In a recent essay published on the Hollywood Reporter, Martin Scorsese inveighs against two conjoined trends -- the widespread reporting of box-office results and the grading of movies by consumers on CinemaScore and by critics on Rotten Tomatoes -- and blames it for "a tone that is hostile to serious filmmakers." In particular, he contends that this hostile environment is worsening "as film criticism written by passionately engaged people with actual knowledge of film history has gradually faded from the scene." Richard Brody, a movie critic at the New Yorker, thinks Scorsese is missing the mark. He writes: I think that film criticism is, over all, better than ever, because, with its new Internet-centrism, it's more democratic than ever and many of the critics who write largely online are more film-curious than ever. Anyone who is active on so-called Film Twitter -- who sees links by critics, mainly younger critics, to his or her work -- can't help but be impressed by the knowledge, the curiosity, and the sensibility of many of them. Their tastes tend to be broader and more daring than those of many senior critics on more established publications. And, even if readers of the wider press aren't reading these more obscure critics, the critics whom general readers read are often reading those young critics (and if they're not, it shows). This is, of course, not universally so, any more than it ever was. The Internet is democratic in all directions -- it's also available to writers of lesser knowledge, duller taste, and dubious agendas, and it may be their work that's advertised most loudly -- but the younger generation of critics is present online and there for the finding. [...] What Scorsese doesn't exactly say, but what, I think, marks a generation gap in movie thinking that his essay reflects, is the appearance of an increasing divide between artistically ambitious films and Hollywood films -- the gap between the top box-office films and the award winners. For filmmakers ready to work on lower budgets, the gap is irrelevant. The filmmakers whose conceptions tend toward the spectacular are the ones whose styles may, literally, be cramped by shrinking budgets -- filmmakers such as Scorsese and Wes Anderson, whose work has both an original and elaborate sense of style and a grand historical reach.

In 1989 Mondo 2000 magazine ran an editorial promising they'd cover "the leading edge in hyperculture...the latest in human/technological interactive mutational forms as they happen." 28 years later, they're now heckling that editorial as they relaunch into a web site. Slashdot reader DevNull127 quotes Motherboard's interview with R.U. Sirius, the founder of Mondo 2000 (as well as its predecessors High Frontiers and Reality Hackers): "It was my idea to merge psychedelics and emerging technologies, and the culture around technology," Sirius said, citing Timothy Leary, writer Robert Anton Wilson and counterculture magazine The Whole Earth Catalog among his inspirations... "I kind of found my way into that particular stream of bohemian culture. It was probably a minority, but there had always been that idea of letting robots replace human work." Soon High Frontiers evolved into a glossy magazine, Reality Hackers ("Some distributors at the time thought it was about hacking people up, and put it on the shelf next to murder mystery magazines"), and later Mondo 2000, which ran from 1989 till 1998...

"We really had to work to convince people that technology was defining the future. Nobody really got it. Doug Rushkoff wrote his book Cyberia, and his first book company cancelled its publication because they said the internet was a fad and that it would be over by the time the book came out"... While he uses Facebook and Twitter, Sirius is critical of their role in colonising what was once a more democratic and open space. "People are being herded into little buildings -- or huge ones -- in what was supposed to be a wide open space in which everybody created their own sites. It's a complete corporate takeover of the net, Facebook in particular... It's definitely not what we were expecting."
Mondo 2000's new online relaunch includes audio of a conversation between William Gibson and Timothy Leary about a Neuromancer game to accompany a proposed film back in 1989. (Gibson complained "That was no interview! That was a drunken business meeting!" when first informed of the magazine's plans to publish it, though he eventually "became friendly.") There's also a 1987 discussion about mind technologies with 73-year-old William S. Burroughs (who was also "an advocate of high technology, and the 'brain machine'"), plus an unpublished John Shirley essay titled "The Next Fifty Years: Why I'm Optimistic Because Everything Will Be Terrible" and new pieces by Paul Krassner ("Alternative Facts") and M.Christian ("La Petite Mort: The Death Of Sex").

rgh02 writes: Earlier this summer, popular YouTube channel Auralnauts received some unfortunate news: Warner/Chappell had filed a monetization claim on their "Star Wars Minus Williams" video through YouTube's Content ID System. More than anything, the Auralnauts were confused -- the video the music company was claiming rights over didn't have any music in it at all.
In fact, the video is almost entirely silent, augmented with a few awkward coughs as Han Solo and Luke Skywalker plod noiselessly toward Princess Leia in a two-minute scene where they're awarded ceremonial medallions. Wired's article describes it as "a tongue-in-cheek tribute" to John Williams' Star Wars score for the film's final scene, also reporting that it had been online for almost three years before Warner/Chappell music publishing claimed rights to all money the video would receive: When I tried to get Warner/Chappell's side of this story, the company offered no comment. But apparently my reporting helped bring the "Star Wars Minus Williams" copyright dispute to an unexpectedly speedy resolution. When Koonce told his YouTube partner manager that a journalist had interviewed him, YouTube stepped in and removed the copyright claim against the video.
YouTube has also created a "Fair Use Protection" program covering legal costs for channels they believe are unfairly targeted with video takedown notices. But the article points out that 95% of the time music companies just chose YouTube's "monetize" option to claim the ad revenue rather than asking that a video be blocked -- and that last year YouTube paid the music industry $1 billion. (Though the music industry insists that amount is still below what they're receiving from streaming music services.)

An anonymous reader shares an article: Our increasing obsession with trailers is changing how we watch movies. We're becoming audiences afraid of surprise, audiences that would rather watch movies we're certain we'll like than risk watching films that surprise us into love. In some cases, this fixation is even lowering the quality of movies themselves by encouraging bad filmmaking habits. The most extreme example happened when Warner Bros released such a successful trailer for 'Suicide Squad' it brought on the company that cut it to edit the whole film -- dropping the director's original cut altogether. [...] Thanks to trailers' easy accessibility on YouTube and those shot-by-shot breakdowns that quickly appear online once trailers drop, anyone interested in a given flick can pore over all the available footage for hours -- even if that leads to major spoilers for them and everyone they share it with.

An anonymous reader shares an excerpt from a report via CNET: Our increasing obsession with trailers is changing how we watch movies. We're becoming audiences afraid of surprise, audiences that would rather watch movies we're certain we'll like than risk watching films that surprise us into love. In some cases, this fixation is even lowering the quality of movies themselves by encouraging bad filmmaking habits. The most extreme example happened when Warner Bros. released such a successful trailer for 'Suicide Squad' it brought on the company that cut it to edit the whole film -- dropping the director's original cut altogether. [...] Thanks to trailers' easy accessibility on YouTube and those shot-by-shot breakdowns that quickly appear online once trailers drop, anyone interested in a given flick can pore over all the available footage for hours -- even if that leads to major spoilers for them and everyone they share it with.

An anonymous reader writes: The Cannes Film Festival is taking a stand against Netflix. Responding to a rumor that the streaming service's Okja, directed by Bong Joon Ho, and The Meyerowitz Stories, directed by Noah Baumbach, would be excluded from awards consideration after being included in the Competition lineup, the festival released a statement clarifying and adjusting its positioning going forward. The short version: From now on, if you want to compete at Cannes, your movie had better be released in French movie theaters -- not just online. There has long been a point of tension between Cannes and Netflix, to the extent where the inclusion of Okja and The Meyerowitz Stories came as a bit of a surprise. Netflix films had previously been snubbed and festival officials had advocated for "discouraging" the streaming service's online-first approach to release. The two movies included in Cannes' lineup this year are slated for theatrical bows stateside, but according to the festival's official statement, "no agreement has been reached" to get the moves into French cinemas and the effort to reach one was made "in vain." However, the statement does clarify that this rule goes into effect next year, so Okja and The Meyerowitz Stories will remain in competition and eligible for the Palme d'Or.

Has AACS 2.0 encryption used to protect UHD Blu-ray discs been cracked? While the details are scarce, a cracked copy of a UHD Blu-ray disc surfaced on the HD-focused BitTorrent tracker UltraHDclub. TorrentFreak reports: The torrent in question is a copy of the Smurfs 2 film and is tagged "The Smurfs 2 (2013) 2160p UHD Blu-ray HEVC Atmos 7.1-THRONE." This suggests that AACS 2.0 may have been "cracked" although there are no further technical details provided at this point. UltraHDclub is proud of the release, though, and boasts of having the "First Ultra HD Blu-ray Disc in the NET!" Those who want to get their hands on a copy of the file have to be patient though. Provided that they have access to the private tracker, it will take a while to download the entire 53.30 GB disk. TorrentFreak reached out to both the uploader of the torrent and an admin at the site hoping to find out more, but thus far we have yet to hear back. From the details provided, the copy appears to be the real deal although not everyone agrees.

An anonymous reader shares a Hollywood Reporter article: It had taken years -- and the passionate support of Kirk Kerkorian, who financed the film's $100 million budget without expecting to ever make a profit -- for The Promise, a historical romance set against the backdrop of the Armenian genocide and starring Christian Bale and Oscar Isaac, to reach the screen. Producers always knew it would be controversial: Descendants of the 1.5 million Armenians killed by the Ottoman Empire shortly after the onset of World War I have long pressed for the episode to be recognized as a genocide despite the Turkish government's insistence the deaths were not a premeditated extermination. Before the critics in attendance even had the chance to exit Roy Thompson Hall, let alone write their reviews, The Promise's IMDb page was flooded with tens of thousands of one-star ratings. "All I know is that we were in about a 900-seat house with a real ovation at the end, and then you see almost 100,000 people who claim the movie isn't any good," says Medavoy. Panicked calls were placed to IMDb, but there was nothing the site could do. "One thing that they can track is where the votes come from," says Eric Esrailian, who also produced the film, and "the vast majority of people voting were not from Canada. So I know they weren't in Toronto." The online campaign against The Promise appears to have originated on sites like Incisozluk, a Turkish version of 4chan, where there were calls for users to "downvote" the film's ratings on IMDb and YouTube. A rough translation of one post: "Guys, Hollywood is filming a big movie about the so-called Armenian genocide and the trailer has already been watched 700k times. We need to do something urgently." Soon afterward, the user gleefully noted The Promise's average IMDb rating had reached a dismaying 1.8 stars. "They know that the IMDb rating will stay with the film forever," says Esrailian. "It's a kind of censorship, really."

Google and Microsoft pledged on Monday to crack down on sites hosting pirated content that show up on their search engines. In what is being called a first of its kind agreement, Google and Microsoft's Bing will demote U.K. search results of copyright infringing websites. From a report on The Telegraph: The search engine operators have signed up to a clampdown that will see the UK's copyright watchdog monitor the search results they provide for unlawful websites. The agreement follows years of campaigning by record labels and film studios, which have accused Google and Microsoft of turning a blind eye to piracy and dragging their feet over measures to protect copyright online. Under a new voluntary code, the tech giants have committed to demote websites that have repeatedly been served with copyright infringement notices, so that they do not appear on the first page for common searches.

Over the weekend, the Sundance Film Festival was hacked. "Sundance Film Festival has been subject to a cyberattack, causing network outages that have shut down our box office," said a spokesperson for the festival. "No further information about the attack is available at this time, but our team is working hard to get our system back up and running as soon as possible. All screenings will still take place as planned." According to The Hollywood Reporter, the FBI is now investigating the hack and is working with Sundance officials to identify the culprit. From their report: Although the festival was able to get its ticketing systems back online within an hour of the Saturday breach, multiple other denial-of-service (DDoS) attacks on Sundance's IT infrastructure followed. A DDoS attack works by flooding the bandwidth or resources of a targeted server. A Sundance Film Festival rep offers the following statement: "The FBI is reviewing the case. At this point, we do not have any reason to believe the cyberattack was targeted towards a specific film. No artist or customer information was compromised." At the time of the hack, the festival offered little in the way of explanation of what happened, but hinted that filmmakers at the annual celebration of independent cinema may have been the target. One producer of a Sundance documentary critical of the Russian government believes his film could have played a role in the attack. "There's been speculation that our film may have sparked retribution," Icarus consulting producer Doug Blush tells THR. "It does not paint a flattering picture of [president Vladimir] Putin." Icarus, which made its world premiere at the festival the day before the hack, centers on a Russian doctor who oversaw and then spoke out about Russia's widespread state-sponsored sports doping. The Bryan Fogel-helmed film, which is being pitched to distributors, has played throughout the weekend in Park City at screenings for both press-and-industry and the public. Icarus isn't the only Sundance film that could antagonize the Russian government and Putin. Evgeny Afineevsky's Cries From Syria -- one of several docs tackling the war-torn nation -- also takes a critical look at Putin and Russia's military intervention in Syria. Cries From Syria made its world premiere at Sundance on Sunday, the day after the initial box-office cyberattack.

Every year more than 10 million packages are stolen off doorsteps, according to a study by August Home Inc. -- a company which sells a "smart" door lock that's controlled by your cellphone so you can remotely let a delivery person into your house. But that's just one of the weird ways consumers are using technology to try to fight package thieves. An anonymous reader reports: Some online shopping sites will now also text you when one of their packages gets left on your doorstep, according to GeekWire, which reports that for a thousand bucks you can also just buy a lockable iBin parcel-delivery box. But there's also a startup selling an odd new product called Package Guard, "a Frisbee sized, wi-fi-enabled device that alerts a user when a package has been delivered and set on top of it. Package Guard sets off a loud alarm if anyone unauthorized tries to remove the package."

GeekWire details the frustration of one Seattle police detective. "Bach knows the crimes are happening, he knows it all spikes during the holiday season and he knows that the few thieves who are caught are likely to see little if any jail time." (Though Bach admits "We do a wide variety of undercover stings," including a recent operation involving mobile surveillance with a "major delivery company.") One Seattle man even attempted to stop thieves by installing a Ring smart doorbell to film activity on his doorstep, only to discover that this only enabled him to watch helplessly as a thief opened his package, and then successfully stole all of its contents.
Though he yelled at the video "Bring my package back now!" that thief was never caught.

Apple is talking with Hollywood studios to try and get iTunes rentals of movies that are still playing on the big screen. According to a report from Bloomberg, "some studio executives have been pushing to allow home rentals as early as two weeks after theatrical debuts and are considering a deal with iTunes as one option." Bloomberg reports: The most recent talks are part of longer-running efforts by Cupertino, California-based Apple to get new movies sooner, two of the people said. Such an arrangement could help iTunes stand out in a crowded online market for movies, TV shows and music. While the iTunes store helped Apple build a dominant role in music retailing, the company hasn't carved out a similar role in music and video streaming. Hollywood studios typically give theaters exclusive rights to new movies for 90 days or more before issuing them on DVD or making them available for online purchase. One of the concerns about iTunes is whether it will be a secure platform for delivering movies that are still in theaters, the people said. While Apple encrypts iTunes video files so they can't easily be duplicated, it's possible to use a camera to record a movie playing on a TV screen. A leak of picture that's still in theaters would jeopardize returns for the studios and cinema owners.

An anonymous reader quotes a report from The Guardian: The Internet Movie Database (IMDb) is suing California over a law forcing the website to remove the ages of actors on request, saying it is unconstitutional. California passed a law in September ruling that "a commercial online entertainment employment service provider" would be required to remove details of the age of any of its subscribers within five days, on the request of the subscriber. The law was intended to fight age discrimination in the film industry and had been campaigned for by actors' groups. The president of the union Sag-Aftra wrote in August that actors "face blatant age discrimination every day as websites routinely used for casting talent force birth dates and ages on casting decision-makers without their even realizing it." However, IMDb's suit (pdf) claims that the law "does not advance, much less achieve" the goal of reducing age discrimination, and that it violates both the first amendments and commerce clause of the U.S. constitution. IMDb also claims it separately violates federal law "because it imposes liability on IMDb based on factual content that is lawfully posted by its users." The website criticizes the state of California for passing the law, saying it has "chosen to chill free speech and undermine public access to factual information." IMDb says it is being unfairly targeted and that the law does not deal with the main cause of age discrimination. The case claims the law is both too broad -- as it includes all film professionals, rather than just those who could expect to be the target of age discrimination such as actors -- and too narrow, as it fails to impose the same restrictions on the "myriad other sources of the same information," such as Wikipedia, Google or specialist websites that list the birthdays of famous people. IMDb also says that subscribers to its paid professional service, IMDb Pro, have been able to edit or remove biographical details about themselves on the site since 2010.

An anonymous reader quotes a report fro The Register: The UK's possible future prime minister thinks all websites should be classified with minimum age ratings, just like films. Andrea Leadsom is one of two candidates left in the race for the leadership of the Conservative Party; the winner of which will become the country's Prime Minister. Although many are concerned with the authoritarian stance taken by her rival, Theresa May, Leadsom's views on many topics -- including the internet -- have come under scrutiny following her unexpected success in the leadership election. Key among those is Leadsom's apparent belief that the best solution to troublesome content on the internet is to have film-rating organization the British Board of Film Classification rate all websites, and have any unrated websites blocked by ISPs. [Writing in the New Statesman back in 2012, she focused, initially, on the need to protect children. "There are two sound ways to ensure that children are not exposed to dangerous or disturbing content," she argued. "At the level of Internet Service Provider, individual sites can be blocked 'at source' by ISPs [...] The other way is with a move away from the standard '.co.uk' and '.com' top level domains (TLDs) for more explicit content, to separate entirely inappropriate sections of the web."] She argues: "Outside of cyberspace, we have bodies such as Ofcom and the British Board of Film Classification that continually work to ensure our children are not exposed to the wrong things. This could be implemented in some way online, whereby a website would have to have its content 'rated' before being accessible online. While it sounds like a massive leap, the majority of new websites already go through testing when they are hosted to make sure that a site is intact and that files and content are free of viruses. This would simply be adding another check to the list, and in reality it is a burden already carried by film-makers."

An anonymous reader quotes a report from Ars Technica: Ars is excited to be hosting this online debut of Sunspring, a short science fiction film that's not entirely what it seems. It's about three people living in a weird future, possibly on a space station, probably in a love triangle. You know it's the future because H (played with neurotic gravity by Silicon Valley's Thomas Middleditch) is wearing a shiny gold jacket, H2 (Elisabeth Gray) is playing with computers, and C (Humphrey Ker) announces that he has to "go to the skull" before sticking his face into a bunch of green lights. It sounds like your typical sci-fi B-movie, complete with an incoherent plot. Except Sunspring isn't the product of Hollywood hacks -- it was written entirely by an AI. To be specific, it was authored by a recurrent neural network called long short-term memory, or LSTM for short. At least, that's what we'd call it. The AI named itself Benjamin. The report goes on to mention that the movie was made by Oscar Sharp for the annual film festival Sci-Fi London. You can watch the short film (~10 min) on The Scene here.

schwit1 writes: A new directive issued by China's Ministry of Industry and Information Technology has said that companies which have foreign ownership (at least, in part) will be stopped from publishing words, pictures, maps, games, animation and sound of an 'informational and thoughtful nature' unless they have approval from the State Administration of Press, Publication, Radio, Film and Television.

AmiMoJo writes: A restored HD version of the original Star Wars Episode IV: A New Hope 35mm print has appeared online. While this isn't the first time that attempts have been made to restore Star Wars to its original theatrical version—that's the one without the much-maligned CGI effects and edits of later 'special' editions—it is the first to have been based entirely on a single 35mm print of the film, rather than cut together from various sources. The group behind the release, dubbed Team Negative 1, is made up of Star Wars fans and enthusiasts who spent thousands of dollars of their own cash to restore the film without the blessing of creator George Lucus, or franchise owner Disney.

An anonymous reader writes with news from the BBC that the UK government has launched a publc consultation regarding plans to mandate age checks on pornographic websites. According to the article, The proposals follow a Conservative Party manifesto commitment that "all sites containing pornographic material" must check that users are over 18. Internet providers, charities, academics and others will be asked to contribute to the consultation. ... In the consultation document, the government proposes that the checks should apply to content that would receive — if formally classified — an 18 or R18 rating from the British Board of Film Classification (BBFC). "We are keen to hear from parents, schools, child protection experts, the pornography industry, internet service providers and online platforms that provide access to pornographic content," the consultation document explained. As part of the plans, the government intends to establish a new regulatory framework to enforce compliance with any rules that are made law.

An anonymous reader writes: During the summer of 2014, the movie studio LionsGate suffered a major setback when a high quality leak of the then-unreleased Expendables 3 film appeared online. Fearing a massive loss in revenue, the movie studio sued the operators of several websites that allegedly failed to remove the infringing files. Over the past year there has been little progress in the case as most of the accused site operators failed to respond to LionsGate's complaint. In a new filing at the California district court, LionsGate indicates a desire to move forward by asking for a default judgment against the operators of LimeTorrents and the (already defunct) Dotsemper and Swankshare sites. Previously LionsGate settled with the operator of video hosting service Played.to.

An anonymous reader writes: The year 2015 heralded a number of notable Internet milestones — the humble .com domain name reached 30 years of age, while both eBay and Amazon reached the grand old age of 20. That the Internet Movie Database, a gargantuan film and TV show encyclopedia better known as IMDb, began 25 years ago as a pre-Web hobby project and is now one of the top 50 most visited websites on the Internet is a notable achievement. "IMDb is the only pure Internet company that can celebrate its 25th anniversary," said Col Needham, founder and CEO of IMDb, in an interview with VentureBeat.