Mr March

hahahahaha

WHo is that in your avatar Seven? Very cute.

Zack Snyder is said to be attached to Watchmen, but I don't know if the rumor is true. Both Terry Gilliam and Darren Aronofsky were once on-board the Watchmen film, but that didn't work out. The film seems like it's in development hell right now.

I just hope space tourism reaches a point of popularity and cost effectiveness in my lifetime that I can actually afford a brief trip off-world. I've wanted to get off this rock for so long, it'd be nice just to have a taste of space travel before I die of old age Maybe if Branson's company takes off, it'll be possible.

The YF-21 gunpods are reloadable. They aren't disposable, requiring a newly built gunpod every time the mech comes back from a battle. They just aren't practical to reload in the field. You need at least some downtime to properly load the GV-17L gunpods. So combat conditions rule out reloading on the fly. Which is basically the same situation as the old GU-11s.

*snore* I've about had my fill of these movies for a while. I know "28 Days Later" was a renaissance for the zombie movie, but after the "Dawn of the Dead" remake (good) and Romero's own "Land of the Dead" (not so good), I think it's time to move on to other fare cause the genre is dying...again

The YF-21 arm mounted cannons are laser weapons. That's one reason I liked to YF-21 so much; it's excessively armed compared to all the other Valkyries. It's got two gunpods, two arm mounted laser cannons, one head mounted laser, and internal hardpoints. The YF-19 has a similar loadout except for a second gunpod, but the YF-19 does have extra ammunition clips for it's single gunpod.

Just looking at the fold booster, I'm thinking the answer is apparent

Oh how can I resist some paraphrasing on this one "Nine time out of ten, it's a new Yamato. But, every once in a while ...(whispers)...it's a dildo. Of course, it's board policy not to imply ownership in the event of a dildo. We use the indefinite article: "A dildo." Never "Your dildo."

Hehehe. like Metal Massacre said, it should be a weight loss thing. He could be doing infomercials or the weightloss marketing convention circuit

Oh how funny would it be if they made Chun Li trailer trash Her hair's all matted and she's overweight, she's got at least one "barbed wire" tatoo around her arm, cirgarette in mouth wearing clothes from 1985

Sorry. I guess we got off topic talking about the name. It is quite bad though.

Hahahaha

By and large, I'd have to agree. The sculpt is amazing and I can't beleive I'm actually talking about such minutiae as codpiece size! Needless to say, the new Yamato YF-19 is a success far more than a failure and I haven't even purchased one as yet

Reviews for both "Infernal Affairs" and "The Departed." Enjoy Infernal Affairs (Mou gaan dou) (2002) Genre: Live Action Film - Crime Drama Thriller There has been a great deal of films produced in the Hong Kong crime drama genre, but also equally prolific criticism in recent years for a decided lack of creativity. Infernal Affairs (Mou gaan dou) rises to the challenge, departing from the accepted crime film formula and instead creating a dramatic thriller with a powerful script, amazing performances, and tension that never lets up. Infernal Affairs is without doubt one of the best Hong Kong crime thrillers to date and has even inspired master filmmaker Martin Scorsese to remake the film for American audiences (see The Departed). Infernal Affairs follows the story of two talented men on opposite ends of the law, one a mole for the mob and the other, an undercover cop. Lau (Andy Lau) is an ambitious young member of the Triads who infiltrates the police by training to become a cop and eventually rising to become a detective. Chan (Tony Leung) is a cop deep undercover in the Triads for years, his identity so thoroughly erased only his boss Police Superindendent Wong (Anthony Wong) knows his true identity. When a drug deal between Triad boss Sam (Eric Tsang) and Thai gangsters goes bad for both the Triad and the Police, Lau and Chan realize there is a mole in their respective organizations. It becomes a race against the clock, both men trying to uncover who the mole is before each is discovered. Shot with cinematic panache and written with intelligence, Infernal Affairs is an absolutely riveting film from beginning to end. Virtually every scene is filled with suspense and the script never lets the chase for the mole stop. The cinematography is fluid and sharp, with effective uses of camera movement that give the film incredible style and contributes greatly to the editing. With each passing moment, the need to find the mole leads to desperation and both men take greater chances as time shortens, stopping at nothing to find the other. Foreshadowing is brilliantly used to exacting effect, each scene building upon the other until we see investigation itself become a character, shaping the lives and fates of each character in the story. This also serves the subtle eastern religious undertone of the film, a remarkably tight web of ideology that has the character's trapped in a continuous hell, played out again and again each time the identities of the two moles slip away from the other side. Even the finale itself, culminating in a fantastic showdown, leaves the audience with both a sense of closure and an unending limbo. The performances in Infernal Affairs are magnetic, keeping the audience firmly rooted in the story. In particular, Tony Leung's Chan is brilliantly brooding and the most sympathetic character in the film. Leung displays the perfect matching of angst and duty, making his journey throughout the film very relatable and empathetic. Andy Lau's Triad mole is intensity incarnate, played with a mix of fiery ambition and near machine-like efficiency that makes his story nearly unfathomable to behold, each scene keeps the audience in awe wondering how far he'll go and to what end. Triad boss Sam is played with savage ruthlessness by Eric Tsang, often described as Hong Kong's Joe Pesci for both his stature and menacing performances. Tsang plays the character with charisma and humor, yet it is this same attachment to the character that makes the performance so powerful once Tsang turns on the malice and brutality. Lastly Anthony Wong is brilliantly cast as Chan's police boss, played with a dogged determination and wisdom, Wong is the driving force behind the police. Wong's portrayal of the dedicated officer is embelished further by his feeling of responsibility for Chan driving his need to take down Sam. While largely avoiding cliches with a smart script and enjoying grounded performances from the cast, Infernal Affairs does suffer some small flaws for what is otherwise a solid film. There is some melodramatic excess, limited mostly to one scene that heavy-handedly uses flashbacks inter cut between a performance that should have been unedited. There are also one or two scenes that fall flat, sapping the tautness built in the rest of the story with a scene that is overly long or a piece of dialogue that should have been cut. But such nitpicking cannot reduce the worth of everything the film gets right. At an engrossing 97 minutes, Infernal Affairs is filled with so much tension and explosive acting that it achieves more than films far longer and with less exposition. The film flows steadily and unerringly toward it's climax, rarely wasting a scene or a piece of dialogue. Rating: 5 out of 5. An instant classic of the cops-and-mobsters crime genre, Infernal Affairs has acting, style, intelligence, and tension that delivers a film thrilling to watch and a story audiences won't want to miss. The Departed (2006) Genre: Live Action Film - Crime Drama Thriller A great filmmaker like Martin Scorsese has inspired countless others to create film and build upon his own substantial innovations. So it's somewhat fitting that things come full circle in which Scorsese's new film, The Departed, finds the director inspired by the successive films of those directors and filmmakers who found influence in Scorsese's work. A remake of the fantastic Hong Kong thriller Infernal Affairs, The Departed is a return to great moviemaking for Scorsese and his strongest film since "Casino." The Departed has two men, undercover on opposite sides of the law, racing to discover the identity of the other in a battle between the Irish Mafia and the Boston State Police. Inside the police, Colin Sullivan (Matt Damon) is mobster trained as a police officer and has been feeding information to his organized crime boss Frank Costello (Jack Nicholson). Undercover in the mafia, Billy Costigan (Leonardo DiCaprio) is a mole who did real jail time and erased his identity as cover, a scheme planned by Boston police boss Oliver Queenan (Martin Sheen) and his right hand man Dignam (Mark Wahlberg). Each mole has been working inside the other's organisation, but a gun deal between the Irish mob and Chinese mafia reveals to both sides that there is a rat in their respective houses. Now each mole faced with being exposed, Colin and Billy have to uncover the identity of the other before they end up dead. Moving the setting from Hong Kong to Boston, Scorsese takes the story of Infernal Affairs (from an adaptation rewritten by William Monahan) and gives it his own personal touch. Preferring to embellish the story rather than pile on the pressure, The Departed is a slower paced film that builds deliberately and works towards a strong climax. Once again, Scorsese is in his element, including dialogue that solidly defines the nature of each character and infusing the film with the darker side of life. These manly characters have personalities born of the arena in which they play their game and Scorsese pulls no punches in depicting the racism and homophobia that run their lives. Alongside the artistic cinematography, none of the in-your-face violence we've come to expect from Scorsese is missing, making The Departed a film just as vibrant and visually disturbing as his other treatises on the bloody and brutal underworld. This type high-concept film could have floundered in the hands of a lesser director, but Martin Scorsese backs up the script with a cast that performs adeptly time and again. Damon's Colin is charming and frigidly devious, ever the threat to DiCaprio's well played Billy, an angst ridden cop constantly in fear for his life. Jack Nicholson does his trademark best as the vulgar psychotic wiseguy Frank, always chummy with his strong-arm enforcer Mr. French, played with deep-voiced menace by the skillful Ray Winstone. Martin Sheen's role as Queenan is the level-headed intellect of the police, masterfully portrayed by Sheen as he moves his pawns around in an unrelenting quest to bring Frank to justice. Even minor roles shine, with a performance from Wahlberg as Dignam that is hilarious in Scorsese's trademark style of comedy-meets-vulgarity. Also of note is Alec Baldwin as Ellerby, who injects nearly all his scenes with sharp wit making the most of his screen time. It would be easy to categorize The Departed as a flawless masterpiece, but the film falls just short of expectations. The film generally keeps us glued to our seats, but at just under two and a half hours in length The Departed could use some trimming. The slower pace sacrifices much of the high-speed intensity of the original Infernal Affairs and while the dialogue and character development are ample entertainment, The Departed simply isn't as intense nor taut as it could be. The film also suffers from the overexposure of legendary actor Jack Nicholson and the silly antics of his portrayal as Frank Costello. Every over-the-top mob boss scene threatens to reduce the film to a star vehicle for Nicholson and when his character does dastardly deeds, that foolish grin often comes across as far less threatening than it should be. Lastly the film lacks a certain freshness that always occurs when a remake comes so soon after the original, since Infernal Affairs was released in 2002. Still, it's hard to go wrong with The Departed. In it's own landscape in North America, this film is easily one of the best of 2006 and Scorsese fans will delight at this fine feature that ranks among the director's best. Rating: 4.5 out of 5. Despite being a remake, The Departed is a success all on it's own; beautifully shot, intriguing to watch, and with acting not to be missed, the film is skillfully directed by master filmmaker Martin Scorsese back in top form.

I understand. It would be nice if the nose protruded only as far as it does in the lineart, but I'm not convinced it's possible. I've always felt the compactness of the YF-19 front torso area in Battroid mode was anime magic, much like the compactness of the VF-1 wings in Battroid mode; it's just not anatomically possible given the length of the YF-19 nose. I do appreciate accuracy to the lineart and hope that each figure released gets it right moreso than getting it wrong. However, there comes a moment once I've taken in the design that I hope the mecha looks aesthetically pleasing itself, based on the contours and proportions of the figure, not the lineart. I think the torso of the new Yamato YF-19 is actually better the way it is. The size and angles of the torso work for the figure, despite departure from the lineart. I am truely content with that aspect of the Yamato YF-19.

Flashbacks of the CGI debate

Though I'm typically loathe to post my ten-minutes-out-of-the-theatre-raging-fanboy-reaction, in this case I must make an exception. "The Departed" was great; better than great even, fantastic! Without doubt, Scorsese's strongest film since "Casino" and a very worthy remake of the Hong Kong thriller "Infernal Affairs." The master was in top form, the performances were riveting, and so many key scenes from the original were an absolute film-phile's wetdream to see remade. GO SEE THIS FILM!

That was fantastic! I can't wait for another episode "Zangief! You look...well, you look like s**t" Hahhaaha

The angle of the nose in Battroid mode is contingent on the angle of the entire torso. I know this is hard to see in the lineart because the shoulder is obscuiring the back. But look close and you can see that the back "hunch" of the mecha is elevated much higher than the front nose and the whole torso has a very noticable slope back-to-front. For Yamato to deepen the angle of the nose in Battroid mode would require the entire torso to be angled. That seems to me like a major design change. I actually like the cod piece the way it is. The legs of the Yamato YF-19 appear longer and thinner than the lineart, particularly from the front and rear views. A larger cod piece would look disproportionate with the lower half of the mecha. I'd prefer it stay the way it is. I gotta say though, the side comparison with the lineart is fantastic. This YF-19 sculpt really stands up well.

I don't disagree. I think the name is trash and totally inappropriate for the subject matter of the anime. Who knows where the japanese come up with the poor naming schemes, but I thought rock band names would be the usual suspects

Maybe the japanese just take pointers from popular music. Any one of those names, "Pumpkin Scissors" included, could be the name of a rock music band. Just take a look at some of them. The Arctic Monkeys Hootie and the Blowfish Echo and the Bunnymen Stone Temple Pilots Hell, I'd listen to a band named Hyper Plastic Taco. Who wouldn't?

I love the Nine Inch Nails music in the trailer. The track "Just Like You Imagined" is an intense and disturbing piece of music that fits the subject matter of the movie. I think the heavy music also meshes well with the hyper-reality created for the film, the perfect complement to a film shot on a digital backlot. It works for me

Well, it's got a lousy name...which means it may be good (Cowboy Bebop anyone?)

Zack Snyder, guy behind the Dawn of the Dead remake. New Trailer on Apple http://www.apple.com/trailers/wb/300/trailer1/ Looks even better.