Top Entertaining Ways to Pass Time Online

The internet is a great tool for a variety of different things. If you’re looking for entertainment then there are simply thousands of ways to spend your time. We’ve got some suggestions for anyone that wants to find themselves entertained with a browser by their side.

Read Free Books

Copyright free books and public use literature can be a free way to entertain yourself. There’s loads of books out there that you can download on your phone, eReader or even your computer. These will give you access to so much entertainment, without spending a penny.

If you want to enjoy classic books then you’ll have a range to pick from. Most older books are no longer protected by copyright so you can download and read for free, you can find a huge collection of copyright free books at Gutenberg.

Learn a New Skill

If you’re in the market to learn something new then the internet is your best friend. Whether you want to learn a new hobby or work towards a qualification, there are loads of free courses to check out. These can even help you out with getting a better job or into another course.

YouTube and other streaming services can help you to connect with those that can teach you these skills. There are loads of free resources out there too, like worksheets, books and articles, that will turn you into an expert in your new field.

Watch Movies

With streaming services at an all-time high, you have hundreds of hours of top class entertainment at your fingertips. Thousands of hours of content are uploaded to the internet on a daily basis.

Services like Netflix, Now TV and Hayu are all great, with mobile apps to keep you watching on the move. Even on YouTube and Vimeo, you will find a variety of free documentaries to check out too.

Play Bingo

Bingo is known as one of the best online activities in the world, as it’s one of the few that can actually give you a bit of cash back. Sites like Rocket Bingo and Free bingo.co.uk allow you to play for free too, even earning bonus funds or real cash to play with. Continue reading →

The Impossible – Movie Review

“Close your eyes and think of something nice,” says Maria to her son.

I doubt that the Indian Ocean tsunami of 2004 would come to mind. Nine years ago near the west coast of Sumatra the fate of millions changed forever due to one of the deadliest natural disasters humanity has faced. Quarter of a million people were dead or missing, and millions were left homeless. But an incredible real-life story of survival, and what’s truly important, unfolds among the ruins.

The Impossible is the first re-enactment of the 2004 tsunami directed by Juan Antonio Bayona (The Orphanage) and features Naomi Watts and Ewan McGregor as parents Maria and Henry.

Maria and Henry enjoy an idyllic Christmas holiday in Thai holiday with their three sons. On Boxing Day morning, the tsunami hits their resort and separates the family. “Is it over?” Lucas asks his mother. Though we know it has not started yet.

The movie is an interchanging play of highs and lows – a wake-up call for the true value of human bonds and realising that you are not alone.

The Impossible does not spare us the grim depiction of nature’s brutality, human suffering and death. However, bearing in mind that the family’s story of hope, love, survival and courage among the ruins is a true one, it is also an exception. And for many that are left homeless, injured or even worse, the story does not have a happy ending.

The Impossible is now available to but on DVD and Blu-Ray

Article written by Ellie de Rose.

Visions of Ecstasy: End of the Last Taboo?

Blas for me, Blas for you, Blas for everybody in the room Eddie Izzard

Until 1676 you could still be executed for blasphemy, but the offence came off the law books in 2008, opening the way for one of the strangest bans in the history of British cinema to be repealed. Now, 23 years after it was first submitted to the British Board of Film Classification, the British public will finally get the chance to judge for themselves Nigel Wingrove’s Visions of Ecstasy – a 19 minute short film banned because the BBFC judged that it was likely to be prosecuted for blasphemous libel.

So, if the release of Visions of Ecstasy marks the end of this long held taboo, it also affords us the opportunity to look at the history of how blasphemy has impacted on film censorship over the years.

The BBFC celebrates its centenary in 2012, but the first written guidelines for what was then the British Board of Film Censors were not drawn up until 1916. 43 prohibitions were laid down, covering everything from “Indecorous, ambiguous and irreverent titles and subtitles” to “Subjects dealing with premeditated seduction of girls“. Two of the prohibitions had to do with the appearance of blasphemy: “Materialisation of the conventional figure of Christ” and a specific prohibition of “The irreverent treatment of sacred subjects”. So we’ve come a long way.

Visions of Ecstasy

Depiction of the figure of Christ was cut from several films in the board’s first years of operation. It’s tough to find details of which films, because the BBFC site isn’t indexed like that, but DW Griffith’s Intolerance either slipped through the net or was given consideration as a more artistic work, because it seems not to have been censored for its 1916 release, despite featuring both the materialisation of Christ and nudity. In relation to Intolerance the BBFC did remark, in 1917, that they “objected to nude statuary when we have seen it in certain positions”. In addition the 1916 film Civilization was submitted in a shortened version for its 1917 release. The film apparently depicts Christ as an anti-war agitator. This was a very successful suppression by the BBFC. In 1931 the film came before the board again, this time in a full sound version, but it was rejected, probably because policy hadn’t changed on the depiction of Christ, and since then it seems to have been revived only very occasionally (probably in its shortened version) at the National Film Theatre. It’s not an official ban for blasphemy, but Civilization remains all but unseen here, because it depicts Christ.

At this time there wasn’t a real public outcry about blasphemy in the media, and in 1948 Secretary Arthur Watkins and President Sir Sidney Harris began presiding over a BBFC that abandoned the absolutes of the 1916 prohibitions for a board run by guidelines (which is still how the BBFC comes to its decisions today). The 50s and 60s saw the board struggle with cinema’s depictions of sex and drugs and rock and roll. It was really in the 1970s, with the rise of Mary Whitehouse and the Festival of Light (subsequently the National Viewers and Listeners Association, now Mediawatch) that blasphemy started to rear its head again as an issue in censorship, and indeed in the courts.

Ken Russell’s The Devils came to the board in 1971, and had a rough ride. Board secretary John Trevelyan wanted to protect the film, which he considered a great work of art, and there were a number of viewings of incomplete prints and letters back and forth with Russell as he fought to keep as much of controversial film intact as possible (as the cuts were made from unfinished prints there is no record as to how much went missing, but it seems likely to have been several minutes, some of that footage has since been restored to an occasionally shown Director’s Cut, though it will be the 1971 cinema version that comes to DVD in March). Blasphemy was, in fact, not one of the issues quoted by the BBFC, but it certainly was by the Festival of Light, whose campaign against the film was led by Peter Thompson, who had members mount a letter writing campaign, first to Trevelyan, who apparently replied to each letter saying “…go and see The Devils (it won’t corrupt you)”. Continue reading →

Film Review: The Descendants

It’s always nice to find a cultural oasis amid the plethora of remakes and formulaic junk pouring out of Hollywood but when the oasis is provided by writer/director Alexander Payne and the setting is the idyllic Hawaiian capital of Honolulu, it’s a veritable cause for joy.

Seven years have passed since Payne’s previous film, the highly successful Sideways, and it’s almost a decade since About Schmidt gave Jack Nicholson the opportunity to step down from his megastar pedestal to play a recently retired widower undertaking a road trip in what proved to be a masterful study of loneliness and old age.

In The Descendants, George Clooney is provided with a similar opportunity to break with his roguish, eternally youthful screen persona and do for middle age what Jack did for the over sixties. And I’m happy to report the opportunity isn’t squandered.

Clooney plays Matt Clark, a rich, workaholic lawyer based in Honolulu, with a wife, Elizabeth (Patricia Hastie), whose aversion to domestic tedium leads her to adrenaline-inducing pursuits (among other things). After a speedboat accident leaves her badly injured and comatose in the hospital, Matt is forced to suspend his daily routine to care for the couple’s youngest child, 10-year old Scottie (Amara Miller) and later their 17-year old semi-delinquent daughter Alexandra (Shailene Woodley) who has been away at boarding school.

Having been told that Elizabeth will never emerge from her coma, Matt is forced to honour the terms of her living will and disconnect her support system. Before doing so, however, revelations about Elizabeth, made by Alexandra, compel Matt to enter on a journey, both physical and emotional, in search of the truth. Accompanied by his dysfunctional daughters and Alexandra’s well-meaning but dim friend, Sid (Nick Krause).

The Descendants

Besides being preoccupied with his offspring, Matt also has to deal with the legacy of his forebears. He is trustee of the family property, consisting of 25,000 acres of untrammelled land on the island of Kauai, and despite the opposition of residents, it is the intention of Matt and his cabal of cousins to sell the land for development.

The two competing concerns soon become intertwined, ultimately providing Matt with a solution to both dilemmas.

It may not sound like much fun but there are plenty of laughs along the way. Most of them arising from disarmingly subtle situations. There are no pratfalls. No absurd situations. It’s character-based humour and the nearest it gets to broad comedy is when Sid’s social ineptitude leads him into trouble.

Despite the presence of a character who spends all but one brief sequence wired-up to a life support machine, it is never downbeat. Even in some of the more emotionally taut sequences, humour is never far below the surface. The younger cast members are all excellent with Woodley making the most of her lion’s share and there are even opportunities for scene-stealing appearances by old stagers Robert Forster as Elizabeth’s garrulous father and Beau Bridges as a senior member of the King family. Continue reading →