GPS is all the rage with video recording these days – The good folks at Contour have embraced it, presenting all you mt. bikers, skiers, and general lovers of action video with the Contour GPS HD Helmet Camera. With the Contour GPS you’ll get GPS tracking capabilities and stunning 1920 x 1080p HD video. And of course, you’ll also get the security of Contour’s patented TRail system. The TRail system makes it easy to lock your Contour camera to your helmet, body, equipment, or vehicle using a number of ancillary mounting accessories. | Let’s take a closer look at the GPS tracking function, shall we? The camera’s built-in GPS receiver tracks your exact location numerous times each second – it also tracks your speed and elevation! Using the included Storyteller software you can review your entire trip on an interactive map. And when you upload your video to Contour’s sharing site your stats can be posted for all to see – and to try and duplicate, if they dare.

• GPS Tracking – 1920 x 1080/30p HD Video – microSD Card Slot
• 5MP CMOS Sensor – Fixed Focus Lens – 5MP Still Image Capture
• Storytelling Editing Software – Hands-Free Recording with TRail System – Software Mac and PC Compatible
• Video Mapping: Add an entire new layer to your storytelling. The built-in GPS receiver tracks your location multiple times per second with pinpoint accuracy so you are able to capture your location, speed, and elevation while recording in beautiful hands-free HD
• High Definition: The Contour GPS captures beautiful 1080p video. It utilizes a 135° wide-angle rotating lens that delivers a true high quality image that captures all the action with minimal distortion and no fish-eye. It records stunning HD in all its glory

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Amazon.co.uk Review
In a way, Scarlet Street is a remake. It’s taken from a French novel, La Chienne (literally, “The Bitch”) that was first filmed by Jean Renoir in 1931. Renoir brought to the sordid tale all the colour and vitality of Montmartre; Fritz Lang’s version shows us a far harsher and bleaker world. The film replays the triangle set-up from Lang’s previous picture, The Woman in the Window, with the same three actors. Once again, Edward G Robinson plays a respectable middle-aged citizen snared by the charms of Joan Bennett’s streetwalker, with Dan Duryea as her low-life pimp. But this time around, all three characters have moved several notches down the ethical scale. Robinson, who in the earlier film played a college professor who kills by accident, here becomes a downtrodden clerk with a nagging, shrewish wife and unfilled ambitions as an artist, a man who murders in a jealous rage. Bennett is a mercenary vamp, none too bright, and Duryea brutal and heartless. The plot closes around the three of them like a steel trap. This is Lang at his most dispassionate. Scarlet Street is a tour de force of noir filmmaking, brilliant but ice-cold.

When it was made the film hit censorship problems, since at the time it was unacceptable to show a murder going unpunished. Lang went out of his way to show the killer plunged into the mental hell of his own guilt, but for some authorities this still wasn’t enough, and the film was banned in New York State for being “immoral, indecent and corrupt”. Not that this did its box-office returns any harm at all.

On the DVD: sparse pickings. There’s an interactive menu that zips past too fast to be of much use. The full-length commentary by Russell Cawthorne adds the occasional insight, but it’s repetitive and not always reliable. (He gets actors’ names wrong, for a start.) The box claims the print’s been “fully restored and digitally remastered”, but you’d never guess. –Philip Kemp

Scarlet Street

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Amazon.co.uk Review
In Tetsuo: The Iron Man Shinya Tsukamoto draws on the marriage of flesh and technology that inspires so much of David Cronenberg’s work and then twists it into a Manga-influenced cyberpunk vision. A man (Tomoroh Taguchi) awakens from a nightmare in which his body is helplessly fusing with the metal objects around him, only to find it happening to him in real life… or is it? Haunted by memories of a hit and run (eerily prophetic of Cronenberg’s Crash), the man knows this ordeal could be a dream, a fantastic form of divine retribution, or perhaps technological mutation born of guilt and rage.

Shot in bracing black and white on a small budget, Tsukamoto puts a demented conceptual twist on good old-fashioned stop-motion effects and simple wire work, giving his film the surreal quality of a waking dream with a psychosexual edge (resulting in the film’s most disturbing scene). The story ultimately takes on an abstract quality enhanced by the grungy look and increasingly wild images as they take to the streets in a mad chase of technological speed demons. This first entry in his self-titled “Regular Sized Monster Series” was followed by a full-colour sequel, Tetsuo II: The Body Hammer, which trades the muddy experimental atmosphere for a big-budget sheen but can’t top the cybershock to the system this movie packs.–Sean Axmaker

Tetsuo: The Iron Man

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