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The King of Kong: A Fistful of Quarters (Seth Gordon, USA 2007)

keeps the last 25 years, Billy Mitchell (top left) the world record in Donkey Kong Arcade video game. In the community he is revered for it like a God figure - especially since its ahead of second placed is so huge. When no one Steve Wiebe, a family man and teacher at the other end of the United States loses his job, he is looking for a new leisure activity, buys a Donkey Kong-box and places it in the garage. Wiebe takes to himself when he realizes how good he in Dragons is (strategy, analysis, etc. ..) to attack the world record. From then he spends many hours in his garage. And then he do it well. Fortunately, he has all filmed with a camera - but since no one knows him, the result is challenged. From then on, Wiebe is fighting for the recognition of his title ...

THE KING OF KONG is a very fine, entertaining and interesting documentary made with the charm of an independent production. She manages quite a man who knows not at all in the world of arcade gamers (like me) in bringing to the scene, with its own codes and functional mechanisms. And ultimately it is anyway broken down's human drama and since then the film is also manipulative, he creates it very clear two film personae that in her biography, and due to their different character had almost inevitably become adversaries. And that Wiebe is zufligen the sympathies clear - Mitchell as arrogant, dummschwätzender Redneck is shown (which he perhaps does). Anyway, here immerse yourself in an unprecedented Mirkrokosmos, and it is incredibly exciting, this whole zuzukucken Nerds in the exercise of their passions. A recommendation.

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separate lives Sometimes you have to ...

She was my number one, my own first motorcycle. In October 2006 I bought it, and in the following years we had a lot of fun together. Now have to separate our ways - someone else will have fun with it. For sale

: Yamaha TDM 850 year 1992, approximately 75,000 km run, 1,200 € VB

to TDM 850: The TDM is 850 as the archetype of the "fun bike", a road bike with Enduro genes. The water-cooled two-cylinder, parallel twin is a further development of the legendary 750 cc engine of the Yamaha Super Tenere, he does at 850 cc 77 hp and 76 Nm of torque. The DM 850 is an all-round touring machine, with which one can drive 700 kilometers a day sometimes, also like a couple. Although the TDM officially a dirt bike is their make even a few kilometers of gravel from nothing, but she has such an engine protection from the head. I'm with her but always driven on the road.

to this bike: As I bought it, it had 42,000 km on the odometer. In the following years I went not only over 30,000 km with it, but also have a number of improvements made:

• main stand (SW-Motech, not the dangerous of Five Stars)
• steel braided brake lines (with papers)
• Extended mirrors boom
• car power outlet in the cockpit
• Three-stage heated grips (Saito)
• Superbike tour drivers of ABM (with papers)
• exhaust system, strut and shock absorber by the next generation 4TX
• Reinforced drive and new gel battery (2007)
• new fork tubes and seals (2008)
• carburetor overhauled, so no more drinking (2008)

are included in the quotation Givi Wing rack with two medium-sized (30 liter) and a large suitcase (about 38 liters), and two complete sets of keys and a manual.

The machine has TÜV to October 2012, she is on Michelin Pilot Road 2, determined to keep even one season. She jumps well, runs well and brakes well. You could even tolerate an oil change, that's it. It is visually not the most beautiful, but a good, reliable bike. The bike really needs only regular gasoline, is but also with sperm hervorragend.Yamaha an E10-release issued officially. There

more pictures here to see

To date: I am until 3 March on the road read, but my e-mails to fkemper@gmail.com. Those who have interest or questions, may please contact me. The next weekend I will be the machine at the usual suspects (mobile.de etc.) set, therefore, for those who first come, first served. Ah yes, the machine is registered and parked in a garage in Munich - a test drive is not a problem.

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Guttenberg is unacceptable

One might of the FAZ Keep what you want. But together better than FAZ.net I read the debacle of the plagiarist Guttenberg anywhere else.

See also Guttenberg 2009

The man is intolerable. He must resign. Such a defense minister can not afford a country in our situation.

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Today auf'm Office

So, new motorcycle is the county Neuburg / Donau transferred to Munich (just in time before winter break last night), is so early this morning to going to the vehicle registration office. At 7:30 on clock it makes clock at 7:45 I'm at the start. Upon check-in - this is the very start, when someone checks that you have all the papers here, and then use the matching waiting number - I has an official wife discreetly sächelndem idiom out: "For us the number plates but larger than that are there." I answered kindly, "Well, maybe I can top even once to ask if I do not get but a small can." She replies businesslike: "I do not think, but just ask. And sends me in room 241, where there is the special permits.

am After five minutes waiting my turn, the woman is not around there long flaring, my colleague asks about whether a short number is available, I wrote a press in his hand and sends me to the next office. There I get one of the rare Munich with two digit numbers assigned. "If you had come at ten, you would have been too late." Two (!) Number combinations that are suitable for small number plates, has the man there, one of them I get. The shortage of numbers has to do with Munich's special situation: the letter M mark is shared by two registration districts, namely Munich Munich city and country. The man promises relief. In the summer, new features are introduced for motorcycles, which have a different layout. As can be accommodated then flag outfits with three numbers on a small table. "It looks strange indeed out, because the signs and the tokens are distributed asymmetrically on the plate, but what we do not do anything for our riders. "

He is probably right, the man

costs? All in all (ie including a new label) I got rid of almost 50 €. If in fact, I think.

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René Char (Michel Soutter, Switzerland 1967)

lists for the year 1967, the only Soutter IMDb Drama LES DENTS AVEC LA LUNE (which is dated at artfilm.ch to '66), but this short documentary about one of the most renowned French poet. I myself know his work only at certain points of the translation of Peter Handke, and even with my reading about Maurice Chappaz Char to have.
René Char was born in 1907 in L'Isle-sur-la-Sorgue in the Vaucluse, ie in a region of Provence, where he spent much of his life. Soutter just drive up to him, searched the house, does not find it, asks the road. This is filmed everything, and the information the woman at the roadside is played on the audio track further to the distinctive issues that stated the woman who cut into the picture. The approach to the poet so as quest. Then one is directly with him, in home, office, and without further introduction, he maintains, with a sonorous voice poems. Soutter, it is not (as in a television documentary) for an introduction or for the past behind uninitiated, but is a direct handling of the artist dar. Here, you just know who is René Char. And if you do not, you will be thrown into it: there are no stories about the war, from parents, from the first hours of reading and contact with literature, which had proven so important. No use of myth. No legend. The usual standards of journalism and accounts for the direct access, including a walk through the garden behind the house is an important yet honest and direct than any consumer-friendly cut into teaching with literature professors, explaining the renown of the work.

fact that the film because of course, a little seems as if one had packed up a Super 8 camera and sometimes just short René Char filmed, is also clear. Does not matter. That's pretty good. The viewer can then take care of yourself drum, which drove the poet when and where to search, and perhaps begin to read the poems again. I wish more such documentaries in which one does not appears as if you were sitting in history class and preaches the front of the source added. Voilà . Guido Knopp has Michel Soutter least learned nothing.

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number two!

noon today against one thing I've done it. I signed the purchase contract for the second bike in my life. My choice is a BMW R 1100 GS please, complete with boxes, top case, ABS and FID -. which stands for "driver information display," so the gear indicator, fuel and oil temperature, the piece is built in '97, might at first glance there like new, has 45,000 km on it and will collect under me in the next few years hopefully many more. If the weather cooperates, I'll get them off next weekend. Until then, to certain obligations: Insurance make it clear to get money - and get to number one in a caring home.

am After a test ride and the contract I went to number one (Yamaha TDM 850) back to Munich. And it was as if I wanted my good old Yamsel make it clear that the new is not better than them: Cured my Mopped was rare, and of course they took me - as always - reliably to your destination. But: loaded (too much) property. Number one will have to make room for number two.

Someone interested in a truly reliable Tourenmopped? Let's listen.

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Calahan / Magnum Force (Ted Post, USA 1973)

Dirty Harry is back - and, surprisingly (this is my first sighting) is almost everything that made up the contradictory-bulky, fascistic character of the first part relative. Although he remains the one or the other gruffness for Selbstverstänlichkeit holds villains like the terrorists in the airplane scene or later hesitation the supermarket robbers without overboard shoots - he has suddenly himself in check, are classified under the system and keeps the Act high. Not so natural seem the killer gang that with their heavy machinery, the Sonnyboy-date and the shiny leather uniform embody the homoerotic aspects of action cinema, which are repaid in Calahan figure. Even on the contrary, a pretty Asian girl (which could be his daughter) is attracted to the bony quiet man and this is then - if it allows the work - including its obligations to love. Now we find ourselves in a very safe heterosexual universe. The drive over the highways, or the chase:

For me the film was still long stretches very entertaining, for he is always very exciting and can score with his long shots - And of course the often all too brief harmonious with music. In conclusion one can state that we are dealing here with a moderate action film product from which the ambivalence of the predecessor have been dropped. That's pretty bad.

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Snapshots, Pt. 4

a brief overview I wanted to give the films I've seen - and almost to again threaten to sink into oblivion in Hades ...

So there would be a film like MUTANTS (David Morlet, 2009), who tries but with some nice pictures of the snowy mountains to score and there also quite knows how to generate some atmosphere - but as soon as the zombie horror begins, is back all the same. And we had the first saved in the clinic, then again hallways and corridors, which have to serve the power structure. Partial interest of "I Loved A Zombie"-subplot, which is then implemented no more original. Not as annoying as the Stumpfo LA HORDE, but really not worth seeing.

In Werner Herzog's BAD LIEUTENANT : PORT OF CALL - NEW ORLEANS (2009), I tip my hat. A very successful in my eyes, alternative spelling of Abel Ferrara's masterpiece with Harvey Keitel - this time with Nicolas Cage, with his facial expressions always degenerate and here stooping posture one perhaps his best performance ever delivers (or at least pretty much the only non-WILD AT HEART, which I find good). Wow, what a Hammer film! This poster could come directly from Hong Kong:

Oh, WILD AT HEART on Blu-ray (now also for me), the Lynch Overdrive was finally seen again. He liked me this time in his exaggerated in any way reference. Sure, Bobby Peru, I have always found great threat (who is not), but otherwise I was always too much snow this film. So now rehabilitated somewhat in my subjective universe without meaning. If you look at how Lynch is going on here consistently, this film is possibly one of his best quality. Alone like he wants me, not really. Maybe that comes from this distance, which lies dormant in all (see LOST HIGHWAY) ...

Michael GOD's MIAMI VICE (2006), the most ultimate love story in the modern police films, it has brought with me directly on the Blu-ray screen. Unfortunately, the quality is not the hammer, but the speed boat ride and the soaring scenes are very fine. The grain in the night scenes is dependent due to the digital camera. It's all right so, and nothing can shake my love for this movie - a relationship that grows with each viewing. (I will have to be ashamed of posting this again?)

Gareth Edwards MONSTERS (2010) belongs here more in the category Übeflüssig and yet beautiful . The film seems a bit like when the strong scenes of THE MIST, which is the final mitsam packs up the tentacles from the siege scene and from this created an entire film. I was in his kindness a little reminiscent of the beautiful INFESTATION to achieve without the charm. Well, in truth I've forgotten him already almost over.

has really enjoyed my Mabrouk El Mechris JCVD (2008, Blu-ray), which I had hitherto neglected. Very fine Metafilm ironic that lurches from blow to worst case scenario, without losing its lightness. Van Damme is very sympathetic, and sacked unit is flirting with aging. I take the film so completely self-criticism does not, because I am still too much sun shining through. Nihilistic or even hopeless, the film is never really - what is perhaps because he's actually a comedy. What is not a devaluation.

Even the brilliant THE HAPPENING (2008) M. Night Shyamalan, I was looking to Blu-ray, and he has confirmed in its magnificence. More I say not to - I would like to draw so not the hatred of the network community. My thoughts can be found on filmforen.de in multiple threads - it was exhausting and enlightening enough for a human life.

I hope my unbridled subjectivity met anyone from the head - but it's perhaps even quite OK Sun Cheers!

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Grey Gardens (Albert & David Maysles, USA 1975)

also been drinking heavily is the sometimes harrowing, sometimes amusing difficult Documentation the Maysles brothers a farce before the Lord, how it can write so beautifully, only the exaltation of the human ego. Our condition was not the best, was added in order to truly follow any conversation - but it, so I construct the well, is not at all to it. More importantly, after all, as is spoken. In this film, above all without listening to each other and has set his own ego at the center of the world.

The two sisters Edith "Big Edie" Ewing Bouvier Beale and her daughter Edith "Little Edie" Bouvier Beale spend their days in a mansion in East Hampton - so there where rich New Yorkers in the summer set in the dunes and fry . let The house is run down but hard to live day to day, Messier-growth catchment has received. Garbage everywhere, cats, dust on Baroque ornaments. To dress extravagant - after all, one aunt and cousin of Jacqueline Bouvier Kennedy Onassis. But beyond that distant glory, there is nothing that could stop the deterioration and aging. The two ladies indulge in memories of days gone by, therefore only they are in an almost shocking way fleeing, time fugitive. This now accounts for them no meaning (beyond a good tan on the skin wrinkly seniors).

As viewers have been encountered on the head - just as shocked at the same time fascinated. That one is really here to Voyeuer is the controversial position that the man is, and it is only on the restrained style of the Maysles documentary that one can ankucken. For this direct cinema - stylish design - as without intervention by the directors - the two protagonists to tell their stories themselves, seemingly without any external influence. And indeed there are many scenes in which they seem to forget the camera. The object "reveals himself". The aesthetic impetus of the Maysles, however, is beyond the skandalon: they focus on the relationship between reality and image. And the influence of the camera to the reality in this film as the search for To understand true depiction - whether this claim can be met in the production of a Echteitskondensats at all, so I dare to doubt. The Filmed is always the self-promoter. In other words / asked: when is the individual, within a social context of ever telling the truth? Is this not an ideal which is as chased?

Anyway, GREY GARDENS, you should not miss if you love it, sometimes lift off the mainstream a few beads. And since the film has indeed experienced the Criterionweihen and was even listed in Cannes, is even the need for quality cinema Safe disgusting enough done. But it can Maysles nothing.

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Viva la Muerte (Fernando Arrabal, France 1970)

Fernando Arrabal (Terán), co-founder of the early 60s, founded Panic Movement with Alejandro Jodorowsky and Roland Topor writer, theater artist, performer, lyricist and even film-makers, created in his film debut VIVA LA MUERTE a surrealistic-embroidered film excess over (s) a child at times of the English Civil War. A childhood that the absence of the father, a strict Catholic upbringing, the suppression of own awakening sexuality and marked by a life under the fascist Franco regime. Fando, the boy learns then Duch coincidence that the father, a Communist and Freedom fighter's from the woman, as was shown by Fandos mother, which led to his abduction. Then he begins to rebel against his bigoted environment ...

The film, which really does not evolve along a continuous story arc, is an explosion of images. Various techniques of alienation are used to create impressive surrealistic, distorted, colored scenes, which slide over again, even the plot and the narration interrupted in the film. There are also quite scenes that seemingly have nothing to do next with the issue, and only to one, as religious or psychological interpretation, much of their symbolism played, will dissolve and can integrate. Also performative scenes as known from the works of the cosmos of the Vienna activism of a gasoline Mühl knows, filled with sexualized scenes of violence, slaughter and animal sacrifice, have their place in the film - and there is hardly any text to the work that is not on de Sade and Artaud received.

If one has therefore seen only once in the motives of childhood / sexuality / Trauma / military / religion, then the images are likely, despite their alienation and strong suggestive power is not too heavy on the contrast of freedom vs. oppression, sexuality vs. abuse, love vs. hate, reality vs. illusion, potency vs castration, etc. decipher and break down with the appropriate commitment to assign them. Whether this is its meaning, however, I doubt it. This film, which sabotaged constantly by his surreal sequences of his action running acts, by its very openness, and sometimes difficult to unbearable drastic force reactions from the audience, raises the old mill on the brain, and tears him from every conceivable contemplatio out at any time with ease. The film asks, is an assault on the senses and is far beyond a fluffy art-house cinemas, the oh so diligently maintains the educated classes with his sweet pain, while the new floor space to keep the temperature constant languorous.

fact that the film in the broadest sense not "fun" does should be obvious. But that is not here also - it is about an artistic vision to fractures, place in a work of art expression (and also the socio-political explosive power that you can perceive here) and the strong fascination, the attraction that they posed. The one whose viewing habits are not fully move on the tracks of the commercial culture industry should not miss this film. And all the other anyway.