Researchers say, though the event much brighter than any other observed in human history, it may have been even brighter than the data lets on since its peak brightness was captured at the start of the telescope's imaging. While black holes regularly flicker, fluctuating slightly in brightness from moment to moment, large flashes like the one observed by scientists in May indicate that a larger object has been caught up by the black hole's gravitational pull. Scientists say they weren't aware of anything travelling close enough to create that kind of friction, however.
The flash is seen above next to other objects in our galaxy and is shown coming close to a star dubbed SO SO-2 began to make its closet approach last year and came 17 light-years away from Sagittarius A. Supermassive black holes are incredibly dense areas in the centre of galaxies with masses that can be billions of times that of the sun. They act as intense sources of gravity which hoover up dust and gas around them. Evidence of a black hole at the centre of our galaxy was first presented by physicist Karl Jansky in , when he discovered radio waves coming from the region.
The captured material needs to lose heat and angular momentum before being able to plunge into the black hole. The ejection of matter allows this loss to occur. Fury as 'outnumbered' police simply look on as Extinction Rebellion protesters shut down London for a second time - despite publishing a full list of targets and Boris Johnson ordering officers to use 'full force of the law'. Share this article Share.
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Read more: [ Share or comment on this article: Researchers observe mysterious radiation emanating from black hole at the center of our galaxy e-mail 1k. More top stories. Bing Site Web Enter search term: Search. Download our iPhone app Download our Android app. Though that leaves the question of how one film can be both focus-grouped to death and completely bereft of any self-knowledge regarding tone or character. Her scheme to win the man of her dreams involves deceiving him and intentionally humiliating her one friend.
Duck Duck Goose Children, if your parents have exposed you to this very-bad-no-good cartoon, tell your teacher, religious official, or another responsible adult in your area. They should know better than to subject an innocent child to the volley of poop jokes, age-inappropriate pop-culture references, and pathos-as-afterthought contained in this sub- Minions animated abomination. Jim Gaffigan voices a carefree goose bachelor who ends up in custody of two defenseless baby ducks separated from their flock.
He has no choice but to take them under his wing and return them from whence they came, learning some threadbare lessons about responsibility along the way. And because this film was produced by the Wanda Media Company as well as Jiangsu Yuandongli Computer Animation Company, and because we are at the mercy of the Chinese entertainment economy, the film is set in China.
For all intents and purposes, you have now seen the film XOXO. Blood Will Tell Cops have a saying that when a woman dies under mysterious circumstances, nine times out of ten, the husband did it. This thriller coming to us via Spain poses the question as to whether that might be the case, then expects us to spend the next couple hours stroking our chins about the all-but-assured.
The truth comes out, as we knew it would, only to conceal a more pointless and vacuous version of the truth within itself. In other words, some twists are best left un-twisted, especially the ones slapped together from convenience and happenstance just to set up a belabored full-circle ending.
Paradox I got yer paradox right here: How could a sci-fi—Western featuring Neil Young as a futuristic bandit roving the countryside in search of computer keyboards and Super 8 cameras feel like such a chore, even at 73 minutes? Young is, at best, conscious. Call me when this gets the Disaster Artist treatment by the mids. Rosenthal takes The Road less traveled by, and unfortunately, it makes all the difference.
The poor judgment extends to casting as well, with Whitaker acting circles around James. I Am Mother As with Orbiter 9 , this film also toys with the makeup of the Passengers blueprint, only sans the artful CGI that kept the former from total worthlessness. Distant future, uninhabitable world, hermetically sealed environment, last living girl Clara Rugaard , android caretaker, you know the drill. Not even a voice performance from Rose Byrne as Mother can bust through the thicket of boredom; for all we know, her contribution could have been literally phoned in.
I demand to know who loved Passengers enough to have planted the seedling for this emergent trend.
Maria Like a DJ set curated from the refuse bin at a record store condemned by the U. Korn-knockoff nu-metal, screamo, idiot-rawk like Andrew W. Such a baggy setup would suggest a display case for an elevated level of fight choreography or cinematography, but director Pedring Lopez and DP Pao Orendain forgot to come through with that much.
The script busts out every antiquated stereotype in the book, with plenty of unimaginative caricature to go around for the Jews, the Muslims, the LBTQ community, and whoever else might be curious enough to watch this best-forgotten cringefest. Stave off the shakes with this Prince and the Pauper- style trifle that sends Vanessa Hudgens to the Belgravian palace to compete in a reality show that is pointedly not related to The Great British Bake-Off.
Belgravia seems to be in Eastern Europe, though everyone has a crisp British accent, and Belgravia is a real place in the U. Just something to consider as you wait for the movie to end. Dry Martina It is with a heavy heart that I must report that the title of this motion picture is indeed a pun, that the main character is a woman named Martina Antonella Costa and that she has literally gone dry down there as a result of her recent lack of sexual attention.
The once-vivacious singer regains her zest for life when a woman claiming to be her long-lost sister pops up with her Don Juan-ish boyfriend in tow. Martina wastes no time luring the guy to bed, spoken-for as he may be, and setting off on what could be fairly characterized as an erotic rampage. It all sounds much saucier than it ends up being, with too much time frittered away on life-coach-type gum-flapping about finding yourself.
Greg Pritikin, director of the criminally underseen Adrien Brody vehicle Dummy , plugs Chevy Chase and Richard Dreyfuss into the the machine that takes in geriatric acting legends and spits out toothless jokes about dentures. Orbiter 9 Only God and Ted Sarandos will ever know why, but Netflix seems to be willing to buy up just about any sci-fi project it can get its licensing contracts on.
Director Hatem Khraiche sees the putrid foundation of this premise more clearly than Morten Tyldum ever did, but the lack of star power as a serviceable distraction leaves the match-up a wash.
The Highwaymen You may think that Bonnie and Clyde were a pair of sexy, morally ambiguous counterculture types thumbing their nose at John Q. Love your children, love yourself, and just go with Gnomeo if the offspring insists on diminutive-sized fun. See if you can guess where this is headed: A pretty and otherwise trait-free amnesiac Brenda Song wakes up in a hospital to find her husband Mike Vogel , who hastily notifies her that she has no job, family, or friends.
ISBN 13: 9780966331141
For those readers under the impression that the film would be above pitting these adult women against one another in a series of behind-the-back kvetch-a-thons, congratulations, you have given Poehler too much credit. She coasts through the production with the same minimum of giving-a-shit that Adam Sandler brings to his Grown Ups franchise, eating up what must be half an hour with karaoke-singalong scenes sent from the deepest reaches of hell.
That sounds like a wholly original horror concept — a commodity now more precious than gold — until Soraya falls back on Western visual language to bring the undead Suzzanna Luna Maya back to wheezing, dreadful life. However rooted in regional culture, this looks and moves like the least-attended title playing at your local AMC. Sometimes A notion that could be the stuff of great black-box theater turns into a limply mounted The More You Know advert in this single-issue drama imported from India.
Nicholas Hoult, to his credit, plays his reluctant soldier as a bit savvier than the usual bumpkin on a collision course with shell shock.
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But otherwise, Brazilian filmmaker Fernando Coimbra contributes nothing novel to the conversation. And on top of all that, the gap in age and attractiveness between PM Rispoli and Senator Rossi is, in a word, noticeable. During a big night-on-the-town send-off for Jenny Gina Rodriguez with ride-or-dies Blair Brittany Snow and Erin DeWanda Wise before she relocates to San Francisco for a choice Rolling Stone gig — please suspend all disbelief at the door — the gal pals talk in a pidgin of buzzwords and catchphrases that vaguely resembles a trending-topics chart.
Each septuplet gets to stray out in the world under a shared identity for one day of the week, though they all have one distinctive character trait, Multiplicity style.
A ludicrous conspiracy plot linking government officials and nefarious schemes to control the populace through resource withholding gives the film shape, explained through endless and interminable dumps of exposition and implausible turns of plot. Of course Glenn Close did it. Glenn Close always did it! As young adults, they return to the house where they grew up following the death of their parents, and Alia starts to get a much clearer bead on the phantoms her sister once screamed about.
Realized with a inadvertently charming lack of technical polish, the film cycles through the usual haunted-house tricks as steadily and as predictably as a carnival ride. Ali lies to his family about his med school test scores and sets a series of farces in motion, all as he pursues his crush Dianne Helenna Sawires in a lunge at personal agency. On the way to a banal final moral, director Stephanie Laing indulges in all manner of shameless emotional manipulations, the most egregious of which revolves around a rascally terminal patient portrayed by Christopher Walken. He puts a brave face on while withstanding suffering, both within and without the context of the film.
Juanita Alfre Woodard gets her groove back in this menopausal comedy that just so happens to be written by her husband Roderick Spencer. She catches a bus to Butte, Montana, presumably a choice vacation spot for the Woodard-Roderick family, then gets her blood pumping by rehabilitating a flagging restaurant and shacking up with its fetching Native chef Adam Beach. The Climb In , a French-Algerian free spirit who had never set foot on a mountain in his life summited Everest through sheer force of will.
Forcing this story into the mold of a romance negates the inspirational overtones and makes Nadia into a trophy awarded to Samy right on cue. My research suggests that some encoded details will make this a richer experience for Indonesians and those familiar with the culture. The best thing would be French acting legend Denis Lavant as the face-painted leader of that very cabal, going above and beyond his already lofty standard for goblinesque physicality.
Everything in between falls just out of bounds, or goes wide, or whatever the proper sporting metaphor might be for this particular occasion. Point is, the film stretches its 77 minutes to maximum length with a feeble blend of lesbian humor, out-of-nowhere cowboy-musical selections, and noticeably professional makeup effects. Director Olivier Afonso, behind the camera for the first time, hails from the faux -gore department in a long line of Z-movies past.
But even listing the incongruous elements making up this film runs the risk of piquing interest that it cannot generate itself. Clinical Everybody knows therapists are just as unwell as their patients, but Dr. Jane Mathis Vinessa Shaw has a little bit more going on upstairs than the usual head-case shrink. Take this Spanish-language con game transplanting Dirty Rotten Scoundrels from the French Riviera to a luxury cruise liner: The much-touted popularity of Like Father surely compelled Netflix to seek out other vacation-ship-based entertainment, and with scamming currently on-trend, this was a no-brainer buy.
Niccol has been wise about future panic up until now, when he alternately ignores and simplifies the implications of a complete eradication of privacy. He assigns a pat killer-on-the-loose plot to an intriguing hook, casting Clive Owen as the hard-nosed detective hunting a murderer off the universal grid, and Amanda Seyfried goes digital femme fatale as a woman mysteriously exempt from the omnipresent readout.
Substitute teachers looking to keep eighth-graders busy for an hour would be better off with another Gattaca rewatch. Rowling and the Royal Family. Director Vicky Jewson does not, saddling Sam with emotional baggage that turns her own womanhood against her, and succumbing to her own paltry-budget limitations. But without sufficient funding and off-screen talent, she never stood a chance.
In Family I Trust Light enough to be blown away by a single sneeze, this Spanish-language romcom sends another hapless single lady home to regroup and rediscover her inner goddess, or something. Those not immediately put off by the preceding sentence may have a better time with absolute ding-dong Bea Clara Lago , who kicks the film off by setting her man up with a foxy newscaster she knows he has a crush on and then flipping her lid when they hook up.
Bea finds refuge in the embrace of a widower with a souped-up hot-pink hot rod, the two perfect for one another in their equal proportions of dullardry.