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La grande avventura dei Dalton

 (
Lucky Luke - Les Dalton en cavale
) è un film d'animazione del 1983 diretto da William Hanna, Joseph Barbera, Morris e Ray Petterson con protagonisti Lucky Luke e i fratelli Dalton. Il film è diviso in tre episodi, ed è basato sui album 
I Dalton nella tormenta
 del 1963, 
I Dalton si ravvedono
 del 1965 e 
Ma Dalton
 del 1971. Il film uscì in Francia il 14 dicembre 1983. In Italia è stato invece trasmesso direttamente in TV, su K2, nel mese di settembre del 2015. Questi tre episodi sono stati "riciclati" per la serie animata 
Lucky Luke
 del 1984.


Dopo aver preso parte a diversi programmi tv, tra cui 
Uomini e Donne 
e il 
Grande Fratello Vip
, per 
Luca Salatino 
si sono aperte le porte di una nuova avventura professionale.


Un mese per realizzare un sogno: scalare le Ande, in compagnia di tre amici fidati. Il nostro ambassador 
Luca Danieli
 si prepara ad affrontare una grande avventura, insieme a 
Filippo Lisignoli
, 
Marco Gianola
 e 
Angelo Curti
.


Un racconto emozionante, grazie Luca per aver condiviso con noi quei momenti drammatici. Sono sicuro che oltre alla grandissima preparazione con la quale sia tu che Chris affrontate le vostre EVA il tuo grande carattere e sangue freddo hanno contribuito alla felice conclusione di questa avventura. Buon Volo.


L'unico, vero effetto di queste pratiche, però, risulta spesso concretizzarsi in un elenco di azioni da scoprire o abilità da attivare: l'occhio dell'aquila, in tutte le sue declinazioni a seconda del gioco di riferimento, ci permette di vedere gli oggetti con cui interagire, sbloccando linee di dialogo o informazioni che vengono automaticamente interpretate dal nostro avatar. In questo modo, si crea una frattura tra ciò che la parte ludica vuole offrire, e quello che la narrazione vuole portare avanti: da un lato, infatti, stiamo vestendo i panni di un grande assassino o di un geniale investigatore, ma dal punto di vista ludico non siamo noi giocatori a trovare davvero tutte le soluzioni, poiché è quasi sempre il gioco a suggerirci le corrette associazioni da effettuare. Diminuendo la quantità di attività da svolgere, semplificando la struttura ludica e riducendo al minimo la sovraesposizione di una narrazione tradizionale (cinematiche in primis), 
Lucas Pope
 applica con 
 Return of the Obra Dinn
 un design sottrattivo già visto con Fumito Ueda, ma reso ancora più puro dalla volontà di rendere il giocatore il principale fautore della progressione narrativa, regalando al suo controllo anche una corposa parte del ritmo e dei tempi della storia. In 
 Return of the Obra Dinn
, infatti, le uniche azioni che potremo eseguire sono principalmente due: muoverci sulla nave, guardandoci intorno e prendendo mentalmente appunti sulla cronistoria degli eventi, e interagire con scenari e luoghi specifici. Grazie all'orologio da tasca in dotazione, alcuni ambienti ci mostreranno gli eventi del passato, avvenuti in una brevissima frazione temporale. Una volta attivate questa sorta di strane memorie della nave, potremo interagire con i momenti della storia recente del vascello, cercando di ricostruire quanto accaduto. Annotando ciò che avremo scoperto e scrivendo quello che reputeremo essere giusto, avremo la facoltà di risolvere lentamente il grande, complesso e stratificato enigma che rappresenta 
Return of the Obra Dinn
. 

È importante notare come non si possa parlare di effettiva "certezza", ma soltanto di ipotesi e dubbi. Infatti, solo quando avremo completato, secondo le nostre intuizioni, almeno tre "pagine" dell'agenda in modo corretto (in base a quanto previsto dalla sceneggiatura), il gioco ci informerà di questo risultato, obbligandoci mo

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Sang Pemimpi

 is a 2009 Indonesian film adapted from the popular same titled novel by Andrea Hirata. Directed by Riri Riza and starring Vikri Septiawan, Ahmad Syaifullah, Azwir Fitrianto and Zulfanny. The film premiered on December 17, 2009 in Jakarta.



Sang Pemimpi
 diperankan oleh beberapa artis terkenal serta artis film pendatang baru asli Belitung. Hanya beberapa pemeran dari 
Laskar Pelangi
 yang dipertahankan untuk turut dalam film ini. Vikri Setiawan, Ahmad Syaifullah, Azwir Fitrianto, Sandy Pranatha, dan Zulfanny adalah para pemeran asli Belitung.[1]


During my short escape to bandung last week for 4 days, I watched Sang Pemimpi, just recently launched on 17 Dec 2009. Sang Pemimpi is an Indonesian film adapted from the best-selling Laskar Pelangi (Rainbow Troops) tetralogy novel by Andrea Hirata. Sang Pemimpi is the second title of four, the first being Laskar Pelangi, also adapted to a film that made a record of 4.2mn viewers.


But in the film, we see how these small things can lead into bigger dreams in life. The fake snow made them promise to strive for a better education that will lead them to places where they can touch real snow. And their activities bind them together in the closeness of a deepening friendship, during the happiest and saddest moments. Their story follows them through their teen crises when they enter that golden yet bloody phase of their lives: high school.



Sang Pemimpi
 diperanaké déning sawatara artis kondhang uga minangka artis filem anyar asli Belitung. Sawetara saka paraga filem 
Laskar Pelangi
 kang dipertahanké kanggo mèlu ing film iki. Vikri Setiawan, Ahmad Syaifullah, Azwir Fitrianto, Sandy Pranatha, lan Zulfanny ya iku paraga asli Belitung.





Saya sdh nonton film Sang Pemimpi 2x,filmnya bagus&rasa2nya ga bosan utk nonton lg terlebih lihat Ariel di film itu.Sayang Ariel hny muncul sebentar...untuk Ariel semoga lanjut di fim Edensor nanti...sukses utk Ariel.



 
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A 
sword
 is an edged, bladed weapon intended for manual cutting or thrusting. Its blade, longer than a knife or dagger, is attached to a hilt and can be straight or curved. A thrusting sword tends to have a straighter blade with a pointed tip. A slashing sword is more likely to be curved and to have a sharpened cutting edge on one or both sides of the blade. Many swords are designed for both thrusting and slashing. The precise definition of a sword varies by historical epoch and geographic region.


Historically, the sword developed in the Bronze Age, evolving from the dagger; the earliest specimens date to about 1600 BC. The later Iron Age sword remained fairly short and without a crossguard. The spatha, as it developed in the Late Roman army, became the predecessor of the European sword of the Middle Ages, at first adopted as the Migration Period sword, and only in the High Middle Ages, developed into the classical arming sword with crossguard. The word 
sword
 continues the Old English, 
sweord
.[1]


Thrusting swords such as the rapier and eventually the smallsword were designed to impale their targets quickly and inflict deep stab wounds. Their long and straight yet light and well balanced design made them highly maneuverable and deadly in a duel but fairly ineffective when used in a slashing or chopping motion. A well aimed lunge and thrust could end a fight in seconds with just the sword's point, leading to the development of a fighting style which closely resembles modern fencing.


Slashing swords such as the sabre and similar blades such as the cutlass were built more heavily and were more typically used in warfare. Built for slashing and chopping at multiple enemies, often from horseback, the sabre's long curved blade and slightly forward weight balance gave it a deadly character all its own on the battlefield. Most sabres also had sharp points and double-edged blades, making them capable of piercing soldier after soldier in a cavalry charge. Sabres continued to see battlefield use until the early 20th century. The US Navy M1917 Cutlass used in World War I, was kept in their armory well into World War II and many Marines were issued a variant called the M1941 Cutlass as a makeshift jungle machete during the Pacific War.[2][3]


Non-European weapons classified as swords include single-edged weapons such as the Middle Eastern scimitar, the Chinese 
dao
 and the related Japanese 
katana
. The Chinese 
jiàn
 剑 is an example of a non-European 
double-edged sword
, like the European models derived from the double-edged Iron Age sword.


The first weapons that can be described as "swords" date to around 3300 BC. They have been found in Arslantepe, Turkey, are made from arsenical bronze, and are about 60 cm (24 in) long.[4] Some of them are inlaid with silver.


The sword developed from the knife or dagger. The sword became differentiated from the dagger during the Bronze Age (
c.
 3000 BC), when copper and bronze weapons were produced with long leaf-shaped blades and with hilts consisting of an extension of the blade in handle form. A knife is unlike a dagger in that a knife has only one cutting surface, while a dagger has two cutting surfaces.[5] Construction of longer blades became possible during the 3rd millennium BC in the Middle East, first in arsenic copper, then in tin-bronze.[6]





Blades longer than 60 cm (24 in) were rare and not practical until the late Bronze Age because the Young's modulus (stiffness) of bronze is relatively low, and consequently longer blades would bend easily.[7] The development of the sword out of the dagger was gradual; the first weapons that can be classified as swords without any ambiguity are those found in Minoan Crete, dated to about 1700 BC, reaching a total length of more than 100 cm (39 in). These are the "type A" swords of the Aege

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This cross-sectional study empirically evaluated a model designed to predict the varied elements influencing the behavioral intents of financial institutions towards the use of mobile peer-to-peer platforms. Combining behavioral and instrument elements from frameworks based on the Net Valence Theory and the Theory of Reasoned Action, this study examined behavioral intention from the standpoint of financial institutions. An online survey of 88 organizations yielded data that was analyzed using PLS-SEM for hypothesis testing. The findings revealed that (1) instrument mobile perceived trust is a good mediator of heterogeneous factors, including economic ones, (2) the perceived risk has no effect when a mobile perceived trust significantly influences the intention, (3) the mobile perceived usefulness plays no role in the new mobile context, and (4) the combination of behavioral (extrinsic) and instrument (intrinsic) factors is vital and significant in mobile financial business models. In addition, the results suggest that practitioners concentrate on perceived mobile trust, perceived convenience, perceived economics, and perceived mobile ease of use as the primary drivers of mobile peer-to-peer platform adoption. These elements considerably increase the rate of mobile peer-to-peer platform adoption. Therefore, FinTech and mobile technology regulators are recommended to establish a regulatory framework that helps financial institutions regard mobile as trustworthy.


The problem of silencing mobile phones in specific areas has been studied only briefly in the literature, including the review provided in [3]. To the best of our knowledge, no practical solutions have been proposed and implemented to date that do not require changes at either the network level or the Mobile Station (MS) level.


In this paper, we proposed a system for controlling mobile communications services in areas where complete silence is either expected or mandatory, including schools, universities, places of worship, hospitals, and prisons. We proposed the use of leaky feeder antennas in the controlled area and show the superior performance of this system in controlling mobile services provided to MSs located within the CA, while mitigating unwanted RF signal power spillage outside the CA. This consequently prevents undesired control of mobile services that are provided to MSs outside the CA and minimizes the size of the GA.


Aim: 
 We aimed to assess knowledge, attitudes, and practices (KAP) of general population towards infection transmission via mobile phones in Makkah and different characteristics relevant to KAP scores.


Methods: 
 A cross-sectional web-based survey was conducted on general population in Makkah city using a snowballing sampling method. Participants answered questions about their KAP towards infection transmission via mobile phone. The overall KAP scores were graded as good, fair, and poor and explored against different population characteristics using suitable statistical methods.


Conclusion: 
 The overall public knowledge and practices towards the role of mobile phones in infection transmission in Makkah was below average though they have positive attitudes. Raising public awareness is important to decrease the possibility of cross-contamination via mobile phones and to develop adequate preventive strategies in a mass gathering setting like Makkah city.





The banking and financial sectors have witnessed a significant development recently due to financial technology (FinTech), and it has become an essential part of the financial system. Many factors helped the development of this sector, including the pandemics such as Covid-19, the considerable increasing market value of the FinTech sector worldwide, and new technologies such as blockchain, artificial intelligence, big data, cloud computing

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ABCD: Anybody Can Dance

 is a 2013 Indian Hindi-language dance drama film directed and choreographed by choreographer Remo D'Souza and produced by Ronnie Screwvala and Siddharth Roy Kapur under UTV Spotboy Motion Pictures.[3] The film stars Prabhu Deva in lead role along with Ganesh Acharya and Kay Kay Menon. The participants of 
Dance India Dance
 appear in supporting roles.[4] Along with the Tamil and Telugu dubbed versions titled 
Aadalam Boys Chinnatha Dance
 and 
ABCD
 respectively, the film, made at a budget of between Rs 120 million and 420 million,[1][2] was released worldwide in 3D on 8 February 2013 to mostly positive reviews from critics.[5]


Vishnu, a choreographer for Jehangir Dance Company(JDC) quits his job after having a bitter disagreement with his friend and manager Jehangir Khan about the latter's abuse of power and influence to win a dance competition "Dance Dil Se" for his team. He wants to return home to Chennai, but on his friend Gopi's request stays in Mumbai. Vishnu observes several proteges of Gopi, using parkour to evade the police. But despite their raw talent, they lack the discipline required to become serious dancers. They demonstrate this disastrously at a local event for a politician, wherein they set the stage on fire. After witnessing the youngsters showing their dancing abilities at Ganesh Chaturthi against their rival neighbourhood, Vishnu decides to start his dance group Dhongri Dance Revolution(DDR) with them, ultimately preparing them to compete in Dance Dil Se. However, the lack of discipline among the dancers and rivalry between the two factions in the group led by D and Rocky leads to multiple creative and emotional blocks. Only Rocky and his gang are initially willing to attend the free classes, but D and his friends soon gravitate towards the studio.


They are soon joined by Chandu, a troubled but extraordinarily talented man suffering from drug addiction, Shaina, a bar dancer, and Rhea, a Westerner who was JDC's star dancer until Jehangir tried to sexually assault her during a "private instruction". Rhea immediately becomes the new star of the group. Though the students are initially skeptical of Shaina because of her profession, Chandu defends her in front of the class despite teasing from his peers. The pair quickly fall for one another.


Despite repeated pleas for peace in the studio, the two gangs continue to clash, driving Vishnu to his wit's end. However, the students seem to improve and as a reward, he gives them money to buy new speakers, but they nearly lose it all when Rhea takes them to an elite dance club where they challenge the resident champions, a professional dance crew called Fictitious Crew. Vishnu arrives at the last minute and wins back the money. Furious Vishnu after some hard apologizing, forgives them and they return to class with greater discipline and drive, only to suddenly be thrown out on the street after D's father calls the cops. During all of this Rocky and Rhea start to fall for each other whilst D burns with jealousy. The community complains that their children should not be mixing in such a way and through an impromptu dance performance are the youth able to convince their families about the importance of their talent. However, D's conservative and orthodox father refuses to accept that his son desires to be a dancer.


The crew head to Dance Dil Se and audition, but when Rocky and D fight onstage for Rhea, their chances of appearing on the show in the first place seem bleak. Jehangir, to humiliate Vishnu publicly, persuades the judges to take the DDR crew on as the show's "jokers". Faced with ridicule and the idea that they are a joke, Vishnu asks Rocky and D to do a step that requires a great deal of mutual trust from both, but they cannot muster the trust to manage it. Vishnu l

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Mantan pacar Letizia mengatakan, Letizia dan beberapa cewek lain menghabiskan waktu sepekan di vila Berlusconi di Sardinia selama perayaan Tahun Baru lalu dan mendengar pembicaraan telepon antara Berlusconi dan Letizia. Inilah yang memicu spekulasi bahwa ada hubungan khusus antara keduanya.


Berlusconi juga mengecam ulah paparazzi yang dianggap melanggar privasinya. "Kita membicarakan foto-foto tak berdosa, tetapi ada pelanggar privasi," katanya kepada radio pemerintah, RAI, Jumat (5/6). Ditanya mengapa ada wanita bugil di rumahnya, Berlusconi melanjutkan: "Apakah Anda mandi dengan berpakaian? Gadis-gadis itu mandi di kolam renang di rumah pribadi, dan mereka dianiaya dengan sebuah skandal."
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Me and my mother are travelling by train tomorrow. I spend my time listening to podcasts. I was wondering if there are any good kannada podcasts that I can download onto my mom's phone so she doesn't get bored.


Whenever you type a word, sentence or phrase in english - 
we send API requests to either Google or Microsoft
 for a translation. In return, they send back a response with a translated text in kannada.Their system 
use machine-language technologies
 to bring together some cutting edge technologies such as artificial intelligence (deep learning), big data, Web APIs, cloud computing etc 
to perform higher quality translations.
Can we download this translation service?

No.
 At a moment you can only use our kannada translation online.However, you can install the Chrome extension tool called 
Google Translate Chrome Extension
.Once this translation tool is installed, you can 
highlight and right-click section of text
 and click on 
"Translate"
 icon to translate it to the language of your choice. Furthermore, you can 
translate entire web page
 by clicking on the 
"Translate"
 icon on the browser toolbar.


Antoine Leca wrote:
> > Yes, and they already are. U+0308 COMBINING DIAERESIS vs. U+030B
> > COMBINING DOUBLE ACUTE. There is no "umlaut" character...
> 
> I did use Umlaut to clearly (at least I thought) denote the characteristic
> German *feature*, NOT the codepoints.
For typeset modern German text DIEARESIS is consistently used (though
most often via precomposed letters).
> > And m² is not at all the same as m2.
> 
> I guess no, although I am not completely sure (particularly 
> since I expect
> the second to read "m2" instead, 
No. While that is an good approach in the general case (for arbitrary
power-to *math* expression), I think it is a bad idea for the SI unit powers.
> >> So, if the original encoder does NOT make a distinction in
> >> meaning between the two forms, why would Unicode require
> >> him to encode this difference at codepoint level?
> >
> > How do you know if the "original encoder" makes the difference or
> > not?
> 
> Because *I* am the original encoder, in this stanza. :-)
So you only read your own texts. Interesting... ;-)
> Because my feeling (in fact, my interpretation of the Unicode 
> and ISCII
> description) is that the Indic codepoints are abstract 
> characters, not those
> elements which combine in defined ways to produce some 
> glyphic intermediate
> elements, which only remains to be actually drawn by the 
> font, as it seems you are thinking.
I do not see why characters in Indic scripts should be more "abstract"
than for other scripts.
> I base that view, first on the fact that the virama concept 
> forces a need
> for some abstraction layer (reordering, combination, 
> so-called backstore,
> etc.) which is absent even from Thai, and even more from 
> Western scripts;
> and secondly because of the underlying nature of the 
> Brahmi-derived scripts,
> with the sounds associated, the sandhi phenomena, etc.
The "sounds associated" are completely and totally irrelevant.
Unicode encodes scripts, not sounds.
> when the author
> is supposed to add some precision; this is much like the 
> character styles
> used in Western typography (rendered as HTML spanning styles, 
> for example).
That does not apply to different spellings. I would not expect any
kind of style span (HTML or otherwise) to say "display 'š' as 'sh'".
Nor do I expect any acceptable font to have an "sh" glyph for "š".
> > I have a really hard time understanding why apparent spell changes
> > should be mediated

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Military and security robots include a broad range of tough, rugged robotic systems that can perform surveillance and other missions that may be dangerous for humans to carry out. During the wars in Iraq and Afghanistan, U.S. troops used PackBot ground robots to search for improvised explosive devices, and they flew Raven drones for aerial reconnaissance. To help with logistics, the military has tested legged robots like BigDog and AlphaDog, designed to haul heavy gear, as well as autonomous uncrewed helicopters that can deliver cargo autonomously. Security robots include mobile systems that patrol offices and other private property. One example is Cobalt, which doubles as a robot receptionist and security guard.


Doctor Gross, who knows she is guilty of causing the deadly epidemic, flees the Islands in her mobile laboratory and travels to the Land of Ooo, escaping the reach of the Guardian. She remains hidden to the people of Ooo, but she continues to experiment on animals, creating a variety of bizarre hybrids. She also further alters her own body using cybernetic enhancements that she dubs "mods" until she is eventually more robot than human. [Preboot]
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Critic Danny Bowes of RogerEbert.com called it "[o]ne of the most ambitious gangster films ever made, and quite possibly one of the best", writing that it is "worthy of discussion alongside Coppola's first two 
Godfather
 films, or Leone's 
Once Upon a Time in America
."[13] Salon's Andrew O'Hehir wrote: "As a rich and exuberant character-driven crime saga in an idiom you absolutely have not encountered before, and a dense, unsentimental portrayal of the collision between democracy, capitalism, and gangsterism on the frayed margins of the post-colonial world, 
Gangs of Wasseypur
 is a signal achievement in 21st-century cinema."[14] Martin Scorsese, one of Kashyap's influences on the films and personal heroes, sent a letter to Kashyap, offering praise, stating that he "loved them", even expressing a desire to meet him. Director Anurag Kashyap had revealed twice that Tamil-language period action film 
Subramaniapuram
 was an inspiration for the 
Gangs of Wasseypur
 series.


The movie chronicles the journey of the saga associated with coal mines. It portrays the gang lords of Wasseypur like Shafi Khan, Faheem Khan and Shabir Alam.[37] The film has also been inspired from the story of rivals Shafi Khan and Surya Dev Singh.[38] Rajeev Masand of CNN-IBN calls the movie, a 
gang warfare
 and notes that "On the surface, 
Gangs of Wasseypur
 is a revenge saga, a tableau of vengeance between generations of gangsters. Scratch that surface and you'll discover more than just a grim portrait".[39]While some of the critics noted that the film, is a powerful political film, which underlines the party politics system (at that time) allowing the growth of illegal coal trading and mafias in the region (Bihar) and their use as a political tool, thus making the allotment of coal blocks, one of the most powerful expressions of controlling power in the region.[40] Despite its grim theme, the film also has an inherent sense of humour that comes quite naturally to it from its series of events. The scene where Reema Sen is charmed by Manoj Bajpai over her daily chores or the one where Nawazuddin goes on a formal date with Huma Qureshi are outrageously hilarious.[41]The household politics is one of the many subplots rendering layers to the story. You realise Sardar's family is emerging into a Corleone set-up of sorts. His sons - the brooding Danish and the doped-out Faizal (Nawazuddin Siddiqui) from Nagma, and the enigmatic Definite Khan (Zeishan Quadri) from Durga - will become key players in this revenge story.[42] Violent as his screenplay is, Kashyap reveals wit while narrating his tale. Ample black comedy is used to imagine the gang war milieu. The humour lets us relate to the intrinsic irreverent nature of men who live by the gun.[42] Character development can best justify the length of 
Part 1
.[43]


The film mainly draws its story from the real life gang wars that took place in the region of Dhanbad, Jharkhand. There are several differences in the film which contradict actual documented events most notably the character of Faizal Khan (based on Faheem Khan) who dies in the climax. Faheem Khan is currently in jail in Hazaribagh and has been sentenced to life imprisonment.[70] In the film, Sardar Khan marries the Bengali girl but in real life, the woman was maintained as a keep. Most of the gang wars were between the gangs of Wasseypur, not with the Singhs, who had been instrumental in instigating these wars, but never participated in them.[70] There was no character akin to Shahid Khan.


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San Mateo, CA & London, UK- June 16, 2006:
 I-play, the mobile games company and publisher of three of the top-selling racing titles in Europe and the United States, today announced the launch of The Fast and the Furious: Tokyo (2D) and The Fast and the Furious: Tokyo (3D), which are based on Universal Pictures' 2006 movie The Fast and the Furious: Tokyo Drift, (releasing June 16, 2006) and much anticipated sequel of the best selling The Fast and The Furious mobile racing game franchise. Developed and published by I-play, through an agreement with Universal Studios Consumer Products Group, both versions of The Fast and the Furious: Tokyo are now available to more than one billion mobile gamers, via I-play's global distribution network of over 100 carrier partners.

 Fans of the most successful racing franchise on mobile will enjoy all-new features in the 2D version, which includes the ability to use a unique drifting mechanism with intuitive control; superb graphics including smoke effects; skid marks; stunning interactive Japanese environments; and respect-based scoring where good driving is rewarded and mistakes are punished.

 The Fast and the Furious: Tokyo (3D) version extends the boundaries of mobile gaming even further, with realistic 3D cityscapes and hilltop roads perfectly recreated in three different environments: The Docks, The Hills and Old Race Track. Other features include car personalization, where you can detail your Drift Car using the spray shop and decal tools, and the ability to unlock three more cars to use in Solo Run mode.

 Reflecting the themes of the film, you take on the role of the new kid on the block in a strange new city where the rules of the street are both dangerous and enticing. You will need to master the art of drifting (a form of racing that replaces simple drag racing with a rubber-burning, automotive art form that consists of an exhilarating balance of speeding and gliding through a heart-stopping course of hairpin turns and switchbacks) and beat your rivals based on pace and skill. The only way to progress is to gain respect, mod your ride and prepare for the race of your life against the infamous Drift King! The richness and realism of the driving experience achieved in The Fast and the Furious: Tokyo 2D and 3D are unparalleled compared to other racing titles and offer a fun mix of exciting and entertaining mobile game content to casual and hardcore gamers alike.

 "With over four-and-a-half million downloads, The Fast and the Furious is already the most successful racing franchise in mobile game history, and the latest sequels will surely continue to impress fans of the series," said David Gosen, CEO of I-play. "Given the success of the franchise, our level of involvement with the games, and our work with Universal's co-marketing partners for the film's debut, we couldn't be happier for the studio and what it's achieved. It's been an absolutely fantastic ride."

 "The Fast and the Furious franchise is the first movie content blockbuster in mobile," said Jeremy Laws, senior vice president of Universal Mobile Entertainment. "Proven reputation and awareness, combined with the super-cool drift dynamics in the latest two games should guarantee new hits for Universal and I-play."

 Thanks to a simultaneous release with the new film, I-play, together with Universal, expect even greater sales with The Fast and the Furious: Tokyo, than those generated by the first three mobile titles from this franchise. These latest mobile editions in The Fast and the Furious franchise have also received an unprecedented level of support from co-marketing sponsors and advertisers including Cinemark Theatres, Rockstar Energy Drink, Toyo Tires, Meguiar's Car Care Products and Burger King Corporation (NYSE: BKC). Via an SMS short code campaign, which is printe

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Titanic
 was released on December 19, 1997. It was praised for its visual effects, performances (particularly those of DiCaprio, Winslet, and Stuart), production values, direction, score, cinematography, story and emotional depth. Among other awards, it was nominated for 14 Academy Awards and won 11, including Best Picture and Best Director, tying 
Ben-Hur
 (1959) for the most Academy Awards won by a film. With an initial worldwide gross of over $1.84 billion, 
Titanic
 was the first film to reach the billion-dollar mark. It was the highest-grossing film of all time until Cameron's next film, 
Avatar
 (2009), surpassed it in 2010. A number of re-releases have pushed the film's worldwide total to $2.257 billion, making it the second film to gross more than $2 billion worldwide after 
Avatar
. In 2017, the Library of Congress selected it for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant".


James Cameron has long had a fascination with shipwrecks, and for him 
Titanic
 was "the Mount Everest of shipwrecks".[56][57][58] He was almost past the point in his life when he felt he could consider an undersea expedition, but said he still had "a mental restlessness" to live the life he had turned away from when he switched from the sciences to the arts in college. When an IMAX film, 
Titanica
, was made from footage shot of the 
Titanic
 wreck, Cameron decided to seek Hollywood funding for his own expedition. It was "not because I particularly wanted to make the movie," Cameron said. "I wanted to dive to the shipwreck."[56]


Principal photography began on July 31, 1996[15] at Dartmouth, Nova Scotia, with the modern-day expedition scenes aboard the 
Akademik Mstislav Keldysh
.[51] In September 1996, the production moved to the newly built Fox Baja Studios in Rosarito, Mexico, where a full-scale 
Titanic
 had been constructed.[51] The poop deck was built on a hinge that could rise from zero to 90 degrees in a few seconds, just as the ship's stern rose during the sinking.[68] For the safety of the stuntmen, many props were made of foam rubber.[69] By November 15, the boarding scenes were being shot.[68] Cameron built his 
Titanic
 on the starboard side as a study of weather data revealed it was a prevailing north-to-south wind, which blew the funnel smoke aft. This posed a problem for shooting the ship's departure from Southampton, as it was docked on its port side. Implementation of written directions, as well as props and costumes, had to be reversed; for example, if someone walked to their right in the script, they had to walk left during shooting. In post-production, the film was flipped to the correct direction.[70] A full-time etiquette coach was hired to instruct the cast in the manners of the upper class gentility in 1912.[23] Despite this, several critics noted anachronisms in the film.[71][72]


On August 9, 1996, during the 
Akademik Mstislav Keldysh
 shoot in Canada, an unknown person, likely a crew member, put the dissociative drug PCP into the soup that Cameron and various others ate one night in Dartmouth, Nova Scotia.[18][76] It sent more than 50 people to the hospital, including Paxton.[76] "There were people just rolling around, completely out of it. Some of them said they were seeing streaks and psychedelics," said actor Lewis Abernathy.[18] Cameron managed to vomit before the drug took a full hold. Abernathy was shocked at the way he looked. "One eye was completely red, like the Terminator eye. A pupil, no iris, beet red. The other eye looked like he'd been sniffing glue since he was four."[18][74] The Nova Scotia Department of Health confirmed that the soup had contained PCP on August 27, and the Halifax Regional Police Service announced a criminal investigation the next day

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Mohalla Assi is not new to the Indian cinegoer's psyche. This film has made appearances on and gone off the Bolly-lovers' radar since March 2011, the time when the team began shooting for the film. 
Mohalla Assi
 was supposed to have released sometime during the second half of 2011, something that still hasn't happened, thanks to some post-production glitches and other content-related problems. This satire on the current Varanasi is directed by Dr Chandra Prakash Dwivedi and loosely based on Dr Kashinath Singh's novel 
Kashi Ka Assi
. It attempts to portray on film all that goes on in this 'mohalla' in south Varanasi, the locality near the famous Assi Ghat.


The word 'assi' in the title refers to the Assi stream, one of two (along with Varuna) that came together to give the city its name. In an interview to The Hindu in mid-2013, Dr Singh spoke about how life changed at the city's Assi ghat especially post the liberalisation of the Indian economy in 1991. A slow trickle of foreigners, mainly those studying at the Benares Hindu University (BHU), suddenly turned into a steady stream and changed life in the neighbourhood forever. "For Rs 500, they were provided food, laundry and housing facilities. In return, the foreigners would often pay for their hosts' children's education as well. A bond emerged," he was quoted as saying, adding that this cultural exchange led to a noticeable change in the lifestyles of their hosts' families as the "women started wearing maxis and the children jeans".


The year is 1988 and through the decade, it traces some very tumultuous years in Indian political history. From the Mandal Commission and the student protests that raged across the country, to whipping up passions for the Ram janam bhoomi and the eventual Babri Masjid demolition.


While there have been no discerning changes on the banks of the river or "Pappu Ki Dukaan", a restaurant where politics is discussed with the same passion and gusto as in New Delhi, it is the evolving attitude of its people that churns the narrative.


The book that released in 2004, covers many of the political bigwigs trying to hog centerstage, and, so, there are not just passing suggestions but out-and-out references to the Mandal Commission, the Babri Masjid demolition and the 8th PM of India Chandra Shekhar, to name a few.
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