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    Free Essay
    8.8 of 10 on the basis of 2644 Review.
     

     

     

     

     

     

         
     
    The game s afoot famous detectives leave their mark

     

    Famous fictional detectives are often as beloved for what they say as for the mysteries they solve. For instance, Sherlock Holmes fans will recognize his "Elementary, my dear Watson"; afficionados of Inspector Clouseau from the "Pink Panther" series know he introduces himself: "I am Inspector Clouseau of the Suretй"; while the enchanting Charlie Chan is known for the profound wit and playful counsel that were his trademark in Hollywood movies of the '30s and '40s. Here are a few more Chan facts that may unravel any mystery surrounding him in your mind. Warner Oland was the favorite of Charlie Chan fans and his fortune-cookie wisdom-Chan says in "Charlie Chan in Shanghai" (1935), "Motive like end of string tied in many knots; end may be in sight, but hard to unravel"-and thrilling mysteries have made the character he played one of film's most popular crime-solvers. Now, movie lovers and Chan fans can reacquaint themselves with some of the sage detective's greatest cases thanks to the DVD debut of four of his films: "Charlie Chan in Egypt" (which includes an early appearance by Rita Hayworth as a slinky housemaid), "Charlie Chan in London," "Charlie Chan in Paris" and "Charlie Chan in Shanghai." The set also boasts new material including documentaries, original theatrical trailers and a never-before-released Spanish-language Charlie Chan adventure, "Eran Trece" ("There Were Thirteen"). The DVD set is marketed as "The Charlie Chan Collection-Volume One" and is available at stores for under 60 dollars. How good are they? As Charlie Chan said in his Paris adventure, "Cannot see contents of nut until shell is cracked."

         
    The golden compass

     

    Well even after seeing the film, I am still left to wonder what the big controversy is all about. I had never read the book series that New Line Cinema is hoping to be the next Harry Potter and if the film is an indication of what is to come. I am not even sure that i want to see part 2 nor 3, if they ever get made. I could somewhat see why the Catholic League is protesting this film, but in the end its a lot to do about not a really good film. For those who have no ideal about the film or anything about it please click on to this link for a better understanding, but please be wary this is a heavy spoiler preview also. Now what I liked about the film, The casting of Sam Elliott as Lee Scoresby was exactly what the role required. When you see him in the film, you soon realize that he is a lot more that what he seems at first. The casting of Ian McKellen as the voice of Iorek Byrnison, as an armored bear. Now I had no idea what a bear would do with some serious armor protection, but with the voice of Sir Ian, you believe that he will protect the hero of the film. Now I realize that this film is part 1 of a 3 part film, but the first one should have been so much better that what we were given. I had said earlier that I had not read any of the books yet but even I could tell that something just was not right nor was it making sense in the way that it was told in the movie, it just seemed like way too many holes were in this film. It looks about 40-60 minutes too short. From what I could tell if you are a huge fan of the book then do not see the film at all, you will leave the movie palace, very angry. If you have young children (10 years old and up) then this looks like it would be a good film for them to see. For the parents, it will leave you frustrated. I can see a good film in this film, but all we get in another mess by the end of the day.

         
    The heartbreak kid

     

    : The Farrelly Brothers have done it again with ( heartbreakkidmovie)‘Heartbreak Kid’! These talented brothers are a writer-director team who have become icons in comedy circles. ‘Heartbreak Kid’ is another great movie that will be an instant hit to add to their list of classics. We all remember their previous movies: ‘There’s Something About Mary’, ‘Dumb and Dumber’, ‘Shallow Hal’, ‘Kingpin’ and ‘Stuck on You’. These are the movies you want to watch over and over again, memorizing every line! ‘Heartbreak Kid’ has all the ingredients to become the next comedy classic – Ben Stiller’s timing and quirkiness, physical mishaps (watch the hilarious trailer!) and a love triangle gone awry.

    Look for this movie in theaters in October 2007. If you haven’t seen their movies before, be prepared for the irreverent since they often feature characters with mental and physical challenges. Lest you think they make fun of such folks, those with disabilities always emerge as heroes, while anyone belittling them definitely draws the short straw.

    The Farrellys also rely on zaniness, bathroom humor, and cameos by sports legends, earning this picture an R rating for strong sexual content, crude humor and language. Dreamworks Pictures will release the “Heartbreak Kid”, a Radar Pictures and Davis Entertainment Company Production written and directed by ( heartbreakkidmovie)Bobby Farrelly and Peter Farrelly. Co-writers include Scot Armstrong, Leslie Dixon, and Kevin Barnett and the story is based on a short story called “A Change of Plan” by Bruce Jay Friedman. Marc S. Fischer, John Davis, and Joe Rosenberg executive produced while Ted Field and Bradley Thomas produced the picture. Among the cast members are the irrepressible ( heartbreakkidmovie)Ben Stiller, who once again lands in hot water; ( heartbreakkidmovie) Michelle Monaghan and Malin Akerman as his polar opposite love interests; Ben’s dad the funny and ageless Jerry Stiller; and the great Rob Corddry, along with numerous talented others.

    To watch the theatrical trailer visit heartbreakkidmovie. For more information on contributors to this project, including cast see movies. yahoo/movie/1809769000/details. “Heartbreak Kid” Plot The new film is loosely based on a 1972 offering with the same title. In the new “Heartbreak Kid” the delightful Ben Stiller in the perfect underdog role (Eddie) meets a woman that couldn’t possibly fall for him…or could she? Lila is gorgeous, outgoing, sexy, and blonde and marries him after a week of dating. Poor Eddie figures he’ll never get another chance like this, so away they go to Mexico for the perfect, tropical honeymoon.

    Unfortunately this is where Lila’s true nature comes out, leading Eddie to realize he’s made a dreadful mistake. It turns out that Lila is both horrible and loony. No one plays the duped nice-guy better than Stiller and this laugh-out-loud performance is no exception. In the meantime, lovable and confused Eddie meets Miranda and knows that “she’s the one”. Trying to hide his marriage, court Miranda, and not make it look like a juggling act keep our “Heartbreak Kid” hilariously busy for the rest of the movie. If you love great entertainment, don’t miss the “Heartbreak Kid”.

         
    The history of the star wars films

     

    Star Wars was one of those magnificent films that was an instant phenomenon when it hit the box office and continues to be a hit today. Why not take a moment to follow the intriguing history of Star Wars. After a successful run in the early 1970s with the box office hit American Graffiti; in 1975 George Lucas writes a basic story about Anakin Skywalker’s rise, fall, and redemption. The story is so long that it needs to be divided into 2 trilogies. The first trilogy focuses on Anakin Skywalker’s young life while the second focuses on the life of Anakin’s son Luke Skywalker. Since the second trilogy is the most interesting, Lucas decides to film it first. He offers the film to Universal Studios who had financed his American Graffiti film, but they chose to pass thinking it was a ridiculous movie. They would live to regret this decision which would cost millions of dollars in lost profits. But they wouldn’t be alone in those regrets as every Hollywood studio passed on the movie. That is except for 20th Century Fox who came up with $10 million for Lucas to make his first Star Wars movie a reality. In May of 1977 Fox released Episode 4 of Star Wars, A New Hope. The tone was quickly set. The film was instantly seen as the biggest adventure ever on film. The special effects were considered magnificent and outstanding. In fact, nothing remotely close had ever made it to the big screen before. On opening day, the Star Wars movie ran in only 32 theaters, but it still produced an amazing $254,309 in ticket sales. By the end of its first run it had become the most successful film ever in North American history grossing more than $290 million. Lucas reportedly received $50 million of those profits. When Lucas cut his deal with Fox he was more interested in control of the film then he was in his percentage. He wanted all rights to the final cut and all rights to future sequels, Star Wars merchandise rights, and 40% of the gross. This deal ultimately made Lucas a billionaire. By 1978 Lucas had purchased the more than 1800 acre Bulltail Ranch in San Rafael and soon production of the sequel to Star Wars, The Empire Strikes Back, was underway. Lucas was financing it out of his own pocket and it had a budget of $18 million; however due to budget overruns the actual filming cost more than $30 million. In May of 1980, The Empire Strike Back, hit the theaters grossing $222 million, making it the highest grossing film of the year. In May of 1983, Return of the Jedi, hit the theaters grossing $265 million in North America and Lucas decides to retire from Star Wars projects to pursue some of his other interests. He made a vague promise to make the Prequel Trilogy someday if special effects ever become advanced enough. That day arrived in 1994 when Lucas announces he will begin working on the Prequel Trilogy with a tentative release scheduled for 1998. In 1996 Lucas signs the biggest deal ever seen in the industry with PepsiCo for movie tie ins, and later in the year he announces that the pre-production has started, and in May of 1999 Episode 1 titled, The Phantom Menace, was released, followed by Episode 2 titled, The Attack of the Clones. Many believe that 100 years from now Star Wars will still have a following. In fact by then it may have grown to epidemic proportions.

         
    The lost season finale

     

    I admit, the second season`s finale of LOST was amazing. I was a bit disappointed from the last episodes but this one absolutely turned my interest back. Finally, something really important happened and we found out some of the Island`s secrets and as it seems – we`ll continue to figure them out in the next season. There`s obviously no sickness on the Island and maybe the sign “quarantine” on the doors just have to keep the people in the hatches so that they continue to do their job about the experiment of Dharma Project. That doesn`t explain why Russo has killed her friends, thinking they were “sick”, but probably she just got crazy (which actually doesn`t seem very likely) or maybe there is something more that we still don`t know. Michael seems to be one of the most stupid characters but I don`t think that this is the end of his appearance. Walt has some paranormal abilities that have to be shown. I think that Michael and Walt either will decide to come back (because of Michael`s consciousness) or won`t be able to find the way and finally the ocean will bring them back to the Island. About the Others, I don`t think they will hurt Kate, Jack and Sawyer. They will probably use them for their experiments or try to make them a part of their group. Which is more interesting for me is why do the Others hide their identity? Who are they hiding from?! That`s something that I really can`t wait to find out.

         
    The love guru

     

    Forget animated characters, Mike Myers is back in his first original role since Austin Powers and he doesn’t disappoint. The Love Guru is a thinly veiled homage to Deepak Chopra, focusing on the travails of one guru who has to break a curse, reunite a couple and get a hockey team to the Stanley Cup. That’s no small order, but you can expect hilarious hi-jinks to ensue. Mike Myers doesn’t miss a step in this comedy that centers around the star player of the Toronto Maple Leafs, Darren Roanoake, played to perfection by Romany Malco. Roanoke’s wife is lured away by the star player of the LA Kings, Jacques Grand (Justin Timberlake) and it’s up to the Love Guru to restore domestic harmony to get Malco back on his game. With a cast that includes Jessica Alba and Ben Kingsley, it’s hard to go wrong. Myers penned the original story with Graham Gordy and co-produces with Michael deLuca. It’s been a tough road for Myers since the success of Austin Powers, and although he’s turned out terrific performances in animated flicks, this marks his return to playing a human, something audiences have been waiting for with baited breath. The premise behind the Love Guru Movie is not necessarily new, meshing the classic fish out water tale with a boy meets girl scenario, but Myers makes it work. His character, Pitka, is abandoned as a boy outside an ashram in India and is trained in the way of the guruing to America, he finds fame as a self-help guru that caters to the stars. Known for his unorthodox techniques, Pitka is hired on by the owner of the Toronto Maple Leafs, Jane Bullard (Alba). The team has been a victim of the Bullard Curse for forty years and it appears as though it has struck again in the form of disharmony in the marriage between Malco and his estranged wife. Timberlake is perfection in his role as the golden boy of the LA Kings who woos away said wife. Given Myers love of Chopra and hockey, this is certainly a project made in heaven for the 45 year old star. Known for mixing life and art, Myers hits his stride in this movie, after disappointing audiences in his turn as the Cat and the Hat. He is definitely in his element in this zany comedy that features some of today’s hottest rising stars. It’s a smart career move for Myers and one that audiences will undoubtedly embrace, so long as he keeps himself in check. The Love Guru is set to premier on June 20th in the United States. Expect a big roll out and a lot of coverage as Hollywood makes book on whether Myers can bring in the audiences. Given the popularity of the Shrek movies and Myers in general, most movie goers should be able to forgive Myers for his few missteps and thoroughly enjoy this fun and lighthearted comedy.

         
    The matrix

     

    It is easy to confuse the concepts of "virtual reality" and a "computerized model of reality (simulation)". The former is a self-contained Universe, replete with its "laws of physics" and "logic". It can bear resemblance to the real world or not. It can be consistent or not. It can interact with the real world or not. In short, it is an arbitrary environment. In contrast, a model of reality must have a direct and strong relationship to the world. It must obey the rules of physics and of logic. The absence of such a relationship renders it meaningless. A flight simulator is not much good in a world without airplanes or if it ignores the laws of nature. A technical analysis program is useless without a stock exchange or if its mathematically erroneous. Yet, the two concepts are often confused because they are both mediated by and reside on computers. The computer is a self-contained (though not closed) Universe. It incorporates the hardware, the data and the instructions for the manipulation of the data (software). It is, therefore, by definition, a virtual reality. It is versatile and can correlate its reality with the world outside. But it can also refrain from doing so. This is the ominous "what if" in artificial intelligence (AI). What if a computer were to refuse to correlate its internal (virtual) reality with the reality of its makers? What if it were to impose its own reality on us and make it the privileged one? In the visually tantalizing movie, "The Matrix", a breed of AI computers takes over the world. It harvests human embryos in laboratories called "fields". It then feeds them through grim looking tubes and keeps them immersed in gelatinous liquid in cocoons. This new "machine species" derives its energy needs from the electricity produced by the billions of human bodies thus preserved. A sophisticated, all-pervasive, computer program called "The Matrix" generates a "world" inhabited by the consciousness of the unfortunate human batteries. Ensconced in their shells, they see themselves walking, talking, working and making love. This is a tangible and olfactory phantasm masterfully created by the Matrix. Its computing power is mind boggling. It generates the minutest details and reams of data in a spectacularly successful effort to maintain the illusion. A group of human miscreants succeeds to learn the secret of the Matrix. They form an underground and live aboard a ship, loosely communicating with a halcyon city called "Zion", the last bastion of resistance. In one of the scenes, Cypher, one of the rebels defects. Over a glass of (illusory) rubicund wine and (spectral) juicy steak, he poses the main dilemma of the movie. Is it better to live happily in a perfectly detailed delusion - or to survive unhappily but free of its hold? The Matrix controls the minds of all the humans in the world. It is a bridge between them, they inter-connected through it. It makes them share the same sights, smells and textures. They remember. They compete. They make decisions. The Matrix is sufficiently complex to allow for this apparent lack of determinism and ubiquity of free will. The root question is: is there any difference between making decisions and feeling certain of making them (not having made them)? If one is unaware of the existence of the Matrix, the answer is no. From the inside, as a part of the Matrix, making decisions and appearing to be making them are identical states. Only an outside observer - one who in possession of full information regarding both the Matrix and the humans - can tell the difference. Moreover, if the Matrix were a computer program of infinite complexity, no observer (finite or infinite) would have been able to say with any certainty whose a decision was - the Matrix's or the human's. And because the Matrix, for all intents and purposes, is infinite compared to the mind of any single, tube-nourished, individual - it is safe to say that the states of "making a decision" and "appearing to be making a decision" are subjectively indistinguishable. No individual within the Matrix would be able to tell the difference. His or her life would seem to him or her as real as ours are to us. The Matrix may be deterministic - but this determinism is inaccessible to individual minds because of the complexity involved. When faced with a trillion deterministic paths, one would be justified to feel that he exercised free, unconstrained will in choosing one of them. Free will and determinism are indistinguishable at a certain level of complexity. Yet, we KNOW that the Matrix is different to our world. It is NOT the same. This is an intuitive kind of knowledge, for sure, but this does not detract from its firmness. If there is no subjective difference between the Matrix and our Universe, there must be an objective one. Another key sentence is uttered by Morpheus, the leader of the rebels. He says to "The Chosen One" (the Messiah) that it is really the year 2199, though the Matrix gives the impression that it is 1999. This is where the Matrix and reality diverge. Though a human who would experience both would find them indistinguishable - objectively they are different. In one of them (the Matrix), people have no objective TIME (though the Matrix might have it). The other (reality) is governed by it. Under the spell of the Matrix, people feel as though time goes by. They have functioning watches. The sun rises and sets. Seasons change. They grow old and die. This is not entirely an illusion. Their bodies do decay and die, as ours do. They are not exempt from the laws of nature. But their AWARENESS of time is computer generated. The Matrix is sufficiently sophisticated and knowledgeable to maintain a close correlation between the physical state of the human (his health and age) and his consciousness of the passage of time. The basic rules of time - for instance, its asymmetry - are part of the program. But this is precisely it. Time in the minds of these people is program-generated, not reality-induced. It is not the derivative of change and irreversible (thermodynamic and other) processes OUT THERE. Their minds are part of a computer program and the computer program is a part of their minds. Their bodies are static, degenerating in their protective nests. Nothing happens to them except in their minds. They have no physical effect on the world. They effect no change. These things set the Matrix and reality apart. To "qualify" as reality a two-way interaction must occur. One flow of data is when reality influences the minds of people (as does the Matrix). The obverse, but equally necessary, type of data flow is when people know reality and influence it. The Matrix triggers a time sensation in people the same way that the Universe triggers a time sensation in us. Something does happen OUT THERE and it is called the Matrix. In this sense, the Matrix is real, it is the reality of these humans. It maintains the requirement of the first type of flow of data. But it fails the second test: people do not know that it exists or any of its attributes, nor do they affect it irreversibly. They do not change the Matrix. Paradoxically, the rebels do affect the Matrix (they almost destroy it). In doing so, they make it REAL. It is their REALITY because they KNOW it and they irreversibly CHANGE it. Applying this dual-track test, "virtual" reality IS a reality, albeit, at this stage, of a deterministic type. It affects our minds, we know that it exists and we affect it in return. Our choices and actions irreversibly alter the state of the system. This altered state, in turn, affects our minds. This interaction IS what we call "reality". With the advent of stochastic and quantum virtual reality generators - the distinction between "real" and "virtual" will fade. The Matrix thus is not impossible. But that it is possible - does not make it real. Appendix - God and Gцdel The second movie in the Matrix series - "The Matrix Reloaded" - culminates in an encounter between Neo ("The One") and the architect of the Matrix (a thinly disguised God, white beard and all). The architect informs Neo that he is the sixth reincarnation of The One and that Zion, a shelter for those decoupled from the Matrix, has been destroyed before and is about to be demolished again. The architect goes on to reveal that his attempts to render the Matrix "harmonious" (perfect) failed. He was, thus, forced to introduce an element of intuition into the equations to reflect the unpredictability and "grotesqueries" of human nature. This in-built error tends to accumulate over time and to threaten the very existence of the Matrix - hence the need to obliterate Zion, the seat of malcontents and rebels, periodically. God appears to be unaware of the work of an important, though eccentric, Czech-Austrian mathematical logician, Kurt Gцdel (1906-1978). A passing acquaintance with his two theorems would have saved the architect a lot of time. Gцdel's First Incompleteness Theorem states that every consistent axiomatic logical system, sufficient to express arithmetic, contains true but unprovable ("not decidable") sentences. In certain cases (when the system is omega-consistent), both said sentences and their negation are unprovable. The system is consistent and true - but not "complete" because not all its sentences can be decided as true or false by either being proved or by being refuted. The Second Incompleteness Theorem is even more earth-shattering. It says that no consistent formal logical system can prove its own consistency. The system may be complete - but then we are unable to show, using its axioms and inference laws, that it is consistent In other words, a computational system, like the Matrix, can either be complete and inconsistent - or consistent and incomplete. By trying to construct a system both complete and consistent, God has run afoul of Gцdel's theorem and made possible the third sequel, "Matrix Revolutions".

         
    The movie on demand is booming online

     

    With the availability of high speed broadband everywhere, there are nowadays many internet movie downloads sites on the internet. The latest to join in the internet movie download site is Apple with its itunes movie store. You can easily download a movie and watch it on your ipod, pc or mac. Currently the largest download internet movie sites are Movielink and CinemaNow, both sites are supported by major film distributors such as Warner Bros and Sony Pictures etc. Most require you to have a computer and windows media player installed in order to play the downloaded movie. Other smaller internet download movies sites include Guba and Unbox. MovieLink is probably the largest internet movie download site on the internet toady. It is a partnership that is formed by several large movie distributors such as MGM, Paramount Pictures, Sony Pictures, Universal Studios and BBC among others. There is a large collection of movies, TV shows, documentaries available for download. The cost varies from $4.99 to $19.99 for newer movie releases. Almost all of these internet movie downloads sites utilizes DRM (digital rights management) on movie files downloaded from their websites. DRM helps to ensure copyright protection and prevents piracy. That means you cannot make a copy of the movie file and pass it to your friends and family. Most of these internet movie download sites charge on a pay per view or pay per download basis. Basically, you pay to download a movie or to watch a movie online. The charges varies depending on how new the movie is and the movie itself. Typically, the cost is between $9.99 to $29.99 Not only movies can be downloaded but TV shows such as CSI and music videos, documentaries, kids, concerts can be downloaded and you can watch it whenever you want. The movie on demand business is booming online and we can expect more internet movie downloads site to appear in the near future. Paul Maril is a avid movie fanatic. Discover the First internet catalog Real4Deal with only the best internet movie download sites recommended by Paul. This Catalog of Movie Downloads provides the sites with only fastest and unlimited downloads, widest selection of all your favorite movies and TV shows, and much more. You will not only get all the tools you need to begin downloading, but they provide top notch support in case you run into any problems along the way. Also you can download unlimited games, music and anything for your iPod.

         
    The movie rental what are you doing tonight

     

    A movie rental is a great way to brighten your night. When you are home alone with no obligations, think about popping in your favorite movie and spend some time winding down from the day. Just relaxing with a great show and a couple of snacks is a great way to brighten the end to an otherwise dull or stressful day. A movie rental is also a great idea for the whole family. All families should have time where they do things together. While this may not seem like quality time, it’s actually a great way to strengthen bonds. Movies are a good source of shared conversations, and there is nothing wrong with unwinding as a family either. You can pop a bag of popcorn, or you can go a healthier route if that’s a concern. Those “extras” don’t really matter - when you are all together, it’s great. Fruits and nuts can be great alternatives to less healthy snacks. Or you can skip the snacks entirely. Just make sure that your movie rental is a good one, and everyone will be too busy watching to realize they aren’t eating. One of the hot things in renting movies is online renting. If you rent a lot of movies, this may be an option that you’ll love. You can buy a yearly membership with some companies and rent as many as you want the whole year. Of course, this is only a good option if you and your family rent movies on a regular basispare the costs. It may be a great deal for you, especially if everyone in your house likes a different kind of movie. Online movie rental is also really convenient. How many people really feel like stopping one more place on the way home after a long day at work? When you rent online, you simply send your movies back through mail. You usually make your next movie rental selection online, with the click of a button. Then all you have to do is wait a day and they appear in your mailbox. There is usually a much wider selection from online companies online than from the neighborhood video store. Whether you are looking for a pick-me-up, a valuable lesson, or a great big scare, a movie rental can be the place to find it. You can choose from the latest releases, but don’t overlook the classics. So dig that remote out of the couch cushion and get started watching.

         
    The mpaa allows movie downloads are they worth your dime

     

    What Are Movie Download Services? Movie download services are exactly what they sound like: a service that allows you to download movies from the Internet onto your hard drive or a DVD. Though this isn't a new concept, it is relatively new to the legal world of consumerism. Though 'pirates' have been making free download of movies available for quite some time, movie studios are now getting in on the action and offering access to their movies for download the day they hit the stores in DVD format – for a fee, of course. Who's Who In Movie Download Services? In the relatively new world of legitimate movie download services, there are surprisingly many players, but only a few of them are major. There's Movielink and Sony's CinemaNow which offer old and new movies for purchase or 24 hour rental. Rental fees are comparable to the local video store but purchase is more expensive than if you were to buy the DVD. ClickStar, backed by Danny DeVito among other big names in Hollywood, is another up and comer in the world of movie download services, but this one’s draw is that it will offer movies for download while they are still showing in the theater. It will also feature a streaming channel devoted to documentaries. AT&T is teaming up with Vongo, another movie downloading site, to offer its DSL service in concert and duo promotions. Different from Movielink and CinemaNow, Vongo is a subscription service offered for a monthly fee which allows its members unlimited access to movies, videos, and a streaming Starz channel. Pay per view movies are available as well for an additional fee. Movie Download Services: The Nitty Gritty - Price – Ranging anywhere from $10-$20, the irony is downloading movies legally isn't cheap. In order to appease the retailers who make big bucks on DVDs released in stores, the online downloading services are keeping their fees in the clouds. Which of course, doesn't hurt their pocketbook, either. - Availability – It depends. Different services have different deals with different movie studios. As for old movies, those are being added all the time. But the nice thing is, if they have it, you can get it – instantly. - Space – You will need between 1200 and 2000 MBs of free space to store your movie. Depending on your system, this may be a lot or a little. Some services may allow you to burn your download to a DVD, but only if you're buying the movie and even then, most won't. - Download Time – This is no time for dial-up, that's for sure. Anything DSL and faster should get you your movie in under an hour with an average of 35 to 40 minutes, and that's if you want it fast and grainy. If you're willing to wait a little longer, say, up to two hours, you can download a higher quality version. A nice feature that some services offer is the ability to start watching the movie while it's still downloading. - Technical Requirements – At least Windows Media Player 10, fast Internet connection, Internet Explorer 6.0, Windows XP. You might be able to get away with older versions, but it isn't recommended. And yes, did you note – it's all PC and no Mac. That's right. PC users only, please. - Computer Viewing Only – Currently, that's the state of things. That is, unless you choose a service that allows you to download it to some other electronic handheld device of your choosing, like PSP or iPod. Of course, you could always use an S-video jack to hook your computer to your TV and watch it on the big screen. Some services allow limited DVD burning, but they may restrict the DVD to playing only in the computer to which the movie was downloaded, allowing your fancy DVD player to gather dust. - Buy Versus Rent – It's a strange situation at this point, but different studios offer different services different licenses to different movies. So, you may only be able to rent a title through one service that another is offering for sale. Other services may not have any access to certain titles while others do. There's no standard just yet, so it's a bit of a crap shoot. What's the Benefit of Movie Download Services? Convenience! Forget long lines at the theater, the video store being out of a new release, or waiting in virtual queue to get your mailed DVD through a subscription service. No more concern about court cases and legal fees for downloading movies illegally or spyware from file sharing applications that will slow down your computer if not cripple it beyond repair. Then, of course, there's the fact that you can watch the newest movies as many times as you like on your personal computer and instantly upon purchase – no waiting and no driving to the store. What's the Downside of Movie Download Services? At the moment, cost and restricted viewing access. You may not necessarily want to watch a movie on your computer when you just invested $2000 in a big screen HDTV. And you may not want to invest $20 in a movie that you can't even resell online if you don't like it. If you have a slow internet connection, the download time may be a bummer, too, especially if you're trying to use your computer for other things while the process slows your computer to a painful snail pace. And if you use a Mac, well, obviously, the downside is that movie download services simply don’t exist. Then, what if a virus infects the computer where all your movies are stored? Yup. Have to buy them all over again. Movie Download Services – Yay or Nay? The state of affairs being what they are - that is, in their ugly braces and zits prepubescent stage - probably nay. Remember the first BETA machines? Or the $700 CD players back in the '80s? When movie download service lowers their prices and speed up the technology, allow for actual DVD burnings that include the extras and TV viewings as well as access to films that are still in theaters, then yay! In the meantime, sticking with higher quality DVDs that don't discriminate against Mac users and big screen television sets and allow for resale later on. Unless you have to see the movie This Very Second, movie download services are not yet the incredible service they have the potential to be in the future.

         
    The rise of online dvd rental

     

    In March 2006 I launched the UK DVD Rental Guide Website. The website is devoted to providing independent advice, reviews and rankings of the major providers of online DVD rental service in the UK. The idea for the website originated from my passion for DVD's and from the difficulty of choosing the right online DVD rental service. Online DVD rental is slowly but surely making its mark on the entertainment industry and is a powerful rival for its traditional highstreet alternative. The phenomenon of online DVD rental may ultimately replace the traditional form of DVD rental! Since its launch, the website has evolved to where it is today. It sets out each of the major providers of online DVD Rental services, the prices, the package options, the number of titles available and any free trial that is offered. Each service provider is rated against predifined criteria and then ranked against each other. We continually check for changes in the services and re-rate and re-rank accordingly. Here's why we think online DVD Rental is Better: · Cheaper. The prices for online rental are much cheaper than the highstreet alternative. · Convenient. No need to go out to the store. Just browse and select titles online from the comfort of your own home and they appear in the post. Postage is FREE both ways. · No Due Dates. There are no dates by which you have to return the DVD's. Keep them as long as you like! · No late return charges. Watch your DVD's without fear of a charge for late return. There's no late return charges - EVER! · More to choose from. With upto 57,000 titles there's more DVD's to choose from than you can shake a stick at. · Completely Risk Free Trial. Most of the DVD rental companies let you try before you sign-up. It costs absolutely nothing and there are no hidden charges. We hope you enjoy the UK DVD Rental Guide and it helps you choose the best service for your needs. We will keep testing and will make sure the guide is comprehensive, up to date and continues to ensure it provides independent advice.

         
    The talented mr. ripley

     

    "The Talented Mr. Ripley" is an Hitchcockian and blood-curdling study of the psychopath and his victims. At the centre of this masterpiece, set in the exquisitely decadent scapes of Italy, is a titanic encounter between Ripley, the aforementioned psychopath protagonist and young Greenleaf, a consummate narcissist. Ripley is a cartoonishly poor young adult whose overriding desire is to belong to a higher - or at least, richer - social class. While he waits upon the subjects of his not so hidden desires, he receives an offer he cannot refuse: to travel to Italy to retrieve the spoiled and hedonistic son of a shipbuilding magnate, Greenleaf Senior. He embarks upon a study of Junior's biography, personality, likes and hobbies. In a chillingly detailed process, he actually assumes Greenleaf's identity. Disembarking from a luxurious Cunard liner in his destination, Italy, he "confesses" to a gullible textile-heiress that he is the young Greenleaf, traveling incognito. Thus, we are subtly introduced to the two over-riding themes of the antisocial personality disorder (still labeled by many professional authorities "psychopathy" and "sociopathy"): an overwhelming dysphoria and an even more overweening drive to assuage this angst by belonging. The psychopath is an unhappy person. He is besieged by recurrent depression bouts, hypochondria and an overpowering sense of alienation and drift. He is bored with his own life and is permeated by a seething and explosive envy of the lucky, the mighty, the clever, the have it alls, the know it alls, the handsome, the happy - in short: his opposites. He feels discriminated against and dealt a poor hand in the great poker game called life. He is driven obsessively to right these perceived wrongs and feels entirely justified in adopting whatever means he deems necessary in pursuing this goal. Ripley's reality test is maintained throughout the film. In other words - while he gradually merges with the object of his admiring emulation, the young Greenleaf - Ripley can always tell the difference. After he kills Greenleaf in self-defense, he assumes his name, wears his clothes, cashes his checks and makes phone calls from his rooms. But he also murders - or tries to murder - those who suspect the truth. These acts of lethal self-preservation prove conclusively that he knows who he is and that he fully realizes that his acts are parlously illegal. Young Greenleaf is young, captivatingly energetic, infinitely charming, breathtakingly handsome and deceivingly emotional. He lacks real talents - he know how to play only six jazz tunes, can't make up his musical mind between his faithful sax and a newly alluring drum kit and, an aspiring writer, can't even spell. These shortcomings and discrepancies are tucked under a glittering facade of non-chalance, refreshing spontaneity, an experimental spirit, unrepressed sexuality and unrestrained adventurism. But Greenleaf Jr. is a garden variety narcissist. He cheats on his lovely and loving girlfriend, Marge. He refuses to lend money - of which he seems to have an unlimited supply, courtesy his ever more disenchanted father - to a girl he impregnated. She commits suicide and he blames the primitiveness of the emergency services, sulks and kicks his precious record player. In the midst of this infantile temper tantrum the rudiments of a conscience are visible. He evidently feels guilty. At least for a while. Greenleaf Jr. falls in and out of love and friendship in a predictable pendulous rhythm. He idealizes his beaus and then devalues them. He finds them to be the quiddity of fascination one moment - and the distilled essence of boredom the next. And he is not shy about expressing his distaste and disenchantment. He is savagely cruel as he calls Ripley a leach who has taken over his life and his possessions (having previously invited him to do so in no uncertain terms). He says that he is relieved to see him go and he cancels off-handedly elaborate plans they made together. Greenleaf Jr. maintains a poor record of keeping promises and a rich record of violence, as we discover towards the end of this suspenseful, taut yarn. Ripley himself lacks an identity. He is a binary automaton driven by a set of two instructions - become someone and overcome resistance. He feels like a nobody and his overriding ambition is to be somebody, even if he has to fake it, or steal it. His only talents, he openly admits, are to fake both personalities and papers. He is a predator and he hunts for congruence, cohesion and meaning. He is in constant search of a family. Greenleaf Jr., he declares festively, is the older brother he never had. Together with the long suffering fiancйe in waiting, Marge, they are a family. Hasn't Greenleaf Sr. actually adopted him? This identity disturbance, which is at the psychodynamic root of both pathological narcissism and rapacious psychopathy, is all-pervasive. Both Ripley and Greenleaf Jr. are not sure who they are. Ripley wants to be Greenleaf Jr. - not because of the latter's admirable personality, but because of his money. Greenleaf Jr. cultivates a False Self of a jazz giant in the making and the author of the Great American Novel but he is neither and he bitterly knows it. Even their sexual identity is not fully formed. Ripley is at once homoerotic, autoerotic and heteroerotic. He has a succession of homosexual lovers (though apparently only platonic ones). Yet, he is attracted to women. He falls desperately in love with Greenleaf's False Self and it is the revelation of the latter's dilapidated True Self that leads to the atavistically bloody scene in the boat. But Ripley is a different - and more ominous - beast altogether. He rambles on about the metaphorical dark chamber of his secrets, the key to which he wishes to share with a "loved" one. But this act of sharing (which never materializes) is intended merely to alleviate the constant pressure of the hot pursuit he is subjected to by the police and others. He disposes with equal equanimity of both loved ones and the occasional prying acquaintance. At least twice he utters words of love as he actually strangles his newfound inamorato and tries to slash an old and rekindled flame. He hesitates not a split second when confronted with an offer to betray Greenleaf Sr., his nominal employer and benefactor, and abscond with his money. He falsifies signatures with ease, makes eye contact convincingly, flashes the most heart rending smile when embarrassed or endangered. He is a caricature of the American dream: ambitious, driven, winsome, well versed in the mantras of the bourgeoisie. But beneath this thin veneer of hard learned, self-conscious and uneasy civility - lurks a beast of prey best characterized by the DSM IV-TR (Diagnostic and Statistical Manual): "Failure to conform to social norms with respect to lawful behavior, deceitfulness as indicated by repeated lying, use of aliases, or conning others to personal profit or pleasure, impulsivity or failure to plan ahead... reckless disregard for safety of self or others... (and above all) lack of remorse." (From the criteria of the Antisocial Personality Disorder). But perhaps the most intriguing portraits are those of the victims. Marge insists, in the face of the most callous and abusive behavior, that there is something "tender" in Greenleaf Jr. When she confronts the beguiling monster, Ripley, she encounters the fate of all victims of psychopaths: disbelief, pity and ridicule. The truth is too horrible to contemplate, let alone comprehend. Psychopaths are inhuman in the most profound sense of this compounded word. Their emotions and conscience have been amputated and replaced by phantom imitations. But it is rare to pierce their meticulously crafted facade. They more often than not go on to great success and social acceptance while their detractors are relegated to the fringes of society. Both Meredith and Peter, who had the misfortune of falling in deep, unrequited love with Ripley, are punished. One by losing his life, the other by losing Ripley time and again, mysteriously, capriciously, cruelly. Thus, ultimately, the film is an intricate study of the pernicious ways of psychopathology. Mental disorder is a venom not confined to its source. It spreads and affects its environment in a myriad surreptitiously subtle forms. It is a hydra, growing one hundred heads where one was severed. Its victims writhe and as abuse is piled upon trauma - they turn to stone, the mute witnesses of horror, the stalactites and stalagmites of pain untold and unrecountable. For their tormentors are often as talented as Mr. Ripley is and they are as helpless and as clueless as his victims are.

         
    The truman show

     

    "The Truman Show" is a profoundly disturbing movie. On the surface, it deals with the worn out issue of the intermingling of life and the media. Examples for such incestuous relationships abound: Ronald Reagan, the cinematic president was also a presidential movie star. In another movie ("The Philadelphia Experiment") a defrosted Rip Van Winkle exclaims upon seeing Reagan on television (40 years after his forced hibernation started): "I know this guy, he used to play Cowboys in the movies". Candid cameras monitor the lives of webmasters (website owners) almost 24 hours a day. The resulting images are continuously posted on the Web and are available to anyone with a computer. The last decade witnessed a spate of films, all concerned with the confusion between life and the imitations of life, the media. The ingenious "Capitan Fracasse", "Capricorn One", "Sliver", "Wag the Dog" and many lesser films have all tried to tackle this (un)fortunate state of things and its moral and practical implications. The blurring line between life and its representation in the arts is arguably the main theme of "The Truman Show". The hero, Truman, lives in an artificial world, constructed especially for him. He was born and raised there. He knows no other place. The people around him - unbeknownst to him - are all actors. His life is monitored by 5000 cameras and broadcast live to the world, 24 hours a day, every day. He is spontaneous and funny because he is unaware of the monstrosity of which he is the main cogwheel. But Peter Weir, the movie's director, takes this issue one step further by perpetrating a massive act of immorality on screen. Truman is lied to, cheated, deprived of his ability to make choices, controlled and manipulated by sinister, half-mad Shylocks. As I said, he is unwittingly the only spontaneous, non-scripted, "actor" in the on-going soaper of his own life. All the other figures in his life, including his parents, are actors. Hundreds of millions of viewers and voyeurs plug in to take a peep, to intrude upon what Truman innocently and honestly believes to be his privacy. They are shown responding to various dramatic or anti-climactic events in Truman's life. That we are the moral equivalent of these viewers-voyeurs, accomplices to the same crimes, comes as a shocking realization to us. We are (live) viewers and they are (celluloid) viewers. We both enjoy Truman's inadvertent, non-consenting, exhibitionism. We know the truth about Truman and so do they. Of course, we are in a privileged moral position because we know it is a movie and they know it is a piece of raw life that they are watching. But moviegoers throughout Hollywood's history have willingly and insatiably participated in numerous "Truman Shows". The lives (real or concocted) of the studio stars were brutally exploited and incorporated in their films. Jean Harlow, Barbara Stanwyck, James Cagney all were forced to spill their guts in cathartic acts of on camera repentance and not so symbolic humiliation. "Truman Shows" is the more common phenomenon in the movie industry. Then there is the question of the director of the movie as God and of God as the director of a movie. The members of his team - technical and non-technical alike - obey Christoff, the director, almost blindly. They suspend their better moral judgement and succumb to his whims and to the brutal and vulgar aspects of his pervasive dishonesty and sadism. The torturer loves his victims. They define him and infuse his life with meaning. Caught in a narrative, the movie says, people act immorally. (IN)famous psychological experiments support this assertion. Students were led to administer what they thought were "deadly" electric shocks to their colleagues or to treat them bestially in simulated prisons. They obeyed orders. So did all the hideous genocidal criminals in history. The Director Weir asks: should God be allowed to be immoral or should he be bound by morality and ethics? Should his decisions and actions be constrained by an over-riding code of right and wrong? Should we obey his commandments blindly or should we exercise judgement? If we do exercise judgement are we then being immoral because God (and the Director Christoff) know more (about the world, about us, the viewers and about Truman), know better, are omnipotent? Is the exercise of judgement the usurpation of divine powers and attributes? Isn't this act of rebelliousness bound to lead us down the path of apocalypse? It all boils down to the question of free choice and free will versus the benevolent determinism imposed by an omniscient and omnipotent being. What is better: to have the choice and be damned (almost inevitably, as in the biblical narrative of the Garden of Eden) - or to succumb to the superior wisdom of a supreme being? A choice always involves a dilemma. It is the conflict between two equivalent states, two weighty decisions whose outcomes are equally desirable and two identically-preferable courses of action. Where there is no such equivalence - there is no choice, merely the pre-ordained (given full knowledge) exercise of a preference or inclination. Bees do not choose to make honey. A fan of football does not choose to watch a football game. He is motivated by a clear inequity between the choices that he faces. He can read a book or go to the game. His decision is clear and pre-determined by his predilection and by the inevitable and invariable implementation of the principle of pleasure. There is no choice here. It is all rather automatic. But compare this to the choice some victims had to make between two of their children in the face of Nazi brutality. Which child to sentence to death - which one to sentence to life? Now, this is a real choice. It involves conflicting emotions of equal strength. One must not confuse decisions, opportunities and choice. Decisions are the mere selection of courses of action. This selection can be the result of a choice or the result of a tendency (conscious, unconscious, or biological-genetic). Opportunities are current states of the world, which allow for a decision to be made and to affect the future state of the world. Choices are our conscious experience of moral or other dilemmas. Christoff finds it strange that Truman - having discovered the truth - insists upon his right to make choices, i. e., upon his right to experience dilemmas. To the Director, dilemmas are painful, unnecessary, destructive, or at best disruptive. His utopian world - the one he constructed for Truman - is choice-free and dilemma-free. Truman is programmed not in the sense that his spontaneity is extinguished. Truman is wrong when, in one of the scenes, he keeps shouting: "Be careful, I am spontaneous". The Director and fat-cat capitalistic producers want him to be spontaneous, they want him to make decisions. But they do not want him to make choices. So they influence his preferences and predilections by providing him with an absolutely totalitarian, micro-controlled, repetitive environment. Such an environment reduces the set of possible decisions so that there is only one favourable or acceptable decision (outcome) at any junction. Truman does decide whether to walk down a certain path or not. But when he does decide to walk - only one path is available to him. His world is constrained and limited - not his actions. Actually, Truman's only choice in the movie leads to an arguably immoral decision. He abandons ship. He walks out on the whole project. He destroys an investment of billions of dollars, people's lives and careers. He turns his back on some of the actors who seem to really be emotionally attached to him. He ignores the good and pleasure that the show has brought to the lives of millions of people (the viewers). He selfishly and vengefully goes away. He knows all this. By the time he makes his decision, he is fully informed. He knows that some people may commit suicide, go bankrupt, endure major depressive episodes, do drugs. But this massive landscape of resulting devastation does not deter him. He prefers his narrow, personal, interest. He walks. But Truman did not ask or choose to be put in his position. He found himself responsible for all these people without being consulted. There was no consent or act of choice involved. How can anyone be responsible for the well-being and lives of other people - if he did not CHOOSE to be so responsible? Moreover, Truman had the perfect moral right to think that these people wronged him. Are we morally responsible and accountable for the well-being and lives of those who wrong us? True Christians are, for instance. Moreover, most of us, most of the time, find ourselves in situations which we did not help mould by our decisions. We are unwillingly cast into the world. We do not provide prior consent to being born. This fundamental decision is made for us, forced upon us. This pattern persists throughout our childhood and adolescence: decisions are made elsewhere by others and influence our lives profoundly. As adults we are the objects - often the victims - of the decisions of corrupt politicians, mad scientists, megalomaniac media barons, gung-ho generals and demented artists. This world is not of our making and our ability to shape and influence it is very limited and rather illusory. We live in our own "Truman Show". Does this mean that we are not morally responsible for others? We are morally responsible even if we did not choose the circumstances and the parameters and characteristics of the universe that we inhabit. The Swedish Count Wallenberg imperilled his life (and lost it) smuggling hunted Jews out of Nazi occupied Europe. He did not choose, or helped to shape Nazi Europe. It was the brainchild of the deranged Director Hitler. Having found himself an unwilling participant in Hitler's horror show, Wallenberg did not turn his back and opted out. He remained within the bloody and horrific set and did his best. Truman should have done the same. Jesus said that he should have loved his enemies. He should have felt and acted with responsibility towards his fellow human beings, even towards those who wronged him greatly. But this may be an inhuman demand. Such forgiveness and magnanimity are the reserve of God. And the fact that Truman's tormentors did not see themselves as such and believed that they were acting in his best interests and that they were catering to his every need - does not absolve them from their crimes. Truman should have maintained a fine balance between his responsibility to the show, its creators and its viewers and his natural drive to get back at his tormentors. The source of the dilemma (which led to his act of choosing) is that the two groups overlap. Truman found himself in the impossible position of being the sole guarantor of the well-being and lives of his tormentors. To put the question in sharper relief: are we morally obliged to save the life and livelihood of someone who greatly wronged us? Or is vengeance justified in such a case? A very problematic figure in this respect is that of Truman's best and childhood friend. They grew up together, shared secrets, emotions and adventures. Yet he lies to Truman constantly and under the Director's instructions. Everything he says is part of a script. It is this disinformation that convinces us that he is not Truman's true friend. A real friend is expected, above all, to provide us with full and true information and, thereby, to enhance our ability to choose. Truman's true love in the Show tried to do it. She paid the price: she was ousted from the show. But she tried to provide Truman with a choice. It is not sufficient to say the right things and make the right moves. Inner drive and motivation are required and the willingness to take risks (such as the risk of providing Truman with full information about his condition). All the actors who played Truman's parents, loving wife, friends and colleagues, miserably failed on this score. It is in this mimicry that the philosophical key to the whole movie rests. A Utopia cannot be faked. Captain Nemo's utopian underwater city was a real Utopia because everyone knew everything about it. People were given a choice (though an irreversible and irrevocable one). They chose to become lifetime members of the reclusive Captain's colony and to abide by its (overly rational) rules. The Utopia came closest to extinction when a group of stray survivors of a maritime accident were imprisoned in it against their expressed will. In the absence of choice, no utopia can exist. In the absence of full, timely and accurate information, no choice can exist. Actually, the availability of choice is so crucial that even when it is prevented by nature itself - and not by the designs of more or less sinister or monomaniac people - there can be no Utopia. In H. G. Wells' book "The Time Machine", the hero wanders off to the third millennium only to come across a peaceful Utopia. Its members are immortal, don't have to work, or think in order to survive. Sophisticated machines take care of all their needs. No one forbids them to make choices. There simply is no need to make them. So the Utopia is fake and indeed ends badly. Finally, the "Truman Show" encapsulates the most virulent attack on capitalism in a long time. Greedy, thoughtless money machines in the form of billionaire tycoon-producers exploit Truman's life shamelessly and remorselessly in the ugliest display of human vices possible. The Director indulges in his control-mania. The producers indulge in their monetary obsession. The viewers (on both sides of the silver screen) indulge in voyeurism. The actors vie and compete in the compulsive activity of furthering their petty careers. It is a repulsive canvas of a disintegrating world. Perhaps Christoff is right after al when he warns Truman about the true nature of the world. But Truman chooses. He chooses the exit door leading to the outer darkness over the false sunlight in the Utopia that he leaves behind.

         
    The wonderful animated world of disney movies

     

    Even though Walt Disney has produced myriad movies, it is more popular for its animated ones. After starting the animated journey with 'Snow White and the Seven Dwarfs' in the winter of 1937, Disney movies have not looked back. One can obtain a list of more than 150 animated movies that have been produced and distributed to add to the joy of children across the world. After a certain age, kids grow out of Sesame Street, Tellytubbies and BooBaahs. At this time the next level of entertainment that attracts them generally are the Walt Disney movies that appeal to a slightly older age group. The great thing about these movies, which has probably led to the huge popularity of the animated movies, is the fact that they appeal to adults and children alike. A mother does not mind sitting through a Disney movie with her child but an episode of Tellytubbies can be wearisome. To the uninitiated, it may be a surprise that each Disney movie comes accompanied with a movie book. These books are published under the ‘Mouse Works’ banner and contain a simple version of the story. This can help in encouraging children to not only see the movie but also to read books, which hopefully will extend to other forms of reading at some time. Though the company is proud of all its movie productions, some of them have attained the stature of ‘classics’ based on their popularity. Abound with simple, yet meaningful songs these movies can expose the child to emotions, morals and ways of the world while telling a story. Toddlers seem to enjoy the light evilness of some of the characters like the witch in Snow White and Cruella De Vil in the 101 Dalmatians. Alternately, some of the most endearing characters that Walt Disney movies have created are Tramp in The Lady and the Beast in Beauty and the Beast. But most of the leading characters in inspire awe and amazement aided by the color, grandeur and dazzle. Some of the Walt Disney films that have become all time favorites of most kids are The Lion King, Toy Story, Aladdin, Beauty and the Beast, The Jungle Book, The little Mermaid, Sleeping Beauty, Lady and the Tramp, Cinderella and of course Snow White and the Seven Dwarfs. Some of the less known but equally enticing movies are the sequels to the Lion King, Dumbo, Lilo and Stitch, Pooh Bear and the Kim Possible series. In spite of the high levels of endearment that the movies enjoy among most people, there are rumors galore about how there are countless hidden references to perverted things in the animated movies. The most known references are made to the tower on the cover of The Little Mermaid that resembles the male genitalia, the apparent erection of the priest in the wedding scene of the same movie and the dust taking the form of the word ‘sex’ in The Lion King. Hearsay has it that Donald Duck has used vulgar words umpteen times during angry outbreaks. Some opine that these subtle references have become a tradition at the film studios. This tradition started due to the fact that Walt Disney did not assign relevant credits to the creative animators. These animators, then, took to including hidden codes in the animation scenes to get back. One such example is that of the shorts that Goofy wears. If you look close enough, you will probably see names of artists written on these shorts. Though the given instance seems possible, the inclusion of debauchery in the animated Disney movies is debatable and it remains a question as to whether it is a fact or the Rorschach effect.

         
    They shoot horses horses in motion pictures

     

    Notwithstanding Rin Can Tin can and The Thin Man series' Asta, the positron emission tomography film achieved its canine calvary in the Lassie movies. Its feline apotheosis came in That Darn Computerized tomography. (1965) and its porcine pinnacle in Babe (1995). The finest PET film of wholly, meanwhile, is Ken Loach's Kes (1969), the story of a working-class English youth whose miserable existence is briefly illuminated when he heals and trains a wounded falcon. The movie theater's about enduring pets, though, ar neither flesh and blood nor animatronic. In the Hanna-Barbera cartoons executive-produced by Fred Quimby at MGM 'tween 1940 and 1957, the brutal domestic skirmishes of Turkey cock and Kraut achieved a transcendent visual harmony that has never been equalled. No matter however many multiplication Krauthead, atop a model locomotive, mightiness bear down on Gobbler (squirming on the railroad track wish a silent moving picture heroine), or many modern times Tom turkey power cause Boche to shatter care a vase, at that place is as practically death-defying love as in that location is hate betwixt computerized tomography and mouse. Their violent, obsessive codependency, largely uninterrupted by world and requiring no dialogue, is almost matched by that of Sylvester and Tweety, and yet this duo's was an unfair interaction that left the judicious viewer wondering, Why, oh, why couldn't that ugly lisping computed tomography just for one time sink his teeth into his sanctimonious fiddling partner's neck. Like the tragic Wile E. Coyote, Sylvester is one of Hollywood's great losers, the Sisyphu s of pusses, doomed forever to roll metaphorical rocks up hills. Such cinematic indignities less easily visited on nondomesticated animals, whose wildness invariably evokes a state of grace that human race--those in King Kong (1933) and the John Huston-similar elephant hunter played by Clint Eastwood in White Hunter, Blackness Heart (1990), for instance--can only destroy. But even humanity rich person barely challenged the mystical hegemony of the Equus caballus, the noblest and almost filmable of animals, and the all but ritualistically solemnifled in movie house. (An exception being the collapsible nag ridden by Lee Marvin in 1965's Computed tomography Ballou.) It was horses, of course, that originally put the movement in move pictures: Model T Fords looked ungainly and locomotives cumbersome, and both looked slow beside the horses that carried the outlaws in The Great Train Robbery (1903) and the Klansmen in The Birth of a Nation (1915). The authenticity of the Western depended on horses more than any other factor, as, indeed, the settling of the West had done, though it took B Westerns to shuffle stars of such reliable four-legged friends as Trigger, Topper, and Champion. Rudyard Kipling in one case wrote, "4 things greater than things / Women and Horses and Might and Warfare," a sentiment partly echoed by Harry Ferdinand Julius Cohn, astute boss of Columbia University Pictures until 1958, who said that movies "about" horses and women (except that the ill-mannered used an unprintable term for the latter). He surely would wealthy person approved of Sony Pictures (Capital of South Carolina's current incarnation) opening Kim Basinger and Elisabeth Shue pictures and Charlie's Angels alongside two cavalry dramas in 2000. Set in Namibia, next month's Running Free, directed by Sergei Bodrov and produced by Jean-Jacques Annaud (The Bear, 1989), promises to be a handsome horse cavalry-and-boy saga in the mold of The Black person Stallion (1979). In the fall comes Billy Bob Thornton's All the Pretty Horses, which, if it satisfactorily renders Cormac McCarthy's coming-of-age novel, should reek nicely of remudas, leather, dung, and cowboy sweat. It's asking too a lot, perhaps, that it should smell a footling of Red River (1948), the greatest and nearly adult of operas.

         
     
         
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