South Korean Coverage Throughout the North Korean Border with Robot with ability can killing human

Seoul, A number of robot guards that can detect and kill the enemy deployed in South Korea  along the border with North Korea are heavily guarded, as officials said on Tuesday (13 / 7). “Our military has been testing the robots along the border,” said a defense ministry spokesman (Kemenhan), as quoted by AFP. South Korean robot used is a combination of two robots that have the ability to investigate, track, shoot and recognize the sound system integrated into a single unit, he said, declining to give further details.

Robot that per-unit costs 400 million won (330,000 dollars) was installed last month at a checkpoint in the middle of the Military Free Zone, which divides the peninsula, Yonhap news agency said. A military officer who was not quoted by name said the ministry would deploy robots guards along the front lines of the Cold War world and then, if the test was successful. Robot using motion and heat detection devices to sense a possible threat, and alert the command center, said Yonhap.

If the command center operator can not identify the possibility of an intruder through audio or video communication system of robots, operators can be ordered to fire a weapon or a 40mm automatic grenade launcher. Carousel is now also developing advanced combat robots armed with weapons and sensors that can complement the soldiers on the battlefield. Carousel has a conscript army with a strength of 655 000 compared to the Pyongyang army which reached 1.2 million. Meanwhile, there are estimates, declining birth rate means Seoul in the future will strive to maintain the number of troops.(AFP)

Seoul, (TVOne).

A number of robot guards that can detect and kill the enemy deployed in South Korea (ROK) along the border with North Korea (North Korea) are heavily guarded, as officials said on Tuesday (13 / 7).

“Our military has been testing the robots along the border,” said a defense ministry spokesman (Kemenhan), as quoted by AFP.

South Korean robot used is a combination of two robots that have the ability to investigate, track, shoot and recognize the sound system integrated into a single unit, he said, declining to give further details.

Robot that per-unit costs 400 million won (330,000 dollars) was installed last month at a checkpoint in the middle of the Military Free Zone, which divides the peninsula, Yonhap news agency said.

A military officer who was not quoted by name said the ministry would deploy robots guards along the front lines of the Cold War world and then, if the test was successful.

Robot using motion and heat detection devices to sense a possible threat, and alert the command center, said Yonhap.

If the command center operator can not identify the possibility of an intruder through audio or video communication system of robots, operators can be ordered to fire a weapon or a 40mm automatic grenade launcher.

Carousel is now also developing advanced combat robots armed with weapons and sensors that can complement the soldiers on the battlefield.

Carousel has a conscript army with a strength of 655 000 compared to the Pyongyang army which reached 1.2 million.

Meanwhile, there are estimates, declining birth rate means Seoul in the future will strive to maintain the number of troops.

Men in Black 3 are back on 3D

Alien crime fighters the “Men in Black” are headed back to movie theaters for a third time in a new version set for a 3D release, starring Will Smith, Columbia Pictures said on Friday.

Tommy Lee Jones, who teamed up with Smith in the sci-fi comedy playing a pair of agents who track down aliens, is in advanced talks with the studio to reprise his role in “Men In Black III” in 3D. The movie is scheduled to hit theaters on May 25, 2012, the studio said.

Josh Brolin also is in talks to work on the movie. It will be directed by Barry Sonnenfeld and produced by Walter F. Parkes and Laurie MacDonald. Steven Spielberg will executive produce.(Reuters)

Christina Applegate is engaged to marry musician Martyn Lenoble

LOS ANGELES Christina Applegate is engaged to marry musician Martyn Lenoble. Applegate’s publicist, Ame Van Iden, said Friday that the couple of two years became betrothed on Valentine’s Day.This will be the second marriage for both the actress and the Dutch rocker. No wedding date has been set.

Applegate’s recent credits include TV’s “Samantha Who?” and the movie “Alvin and the Chipmunks: The Squeakquel.” She is set to appear with Drew Barrymore and Justin Long in the film “Going the Distance,” due this summer.Lenoble is a founding member of the rock group Porno for Pyros. (AP)

ESPN reporter's stalker gets 3 years in prison

LOS ANGELES An Illinois insurance executive who secretly shot nude videos of ESPN reporter Erin Andrews was sentenced Monday to 2 1/2 years in prison after giving a tearful apology that was harshly rebuked by his victim.Michael David Barrett pleaded guilty in December to interstate stalking after prosecutors accused him of following the reporter to at least three cities and shooting the videos through hotel peepholes.

Barrett, 48, of suburban Chicago, agreed to a 27-month prison sentence after pleading guilty but it was up to the judge to decide how long he would actually serve.Andrews urged the judge at the hearing for a harsher sentence and said she fears for her life every time she enters a hotel.”You violated me and you violated all women,” Andrews told Barrett. “You are a sexual predator, a sexual deviant and they should lock you up.”After the sentencing, she said, “Thirty months isn’t enough.”Barrett admitted renting hotel rooms next to Andrews three times and shooting two videos of her while she was naked. He was accused of posting the videos online and trying to sell them to Los Angeles-based celebrity gossip site TMZ last year.U.S. District Judge Manuel Real said he gave Barrett the maximum sentence under the law.

“The victim, Andrews, will be suffering with this problem for the rest of her life,” Real said. “There is no life sentence that can be imposed upon him, except his own guilt.”Barrett cried as he addressed Andrews in court, saying he would spend the rest of his life regaining the respect of his friends and family and atoning for his mistakes.”There are no words to tell Ms. Andrews how sorry I am for what I’ve done to her,” he said. “I hope someday she can forgive me.”Andrews, visibly nervous as she spoke, said she had no sympathy for Barrett’s claim he was publicly humiliated.”It’s my body on the Internet,” she said. “I’m being traumatized every single day for what he did. … This will never be over for me.”Barrett, who has until May 3 to surrender, was ordered to have supervised probation for three years after his release, during which he will be prohibited from contacting Andrews, her family or friends.

He will not be allowed to stay in a hotel without approval of a probation officer and if he accepts employment somewhere, Andrews will be notified. Barrett was also ordered to pay $5,000 in fines and $7,366 in restitution, but the judge said further restitution may be imposed to compensate ESPN.Barrett’s lawyer, David Willingham, said his client is undergoing psychological treatment and “has sought the path of redemption.””Mr. Barrett has lost everything he built throughout his life,” Willingham said. “He’s lost his career, his fiancee and his life savings. He knows that he brought this on himself.”Federal prosecutors in Los Angeles have agreed not to pursue further charges against Barrett. However, he could face criminal action in other states stemming from other videos he allegedly shot of unsuspecting nude women through peepholes.

Andrews’ attorney, Marshall Grossman, has said there could be as many as a dozen other women that Barrett taped.A sentencing memo filed last month in federal court says Barrett uploaded videos of 16 other women to an online account.Barrett also allegedly conducted 30 Internet background checks that can produce birthdays and home addresses, the document said. The filing did not name the other alleged victims or say what information he obtained or how he may have used it.Prosecutors claim that 32 videos provided by DailyMotion.com show Barrett “victimized approximately 16 other women in almost precisely the same way that he victimized” Andrews. They did not identify the women.

Andrews testified in December that Barrett’s actions had a devastating impact on her and her family because she is constantly reminded that his videos appeared online and is subjected to taunts from sports fans when she works as a sideline reporter.Andrews has agreed to appear on the new season of ABC-TV’s “Dancing with the Stars” – an offer she said ABC made before the stalking allegations. She said she doesn’t want to seclude herself from the public eye because other victims would get the wrong message.”I did nothing wrong. Just trying to live my life,” she said.”I had to deal with a lot of people who said I deserved it, that I had played to a certain audience.”Her attorney said she will not file a lawsuit against Barrett.(AP)

Academy Awards night is one of the most glamorous of the year

Academy Awards night is one of the most glamorous of the year, but the ceremony does far more than offer up red carpet glitz and golden statuettes.Those three-plus hours of television also fund a year’s worth of philanthropic endeavors for the Academy of Motion Picture Arts and Sciences.

With the license fee somewhere north of $65 million that ABC pays for the rights to air the Oscars, the academy funds an entire year’s worth of projects that fulfill the organization’s original mission: to promote the art and science of filmmaking.

“The awards are one night; the place goes on for 364 more days,” says academy President Tom Sherak, pointing out that the nonprofit organization doesn’t fund-raise throughout the year. “That award night pays for the entire organization.”

A year’s worth of concerns for the group include preserving film history, screening films for the public, developing young talent and keeping up with the technologies of the future.

Sherak, whose four-year term started just last year, says that among his chief concerns for the industry are film preservation and the changeover to digital cinema. The organization, he points out, recently funded a study on digital storage that looks at the compatibility and reliability of the technology in terms of what issues might arise down the road.

“Decisions we make today are going to be the ones that are going to last for decades,” he says.While many eyes are on the future of the business, safeguarding the past is of equal importance. In addition to retaining prints of nearly every best picture Oscar winner since the ceremony started in 1929, the academy has literally millions of film-related items dating to the industry’s inception.

“The academy has 10 million photographs, 100 million press-clip files, 80,000 screenplays, 34,000 movie posters — stuff that never should be allowed to die,” Sherak says.

Stuff that should, in fact, probably be in a museum. Although in 2007 the organization consulted an architect and drew up plans for an 8-acre campus adjacent to the existing Pickford Center in Hollywood, the Museum of the Academy of Motion Picture Arts and Sciences has been put on indefinite hold, until the needed construction funds can be raised.

“You can’t have a future without a past or a present. You can’t forget the people that have come before you,” Sherak says. “The board believes that the history of our business is something that will interest people. We are going to build a museum, [but] right now it’s on hold.”In the meantime, the academy has plenty of philanthropic programs to keep its members busy, the most prestigious of which is the Don and Gee Nicholls Fellowships in Screenwriting. Offered to screenwriters who have earned less than $5,000 writing for film or TV, the Nicholls Fellowship gives $30,000 to five writers a year and counts Allison Anders (“Mi vida loca”)and “Erin Brockovich” screenwriter Susannah Grant among its previous recipients.

“I’ve been on the board for six years now, and I went to my first Nicholls award winners dinner this year. I listened to the stories about the adversities they went through and their passion for writing, and I realized just how much we do as an organization,” Sherak says.

The academy reaches out to the community at large as well, offering retrospectives, lectures and exhibitions to film enthusiasts (usually free or for a nominal fee).

For instance, the group premiered a restored print of “Citizen Kane” as part of a sold-out tribute to visual-effects pioneer Linwood Dunn. And with an eye toward the academy’s decision to have 10 best picture nominees this year, the Grand Lobby Gallery at academy headquarters is exhibiting posters from an eclectic mix of best picture nominees from 1936 through ’43, when the number of nominees was anywhere from three to 12.

Other public services include providing grants to film festivals and colleges, creating film-related internships for college students — such as this year’s position at Pixar Animation Studios — and reaching out to high schoolers to create a broader media literacy.

During past president Sid Ganis’ term, the outreach went worldwide, including sending members of different branches to learn about such far-flung film industries as those in Iran and Vietnam and inviting foreign filmmakers to the U.S. The Iranian exchange culminated in a five-night screening and discussion series.

“They’re not political, we’re not political, so it makes it really comfortable to express ideas about the movie business,” Sherak says. “It makes us whole; it makes us who we want to be.”

Kathryn Grayson has died in Los Angeles aged 88.Born in 1922

Kathryn Grayson, the singer and movie star best known for her roles in such MGM musicals as Kiss Me Kate and Show Boat, has died in Los Angeles aged 88.Born in 1922, the classically trained soprano had planned a career in opera but was persuaded when she was 15 to sign a contract with MGM instead. Her male co-stars during her time at the studio included Howard Keel, Gene Kelly, Mario Lanza and Frank Sinatra. When her screen career began to wane, she switched from film to the stage. In 1962 she replaced Julie Andrews in the Broadway production of Camelot, going on to tour the show for over a year. She also toured with Keel in Man of La Mancha and appeared with him in Las Vegas. Born Zelma Kathryn Elisabeth Hedrick in Winston-Salem, North Carolina, Grayson made her film debut in 1941 opposite Mickey Rooney in Andy Hardy’s Private Secretary.However, she remains best known for playing the temperamental Lilli Vanessi in 1953’s Kiss Me Kate, a musical adaptation of Shakespeare’s The Taming of the Shrew. Other films in which she appeared included Anchors Aweigh with Kelly and Sinatra, and The Desert Song opposite Gordon McRae. Her last film was 1956’s The Vagabond King, though she went on to appear in some TV shows including Baretta and Murder, She Wrote. Grayson died on Wednesday at her Los Angeles home, her long-time secretary and companion Sally Sherman announced. “She was a lady of class and quality, with the greatest sense of humour conceivable,” Sherman said.

LEONARDO DiCaprio is trying to give up smoking but is having to do it without the help of nicotine patches!

LEONARDO DiCaprio is trying to give up smoking   but is having to do it without the help of nicotine patches!The Titanic actor  who stars in new movie Shutter Island  says his mission to ditch his beloved cigarettes is being hindered by dreams of mass murder!“When I take nicotine patches I have blood curdling nightmares of murder. Mass murders,” explains Leo. “I wake up in the middle of the night and have to take them off.“I don’t really remember my dreams that much apart from then. I don’t know what that means about me from a psychological point of view but that’s the truth.”DiCaprio, 35, recently admitted he’s a “mommy’s boy”.“She loves taking part in my life,” the actor said of his mom .”You can call me a mommy’s boy, but I think it’s cool to have her with me.”

'The Road'the film forces us to endure and what we end up receiving in return.

“The Road” is a road you’ll wish hadn’t been taken. Not because anything’s been badly done, but because there’s a serious imbalance in the complicated equation between what the film forces us to endure and what we end up receiving in return.Given that it’s based on Cormac McCarthy’s somber novel, winner of the Pulitzer Prize for a devastating report from the end of the world witnessed by a man who’s been there, it’s no surprise that the film is for the most part profoundly depressing.What is disappointing is that despite numerous strong areas, including fine acting by Viggo Mortensen and young Kodi Smit-McPhee as father-and-son survivors of an unnamed apocalypse, what we’ve been given is no more than a reasonable facsimile, an honorable attempt at filming an unfilmable book.

As adapted by British playwright Joe Penhall and directed by John Hillcoat, best known for the slickly violent “The Proposition,” “The Road” turns out to be good at shocking and upsetting us, but it lacks the compensating emotional heft that would make absorbing those shocks worth our while.For while Chris Kennedy’s formidable production design places us in an uncomfortably real space, absent McCarthy’s haunting language, “The Road” for the most part is not so good at transcendence, at making us feel, as the book definitely does, that there is reason for us to endure its pitiless descriptions of what Joseph Conrad described in “Heart of Darkness” as “the horror, the horror.”What Conrad was likely talking about, and what “The Road” devotes considerable time to on the screen and on the page, is the terrors that humans inflict on each other. One of the provocative questions this story asks is whether staying alive is worth the savagely inhuman actions necessary to make survival possible.

Unwilling to begin on a totally downbeat note, “The Road” opens with what turns out to be a dream flashback to a time just before the unspecified catastrophe happens, a time when Mortensen’s unnamed man is married to Charlize Theron’s unnamed woman and their first child is on the way.Ten years into the post-apocalypse, the mother is gone, the unborn child is a young boy (Australian actor Smit-McPhee) and the world has changed. It’s a blasted, blighted, ashen and slowly dying Earth, shaken by quakes, lighted by out-of-control fires and filled with dead cars, empty buildings, deserted bridges and very few people.To stay alive in this world, you have to keep moving, wearing the most utilitarian rags you can find (Margot Wilson did the excellent costume design) and pushing the shopping cart that contains all your possessions. It’s a vision of a world largely without us that completely chills the soul.

The casting of Mortensen and Smit-McPhee is one of the film’s strengths. With straggly hair and a great wild look, Mortensen is convincing as a harried survivor, and the rapport he has with the more innocent and soulful child played by Smit-McPhee is excellent.”I’ve never had a better acting partner,” Mortensen has said, “someone I knew had my back, and he knew I had his.”One of the great fears of those few survivors is cannibalism, something the strong inflict on the weak, and scenes that hint at that are among “The Road’s” hardest to take.The man’s greatest fear is that he will die before his son is old enough to protect himself, and the son’s greatest fear, paradoxically, is that he and his father will somehow lose the essence of their humanity in the drive to stay alive. “Are we still the good guys?” he asks his father plaintively. “Are we carrying the fire?”

This pair have their affecting moments, as does Robert Duvall as a kind of barely alive human lump, but absent McCarthy’s transformative prose, which has a power even images can’t improve on, what we are left with is more endurance test than anything more elevated.If it is to do more than horrify and depress us, “The Road” is in need of a finer sensibility, and that is simply not on offer.

http://www.youtube.com/v/i4aNZGniOG4&rel=0&fs=1

Movies Come Back to St. Marks Place

Next week, Theater 80 will fire up its film projectors for the first time in 15 years, when comic caper film The Brooklyn Heist begins its two-week run at the famed revival house. We asked The Brooklyn Heist director Julian Mark Kheel about how this unique booking came about, and why Theater 80 is the perfect venue for his satiric tale of three very different sets of New Yorkers all plotting to rob the same pawnshop owner…on the same night.

Sometimes small problems lead you to great solutions.  A few months ago, we were looking for a theater just to hold a private screening of The Brooklyn Heist for our New York cast and crew who hadn’t had a chance to see the film yet. Our producer Michael Cecchi was looking at theaters, but most movie theaters in New York have no character—they’re too big and commercial and impersonal.  We knew we wanted somewhere special to debut this film, not just a giant multiplex.

One day, Mike was walking by Theater 80, which he knew very well from their time with the Pearl Theatre Company, and decides on a whim to stop in and see what they’re up to with the space.  That’s when we first found out that Lorcan [Otway], who is the son of the original owners of Theater 80, was considering turning Theater 80 back into a movie house. He had begun researching the high definition projection system that would be needed, but it was an expensive endeavor. But once Lorcan saw the trailer for The Brooklyn Heist, he loved it, the projection system was ordered, and suddenly we were booked not just for a cast and crew screening but an entire run of the film.

Co-writer Brett Halsey and I both spent our post-college years living in New York, writing together and struggling as artists, and one of the greatest things we discovered about the city is the huge variety of people from all walks of life who live here.  Since The Brooklyn Heist is all about people from different worlds colliding, it seemed only logical that New York—and specifically Brooklyn—would be the place they’d all be.

When we decided to write a caper film, one of our big inspirations was Dog Day Afternoon, the 1975 film directed by Sidney Lumet.  It feels like the robbery in that film is an event that could only happen in New York, from the characters played by Al Pacino and John Cazale to the mobs of people witnessing the hold-up from outside the bank.I feel the same way about The Brooklyn Heist—a heist like this one with characters like these could only happen in New York.

Caper and heist films are such an established part of the history of cinema.  Filmmakers have been making them forever and audiences have been watching them forever, probably because they’re fun to make and fun to watch.  So when we wanted to “play” with a genre and explore long established stereotypes for laughs, we knew that a heist film would give us a ton of material to work with.

I love the old cliché about filmmaking that it’s like trying to eat an elephant a spoonful at a time. That rings very true to me because the toughest part of directing is being able to see the ‘big picture’ while you’re working on just one specific shot, maybe even one specific moment.  In a short film that task is easier because the “big picture” is only 10 minutes long, but in a feature, seeing the whole thing in your mind while still staying in the moment is a much bigger challenge.  And because of the different genres within The Brooklyn Heist, making this film was like trying to eat five elephants of varying colors, shapes, and sizes, and keeping track of which elephant you were supposed to be eating on any given day and how it would mix together with the other elephants.  So this feature presented its own special mix of problems, as well.

The other difference between making a feature versus a short is simply time, and by that I mean time on the set.  The pressure to get everything done on time is much more intense on a feature.  On a short film you’re usually working with a cast and crew who is donating their time, or at least providing it at a very low cost for one or two days.  But of course no one can afford to donate their time for weeks and weeks on end—everyone’s gotta eat somehow.  So on a feature it quickly becomes apparent that every minute on set is costing a lot of money and you’ve got to stay on track, especially on an independent film where’s there’s no studio to cover the costs if you go over budget.  But at the same time, you can’t let the costs distract you from the artistic side of the endeavor.  So it’s a balancing act that changes every day.