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We've covered in too much detail how it's some sort of "open season" on Vonage when it comes to VoIP patents. After dealing with ridiculous and expensive patent lawsuits from companies who failed to actually innovate in the same way Vonage did, the company was pressured by Wall Street to quickly settle the various patent lawsuits filed against the company. Of course, rather than settle matters, that simply opened the door for other companies to go searching through their patent portfolios to see if there was anything they could sue Vonage over. Indeed, following those settlements it didn't take long for AT&T to dig up a patent and sue -- which was quickly settled as well. Thought things were over? No such luck. Nortel just showed up last month to sue and it took all of about a week and a half for Vonage to settle that case as well.
The Nortel case is slightly different because Vonage actually already had a patent infringement lawsuit going against Nortel, but it wasn't really initiated by Vonage. Instead, it had been initiated by a patent holding firm that Vonage bought in 2006. The end result of the settlement doesn't involve money changing hands, but just a cross licensing agreement for the patents. So what's the big lesson that Vonage and others have learned from this? It's certainly got nothing to do with innovating. It's to hoard as many patents as possible so that you have your own nuclear stockpile for when someone else sues you. Want to know why the USPTO is overwhelmed? It's not because there aren't enough examiners (as some will claim) or that there aren't enough funds. It's because the way the system now works is that you are supposed to file patents on every tiny little advancement so you can use it to protect yourself against lawsuits from everyone else. That's not about innovation. It's about waste. In the meantime, since it's still open season at Vonage, who's going to be next? There are a ton of other patents in the VoIP space that can surely be used in a lawsuit, right?
Small and light enough for a shirt pocket, Samsung's Helix YX-M1 is a one-stop audio entertainment center with an XM radio, a digital music player, and room for 50 hours of tunes, but it comes up short on battery life.
This raw work-flow application isn't the Holy Grail many hoped it would be, but Apple Aperture 1.5 could make life easier for photographers who need to cull, retouch, and output large numbers of photographs quickly and efficiently.
Joshua Logan's 1967 film of the hit Broadway musical about the love triangle between King Arthur (Richard Harris), Guenevere (Vanessa Redgrave), and Sir Lancelot (Franco Nero) is strong on star emphasis and weak on such fundamentals as story and sets. Except for a handful of solidly dramatic scenes--such as Guenevere grieving, late in the film, for the ruination she and Lancelot have caused--there's not a lot to get excited about. (The story's theme of a lost, great society, however, certainly struck a chord in the 1960s.) The Lerner-Loewe songs ("If Ever I Would Leave You," "Camelot") pretty much sell themselves, even if they are, at best, only proficiently performed in this movie. --Tom Keogh
"The book was better" has been the complaint of many a reader since the invention of movies. Frank Darabont's second adaptation of a Stephen King prison drama (The Shawshank Redemption was the first) is a very faithful adaptation of King's serial novel. In the middle of the Depression, Paul Edgecomb (Tom Hanks) runs death row at Cold Mountain Penitentiary. Into this dreary world walks a mammoth prisoner, John Coffey (Michael Duncan) who, very slowly, reveals a special gift that will change the men working and dying (in the electric chair, masterfully and grippingly staged) on the mile . As with King's book, Darabont takes plenty of time to show us Edgecomb's world before delving into John Coffey's mystery. With Darabont's superior storytelling abilities, his touch for perfect casting, and a leisurely 188-minute running time, his movie brings to life nearly every character and scene from the novel. Darabont even improves the novel's two endings, creating a more emotionally satisfying experience. The running time may try patience, but those who want a story, as opposed to quick-fix entertainment, will be rewarded by this finely tailored tale. --Doug Thomas
On the DVD
Listen to our interview with Frank Darabont.
Anyone who has seen this Oscar-nominated film knows Frank Darabont likes to t-a-k-e h-i-s t-i-m-e. He certainly does the same in filling all three hours of his commentary track which he recorded over several sessions. Darabont has studied other DVDs and purposely does not repeat tidbits covered in the excellent new 90-minute documentary on author Stephen King and the making of the film. Other solid segments are two deleted scenes, a never-used teaser trailer, and Michael Duncan Clarke's screen test. The highlight is two remarkable tests of Tom Hanks in old-age makeup. Both are very credible, but it was decided to use another actor. The outcome is a DVD that puts the "special" back into the special edition. --Doug Thomas
When Roman tribune Marcellus Gallio (Richard Burton) is sent to Jerusalem, one of his assignments is the crucifixion of Jesus Christ. Marcellus, a cynical and hardened man, wins the robe Jesus wore to the crucifixion while gambling with other Roman soldiers underneath the dying savior. He later becomes convinced that his hallucinations and violent outbursts are the result of a curse received from the robe, which is now in the possession of his escaped slave, Demetrius (Victor Mature), somewhere in the Middle East. He sets out to find Demetrius in order to destroy the robe and the curse and finds faith instead, converting to Christianity. This was the first movie to be filmed in CinemaScope, and won Oscars in 1953 for costume design, art direction, and set decoration. The visual aspects of the film are stunning, and it may be worth viewing for that alone; however, the script and acting leave much to be desired, and you won't find inspiration in these areas if that's what interests you. If, however, you are more interested in this film for its religious matter, the story of the conversion of the hardened Marcellus is inspiring. --James McGrath