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Securing an IT Organization Through Governance, Risk Management, and Audit
Ken E. Sigler and James L. Rainey
Book
Past events have shed light on the vulnerability of mission-critical computer systems at highly...
Dianne Robbins (1738 KP) rated 9-1-1: Lone star in TV
Apr 4, 2021 (Updated Apr 4, 2021)
I tried to watch this one. I used to be an EMT and I miss the rush and the life so I want to find a good medical drama to satisfy my blood lust for intelligently written, exciting, tv. This is not it. It's painfully fake. I was unable to get through more than a few minutes. Now, I like Rob Lowe. I grew up watching him and the Brat Pack and he's a pretty man so all the girls my age had a crush on him. I really liked him in Aaron Sorkin's The West Wing and Parks and Rec. Rob Lowe does his best acting in a suit. I could not take him seriously as a first responder. I can't even remember if his character is a firefighter, police officer, or EMT in this show. All I know is that I had to tap out after the first few lines.
Perhaps my rating is unfair because I'm basing my judgment with 911 Lonestar being an extension of 911 with the same writing style and situations, and that show has stiff acting, and outrageously fake scenarios. I recently tried to watch 911 due to a draught of medical dramas and I ended up yelling at the tv about all the technical mistakes the EMTs and firefighters were making. I mean, they took an elevator up to an upper floor when the building was unstable and at risk of collapse or having a power outage. It was ridiculous. Who does that? If you are good at suspending belief, maybe you can tolerate this show. But I just can't. Sorry, Rob. See you in my dreams.
Perhaps my rating is unfair because I'm basing my judgment with 911 Lonestar being an extension of 911 with the same writing style and situations, and that show has stiff acting, and outrageously fake scenarios. I recently tried to watch 911 due to a draught of medical dramas and I ended up yelling at the tv about all the technical mistakes the EMTs and firefighters were making. I mean, they took an elevator up to an upper floor when the building was unstable and at risk of collapse or having a power outage. It was ridiculous. Who does that? If you are good at suspending belief, maybe you can tolerate this show. But I just can't. Sorry, Rob. See you in my dreams.
Kirk Bage (1775 KP) rated Sherlock, Jr. (1924) in Movies
Jan 28, 2021
I have seen and very much enjoyed the work of Buster Keaton in the past, most notably The General, which knocked me sideways by how inventive and genuinely funny it was. My main movie love for the silent era is Charlie Chaplin, and much like it is possible to like The Beatles and The Rolling Stones but only truly love one, Keaton will always be second best for me. But what a second best. Genius is an overused word, of course, but pioneer says it better anyway. The sheer volume of invention per minute is magnificent – from the technical editing techniques that were created just for this film, to the forms of visual comedy that broke the mould and raised the bar in every scene.
Most memorable is the cinema scene where Keaton’s love sick amateur sleuth tries to hide by actually entering the screen – a trick paid homage to in many movies since, including Woody Allen’s The Purple Rose of Cairo. It is astonishing to think he not only thought of doing this in 1924, but also pulled it off with jaw-dropping special effects for the time. It’s also really funny. You don’t have to force a laugh because you feel you should, it is still clever and amusing almost 100 years later. In fact, the entire 46 minute print still looks so good it is hard to believe it is that old in any way. Surely one of a handful of half length films from the period that will always be watched for what they are and not just museum pieces.
Most memorable is the cinema scene where Keaton’s love sick amateur sleuth tries to hide by actually entering the screen – a trick paid homage to in many movies since, including Woody Allen’s The Purple Rose of Cairo. It is astonishing to think he not only thought of doing this in 1924, but also pulled it off with jaw-dropping special effects for the time. It’s also really funny. You don’t have to force a laugh because you feel you should, it is still clever and amusing almost 100 years later. In fact, the entire 46 minute print still looks so good it is hard to believe it is that old in any way. Surely one of a handful of half length films from the period that will always be watched for what they are and not just museum pieces.
Kirk Bage (1775 KP) rated M (Movie) (1931) in Movies
Jan 28, 2021
The maestro of dark shadows, Fritz Lang already had 14 feature films under his belt by 1931, including the much loved and much borrowed from Metropolis in 1927. It is said that he was such a slave driver with cast and crew alike that he had very few friends and was detested as a man. His work spoke for itself, however, and was always miles ahead of anything happening at the same time in Hollywood. Take the dark, sinister and serious M as an example. It tackles the subject of child abduction and murder, homelessness, crime in general and the punishment of a mob – subjects American cinema would never have touched in 1931, let alone done with such an exquisite non- melodramatic feel.
Peter Lorre as the killer compelled by his own weakness and madness gives an unfeasably nuanced performance for the era also. He is mesmerically creepy and unforgettable. Images and motifs (such as the whistle that indicates the murderer is lurking) abound, creating a landscape of pure mood and disease. As a morality tale it touches on issues of vigilantism and true justice that still has some relevance today. It also works as an entertaining thriller, and there wasn’t a minute I felt bored or distracted. The only jarring element are the scenes where Lang cuts the sound entirely to create tension and focus – they feel like technical mistakes, not deliberate choices. Otherwise, I could not have been more impressed and pleasantly surprised by this Euro classic for all time. If I were making a list of the best films ever made that disregarded the limitations of the age, then M would definitely make the cut.
Peter Lorre as the killer compelled by his own weakness and madness gives an unfeasably nuanced performance for the era also. He is mesmerically creepy and unforgettable. Images and motifs (such as the whistle that indicates the murderer is lurking) abound, creating a landscape of pure mood and disease. As a morality tale it touches on issues of vigilantism and true justice that still has some relevance today. It also works as an entertaining thriller, and there wasn’t a minute I felt bored or distracted. The only jarring element are the scenes where Lang cuts the sound entirely to create tension and focus – they feel like technical mistakes, not deliberate choices. Otherwise, I could not have been more impressed and pleasantly surprised by this Euro classic for all time. If I were making a list of the best films ever made that disregarded the limitations of the age, then M would definitely make the cut.
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