PLEASE REDUCE TO 1-2 SENTENCES. The capability of X-ray diffraction for the microstructure investigations of metastable systems is illustrated on the example of thin films of titanium aluminium nitrides with high aluminium content, which are supersaturated and partially decomposed. In addition to the chemical composition, the surface mobility of the deposited species was employed as a factor influencing the microstructure of the thin films. It is shown how the micromechanical properties of the partially decomposed (Ti,Al)N thin films, which were deduced from the synchrotron diffraction experiments, are related to the thin film microstructure and to the decomposition mechanism. The prominent role of the crystallographic anisotropy of the macroscopic and microscopic lattice deformations in the understanding of the micromechanical properties is addressed.

The preferred orientation growth characteristics and surface roughness of polycrystalline bis­muth (Bi) thin films fabricated on glass substrates using the molecular beam epitaxy method were investigated at temperatures ranging from 18 to 150°C. The crystallization and morphology were analyzed in detail and the polycrystalline metal film structure-zone model (SZM) was modified to fit the polycrystalline Bi thin film. The boundary temperature between Zone T and Zone II in the SZM shifted to higher temperatures with the increase in film thickness or the decrease of growth rate. Furthermore, the effect of the thickness and surface roughness on the transport properties was investigated, especially for Bi thin films in Zone II. A two-transport channels model was adopted to reveal the influence of the film thickness on the competition between the metallic surface states and the semiconducting bulk states, which is consistent with the results of Bi single-crystal films. Therefore, the polycrystalline Bi thin films are expected to replace the single-crystal films in the application of spintronic devices.

The crystal structure of ilmajokite, a rare Na-K-Ba-Ce-titanosilicate from the Khibiny mountains, Kola peninsula, Russia, has been solved using single-crystal X-ray diffraction data. The crystal structure is based on a 3D titanosilicate framework consisting of trigonal prismatic titanosilicate (TPTS) clusters centered by Ce3+ in [9]-coordination. Four adjacent TPTS clusters are linked into four-membered rings within the (010) plane and connected via ribbons parallel to 101. The ribbons are organized into layers parallel to (010) and modulated along the a axis with a modulation wavelength of csinβ = 32.91 Å and an amplitude of ∼b/2 = 13.89 Å. The layers are linked by additional silicate tetrahedra. Na+, K+, Ba2+ and H2O groups occur in the framework cavities and have different occupancies and coordination environments. The crystal structure of ilmajokite can be separated into eight hierarchical levels: atoms, coordination polyhedra, TPTS clusters, rings, ribbons, layers, the framework and the whole structure. The information-based analysis allows estimation of the complexity of the structure as 8.468 bits per atom and 11990.129 bits per cell. According to this analysis, ilmajokite is the third-most complex mineral known to date after ewingite and morrisonite, and is the most complex mineral framework structure, comparable in complexity to paulingite-(Ca) (11 590.532 bits per cell).

Efficient infiltration of a mesoporous titania matrix with conducting organic polymers or small molecules is one key challenge to overcome for hybrid photovoltaic devices. A quantitative analysis of the backfilling efficiency with time-of-flight grazing incidence small-angle neutron scattering (ToF-GISANS) and scanning electron microscopy (SEM) measurements is presented. Differences in the morphology due to the backfilling of mesoporous titania thin films are compared for the macromolecule poly[4,8-bis­(5-(2-ethyl­hexyl)­thio­phen-2-yl)benzo[1,2-b;4,5-b']di­thio­phene-2,6-diyl-alt-(4-(2-ethyl­hexyl)-3-fluoro­thieno[3,4-b]thio­phene-)-2-carboxyl­ate-2-6-diyl)] (PTB7-Th) and the heavy-element containing small molecule 2-pinacol­boronate-3-phenyl­phen­anthro[9,10-b]telluro­phene (PhenTe-BPinPh). Hence, a 1.7 times higher backfilling efficiency of almost 70% is achieved for the small molecule PhenTe-BPinPh compared with the polymer PTB7-Th despite sharing the same volumetric mass density. The precise characterization of structural changes due to backfilling reveals that the volumetric density of backfilled materials plays a minor role in obtaining good backfilling efficiencies and interfaces with large surface contact.

This study relates to the INFN project SYRMA-3D for in vivo phase-contrast breast computed tomography using the SYRMEP synchrotron radiation beamline at the ELETTRA facility in Trieste, Italy. This peculiar imaging technique uses a novel dosimetric approach with respect to the standard clinical procedure. In this study, optimization of the acquisition procedure was evaluated in terms of dose delivered to the breast. An offline dose monitoring method was also investigated using radiochromic film dosimetry. Various irradiation geometries have been investigated for scanning the prone patient's pendant breast, simulated by a 14 cm-diameter polymethylmethacrylate cylindrical phantom containing pieces of calibrated radiochromic film type XR-QA2. Films were inserted mid-plane in the phantom, as well as wrapped around its external surface, and irradiated at 38 keV, with an air kerma value that would produce an estimated mean glandular dose of 5 mGy for a 14 cm-diameter 50% glandular breast. Axial scans were performed over a full rotation or over 180°. The results point out that a scheme adopting a stepped rotation irradiation represents the best geometry to optimize the dose distribution to the breast. The feasibility of using a piece of calibrated radiochromic film wrapped around a suitable holder around the breast to monitor the scan dose offline is demonstrated.

X-ray reflectivity (XRR) is a powerful and popular scattering technique that can give valuable insight into the growth behavior of thin films. This study shows how a simple artificial neural network model can be used to determine the thickness, roughness and density of thin films of different organic semiconductors [diindenoperylene, copper(II) phthalocyanine and α-sexithiophene] on silica from their XRR data with millisecond computation time and with minimal user input or a priori knowledge. For a large experimental data set of 372 XRR curves, it is shown that a simple fully connected model can provide good results with a mean absolute percentage error of 8–18% when compared with the results obtained by a genetic least mean squares fit using the classical Parratt formalism. Furthermore, current drawbacks and prospects for improvement are discussed.

An error in the article by Gao, Zhang, Zhu, Wu, Mo, Pan, Liu & Jiang [J. Appl. Cryst. (2019), 52, 637–642] is corrected.

New fitting analyses of two-dimensional diffraction-spot shapes are demonstrated to evaluate strain, strain distribution and domain size in a crystalline ultra-thin film. The evaluations are displayed as residual and population maps as a function of strain or domain size.

Single-crystalline-like thin films composed of crystallographically aligned grains are a new prototype of 2D materials developed recently for low-cost and high-performance flexible electronics as well as second-generation high-temperature superconductors. In this work, significant texture improvement in single-crystalline-like materials is achieved through growth of a 330 nm-thick silver layer.

An X-ray cross-correlation study of the impact of ligand composition and salt content on the self-assembly of soft-shell nanoparticles is presented, indicating symmetry-selective formation of order.

The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, was among 35 documentary heritage items of exceptional value added to UNESCO’s Memory of the World Register in 2009.

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Crystal structure identification of thin organic films entails a number of technical and methodological challenges. In particular, if molecular crystals are epitaxially grown on single-crystalline substrates a complex scenario of multiple preferred orientations of the adsorbate, several symmetry-related in-plane alignments and the occurrence of unknown polymorphs is frequently observed. In theory, the parameters of the reduced unit cell and its orientation can simply be obtained from the matrix of three linearly independent reciprocal-space vectors. However, if the sample exhibits unit cells in various orientations and/or with different lattice parameters, it is necessary to assign all experimentally obtained reflections to their associated individual origin. In the present work, an effective algorithm is described to accomplish this task in order to determine the unit-cell parameters of complex systems comprising different orientations and polymorphs. This method is applied to a polycrystalline thin film of the conjugated organic material 6,13-pentacene­quinone (PQ) epitaxially grown on an Ag(111) surface. All reciprocal vectors can be allocated to unit cells of the same lattice constants but grown in various orientations [sixfold rotational symmetry for the contact planes (102) and (102)]. The as-determined unit cell is identical to that reported in a previous study determined for a fibre-textured PQ film. Preliminary results further indicate that the algorithm is especially effective in analysing epitaxially grown crystallites not only for various orientations, but also if different polymorphs are present in the film.

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This film is from the collections of the Human Studies Film Archives, Smithsonian Institution. Clip from silent film, Beautiful Japan (1917-18), by travel-lecturer Benjamin Brodsky. Benten Festival is celebrated on Shiraishi Island. Benten (Benzaiten) is the Goddess of the Sea and one of the Seven Lucky Gods of Japan.

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Clip from silent edited film "Bryson Jones Travelogue: Lure of the West" (ca. 1927) shows Mount Rushmore National Memorial under construction, including blasting off cliff face, scaffolding, men working, and the completed monument.

The post Construction of Mount Rushmore National Memorial from the Smithsonian’s Human Studies Film Archives appeared first on Smithsonian Insider.

Silent black & white archival film clip from "Japan: Promotional and Theatrical Footage, ca. 1927". The full film, which is 17 minutes long, includes segments from what are believed to be a theatrical film, a promotional film and, possibly, amateur film - all of unknown origin.

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An image from a teaser for Marvel Comics' 2015 "Civil War," part of crossover "Secret Wars." Could Spidey appear in the new Captain America: Civil War film now that Marvel and Sony have worked out a deal?; Credit: Marvel

Spider-Man is coming home to join the rest of the Marvel movie family (um, except for the Fantastic Four and the X-Men) in upcoming films under a new deal struck between Sony, the home for Spider-Man movies, and Disney's Marvel Studios, home of Iron Man and the Avengers

It's been a bumpy road for Spidey for almost a decade, but now he's set to be part of the largely critically and financially successful Marvel Cinematic Universe films. He's already made history, and he could make more history soon. 

Here's a brief history of cinematic Spider-Man, looking ahead to his new adventures with Marvel's large and growing stable of movie superheroes.

Coming out of the superhero dark ages

Spider-Man was one of the catalysts for the current superhero movie boom. Superhero films were seen as potentially dead following the bomb of "Batman & Robin" with George Clooney, a critical failure and a mixed bag commercially.

Marvel dipped its toes in superhero movies with 1998's "Blade," which was a big hit, followed by 2000's "X-Men," but they both tried to distance themselves from their comic book source material (and the Joel Schumacher Batman movies) by putting their heroes in black leather and grounding them as much as possible in real-life aesthetics.

Sony's first "Spider-Man" movie came out in 2002 and showed that there was still room for an optimistic comic book take. The Sam Raimi-directed film also had a huge cultural impact as one of the first big summer movies following 9/11 — an early teaser that showed Spidey trapping bad guys between the two towers had to be pulled following the disaster.

Spider-Man 9/11 trailer

The movie ended up pulling in almost $822 million at the box office, including almost $404 million domestically, helmed by genre director Raimi, who had previously been best known for the horror-comedy "Evil Dead" films.

Spider-Man trailer

Tobey Maguire surprised as the star, pulling off the nerdy, earnest Peter Parker while also being believable enough as an action star in the Spider-Man suit. Maguire starred alongside Kirsten Dunst as love interest Mary Jane and Willem Dafoe as the villainous Green Goblin, and the film included the not-yet-a-superstar James Franco as Harry Osborn and now-Oscar-nominated J.K. Simmons as Daily Bugle publisher J. Jonah Jameson.

A sequel, 2004's "Spider-Man 2," continued the success of the first, with only a slight dip in overall box office while proving that the first film's success wasn't just a flash in the pan, that there was room for a relatively bright superhero in a dark time.

Spider-Man 2 trailer

Maguire almost ducked out of filming during negotiations, complaining of back pains following injuries while filming "Seabiscuit," and Jake Gyllenhaal almost stepped into the role — but Maguire recovered and held onto his spot. The escapist entertainment of superhero movies was starting to take hold in a growing way, but the superhero train was about to come off the rails for a few years.

The twilight of Tobey Maguire

As "Spider-Man 2" was hitting theaters, 2004 also brought "The Punisher," "Blade: Trinity" and "Catwoman," none of which showed superheroes as particularly promising movie saviors.

Marvel turned out more superhero movies that weren't loved by critics, including "Elektra," "Fantastic Four" and "X-Men: The Last Stand," though the latter two still did well at the box office (all were released by 20th Century Fox). DC Comics made the critical and commercial hit "Batman Begins" in 2005, but stumbled in 2006 with the underperforming "Superman Returns."

In 2007, "Spider-Man 3" dropped, and while it did great at the box office — it was the series' most popular film worldwide, though it dipped domestically — it was slammed by fans and critics. They took that Spider-Man optimism and tried making him emo, while overstuffing the bad guys — going from one villain in the previous films and upping it to three — and turning the campy dialogue up to 11.

Spider-Man 3 trailer

Trying to be 'Amazing' in a new superhero era

While Spidey stumbled, the next year Marvel released its first film from its own studio, the groundbreaking "Iron Man." It showed that you could make a franchise from a hero who was big in the comics but didn't have the same mainstream recognition.

It revitalized Robert Downey Jr.'s career and put Marvel Studios on the map, with a post-credits sequence laying the seeds for completely tying the films together in a way that hadn't been done on this scale ever before.

While Marvel started to crank up their self-produced film, Spider-Man lay dormant. Eventually, it was decided to reboot the character with Andrew Garfield taking over the role in 2012's "The Amazing Spider-Man." It scored the lowest domestic take of the series, while still excelling overseas.

Amazing Spider-Man 2 trailer 1

Sony quickly followed up with a sequel, while announcing their own plans to ape Marvel and try to create their own cinematic universe.

Amazing Spider-Man 2 villains trailer

The second "Amazing Spider-Man" movie set up other potential villains, and holding off the payoff of what exactly happened to Peter Parker's parents as Marvel tried to stretch Spider-Man into a female-led film, one focused on the villains, a movie led by Spidey character Venom and more.

Amazing Spider-Man first 10 minutes

The sequel showed diminishing returns, though, and plans for further sequels and spinoffs began to seem up in the air.

Hacked

In the midst of the Sony hack, documents revealed that Sony and Marvel had been negotiating over Marvel using Spider-Man in its own films — despite Sony having the rights to the character in perpetuity as long as they kept producing films, a deal worked out before Marvel had the resources and the belief in their own filmmaking capabilities. Still, the documents also showed that the talks had fallen apart, and hopes for Spider-Man appearing with Iron Man, Captain America, Thor and the rest of his Marvel friends appeared dim.

Then, Monday, Marvel shocked everyone by announcing that Spider-Man was coming home and would be part of the Marvel Cinematic Universe after all. There had been reports that they'd wanted Spider-Man for the third Captain America film, and with that film set for 2016, that may still happen. They also pushed back four of their "Phase Three" movies to make room in 2017 for a new "Spider-Man" movie, with reports indicating that the movie will feature a new actor taking over and Andrew Garfield getting pushed aside.

Spider-Man comes home

Andrew Garfield will likely go down in comics movie history as the right guy at the wrong time. He was a likable lead with a strong supporting cast, but Marvel looks ready to turn the page. Those on the Marvel side have previously indicated they'd avoid doing another origin story, so we'll probably skip seeing Uncle Ben killed to inspire Peter Parker once again.

"The new relationship follows a decade of speculation among fans about whether Spider-Man – who has always been an integral and important part of the larger Marvel Universe in the comic books – could become part of the Marvel Universe on the big screen," Marvel said in the announcement of the new deal.

Fans online have been largely ecstatic over the announcement of Marvel getting control of the character. Reports indicate that Sony still gets final say over Spider-Man, but that they're letting Marvel take the creative lead. Marvel also announced the possibility that other Marvel characters could appear in future Spider-Man films.

While Sony's Amy Pascal stepped down as the motion picture head of Sony following the hacking scandal and its associated public embarrassments, she's staying on as a producer — including co-producing the next Spider-Man film with Marvel creative film leader Kevin Feige.

Some fans have also asked for an even bigger step away from the traditional Spider-Man by introducing Miles Morales, the popular half-black/half-hispanic Spider-Man from an alternate universe in the comics, but the official Marvel press release does mention Peter Parker, and Marvel executives have previously taken a strong stance against moving away from Parker as the secret identity.

Still, as Badass Digest's Devin Faraci notes, the executive who'd taken the strongest stance against Miles Morales — Avi Arad — isn't mentioned in the press release about the new film, so maybe Marvel will surprise fans once again. Also, relations have apparently been icier between Marvel and Fox, with fans speculating that Marvel is trying to ice out the X-Men and the Fantastic Four from their comics — but if the companies could work out a deal to use those heroes in a Marvel Cinematic Universe film, it could prove to be an even bigger surprise.

The new Spider-Man film is set for July 28, 2017, and he may appear in another Marvel film sooner.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A still from "POWER/RANGERS," a highly-produced Power Rangers fan film starring James Van Der Beek and Katee Sackhoff.

Update 2/28: The "POWER/RANGERS" film is back on YouTube and Vimeo. Watch the censored YouTube version with a new viewer discretion disclaimer here:

POWER/RANGERS

You can also watch the Vimeo version, featuring more adult content. The video's description emphasizes its lack of connection in any official way to the Power Rangers:

"Deboot of the Power Rangers. My take on the FAN FILM. Not a pilot, not a series, not for profit, strictly for exhibition. This is a bootleg experiment not affiliated or endorsed by Saban Entertainment or Lionsgate nor is it selling any product. I claim no rights to any of the characters (don't send me any money, not kickstarted, this film is free). This is the NSFW version. An alternate safe version is on youtube."

Director Joseph Kahn tells Deadline, "They put these disclaimers on so kids so don’t confuse our super-violent film with their Power Rangers brand. There are no hard feelings. We signed contracts. We can play it anywhere we want on all platforms. I think they realized that people just want to see it."

Previously: A Power Rangers short film went viral this week, starring Katee Sackhoff (Battlestar Galactica) and James Van Der Beek (Dawson!) in a Tarantino-meets-sci-fi take on a dark future for the formerly Mighty Morphin'.

The company behind the 22-year history of the kids/toy icons issued takedown requests, leading to it being pulled from Vimeo and, on Thursday afternoon, a toned-down version being taken off YouTube. At the time, the video had received over 10 million views. It's still available to watch in this Facebook embed from the producer's Facebook page:

POWER/RANGERS Facebook embed

The film was directed by Joseph Kahn, best known as the music video director behind clips like Taylor Swift's "Blank Space" as well as videos for Britney Spears, U2 and others, and produced by Adi Shankar, who was also behind "The Grey" and "Dredd." Kahn co-wrote the film with Van Der Beek and lesser-known writer Dutch Southern.

This isn't the first quasi-legal fan film produced by Shankar. He's also done the same with Marvel Comics characters the Punisher and Venom. The Punisher film even had one of the actors who played the character on screen, Thomas Jane.

Watch those films (Warning: Adult language and violence):

Punisher short

Venom short

Kahn tells HitFix that Shankar came to him, offering him the chance to reboot an existing property.

One reason for the current legal contentiousness: The Power Rangers are set to hit the big screen next year in a Lionsgate film. Kahn says that, if that film was offered to him, he wouldn't be interested.

"I wouldn't even want to make 'Power Rangers: The Movie' for real," Kahn told HitFix. "Like if I had to make a 'Power Rangers' movie, this is it. It's 14 minutes long, and it's violent, and this is what I have in me. If they offered me the $200 million version, the PG-13 version, I literally wouldn't do it."

There's been a strong response to the video, but the response has been mixed — among the original Power Rangers. The original Green Ranger, actor Jason David Frank, said on Facebook that he was approached to be in the movie but declined. (The film's director denies this claim, saying that Frank must have confused them with another project.) Frank also criticized the adult content.

"I'm just a PG-13 guy," Frank said. "The cuss words, the drugs, all this other stuff, it doesn't fly with me." He says that he thinks the Power Rangers are still connected with kids, and he didn't like the idea of doing a dark and gritty version in that context. (Watch his video below.)

Green Ranger video

But the original Pink Ranger, actress Amy Jo Johnson, gave the film her stamp of approval, which Sackhoff enthusiastically responded to.

Amy Jo Johnson tweet 1

Amy Jo Johnson tweet 2

Katee Sackhoff tweet

Sackhoff told the Nerdcore Movement site that she loves fan films.

"Doing a fan video is kind of the biggest honor you can give a franchise. It’s something that inspired you so much that you want to create," Sackhoff said.

Kahn defended "POWER/RANGERS" on Twitter as being protected due to it being a satire and also cited fair use laws and free speech. He argued that there are lots of other fan films and pointed out that YouTube showed more leniency, leaving it up.

"Every image in POWER/RANGERS is original footage," Kahn wrote in a series of tweets to Vimeo. "Nothing was pre-existing. There is no copyrighted footage in the short."

He also said that it's being given away for free and that Kahn paid for it himself.

Kahn tweet

"It is just as if I drew a pic of Power Rangers on a napkin and I gave it to my friend," Kahn wrote. "Is it illegal to give pic I drew of a character on a napkin to someone for free? No. The world is watching your actions right now."

In a touch of irony, the video had been selected as a Vimeo staff pick before the service took it down. They also responded to complaints about it being taken down, saying that they had to due to the Digital Millennium Copyright Act, and that they would restore the video immediately if the copyright claim was withdrawn, telling fans to complain to Power Rangers copyright holder Saban.

YouTube tweet

Despite the short film's success, hardcore Power Rangers fans are less sure about it, Shamus Kelley tells KPCC. Kelley created his own Rangers fan series, as well as co-hosting a Power Rangers podcast with over 300 episodes so far.

Casual fans are "far more open to the idea of dark/gritty because they see it as the show growing up with them," Kelley says. To hardcore fans, "it was either an abomination or the greatest unintended parody ever."

Kahn tells HitFix that the parody, of both Power Rangers and fan films in general, is definitely intended.

"The dark and gritty reboot thing is such a cliché that the intention was not only to make it dark and gritty but make it even darker and grittier than you could possibly imagine, hence the brains, the blood and the violence and the sex," Kahn said.

Kahn is set to answer questions about the film in a Reddit AMA on Friday at 2 p.m. We'll have to wait and see if there will be anywhere to watch it at the time.

Take a look behind the scenes of "POWER/RANGERS" via posts from the director and stars:

Behind the scenes tweet

Behind the scenes Instagram

Fight training 1

Fight training 2

The film also includes a techno take on the classic Power Rangers theme song, which you can listen to here:

Techno Power Rangers

This story has been updated.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A method is described for indexing grazing-incidence X-ray diffraction data of epitaxially grown thin films comprising various crystal orientations and/or polymorphs by measuring reciprocal-lattice vectors.

This year's SXSW festival was cancelled due to the coronavirus pandemic. Now the films that were scheduled to be shown there have the option to be screened on Amazon.; Credit: Suzanne Cordeiro/AFP via Getty Images

Amazon Prime Video will be hosting some of the movies that never got screen time at this year's cancelled SXSW Film Festival. Amazon and SXSW announced today that the online film festival will be free to all audiences for 10 days — but you will need an Amazon account.

According to the statement, the slate of films offered will depend on which filmmakers choose to opt into the festival. "Filmmakers who choose to participate will receive a screening fee for streaming their film over the 10-day period... SXSW has shared details on the opportunity with 2020 filmmakers, who can opt in starting today."

SXSW joins a number of cancelled and delayed film festivals going the online route: the Tribeca Film Festival has been posting a short film every day, the Greenwich International Film Festival will be bringing its May festival online, and the Washington D.C. Environmental Film Festival has also posted a number of this year's movies, along with an archive going back to 1990. The film distributor Kino Lorber has also began working with independent and art-house theaters across the country to "screen" current independent releases, starting with the acclaimed Brazilian movie Bacurau.

No date has been announced for the Amazon Prime SXSW Film Festival, though the companies are shooting for an April launch.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Benedict Cumberbatch and Sophie Hunter arrive at the 26th Annual Palm Springs International Film Festival Film Festival Awards Gala at Palm Springs Convention Center on January 3, 2015 in Palm Springs, California.; Credit: Frazer Harrison/Getty Images

The 26th Annual Palm Springs International Film Festival opened this weekend, distinguished by robust audience turnouts, megawatt celebrity visitations and constant reminders of the unique space PSIFF occupies and the specialized services it provides to Hollywood.

Falling as it does just before Sundance and just after the Golden Globes nominations, Palm Springs is as much a part of the awards season calendar as it is the festival circuit. Big ticket screenings are presented with all the photo op pomp that would greet a major world premiere at, say, the Los Angeles Film Festival, but in many cases this is to build buzz for (or to re-energize) films that are already in theaters.

At Sundance or Tribeca, the suspense is usually about whether the films in competition will get good reviews and/or find distribution. At Palm Springs, especially on opening weekend, it's more about whether you'll run into Brad Pitt in the guest and industry suite at the Renaissance Hotel.

At the PSIFF awards gala, Golden Globe nominee Reese Witherspoon took home the oddly gender specific Chairman's Award for her performance in "Wild."

J.K. Simmons received something called a Spotlight Award for his superb turn as the menacing music instructor in "Whiplash."

David Oyelowo grabbed the "Breakthrough Performance Award (Male)" for depicting Martin Luther King Jr. in "Selma." Brad Pitt's sing-along presentation of Oyelowo's award became the meme for much of the post-event press coverage.

Sing-a-long with Brad Pitt

Rosamund Pike got the "Breakthrough Performance Award (Female)" for "Gone Girl."

Michael Keaton presented the Director of the Year award to his "Birdman" collaborator Alejandro G. Iñárritu.

And the Palm Spring Convention Center stage was home to two young British heartthrobs who are in Oscar contention this year for period biopics about scientific genius: Eddie Redmayne, who grabbed the Desert Palm Achievement Award (Male) for portraying ALS sufferer Stephen Hawking in "The Theory of Everything," and Benedict Cumberbatch, who split glory with the cast of the Alan Turing biography "The Imitation Game" as co-winner of the Ensemble Performance Award.

The Desert Palm Achievement Award (Female) went to Julianne Moore in the Alzheimer's drama "Still Alice."

Every single one of the movies honored is in theaters now, almost all of them in the midst of slowly expanding release patterns as they mount their long slow march toward the Academy Awards.

The generous "one award per movie" policy and the care with which PSIFF avoids alienating celebrity affections by giving out trophies with such blunt and unequivocal titles as "Best Actress" or "Best Actor" mark the PSIFF awards gala as a psuedo-event: a kind of open-armed Hollywood team huddle before things get grim and serious with the Oscar announcements at the end of the month.

Even an Oscar-worthy oddity like Richard Linklater's "Boyhood" managed to find a place in the parade, with Linklater, who directed Shirley MacLaine in the 2010 black comedy "Bernie," presenting the 80-year-old actress with the Sonny Bono Visionary Award, essentially for career achievement.

Meanwhile, the festival's generous supply of indie, studio and foreign movies churned away in various local movie theaters, a really quite remarkable cluster of buzzworthy pictures, almost all of which have played elsewhere, including at Sundance and Toronto and Tribeca, and in many cases at your local multiplex.

This programming approach can be a double-edged sword. Director Ava DuVernay, whose civil rights-era epic "Selma" opened the festival, was unable to stay for her full run of Palm Springs personal appearances because her movie has been out long enough to spark a rather bitter controversy over its depiction of President Lyndon Johnson. DuVernay abandoned a Palm Springs Q and A in order to defend her film on Charlie Rose. 

While some audience members were bitterly disappointed at missing the chance to hear one of this year's golden ones, I'm sure the PSIFF Board of Governors understood completely. This time of year, you have to play the long game, and, in the words of the civil rights anthem, "keep your eyes on the prize."

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday to Off-Ramp for his report on the festival.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Carla Gugino, Matthew Lillard and Sir Patrick Stewart pose at the "Match" screening during the Palm Springs International Film Festival on January 3, 2015 in Palm Springs, California. ; Credit: Chelsea Lauren/Getty Images for PSIFF

Is there a happier star in Hollywood than Patrick Stewart?

Certainly no one seems to be having more fun than the onetime Star Trek captain and current (and seemingly permanent) X-Man. And why shouldn't Sir Patrick be pleased with himself? He really has got it all: a thriving stage profile in both New York and London, the unconditional love of a vast and loyal fan base, and a film career that oscillates freely between franchise blockbusters and the small, character-driven chamber pieces Stewart so clearly relishes.

"Match" is about as small a movie as Stewart has ever appeared in: a well-intentioned three-character film studded with very funny dialogue courtesy of writer/director Stephen Belber, upon whose play "Match" is based.

Stewart plays an aging gay dance instructor named Tobi Powell, who may or may not have sired a child back in the swinging 60s – an era movies now take to have been 10 years of uninterrupted orgy punctuated by Beatles records and gunshots aimed at the Kennedy brothers.

As the saying goes, "If you can remember the '60s, you weren't there." Stewart's Tobi Powell was vibrantly there at the time, so it's perhaps natural that he can't seem to recall whether or not one of his rare couplings with a female partner might have had some unintended consequences.

Mincing slightly and speaking in an accent that sounds Midwestern by way of Wales, Stewart is an absolute blast to watch. His genuine (and usually underutilized) flair for comedy is roguishly on display, allowing "Match" to shift between pathos and farce with an assurance born more of the performer's bravado than the emotional contours of Belber's somewhat overeager text.

Though allegedly a bit of a shut-in, Tobi is a minor masterpiece of a lost and exuberant art form: the exaggerated star turn. It's unsurprising Frank Langella got a Tony nomination for playing him on Broadway a decade ago, and at least a bit unexpected that Stewart has gone completely unnoticed this awards season, even by the nomination-happy Golden Globes.

Belber's best writing is mostly his comedic stuff. One aria comparing cunnilingus to knitting may just be the best scene of its type since Meg Ryan faked an orgasm in "When Harry Met Sally" a quarter century ago.

Solid and believable supporting turns from Carla Gugino and Matthew Lillard add to the fun until Belber's script bogs down in the third act into the kind of paint-by-numbers epiphany shtick even TV has given up on at this point.

WATCH: The official trailer for "Match," starring Patrick Stewart

Everybody cries. Everybody changes. Everybody yawns.  Or I did anyway.

Still, go see this movie — or better yet, watch it on your phone, since it's shot almost entirely in close up — to see a grand and gracefully aging actor strut his stuff with contagious delight. You will definitely laugh, and, God, does this movie hope you'll also cry.

But if you do weep, don't be surprised if, like Tobi himself, you hate yourself in the morning.

Off-Ramp contributor R. H. Greene is covering the 26th Annual Palm Springs International Film Festival, where he recently saw the new comedy "Match" starring Patrick Stewart. "Match" comes to theaters and video-on-demand on Jan. 14.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A scene from Tomislav Mrisic's "Cowboys (Kauboji)," which screened at the Palm Springs Film Festival.; Credit: Kino films

It has escaped the average filmgoer's notice, but Eastern Europe has been in the midst of a cinematic renaissance for quite a while now. A few individual titles and filmmakers have bubbled to the surface in U.S. cinemas, including Danis Toanovic's Serbian antiwar satire "No Man's Land," which won an Oscar in 2001, and Cristian Mungiu's Romanian abortion drama "4 Months, 3 Weeks, and 2 Days," which nabbed the Palme d'Or at Cannes 2007.

Those are both great movies, but they are also the small tip of a very large iceberg. This year, Estonian filmmaker Zaza Urushadze's "Tangerines" — a humanist drama about the Georgian civil war of 1992 — is a leading contender for a foreign film Oscar.

As of now, its main competitor for the trophy would seem to be the Polish film "Ida" by Pawel Pawlikowski, which has taken most of the top critics prizes for foreign film this awards season. And who has heard of Radu Jude, the witty Romanian director of "The Happiest Girl in the World," or Kamen Kalev, Bulgaria's great hope for the cinematic future? Among so many others.

A sort of "Waiting for Guffman" with a Croat twist, the delightful Croatian Oscar entry "Cowboys (Kauboji)" isn't in the same league as the best Eastern Europe has to offer, and in an odd way this is one of its strengths.

Tomislav Mrisic's film utterly lacks pretension, which is not to say that it has no point to make. If there's an Eastern European precedent for "Cowboys'" assured mix of satire, drama and farce, it's probably the "Loves of a Blonde"-era Milos Forman.

Mrisic shares with Forman an acute eye for the foibles of small town bureaucracy and a soft humanism that simultaneously allows "Cowboys" to embrace its rag-tag ensemble of eccentrics and to spoof them mercilessly.

(A screen shot from Croation Oscar entry "Cowboys (Kauboji)")

The plot sees Sasa (Sasa Anlokovic), a failed and hangdog theater director with health problems, returning to his small and economically desolate Croatian town, where he is enlisted by an old friend-turned-local-bureaucrat to bring Big City "culture" to the sticks.

Aware that his lung cancer may have fallen out of remission and that time may be running out for him, Sasa sets about the task of creating what may be his last opus with the clay available to hand: a half dozen unskilled, uneducated and, in most cases, un-hygienic misfits, culled from the dregs of the town. They decide to create a Western stageplay based on their shared love of "Stagecoach," "High Noon" and John Wayne. Something decidedly unlike "Stagecoach" is the result.

There are titters and belly laughs abounding in "Cowboys" — a film that may actually be even funnier to an American audience than it is in Croatia, given Mrisic's deft mangling of the worn-out genre cliches of old school horse opera.

The performances are all solid and specific: This is no undifferentiated cluster of cliche yahoos, but rather a broadly drawn ensemble, in which each character has a specific logic and an unspoken need he or she is trying to fill.

WATCH the "Cowboys" trailer in the original Croatian

Mrisic finds much to mock in his small town provincials, but also much to celebrate. "Cowboys" is a smart film that still sees goodness everywhere it looks, which makes it a refreshing change not just from the American school of rote affirmation comedy but also from the relentless bleakness we associate with so much European fare.

For all the farce on hand, "Cowboys" is in the end a covertly passionate defense of the creative act: Its imperishability and its importance for its own sake, excluding aesthetic considerations. It is also a plea for that hoary old chestnut, the healing power of laughter. While that may read like a cliche, with "Cowboys," Mrisic's point is made.

Off-Ramp contributor R.H. Greene is covering the 26th Annual Palm Springs International Film Festival and will be posting regularly from there.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Andrew J. West stars in Anna Mastro's "Walter"; Credit: "Walter"

It's always dicey to characterize a major film festival based on the movies you personally see there, because no matter how diligent you try to be, your impression will always be statistically anecdotal.

I'll see perhaps 10 percent of the films at this year's Palm Springs International Film Festival by the time they roll up the red carpets for the final time, added to the 25 or so I'd watched before I got here, owing to the festival's unique programming policies.

Not bad considering there are 190 movies being screened. So I think I've got the feel of things here. I wouldn't want my doctor to diagnose me based on a test with a 35 to 40 percent chance of accuracy, but I'm not a doctor. Instead of "Do no harm," I quote Spencer Tracy to myself. He said the secret to the creative process is to "just look 'em in the eye and tell 'em the truth."

And the truth is, with the exception of a couple of documentaries and a horror movie, virtually every film I've seen at Palm Springs so far shared some obvious characteristics: the Palm Springs International Film Festival loves it some poignancy and affirmation.

I've already commented on "Match," the Patrick Stewart acting showcase, and "Cowboys," a very funny Croatian comedy with cross-currents of seriousness. I may comment later about "Today," Iran's Oscar submission. (It's terrific by the way, a deeply affecting story about a burnt out cab driver who gets yanked into the world of a battered, unwed mother who steps into his cab.)

(Still from "Today” (Emrooz) by Iranian filmmaker Reza Mirkarimi)

I also saw an Anne Hathaway passion project called "Song One" here. I'm not going to write about it because I'm not in the mood to stomp on somebody else's butterfly. Plus the dramedy "1001 Grams" by the splendiferous-ly named Norwegian Bent Hamer, whose deadpan satire is routinely compared to Jacques Tati.

WATCH the official trailer for "1001 Grams," which includes some foreign languages

At their best, these are all movies that want to move the audience to tears before bouncing a ray of hope off the screen at them. At their worst, these movies are about pain in the same way Novocain is. They acknowledge its reality, in order to neutralize it.

Filmmaker Anna Mastro's debut film "Walter" (one of the Palm Springs premieres) fits what seems to be the festival's programming model, too, and is, I think, a really quite appealing little indie film, with the by now familiar mildly magical realist bent.

It's is a story about grief, though one with a screwball premise so that it doesn't quite present that way at first. Walter (portrayed with charisma and nuance by Andrew J. West) is a 20-something slacker, but a very uptight one, with a soldier's commitment to dress and routine.

He still lives with mom (Virginia Madsen, now shifting toward the character actress portion of her career with ease and grace) and has a job one rung above fast food worker on the ladder of success: He's a ticket taker at the local multiplex.

But what the world surely sees as failure, Walter knows to be his cover for a far more important vocation. Walter's father died when he was just 10 years old; ever since the funeral, Walter has realized something we don't: His real job in life is to decide where people go after they die.

His snap judgments secretly send people to heaven or hell ... until a dead guy from Walter's past shows up and demands that Walter determine his fate, and then all hell breaks loose.

It's an odd premise, bordering on the labored, but Mastro and her extremely appealing cast pull it off, in part by wearing their influences on their sleeves. The fingerprints of Wes Anderson are all over this picture, especially in terms of the way shots are framed and music is used, and I was able to identify the pivotal contribution of "Beasts of the Southern Wild" co-composer Dan Romer by ear, long before I noticed his screen credit.

I suppose that's supposed to be a damning criticism of a first-timer, but I don't see it that way. Tarantino aped Scorsese for years and virtually remade a minor Hong Kong gangster picture when he debuted with "Reservoir Dogs."

Spielberg acknowledges his debt to David Lean. Hitchcock's apprenticeship at Germany's UFA film studio resulted in a lifelong visual and thematic debt to the great Expressionist master Fritz Lang.

The question is, what do you do with your influences, how do you make them your own? And Mastro — who has a real gift for casting, pacing a scene and maneuvering her actors easily between farce and seriousness — has her own talents. She understands how Anderson's visual syntax has become a cinematic shorthand for quirk, and she deploys it to that effect, then tells the story at hand.

There are some issues with that story, though. There's a girl in concessions (Leven Rambin) Walter likes, and there's a bully at work. For all its surface oddity, the mechanical underpinnings of "Walter" frequently feel like they belong in an "American Pie" sequel.

And yet this movie won me over. I liked its faith in the movie palace as a place that still vibrates with the marvelous. I found a dream sequence, where Rambin undresses to camera while sprawled on a rich yellow bed of movie house popcorn hilarious and deeply expressive.

But I think my affection for this picture is mostly centered on Mastro and her cast, which includes a standout performance by Justin Kirk as a very grounded ghost and a broad but successful cameo from William H. Macy as Walter's psychiatrist. They're all groping toward something rather grim and real about loss, while doing their best to serve up some laughs and wonder along the way.

It touched me, because it feels kind of wise.

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday at noon to Off-Ramp, when he'll interview Chaz Ebert about her late husband Roger Ebert's contributions to the film festival circuit.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A decade-by-decade display of how many active gas storage wells are still in use by Southern California Gas Company. Source: Division of Oil, Gas and Geothermal Resources and SoCalGas; Credit: Aaron Mendelson/KPCC

The Aliso Canyon gas leak broke out near Porter Ranch nearly four years ago. On Tuesday a City Councilman called for an investigation of a different underground gas field after troubling images surfaced on video. 

The video uses a special infrared camera to show a duck swimming in the Ballona Wetlands amid bubbles of gas. An environmental advocacy group, Food and Water Watch, says the gas is methane.  They released the video this week to push for the city to investigate the underground gas storage field in nearby Playa del Rey.

Southern California Gas Co. says the gas surfacing in the wetlands is naturally occurring and unrelated to its underground natural gas storage field in Playa del Rey.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Alex Wolff in Human Capital.; Credit: Vertical Entertainment/Human Capital (2019)

Larry Mantle and KPCC film critics Lael Loewenstein, Claudia Puig and Tim Cogshell review this weekend’s new (streaming and VOD) movie releases.

• "Human Capital" on DirecTV

• "Crip Camp" on Netflix

• "The Platform" on Netflix

• "Blow The Man Down" on Amazon Prime Video

• "Phoenix, Oregon" on film's website

• "The Dog Doc" on Amazon Prime Video

• "Hooking Up" on Xfinity OnDemand

​CORRECTION: The film Human Capital is available on all on-demand platforms as of March 20th.

Guests:

Claudia Puig, film critic for KPCC and president of the Los Angeles Film Critics Association (LAFCA); she tweets @ClaudiaPuig

Lael Loewenstein, KPCC film critic and film columnist for the Santa Monica Daily Press; she tweets @LAELLO

Tim Cogshell, film critic for KPCC, Alt-Film Guide and CineGods.com; he tweets @CinemaInMind

This content is from Southern California Public Radio. View the original story at SCPR.org.

KJ Apa and Britt Robertson in "I Still Believe" ; Credit: Lionsgate/I Still Believe (2020)

Larry Mantle and KPCC film critics Amy Nicholson and Wade Major review this weekend’s new movie releases.

• "I Still Believe" on VOD

• "Banana Split" on VOD 

• "Vivarium" on VOD

• "Resistance" on VOD

• "Vitalina Varela" on GrasshopperFilm.com

• "Uncorked" on Netflix

• "Dosed" on film's website

• "The Occupant" on Netflix

• "Tape" on VOD

• "There's Something In The Water" on Netflix

Guests:

Amy Nicholson, film critic for KPCC, film writer for The Guardian and host of the podcasts ‘Unspooled’ and the podcast miniseries “Zoom”; she tweets @TheAmyNicholson

Wade Major, film critic for KPCC and CineGods.com

This content is from Southern California Public Radio. View the original story at SCPR.org.

Talia Ryder and Théodore Pellerin in "Never Rarely Sometimes Always".
; Credit: Focus Features/Never Rarely Sometimes Always (2020)

Larry Mantle and KPCC film critics Lael Loewenstein, Peter Rainer and Christy Lemire review this weekend’s new movie releases and share their picks for the best movies and TV shows to binge, rewatch or see for the first time while you’re staying at home.

• "Never Rarely Sometimes" on VOD (for rent on Amazon Prime & FandangoNOW)

• "Bacurau" on virtual cinemas, including Laemmle's and Alamo Drafthouse

• "Slay The Dragon" on VOD, including iTunes

• "About A Teacher" on Amazon Prime Video

• "Dolphin Reef" on Disney+

• "Elephant" in Disney+

Guests:

Lael Loewenstein, KPCC film critic and film columnist for the Santa Monica Daily Press; she tweets @LAELLO

Peter Rainer, film critic for KPCC and the Christian Science Monitor

Christy Lemire, film critic for KPCC, RogerEbert.com and co-host of the ‘Breakfast All Day’ podcast; she tweets @christylemire

This content is from Southern California Public Radio. View the original story at SCPR.org.

Director Eliza Hittman on the set of her film "Never Rarely Sometimes Always".
; Credit: Focus Features/Never Rarely Sometimes Always (2020)

The film “Never Rarely Sometimes Always” was slated for a theatrical release in March, but due to COVID-19 screenings were postponed. Instead, the film is out on digital this week, currently sporting a 98 percent rating on Rotten Tomatoes and receiving critical acclaim both here on FilmWeek and nationwide as one of the best films of 2020 so far.

Writer-director Eliza Hittman’s third feature-length film is about two teenage girls Skylar (Talia Ryder) and Autumn (Sidney Flanagan) from rural Pennsylvania who travel to New York City for medical help after an unplanned pregnancy. Hittman says the idea for the film came to her when she read in a book about how some women in Ireland, which up until recently had very strict laws against abortions, would travel from Ireland to London in 24 hours just to get a procedure. It struck her as worthy of a screenplay, and the idea was born. As part of her research for the film Hittman went to a small coal-mining community in rural Pennsylvania and, even though she wasn’t pregnant, visited pregnancy centers, got tested, and talked with women getting treatment and counseling so she could, as she says, “write the scenes with credibility.”

Today on FilmWeek, we’ll air “The Frame” host John Horn’s interview with “Never Rarely Sometimes Always” director Eliza Hittman where the two discuss how Hittman came up with the idea for the film, her journey to rural America to find out what visiting pregnancy centers there is like, and how that informed the way she conceived and wrote the film.

Guest:

Eliza Hittman, writer and director of “Never Rarely Sometimes Always”

This content is from Southern California Public Radio. View the original story at SCPR.org.

Kunjue Li (L) and Hing Chi-Lee (R) in Tigertail.; Credit: Netflix/Tigertail (2020)

Larry Mantle and KPCC film critics Claudia Puig, Tim Cogshell and Charles Solomon review this weekend’s new movie releases and share their recommendations for what to binge-watch while you’re stuck at home during COVID-19.

• "Tigertail" on Netflix

• "School Life" on Netflix

• "Love. Wedding. Repeat." on Netflix

• 'Stray Dolls" on VOD (AppleTV, Google Play Redbox * FandangoNOW

• "Sea Fever" on VOD (Spectrum On Demand, AppleTV, Google Play, Vudu, Redbox & FandangoNOW)

• "Strike" on VOD (Redbox, FandangoNOW & Vudu)

• "The Main Event" on Netflix

Guests:

Claudia Puig, film critic for KPCC and president of the Los Angeles Film Critics Association (LAFCA); she tweets @ClaudiaPuig

Tim Cogshell, film critic for KPCC, Alt-Film Guide and CineGods.com; he tweets @CinemaInMind

Charles Solomon, film critic for KPCC, Animation Scoop and Animation Magazine

This content is from Southern California Public Radio. View the original story at SCPR.org.

Closing Night Party at last year's 2019 TCM 10th Annual Classic Film Festival in Hollywood, California. ; Credit: Presley Ann/Getty Images for TCM

Like all public events following the start of widespread stay-at-home orders from the state and federal government, the 2020 TCM Classic Film Festival was unfortunately cancelled this year due to health concerns posed by COVID-19. But festival faithful and classic film buffs won’t be left hanging this year.

Instead of a live, in person event, TCM decided to do a Special Home Edition of the annual festival that will air on the TCM Channel. The festival kicked off Thursday evening with a screening of the 1954 version of “A Star is Born” starring Judy Garland and James Mason and will include a number of films from past years’ festival lineups as well as ones that were slated for this year’s event. It ends late Sunday night (technically early Monday morning) with a screening of the 1982 film Victor/Victoria, for which Julie Andrews was slated to be in attendance at the 2020 festival before it was cancelled.

Today on FilmWeek, Turner Classic Movies hosts Ben Mankiewicz and Dave Karger join Larry Mantle to preview this year’s Special Home Edition of the TCM Classic Film Festival, talk about having to pivot due to the pandemic, and sharing some of their favorite films that are screening at this year’s event.

For a list of films and showtimes, click here.

Guests:

Ben Mankiewicz, host for Turner Classic Movies; he tweets @BenMank77

Dave Karger, host for Turner Classic Movies and special correspondent for the Internet Movie Database (IMDb); he tweets @DaveKarger

This content is from Southern California Public Radio. View the original story at SCPR.org.

Justin Timberlake and Anna Kendrick in Trolls World Tour.; Credit: Universal Pictures/Trolls World Tour (2020)

Larry Mantle and KPCC film critics Lael Loewenstein, Amy Nicholson and Charles Solomon review this weekend’s new movie releases and share some of their recommendations for movies and TV shows to discover, rediscover and binge-watch while you’re at home.

• "Trolls World Tour" on VOD (Vudu, FandangoNOW, AppleTV, Amazon Prime Video , Microsoft Store & more)

• "The Quarry" on VOD (FandangoNOW, Google Play, DirecTV On Demand)

• "A White, White Day" on The Frida Virtual Cinema

• "Away" on Laemmle's Virtual Cinema and Amazon Prime Video

• "Selah And The Spades" on Amazon Prime Video

• "The Booksellers" on VOD (Google Play) and virtual cinemas, including Laemmle's and The Virutal Frida Cinema

• "Endings, Beginnings" on VOD (iTunes and FandangoNOW)

• "Sergio" on Netflix

Want to see what our critics are watching and recommending you watch during stay at home? Click here to see a full list of our FilmWeek critics' favorite TV shows and films to binge-watch during COVID-19.

Guests:

Amy Nicholson, film critic for KPCC, film writer for The Guardian and host of the podcasts ‘Unspooled’ and the podcast miniseries “Zoom”; she tweets @TheAmyNicholson

Lael Loewenstein, KPCC film critic and film columnist for the Santa Monica Daily Press; she tweets @LAELLO

Charles Solomon, film critic for KPCC, Animation Scoop and Animation Magazine

This content is from Southern California Public Radio. View the original story at SCPR.org.

Chris Hemsworth and Rudhraksh Jaiswal in Extraction.; Credit: Netflix/Extraction (2020)

Larry Mantle and KPCC film critics Christy Lemire, Angie Han and Wade Major review this weekend’s new movie releases on streaming and VOD platforms.

• "Extraction" on Netflix

• "Bad Education" on HBO

• "Circus Of Books" on Netflix

• "Why Don't You Just Die!" on VOD (iTunes, Amazon & Google Play)

• "Beastie Boys Story" on Apple TV+

• "Robert The Bruce" on VOD (iTunes, Amazon, FandangoNOW & Google Play)

• "1BR" on VOD (iTunes) & DVD

• "The True History Of The Kelly Gang" on VOD (iTunes, Vudu & Google Play)

Guests:

Angie Han, KPCC film critic and deputy entertainment editor at Mashable; she tweets @ajhan

Christy Lemire, film critic for KPCC, RogerEbert.com and co-host of the ‘Breakfast All Day’ podcast; she tweets @christylemire

Wade Major, film critic for KPCC and CineGods.com

This content is from Southern California Public Radio. View the original story at SCPR.org.

Terry Donahue and Pat Henschel in "A Secret Love"; Credit: Netflix/A Secret Love (2020)

Larry Mantle and KPCC film critics Lael Loewenstein and Tim Cogshell review this weekend’s new movie releases on streaming and on demand platforms.

• "Bull" on VOD (iTunes & FandangoNOW)

• "A Secret Love" on Netflix

• "Deerskin" on virtual cinemas, including Laemmle's & The Frida Cinema

• "The Wretched" on VOD (iTunes & Google Play)

• "The Half Of It" on Netflix

• "All Day And A Night" on Netflix 

• "Vanilla" on VOD (Vudu, Google Play & iTunes)

• "South Mountain" on VOD/DVD (iTunes, Amazon, Google Play & Vudu)

• "Working Man" on VOD (iTunes, Google Play, FandangoNOW & Vudu) 

Our FilmWeek critics have been curating personal lists of their favorite TV shows and movies to binge-watch during self-quarantine. You can see recommendations from each of the critics and where you can watch them here.

Guests:

Lael Loewenstein, KPCC film critic and film columnist for the Santa Monica Daily Press; she tweets @LAELLO

Tim Cogshell, film critic for KPCC, Alt-Film Guide and CineGods.com; he tweets @CinemaInMind

This content is from Southern California Public Radio. View the original story at SCPR.org.

Michelle Obama in "Becoming".; Credit: Netflix/"Becoming" (2020)

Larry Mantle and KPCC film critics Claudia Puig, Peter Rainer and Christy Lemire review this weekend’s new movie releases.

• "Becoming" on Netflix

• "Rewind" on VOD (iTunes) & on PBS May 11th (check your local listings)

• "Spaceship Earth" on virtual cinemas (Laemmle's & The Frida), streaming on Hulu, and VOD

• "Arkansas" on VOD (Spectrum On Demand, DirecTV on Demand, iTunes, Vudu, Google Play, FandangoNOW & Amazon Prime)

• "Natalie Wood: What Remains Behind" on HBO & Amazon Prime

• "Driveways" on VOD (Amazon Prime and Google Play)

• "Walkaway Joe" on VOD (iTunes, Google Play, FandangoNOW & Vudu)

• "Intrigo: Dear Agnes" on VOD (iTunes, Google Play, FandangoNOW & Vudu)

• "Valley Girl" on VOD (iTunes, Google Play & Amazon Prime)

• "On a Magical Night" on virtual cinemas, including Laemmle's & The Frida

• "The Delicacy" on SOMM TV

Guests:

Claudia Puig, film critic for KPCC and president of the Los Angeles Film Critics Association (LAFCA); she tweets @ClaudiaPuig

Christy Lemire, film critic for KPCC, RogerEbert.com and co-host of the ‘Breakfast All Day’ podcast; she tweets @christylemire

Peter Rainer, film critic for KPCC and the Christian Science Monitor

This content is from Southern California Public Radio. View the original story at SCPR.org.

The importance of coral reefs in supporting diverse fish communities has been highlighted in a recent study. However, the effects of damaging fishing techniques were also observed in video footage of the reefs studied, located off the coast of Ireland.

California Jerry Brown will sign a bill to expand California's film and television tax credit program into law in Hollywood; Credit: Justin Sullivan/Getty Images

A moment Hollywood's been waiting a while for will take place... in Hollywood. 

A ceremony is planned for Thursday morning at the Chinese Theater where Governor Jerry Brown will sign the "California Film and Television Job Retention and Promotion Act" into law.

The bill - also known  as AB 1839 — will more than triple the funding for California's film and television production tax credit program. 

The push to expand and enhance the tax credit program has been going on for more than a year. In August of 2013, Los Angeles Mayor Eric Garcetti used the term "state of emergency" to characterize the flight of film and television production to other states and countries. Garcetti is expected to speak at the ceremony. 

Los Angeles-area Assemblymen Mike Gatto and Raul Bocanegra are also expected to be on hand. They introduced AB 1839 in February and moved it strategically through the legislature in Sacramento. While there were few vocal opponents of expanding the tax credit program, the big question was by how much. Many supporters hoped to see the annual pot raised from the current $100 million to at least $400 million, but an exact dollar amount wasn't specified until very late in the legislative process.

In April, the state Legislative Analyst's Office released its hard look at the current tax credit program, pointing out that the state is only getting back 65 cents in tax revenues for every dollar it’s spending on the film and TV subsidy.  The bill to expand the program kept moving.

California's magic number turned out to be $330 million dollars, not as high as chief rival New York State's $420 million per year, but still more than triple California's current offering. Along with the extra cash, AB 1839 also changes the way the tax credit program will be administered.   Rather than using a one-day lottery to determine which productions receive the credit, the state will measure the projects based on their potential to create jobs.   A project that overestimates that potential could be penalized.  

Shortages of indium, a key metal found in thin-film solar cells, could limit their large-scale deployment in the future. A new study has outlined four ways that indium supplies could be increased to meet future demand. For example, indium could be extracted more efficiently from zinc ores, or historic wastes containing indium could be processed to extract the element.

You’re never too old to fall in love is the heartwarming message of the Company of Ten’s next production, Ladies in Lavender.

Oilman-turned-solar entrepreneur Jeremy Leggett says there's only one shot to plug the well, and getting it wrong comes with a heavy price.

“Inconvenient Truth” producer Laurie David teams up with Katie Couric to make a film that has the Grocery Manufacturers Association defending its efforts.

A BBC videographer learns what an Arctic seal's final moments might look like.

To mark the release of “The Chernobyl Diaries,” we’ve rounded up nine notable nuclear horror films that span over 50 years of murder, mayhem and reactor m

Supermarket chain will screen environmentally themed films in more than 70 cities starting in April.

‘Dirty Oil’ slams Canada’s oil extraction industry, calling it one of the world’s most polluting industrial projects.

Plus: Video hoax targets Alberta's tar sands as the filming location for the wastelands of Mordor.

Film tells the fictional story of one small town's dealings with the natural gas industry — and the environmentalist out to stop it all from happening.

'What are we supposed to do?' one hiker whispered as a puma stared them down in Sequoia National Park.

Painstakingly handcrafted biopic on the legendary Dutch painter is seeking artists interested in contributing.