She has been cast in maternal roles since her teens. Now, playing a mother for the first time since becoming one, she has chosen the part of a woman pushed past the edge of sanity. In "Die My Love," Lawrence, as Grace, vibrates with boredom and fury. The novel "Die, My Love," by the Argentinean writer Ariana Harwicz, is narrated by a wife and new mother who is living in rural France and seems to be losing her mind. Motherhood has inserted an immersion blender into her psyche: lust, repulsion, pleasure, and doom swirl into a single mess. She calls herself a "sodomising rodent" with "bullet-wounds for eyes," and thinks, "When I masturbate I desecrate crypts, and when I rock my baby I say amen, and when I smile I unplug an iron lung." One night, standing in the cold, staring at her family through a sliding door, she thinks, "I'll stop trying to draw blood from a stone. I'll contain my madness, I'll use the bathroom. I'll put my baby to sleep, jerk off my man and postpone my rebellion in favor of a better life." Martin Scorsese saw a brief review of the novel in the some years ago and decided to pick up a copy. He found it to be a "powerful mosaic of the mind," he told me recently. Scorsese is a member of a book club of sorts, with a few other filmmakers, who read with an eye toward adaptation. For "Die, My Love," he imagined casting Jennifer Lawrence in the lead. He'd been amazed by her performance in Darren Aronofsky's bewildering 2017 fantasia, "Mother!" In that surreal film--it's like an allegory set inside an oil painting--Lawrence plays a woman living with her poet husband in an old farmhouse, which is gradually, then apocalyptically, invaded by strangers. "She really is feeling everything that's happening, in what appears to be a dream of some kind," Scorsese said. He and Lawrence had discussed adaptations before. They considered "The Awakening," Kate Chopin's 1899 novel of female liberation, which ends with the protagonist, Edna Pontellier, walking into the sea. "Die, My Love" was like "The Awakening" if it began with Edna already underwater.

The last time someone groped Robert Pattinson aboard a spaceship, to the best of my knowledge, was in Claire Denis's 2018 movie, "High Life." The groper was a lowlife--a deranged doctor, bent on harvesting astronaut semen for pernicious procreative ends. Pattinson's character, a self-declared celibate, was unconscious and unconsenting. The assault took place on the grottiest of vessels, manned by violent criminals who had been banished into deep space. The movie was a hell of a dark trip, but Pattinson, among the most consistently adventurous actors of his generation, kept you tethered to the story with an almost gravitational force.

Example image of the 3D printer nozzle used by the machine learning algorithm to detect and correct errors in real time. Engineers from the University of Cambridge have developed a machine learning algorithm that can detect and correct a wide variety of different errors in real time, and can be easily added to new or existing machines to enhance their capabilities. Details of their low-cost approach are reported in the journal Nature Communications. However, it is also vulnerable to production errors, from small-scale inaccuracies and mechanical weaknesses through to total build failures. Currently, the way to prevent or correct these errors is for a skilled worker to observe the process.

Without a doubt, Matt Reeves' The Batman succeeded in infusing new life into Robert Pattinson's version of the Dark Knight. Viewers were treated to a darker, more violent version of Gotham City and a Batman who's just two years into his vigilante career. The end result is a box office earning that has surpassed $700 million and a resounding clamor for both Reeves and Pattinson to work on the sequel right away. But if this deepfake video would have its way, another actor would be in front of the camera – Adam West. In a Youtube video created by Corridor, a visual effects group that has been creating viral content, one of The Batman's trailers has been reworked with West's iteration of the Caped Crusader in it.

Without a doubt, Matt Reeves' The Batman succeeded in infusing new life into Robert Pattinson's version of the Dark Knight. Viewers were treated to a darker, more violent version of Gotham City and a Batman who's just two years into his vigilante career. The end result is a box office earning that has surpassed $700 million and a resounding clamor for both Reeves and Pattinson to work on the sequel right away. But if this deepfake video would have its way, another actor would be in front of the camera – Adam West. In a Youtube video created by Corridor, a visual effects group that has been creating viral content, one of The Batman's trailers has been reworked with West's iteration of the Caped Crusader in it.

Fox News Flash top entertainment and celebrity headlines are here. Check out what's clicking today in entertainment. Warner Bros. has once again delayed the release of the Christopher Nolan-directed film "Tenet" amid reported cases of the novel coronavirus surging. The studio announced the decision on Thursday, stressing the need for flexibility. The sci-fi thriller, which stars John David Washington and Robert Pattinson, will now be released on Wednesday, Aug. 12.

Claire Denis is a filmmaker's filmmaker. Though the French writer-director has never had a commercial breakthrough in the U.S., she has been a steady presence in international cinema circles from her debut feature "Chocolat" in 1988 through such titles as 1999's "Beau Travail," 2010's "White Material," starring Isabelle Huppert, and "Let the Sunshine In," which starred Juliette Binoche and was released in the U.S. last year. In part, Denis is so well-regarded because she remains so unpredictable. There is no signature style to her work and it remains surprising with each and every film. Her latest, "High Life," which opens in New York and Los Angeles this week via A24, arrives with higher than usual commercial expectations.

It has been recognised that the expressivity of description logics benefits from the introduction of non-standard modal operators beyond existential and number restrictions. Such operators support notions such as uncertainty, defaults, agency, obligation, or evidence, whose semantics often lies outside the realm of relational structures. Coalgebraic hybrid logic serves as a unified setting for logics that combine non-standard modal operators and nominals, which allow reasoning about individuals. In this framework, we prove a generic EXPTIME upper bound for concept satisfiability over general TBoxes, which instantiates to novel upper bounds for many individual logics including probabilistic logic with nominals.