The Karate Kid review by Junior Smart {Film}

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The 1984 coming-of-age film comes of age with a modest makeover with solid characters and fluid performances that exceed your expectations. The Karate Kid, also known as The Kung Fu Dream in China, and Best Kid in Japan and South Korea, is a 2010 martial arts remake of the 1984 film of the same name.

Although Karate Kid has numerous differences to the original (for example the chief location is now china instead of Los Angeles and the lead protagonist is much younger and also an Afro-American). The significant core values and the spirit of the original plot remain. A bullied youth learns to stand up for himself with the help of an eccentric mentor and through the discipline of martial arts learns the value of respect, honour, friendship and love.

The film was directed by Harald Zwart and produced by Will and Jada Pinkett Smith and stars none other than his son Jaden Smith as the lead character Dre Parker. Jaden Smith looks good, moves like magic on the screen and strikes just the right amount of balance between inquisitiveness and annoyance. Moving from Detroit to china with his mother Dre finds himself out of his depth and struggling with issues of acceptance he falls foul of the school bully; an encounter that will change his life forever.

Jackie Chan plays Mr. Han, the apartment’s maintenance man with hidden skills in kung fu who takes a curious interest in Dre and then takes him under his wing. Chan is exceptional as usual; if memory serves me correctly I don’t think I have witnessed such a martial arts master who has appealed so much to as many generations as himself. I believe at one stage he even had a cartoon series, so just knowledge of his track record makes him immediately likeable and credible in his part. There is some on screen chemistry between Dre and Han that creates expected warm fuzzy feelings and it serves its purpose in driving the story forward. Whilst the movie goes a long way to developing the characters it is perhaps not as impressive or immersive as some other films of this genre yet it does meet its objective.

Filmed in china the film makers wisely decided to cash in on the rich history of the geographical location. There are some lovely shots of mountains, monks training and great walls of china and often lots of history is revealed to the audience as well as the relevant discipline there to be learned by Dre.

One of the core strengths of this film is the characterisation. Being a remake this film could easily fail short in viewer’s expectations by allowing itself to be compared too easily to what is now regarded as a masterpiece. However watching this film you get the feeling that what they tried to do was compliment the original film rather than replace it. As such it stands up as a feel good fight movie in its own right. The fight sequences are well choreographed and much grittier than the original. You can visualise Will Smith wanting to be there in person to support his son through the rough and tumble parts of the filmmaking process because there are some solid blows in the fight sequences that make you wince. And there is something that has to be said for a 12 year old that can make a Kung Fu combat sequence believable. You have to admire the child’s flexibility and courage and if anything you feel more on his side because you know what he is up against. There are also some nice nods to the original film for example in one scene Dre walks in on Mr. Han trying to catch a fly with chopsticks which after a few attempts Chan’s character ends up swatting it against a wall with a modern fly swatter.

In conclusion fantastic performances and a strong script bring this rendition of Karate Kid bang up to date. Lets face it this is the kind of films that you need in the summer season, it has good values and is great fun for all the family.

The A Team review by Junior Smart {Film}

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Bet you didn’t know that “Hannibal” Smith loves it when a plan comes together. Almost every single middle aged person on the planet knows those words and the theme tune that it almost instantaneously brings to mind and what it means. The A-Team was an iconic Saturday morning show of the 80’s, and brings back lucid memories of ‘family time’ huddled round the TV set and school playgrounds where every kid would pretend to be in the van and involved in epic shoot-outs. It is also the latest film to get the movie update treatment by film studios that seem to be fast running out of original material and are looking to entice film going audiences back into the cinema.

I would have loved to have seen the CEO of 20th Century Fox’s face of when they brought this plan to the table. You can almost hear his words ‘What – you only want to bring the biggest TV show of all time to the big screen? – Are you for real? Damn we better get this one right – if we screw this one up even my grand kids grand kids won’t forgive me!!! Hell – let’s go ahead but let’s throw the kitchen sink at it!’

Bringing this to the screen was either going to be hit – or a miss and they knew there was going to be no second chances, no reboot in five years time, no nothing. Screw up on any aspect, have the wrong actors, have a crap script and you can forget it. Little wonder then that the film was in development since the mid 1990s, having gone through numerous writers and story ideas, being put on hold numerous times. In the end the film was directed by the accomplished Joe Carnahan and produced by Stephen J. Cannell, and legendary brothers Ridley and Tony Scott. This talented group act almost like an A-Team in their own right and bring the story bang up to date with enthusiasm.

The story follows the principle of the original series. For those of you who didn’t know The A-Team are a crack group of soldiers who go on the run after being framed for a ‘crime that they did not commit’ who now exist as soldiers of fortune… The movie belts along at a cracking pace but with a few twists along the way and thoughtfully the directors decided to create the origin story for the first half of the movie. This I thought was a superb idea because at the very least it gives the action compulsion. By the end of the first half of the film you know why they are all together, and more importantly why B.A.Baracus ‘will not get on no plane’.

The actors’ success in portraying their characters is a major factor in the film’s triumph and is second only to the fantastic script. As an 80’s A-Team fan my initial apprehension was that this would be a shoddy remake that unfortunately we have become accustomed to over the past decade, with paper thin characters that not only did not look like their counterparts but were going to be unable to carry them. However Liam Neeson steps sturdily into the role of John “Hannibal” Smith. He breathes life into the guy with a smile yet plays him as an individual rather than try to imitate the now legendary role made famous by George Peppard. As a result you appreciate him far more. The same goes for the rest of the cast. Bradley Cooper as “Face” gives the character his own suave inventive spin and also worthy of note is Sharlto Copley as “Howling Mad” Murdock. He conveys the character as being genuinely off his head yet also a hotshot talented pilot and he creates some real laugh out loud moments.

You can tell that the entire cast fully enjoyed making this film because the level of authenticity in the camaraderie, as a result you feel for their disappointments and whoop for their success. Liam Neeson said in a recent interview that it was the script not memories of the 80’s show that made him sign on the dotted line and judging from the script who can blame him; the script is very strong. Indeed you could take the title away from this film and still have a great action movie in its own right. Yes it is clichéd, yes it action focused but it also fun and does definitely have a heart. For example B.A.Baracus (played by a very driven UFC Champion Quinton “Rampage” Jackson) ends up in jail he finds faith and decides that he doesn’t want to kill anymore. An interesting idea considered that he is a solider ‘of fortune’ and that their adversaries seem to stop at nothing until the A-Team is taken out of the picture for good. The rest of the team play out this potential ‘conflict of interest’ as great friendship in real life would allow and for me this is a nice touch on the 80’s series.

Just as good as the actors were those working behind the scenes with the special effects. Whilst there is nothing here that is ‘new’ so to speak, the film is big budget and well executed, some of the scenes are incredible if not totally unbelievable but still worth seeing. Want to see a tank fall out of a plane? It’s here. Want to see a helicopter take on missiles? It’s here. Want to see a twist of romance in the middle of breathtaking action? It’s here.
This story, complete with the performances in both acting and special effects is a powerful concoction especially for those in need of a testosterone built blockbuster of the summer. “Hannibal” Smith loves it when a plan comes together – Trust me by the time the credits roll – you will too.

MEN’S ROTARY WHITE DIAL CHRONOGRAPH LAUNCHES EXCLUSIVELY TO WATCHSHOP.COM

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I have came across an amazing website. My father is obsessed with watches. Making him amazingly easy to buy presents for. If you, likewise, want to go watch shopping, I recommend the following site and the beautiful new Rotary watch.

WatchShop.com (www.watchshop.com), the UK’s leading online independent watch retailer, is adding another UK exclusive to its online showroom this week with the White Dial Chronograph Watch from Rotary.

After the success of previous exclusives, WatchShop.com is now offering this performance oriented men’s watch with a highly stylish design.

The watch, officially priced at £185 will be available until 31st August at £92.50.

Complimenting the classic lines of the stainless steel case and bracelet, and showcasing the high performance chronograph movement, an easy to read and stylish white face with silver details now adorns this stylish but feature loaded watch.

The case is waterproof, with screw down crown and caseback to ensure the watch is always ready no matter what conditions.

The polished and brushed finish bracelet has a deployment clasp for security and style on your wrist at all times.

Coupled with Rotary’s lifetime guarantee, this is a solid and dependable performer, and a great watch for the man who wants the style, but doesn’t want to trade durability.

Product code: GB00004/02

Features:

· Rotary Packaging/ Official Rotary presentation box

· Official Rotary lifetime guarantee

· Case width: 40mm

· Case depth: 12mm

· Dial Colour: White

· Metal: Stainless Steel

· Strap type: Metal bracelet – free sizing available

· Strap colour: Silver

· Water resistant: Waterproof

· Clasp type: Deployment

· Movement: Quartz

· Chronograph: Yes

· 24 hour dial: Yes

· Glass: Mineral

· Highly visible dial: Yes

· Hour markers: Batons

· Tachymeter: Yes

A great addition for any stylish man.

JEMMA KIDD FRONTS NEW CAMPAIGN FOR NEWBURY RACECOURSE LADIES DAY SATURDAY 14 AUGUST 2010

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Today, Newbury Racecourse announced international celebrity make-up artist Jemma Kidd as ambassador for its annual Ladies Day featuring Party in the Paddock, 14 August 2010.

With ticket sales fuelled by Westlife’s performance after racing, the Racecourse is expecting to break last year’s Ladies Day record of 26,000 racegoers, meaning the 2010 event will result in the largest attendance in the racecourse’s recent history.

Racegoers from Edinburgh to Exeter and Newport to Newcastle are signing up to attend the August Ladies Day celebration, which includes seven top race fixtures, an evening performance from Westlife, ‘New Racegoer Masterclasses’ and a prize for the most stylish dresser in a Fashions in the Field competition – with the winner being crowned the style queen of Ladies Day.

Jemma Kidd says, “I have a lifelong passion for horses and I am calling all ladies to come to Ladies Day and experience the buzz you can only get from being at the races. For first-timers or those who have yet to be bitten by the bug, Newbury Racecourse’s onsite new racegoer sessions will really allow ladies to engage in racing and help them feel how I do about the sport! In return for a great day out I hope to see ladies giving generously in support of a great cause – The Eve Appeal.”

Newbury Racecourse has also pledged its support of The Eve Appeal as the Official Charity of Ladies Day and is aiming to raise thousands of pounds for the cause in donations. In celebration of this partnership and to raise further funds for gynaecological cancers on the day, Newbury Racecourse has launched the “Eve Salad” – a light, crunchy seafood salad, perfect for an afternoon at the races in the mid-August heat.

For the first time ever, Newbury will be offering onsite masterclasses, which will also be broadcast on screens around the racecourse. Whether it’s their 1st or 100th time at the races, these sessions will give ladies the skills to walk the walk and talk the talk on Ladies Day. Tips will include where and when to be seen, how to get close to the horses, how to bet, and learn the racing lingo – impressing even the most knowledgeable racegoer.

Stephen Higgins, joint Managing Director of Newbury Racecourse says “This year we are launching onsite masterclasses as part of our new racegoer campaign and will have experts available during the day to offer handy hints and tips to help ladies to get the most out of their day. Involving Jemma and the Eve Appeal can only complement this drive and confirm our position at the forefront of the campaign to ignite people’s passion for racing.”

Jemma will be joined on the day by Chanelle McCoy wife of Grand National winning Jockey Tony McCoy and Channel 4 Racing presenter Emma Spencer, who will form the key members of the Fashions in the Field judging panel.

To book tickets to this star-studded day out and for further information please visit www.newbury-racecourse.co.uk

Photo credit: Catherine Balavage

Brand New School Aces Strategic Design for Cartoon Network Brand Expansion

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NEW YORK and HOLLYWOOD – (Aug. 5, 2010) – To help Cartoon Network bring to life its vision of a brand expansion strategy that included a new look and tone, the international creative design and production studio Brand New School (BNS, www.brandnewschool.com) partnered with the network’s creative team to produce a look and sensibility that would allow them to have a dialogue with its audience across an array of platforms.

The network chose to embrace its brand visual heritage of the black and white checkerboard by imbuing it with new meaning, and the artists and producers of BNS were able to bring this idea to life in a fresh, compelling way using dimension, color and movement. All the new design elements began appearing in late May, and the new on-air IDs premiered on the network this week.

“Our brand expansion represents our commitment to delivering a breadth of content that our audience cannot find anywhere else,” said Senior Vice President of Creative Direction, Michael Ouweleen. “The checkerboard is in our DNA and is not only reflected in the subtle redesign of the logo but also provides a through line that connects and helps frame our diverse slate of programming from animation to live-action. The art direction and creative acumen of the Brand New School and their ability to breathe new into the iconic was invaluable and helped us achieve our goal.”

BNS founder and creative director Jonathan Notaro, along with art directors Eric Adolfsen and Mike Calvert, provided detailed insights into the conceptual thinking behind the multifaceted brand expansion project, where their approaches emphasized interconnectedness across each and every deliverable, as well as the pairing of extremely thoughtful design with animation geared toward generating specific audience responses, including laughter.

“This has been a very exciting opportunity for us to be closely involved with Cartoon Network and their continued evolution,” Notaro began. “The new on-air identity complements its diverse range of visual languages, and leverages our design expertise by incorporating specific, creative means for consistently packaging the network’s editorial humor into every second of each broadcast day.”

By combining their design ideas within the organizational approach, the BNS team is pleased to have created a meta-narrative that uses the complete visual identity system to creatively convey the interconnectedness of the channel’s content. From the promos to the menus to the bumps to the IDs, each piece tells the same story from a different perspective, where the checkerboard functions like a chessboard, with infinite moves possible.

“Because we’d created such a gridded and structured designs for the overall approach, it became imperative that the movement of these pieces felt snappy, fast-paced, and above all, playful and full of life,” said Calvert. “Our animators developed a language that’s rooted in familiar physical interactions, but caricatured and amplified into something incredibly captivating and energetic.”

It was important to Cartoon Network that each day part be distinct and branded with its own color, humor and expanding level of complexity. “We wanted to share on-air the excitement we found in the initial explorations of the checkerboard and the grid,” said Adolfsen. “From the first to the last second of each day, we looked for ways to consistently surprise viewers and build on the language of the checkerboard, eventually creating a visual shorthand the audience could embrace.”

The creation of each animated asset in the project was led by BNS’s Hyesung Park, Arthur Hur and Andy Mastrocinque. Among many elements created by various artists under their supervision is a series of 14 short, black-and-white animated IDs, each of which derives visually from the letter forms of the newly designed Cartoon Network logo.

As summarized by Calvert, “Our enthusiasm for the brand reached every pocket of this redesign, culminating in the ID system we developed,” explained Calvert. For the ID’s, Brand New School established a simple rule: make a black and white animation based on each of the 14 letters of the words Cartoon Network. “The idents are both a nod to the channel’s history as well as an opportunity to curate the artists we love. They’re a celebration of every form of animation, from hand-drawn cel to 3D.”

For HD design and finishing, as well as all elements of the broadcast package, primary artistic tools for BNS have included Adobe Creative Suite, Autodesk Maya, Apple’s Final Cut Pro and Flame. Complete project credits are available upon request.

About Brand New School
With offices in New York, Los Angeles and London, Brand New School is a bicoastal directing collective working in all fields of commercial art. Ever evolving, the studio continues to cultivate a sense of wonder and exploration. For its artists and clients alike, BNS represents an opportunity to play at work, to conduct experiments in image-making, and to feed the inspiration that drives the industry. For more information, please visit www.BrandNewSchool.com.

About Cartoon Network
Cartoon Network (www.CartoonNetwork.com), currently seen in more than 97 million U.S. homes and 166 countries around the world, is Turner Broadcasting System, Inc.’s ad-supported cable service now available in HD offering the best in original, acquired and classic entertainment for kids and families. Nightly from 10 p.m. to 6 a.m., Cartoon Network shares its channel space with Adult Swim, a late-night destination showcasing original and acquired entertainment for young adults 18-34. Turner Broadcasting System, Inc., a Time Warner company, creates and programs branded news, entertainment, animation and young adult media environments on television and other platforms for consumers around the world.

DreamWorks Animation Reports Second Quarter 2010 Financial Results

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Company Announces New $150 Million Share Repurchase Program

DreamWorks Animation SKG, Inc. (NASDAQ:DWA) today announced financial results for its second quarter ended June 30, 2010. In the quarter, the Company reported total revenue of $158.1 million and net income of $24.0 million, or $0.27 per share on a fully diluted basis.

“Our strong second quarter was driven primarily by the blockbuster performances of Shrek Forever After and How to Train Your Dragon, two of the top 10 films of 2010 on both a domestic and a worldwide basis,” said Jeffrey Katzenberg, DreamWorks Animation’s CEO. “We have once again surpassed $1 billion in worldwide box office and with Megamind still to be released on November 5th, we are on track to make 2010 not only DreamWorks Animation’s single biggest year at the box office, but also the biggest year ever for any CG animation studio.”

Shrek Forever After, which was released on May 21, 2010, contributed $51.8 million of revenue in the quarter, generated by its domestic box office performance as well as merchandising and licensing activities. It has reached approximately $235 million in domestic box office and approximately $368 million in international box office for a worldwide box office total of approximately $603 million to date.

How to Train Your Dragon, which was released on March 26, 2010, contributed $33.4 million of revenue to the quarter, driven primarily by its domestic and international box office performance. It has reached approximately $480 million in worldwide box office to date.

The Company’s 2009 release, Monsters vs. Aliens, contributed $17.2 million of revenue to the quarter, driven primarily by international pay television. The film reached an estimated 7.7 million home entertainment units sold, net of actual and estimated future returns, by the end of the second quarter.

The Company’s 2008 releases, Madagascar: Escape 2 Africa and Kung Fu Panda, contributed $4.4 million and $2.5 million of revenue to the quarter, respectively.

Library and other items contributed approximately $48.8 million of revenue to the quarter.

Costs of revenue for the quarter equaled $98.7 million. Selling, general and administrative expenses totaled $27.8 million, including approximately $7.9 million of stock compensation expense and approximately $2.0 million of marketing expense related to the launch of the Company’s online virtual world, Kung Fu Panda World.

Additionally, the Company recorded an expense of approximately $8.7 million related to its tax sharing agreement with a former stockholder. Combining the amount due to the former stockholder with the Company’s income tax expense of approximately $0.7 million, the result is an overall equivalent tax rate of 28.1% for the second quarter.

The Company also announced today that its Board of Directors has approved a new $150 million share repurchase program. For the six months ended June 30, 2010, the Company has repurchased approximately 3.1 million shares for approximately $111 million.

The Company’s third quarter results are expected to be driven primarily by the continued international box office performance of Shrek Forever After. The Company expects its full year 2010 results, which will likely be heavily weighted toward the second half of the year, to be driven by the continued box office performance of Shrek Forever After as well as the home entertainment performance of How to Train Your Dragon and Shrek Forever After, both of which are expected to be released on DVD and Blu-ray in the fourth quarter.

Items related to the earnings press release for the second quarter of 2010 will be discussed in more detail on the Company’s second quarter 2010 earnings conference call later today.

Conference Call Information

DreamWorks Animation will host a conference call and webcast to discuss the results on Tuesday, July 27, 2010, at 4:30 p.m. (ET). Investors can access the call by dialing (800) 230-1096 in the U.S. and (612) 332-0107 internationally and identifying “DreamWorks Animation Earnings” to the operator. The call will also be available via live webcast at www.dreamworksanimation.com.

A replay of the conference call will be available shortly after the call ends on Tuesday, July 27, 2010. To access the replay, dial (800) 475-6701 in the U.S. and (320) 365-3844 internationally and enter 163006 as the conference ID number. Both the earnings release and archived webcast will be available on the Company’s website at www.dreamworksanimation.com.

About DreamWorks Animation SKG

DreamWorks Animation creates high-quality entertainment, including CG animated feature films, television specials and series, live entertainment properties and online virtual worlds, meant for audiences around the world. The Company has world-class creative talent, a strong and experienced management team and advanced filmmaking technology and techniques. DreamWorks Animation has been named one of the “100 Best Companies to Work For” by FORTUNE® Magazine for two consecutive years. In 2010, DreamWorks Animation ranks #6 on the list. All of DreamWorks Animation’s feature films are now being produced in 3D. The Company has theatrically released a total of 20 animated feature films, including the franchise properties of Shrek, Madagascar, Kung Fu Panda and How to Train Your Dragon. DreamWorks Animation’s next feature film is Megamind, scheduled to be released in 3D on November 5, 2010.

Caution Concerning Forward-Looking Statements

This document includes certain forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. The Company’s plans, prospects, strategies, proposals and our beliefs and expectations concerning performance of our current and future releases and anticipated talent, directors and storyline for our upcoming films and other projects, constitute forward-looking statements. These statements are based on current expectations, estimates, forecasts and projections about the industry in which we operate and management’s beliefs and assumptions. These statements are not guarantees of future performance and involve risks, uncertainties and assumptions which are difficult to predict. Actual results may vary materially from those expressed or implied by the statements herein due to changes in economic, business, competitive, technological and/or regulatory factors, and other risks and uncertainties affecting the operation of the business of DreamWorks Animation SKG, Inc. These risks and uncertainties include: audience acceptance of our films, our dependence on the success of a limited number of releases each year, the increasing cost of producing and marketing feature films, piracy of motion pictures, the effect of rapid technological change or alternative forms of entertainment and our need to protect our proprietary technology and enhance or develop new technology. In addition, due to the uncertainties and risks involved in the development and production of animated feature projects, the release dates for the projects described in this document may be delayed. For a further list and description of such risks and uncertainties, see the reports filed by us with the Securities and Exchange Commission, including our most recent annual report on Form 10-K and our most recent quarterly reports on Form 10-Q. DreamWorks Animation is under no obligation to, and expressly disclaims any obligation to, update or alter its forward-looking statements, whether as a result of new information, future events, changes in assumptions or otherwise.

** FINANCIAL TABLES ATTACHED**

CONSOLIDATED BALANCE SHEETS

December
June 30, 31,
2010 2009
—- —-
(unaudited)
(in thousands,
except par value and
share
amounts)
Assets
Cash and cash equivalents $76,918 $231,245
Trade accounts receivable, net of
allowance for doubtful accounts 46,558 42,175
Income taxes receivable 13,690 9,016
Receivable from Paramount, net of
reserve for returns and allowance
for doubtful accounts 161,259 171,292
Film, live performance and other
inventory costs, net 752,950 695,963
Prepaid expenses 33,018 25,505
Other assets 21,913 15,958
Property, plant, and equipment, net
of accumulated depreciation and
amortization 174,862 161,558
Deferred taxes, net 7,106 7,669
Goodwill 34,216 34,216

Total assets $1,322,490 $1,394,597
========== ==========

Liabilities and Equity
Liabilities:
Accounts payable $2,194 $2,400
Accrued liabilities 101,998 111,281
Payable to former stockholder 61,744 67,456
Deferred revenue and other advances 41,060 60,870
—— ——

Total liabilities 206,996 242,007
Commitments and contingencies
Stockholders’ equity:
Stockholders’ equity:
Class A common stock, par value
$.01 per share, 350,000,000 shares
authorized, 97,022,472 and
95,967,515 shares issued, as of
June 30, 2010 and December 31,
2009, respectively 970 960
Class B common stock, par value
$.01 per share, 150,000,000 shares
authorized, 10,838,731 and
11,419,461 shares issued and
outstanding, as of June 30, 2010
and December 31, 2009,
respectively 108 114
Additional paid-in capital 953,203 922,681
Retained earnings 841,940 796,296
Less: Class A Treasury common
stock, at cost, 23,612,421 and
20,430,031 shares, as of June 30.
2010 and December 31, 2009,
respectively (680,727) (567,461)
——– ——–

Total stockholders’ equity 1,115,494 1,152,590
——— ———

Total liabilities and stockholders’
equity $1,322,490 $1,394,597
========== ==========

CONSOLIDATED STATEMENTS OF INCOME
(Unaudited)

Three Months Ended
June 30,
——–
2010 2009
— —
(in thousands, except per share amounts)
Revenues $158,095 $131,990
Costs of revenues 98,734 74,022
—- —-

Gross profit 59,361 57,968
Product development 422 93
Selling, general and
administrative
expenses 27,751 24,831
—— ——

Operating income 31,188 33,044
Interest income, net 171 979
Other income, net 2,004 1,613
Increase in income
tax benefit payable
to former
stockholder (8,668) (11,020)
—— ——-

Income before income
taxes 24,695 24,616
Provision (benefit)
for income taxes 720 (940)
— —-

Net income $23,975 $25,556
======= =======

Basic net income per
share $0.28 $0.30
Diluted net income
per share $0.27 $0.30
Shares used in
computing net
income per share
Basic 85,709 85,890
Diluted 87,582 86,382

Six Months Ended
June 30,
——–
2010 2009
— —
(in thousands, except per share amounts)
Revenues $320,238 $395,514
Costs of revenues 204,917 230,428
—– —–

Gross profit 115,321 165,086
Product development 607 2,461
Selling, general
and administrative
expenses 51,261 45,522
—— ——

Operating income 63,453 117,103
Interest income,
net 230 1,518
Other income, net 4,097 3,065
Increase in income
tax benefit
payable to former
stockholder (16,856) (27,030)
——- ——-

Income before
income taxes 50,924 94,656
Provision (benefit)
for income taxes 5,280 6,790
—– —–

Net income $45,644 $87,866
======= =======

Basic net income
per share $0.53 $1.01
Diluted net income
per share $0.51 $1.01
Shares used in
computing net
income per share
Basic 86,741 86,673
Diluted 88,972 87,390

CONSOLIDATED STATEMENTS OF CASH FLOWS
(Unaudited)

Six Months Ended
June 30,
2010 2009
(in thousands)
Operating activities
Net income $45,644 $87,866
Adjustments to reconcile net income to net
cash (used in) provided by operating
activities:
Amortization and write off of film, live
performance and other inventory costs 183,295 192,183
Stock compensation expense 15,210 14,695
Depreciation and amortization 2,526 1,831
Revenue earned against deferred revenue and
other advances (53,499) (51,667)
Deferred taxes, net 563 12,330
Change in operating assets and liabilities:
Trade accounts receivable (4,383) 2,427
Receivable from Paramount 10,033 72,534
Film, live performance and other inventory
costs (223,418) (183,574)
Prepaid expenses and other assets (15,540) (16,242)
Accounts payable and accrued liabilities (9,347) (27,749)
Payable to former stockholder (5,712) (1,466)
Income taxes payable/receivable, net (4,851) (8,001)
Deferred revenue and other advances 35,549 74,515
—— ——

Net cash (used in) provided by operating
activities (23,930) 169,682
——- ——-

Investing activities
Purchases of property, plant and equipment (26,590) (31,495)
——- ——-

Net cash used in investing activities (26,590) (31,495)
——- ——-

Financing Activities
Receipts from exercise of stock options 8,786 90
Excess tax benefits from employee equity
awards 673 –
Purchase of treasury stock (113,266) (52,125)
——– ——-

Net cash used in financing activities (103,807) (52,035)
——– ——-

(Decrease) increase in cash and cash
equivalents (154,327) 86,152
Cash and cash equivalents at beginning of
period 231,245 262,644
——- ——-

Cash and cash equivalents at end of period $76,918 $348,796
======= ========

Supplemental disclosure of cash flow
information:
Cash paid during the period for income
taxes, net $8,891 $2,373
—— ——

Cash paid during the period for interest,
net of amounts capitalized $281 $355
—- —-

Source: DreamWorks Animation SKG, Inc.

Edinburgh Comedy Preview – Part 2 {Blake Connolly}

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The Edinburgh Festival Fringe officially kicks off today, so it really is about time I get on with part two. As I mentioned last time, all the shows I went to were previews, meaning that often the acts were still getting to grips with the show, testing out material and working from notes. So, while it’s a fair enough guide, in many cases I’ve not seen the finished show.

Daniel Kitson: It’s Always Right Now, Until It’s Later
£12, Traverse Theatre, 10:00

For many years now, Daniel Kitson has gained a reputation as one of the funniest and most exciting stand-ups on the circuit. But for the last four or five years, he’s also been something else: a storyteller. His last few Edinburgh shows have been tales of moving out of his first flat or the discovery of the longest suicide note in history, theatrical monologues with as much pathos as humour. This year’s show is similar in style but perhaps his most ambitious of all, looking at what it is to live a life and how our lives can feel like a series of fleeting moments, as we change over time yet remain, deep down, the same person.

Hanging above and all around the intimate stage are a series of dimly glowing light bulbs, seemingly randomly positioned. Each represents a single moment in time, and each glows brightly in turn as Kitson paces around the stage, describing that moment in two people’s lives, two stories told in births, deaths and marriages, parties, phone calls and bus rides. He alternates between scenes in the lives of Caroline (a little girl, teenager, girlfriend, wife, mother, then grandmother) and a man called William whose life we see backwards: the sad old man becoming the bitter middle aged man, hopeful young man and confident child. It really is a thing of astonishing beauty and genuinely touching, these ordinary people and their outwardly mundane lives somehow seeming extraordinary and to be celebrated. As he mentions, park benches seem a terribly insignificant memorial to everything a human being has ever done, we all deserve at least a statue.

As well being thought-provoking and very moving, the show is also very, very funny. Never unrelentingly so – as you’d already have gathered, this isn’t a stand-up show – but Kitson is a remarkable writer and the humour, when it comes (particularly William’s tragic and hilarious rant on a first date) is spectacularly funny. His writing style is very literary and I left the show feeling like I had just finished reading a very good, rewarding novel. 

The preview I saw finished at midnight, in the creaky old chapel room of the Battersea Arts Centre, a wonderfully atmospheric venue. The show seemed to be a perfect fit with the stillness of night, so I do wonder how it will go down in its mid-morning slot in the Fringe. If you get the chance to see one of Daniel Kitson’s shows, don’t miss it.

Stewart Lee: Vegetable Stew
£10, The Stand Comedy Club, Times vary

One of the funniest and most intelligent comedians around, Stewart Lee would top the “must see” list for anyone visiting the fringe. The show covers a variety of topics, from charity work to the Bullingdon club, touching upon Mock the Week and the World Cup presenters along the way. As always with Lee, as fantastic as the material is, much of the delight comes from playing with the form and style of delivery, toying with the audience’s expectations and breaking the rules of stand-up comedy. 

This year’s show doesn’t break any particular new ground, being very similar in style and format to last year’s If You Prefer A Milder Comedian, Please Ask For One, right down to finishing with a song. Nonetheless, it’s a stunningly good hour of material with a particularly enjoyable thread woven through the first half about his grandfather, and a long, detailed story about David Cameron with a killer pay-off. If you don’t get to catch the show live, Stew will be using some of the material in the second series of his BBC Two Comedy Vehicle later in the year. 

Addy Van De Borgh: Advanced Mumbo Jumbo
£8, The Stand Comedy Club II, Times vary

Sometimes you get a surprise when watching a stand-up and that was the case when I went to see Addy Van De Borgh’s preview. The show is about the misuse of language – flowery corporate speak, estate agents’ truth-bending descriptions, that sort of thing. Van De Borgh mixes some sharp one-liners with imaginative, surreal situations, with a sensational talent for physical, theatrical performance and a wonderfully honed sense of comic timing. And if that’s not enough, he also plays the mouthorgan.

At times he reminded me of the way Bill Bailey chuckles through his act, inviting the audience to share in the joke, while some of his more surreal flights of fancy were almost Izzard-like. His assured style and – there’s no other way to say it – face for comedy make me wonder why he hasn’t had more exposure. Definitely a show to seek out.

Chris Addison
£17.50, Assembly @ George Street, 20:25

Addison returns to the Fringe after an absence of five years, now a very big name following his success in The Thick of It and In The Loop. Bounding across the stage with great confidence, his great strength is his well-crafted, passionate delivery. His observational humour is gimmick-free and safe, but does have a pretty high laugh-per-minute rate. This is one of the pricier shows on the fringe, though, which might make you think twice.

Laura Solon: The Owl of Stephen
£12, Pleasance Courtyard,  17:00

Solon is a talented character comedian who ditched stand-up early in her career to focus on one-woman plays. This is the story of the fictional Channel Island of Stephen which two businessmen want to buy (referencing the story of the Barclay brothers and Brecqhou) but cannot because of a rare owl, the last of its species, which lives on the island. We follow a TV producer and American actress attempting to make a documentary about the owl, meeting the many unusual residents of Stephen. Solon brings each character to life wonderfully, the dialogue often deceptively sharp as the delightful whimsical story heads to it’s rip-roaring conclusion. This is a really fun, entertaining show which is worth catching.

Stephen Carlin: The Podium of Unconditional Surrender
£8, The Stand Comedy Club III & IV, Times vary

First things first, I should mention that when I saw the Scottish stand-up’s preview, the show hadn’t exactly sold out. There were only around a dozen or so of us in the room, which is a really difficult thing for a stand-up to work with, and I thought he coped really well. While his routine often stepped into well-worn areas (Ryanair, for example), he managed to put an original spin on things. His offbeat, somewhat deadpan style which I imagine would work brilliantly in a full house was in danger of verging on awkward at times due to the small audience, but he countered this by going off-piste to talk to the crowd, expertly dealing with a heckler who still managed to completely derail the show’s denouement. Carlin developed some fine ideas during the show, including a particularly amusing proposal for a new British coat of arms. Despite the unusual atmosphere, I enjoyed the show, and expect Carlin to be a name to look out for in the future. 

Joe Bor: A Study of Embarrassment by a Guy with Two Bumholes
£5, Fringe at Le Monde, 20:00

Joe Bor genuinely does have two… well, bumholes. He copes with this recent medical discovery by putting on a whole show on the subject of embarrassment. The early version I saw still had some creases to iron out and was a little messy at times but there was lots of good material in there. At times he seemed to lack confidence in his best material, but as I mentioned, it was an early version of the show I saw, used to refine it into the final piece. Bor is an energetic comedian with a lively show, at one point bringing members of the audience on stage, and particularly funny rapport with his “sound man”. At a fiver a ticket, it’s worth considering.

These were some of the acts I had the chance to see warming up before Edinburgh, but there are a few others I didn’t catch who are also worth a look. There’s a huge amount of buzz around Seann Walsh (£12, Pleasance Courtyard, 20:30), described by Time Out as “This generation’s Dylan Moran”, so if you’re in Edinburgh you should get yourself to his show so you can tell your friends that you were at his solo Fringe debut. If you’re looking for something to do in the afternoon, you can do no better than seeing previews were Nat Luurtsema (£9.50, Pleasance Dome, 15:45), whose witty, imaginative routines are a joy to watch. Paul Foot (£9.50, Underbelly, 19:40) is a wonderfully silly, uniquely odd comedian, and his show directed by Noel Fielding is a must-see for fans of surreal comedy. On the other hand, if you’re looking for a stand-up to provide nothing more than a series of razor-sharp gags and one-liners, Gary Delaney (£9.50, Pleasance Courtyard, 20:30) and his whimsy-free zone is the show to go to and Dan Antopoloski (£9.50, Pleasance Dome, 20:00), winner of last year’s ‘funniest joke of the Fringe’ is worth a look as well.

Blackberry Torch and OS 6 {Gadgets}

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Possibly one of the most humourous things in life is watching a friend repeatedly jab an ordinary phone screen with a perplexed look on their face. This simple joy has now been stolen from me as Blackberry have announced their first phone which has both a touchscreen and a keyboard.

Blackberry Torch

Named the BlackBerry Torch, it will come with Blackberry 6 Operating System which was previewed earlier this year. Add to that a 5mp camera, web-kit browser and a track pad incase you can’t get used to the idea not having one (like a vesigial organ of mobile phone evolution).

Blackberry have also announced that Blackberry 6 OS will be will be available in the months ahead (depending  on carrier) on some of their range, including the Pearl 3G 9100, Bold 9650 and Bold 9700.