacks, deep shadow detail and bold colors. For the film’s few day sequences, the 5246 was pushed only one stop and had its own set of printer lights. CFI handled all the developing and printing, and Technicolor was responsible for the release prints.
Another key factor in the film’s look is the use of Kodak Vision Premier Color Print Film for all release prints, which for Soderbergh was “possible only because we came in under budget,” he says with a laugh. “After I did some tests involving some other print stocks and other ways of trying to get that look, I went back to Warners and said, ‘It’s just not the same.’ They said, ‘Okay, then we’ll use the leftover production money.’”
Adds Plannette, “It seems to hold the highlights, like the bright street lights and the headlights of cars, and yet dig into the shadows at the same time.”
Because the film was actually picking up a little more detail than was apparent to the eye on set, a trusty Polaroid was used as a reference to gauge the lighting parameters. “We used an old, modified Polaroid 195 that has shutter speeds and f-stops,” explains Plannette. “We used 3000 ASA black-and-white film but rated it at 2400 ASA. Then we just figured the Polaroid was a stop faster than what we were doing [with motion-picture film]. The Polaroids were amazingly accurate. Compared to the Polaroid film, the highlights would hold a little better and it would dig into the shadows a little bit better on the motionpicture film, but we took that into consideration.
Color, emboldened by pushing the 5279 two stops, is liberally dappled throughout the film. Says Soderbergh, “Differences between colors in my mind become more apparent when I begin to mix color temperatures, or when I have scenes like those on the casino floor, which are so warm they’re almost monochromatic. Jim and I decided that we weren’t going to back off from the clash of colors.
“For instance, we shot at Musso and Frank’s [restaurant in Los Angeles], where Danny and Rusty Ryan meet. We played up the contrast of colors a little more than you might normally. That reflects our taste in acknowledging that in life, there is a clash of color temperatures. All of the cinematographers I love have always embraced color and used it as a way to enhance mood and drama. We’re always looking for ways to use color to put you inside the world a little more.”
Plannette expands: “We installed practical lights in all of the booths at Musso’s. The fixtures were very yellow, and in an effort to achieve reality we actually used only those lights for the faces with no fill. In the background, we placed a very dim fluorescent in the entryway. We put up a couple of Babies in each direction to separate the actors from the dark background.”
The film was shot in the Super 35 format using the newer Panavision Millennium XL cameras. Sharper Primo lenses were used because of the additional optical printing step associated with Super 35. Soderbergh operated the A-camera while Duane Manwiller operated the B-camera and Steadicam. Soderbergh points out that for Oceans Eleven, he called upon the Steadicam more than ever before. “There’s a lot of movement in the film,” he says. “I would use the Steadicam when I felt I couldn’t get what I wanted from the dolly or couldn’t get the effect I wanted. More often than not it was when I wanted to pan in the opposite direction of my track — going one direction and then pivoting with someone who’s going the opposite direction. If you’re not an accomplished operator, which I’m not [laughs], that can be a difficult move to do well. I would just have Duane do it because he can walk toward the actor, pivot and get the sensation that I couldn’t get on the dolly. Quite often we even put the Steadicam on the dolly or on a Western dolly.”
Because the film features more than 11 key characters in pivotal locations, camera movement was a way to clarify the accomplishment of Danny Ocean’s complex plan. “I’m a huge fan of being geographically clear and making people comfortable with where everyone is and where each is going,” Soderbergh confirms. “In a movie like this, the locations play a huge part in the plot, and I was very interested in showing as much of the environment as I could.”
The film opens with an unshaven Ocean seated in front of some windows at his parole hearing with 3/4 backlight over both shoulders one of the scenes with which Soderbergh wasn’t happy. “It’s the first shot in the movie, and it makes me wince,” he admits. “The edge lights wrapped around too much. I didn’t want them to hit his nose. I wanted to draw a line around George, but because of the shape of the room I was having difficulty placing the light where I wanted and keeping the lamps out of frame. I wasn’t very pleased with it, but I thought George was very good in the scene, and I didn’t want to risk redoing it. Like I said, I’m probably willing to compromise more than most. I know we did knock down the windows and the fan vent with either ND3 or ND6. I think that was one of those days where Jim said, ‘Does it really need to be nine stops over?’ — like it was on Traffic.”
Plannette reveals, “The film holds the highlights so amazingly well that when we stopped down, the windows were probably five stops over yet didn’t give the appearance of blowing.”
After recruiting his crackerjack card-dealing friend Frank Catton in Atlantic City, Ocean heads to Los Angeles to meet up with his right-hand man, Rusty Ryan, at the voyeuristic club Deep in Hollywood. In a back room, a set constructed for the film, Ryan is seated at a round table teaching some young TV personalities how to play high-stakes poker when Ocean joins in.
“The poker game is entirely lit with an overhead fixture that had swivel sockets with MR-16 globes in them,” says Plannette. “The only other light is a [fluorescent] daylight blue tube in the background.”
Adds Soderbergh, “It was behind one of the hanging things on the wall. We then duplicated it with a couple rolling edge lights that we would move according to whatever shot we were doing so we could wash people with it.”
“When we got into tighter shots,” Plannette details, “we had a white card or a Kino Micro Flo on the table to provide a little bit of fill.”
“I love the Mini Flos and Micro Flos,” Soderbergh notes. “We’d lay those on the table if we felt somebody’s eyes were going down too much — put some, as we say, ‘schmutz’ in front of them, put them on a rheostat and just dial them to taste. I mount them on top of lenses all the time, too.”
“There are a lot of things about the film that I really like. Toward the end, all of the guys are standing outside the Bellagio fountains, and it’s very touching when it ends on Carl Reiner as he’s thinking about how it doesn’t get any better than this.”
The crew gathers in Las Vegas and begins carrying out the caper. Whereas all sequences that take place outside of Vegas were shot cleanly, everything in Vegas, both indoors and out, was photographed using Tiffen Black Pro-Mist filters — ¼ for the interiors and ½ for the exteriors.
“I was trying to figure out how to do the big dialogue scenes, where everybody was either standing or sitting around, in a visually interesting way,” Soderbergh says. “You’ve got a lot of people in a fairly confined space. I wasn’t worried that it couldn’t play, but I didn’t want it to be boring. The scene where Danny tells everybody the plan at Reuben Tishkkoff’s house in Las Vegas was really my first exposure to that. That was the scene where I discovered the glory of the 27mm; the entire scene is shot on that lens. I just tried to frame shots that clearly established where everyone was, where they had enough depth and geometry to them to make them interesting to look at.”
While everyone surveys the targeted establishment, Ocean inevitably meets up with Tess at a Bellagio restaurant. Lighting in the casino principally has a very warm, wrapping quality. “In a normal key situation, I’m always bouncing or using a lightbox that Jim designed, something to make the actors more appealing,” Soderbergh says. “I might not do that on every movie, but I did it on this because it’s that kind of movie, a movie-star movie. For instance, when Ocean and Tess meet in the restaurant, I was trying to adopt a very classical Hollywood approach to their close-ups to make them warm and appealing.”
The filmmakers applied some of those same techniques on the casino floor, but on a broader scale. “We wanted to be able to shoot with pretty much available light in the Bellagio,” says Plannette, “and then use some fill in the foreground or bounce off the ceiling for the background wherever we could.”
Soderbergh interjects, “The big job was replacing all of the 50-watt ceiling bulbs with our own 150-watt bulbs.”
“All of the lights in the casino were on a dimmer,” says Plannette, “so we had them brought up to 100 percent, whereas they normally work at about 40 percent. We built some light boxes in which we put Number 1 and Number 2 Photofloods on a Variac. We used those for front fill for tracking shots; we’d put them on a pole and walk along with people. We varied it a bit to give an indication that they were walking in and out of light. Sometimes we used those light boxes for edge light depending on how tight the shot was. On wider shots, we used traditional Tweenies or Babies, often not very soft. There was justification for that in all of these locations because of the bright lights in the background.”
There are a couple of shots where I feel like it’s not as natural as it should be, or that I went too far with trying to edge people out,” Soderbergh reveals. “Some of the shots I’m happiest with are moving shots where we either mounted a light with us that we were bouncing into the ceiling, or we just let it go [directly]. I should have gone that way more often.”
Most of the time in the casino, Soderbergh was shooting right at T2/2.8 split, and for one particular shot of Clooney at a slot machine [above], the filmmakers happened upon the lighting setup in true Las Vegas style: by chance. “The surface of the slots was so reflective that we placed a Par above him that we pounded into his slot machine,” Soderbergh says. “The light came back up in a way that turned out to be really perfect for us. We got lucky.”
Meanwhile, electronics expert Livingston Dell weasels his way into the casino’s machine room to tap into security camera feeds, a room that seems as if it was constructed inside an electric-blue light fixture. “I wanted to go for that super-saturated monochromatic blue,” Soderbergh explains. “I was tearing pictures out of a magazine for a film that I’m supposed to do this spring, and in putting the pile together I’d accidentally inverted this machine-room picture. It looked so much more interesting upside-down that I talked to production designer Phil Messina and said, ‘Can you make the floor the ceiling so that all the lights are coming out of the floor?’ He replied, ‘I don’t see why not.’ They’re really heavy blue fluorescents that Jim had told me about.”
“They’re fluorescent tubes that I first used about 20 years ago on commercials with a really innovative cinematographer-director named Melvin Sokolsky,” says Plannette. “He was a still photographer in New York, and he used a lot of multi-colored fluorescents in his stills — reds, greens and electric blues. He carried them over to his commercials. Steven and I put those under the Plexiglas floor in the room to give it a really eerie blue feel.”
Soderbergh adds, “Then we had these little MR-16 can lights up top that we let go tungsten just to add a tiny bit of flavor whenever [Dell] was directly under them.”
In stark contrast to the warm, plush comforts of the casino is the cold, underground vault set, which is rendered in shades of white, black and brushed aluminum. Variances in the light create the scene’s contrast. The vault ceiling was tiled with opaque plastic squares that are typical of business fixtures, and above those were space lights. “The space light is a very versatile light because it has six fixtures in each light, and you can control them by the number of globes that are turned on,” says Plannette. “We were able to use those in different amounts depending on the sequence. Once the vault explosion takes place, we used fewer of them. The hallway was lit with fluorescents in the ceiling and Lowel sockets along the floor.”
After the gang pulls off the greatest heist in Las Vegas history by ripping off Terry Benedict, they return to their warehouse base of operations in a SWAT van. (Remember, these are con artists.) To show the van driving in — what might normally be a throwaway transitional scene — Soderbergh stylized the lighting with a moving shaft of sodium vapor-colored light that beams through as the garage door opens, and he also added subtle camera movement. “It’s a weird effect,” he says. “That was one of those days where I was trying to figure out how to shoot what in essence is a very simple scene. I remembered we had already shot Andy Garcia going into the elevator, with the doors closing and going to black. In theory, those elevator doors shouldn’t have been black. They were metallic doors, so they should have been reflective. For some reason — and I didn’t realize why until later — when we were shooting that shot of Andy, I said, ‘Tent me in because I want the doors to go in silhouette.’ Dramatically it just looked better. Later at the warehouse, I remembered that what preceded the scene was the black elevator doors, so I said, ‘Turn out all the lights. Let’s just put one light outside pointing in, but no fill light in the garage.’”
The opening of the automatic garage door allowed the shaft of light to shine more and more into the pitch-black warehouse to backlight the van. Soderbergh tilted the camera up from the blackness to frame the van as it rolled in. “If Warners were actually aware of how much was being determined moment to moment on this movie, they’d probably be horrified, but that’s the way I work,” he says with a chuckle. “By accident, we came up with these shots that look like they go together.”
Says Plannette, “We had a 20K on a Condor with a GAM #382 Brass in front of it. It’s as close to sodium as there is, I think, which is what I like about it. Sometimes we added a little bit of green to it, but in this case we didn’t. But it does cut quite a bit of intensity, so you need a pretty big unit to go through it. We were shooting at about a T2/2.8 split so that we held the background.”
“Dramatically,” Soderbergh reflects, “one of my favorite shots in the movie is a long tracking shot of Tess where she’s left Terry Benedict and realizes Danny is still around somewhere. You see all that play out on her face. It was 200 feet or more of track. What we ended up doing was mounting a light on the camera as an eye-light. We had that on a Variac. We hooked a second dolly to my dolly, and on the back of it we mounted an edge light that was also on a Variac. So both lights were moving with us, but they were dimthing up and down in a random way.” Though it’s shot during the day but plays as night in the film, the dimming variances make it appear as though Tess is walking in and out of pools of brighter light, maintaining the natural quality prevalent throughout the film.
“There are a lot of things about the film that I really like,” muses Plannette. “Toward the end, all of the guys are standing outside the Bellagio fountains, and it’s very touching when it ends on Carl Reiner as he’s thinking about how it doesn’t get any better than this.”
If you enjoy archival and retrospective articles on classic and influential films, you'll find more AC historical coverage here.
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https://www.vulture.com/2019/01/oceans-eleven-effect-heist-movies.html
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en
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The Ocean’s Effect: How the 2001 Film Changed the Heist Movie For a Generation
|
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2019-01-25T16:55:41.090000-05:00
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The Steven Soderbergh film Ocean’s Eleven saved the heist genre, but also changed it for a generation. We look at how the 2001 remake inspired the past two decades of heist movies.
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en
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Vulture
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https://www.vulture.com/2019/01/oceans-eleven-effect-heist-movies.html
|
There’s always going to be something compelling about a crew pulling off an elaborate theft onscreen. Heist movies have suspense, stakes, and conflict baked into the structure. It’s why the format has survived and thrived well into the 21st century. (This weekend, in fact, sees the release of King of Thieves).
But it wasn’t easy: Over the last two decades, studio output evolved, homogenized, and pushed mid-market adult fare like crime and romance toward extinction. Yet the heist movie lasted for a variety of reasons, not least of all the fact that the template itself is alluring. In the movies, the characters pulling off these daring acts of grand theft aren’t just gimme-your-wallet punks, but something more elevated. They have a clear goal, often one with a higher significance. They’re problem solvers, usually smarter than the audiences they’re daring to keep up. In short, characters in a heist movie are figures audiences can admire on the screen.
And perhaps the biggest reason the heist film has continued to endure to this day has to do with a 2001 film called Ocean’s Eleven, which represented everything that’s good about the form.
Written by Ted Griffin and directed by Steven Soderbergh, the Ocean’s Eleven remake was cool, fun, energetic, and had more stars than could reasonably fit on a poster. And in December of 2001, it was a massive hit, making $450 million worldwide and cracking the top ten domestic earners for the year, just ahead of Jurassic Park III. The ripple effect caused by the movie’s success is undeniable; it went on to include much more than the two direct sequels and 2018’s all-female side-quel, Ocean’s Eight. In the eyes of the studios, Ocean’s Eleven became the template for what a marketable and bankable heist movie should look like in the 21st century. But in the nearly 17 years since, that model has barely been updated.
To understand what made Ocean’s so special at the time, it’s worth examining the state of the genre at the time of its release. With the crime-movie boom of the early ’90s, brought on largely by the rise of Tarantino and the one-two punch of Goodfellas and Casino from Scorsese, crooks and thieves were in vogue. Out of that came a string of pulpy, populist masterpieces, like L.A. Confidential, Fargo, and Michael Mann’s heist opera, Heat. The worldviews were bleak and violent, but an adherence to gritty realism allowed the stories to become about something more than cops and robbers.
By the turn of the century, however, the cinematic crime wave was slowing down, and heist movies went with it. Movies like Donnie Brasco, The Big Hit, and the Stallone-starring Get Carter remake came and went without much notice. Most tellingly, Tarantino’s 1997 effort, the underrated Jackie Brown, did less than half the business of Pulp Fiction in the States. As for the heist, the news wasn’t much better; a David Mamet movie that was called Heist couldn’t break even at the box office. Things didn’t look great.
Then Danny Ocean got out of prison.
Soderbergh’s Ocean’s recaptured some of the Leonard verve from his previous Out of Sight and the same reverence for New Hollywood cool of the late ’60s and early ’70s, but it felt entirely fresh in 2001. The daring plan to rob three casinos at once is certainly dangerous, but Danny Ocean (Clooney) never really sweats it. His eyes are on recapturing the heart of his wife, played by Julia Roberts. More than anything Ocean’s Eleven is a joy. These characters are likable and like each other. They seem to have fun doing their job. The same could be said for the actors onscreen.
And the studios paid attention. Eleven’s success coincided with a sea change in studio filmmaking. It hit theaters on December 7, 2001, less than a month after the first Harry Potter film and 12 days before Lord of the Rings: The Fellowship of the Ring. X-Men, the year before, and Spider-Man, the year after, form the foundation of what would become a full-on superhero wave by the end of the decade. The kinds of movies being put out by these major corporations were becoming less varied, and adult-focused fare, like crime films and rom-coms, was about to become more scarce.
But Ocean’s defied the calculations of studios that were starting to value intellectual property and brand awareness above all. Sure, there was the original Rat Pack film, but Ocean’s wasn’t a smash because of people’s fond memories of Frank, Dean, and Sammy. It was that alchemical mix of genuine stars, confident filmmaking, and the ability to dazzle.
What followed was a generation of movies looking to replicate its tone, with mixed success. A rash of heist movies followed that lifted the Ocean’s-y setup (stars making sarcastic quips as they pulled off a low-stakes heist) followed. There’s 2004’s The Perfect Score, which follows pre-Marvel Scarlett Johansson and Chris Evans attempting to steal SAT answers. The Italian Job and Going in Style also looked to the heist history for remake fodder. Now You See Me kept the Vegas and added magic tricks — sorry, illusions. Mad Money had the unlikely grouping of Diane Keaton, Katie Holmes, and Queen Latifah ripping off the federal reserve. Tower Heist even brought in Ted Griffin himself as one of its writers. Marvel got in on the action and made a heist the centerpiece of Ant-Man. Edgar Wright’s Baby Driver set itself apart with some stellar direction and pop scoring, but it was a movie that audiences were largely primed for due to the Ocean’s trilogy.
None of this is to say that these movies are bad or rote rip-offs by virtue of their riding Ocean’s wake. But the trend points to an unmistakable shift: the industry deciding that a heist movie must conform to a certain tone. Unlike the violent crime films of the ’90s, this crop was light, nonviolent, and jokey — material designed to find a home in all four quadrants. And as studios pumped out more and more of them, the genre by and large grew stale. Ironically, the Ocean’s effect eventually came to claim the Ocean’s franchise itself: By the time Warner Bros. rebooted the series with Ocean’s Eight, audiences and critics seemed to have had enough. Though the film, receiving lukewarm reviews, made a respectable $140 million at the U.S. box office, the total marked a low for the series, once adjusted for inflation. (That figure, however, isn’t adjusted for misogyny, which was undoubtedly a factor.)
So what happened? The Sandra Bullock–led side-quel had a killer cast, Soderbergh on as producer, and his good friend Gary Ross directing. It’s fun, the performances are strong, everybody seems to get along. Rihanna plays a hacker named Nine Ball!
The movie also completely lacked stakes. Never once does it feel like everything could go badly and that these people’s lives would effectively be over. At least Eleven had Andy Garcia’s Terry Benedict. The crew in Eight are just trying to rip off Cartier. The closest thing to an antagonist is played by human teddy bear James Corden. Ross’s direction doesn’t bring any style to it that wasn’t already there in Eleven, 17 years earlier. The whole thing came off as a soulless re-creation of past successes with no desire to innovate or differentiate itself.
While light capers became the dominant form of studio heist movies, a few grimmer yarns sneaked through elsewhere. Inside Man was a massive commercial hit for Spike Lee. People started to take Ben Affleck seriously again after The Town. And Hell or High Water notched four Oscar nods. Each of these movies has its own merits, but their accolades feel at least in part indebted to the fact that they went against the popular strain. Had they been released a generation ago, they may have been viewed as just another solid action flick, but nothing to call home (or the Academy) about.
And then came Widows. The Steve McQueen–directed BBC mini-series remake he wrote with Gillian Flynn won over critics, but flopped with audiences in such an extreme fashion that it’s actually head-scratching. Here was a movie with an acting lineup so strong that to call it “star-studded” seems weak. Widows is ambitious in its view of a modern Chicago — possibly overreaching at points — but its twists and design are meant for the mainstream. In theory, it’s exactly the kind of movie that should’ve re-reinvigorated the heist movie, breaking the mundanity of Ocean-ism circa 2018. Except it didn’t.
The financial disappointment of a movie can be picked apart infinitely, but in this case, a lot it seemed to come down to marketing — namely, the struggle to understand how to sell a heist movie with a social conscience from an Oscar-winning filmmaker. Or perhaps both audiences and studios simply forgot what a heist movie can be — that it isn’t defined by a specific tone or style. When big-screen thefts have all been fun and games for nearly 20 years, the dire economic inequality of Chicago doesn’t easily fit into that equation. A night at the Bellagio this wasn’t.
Ocean’s happened to hit at the exact right time to convince the industry that the heist movie could still be profitable — and the wrongheaded notion that only heist movies like it could succeed. Of course, the genre is much too rich to be hemmed in by any one template, and it’ll certainly outlive the trends of the day. Heist movies can be hilarious, depressing, gritty, light, anxiety-inducing, sexy, or none of the above. The only thing they really need is a crew, a job, and a plan.
|
|||||
5635
|
dbpedia
|
2
| 3
|
https://www.vulture.com/2019/01/oceans-eleven-effect-heist-movies.html
|
en
|
The Ocean’s Effect: How the 2001 Film Changed the Heist Movie For a Generation
|
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[
"Kevin P. Sullivan"
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2019-01-25T16:55:41.090000-05:00
|
The Steven Soderbergh film Ocean’s Eleven saved the heist genre, but also changed it for a generation. We look at how the 2001 remake inspired the past two decades of heist movies.
|
en
|
Vulture
|
https://www.vulture.com/2019/01/oceans-eleven-effect-heist-movies.html
|
There’s always going to be something compelling about a crew pulling off an elaborate theft onscreen. Heist movies have suspense, stakes, and conflict baked into the structure. It’s why the format has survived and thrived well into the 21st century. (This weekend, in fact, sees the release of King of Thieves).
But it wasn’t easy: Over the last two decades, studio output evolved, homogenized, and pushed mid-market adult fare like crime and romance toward extinction. Yet the heist movie lasted for a variety of reasons, not least of all the fact that the template itself is alluring. In the movies, the characters pulling off these daring acts of grand theft aren’t just gimme-your-wallet punks, but something more elevated. They have a clear goal, often one with a higher significance. They’re problem solvers, usually smarter than the audiences they’re daring to keep up. In short, characters in a heist movie are figures audiences can admire on the screen.
And perhaps the biggest reason the heist film has continued to endure to this day has to do with a 2001 film called Ocean’s Eleven, which represented everything that’s good about the form.
Written by Ted Griffin and directed by Steven Soderbergh, the Ocean’s Eleven remake was cool, fun, energetic, and had more stars than could reasonably fit on a poster. And in December of 2001, it was a massive hit, making $450 million worldwide and cracking the top ten domestic earners for the year, just ahead of Jurassic Park III. The ripple effect caused by the movie’s success is undeniable; it went on to include much more than the two direct sequels and 2018’s all-female side-quel, Ocean’s Eight. In the eyes of the studios, Ocean’s Eleven became the template for what a marketable and bankable heist movie should look like in the 21st century. But in the nearly 17 years since, that model has barely been updated.
To understand what made Ocean’s so special at the time, it’s worth examining the state of the genre at the time of its release. With the crime-movie boom of the early ’90s, brought on largely by the rise of Tarantino and the one-two punch of Goodfellas and Casino from Scorsese, crooks and thieves were in vogue. Out of that came a string of pulpy, populist masterpieces, like L.A. Confidential, Fargo, and Michael Mann’s heist opera, Heat. The worldviews were bleak and violent, but an adherence to gritty realism allowed the stories to become about something more than cops and robbers.
By the turn of the century, however, the cinematic crime wave was slowing down, and heist movies went with it. Movies like Donnie Brasco, The Big Hit, and the Stallone-starring Get Carter remake came and went without much notice. Most tellingly, Tarantino’s 1997 effort, the underrated Jackie Brown, did less than half the business of Pulp Fiction in the States. As for the heist, the news wasn’t much better; a David Mamet movie that was called Heist couldn’t break even at the box office. Things didn’t look great.
Then Danny Ocean got out of prison.
Soderbergh’s Ocean’s recaptured some of the Leonard verve from his previous Out of Sight and the same reverence for New Hollywood cool of the late ’60s and early ’70s, but it felt entirely fresh in 2001. The daring plan to rob three casinos at once is certainly dangerous, but Danny Ocean (Clooney) never really sweats it. His eyes are on recapturing the heart of his wife, played by Julia Roberts. More than anything Ocean’s Eleven is a joy. These characters are likable and like each other. They seem to have fun doing their job. The same could be said for the actors onscreen.
And the studios paid attention. Eleven’s success coincided with a sea change in studio filmmaking. It hit theaters on December 7, 2001, less than a month after the first Harry Potter film and 12 days before Lord of the Rings: The Fellowship of the Ring. X-Men, the year before, and Spider-Man, the year after, form the foundation of what would become a full-on superhero wave by the end of the decade. The kinds of movies being put out by these major corporations were becoming less varied, and adult-focused fare, like crime films and rom-coms, was about to become more scarce.
But Ocean’s defied the calculations of studios that were starting to value intellectual property and brand awareness above all. Sure, there was the original Rat Pack film, but Ocean’s wasn’t a smash because of people’s fond memories of Frank, Dean, and Sammy. It was that alchemical mix of genuine stars, confident filmmaking, and the ability to dazzle.
What followed was a generation of movies looking to replicate its tone, with mixed success. A rash of heist movies followed that lifted the Ocean’s-y setup (stars making sarcastic quips as they pulled off a low-stakes heist) followed. There’s 2004’s The Perfect Score, which follows pre-Marvel Scarlett Johansson and Chris Evans attempting to steal SAT answers. The Italian Job and Going in Style also looked to the heist history for remake fodder. Now You See Me kept the Vegas and added magic tricks — sorry, illusions. Mad Money had the unlikely grouping of Diane Keaton, Katie Holmes, and Queen Latifah ripping off the federal reserve. Tower Heist even brought in Ted Griffin himself as one of its writers. Marvel got in on the action and made a heist the centerpiece of Ant-Man. Edgar Wright’s Baby Driver set itself apart with some stellar direction and pop scoring, but it was a movie that audiences were largely primed for due to the Ocean’s trilogy.
None of this is to say that these movies are bad or rote rip-offs by virtue of their riding Ocean’s wake. But the trend points to an unmistakable shift: the industry deciding that a heist movie must conform to a certain tone. Unlike the violent crime films of the ’90s, this crop was light, nonviolent, and jokey — material designed to find a home in all four quadrants. And as studios pumped out more and more of them, the genre by and large grew stale. Ironically, the Ocean’s effect eventually came to claim the Ocean’s franchise itself: By the time Warner Bros. rebooted the series with Ocean’s Eight, audiences and critics seemed to have had enough. Though the film, receiving lukewarm reviews, made a respectable $140 million at the U.S. box office, the total marked a low for the series, once adjusted for inflation. (That figure, however, isn’t adjusted for misogyny, which was undoubtedly a factor.)
So what happened? The Sandra Bullock–led side-quel had a killer cast, Soderbergh on as producer, and his good friend Gary Ross directing. It’s fun, the performances are strong, everybody seems to get along. Rihanna plays a hacker named Nine Ball!
The movie also completely lacked stakes. Never once does it feel like everything could go badly and that these people’s lives would effectively be over. At least Eleven had Andy Garcia’s Terry Benedict. The crew in Eight are just trying to rip off Cartier. The closest thing to an antagonist is played by human teddy bear James Corden. Ross’s direction doesn’t bring any style to it that wasn’t already there in Eleven, 17 years earlier. The whole thing came off as a soulless re-creation of past successes with no desire to innovate or differentiate itself.
While light capers became the dominant form of studio heist movies, a few grimmer yarns sneaked through elsewhere. Inside Man was a massive commercial hit for Spike Lee. People started to take Ben Affleck seriously again after The Town. And Hell or High Water notched four Oscar nods. Each of these movies has its own merits, but their accolades feel at least in part indebted to the fact that they went against the popular strain. Had they been released a generation ago, they may have been viewed as just another solid action flick, but nothing to call home (or the Academy) about.
And then came Widows. The Steve McQueen–directed BBC mini-series remake he wrote with Gillian Flynn won over critics, but flopped with audiences in such an extreme fashion that it’s actually head-scratching. Here was a movie with an acting lineup so strong that to call it “star-studded” seems weak. Widows is ambitious in its view of a modern Chicago — possibly overreaching at points — but its twists and design are meant for the mainstream. In theory, it’s exactly the kind of movie that should’ve re-reinvigorated the heist movie, breaking the mundanity of Ocean-ism circa 2018. Except it didn’t.
The financial disappointment of a movie can be picked apart infinitely, but in this case, a lot it seemed to come down to marketing — namely, the struggle to understand how to sell a heist movie with a social conscience from an Oscar-winning filmmaker. Or perhaps both audiences and studios simply forgot what a heist movie can be — that it isn’t defined by a specific tone or style. When big-screen thefts have all been fun and games for nearly 20 years, the dire economic inequality of Chicago doesn’t easily fit into that equation. A night at the Bellagio this wasn’t.
Ocean’s happened to hit at the exact right time to convince the industry that the heist movie could still be profitable — and the wrongheaded notion that only heist movies like it could succeed. Of course, the genre is much too rich to be hemmed in by any one template, and it’ll certainly outlive the trends of the day. Heist movies can be hilarious, depressing, gritty, light, anxiety-inducing, sexy, or none of the above. The only thing they really need is a crew, a job, and a plan.
|
|||||
5635
|
dbpedia
|
3
| 44
|
https://www.fantasy-animation.org/current-posts/let-her-come-to-me-opening-the-ocean-in-disneys-moana
|
en
|
“Let her come to me”: Opening the Ocean in Disney’s Moana — Fantasy
|
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[] |
[] |
[
""
] | null |
[
"Charlotte Durham"
] |
2021-10-08T10:51:38+01:00
|
Since its DVD release, Moana (Ron Clements & John Musker 2016) has carved a home in my heart. When I’m not re-watching it captivated and in love with its artistry, I’ll watch it thinking about the voyage Disney takes into Polynesian histories and the representation of culture which, althou
|
en
|
https://images.squarespace-cdn.com/content/v1/5a90557e1137a6fdeeb6bb3e/59269c1b-83fa-4a78-b00e-c158e0871f5a/favicon.ico?format=100w
|
Fantasy/Animation
|
https://www.fantasy-animation.org/current-posts/let-her-come-to-me-opening-the-ocean-in-disneys-moana
|
Since its DVD release, Moana (Ron Clements & John Musker 2016) has carved a home in my heart. When I’m not re-watching it captivated and in love with its artistry, I’ll watch it thinking about the voyage Disney takes into Polynesian histories and the representation of culture which, although efforts were made through the formation of the Oceanic Story Trust to depict authentic Polynesian cultures, often falls short – as one indigenous rights advocate puts: “having brown advisers doesn’t make it a brown story” (Ngata, 2016). Or, perhaps, the way in which the film challenges the moral binaries that audiences may associate with the Disney catalogue of films, and how I find myself lost in the beauty and artistry of the animators who crafted the ocean as an anthropomorphic being, capable of thinking and feeling. Moana tells the story of the titular protagonist who, since she was young, has had a special relationship with the ocean; one characterised by her curiosity and its playfulness. As a toddler, the ocean revealed to her the heart of Te Fiti, and for years it has been kept safe by her Gramma Tala. Now sixteen, when a life-sucking darkness threatens her island, Moana defies the rules of her people and sails beyond the reef on a daring mission to save her home. Having crossed the ocean in a small canoe, she arrives expecting to find Te Fiti, the goddess to whom she must return the heart. However, all she finds is the space Te Fiti once lay, and Te Kā: a demon of earth and fire. This blog post analyses the sequence from the film following Moana’s realisation that Te Kā is Te Fiti, and the ocean opens to make a path for the pair to meet. Through a comparison to DreamWorks 1998 film The Prince of Egypt (Brenda Chapman, Steve Hickner & Simon Wells), I examine the way in which the redemption of Te Fiti (and by extension, the population of Motunui) is depicted, particularly in how the narratives are secured within the bounds of possibility, and thereby their more fantastical elements are demoted. I also consider how the ocean in the film seeks to protect Moana, thereby potentially undermining her reputation as an independent young woman.
The ocean – and indeed water imagery more broadly – has long held connotative meanings of calm and peace, amid holding wider the symbolic meaning of life itself (see Stokowski, 2009).[1] It comes as no surprise, therefore, that the ocean in Moana, with its ability to neutralise the threat of the lava, is the peacekeeper between Moana and Te Kā. As an almost central character throughout the film, the ocean’s life and vitality in the sequence is realised in the electric blue tones surfacing as it parts, making a way for Te Kā and Moana to meet (Fig. 1). The colouring of the walls of water that form do more than sustain the accompanying white-water and sense of realism invoked by this sequence. The contrast of colours – from the white, bright ocean at the top of the walls compared to the darker blues and dirtiness of the ocean floor – also introduce us to the dialectic (that is, the acceptance of two seemingly opposing ideas at the same time) between good and bad that exists within all of us and importantly, our protagonist. In this way, these colours lining the walls of the trench through which Moana will walk foreshadow her own identification with Te Kā.
Moana’s request for the ocean to part, allowing her to come face-to-face with Te Kā, is a brave one, although as Madeline Streiff and Lauren Dundes point out, does not require any particular cleverness (2017, 8). Yet the ocean doesn’t let Moana walk into this redemptive moment alone. Although the film has been praised for its feminist spirit (see Khandelwal, 2016; Yamato, 2016), Moana has never been the sole heroine: “the ocean is a friend of [hers]” (33:10–33:13). The ocean has been an omnipresent protective factor and source of help throughout the film, and in some ways, this undermines the image of Moana as an independent young woman.[2] The walls of water that form (following Moana’s command) and surround the ocean floor trench further accentuate the idea that she must be shielded from harm. The ocean, working to the aegis of Moana’s protection, introduces a dichotomy between Moana shaping her own future and not needing any man (i.e. Maui) to save the day, and that of Moana still being overseen and guarded by the ocean that she won’t come to any harm.
Redemption
The redemptive imagery of the parting the ocean to form a path to restoration in Moana is fully realised when compared to a similar sequence from DreamWorks’ 1998 feature film The Prince of Egypt. The Prince of Egypt is a dramatic adaptation of the Old Testament Book of Exodus, which tells the story of Moses and his calling by God to deliver the Israelites out from under the hand of Egyptian slavery. Visually – as well as narratively – there are many moments of similarity between the two films, but here I will concentrate on the moments in which Moses leads his people to safety by crossing the red sea to escape the pursuing Egyptian army (Fig. 2).
Both Moses and Moana walk through the now-opened ocean, surrounded by walls of water to save their people, and fulfil their own respective prophecies. Yet a major difference lies in the power by which the ocean moves. In Prince of Egypt it is Moses, with the power of God working through him, that causes the ocean to open, whereas in Moana we see the “ocean as an anthropomorphised, vast natural element” (Julius & Malone 2016, 70) with personality, thoughts and emotion; able to listen, respond and move freely. Therefore, in creating the ocean as a character (in Moana), it reflects a sense of being alive, rather than being moved (as in The Prince of Egypt). To achieve this sense of aliveness, animators of Moana captured this using art-directed flows (Frost et al. 2017, 2). This method of computer animation allowed for the simulation of the water walls to retain their dynamism and naturalism, ensuring that the ocean, despite its actions, did not appear fake.
The importance of the parallel to the parting of the red sea in the DreamWorks film is revealed when we acknowledge Moana’s more fantastical elements. However, within the realm of what is real, the ocean should not be able move in that anthropomorphic way. It comes as no surprise, therefore, that the moment where the ocean opens to form a path to restoration is undermined when taken out of its own fictional reality. Still, the ocean defies what is probable while remaining grounded in what is possible. In other words, opening the ocean isn’t a far-off dream and it is not so much a question of is this likely to happen, but instead could this happen? Thus, the beginning of this redemptive sequence in Moana opens up a space of possibility and roots itself in an story in which, if it happened once, it could happen again.[3] Considering that at this point the heart of Te Fiti is yet to be restored, the opening of the ocean offers a sense of hope (and almost knowledge) that there will be restoration even if it has not been achieved yet.
The ties to ancient histories in Moana further accentuate the ancient Polynesian mythology laced throughout in the film. Thus, the film engages with time-honoured stories that serves to preserve the restorative story arch spanning the entirety of the film, thereby crafting redemption as not just necessary but possible. The anthropomorphised character of the ocean holds deeply symbolic meanings – such as those associated with life and life-giving power – reinforcing the redemption narrative and parallels to the exodus as dramatized in The Prince of Egypt. Further, the ocean undermines the interpretation of Moana as an entirely independent young woman, as well as assuming the peacekeeper role while establishing the contention between good and evil. In this way, the ocean opening negotiates the overarching theme of redemption and restoration alongside a continued trend towards more complex gender and moral representations that serves as the crux for a continuing discussion in relation to Disney’s animated films.
**Article published: October 8, 2021**
Notes
[1] It is worth noting that in addition to these connotations of the ocean, there also a gendered element at play. Valerie Estelle Frankel (2019) describes the ocean as “a source of feminine power” which reinforces the aforementioned connotations by this association with traditional feminine qualities such as those of gentleness, gracefulness and sensitivity.
[2] Moana calls out “Ocean. I could use a little help. […] Come on. Help me.” and “Ocean. Do something. Help us.” at various points throughout the film. Although there is also nothing wrong with asking for help when you need it – recognising your weakness takes courage – in these moments Moana does so in what can be described as apathetic and defeated. This reliance on the ocean arguably undermines (or lessens) the view of Moana as despite her courage and strong-willed nature.
[3] I acknowledge that this space of possibility is undermined by the many other fantastical elements occurring prior to this sequence in Moana, notably the encounters with Kakamora and Tamatoa, as well as Moana and Maui’s brief trip to Lalotai (Realm of Monsters).
References
Frankel, Valerie Estelle. 2019. “Moana and Feminine Symbolism.” Medium, 28 November. https://valeriefrankel.medium.com/moana-and-feminine-symbolism-e409d48c9247
Frost, Ben, Alexey Stomakhin, and Hiroaki Narita. 2017. “Moana: Performing Water.” Paper presented at SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference, Los Angeles, CA, 30 July – 3 August.
Julius, Jessica, and Maggie Malone. 2016. The Art of Moana. San Francisco: Chronicle Books.
Khandelwal, Tara. 2016. “Moana Is Disney’s Most Feminist Film.” she the people, 10 December. https://www.shethepeople.tv/news/moana-is-disneys-most-feminist-film.
Ngata, T. 2009. “Despite Claims of Authenticity, Disney’s Moana Still Offensive.” Rising Up With Sonali. 23 November. https://risingupwithsonali.com/despite-claims-of-authenticity-disneys-moana-still-offensive/
Stokowski, Patricia. 2009. “Symbolic Aspects of Water.” In Water and People: Challenges at the Interface of Symbolic and Utilitarian Values, edited by Stephen F. McCool, 19–59. Collingdale: Diane Publishing.
Streiff, Madeline, and Lauren Dundes. 2017. “From Shapeshifter to Lava Monster: Gender Stereotypes in Disney’s Moana.” Social Sciences 6, no. 3 (September): 91.
Yamato, Jen. 2016. “The Revolutionary ‘Moana’: Disney’s Most Unapologetically Feminist Princess Yet.” The Daily Beast, 23 November. https://www.thedailybeast.com/the-revolutionary-moana-disneys-most-unapologetically-feminist-princess-yet.
Biography
Charlotte Durham is a student at the University of Leeds studying towards the degree of MA in Communication and Media. Her research interests include transmedia storytelling, fandom, media psychology and Disney. You can find her on Twitter here.
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movie review: Ocean’s 11 (1960).
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2022-06-07T00:00:00
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source. Ocean's 11 tells the story of eleven guys, headed up by one Danny Ocean (Frank Sinatra), who plan an elaborate heist—one that involves stealing hundreds of thousands (if not millions) of dollars from five Las Vegas hotels (all on the same night). The film takes a lot of time to showcase the personalities and…
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THE CAFFEINATED FANGIRL
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https://evaschon.wordpress.com/2022/06/07/movie-review-oceans-11-1960/
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https://intloceanfilmfest.org/
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INTERNATIONAL OCEAN FILM FOUNDATION
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Every year, IOFF produces an acclaimed festival of ocean-themed films from all over the world that are largely unavailable to the general public. Themes range from marine science and industry to sports and adventure. We look for films that entertain, educate, and encourage active participation in oc
|
en
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https://images.squarespace-cdn.com/content/v1/561471cbe4b085f35a2cb156/1590347129342-0LLX8CNGSVUCVEKA8R9I/favicon.ico
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International Ocean Film Foundation
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https://intloceanfilmfest.org
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Screening is followed by a Q&A with Director David Schurmann.
A sweeping family adventure, My Penguin Friend is a triumphant tale of friendship between a lonely father and a little lost penguin who recharges his spirit and heals his family with an unshakable, ocean-crossing loyalty. Humble fisherman João (Jean Reno) has turned away from the world in the wake of tragedy. Based on an emotional true story that riveted the world and filmed on the spectacular coasts of Brazil and Argentina, My Penguin Friend is a tale that traverses the magic of the ocean, the beauty of nature, and the transformative power of love.
Register HERE.
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https://tv.apple.com/us/movie/oceans-eleven/umc.cmc.4mt9j4jqou4mlup1pc9riyo63
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en
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Ocean's Eleven
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2001-12-07T00:00:00+00:00
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Danny Ocean likes his chances. All he asks is that his handpicked squad of 10 grifters and cons play the game like they have nothing to lose. If all gâ¦
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Apple TV
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https://tv.apple.com/us/movie/oceans-eleven/umc.cmc.4mt9j4jqou4mlup1pc9riyo63
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https://tv.apple.com/us/person/george-clooney/umc.cpc.48ysclkja0c3g9acrmaon66wv
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en
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George Clooney Movies and Shows
|
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Learn about George Clooney on Apple TV. Browse shows and movies that feature George Clooney including IF, The Perfect Storm, and more.
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Apple TV
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https://tv.apple.com/us/person/george-clooney/umc.cpc.48ysclkja0c3g9acrmaon66wv
|
The One with Two Parts, Pt. 2
After weeks of procrastinating, Rachel finally takes down the Christmas light on their balcony, only to fall off the balcony and sprain her ankle. At the hospital, Rachel - who has no insurance - cajoles Monica into trading identities so she can use Monica's coverage. When Ursula breaks Joey's heart Phoebe tries to fix it.
Radio Days
Roseanne wants Dan to enter a country music song-writing contest sponsored by the local radio station. Dan is reluctant to do so until he finds out that the grand prize is a hundred dollars. Unable to come up with a new idea, and not pleased with anything he wrote in the past, Dan chooses one of Roseanne's old poems to put to music. Sexual tension between Jackie and Booker heat up in the workplace. Becky and Darlene are at each other's throats.
Lovers' Lane
Roseanne talks Booker and the women from work into going bowling. Becky gets dolled up for the night out, because she has a first crush on a boy from her school that works at the bowling alley, but is mortified at the thought of being embarrassed by her parents. Jackie and Booker make a "friendly" wager involving a sleepover vs. toilet bowl scrubbing.
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https://www.marineinsight.com/know-more/15-amazing-ocean-documentaries-you-must-watch/
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15 Amazing Ocean Documentaries You Must Watch
|
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"Ajay Menon"
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2024-04-22T03:30:11+00:00
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In this article, we take a look at 15 ocean documentaries that are bound to change how you look at our oceans.
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Marine Insight
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https://www.marineinsight.com/know-more/15-amazing-ocean-documentaries-you-must-watch/
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The oceans are not only home to millions of plant and animal species but they also regulate global climate, offer food security and are vital for the economy. However, global warming and marine pollution are two major threats which need to be dealt with. Raising awareness to protect the oceans can be done through visual media, such as good movies or documentaries.
In this article, we look at 15 ocean documentaries that will change how you look at water bodies. With notable names such as Sir David Attenborough, Alastair Fothergill, Natalie Portman, and Rob Stewart, here is our list of 15 must-watch ocean documentaries.
1. The Blue Planet: A Natural History of the Oceans (2001)
Narrated by Sir David Attenborough and produced by BBC
From the highly acclaimed BBC Natural History Unit, The Blue Planet has been the forerunner for documentaries on Earth’s oceans. Aired in September 2001, it is a series of eight episodes. With unimaginable footage, it pioneered underwater photography and pressed the need for informative and interesting documentaries on the topic.
The Blue Planet won critical acclaim, with multiple Emmy and BAFTA awards over its 2-month run time. Executive producer Alastair Fothergill is a common name when it comes to documentaries on nature, and he teams up well with composer George Fenton to deliver an exciting view of the oceans.
Narrated by Sir Attenborough, the film faced multiple challenges, since oceanography was still a relatively unexplored field. The effort that went in the 5 years it took to film their observations can be appreciated in every 50-minute episode.
Some exciting scenes were blue whale migration routes, the famed sardine run near South Africa, and the hunting of grey whales by orca. The show was a huge success, with a viewership of over 12 million people upon release. It also spawned other documentaries that focused on exploring the ocean.
2. The Blue Planet 2 (2017)
Narrated by Sir David Attenborough and produced by BBC
Following the successful release of The Blue Planet in 2001, Blue Planet 2 brought back the original crew 15 years after the first season. The main addition to the team was famed composer Hans Zimmer.
Premiering in early 2018, the show won the National Television Awards and the 2018 BAFTAs. Voiced in the signature style of Sir Attenborough, it focussed on different aspects of the ocean, touching upon pertinent issues such as pollution.
With filming beginning in 2013, the series revisited some sites to record changes, which took some 4,000 dives and 6,000 hours of underwater footage.
Covering 39 countries, it was released in seven, 50-minute episodes followed by a 90-minute compilation. Some episodes were critically acclaimed for their message, including One Ocean, The Deep, and Mother Pilot Whale Grieves.
The main impact of this series was the awareness it raised towards plastic pollution. This led to BBC banning single-use plastic on its facilities, followed by this being implemented to some extent across the UK. It also sparked renewed interest in courses on marine biology, dubbed the “Blue Planet Effect”. The series also became a hit in China and coincided with a plan between the UK and China to tackle plastic pollution.
3. Chasing Coral (2017)
Directed by Jeff Orlowski
Following the success of Chasing Ice by director Jeff Orlowski in 2012, the production team came together to work on a critically acclaimed documentary that focused on the coral reefs that inhabit Earth’s oceans. A group of scientists, divers, and photographers embarked on a mission to uncover the health of coral reefs.
They also focused on the impacts of pollution on these corals, including coral bleaching samples which they collected from over 30 countries. Collected by volunteers, the crew of the movie brought together people from diverse locations to help save the reefs.
The film was a success, winning the coveted Audience Award under the US Documentary section at the 2017 Sundance Film Festival. It also sparked renewed interest in marine studies across the US. This success led the team to form the “Chasing Coral Campaign” which aims to sustain coral reefs. As an impact campaign, they use local community support to create positive changes in coral health.
4. Mission Blue (2014)
Directed by Fisher Stevens and Robert Nixon
Following the life and efforts of famed marine biologist Dr. Sylvia Alice Earle, Mission Blue is a standout film that highlights the problems plaguing today’s oceans.
It looks at the problems of pollution, climate change, and overfishing, that threaten several marine species. Along with renowned marine biologist Barbara Block, the film takes on some of the most sensitive issues that need to be addressed today.
With several hundred hours of underwater footage covering locations such as Bermuda, Ecuador, and the United States, it premiered at the Santa Barbara International Film Festival. Filmed along with James Cameron and Mike DeGruy, it created a major stir upon release.
The film went on to be a hit, winning the News & Documentary Emmy Award in 2015. The immense success of Mission Blue and the international awareness it raised, led to the formation of the Sylvia Earle Alliance.
This Alliance worked towards creating the Mission Blue Campaign and Group that has helped improve marine health.
5. Dolphin Reef (2018)
Narrated by Natalie Portman and directed by Keith Scholey and Alastair Fothergill
Voiced by award-winning actress and wildlife enthusiast Natalie Portman, Dolphin Reef is a heartwarming and touching tale of a dolphin pod.
Spanning the journey of a young bottlenose dolphin named Echo, the documentary covers the upbringing and eventual maturity of young dolphins.
Interestingly, it also covers other marine creatures such as the peacock mantis shrimp, humpback whales, green hump head parrotfish, killer whales, and cuttlefish. The documentary was shot in and around the Red Sea.
This particular location was chosen since the dolphin pod allowed the divers to approach them. Along with the original dolphin’s tale, this allowed the film to capture other elements of life on a coral reef.
It won special acclaim as it highlighted the struggles faced by dolphins and coral reefs. Keith Scholey, the director, mentioned how during filming, the crew witnessed over 1/3rd of the coral reef die from pollution.
6. A Plastic Ocean (2016)
Directed by Craig Leeson
A Plastic Ocean is a breakout film that raises uncomfortable questions and makes the viewer realize the extent to which pollution has harmed Earth’s oceans. Shot over several countries and their water bodies, it looks at the impact of plastic pollution and the uncertain future that awaits us all.
Centred around the Pacific Ocean gyre, the crew brought experts, researchers, and scientists to help them collate data. After several hours of filming, they collected enough evidence to show that the oceans were turning toxic with microplastic spreading.
Producer Jo Ruxton had previously taken part in expeditions to witness plastic pollution near San Francisco, which is what inspired the filming of A Plastic Ocean. The team collaborated with the WWF, cetacean expert Dr Lindsay Porter, and microplastic expert Dr Bonnie Monteleone to ensure their documentary covered all the necessary concerns.
When the documentary made an impact on people’s perceptions towards single-use plastics, the crew and producers decided to take it to the next stage, by creating Plastic Oceans.
They organize awareness campaigns, and events to increase impact, create short documentaries on plastic pollution, and raise donations to help clean up our oceans. This campaign has gone on to win acclaim for the role it has played in creating positive changes to marine flora and fauna. Over time, they have expanded operations to the United States, Canada, Chile, Europe, and Mexico.
7. The End of the Line (2009)
Directed by Rupert Murray
“Imagine an ocean without fish. Imagine your meals without seafood. Imagine the global consequences. This is the future if we do not stop, think and act.” With these opening lines, this documentary sets the tone of what is soon to follow. The End of the Line is a standout production that is a must-watch for anyone concerned about Earth’s oceans.
From famed director Rupert Murray, this was one of the earliest documentaries that brought to light the situation faced by many underwater species.
Critically examining the problems of overfishing, it covers the extinction of bluefin tuna, the overpopulation of jellyfish, and the reality of inedible fish poisoned by plastic pollution. Spanning 2 years of filming and research, this documentary brings to the fore the seemingly little importance that is given to fish. Filmed with investigative reporter Charles Clover, it raises questions to members of society who can make an impact but choose not to.
The film ends with a warning note- if the situation is not rectified, there will be no fish by the end of 2048.
8. Sharkwater Extinction (2018)
Directed by Rob Stewart
Filmed and completed by the Rob Stewart Foundation in 2018, Sharkwater Extinction is a film that highlights the dangers sharks face due to overfishing, poaching, and pollution.
Filmed as the sequel to Rob Stewart’s Sharkwater, it focuses on the rampant fishing of sharks to supplement various industries. It looks at the corruption, political motives, and the underworld that has led to the extinction of many species.
During filming, director Rob Stewart drowned during a routine underwater expedition. The film was dedicated to his memory and received support from around the world.
Before release, the film garnered attention for the outreach it created, and the positive impact it had. When filmgoers learned of the unfortunate demise of Rob, viewership increased drastically. People came out in support of the family and praised Rob for having made an effort to stop shark extinction.
9. Sushi: The Global Catch (2012)
Directed by Mark S. Hall
Sushi is a global phenomenon with a fan following across Asia and the Americas. What was once restricted to only Japan has now spread across the world.
The demand has increased exponentially, and like any economic model, the supply is also bound to increase to meet market requirements. But what can be done if the very source of supply is beginning to disappear from the Earth? Prices shoot up, consumer demands increase, and there are no fish.
And this is the question that this 75-minute documentary presents to the audience. It provides an in-depth understanding of the sushi fad that has gripped the nation- from the exotic and endangered species killed for making sushi to the years that sushi chefs put into perfecting the art.
The film closes with a visual of how fish such as the bluefin tuna have now become severely endangered, and there seems to be no end in sight. A few marine conservationists have begun an effort to protect these species, but raising awareness is the need of the hour.
10. James Cameron’s Deepsea Challenge (2014)
Directed by James Cameron
Director James Cameron (from Titanic fame), has always been an adventurer and explorer. This is why when the opportunity to be a part of an underwater expedition came up, he joined the crew and ultimately led the deep-sea challenge.
Filmed as an attempt to dive down to the deepest known point on Earth- the Mariana Trench, the 90-minute documentary beautifully combines science, courage, and a sense of adventure.
As an attempt to recreate the famed dive to the Trench in 1960, Cameron captures the journey from planning and preparation to the actual descent.
Providing his narration, the film has outstanding visuals that capture the beauty of the Pacific Ocean and the wonders that exist below the surface. For viewers interested in underwater explorations and adventure, this is an excellent choice.
11. Turtle: The Incredible Journey (2009)
Narrated by Miranda Richardson and directed by Nick Stringer
Produced by SeaWorld and Tradewind Pictures and tied up with the Australian Film Institute, Turtle brings you the story of the loggerhead turtles that make an incredible journey every year. Narrated by acclaimed British actress Miranda Richardson, the documentary follows the tale of a single loggerhead who makes the journey of a lifetime across one of the largest oceans in the world.
Loggerheads birth near the beaches of Florida and then begin swimming the Gulf Stream up to the North Atlantic. Over time, they turn South to Africa and then make their way back to North America. But not every loggerhead survives this journey, with only 1 in ten thousand making it back to the beach they were born on.
The documentary strives to raise awareness of the perils that this incredibly resilient creature faces as it travels across oceans filled with predators and other dangers. With its surreal theme, it is sure to leave you with a renewed awe of marine life and the oceans.
12. The Kodiak Queen (2018)
Narrated by Kate Winslet and directed by Rob Serrenti
Numerous shipwrecks dot the oceans and each has its history and message. But when you combine the Kodiak Queen with the vision of award-winning filmmaker Rob Serenti, the message takes on a bigger meaning.
Richard Branson, of Virgin Galactic fame, has been a conservationist whose projects have helped restore the British Virgin Isles. One such project was the Kodiak Queen- a World War 2 warship that survived the horrific Pearl Harbor attack. Over time, Richard Branson and his team were able to turn it into an artificial reef and dive site.
With stunning visuals from the Isles, this documentary brings a completely different outlook on the warship and the meaning it carries. With narration from Academy Award winner- Kate Winslet, the documentary takes you through a haunting story that shows the long road ahead for the conservationists looking to return the Isles to their former glory.
13. Planet Ocean (2012)
Directed by Yann Arthus-Bertrand and Michael Pitiot
The Earth’s oceans cover a significant portion of the surface, and some mysteries are yet to be uncovered. This includes pristine marine habitats, underwater reefs, and unique creatures in exclusive locations.
However, the film accurately captures the devastating effects of pollution on the oceans. In association with OMEGA and Tara Expeditions, Planet Ocean has stunning visuals and a compelling tale that makes it endearing to audiences.
The underwater photography is excellent with high-quality shots that capture the poignance of the ocean. Yet, the film seems to lack direction, and the details presented are occasionally hazy. However, the film does capture the effects of pollution on the marine ecosystem and is a great choice to air in educational institutions.
14. Deep Blue (2003)
Directed by Andy Byatt and Alastair Fothergill
Premiering at the Spanish San Sebastian Film Festival, Deep Blue was directed by acclaimed nature documentary director Alastair Fothergill and wildlife documentary producer Andy Byatt.
Based on the BBC production titled Blue Planet, it covers the splendours of Earth’s oceans in 90 minutes. It depicts the challenges faced by marine life and their ecosystem.
The documentary is minimally narrated, with just under 15 lines of script and many critics have lauded the excellent photography.
The stand-out visuals have been featured in exhibitions to celebrate the beauty of the oceans and the creatures that inhabit them.
15. Ghost Fleet (2018)
Directed by Shannon Service and Jeffrey Waldron
Ghost Fleet is a 2018 movie that deals with a topic just as important as the ocean- human trafficking on the high seas.
And not refugees or other victims, but the fishermen themselves. Southeast Asia has a thriving fishing industry, often with the demand for sailors and deckhands exceeding the number of people willing to work. This has given rise to the notorious human trafficking industry that captures and indentures fishermen.
Ghost Fleet follows the story of Patima Tungpuchayakul, a Bangkok-based human rights activist who has been working to save and rescue fishermen. She works closely with people from nations such as Myanmar, Laos, Cambodia, and Thailand to return the kidnapped men and women to their hometowns.
In this short documentary, the harrowing plight, squalid conditions, and daily dose of fear are brought to the fore. With the help of filmmakers Shannon Service and Jeffrey Waldron, Patima hopes to make a positive impact on these trafficked fishermen and raise awareness of their situation.
You might also like to read-
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https://en.wikipedia.org/wiki/Oceans_(film)
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en
|
Oceans (film)
|
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2009-05-31T05:21:15+00:00
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/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Oceans_(film)
|
2009 French film
OceansDirected byJacques Perrin
Jacques Cluzaud (co-director)Written byChristophe Cheysson
Jacques Cluzaud
Laurent Debas
Stéphane Durand
Laurent Gaudé
Jacques Perrin
François SaranoProduced byJacques Perrin
Romain Legrand
Nicolas Mauvernay
Jake EbertsNarrated byJacques Perrin (French)
Pierce Brosnan (English)CinematographyDavid ReichertEdited byCatherine Mauchain
Vincent SchmidtMusic byBruno Coulais
Production
companies
Distributed byPathé Distribution
Release dates
Running time
104 minutes (Original cut)
84 minutes (Disney cut)CountryFranceLanguageFrenchBudget
€57.1 million[1]
{US$80 million)[2]
Box office$82.7 million[3]
Oceans (French: Océans, also stylized as Ωceans[4]) is a 2009 French nature documentary film directed, produced, co-written, and narrated by Jacques Perrin, with Jacques Cluzaud as co-director. The film, produced in association with the Census of Marine Life, explores the marine species of Earth's five oceans and reflects on the negative aspects of human activity on the environment, with Perrin (Pierce Brosnan in English) providing narration.[5]
Budgeted at around $80 million, it was filmed in over 50 different places and took four years to film.[6] In North America, the film was produced by Disneynature and distributed by Walt Disney Studios Motion Pictures, who cut 20 minutes mostly depicting violent massacres of sea animals (recreated through visual effects) in order to aim it at a younger audience.
Plot
[edit]
Oceans presents details and facts about the journey of the ocean. The film begins on a beach and there are boys and one of them wonders what the ocean is. The scene cuts to the Galápagos where a clan of marine iguanas and horseshoe crabs wander. Then at night an Ariane[7] rocket takes off and surprises the two clans. Meanwhile, the rocket takes off to outer space. Then goes to the trench where the larvae of sea urchin and the crustacean egg lie. Then comes to a swarm of moon jellyfish. Then at day, a different type of jellyfish float along the current.
Later at the coast of South Africa, a hungry mob of common dolphins, gannets, bronze whaler sharks, and brydes whales hunt sardines. After the feast, manta rays gobble down a few sardines. Moments later, a blanket octopus swims quietly along the current. Meanwhile, the sardines start making odd shapes. At a beach, sea lions rest in the sun. In deeper water, a humpback whale and her calf start to flipper slap, spyhop, and breach. Meanwhile, the sea lions start hunting. The others on the beach watch sally lightfoot crabs crawl on the sand. The hunting sea lions are returning home, but some are eaten by a great white shark and a killer whale. In the deeper waters, a blue whale feasts on some krill. At twilight, birds are flying back to their nests. At night carnivores are out to hunt on the reef including the mantis shrimp who kills a crab. In Australia, a Spanish dancer comes out of its home. At day, bottlenose dolphins are leaping on the waves. Meanwhile, a dugong and green sea turtle are feasting on sea grass. On the beach, baby sea turtles have to make it to the ocean without being eaten by frigatebirds, which only one baby turtle survives. In the sea, sailfish are feasting on fish.
At a coral reef, creatures are minding their own business. Beyond the reef, a cuttlefish is eating crabs. After that, garden eels and razorfish act really smooth. After that, spider crabs start war. Meanwhile, humpback whales, blue whales, sunfish, blue sharks, sperm whales and whale sharks migrate. Then a bunch of spinner dolphins, yellowfin tuna, and manta rays swim for a long time. Far away, an Asian sheepshead wrasse is mating. Miles away, a sea otter is smashing clams. In Alaska, the humpback whales have made it to the feeding grounds. The scene cuts to netted sea animals including tuna, whale sharks, sailfish, sea turtles, and sunfish. Along the way, a fishing boat has a hard time fighting the waves. Then a satellite shows the trash in the ocean. Underwater, tons of trash is destroying a fur seal's home. The scene cuts to the 2 polar regions, Arctic and Antarctica. Then, divers are discovering the ocean, and one of them swims with a great white shark. At the end, the narrator says "we shouldn't ask what exactly is the ocean, we should ask what exactly are we".
Production
[edit]
Filming
[edit]
The documentary was produced in collaboration with scientists from the Census of Marine Life and employed technologies including stabilized cameras for rough seas, an electric mini-helicopter to approach and film marine animals without noise, and submerged cameras both towed and on poles over the side of vessels, resulting in film of over 200 species at more than 50 global locations.[8]
Release
[edit]
The film was released in France on January 24, 2010, by Pathé Distribution. Pathé also handled international sales for the film.[9]
Music
[edit]
Demi Lovato and Joe Jonas recorded a special duet for Disney's North American release titled, "Make a Wave". The documentary was accompanied by a score composed by Bruno Coulais, performed by the Paris Philharmonic Orchestra. The score features Coulais' trademark instrumentation and musical style, combining solo players, electronic enhancement effects and other unusual musical elements. Three themes are featured within the score, one of them adapted into a song entitled "Océan Will Be".[10]
Reception
[edit]
The film has received positive reviews from critics. At the review aggregation website Rotten Tomatoes, the film has received an 81% fresh rating from overall critics from 62 reviews.[11] Its consensus states: "Oceans adds another visually stunning chapter to the Disney Nature library".[11] Another review aggregator, Metacritic, gave the film an average score of 79% based on 20 reviews.[12] The world version of the film received much more praise than the US and Canada version.
The film opened briefly at #1, grossing $2,466,530 from 1,206 theaters on opening day, an excellent number in documentary standards, despite being far from the opening day total of its predecessor, Earth.[13] However, the film was overshadowed by its competition with The Back-Up Plan and The Losers as well as continued success from How to Train Your Dragon and Date Night. The film grossed $6 million over the Friday-Sunday period, reaching eighth place at the box office, and taking somewhat less than Earth's $8.8 million,[14] but taking more than March of the Penguins. It was the third highest-grossing opening for a documentary film. Despite grossing an additional $4 million over the week, the film collapsed 57% in its second weekend, a steeper drop than its predecessor, taking in $2.6 million from 1,210 theaters. The film earned an additional $2 million over the week and $1.6 million in its third weekend as well as expanding to 1,232 theaters and remaining in tenth place. The film was a disappointment at the United States box office as it closed on July 15, 2010 after only 85 days of release, earning $19,422,319 domestically, but the film earned $63,229,120 overseas for a total of $82,651,439 worldwide.[15]
The film was released by Walt Disney Studios Home Entertainment on Blu-ray Disc and DVD on October 19, 2010.
See also
[edit]
French frigate Latouche-Tréville, shown during a storm.
References
[edit]
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| 91
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https://tv.apple.com/us/movie/oceans-eleven/umc.cmc.4mt9j4jqou4mlup1pc9riyo63
|
en
|
Ocean's Eleven
|
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2001-12-07T00:00:00+00:00
|
Danny Ocean likes his chances. All he asks is that his handpicked squad of 10 grifters and cons play the game like they have nothing to lose. If all gâ¦
|
en
|
/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png
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Apple TV
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https://tv.apple.com/us/movie/oceans-eleven/umc.cmc.4mt9j4jqou4mlup1pc9riyo63
|
Studio
Released
Run Time
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5635
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1
| 67
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https://readcopy.co/I-Can-t-Stop-Thinking-About-How-Julia-Roberts-Plays-Her-Own-Lookalike
|
en
|
I Can’t Stop Thinking About How Julia Roberts Plays Her Own Lookalike in Ocean’s Twelve — Copy
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I Can’t Stop Thinking About How Julia Roberts Plays Her Own Lookalike in Ocean’s Twelve “Are you, then, also an image and an object? Why doesn’t...
|
en
|
https://freight.cargo.site/t/original/i/1c3c9093b5d0752836391bc5be579d4899a25cd2c8bfb526900cd0572810722e/c-black-01.ico
|
https://readcopy.co/I-Can-t-Stop-Thinking-About-How-Julia-Roberts-Plays-Her-Own-Lookalike
|
Since I moved in September, I’ve been procrastinating buying a full-length mirror. Target is an eight, maybe ten-minute walk away and I’ve hauled several multi-bag trips during my move, but for over a month I’ve been using my built-in bathroom mirror for my shoulders up, and imagination for the rest. At the same time, I’ve been putting off starting any new TV shows.
Usually, I’d rather watch three to four hours of a TV show than a movie. To me, following characters and storylines through an episodic format provides a closer approximation of life as it unfurls. You watch the characters, creators, and story change as time passes, be it a binge-watch or a slow burn, and the distinction between episodes creates the opportunity for evolution and differentiation. Lately, however, the open-and-shut nature of movies has been calling to me more than ever—specifically, the open-and-shut nature of movies that allow me to turn my mind the fuck off. Genres like rom-coms and heist movies, escapism ranging from sensible to extreme, have been on heavy rotation. Rom-coms are a grounded escape, usually containing people you could know if the people you do know were witty, beautiful, and endearingly clumsy, tripping into their unlikely soulmate’s arms. Heist movies, on the other hand, are a strange comfort—celebrity-waterlogged spectacles full of troubled cowboy-geniuses and eccentric art collectors—but they are a comfort nonetheless, a chance for audiences to escape into a world so unlike their own that the rules of gravity, logic, and time don’t seem to apply. We float gladly as George Clooney—or the given movie’s Clooney stand-in—explains how they’re going to steal the Queen’s 500-pound-jewel-encrusted Bible in 30 seconds amid a crowd of thousands using only a needle and thread. And they’re in Monaco. Or maybe Reno. It doesn’t matter. Both rom-coms and heist movies, at their 90s peak, prominently feature an important figure with important hair—Julia Roberts.
Julia Roberts was the American actress for decades but more recently, she’s had a starring role in my search for comfort, as I make my way through her greatest hits. The other day, I decided that rewatching Ocean’s Eleven—arguably a masterpiece—was too obvious. So, I opted for Ocean’s Twelve, Eleven’s 2004 sequel that, according to Wikipedia, was met with “generally mixed reviews.” And I need to talk about it.
In Ocean’s Twelve, it’s mentioned that Julia Roberts’s character, Tess, looks like a certain celebrity, but exactly who is initially left unsaid. Tess is recruited by her husband’s team of thieves to pose as that celebrity to create a distraction as they rob a museum. She reluctantly agrees and it is revealed to us, the trusting audience, that Tess looks a lot, like a lot, like Julia Roberts.
Tess puts on big sunglasses and a hat, along with a fake belly, to disguise herself as a pregnant Julia Roberts (please note, they call this con the “Lookie-loo” plus a “Bundle of Joy”). The thieves ply her with biographical facts and psych her up for her performance, assuring her that she can do it despite Don Cheadle’s critiques of her accent, which you can just make out through his own disaster of a Cockney accent. Tess gets nervous about playing a real person, rather than an invented character, but is thrust into performance when Bruce Willis, a close friend of Julia Roberts, enters, thrilled to see her. Tess ends up accidentally speaking to Julia Roberts on the phone and later getting arrested—but then it turns out that was part of the plan. Whatever, we’re not here to talk heist logistics. Towards the end, another character remarks that Tess doesn’t even look that much like Julia Roberts. The credits mention “Tess as Julia Roberts.”
Reminder: Tess is Julia Roberts. I repeat, Tess is Julia Roberts. And not only is she Julia Roberts, but she is also Julia Roberts using her normal voice, wearing no wig or prosthetics. Julia is not hiding from us. We do no work to recognize her as one of our most famous and beloved actresses.
There’s surprisingly a lot to say about Ocean’s Twelve—it’s edited like a high school PowerPoint presentation, the main antagonist is introduced almost an hour in, they don’t give Cherry Jones enough to do. I could go on, but let’s not waste time cataloging all of this movie’s faults. It’s not really a movie you want to think about. You just want to hit play and watch a ragtag team steal some expensive shit, maybe crack a safe or two. But now here we are, thinking about Julia Roberts playing Tess playing Julia Roberts speaking to Julia Roberts on the phone.
Here’s where the comfort threatens to leave us. The oft-cited power of cinema is that it reflects us back to ourselves, makes us consider situations that we may not live through but can imagine experiencing. Humanity is projected on the screen and asks the humans in the audience to empathize and critique, to think and feel. However, the exaggerated plots of movies like heists and rom-coms (in My Best Friend’s Wedding, an entire family sings “I Say a Little Prayer” unprompted while eating brunch in a full restaurant) are charming in large part because of how easy it is to not reflect. Through these genres, we seek to be taken away from our lives or anything that can, in any real and tangible way, relate to them.
When Julia Roberts plays a character that looks like Julia Roberts, we’re reminded that we are not actually escaping. We are an audience, watching a movie made exactly for us, in a culture that recognizes certain people as being so immovably famous that any manipulation of their fame is a funny departure from reality. To put her in the mindset of Julia Roberts, Tess is reminded, “You’re an image to these people. You’re like an object.” But wait, Matt Damon’s character Linus, aren’t “these people” the same ones watching Julia Roberts in this movie right now? Aren’t you talking to that very object? Aren’t you Matt Damon of Good Will Hunting fame, or don’t you at least look like him? Are you, then, also an image and an object? Why doesn’t Bruce Willis recognize you?
Through The Julia Roberts Situation, we’re forced back into our seats in front of the screen, back into our bodies outside the world of the film. I’ve been avoiding using the phrase “fourth-wall break,” since it doesn’t feel like the filmmakers or characters are looking at us with a shared wink. Instead, they’re laughing to themselves, toying with the celebrity that only the makers of a big-budget blockbuster can use as a plaything. Meanwhile, we’re laughing in reaction to being recognized in our position as the audience, while simultaneously being allowed to remain there. The story continues on, ignoring the paradoxical rip that it’s created in the spacetime continuum and giving us no time to reckon with it, telling us it was just a joke, just keep watching. Tess is still Tess, Julia is still Julia, don’t think about it. It’s a brief intermission in our escape, which is then allowed to continue.
Not to be all “let’s circle back to the unattached metaphor from the beginning,” but I still need a full-length mirror. I think my subconscious is seeking reprieve from my body by avoiding it, only accepting a partial view of the more manageable parts. For now, the bathroom mirror is to me what Julia Roberts as Tess as Julia Roberts is to Ocean’s Twelve—it’s an acknowledgment of myself even as I try to escape. Unable to resist the reflective nature of cinema (forgive me, Martin Scorcese, for calling this movie cinema), the creators of Ocean’s Twelve, likely unintentionally, provided a medicine cabinet mirror for their viewers, reminding them of themselves even as they were trying to forget.
.
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https://www.boston.com/travel/new-england-travel/2024/08/08/these-62-massachusetts-beaches-are-closed-as-of-aug-8/
|
en
|
These 62 Massachusetts beaches are closed as of Aug. 8
|
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2024-08-08T00:00:00
|
Summer may be winding down, but there is still time to hit the beach! Just make sure you visit an open one. These 62 beaches across Massachusetts are closed, mostly due to bacteria concerns.
|
en
|
Boston.com
|
https://www.boston.com/travel/new-england-travel/2024/08/08/these-62-massachusetts-beaches-are-closed-as-of-aug-8/
|
Summer may be winding down, but there’s still time to hit the beach! Just make sure you visit an open one. These 62 beaches across Massachusetts are closed, mostly due to bacteria concerns.
The Massachusetts Department of Public Health says bacteria levels tend to rise right after periods of heavy rainfall. Dirty runoff from the streets gathers excrement and other harmful bacteria in the sewers, which in turn can run into nearby bodies of water.
Swimming in unsafe water can potentially lead to a bevy of health problems. The most frequent and notable effects are gastrointestinal symptoms, like nausea and diarrhea. When ingested, bacteria can also cause flu-like symptoms, skin rashes, and eye-nose-throat problems.
It is unclear when the beaches will reopen. Water testing results take 24 hours, DPH says, so results typically come out the next day. For now, the department warns beachgoers to be vigilant and check their interactive beach water quality dashboard.
Beaches closed as of Thursday, Aug. 8
Beaches with an * indicate beaches that were closed for over a week. Two asterisks (**) indicate the beach has been closed for more than two weeks.
Amherst
Puffers Pond**
Stanley St. swimming hole**
Ashby
Damon Pond Beach**
Ashland
Ashland Reservoir
Athol
Ellis Beach
Beverly
Dane Street
Mingo
Boston
Constitution
Malibu**
Savin Hill*
Tenean**
Chatham
Bucks Creek**
Concord
Walden Pond**
Danvers
Sandy Beach*
Dartmouth
Hidden Bay
Jones Town Beach North and South
Moses Smith Creek*
Framingham
Learned Pond Beach
Freetown
Freetown Town Beach*
Harwich
Sand Pond*
Hingham
Hingham Town Beach
Holland
Collette Drive Beach**
Hubbardston
Asnacomet Pond Beach
Lowell
Merrimac River Bath House
Lynn
Kings**
Lynn Shore Beach**
Manchester
White
Marblehead
Grace Oliver*
Nantucket
Sesachacha Pond**
Natick
Cochituate State Park Beach*
North Andover
Stevens Pond – Center**
Northampton
Musante Beach
Oxford
Carbuncle Pond**
Rutland
Whitehall Pond Beach**
Salem
Camp Naumkeag**
Children’s Island**
Collins Cove
Juniper Point
Ocean Avenue*
Osgood*
Willow Avenue
Saugus
Pearce Lake
Shutesbury
Lake Wyola**
Springfield
Bass Pond
Swampscott
Fisherman’s*
Kings**
Taunton
Watsons Pond**
Templeton
Beamans Pond**
Townsend
Pearl Hill Pond Beach**
Truro
Longnook**
Tyngsborough
Tyngsborough Town Beach
West Stockbridge
Card Pond Beach**
West Tisbury
Long Cove**
Seth’s Pond**
Westborough
Lake Chauncy Beach
Williamstown
Margaret Lindley Park
Winchendon
Lake Dennison*
Winchester
Shannon Beach
Winthrop
Winthrop Beach
Worcester
|
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|
dbpedia
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1
| 71
|
https://www.deepfocusreview.com/reviews/oceans-twelve/
|
en
|
Ocean's Twelve
|
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[
"Buddy",
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[
"Brian Eggert"
] |
2024-03-31T12:00:20+00:00
|
Read an in-depth review and critical analysis of Ocean's Twelve by film critic Brian Eggert on Deep Focus Review.
|
en
|
Deep Focus Review
|
https://www.deepfocusreview.com/reviews/oceans-twelve/
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If Ocean’s Eleven (2001) represents a straight line to the heist of three Las Vegas casinos, the sequel zig-zags, detours, and dances through a randomized laser grid to arrive at its destination. Ocean’s Twelve (2004) is a breezier, laid-back affair, with less to prove and more freedom to explore, despite the life-or-death stakes. It’s proof the Ocean’s films adopt heist genre conventions in service of hangout movies, where the predominant agenda is to explore the friendships and working relationships among the characters. Soderbergh delivers his version of twisty European entertainment from the 1960s, evidenced by his occasional throwback aesthetic devices, along with his interest in locations and movie stars more than a plot. Unfortunately, Ocean’s Eleven’s slick and subversive theme about underdogs stealing from wealthy capitalist interests and corporate mobsters is a casualty of the sequel’s loose coolness and humor. But it’s an effortless sequel whose pleasures turn in a refreshingly different direction. Rather than involve the audience in planning a singular heist, Soderbergh and his starry cast make the viewer a participant—first, in the close dynamic of the cast onscreen, and second, as a spectator grifted by the world’s greatest thief.
After Ocean’s Eleven’s massive box-office take ($450 million worldwide), the sequel was inevitable, and talks began between producer Jerry Weintraub and Soderbergh about sequel ideas. Rather than make a carbon copy of the original, the director thought the sequel might involve Terry Benedict (Andy Garcia) tracking down the gang, requiring them to pull off several high-profile jobs to pay back what they stole. Soderbergh explained, “Unlike the first film, where you’re having fun watching them be successful and get a lot of things right, I thought it would be more fun if Twelve was the movie in which everything goes wrong from the get-go.” Then came George Nolfi with his unrelated script called Honor Among Thieves, about two professional thieves competing to determine who among them was the world’s best. Soderbergh recognized that Nolfi’s script matched the tone of Ocean’s Eleven and resolved to merge their ideas into the sequel, with Nolfi receiving screenwriter credit (refashioning an existing script into franchise material is a common Hollywood tactic). Throughout filming, many of Soderbergh’s ideas remained tangential asides, with several alternate takes and scenes left on the cutting room floor. Soderbergh’s desire for experimentation also allowed the cast to play within a framework. Yet, the sequel’s playfulness would become a problem for many of the original’s fans.
Soderbergh has overseen two trilogies, directing the Ocean’s trilogy and two of the three Magic Mike features (2015’s Magic Mike XXL went to Soderbergh’s longtime assistant director Gregory Jacobs). But Soderbergh’s sequels often receive scorn from critics and audiences who want more of the same, while Soderbergh seems determined to reinvent with each new entry. Just as many clamored for more stripping from Magic Mike’s Last Dance (2023) to match the lightheartedness ofMagic Mike XXL, many viewers balked at the lower-stakes affair of Ocean’s Twelve that resituated events from Las Vegas to several European countries, including Amsterdam, Rome, and Paris. Along with the meandering plot, the sequel’s “after-hours” demeanor frustrated critics such as Lisa Schwarzbaum, who, in her Entertainment Weekly review, decries its nonchalance as a result of actors wanting a laid-back working environment: “What’s on screen is lazy, second-rate, phoned-in—a heist in which it’s the audience whose pockets have been picked.” Other critics complained that the story was inconsequential and less engaging than the original’s, while the filmmakers seemed satisfied to leave the audience out of the loop.
Like its predecessor, Ocean’s Twelve would rather spend its runtime with its characters and the stars playing them than expound on its elaborate plot. The film opens with Danny Ocean (George Clooney) settled into Connecticut-brand domestic drudgery with his hard-won wife, Tess (Julia Roberts). A stop at the bank to open a retirement account leaves him itchy with a desire to make a comeback. Then, as if on cue, Benedict arrives to confront Tess, declaring his intention to recover the millions stolen from his casinos by Ocean’s crew, with interest. Instead of Ocean getting the team back together, they’re assembled by Benedict and his enforcers, giving the audience a glimpse of how they chose to spend their riches: the acrobat Yen (Qin Shaobo) lives in a party house with models; Frank (Bernie Mac) runs a nail salon in New Jersey; Basher (Don Cheadle) struggles to become a London music producer; Linus (Matt Damon) continues to learn the craft in Boston, stricken with an inferiority complex given his father’s reputation in the underworld; the Malloy twins (Casey Affleck, Scott Caan) continue to bicker in Utah; techie Livingston (Eddie Jemison) tries his hand at being a stand-up illusionist in New Orleans; Reuben (Elliot Gould) never left Vegas; Saul (Carl Reiner) has retired to the East Hamptons; and Rusty (Brad Pitt) micromanages his struggling hotel business.
Benedict gives them an ultimatum: pay what you owe, or else. Burned in the US, Danny and company—minus Saul, who’s content to die a rich man—head to Europe to steal $97 million, which, in addition to their remaining bankrolls, will satisfy Benedict. Although Linus’ hilariously adolescent sheepishness finds him asking for a more prominent role this time, the story centers on Rusty in a thread recalling the cop-and-thief romance in Soderbergh’s superb Out of Sight (1998). A flashback set in Rome three-and-a-half years ago establishes Rusty’s past affair with Isabelle Lahiri (Catherine Zeta-Jones), an Interpol agent who specializes in catching professional thieves. When Rusty realizes she’s on his trail, he bolts. Now, in Europe, Lahiri and Danny’s crew share stories about legendary criminals, none more so than the mysterious, never-seen, long-retired Gaspar LeMarc. In an underworld of thieves akin to the hitman collective in the John Wick series, master thieves go by multiple aliases, and Lahiri’s enigmatic birth father was one of them. Another is Baron François Toulour (Vincent Cassel), a rich, bored, and talented playboy who goes by The Night Fox. Desperate to prove that he’s better than Ocean’s Eleven, Toulour sold them out to Benedict, if only to force Ocean into a competition for the title of “world’s greatest thief.”
If the earlier film adhered to the moral stance that stealing from the rich was acceptable, the sequel establishes a code among thieves, whose primary rule is not to inform on a fellow thief. But that’s merely the impetus for an escapist Hollywood movie, where most of the plot is a clever misdirection. The team wastes time and resources on an Amsterdam job to lift the first stock certificate, only to be undercut by The Night Fox. After ratting on them to Benedict to get Ocean’s attention, Toulour bets with Ocean that he can steal the Russian Imperial Coronation Fabergé Egg before Ocean’s team. Should he lose, Toulour will pay their debts to Benedict. However, as we learn much later, Ocean and company steal the Fabergé Egg long before Toulour realizes, rendering their scheme(s) in the interim to be mere distractions. The pleasure of Ocean’s Twelve isn’t about watching the crew complete heists. It’s about watching this cast share scenes in stunning locales, while their characters bungle each job in a hilarious inversion of the 2001 film.
Soderbergh’s film contains all the glamour of mid-century Hollywood Euro-ventures, most notably Alfred Hitchcock’s To Catch a Thief (1955)—another film wherein the plot is useless compared to the riches offered by its stars and lavish backdrops. Scenes in Amsterdam and Lake Como feel like throwbacks to an era where movies doubled as widescreen travelogues in Technicolor. In keeping with the sequel’s European flair, Soderbergh deploys several visual techniques developed by European auteurs in the 1960s, some of which remain characteristic of his work. The jump cuts and onscreen titles recall early François Truffaut; the code among thieves brings to mind Jean-Pierre Melville’s cool crime cinema; and the long zooms, along with David Holmes’ propulsive score that occasionally reaches Ennio Morricone’s romantic heights, evoke Italian films of the era. But Ocean’s Twelve isn’t an empty nostalgia=fest; Soderbergh offers memorable modern and postmodern flourishes as well.
All the razzle-dazzle and glamor onscreen becomes a masterful sleight-of-hand, distracting the viewer with elaborate set pieces that amount to nothing—aside from an entertaining movie, the value of which should not be dismissed. But this is a stroke of genius rather than laziness. When Ocean’s crew spends days figuring out how to lift an entire building by two inches, only to come away empty-handed, it supplies an apt metaphor for the film’s story structure and ultimate purpose—a delightful diversion. Similarly, an intricate scheme involving Eddie Izzard and a holographic replica of the Fabergé Egg goes south when Isabelle arrests most of the team, leaving Linus and Basher to concoct a self-reflexive plan, requiring Tess to join them in Europe and play her celebrity look-alike—Julia Roberts. This self-referential thread seemed to be the breaking point for some critics, who balked at the film embracing itself as a compendium of Hollywood stars. Soderbergh’s pairing of Roberts and later Bruce Willis (as himself) doubles as a nod back to Robert Altman’s The Player (1992), in which Roberts and Willis play themselves, performing in a mock sell-out movie called Habeus Corpus.
The best of these distractions is The Night Fox’s rhythmic dance through a moving laser sensor field to a hypnotic beat by French rap group La Caution (an instrumental version of their track “Thé à la Menthe”), toward a Fabergé Egg that proves to be a convincing decoy. Cassel danced himself, being a trained acrobat and versed in Capoeira, an Afro-Brazilian tradition that combines martial arts and dance. Though the lasers may have been added after the fact (lasers are typically not visible unless illuminated by something in the air, such as fog, smoke, or dust, none of which are apparent here), Cassel’s agility is the scene’s special effect. Even with such displays, Soderberg deflates typically masculine displays of thieving bravado—The Night Fox is the villain, after all. For every outlandish scheme concocted and performed by men, there’s a grounded woman critical of these boys’ antics: Tess remains disapproving when she’s drawn into the scheme; Isabelle works to catch the thieves, while allusions to Isabelle’s mother suggest she wanted nothing to do with Isabelle’s thief-father; Linus’ mother (Cherry Jones) rescues the team from peril in a mater ex machina, offering mild censures of her novice son. Ocean’s Twelve at once embraces its casual boy’s club quality while simultaneously critiquing it from a woman’s perspective. But Soderbergh’s treatment never overemphasizes the rather stereotypical gender dynamics, and by the end, everyone feels part of the same thieving collective that their initial conflicts hardly matter.
After all, how can you stay mad at Brad Pitt or George Clooney? How could Pitt’s character hold it against Zeta-Jones’ cop for arresting the lot of them? Everyone’s so damn good-looking, they just have to get along. Even while the sequel once again saturates the viewer in its coolness—not only from the cast and lighthearted tone but from Soderbergh’s expert direction—it also deflates Ocean’s crew. Their schemes land them in trouble, and though Ocean’s forethought saves them, revealed in a last-minute con job, it’s only by a narrow margin. Deceptively lighthearted and meandering, the film uses the audience’s goodwill toward these characters in a sly presentation that embraces and critiques, using the spectator as a mark. When detractors fuss that Ocean’s Twelve doesn’t have the same sparkle Ocean’s Eleven did, there’s no argument against them; it has a wholly different type of shine. Too often in sequels, we see replicas of the original, simply painted over to give the illusion of superficial differences. Ocean’s Twelve resolves to be more than a convincing decoy or even a holographic copy. It’s another score altogether.
(Note: This review was originally suggested and posted to Patreon on June 22, 2023.)
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Bibliography:
Baker, Aaron. Steven Soderbergh. Contemporary Film Directors. University of Illinois Press, 2011.
DeWaard, Andrew and R. Colin Tait. The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies, and Digital Videotape. Wallflower Press, 2013.
Gallager, Mark. Another Steven Soderbergh Experience: Authorship and Contemporary Hollywood. University of Texas Press, 2013.
Kaufman, Anthony. Steven Soderbergh Interviews. Jackson University Press, 2002.
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en
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George Clooney Says He May Make a New ‘Ocean’s 11’ Sequel
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2023-12-13T18:46:41+00:00
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The script exists and it is “great,” he says.
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en
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https://townsquare.media/site/442/files/2014/11/32X32.ico
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ScreenCrush
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https://screencrush.com/oceans-14/
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The last Ocean’s Eleven movie, Ocean’s Thirteen, premiered in theaters in 2007. Since then, there have been a lot of rumors of various potential projects connected to the popular all-star heist franchise, and there was one official spinoff, 2018’s Ocean’s 8, which featured an all-female all-star cast pulling off a heist, with cameos from a few members of the original Ocean’s team.
Although all these years later it seemed like the franchise was pretty much over, that’s not apparently the case. Franchise star George Clooney told UPROXX that there now exists “a really good script for another Oceans” and that as a result the crew “may end up doing another one.”
Just don’t call it Ocean’s Fourteen.
“I don’t want to call it that,” Clooney added. “I mean, the idea is kind of like Going In Style.”
READ MORE: DC Is Not Close to Casting a New Batman Yet
Going in Style is a 1979 heist film starring George Burns, Art Carney, and Less Strasberg. The concept was a group of senior citizens undertaking a robbery. (The film was remade in 2017 featuring Morgan Freeman, Michael Caine, and Alan Arkin.) George Clooney, Brad Pitt, and Matt Damon aren’t exactly Olds — Clooney is the oldest of the bunch at 62 — but any excuse to get that bunch of actors together sounds like a good one.
Ocean’s 11 was originally a heist movie from 1960 starring the members of the Rat Pack. Steven Soderbergh then directed the 2001 remake starring Clooney, Pitt, and Damon, as well as the two sequels, Ocean’s Twelve and Ocean’s Thirteen, in 2004 and 2007. (Garry Ross directed Ocean’s 8.) Clooney didn’t address what, if anything, this possible new project means for the Ocean’s Eleven prequel that was reportedly in development earlier this year, and was supposed to star Barbie’s Margot Robbie and Ryan Gosling.
Clooney’s new movie The Boys in the Boat is scheduled to open in theaters on Christmas.
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https://www.brightwalldarkroom.com/2018/03/23/hold-dont-love-like-love/
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Hold Up, They Don’t Love You Like I Love You
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2018-03-23T00:00:00
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There's a deftness to Ocean's Eleven that feels magical—of all the material for adults that I consumed a little too early, this was the only one that secretly felt like it was for kids.
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en
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Bright Wall/Dark Room
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https://www.brightwalldarkroom.com/2018/03/23/hold-dont-love-like-love/
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PART ONE:
IN WHICH I DECIDE TO REVISIT THE ENTIRE OCEAN’S TRILOGY
I was 10 years old when Ocean’s Eleven came out, which either makes me younger or older than you thought I was. Who cares. This is mainly important because the movies of 2001 became sleepover fodder for the next five or six years of my life. A handful of plucky girls in the early 2000s had their pick of all the 2001 hits––your Harry Potter, your Shrek, your “if the parents are especially chill” Moulin Rouge! But more often than not, the choice for the evening was Ocean’s Eleven. Maybe it’s hard for you to imagine a group of 10-year-old girls watching Steven Soderbergh’s acerbic and winsome heist movie, but I would argue your imagination might just be a little small.
I would be horrified to know that there are people in the world who are unfamiliar with Ocean’s Eleven, or the Ocean’s trilogy at large, but every day brings new horrors into my life. For the unindoctrinated: Ocean’s Eleven is a remake of the 1960 Rat Pack film of the same name. In the 2001 film, a recently-released from prison Danny Ocean (George Clooney) teams up with his old scheming partner Rusty Ryan (Brad Pitt) and a group of both former and new thieves to rob three Vegas casinos in one night, in an attempt to not only get away with a fuckload of cash but also to win back Danny’s ex-wife, Tess (Julia Roberts), from his rival and casino-owner, Terry Benedict (Andy Garcia).
I would never say that the main reason we liked Ocean’s Eleven was because it was full of hunks, but you do have to give some credit where credit is due: Ocean’s Eleven is full of hunks. George Clooney was two years into his movie career, having successfully moved on from ER (a show I sometimes tricked my parents into letting me watch with them). You had Brad Pitt who, as a 10-year-old, I knew only from that very recent cameo on Friends (you think a 10-year-old is old enough to see anything else Brad Pitt had been in before 2001? Grow up). And you had Matt Damon who was so cute and young and wow, that character is from Chicago and so am I! Ocean’s Eleven was also my introduction to Casey Affleck, a man for whom I would sustain a years-long crush, only to effectively break up with him (send your condolences to me whenever) following abuse and harassment allegations made public in the past few years.
But beyond the dreamboats—or, in part, in tandem with them—Ocean’s Eleven popped. It trucked. It did backflips. There is a deftness to Ocean’s Eleven that feels magical. Of all the material for adults that I consumed a little too early, this was the only one that secretly felt like it was for kids. No offense to the profoundly noble vocation of heist-pulling, but isn’t this just a crew of children, playing dress-up, pulling pranks and tricks? And doesn’t the ending, especially if you’re only 10 years old, completely floor you the first time around? Knock you back on your ass and leave you stunned?
When I told people I was going to rewatch and write about Ocean’s Eleven, they’d usually grimace. “I loved that movie,” they’d tell me, and then in a near-whisper they’d ask, “Does it hold up?” To be honest, I wondered the same. I hadn’t revisited it since early college, still within the first decade of the movie’s existence.
This question—“Does it hold up?”—permeates our cultural discourse these days. I don’t say that judgmentally. It’s a question we ask ourselves and each other because we’re self-conscious. En route to a screening of When Harry Met Sally last Valentine’s Day, an old friend told me she thought the gender politics of the movie aged horribly. To watch it made her uncomfortable and sad. It didn’t hold up. I felt my cheeks flush with anger. Of course it didn’t hold up. It wasn’t made to hold up. It was made as it was, with care and concern and whip-smart jokes.
This question of something “holding up” used to concern the more technical aspects of filmmaking: the sets, the acting, the special effects. When rewatching childhood classics from a slightly bygone era, it’s easy to see the strings being pulled. The conversation around holding up in the past few years, however, often pulls at something deeper. What was going on behind the scenes? Has someone who was once in this movie now done something terrible? Will something I’ve anchored my personality to—with or without knowing—betray me? Give me away as someone worse than I want to be? That’s not to say I suspected that Ocean’s Eleven and its subsequent 2004 and 2007 sequels (which I had not seen until I embarked on this journey) didn’t hold up.
But the question still stuck.
PART TWO:
IN WHICH I USE FAKE CATEGORIES TO DETERMINE THE QUALITY OF ONE MOVIE I ALREADY LOVED AND TWO I HAD NEVER SEEN BEFORE
Most Creative Use Of Fonts
Ocean’s Eleven: None, honestly, unless you count Las Vegas hotels themselves.
Ocean’s Twelve: I mean, this is our winner right here. Ocean’s Twelve is mainly a movie about fonts, its central thesis asking: how many font packages can you buy and put over sweeping shots of cosmopolitan Europe? Look, what I’ll say about the Ocean’s sequels is, uh, basically they are an exercise in what you can do with money. And I won’t say outright that that’s a bad thing, but money is most of what makes things bad so you can draw some conclusions for yourself.
Ocean’s Thirteen: No fonts, but each character does write a letter to Elliott Gould, which is an idea I appreciated in general.
Is Don Cheadle’s Accent Good Or Bad?
Ocean’s Eleven: Bad, but that makes it good.
Ocean’s Twelve: Better, which is somehow worse.
Best Use Of Classical Music
Ocean’s Eleven: Do not let the Twilight Saga ruin Claude Debussy’s “Clair de Lune” for you. The use of this piano piece over the ending of Ocean’s Eleven is bar-none the most beautiful execution of it in its 132-year history. For a movie as fun and bombastic and sharp as it is, there’s no reason why it needs to have an ending as poignant as it does. And yet! AND YET! These guys, that cash, Julia Roberts, the soft glow of the lights around the fountain…try not to shed half a tear at this band of merry thieves going their separate ways. (Soderbergh would go on to use a somewhat similar shot in Magic Mike XXL with fireworks and DJ Khalid’s “All I Do Is Win,” but note that this is the ultimate.)
Ocean’s Twelve: Oh sure, the gang tries to rob a house to Beethoven’s third symphony, the “Eroica.” I never thought I’d tell you that the use of a clichéd Debussy piece would work better than the “Eroica,” one of the most masterful symphonies of all time that ought to be played at the highest possible volume, but the piece is barely audible in the sound mix.
Ocean’s Thirteen: Do not re-play a lesser electronic keyboard arrangement of “Clair de Lune” over a stunning long shot of Brad Pitt and George Clooney talking about how much they love Elliott Gould, no offense.
Science That Seems Fake But Could Be Real But I’m Too Lazy To Google
Ocean’s Eleven: Can you actually steal a weird round-looking object that can create a power outage across a whole city? Well, that’s what the boys do in this one. Apparently pinches, as they’re known, are real, because this one I wasn’t too lazy to Google.
Ocean’s Twelve: If…I am forced…to think…about Vincent Cassel…the film’s villain…breakdancing through and around…lasers…at an art museum…I will scream…
Ocean’s Thirteen: The idea that someone could make me believe an earthquake happened inside of a building without it happening in real life is enough to give me nightmares just slightly less scary than Al Pacino’s general “Vegas look” in his turn as this movie’s villain, Willy Bank.
Most Pushed-Aside Female Role
Ocean’s Eleven: Tess! Tess, Tess, Tess. Do we all know the age-old anecdote about George Clooney sending the script to Julia Roberts with a $20 bill and a note that says, “I hear you’re getting 20 a picture now.” (The joke being, of course, it was $20 million a picture.) What’s mainly a huge bummer is that Tess is one of the emptiest roles in the movie. It’s all reaction: pursed lips, slow-blinking eyes, a woman on the verge of…something? I think the main thing that does not hold up from 2001 to whatever hellish dystopian year we find ourselves in is that in my humble, personal, and somewhat gay opinion, you do not get back together with Danny Ocean. I know it’s George Clooney. I do, I know. And I know he’s a gentleman thief who looks amazing in a suit. But this is a relationship of “I told you so” and “See?” If there’s equity, I’m not sure we see it. And take it from someone who dated a guy who went to jail, it’s not worth it.
Ocean’s Twelve: Despite all of my love for Catherine Zeta-Jones, to give Rusty, Brad Pitt’s character, a love interest is the most out-of-character decision they could make. HIS GIRLFRIEND IS FOOD.
Ocean’s Thirteen: The typically brilliant Ellen Barkin as Abigail Sponder—the hard-nosed, shrewd, but somehow also stupid assistant to Willy Bank—is the type of thing that’d make me argue for an all-female remake were I the type to support those kinds of things. It’s lazy, it’s tired, and watching the character made me achingly sad. No doubt there is a “the boys are back, etc.” vibe to the entire trilogy, but this is where it feels almost a little sadistic.
Number of times I muttered, “for crying out loud”
Ocean’s Eleven: None. Why would I? It’s excellent.
Ocean’s Twelve: What do I have to do to get sent on a vacation to three major European cities with my friends all for the sake of zingers?
Ocean’s Thirteen: The endings don’t pay off anymore, which is sad but true. Twelve might be worst but Thirteen is the emptiest. If nothing else, the two sequels are a tribute to friendship. I mean, while it’s in one part a mistake to shelve Elliott Gould for most of your movie, I do agree that I’d rob a giant, fake casino owned by Al Pacino to get him back. Does friendship hold up? I hope so, even in the dated, sad way it does at high school reunions and the like (not that I’d know, I’m still too young). The intentions are good, the shots are long, Vegas is as beautiful as it’ll ever be amidst the desert sand.
PART THREE:
IN WHICH I TRY TO FIGURE OUT WHAT THE HELL IS GOING ON HERE
The past few months have been long, messy, confusing, and painful. So much of what comforts so many people—film, comedy, everything, really—feels tainted if not somewhat expired. Worthy of examination before being tossed in the garbage can under the sink. And no doubt the pervading unease of revisiting a predominantly male-dominated movie franchise in a sea of other male-dominated movie franchises saturated my rewatches. (The same unease, I imagine, that led to our growing comfort with the pathetic phrase, “all-female reboot”? Why not restructure something male with women rather than think of something unique for women? It’s more palatable to ask women to keep existing in a structure that often betrays them rather than rework from the ground up.) As someone who has been hurt on just about every possible side of the post-Weinstein era, it can often be…not easy, per se, to adopt a learned defense against so much male-dominated art. If you expect to be disappointed, it’ll be easy to feel that way throughout. And isn’t that ultimately just better than the ups and downs?
I am aware, amid everything heavy here, that I am talking about the Ocean’s movies. There’s a pristine aura around our childhoods selves that preserve what we love on a plane entirely separate from our own. We want to think of these former, smaller selves as equal to our current selves. No longer are we lying on the floor of some girl’s basement on our stomachs, clutching pillows, wondering if they’ll pull off the heist. We’re wondering, in part, if we can pull off one last job on ourselves—I love getting fake deep—and convince ourselves something holds up to a false ideal. It’s stressful. It’s broken. It’s hard not to do it. I invented categories that felt simultaneously frivolous and important in order to do the mental math. This was in part because I thought: it’s a fun movie, use a fun framing device. I thought it could be one to one when I thought both critically and emotionally about something once so important to me. But it’s not math. It’s movies.
Not to pull a “does it matter?” type of ending on you—that’s cheap, and what am I, an Ocean’s sequel? (Just kidding, those were very expensive.) But they hold up, really, all of them, to me personally, almost in spite of themselves, in part because they are so specific to a moment and a feeling. That is what I learned from my reevaluation. Despite the self-indulgence and the hamminess and the clearly dated (even if tongue-in-cheek) references to Topher Grace, they still feel magical. They’re truly of the zeitgeist, from a time in which we still wanted a group of mostly white men to get over on all those guys. The sweetness, the style, the pop culture references, the banter.
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5635
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dbpedia
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0
| 85
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https://www.trafalgar.com/real-word/movies-filmed-in-amsterdam/
|
en
|
11 of the best movies filmed in the Dutch Capital, Amsterdam
|
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[
"Katie Birtles"
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2021-01-22T08:00:00+00:00
|
From blockbusters like Ocean’s Twelve to moving films like The Fault in Our Stars, here are 11 of the best movies filmed in Amsterdam.
|
en
|
Real Word
|
https://www.trafalgar.com/real-word/movies-filmed-in-amsterdam/
|
Amsterdam is one of the world’s most beautiful cities, filled with leafy canals, charming bridges and historic buildings. It’s nothing short of movie-ready, so it’s no wonder that directors often turn to the most famous capital of the Netherlands to shoot their films. From blockbusters like Ocean’s Twelve and Diamonds Are Forever, to stirring films like The Fault in Our Stars and Black Book, here are 11 of the best movies filmed in Amsterdam.
1. The Fault in Our Stars (2014)
After warming the hearts of thousands on the big screen, The Fault in Our Stars continues to inspire tourists to visit Amsterdam. The film tells the story of Hazel and Gus (Shailene Woodley and Ansel Elgort), two terminally ill teenagers. They travel to Amsterdam to find an author and learn the unfinished ending of his book.
Based on John Green’s bestselling novel, this movie was so popular that the bench overlooking Leidsegracht 4, where Hazel and Gus professed their love for each other, was stolen. It’s since been replaced by a replica and is covered in fan graffiti. You can visit the famous bench and imagine the romantic scene, or see the arches of the Rijksmuseum where Hazel and Augustus walked hand in hand. If you’re a really big fan, you can even spend the night at Sandton Hotel De Filosoof, where Hazel and Augustus stayed.
EXPERIENCE IT FOR YOURSELF: Amsterdam Explorer
//www.instagram.com/embed.js
2. Black Book (2006)
This renowned film tells the story of Rachel Stein, a Jewish singer who is part of the Dutch resistance. She returns to Amsterdam to infiltrate the inner circles of the Gestapo headquarters during the Nazi occupation of the Netherlands during World War II. Directed by Dutch native Paul Verhoeven, you’ll spot the streets and canals of Amsterdam in a few big scenes in this moving film.
RELATED CONTENT: 13 reasons why the Netherlands will steal your heart forever
3. Diamonds Are Forever (1971)
Of all seven of Sean Connery’s James Bond movies, ‘Diamonds Are Forever’ was the only one partly filmed in Amsterdam. It’s also famed as the last official time Sean Connery played the legendary James Bond, and he infiltrates a global diamond smuggling ring to save the world from a giant laser weapon. Keep your eyes peeled in the first part of the film to see the gorgeous Canal Ring of Amsterdam and the famous white-painted Magere Brug (Skinny Bridge) on the river Amstel. You can also spot other filming locations like the Brouwersgracht in the Jordaan, and the Reguliersgracht 36. That’s the canal-side apartment where Bond Girl Tiffany Case lived.
//www.instagram.com/embed.js
4. Kidnapping Mr. Heineken (2015)
This thrilling movie was filmed in Amsterdam and tells the true story of the most famous crime in Dutch history. It’s all about the 1983 attempt by a group of local criminals to kidnap one of the richest men in the country, beer tycoon Freddy Heineken. The criminals demand a huge ransom, but their plans begin to fall apart thanks to their inexperience. While you watch the famous kidnapping play out, you’ll also get to admire the pretty sights of Amsterdam in some scenes.
RELATED CONTENT: Everything You Need to Know about Amsterdam
5. The Diary of Anne Frank (1959)
The story of Anne Frank has been immortalised in countless documentaries, films, books and of course, Anne’s famous diary, but this 1959 film directed by George Stevens is one of the most memorable. It tells the incredible story of Anne, a young Jewish girl, who is forced into hiding with her family and another family in Amsterdam during the Nazi occupation of World War II. She keeps a diary, penning down her thoughts and experiences, from the threat of Nazi discovery to the everyday antics of two families brought together. You’ll see glimpses of Amsterdam in some scenes as Anne longs for freedom, and it’s a truly moving, must-watch film.
//www.instagram.com/embed.js
6. Girl with a Pearl Earring (2003)
While Scarlett Johansson and Colin Firth are the stars of this fantastic film, it’s also worth a watch to see the gorgeous scenery of Amsterdam and Delft. The film is about Griet, the girl with the pearl earring painted by the legendary real-life Dutch painter Johannes Vermeer. Most of the film is shot in Delft, but you’ll also spot some Amsterdam highlights, including the Royal Palace on Dam Square.
EXPERIENCE IT FOR YOURSELF: Best of Holland
7. Ocean’s Twelve (2004)
While Ocean’s Eleven was all about casinos and California, the sequel takes you to the canals and coffee shops of Amsterdam. First, you’ll get to admire the likes of George Clooney, Brad Pitt, Matt Damon, Julia Roberts and Catherine Zeta-Jones as they stop in Amsterdam to pull off some major heist action… But look a little closer and you’ll spot the Dampkring Coffeeshop on the Handboogstraat and the Pulitzer Hotel on Prinsengracht. There’s also the ‘golden bend’ of the Herengracht canal and the streets of Heiligeweg and Kalverstraat. If you aren’t already dreaming of Amsterdam, this movie will make you want to pack your bags ASAP.
8. The Hitman’s Bodyguard (2017)
If you love comedy, action and shots of Amsterdam, we’ve got the perfect movie for you. The Hitman’s Bodyguard stars the hilarious Ryan Reynolds, Samuel L. Jackson and Salma Hayek, and keeps you on your toes with gunfights and high-speed chases. But instead of the usual fast cars, you’ll get boats racing through the stunning canals of the Dutch capital. You’ll even spot the iconic Rijksmuseum.
//www.instagram.com/embed.js
9. The Discovery of Heaven (2001)
Based on the legendary novel by Dutch writer Harry Mulisch, this whirlwind film starring Stephen Fry jumps from Italy and Israel to Spain, Cuba and Poland, and finally to the Netherlands. That’s when you’ll get to spot some of the beautiful scenery of Amsterdam. The movie tells the story of a disappointed God who sends an angel to earth to get his stone tablets back from the humans. Watch out for scenes with the Rijksmuseum, Hotel The Grand at the Vijzelgracht and Bloemgracht in the Jordaan.
RELATED CONTENT: 11 of the best destinations to visit for Springtime in Europe 2021
10. Alice in the Cities (1974)
This acclaimed film by director Wim Wenders was the first in the ‘Road Movie trilogy’. It’s a series of films depicting drifters wandering around Europe – and it all begins in Amsterdam. Alice in the Cities tells the story of Philip, a struggling German writer who wants to return home. On his travels, he meets a German woman, Lisa, who then disappears and leaves her daughter Alice in Philip’s care. Philip and Alice fly to Amsterdam to meet Lisa, only she never shows up. Philip decides to try and find Alice’s grandmother in Germany and their bond grows as they travel through Europe. Filmed in black and white with gorgeous shots of Amsterdam and Germany, it’s hard not to fall in love with this movie.
//www.instagram.com/embed.js
11. Layer Cake (2004)
Starring a pre-Bond Daniel Craig as a drug dealer hired to move two million pounds worth of pills, this thriller is mostly filmed in London, but you’ll spot a few scenes in Amsterdam too. The pretty historic centre features once again, and the infamous Red Light District also makes an appearance. Fast-paced and unpredictable, this is one of the most underrated movies filmed in Amsterdam.
Have you watched any movies filmed in Amsterdam? Let us know your favourites in the comments below!
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5635
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dbpedia
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3
| 48
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https://time.com/6983940/true-story-young-woman-and-the-sea-disney-movie/
|
en
|
The True Story Behind Young Woman and the Sea
|
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[] |
[] |
[
""
] | null |
[
"Olivia B. Waxman"
] |
2024-05-31T11:00:00+00:00
|
The movie Young Woman and the Sea is inspired by Trudy Ederle, the first woman to swim the English channel.
|
en
|
/favicon.ico
|
TIME
|
https://time.com/6983940/true-story-young-woman-and-the-sea-disney-movie/
|
The 2024 Paris Summer Olympics are still two months away, but to tide you over, there's a new Disney movie about an Olympic swimmer making a splash in theaters. In Young Woman and the Sea, out Friday and directed by Joachim Rønning, Daisy Ridley stars as Gertrude "Trudy" Ederle, the first woman to swim the English channel.
Ederle, an American, was a major figure in the nascent world of women’s sports in the 1920s and dominated women’s swimming.
“She held virtually every world record you could hold for women’s freestyle swimming,” said Glenn Stout, author of the 2009 book that inspired the film, Young Woman and the Sea: How Trudy Ederle Conquered the English Channel and Inspired the World.
The movie takes pains to depict Ederle’s life faithfully and to make the movie seem as realistic as possible. For example, the swimming scenes were shot on the open ocean, in the Black Sea and the English Channel.
New York City childhood
The film starts with Ederle as a child on death’s door with measles in a New York City tenement. She makes a miraculous recovery with slight hearing damage and becomes determined to learn how to swim like her sister Meg and the athletes training on Coney Island. Pools are afraid to let her in the water in case she is still contagious, so her father ties a rope around Ederle and takes her into the Atlantic Ocean to teach her himself. In the film, Trudy is depicted playing the ukulele all day every day and singing off-key until her father agrees to let her swim, a charming scene but according to Stout, not one that actually happened.
Eventually she is coached by Charlotte Epstein, who founded the Women’s Swimming Association. The organization launched to teach women how to swim after the 1904 General Slocum disaster, in which more than 1,000 people, mostly women and children, drowned when a passenger ship caught fire on New York City’s East River. Soon, Ederle was collecting all the swimming medals a woman could win in amateur competitions. In the 1924 Paris Olympics, she won a gold medal in a relay and two bronze medals.
As the movie depicts, Ederle really did swim more than 16 miles from Lower Manhattan to Sandy Hook, New Jersey. In the film, Ridley embarks on the arduous swim to secure funding for her English Channel attempt, emerging from the water to surprise a potential sponsor as he’s having seafood dinner with his mother. Sopping wet, she joins them in pigging out. While that’s not how she got the sponsorship in real life, the scene shows the lengths she was willing to go to swim the English Channel.
The Women’s Swimming Association had planned to sponsor another woman, Helen Wainwright, to swim the English Channel, but when she became injured, Ederle stepped in.
A failed first channel attempt
Her first channel attempt in 1925 ended when she became sick and had to be rescued. Ederle always believed she had been poisoned and suspected her coach, Jabez Wolffe, because there were other women he preferred to train for the feat. In the movie, Ederle is seen reuniting with her father and sister and then immediately heading back to France. In reality, she waited another year to try again.
Ederle changed coaches for the second attempt, hiring Bill Burgess, and that made all of the difference. Burgess, the second man to swim the English Channel, was a rival of Wolffe. “Burgess I think wanted to prove that he was a better trainer than Wolffe was,” says Stout. It was Burgess who taught Ederle how to swim with the tides, not against them.
Meg, Ederle’s sister, helped too in key ways, like using candle wax to fix holes in her sister’s goggles, and by cutting Ederle’s suit into two pieces—fashioning what could be the first bikini—and making it tighter so it didn’t create any drag and chafe her anymore. But they couldn’t protect her against the countless jellyfish, sharks, and old sea mines from World War I.
Subsisting off fried chicken tossed to her in the water, Ederle successfully completed the swim on Aug. 6, 1926, in 14 hours and 31 mins, beating the male record by 2 hours. The accomplishment “blew out of the water the argument that women did not have the physical capacity to compete in sports,” says Stout. “In the 1928 Olympics, many more events were opened up for women because of Trudy’s success in 1926.”
The movie recreates footage of the ticker-tape parade in Ederle’s honor on August 27, 1926, in New York City. Once the parade was over, she generally avoided the spotlight. She did do a few stunts like swimming in a tank for a vaudeville show. Over the years, she found it difficult to do public appearances, between injuring her back in a fall in 1933 and her worsening hearing from so much swimming. She did, however, enjoy teaching swimming to deaf children for many years. Ederle died in 2003 in a New Jersey nursing home at the age of 98. Her New York Times obituary reported that she had never married, but was survived by 10 nieces and nephews.
She reflected on her record swim in one of her final interviews in 2001 with the New York Times. ''It was just that everybody was saying it couldn't be done. Well, every time somebody said that, I wanted to prove it could be done. It took a Yankee to show them how.''
|
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5635
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dbpedia
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1
| 51
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https://www.empireonline.com/movies/reviews/ocean-thirteen-review/
|
en
|
Ocean’s Thirteen Review
|
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Read the Empire Movie review of Ocean’s Thirteen. You can beat the house and you can break the bank, but sequels always get long odds on defeating...
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en
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/assets/empire/favicon.ico
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Empire
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https://www.empireonline.com/movies/reviews/ocean-thirteen-review/
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Perhaps because the experience involves watching so many A-list stars having a whale of a time, the Ocean’s movies have always felt like a party. Sadly, whereas Ocean’s Eleven was an all-inclusive affair, 2005’s Ocean’s Twelve felt like we had our faces pressed up against the glass watching Brad’n’George’n’Matt’n’chums in the VIP lounge have considerably more fun than we were having. Well, hurrah and huzzah, the trilogy (of sorts; it’s more a series of films that happen to feature the same characters) is complete with Ocean’s Thirteen, and the invites are definitely back in the post.
In fact, Thirteen occasionally feels like a two-hour apology for the French New Wave noodling of Twelve, with a dialing down of the smugness that alienated so many last time around, a recalibration of focus onto the gang themselves (no love interests here; Catherine Zeta-Jones and Julia Roberts’ absences are explained very early doors), and a return to the Vegas milieu. That is, except for the first half hour, as Eddie Izzard’s electronics genius Roman Nagel arrives, with the heist already underway, to receive a very detailed briefing from Danny (George Clooney) and Rusty (Brad Pitt), who have become seriously stuck in their efforts to break The Bank, Willy Banks’ (Al Pacino) hotel-casino. This extended sequence, wreathed in flashbacks within flashbacks, shadowy camerawork in dimly-hit rooms and reams of machine-gun exposition, feels as experimental as anything Soderbergh has done in the series so far. However, apart from an absolutely cracking opening gag, it’s worryingly flat and difficult to decipher.
But by frontloading the spadework, Soderbergh ensures that the second half of the movie is bright, breezy and sumptuously entertaining. The camerawork is jazzed up (one astonishing tracking shot, comprising a series of crash zooms and pans across a casino floor, is a technical marvel), the performances get zestier and the movie virtually bounces towards its conclusion as their complicated machinations come together like clockwork, with twists upon twists, punchline following punchline and pay-off pursuing pay-off. In a summer crowded with darkness, Thirteen’s belated lightness of touch is a blessed relief.
It’s also a masterclass on how to stage an ensemble piece, with each member of the gang given their moment to shine (Casey Affleck’s inspired detour down Mexico way in particular) as they exchange wry quips, shit-eating grins and nonsensical con artist banter about Bellinis, Billy Martins and Susan B. Anthony. Of the true A-listers, Pitt and Damon are once again great fun, but this is Clooney’s movie. As he gets older, the former Dr. Doug Ross just becomes more charismatic and commanding, quietly dominating with two standout moments – a brilliantly-developed gag about Oprah that is the movie’s funniest scene; and a commanding parting shot to Andy Garcia’s Terry Benedict – that remind you why we’re not watching, say, Rusty’s Thirteen.
In such illustrious company, you’d still expect Pacino to shine but– a few quiet moments aside – Willy Bank is never fully developed into the chilling nemesis he could have been. His unscrupulous scheming does prompt a lovely and vaguely poetic recurring motif about ‘shaking Sinatra’s hand’ (the only direct reference in the franchise to the star of the original Ocean’s Eleven), but really, the honour amongst thieves subtext is almost an afterthought. Ocean’s Thirteen is about gloss and glitz; here, the style //is// the substance, and the result is the first genuinely enjoyable movie of the summer.
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https://www.amazon.com/Film-Favorites-Oceans-Collection-Thirteen/dp/B002GSXKP6
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https://www.rottentomatoes.com/m/oceans_eleven
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2001-12-07T00:00:00
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Dapper Danny Ocean (George Clooney) is a man of action. Less than 24 hours into his parole from a New Jersey penitentiary, the wry, charismatic thief is already rolling out his next plan. Following three rules: Don't hurt anybody, don't steal from anyone who doesn't deserve it, and play the game like you've got nothing to lose. Danny orchestrates the most sophisticated, elaborate casino heist in history.
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/oceans_eleven
|
Let's keep in touch!
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https://www.rogerebert.com/reviews/oceans-eleven-2001
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Ocean's Eleven movie review & film summary (2001)
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"Roger Ebert"
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Serious pianists sometimes pound out a little honky-tonk, just for fun. That's like what Steven Soderbergh is doing in "Ocean's Eleven." This is a standard genre picture, a remake of the 1960 Frank Sinatra caper, and Soderbergh, who usually aims higher, does it as a sort of lark. It's slick, all right: directors this good don't usually handle material this routine. It has yearnings above its natural level, as if hoping to redeem itself and metamorphose into a really good movie.
|
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|
/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png
|
https://www.rogerebert.com/
|
https://www.rogerebert.com/reviews/oceans-eleven-2001
|
Serious pianists sometimes pound out a little honky-tonk, just for fun. That's like what Steven Soderbergh is doing in "Ocean's Eleven." This is a standard genre picture, a remake of the 1960 Frank Sinatra caper, and Soderbergh, who usually aims higher, does it as a sort of lark. It's slick, all right: directors this good don't usually handle material this routine. It has yearnings above its natural level, as if hoping to redeem itself and metamorphose into a really good movie.
The movie stars George Clooney, who can be powerfully impassive better than almost anybody, as Danny Ocean, fresh out of prison and eager for a new job. He's a smooth operator who, his parole board notes, figured in a dozen investigations where he was never charged. He contacts his old sidekick Rusty Ryan (Brad Pitt) with a scheme to steal millions from not one but three Las Vegas casinos. Amazingly, the movie specifies and shoots in real casinos (the Mirage, the MGM Grand and the Bellagio) and incorporates the destruction of the Desert Inn.
Casing the job, Rusty sees the casino owner (Andy Garcia) with a woman he recognizes: Tess Ocean (Julia Roberts), Danny's ex-wife. "Tell me it isn't about her," Rusty begs Danny. Of course it is. Ocean wants to steal from his ex-wife's current lover and get her back again. They assemble a team, including Matt Damon, Don Cheadle and Casey Affleck. I suppose there are 11 in all, although even during a long tracking shot I forgot to count.
The outlines of a caper movie are long and well established: the scary external shot of the impenetrable targets; the inside information; the voice-over as we see guards going about their work, and the plan with the split-second timing. "Ocean's Eleven" even includes an elaborate full-scale mock-up of the strong room used by the three casinos, leading to such practical questions as, (1) Why does it need to be this elaborate? (2) How much did it cost? and (3) Who contracted it for them, or did they knock it together themselves overnight? The movie excels in its delivery of dialogue. The screenplay by Ted Griffin is elegantly epigrammatic, with dialogue that sounds like a cross between Noel Coward and a 1940s noir thriller.
Roberts: "You're a thief and a liar." Clooney: "I only lied about being a thief." R: "You don't do that anymore?" C: "Steal?" R: "Lie." They do this so well I was reminded of the classic exchanges between Bogart and Bacall. And notice, too, the conversation involving Clooney, Roberts and Garcia, when the casino boss finds the ex-husband at Tess' table in the dining room. The two men of course despise one another, but are so smooth and cool we note it only in the precision of their timing and word choices, leading up to a final exchange in which Danny, leaving the table, says "Terry" in a way that uses the first name with inappropriate familiarity, and Terry responds "Danny" on precisely the same note.
Brad Pitt has a nice dialogue passage, too, when he's briefing the Matt Damon character. The jargon is all about strategy and entirely in modern terms, but listen to the music instead of the words and you realize it's a riff on Hamlet's instructions to the players.
As movie capers go, the specifics in "Ocean's Eleven" are not necessarily state of the art. I can think of more ingeniously executed plans, most recently in "The Score," but then this is not a movie about suspense but about suavity. Clooney and Roberts deliberately evoke the elegance of stars like Cary Grant and Ingrid Bergman, Garcia is as smooth, groomed, polished and tailored as George Raft, and the movie blessedly ends not with a shootout but with a complicated plot finesse. I enjoyed it. It didn't shake me up and I wasn't much involved, but I liked it as a five-finger exercise. Now it's time for Soderbergh to get back to work.
Copyright 2001, Digital Chicago Inc. Terms of Use & Privacy Policy
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https://www.theguardian.com/environment/2021/mar/31/seaspiracy-netflix-documentary-accused-of-misrepresentation-by-participants
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Seaspiracy: Netflix documentary accused of misrepresentation by participants
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[
"Karen McVeigh",
"www.theguardian.com"
] |
2021-03-31T00:00:00
|
NGOs and experts quoted in film say it contains ‘misleading’ claims, erroneous statistics and out-of-context interviews
|
en
|
the Guardian
|
https://www.theguardian.com/environment/2021/mar/31/seaspiracy-netflix-documentary-accused-of-misrepresentation-by-participants
|
A Netflix documentary about the impact of commercial fishing has attracted celebrity endorsements and plaudits from fans with its damning picture of the harm the industry does to ocean life. But NGOs, sustainability labels and experts quoted in Seaspiracy have accused the film-makers of making “misleading claims”, using out-of-context interviews and erroneous statistics.
Seaspiracy, made by the team behind the award-winning 2014 film Cowspiracy, which was backed by Leonardo DiCaprio, pours doubt on the idea of sustainable fishing, shines a spotlight on the aquaculture industry and introduces the notion of “blood shrimp”, seafood tainted with slave labour and human rights abuses.
Launched last week, the 90-minute film is already trending on the platform as one of its Top 10 most watched films and programmes and has been praised by celebrities including Bryan Adams, the vegan Canadian rock star, who urged his followers to watch it and stop eating fish. Chris Froome, the seven Grand Tour-winning British cyclist, tweeted that “my mind has been blown” by the film. George Monbiot, the environmentalist and Guardian columnist, who appears in it, described it on Twitter as “a brilliant exposé of the greatest threat to marine life: fishing”.
Directed by Ali Tabrizi, a film-maker from Kent, the wide-ranging documentary questions the sustainable seafood movement and looks at the way the Dolphin Safe and Marine Stewardship Council labels may not be able to provide the assurances consumers are looking for.
Representatives of both organisations have accused the film-makers of misleading statements.
An executive with the international organisation responsible for the Dolphin Safe tuna label, Mark Palmer, has said his comments were taken out of context.
In a scene in the film, Palmer, the associate US director of the International Marine Mammal Project (IMMP), which is operated by the Earth Island Institute, was asked if his group could guarantee that no dolphins were ever killed in any tuna fishery anywhere in the world.
“I answered there are no guarantees in life but that drastically reducing the number of vessels intentionally chasing and netting dolphins as well as other regulations in place, that the number of dolphins that are killed is very low”, he said.
“The film took my statement out of context to suggest that there is no oversight and we don’t know whether dolphins are being killed. That is not true.”
In response to the film, the IMMP said Seaspiracy “falsely claims” that the Dolphin Safe label is a conspiracy to benefit the global fisheries industries.
David Phillips, the director of the IMMP, said the film had chosen to “grossly distort and mischaracterise” the aims of the label. In a statement, Phillips said: “The Dolphin Safe tuna programme is responsible for the largest decline in dolphin deaths by tuna fishing vessels in history. Dolphin-kill levels have been reduced by more than 95%, preventing the indiscriminate slaughter of more than 100,000 dolphins every year.”
Phillips said Seaspiracy did a disservice to organisations doing “critical work to protect oceans and marine life”.
Prof Christina Hicks, an environmental social scientist at Lancaster University who was interviewed for the film, tweeted: “Unnerving to discover your cameo in a film slamming an industry you love and have committed your career to.”
A spokesperson for the Marine Stewardship Council said that while the film drew attention to “known problems” in the fishing industry, it included “misleading claims” including that there is no such thing as sustainable fishing and that MSC certification was not credible.
“Some of the known problems that the film highlights – bycatch, overfishing and destruction of marine ecosystems – are precisely the issues the MSC certification process is designed to address,” a spokesperson said.
“The positive impact of our programme has been recognised by the United Nations, as being important in helping to support ocean biodiversity. Fisheries that ask to go through an MSC assessment work hard to reach the verifiable and science-based standards we set, ensuring that fish stocks are conserved for future generations.”
Critics also argue one of the most shocking statistics quoted in the film is wrong. A stark prediction, from a 2006 study, that “the ocean will be empty by 2048” included in the documentary has been contradicted by the forecast’s author.
Oceana, an NGO campaigning for ocean protection, claimed it was misrepresented in the film, because an interview with a former Oceana staffer appeared to suggest it did not have a definition for sustainability. In a statement, Oceana said: “Choosing to abstain from consuming seafood is not a realistic choice for the hundreds of millions of people around the world who depend on coastal fisheries – many of whom are also facing poverty, hunger and malnutrition.”
However, Prof Callum Roberts, a marine conservationist at the University of Exeter, also quoted in Seaspiracy, but has not yet seen it, disagreed with its critics. He said: “It’s not been made for its scientific rigour. It has used the techniques of film storytelling to make its case.
“My colleagues may rue the statistics, but the basic thrust of it is we are doing a huge amount of damage to the ocean and that’s true. At some point you run out. Whether it’s 2048 or 2079, the question is: ‘Is the trajectory in the wrong direction or the right direction?’”
In response, Tabrizi said he had approached the MSC for interview but it had declined. He said: “The renowned marine scientists Dr Sylvia Earle and Prof Callum Roberts, who expose the failure of sustainable fishing in the film, explain how the term ‘sustainable’ is so vague that even bycatch of seabirds, dolphins and seals can be considered sustainable. This is not what consumers think of when they pick up a fillet of fish with the MSC blue tick.”
He denied allegations Palmer’s comments were taken out of context or that the film mischaracterised or distorted the aims of the label.
“We did not claim in the film that the Dolphin Safe label is a conspiracy to benefit global fisheries industries. We asked if they could guarantee ‘Dolphin Safe’ tuna is in fact dolphin safe, to which Mark Palmer replied that they could not guarantee it, and that their observers, who oversee these fishing vessels some of the time, can be bribed.”
“The label does not say 95% dolphin safe. It claims to be dolphin safe. In the words of Mark Palmer himself, ‘one dolphin and you’re out’. This wasn’t taken out of context.”
Tabrizi said he was grateful for Hicks’s contribution and it was a “shame” she felt the way she did, but said it was “unrealistic” to expect everyone to align with the film’s conclusions.
He said he did not expect people who were facing poverty, hunger and malnutrition around the world to reduce or eliminate their fish consumption and that these were not the people looking on Oceana’s website for advice on sustainability.
Responding to the use of the 2048 statistic, he said: “We are not scientists nor did we claim to be. Despite there being some confusion about this particular projection, the overall state of fisheries are in severe decline.”
|
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5635
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dbpedia
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3
| 7
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https://www.resetera.com/threads/is-oceans-eleven-just-all-a-fantasy-for-danny-ocean.321721/
|
en
|
Is Ocean's Eleven just all a fantasy for Danny Ocean? Spoiler
|
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[
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[
"julia crawford"
] |
2020-11-08T23:47:26+00:00
|
So in the beginning of the movie there is a scene where Danny is in prison and the lady asks what he'd do if he left the prison. He starts to think on it. I...
|
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ResetEra
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https://www.resetera.com/threads/is-oceans-eleven-just-all-a-fantasy-for-danny-ocean.321721/
|
julia crawford
Took the red AND the blue pills
Oct 27, 2017
37,234
Nov 8, 2020
#1
So in the beginning of the movie there is a scene where Danny is in prison and the lady asks what he'd do if he left the prison. He starts to think on it. I think the entire rest of the movie does not actually happen but is all part of his thinking about what'd do out of prison.
I think it explains everything in the movie. How cool he is, how specifically uncool some of them are, how stereotypical else everyone is, the moments of luck they have, the coincidences, the cool vibe of the movie in general, the whole fantasy of going against the biggest challenge and succeeding, how it involves his ex wife who left him, all that. It's all fake!!!!
I haven't finished the movie. Since there are other two movies i'm guessing the movie doesn't finish by proving this right. Maybe it does, i don't know. What i know is none of this actually happened in real life. The movie's real life. You get it.
Reizzz
Jun 19, 2019
1,842
Nov 8, 2020
#2
Finish the movie.
Also I really like the movie. One of those movies where you know the cast had fun.
OP
OP
julia crawford
Took the red AND the blue pills
Oct 27, 2017
37,234
Zor
Oct 30, 2017
11,991
Nov 8, 2020
#6
What I can say is that Ocean's Twelve absolutely positively 100% happens... and there's a gag involving one of the central characters, and how they use her in the plan that truly beggars belief when it comes to actual "reality".
That's all I'll say.
Forsaken82
Oct 27, 2017
5,025
Nov 8, 2020
#7
The movie ends with him being lobotomized at Rekall.
Reizzz
Jun 19, 2019
1,842
Nov 8, 2020
#8
What I can say is that Ocean's Twelve absolutely positively 100% happens... and there's a gag involving one of the central characters, and how they use her in the plan that truly beggars belief when it comes to actual "reality".
That's all I'll say.
Besides the gag (which I thought was lame) I really liked 12!
OP
OP
julia crawford
Took the red AND the blue pills
Oct 27, 2017
37,234
Nov 8, 2020
#9
dammit now i can't look at my own thread
Zor
Oct 30, 2017
11,991
Nov 8, 2020
#10
Besides the gag (which I thought was lame) I really liked 12!
I actually like 12 too, I loved the bizarre lo-fi grittiness to it that Soderbergh went with to differentiate it stylistically.
But yeah... that gag... fucking woof.
Stencil
Oct 30, 2017
11,005
USA
Nov 8, 2020
#11
I forget the gag in 12, what is it?
fontguy
Oct 8, 2018
16,627
Nov 8, 2020
#12
You know, not every movie needs a stupid "omg it was all in his head, how subversive and dark!" fan theory.
Zor
Oct 30, 2017
11,991
Nov 8, 2020
#13
I forget the gag in 12, what is it?
That the character Julia Roberts plays is acknowledged to look like the actress Julia Roberts, and they have a scene with her pretending to be "real-life" Julia Roberts but she then bumps into real-life Bruce Willis, who thinks she's real-life Julia Roberts.
Not only is it absolutely awful, it also makes zero sense... so the rest of the cast all just look like George Clooney, Brad Pitt, Matt Damon, etc? And nobody ever mentions it?
It's just so lame.
Platy
Oct 25, 2017
28,676
Brazil
Nov 8, 2020
#14
never ever make theories without finishing watching a movie
and never EVER make theories about movies you barely watched because you used your phone in the middle and lost scenes
Zor
Oct 30, 2017
11,991
Nov 8, 2020
#15
Also, if you're doing the other movies OP, make sure to check out the very distant cousin Logan Lucky. It's not an Ocean's film, but it felt nice to have Soderbergh back in that kinda territory with a very zany and fun caper after so many years.
TheDestructiveSquirrel
Oct 25, 2017
29,686
Nov 8, 2020
#16
Make sure you watch Ocean's 8
OP
OP
julia crawford
Took the red AND the blue pills
Oct 27, 2017
37,234
Nov 8, 2020
#17
What... nothing happens in the end to prove or disprove what i said. It still makes sense.
Stencil
Oct 30, 2017
11,005
USA
Nov 8, 2020
#18
That the character Julia Roberts plays is acknowledged to look like the actress Julia Roberts, and they have a scene with her pretending to be "real-life" Julia Roberts but she then bumps into real-life Bruce Willis, who thinks she's real-life Julia Roberts.
Not only is it absolutely awful, it also makes zero sense... so the rest of the cast all just look like George Clooney, Brad Pitt, Matt Damon, etc? And nobody ever mentions it?
It's just so lame.
omfg lolol. That's a thin tightrope for such a big budget movie to walk.
KDC720
Oct 25, 2017
3,564
Nov 8, 2020
#19
The inciting incident of the sequel is Anthony Garcia's character tracking the whole crew down and blackmailing them, the first movie totally happened.
Also there's two more direct sequels after that.
RedVejigante
Aug 18, 2018
5,919
Nov 8, 2020
#20
Man, Taxi Driver really fucked up storytelling theory for pretty much every piece of narrative fiction afterwards, didn't it?
Randolph Freelander
Jun 14, 2019
1,640
Nov 8, 2020
#21
Ocean fantasized the entire series.
That, or the writers did. Either way, it didn't happen, so you're technically right.
Klyka
Oct 25, 2017
19,449
Germany
Nov 8, 2020
#22
Do people really pause a movie to go on ERA and write something about it?
Mandos
Nov 27, 2017
33,457
Nov 8, 2020
#23
Yes but have you watched the original Oceans 11 with the Rat Pack?
darz1
Dec 18, 2017
7,332
Nov 8, 2020
#24
What I can say is that Ocean's Twelve absolutely positively 100% happens... and there's a gag involving one of the central characters, and how they use her in the plan that truly beggars belief when it comes to actual "reality".
That's all I'll say.
That sounds pretty cool. I'll have to check it out. I love when movies bend our idea of reality and fucks with the mind. I'm surprised to hear they would do it in this type of movie though.
RiOrius
Oct 27, 2017
6,153
Nov 8, 2020
#25
Yes but have you watched the original Oceans 11 with the Rat Pack?
I watched it, and now Ocean's 11 is my go-to example of when the original is worse than the remake. Goodness gracious, the original is so bad, so very, very bad.
mattiewheels
Oct 27, 2017
5,140
Nov 8, 2020
#26
12 was so bad when I first saw it, such a disappointment. I should watch again in case I was just comparing it to 11 too much.
Mechaplum
Enlightened
Oct 26, 2017
19,456
JP
Nov 8, 2020
#27
Do people really pause a movie to go on ERA and write something about it?
Haha.
orlock
Oct 28, 2017
1,286
Nov 8, 2020
#28
i actually really love these movies and im so bummed after Bernie Mac we're not going to get another one. id love to see one final heist with a cast from all four movies, tying into the revelation from Ocean's 8. call it Danny Ocean, have it be a real swan song for everyone's characters.
OP
OP
julia crawford
Took the red AND the blue pills
Oct 27, 2017
37,234
Nov 8, 2020
#29
Do people really pause a movie to go on ERA and write something about it?
Actually i was watching the movie and seeing all the signs and really wanted to talk about it because honestly i'll forget about it tomorrow.
Nov 8, 2020
#30
The trilogy is awesome and, yes, you can tell everyone loved filming them. The cast chemistry was wonderful.
Deleted member 17388
User requested account closure
Oct 27, 2017
12,994
Nov 8, 2020
#31
So... Ocean 8...
It's just a parallel fantasy he had about his sisters, about how things might be after his death 🤔
dodo
Oct 27, 2017
4,050
Nov 8, 2020
#32
I feel like "after a certain point X is all a dream" theories usually just end up fantasizing about making movies less interesting. besides being a twist for the sake of being a twist, what would this reveal bring to ocean's eleven?
MoonlitBow
Oct 25, 2017
5,033
Nov 8, 2020
#34
So in the beginning of the movie there is a scene where Danny is in prison and the lady asks what he'd do if he left the prison. He starts to think on it. I think the entire rest of the movie does not actually happen but is all part of his thinking about what'd do out of prison.
It had been years since I watched Ocean's 11 but I thought that scene was basically about Danny Ocean getting a 2nd chance and he decides to use it to go back to his old ways. It pretty quickly established what kind of character he was, I recall and that was reflected in his interactions with others.
Salmonax
Oct 27, 2017
2,097
Nov 8, 2020
#35
Danny was on the cat's collar, and the cat was dead the whole time.
IDreamOfHime
Oct 27, 2017
15,202
Nov 8, 2020
#36
But Oceans 12 has Arsenal in it. If you're gonna fantasize about a football team, you don't scrape the bottom of the barrel with Arsenal.
Nov 8, 2020
#37
The "it was all a dream" fan theories are always the lamest
Antrax
Oct 25, 2017
13,685
Nov 8, 2020
#38
12 was so bad when I first saw it, such a disappointment. I should watch again in case I was just comparing it to 11 too much.
It's terrible but I do love the actual performances.
The ending makes zero sense and is an actual plot hole (a term which is often poorly applied but fits here). It's painstakingly established that Toulour will be watching them all 24/7 from a specific moment in the film on. And yet the trick they use to win is just to have Clooney and Damon rob the fabergé egg courier on a train. How shit exactly is Toulour's surveillance on them if they can do that train fight and switch bags without raising any suspicion from Toulour?
Foltzie
One Winged Slayer
Oct 26, 2017
6,921
Nov 8, 2020
#39
That the character Julia Roberts plays is acknowledged to look like the actress Julia Roberts, and they have a scene with her pretending to be "real-life" Julia Roberts but she then bumps into real-life Bruce Willis, who thinks she's real-life Julia Roberts.
Not only is it absolutely awful, it also makes zero sense... so the rest of the cast all just look like George Clooney, Brad Pitt, Matt Damon, etc? And nobody ever mentions it?
It's just so lame.
What you are describing is the setup, the gag is that everyone tells Bruce Willis that they saw the twist coming in the Sixth Sense only for the ruse to fail and Bruce to declare "I Knew It!" which makes that scene worth strained setup.
maybe. sorta.
I laughed.
The Llama
Oct 27, 2017
1,026
Nov 8, 2020
#40
What I can say is that Ocean's Twelve absolutely positively 100% happens... and there's a gag involving one of the central characters, and how they use her in the plan that truly beggars belief when it comes to actual "reality".
That's all I'll say.
Oceans 12 is so bad. 11 and 13 are each some of my favorite movies (a few years ago, if anyone asked I would say that Oceans 11 was my favorite movie of all time; not sure if I'd still answer that tbh but I do love it).
Yes but have you watched the original Oceans 11 with the Rat Pack?
Bleh, I've made the mistake of doing this 2 or 3 times. It's..... not good.
Mandos
Nov 27, 2017
33,457
Nov 8, 2020
#41
Oceans 12 is so bad. 11 and 13 are each some of my favorite movies (a few years ago, if anyone asked I would say that Oceans 11 was my favorite movie of all time; not sure if I'd still answer that tbh but I do love it).
Bleh, I've made the mistake of doing this 2 or 3 times. It's..... not good.
I'm being honest here I almost did once but I never got around to it... feel I made the right choice. Original Italian Job was good though!
Now this thread makes me want to rewatch the trilogy
Nov 8, 2020
#42
The trilogy is awesome and, yes, you can tell everyone loved filming them. The cast chemistry was wonderful.
Oceans 12 is so bad. 11 and 13 are each some of my favorite movies (a few years ago, if anyone asked I would say that Oceans 11 was my favorite movie of all time; not sure if I'd still answer that tbh but I do love it).
yeah the movies are just fun to watch, like Mamma Mia or some shit. Dont think too much about the plot or logistics or physics. Also definitely the cast had fun making it, i would love to see the blooper reels.
And 11 > 13 >>>>> 12.
Foltzie
One Winged Slayer
Oct 26, 2017
6,921
Nov 8, 2020
#43
It's terrible but I do love the actual performances.
The ending makes zero sense and is an actual plot hole (a term which is often poorly applied but fits here). It's painstakingly established that Toulour will be watching them all 24/7 from a specific moment in the film on. And yet the trick they use to win is just to have Clooney and Damon rob the fabergé egg courier on a train. How shit exactly is Toulour's surveillance on them if they can do that train fight and switch bags without raising any suspicion from Toulour?
The scene(s) you reference occurs prior to that specific moment. As a result they undo the prior two acts as a 'show'. I dont know if that is better than a plot hole.
LeMarc tells them what's up w/ 6 days left, the initial meeting with Toulour is w/ 5 days left. The egg was lifted before the game started.
Musubi
Unshakable Resolve - Prophet of Truth
Oct 25, 2017
24,768
Nov 8, 2020
#44
This thread made me realize I haven't seen this movie in years and I went on Netflix and watched it. lol
boxter432
Oct 28, 2017
9,695
Nov 8, 2020
#45
11 is awesome. 12 is terrible. 13 is definitely worse than 11 but wayyyy better than 12.
OP
OP
julia crawford
Took the red AND the blue pills
Oct 27, 2017
37,234
Nov 8, 2020
#46
Oh man these movies are so good
OP
OP
julia crawford
Took the red AND the blue pills
Oct 27, 2017
37,234
Nov 8, 2020
#47
Well i liked 12. The movie is so much fun with all the different kinds of shooting and all the funny and weird camera shots
deimosmasque
Ugly, Queer, Gender-Fluid, Drive-In Mutant, yes?
Apr 22, 2018
14,932
Tampa, Fl
Nov 8, 2020
#48
I'm one of those who thinks 12 is dumb but fun.
I really liked Oceans 8 though so what do I know
Platy
Oct 25, 2017
28,676
Brazil
Nov 8, 2020
#49
Ocean 12 was worth just for this scene .. everything about it awesome, including the fact that the backflip from the statue being the only part not done by cassel himself
Oceans Twelve Laser Dance
Song:La Caution - Thé à la Menthe
Last edited: Nov 8, 2020
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https://www.rogerebert.com/reviews/oceans-8-2018
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Ocean's 8 movie review & film summary (2018)
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Slickly paced and radiating sexy glamour, “Ocean’s 8” moves with the swagger of a supermodel prancing down the runway.
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https://www.rogerebert.com/
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https://www.rogerebert.com/reviews/oceans-8-2018
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In the midst of this bloated summer blockbuster season crammed with comic book superheroes, here are your true avengers: the formidable female cast of “Ocean’s 8,” taking us on a giddy, fizzy escape while also making a pointed statement about the realities of the world in which we live.
It’s a heist flick, carrying on the tradition of Steven Soderbergh’s “Ocean’s” trilogy (Soderbergh serves as a producer this time), with all the elaborate machinations you’ve come to expect from the series. It is crime as high art—which is fitting, given that the robbery this time takes place at The Met Gala, the annual fashion extravaganza at New York’s Metropolitan Museum of Art. It’s also the most flat-out fun movie that director and co-writer Gary Ross has made since his directorial debut, “Pleasantville,” 20 years ago. Slickly paced and radiating sexy glamour, “Ocean’s 8” moves with the swagger of a supermodel prancing down the runway.
But beneath the couture gowns and glittering jewels, the high-tech equipment and good, old-fashioned sleight of hand, “Ocean’s 8” is about the power of women standing up for themselves, sticking with each other and making the impossible happen. Years of planning and reservoirs of chutzpah certainly help, but the real reason these ladies are able to pull off this particularly daring crime in plain sight is simple: “A ‘him’ gets noticed. A ‘her’ gets ignored,” says Sandra Bullock as crew chief Debbie Ocean. “And for once, we want to be ignored.”
Bullock is coolly charismatic and totally in command in the title role, taking over as the George Clooney figure in this reimagining of the franchise. (Debbie is the estranged sister of Clooney’s late Danny Ocean, which the film addresses efficiently before moving on to the action.) After giving the performance of a lifetime to persuade the parole board to release her from prison, Debbie promptly returns to New York City and begins assembling the team she’ll need to pull off the crime she’s been planning for the past five years, eight months and 12 days.
Her first stop is Bergdorf Goodman for a dazzling bit of high-dollar shoplifting. And one of the movie’s many strengths is its use of recognizable New York locations; it grounds the film in contemporary reality and keeps it from floating off completely into the stratosphere. Besides that luxury department store, the ladies also visit the Ukrainian restaurant Veselka in the East Village, Junior’s diner in Brooklyn and, of course, The Met.
As in Soderbergh’s original “Ocean’s 11,” part of the fun of “Ocean’s 8” is watching Debbie handpick the women who will help her pull off this daring crime: stealing a one-of-a-kind, $150 million diamond Cartier necklace from the starlet who’s wearing it, right in the middle of the gala. Each brings a specific talent and energy to the team; together, they create an unpredictable, irresistible alchemy.
Bullock especially has great chemistry with Cate Blanchett as Lou, her longtime partner with whom she enjoys a smart and playfully spiky repartee. The ever-changing Blanchett is all rock-and-roll bad-assery here—but in an intriguing twist, she also serves as the voice of reason compared to Bullock’s wildly ambitious Debbie.
Together, they round up Mindy Kaling’s Amita, a jeweler who’s used to doing shady work for Debbie but nothing quite like this; con artist and petty thief Constance (actress/musician Awkwafina, whose real name is Nora Lum), who brings a youthful, streetwise edge to the crew; Sarah Paulson’s Tammy, a reliable fence trying to live a quiet life as a wife and mom in suburbia; Rihanna as a resourceful hacker who goes by the name Nine Ball and solves every tricky security challenge with a low-key confidence; and fashion designer Rose Weil (Helena Bonham Carter), whose fame and clout provide the team with access to the star-studded event, even though her days of peak popularity are well behind her.
The final player is the one who doesn’t even realize she’s been recruited: Anne Hathaway as “It Girl” actress Daphne Kluger, who’s one of the gala’s hosts and whose neck will carry that expensive piece of shiny hardware. While Awkwafina is a breath of fresh air and Carter is her delightfully odd self, Hathaway is the film’s MVP. What she’s doing here is nothing short of inspired, controlled lunacy. She’s an actress playing an actress, which is always a juicy opportunity to ham it up. But Hathaway is clearly having a blast discovering all of this character’s colors, from preening egomania to dippy girlishness to insecure fragility. She’s pulled off a theft of her own here.
The sheer brazenness of the crime in “Ocean’s 8” is enough to put a goofy smile on your face. But as is always the case in heist movies, the sustained thrill of the high-wire act comes from watching the players lay out their complex plan, then seeing whether it actually goes as smoothly as they’d hoped. Ross and co-writer Olivia Milch give each of these ladies an opportunity to shine along the way, but because they’ve amassed such a staggering lineup of talent, it makes you wish some of the supporting players had been better fleshed out. This is particularly the case with Kaling, Paulson and Awkwafina, and it’s the movie’s one real weakness.
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https://blog.padi.com/20-ocean-related-movies-to-binge-watch/
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The Best Ocean Movies: 30 You Need To Binge Watch
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2020-05-12T02:36:55+00:00
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Everyone is entitled to a binge watch from time to time - so why not do it like a scuba diver with 30 of the best ocean movies of all time.
|
en
|
https://blog.padi.com/20-ocean-related-movies-to-binge-watch/
|
Everyone is entitled to a binge-watch sometimes – think of it as a well-deserved pleasure! Perhaps you want to avoid boredom on a long flight to your favorite scuba destination, enjoy a film night with friends, or pass the time during an extended surface interval. Whatever the reason, if you’re planning a marathon movie session, then why not do it like a diver with some of the best ocean movies of all time? In no particular order, here are 30 binge-worthy movie ideas to get you started.
Table of Contents
The Life Aquatic with Steve Zissou
Into the Blue
For Your Eyes Only
Thunderball
Men of Honour
The Deep
The Abyss
The Big Blue
Sanctum
20,000 Leagues Under the Sea
Open Water
Dark Tide
Fool’s Gold
Deep Blue Sea
Finding Nemo
Sphere
Aquaman
The Cave
Mission Impossible: Rogue Nation
Jaws
Titanic
The Perfect Storm
The Little Mermaid
The Hunt for Red October
Life of Pi
True Spirit
The Dive
Avatar: The Way of Water
Blueback
The Deepest Breath
1. The Life Aquatic with Steve Zissou (2004)
This might not be Bill Murray’s most revered movie, but Wes Anderson’s story is certainly watchable. Also, the film was dedicated to Jacques-Yves Cousteau. In the movie, fictional Oceanographer Zissou plans to get revenge on a mythical shark that killed his partner, leading to much offbeat humor and proper belly laughs. Did you know that Bill Murray even became a PADI Open Water Diver before making the movie? He’s one of the numerous actors and Hollywood A-listers that are also certified PADI divers!
2. Into The Blue (2005)
This film tells the entertaining story of a group of young divers who go looking for a legendary treasure ship in the Bahamas. While diving, they stumble upon an airplane wreck full of illegal drugs, leading to an underground storyline of mobs and underwater action. The movie has an abundance of shark footage, most of which was filmed using live, wild sharks in their natural habitat. The movie also stars Jessica Alba and Paul Walker, and the exotic scenery will take you off your couch and into your next dive trip!
3. For Your Eyes Only (1981)
Of course, no underwater movie list can ever be complete without a James Bond movie (or two, or three…!). For Your Eyes Only includes up-close, underwater footage of Roger Moore in both Greece and the Bahamas. But you might not have known that true to good old 1980s filming techniques, most of the scenes were actually filmed on a soundstage, with special effects added later to give the impression of water moving around them.
4. Thunderball (1965)
Turning back the James Bond clock to the nineteen sixties when Sean Connery was the man of the moment is Thunderball. In this Bond classic, Connery dives with sharks in the Bahamas. During filming, clear plastic panels were placed in the water to separate the actor from the sharks. But, behind the scenes, this didn’t work as intended, and the sharks, being the intelligent species that they are, soon found their way around the panels and were swimming up to the cast – of course, aside from the odd fright, everyone lived to tell the tale.
5. Men of Honor (2000)
This Oscar-winning under-the-sea movie starring Cuba Gooding Jr. was a box office hit. Gooding plays Carl Brashear, the U.S. Navy’s first African-American Master Diver. Both discouraged and driven by his instructor (Robert De Niro), Brashear overcomes the institutional racism that was commonplace in the 1940s and his incomplete education to become an operational diver in the Navy. It’s a feel-good movie with a message – and of course, you might want to have tissues on hand for the multiple tear-jerking moments in this scuba flick!
6. The Deep (1977)
This seventies hit movie was based on a novel by Peter Benchley and follows a vacationing couple who stumble upon some mysterious artifacts while wreck diving off Bermuda. It is rumored that the making of The Deep required 9,985 dives, 10,870 hours underwater, and 1 million cubic feet of compressed air – which, if nothing else, definitely puts it in the record books!
7. The Abyss (1989)
Aliens and deep sea diving rolled into one by James Cameron – what’s not to love about that? Did you know that James Cameron has a passion for the ocean, is an avid scuba diver himself, and was the third person ever to dive to the bottom of the Mariana Trench? In The Abyss, a US nuclear submarine sinks near a massive trench after encountering a mystical underwater entity. If the storyline doesn’t wow you, then the amazing special effects still make this deep sea movie a worthwhile watch!
8. The Big Blue (1988)
Released in Europe as Le Grand Bleu, the storyline is around two lifelong friends who grow up to be freediving rivals in the Mediterranean Sea. This is one of the best marine movies to whisk you away to some of Europe’s most impressive tropical locations, and the dolphin scenes are bound to brighten your day!
9. Sanctum (2011)
Based on real-life experience, Sanctum is a cave diving thriller produced by James Cameron. This is one that will have you glued to the screen; however, this tense and gripping movie may not be suitable for those who are claustrophobic or planning to take their PADI Open Water Diver certification.
10. 20,000 Leagues Under The Sea (1954)
Despite numerous remakes over the years, the original Walt Disney Productions version is an all-time classic when it comes to deep ocean movies. From scenes of battling with giant squid to Nautilus divers scouring the ocean floor for sea life to help feed the crew, it’s bound to keep you entertained – which also explains why it won two Academy Awards and has become a timeless classic!
11. Open Water (2004)
Open Water is the story of two people being left behind in the open ocean by their dive boat. As expected, sharks eventually appear, and tensions rise as the couple’s holiday rapidly takes a nosedive. Very watchable but probably not one of the best ocean movies for new divers who are about to embark on their first boat diving experience!
12. Dark Tide (2011)
Halle Berry stars as a “Shark Whisperer” who is haunted by her memories following a shark attack – which she inevitably has to overcome and win the day. This is not one of Halle Berry’s most famous movies, and it didn’t have a big impact at the box office, but it’s still very watchable.
13. Fool’s Gold (2008)
A must-watch scuba movie for Matthew McConaughey fans, filmed in beautiful Australia. McConaughey’s character is a deep-sea treasure hunter who rekindles his relationship with his estranged wife Kate Hudson during a quest to find a Spanish shipwreck full of treasure. This is great family entertainment, despite the questionable diving techniques. The smattering of charm and humor makes for easy and entertaining watching for all ages.
14. Deep Blue Sea (1999)
Deep Blue Sea stars Samuel L. Jackson, whose character takes on genetically modified sharks at an isolated research facility from which the sharks are trying to escape into the open ocean. This one obviously packs both action and suspense as Samuel L. Jackson fights his way to victory over these fishy friends.
15. Finding Nemo (2003)
It’s impossible to be a scuba diver and not have some affinity for this movie. The fish characters brilliantly display real-life characteristics which have been transplanted into their personalities. Perfect family entertainment and equally ideal for teaching kids some fish ID skills, it’s considered one of the best-animated ocean movies by divers and non-divers alike!
16. Sphere (1998)
Sphere is another Samuel L. Jackson deep sea movie that also stars Dustin Hoffman and Sharon Stone as a team of scientists. The team is sent to investigate a 300-year-old spaceship 1,000 feet/304 meters underwater, which subsequently turns out to be an American craft, presumably from the future, sent back through time after a mission through space. The movie is based on a novel by Michael Crichton, and with an all-star cast, it’s certainly worth a watch.
17. Aquaman (2018)
Following years of waiting for an Aquaman movie, this did everything expected of it – non-stop action and adventure that spans the vast underwater world of the seven seas. The storyline is a rather predictable superhero affair, but what’s not to love about that? Definitely one to include in any scuba diving binge-watching session!
18. The Cave (2005)
While on a dig in a Romanian forest, a group of scientists finds a huge abbey built over the entrance to a network of caves. They hire a team of divers who are armed with new high-tech scuba gear (essentially a modified rebreather) that allows them to stay underwater for a full 24 hours. They soon discover they are not alone, as scary creatures make their presence known.
19. Mission Impossible: Rogue Nation (2015)
Known for his characters’ crazy stunts, which he often performs himself, Tom Cruise learned freediving skills to prepare himself for making this MI movie. As a result, Cruise reportedly became a very competent freediver, achieving static breath holds of six minutes – very impressive after just two months of training!
20. Jaws (1975)
You can’t talk about the best ocean movies without also mentioning the famous Jaws franchise. Despite there not being much scuba-related content, this movie forever changed the perception of sharks for many people (not necessarily a good thing). This is often cited as one of the most groundbreaking motion pictures of all time but undeniably contributed to the image of sharks as man-eaters worldwide.
21. Titanic (1997)
Starring Leonardo DiCaprio and Kate Winslet, there is no scuba diving, but some of cinema’s most memorable underwater scenes. James Cameron admitted he made the movie only so he could dive the Titanic himself – which he did, using the Mir submersibles and a Russian exploration vessel. The details contained in the movie are reportedly all accurate portrayals of the real vessel (even down to the crockery used in the restaurant), and when combined with Hollywood A-listers and a heart-wrenching love story, it’s a gripping movie and a real feat of film production.
22. The Perfect Storm (2000)
Based on true events from the 1991 Perfect Storm, this epic disaster movie follows a group of fishermen who get caught at sea during the worst possible conditions. Featuring George Clooney and Mark Wahlberg, the film received mixed reviews but is still worth a watch so you can decide for yourself.
23. The Little Mermaid (1989)
This classic Disney musical tells the story of Ariel, a rebellious mermaid who is fascinated by the world above the surface, much to the disapproval of her father – King Triton. Following a deal with an evil sea witch, Ariel meets (and falls in love with) a real human prince. It’s undeniably one of the best underwater movies for kids – and adults if you haven’t seen it yet!
24. The Hunt for Red October (1990)
One of the best ocean movies to watch if you love a good spy thriller, this is a tense adaption of Tom Clancy’s acclaimed 1984 novel. Sean Connery stars as a Soviet nuclear submarine commander heading for the US, while the CIA’s Jack Ryan (Alec Baldwin) tries to anticipate his next moves.
25. Life of Pi (2012)
Ang Lee’s Oscar-winning adaption is a survival tale of faith and friendship. The story follows a teenage boy, Pi, and a Bengal tiger stranded on a lifeboat for 227 days. Blending tragedy, philosophy, and stunning visuals, this is an unmissable, refreshing, thought-provoking alternative to the usual disaster-themed or scary ocean movies.
26. True Spirit (2023)
This ocean movie follows the real-life story of 16-year-old Jessica Watson (played by Teagan Croft) who dreams big! Jessica wants to become the youngest person to circumnavigate the globe non-stop. Her brave journey is fraught with a few mishaps along the way (think storms, loneliness, and even a stray cargo ship). This is a truly inspirational story – especially if you are watching with young adventurers.
27. The Dive (2023)
This remake of Heden’s 2020 Norwegian film Breaking Surface is packed with action from start to finish. As two sisters head out on a diving trip, they couldn’t have known what lay ahead. After a freak underwater incident traps one of the sisters underwater, it becomes a fight for survival and a race against the clock.
28. Avatar: The Way of Water (2022)
If you were a fan of James Cameron’s original Avatar movie back in 2009, then this is one for you. What’s even more impressive is that Kate Winslet reportedly completed a 7-minute breath-hold during filming – a feat for any freediver. With more films reportedly coming soon from the Avatar franchise (and Pandora), combined with an increasing list of Hollywood A-listers, we can’t wait to see what comes next!
29. Blueback (2022)
This heartwarming and inspiring movie is based on the original novel by Tim Winton. The lead character is a young Australian named Abby (Mia Wasikowska) who forms a relationship with a blue grouper while freediving. Her underwater moments with the grouper inspire her to become a spokesperson for coral reef protection in Australia – a nice eco twist combined with incredible cinematography.
30. The Deepest Breath (2023)
This riveting docu-movie, directed by Laura McGann, is packed with incredible underwater footage and tells of the relationship between freediver Alessia Zecchini and her safety diver, Stephen Keenan. Filmed in some of the best freediving locations around the world, it also provides a behind-the-scenes look at the sport of competitive freediving.
Have you got your popcorn ready? After you’ve binge-watched all the best ocean movies that you can, why not join some of these Hollywood A-listers and get started on your scuba diving certification?
It’s as easy as taking an online course, visiting your local dive center to practice in confined water, and then diving into open waters, like those portrayed in these films, to finish off your certification.
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https://medium.com/%40ivanreznikov/oceans-eleven-2001-a-brief-project-management-analysis-bb6def473f4d
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Ocean’s Eleven (2001) — a brief Project Management Analysis
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2020-05-24T18:34:44.886000+00:00
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Recently I’ve caught Ocean’s Eleven on my local channel network. I remember seeing it when it came out at the beginning of the millennium, so I decided to watch it after such a long time. The movie…
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en
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https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
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Medium
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https://medium.com/@ivanreznikov/oceans-eleven-2001-a-brief-project-management-analysis-bb6def473f4d
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Recently I’ve caught Ocean’s Eleven on my local channel network. I remember seeing it when it came out at the beginning of the millennium, so I decided to watch it after such a long time. The movie is still great, but what bothered me is the conversation over coffee the next day. My colleagues admired George Clooney’s hero Daniel Ocean as a fabulous project manager. Moreover, I found similar thoughts over the internet on specialized project management resources.
I disagree. I don’t think that Daniel Ocean is a good project manager.
If you’re studying project management, you are or want to become a project manager, be my guest:) In this article, I’ll describe my analysis of the Ocean’s Eleven movie (and how to perform a robbery) from a project management perspective.
1. Define Project Scope
Talking about any project we begin with the project scope. Project scope is the part of project planning that involves determining project goals, project deliverables, features, functions, tasks, deadlines, and costs. Defining project requirement clarity is a must. Don’t take the example of Danny, who didn’t tell his partner Rusty his real goal — to win Tess back.
It is important to identify limitations and possible risks. Among others in the movie one can name a technically complicated risky plan, ‘no blood’ strategy, avoid getting killed, caught, or Benedict finding out about their involvement.
Next, involve correct stakeholders and define their aim:
Danny’s participation is about the rivalry
Rusty’s participation is about the money
Reuben’s participation is about the rivalry
Okay, here’s the problem. We’re stealing two things. And when push comes to shove, and you can’t have both, which are you gonna choose? And remember — Tess does not split eleven ways! (Rusty)
Last but not least — change management. In a real project, changes are inevitable. To avoid disagreements by stakeholders, it is best to have strict change management processes in place. Rusty almost left the team, after finding out about Ocean’s ex. Basher also was close to calling Game Over before he found a solution to the power problem. Panic gripped Reuben when Danny was blacklisted.
2. Find the Team
It will be nice working with proper villains again! (Basher)
Below is my vision of the Ocean’s Eleven:
Danny’s team is a good example of a cross-functional team (it was far 2001 when the movie came out!). Cross-functional teams act faster, as they don’t rely on the legwork of other teams. They tend to tackle and solve problems right away themselves. It’s easily noticed, that there are up to 3–4 members tops in each scene. Several exceptions though take place during the kick-off meeting, the team building after the casino’s replica been made, and the robbery has taken place.
3. Holding the Kick-Off meeting: project deliverables
— I have a question, say we get into the cage, and through the security doors there and down the elevator we can’t move, and past the guards with the guns, and into the vault we can’t open… [] we’re just supposed to walk out of there with $150,000,000 in cash on us, without getting stopped?
— Yeah.
Danny delivered the bad and the good news as project deliverables: the project environment, the project definition, and their project goal. He followed his story with a WBS (work breakdown structure) — a simplified vision of the plan. He also estimated the deadline — the delivery date. Watch the video below — that’s a nice example of a project presentation.
4. Create a Project Schedule
I know more about casino security than any man alive, I invented it, and it cannot be beaten. They got cameras, they got locks, they got watchers, they got timers, they got vaults, they got enough armed personnel to occupy Paris! (Reuben)
I enjoyed how the project was divided into tasks and clear outputs. What matters, all responsibilities were assigned to each of the team members. Most tasks are independent and being run in parallel. If possible blockers appear — throughout communication allows solving problems quite fast.
It is not shown in the film, but if you probably don’t see the hero for some time — he is working on the backlog = creating the vault replica.
5. Deployment to Prod
-You’re a thief and a liar.
-I only lied about being a thief, I don’t do that anymore.
-Steal?
-Lie.
(dialogue between Danny and Tess)
That’s what we bought the tickets for :) The robbery was like a well-rehearsed performance. Some details make it close to ideal. For example, when Benedict questions Linus about his work in the Nevada Gaming Commission it is shown how detailed team preparation was. Whoever was responsible for Risk Management has done his job well. I believe this hero also gave Linus a pair of working batteries.
So why not Danny?
I’ve noticed most of the acts in the movie was orchestrated by Rusty. He is the key figure.
In the movie Danny’s management is limited to their trip to the California Institute of Advanced Science. That was poorly performed, as may have gone better. Given the fact, Danny withheld key information and drawn unnecessary attention int the casino, I believe Clooney’s hero needs more practical experience in the field of project management.
Epilogue
I wanted this analysis to be short, and I believe I’ve reached my goal. I have a couple of movies in mind, that can also be analyzed from a management perspective. If you have some thoughts — I’d be glad to hear from you. Here are some nostalgia quotes to make your day:
Might as well call it whitejack.
They’ll be watching you like hawks. Hawks with video cameras.
Apparently, he’s got a record longer than my… well, it’s long.
Thanks for reading :)
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https://en.wikipedia.org/wiki/The_Light_Between_Oceans_(film)
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en
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The Light Between Oceans (film)
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2014-09-15T10:33:39+00:00
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https://en.wikipedia.org/wiki/The_Light_Between_Oceans_(film)
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2016 romantic drama film by Derek Cianfrance
The Light Between OceansDirected byDerek CianfranceScreenplay byDerek CianfranceBased onThe Light Between Oceans
by M. L. StedmanProduced by
David Heyman
Jeffrey Clifford
StarringCinematographyAdam ArkapawEdited by
Jim Helton
Ron Patane
Music byAlexandre Desplat
Production
companies
Distributed by
Release dates
Running time
132 minutes[6]Countries
United States
United Kingdom
Australia
New Zealand
India
Canada
LanguageEnglishBudget$20 million[7]Box office$26 million[7]
The Light Between Oceans is a 2016 romantic drama film written and directed by Derek Cianfrance and based on the 2012 novel of the same name by M. L. Stedman. An international co-production between the United Kingdom, the United States, India and Canada, the film stars Michael Fassbender, Alicia Vikander, Rachel Weisz, Bryan Brown, and Jack Thompson. The film tells the story of a lighthouse keeper and his wife who rescue an infant girl adrift at sea and raise her as their own. Years later, the couple discover the child's true parentage and are faced with the consequences of their actions.
The Light Between Oceans had its world premiere at the 73rd Venice International Film Festival on September 1, 2016,[8] where it competed for the Golden Lion.[9] The film was released by Touchstone Pictures in North America on September 2, 2016,[3] being the last DreamWorks Pictures film distributed by Walt Disney Studios Motion Pictures through their 2011 output deal.[10] The film was released in the United Kingdom on November 1, 2016, by Entertainment One Films.[4] It received mixed reviews and grossed $26 million worldwide.[11] It was also the final film to be released by Touchstone Pictures before it went defunct.
Plot
[edit]
In December 1918, Tom Sherbourne – a traumatised and withdrawn hero of World War I – is hired as a lightkeeper at Janus Rock, a lighthouse off the coast of Australia. He falls in love with a local girl, Isabel Graysmark, and they marry. Isabel suffers two miscarriages in two years and fears she may never become a mother.
Shortly after Isabel's second miscarriage, a rowboat containing a dead man and a newborn baby girl washes ashore near the lighthouse. Tom knows that he is required by law to report the discovery. However, Isabel fears that the baby will almost certainly be sent to an orphanage and persuades Tom to pass the baby off as their own daughter, to which he reluctantly agrees. He buries the man on the island, and the couple names the infant girl Lucy.
As Tom and Isabel are about to have Lucy christened on the mainland, Tom sees a woman, Hannah Roennfeldt, kneeling in front of a grave bearing the names of Franz Johannes Roennfeldt and his baby daughter Grace Ellen, who were lost at sea on the day they found Lucy, 27 April 1926. Tom fears that Lucy may very well be Hannah's missing infant daughter. He writes anonymously to Hannah to tell her that her husband is dead but that her infant daughter is safe, loved and well cared for.
Four years later, Tom, Isabel and young Lucy, enjoying an idyllic life together, attend a ceremony for the anniversary of Tom's lighthouse. They strike up a conversation with Hannah and her sister, Gwendolyn Potts, and learn that Franz was a German, that Hannah's marrying him so soon after the First World War was controversial, and that he had been accosted in the street by a drunken crowd. Franz jumped into a rowboat and fled with his baby daughter.
Tormented by his conscience, Tom sends Hannah a small silver rattle that was found with Lucy on the boat. One of Tom's co-workers recognizes the rattle on a reward poster and reports him to the police. Accused of murdering Franz, Tom takes full responsibility, claiming he bullied Isabel into complying. Isabel is enraged that Tom is willing to give Lucy away and breaks off contact with him after his arrest. The police are unable to obtain an answer from the distraught Isabel as to whether or not Franz was dead when they discovered him.
Lucy is returned to her biological family but initially rejects and hates them, due to having no memory of them whatsoever. She refuses to answer to her given name. Lucy runs away in an effort to return to the Lighthouse and her "real parents", and a search team is sent to rescue her. She is found and returned to Hannah, but the events lead Hannah to realize that Lucy really belongs to Isabel.
Hannah promises to return Lucy to Isabel as soon as Isabel testifies against Tom. Just as Tom is about to be taken by boat to Albany for trial, Isabel reads a letter which Tom had sent her, saying he had not deserved his happiness with Lucy and how carrying the blame will assuage his guilt for surviving the war.
Isabel jumps on the boat and confesses everything. Moved by their gesture and reminded by Franz's words to always forgive others, Hannah offers to speak on their behalf at trial. Lucy has at last begun to bond with her biological mother and maternal grandfather, who agrees to call her "Lucy Grace" as a compromise.
In 1950, 27-year-old Lucy Grace Rutherford, accompanied by her baby son Christopher, tracks Tom down. She has not been in contact with the Sherbournes for over eighteen years, as they had agreed not to contact her for the rest of her girlhood. Isabel has recently died, still tormented with guilt for her actions, and Tom gives Lucy Grace a letter that her adoptive mother had written in case Lucy ever made contact. An emotionally sorrowful Lucy Grace thanks Tom, the only father she ever knew, for rescuing and raising her for the four years of her life on Janus Rock, and she asks if she can visit again. She and Tom embrace before she leaves. Tom sits on his rocking chair, now content with what life had given him.
Cast
[edit]
Production
[edit]
Development and casting
[edit]
DreamWorks acquired the rights to the novel on November 27, 2012, with David Heyman and Jeffrey Clifford producing through Heyday Films.[12] DreamWorks approached Derek Cianfrance at the behest of Steven Spielberg, who was impressed by Cianfrance's Blue Valentine.[13] In September 2013, Cianfrance was announced to direct the film.[14] In May 2014, Michael Fassbender was announced in the film.[15] In June 2014, Alicia Vikander joined the cast of the film,[16] followed by Rachel Weisz in July 2014.[16][17][18] Participant Media joined the production in August 2014.[19]
Filming
[edit]
Principal photography started in September 2014, with filming locations in New Zealand and Australia.[20][21][22] Filming took place in Dunedin, Port Chalmers[23] and on the Otago Peninsula, Saint Bathans in Central Otago and at the Cape Campbell Lighthouse in Marlborough.[24] Filming sites included the former Dunedin Prison in Dunedin[25] and Stuart Street at the former King Edward Technical College building.[26]
Footage aboard a steam train was filmed in October inside a refurbished wooden "bird cage" passenger carriage from the Pleasant Point Railway in South Canterbury. Mainline Steam Heritage Trust used Ja 1240 "Jessica" for the movie and it was transferred from the trust's Christchurch depot to Dunedin for filming to take place.[25][26] While the scene in which the locomotive is used was set in 1918, locomotive Ja 1240 was built in 1947 and was the second New Zealand Railways JA class locomotive to be built. Built at New Zealand Railways Hillside workshops in Dunedin it ran exclusively in the South Island of New Zealand from 1947 until 1971.
In November the production moved to Australia and filming began in Stanley, Tasmania[27] where the crews transformed some locations in the town including the pier, which was refurbished, and the road, which was covered in gravel.[28][29] Production wrapped on November 24, 2014.[30]
Post-production
[edit]
Cianfrance spent a year editing the film, with little breaks in between[31] with the first cut of the film ending up at 2 hours and 20 minutes.[32]
Lawsuit
[edit]
A writer/director (Joseph Nobile) alleged that Margot Louise Watts, aka M. L. Stedman,[33] knowingly and willfully copied, plagiarized, pirated and misappropriated expressive content from his screenplay entitled, The Rootcutter, subsequently retitled, A Tale of Two Humans, originally copyrighted in 2001. On January 26, 2017, Nobile filed suit against Watt's publishers, Simon & Schuster, DreamWorks et al.[34][35] Although the defendants had had the opportunity to access the plaintiff's screenplay, the US District Court in New York ruled against Nobile on October 16, 2017, and subsequently granted the defendants' motions for Attorney Fees due to the objective unreasonability of the plaintiff's claims, and to dissuade other would-be plaintiffs from filing baseless suits. Nobile appealed,[36] but on September 21, 2018, the 2nd US Circuit Court of Appeals upheld the original decisions.[37]
Music
[edit]
Release
[edit]
The Light Between Oceans held its world premiere at the 73rd Venice International Film Festival on September 1, 2016.[38][39] The film was distributed by Walt Disney Studios Motion Pictures through the Touchstone Pictures banner, being the last DreamWorks film to be released under the original agreement with Walt Disney Studios, and the final film released by Touchstone before it became defunct.[40][41][42] Disney released the film in the United States on September 2, 2016.[43] Disney opted not to give the film a limited release, a method often used by studios for adult dramas, and instead issued the film in general wide release at 1,500 locations with focus on upscale venues.[44]
Distribution was handled by Mister Smith Entertainment through other third-party film distributors in all other regions except for India;[5] Entertainment One in the United Kingdom,[45] and Australia, Arthouse in Russia,[46] and Phantom Film in Japan. Reliance Entertainment released the film in India.
The Light Between Oceans was released by Touchstone Home Entertainment on Blu-ray, DVD, and digital download on January 24, 2017.[47] It was also released by Entertainment One through 20th Century Fox Home Entertainment on Blu-ray and DVD in the UK on March 13, 2017.
Reception
[edit]
Box office
[edit]
The Light Between Oceans grossed $12.5 million in North America and $13.3 million in other territories for a worldwide total of $26 million, against a budget of $20 million.[7]
In the United States, the film was released on September 2, 2016, alongside Morgan, and was projected to gross $6–9 million from around 1,500 theaters in its opening weekend.[48][49] It grossed $1.4 million on its first day and $4.8 million in its opening weekend, finishing 6th at the box office.[50]
Critical response
[edit]
The Light Between Oceans received mixed reviews from critics.[11] On the review aggregation website Rotten Tomatoes, the film has an approval rating of 61%, based on 236 reviews, with an average rating of 6.2/10. The website's critical consensus reads, "The Light Between Oceans presents a well-acted and handsomely mounted adaptation of its bestselling source material, but ultimately tugs on the heartstrings too often to be effective."[51] On Metacritic, the film has an average score of 60 out of 100, based on 44 critics, indicating "mixed or average reviews".[52] Audiences polled by CinemaScore gave the film an average grade of "B+", on an A+ to F scale.[53]
Justin Chang of the Los Angeles Times wrote: "The actors hurl themselves into their roles with sufficient commitment and feeling that you believe in Tom and Isabel completely, even when the creaky narrative machinery around them begins to trigger your skepticism."[54] Owen Gleiberman of Variety said it "winds up taking one too many self-serious twists and turns. The film earns its darkness, but it might have been even more affecting if it didn’t shrink from the light."[55] Richard Roeper of the Chicago Sun-Times called it "A gorgeous but plodding and borderline ludicrous period-piece weeper."[56]
Notes
[edit]
References
[edit]
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https://readcopy.co/I-Can-t-Stop-Thinking-About-How-Julia-Roberts-Plays-Her-Own-Lookalike
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I Can’t Stop Thinking About How Julia Roberts Plays Her Own Lookalike in Ocean’s Twelve — Copy
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I Can’t Stop Thinking About How Julia Roberts Plays Her Own Lookalike in Ocean’s Twelve “Are you, then, also an image and an object? Why doesn’t...
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Since I moved in September, I’ve been procrastinating buying a full-length mirror. Target is an eight, maybe ten-minute walk away and I’ve hauled several multi-bag trips during my move, but for over a month I’ve been using my built-in bathroom mirror for my shoulders up, and imagination for the rest. At the same time, I’ve been putting off starting any new TV shows.
Usually, I’d rather watch three to four hours of a TV show than a movie. To me, following characters and storylines through an episodic format provides a closer approximation of life as it unfurls. You watch the characters, creators, and story change as time passes, be it a binge-watch or a slow burn, and the distinction between episodes creates the opportunity for evolution and differentiation. Lately, however, the open-and-shut nature of movies has been calling to me more than ever—specifically, the open-and-shut nature of movies that allow me to turn my mind the fuck off. Genres like rom-coms and heist movies, escapism ranging from sensible to extreme, have been on heavy rotation. Rom-coms are a grounded escape, usually containing people you could know if the people you do know were witty, beautiful, and endearingly clumsy, tripping into their unlikely soulmate’s arms. Heist movies, on the other hand, are a strange comfort—celebrity-waterlogged spectacles full of troubled cowboy-geniuses and eccentric art collectors—but they are a comfort nonetheless, a chance for audiences to escape into a world so unlike their own that the rules of gravity, logic, and time don’t seem to apply. We float gladly as George Clooney—or the given movie’s Clooney stand-in—explains how they’re going to steal the Queen’s 500-pound-jewel-encrusted Bible in 30 seconds amid a crowd of thousands using only a needle and thread. And they’re in Monaco. Or maybe Reno. It doesn’t matter. Both rom-coms and heist movies, at their 90s peak, prominently feature an important figure with important hair—Julia Roberts.
Julia Roberts was the American actress for decades but more recently, she’s had a starring role in my search for comfort, as I make my way through her greatest hits. The other day, I decided that rewatching Ocean’s Eleven—arguably a masterpiece—was too obvious. So, I opted for Ocean’s Twelve, Eleven’s 2004 sequel that, according to Wikipedia, was met with “generally mixed reviews.” And I need to talk about it.
In Ocean’s Twelve, it’s mentioned that Julia Roberts’s character, Tess, looks like a certain celebrity, but exactly who is initially left unsaid. Tess is recruited by her husband’s team of thieves to pose as that celebrity to create a distraction as they rob a museum. She reluctantly agrees and it is revealed to us, the trusting audience, that Tess looks a lot, like a lot, like Julia Roberts.
Tess puts on big sunglasses and a hat, along with a fake belly, to disguise herself as a pregnant Julia Roberts (please note, they call this con the “Lookie-loo” plus a “Bundle of Joy”). The thieves ply her with biographical facts and psych her up for her performance, assuring her that she can do it despite Don Cheadle’s critiques of her accent, which you can just make out through his own disaster of a Cockney accent. Tess gets nervous about playing a real person, rather than an invented character, but is thrust into performance when Bruce Willis, a close friend of Julia Roberts, enters, thrilled to see her. Tess ends up accidentally speaking to Julia Roberts on the phone and later getting arrested—but then it turns out that was part of the plan. Whatever, we’re not here to talk heist logistics. Towards the end, another character remarks that Tess doesn’t even look that much like Julia Roberts. The credits mention “Tess as Julia Roberts.”
Reminder: Tess is Julia Roberts. I repeat, Tess is Julia Roberts. And not only is she Julia Roberts, but she is also Julia Roberts using her normal voice, wearing no wig or prosthetics. Julia is not hiding from us. We do no work to recognize her as one of our most famous and beloved actresses.
There’s surprisingly a lot to say about Ocean’s Twelve—it’s edited like a high school PowerPoint presentation, the main antagonist is introduced almost an hour in, they don’t give Cherry Jones enough to do. I could go on, but let’s not waste time cataloging all of this movie’s faults. It’s not really a movie you want to think about. You just want to hit play and watch a ragtag team steal some expensive shit, maybe crack a safe or two. But now here we are, thinking about Julia Roberts playing Tess playing Julia Roberts speaking to Julia Roberts on the phone.
Here’s where the comfort threatens to leave us. The oft-cited power of cinema is that it reflects us back to ourselves, makes us consider situations that we may not live through but can imagine experiencing. Humanity is projected on the screen and asks the humans in the audience to empathize and critique, to think and feel. However, the exaggerated plots of movies like heists and rom-coms (in My Best Friend’s Wedding, an entire family sings “I Say a Little Prayer” unprompted while eating brunch in a full restaurant) are charming in large part because of how easy it is to not reflect. Through these genres, we seek to be taken away from our lives or anything that can, in any real and tangible way, relate to them.
When Julia Roberts plays a character that looks like Julia Roberts, we’re reminded that we are not actually escaping. We are an audience, watching a movie made exactly for us, in a culture that recognizes certain people as being so immovably famous that any manipulation of their fame is a funny departure from reality. To put her in the mindset of Julia Roberts, Tess is reminded, “You’re an image to these people. You’re like an object.” But wait, Matt Damon’s character Linus, aren’t “these people” the same ones watching Julia Roberts in this movie right now? Aren’t you talking to that very object? Aren’t you Matt Damon of Good Will Hunting fame, or don’t you at least look like him? Are you, then, also an image and an object? Why doesn’t Bruce Willis recognize you?
Through The Julia Roberts Situation, we’re forced back into our seats in front of the screen, back into our bodies outside the world of the film. I’ve been avoiding using the phrase “fourth-wall break,” since it doesn’t feel like the filmmakers or characters are looking at us with a shared wink. Instead, they’re laughing to themselves, toying with the celebrity that only the makers of a big-budget blockbuster can use as a plaything. Meanwhile, we’re laughing in reaction to being recognized in our position as the audience, while simultaneously being allowed to remain there. The story continues on, ignoring the paradoxical rip that it’s created in the spacetime continuum and giving us no time to reckon with it, telling us it was just a joke, just keep watching. Tess is still Tess, Julia is still Julia, don’t think about it. It’s a brief intermission in our escape, which is then allowed to continue.
Not to be all “let’s circle back to the unattached metaphor from the beginning,” but I still need a full-length mirror. I think my subconscious is seeking reprieve from my body by avoiding it, only accepting a partial view of the more manageable parts. For now, the bathroom mirror is to me what Julia Roberts as Tess as Julia Roberts is to Ocean’s Twelve—it’s an acknowledgment of myself even as I try to escape. Unable to resist the reflective nature of cinema (forgive me, Martin Scorcese, for calling this movie cinema), the creators of Ocean’s Twelve, likely unintentionally, provided a medicine cabinet mirror for their viewers, reminding them of themselves even as they were trying to forget.
.
|
|||||
5635
|
dbpedia
|
3
| 80
|
https://briantissot.com/2018/06/26/ocean-movies-you-love-to-hate-endless-descent-aka-the-rift-1989/
|
en
|
Brian N. Tissot
|
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[] |
[
""
] | null |
[
"Dr Abalone"
] |
2018-06-26T00:00:00
|
Most science fiction movies are based loosely on science. Usually, this means they make a few technical or impossible leaps to move the plot forward but generally adhere to the basic laws of science. But in most cases, filmmakers are forgiven for their science-defying sins as long as the story makes up for it. In contrast, Endless Descent (aka The Rift) seems to delight in making so many impossible and incredulous scientific leaps, that they grow to a level of absurdity that transcends the believable.
|
en
|
Brian N. Tissot
|
https://briantissot.com/2018/06/26/ocean-movies-you-love-to-hate-endless-descent-aka-the-rift-1989/
|
Loading the Elevenlabs Text to Speech AudioNative Player…
A Note from Dr. Abalone: Whilst you all have been frolicking along the shores and diving in the sea, as is your way, I, Dr. Abalone, have been scouring the moviesphere for the perfect entertainment to enlighten your decadent souls. After extensive research I unleash upon you a slew of films so pathetic in their attempt to entertain, they win the piscatorial prize for perfidy: movies so awful you’ll love to hate them. Because only those that truly love the sea and live daily at its mercy, such as yourselves, can transcend the blood and gore and celebrate their essence of utter stupidity.
Most science fiction movies are based loosely on science. Usually, this means they make a few technical or impossible leaps to move the plot forward but generally adhere to the basic laws of science. But in most cases, filmmakers are forgiven for their science-defying sins as long as the story makes up for it. In contrast, Endless Descent (aka The Rift) seems to delight in making so many impossible and incredulous scientific leaps, that they grow to a level of absurdity that transcends the believable. As such, the plot moves this movie into a category of films that are entertaining by being amusingly awful. A movie you love to hate.
Spoiler Alert: this review reveals details of the plot which may ruin and/or enhance your viewing pleasure.
Born in the late 80s, along with a slew of deep-sea legends such as James Cameron’s The Abyss, and MGM’s Leviathan, and a host of lower budgeted marine monster flicks, including Sean Cunningham’s Deepstar Six, and Juan Piquer Simón’s Endless Descent. This film, like others, sought to exploit new interests in the mysterious deep-sea and all the unknowns that went with it. It claims to take you on a misson that leads to an “endless descent” to “the very depths of terror.” I was excited to watch this flick, at least at first.
The plot revolves around the adventures of a NATO rescue submarine, the Siren II, on a mission to find out what happened to the (appropriately but fatally named) Siren I, which disappeared earlier. For the mission, they recruit the scientist that designed the original sub (Wick Hayes) who conveniently was not briefed on the military mission add-ons to the original Siren (nukes, gene replicators, etc.) that become key in the plot. Right from the start, the science is controlled through the”Big boys” in DC as the Navy takes charge through Capt. Phillips (Full Metal Jacket’s Lee Ermey) ) and Lt. Nina Crawley (biogenetics expert). As it turns out, Nina and Wick are past lovers, which adds an unexpected sweet twist to the plot.
To imagine the movie, picture 1980s hairstyles and music with 1960s controls (aka Voyage to the Bottom of the Sea). As they search for the Siren in the spacious interiors of their submarine, they chase the fated sub’s “black box” down to the abyss until they encounter (wait for it) kelp beds at 27,000 feet and decide to explore with (even better) SCUBA gear. Even though the geneticist points out that photosynthesis is impossible at those depths, it’s all chalked up eventually to the fact that the Siren I fiddled with…DNA! OMG, once you do that virtually anything is possible, as we’ll see. Especially with a “transgenic accelerator.”
So, at 27,000 feet a single SCUBA diver goes out completing the deepest dive ever where he encounters a jet stream of warm water. Maniacal screaming is quickly followed by “Captain, there’s something wrong here,” and a second diver is sent to “collect a sample” so they figure it all out later. Blood surrounds the first diver in the kelp bed and he dies a horrible death as he is “assimilated” by the kelp.
Meanwhile, a big, spongy, amorphous white thing attacks the sub; sparks fly, and people fall down, The external pressure has increased two-fold and somehow the sponge pulls the sub deeper (sponges are like that). Luckily, they hit the creature with an electrical shock and it lets go but not before the ship loses power and falls toward the bottom at 45K feet. [which is deeper than the deepest part of the ocean, 36k feet, but let’s move on]
Luckily Wick pilots the ship to safety on a ledge at a mere 28k feet where they enter a recessed, “naturally pressurized” submarine cavern. In fact, it’s huge and well lit which makes it hard to reconcile how the black box got there in the first place, not to mention all the high tech Siren I gear piled in the cave. As they enter the cavern the crew is attacked by…..flies, honeycombed in the walls. But wait, now they have long bunt tails No, now long, sharp teeth! OMG! No, now it’s a swimming eel-like fish that attacks like a shark. Apparently, DNA can do just about anything, even create giant, marine, deep-sea air-breathing, insects. What imagination!
Meanwhile, in the sub, the seaweed sample takes over and begins assimilating the crew through the ship’s aqueduct system (whatever that means) as the remaining crew explores the scary caverns. They are surprised to find animal cages and a huge “accelerator” as one crew member is sucked into the machine. Eventually, they locate neatly arranged stacks of amniotic sacks with “some kind of fetus” that looks like it has evolved for “surface dwelling.” In the end, it’s all chalked up to Biowarfare research which required the DOD to hide their work, which apparently is only at extreme depths at impossible latitudes (such much for area 51). This explains the bulk of the defense budget.
Now for the climax! They are attacked by the giant mother hanging on a wall, which has the pieces of all the critters described above (polymorphism run amuck). Somehow they kill it and the remaining crew dash back to the sub as the cavern begins to collapse. The ulterior motive, as it turns out, was to abandon the crew using the escape pod and conceal the rift with explosives. But (luckily) Wicks and Crawley foil the plot. They trick Capt. Phillips into a cabin and throw him in with infected others where he dies a miserable kelp-fungal assimilation death. In the end, as huge bubbles rock the pod, they are pushed to the surface while holding hands to eventually repopulate the earth made destitute by rampant biowarfare (no, wait, sorry that’s not in the plot; stops at “hands”)! Amen.
Here are a few of the improbable or impossible facts from the video:
At one point their console shows Lat 103 43 35, Long 12 35 90, which is impossible. All latitudes above 90 degrees would be outside earth’s north and south poles.
At 33,000 ft depth, the pressure reads 4 Atm and 44C, which is also impossible. At 33,000 feet pressure, it would be about 1,000 Atm and 1-4C (unless they were next to a hydrothermal vent).
Screen capture from the movie “Endless Descent” showing impossible instrument readout at 33,000 feet.
But please don’t trust me, check out the trailer and decide for yourself! Plus, as I mentioned, although this film is largely outside the realm of scientific probability it is still within the realm of human entertainment so you might find it fun to watch.
References:
|
|||||
5635
|
dbpedia
|
1
| 76
|
https://www.commonsensemedia.org/movie-reviews/oceans-thirteen
|
en
|
Ocean's Thirteen Movie Review
|
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[] |
[] |
[
""
] | null |
[
"Cynthia Fuchs"
] |
2007-11-12T00:00:00
|
More of the same from Clooney and company. Read Common Sense Media's Ocean's Thirteen review, age rating, and parents guide.
|
en
|
/themes/custom/common_sense/images/favicons/favicon-16x16.png
|
Common Sense Media
|
https://www.commonsensemedia.org/movie-reviews/oceans-thirteen
|
The easy camaraderie among the major players remains the most predictably entertaining aspect of the film. That's particularly true of Danny's relationship with Rusty (Brad Pitt), which refers in-jokingly to the actors' famous friendship. (A couple of times, Ocean's Thirteen drops you into their conversation midway, without back-story or explanation, so that punch-lines seem both unknowable and strangely satisfying, as in Rusty's apparently clever rejoinder: "I said, 'What do I look like, a pancake eater?'"). Other relationships are less enjoyable. Since Linus (Matt Damon) is working through rather conventional "issues" with his father (an old-school con man), he offers to be the designated seducer of Willie's "right hand man," who's actually a woman -- Abigail Spooner (Ellen Barkin). With Danny's wife, Tess (Julia Roberts), absent for this outing, Spooner is the designated girl, and, unfortunately, she seems quite desperate -- both to please her boss and to find sensual pleasure with "younger men" -- making her look more foolish than smart. Similarly, the film makes raucous fun of a hotel reviewer (David Paymer), who the schemers abuse mercilessly with rashes, tainted food, and more.
Each conniver gets a moment in the spotlight, as per formula: Frank (Bernie Mac) runs a dominos table, Basher (Don Cheadle) swaggers as an Evel Knievel-style motorcycle stunt rider, and the moral-minded Malloy brothers (Casey Affleck and Scott Caan) encourage a workers' demonstration in Mexico before ensuring the manufacture of trick dominos for Frank's game. By the time the crew enlists the help of former foe Terry Benedict (Andy Garcia), the 122-minute running time is wearing thin, which makes the big climax a little less exciting.
|
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5635
|
dbpedia
|
1
| 60
|
https://nypost.com/2023/12/14/entertainment/george-clooney-reveals-idea-for-new-oceans-movie-great-script/
|
en
|
George Clooney reveals idea for new ‘Ocean’s’ movie: ‘It’s actually a great script’
|
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[] |
[] |
[
"Movies",
"Entertainment",
"actors",
"films",
"george clooney",
"heist",
"margot robbie",
"ocean's eight",
"ryan gosling"
] | null |
[
"Jack Hobbs"
] |
2023-12-14T00:00:00
|
George Clooney revealed Wednesday that there is already "a great script" written for a brand-new installment in the "Ocean's" franchise.
|
en
|
New York Post
|
https://nypost.com/2023/12/14/entertainment/george-clooney-reveals-idea-for-new-oceans-movie-great-script/
|
Danny Ocean is ready for another heist.
George Clooney revealed that there is “a great script” written for a brand-new installment in the “Ocean’s” franchise.
“We have a really good script for another ‘Ocean’s’ now, so we may end up doing another one,” Clooney, 62, told Uproxx while promoting his latest film, “The Boys in the Boat,” on Wednesday.
“It’s actually a great script,” Clooney added.
The new storyline is reminiscent of the 1979 comedy “Going in Style,” which starred George Burns and Art Carney as elderly bank robbers.
Based on the 1960s Rat Pack film of the same name, the “Ocean’s” franchise began in 2001 with the release of “Ocean’s Eleven” starring Clooney, Matt Damon, Brad Pitt, Don Cheadle, Andy Garcia and several other high-profile celebrities.
The film grossed nearly $451 million at the box office and spawned two more films in 2004 and 2007, all directed by Steven Soderbergh.
In 2018, the franchise was revamped with “Ocean’s Eight,” starring Sandra Bullock as Danny’s (Clooney) sister, Debbie, who assembles an all-female heist team composed of Anne Hathaway, Rihanna, Sarah Paulson, Cate Blanchett, Mindy Kaling, Awkwafina and Helena Bonham Carter.
It was announced in October that “Barbie” alums Margot Robbie and Ryan Gosling were tapped to lead a new film, which is reportedly set in Europe in the 1960s.
“I can’t really say much,” producer Josey McNamara said to GamesRadar+. “But I think we’re just trying to do right by the franchise.”
McNamara added that he’s “excited for people to experience it when it’s ready.”
Clooney appeared to accidentally confirm that Robbie, 33, and Gosling, 43, were slated to play his character’s parents in the franchise’s next potential installment.
“Yeah! Margot Robbie is my mother? I’ve always thought that,” the “Descendents” star said to People. “Ryan Gosling is my father. Now when you think about it, it makes sense. Truly.”
The LuckyChap Entertainment — Robbie’s production company — executive is also excited for the pair to reunite.
“They’re wonderful together,” McNamara noted. “The more projects even outside of that we can have them do would be amazing.”
According to McNamara, the “Ocean’s” film could launch more movies starring both actors.
Since starring in the Mattel film — which grossed nearly $1.4 billion at the box office — Gosling and Robbie have received a tidal wave of praise.
The Greta Gerwig-directed “film”Barbie” swept the recent Golden Globe nominations with a total of nine nods and scored a whopping 18 Critics Choice nominations, breaking the previous record which was held by 2022’s “Everything Everywhere All at Once” and 2017’s “The Shape of Water” at 14.
There is currently no release date attached to the new “Ocean’s” film.
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https://www.ultimatemovieyear.com/home2/the-three-keys-to-oceans-eleven
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en
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The three keys to 'Ocean's Eleven' — Ultimate Movie Year
|
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"Mark Ciemcioch"
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2019-12-05T14:02:00-05:00
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I wonder what Martin Scorsese thinks about “Ocean’s Eleven.”
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en
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https://images.squarespace-cdn.com/content/v1/5e914703a8ac252f2e999f87/1587789016645-R5VT61WS0Z3V3HI6UDF7/favicon.ico?format=100w
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Ultimate Movie Year
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https://www.ultimatemovieyear.com/home2/the-three-keys-to-oceans-eleven
|
George Clooney (from left), Brad Pitt, Matt Damon, Elliott Gould, and Don Cheadle maintain their cool during a heist in 2001’s “Ocean’s Eleven.” (Warner Bros/MovieStillsDB.com)
Every week, Ultimate Movie Year looks back into the past to highlight the best film that came out that weekend.
"Ocean's Eleven"
Released Dec. 7, 2001
Directed by Steven Soderbergh
I wonder what Martin Scorsese thinks about "Ocean's Eleven."
The acclaimed director, a titan of filmmaking, started a culture war within the industry after he compared the Marvel movies to theme park rides. As I watched "Ocean's Eleven" again, I couldn't help but think how this movie wields the two sides of the debate together: Hollywood's biggest stars joining forces for a project designed for pure pleasure and entertainment, yet made by a director who can't help but implant his unique artistic style and technique into one of the most commercial films ever made. How the hell did Stephen Soderbergh pull this off?
To figure it out, we're gonna need at least a Martin, a Bogie-Bacall, and a Sergei. Let's break it down:
1) The Martin: The movie is a remake of the 1960 "Ocean's 11," starring Dean Martin, Frank Sinatra, Sammy Davis Jr., Joey Bishop, and Peter Lawford, commonly known at the time as the Rat Pack. A group of casual friends and Las Vegas entertainers, the Rat Pack personified dressing to the nines and being cool. While the 2001 cast (including George Clooney, Brad Pitt, Matt Damon, and Julia Roberts) didn't run together as much as the original Rat Pack, they were indeed friendly enough with each other that their camaraderie was evidenced on-screen. They were also well dressed by costume designer Jeffrey Kurland, who outfitted these outlaws in the sharpest designer suits and dresses possible. It was a group of generational movie stars looking as good as any of them looked in their careers and, combined with the cool, clever, and savvy personalities displayed, made the audiences either want to be with them or be them.
2) The Bogie-Bacall: Of course, a movie can't just be a fashion magazine. Fortunately, Ted Griffin's screenplay is ruthless in its efficiency, creating a compelling story of more than a dozen memorable characters in less than two hours. The key here is Griffin writing individual scenes that pair two of the film's biggest stars together, allowing them to share the same screen for the first time in their careers. The best of these scenes is the first interaction between Danny Ocean (Clooney) and his ex-wife Tess (Roberts).
Tess is dining alone, awaiting her current lover Terry Benedict (Andy Garcia), when Danny surprises her. It's the first time they've seen each other since Danny was released from prison, and he reveals his real motive for planning the massive casino heist his crew is about to attempt: Danny wants to win Tess back. However, Tess remains cold toward her ex-con ex-husband, and the two banter back and forth with the kind of fluidity that can only be found in movies.
Danny: They said I paid my debt to society.
Tess: Funny, I never got a check.
Danny: You're not wearing your ring.
Tess: I sold it, and I don't have a husband. Or didn't you get the papers?
Danny: My last day inside.
Tess: I told you I'd write.
…
Danny: OK, I'll make this quick. I came here for you. I'm going to get on with my life, and I want you with me.
Tess: You're a thief and a liar.
Danny: I only lied about being a thief, but I don't do that anymore.
Tess: Steal?
Danny: Lie.
Their interaction here recalls many of the best Hollywood on-screen romances, such as Humphrey Bogart and Lauren Bacall, who fell in love while filming 1944's "To Have and Have Not. The couple starred in four films together, and, ironically, were two of the original members of the Rat Pack. Clooney and Roberts never got together behind the scenes, but they have a clear affection for each other and remain friends to this day. While sometimes off-screen relationships don't translate well on camera, the love-hate connection between Danny and Tess in "Ocean's Eleven" elevates the film above its successors and gives it its heart.
3) The Sergei: With the script locked down and the stars are given room to unleash the full power of their looks and charisma, Soderbergh could focus on simply directing the movie. Soderbergh was coming off the high point of his career, scoring duel Academy Award directing nominations for "Erin Brockovich" and "Traffic" in the same year (and winning for the latter), and what's interesting about "Ocean's Eleven," as commercial as a picture as he's ever made, is that he shot and edited the movie like an art film. He shot the movie himself, washing his stars in the yellow and blue neon and florescent light of Vegas, and worked with his frequent collaborator and editor Stephen Mirrione on this project. They proceeded to use nearly every film editing technique in the book: wipes, montages, flashbacks, jump cuts, and more. The trick of "Ocean's Eleven" is that it shows us the vocabulary of filmmaking as we're on this charming and clever ride, casually reminding us that Soderbergh has forgotten more about the craft in the past month than most of us could learn in our lifetimes.
So that's the three keys to the success of "Ocean's Eleven." Wait, you think we need one more? You think we need one more. Alright, we'll do one more.
4) The Debussy: The reality of this movie is that every single character here is either a criminal or consort with criminals, and yet, we're cheering on the majority of them. The subliminal guide for us on how we approach this crew is found in the music, which often keeps the mood light and bouncy for us. David Holmes, an Irish composer and musician, scored the majority of "Ocean's Eleven," infusing the jazz lounge sound you might hear in Vegas with his own electronic influence. It makes all the criminality fun and welcoming as we hang with this crew, a cinematic indulgence to remind us, "What happens in Vegas stays in Vegas." The heist eventually builds to an orchestral finale of the team, their task complete, watching the fountains of the Bellagio under the moon and Vegas light as we hear "Clair de lune." It allows the cast to essentially take their bow before us after they performed such an ambitious feat, it resembles magic.
By focusing on stars and style, Soderbergh revived and reinvented the heist movie for generation. The cast and crew reunited for two sequels, with "Ocean's Twelve" leaning more into the Sergei and "Ocean's Thirteen" returning to the classic Martin. An all-female spinoff with Sandra Bullock and Cate Blanchett, "Ocean's 8," was released in 2018, and Soderbergh directed another heist movie, "Logan Lucky," which is unrelated to the franchise. While there is no shortage of successors, "Ocean's Eleven" remains the high standard for stylish precision in heist films.
The Weekend: The first weekend of December brings to us several historically significant films, any one of which could have made a great addition to the Ultimate Movie Year. In 1983, Al Pacino offered another iconic persona in film crime in Brian DePalma's "Scarface," while Eddie Murphy tackled crime lords in 1984's "Beverly Hills Cop," which became one of the most successful comedies of all time. Leslie Nielsen portrayed another funny detective of a different sort, as the screwball farce "The Naked Gun: From the Files of Police Squad!" hit theaters in 1988.
Almost a decade later, "Ocean's Eleven" star Damon appeared in his breakout role as a troubled genius youth in Gus Van Saint's "Good Will Hunting," released this weekend in 1997. Acclaimed director Ang Lee turned his focus on China's classic wuxia genre with 2000's "Crouching Tiger, Hidden Dragon," which was one of the rare foreign films to earn an Academy Award nomination for Best Picture.
Finally, another Best Picture nominee debuted in 2010, as Darren Aronofsky's visionary thriller "Black Swan" earned star Natalie Portman the Best Actress Oscar statue, and also featured a future Ocean's franchise player Vincent Cassel.
Next Week: "Heat"
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https://www.metacritic.com/movie/oceans-thirteen/
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Ocean's Thirteen
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2007-06-08T00:00:00+00:00
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What are the odds of getting even? Danny Ocean (George Clooney) and the gang would have only one reason to pull off their most ambitious and riskiest casino heist -- to defend one of their own. But they're going to need more than luck on their side to break The Bank. [Warner Bros.]
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https://www.metacritic.com/movie/oceans-thirteen/
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Summary What are the odds of getting even? Danny Ocean (George Clooney) and the gang would have only one reason to pull off their most ambitious and riskiest casino heist -- to defend one of their own. But they're going to need more than luck on their side to break The Bank. [Warner Bros.]
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https://cinema.com/articles/697/oceans-11-production-notes.phtml
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Ocean's 11 : Production Notes
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About the Production
"This is the kind of film technically that people like Steven Spielberg and David Fincher and John McTiernan do with both hands tied behind their back," Steven Soderbergh says with a laugh. "Not me. It was a struggle for me. Half way through this film I was wondering what I had gotten myself into. "
Las Vegas, with its famous strip lined with luxurious hotels and casinos, became the largest set for the film. "one of the things that scared me when I read the script was the amount of time that we would have to be shooting on the floor of the casino," Soderbergh reveals. I've had friends who had worked on films there and knew that normally the hotels only want film companies to shoot between midnight and 6:00 a. m. during the week. I was pretty anxious about that aspect. as it turned out, the cooperation that was extended to us by the casinos, Particularly the Bellagio, was unlimited. "
This largesse of cooperation can be explained in two words: Jerry Weintraub.
"Jerry was the element that Steven and I didn't know about," George Clooney says. "We knew he was a producer and also that he had orchestrated all those big music concerts. But we had no idea what a wonderful producer he is. He has this great element of showmanship, which Steven and I don't really have. Jerry got us literally millions of dollars worth of production value in Las Vegas alone - simply by knowing the right people. And by the fact that they all had such respect for him. "
"Literally," adds Soderbergh, "it wouldn't have happened without Jerry. We would have been just another movie trying to gain access. He did an amazing job of pitching the story and pitching us as a group that wasn't going to do them a disservice, either literally by making a mess of their casino or by making a movie that would reflect badly on them. "
Of all the luxury hotels on the strip, the one chosen for the major portion of the film was the Bellagio, where the company spent nearly five weeks filming interiors and exteriors. The cast also called the hotel's exclusive private villas home for the duration of their stay in Las Vegas.
"The reason we selected the Bellagio," says Weintraub, "is that it's the prettiest hotel in Las Vegas. It's also the most luxurious and the most important hotel in town. In addition, at the time I made our deal, it was owned by Steve Wynn, who is a very dear friend of mine. I had shot movies in his Mirage Hotel before so he had a sense of what I would be doing and he trusted me with the reputation of his hotel. Even though we were going to rob it! As it happens, before we even began to film there, he had sold the hotel to Kirk Kerkorian, who also happens to be an old friend of mine, so our plans went forward. "
But the negotiations regarding the extensive filming throughout the Bellagio presented more challenges to Weintraub and Company. "When we first laid out our plans for filming at the hotel, they kept saying 'No, you can't do that," and 'No, and no and no," Weintraub recalls. "Then John Hardy and Susan Ekins, our executive producers, did a walk through with Bobby Baldwin, who is the President and CEO of Mirage Resorts and Terry Lanni, who is Chairman of the Board and CEO of MGM/Mirage. Susan and John showed them what Steven wanted to do and Bobby Baldwin gave us the go-ahead.
"You have to understand that we completely disrupted their operation," Weintraub continues. "We closed their valet parking and porte cochere for three or four days, which meant their clients, including the high rollers, had to check into the hotel through the concrete self-parking garage. They let us turn off their fountains and the dancing waters in the lake. We closed down the conservatory and botanical gardens, we closed down the reception area with its famous Dale Chihuly glass sculpture, and we even took over the high-roller gaming room at one point. "
"It was amazing," recalls Soderbergh. "We had no time restrictions. We would close down an entire section of the Bellagio's casino floor during the day so that we could film. They even choreographed their dancing fountains to a special piece of music for the film. In exchange of course, the movie is like a two-hour commercial for Las Vegas and the hotel. "
Says production designer Phil Messina, "I don't know the exact footage, but I looked at the floor plan and I'd say that during the time we filmed in the Bellagio, 25-30% of the casino floor was given to us at any one time. That's unprecedented. We never heard no, and that's directly attributable to the hotel's regard for Jerry. We were even allowed to alter places in the hotel that did not necessarily receive any benefit. Le Cirque let us put up a façade that totally covered their restaurant. Our crew came in at midnight right after they closed and completely walled over the restaurant. We filmed a scene there first thing in the morning and the entire wall had been struck by 4:00 p. m. when they re-opened. "
Assembling the Team
Director Steven Soderbergh was very precise in his approach to remaking Ocean's 11. "You have to decide early on what kind of film you are making," he explains. "When I say Ocean's Eleven is a throwback to an earlier period in cinema, I mean that the movie is never mean, it's never gratuitous, nobody is killed, nobody is humiliated for no reason or is the butt of a joke. It's probably the least threatening film I've ever made in a way. That was conscious on my part. I wanted it to be a sort of light entertainment and I didn't think darker or meaner ideas had a place in a movie like this. I wanted it to be sparkling. "
In addition to style, tone and production value, a key element in making Soderbergh's vision come to life lay in the casting of the ensemble. "It seemed to me," says Soderbergh, "that this was one film that could withstand having a lot of stars in it because it really is an ensemble piece. But we'd have to make sure to get the right stars, the right cast, because they're supposed to have camaraderie, which is very hard to fake. It had to feel like they enjoyed each other's company without having it look like they were having more fun making the movie than you are watching it. "
And there was another major consideration for Soderbergh and producer Jerry Weintraub. "I had always thought Ocean's would be a wonderful movie to make again," Weintraub relates, "but the problem was: how to put together a cast of that caliber within a reasonable budget?"
The answer to this problem came when George Clooney, partnered with Steven Soderbergh in their Section Eight production company, came aboard. "The casting started with George, who I had always thought should play Danny," Soderbergh says. "George agreed that we should put together a 'movie star' cast. And we knew that in order to do that, nobody could be paid his usual fee. George volunteered to start the ball rolling. "
"I've been a producer for 40-some years and I've never had an actor cut his own salary," remarks Weintraub, "and I've never had an actor say that in order to get the cast we wanted, he would talk to each actor. George became the first to cut his salary, then Steven and George went after our cast. "
In so doing, Soderbergh and Clooney were careful to avoid emulating or comparing their cast with the original film. "The original Ocean's 11 is probably more notorious than it is good," Soderbergh observes. "It was the first time that the Rat Pack appeared en masse in a film. They were the epitome of cool and none of us felt like we wanted to compare ourselves to them or to what they were up to. You can't beat that. We took a completely different tack. "
"The truth is, most people never saw the original Ocean's 11," notes George Clooney. "They just think they have because those guys were the coolest. Nobody touches Frank and Sammy and Dean, and we won't ever be that cool. But we do have a really great story. "
Designing the look of Las Vegas . And Beyond
Soderbergh recruited numerous alumni from his previous films for the Ocean's Eleven production team, including production designer Phil Messina, who worked on Traffic and Erin Brockovich, and costume designer Jeffrey Kurland, who collaborated with Soderbergh on Erin Brockovich. More than half of the crew also worked on Traffic and/or Erin Brockovich, and several people have been a part of the director's core crew dating back to his first productions.
"I explained to Phil and Jeffrey that stylistically, as the movie went on, what I was doing as a director was going to become more and more theatrical, and that they should think in those terms as well," Soderbergh explains. "I didn't want the early part of the movie to be too garish and the colors too intense, because we needed to leave ourselves some place to go. I wanted it fairly low-key until we hit Las Vegas. Even then, I wanted the look to be striking and yet not seem like it fell out of a James Bond movie. "
"The color palette for Las Vegas," says Messina, "loosely stems from the Bellagio. I think of it as Benedict's two worlds: what he presents to the public versus what it takes to keep an eye on the public. We used lots of warm earth tones, warm reds and yellows. I tried to keep all of the house sets like the Mirador Suite, the art gallery and the cage area in that palette and then move to a cooler palette for the scenes in the back of the house. I tried to establish a dichotomy between the front of the house and the back of the house. "
According to Messina, he designed and had built twenty different sets as well as several partial sets built into existing locations. "One of the biggest sets we built on location was the cashier's cage on the casino floor of the Bellagio," he relates. "We needed a way to get from the casino floor into the back of the house. I always had the idea that there should be a cage to afford us that entrance. The hardest part was carving out a space, because if you look around a casino, there is no wasted space. The issue became how to build a set piece on the floor and minimally disturb the hotel guests. It was going to be there for weeks and weeks on end and not be in the way. It was basically a logistical issue and not necessarily about where it was going to look best.
"The Bellagio management carved out an area where we put our cage which was about 80-feet long, floor to ceiling, complete with iron and brass work," Messina elaborates. "We then added a piece of our hallway onto it so we could bring the guys through that door and onto the casino floor. It was extremely important that we be able to tie that into our set. We wanted to open those doors and have the entire casino floor in view. "
The cage was actually built in Los Angeles and shipped to Las Vegas. "I took elements of the existing cashier's cage and integrated them into our set," Messina says. "We had about a dozen technicians, carpenters and electrical staff from the Bellagio help us install it. It became a team effort. "
"Everything that Phil did was based on ideas that we had gotten from touring the real locations," says Soderbergh. "We just added elements, whether they were design elements or lighting elements that lifted them up slightly above normal.
"I think the Bellagio was really intrigued by the set that Phil built," the director continues. "Initially, they had wanted to help us build it, which was impossible. But they watched and helped when Phil and his crew were installing the cage and later admitted that they had learned a lot. One of the casino employees said that as they were always retrofitting and adding new elements to the casino floor that they could incorporate some of the practices that our design department was employing. They were really impressed with how well it was built and admitted later that they couldn't have done it with the level of detail and solidity that Phil had done. I think audiences will just assume that everything we built exists behind the doors of the Bellagio. At least, that's what you hope for. "
Included in the location filming in Las Vegas were three flashback scenes. "The good thing about the flashbacks," says Messina, "is that they were contained little snippets. Ken Lavet, our location manager, and I looked in every casino in Las Vegas and it was amazing how few casinos look as though they are from another era. "
The filmmakers settled on the Flamingo Hotel for the 1970s flashback, the Barbary Coast for the 60s and the entrance to Caesar's Palace for the 1980s. Says Messina: "We found vintage slot machines and tried to cover up or disguise all of the non-period elements that were visible. It was like doing theater - dressing the set on the day and striking it immediately afterwards. It was a bit of a scramble but it was fun. "
"This film," says Soderbergh, "is exactly the opposite of Traffic, where we basically chose locations we could walk into and not have to dress much. I think for Phil, after Traffic, it was fun for him to design and build so many sets. "
Comments Messina, "In this film, we never see private spaces; the only house we see is Reuben Tishkoff's. Everything else is hotel rooms and hallways, elevator shafts and other commercial spaces. Early on, Steven and I had the idea that Tishkoff's house would be the one throwback to the 1950s and 60s because the character is old school. We looked for sweeping, low line, mid-century homes in Las Vegas and discovered that that architecture doesn't exist there any more. I had a book on modern houses in Palm Springs and that's where we ended up filming Tishkoff's house. "
Conceptually, one of the first sets Messina designed was the Bellagio vault. "I knew I wanted to use a lot of metallic finishes and I knew that Steven loves shiny surfaces, reflective surfaces," the designer says. "But the vault was also the most difficult because it was the most interactive. We had to get a cart inside it and the door had to be a certain way so that story-wise it worked both from the inside and the outside. The vault had to go through two different explosions and come back to being pristine. Also, there were stunts involved so we built the roof so that it completely lifted off on motors and could be raised up. "
In a tip of the hat to Messina, Soderbergh says, "You really do just assume that we shot everything at the Bellagio. I kept forgetting that we had built the Mirador Suite on stage. When I see it in the film, it just seems like one of the hotel's villas. After a few hours, it was disorienting to be on the set because you don't realize it's a set. At one point, my assistant director was sitting on the couch and instinctively picked up the room service menu from the coffee table. You could tell he was looking at it as though 'What might I order. ' The detail in that set was frightening. "
"Much of the planning had to do with practical lighting," Messina explains. "We built a lot of practical lighting into our sets. Unlike Traffic (2000) and erin brockovich (2000), many of our sets were enclosed, confined spaces. After the concept ideas were approved, we did a lot of tests with lights. Having the lighting be built in gives you more freedom to move around the set and look in any direction. The vault is a perfect example. There were not a lot of places to hide lights, so it had to be lit practically.
"Also, we had about 450 running feet of hallways illustrating the back of the house - that part of the Bellagio that only employees see," Messina continues. "There were 'count rooms,' the elevator entrance, the conference room, the break room, the 'eye in the sky,' the interrogation room. Instead of building it in bits and pieces, I wanted to build it as one large set, connected by the same hallway. I know how Steven will make use of different opportunities and I knew that if I connected all the hallways he'd film them. And he did shoot many tracking shots where we saw everything at the same time. "
There were two other sets that required a substantial amount of planning. One was for the 'eye-in-the-sky,' which is the room where hotel security monitors the activity at all of the gaming tables. According to Messina, "the real 'eye-in-the-sky,' is a very utilitarian room. Many of our scenes take place in this room and essentially I knew it would be all about looking at monitors. I wanted to keep the back-ground interesting and give Steven different options for reverses. I designed the set to accommodate Steven's angles. It kept it alive and interesting to look at scene after scene. "
"Most surveillance rooms are so functional that they are simply not interesting," comments Soderbergh. "Phil came up with the idea of having it be circular and adding layers to it - glass layers and layers of monitors then a gap and then a wall behind them. It gave it a sense of depth so it didn't feel like just a closed-off room. We also discussed the practical lighting for this set and Phil did it so that I could basically walk in and shoot. "
As for the monitors, Messina explains that "once again the Bellagio came through for us. They let us tap into their feeds and we taped hours and hours of real surveillance footage. It was then reformatted and mixed and matched up with footage we had shot of our sets. We were only allowed to use shots where you see people's backs or very high shots of the crowds. We never see anybody specific. It became a scene of contrasts. "
Another element of the film that Messina and his team designed is an apparatus called "the pinch," which plays a key role in the film's plot. "This was a character design," says Messina. "In fact, a pinch really does exist. It's essentially a particle accelerator and is used to send out an electromagnetic pulse. We did a lot of research early on because we wanted to at least have it be based on reality. We contacted scientists on the Internet and found people who worked with these particle accelerators. We went into chat rooms and basically posed design questions. Then our property master visited a lab in Northern California that had a pinch and he brought back photographs and diagrams. I didn't want to get too exact because I just wanted to draw from it what was visually interesting. "
Costuming the Players
In his initial discussions with costume designer Jeffrey Kurland, Soderbergh discussed a heightened reality for the cast's wardrobe. "We tried to find the line, both in the lead characters' outfits as well as the background, that made the wardrobe seem theatrical without being unreal," Soderbergh says. "Jeffrey had his work cut out for him. He had to come up with several different looks for the 11 members of the team, plus Julia and Andy. He was also responsible for the extras. He really had his hands full. "
"Breaking down this script was no different than any others," remembers Kurland, "except that this film was so big. Because it is a contemporary film, it's a movie that could have been farmed out. But much to Steven's credit, he really wanted me to design the entire wardrobe. We sat down and talked about the characters for a while and how he saw them. Then I began to draw. Each actor is playing a very distinct character, which made it a lot of fun. I showed him my entire walk-through of everybody. I also did a drawing of all the characters on one sheet so he could see them all together. "
Similarly, Kurland and production designer Phil Messina discussed the over-all look for the film. "Working with Phil is like working with another arm," Kurland relates. "We share color schemes and ideas. When I told him that I was going to try to design Terry Benedict with an Asian feeling to him, Phil designed Benedict's new hotel with a distinctively Asian feel. Then, when he decorated Benedict and Tess' apartment, he included an Asian feeling there, as well. We also talk about color and what he plans to use as upholstery so that the characters don't disappear into his furnishings. "
Messina agrees that the collaboration is a profitable one. "Jeffrey and I stay in close touch. I talked with him extensively about the metallic palette for the back of the house and ironically, a lot of his clothing has a sheen to it. I think we both had this idea and tried to make it look slick. Literally, slick surfaces. We also talked about the colors in the art gallery because that is Tess' world. It's the one place to show Tess in her environment. Julia's wardrobe is reflected in the colors of the Bellagio because that's where Benedict comes from. We both approached her suite as being more Benedict's world that she has been set up in. "
"The scenes we shot in Tishkoff's garden and his house were actually filmed in Palm Springs, which we doubled for Las Vegas," Kurland reveals. "There, we kept to cool, desert colors, punched up a bit here and there. If you look at the 11 guys, they're in sandy tones and pale colors. Reuben is a little outlandish, of course, but that's his character. Each location has its own color scheme.
"Every character has a number of costumes and I did individual drawings to show Steven each of their changes," Kurland continues. "I think the least number was ten, and if I remember correctly, George has 26 changes, Rusty has 24, Elliott has 12 or 14. In addition, I was constantly making and designing clothes throughout the show as things would evolve."
Kurland began with Danny and Rusty because they initiate the elaborate caper. "Danny is more of a solid character - the classic-looking guy, the Cary Grant of the movie. There's hardly a thing that George Clooney can't wear and wear well. While the heist is Danny's idea, Rusty is the man who makes it happen. So he was very important and has great personal style. Brad really wants to discover the character with you. During a series of early fittings, we came up with a streamlined, sleek effect to his wardrobe. 'Like a racer,' is how Brad described it.
"Carl Reiner's look for Saul comes from an East Coast sensibility. I thought that he would have started out in Brooklyn, and now he's down-and-out and living in Florida. It was a great transition to transform him into Lyman Zerga.
"The first time I spoke with Carl after he had seen my drawings, he said 'you've given me a character. ' Carl, like Elliott Gould, comes from an old school of theater and live television so they have a different way of looking at their wardrobe.
"Reuben Tishkoff, who is played by Elliott Gould, is old Las Vegas. I suggested the over-sized glasses to Elliott and he loved the idea. During our fittings he would experiment with his voice and mannerisms. By the time we were in our third fitting, he was smoking a cigar - and Elliott doesn't smoke. Reuben's jewels also became a character point. We had his jewelry, which are mostly symbols done in diamonds, made in New York. Working closely with Steve Melton, our property master, we made his ID bracelet and ring here. It was great because all I had to do was draw it and Steve would find someone to make it.
"Don Cheadle and Steven had decided Basher should be a Cockney. When Don and I talked, we both had the same idea - that Basher was very militaristic and had probably been in every revolutionary militia in Europe. I took a little from the British rockers of the late 1960s and early '70s, but pushed it toward the military.
"As for the Malloy brothers, played by Casey Affleck and Scott Caan, their clothing is totally different. One is more conservative and one is racier. Like typical brothers, they are constantly bickering. They're constantly at each other but they're a real team. They each have six different disguises and six different personalities to go along with them: waiters, security guards, rent-a-cops, medics, tourists and a balloon delivery person. That was a real challenge.
"The coolest dude in the world is Bernie Mac, who plays Frank Catton. We wanted to make him a really cool, East Coast guy, totally together in the way he looks. You can put Bernie in anything and he looks great. I did lots of colors and layers for him.
"Andy Garcia's character was also a great one to do. Benedict is totally different from the 11. This man is the king of Las Vegas, has more money than God and he's got style. Andy also has a great deal of style and he loves clothes.
"Shaobo Qin was great to do because Yen is a Chinese acrobat and it's never really clear what kind of circus or troupe he works with. Their tent is quite beautiful so I created his costumes to look a little more high-class. I gave him a style that was contemporary but with a strong Chinese flavor.
"Then there is Julia, the only girl in the movie. This is the fifth time that I've dressed her and each time it has been totally different. I've never designed clothes like these for her before. It's a totally sophisticated, intelligent, stylish and sexy look. I chose mostly solid colors, gray and black and at one point, a sharp red. For one scene she wears a dress that is made of gold beads.
"At one point we get away from the glamorous look because there's the Tess Ocean personality, as opposed to the Tess personality when she's with Benedict. When she's with Benedict, we added incredible jewelry to the mix. The jewels came from Tiffany & Co. Tiffany's has never lent anybody a piece of jewelry, they simply don't lend to anybody. And I usually don't promote anything, so it was a first for both of us.
"They were terrific. First they sent photographs of various items and then they would send the real piece so I could make a final decision. They sized things for us and altered the hang of certain necklaces, they couldn't have been more accommodating.
"I was able to select the jewelry and then I showed it to Julia and she and Steven and I honed it down. When Tess is wearing the red suit, she has on a black Tahitian pearl necklace with a diamond clasp and matching earrings. She also wears a yellow, flawless diamond ring with two triangular diamond baguettes on the side. "
Along with the cast, Kurland's responsibilities included overseeing the wardrobe of all the extras used during the course of the story. This meant dressing upwards of 400 people a day while shooting on the casino floor. And that didn't include the three days of flashbacks to three different decades. The number escalated into the thousands for the fight sequence at the MGM Grand.
"It was huge," declares Kurland. "We had our own 6,000 square foot costume shop in Las Vegas with five stitchers and a tailor. We fit hundreds of extras a day - for weeks on end.
"We would ask the extras to bring several different outfits with them. But they have limited resources, and for glamour wear, most of them would bring black outfits so we ended up dressing 98% of them. We had racks and racks of clothes shipped in from Los Angeles.
"I also drew and designed the uniforms for the Bellagio waitresses and bartenders and dealers. We sent them to the hotel for their approval, but it was the only way we could completely control the look of the film. It was all about color and reflective fabrics. "
A Night at the Fights
During the Lennox Lewis/Wladimir Klitschko boxing match sequence at the MGM Grand, discerning audiences will catch cameo appearances by original Ocean's 11 cast members Angie Dickinson and Henry Silva.
"Those were two very intense days of shooting," Soderbergh recalls. "We had several thousand extras and we were trying to stage something that turns into absolute chaos. "
Soderbergh was surprised by the imposing physical presence of the heavyweights. "I was astounded at the size of our fighters," he says. "I knew their stats, but when you stand next to them, they are just giants. They are also really nice men, very intelligent and very understanding about what it was that we needed from them. We asked this champion boxer and this heavyweight contender to get into the ring and pretend. To do that and not have it turn into a problem requires two very special individuals. Lennox and Vlad were just great. After each session, when we would yell 'Cut,' they would touch gloves and return to their respective corner. It was really cool because the last thing I wanted was to have a real brawl on my hands, some sort of disagreement between two very, very big guys. "
A Team to the End
Soderbergh and his talented team captured the remarkable chemistry and camaraderie of the Ocean's Eleven ensemble - but it wasn't all high-caliber acting and movie magic. "When we went to Las Vegas to start shooting, we made a conscious effort on a production level to have the 11 guys hang out together," Jerry Weintraub says. "It wasn't hard to do because they all liked each other and as soon as they started spending time together away from the set, real friendships developed. You can't buy that. When you have actors who can't wait to go to work and work with one another other and be with each other, that's exciting. In all my years in show business, I don't think I've ever had as much fun as I've had on this movie. "
|
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dbpedia
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3
| 55
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https://veganuary.com/ocean-documentaries/
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en
|
Ocean Documentaries: 10 Best Films to Stream Online 2024
|
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[
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[
"Chelsea"
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2021-04-01T12:50:51+00:00
|
Interested in the oceans and the animals that live in them? Dive into these 10 best ocean documentaries to learn all about them!
|
en
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https://veganuary.com/wp-content/themes/veganuary/assets/img/app/favicon.ico
|
Veganuary
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https://veganuary.com/ocean-documentaries/
|
Want to learn more about the oceans? Dive into these ocean documentaries.
Covering over 70% of the Earth’s surface and holding 50-80% of all life, it’s no wonder oceans are the subject of so many documentaries.
From hard-hitting films about pollution and overfishing to awe-inspiring projects about marine life, the list is endless. We’ve narrowed it down to the 10 best documentaries about oceans and fish for you to stream online. Enjoy!
1. Watson
This documentary follows Paul Watson, co-founder of Greenpeace and founder of Sea Shepherd.
For over 40 years, he’s been uncompromising in his efforts to protect the seas, even if that means arrest or facing violence.
This brave, relentless eco-activist goes above and beyond to confront poachers and vessels illegally fishing. Watch this compelling documentary for his story.
Watch on Amazon Prime
2. Seaspiracy
All too often, plastic pollution dominates the narrative when it comes to ocean degradation. In Seaspiracy, director Ali Tabrizi uncovers the destructive practices of commercial fishing.
From whaling and shark finning to overfishing, the oceans face a myriad of threats from industries that aren’t held to account. This film is sure to make you think twice about eating seafood.
Watch on Netflix
3. Blackfish
For many of us, some of our fondest childhood memories involve marine parks where animals perform for our entertainment.
Blackfish exposes the cruelty of parks like SeaWorld, focusing on the orca named Tilikum who killed three humans.
We get an insight into the way animals are torn from their habitats to be sold to marine parks, as well as the severe confinement and isolation orcas must endure. Blackfish will put you off visiting marine parks again.
Watch on Netflix
4. A Plastic Ocean
Plastic pollution is a topic we’re all familiar with, but A Plastic Ocean reveals the shocking extent of ocean pollution.
Featuring over 20 locations documented over four years, the film shows how widespread plastic pollution is. It’s not all doom and gloom, though.
We also hear from scientists and the people who are pioneering solutions, so there is hope!
Watch on Amazon Prime
5. Chasing Coral
Known as the rainforests of the sea, corals are often overlooked when it comes to their impact on the health of the oceans.
In Chasing Coral, a team of divers explore the decline in coral reef populations due to climate change and human activity.
This stunning, powerful film is a must-watch to understand ocean ecosystems and the true extent of the damage we cause to the oceans without realising it.
Watch on Netflix
6. The Blue Planet / Blue Planet II
If you’re a fan of nature and all its wonders, The Blue Planet mini-series is right up your street.
David Attenborough narrates the spectacular scenes the oceans have to offer across multiple continents. The series captures the beauty, strength and magic of the world’s oceans, as well as showcasing the ways in which they’re threatened.
Watch on BBC iPlayer
7. Mission Blue
In need of inspiration? Renowned oceanographer Sylvia Earle is sure to dazzle you with her impressive career and activism.
Mission Blue follows her campaign to protect marine life and save the oceans from overfishing, plastic waste and climate change.
Watch on Netflix
8. The Cove
Learn about dolphin hunting and the Taiji dolphin drive in The Cove.
The film documents destructive fishing practices which kill thousands of dolphins every year, providing a compelling call to action to end mass killing of these important animals.
This is a great watch if you want to gain a better understanding of majestic marine life and the threats they face.
Watch on Amazon Prime
9. MY OCTOPUS TEACHER
This Oscar-winning documentary became a viral sensation and won people’s hearts when it landed on Netflix in 2020. Octopus are among the many sealife species who are overlooked or completely forgotten when it comes to discussions about animal welfare.
It follows the story of filmmaker, Craig Foster who begins diving in a kelp forest off the coast of South Africa, and meets a female octopus who casts a spell on him.
Watch on Netflix
10. The Last Ocean
The Ross Sea in Antarctica is said to be the last ‘untouched’ ocean that can teach us about marine ecosystems, but it’s under threat from commercial fishing.
The Last Ocean documents the fishing industry’s targeting of Antarctic Toothfish and what’s at stake if we carry on disrupting the precious balance of these ecosystems.
Watch on Amazon Prime
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https://mutantreviewersmovies.com/2022/05/17/oceans-eleven-2001-a-wildly-cool-heist-caper/
|
en
|
Ocean’s Eleven (2001) — A wildly cool heist caper
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2022-05-17T00:00:00
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"Are you in or out?" Justin's rating: I wish I had two heads so I could have watched it twice for the first time Justin's review: I finally got to see this movie in Japan while visiting my friend Lance. Sure, we toured around and saw temples and monks and those incredibly zany Japanese TV…
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en
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https://secure.gravatar.com/blavatar/81a11b632fca8721a1e5bf6c0104aa3eeaf9005a28bf8cdeeb5e8bdc0a656adc?s=32
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Mutant Reviewers
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https://mutantreviewersmovies.com/2022/05/17/oceans-eleven-2001-a-wildly-cool-heist-caper/
|
“Are you in or out?”
Justin’s rating: I wish I had two heads so I could have watched it twice for the first time
Justin’s review: I finally got to see this movie in Japan while visiting my friend Lance. Sure, we toured around and saw temples and monks and those incredibly zany Japanese TV commercials (I think their cardinal rule is “Anything Can Be Made Into A Cute Cartoon Transforming Robot Poké-Alien Mascot”), but that’s all secondary when it comes to movies.
Let me briefly fill you in on what a movie experience is like at a theater there. First of all, you buy tickets for specific seats. Which meant that in a theater room with a capacity of around 275, Lance, me, and the other ten people were all sitting in the same little square area. Second, you don’t have that deep booming movie guy doing voice-overs for the trailers. Our film was in English with Japanese subtitles.
The main difference of seeing a movie in a Japanese theater is the humor aspect. Japanese people don’t tend to laugh out loud. Most of it is restrained giggling behind schoolgirl hands (you have to rent a pair if you’re not a schoolgirl). Lance and I, while generally respectful of other nations and cultures, are just not the types to hold back our loud, offensive, booming American laughter. And Ocean’s Eleven was a funny movie, which meant we were laughing A LOT, and we were also the only people in the theater who were doing so. So that just made us laugh more. A deadly chain reaction of cosmic proportions, you see.
I’d heard Ocean’s Eleven be referred to as an excellent “popcorn flick,” and so I spent time after I saw it thinking of what, exactly, constituted a popcorn flick. Maybe it’s just a movie you can see and turn your brain off for two hours and enjoy the cleavage and explosions, but I don’t think so.
As a writer, I have to acknowledge that there are multiple styles and techniques when it comes to storytelling. There’s a style — I’ll call it Tom Clanceynitis — that prefers to deluge the reader with setting descriptions and every last piece of information vital or even passingly connected to the story. This way, you end up with 22 pages of a description of a submarine hallway, and about one line of action. Then there’s a style of writing — I’ll call it John Grishamosity — that takes on faith that the readers will fill in all the minor details of the story on their own, and so they write a fast-paced, minimalistic plot that trades off depth for page-turn-worthiness. New writers tend to fall into one of these two styles, and they can both be done very poorly, very easily.
A popcorn flick like Ocean’s Eleven takes the second of these approaches, and makes its number one priority to tell a good story. Sure, you get character intros that maybe top 10 seconds apiece, and a large ensemble that literally crowd together for screen time, but that’s just fine. It’s fast-moving, and it tells a fun and captivating story. We all like good heist flicks — well, at least I do — since part of the fun is the impossibility of the scenario (in this case, knocking over three Las Vegas casinos), and part of the fun is seeing how they do it.
There are many points where Ocean’s Eleven could have stumbled, the big one being the presence of Clooney and Pitt, who have as many strikes as successes when it comes to headlining cool (Batman and Robin anyone?). But it’s to the film’s extreme credit that it doesn’t fall for any typical plot holes (cons turning against each other, dumb villains, blah blah), and places such a heavy emphasis on humor and charm. It’s a slick film, very easy on the eyes and mind, and there’s just enough of a twist to it that makes you feel somewhat cerebral after it’s over.
It’s hard to go wrong with this movie. It really appeals to a broad cross-section of people, including my mother, who just has this weird George Clooney thing. I don’t get it, and I don’t want to. But the next time you’re throwing a party and wringing your hands over whether your guests will be sophisticated enough to enjoy Dude, Where’s My Car?, save yourself a bit of headache and just rent this flick.
Kyle’s rating: Just like my trips to Vegas!
Kyle’s review: Las Vegas is a magical place that exists outside of time and space and reality as we know it. Throw the mob and hundreds of millions of dollars and tourists and insane theme hotels and the eternal battle between desert heat and casino air conditioning, and you’d still just have some crappy vacation spot where you can gamble. But add a generous dash of magic and the potential to not only win, but to win HUGE, and you have the great, wonderful, mysterious, irreplaceable, irresistible Las Vegas. The Vegas strip is very choice. If you get a chance, I suggest you consider it as your next vacation spot. I’ll meet you there!
Ocean’s Eleven is a remake of a Rat Pack feature, but I don’t care. I’ve never seen the old one. The new one is sleek and cool and while it’s short on story, it’s long on style. Eleven guys knocking over three casinos with their wits and the best equipment money can buy + star casting = entertainment! George Clooney and Brad Pitt lead the way as they and their crew prove themselves to be the coolest of the cool and therefore deserving of $150 million. Works for me! Seeing this film won’t change anything but the time on your watch, but it’s easy fun. Just go for it!
Speaking of Vegas, if you go there as much as I do (it’s just a few hours away!), you’re bound to encounter those downtimes when all the families are asleep and it’s just the die-hards and the insomniacs and the dead-tired walking around with you. It’s then you realize that as strangely quiet it is for one of the noisiest places on Earth, there is still more to do at 3 in the morning than anywhere else. Plus you can win $300 million with a $1 bill! My point is: if anyone wants to knock over a casino, I can’t legally recommend it. But I can mention my email address is posted on the front page. Write me anytime, and, uh, let me know how your “grandma” (as in, your plan for knocking over a casino or two) is doing. Cool!
Andie’s rating: I was going to write a smutty joke about George Clooney, Brad Pitt, and Matt Damon breaking into my vault, but I won’t.
Andie’s review: I went to the theaters to see Ocean’s Eleven because frankly, I was hyped beyond belief to see it. I love ensemble cast movies, they’re so much more fun than movies with one or two main characters. I thought the cast couldn’t have been packed with more stars who are funny and cool and entertaining. I also like Steven Soderbergh’s work a lot, so I figured I was going to love Ocean’s Eleven. Well, this reviewer was not disappointed. When it comes to sheer enjoyment, excitement, and happiness, this movie hit the button better than any I’ve seen in awhile.
When I left the theater my only complaint was that it wasn’t as funny as I had hoped it would be, but upon a second and third rental viewings, I realized that it really IS laugh-out-loud funny, just in a more of a subtle way than I was expecting. Which is nice. It makes me feel smart because it doesn’t go for cheap slapsticky jokes.
For example, when Danny Ocean first meets up with Rusty and they leave the bar, the “movie stars” like Holly Marie Combs and Topher from That ’70s Show and Joshua Jackson all get mobbed for autographs while George Clooney and Brad Pitt, arguably two of the finest men in Hollywood, waltz on by without a glance. It’s a little thing, but it struck me as immensely funny.
Another of the comedic highlights for me is Eliot Gould as Rubin. First of all, I love seeing Ross’ dad in silky boxers, no shirt, fancy-schmancy robe with lots of gold chains around his neck. Secondly, I really enjoyed his run-down of the three most successful robberies in Vegas. They show one from the ’50s and play “Papa Loves Mambo.” They show one from the ’70s and play “Spirit in the Sky.” And they show one from the ’80s and play “Take My Breath Away.” Really excellent comedic moment.
There are a lot of good visuals in this movie as well, such as the transitions. As the elevator doors close, they usher in the next scene from both sides of the screen. The split screens and cross fades are excellent, they really add to the fun feel of the movie. Some other little visuals I really liked include when we see the old hotel being blown up over Basher’s shoulder right out the window and then it is revealed he is watching the demolition on TV. Or when Terry Benedict is announcing the demolition and everyone in the crowd turns at once to watch the building blow up except for Danny and Linus. They’re heads stay perfectly trained on Terry and Tess. It’s a terrific homage to the Alfred Hitchcock’s Strangers on a Train tennis match scene and a great visual effect.
Another thing that was nice about Ocean’s Eleven was that I didn’t have to think too hard while I was watching. I could just sit back, relax and enjoy it. However, I also couldn’t turn my brain off completely or I would’ve missed something. It was the perfect balance between concentrating-so-hard-you-miss-the- enjoyment movies and not-paying-attention-enough-so-you-miss-something movies.
And finally I really thought the cast was stellar in this movie. George Clooney is perfectly smooth as fast-talking thief Danny Ocean. Brad Pitt could not look any hotter as his partner in crime Rusty. Andy Garcia makes a deliciously greasy villain. Matt Damon cracks me up as an unsure pick-pocket college kid named, of all things, Linus. If I didn’t know better, I would’ve thought Don Cheadle as Basher really was British. Scott Caan and Casey Affleck are hilarious as the Mormon Twins. And of course Bernie Mac as Frank the Insider is great. The scene between him and Matt Damon where Frank accuses Linus of being racist is perfect. “Might as well call it White Jack!”
So anyway, what I’m trying to say is that this movie is great. It’s a wild romp, it’s really fun and I’ve seen it three times and am still not tired of it. It is put together really well and takes you on a fun, slick two-hour roller coaster full of fun and interesting people. I highly recommend it.
PoolMan’s rating: My greatest regret in life: not having bought fuzzy dice when I went to Vegas.
PoolMan’s review: This movie oozes cool.
If there’s one exact phrase or sentiment that the three finely accomplished Mutants before me didn’t use in describing Ocean’s Eleven that I wish they had, that would be it. On the off chance that you’ll donate just a little more time to read a humble Canadian’s opinion (we try 63% harder to offset the dollar, you know), well that’s just ducky.
I really, really like heist flicks. There is something just so wonderfully fun and freeing about rooting for the wrong guys every now and again, it’s great. I mean, look at this story in the black and white facts. A group of accomplished criminals want to steal over $160 million (US dollars, mind you!) while their leader plots to steal the only female character in sight. Normally, this is the setup for James Bond to come rolling into town and start busting heads. But not so! Instead, we get to pull for the antiheroes, something that’s just so tough to do right, but done to excellence here. I especially love the lasting aftereffects these kinds of movies have on me. I sneak between cars on my walk home. I stick to the shadows. I desperately wish that someone will come up to me and serve up a perfect straight line to bounce some witty banter off of. I pretend I’m a far better dresser than I really am.
It’s all a little unbalanced, though. Out of eleven criminals, I’d challenge you to name all of them. They’re worse than the friggin’ seven dwarves. Some of the guys (I’m thinking Scott Caan and Casey Affleck) basically melt into the background, especially if you don’t really know they’re faces (like me). They never really do anything that you or I couldn’t. On the other hand, Clooney gets the (only) girl, and Pitt gets about 95% of the punchlines. Honestly, just about every funny line in the movie came from Rusty’s script. For the average Fight Club fan, however, this won’t present much of a problem.
This flick is styling. It is hot. It’s downright sexy (without any sex, how about that?). It is all those icky words marketing people tend to use when describing any George Clooney/Brad Pitt/Julia Roberts movie, only this time they’re right. I’d actually been avoiding seeing this for general lack of interest, and man, I’m kicking myself. I spent my entire time either laughing my ass off, grooving my whole body to the fantastic soundtrack, or reminiscing about Las Vegas as it’s always presented in the movies. I haven’t had this much fun in ages with a movie.
If you don’t like Clooney, suck it up. If action’s not your thing, turn off your brain for a minute or two. If laughing’s not your ticket, try Ebert instead of this website. But no matter what, rent this flick NOW. It’s worth it in ways that I can’t explain with green text on a black background.
And you’d be surprised what you can accomplish with that these days.
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https://www.oceanculture.life/ocl/rebecca-coley
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WE ARE AN OCEAN COMMUNITY
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2022-11-08T10:36:40+00:00
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Rebecca is a filmmaker with experience writing, directing, and producing documentary and fiction films. She has made many short films over the years including the award-winning short surfing documentary CHANGING POINT, and more recently, POINT OF CHANGE, where she worked closely with the community o
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Ocean Culture Life
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https://www.oceanculture.life/ocl/rebecca-coley
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What are the fondest memories from your upbringing that you feel impacted your life choices and lifestyle today?
When I was growing up my dad ran the beach concession at St Brelades Bay, so my earliest memories are driving with him in his Land Rover to the beach, and running up and down the shoreline, as the tide rolled in and out: Playing on the pedalos and canoes and just being free on the beach.
When I was a teenager we got introduced to surfing at the youth club and since then, I was addicted to surfing and wanted to spend as much time in St Ouens Bay as possible. When I was in my twenties I ran a local surf school for a couple of years and this was a very special time when I loved the beach being the office and observing the changing conditions every day.
What path did you choose after leaving school?
So I originally studied Law at University (Liverpool John Moores) whilst in the city they were making lots of films. I took this opportunity to learn as much as possible and would work as an extra, a runner, a production assistant, or anything to be on set and get experience. After that, I studied for a GNVQ in practical media techniques and learnt about cameras and sound and editing for the first time.
Then I travelled for a few years and spent a long time in Indonesia. I fell in love with the archipelago and particularly the people of Sumatra. I spent a long time there surfing and working in Conservation education before coming home.
When I was in Sumatra I spent a lot of time on Nias Island and in the jungle near Bukit Lawang where you find the rare Sumatran orangutans living in the wild. When I left there was a flash flood that wiped out the village and a lot of people tragically lost their lives.
After that I set up the Bukit Lawang Trust - the Trust will be twenty years old next year and we run a conservation education centre there where we run a youth ranger program and YSE encouraging sustainable enterprise, we offer free education and burasaries for further study and there’s a library there. We also spent time in Nias after the tsunami and helped with immediate aid and building wells in two remote villages. I absolutely love Sumatra, it's a very special place close to my heart.
After working in the film industry in London for seven years I returned to Jersey and I set up DRIFT Retreat which is a surf and yoga retreat and I love this balance, which is the opposite of film making. Filmmaking is fast paced and all-consuming and relentless and DRIFT is a nurturing relaxing retreat away from it all. The guests love it and we spend as much time in the sea as possible and I run the meditative sound bath and I still LOVE to see people’s reactions when they catch a wave for the first time, especially older guests who always wanted to try it, or someone who had a fear of the ocean and it helps them to get over it.
Who/what currently inspires you?
I'm inspired all the time by so many things: By the old ladies I see sea swimming every day, people picking up plastic on the shoreline. So many people trying to make a difference to protect the ocean.
I am very inspired by SeaTrees, Surfers for Climate, Surfers Against Sewage and SurfAid for all their hard work for the ocean.
The team on the ground at Bukit Lawang Trust always inspire me because they are passionate conservationists and they work hard to save the Leuser ecosystem which is the last place on earth where you find wild rhinos, tigers, elephants and orangutans living together in the wild. It's a real life jungle book and the local community are amazing custodians of this precious place.
What do you value the most?
I have just completed my documentary feature film POINT OF CHANGE it follows on from my short film CHANGING POINT about Nias Island in Sumatra, Indonesia. The short film follows the true story of Bonne Gea a girl from a Muslim family who became the first Indonesian female surfing champion. She's a trailblazer and very inspiring. The feature film is a look at an island community dramatically changed forever by the 'discovery' of the 'perfect' wave in the 1970s. The remarkable and previously untold true story of the first surf pioneers to ‘discover' the 'Point' on the isolated Indonesian island of Nias and the dramatic consequences and the devastating social and ecological repercussions for the people and place that followed. A contemporary, cautionary tale of paradise lost.
POINT of CHANGE is a compelling and dramatic documentary feature film told through a unique blend of previously unseen archives, contemporary interviews and beautiful animation, featuring new music by Paul Oakenfold and local musicians, to reveal an all too resonant picture of society changed inexorably by powerful economic & environmental forces outside of their control.
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[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] |
2002-01-10T00:00:00
|
Ocean's Eleven: Directed by Steven Soderbergh. With George Clooney, Cecelia Ann Birt, Paul L. Nolan, Carol Florence. Danny Ocean, a gangster, rounds up a gang of associates to stage a sophisticated and elaborate casino heist which involves robbing three Las Vegas casinos simultaneously during a popular boxing event.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0240772/
|
Danny Ocean, a gangster, rounds up a gang of associates to stage a sophisticated and elaborate casino heist which involves robbing three Las Vegas casinos simultaneously during a popular box... Read allDanny Ocean, a gangster, rounds up a gang of associates to stage a sophisticated and elaborate casino heist which involves robbing three Las Vegas casinos simultaneously during a popular boxing event.Danny Ocean, a gangster, rounds up a gang of associates to stage a sophisticated and elaborate casino heist which involves robbing three Las Vegas casinos simultaneously during a popular boxing event.
|
|||||
5635
|
dbpedia
|
3
| 63
|
https://xgjtxtau.elementor.cloud/stories/oceans-of-fantasy-oceans-of-reality/
|
en
|
Oceans of Fantasy, Oceans of Reality
|
[
"https://seachangeproject.com/wp-content/uploads/2021/03/sea-change-logo.svg"
] |
[] |
[] |
[
""
] | null |
[
"Swati Thiyagarajan"
] |
2022-05-19T15:50:58+00:00
|
Diving in kelp forests, and in Seychelles on coral reefs. Marine Protected Areas in Seychelles and South Africa, and the many benefits of ocean protection.
|
en
|
Sea Change Project
|
https://xgjtxtau.elementor.cloud/stories/oceans-of-fantasy-oceans-of-reality/
|
When I was a young girl, there was a Boney M song that I loved. The song was called “Oceans of Fantasy”. It spoke of a dreamscape underwater world filled with life and magic.
At the time, a lack of swimming skills and a fear of water after a near-drowning incident made it unlikely that I would ever experience the oceans myself. Years later, due to the call of the big blue, my work as a conservation journalist, my sea-bound partner, Craig Foster, and all of my watery friends in Cape Town, my fear turned to wonder.
There are lines in the song that say, “You will be surrounded by angel-like creatures, who tend to your dreams, deeper and deeper you fall in a trance, much more real than it seems”.
I recently had an opportunity to experience more of this fantasy when I visited the Seychelles archipelago.
In Seychelles, the water was a cornucopia of blue and life. And the coral reefs in the places I dived were extensive. Even in the shallows, the explosion of life near the outer islands was unbelievable. I was so mesmerised during the snorkelling expeditions that I overcame another big fear and learned to scuba dive. In the kelp forests, I use the stipes to pull myself down and stay at the bottom, swimming through by pulling myself from stipe to stipe. In the azure waters of Seychelles, there was no way for me to do that, and my free-diving skills are minimal, so learning to scuba was one of the best ways to access the reefs in deeper waters. When I stepped off the boat, I felt like I had fallen through a portal and entered a land that time forgot.
Tropical water is vastly different from my beloved Atlantic Ocean on the tip of Africa. My ocean is a cold ocean. And my ecosystem, The Great African Seaforest, is a nutrient-dense one. This means many days when the visibility does not exceed 5 metres. Sometimes it’s just a gold-green soup. In the tropics, I had almost 20 metres of visibility on many days, which was quite disorientating. I often couldn’t tell where I was in the water column or how far I had floated away from my entry point.
It was a hailstorm of fish of every colour, variety and size. There were times when I felt like there were tornados of fish around me and I literally couldn’t see through the walls of scales. There were hawksbill and green turtles everywhere, some sleeping under ledges and resting in the seagrass, others swimming away or circling me. Lurking moray eels stuck their dragon-like heads out of holes while poisonous lionfish swam lazily around. The superbly camouflaged stonefish and day octopus made rare appearances. Meadows of seagrass glistened in the sun rays filtering through the water. Blacktip and grey reef sharks wound their way like thread, sleek and precise, appearing for moments and then vanishing into the deep.
When I was a child, an ocean documentary on television featured manta rays and they have been in my dreams ever since. I never thought I would be lucky enough to see them in the wild, let alone swim with them. They have the largest brains of any fish, and experiments with captive mantas have shown that they recognise themselves in mirrors, signalling a high intelligence and sentience. The few playful ones who let me swim alongside them ignited pure joy, exposing their white underbellies and coming close enough to touch me with their pectoral fins. The giant stingrays in the Great African Seaforest are equally exciting swimming companions, but because of the deadly barbs on their tails, I am warier. While the mantas remind me of water angels, the stingrays are like water elephants.
I learned about the conservation and protection of these animals and the reefs from Dr Chris Clarke and Dr James Lea, former and current CEOs, respectively, of the Save Our Seas Foundation, which funds shark and ray research and is doing amazing work with the Seychelles government to increase marine protection for the outer islands.
As wonderful and abundant as all of this was, being a conservation journalist, I couldn’t keep the bigger picture from intruding: oceans of reality are slowly replacing oceans of fantasy.
The hard truth is that what I saw and experienced in Seychelles is already diminished compared to what people would have experienced just two decades ago. If I had visited in the early 90s, I would have seen 10 times more life. This is a phenomenon called shifting baselines. It describes how our perception or assessment of an ecosystem is measured against reference points that themselves shift over time. This shifting means we lose track of just how much has changed, generation by generation.
On my dives, I noticed that vast swathes of the shallow coral reefs had been bleached and damaged.
A heatwave due to El Niño from 2014 to 2017 significantly damaged reefs around the world. They had already been hit by El Niño in the late 90s, and a warming ocean, along with ocean acidification (caused by carbon dissolving in the sea), continues to put pressure on them. It’s a one-two punch that is fast knocking out coral reefs. Between 2008 and 2019, the world lost 14% of its corals.
Excessive warming stresses corals causing them to eject the life- and colour-giving organisms with which they have a mutualistic relationship: photosynthetic algae called zooxanthellae. Corals that expel their zooxanthellae turn white – this is called coral bleaching. An estimated 4% of coral is vulnerable to bleaching annually. When the warming is continuous, bleached coral can turn brittle and die. When coral colonies die, the fish and other marine animals that depend on them die too. This, in turn, affects the other creatures that predate on them and so on, causing a chain reaction of biodiversity loss.
In the Great African Seaforest, the kelp habitat itself is relatively healthy, while major anthropogenic pressures like overfishing, pollution and poaching have taken their toll on the creatures that live there. Our reef fish populations have vastly diminished. In a healthy seaforest, we should see galjoen, red roman, steenbras, stumpnose, kob, even cape salmon and others. Now, we mostly see klipvis and seabream. In protected areas some of the reef fish have survived giving us an idea of what the ecosystem could look like. This is our shifting baseline – what we think is a magical forest today would have been teeming with big fish a few decades ago.
Seychelles has committed to protecting close to 30% of its ocean, and intends to protect 100% of their remaining mangroves and seagrass meadows by 2030. A debt-for-nature deal is allowing Seychelles to restructure its sovereign debt and raise money to help create marine protected areas (MPAs). While there are logistical challenges in fine-tuning the rules and notifications, the fact that many key spots are being protected, and have been protected, from big industrial fishing and corporate exploitation has made a huge difference.
Our challenges in South Africa are very different.
Seychelles has a population of fewer than 100,000 people; we are edging towards 60 million. Of course, our land mass dwarfs the Seychelles thousands of times over, but here in South Africa, we have barely protected 5% of our marine environment. As a signatory to several international biodiversity deals, South Africa has to do more to fulfil its commitments.
Fisheries and tourism are the foundation of Seychelles’ economy, and key MPAs are encouraging tourists while the regeneration of these areas is creating spillover that helps the fishing industry.
When an area becomes a no-take zone, it allows for the recovery of life. Fish numbers grow. The habitat stays intact or recovers thereby inviting more fish. There is sanctuary and food for the young animals, making it easier for them to survive. As their numbers increase within the protective boundaries, a natural dispersal of the excess fish and other marine creatures occurs. This is the spillover that allows fisheries to access the benefits of MPAs.
Protection might sound like exclusion, especially in the South African context where apartheid brutally separated people from the oceans, and recovery post-apartheid has still ignored marginalised artisanal and traditional fishing communities. However, one can think of these areas as marine regeneration spaces that allow for greater abundance in the ocean, benefiting all people.
Our oceans are at a tipping point. Creative and scientific finesse is required to reverse this while still catering to the needs of coastal and fishing communities.
Areas that have been put under marine protection can, in under a decade, show vast improvement. The importance of seagrass meadows and mangroves has finally been understood by policymakers, and their rates of attrition have almost halted. Efforts are in place to regrow and regenerate these crucial ecosystems. The same needs to be done for kelp forests around the world. We don’t have to wait until seaforests are adversely impacted before we put long-term regeneration policies in place.
For me, seeing the bleached coral in the vast and remote Indian Ocean waters was a huge, in-my-face flash-bang of the inexorable effects of climate change. Knowing that kelp forests are the second most vulnerable ecosystems to warming after corals was a sobering thought. But I also saw coral recovery and, even though the baseline had shifted, I experienced incredible marine biodiversity. It filled me with the hope that good science, strong policy, and committed people and organisations can make a huge difference.
We still have a window of time to reverse the damage, to hand over a more healed planet with a better baseline to our children. That window is today.
For us at The Sea Change Project, the long-term conservation of the Great African Seaforest is our ultimate goal. We don’t want to wait until our habitat gets further degraded to take and inspire action. Our inspiration is forging a heart-connection with nature as we believe that is key to bringing about organic change. Being in the waters of Seychelles, where I could see evidence of unbridled life even in the face of challenges, gave me so much hope, and I know we can recreate that here in our seaforests.
|
|||||
5635
|
dbpedia
|
3
| 0
|
https://slate.com/culture/2010/04/oceans-reviewed.html
|
en
|
Oceans,reviewed.
|
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[] |
[] |
[
""
] | null |
[
"Dana Stevens"
] |
2010-04-23T19:04:00+00:00
|
At my college, there was a well-known gut course for humanities majors looking to fulfill their science requirement with as little sweat as possible....
|
en
|
/favicon.ico
|
Slate Magazine
|
https://slate.com/culture/2010/04/oceans-reviewed.html
|
At my college, there was a well-known gut course for humanities majors looking to fulfill their science requirement with as little sweat as possible. It was called Oceans of the World. Legend had it that on the first day of every semester, the professor, an elderly oceanographer, would amble in, plant his hands firmly on either side of the podium, and address the class: “Have you ever been to the ocean?”
I never took Oceans of the World, but with the release of Disney’s documentary Oceans, it’s as if I had. This 86-minute movie, created by Jacques Perrin and Jacques Cluzaud (who made the 2001 bird documentary Winged Migration) is long on breathtaking visuals and short on cognitive content. You know it’s going to be an easy A when Pierce Brosnan, the film’s English-language voiceover narrator, intones these words near the beginning: “As far as the eye can see, north, south, east, west, the ocean smiles at the sky.” Almost everything that happens on the soundtrack of Oceans is patronizingly obvious, from Brosnan’s fruity narration to the heavily orchestrated, anthropomorphizing music score. These aesthetic choices not only underestimate the viewer’s intelligence; they underestimate the ocean. Does the Great Barrier Reef really need to be made more otherworldly, or newly hatched sea turtles more adorable? Is the majesty of a blue whale in need of sonic enhancement?
And yet, and yet: If you love nature documentaries, if you own the box set of Planet Earth and find it impossible to turn off an episode of PBS’ Nature, you not only should but must see Oceans,because its visual splendor more than makes up for its intellectual poverty. The variety of beautiful, comical, unearthly sea creatures on display is enough to give the Mos Eisley cantina scene in Star Wars a run for its money. “Down here, it’s like nature has given everything a try,” says Brosnan in a rare moment of mild insight, and it’s true. The leafy sea dragon, the Spanish dancer sea slug, and the dugong all look like they’ve been dreamed up by Dr. Seuss.
The style of nature photography on display here may not be to everyone’s taste: Oceans does for underwater cinematography what Avatardid for 3-D, making the aquatic world look crisply defined and lushly colored, almost pornographically beautiful. The existence of the vast apparatus that must have been in place to create these images—the boats full of equipment, the waterproof lighting rigs—remains invisible until the closing credits, when images of sharks swimming next to scuba-diving cameramen run side by side with credits for jobs like “underwater gaffer.”
The directors do have a few original visual ideas, at one point giving us a krill’s-eye view of what it’s like to be sucked into the baleen of a whale. But essentially, Oceans is a straightforward catalog of freaky-cool creatures in motion: the blanket octopus, whose tentacles are connected by sheets of brightly colored webbing that billows in the water like a silk scarf. Or garden eels, slim creatures with elegant black-and-white scales that look like costumes from a Fred Astaire/Ginger Rogers picture. Exactly how these animals live, or even where they live, is rarely clear; the movie has a habit of jolting us without warning from Baffin Bay to the China Sea.
The information-free gauziness of the narration had to have been a conscious choice on the filmmakers’ part, an attempt to avoid the documentary cliché of the scientific talking head. But as Oceans meanders vaguely from one body of water to the next, you find yourself longing for an expert voice, someone with the zoological knowledge to tell you, for example, why dolphins execute a useless but beautiful double turn as they leap out of the water. One of the most visually arresting moments of the film, a battle between two unthinkably huge armies of spider crabs on the floor of Melbourne Bay, leaves the most obvious questions unasked: What are the crabs fighting about, and how do they know who’s won?
Oceans may have dumbed itself down with the intention of drawing in young viewers, but even children—especially children—want to know how to interpret what they see. Oceans shows relatively little Darwinian bloodshed, making it suitable for viewing with even the youngest oceanographers. Now that I’ve seen it, I hope to take my 4-year-old. But when she walks out firing off questions about the undersea kingdom, I’ll have nothing but Pierce Brosnan generalities to offer. Maybe I should have taken Oceans of the World.
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https://nevadafilm.com/scene-in-nevada-oceans-eleven/
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Scene In Nevada: Ocean’s Eleven
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2016-06-08T06:00:52-07:00
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Find out all of the Nevada filming locations used in Ocean's Eleven! Also, discover new fun film facts you may not have known about the movie!
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en
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Nevada Film Office
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https://nevadafilm.com/scene-in-nevada-oceans-eleven/
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Released on December 7, 2001, Ocean’s Eleven is a 2001 remake of the 1960 Rat Pack film of the same name. Although the production was released late in the year, it was still the fifth highest grossing film of 2001.
Two sequels have already been filmed and released – Ocean’s Twelve in 2004 and Ocean’s Thirteen in 2007. Another Ocean’s reboot featuring an all-female cast is rumored to be in development.
Watch the original 2001 Ocean’s Eleven movie trailer below:
For the most part, Ocean’s Eleven was filmed on location in Las Vegas. Check out all of the Nevada filming locations below for Ocean’s Eleven:
The Cromwell
In the beginning of the film, the three most “successful” robberies in the history of Las Vegas are described. The third most successful robbery took place at a casino called the Horseshoe.
Barbary Coast was actually the name of the hotel & casino during filming. It was later known as Bill’s Gamblin’ Hall and Saloon, then was closed, renovated, and eventually reopened as The Cromwell in 2014.
Flamingo Las Vegas
The second most successful robbery in the history of Las Vegas in the film’s storyline is one that occurred at the Flamingo Hotel & Casino in 1971.
Caesars Palace
Finally, the *closest* any man has ever come to robbing a Las Vegas casino happened at Caesars Palace in 1987.
Welcome To Las Vegas Sign
Fun Fact
Betty Willis designed the Welcome to Las Vegas sign and never copyrighted it, considering it a gift to the city. She passed away on April 19, 2015 at the age of 91. On May 5, 2015, Clark County commissioners declared May 5th “Betty Willis Day” in her honor.
Las Vegas Strip
Throughout the movie, there are nice overviews of the Las Vegas Strip.
The Mirage
The Horse Gentlemen’s Club (formerly known as Crazy Horse Too)
Bellagio Hotel & Casino
Bellagio was featured for a great majority of the film. Nearly five weeks were spent filming the interior and exterior of Bellagio.
Fun Film Fact
Producer Jerry Weintraub had a great relationship with Steve Wynn who owned Bellagio at the time of their deal to allow Ocean’s Eleven to film there. Steve Wynn sold Bellagio to Kirk Kerkorian before filming began, but he and Jerry Weintraub were also old friends, so everything moved forward as planned.
The cast and crew were allowed unrestricted 24-hour access. Production designer, Phil Messina also noted that 25-30% of the casino was given to the cast and crew at any one time, which was unprecedented. Standard operations were also disrupted in order to film movie scenes, such as closing valet parking for multiple days, turning off the Bellagio fountains, closing down the conservatory and botanical gardens, putting up a fake wall in front of the Le Cirque restaurant, and more.
The cast and crew attribute Bellagio’s graciousness and accommodations to the relationship Jerry had with the casino. The lead cast members also lived at the Bellagio during filming, each in separate 7000 sq. ft. villas.
Fun Film Fact
Phil Messina designed and built 20 different sets as well as several partial sets into existing locations. Sets that were created and did not actually exist as depicted in the film included the cashier’s cage on the casino floor of the Bellagio, the Bellagio vault, the Mirador Suite, and the “eye-in-the-sky” surveillance room where the hotel security monitors are.
Bellagio Conservatory & Botanical Gardens
Fun Film Fact
The grand staircase that Julia Roberts is seen walking down in this scene was removed two years after Ocean’s Eleven was released.
Bellagio Gallery of Fine Art
Fun Film Fact
The Bellagio Gallery of Fine Art was originally located near the grand staircase / Conservatory during filming. Since then, it has been relocated along the pool promenade.
Picasso Restaurant (at Bellagio)
Monte Carlo Resort & Casino
Fun Film Fact
This scene originally had the New York, New York Hotel & Casino being demolished, but after the 9/11 attacks, this scene was edited to rename the hotel “Xanadu” (fictional).
MGM Grand Garden Arena
The boxing match between Lennox Lewis and Wladimir Klitschko took place at MGM Grand Garden Arena.
Sundance Helicopters
Fountains of Bellagio
The end scene in front of the Fountains of Bellagio is the most iconic shot in the film.
Fun Film Fact
In 2013 when the Fountains of Bellagio won the TripAdvisor Travelers’ Choice award for top landmark in the United States, Bellagio President Randy Morton gave credit to Ocean’s Eleven.
If you loved Ocean’s Eleven and are here in Las Vegas, you should take your own little tour of all of these filming locations! Send us your pictures of you visiting these movie locations to recreate your favorite scenes and we’ll share it on our Facebook and Twitter!
For addresses and exact locations used throughout Ocean’s Eleven, check out our interactive Nevada Film Tourism Map!
The information contained in this article is deemed to be accurate and true to the best of our knowledge. If there are any inaccuracies, you may submit corrections and sources by visiting our Contact page.
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https://news.asu.edu/20220411-global-engagement-did-1973-movie-soylent-green-get-2022-right
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Did 'Soylent Green' get 2022 right?
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2022-04-11T10:00:00-07:00
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Spoiler alert: In the final scene of the 1973 movie “Soylent Green” actor Charlton Heston, who plays detective Frank Thorn, is being led off on a stretcher following a gun battle when he desperately reveals the secret he wants the world to know: The nutritious wafer Soylent Green is composed of pulverized remains of human corpses.“Soylent Green is people!” Heston yells, his left arm and bloody left hand lifted over his head.Yes, the movie is a fictional piece of work. Then again…
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en
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https://news.asu.edu/20220411-global-engagement-did-1973-movie-soylent-green-get-2022-right
|
Spoiler alert: In the final scene of the 1973 movie “Soylent Green” actor Charlton Heston, who plays detective Frank Thorn, is being led off on a stretcher following a gun battle when he desperately reveals the secret he wants the world to know: The nutritious wafer Soylent Green is composed of pulverized remains of human corpses.
“Soylent Green is people!” Heston yells, his left arm and bloody left hand lifted over his head.
Yes, the movie is a fictional piece of work. Then again…
The film portrays a world being devastated by climate change, its oceans polluted with waste; overpopulation and overuse of resources lead to shortages of food and water; housing prices skyrocket to the point only the elite can afford apartments.
The year the movie was set?
You got it: 2022.
April 19 marks the 49th anniversary of the film’s release, and its futuristic, dystopian themes have some relevance today, so much so that four Arizona State University professors, all in different fields, could address the movie’s, well, prescient takes.
A jar of strawberry jam costs what?
In the movie, the food shortage is so extreme a jar of strawberry jam is $150 and people weep at the sight of beef. Housing in New York City, where "Soylent Green" is set, is only affordable to the richest of the rich. The elite, they’re called.
Everyone else sleeps in their cars — or on the street.
The affordability of resources isn’t quite as class-driven today as it was in the film — unless you’re trying to find a decently-priced apartment in the Phoenix metro area.
According to Apartment List, rents increased by 25% in Phoenix during the past year. Currently, median rents in Phoenix are $1,227 for a one-bedroom apartment and $1,498 for a two-bedroom apartment.
“The housing shortage has become particularly acute over the past year,” said Alison Cook-Davis, associate director for research at ASU’s Morrison Institute for Public Policy. “The vacancy rate is historically lowThe Arizona Housing Department estimates 270,000 affordable rentals are needed statewide. Source: https://www.azcentral.com/story/money/real-estate/catherine-reagor/2021…, so the rents are getting pushed up and up.”
The rising rental prices, Cook-Davis said, will likely cause an even greater increase in the number of homeless people in the Valley. According to a January count by the Maricopa Association of Governments, the unsheltered homeless population has increased from 1,053 in 2014 to 5,029 this year.
“It’s having really devastating effects, especially for low-income households,” she said. “Those are the individuals who are just trying to make ends meet and really get squeezed because they were already potentially cost-burdened in terms of the percentage of their income they’re paying toward housing.”
Pricing people out of affordable rentals isn’t the only problem, Cook-Davis added. Those without significant resources can’t get into a home, either, which is very "Soylent Green"-like.
“It’s people who are kind of in the low or very low income bracket who are trying to get into the housing market for the first time,” she said. “It’s almost impossible. So young people who may have good jobs still aren’t able to buy a home.”
The power of (mis)information
The Soylent Green corporation controls the world’s food supply, and in many ways, the information faucet to the 7 billion people around the world. (That's one more thing the movie accurately forecast: Today’s world population is 7.9 billion).
In doing so, the corporation protects itself from public examination or even the most cursory questioning. Its duplicitous messaging is most evident when people choose to be euthanized. They see a beautiful montage of waterfalls, deer and flowers – before their remains turn into wafers of Soylent Green.
It’s communication as control, and it’s magnified by today’s technology.
“We’re living in a world where we’ve somehow got to play catch up with how we use our technological abilities wisely,” said Andrew Maynard, an associate dean for curricula and student success at ASU’s College of Global Futures. “It’s exactly this tension that is seen in a film like 'Soylent Green,' where you have a layer of society that is using technology both to maintain their own position, control other people and to actually suppress other people.
“And most people don’t question it, right? They live miserable lives, but they’re not rebelling against the machine. They’re not asking hard questions, and we have to ask why and what we can learn from that.”
Maynard concedes that the world is a subtler and far more complex place than it was in the movie. But, he added, that doesn’t make misinformation any less dangerous.
“People absolutely do not think critically,” he said. “You see this in so many places, and it almost seems like the more technologically complex we get, the easier it is for people not to think.
“Just look at social media and how trends sort of stream across social media. Look at movements such as the anti-vax movement or conspiracy theories. All of those stem from increasingly complex communication technologies. You see how people, because of lies and misinformation, don’t question things. There is that element of sheep-dom that we’re seeing right now.”
Food systems
Joni Adamson, a President’s Professor of environmental humanities in the Department of English, teaches a class called “Environmental Literature and Film.”
Yes, "Soylent Green" is on the curriculum.
“We play around with what the future food system is going to look like, and how are we going to get there?” Adamson said. “So we watch 'Soylent Green' and ask questions like, ‘Is this what we want the future to look like? And if not, then what do we need to do to have a different future?’"
In the movie, the Soylent Green corporation advertises that its wafers are being made from ocean plankton when in reality, all ocean life has died. Thus, the corporation throws human carcasses into waste production plants.
A future reality? Let’s hope not. A cautionary tale? Perhaps.
“There’s a process called acidification,” Adamson said. “Acidification is when all of the chemicals that are being used in our agricultural fields run through the rivers and then into the bigger rivers and then out into the ocean. And when they’re out in the ocean, one of the things they tend to do is cause algae to bloom, and algae bloom leads to a deprivation of oxygen in the water, and fish die.
“The film itself imagines something that could happen and is happening. It just takes it to the extreme.”
Maynard said the film, if stripped of its dystopian elements, accurately portrays the gap between haves and have-nots when it comes to food supply. According to the United Nations, nearly one-third of the world’s population didn’t have access to adequate food in 2020.
“We have this question of who gets access to stuff versus who doesn’t,” he said. “Who has the privilege and who doesn’t. That’s absolutely caught in the film … One of the things I find fascinating watching science fiction movies, including 'Soylent Green,' is no matter how dystopian things are in the sci-fi movie, you can almost always find some aspect of global society that mirrors it.”
Including how corporations can create class distinctions by affordability and accessibility of their products.
“They’re not just making Soylent Green to be philanthropic,” Adamson said. “They’re controlling the food system in order to be in control of who is in what class.”
Can’t trust anyone
Joshua Vasquez, a lecturer in film and media studies in the Department of English, first watched "Soylent Green" as a boy when it would pop up on television on Saturday afternoons.
“It always seemed a little awkward to me,” he said. “And I know in pop culture, it became something of a joke because Phil Hartman did a parody of it on 'Saturday Night Live.'”
But as Vasquez grew up, became more interested in film and watched "Soylent Green" again, he recognized a melancholy and sense of anxiousness that grips some people today.
“This is not a political screed, but we are living in a very fractured political landscape, which is not exactly but largely similar to this kind of fracturing in the late 1960s and early 1970s,” he said. “And that profound distrust of government can lead to this feeling of paranoia. That sense of being very aware of the dangers of the moment, at least I would argue, has kept the movie very fresh.”
And while "Soylent Green" is clearly an exaggeration, it’s what it represents that makes it relevant today.
“I mean, we’re obviously not making wafers out of human remains and a jar of strawberry jam doesn’t cost $150,” Vasquez said. “But people will say, ‘This is where we’re heading unless we do something.’”
You could say the future in "Soylent Green" has become, 49 years later, the present.
“Essentially,” Adamson said, “it was a movie ahead of its time.”
Top image: Scene from the 1973 movie "Soylent Green." Courtesy of Metro-Goldwyn-Mayer
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https://ocean.si.edu/planet-ocean/tides-currents/currents-waves-and-tides
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en
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Currents, Waves, and Tides
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Smithsonian Ocean
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Sun and Wind
Wind is a major force in propelling water across the globe in surface currents. When air moves across the ocean’s surface, it pulls the top layers of water with it through friction, the force of resistance between two touching materials moving over one another. Surface ocean currents are driven by consistent wind patterns that persist throughout time over the entire globe, such as the jet stream. These wind patterns (convection cells) are created by radiation from the Sun beating down on Earth and generating heat.
The Sun’s radiation is strongest at the equator and dissipates the closer you get to the poles. This uneven distribution of heat causes air to move. The hot air over the equator rises and moves away from the equator. Likewise, cold air from the poles sinks and moves towards the equator. The clashing of hot air originating at the equator and cold air originating at the poles creates regions of high atmospheric pressure and low atmospheric pressure along specific latitude lines. It would make intuitive sense that the hot air and cool air would meet in the middle of the equator and the North or South pole, however, in reality it is much more complicated. A combination of Earth’s rotation, the fact that Earth is tilted on an axis, and the placement of most continents in the Northern Hemisphere, create pressure systems that divide each hemisphere into three distinct wind patterns or circulation cells.
In the Northern Hemisphere, the most northern system, the polar cell, blows air in a consistent southwestern direction toward a pocket of low pressure along the 60-degree latitude line. The middle system, the Ferrel cell, blows in a consistent northeastern direction toward the same 60-degree low. And the most southern system, the Hadley cell, blows air in a consistent southwestern direction toward a region of low pressure along the equator. The result is a global pattern of prevailing wind, and it is this consistent wind that impacts the ocean.
While it may appear that the ocean is a flat surface, the reality is that it is a series of hills and valleys in the water. At the places where the wind generated currents converge into each other, the ocean water is pushed to build a slight hill. Likewise, where the winds diverge, the ocean water dips in a slight depression.
Gravity and Earth's Rotation
Wind pushes water into hills of high pressure which leave behind valleys of low pressure. Since water is a liquid that prefers to stay at a level height, this creates an unstable situation. Following the pull of gravity, ocean water moves from the built-up areas of high pressure down to the valleys of low pressure.
But as the water moves from hills to valleys, it does so in a curved trajectory, not a straight line. This curving is a result of Earth’s spin on its axis.
On Earth, movement in a straight line over long distances is harder than it may seem. That’s because Earth is constantly rotating, meaning every object on its surface is moving at the speed at which the Earth is spinning on its axis. From our perspective, stationary objects are just that, unmoving. In reality, they are whipping around at a speed of roughly 1,000 miles per hour (1600 km/hr) at Earth’s equator. It is that whipping, rotating motion that influences the movement of any object not in direct contact with the planet’s surface, making straight appearing trajectories actually bend. It also influences the movement of ocean currents. Scientists refer to this bending as the Coriolis Effect.
It is easiest to understand this phenomenon when thinking about travel in a northern or southern direction. Since Earth is essentially a sphere and it spins around an axis, anything near Earth’s equator will travel the fastest—since Earth is rotating at a constant rate and the equator runs along the widest part of the sphere, any object there must travel the entirety of Earth’s circumference in one rotation. As you get closer and closer to the poles, the distance traveled in one rotation gradually shrinks until it reaches zero at either pole. Therefore, an object on the surface will gradually spin slower the closer it gets to a pole.
But leave the surface of the planet, and the anchor keeping you in sync with the land beneath you disappears. Any moving object (plane, boat, hot air balloon, water) will begin its travels at the rotating speed of the location where it took off from. If it should travel north or south, the ground beneath it will be traveling at a different speed. Travel North from the Equator, and the ground will gradually spin slower beneath you. This causes an object attempting to travel in a straight line to veer to the right in the Northern Hemisphere and veer to the left in the Southern Hemisphere relative to the direction traveling.
Understanding how the rotating Earth affects movement to the west or east is a bit trickier. Envision an elastic string attached to a ball on one end and an anchored point at the other. The faster the ball is spun around the anchor, the more the elastic stretches and the farther the ball travels from the center point. An object traveling on Earth behaves the same way. If the object moves east, in the direction that Earth is spinning, it is now traveling around the axis of Earth faster than it was when it was anchored—and so, the object wants to move out and away from the axis. Still tethered by gravity, the object does so by moving toward the equator, the place on Earth that is the greatest distance from the axis. Travel west, the opposite direction that Earth is spinning, and now the object is spinning slower than Earth’s surface and so it wants to move toward the axis. It does so by moving toward the pole. This again appears as a bend to the right in the Northern hemisphere and to the left in the Southern hemisphere.
Water moving along Earth’s surface is also subject to the Coriolis effect which causes moving water to curve in the same directions described above. In the Northern Hemisphere, surface water curves to the right and in the Southern Hemisphere it curves to the left of the direction it is forced to move.
Ekman Transport
Wind moving across the ocean moves the water beneath it, but not in the way you might expect. The Coriolis Effect, the apparent force created by the spinning of Earth on its axis, affects water movement, including movement instigated by wind. Recall that Coriolis causes the trajectory of a moving object to veer to the right or the left depending upon the hemisphere it is located in. But in this case, the three-dimensional nature of the ocean plays into the direction of the water’s overall movement. Wind blowing over water will move the ocean water underneath it in an average direction perpendicular to the direction the wind is traveling.
As wind blows over the surface layer of water, friction between the two pulls the water forward. As we know, when water (and other objects) moves across Earth’s surface it bends due to the Coriolis Effect. The top most layer of water will bend away from the direction of the wind at about 45 degrees. For simplicity, we will assume that this scenario is in the Northern Hemisphere and all movement bends to the right. As the top layer of water begins to travel, it in turn pulls on the water layer beneath it, just as the wind had. Now this second water layer begins to move, and it travels in a direction slightly to the right of the layer above it. This effect continues layer by layer as you move down from the surface, creating a spiral effect in the moving water.
In addition to a change in direction, each sequential layer down loses energy and moves at a slower speed. Friction causes the water to move, but drag resists that movement, so as we travel from the top layer to the next, some of the energy is lost. When all the layers down the spiral are accounted for, the net direction of the water is perpendicular to the direction of the wind.
The ocean is connected by a massive circulatory current deep underwater. This planetary current pattern, called the global conveyor belt, slowly moves water around the world—taking 1,000 years to make a complete circuit. It is driven by changes in water temperature and salinity, a characteristic that has scientists refer to the current as an example of thermohaline circulation.
Both heat and salt contribute to the ocean water’s density. Saltier and colder water is heavier and denser than less salty (or fresher), warmer water. Around the globe there are areas where the heat and saltiness of ocean water (and therefore, its density) change. The most important of these areas is in the North Atlantic.
As warm Atlantic water from the Equator reaches the cold polar region in the North via the Gulf Stream, it rapidly cools. This region is also cold enough that the ocean water freezes, but only the water turns to ice. As the water freezes it leaves the salt behind, causing the surrounding water to become saltier and saltier. The cold, salty water then sinks in a mass movement to the deep ocean. It is this sinking that is a main driver for the entire deep-water circulation system that moves massive quantities of water around the globe. Cooling also occurs near Antarctica, but not to the extremes that happen in the Northern Hemisphere.
Another area of the ocean where massive amounts of water move to the ocean’s depths is in the Mediterranean. In this area, evaporation is the main driver that changes the salinity of the ocean water. As water in the Mediterranean evaporates, it leaves the salt behind. This super salty ocean water then bleeds into the Atlantic via the thin mouth of the Mediterranean, also known as the Strait of Gibraltar.
When cold, salty water circulates the globe and gradually becomes warmer, it begins to rise. The “old” deep water is full of nutrients that have accumulated from the sinking of waste from the productive surface waters up above. Locations where the “old” water rises are highly productive areas because they contain ample nutrients and have access to sunlight—the perfect combination for photosynthesis.
Surface Waves
Waves on the ocean surface are usually formed by wind. When wind blows, it transfers the energy through friction. The faster the wind, the longer it blows, or the farther it can blow uninterrupted, the bigger the waves. Therefore, a wave's size depends on wind speed, wind duration, and the area over which the wind is blowing (the fetch). This variability leads to waves of all shapes and sizes. The smallest categories of waves are ripples, growing less than one foot (.3 m) high. The largest waves occur where there are big expanses of open water that wind can affect. Places famous for big waves include Waimea Bay in Hawaii, Jaws in Maui, Mavericks in California, Mullaghmore Head in Ireland, and Teahupoo in Tahiti. These large wave sites attract surfers, although occasionally, waves get just too big to surf. Some of the biggest waves are generated by storms like hurricanes. In 2004, Hurricane Ivan created waves that averaged around 60 feet (18 meters) high and the largest were almost 100 feet (30.5 meters) high. In 2019, hurricane Dorian also created a wave over 100 feet high in the northern Atlantic.
Giant waves don’t just occur near land. ‘Rogue waves,' which can form during storms, are especially big—there are reports of 112 foot (34 m) and 70 foot (21 m) rogue waves—and can be extremely unpredictable. To sailors, they look like walls of water. No one knows for sure what causes a rogue wave to appear, but some scientists think that they tend to form when different ocean swells reinforce one another. Many of the largest rogue waves recorded have been in the North Sea in the North Atlantic Ocean. One was recorded by a buoy in 2013 and measured 62.3 feet (19 m) and another nicknamed the Draupner wave was a massive wall of water 84 feet (25.6 m) high that crossed a natural gas platform on New Year's Eve, 1995.
Tsunami Waves
A classic tsunami wave occurs when the tectonic plates beneath the ocean slip during an earthquake. The physical shift of the plates force water up and above the average sea level by a few meters. This then gets transferred into horizontal energy across the ocean’s surface. From a single tectonic plate slip, waves radiate outwards in all directions moving away from the earthquake.
When a tsunami reaches shore, it begins to slow dramatically from contact with the bottom of the seafloor. As the leading part of the wave begins to slow, the remaining wave piles up behind it, causing the height of the wave to increase. Though tsunami waves are only a few feet to several meters high as they travel over the deep ocean, it is their speed and long wavelength that cause the change to dramatic heights when they are forced to slow at the shore.
Tsunami waves are capable of destroying seaside communities with wave heights that sometimes surpass around 66ft (20 m). Tsunamis have caused over 420,000 deaths since 1850—over 230,000 people were killed by the giant earthquake off Indonesia in 2004, and the damage caused to the Fukushima nuclear reactor in Japan by a tsunami in 2011 continues to wreak havoc. Although tsunamis cannot be predicted in advance when an earthquake occurs, tsunami warnings are broadcast and any waves can be tracked by a global network of buoys – this early warning system is essential because tsunamis can travel at over 400 miles per hour (644 km/hr). The highest tsunami wave reached about 1,720 ft (524 m), a product of a massive earthquake and rockslide. When the wave hit shore, it was said to destroy everything.
There are also other, usually less destructive tsunami waves caused by weather systems called meteotsunamis. These tsunami waves have similar characteristics to the classical earthquake driven tsunamis described above, however they are typically much smaller and focused along smaller regions of the oceans or even Great Lakes. Meteotsunamis are often caused by fast moving storm systems and have been measured in several cases at over 6 feet (2 meters) high. A 2019 study found that smaller meteotsunami waves strike the east coast of the U.S. more than twenty times a year!
The Moon’s gravitational pull causes water to bulge on both the side of Earth closest to the Moon and on the opposite side of the planet. The Moon’s gravity has a stronger pull on the side of Earth that is closest to it, which makes the ocean bulge on that side, while on the opposite side of the planet the centrifugal force created by the Moon and Earth orbiting around one another pulls the ocean water out. Centrifugal force is the same force that smooshes riders to the outside walls of spinning carnival rides.
Meanwhile, Earth continues to spin. As Earth rotates, the water bulges stay in line with the Moon while the planet’s surface moves underneath it. A specific point on the planet will pass through both of the bulges and both of the valleys. When a specific place is in the location of a bulge it experiences a high tide. When a specific place is in the location of a valley it experiences a low tide. During one planetary rotation (or one day) a specific location will pass through both bulges and both valleys, and this is why we have two high tides and two low tides in a day. But, while Earth takes 24 hours to complete one rotation, it must then rotate an additional and 50 minutes to catch up with the orbiting Moon. This is why the time of high tide and the time of low tide change slightly every day.
The Sun also has a part to play in causing the tides, and its location in relation to the Moon alters the strength of the pull on the ocean. When the Sun and Moon are in line with one another they reinforce each other’s gravitational pulls and create larger-than-normal tides called spring tides. This happens when the Moon is either on the same side of Earth as the Sun or directly on the opposite side of Earth. Smaller-than-usual tidal ranges, called neap tides, occur when the gravitational force of the Sun is at a right angle to the pull from the Moon. The two forces of the Sun and Moon cancel each other out and create a neap tide.
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A Guide to the Most Scenic Films Shot in Italy
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2020-07-02T12:31:17.106000-04:00
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From Michelangelo Antonioni’s eerie L'Avventura to Luchino Visconti’s lush Death in Venice, these are our favorite Italian-set films.
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https://www.vogue.com/verso/static/vogue/assets/us/favicon.ico
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Vogue
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https://www.vogue.com/article/travel-via-cinema-italy
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From Michelangelo Antonioni’s eerie L'Avventura to Luchino Visconti’s lush Death in Venice, these are our favorite Italian-set films. For more Travel via Cinema destinations, click here.
8 1/2, 1963
Federico Fellini
Set betwixt and between Rome and a conjured fantasy land, 8 1/2 follows Guido Anselmi (Marcello Mastroianni) as he suffers from director’s block and the endeavor of his next film. He escapes his reality and takes viewers along a surreal mambo Italiano; it's unclear where exactly in Italy Marcello is at times, but the film does incite a strong desire for all things Italian.
To watch, click here.
Contempt, 1963
Jean-Luc Godard
In Jean-Luc Godard’s New Wave drama, a French playwright Paul (Michel Piccoli) and his beautiful wife Camille (Brigitte Bardot) are sent to Rome to work on a film adaptation of Homer’s The Odyssey, which is funded by a swashbuckling American producer (Jack Palance). The couple incessantly argues their way to Capri, where even their accommodations—the awe-inspiring, architectural masterpiece that is Casa Malaparte—doesn’t quell the quarreling. No matter, the film offers plenty to look at.
To watch, click here.
Gladiator, 2000
Ridley Scott
Journey to Italy, 1954
Roberto Rossellini
Upon inheriting a villa in Naples, an estranged couple reunites in Italy. The director Roberto Rossellini cast his wife, Ingrid Bergman, to play the lead opposite George Sanders. Bergman opts to wander such landmarks as the Naples Museum, Phlegraean Fields, and the Fontanelle cemetery, while Sanders prefers aperitivo cocktails in Capri. The pair seemed destined for distance until love is rekindled on a visit to Pompeii during the Saint Gennaro festival.
L’Avventura, 1960
Michelangelo Antonioni
The first of a trilogy by director Michelangelo Antonioni, L’Avventura follows the out-of-thin-air-vanishing of a young woman (Lea Massari) while on a Mediterranean yachting excursion. What follows is a fruitless search undertaken by her boyfriend (Gabriele Ferzetti) and best friend (Monica Vitti). Despite the woeful holiday gone wrong, the film does have you yearning to visit its locales—an incredible baroque Villa Palagonia near Palermo and the volcanic rock Aeolian Island of Panarea.
To watch, click here.
La Dolce Vita, 1960
Federico Fellini
Much Ado About Nothing, 1993
Kenneth Branagh
Shakespeare’s classic tale comes to life in Kenneth Branagh’s film adaptation of conspiring young lovers Hero (Kate Beckinsale) and Claudio (Robert Sean Leonard) who attempt to play matchmaker to confirmed singles Beatrice (Emma Thompson) and Benedick (Kenneth Branagh). A double wedding is had at the picturesque Villa Vignamaggio in the Chianti region of Tuscany in Italy, and the couples live happily ever after.
To watch, click here.
Only You, 1994
Norman Jewison
A recently engaged Marisa Tomei leaves her fiancé for Italy in search of her soulmate whose name she believes is Damon Bradley, based on a childhood game of Ouija board and a psychic. After a chase from Venice to Florence, Tomei meets a charming love interest, played by Robert Downey Jr., in Rome, and travels to Positano with him—the only problem is his name is not Damon Bradley.
Room With a View, 1985
James Ivory
Adapted from E.M. Forster’s novel of the same name, the British film stars Helena Bonham Carter as Lucy, a young girl growing up in conservative Edwardian England, who holidays in Florence with her spinster chaperone (Maggie Smith). It is there that she meets George (Julian Sands) who graciously offers to exchange hotel rooms so that she might have a view of Duomo and Arno. Romance ensues as the two find themselves alone in the cobblestone streets of the Piazza della Signoria and Fiesole in Tuscany before returning home to Surrey, England.
To watch, click here.
Stealing Beauty, 1996
Bernardo Bertolucci
Set on the stunning estate of Castello di Brolio, in the rolling Tuscan hills near Siena, Bernardo Bertolucci’s coming of age romantic drama stars a young American, played by Liv Tyler, who spends summer with the colorful friends of her late mother, an avant-garde poet.
The Great Beauty, 2013
Paolo Sorrentino
Paolo Sorrentino’s Oscar-winning film opens with Jep Gambardella (a playboy writer and man-about-town played by Toni Servillo) enjoying his riotous 65th birthday party. The scene unfolds like a music video or a kaleidoscope whirling with Campari, conga lines populated by eccentric Romans, and flashing lights. Afterward, Jep experiences an existential crisis and embarks on a journey to find substantial beauty and meaning in his life. All the while, Sorrentino delivers us the ultimate love letter to Rome.
To watch, click here.
The Italian Job, 1969
Peter Collinson
In a film that captured the swagger of the swinging ’60s, Michael Caine plays a Cockney crook who leads a heist in Turin that required the use of three Mini Coopers. The trio of little striped cars famously maneuvered through the beautiful baroque staircase of the Palazzo Madama, a wedding on the steps of the Chiesa della Gran Madre di Dio, onto the roof of a Fiat factory race track in Lingotto, through the River Po, and eventually out through the underground sewers. Turin is on full display in this version, while the 2003 remake—starring Mark Wahlberg and Charlize Theron—utilizes Venice.
To watch, click here.
The Talented Mr. Ripley, 1999
Anthony Minghella
The Trip to Italy, 2014
Michael Winterbottom
After the success of Michael Winterbottom’s 2010 British comedy TV series, The Trip, starring English comedians Steve Coogan and Rob Brydon as fictionalized characters of themselves, comes The Trip to Italy: a tale of two men enjoying six scenic meals in Italy from Piedmont to Capri, stopping in Liguria, Tuscany, Rome, and Amalfi.
To watch, click here.
Three Coins in the Fountain, 1954
Jean Negulesco
Three American secretaries (played by Maggie McNamara, Jean Peters, and Dorothy McGuire)—single and dreaming of everlasting love—visit the Trevi Fountain; three coins are tossed in a fountain; three strapping men (played by Louis Jourdan, Rossano Brazzi, and Clifton Webb) enter the picture. All the while, lovely Rome sets the scene. Credits roll.
To watch, click here.
Under the Tuscan Sun, 2003
Audrey Wells
After learning her husband has been unfaithful, the newly divorced American writer Frances (Diane Lane), takes a trip to Tuscany and buys a dilapidated villa in Cortona on a whim. Her heart and new home are restored with the help of heaps of pasta, glasses of Montepulciano wine, flamboyant Italian friends, and an affair with the limoncello-making, Vespa-driving Marcello. Everything’s better under the Tuscan sun.
To watch, click here.
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Sonic Sea
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This Emmy award–winning film shows viewers how the underwater racket caused by human activities is destroying marine life.
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en
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/favicon.ico
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https://www.nrdc.org/sonicsea
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Executive director & senior scientist, Center for Whale Research
Balcomb earned a BA in zoology from the University of California, Davis in 1963 and was hired by the U.S. Fish and Wildlife Service to be a field biologist in a whale-marking program. He pursued graduate work at the University of California, Santa Cruz with Dr. Ken Norris, a renowned marine mammal biologist. Balcomb served as an aviator and oceanographic specialist in the U.S. Navy. He pioneered photo identification of cetaceans, made the first known observations of living Longman’s beaked whales, and, in the aftermath of a mass stranding of whales in the Bahamas in March 2000, helped prove that naval sonar kills whales.
Imogene Powers Johnson Senior Scientist at the Bioacoustics Research Program, Cornell Lab of Ornithology
Clark helped develop and apply advanced acoustic technology to record and analyze the sounds of wildlife around the globe. His work advances the understanding of animal communication and the health of wildlife populations. He has listened to and studied whales for more than 40 years, with a focus on endangered North Atlantic right whales.
Oceanographer, author, and National Geographic Explorer in Residence
Earle has led more than 100 ocean expeditions and logged over 7,000 hours underwater. Named a "living legend" by the Library of Congress, she earned a BS from Florida State University and a PhD from Duke University. Earle, who helped develop early SCUBA gear, authored more than 190 publications, including The World is Blue: How our Fate and the Ocean’s are One. In 1990, she was the first woman named chief scientist at the National Oceanic and Atmospheric Administration. Her goal is to “ignite public support for the protection of Hope Spots—special places that are vital to the health of the ocean, the blue heart of the planet.”
Director of marine mammals, NRDC
Jasny is a leading expert in the law and policy of ocean noise pollution. For more than a decade, he has directed high-profile litigation, lobbying efforts, science-based policy development, and public advocacy to improve the regulation of this emergent global problem. His work also focuses on securing protection for endangered marine mammals and their habitat, opposing development projects that threaten marine mammals off the U.S. and Canadian coastlines, and improving management of fisheries, whale-watching tourism, and other sectors that impact these vulnerable species. Jasny is the author or coauthor of numerous publications in legal, policy, and scientific journals. He holds a bachelor’s degree from Yale University and a JD from Harvard Law School.
Musician; human rights & environmental activist
Sting (Gordon Sumner) is a musician, singer-songwriter, multi-instrumentalist, and activist. He was the principal songwriter, lead singer, and bassist for The Police. He wrote the music and lyrics for the Broadway musical The Last Ship, inspired by his experiences growing up amid the shipbuilding industry in the north of England. He founded the Rainforest Foundation Fund to help save the Brazilian rainforests and protect Indigenous Peoples, and he has supported human rights campaigns for decades.
Founder and codirector, OrcaLab
Originally from New Zealand, Spong is a neuroscientist and cetologist who has immersed himself in orca research since the 1960s. Early in his career, he studied the captive orcas, Hyak and Skana, at the Vancouver Aquarium where he grew to appreciate their intellect and exceptional use of sound. He later advocated to keep whales out of captivity and in 1970 founded OrcaLab with the goal of studying marine mammals without interfering in their lives and habitat. Spong and his assistants share their research findings from the remote Hanson Island in British Columbia via live streams.
Program director, Animal rescue, International Fund for Animal Welfare
As IFAW’s program director for Animal Rescue, Moore directs IFAW’s animal rescue team and collaborates with partner organizations around the globe to save animals in crisis, including disaster response, marine mammal rescue and research, and wildlife rescue, rehabilitation, and release.
In Madagascar, Moore used techniques developed by IFAW's Marine Mammal Rescue & Research team in an attempt to save more than 100 melon headed whales—deep-water animals that had stranded themselves inside an estuary. She also provided guidance in gathering data to determine the cause of the incident.
Explorer, founder & president, Ocean Futures Society
Explorer, editor, environmentalist, and filmmaker Cousteau has dedicated his life to communicating the critical bond between humans and the sea. The son of Jacques Cousteau, he began exploring the ocean as a young boy. He’s produced more than 80 films and received the Emmy and Peabody awards among others. Cousteau organized efforts to care for Keiko, the captive whale of Free Willy fame. In 1999, he founded the Ocean Futures Society. Cousteau is an impassioned diplomat for the environment, traveling the world to meet with everyone from school children to global leaders, urging us all toward positive change.
Author, In Pursuit of Silence: Listening for Meaning in a World of Noise
Prochnik taught English and American Literature at Hebrew University in Jerusalem. He now lives in New York City and is editor-at-large for Cabinet magazine. Prochnik's writing spans essays, poetry, and fiction.
Senior institutional strategist, senior attorney, Nature program, NRDC
Reynolds is a widely recognized environmental litigator who took on the U.S. Navy over its use of sonar, fighting all the way to the Supreme Court. He has led numerous successful campaigns, including those to protect the gray whale birthing lagoon and World Heritage Site at Laguna San Ignacio in Baja California to reduce ocean noise pollution, to protect the popular California State Park at San Onofre, and, most recently, to stop the Pebble Mine in southwestern Alaska. He has twice been selected California Lawyer of the Year in the environmental category.
Director, Imaginary Forces
Dougherty is an American designer and director. Born in Mexico City and raised in California, she is a graduate of Art Center College of Design in Pasadena. In her professional career, she has directed projects ranging from graphic design to commercial directing, including advertising, television and film title sequences, feature film marketing, and experiential design.
Dougherty has created Emmy-nominated main title sequences and has directed global commercial advertising campaigns. Her projects have garnered awards as well as being featured at the Walker Art Center, Hammer Museum, and Cooper-Hewitt, Smithsonian Design Museum.
Director of content partnerships, NRDC
Hinerfeld, an Emmy-winning filmmaker and award-winning journalist, oversees Rewrite the Future, an initiative to help Hollywood tell stories about the climate crisis. He founded NRDC's documentary unit and created films including Sonic Sea, narrated by Rachel McAdams; Acid Test, narrated by Sigourney Weaver; Stories from the Gulf, narrated by Robert Redford; and Wild Things. Hinerfeld previously worked at NPR as the senior editor of the Tavis Smiley Show. At KCRW, he produced Warren Olney's daily news discussion program, Which Way, L.A.?, and co-created the nationally syndicated political analysis show, Left, Right, and Center. Hinerfeld covered Southern California as a reporter for KQED's statewide news program, the California Report, and reported regularly for the NPR national news programs Morning Edition and All Things Considered. He has written for the Washington Post, the Los Angeles Times, and Rolling Stone, among other publications. Between public radio stints, he spent four years in Los Angeles City Hall as a senior deputy to then-councilmember Mike Feuer. Hinerfeld graduated cum laude in philosophy from Vassar College and did post-graduate work at the London School of Economics, where his dissertation, "A Critique of Anarchy, State and Utopia," was awarded distinction. Hinerfeld is married to the photographer Laura Kleinhenz and they have two children.
Writer, Diamond Docs
Monroe is an award-winning documentary filmmaker whose theatrical writing credits include:
Fed Up (Sundance 2014); The Summit (Winner, Best Editing Sundance 2013); Who is Dayani Cristal? (Winner, Best Cinematography, Sundance 2013); Sound City (Sundance 2013); The Cove (Winner, Best Documentary 2010 Academy Awards & Best Documentary Script, W.G.A. 2010); The Tillman Story; Chasing Ice (Winner, Best Cinematography Sundance 2012); Stolen Seas; Last Play at Shea; Once in a Lifetime: The Extraordinary Story of the New York Cosmos, (W.G.A. nomination Best Documentary Script, 2007); Amazing Journey: The Story of The Who; and writer/director, Morning Light, Disney Pictures.
A journalism graduate from the University of Oklahoma, Monroe began his career in television as a newswriter for CNN in Atlanta. Before writing for film, he produced more than 60 hours of biography-style programming for TV. Currently, Monroe is working on Racing Extinction, Academy Award winner Louis Psihoyos's follow-up film to The Cove, as well as Sonic Highways an eight-part docuseries follow up to Dave Grohl’s Sound City.
|
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5635
|
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1
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https://www.menshealth.com/entertainment/a46164911/george-clooney-oceans-eleven-sequel-comments/
|
en
|
George Clooney Just Teased Another Ocean's Eleven Movie
|
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[
"Philip Ellis"
] |
2023-12-18T16:25:16.770794+00:00
|
George Clooney is eager to reprise the role of Danny Ocean in a new sequel to 'Ocean's Eleven,' and says a "great script" has already been written.
|
en
|
/_assets/design-tokens/menshealth/static/images/favicon.800c51a.ico
|
Men's Health
|
https://www.menshealth.com/entertainment/a46164911/george-clooney-oceans-eleven-sequel-comments/
|
George Clooney's iconic character Danny Ocean could be coming back for one last job. The actor, who starred in the 2001 caper Ocean's Eleven along with its two sequels, is eager to make another movie in the series, and has already read a "great script."
A remake of the 1960 movie which starred Frank Sinatra, Sammy Davis Jr. and Dean Martin, Ocean's Eleven followed a similar plot, which involved the titular Ocean gathering a crew of expert thieves to rob several Las Vegas casinos in a single night. Steven Soderbergh's version proved so popular, thanks in part to the chemistry and star power of its cast (Brad Pitt, Julia Roberts and Matt Damon also played key roles) that it spawned two sequels: Ocean's Twelve and Ocean's Thirteen.
A spinoff entitled Ocean's Eight, which involved an all-female crew and a heist at the Met Gala, was released in 2018, starring Sandra Bullock as Danny Ocean's sister, Debbie. In that movie, Danny is stated to be dead—but the franchise is so known for its twists and narrative curveballs that it wouldn't be too much of a stretch to reveal that he actually faked his death.
"We have a really good script for another Oceans now, so we may end up doing another one.," Clooney said in a recent interview while promoting his new movie The Boys in the Boat. "It’s actually a great script," he continued, adding that the idea is "kind of likeGoing In Style," referring to the 1979 comedy about a trio of senior citizens who embark on a heist to break up the monotony of retired life.
Clooney didn't say whether any of the original cast were up for a fourth film, and so a long wait is likely in store. In the meantime, however, a prequel is in the works: Barbie stars Margot Robbie and Ryan Gosling have reportedly signed on to play Danny Ocean's parents in an Old Hollywood-inspired heist romance set on the French Riviera.
|
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2
| 15
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https://mehlsbells.wordpress.com/2020/10/01/oceans-12-expectations-and-editing-cliches-and-conventions/
|
en
|
Ocean’s 12 – Expectations and Editing, Cliches and Conventions
|
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[] |
2020-10-01T00:00:00
|
The way Ocean’s 12 reverses your typical Gather The Team montage, and specifically Ocean’s 11's version, by having Andy Garcia track down all our original scallywags to threaten and extort them into the movie's heists. None of this is 'new' or 'fresh,' it's a setup we've seen a hundred times. We're watching to see how…
|
en
|
Mel Killingsworth - Film and TV blog
|
https://mehlsbells.wordpress.com/2020/10/01/oceans-12-expectations-and-editing-cliches-and-conventions/
|
The way Ocean’s 12 reverses your typical Gather The Team montage, and specifically Ocean’s 11‘s version, by having Andy Garcia track down all our original scallywags to threaten and extort them into the movie’s heists. None of this is ‘new’ or ‘fresh,’ it’s a setup we’ve seen a hundred times. We’re watching to see how it’s done, and then to see what comes of it.
This trope is one I’ll never get tired of, so long as it’s done with the right amount of panache, colour (figurative, though heavily stylised with literal colour is fine, too), camera movements and edit dancing sweetly with the score and/or soundtrack. Don’t reinvent the game, just make it flashy.
Soderbergh knows his flash, complete with film grain and mega-watt superstars and neon lights.
Even in ‘merely’ comedic setup shots, cutting from red and blue and inky blacks to green and yellow and watery murk.
The classical “sweeping down the stairwell” shot . . . but corrugated aluminium steps shot handheld, and not red-velvet-carpeted steps shot by a camera on a smooth sweeping crane.
Adding to the level of difficulty is the mirror, the multiple rack focuses and exposure changes, the one-take style with small margins of error and cheating built in.
The use of Topher-Grace-as-himself-en-ridiculo-absurdo setting up the later gag with Julia Roberts, which of course was strongly teased/hyped in the film’s trailers.
The perfect coolness with which Brad Pitt responds to his car blowing up with merely: huh. He perfectly plays into that slick movie Badass Dude Competency chill which would come the next year in Mr. and Mrs. Smith (2005) and with which he played and played against a decade and a half later in his perfect, Oscar-grabbing performance in Once Upon a Time…in Hollywood (2019).
The highlight for me is that closeup-rifle-trigger-to-wideshot-running-man transition, with the colours switching hard and the sound mixing splitting the difference between a bullet and a running-man’s-dress-shoe-hitting-the-corporate-carpeted-hallway-floors.
Cheadle shows the sort of dark comedy chops which he would be able to put to full use as Marty Kaan on House of Lies years later (2012), which could be described as Succession in investment banking firm or a less bro-and-sports-tastic Ballers. (All compliments of the highest order, if that wasn’t clear.)
The performances are perfectly pitched, the same heightened energy from all of the ensemble, presented like their introductions: according to character. It’s a version of the Kill Bill cadre; these two films coming out within a year of each other would set tone and style for the next decade.
Soderbergh even gets in some meta-comentary about F*** with bleeps because the studio wanted a slick show about sex and murder and romanticising thievery to be able to pass with a PG-13 rating. The scene uses the same comedy principle as an SNL skit: the first time the sound edit joke is surprising; the next few times it’s funny; then the repetition feels just a little much; then you repeat it and repeat it and repeat it until it comes full circle back around to hilarity.
Speaking of hilarity, Elliot Gould, dear god, just pulling off those glasses is a Herculean feat, and he makes it and everything else look easy. By which I mean, he perfectly makes everything else look like it involves operating at the peak edge of well-dressed, flop-sweating panic.
Everything has a layered meaning, including lines of dialogue like “for a moment there, I almost forgot your name” making us think Linus is breaking because all he wants is recognition to soothe his insecurities (which he had also consoled not-Julia-Roberts as having) but also in retrospect hinting at the relationship between Linus and his mother / interrogator.
More hinting: a Miller’s Crossing (1990) reference puts Oceans in the Coen Cinematic Universe, or at least establishes the CCU exists in the Ocean’s universe.
The heist plot is, well, much more boring than Ocean’s 11‘s, because no heist as glamorous as ‘Casino heist.’ Ocean’s 12 tries its best, going hard with ‘jewel’ and ‘involves-Entrapment (1999)-style lazer gymnastics’, and in keeping with its many genre reverses, genderflips the usual lazer sequence.
Speaking of, it’s not coincidence Catherine Zeta Jones figures into both Oceans and Entrapment – as the also-CZJ-starring Chicago (2002) proclaims: it’s about the razzle dazzle. The way she leans over the table in that interrogation room, well. She knows exactly what she’s doing.
Everyone here knows exactly what they’re doing: hitting their marks perfectly, and their willing marks are us.
The plot resolution may technically play fair but cops out pretty hard, the tablesetting for 13 is unnecessarily obvious, and the “it’s all about FAMILY!” is done better and more earnestly in The Fast and The Furious, but it’s mostly carried by the editing, the style and colour and crosscutting and cliches distracting us so we don’t mind too much.
Ocean’s 12 doesn’t reinvent any wheels, but knows where it sits in cinema, wears its influences on its sleeve, deploys its stars perfectly, and has a style still resonating throughout world cinema from The Thieves (2012) to The World is Yours (2017) to Hustlers (2019).
We’ve got Brad Pitt eating confections, more sexy trenchcoats than you can shake a stick at, and stars poking fun at themselves while having the times of their lives.
In other words, we get what we paid for.
|
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5635
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dbpedia
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2
| 42
|
https://www.neaq.org/visit/
|
en
|
New England Aquarium
|
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[] |
[] |
[
""
] | null |
[] |
2023-05-01T15:20:23+00:00
|
Protecting the blue planet
|
en
|
New England Aquarium
|
https://www.neaq.org/visit/
|
Aquarium Tickets
Book your tickets in advance to ensure entry since weekends and holidays often sell out. Choose tickets for Aquarium admission, a film at Simons Theatre, a whale watch cruise, or a combination.
Simons Theatre
The Simons Theatre screens a collection of 3D nature documentaries and films on the biggest movie screen in New England each day.
Daily Presentations and Feeding Schedule
Visitors are invited to enjoy daily presentations in the Marine Mammal Center, at the top of the Giant Ocean Tank, or at the Harbor Seal Exhibit. Watch our penguin aquarists feed the penguins daily and ask questions about our animals and their habitat. This schedule is subject to change. Please confirm times at the Information Desk upon arrival.
|
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5635
|
dbpedia
|
3
| 18
|
https://www.commonsensemedia.org/movie-reviews/oceans-eleven
|
en
|
Ocean's Eleven Movie Review
|
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[] |
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[
""
] | null |
[
"Nell Minow"
] |
2003-05-19T00:00:00
|
Fun heist movie for older kids and their families. Read Common Sense Media's Ocean's Eleven review, age rating, and parents guide.
|
en
|
/themes/custom/common_sense/images/favicons/favicon-16x16.png
|
Common Sense Media
|
https://www.commonsensemedia.org/movie-reviews/oceans-eleven
|
With enough genuine Hollywood star power to light all the neon signs in Nevada, this is a good old-fashioned, Hollywood heist film fun. Part of the pleasure of Ocean's Eleven is that we feel that we're listening in on real conversations, and find ourselves leaning forward as though each of us is in on the deal with them.
One problem, though, is that there are just too many goodies on screen. It's hard for us to adjust our expectations for star turns by the high-wattage cast (which includes Matt Damon, Bernie Mac, Don Cheadle, and Julia Roberts, to name just a few). There are so many stars that we don't get to spend enough time with any of them. Old-timers Elliott Gould and Carl Reiner are magnificent in small roles, and a couple of young TV stars drop by for a slyly hilarious cameo. And Brad Pitt turns in a performance of effortless charm, subtle and witty, completely in service to the character and the movie and yet completely movie star mesmerizing.
|