Eight Will Be Enough: Harry Potter and the Deathly Hallows: Part I

Seven films into the Harry Potter series – or is it six and a half? – it’s impossible to tell where the epic sprawl ends and the monotony begins. Maybe that’s because we’ve had our fair share of both from the very start. As if trying to justify the overwhelming commercial success of the novels, each cinematic adaptation of J.K. Rowling’s books has felt as overstuffed as one of Hagrid’s shirts. The shortest film in the series, 2007’s Harry Potter and the Order of the Phoenix, clocks in at a fairly lengthy 138 minutes, and now the latest film, Harry Potter and the Deathly Hallows: Part I, brings the total running time of the series to a Quidditch match shy of 18 hours. By the time Deathly Hallows: Part II comes out in July 2011, Harry Potter’s adolescent quest will have gone on as long as the first two seasons of Mad Men combined. But it won’t have taken us as far. Over course of the series, the characters have aged and the themes have matured and the sense of consequence has increased, and yet the journey has remained circular – one long episode after another in which Harry struggles with his responsibility, Hermione provides the answers, Ron wallows, Dumbledore drops clues (even from the grave) and Voldemort looms. I’d had my fill of it several films ago, and after Harry Potter and the Half-Blood Prince all I could do was throw up my hands. And yet as I watched David Yates’ latest film drift into its second hour, I couldn’t deny the series’ cumulative effect. Simply put, I care.

Not deeply, I admit. And not at all in relation to the narrative, which is as muddled, arbitrary and derivative as ever. But when it comes to the fate of Harry, Hermione and Ron, yeah, I’m emotionally invested. They aren’t terribly interesting characters, and they certainly aren’t multidimensional ones, but after being with them for 1,047 minutes, dammit, they’re family. I’ve watched them grow up. And while I consider it a weakness that the Harry Potter saga has never developed any series-spanning character subplots beyond the milking-it-for-all-its worth romantic tension between Hermione and Ron, the result of watching these three carry the same crosses for so long is that I’m desperate to see them liberated of their burdens – for their sake more than mine. Unless the series is to resemble something from the imagination of Lars von Trier, it’s time for the payoff. Overdue, actually. I have serious doubts whether the climax can possibly live up to our oversized expectations, given that long patches of forgettable foreplay have plagued the series thus far, but I root for it. After often being made to walk backward on the dramatic conveyer belt to avoid the series’ date with destiny while filling Rowling’s pockets, Harry, Hermione and Ron deserve that.

And so the ending begins with Deathly Hallows: Part I, which nicely sets the table for the big finish. I don’t pretend to remember the previous Harry Potter films well enough to say whether this is the best in the series, but I can say with certainty that it includes many of my favorite scenes. First there’s the episode’s chill-inducing opener, in which Voldemort (Ralph Fiennes simultaneously channeling Emperor Palpatine and Hannibal Lecter) holds court with his black-clad cohorts, instantly establishing a sense of fatal menace that’s punctuated by his serpentine companion slithering toward the camera and opening wide for an audience-engulfing chomp. (Who needs 3D?) Then there’s the scene in which Harry, Hermione and Ron infiltrate the Ministry of Magic by impersonating adult agents – the characters’ youthful anxiety revealing itself in the comically wide-eyed expressions and awkward gaits of adult stand-ins David O’Hara, Sophie Thompson and Steffan Rhodri, respectively. After that there’s the scene in which Harry and Hermione share an impromptu dance so sweet and playful that it reminds us how young these characters are and how innocent adolescence should be, thereby reinforcing the toll of their ordeal and the magnitude of their sacrifice – an important touch point. And finally there’s the absolutely awesome animated sequence directed by Ben Hibon that depicts the apparently-not-so-fairy-tale fable about the titular deathly hallows, featuring illustrations that are mysteriously indistinct, strikingly intricate and absolutely mystical all at once. These scenes aren’t just standouts within the Harry Potter series. They’re wonderful moments of cinema, period.

And yet the film isn’t without some typical disappointments, even though – thank the heavens – we’re spared an interminable Quidditch match. For starters, take note that of the four standout sequences I mentioned above, only one of them includes any of the three principal young stars – Daniel Radcliffe (Harry), Emma Watson (Hermione) and Rupert Grint (Ron). I realize that it’s all too easy to be upstaged by the likes of major British talents like Fiennes, Alan Rickman (Severus Snape) and Helena Bonham Carter (Bellatrix Lestrange), who never let a frame go by without mining their characters for maximum colorfulness, but considering that Radcliff, Watson and Grint are in nearly every scene in the film, this is significant. As much as I’ve come to care for these characters, my goodness they’re bland! Particularly Radcliffe’s Harry, who despite flashes of presence here and there consistently struggles to convey any emotion without the use of dialogue. Of course, that’s a problem for the series at large, too: so few things in the Harry Potter series are self-evident. Each film is an assault of explanations: “x is the problem”; “y is the possible solution”; “z is how I feel about it.” Rinse and repeat. That’s exactly why that impromptu dance is so striking, because for once no words are necessary. (Does that have something to do with the fact that the dancing scene isn't in the book?) Ditto the handful of scenes in which the heroic trio walk through apocalyptic ghost towns reminiscent of The Road. Yates and cinematographer Eduardo Serra give this installment plenty of worthy images, but it’s tough to appreciate them amidst all of the dialogue balloons.

And I suppose the Harry Potter series is tough for me to appreciate in general, because the narrative is as tedious as it is suffocating, and sometimes it’s just nonsensical. For example, I don’t understand why it’s considered some kind of heroic effort for Ron to swing a sword at a pendant creating a nightmarish apparition of Hermione and Harry in a naked embrace. (Isn't that the easy thing to do?) I don’t understand why all of the “good guys” constantly rendezvous at the Weasley homestead when I swear that Death Eaters attacked that place a few films ago. (Do I have that wrong? Did the Death Eaters forget the address?) I don’t understand why Dumbledore has to be such a friggin’ tease. (Is the fate of the world at stake, or not?) And I especially don’t understand why the death of the elfin Dobby – a cross between Smeagol and Yoda who until now has been an inconsequential annoyance – inspires a greater emotional outburst from Harry than the death of Dumbledore, or even “Mad-Eye” Moody (other than the fact that it happens at the end of Part I, so it's a good time to pump up the emotional volume). For a series that's constantly concerned with plot, its narrative is wildly inconsistent – perhaps because book readers are expected to fill in the gaps. Film to film, director to director, the Harry Potter series continues to operate as video photo albums for fans of the books who bring to the theater an understanding of context, not to mention a sense of nostalgia, that’s foreign to me. Based on the films alone, I can’t help but wonder why Rowling spent so much time creating so many supporting characters without further developing the main ones. Is it too much to hope that one of these days Harry, Hermione or Ron might do something that will surprise me? After all these years, I care about these kids. I do. I just don’t know why.

The Conversations: Darren Aronofsky (Part I)

For the third time this month (making up for a late summer lull), there's a new edition of The Conversations at The House Next Door. In this installment, Ed Howard and I discuss the first four films of Darren Aronofsky: Pi (1998), Requiem for a Dream (2000), The Fountain (2006) and The Wrestler (2008). This should get everyone ready for Black Swan, which comes out December 3. Ed and I will be swinging back with a Part II of this discussion in mid-December to provide our reaction to that film.

As I argue in Part I, Aronofsky is at an interesting point of his career, with enough similarity among his first four pictures to be able to note some of his signature techniques and themes, but also with enough diversity to make Black Swan an enticing mystery. (Note: I've avoided the film's trailers.) As I say in the piece, Aronofsky is interesting in that he's made polarizing films without, so far as I can tell, being seen as a polarizing filmmaker. Do people have strong opinions about Aronofsky? Perhaps we'll find out. It's been a while since the comments section on one of these pieces got lively, but maybe Aronofsky will cure that. So, if you have thoughts to share, please head on over to the House and jump in!

Click here for an archive of The Conversations.

It Rocks: 127 Hours

If you’re like me, when you first heard about Aron Ralston’s harrowing ordeal in a Utah canyon in 2003, it struck you as something out of a movie. Thus, there was little doubt that eventually Ralston’s experience would be retold on the big screen. And a few years later, here we are. 127 Hours chronicles the five days and change that Ralston spent with his arm pinned between a rock and, yeah, a hard place, only to escape by leaving his arm behind. But as inevitable as this movie seemed, particularly after Ralston recounted his experiences in a book, as soon as we see Ralston’s right hand and forearm become wedged between a boulder and a canyon wall, 127 Hours starts to feel like a tremendously bad idea. Because at that point we know what’s ahead of us: a lot of waiting, a lot of suffering and, eventually, a lot of sawing with Ralston’s cheap multipurpose tool. 127 Hours isn’t the first movie to lead audiences toward a well-known conclusion or to spend almost its entire running time observing a mostly stationary character, but it might be the first movie to be saddled with both of those dramatic and cinematic restrictions. And once we realize that, it becomes clear that director Danny Boyle is stuck between a rock and a hard place, too. So when I say that 127 Hours is an incredible achievement for a director working with one hand tied behind his back, that’s what I mean.

Boyle directs 127 Hours according to his signature sensibilities, which over the course of his career have proven to be alternately irritating and dazzling. Predictably for a Boyle film, in 127 Hours the cuts are frequent, camera angles are many and the soundtrack is lively. Surprising though, given the subject matter, the tone of the film is warm and optimistic. In a movie about a guy who drinks his own urine and cuts off his arm, healthy doses of pain and suffering are unavoidable, but in telling Ralston’s story Boyle uses those episodes of misery as the marinade that sweetens our big juicy bites of triumph later on. Yes, just like we know that Ralston will eventually amputate his own arm, we also know that he will escape. And so Boyle wisely embraces the narrative’s foregone conclusion and in doing so shifts our focus away from Ralston’s escape – and, more importantly, the means of that escape – in order that we might appreciate Ralston’s entire experience; hence the brilliantly blunt title. In almost any other movie, those 127 hours would refer to the amount of time the hero has until disaster arrives, but here they refer to the amount of time the hero spends in the midst of catastrophe. Instead of being a countdown, it’s a count-up. Boyle implies that before we ask ourselves whether we could lop off our own arm to save ourselves, we should ask whether we could survive the five days that led up to that point. 127 Hours isn’t about desperate measures in desperate times. It’s about perseverance.

It’s also about the importance of community. 127 Hours opens with a split-screen montage of shoulder-to-shoulder seas of humanity juxtaposed with shots of Ralston (James Franco) in his apartment hastily packing his camping and hiking equipment on a Friday evening in an effort to get on the road for a weekend in the wild. In each crowd shot – daily commuters on escalators, runners in the first mile of a marathon, spectators at a packed sports arena, etc. – we feel the claustrophobia of city life and understand Ralston’s eagerness to flee into the great outdoors. But while 127 Hours does its fair share of wilderness romanticizing – delighting in scenes of Ralston biking across rocky plateaus, plunging into sapphire blue waters or basking in the warmth of the morning sun – the film is critical of the way Ralston shuns society. The opening montage is scored to Free Blood’s “Never Hear Surf Music Again,” which through the refrain “Take it!” equates Ralston’s outdoor adventuring adrenaline rushes with drug highs. Over the course of the film it becomes clear that Ralston is a lot like a common addict, putting his own self-fulfillment before relationships with others, even before common sense. He has spent his life flirting with disaster, and justifying his own recklessness. So when Ralston finds himself at, well, rock bottom, and no one else is around to go for help, and no one knows where he is, 127 Hours suggests that Ralston has no one but himself to blame. His sin isn’t failing to pack a sharper knife. It’s believing that he doesn’t need anyone else.

Ralston doesn’t realize the error of his ways the moment the boulder lands on his arm; it’s something that occurs to him gradually over those five long days. Boyle’s triumph is his ability to suggest the excruciating strain of that monotonous experience without allowing the drama to feel sedentary. 127 Hours includes a few brief outside-the-canyon flashbacks, but mostly Boyle keeps his camera focused on his subject, jumping between variously angled close-ups. One view is provided by Ralston’s camcorder, through which the protagonist provides some helpful plot exposition (noting his time in the canyon and making it clear that no one knows where he is) and explicit updates on his frame of mind. I have no idea whether the camcorder is historically accurate or merely a dramatic construct, but since it keeps Ralston from developing a relationship with a piece of sporting goods equipment, ala Tom Hanks in Cast Away, I’m all for it. Plus, by using the camcorder to show Ralston’s self-aware personality, some of Boyle’s other camera angles seem to peek beyond Ralston’s defenses, thus increasing the film’s intimacy.

And that brings us to Franco’s performance, which is so low key that it would be easy to take for granted. A less nuanced actor would have felt the need to convey all those big, Oscar-baiting emotions that the boulder already sums up – pain, fear, shock, desperation. Instead, Franco evokes charm, courage, regret and determination. His performance is affecting but restrained. And, actually, that’s a good explanation for Boyle’s approach to the amputation scene, which I found surprisingly subdued. Don’t get me wrong: it’s difficult to watch (I get a bitter taste in my mouth just thinking about it), but it’s far from exploitive, and it’s clearly not the moment that attracted Boyle to this story. The film’s emotional highpoint isn’t Ralston freeing himself from the rock but the moment later on when he comes into contact with people, thereby reconnecting with the society that he’d been so eager to leave behind. When Ralston makes his dehydrated, life-affirming stagger back toward civilization to the tune of Sigur Ros’ “Festival” – a song now destined to score numerous highlight reels and maybe a Nike ad – it makes for one of the most moving moments in cinema this year, perfectly marrying a musical crescendo with an emotional one. And so it is that this movie about a guy who removes part of his body winds up making us feel whole.

2012 Lamborghini Jota

Lamborghini is going to introduce Lamborghini Jota in 2012 which is now under testing and performance analysis . Lambo hasn’t reviled any details of Jota officially . But it is almost clear that Jota will Replace the Murcielago . The Jota will be much more fuel efficient than the Murcielago. The new Lambo Jota is coming with all new V12 direct injection engine which will be able deliver a huge power more than Murcielago and less than 700 Bhp .



Apart from using Steel chassis like Murcielago Jota is coming with light weight body which is build in collaboration with Aircraft manufacture Boeing . First Lamborghini’s plan was to build the body with carbon fibers and due to the huge expense they dropped that idea. Also one important report is that Lamborghini Jota is coming with pedal shift manual transmission. Through this modifications Lamborghini is aiming reduced emission and improved efficiency up to a better level.



Lamborghini hasn’t announced the price details and date of introduction of Jota till now.

The Conversations: An Autumn Afternoon

And just like that, The Conversations is back! In this, the second of three editions of The Conversations this month, Ed Howard and I discuss Yasujiro Ozu's final film, 1962's An Autumn Afternoon, which of course inspires discussion of Ozu in general. After seeing eye to eye more often than not in our previous installment, on rock concert documentaries, this time around Ed and I found quite a bit to debate.

Is Ozu's photographic eye emotionally evocative, or just visually pleasing? Do his meticulous compositions serve the themes of his stories or stand apart from them? And what's the effect of Ozu's meticulousness on the acting? These are the kinds of things we grapple with in what is a relatively short edition of The Conversations. Our third installment this month will publish in less than two weeks, so head on over to The House Next Door and contribute to the discussion of An Autumn Afternoon.

Click here for an archive of The Conversations.

2011 Chrysler 200 is based on the third-gen Sebring

Chrysler has unveiled its new mid-sized challenger to rival the Camry, Accord and Chevy Malibu. Named 200, this younger brother to the 300 kills off the Sebring nameplate and will go on sale as a 2011 model. Fiat now owns Chrysler, but the Sterling Heights, Michigan built 200 isn’t a reskinned Italian car.



Described as a car that appeals to "customers that want style and substance, all at a surprising value", the 200 is based on the third-gen Sebring, which made its debut in 2007, but with heavily revised styling that makes it appear much more handsome than before.



New bits include front and rear fascias and fenders, grille featuring the new Chrysler winged badge, hood, rear decklid and exterior mirrors, new projector headlamps and fog lamps, new LED taillamps and a LED centre high-mounted stop light. The rear end clearly apes the Jaguar XF.



The 200 will be powered by the 2.4-litre four-pot "World Engine" mated to either a four-speed or six-speed automatic gearbox. The V6 option is filled by the company’s 3.6-litre Pentastar engine mated to a six-speed auto.



Chrysler says that ride and handling has been improved thanks to stiffened body mounts and a softer ride rate, improved suspension geometry with a raised roll centre and a new rear sway bar. NVH has been "extensively upgraded" from the old car as well.

2011 Infiniti EX

2011 Infiniti EX Features New 7-Speed Automatic, 18-inch Alloy Wheels and Other Refinements



– Blind Spot Warning System, 19-inch Wheels Also Available for New Model Year –



Infiniti today announced the release of the revised 2011 EX crossover SUV, which is on sale now at Infiniti retailers nationwide. Major revisions for 2011 include:



* New 7-speed automatic transmission (previously 5-speed) for improved fuel economy (AWD) and performance

* Standard 18-inch wheels and tires (previously 17-inch)

* New white color scheme for gauges and LCD instrument display

* Standard Dual Zone Automatic Temperature Control (previously on Journey models only)

* Three new exterior colors: Arctic Blue, Midnight Garnet and Graphite Shadow

* Moonlight White exterior color now available with Chestnut interior

* Revised Premium Package combines previous Bose® and Around View® Monitor Packages

* Previous Premium Package becomes the Deluxe Touring Package

* 19-inch wheels and tires added as part of the Deluxe Touring Package

* Advanced Blind Spot Warning (BSW) system added to the Technology Package



The 2011 Infiniti EX continues to offer a sculpted exterior design matched with an engaging interior environment with standard leather-appointed seating. All models come equipped with an advanced 297-horsepower 3.5-liter V6 engine and the new 7-speed automatic transmission. Also available is Infiniti’s Intelligent All-Wheel Drive.



The EX’s long list of available features and technology includes RearView Monitor, premium audio system, power-up folding 2nd row seat, Lane Departure Prevention system (LDP), Intelligent Cruise Control (Full-Speed Range), Distance Control Assist (DCA) and Intelligent Brake Assist (IBA) with Forward Collision Warning (FCW).



2011 Infiniti EX Pricing

The 2011 EX is available in four models: EX35 RWD, EX35 AWD, EX35 RWD Journey and EX35 AWD Journey. The Manufacturer’s Suggested Retail Prices (MSRP)* are:



Model Engine/Transmission MSRP

EX35 RWD 3.5-liter V6 / 7-speed automatic $34,150 USD

EX35 Journey RWD 3.5-liter V6 / 7-speed automatic $36,350 USD

EX35 AWD 3.5-liter V6 / 7-speed automatic $35,550 USD

EX35 Journey AWD 3.5-liter V6 / 7-speed automatic $37,750 USD



About Infiniti

Infiniti offers a full line of luxury performance automobiles that inspire at every turn, including the G Coupe, Sedan and Convertible, M sedan, EX and FX crossovers, and the QX full-size SUV.

2011 Audi A4 2.0 TDI

Audi boosts efficiency again: A4 consumes just 4.4 liters per 100 km (53.46 US mpg)



* Sedan emits 115 grams of CO2 per kilometer (185.07 grams per mile)

* Powerful two-liter TDI with 100 kW (136 hp) and 320 Nm (236.02 lb-ft) of torque

* Potent technologies from the modular efficiency platform





Audi is further improving the efficiency of its models. Starting immediately, two new versions of the best-selling A4 that consume less fuel than ever are available in Germany. The sedan consumes just 4.4 liters of diesel per 100 km (53.46 US mpg) on average, with CO2 emissions of 115 grams per km (185.07 g/mile). These same figures for the A4 Avant are 4.6 liters (51.13 US mpg) and 120 grams (193.12). CO2 emissions have been reduced by four and nine grams, respectively, compared with the previous models.



Efficiency at Audi does not come at the expense of sportiness. The new models have powerful engines. Their two-liter TDI generates 100 kW (136 hp) and 320 Nm (236.02 lb-ft) of torque, the latter of which is available between 1,750 and 2,500 rpm. The sedan accelerates from zero to 100 km/h (62.14 mph) in 9.5 seconds on its way to a top speed of 215 km/h (133.59 mph); the Avant completes the standard sprint in 9.8 seconds and reaches 208 km/h (129.25 mph).



The two new A4 models use the technologies from Audi’s modular efficiency platform. All the gear ratios of their six-speed manual transmissions were lengthened slightly, and the forged 16-inch alloy wheels are shod with 206/60 tires that have been optimized with respect to rolling resistance. Aerodynamic tweaks to the body and a lower ride height improves the drag coefficient, while the on-board computer with efficiency program gives the driver tips about when to shift and on fuel-efficient driving.



Audi offers the two new efficiency top models in the A4 series in the Attraction trim line. The Audi A4 2.0 TDI (100 kW 115 g CO2/km) has a base price of €31,600; prices for the A4 Avant 2.0 TDI (100 kW 120 g CO2/km) start at €33,250.

Mercedes-Benz F800 Style Concept (2010)

2010 Mercedes-Benz F800 Style Concept is showing the future of premium automobiles from a new perspective, as the five-seat premium sedan combines highly efficient drive technologies with unparalleled safety and convenience features and an emotive design idiom, which interprets current Mercedes-Benz styling in line with the brand's hallmark attribute of refined performance.



The F800 Style has a spacious interior full of intelligent seating, operating, and display concepts. Another unique feature of the large sedan is an all-new multi drive platform, which accommodates electric drives with fuel cells (enabling ranges of almost 375 miles) as well as the use of Plug-in Hybrids that can drive for up to 18 miles solely on electricity. Both variants of the Mercedes-Benz F800 Style Concept therefore make locally emission-free mobility possible at the level of a premium-class automobile, while at the same time being fully suited for everyday driving and providing a dynamic driving experience.



A glance into the future of pioneering premium sedans



Within the 15.5-foot external length of the Mercedes F800 Style Concept, all of the components of the vehicle's efficient and environmentally compatible alternative drives (Plug-in Hybrid or fuel cell drive system) are installed in a space-saving manner in the engine compartment and the gaps within the chassis. Each of the drive systems takes up comparatively little space for the installation. This applies in particular to the electric drive with fuel cell, which has been enhanced by Mercedes-Benz to be compact and powerful. The front end's compact package was made possible through the consistent downsizing of all F-CELL components. As a result, the entire interior space is preserved and offers plenty of room for five occupants.



"For many decades now, our research vehicles have been turning pioneering concepts into reality and thereby setting future trends. We set a course on the large touring sedan segment in 2007, when we presented the F700," says Prof. Herbert Kohler, Head of E-Drive & Future Mobility and Chief Environmental Officer at Daimler. "Characteristic features of the Mercedes-Benz F800 Style Concept are its innovations, whose development is already close to the series production stage. This is true not only of the electric drive with fuel cells but also of the Plug-in Hybrid, whose components were taken from our modular system for electric and hybrid vehicles."





Mercedes-Benz F800 Style Concept with Plug-in Hybrid: Outstanding performance despite emissions of only 68 grams CO2 per kilometer



In combination with the very powerful Plug-in Hybrid drive system, the Mercedes F800 Style Concept is a very dynamic expression of the concept of "fascination and responsibility." Its drive unit consists of a V6 gasoline engine with an output of 300 hp with next-generation direct injection and a hybrid module with an output 109 hp so that it delivers a total power of around 409 hp. The lithium-ion battery with a storage capacity of >10 kWh can be recharged either at a charging station or a household power socket. Thanks to its powerful and high-torque hybrid module, in the city the Mercedes-Benz F800 Style Concept can run exclusively on electricity, therefore without generating any local emissions. Because it also has high torque right from the moment it starts, the vehicle has the same driving performance as a car with a V6 gasoline engine even when operating in electric mode. The Mercedes-Benz F800 Style Concept with the Plug-in Hybrid can run purely on electricity for up to 18 miles. The F800 Style research vehicle therefore marks a further important step in the creation of a market-ready Plug-in Hybrid. Mercedes-Benz will begin series production of the S500 Plug-in Hybrid with the introduction of the next-generation S-Class.



Due to its efficient drive system and a CO2 bonus for the battery-electric driving mode, the vehicle has a certified fuel consumption of only 2.9 liters of gasoline per 100 kilometers. This corresponds to extremely low CO2 emissions of only 68 grams per kilometer. However, thanks to its outstanding efficiency, the Mercedes-Benz F800 Style Concept equipped with a Plug-in Hybrid nevertheless has a driving performance comparable to a sports car (0-60 mph 4.7 s, top speed of 155 mph). When in electric mode, the Mercedes-Benz F800 Style Concept has a top speed of 75 mph, thus meeting the needs associated with long-distance driving.



Like the Mercedes-Benz S400 HYBRID introduced in the summer of 2009 and the Vision S500 Plug-in Hybrid, the powerful electric module (approx. 80 kW) of the Mercedes F800 Style Concept is completely integrated into the housing of the seven-speed transmission. The lithium-ion battery in the new research vehicle is located underneath the rear seat, where it takes up little space, creates a low center of gravity, and ensures maximum safety in the event of a crash.



The electric drive components in the Mercedes-Benz F800 Style Concept with the Plug-in Hybrid once again demonstrate the versatility of Mercedes-Benz' extensively scalable modular hybrid system. The hybrid system can be expanded in various ways, depending on performance needs and the area of application. On this basis, it is possible to combine hybrid modules and batteries of different performance ratings with fuel-efficient, high-torque gasoline and diesel engines. Examples range from the current mild hybrids all the way to Plug-in Hybrids that enable pure electric driving over long distances. In developing the Mercedes-Benz F800 Style Concept with Plug-in Hybrid, the Mercedes engineers specifically focused on improving the pure electric driving in urban traffic. Thanks to high power reserves, the F800 Style in e-mode easily masters all kinds of city traffic while producing no local emissions. With the new hybrid module, the top speed of the Mercedes F800 Style Concept with Plug-in Hybrid has been increased to 75 mph in electric mode compared to the Vision S500 Plug-in Hybrid. At the same time, it emits only 68 grams of CO2 per kilometer, compared to the latter vehicle's 74 grams per kilometer.



Flexible, secure, and fully suited to everyday use: The Mercedes-Benz F800 Style Concept with electric drive and fuel cell technology



The F800 Style also offers clean driving pleasure in the variant equipped with an electric drive based on fuel cell technology. The vehicle's electric motor develops around 136 hp as well as a strong torque of approximately 214 lb-ft. The fuel cell generates the traction current by chemically reacting hydrogen with oxygen onboard the vehicle, producing water vapor in the process as the only emission.



The components of the fuel cell drive are taken from the range of available e-drive modules, which Mercedes-Benz developed for a variety of different electric vehicles. These components, which are already installed in the limited edition B-Class F-CELL, can be used flexibly and are suited for a variety of different drive configurations. The Mercedes-Benz F800 Style Concept is an example of this, as it uses rear-wheel drive, in contrast to the B-Class F-CELL. The same components are also installed in commercial vehicles, with developments here being spearheaded by the new Citaro fuel cell bus, which is equipped with two of the F-CELL systems used in passenger cars.



The new Mercedes-Benz research vehicle has the fuel cell located in the front, while the compact electric motor is installed near the rear axle. The lithium-ion battery is located behind the rear seats and is protected as well as possible against the effects of accidents, as are the four hydrogen tanks. Two of the tanks are located in the transmission tunnel between the passengers, while the other two are underneath the rear seat.



Mercedes F800 Style Concept with further innovations for more comfort and safety



In addition to a multi-drive platform that is unparalleled for large sedans and the combination of different alternative drive technologies, the Mercedes-Benz F800 Style Concept features many other technological innovations, such as a new multi-function display concept and a human-machine interface (HMI) with a cam touchpad. The display shows many additional functions not typically found in conventional instrument clusters. The Mercedes-Benz F800 Style's display concept focuses for the first time primarily on electric driving functions.



HMI with cam (camera) touchpad for intuitive and precise operation



The new cam touchpad HMI is an intelligent expansion of the COMAND system. For many years now, Mercedes-Benz has been forging ahead with the development of innovative operating and display systems. A particularly user-friendly innovation is being presented in the Mercedes-Benz F800 Style Concept. The HMI unit here consists of a touchpad on the center console and a camera that records video images of the user's hand as it works the pad. The live image of the hand is presented in transparent form in the central display above the console. The user sees the contours of his or her fingers glide across the image without covering anything, thus ensuring that all of the functions of the currently used menu remain visible so that they can be easily operated by applying slight pressure to the touchpad. Pressing the display with one's fingers generates a feeling similar to that of touching laptop keys so that users know when they are carrying out specific actions.



The cam touchpad HMI unit recognizes finger movements on the pad surface such as wiping, pushing, turning, and zooming, thus enabling intuitive regulation of the climate control system, telephone, stereo and navigation systems, and Internet access. The unit enhances active safety as well, because it is extremely easy and convenient to use and therefore does not distract the driver as much from the actual task of driving. And unlike conventional touchscreens, the HMI cam touchpad does not get smudged with fingerprints.



Conventional touchpad units generally depict hand or finger positions only by a small point in the display. Their lack of precision makes it very risky to enter information while driving, because doing so diverts the motorist's attention too much from the road. By contrast, the HMI with cam touchpad can be easily and safely operated even while driving. Test subjects have confirmed that the HMI with cam touchpad is extremely easy and safe to use, particularly as a result of the transparent depiction of the hand.



Range on Map: Graphic range depiction during electric operation



Another very user-friendly innovation created by the Mercedes engineers is the "Range on Map" function, which shows the remaining possible travel radius during electric vehicle operation as a 360° depiction on a map. Should municipalities only permit purely electric automobile traffic in the future, the driver can determine whether the electric range of his or her vehicle is sufficient for the journey into and out of the urban area by means of the Range on Map function. The system provides this function by combining information on the current battery charge level with data from the navigation system.



In the new operating and display concept, Mercedes-Benz has created a solution that provides an unparalleled amount of information in a system of exemplary clarity. The engineers have thus achieved the goal of successfully developing a comprehensive yet easy-to-operate information and control system for future automobiles equipped with electric or partially electric drive systems. A further-developed version of the system can also display recharging stations.



Mirror display is easy on the eyes



The mirror display of the innovative cam touchpad HMI eliminates the differences between close proximity visibility and visibility over longer distances, thus contributing to the driver's physiological safety in a manner typical of Mercedes. The system displays driving and vehicle information via a mirror in the instrument cluster so that they appear to be farther away. The distance the eye looks into is thus extended, which means less switching between near and far focus — and therefore less fatigue — for the eyes.



New DISTRONIC PLUS Traffic Jam Assistant further reduces the stress of driving



Back in 2006, Mercedes-Benz introduced DISTRONIC PLUS, the world's first proximity and speed control system that operates even when the car is standing still. The system substantially reduces the stress for drivers in dense traffic, as it regulates the distance from the vehicle in front even at very low speeds all the way down to a standstill. With its new DISTRONIC PLUS Traffic Jam Assistant feature in the F800 Style, Mercedes-Benz has also become the world's first automaker to implement a system that is also capable of automatically following the vehicle in front of it into curves. The system recognizes the difference between driving along curving roads and turning, which means it does not "blindly" follow the vehicle up in front — for example, when it changes lanes in order to exit the highway.



The result is that at speeds of up to about 25 mph, the Traffic Jam Assistant function takes care of both longitudinal and transverse movements so that drivers do not have to steer themselves. The driver can just sit back and relax — with hands on the steering wheel. When the 25 mph mark is exceeded, the steering torque that keeps the vehicle in its lane is gradually reduced to a point at which the Traffic Jam Assistant smoothly disengages. Drivers can, of course, override the system at any time. Sensitive sensors notice active steering movements, thus automatically deactivating the system's lateral control function.



"The DISTRONIC PLUS Traffic Jam Assistant is the logical continuation of the Mercedes-Benz assistance and safety philosophy. With it, we are setting another milestone on the path toward creating innovative systems, with which we will further enhance the high driving comfort that is a hallmark of Mercedes," says Prof. Bharat Balasubramanian, Head of Product Innovations & Process Technologies at Group Research and Advanced Engineering. The required data is generated by radar distance sensors that are supplemented by a stereo camera.



PRE-SAFE 360° improves safety in rear-end collisions



While the Traffic Jam Assistant heightens comfort and active safety, the innovative protective system known as PRE-SAFE 360° further improves passive safety. PRE-SAFE 360° is based on the proactive occupant protection system PRE SAFE® developed by Mercedes-Benz. Unlike the previous system, PRE-SAFE 360° also monitors the area behind the vehicle. As a result, the system engages the brakes around 600 milliseconds before an anticipated rear-end collision occurs. The key advantage of this system is that braking a stationary vehicle helps prevent secondary accidents such as those that occur when the car is pushed uncontrolled into an intersection or a pedestrian crossing. It goes without saying that PRE-SAFE 360° also allows the driver to take control at any time. For example, the brake is immediately released if the driver hits the gas pedal, should they recognize that there is sufficient space in front of their vehicle to avoid the rear impact.



Rear pivot-and-slide doors ensure maximum entry comfort



A particularly customer-friendly innovation of the Mercedes-Benz F800 Style Concept is its rear doors. Whereas the front doors are attached to the A-pillar in a conventional manner and open wide toward the front, the rear doors slide backward when opened, as they are suspended from an interior swivel arm. Because the doors slide back close to the vehicle body, occupants find it much easier to get into and out of the automobile in tight parking spaces.



The Mercedes F800 Style Concept also has no B-pillar, making the entire space between the A and C-pillars completely accessible when the doors are opened. Despite the lack of a B-pillar, the Mercedes-Benz F800 Style Concept boasts a bodyshell that is both extremely robust and lightweight, and that meets the stringent demands for crash safety that are a hallmark of the Mercedes brand.



Reinterpretation of the typical Mercedes-Benz design idiom



The Mercedes-Benz F800 Style Concept is both a technology platform and a showcar. This research vehicle was created through close cooperation between technical research and advanced engineering departments and the advanced design studios in Sindelfingen, Germany and Como, Italy. Its exterior appearance is marked by a long wheelbase, short body overhangs, and a sensually flowing roof line.



"The exciting coupe-like roof line, and in general the vehicle's balanced proportions, lend it a stylish sporty look that reinterprets the Mercedes-Benz design idiom and emphasizes the sculptural character of the Mercedes-Benz F800 Style Concept," says Mercedes-Benz Head of Design Prof. Gorden Wagener. "The result is a harmonious blend of innovative form and function, which conveys a sense of great styling and authority."



Front end with distinctive LED headlights



The vehicle's front end features a variation of the radiator grille with the centrally placed star that is typical of Mercedes sports cars. The curved radiator grille bars softly flow around the tube holding the Mercedes-Benz brand star. Along with the wide radiator grille and the generously curved air intake openings, the model's unique bright LED headlights emphasize the dynamic nature of the research vehicle. The headlights are divided into individual segments for daytime running lights, turn signal indicators, and primary headlights. The Mercedes-Benz F800 Style Concept's taillights are also equipped with state-of-the-art LED units that enable an exciting interplay of indirect illumination and direct beams. The result is an attractive, unmistakable, and memorable visual effect.



Wood and light create a cozy interior



Luxurious wood surfaces and lots of light ensure a high level of comfort in the interior of the Mercedes F800 Style Concept. Occupants will immediately notice the modern sense of lightness, and functional elements like the driver area and the door armrests seem to float in space like sculptures. The innovative lightweight-construction seats in the Mercedes-Benz F800 Style Concept consist of a magnesium shell and a carbon fiber laminate shell backed with a fine yet resistant netting. The seat shell also features genuine wood veneer. For the veneer process, Mercedes-Benz engineers used a 3D surface coating procedure designed especially for the veneering of three-dimensional surfaces. This same procedure was used to create the wood finish in the center console, on the doors, and in the driver area. These wood finishing pieces are molded as 3D laminated components and are augmented by an aluminum core, which ensures that the components meet the high crash safety standards that are a hallmark of Mercedes.



Successful transfer from research to series production



Mercedes-Benz has presented 13 research vehicles since the early 1980s. The range of innovative and pioneering automobiles that was unveiled — beginning with Auto 2000 in 1981 and leading up to today's F800 Style — offers proof of the consistency and foresight with which Mercedes-Benz engineers address the core issues of research and technology in order to develop innovative solutions for the future. Many systems that were first used in research vehicles and viewed as revolutionary at the time are now found in Mercedes-Benz production cars, including the DISTRONIC proximity-controlled cruise control, which was first installed in the F 100 in 1991 and made its series production debut in the S-Class in 1998.



The Mercedes-Benz F800 Style Concept is continuing this approach. Like its predecessors, the model features important drive, comfort, and safety system innovations, as well as an avant-garde design, all of which point the way forward for future series- production Mercedes-Benz vehicles that will continue to impressively combine fascination and responsibility.

Toyota FJ Cruiser for Australia

Toyota Australia today confirmed it will add the rugged retro looks and solid off-road performance of the FJ Cruiser to its range early next year.



A pre-production version of the sporty off-roader will make its local debut at the Australian International Motor Show in October.



Local sales are expected to kick-off late in the first quarter of 2011.



FJ Cruiser will give Toyota a second brand-enhancing vehicle inside 12 months, following the launch of the eye-catching Rukus from June 1.

With looks like no other SUV, FJ Cruiser comes to Australia with a pedigree that stretches back 50 years to the legendary FJ40 LandCruiser.



The modern vehicle captures this heritage with its body-on-frame structure, short wheelbase, stocky appearance and the arrangement of its headlights and grille.



FJ Cruiser will be the only Toyota vehicle to use the name Toyota spelled out across the grille, instead of the corporate emblem.



The vehicle's retro-inspired styling is enhanced by the boxy shape, near-vertical windscreen with three wipers, white roof and wrap-around rear windows.



Four doors provide access to two rows of seats. The front doors are standard size while the rear doors are smaller and are reverse-opening.



The FJ - equipped with a powerful engine, dual-range 4WD, excellent ground clearance and ample suspension articulation - will deliver the off-road prowess implied by its "Cruiser" badge.



Toyota Australia's senior executive director

sales and marketing David Buttner said FJ Cruiser was all about style and substance.



"FJ Cruiser has loads of character that isn't found in any other SUV, let alone one that is built for off-road terrain," Mr Buttner said.



"It will be a lot of fun to own and drive, satisfying those who want a modern vehicle with the boulder-crawling spirit of Toyota's legendary off-roaders," he said.



In the United States, the FJ Cruiser has recently been awarded for its quality and its value.



In the J.D. Power and Associates 2010 Initial Quality Study, it was rated at the top of the Compact Crossover/SUV segment.



FJ Cruiser was also named best-in-class for mid-size SUVs in the 2010 IntelliChoice.com Best Overall Values of the Year Awards.



Australian models will be produced in Japan.



The Australian International Motor Show will be held in Sydney from October 15.

Jaguar XF Black Pack

Jaguar’s highly successful XF sports saloon is now available with a dramatic new appearance pack for customers who want their Jaguar to make an even stronger visual impact.



The exclusive new Black Pack brings an added sense of power and purpose to the sought-after XF range, and follows closely in the wheel tracks of a similar option on the XK sports car which has aroused huge interest since its launch earlier in 2010.



Featuring menacing dark-grey 20-inch Draco alloy wheels with diamond turned rims, a gloss black grille

and gloss black window surrounds, the XF Black Pack is available on XF Diesel S, the 5-litre naturally aspirated petrol and XFR models, with prices starting at £950.



“The Black Pack gives the XF a highly distinctive, very modern and a slightly edgy appearance," said Geoff Cousins, Managing Director, Jaguar UK. "Since the Black Pack and Speed Pack were launched on the XKR sports car at the Geneva Motor Show, almost half of XKR coupe buyers have selected one or both options – double our original estimate – and we expect the Black Pack will generate just as much excitement amongst XF customers.”



To provide added exclusivity and to maximise the visual impact, XF Black Pack vehicles can only be specified with a special colour palette chosen by Jaguar designers, including Polaris White, Spectrum Blue, Ultimate Black, Stratus Grey, Lunar Grey and Liquid Silver, plus Kyanite Blue and Salsa Red which are colours unique to the XFR.



For an even more dramatic effect, the Black Pack can be combined with the XF Aerodynamic Pack which was launched on XF Diesel S earlier in 2010. This pack includes a re-profiled front bumper, striking black mesh inserts for the grille and lower air intakes and the muscular side sills from the XFR.



Extending the XF Success Story



The expanding choice of exciting personalisation options is generating even more interest in the XF range, which has now sold more than 100,000 units worldwide since its launch in 2008, as well as receiving more than 60 international awards.



“The XF continues to attract new customers to the Jaguar brand, and with these distinctive new personalisation packs extending the appeal of the range, we are confident that the success story will continue,” added Geoff Cousins.

Misdirection: Fair Game

Midway through Fair Game’s Daily Show-esque montage of news-show talking heads disparaging Valerie Plame’s status and performance as an agent for the CIA, the woman sitting behind me gasped in exasperation. Of course she did. By that point of Doug Liman’s film about the 2003 scandal in which the Bush administration intentionally exposed Plame’s identity in order to divert attention from the shaky evidence it used to build a case for war in Iraq, we’ve already watched Plame walking with purpose through CIA headquarters and giving orders to underlings; acting as the voice of reason in tense interrogations; taking on tough and dangerous assignments; working long hours in service of her country while her loving husband and adorable children miss her at home; and, upon having her cover blown, caring less about her torpedoed career than about the safety of several Iraqis who risked their lives to cooperate with the CIA. To question this woman’s service by suggesting she was little more than a secretary, and a poorly performing one at that, is outrageous. But there’s just one problem: The woman being disparaged in those archival news clips and the person being heroically portrayed by Naomi Watts in this dramatization are not one and the same. And whenever Fair Game forgets that, it misses the point it otherwise makes so clearly.

See, the unlawful exposure of Valerie Plame’s CIA career is a story of villainy, not victimization – unless you’re thinking about the American soldiers who lost their lives to a real threat (America’s multifaceted opposition in the Middle East) while responding to an imagined one (Saddam Hussein’s Weapons of Mass Destruction). The makers of Fair Game know this. Oh, how they know this. In the film’s flag-waving finale, Plame’s outspoken husband, Joe Wilson (Sean Penn), looks around at a classroom of college students and points out how disgraceful it is that none of them can recall the 13 words from President George W. Bush that sent America to war but that all of them know the name of his wife. Through this little example, Wilson underlines how the Bush administration successfully manufactured a diversion from the faulty logic and/or downright duplicity by which the Iraq War was made to seem unavoidable. Yet Fair Game proves unable to respect its own wisdom. It’s not enough, apparently, to depict Bush’s top strategist, Karl Rove, orchestrating a systematic effort to discredit and intimidate anyone who would speak out against the administration’s war plans. Fair Game must also demonstrate that the Bush administration attacked one of its best and brightest. And in making Plame an outright hero, rather than allowing her to be a canary in the coal mine of dirty politics, the film ignores what it otherwise seeks to prove: that in the big picture Plame’s CIA career is incidental.

So while some viewers might object to the inherent bias of a film that is based on books by Plame and Wilson, and others might seethe at the aforementioned hypocrisy of criticizing the misdirection of the Bust administration while offering up a different tangent from “what matters” by devoting so much time to Plame’s personal saga, what I find particularly irritating about Fair Game is the way it turns Plame into an archetypal movie heroine. She’s so smart, so poised, so professional, so essential, so determined, so selfless, so strong and so fucking principled. There she is working at the CIA late at night when everyone else has gone home (and we know they’ve gone home because all the lights are out except hers). There she is pulling a Jason Bourne-esque escape from her security escort just so she can locate her superior and urge him to take immediate action to get her informants to safety. There she is telling the story about how during her CIA training she was the one operative who couldn’t be broken. And there she is not flinching as a massive explosion fills the screen behind her … OK, so the last one isn’t true. But it wouldn’t have been entirely out of character. And, sure, for all I know this depiction of Plame is spot on, even though the specific events are obviously fictionalized. (If the CIA didn’t even want to release the year Plame joined the agency, I think we can be pretty safe in assuming that the CIA didn’t declassify any of her missions in support of the film.) The problem isn’t if this is accurate, though. The problem is that it feels contrived, as if Plame is being poured into a standard heroine mold, probably because Hollywood doesn’t know how to do it any other way, or maybe because given the current unemployment crisis the screenwriters felt it important to establish that the CIA didn’t lose just any agent, it lost its prized recruit.

What’s frustrating is that all of this distracts from the point that Fair Game sometimes makes quite well: that the exposure of Plame, and the suggestion that she sent Wilson to Niger as some kind of nepotistic perk, was nothing more than a smokescreen obscuring the truly important issues. The best scene in the film features Plame and Wilson arguing in their kitchen, with Wilson interrupting his wife, slapping his hand on the counter and screaming, “Valerie! Valerie! If I yell louder, does that make me right?!” It’s hard to imagine a better summation of the design and cost of the messaging tactics of the Bush administration, which repeatedly proved that reason and evidence are inadequate in the face of loud, unrelenting insistence. Likewise, the scene in which a sinister Scooter Libby (played by an enjoyably cartoonish David Andrews) coerces a CIA agent into admitting that he might be wrong about his conclusion that Hussein isn’t creating nuclear weapons depicts what so many people to the left of the far right have long held to be true: the Bush administration didn’t decide to go to war because of evidence of WMDs, it looked for evidence of WMDs because it had already decided to go to war. It’s this context that makes Plame relevant, not the other way around.

And that brings us back to that archival news footage of talking heads blasting Plame: Liman errs by including it for three reasons. First, he falsely suggests that the people in those clips are talking about a glorified, fictionalized character who wouldn’t be created for another several years, which is an unfair bait and switch. Second, he thus gives the impression that the wrongness of the smear campaign is related to the quality of Plame’s job performance and position, which would mean that if Plame had been nothing more than a lousy secretary that the Bush administration’s tactics wouldn’t have been so egregious, which is false. Third and most important, giving us this bitter taste of these real events makes the melodrama over Plame’s marital struggles with Wilson seem trivial, which of course it is. By the end of Fair Game, it’s obvious that Valerie Plame’s CIA career shouldn't have become a subplot in American history. Then again, it’s also obvious that it shouldn’t have been the main plot of a movie either.

2010 Camaro Synergy Special Edition

The 2010 Camaro Synergy Special Edition is based on a Camaro 1LT, with a 3.6L direct injection V-6, paired with either a six-speed manual or automatic transmission. The powertrain has become a benchmark for the segment by offering a combination of performance and efficiency: The V-6 delivers 304 horsepower and 273 lb.-ft. of torque, and returns up to 29 mpg on the highway.



The Synergy Green exterior color was first previewed at the 2009 Specialty Equipment Manufacturers (SEMA) show. In production form, the Synergy Green is accented by Cyber Grey Rally Stripes running the length of the Camaro hood and rear deck. Other exterior features include a standard rear spoiler, and standard 19 inch, Sterling Silver painted wheels wrapped with P245/50R19 tires.



The color scheme is mirrored on the interior, with Synergy Green instrument panel and door inserts. Synergy Green stitching also accents the Jet Black cloth seats, steering wheel, shift knob and center console.



"Just as those colors helped make the first generation Camaro an icon, modern colors like Inferno Orange, Rallye Yellow Transformers Edition and Synergy Green will define the 2010 Camaro," Settlemire said.



The Special Edition also includes the Camaro Convenience and Connectivity Package, with Bluetooth phone connectivity, USB port for MP3 players, and remote vehicle start for models equipped with an automatic transmission.



"The Synergy Special Edition package is designed for customers who want a unique performance car at an attainable price," says Camaro marketing manager John Fitzpatrick. "For under $27,000, Camaro Synergy Special Edition offers standout styling, modern technologies like Bluetooth, and 304 horsepower under the hood."

2011 Subaru WRX STI

WRX



The 2011 Subaru WRX is back with styling that writes a check the 2.5-liter 265-horsepower SUBARU BOXER engine can cash with change to spare. Enhancements include flared fenders to accommodate wider wheels and high performance tires.



A wider front and rear track. Stiffer subframe bushings. And a quad outlet exhaust. Put them all together with the unrivaled handling of Symmetrical All-Wheel Drive and you have everything you need to do anything you want.



STI



It's back. Behold the new WRX STI, available once again in a four-door sedan with its iconic rear wing that’s been designed to produce less drag.



Also new are standard 18-inch aluminum wheels that are 17 lbs. lighter than before, or silver BBS®* forged alloy wheels for drivers who like to stand out from the crowd. The suspension got a makeover as well with thicker front and rear stabilizers and stiffer springs.



Combine it all with the 305-horsepower SUBARU BOXER® power plant and you can feel the Gs just by looking at it.

Unbreakable: The Best That Never Was

In trying to recount the skill of running back Marcus Dupree, no one minces words. One of his high school teammates says Dupree was “awesome” and could score whenever he wanted, “literally.” A Mississippi newspaper reporter says that watching Dupree running through and around his prep peers was like watching NFL great Jim Brown taking on teenagers. Oklahoma University legend Barry Switzer says that Dupree was the “most gifted player” he ever coached, “bar none.” And Lucious Selmon, who recruited Dupree to Oklahoma, says Dupree was the best athlete he ever saw and had the talent to be the best running back of all time. But of all the effusive assessments we encounter in Jonathan Hock’s documentary The Best That Never Was, the latest edition in ESPN Films’ “30 for 30” series, perhaps the most accurate one is provided by one of Dupree’s childhood friends, who matter-of-factly says, “We suspected he could do anything he wanted to do.” Wrapped up in that seemingly simple statement is the measure of Dupree’s enormous abilities and, ironically, the making of his downfall.

Marcus Dupree’s mixed blessing was that everyone who watched him play came away convinced that he was without limits. That’s why Dupree had his pick of any college in the country when he graduated from his high school in Philadelphia, Mississippi, and it’s also why Dupree’s college football career almost immediately became defined by all he didn’t do and everything he didn’t have. When Dupree set a still-standing Fiesta Bowl record by rushing for 239 yards (on just 17 carries!) in Oklahoma’s losing effort to Arizona State, Switzer didn’t praise his freshman running back, he threw him under the bus, reasoning that if Dupree had been in better shape he could have doubled his carries and doubled his yards and, in doing so, led the Sooners to victory. Dupree had been record-setting great and somehow not great enough. Not for Switzer, anyway, who was so determined to avoid giving Dupree anything he hadn’t earned that he went out of his way not to recognize the dominance that came to Depree so naturally. So it was that Dupree began wondering why the program that was so desperate to sign him in the first place withheld not just praise but also the (illegal) perks that other Sooners players were rumored to be enjoying. Influenced by family and friends who assumed that the football player who could do whatever he wanted on the field should get anything he wanted off of it, Dupree, too, started to judge his college experience according to oversized expectations. And so it came to be that instead of winning a Heisman trophy or leading Oklahoma to a national title, Dupree dropped out of Oklahoma before the end of his sophomore season. A lucrative contract with the USFL soon followed and, alas, just as quickly a devastating knee injury followed that. At the age of 20, Dupree’s football career was pronounced over.

Hock revives Dupree’s impressive and too brief athletic career with clarity and balance, effortlessly blending talking head interviews, archival footage and shots of Dupree revisiting his Philadelphia roots. But The Best That Never Was ranks among the upper echelon of “30 for 30” films not because it reminds us of a player that time has forgot but because it delicately demonstrates how Dupree the person was forgotten within his prime. Here’s a guy who was so sought after coming out of high school that college assistants hunkered down for the long haul in Mississippi hotels while other recruiters bribed Dupree’s teammates with gifts, trying to buy their influence. So intense was the contest for Dupree’s services that Willie Morris wrote a book about it: The Courting of Marcus Dupree. Yet once Dupree became a Sooner, the overwhelming interest that had been paid to him as a senior was gone. No one seemed to realize how unhappy he was, and if so, no one was concerned enough to do anything about it. Dupree was a teenager being treated like a professional, not because he was that mature but because he was that skilled, as if one correlates to the other. Hock allows us to spot this failure without aggressively pointing fingers. To watch this film is to be appalled by what we take for granted: recruiters spending heaps of money in an effort to land players who come from next to nothing; players being asked to live up to their impossible reputations, or else; athletes being coerced by advisors who greedily or foolishly assume that the dominance of an athlete at 18 is a guarantee of what’s to come even two years later. No wonder Dupree felt “burned out” by his sophomore year. He was being handled according to an image of his unrealized endless potential, rather than according to what he was: still just a kid.

So if I tell you that in his brief USFL career Dupree was taken advantage of by a trusted advisor who “invested” his salary in such a way that Dupree’s eventual legal fees eradicated his earnings, or that after his playing days Dupree’s effort to find employment required him to seek out a former Mississippi police officer who had served jail time for his role in the notorious murder of three political activists in 1964, or that now Dupree works as a truck driver, you might suspect that The Best That Never Was is a depressing film. But it isn’t. Because as it turns out, the same guy who failed to achieve the long and unrivaled professional football career that everyone thought was inevitable managed to rehabilitate himself en route to a short and pedestrian professional career that, after his knee injury, even Dupree thought was impossible. All these years later, in a position that would make so many of us feel defined by missed opportunities for glory and material wealth, Dupree stands tall, proud of all that he did achieve – both in his first short career, when everything came easily, and in his even shorter comeback stint with the Los Angeles Rams when Dupree truly earned every carry and every yard through incredible effort.

Dupree’s story compels because it is both unique and universal. No one followed quite the same path, yet so many athletes are stars one moment only to be forgotten the next. As Dupree looks through the dusty trophies on the mantle in his mother’s home, or watches clips his high school highlights, we see not bitterness but joy – a contentment that comes from knowing that he did many things no one else ever could, even if he didn’t do them for as long as people expected. Hock winds down his film with a parade of talking heads making wistful comments about all that Dupree could have been, but they reminisce without seeing all that Dupree is today. As foolish as it would be to ignore the tragedy of Dupree’s football career – from his lack of a strong mentor to all that unrealized promise – it would also be a mistake overlook the beauty of Dupree’s indomitable spirit almost 30 years later. When people watched Dupree play football in his prime, they saw a man who couldn’t be brought down. Apparently they were right.


The Best That Never Was premieres tonight on ESPN at 8 pm ET, and will rerun frequently thereafter. The Cooler will be reviewing each film in the “30 for 30” series upon its release. See the archive.

Renault Electric DeZir Concept Car -- Paris Motor Show

The Renault DeZir project is the first to have been led by Laurens van den Acker and marks the start of a sequence of concept cars that will provide an insight into Renault Design's new vision for the future. DeZir stands out as an illustration of the brand's commitment to more emotional styling.



The DeZir Electric is a two-seater coupé that Renault says stands out as an illustration of the company’s commitment to more emotional styling. With its sports car looks and ability to accelerate from 0 to 100 km/h (62mph) in five seconds, or 0 to 50 km/h in just two seconds, it’s hard to disagree.



Although the DeZir is purely a concept car at this point, Renault is strongly hinting that it shows not only the direction they plan on heading with sports cars in the future, but that it is indicative of a new overarching design and styling philosophy across the entire Renault brand.

The 'Z' in the name DeZir is a direct reference to Renault's Z.E. signature, and several features of its design are suggestive of two qualities readily associated with electric mobility, namely advanced technology and light weight.



DeZir Electric is powered by an electric motor mounted in a mid-rear position to optimize weight distribution over the front and rear wheels. The vertically-mounted 24kW/h lithium-ion battery is located behind the benchseat and provides the car with a range of 160km.

Battery cooling is ensured not only by the air channelled from the front to the back of the car, but also – and above all – by the flow of air that enters through the lateral scoops concealed behind the aluminium panels on either side of the body.



Employing the same principles as the KERS (Kinetic Energy Recovery System) seen in Formula 1, when the car decelerates, kinetic energy is recovered and stored in the battery. This energy can then be employed by the driver to provide a temporary power boost using a button located on the steering wheel. The car can be charged in 8 hours at 240-v, can get to 80% charge in 20 minutes at 4o0-v (3-phase) and will accept battery swapping made possible by the Better Place alliance.



The basic motor is the same as the unit used for Renault's production electric cars, although an evolution has enabled its power and torque to be uprated to 110kW (150ch) and 226Nm respectively. Through the extensive use of lightweight materials such as the Kevlar body, the DeZir Electric tips the scales at just 830kg or 1,830 pounds. According to the French carmaker, the DeZir can go from zero to 100km/h (62mph) in 5 seconds and reach a top speed of 180km/h or 112mph.



The DeZir will debut in October at this year's Paris Motor Show, but no date has been set for its full release. According to Fast Company, by the end of 2013 the Renault-Nissan alliance hopes to produce 500,000 electric vehicles globally, including the 2011 Fluence ZE and the 2011 Kangoo ZE electric van.

2010 Maserati GranCabrio

If there’s a slowdown in the auto market and a shift in the public’s focus from mph to mpg, it won’t be reflected at the Frankfurt auto show. To a roster of debuts already boasting a pair of poster-worthy Porsche debutantes and a duo of 450-plus-hp BMW hybrids, Maserati is adding its newest model, the 433-hp 2010 GranCabrio.



Based on the scintillating GranTurismo, the four-seat GranCabrio thankfully foregoes the trend of folding hardtops that has ensnared even Ferrari. The cloth top will help keep the inevitable weight gain associated with creating a convertible from a coupe under control, and its easier packaging preserves the Italian coupe’s mouth-watering shape.



Likely because of the extra beef—Maserati is extremely tight-lipped about details, so we don’t know how much additional poundage the cabrio will haul—the only available engine will be the 4.7-liter V-8 from the GT’s S models. A six-speed automatic will be the only available transmission initially, but we expect an automated manual to join the lineup shortly after introduction.

BMW Z4 sDrive35is -- (NAIAS)

The New BMW Z4 sDrive35is distills the Roadster's performance potential to produce one of BMW's fastest and best -handling Roadsters ever. The BMW Z4 sDrive35is is making its world debut as a 2011 model at the 2010 North American International Auto Show (NAIAS) in Detroit . It arrives at authorized BMW Centers in Spring 2010.

The combination of twin low-mass turbochargers and High Precision direct injection offers an output a naturally-aspirated engine would only be able to provide through more cylinders and larger displacement.



The turbocharger system developed for the engine of the new BMW Z4 sDrive35is maintains a high output throughout the entire engine speed range. Nominal peak torque is increased to 332 lb-ft from 1,500 rpm to 4,500 rpm. Maximum output of 335 hp is delivered at 5,900 rpm. The enhanced engine management system of the BMW Z4 sDrive35is includes an electronically-controlled overboost function to briefly increase torque under full load by another 37 lb-ft. This temporary torque peak of 369 lb-ft gives the car a significant increase in acceleration. The BMW Z4 sDrive35is will complete the sprint from a standstill to 60 mph in just 4.7 seconds (preliminary). Top speed of the BMW Z4 sDrive35is is limited electronically to 250 km/h or 155 mph.



The BMW Z4 sDrive35is offers outstanding power and performance without an increase in fuel consumption or emissions. Its figures are expected to match those of the BMW Z4 sDrive35i with Double-Clutch Transmission on the EPA test cycle . This balance of performance and fuel efficiency results from the fundamental design and layout of the BMW inline-6 , which combines twin turbochargers with High Precision direct injection . The fuel injectors operate at a pressure of up to 200 bar (2900 psi), distributing fuel in a conical spray pattern throughout the combustion chamber. Another advantage of direct fuel injection is its cooling effect which allows higher compression while reducing the possibility of detonation. Further technologies offered under the BMW EfficientDynamics philosophy include Brake Energy Regeneration, Electric Power Steering, and on-demand operation of engine accessory units.

Nissan Motivity 400C Concept Car by Tryi Yeh

The 400C has the Maglev engine system in each tire, making it quite floaty and speedy. The 400C has a wild, new triangle shape that reduces drag, while the driver seat controls retain their classic build. It is the latest creation of the brilliant visor and stunning feature characteristics from the side of Nissan by Tryi Yeh. But spreading his periphery, the Taiwanese designer has designed a car that takes you straight into the future.



Maglev, or magnetic levitation has been hailed as the future of high speed transportation since long, but the idea is predominantly based on trains. With the Motivity 400-C design proposal, designer Tryi Yeh intends to bring magnetic levitation from train tracks to roads.



Nissan Sport Cars Concept Motivity 400C by Tryi Yeh Relies on Maglev

This concept car uses maglev motor system that has made it even stronger with each deck, which allows great control, functionality and style. The triangle-shaped bode this car reduces drag of air, therefore, this car offers better acceleration and is able to save more power. Wheel was traditional, so the driver can have the ultimate driving experience.



A little more info on the Maglev concept: The use of the physical properties of magnetic fields generated by superconducting magnets to cause an object (as a vehicle) to float above a solid surface. Merriam Webster Dictionary ; This method has the potential to be faster, quieter and smoother than wheeled mass transit systems. The technology has the potential to exceed 4,000 mph (6,400 km/h) if deployed in an evacuated tunnel.



Nissan Sport Cars Concept Motivity 400C by Tryi Yeh Relies on Maglev. Also, it turns out that if you use the technology to its max potential and in an evacuated tunnel, you might even reach speeds up to 6,400 km/h. Of course, this is pure theory and one that applies to bullet trains on magnetic levitation tracks…

2012 Maserati GranTurismo MC Stradale

The 2012 Maserati GranTurismo MC Stradale will be the fastest, lightest and most powerful car in the Maserati range when it goes on sale in the first quarter of 2011.



Inspired by the Trofeo GranTurismo MC and the race-winning GT4 motorsport models, the two-seater Maserati GranTurismo MC Stradale that will debut at the 2010 Paris Auto Show will feature razor-sharp handling and will break the 300km/h barrier.



The Maserati GranTurismo MC Stradale responds to demands for a GranTurismo which can balance on-road driving needs with race-driving desires, incorporating the handling and aerodynamic lessons from Maserati's three racing programs.



The Maserati GranTurismo MC Stradale produces more aerodynamic down force without producing more aerodynamic drag, it produces more power - 336kw, 450 hp - without using more fuel and it is more agile without sacrificing the GranTurismo S's highly praised ride quality.

2011 SSC Ultimate Aero II -- Price $970,000

The first photos of the SSC Ultimate Aero II, which hopes to take back the crown as world’s fastest production car in 2011. The car world may have been in melt down for the last year or three, but some things are beyond recession. Ultimate hypercars is one, and it seems there are as many uber-wealthy people on the planet who are willing and able to indulge their desires for the best there can be as ever. A new car that hails from America is set to dethrone the Veyron Super Sport and grab the world's fastest title. 2011 Ultimate Aero II . That car is the new SSC Ultimate Aero II. The top speed of the Ultimate Aero II is pegged at somewhere north of what the Veyron is capable of.



SSC was quietly building some of the most extreme vehicles on earth until it leapt onto the global stage by topping the original Bugatti Veyron's record-setting top-speed with a scorching 255.83-mph run, 3.11 mph faster than the Veyron, in its first generation . That record stood for nearly two years until the Veyron Super Sport smashed it with a 268-mph averaged run last month. The Ultimate Aero II will be powered by a 6.2-liter V8 which will produce some 1,200 HP. The car will debut next year and will challenge the record speed of 268 mph set by the Veyron Super Sport. Last month SSC teased the next  Aero. Now we have the first photos. We still don’t know what SSC has done to the existing 256 mph,1,183-hp 6.2-liter V8 to make it deliver another 13mph to break the Veyron, but now we know what it looks like.



Ultimate Motors accommodates for the needs of sports car lovers in the Middle East. With a dealership office in the heart of Dubai, the distributor is committed to bringing its clients the worlds most esteemed vehicles. Offering a wide range of prestigious sports cars from all over the world, the company is planning to expand its operations to the rest of the GCC and Russia.

2010 Bufori CS Sports Car Coupe

The BUFORI CS, which stands for “Compact Sports”, is powered by a 2.0L turbo-charged engine, the sportscar will feature a lightweight composite body and offer the typical BUFORI craftsmanship, attention to detail and quality. The BUFORI CS is expected to be launched in Malaysia at the beginning of 2010 and more details will be revealed towards the end of the year.

The Bufori CS is a two-door, two-seat sports Coupe from the Malaysian manufacturer Bufori. It represents the first model in a new lineup of vehicles from the company.

Unlike previous BUFORI models, the design of the BUFORI CS is intentionally modern, boasting elegant flowing lines and subtly pronounced fenders. Four circular LED rear lights give an additional sporty dimension to the overall, timeless elegant body.

Bufori have been around since 1986. Originally based in Australia the company has been successfully producing cars like the La Joya for many years and exporting them to markets all around the world including Australia, Europe, USA, and the Middle East.

The CS, which stands for 'Compact Sports', marks a new styling direction for Bufori. All their previous vehicles have had a distinctly classic appearance, but the CS is modern in its design.

The monocoque body is made of ultra-light and rigid reinforced Carbon Fiber & Kevlar and lies on a space frame chassis. The unequal upper and lower arm front and rear suspension with coil over shocks are fully adjustable and provide excellent road holding.



The BUFORI CS is fitted with a front mounted 4 cylinder 2.0L turbo-charged high performance engine that delivers effortless power and offers an exhilarating driving experience.

Another factor working in the CS's favor is the fact the company is developing a racing version in order to test and develop the vehicle under the extreme conditions only achievable through competitive racing.

The overall shape of the Bufori CS is not a million miles away from the lines of the first generation BMW Z4 Coupe, especially when viewed from the side. Up front Bufori have integrated their curious moustache-like grille into the bodywork, a feature which probably would have been better left out. But at the rear, the quadruple round taillights and sloping tail section, coupled with the powerful rear arches give the CS some stylistic appeal. The Bufori CS features unequal upper and lower a-arm front and rear suspension with fully adjustable coil over shocks.

2010 Lamborghini Cnossus Concept

The Lamborghini Cnossus Concept was designed by Russian student Victor Filipchenko with the help of his Portuguese colleague Nelson Simoes as part of their final thesis project at Italy’s Scuola Politecnica di Design.



Every Lamborghini needs a bull theme, and this supercar design study for a supercar concept named after the ancient Greek city of Cnossus (Knossus) on the island of Crete. The designers claim to have been inspired by the Lamborghini Countach, though it is evident that the edgy styling of the limited production Reventon special also played a role in the design of the Cnossus Concept.



Presenting a bold vision of what the firm’s future flagship could look like, the concept takes inspiration from Lamborghini models past and present, including the Countach and Reventón.



It boasts many classic cues such as telephone-dial wheels lifted from the Countach, scissor doors and gaping air intakes in front of the rear wheelarch. At the rear, the thin strip of LED lights with inverted arrows at the end is a clear nod towards the Reventón’s jet-fighter theme, while the diffuser looks more like something you’d find on a Le Mans prototype racer than a road car.