Thank god for Christopher Nolan. Had it not been for him and his layered interpretation of the caped crusader Batman, we wouldn’t have ever known that superhero films are something more than an excuse to give the comic book fans of the world a chance to see all their favorite action figures, life size and in full form. Gavin Hood’s interpretation of the Marvel comic superhero Wolverine, however, has no such intentions. It’s essentially a technical exercise that dwells in the perfunctory. For as much mayhem that takes place in the film, there’s very little tension going on beneath the surface for any of it to register as anything more than expensive CGI effects. The titular character of the troubled mutant that was carefully nurtured in the previous films serves as little more than justification for destruction-focused action scenes in the film. X Men Origins is not about the hero’s journey of self discovery, it’s actually about cars being blown to pieces and metal blocks being shredded to slivers. It has no passion, no connection to where we are now, and in a series whose stories have heretofore spoken dark truths about American intolerance, that matters.
The year is 1845, Wolverine is a young boy from Northwest Canada who is not aware of his mutant power. In a fit of rage he kills his father and runs away from home. His half brother Victor (Live Schreiber) escapes with him and together they take an oath of protecting each other forever. Their mutant powers ensure that they do not age like other human beings so we have an extensive title sequence where the two are shown fighting in numerous wars like American Civil War, World War I and II and Vietnam. Victor’s thirst for power achieves monstrous proportions and soon he is killing for pleasure. Wolverine is disillusioned with this and decides to become a Canadian lumberjack and settle with his girlfriend. All, however, is not well because Victor stages a violent comeback in his life by killing his girlfriend. Thereon the film is all about Wolverine tracking Victor down and leaving a trail of destruction behind
The next generation of Super CCD sensor that Fujifilm announced last September, the Super CCD sensor makes its debut this month in the FinePix F200EXR compact point-and-shoot. The sensor technologically weds Fujifilm's older Super CCD HR (high resolution) and Super CCD SR (more sensitive) in a single chip with 12 million photosites. It can generate 12-megapixel images by using the data from each site individually, or 6-megapixel images by combining adjacent same-color sites. Although the latter technique, known as binning, isn't new, Fujifilm claims it does it better job because it doubles up the adjacent same-color pixels. 
