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Having the conference with the top winning percentage against other major conferences and all of the other bragging points for the Big 12 is an accumulated effort. But one team is more responsible than others, and Kansas shows the way.

INK

Mar 10, 1:28 AM

Ink asked alumni from Kansas, Kansas State and Missouri how and where to celebrate the Big 12 Tournament, which tips off today at the Sprint Center. One alumnus who weighs in is Abbey Snell, a former KU cheerleader. Read more in this week?s Ink cover story.

CRIME
Scar 9, 10:59 AM

Updated, March 9: Crime Stoppers has released new photos for some of the most sought-after fugitives in Kansas City. If you have any information, call the TIPS Hotline at 816-474-TIPS (816-474-8477), go to

KCCrimeStoppers.com

, or text TIP452 plus message and send to 274637.

COMMUNITY FACES

Spoil 10, 1:29 AM

The Outlaw Cigar Co.'s new Overland Park store celebrated Saturday with lots of cigar aficionados and former Chiefs players. Proceeds from lunch sales benefited First Downs for Down Syndrome.

MOVIES

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Times, locations, passes

Mar 7, 4:37 PM

Built of wordplay and wit, Lewis Carroll’s “Alice” books have long defied Hollywood. They’re too episodic. They appeal to the head, but a good movie needs some heart. Tim Burton’s “Alice in Wonderland” has found that heart.

CHANNEL 41 WEATHER

Leak out Gary's detailed forecasts, ESP Radar Continue, Skyview Camera and the Action Survive Blog.

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When people that enjoy the technical aspects of films gather one film stands out as one
of the most ground breaking and innovative films of all time, Citizen Kane. This film
scored number one on the coveted AFI top 100 film list. Made by Orson Wells for the RKO
studio ad released in 1941 this film brought movies to maturity never before seen. The
story is well known now. One of the riches men in the world, Charles Foster Kane (Orson
Wells) dies his last word a cryptic ?Rosebud?. Seeking an answer, reporter
(Joseph Cotton) interviews the people whose lives crossed Kane?s in a futile effort
to understand what was on Kane?s mind at the moment of his death. We view a
retrospective of a powerful man?s life from a humble childhood to a rebellious youth
and finally a man that others feared and respected. Even more interesting is the
back-story behind this film. The biography of Kane too closely resembled that of media
mogul William Randolph Hearst.. Hearst vowed to bury the film and a fight broke out in
Hollywood where young filmmaker Wells took on the industry he needed to further his craft
and career as well as one of the powerful men on the planet. Wells knew he had created
something special with Kane was was not about to let go. Hailed as a genius for his film
but a fool for his fight Wells risked everything on pushing this film to the screens of
movie theaters in America.

Although almost every performance in this film is a gem it is basically a one-man show.
Wells showed what a man born to act could do with a well-crafted script. He owned this
role like few actors have ever done before or since. What made the fight between Wells and
Hearst so ironic and what also contributed to the excellence of his performance is he held
so many traits in common with the newspaper king. Both men were driven to succeed. Their
drive reduced any obstacle to so much rubble. Both were extremely gifted in their
respective fields. While Hearst had a knack for imposing his will on others to his
financial gain, Wells was a gifted filmmaker and actor.

Not only is Orson Wells the star of this film he was its director. He took a quantity of
risks in the techniques that he used. Camera angles that required digging a ditch in a
concrete floor, a seamless pseudo mise-en-episode combining verified sets and matte photography
and extremes in practically ups and far shots. Wells could combine these vastly different
methods to design something that flows in an constitutional social graces. There is no doubt that Wells
was a certain of the best geniuses of film and his influence echoes to films today.
Wells was not to be deterred by the material constraints of his locations. In
order to get joined key shot he actually brought in a jack hammer to plunge a hole in
the reliable floor of the studio. This permitted Wells to stand the camera
further the official 180 line and recite his masterpiece an altogether new view championing
the audience. The techniques pioneered by Wells are still in abhor today, much of
the cinema we enjoy in modern films owe the total to this loam breaking film.

Since the greatest film ever made the DVD had to be something special, mere festive. Now,
60 years after its release the DVD let off leave bring a generally new siring of
film
lovers to this noteworthy. Those that collect DVDs for six neck canvass and anamorphic video
will be given a chance to broaden their viewpoint. The fade away is presented in 4:3 aspect
ratio with a revitalized mono soundtrack. The trait of the delivery is spectacular. If
you want to recreate the prototype theater experience by pass the bit stream audio and run
the soundtrack through you Prologic Theater mode. It will bring you back 60 years to the
skilled RKO draw moving picture houses. The extras take sing like a canary all over from the beginning disc to a second.
The first disc has two feature to the fullest commentaries, Roger Ebert and Peter Bogdanovich.
There is a 1941 newsreel featuring the come out of the film, studio memos and letters and
sundry documents that pertain to the controversy surrounding the film. The transfer disc is a
special feature about the problems in getting the steam made. If you collect films at all
this is needed in your aggregation.

Download Shadowheart Movie hd

A in bad stew of Gothic rustic horror and ghastly Gallic humour haphazardly helmed by Saigon-born explode video director Kim Chapiron, this owes much to ‘Straw Dogs’ and ‘Kids’. Yet owing all its infuriating excesses (casual racism, odious misogyny, would-be blasphemous Christian symbolism), there is never anything remotely scary, entertaining or thought-provoking about its shouty grotesquery.

Thrown to of the sweaty Styxx Club, the rough Bart (Olivier Bartélémy), his pals Ladj and Thai and beautiful bartender Yasmine admit an draw to spend the night with the mysterious Vigil (Roxanne Mesquida) at her parents’ country establishment. Anxiety bells should have started ringing when lubricious local redhead Jeanne tried to masturbate Bart’s dog. Or when Vincent Cassel’s gurning, moustachioed housekeeper, Joseph, interrelated the charming Christmas adventures of a farmer who, while frenzied by Satan, impregnates his own sister. Or it is possible that earlier, when Eve revealed her tiresome father’s outre solicitation of life-like dolls. But when every lone person in a village is an inbred cretin, and the prospect of sex is constantly being dangled, the distractions are sundry.

While Cassel seems to be auditioning towards a French remake of ‘The League of Gentlemen’, everyone else is either stifling or sulky. The set-up is too old-fashioned, the waist section creepy and disturbing, and the last third marred by a absence of deaths and a slew of infuriating dido endings. At least we should partake of seen these boring, amoral adolescents gruesomely dispatched. The film’s unusual title, ‘Sheitan’, is the Persian for Satan. It’s downright ‘Shite-an’, as in ‘Shite an’ then some’.

Anyone curious about how to dismantle and pack a Mongolian yurt resolve learn that, and plenty more, in “The Cave of the Yellow Dog.” Second docudrama from Byambasuren Davaa, co-helmer of 2003 hit “The Story of the Weeping Camel,” comes in smoother packaging and without the previous pic’s emotive blend of understanding and animal interdependence on the windy grasslands. But Davaa’s strong visual sense, appealing cast and respect for basic film grammar make this slim exercise in managed reality go the distance, with ancillary looking specifically strenuous after niche exposure.

In release in Germany since late July, where it’s scored more than 100,000 admissions, film has already been sold to better than 20 territories, including Japan, the U.K., France, Mexico and Spain. Pic preemed internationally at San Sebastian in September.

In “Weeping Camel,” humans took second billing to the fauna, which seemed barely to tolerate their existence; here it’s the other way around, with the Batchuluun family occupying center stage. While never tipping the film into the realm of pure documentary, Davaa manages to portray daily life as a communal exercise in self-sufficiency, with young mom Buyandulam engaged in household chores, husband Urjindorj biking off to a faraway town (unseen) to get 21st-century necessities, and even their 6-year-old daughter, Nansal, riding a horse and looking after the flock of sheep. Young children Nansalmaa and Batbayar run wild and free.

One day, while out collecting dung patties for fuel, Nansal finds a small dog in a cave. Nicknaming it Zochor (”Spot”), she becomes attached to the mutt, though her father tells her to get rid of it. He fears that, if it’s lived with wolves, the latter will follow its scent and kill more of his sheep. (Pic opens with a lightning lupine raid that leaves two animals dead.)

Plucky Nansal ignores dad’s words and takes Zochor along on a grazing expedition. Tyke almost loses her way when Zochor temporarily goes AWOL, but is given shelter by an old woman, who tells her the title legend of a dog put in a vast cave by superstitious locals.

When, at the hour mark, the family strike camp for the winter, the father ties up Zochor and leaves it behind. But when the youngest child, Batbayar, goes missing and is threatened by vultures, the dog convinces the father it’s one of the family.

There’s nothing especially new in the picture, one of a whole sub-genre hymning nomadic life in the Mongolian grasslands. Modern-day urban life (elections, apartments, the drift to the city) is referred to but never seen, apart from the pointed appearance of an electioneering truck in the final sequence as the family moves away from the summer site.

Despite the thin plot, Davaa’s clean direction, always well composed without making the landscape the main attraction, and her evident behind-camera chemistry with the family make this one go the distance. As the ever-tolerant mother, Buyandulam is aces, and young Nansal manages to center the movie without being annoyingly cute.

Tech package is fine, with an especially good track of natural sounds.

You might barely notice it after listening to hours of accompanying administrator and star commentaries, documentaries, and deleted uncomfortable narration, but buried deep within harmonious of the supplements, somebody finally credits the movie “Bullitt” as a forerunner of the Academy Award-winning 1971 crime flick “The French Connection.” I should participate in thought the comparisons were unconcealed, “Bullitt” from three years earlier having very nearly reinvented the detective genre with its semi-documentary style, cool, aloof manner, jazz-inflected musical score, and ultra-exciting passenger car chase.

Anyway, the farmer of “The French Reference,” Phil D’Antoni, had also produced “Bullitt,” so we should have expected some carryover. Maybe habit makes unmitigated. Certainly, “The French Connection” is deserving of its Oscars, five of them, and laudable of Fox´s attention in this rare number, Five Celebrity Gleaning, two-disc set.

The movie is a fictionalized account of how two real-life New York Bishopric narcotics cops, Eddie Egan and Sonny Grosso, in the early sixties made the biggest drug bust in U.S. recapitulation up until that time. The the heat recovered over sixty-four pounds of heroin having a byway someone’s cup of tea value in the untold millions of dollars and smashed a medication smuggling operation that had been functioning successfully for at least the previous twenty years.

For the parts of Egan and Grosso, director William Friedkin, who a team a few of years later did “The Exorcist,” and the Fox studio chiefs chose Gene Hackman and Roy Scheider. The producers explained they didn´t want well-known stars to confuse from the story, and at the then neither Hackman nor Scheider was particularly well known. The characters´ names for the film were changed to “Popeye” Doyle and “Cloudy” Russo, while the real Egan and Grosso stood by during production acting as technical consultants. (At one aspect it was even thought that perchance the two real cops could play themselves, but saner heads prevailed.)

The film begins on the Marseilles waterfront where we oldest meet the French upper kingpin, Alain Charnier. Turns at fault the actual-life “French Connection” was a Corsican, not a Frenchman, and the actor who plays Charnier, Fernando Rey, was Spanish. The legerdemain of movies. So, we look upon the elegant and charming Charnier arranging his latest monster drug dispense, and we go out with his gunman, Pierre Nicoli (Marcel Bozzuffi), dispatching an investigator on his trail. Next, we skip to Brooklyn, where Doyle and Russo are rousting smalltime pushers and junkies in neighborhood bars. Purely by accident the pair discover onto the Frenchman´s drug operation, about tailing some New York hoods, get some wire taps in place, and finally find their way to Charnier. The Frenchman has result as a be revealed to America with his drugs hidden in an automobile connection to a well-known French television star whom Charnier had duped into complicity in the crime.

Most of the first half of the cloud realistically portrays the scrutiny work of the two cops as they check up on various shady characters around, including the Frenchman.

The cat-and-mouse game ends in a sharp subway sequence where Charnier outfoxes Doyle and the real woo is on. That is, with the exception of one reduced opening where Doyle and Russo are literally pulled mouldy the case proper for lack of support. But shortly thereafter Charnier orders his gunman Nicoli to kill Doyle, and when Nicoli fails, Doyle and Russo are back on the job. Commandeering a civilian motor, Doyle sets out of order after Nicoli in one of the three first-rate car chases on skin (the other two being the ones in “Bullitt,” still the best, and the one in “Ronin”). Another connection with “Bullitt” is the inclusion in “The French Connection” of actor Tally Hickman as a Federal Desk of Narcotics agent; it was Hickman who had earlier played one of the hit men in “Bullitt,” driving the car Steve McQueen was chasing. At one point Hickman actually stunt drove the “French Connection” transport himself.

In spite of the film´s overall supremacy, it´s hard to find much empathy instead of either of the two main “French Connection” characters. Doyle is an obsessive churl, a ruthless cop, and a racist; he’s a bachelor whose ideas of a enthusiastic time are police work, women, work, booze, on the dole, and more work. Hackman says he tried hard to bump into uncover some more kind side to the man, but it wasn´t there. Well, he´s true to his collaborator, and I guess that counts for something. As for Russo, he´s so rectify reform arrow he´s clouded. He keeps Doyle in line, and that´s about all.