Meanwhile,
Considering how slim the actual book was, Peter Jackson sure has taken his sweet-ass time getting to the end of The Hobbit.
It's starting to feel like we're witnessing the events of Middle-earth
unfold in real time. Still, it's a testament to his skill as a
big-canvas storyteller that we keep coming back, hungry for more. He's
managed to orchestrate the three-part saga like the world's canniest D&D-dungeon
master. When we last left off, our pint-size heroes had just unleashed
the Cumberbatchian wrath of the dragon Smaug. Seventy-seven-year-old
spoiler alert: The fire-breathing beastie is offed by Bard (Luke Evans),
which allows the dwarves to return to the mountain keep of Erebor.
There, untold piles of gold and priceless baubles are tucked away, the
promise of which soon turns the dwarf ringleader Thorin (Richard
Armitage) into a blindly greedy monster not unlike Humphrey Bogart in The Treasure of the Sierra Madre.
Everybody wants a cut of the spoils—the elves, the orcs, a pig-riding
Billy Connolly. And they all descend on Erebor armed to the teeth and
itching for a battle royal.
Like everything else in Jackson's Tolkienland, the buildup to the
climactic melee stretches on too long. But when it comes, it's a doozy.
Maybe not on the same epic scale as The Two Towers' Battle of
Helm's Deep, but a doozy nonetheless. It packs a giddy blast of
childlike wonder and chin-in-your-lap awe. While more than enough praise
has been poured on Jackson and his singular gift for CG spectacle,
Martin Freeman deserves some credit for lending humor and humanity to
what could have been a numbing orgy of pixelated mayhem. His
furry-footed Bilbo has been the trilogy's secret weapon, the beating
heart behind the blockbuster. And as Bilbo finally settles in at the
Shire with a good book and a whopper of a tale to tell, he can rest easy
knowing that he will be missed
Sunday, December 28, 2014
Friday, December 12, 2014
&**#$ BEAT THE ACTION : "The Hunger Games: Mockingjay - Part 1 (2014)" Movie
Review of The Hunger Games: Mockingjay - Part 1, Find great news of The Hunger Games: Mockingjay - Part 1, Feel free to watch The Hunger Games: Mockingjay - Part 1, available now for The Hunger Games: Mockingjay - Part 1, great deal of The Hunger Games: Mockingjay - Part 1
Movie Info
The worldwide phenomenon of The Hunger Games continues to set the
world on fire with The Hunger Games: Mockingjay - Part 1, which finds
Katniss Everdeen (Jennifer Lawrence) in District 13 after she literally
shatters the games forever. Under the leadership of President Coin
(Julianne Moore) and the advice of her trusted friends, Katniss spreads
her wings as she fights to save Peeta (Josh Hutcherson) and a nation
moved by her courage. The Hunger Games: Mockingjay - Part 1 is directed
by Francis
Lawrence from a
screenplay by Danny Strong and Peter Craig and produced by Nina
Jacobson's Color Force in tandem with producer Jon Kilik. The novel on
which the film is based is the third in a trilogy written by Suzanne
Collins that has over 65 million copies in print in the U.S. alone. (c)
Lionsgate
- Rating:
- PG-13 (for intense sequences of violence and action, some disturbing images and thematic material)
- Genre:
- Drama , Action & Adventure , Science Fiction & Fantasy
- Directed By:
- Francis Lawrence (II) , Francis Lawrence
- Written By:
- Danny Strong , Peter Craig
- In Theaters:
- Nov 21, 2014 Wide
- US Box Office:
- $258.2M
- Runtime:
- The movie starts from where it left in its last outing , Catching
Fire. Katniss ( now in district 13 after district 12 was destroyed by
the capitol ( Hey it's not a spoiler, they mentioned it in Catching Fire
) ,is haunted by the experience she had in the 75th Hunger Games where
Peeta and the other tributes were taken hostage by the Capitol. The
district 13 , lead by President Coin asks Katniss to be the face of the
rebellion as The Mockingjay against the Capitol. Katniss accepts the
offer on the condition of saving Peeta and the other tributes and giving
them pardon if they succeed to free them. What follows next is how
Katniss suffers emotional breakdowns as she sees the districts being
taken down and then becomes the face of the rebellion and inspires the
other districts to fight with her. The movie ends at the climax
which leaves you hungry for the part 2. - The climax sets the tone of the Final War that is about to come .
*For those who read the book, you know what I mean in that Peeta part*
Jennifer Lawrence(Katniss Everdeen) keeps getting better and better. Josh Hutcherson ( Peeta Mellark) steals the show. Liam Hemsworth ( Gale ) gets more screen time and ably supports Katniss is her fight against the Capitol. Donald Sutherland ( President Snow ) and Philip Hoffman ( Pluatarch Heavensbee ) along with Julliane Moore ( President Coin) portrays their roles perfectly.
And Haymitch and Effie provides some moments of humour in this movie which is set on a much darker tone than it's previous outings.
TIME TO Mockingjay Improve Upon Hunger Games Catching Fire Movie
The Hunger Games series of novels by Suzanne Collins, many fans are
wondering if it will be a significant improvement over the second film,
Catching Fire.
Slow Start Reduced Catching Fire Appeal
One of the glaring (albeit unavoidable) weaknesses of the middle installment of the movies trilogy is the somewhat plodding start - with a very long stretch at the beginning with little to no action at all. Was it entirely necessary to spend so much time on the development of the Katniss / Gale relationship? Did the tour scenes have to take so long? Could they have wrapped more of the incidents at the various districts into fewer scenes? Ultimately the director's decision was to add in the necessary character and background environment more deliberately than with subtlety - and hence we were left with the rather dull start to Catching Fire.
In the coming film Mockingjay, we begin where we left off from the prior movie - with the revolution all but underway - Katniss, Finnick, Beetee and company squirreled away from the arena, underground, and away from the prying eyes of President Snow. I won't give away the plot here, but clearly District 12 doesn't fair well when faced with the wrath of President Snow.
Revolution the Theme of The Hunger Games' Mockingjay
The third film (the first of two films covering the content of Collins' third novel) will almost certainly be filled with action start to finish - much more along the lines of the initial movie, The Hunger Games. Far fewer relevant characters are introduced in Mockingjay, leaving the director a great deal more time to spend in delivering plot and action. Clearly it is the requisite character introduction and relationship development from the 75th games which caused a great deal of the issues with the slow pace of Catching Fire. We could not have the partnerships between characters Finnick, Johanna, Beetee, Wiress, Peeta, and Katniss we see in film three without the necessary (although sometimes cumbersome) bonding and relationship development done in movie two.
Plot Surprises to Come in The Hunger Games
While nearly everyone finds themselves wrapped up in the day-to-day drama of Katniss Everdeen, her love triangle with Peeta and Gale, and the horror of the Games themselves - there is actually a bigger picture developing. Katniss and the 75th Quarter Quell survivors find themselves in mysterious (and thought to be destroyed) District 13 - which has its own political ambitions and problems. The story is as old as the cliché - be careful what you wish for... you may get it. I think one thing we can be certain of - and that is the third picture in this series will be a lot faster paced than the previous one.
http://bestenterpreneurinfos.blogspot.com/2014/12/awesome-movie-report-theory-of.html
http://bestenterpreneurinfos.blogspot.com/2014/12/beat-action-hunger-games-mockingjay.html
Slow Start Reduced Catching Fire Appeal
One of the glaring (albeit unavoidable) weaknesses of the middle installment of the movies trilogy is the somewhat plodding start - with a very long stretch at the beginning with little to no action at all. Was it entirely necessary to spend so much time on the development of the Katniss / Gale relationship? Did the tour scenes have to take so long? Could they have wrapped more of the incidents at the various districts into fewer scenes? Ultimately the director's decision was to add in the necessary character and background environment more deliberately than with subtlety - and hence we were left with the rather dull start to Catching Fire.
In the coming film Mockingjay, we begin where we left off from the prior movie - with the revolution all but underway - Katniss, Finnick, Beetee and company squirreled away from the arena, underground, and away from the prying eyes of President Snow. I won't give away the plot here, but clearly District 12 doesn't fair well when faced with the wrath of President Snow.
Revolution the Theme of The Hunger Games' Mockingjay
The third film (the first of two films covering the content of Collins' third novel) will almost certainly be filled with action start to finish - much more along the lines of the initial movie, The Hunger Games. Far fewer relevant characters are introduced in Mockingjay, leaving the director a great deal more time to spend in delivering plot and action. Clearly it is the requisite character introduction and relationship development from the 75th games which caused a great deal of the issues with the slow pace of Catching Fire. We could not have the partnerships between characters Finnick, Johanna, Beetee, Wiress, Peeta, and Katniss we see in film three without the necessary (although sometimes cumbersome) bonding and relationship development done in movie two.
Plot Surprises to Come in The Hunger Games
While nearly everyone finds themselves wrapped up in the day-to-day drama of Katniss Everdeen, her love triangle with Peeta and Gale, and the horror of the Games themselves - there is actually a bigger picture developing. Katniss and the 75th Quarter Quell survivors find themselves in mysterious (and thought to be destroyed) District 13 - which has its own political ambitions and problems. The story is as old as the cliché - be careful what you wish for... you may get it. I think one thing we can be certain of - and that is the third picture in this series will be a lot faster paced than the previous one.
http://bestenterpreneurinfos.blogspot.com/2014/12/awesome-movie-report-theory-of.html
http://bestenterpreneurinfos.blogspot.com/2014/12/beat-action-hunger-games-mockingjay.html
!#Awesome Movie Report : THE THEORY OF EVERYTHING MOVIE
Imagine a brilliant young man- having the glory of a cosmological
inquisitive mind and the great privilege of being educated in one of the
world's great institutions of learning-at Cambridge- and finding
himself in love with a young female student who is in love with him --
and getting ready to embark on a stellar career... suddenly finding that
his future may well be sealed by a cruel Motor Neuron Disease that the
doctors predict will end his life within two years. Who of us would have
the stuff to turn that fate into one of the great triumphs of love and
genius?
Well, in this film we see how that could come to pass. We watch Eddie Redmayne (in the role of Stephen Hawking) adapt himself to a disease that most cannot survive: he goes from stumbling:... to balancing on one cane... to acquiring the aid of two... to then worsening to a motorized wheel chair... until he has-- on top of all- a speech synthesizer, which allows him-as few could ever find the strength to do- to write popular tomes and speak to the masses on his findings regarding his long sought ambition to set forth The Theory of Everything in The Universe.
There's no question in my mind that-- as I watched the navigations of the actor, Eddie Redmayne-- I was truly witnessing how Stephen Hawking was doing it. But without the love and almost superhuman dedication of his wife to Hawking's welfare, he scarcely would have succeeded. You can feel her love and courage throughout every scene in this beautiful film. In real life she is Jane Hawking- played by Felicity Jones. Her role's fulfilled with a truthfulness that makes films work.
Felicity Jones and Eddie Redmayne are made for each other as this film rolls. Even as I drove on the road after leaving the theater, I could still sense the emotion I had felt as I viewed their roles. There is so much to think about: Watching someone with Lou Gehrig's Disease flourish with the marriage these two achieve- along with the three kids that they're able to bear--- and watching, too, the harsh pressure that Jane Hawking endures -- as she focuses on her family and the career, which she wished to pursue... and how all of that turns out... is something that leaves one with immense admiration for both of these actors-- as well as the director and the screen writer who made this movie come to life.
James Marsh, as the director, forms each scene in a conscious desire to make the plot evolve in a tasteful manner- even though the lives of these two people do not flow as ready-made fairy tale. The writer, Anthony McCarten, took the words of the real Jane Hawking's memoirs, and created a tale that gives us the essence of the romance and stark challenge that their lives must have borne. Others helped them greatly. David Thewlis, who plays Dennis Sciamo, the professor, who's helpful as his doctoral advisor and later calls himself Hawking's good friend, does solid work. It is quite touching to see him rejoicing as Hawking goes from Cambridge hero to international cosmos celebrity. Charlie Cox, who plays the choir master and organist- who's grieving his own loss-generously becomes part of the Hawking family and then later becomes more than a friend to Jane Hawking. Even though friends fear what seems to be taking place, the denouement is handled well.
There is a majesty about the filming that presents the lives and events of these folks with a background that is never tawdry. Credit for this achievement goes to Benoist Delhomme, the cinematographer. I seemed to feel the presence of the music score off and on, which-- to my mind-- made it a welcome warm inclusion. Johann Johannson gets a lot of praise for this.
Later on-for Hawking's day care-- a new attendant, played by Maxine Peake-in the role of Elaine Mason-- takes charge. Her fresh attentiveness and devotion to Steve Hawking becomes a welcome and then challenging sequel to the Hawking's marriage. But, here, again, I didn't feel it was handled other than as part of a new sympathetic development.
... But why the title, THE THEORY OF EVERYTHING? Could it be that-really... over and above the unique cosmological work that Hawking did-- there was the truth that love and courage in the face of a cruel fate is really what all things human are really built upon. Would it really change a jot or tittle of our beings if what Steve found IS the theory of everything? Do any of men act or live differently since it was found that the earth is no longer the center of the Universe? Will human nature ever improve----regardless of genius involved-- with mathematical knowledge and great insights? Nevertheless, with a movie like this we see that the real "everything" is that EMOTION WINS. And that is the very thing that gives us the experiences that we go to the movies for.
Here, also, you might want to see a film that will surely get some Academy Award recognition. Based on my own ranking determinance, it gets an EIGHT.
Well, in this film we see how that could come to pass. We watch Eddie Redmayne (in the role of Stephen Hawking) adapt himself to a disease that most cannot survive: he goes from stumbling:... to balancing on one cane... to acquiring the aid of two... to then worsening to a motorized wheel chair... until he has-- on top of all- a speech synthesizer, which allows him-as few could ever find the strength to do- to write popular tomes and speak to the masses on his findings regarding his long sought ambition to set forth The Theory of Everything in The Universe.
There's no question in my mind that-- as I watched the navigations of the actor, Eddie Redmayne-- I was truly witnessing how Stephen Hawking was doing it. But without the love and almost superhuman dedication of his wife to Hawking's welfare, he scarcely would have succeeded. You can feel her love and courage throughout every scene in this beautiful film. In real life she is Jane Hawking- played by Felicity Jones. Her role's fulfilled with a truthfulness that makes films work.
Felicity Jones and Eddie Redmayne are made for each other as this film rolls. Even as I drove on the road after leaving the theater, I could still sense the emotion I had felt as I viewed their roles. There is so much to think about: Watching someone with Lou Gehrig's Disease flourish with the marriage these two achieve- along with the three kids that they're able to bear--- and watching, too, the harsh pressure that Jane Hawking endures -- as she focuses on her family and the career, which she wished to pursue... and how all of that turns out... is something that leaves one with immense admiration for both of these actors-- as well as the director and the screen writer who made this movie come to life.
James Marsh, as the director, forms each scene in a conscious desire to make the plot evolve in a tasteful manner- even though the lives of these two people do not flow as ready-made fairy tale. The writer, Anthony McCarten, took the words of the real Jane Hawking's memoirs, and created a tale that gives us the essence of the romance and stark challenge that their lives must have borne. Others helped them greatly. David Thewlis, who plays Dennis Sciamo, the professor, who's helpful as his doctoral advisor and later calls himself Hawking's good friend, does solid work. It is quite touching to see him rejoicing as Hawking goes from Cambridge hero to international cosmos celebrity. Charlie Cox, who plays the choir master and organist- who's grieving his own loss-generously becomes part of the Hawking family and then later becomes more than a friend to Jane Hawking. Even though friends fear what seems to be taking place, the denouement is handled well.
There is a majesty about the filming that presents the lives and events of these folks with a background that is never tawdry. Credit for this achievement goes to Benoist Delhomme, the cinematographer. I seemed to feel the presence of the music score off and on, which-- to my mind-- made it a welcome warm inclusion. Johann Johannson gets a lot of praise for this.
Later on-for Hawking's day care-- a new attendant, played by Maxine Peake-in the role of Elaine Mason-- takes charge. Her fresh attentiveness and devotion to Steve Hawking becomes a welcome and then challenging sequel to the Hawking's marriage. But, here, again, I didn't feel it was handled other than as part of a new sympathetic development.
... But why the title, THE THEORY OF EVERYTHING? Could it be that-really... over and above the unique cosmological work that Hawking did-- there was the truth that love and courage in the face of a cruel fate is really what all things human are really built upon. Would it really change a jot or tittle of our beings if what Steve found IS the theory of everything? Do any of men act or live differently since it was found that the earth is no longer the center of the Universe? Will human nature ever improve----regardless of genius involved-- with mathematical knowledge and great insights? Nevertheless, with a movie like this we see that the real "everything" is that EMOTION WINS. And that is the very thing that gives us the experiences that we go to the movies for.
Here, also, you might want to see a film that will surely get some Academy Award recognition. Based on my own ranking determinance, it gets an EIGHT.
WATCH NOW The Homesman - A New Film Report
Territory around eighteen-fifty - how young women went crazy from the
loss of their children from the harsh elements -- or how they lost a
mom that their husband had to drag out in the coldest weather with
scarcely a decent burial - or how a mom had to dispose of a child--
who's starving -- by pitching him into a hole in the outhouse- I find it
hard to grieve their grief. These hurts are horrible, yet we've seen so
much bad in our round-the-world coverage -- twenty-four-hours-a-day --
that such trials don't sink in.
It's a shame it's gotten to this, but we must have a well-wrought story with that brand of dialogue that makes us cry- or grants us empathy that turns us from someone who isn't touched to one who is. And then our emotions creep upon us and we are hooked and caught in the film's web. Instead: in this film, we see some folks suffering while others try to do just things; but all through the haze of it we're not caught in its spell.
Hilary Swank plays a thirty-one year old brave settler in a scratch of a town called Loup. She's from New York but has ventured out in this far Hell and had some success acquiring land, building a house, farming with her mules and horses, and sustaining herself to build up pride as well as some town folk's respect. But she hankers to wed, and being a plain hardscrabble woman, she's not asking for the perfect fellow. Yet each time she bridges the theme to the man before her, she gets a "No" answer.
Then Fate offers her something else when the town's Reverent Alfred Dowd, played by John Lithgow, asks for a "homesman" who will conduct three insane young women eastward to Iowa where they'll receive help to get them back to where they can live life sanely. None of the men will volunteer for the arduous five week's journey through winter's hardship as well as Indian butchery or capture. Swank's character, Mary Bee Cuddy, says she will do it. People scoff, but admit that she is as tough as men for the job.
As she's about to set off with the three demented women in a make-shift jail of a carriage wagon, she discovers a guy sitting on his horse with a rope around his neck. One move of the horse: and the fellow will be hanged. She bargains with him-- he's George Briggs-- played by Tommy Lee Jones. Her deal is: she cuts the rope, and he gets roped into the journey with her and the female cargo inside. Now begins the essence of the film and the difficult acquaintanceship it breeds.
Certainly the bigger-than-man awesome elements they see and endure are quite impressive and worth witnessing. But am I really hooked in to all of their plights? Maybe two: a fight between an intruder who tries to entice one mad woman... and a tense scene between a group of Indians... but that really isn't enough to keep me in the challenge here.
Towards the third quarter or so of the film, there is a laconic romantic-less scene between George Briggs and Miss Mary Bee Cuddy. It has no pulse and scant meaning. And then the surprise scene that follows really turned me into a psychiatrist- want to-be--as I tensed my brain to understand how such a thing could have happened. Were the screen writers-all three: Wesley Oliver, Tommy Lee Jones and Kieran Fitzgerald playing tricks with gullibility? It was baffling. And from there the final lap of the trip is readily secured.
Finally, George brings the ladies to the place where Altha Carter (played by Meryl Streep) greets them warmly. The few minutes when Tommy Lee Jones and Meryl Streep communicate are probably the most moving (to me) in the whole film. Here are two people-far apart on the spiritual scale-- bringing to each other's inner grasp of rightness a palpable achievement-sense. How amazing it is when two great actors are given a script at the part of the tale that needs closure; and they do what's needed!
I say again and again, that we go to the movies to experience a plot that holds us for two hours. That's really all we ask. We do not want to be reminded of how hard life was on the Nebraska plains. We are okay with the brilliant scenes photographed by Rodrigo Prieto. There's great talent in that. But everything's secondary to what the story is. Once it's over, we get up and get on with our day's life. If it's an early film, we may go to dinner. If it's later, we just go home. If the film shows something we can talk about, we'll surely enjoy doing that, too. But if--after seeing a picture like this-all we can do is try to sort out the confused feelings we have--instead of praising the overall effect of it-- then there's the sense that the opportunity of hearing-seeing a great story is lost among all the effort that went in it. Tommy Lee Jones-besides his co-starring and co-writing--was the film's director. My grade for all that effort: SIX.
It's a shame it's gotten to this, but we must have a well-wrought story with that brand of dialogue that makes us cry- or grants us empathy that turns us from someone who isn't touched to one who is. And then our emotions creep upon us and we are hooked and caught in the film's web. Instead: in this film, we see some folks suffering while others try to do just things; but all through the haze of it we're not caught in its spell.
Hilary Swank plays a thirty-one year old brave settler in a scratch of a town called Loup. She's from New York but has ventured out in this far Hell and had some success acquiring land, building a house, farming with her mules and horses, and sustaining herself to build up pride as well as some town folk's respect. But she hankers to wed, and being a plain hardscrabble woman, she's not asking for the perfect fellow. Yet each time she bridges the theme to the man before her, she gets a "No" answer.
Then Fate offers her something else when the town's Reverent Alfred Dowd, played by John Lithgow, asks for a "homesman" who will conduct three insane young women eastward to Iowa where they'll receive help to get them back to where they can live life sanely. None of the men will volunteer for the arduous five week's journey through winter's hardship as well as Indian butchery or capture. Swank's character, Mary Bee Cuddy, says she will do it. People scoff, but admit that she is as tough as men for the job.
As she's about to set off with the three demented women in a make-shift jail of a carriage wagon, she discovers a guy sitting on his horse with a rope around his neck. One move of the horse: and the fellow will be hanged. She bargains with him-- he's George Briggs-- played by Tommy Lee Jones. Her deal is: she cuts the rope, and he gets roped into the journey with her and the female cargo inside. Now begins the essence of the film and the difficult acquaintanceship it breeds.
Certainly the bigger-than-man awesome elements they see and endure are quite impressive and worth witnessing. But am I really hooked in to all of their plights? Maybe two: a fight between an intruder who tries to entice one mad woman... and a tense scene between a group of Indians... but that really isn't enough to keep me in the challenge here.
Towards the third quarter or so of the film, there is a laconic romantic-less scene between George Briggs and Miss Mary Bee Cuddy. It has no pulse and scant meaning. And then the surprise scene that follows really turned me into a psychiatrist- want to-be--as I tensed my brain to understand how such a thing could have happened. Were the screen writers-all three: Wesley Oliver, Tommy Lee Jones and Kieran Fitzgerald playing tricks with gullibility? It was baffling. And from there the final lap of the trip is readily secured.
Finally, George brings the ladies to the place where Altha Carter (played by Meryl Streep) greets them warmly. The few minutes when Tommy Lee Jones and Meryl Streep communicate are probably the most moving (to me) in the whole film. Here are two people-far apart on the spiritual scale-- bringing to each other's inner grasp of rightness a palpable achievement-sense. How amazing it is when two great actors are given a script at the part of the tale that needs closure; and they do what's needed!
I say again and again, that we go to the movies to experience a plot that holds us for two hours. That's really all we ask. We do not want to be reminded of how hard life was on the Nebraska plains. We are okay with the brilliant scenes photographed by Rodrigo Prieto. There's great talent in that. But everything's secondary to what the story is. Once it's over, we get up and get on with our day's life. If it's an early film, we may go to dinner. If it's later, we just go home. If the film shows something we can talk about, we'll surely enjoy doing that, too. But if--after seeing a picture like this-all we can do is try to sort out the confused feelings we have--instead of praising the overall effect of it-- then there's the sense that the opportunity of hearing-seeing a great story is lost among all the effort that went in it. Tommy Lee Jones-besides his co-starring and co-writing--was the film's director. My grade for all that effort: SIX.
FLIXX Cinema - Our Time Machine
Films of that era clearly capture
intimately the reality of street scenes through minimal special effects,
dialogue, and music. It's never, ever about the movie itself. It's a
mirror how we see ourselves in a bygone era, a coming of age, a
certain-nostalgia, perhaps a hint of Portuguese fado. It's about putting
ourselves in the movie amongst the characters because whatever the era,
our real life was just as much a part of it as the actors were in 'reel
life.'
Boomers focus more not on the movie characters rather on the back-drop -the fashion and the street scenes that fill in the memory gap about how they looked, how they felt, how it once was. Bygone era movies are a tremendous convenience because we can travel back in time, at least in our minds, to refresh our memories.
Films of the 20th century area a reminder where we were, what we did, the daily rituals we had - high school, friends who some are still with us and others who passed too soon - and our elders and how they looked back then. There are those who were not fans of disco but the music evoked a unique, narrow tranche of time, the feel of the era, when NYC was both exciting and truly dangerous, - a dynamic dystopia. It makes them feel proud to be a survivor and acquiring a special mental toughness which explains why a certain generation was, is and will always be forever on red alert before the government designated colors to tell us how to feel.
For example, during the 1970s such violent and jarring films like Taxi Driver, the French Connection, the 7 Ups and a plethora of others, are a reminder that you can almost smell the pungent dog poo baking on the Naked City sidewalk in summer before the pooper-scooper laws. That gritty visual taste of impending danger made was cinema verite - raw, unfiltered - at its best. No embellishments were required. It was WYSIWYG (what you see is what you get) cinema.
Some of today's directors have tried to recreate that bygone atmosphere through such short-lived TV series called "Life on Mars" in which a 21st century cop finds himself in 1970s NYC. However they've failed miserably. The program's overall aesthetic was accurate but the characters on the street looked more like models in a fashion show rather than warrior on a battlefield and the illusion of danger was laughable.
Today's cinema makes extensive use of special effects on the green screen which produces stunning visuals. On the other hand, these films don't capture enough of the real-life street scenes of today which will be lost - as spoken eloquently in the sci-fi film noir Blade Runner (1982) - "like tears in rain" - faux memories that look and even feel real but are manufactured. Future generations will view an urban scene in a movie in a way the director wants the audience to see it, not how it really was. It's an unintentional form of cinematic revisionist history - a great short term arrangement but a distortion of reality and a liar of history.
Boomers focus more not on the movie characters rather on the back-drop -the fashion and the street scenes that fill in the memory gap about how they looked, how they felt, how it once was. Bygone era movies are a tremendous convenience because we can travel back in time, at least in our minds, to refresh our memories.
Films of the 20th century area a reminder where we were, what we did, the daily rituals we had - high school, friends who some are still with us and others who passed too soon - and our elders and how they looked back then. There are those who were not fans of disco but the music evoked a unique, narrow tranche of time, the feel of the era, when NYC was both exciting and truly dangerous, - a dynamic dystopia. It makes them feel proud to be a survivor and acquiring a special mental toughness which explains why a certain generation was, is and will always be forever on red alert before the government designated colors to tell us how to feel.
For example, during the 1970s such violent and jarring films like Taxi Driver, the French Connection, the 7 Ups and a plethora of others, are a reminder that you can almost smell the pungent dog poo baking on the Naked City sidewalk in summer before the pooper-scooper laws. That gritty visual taste of impending danger made was cinema verite - raw, unfiltered - at its best. No embellishments were required. It was WYSIWYG (what you see is what you get) cinema.
Some of today's directors have tried to recreate that bygone atmosphere through such short-lived TV series called "Life on Mars" in which a 21st century cop finds himself in 1970s NYC. However they've failed miserably. The program's overall aesthetic was accurate but the characters on the street looked more like models in a fashion show rather than warrior on a battlefield and the illusion of danger was laughable.
Today's cinema makes extensive use of special effects on the green screen which produces stunning visuals. On the other hand, these films don't capture enough of the real-life street scenes of today which will be lost - as spoken eloquently in the sci-fi film noir Blade Runner (1982) - "like tears in rain" - faux memories that look and even feel real but are manufactured. Future generations will view an urban scene in a movie in a way the director wants the audience to see it, not how it really was. It's an unintentional form of cinematic revisionist history - a great short term arrangement but a distortion of reality and a liar of history.
Copyright Indo-Brazilian Associates LLC 2014. All rights reserved.
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Thursday, December 11, 2014
Better %#, Accounting Development in Third World Countries
Among these third world countries most of them have similar
characteristics such as their low living standard for the vast majority
of their populations, high levels of unemployment, and the governments
tend to be more authoritarian opposed to a democratic approach. By the
eighties it was well accepted that the Third World was no longer a
single economic unit and at least four groups were distinguishable -
OPEC member countries, Newly Industrialized Countries (NICs), Middle
Developing Countries (MDCs) and Least Developing Countries (LDCs). These
are evident from the literature dealing with third world countries
(Zakari, M. 2013). The third world countries were placed in these four
categories depending on their population density, per capita income,
natural resources, economic development, exports, and economic
dependency versus economic diversification. Characteristics of LDCs have
a negative effect on their economic integrity; therefore, they are
forced to alter their financial policies related to accounting practice
that may impose certain constraints and restrictions towards specific
opportunities.
It was found that the high-income oil exporting third world countries are able to maintain a fairly modernized accounting system due to their ease of affordability for modern computers, foreign exports, and other elements needed for a quick conversion. All oil dependent third world countries are directly involved and jointly owned by various multinational enterprises and governments of foreign countries such as the USA, UK, France, and the Netherlands. These companies virtually control the entire oil industry as well as pioneering organizations and they ultimately introduce new modern accounting systems in these third world countries. Due to these large enterprises, international accounting firms dominate accounting in auditing practices in the high-income oil export countries.
Businesses and enterprises located within the private sector of these least developed countries need areas of financial accounting and reporting, cost accounting, management accounting, tax accounting, and auditing. These countries need people who show sophistication, and be able to show how much profit their interest in the business will be worth now and in the future. In most third world countries their major export is normally internationally distributed, which allows natives of the third world county to work with accountants from large sustainable countries. Third world countries have been successfully using oil to teach their natives foreign accounting standards. Since oil is an international need and an international enterprise, third world countries learn accounting techniques while interacting with economically stable countries. This, in turn, also has influenced other business enterprises (non-oil companies) as employees move in and out of the oil sector. (Zakari, M. 2013)
In recent years, many Middle Eastern countries are dramatically changing their economy. These countries are attempting to denationalize the public sector and encourage foreign investment and establish Arab Stock Markets. According to Al-Qahtani (2005) and Marashdeh and Shrestha (2010) these systematic challenges have been aimed at: Removing official barriers that have blocked the market due to monopolistic or oligopolistic power. Liberating economic activities and allowing the forces of the market to take control based on the laws of demand and supply in production, commerce, and service. Reducing the government role in the national economy by giving the private sector more influence. Creating the appropriate judicial and institutional settings as incentives for both local and foreign investments. Since the stock markets have been in place most companies have had to adopt the IAS's and ISA's for preparing and auditing their financial statements.
Hassan (2008) concludes that the economic development of accounting in emerging economies depends mainly on the cultural and political motives rather than on economic changes. In addition, Hassan argues that both types of motives are interchangeable as cultural and political ones are hidden under the promoted economic benefits. Some third world countries recognize religion as the dominant law. Islamic Law bans transactions that involve uncertainties such as margin trading and Islam also requires business activities to be conducted in compliance with principles enshrined in the Sharia. According to Kamla et al. (2006), the Quran and Sunnah are the material sources of Islamic Law. Together, they are referred to as the Islamic principles or Sharia. This tradition positions ethical or social activity ahead of individual profit maximization.
Although the stride towards accounting advancement in third world countries varies from country to country, accounting and auditing professions are inconsistent in a market economy. In developing countries there seems to be a clear-cut difference between legislation and enforcement. When we sum up all of the information above, third world countries lack the wherewithal when it comes to accounting education, lack of computer hardware and software, inadequate facilities, and not to mention the culture and political boundaries. Despite from a few emerging countries the Middle East is not up to par with the required accounting standards and still have a long way to go before intertwining with other international accounting practices that meet the needs of the market economy.
It was found that the high-income oil exporting third world countries are able to maintain a fairly modernized accounting system due to their ease of affordability for modern computers, foreign exports, and other elements needed for a quick conversion. All oil dependent third world countries are directly involved and jointly owned by various multinational enterprises and governments of foreign countries such as the USA, UK, France, and the Netherlands. These companies virtually control the entire oil industry as well as pioneering organizations and they ultimately introduce new modern accounting systems in these third world countries. Due to these large enterprises, international accounting firms dominate accounting in auditing practices in the high-income oil export countries.
Businesses and enterprises located within the private sector of these least developed countries need areas of financial accounting and reporting, cost accounting, management accounting, tax accounting, and auditing. These countries need people who show sophistication, and be able to show how much profit their interest in the business will be worth now and in the future. In most third world countries their major export is normally internationally distributed, which allows natives of the third world county to work with accountants from large sustainable countries. Third world countries have been successfully using oil to teach their natives foreign accounting standards. Since oil is an international need and an international enterprise, third world countries learn accounting techniques while interacting with economically stable countries. This, in turn, also has influenced other business enterprises (non-oil companies) as employees move in and out of the oil sector. (Zakari, M. 2013)
In recent years, many Middle Eastern countries are dramatically changing their economy. These countries are attempting to denationalize the public sector and encourage foreign investment and establish Arab Stock Markets. According to Al-Qahtani (2005) and Marashdeh and Shrestha (2010) these systematic challenges have been aimed at: Removing official barriers that have blocked the market due to monopolistic or oligopolistic power. Liberating economic activities and allowing the forces of the market to take control based on the laws of demand and supply in production, commerce, and service. Reducing the government role in the national economy by giving the private sector more influence. Creating the appropriate judicial and institutional settings as incentives for both local and foreign investments. Since the stock markets have been in place most companies have had to adopt the IAS's and ISA's for preparing and auditing their financial statements.
Hassan (2008) concludes that the economic development of accounting in emerging economies depends mainly on the cultural and political motives rather than on economic changes. In addition, Hassan argues that both types of motives are interchangeable as cultural and political ones are hidden under the promoted economic benefits. Some third world countries recognize religion as the dominant law. Islamic Law bans transactions that involve uncertainties such as margin trading and Islam also requires business activities to be conducted in compliance with principles enshrined in the Sharia. According to Kamla et al. (2006), the Quran and Sunnah are the material sources of Islamic Law. Together, they are referred to as the Islamic principles or Sharia. This tradition positions ethical or social activity ahead of individual profit maximization.
Although the stride towards accounting advancement in third world countries varies from country to country, accounting and auditing professions are inconsistent in a market economy. In developing countries there seems to be a clear-cut difference between legislation and enforcement. When we sum up all of the information above, third world countries lack the wherewithal when it comes to accounting education, lack of computer hardware and software, inadequate facilities, and not to mention the culture and political boundaries. Despite from a few emerging countries the Middle East is not up to par with the required accounting standards and still have a long way to go before intertwining with other international accounting practices that meet the needs of the market economy.
@##Well, The Signs Of A Great Accountant
It's not always easy to know you have the
best person for your business. Some the ways business owners measure
their accountants performance has been skewered over the past 20 years
with the advent of personal computers and cheap "accounting" software
such as Intuit's QuickBooks. Before that, the lines were clear as to
what the accountants role was. Today, many accountants have allowed
themselves to become glorified software trouble shooters and tax
preparation mills. The focus was taken off the client's books and
records and financial position and refocused on helping them do
bookkeeping themselves to help reduce their own accounting fees. It's
this mentality that has led me to believe that accountants are some of
the worst business people I have ever come across.
So how do you know you have a great one?
5: They communicate regularly with you.
Not just by email. They meet with you face to face to discuss what's going on with you and your business.
4: They have your books up to date.
With today's technology there is no reason why you should have to wait months for a balance sheet and income statement
3: They do tax planning during the year.
You can't be told what you should have done during the year to reduce your taxes. Tax planning is an ongoing process and it's not always about not paying taxes. A great accountant will explain this to you.
2: They show you the value of budgeting
Business plans don't mean squat if you can't map out your future income, expenses and cash flow. This should be business 101 but most accountants never even mention budgeting or how to do it to their clients.
1: They constantly educate you.
Learning never ceases. Business is fluid and your accountant should be keeping you informed about 3 things:
A: What's happened (income statement)
B: What's happening (balance sheet)
C: What you can expect to happen (budget).
They should have helped you develop your accounting system and explain what books and records are. They should discuss exit strategies and understand what your long-term and short-term objectives are.
In conclusion, your business is probably your most valuable asset and your accountant is in an important position. That individual not only has to be someone you know, like and trust but also be the one to bring you back down to earth by telling you the things you don't want to hear.
http://bestenterpreneurinfos.blogspot.com/2014/12/better-accounting-development-in-third.html
http://bestenterpreneurinfos.blogspot.com/2014/12/flixx-cinema-our-time-machine.html
So how do you know you have a great one?
5: They communicate regularly with you.
Not just by email. They meet with you face to face to discuss what's going on with you and your business.
4: They have your books up to date.
With today's technology there is no reason why you should have to wait months for a balance sheet and income statement
3: They do tax planning during the year.
You can't be told what you should have done during the year to reduce your taxes. Tax planning is an ongoing process and it's not always about not paying taxes. A great accountant will explain this to you.
2: They show you the value of budgeting
Business plans don't mean squat if you can't map out your future income, expenses and cash flow. This should be business 101 but most accountants never even mention budgeting or how to do it to their clients.
1: They constantly educate you.
Learning never ceases. Business is fluid and your accountant should be keeping you informed about 3 things:
A: What's happened (income statement)
B: What's happening (balance sheet)
C: What you can expect to happen (budget).
They should have helped you develop your accounting system and explain what books and records are. They should discuss exit strategies and understand what your long-term and short-term objectives are.
In conclusion, your business is probably your most valuable asset and your accountant is in an important position. That individual not only has to be someone you know, like and trust but also be the one to bring you back down to earth by telling you the things you don't want to hear.
Sloppy financials? Out of balance books? Don't know what your
paying your accountant for? Are you tired of working 60-70 hours a week,
not getting ahead and not knowing why?
It could be because you don't have a solid bookkeeping system. My simple process has been proven to save time, money and relieve the stress of not knowing. Sign up for a free report on How To Improve Your Cash Flow in 30 days or less. I promise it will open your eyes to some things your accountant should have been telling you.
It could be because you don't have a solid bookkeeping system. My simple process has been proven to save time, money and relieve the stress of not knowing. Sign up for a free report on How To Improve Your Cash Flow in 30 days or less. I promise it will open your eyes to some things your accountant should have been telling you.
http://bestenterpreneurinfos.blogspot.com/2014/12/better-accounting-development-in-third.html
http://bestenterpreneurinfos.blogspot.com/2014/12/flixx-cinema-our-time-machine.html
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