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Street Fighter Legacy Movie Download BETTER



Excellent series, it gives Ryu and Ken the proper introduction and back-story they deserve. There's no real requirement to have a die hard knowledge of the street fighter saga to enjoy this but lets be honest if your watching this series its almost certain you've played at least one of the games, and if not, by the end you will have an higher understanding of the origins of two of the most central characters that made Street Fighter one of the most recognized titles in the fighting genre. I was unsure what style this would take but i was blown away, the cinematography is excellent along with the casting choices, there performances the writing and special effects, all come together to make this an original and authentic street fighter experience. Considering the budget for producing this series was small they make excellent use of the environment, they chose a perfect setting to gives this an authentic feel. The relationship between Ken, Ryu and Master Goken is excellent and gives the story depth, it also sets the stage for what looks to be an equally enjoyable second season. A big thanks to all involved and to all those that donated to kick-starter to help get this made. 10/10




street fighter legacy movie download



This is a really good watch for everybody who played the famous Street Fighter video game when they were younger. But it also worth a watch for everybody who didn't. We follow the two young men I mentioned in the title of this review on their road to becoming supreme martial artists. Ken is the more extroverted of the two, Caucasian and truly talented, who really looks more like a surfer than like as fighter. However, he is also probably sometimes too boastful for his own good. Ryu is the calmer one, Asian, with an advantage in mental strength and he does not fear any challenge no matter how hard it is to achieve or how long it will take him. The two are like brothers.This mini-series is written and directed by Joey Ansah, who also plays a character in here as he is a trained martial artist himself. I read that he next plans a similar miniseries starring Guile and Chun Li and I'd certainly love to watch that. Now about this one here, it runs for 13 episodes (including a very short prologue) and has a total runtime of roughly 2.5 hours, so you can really watch it in one go. Each episode runs for 10-13 minutes. The actor who plays Ken here helped Ansah with the script. Ansah made a short film back in 2010 together with him already, but still with a different actor for Ryu. I have to say this mini-series here is maybe at its weakest when it only focuses on Ryu and that happens a couple times as he is probably even more lead character than Ken. Still the two do belong together and also get a great ending where they go off into the world with their trainer staying behind. And as Ken says at that point, the adventure had only just begun. Occasionally, I felt in the second half that they may not have enough quality material to make this worth watching for 150 minutes, but every time I began thinking like that, the level rose once again quickly after, for example in entertaining moments when Ken cuts of his ponytail or when the two protagonists play video games themselves. Pretty hilarious moment. If they had actually picked a fighter game, this would have been a truly odd situation. But in a positive way of course.The whole thing came out exactly a year ago today and that is why I decided giving it a look, but also because I really loved the video game as a kid. Recommended and I would love to see a real Street Fighter movie soon including more than only two crucial characters.


When he instituted the film rating system, he had two objectives in mind: first to protect children and provide a warning system for parents, but more importantly to "free the screen." As a defender and advocate of the First Amendment, Valenti despises the censorship of the Production Code, which limited the kind of stories directors could tell. However, with the directors' right to tell stories is the concomitant right of the audience not to watch them. Despite criticism that the system is too subjective, Valenti defends it as necessary for parents to be able to make decisions about their children. In the last decade, copyright protection and piracy have overtaken censorship issues as the main concerns of the MPAA. In a media world that is becoming increasingly digital, Valenti sees the need for changing attitudes towards intellectual property, and the necessity for new business models for the online distribution of movies. Valenti believes there is something substantive about creative property, such as a poem or movie, that makes it just real as physical property; and that it ought to have the same rights and privileges. He makes an analogy that forms the root of his beliefs on intellectual property and piracy: "If I make a table," he says, "it is my table and no one can test that. If you take it out of my house or garage, you've taken something that belongs to me, and we know that's not right. Why isn't something that flourishes in the seedbed of somebody's imagination as worthy as making a table?" For Valenti, copying a DVD is an act of stealing, not very different from stealing a DVD from a video store. Valenti cannot understand why people would never steal a DVD from Blockbuster's for fear of being arrested, but delight in copying a DVD for themselves. When people can take movies without paying for them, such piracy threatens an artist's ability to be creative. Technology is rapidly advancing, and people will soon be able to download media faster than before. At Caltech, Valenti learned of an experimental development called FAST, a data transfer protocol for the Internet that is fast enough to download a full-length movie in less than five seconds, and could be introduced to the market in as little as 18 months. Valenti believes that piracy will rise with the increased sophistication of technology. At a higher rate of piracy, this kind of pillaging will make it hard to nourish new talent and promote movies.


Valenti recognizes the Internet as the greatest distribution channel that ever existed. The movie industry is willing to embrace the web as an efficient distribution system, to make movies available on demand for a price that is fair to the consumer and delivered in a safe fashion. This will give people more choices than they ever had in terms of movie titles and ways of viewing. This is why Valenti and other members of the industry are aggressively meeting with IT people for help with developing the technology for protection. Valenti believes in objective and detailed discourse, and has great respect for people like Lawrence Lessig, with whom he disagrees on certain issues but values the friendship and discussion they share. He is anguished by the hostility and partisanship in politics today, which was not present in the days of the Johnson administration. Discussion DOHERTY: In your testimony before Congress last September, you addressed piracy as a threefold problem. There is the technological problem of protecting movies and DVDs from being illegally copied and distributed. The need for aggressive enforcement of the law, or the rewriting of laws made in the pre-digital age is a legal problem. Finally, there is the ethical problem, which I believe is the most important. How can you change the mentality of people who don't believe they are stealing by copying or downloading movies? VALENTI: I don't know that we can. On all the college campuses I have visited so far, I find the same attitudes among even the most brilliant students, the so-called "leaders of tomorrow." Although they agree that it is a kind of stealing, they reason that everyone does it, and that it costs too much to buy CDs and DVDs anyway. They don't believe they are hurting the industry when stars and studios make so much money. What they don't realize is the carpenters and lighting crews feel the effect too. As the copyright holder, the studio helps to ensure that the film will collect all its revenue and make a profit. Every movie and TV show has residuals that go to a pension for the welfare funds of different guilds. Members of the guilds get a piece of every film that is made. I only ask that people consider whether or not creative property is worthy of being respected. DOHERTY: In 1968, Congress passed the Copyright Term Extension Act, which extended corporate and author copyrights for an additional 20 years. Why was the film industry so zealous about getting this passed? This act is enabling huge conglomerates to constrain works that should be in the public domain. VALENTI: The principle reason for the Extension Act was to provide for the same term of protection as exists in Europe. A difference in copyright terms between the United States and Europe would negatively affect the international operations of the entertainment industry, since American works that are in the public domain here could be expoited elsewhere. DOHERTY: In your testimony before Congress, you expressed vehement opposition to both Internet piracy and the ready access to pornography on the web. The two issues are linked in that pornography, like movies, is available on peer-to-peer (P2P) file sharing systems. VALENTI: I have an old-fashioned obligation to parents. Most parents do not know when they go to file swapping sites that it is an amalgam of music, movies, and the most squalid pornography. The most offensive material is available for children to download. Yet because I believe so strongly in the First Amendment, I want parents to be able to deal with it, so I sound these alarms. DOHERTY: In the 1930s, the Production Code was established as a self-regulatory agency that allowed classical Hollywood to thrive without the hassle of federal censorship. With the Production Code, the criteria for what was acceptable in movies was standardized and published. How does today's ratings board make its decisions?


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