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Author Topic: Avatar Sizes  (Read 6896 times)


  • Monarch
  • Royalty
  • *****
  • Posts: 4747
  • Still Beautiful
Avatar Sizes
« on: June 27, 2013, 02:34:19 PM »
Although the software defaults to avatars of 65x65, I am overriding it to 200x200 until I see a problem.


* BBC Films

* The Guardian (Film)

  • post Weinstein Company fires chief operating officer David Glasser - 17 February
  • Board sacks senior executive days after New York attorney general sued company over harassment scandalThe studio co-founded by disgraced mogul Harvey Weinstein has sacked its chief operating officer. The Weinstein Company (TWC) announced on Friday that the board had decided to part ways with David Glasser. ?The board of The Weinstein Company has unanimously voted to terminate David Glasser for cause,? a TWC statement said, according to multiple reports. Continue reading...
  • post Frances McDormand: two defining roles, two decades apart - 17 February
  • Her reaction to an Oscar for Fargo suggested a complex attitude towards fame. With Three Billboards, it will be tested againWinners of the Oscar for best actress can pretty much choose what to do next. But, when Frances McDormand won in 1996 ? for her performance as an eccentric but unfoolable Minnesota cop in Fargo ? she made choices that surprised Hollywood.The best thing about the award, she told interviewers, was that she was now famous enough to be cast in a Sesame Street video giving tips to children who got lost. Then, at a point where she could have picked any film, she chose to go to the Gate theatre in Dublin for a revival of Tennessee Williams?s A Streetcar Named Desire. She specifically asked the Gate not to mention her Oscar in the programme. Continue reading...
  • post Damsel review ? Robert Pattinson goes a-crooning in twisty Old West quest drama - 16 February
  • Pattinson cast off more of his matinee-idol past as a gauche galoot seeking his bride in the Zellner brothers? grotesque, beautiful and unpredictable movieWhile the western as a living genre continues to fade into a folk memory, the postmodern neo-western ? melancholic, world-weary and demystifyingly ironic ? is well established as its inheritor. Jim Jarmusch arguably provided the modern template for this strain with his 1995 Dead Man, and the British director John Maclean rode in that film?s wake with his recent Slow West. Jacques Audiard looks as if he?ll be continuing the tradition with his forthcoming The Sisters Brothers, based on the supremely knowing, not to say Coens-y novel by Patrick deWitt. Meanwhile, playing in the Berlin competition, here is Damsel from eccentric film-making duo David and Nathan Zellner.
    The Texan brothers weighed in with a quest narrative with their last film, Kumiko, the Treasure Hunter, about a young Japanese woman on a deranged mission to find the money stashed away in the Coens? Fargo. With Damsel, the Zellners are questing again. We?re in the Old West, and things kick off with a prologue in the desert, where an exhausted old preacher (a cameo from Robert Forster, as sun-battered as the mighty mesas around him) gives his black suit and Bible to a forlorn traveller (David Zellner) hoping to make a fresh start in life. Continue reading...
  • post Red Sparrow review ? perverse Jennifer Lawrence thriller offers mixed pleasures - 16 February
  • The Oscar-winning actor stars as a seductive assassin in a strange, yet often flatly directed, film that boasts surprisingly extreme sex and violence but also a wealth of bad accentsWhat does the world?s highest-paid female actor do when the franchise that took her to the top ends? It turns out the answers include: take home $20m for starring in an unintentionally creepy sci-fi romance; collect an undeserved Razzie nomination for starring in her boyfriend?s allegorical arthouse horror; and now play a Russian assassin-in-the-making in a darkly sexual espionage thriller. One can certainly question the quality of her post-Hunger Games projects, but it?s hard to fault the ambition behind Jennifer Lawrence?s decision-making process. Related: Black Panther review ? Marvel's thrilling vision of the afrofuture Continue reading...
  • post Black Panther film fuels calls for release of jailed political activists - 16 February
  • Film serves as ?opportunity to remind people of the real heroes of the Black Panthers?, says former party leaderWhen he was released from prison in 2014, Sekou Odinga felt like he was falling from the sky into a foreign land. After 33 years behind bars, the former Black Panther party leader was released into a United States he didn?t recognize ? with strange technology and grandchildren he had never hugged. Though he celebrated with family and supporters, Odinga, 73, also remained mindful of the many other civil rights activists who weren?t so lucky: ?You always feel like you don?t want to leave nobody behind.? Continue reading...
  • post Tessa Thompson: ?I decided not to work until I burned for something? - 16 February
  • She?s been nominated for a Bafta following her role in Thor: Ragnarok but, despite being an outspoken member of the Time?s Up movement, the actor says she?s still learning to channel her inner Valkyrie

    Tessa Thompson laughs at the idea of herself as a ?rising star?. She has just been nominated for a Bafta in that category, but the accolade feels a little late in coming. ?I sort of feel like I?m cheating,? the 34-year-old actor admits. Lately, Thompson?s star has done nothing but rise, thanks to roles in Selma, Rocky sequel Creed, sci-fi series Westworld, and, most recently, as the scene-stealing Valkyrie in Thor: Ragnarok. And there is still more to come: a Creed sequel and Alex Garland?s sci-fi Annihilation. ?I have clones of myself,? she says. ?It was the Westworld season one wrap gift.?There is the feeling that Thompson?s ascent encapsulates the present moment. Hollywood is being shaken by the successive earthquakes of #OscarSoWhite and the Time?s Up/#MeToo movement against discrimination and sexual harassment, and you know the terrain has started to shift when a woman of colour can land the part of a kick-ass bisexual Norse warrior traditionally depicted as a statuesque white blonde. Thompson has been actively involved in Time?s Up, speaking up, pitching in with its recent presence at the Golden Globes, and and even calling out Girls creator Lena Dunham for her lack of participation prior to the photo-opportunity stage. She later clarified that criticism as ?an attempt to recentre the conversation around the work? but did not apologise. Continue reading...
  • post 'Full of heart but devoid of life': is Crash really the worst Oscar winner ever? - 15 February
  • The 2004 drama?s unsubtle look at race relations has critics drawing parallels with Three Billboards Outside Ebbing, Missouri. Will this year?s best picture nominee suffer the same fate as its forebear?You don?t hear this said a lot, but losing the best picture Oscar was the best thing that could ever have happened to Brokeback Mountain. Ang Lee?s elegiac, heart-splintering cowpoke romance was universally predicted to make history as the first overtly gay story to take the Academy?s top prize. Following months of critical adulation and endless preliminary prizes, it was all going swimmingly on the night until Jack Nicholson opened the best picture envelope and announced, with tellingly raised eyebrows, that the 2006 winner was ... Crash, Canadian journeyman Paul Haggis?s well-meaning, well-acted but clod-footed treatise on race relations in Los Angeles.As the industry?s collective gasp greeted the upset, Brokeback?s reputation was set in a second: it was the gorgeous trailblazer that Hollywood wasn?t quite ready to embrace. That distinction has more appealing cachet than ?best picture winner? ? an honour that places a critical target on even the most beloved film?s back. Continue reading...
  • post Oscars 2018: the growing backlashes to this year's major nominations - 14 February
  • Is Three Billboards racist? Is The Shape of Water a copycat? Is Call Me by Your Name pedophilic? And, most importantly, why have this year?s films struck such a nerve?Much as a political candidate is vetted before a big convention, this year?s nominees for the best picture Oscar have been subject to a battery of litmus tests. As the awards race has been ramped up, the nine films in contention for the night?s biggest prize have attracted more controversy than any slate in recent memory. And to keep with the metaphor, much of the hubbub around these films has been political in nature: for the Academy, winners aren?t so much chosen as they are elected. Related: Despite its awards, Three Billboards is a shallow look at race in rural America Continue reading...
  • post Get Out triumphs at Writers Guild of America awards - 12 February
  • Jordan Peele?s smash-hit horror film and the gay coming-of-age movie Call Me By Your Name take top prizes at Oscars bellwetherGet Out and Call Me By Your Name took the top prizes at the Writers Guild of America awards, in one of the final major awards-season bellwethers before next month?s Oscars.Get Out, the smash-hit satirical horror written and directed by Jordan Peele, triumphed in the best original screenplay category, beating I, Tonya, Lady Bird, The Big Sick and current Oscar best picture favourite The Shape of Water. However, another best picture frontrunner, Three Billboards Outside Ebbing, Missouri, was ineligible at the WGAs because it did not meet the organisation?s signatory rules. Continue reading...
  • post Loveless review ? a lost boy in a toxic world - 11 February
  • A child?s disappearance is the catalyst for a savage indictment of family breakdown in Andrey Zvyagintsev?s mesmerising, Oscar-nominated filmThere is an early image in Russian director Andrey Zvyagintsev?s Oscar-nominated Loveless that has haunted me since I first saw the film. A couple in the throes of a messy separation are arguing bitterly about which of them will have to care for their young son, an onerous burden neither wishes to shoulder. As they argue, a door is pulled shut and the camera spies the child, unseen by his parents, standing in the shadows, a white vest accentuating his fragile frame, his face contorted in a silent scream of unloved anguish.It?s a horrifying vision ? a snapshot of desolation and despair that shrieks back to the days of pre-sound cinema, to the pure poetry of visual storytelling. It is also emblematic of a film that, with chilly precision, dissects the frozen corpse of a hollow society ? personal, national and global. Zvyagintsev has compared Loveless to Ingmar Bergman?s Swedish masterpiece Scenes From a Marriage, but along with the inescapable ghosts of Michelangelo Antonioni?s L?Avventura, I found myself equally reminded of Let the Right One In, the heartbreaking chiller from Bergman?s fellow countryman Tomas Alfredson. Continue reading...

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