Rare earth elements with exotic names such as europium and tantalum are crucial for future technologies such as hybrid cars, but their scarcity could thwart innovation.

But more common metals used in the tech industry could fare better, even if their prices rise due to worldwide demand. For example, lithium-ion batteries for hybrid cars and smart phones won't run out anytime soon because there is an overabundance of lithium, Jack Lifton, an independent consultant for U.S. rare earths, told the Gold Report during a December interview.

Other important elements tracked by the U.S. Geological Survey (USGS):

Iron and steel make up about 95 percent of all the metal produced in the United States and worldwide, and find uses in thousands of products. These are the least expensive of the world's metals.

Aluminum is the second most abundant metallic element in the Earth's crust, just behind silicon. Its light weight, durability, corrosion resistance and malleability make it the most widely used metal after iron.

Copper has one of the oldest lineages of any metal, and has served as the foundation for many ancient civilizations. It still represents the third most-used industrial metal because of its thermal and electrical conductivity characteristics that make it highly useful in power transmission, telecommunication, and many electronic products.

Gold is still coveted for its monetary value and for jewelry, but it is also an excellent electrical conductor. As an industrial metal, its applications include computers, communications equipment, spacecraft and jet aircraft engines.

Silver has been used for thousands of years to make ornaments, utensils, and coins. Of all the metals, pure silver has the highest reflectivity, and the highest thermal and electrical conductivity. As a result, silver has many industrial applications including mirrors, electrical and electronic products, and photography.

Niobium and Tantalum find uses in a variety of high-tech applications. Niobium (also known as columbium) shows up in jet engine components and rocket subassemblies, while tantalum is used to make parts for cell phones, pagers, personal computers and automotive electronics. The U.S. currently imports both resources from countries such as Brazil, Canada and Australia.

• 10 Profound Innovations Ahead
• 7 Gadgets That Changed the World
• Shortage of Rare Earth Elements Could Thwart Innovation

To support electric vehicles like the Leaf, which will be available in Houston toward year's end, the city and Reliant are working to create an infrastructure that places charging stations in convenient locations. Reliant will also be developing a system of support, including home assessments, for people installing home charging stations. The stations will be compatible with other plug-in vehicles as well.

By Senior Editor Kris Smith (@croncast)

The gadgets are flowing and they've got both publishers and subscribers in a tizzy over their options. Are they 3g? Can I put my content on it? Just wifi? What services do they deliver? Do I need to build an app? Am I locked in?

All great questions but not the one that is at the front of my mind. That question being where is the personal media hub for all of this content? Each type of media that we consume has a disparative quality of some sort that requires another gadget or format transcoder to allow usage which means, users need a hub.

I just want to know where that hub will be. I'm not sure if it belongs in the cloud or can even exist there due to limitations placed on that content by rights holders. Which is a legitimate reason not to use the cloud since publishers need to eat.

A couple reasons to use the cloud would be transfer speeds, remote accessibility and backups. With increased gadget connectivity it would make sense to do this. An example of a gadget that needs to be fed from an outside source like the cloud is the PSPgo. It relies on connectivity to fetch games, video and browse the web.

The games on PSPgo arrive from a Sony controlled hub behind a firewall. If the cloud is too limiting due to rights management the other other solution would be to offer a private hub. Another gadget, but one that resides in the dwelling of an individual. Using the Sony model for control and privacy a device like this could be the next evolution of an inclusive hub. It seems to me to be the missing link.

Media management across multiples platforms and for varying devices would require some version of a standard protocol. The protocol probably already exists and could be as simple as HTTP with SSL. The device itself a web server that connects to cars, phones, tablets, computers, televisions, etc.

A device like this could also create new opportunities for rights holders to create new models for selling content. I'm thinking in the range of micropayments for ongoing usage or payments for amount of time used. An example would be a movie that instead of a 24 hour limit would allow the consumer to view it 2 times on any device before being crippled or offered for purchase for an additional few dollars.

My personal interest would be to have a media hub that I had control over and could add content to from any device like the PSPgo, Kindle, iPhone or computer. The ability for these devices to speak a common language for file storage and retrieval would increase consumption and sales as all of a users purchases become portable, even if lockedin to a device.

There are plenty of media hubs that exist today for personal use that can be net connected, but this device would find its niche in storing and delivering content without limitation.

DISCLOSURE OF MATERIAL CONNECTION: http://cmp.ly/0

Where is the personal media hub for ebooks, music and videos? is a post from: TechStartups.com

Yesterday morning I spent the day at my semi-annual MIT Sloan Executive Advisory Board meeting. During breaks, I got into two separate conversations about a book I read last week called Breakpoint by Richard A Clarke. Clarke was chief counter-terrorism adviser for Clinton and Bush and among other things has become a superb science fiction writer. Breakpoint like Daemon is an absolute must read in the cyber-thriller category (BTW thanks Kwin for the recommendation.)

The conversations started out around the book, but quickly evolved in the work that I do and how I think about investing. As part of that, I explained that I learn an enormous amount by both thinking about the future, but also reading science fiction from the past that maps to the present time.

For example, I decided this would be the summer of Dick. I bought all of Philip K. Dick's books (about 60 of them), put them on a shelf in my Keystone house, and have been systematically working my way through them whenever I'm in Keystone (I've read about 15 of them). I'm completely fascinated by how Dick in the 1960's thinks about computers and travel in the early part of the 21st century. Some of his projections of what computers will be like completely miss (Auxtape, Magtape, or some other variation of tape is the storage device", computers have sexy voices) while others are a lot closer (computers have evolved into learning machines that are self-correcting). Travel, on the other hand, is a complete miss you can get from Europe to the US in five minutes in Dick's worlds.

When Kurt Vonnegut died, I did the same thing as tribute to him I bought all the Vonnegut books and read them in order (I still have a few left). As I read Dick, I recalled that I felt Vonnegut sometimes got computers right and sometimes got them wrong, but also completely missed it on travel.

After seeing the latest Star Trek in the theater, Amy and I Netflixed Star Trek Season 1 and started watching it from the beginning (I've seen most of them, but I was never fanatical about Star Trek so there are a few I missed.) Same drill it's cool to see Spock's bluetooth-like ear implant communicator thingy, but why the fuck does the elevator take so long to get between levels on the Enterprise? And what's with the sexy computer voices and all the flashing lights?

When I think about all of the information I synthesize both by going backward in time and reading forward (Dick, Vonnegut, Heinlein, Asimov) as well as starting today and going forward 5 30 years (Clarke, Suarez, Stross, Banks, Stephenson, Gibson, Sterling) I realize that I'm creating a subconscious framework in my brain for a lot of the stuff I'm investing in. Sometimes it maps directly; sometimes it's the stuff that misses that it so interesting.

Oh and it's really fun! BTW, where is that jetpack I was promised (still my favorite West Wing moment of all time):

Leo McGarry: My generation never got the future it was promised Thirty-five years later, cars, air travel is exactly the same. We don't even have the Concorde anymore. Technology stopped.
Josh Lyman: The personal computer
Leo McGarry: A more efficient delivery system for gossip and pornography? Where's my jet pack, my colonies on the Moon?

Filed under: iPhone, App Store

Despite their much-admired situational awareness, even NYC subway veterans sometimes get confused about where to find the nearest station -- and if you're a first time visitor, fuggedaboudit. For iPhone 3GS-enabled residents and tourists, it's about to get a lot easier: acrossair is offering an NYC version of the Nearest Tube augmented reality app, New York Nearest Subway.

Hold your iPhone flat and see a 2D map of the entire system... then lift it perpendicular to the ground, and the heads-up display mode shows you floating icons representing nearby stations, complete with line legends and walking distances. For anyone who's ever walked to a faraway subway stop only to realize that there was a much closer option, this is incredibly compelling. No word on price yet, and the app is awaiting approval; as noted, this app will only work on the 3GS, as the magnetometer is used to determine the direction the phone is facing.

If you've got preferred apps for navigating public transit in your city, pipe up in the comments.

[via Gadget Lab]

Continue reading Reality doesn't get more real: 2 iPhone views of the NYC subway

TUAWReality doesn't get more real: 2 iPhone views of the NYC subway originally appeared on The Unofficial Apple Weblog (TUAW) on Thu, 16 Jul 2009 14:30:00 EST. Please see our terms for use of feeds.

Time is usually - nearly always - displayed by a circular indication: one dial and two (or three) with the time displayed around a perpetual circle. However, this 360 representation of time goes against everything we learnt as we grew up drawing a straight line on a blank page and marking it Past, Present and Future. Why do we think of time as travelling in a straight line yet display it rotating around a circle? The answer is straightforward: mechanisms that continually rotate are much simpler to produce than those that trace a straight line then return to zero. In fact, the latter is so difficult that, until now, nobody has ever managed to develop a production wristwatch with true retrograde linear displays.

The triple-cam is crafted from bronze beryllium, a metal selected for its inherently self-lubricating properties and low co-efficient of friction, and takes the form of three small inclines. The precise shape of the curve of the incline is relayed to the pivoting rack, while the teeth on the end of the rack mesh with and rotate the minute cylinder. The triple-cam makes a complete rotation in three hours so that each of the three inclines takes 60 minutes, and 180 points of reference have been calculated on each of the three cams to ensure the precise and isochronic rotation of the minute cylinder.

Model: UR-CC1

Case: available in either grey gold with titanium case back (limited edition of 25 pieces) or black gold with titanium case back (limited edition of 25 pieces); brushed-satin finish

Movement: calibre UR-CC1; automatic winding regulated by fly brake turbine pneumatic shock absorber

Indications: linear display for hours and minutes with jumping hours and retrograde minutes ; second display both digital and linear

Dimensions: 45.7mm x 43.5mm x 15mm

Dial and Bridges: ARCAP P40. SuperLumiNova treatment on hours, minutes displays

Genesis of a creation

1958. Messrs Gilbert Albert and Louis Cottier combine their talents to create a watch destined to revolutionize the horological world. Their idea is completely outrageous: it is the world's first watch to feature a linear display. It is an extraordinary, avant-garde piece that fulfils none of the aesthetic criteria of the time. As for its linear indication, the idea may seem simple but the execution is a technical headache of monumental proportions. However Messrs Albert and Cottier believe in it and they stick with it, creating a prototype for Patek Philippe.

1959. A patent is deposited by Louis Cottier, detailing the technical scale of the achievement. Then nothing. The prototype is put on to one side. Does the watch even work? Today nobody knows for sure. It took its place in the corner of the Patek Philippe museum and proceeded to arouse curiosity from time to time.

1998. With pencil and paper Martin Frei, co-founder of the URWERK brand and an aesthete at heart, sketches the first outline of his future creation: a watch in which the hours and minutes are indicated by two straight, parallel lines. But he hesitates. With Felix Baumgartner, master watch-maker and co-founder of URWERK, another idea springs to mind the concept of the hour satellite, presented for the first time at Basel. The earlier project is postponed, sine die.

2006. URWERK is henceforth known and recognized for its mechanical hour satellite watches in which orbiting hour satellites indicate the minutes. But the idea of developing a different way of telling the time continues to fascinate Felix Baumgartner. In the end it is the Alfred Hitchcock film The Birds that gives him the decisive nudge in the right direction. In one of the most famous scenes from the film, the heroine seeks refuge in an old Dodge. The image lasts only a few seconds but it is crucial a close-up of the dashboard and its linear speedometer. Yes. That's it! A continuous line with which to mark time. Felix and Martin work non-stop on this new project. Their research leads them to the discovery of Gilbert Albert and Louis Cottier's watch. It will be their muse.

Original Prototype Movement

Watchmaker Felix Baumgartner

I am not big on nostalgia, but I have always loved the linear speedometers found on old cars. My older brother had a 1960's Volvo and it was that which gave us the first idea for a horological linear indication. I recently watched the film The Birds' by Alfred Hitchcock, and in it the heroine took refuge in an old Dodge with a linear speedometer- it is one of my favourite scenes. There are very few wristwatches with linear indications. One of them, if not the first, was The Cobra', which was developed in the late 1950s by Mr. Louis Cottier. It is sensational! Although it was created over half a century ago, it is still very contemporary. Unfortunately, it only exists as a single prototype and was never put into production. Now, 50 years after he filed his patent (1959), URWERK pays homage to the work of Louis Cottier by creating its own interpretation of the Cobra. -Felix Baumgartner

Designer Martin Frei

I am interested in the perception of time. Physicists tell us that time can be warped or stretched, and our daily experiences are with the circular cycles of the days, seasons and years. But I am also intrigued that time can be ordered, even straitjacketed, to flow in a linear direction - a straight line from the past, through the present, to the future. And, because this can represent an individual's lifeline, I feel that this linear format can be a very human way to look at time. That plus the fact that I think it looks really cool! -Martin Frei

I started this blog nearly three years ago and the watch that started it all was the very obscure 1958 Patek Philippe Cobra. A timepiece so advanced for its time, only one prototype was ever produced.

It has taken over half a century for someone to take it seriously and attempt a reinterpretation. Urwerk, the coolest independent brand in the world has just introduced the "King Cobra CC1", an unexpected follow-up to their revolutionary Tarantula and Hammerhead series.

Time is usually - nearly always - displayed by a circular indication: one dial and two (or three) with the time displayed around a perpetual circle. However, this 360 representation of time goes against everything we learnt as we grew up drawing a straight line on a blank page and marking it Past, Present and Future. Why do we think of time as travelling in a straight line yet display it rotating around a circle? The answer is straightforward: mechanisms that continually rotate are much simpler to produce than those that trace a straight line then return to zero. In fact, the latter is so difficult that, until now, nobody has ever managed to develop a production wristwatch with true retrograde linear displays.

The triple-cam is crafted from bronze beryllium, a metal selected for its inherently self-lubricating properties and low co-efficient of friction, and takes the form of three small inclines. The precise shape of the curve of the incline is relayed to the pivoting rack, while the teeth on the end of the rack mesh with and rotate the minute cylinder. The triple-cam makes a complete rotation in three hours so that each of the three inclines takes 60 minutes, and 180 points of reference have been calculated on each of the three cams to ensure the precise and isochronic rotation of the minute cylinder.

Model: UR-CC1

Case: available in either grey gold with titanium case back (limited edition of 25 pieces) or black gold with titanium case back (limited edition of 25 pieces); brushed-satin finish

Movement: calibre UR-CC1; automatic winding regulated by fly brake turbine pneumatic shock absorber

Indications: linear display for hours and minutes with jumping hours and retrograde minutes ; second display both digital and linear

Dimensions: 45.7mm x 43.5mm x 15mm

Dial and Bridges: ARCAP P40. SuperLumiNova treatment on hours, minutes displays

Genesis of a creation

1958. Messrs Gilbert Albert and Louis Cottier combine their talents to create a watch destined to revolutionize the horological world. Their idea is completely outrageous: it is the world's first watch to feature a linear display. It is an extraordinary, avant-garde piece that fulfils none of the aesthetic criteria of the time. As for its linear indication, the idea may seem simple but the execution is a technical headache of monumental proportions. However Messrs Albert and Cottier believe in it and they stick with it, creating a prototype for Patek Philippe.

1959. A patent is deposited by Louis Cottier, detailing the technical scale of the achievement. Then nothing. The prototype is put on to one side. Does the watch even work? Today nobody knows for sure. It took its place in the corner of the Patek Philippe museum and proceeded to arouse curiosity from time to time.

1998. With pencil and paper Martin Frei, co-founder of the URWERK brand and an aesthete at heart, sketches the first outline of his future creation: a watch in which the hours and minutes are indicated by two straight, parallel lines. But he hesitates. With Felix Baumgartner, master watch-maker and co-founder of URWERK, another idea springs to mind the concept of the hour satellite, presented for the first time at Basel. The earlier project is postponed, sine die.

2006. URWERK is henceforth known and recognized for its mechanical hour satellite watches in which orbiting hour satellites indicate the minutes. But the idea of developing a different way of telling the time continues to fascinate Felix Baumgartner. In the end it is the Alfred Hitchcock film The Birds that gives him the decisive nudge in the right direction. In one of the most famous scenes from the film, the heroine seeks refuge in an old Dodge. The image lasts only a few seconds but it is crucial a close-up of the dashboard and its linear speedometer. Yes. That's it! A continuous line with which to mark time. Felix and Martin work non-stop on this new project. Their research leads them to the discovery of Gilbert Albert and Louis Cottier's watch. It will be their muse.

Original Prototype Movement

Watchmaker Felix Baumgartner

I am not big on nostalgia, but I have always loved the linear speedometers found on old cars. My older brother had a 1960's Volvo and it was that which gave us the first idea for a horological linear indication. I recently watched the film The Birds' by Alfred Hitchcock, and in it the heroine took refuge in an old Dodge with a linear speedometer- it is one of my favourite scenes. There are very few wristwatches with linear indications. One of them, if not the first, was The Cobra', which was developed in the late 1950s by Mr. Louis Cottier. It is sensational! Although it was created over half a century ago, it is still very contemporary. Unfortunately, it only exists as a single prototype and was never put into production. Now, 50 years after he filed his patent (1959), URWERK pays homage to the work of Louis Cottier by creating its own interpretation of the Cobra. -Felix Baumgartner

Designer Martin Frei

I am interested in the perception of time. Physicists tell us that time can be warped or stretched, and our daily experiences are with the circular cycles of the days, seasons and years. But I am also intrigued that time can be ordered, even straitjacketed, to flow in a linear direction - a straight line from the past, through the present, to the future. And, because this can represent an individual's lifeline, I feel that this linear format can be a very human way to look at time. That plus the fact that I think it looks really cool! -Martin Frei

Critical consensus on Transformers: Revenge Of The Fallen is overwhelmingly negative. But the critics are wrong. Michael Bay used a squillion dollars and a hundred supercomputers' worth of CG for a brilliant art movie about the illusory nature of plot.

Oh, and I would warn you that there'll be spoilers in this review except that, really, since I still have no idea what actually happened in this movie, I'm not sure how much I can spoil it.

Since the days of Un Chien Andalou and The Cabinet of Dr. Caligari, filmmakers have reached beyond meaning. But with this summer's biggest, loudest movie, Michael Bay takes us all the way inside Caligari's cabinet. And once you enter, you can never emerge again. I saw this movie two days ago, and I'm still living inside it. Things are exploding wherever I look, household appliances are trying to kill me, and bizarre racial stereotypes are shouting at me.

Transformers: ROTF has mostly gotten pretty hideous reviews, but that's because people don't understand that this isn't a movie, in the conventional sense. It's an assault on the senses, a barrage of crazy imagery. Imagine that you went back in time to the late 1960s and found Terry Gilliam, fresh from doing his weird low-fi collage/animations for Monty Python. You proceeded to inject Gilliam with so many steroids his penis shrank to the size of a hair follicle, and you smushed a dozen tabs of LSD under his tongue. And then you gave him the GDP of a few sub-Saharan countries. Gilliam might have made a movie not unlike this one.

And the true genius of Transformers: ROTF is that Bay has put all of this excess of imagery and random ideas at the service of the most pandering movie genre there is: the summer movie. ROTF is like twenty summer movies, with unrelated storylines, smushed together into one crazy whole. You try in vain to understand how the pieces fit, you stare into the cracks between the narrative strands, until the cracks become chasms and the chasms become an abyss into which you stare until it looks deep into your own soul, and then you go insane. You. Do. Not. Leave. The Cabinet.

Michael Bay understands that summer movies are about two things: male anxiety, and pure id. That's why he casts Shia LaBoeuf, that supreme avatar of pure male inadequacy, in the lead role. LaBoeuf projects a pathetic, wall-eyed dorkhood, when he's not babbling like a tumor removed from Woody Allen's prostate that somehow achieved sentience. I imagine the DVD of ROTF will include a whole disk of outtakes where they had to stop filming because LaBoeuf was drooling on camera. As it is, the film includes several extreme closeups of LaBoeuf's dazed stare.

Where was I? Oh yes. So LaBoeuf, who's actually a fine actor, is the stand-in for the male viewers' greatest fears about themselves. No matter how great a loser they might be, they can't be as losery a loser as Sam Witwicky. And yet, Sam has awesome giant robots stomping around telling him he's the most important awesome person ever. And he has the hottest girlfriend in the universe, Megan Fox, for whom banality is a huge aphrodisiac. The more pathetic Sam gets, the more Fox's lips pout and her nipples point, like little Irish setters.

To make matters more awesome for the insecure males in the audience, Sam actually tosses aside his giant robot fanclub and his walking-pinup girlfriend, so he can have a normal life. Of course, this only leads to other robots and hawt chicks (who turn out to be robots too) throwing themselves at him and telling him how important he is. In the end, everybody learns to appreciate Sam just a bit more than they already did, and a booming voice tells him he's earned the "matrix of leadership" through his courage and stuff.

And then there's the "id" part, which is the part where stuff blows up real good, and huge machines smash each other up. And every single performance is so ridiculous that it looks down on "over the top" as if from a great height. It's the part of your brain that thinks it would be awesome to see robots with giant dangling testicles, or hot chicks turning into robot tentacle monsters, or "ghetto" robots that talk in inept hip-hop slang and smash each other playfully, or funny Jewish men who talk about their "schmear" and randomly strip to their G-strings. Is that going too far? Then let's go 100 times farther than that and see what happens!

Transformers: ROTF is so long, you'll need to wear adult diapers to it. But the movie's pure celebration of the primal urge, and unfiltered living, will make you rejoice in your adult diapers. You'll relieve yourself in your seat with a savage joy, your barbaric yawp blending in with the crowd's screams of excitement.

And yet and here's the part where I really think ROTF approaches "art movie" status the movie's id overload reaches such crazy levels that the fabric of reality itself starts to break down. Michael Bay has boasted about how every single shot in the movie has so much stuff going on in it, it would take your PC since the dawn of time to render one frame. After a few hours of this assault, you feel the chair melt and the floor of the movie theater becomes an angry mirror into your soul. Nothing is solid, nothing is real, everything Transforms.

The closest thing I can think of to this movie is the Wachowskis' Speed Racer, which had a similar kind of CG image overload, although it was only five hours long as opposed to ROTF's nine.

And around hour six of ROTF, something curious happens: the two components male enhancement and pure id start to clash, badly. Usually, in a summer movie, the two aspects go together like tits and ass: Jason Statham plays someone who faces the same insecurities as regular dudes, but he overcomes them, and in the process he blows up everything in the world. But creating that kind of fusion requires enslaving the id to the male enhancement, and that in turn means only going way over the top instead of crazy, stratospheric over the top. Michael Bay is not willing to settle for going way over the top, like other directors.

So you have a movie that tries to reassure men that they can actually be masters of their reality but then turns around and says that actually, reality is not real. There's no such thing as the "real world," and the only thing that's left for men to dominate is a nebulous domain of blurred shapes, which occasionally blurt nonsensical swear-words and slang from ethnic groups that have never existed. If you're drowning in an Olympic swimming pool full of hot chewing gum fondue, do you still care if Megan Fox likes you?

So yes, ROTF approaches the sublime, and then just keeps rocketing. Next stop: total anarchy. In a sense, it's the first war movie ever to convey a real sense of the fog of war, the confusion that comes with battle. Somewhere around hour nine, you will understand why friendly fire happens in wartime.

So I've gotten almost all the way through this review, and I still haven't summarized the movie's plot. Here goes. It's a couple years after the first movie, and Sam is going off to college, leaving his transforming car and his hot girlfriend, whom he still hasn't told he loves her. And meanwhile, the soldiers from the first movie are running around with a bunch of late-model GM cars and trucks, which turn into robots and fight other robots sometimes. Sam sees weird symbols which make no sense (and they still make no sense at the end of the movie) and they turn out to be the key to the location of a thing that can control another thing, that will enable the bad guys to destroy the sun. Sam has to embrace the heroic destiny he's rejected, so he can save us all from solarcide.

But that bare plot summary doesn't include the twenty or thirty other storylines that could also claim to be the movie's plot. There's the whole thing where someone from Washington D.C. wonders why the U.S. military is running around the globe with a bunch of late-model GM cars from outer space, and tries to put the kibosh on the military-Autobot complex. There's the teenager who's got a conspiracy website, that competes with another conpsiracy website which turns out to be the work of a secret agent who's decided that the best way to keep things secret is to put them on a website. (It works. I post secret stuff on io9 all the time.) Various robots die and then come back to life, and there's a whole strand about whether Decepticons (the bad ones) can become Autobots (the good ones). And there's the Fallen, who's sort of the movie's villain even though he barely shows up. And people from 17,000 BC who had weird teeth and fought robots. And the ancient Egyptians did stuff. And Sam's parents go to France except that they meet a robot and then they're in Egypt.

Really, I could go on and on. This movie starts out with a coherent storyline, for the first half hour or so, and then it just starts to spin faster and faster until the centrifuge of random events slams you into the walls. It doesn't help that there are 500 robots in the movie and they all look kind of the same.

Oh, but that's the other thing about ROTF. It's actually quite funny, a lot of the time. Some of the jokes fall flat, like the "twin" robots with the ghetto speak, and a lot of the stuff with John Turturro. But the movie's relentless silliness is mostly pretty hilarious, in a Saturday morning cartoon kind of way, and almost nothing in the movie seems intended to be taken seriously.

So, to sum up: Transformers: Revenge Of The Fallen is one of the greatest achievements in the history of cinema, if not the greatest. You could easily argue that cinema, as an artform, has all been leading up to this. It will destabilize your limbic system, probably forever, and make you doubt the solidity of your surroundings. Generations of auteurs have struggled, in vain, to create a cinematic experience as overwhelming, and as liberating, as ROTF.

Women as well as men, everyone watching this film will feel the dissolution of all their certainties, all their illusory grasp on the world... but after you fall into a brazen despair that the walls of reality have become toxic ice cream of a million flavors, you will gasp with a greater realization: that once the world is reduced, forever, to a kaleidoscope of whirling shapes, you are totally free. Nothing matters, effect precedes cause, fish spawn in mid-air, and you can do whatever you want. Let yourself go in your adult diaper, Michael Bay invites you. Feel the music of total excess stir inside your deepest core. It is your Allspark, your cube. And you are a Transformer.