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"Neuigkeiten" aktualisieren nicht mehr


olideca
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Hi. Hab folgendes Problem:

exakt seit 27.10. aktualisieren sich bei mir auf der PS4 sowie auch im App die "Neuigkeiten" nicht mehr. Egal ob meine eigenen Tätigkeiten, von Freunden, oder Playstation-News, nichts passiert. Auch nicht wenn ich manuell "aktualisieren" drücke. Jemand ne Ahnung???

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    • Nein. Bereue es nicht es gekauft zu haben. Nur mal zum besseren Verständnis: Ich halte es nicht für ein schlechtes Spiel. Ein perfektes Spiel oder gar ein GOTY ist es aber auch nicht.  Ästhetik, Atmosphäre, Gore und Sound sind klasse. Was mich persönlich stört ist diese fragwürdige Entscheidung ein Ausweich-system in den Kampf zu implementieren. Desweiteren zieht sich das Spiel, gerade ab der Hälfte und zum Ende hin, ziemlich in die Länge und wird nur noch mit frustrierenden Action-Stellen vollgepackt. Die Story, die man nur durch Audio-Logs erzählt bekommt, ist auch ziemlich mau. Man folgt zwar einem unsichtbaren Pfad, wohin genau dieser führt oder welchen Zweck er hat, das wird aus den Erzählungen nicht so ersichtlich.  Technisch gesehen ist das Spiel auch nicht gerade in einem sauberen Zustand. Definitiv spielbar, ja, doch auch ich hatte schon einen Absturz auf der PS5, kleinere Ruckler bei sehr schnellen Zwischensequenzen, Sound-Aussetzern bei bestimmten Arealen und das, für mich persönlich nervigste Problem, ein Bug der tote Gegner keine Items mehr spawnen lässt. Gerade bei einem Spiel wie diesem sind Heilgegenstände und Munition unverzichtbar! Es gibt noch mehr was mich am Spiel stört (zb fehlende Map) doch da es schon spät ist und ich hier nicht eine lange Text-Wall schreiben will, belasse ich es erstmal dabei.  Meine Bewertung nach aktuellem Stand: 79%
    • Alle 10 Jahre machen Sight&Sound ihre berühmte Umfrage für die Ermittlung der besten Filme aller Zeiten. Dabei werden Kritiker und Regisseure der Welt gefragt, was ihrer Ansicht nach die 10 besten Filme aller Zeiten sind.  All diese Stimmzettel mit 10 Filmen werden dann ganz einfach zusammengezählt. Jede Nennung eines Films gibt dem Film einen Punkt. Heraus kommt eine Top100, die schon seit Jahrzehnten als Leitfaden für alle Filminteressierte dient, um Filme als Kunstform zu erforschen und näher kennenzulernen. Genau jetzt ist es wieder so weit. 10 Jahre sind rum und die Ergebnisse der Umfrage 2022 sind da. Hier die Ergebnisse der Regisseure: (Wegen gleicher Punktzahl sind viele Platzierungen identisch)   Throne of Blood =93 A master of period-drama, Akira Kurosawa recasts Macbeth as a Japanese warlord in one of the greatest Shakespearean adaptations. 1957 Japan Directed by Akira Kurosawa Yi Yi =93 Urban anomie and multi-generational growing pains are given rich, relaxed expression in Edward Yang’s heartfelt Taipei family tapestry. 1999 Taiwan, Japan Directed by Edward Yang Pickpocket =93 Robert Bresson’s hugely influential study of a petty thief in late 1950s Paris is one of his most widely acclaimed films. 1959 France Directed by Robert Bresson Battleship Potemkin =93 Sergei Eisenstein’s renowned agit-drama of proto-revolutionary mutiny and repression, often quoted but still powerful in its montage effects. 1925 USSR Directed by Sergei M. Eisenstein Wanda =93 Barbara Loden’s tough, unsentimental portrait of a woman adrift in the industrial heartlands of the north-eastern United States. 1970 USA Directed by Barbara Loden Taste of Cherry =93   1997 Iran Directed by Abbas Kiarostami Parasite =93 Like Get Out, Bong Joon Ho’s endlessly twisty, blackly sincere class-war thriller is a pop provocation for our unequal times. 2019 Republic of Korea Directed by Bong Joon-ho Hidden =93   2004 France, Austria, Germany, Italy Directed by Michael Haneke The Conformist =93 Bernardo Bertolucci’s stylish period thriller stars Jean-Louis Trintignant as a repressed bureaucrat in Mussolini’s Italy who is assigned to kill his former professor. 1970 Italy, France, Federal Republic of Germany Directed by Bernardo Bertolucci The Colour of Pomegranates =93 The film that Martin Scorsese compared to ‘opening a door and walking into another dimension, where time has stopped and beauty has been unleashed’. 1968 USSR Directed by Sergei Paradjanov Moonlight =93 Instantly heralded as a modern masterpiece, Barry Jenkins’ stunning three-part story of queer identity is both a technical and an emotional marvel. 2016 USA Directed by Barry Jenkins Eternal Sunshine of the Spotless Mind =93   2004 USA Directed by Michel Gondry The Ascent =72   1976 USSR Directed by Larissa Shepitko The Red Shoes =72 The feverish Technicolor and astonishing ballet sequences for which this film is so renowned are as spellbinding as they are disturbing. 1948 United Kingdom Directed by Michael Powell, Emeric Pressburger Wild Strawberries =72 On a road trip to receive an honorary degree, an elderly academic (Victor Sjöstrom) looks back over his life in Ingmar Bergman’s art-cinema classic. 1957 Sweden Directed by Ingmar Bergman Shoah =72 To make sense of the 20th century’s most horrific atrocity, Claude Lanzmann reinvented documentary itself, giving the form colossal new significance. 1985 France Directed by Claude Lanzmann The Spirit of the Beehive =72 Victor Erice’s exquisite impressionistic distillation of childhood fear and wonder in the ruins of the recently ended Spanish Civil War. 1973 Spain Directed by Víctor Erice Blue Velvet =72 David Lynch’s adult fairytale follows teen sleuth Kyle MacLachlan’s murder inquiry into the surreal, perverse corners of small-town America. 1986 USA Directed by David Lynch News from Home =72 Chantal Akerman’s epistolary film, shot in the grime of 70s New York, bridges the distance from Brussels through dictated letters from her mother. 1976 France, Belgium Directed by Chantal Akerman Modern Times =72 Industrial modernity proves mercilessly madcap in Charlie Chaplin’s final (mostly) silent feature, one of the most inspired and ingenious of all his comedies. 1936 USA Directed by Charles Chaplin Sans Soleil =72 Chris Marker’s speculative travelogue-essay, reflecting on culture and history in narrated letters from Guinea to Japan to Iceland. 1982 France Directed by Chris Marker A Brighter Summer Day =72 Young love and teen delinquency in Taiwan’s early 1960s adolescence, in Edward Yang’s slow-burn, bittersweet epic. 1991 Taiwan Directed by Edward Yang Touki Bouki =72 A restless young couple dream of escaping Senegal for Paris in Djibril Diop Mambéty ’s stylish, poetic, irreverent expression of post-colonial fantasies. 1973 Senegal Directed by Djibril Diop Mambéty The Searchers =72 This poll’s last western standing, John Ford’s sweeping, stirring rescue-or-revenge quest remains a film of magnificent mystery and poetry. 1956 USA Directed by John Ford Where is the Friend's House? =72   1987 Iran Directed by Abbas Kiarostami Kes =72 The tough, touching story of a northern schoolboy and the kestrel that brings hope to his hardscrabble life remains the most widely admired of Ken Loach’s films. 1969 United Kingdom Directed by Ken Loach A Separation =72   2011 Iran Directed by Asghar Farhadi Salò, or the 120 Days of Sodom =72 Pier Paolo Pasolini’s controversial adaptation of the Marquis de Sade’s novel, relocated to Benito Mussolini’s fascist republic. 1975 Italy, France Directed by Pier Paolo Pasolini The Conversation =72   1974 USA Directed by Francis Ford Coppola L'Argent =72 Robert Bresson’s last film turns a Tolstoy novella about a forged banknote into a formidably focused meditation on the supposed root of all evil. 1983 France, Switzerland Directed by Robert Bresson Ikiru =72 This study of a terminally ill civil servant seeking meaning in his life is one of Japanese director Akira Kurosawa’s finest achievements. 1952 Japan Directed by Akira Kurosawa The Seventh Seal =72 During the plague-ravaged middle ages, a knight buys time for himself by playing chess with Death in Bergman’s much-imitated arthouse classic. 1957 Sweden Directed by Ingmar Bergman Chinatown =72 Roman Polanski’s brilliant thriller stars Jack Nicholson as a private eye uncovering corruption in 1930s Los Angeles, a desert town where water equals power. 1974 USA Directed by Roman Polanski Jaws =62 Steven Spielberg laid the template for the modern summer blockbuster with this expert thriller about the hunt for a man-eating great white shark. 1975 USA Directed by Steven Spielberg Some Like It Hot =62 Billy Wilder’s supreme gender-bending comedy has Jack Lemmon and Tony Curtis as female-posing musicians on the lam, and many knickers in a twist. 1959 USA Directed by Billy Wilder Lawrence of Arabia =62 An eccentric English officer inspires the Arabs to unite against the Turks during WWI in David Lean’s seven Oscar-winner, an epic in every sense. 1962 United Kingdom Directed by David Lean Blade Runner =62 Iconic neo-noir in a befouled sci-fi Los Angeles where humans and their machine replicas vie to be predators rather than prey. 1982 USA, Hong Kong Directed by Ridley Scott Tropical Malady =62 A work that defies straightforward understanding and suggests understandability may be overrated. 2004 France, Thailand, Germany, Italy, Switzerland Directed by Apichatpong Weerasethakul Sátántangó =62 As timely as ever in its grim poeticisation of demagogues and doom, helplessness and hope. If music be the food of death, play on. 1994 Hungary, Germany, Switzerland Directed by Béla Tarr La ciénaga =62   2001 Argentina, USA, Japan, France, Switzerland, Spain, Brazil Directed by Lucrecia Martel Sunset Blvd. =62 Tinseltown’s greatest self-satire, a gothic requiem for big-screen bygones and the highs of screen stardom. 1950 USA Directed by Billy Wilder Meshes of the Afternoon =62 Had Californian sunlight ever looked as suggestive or sinister before the sharply etched dreamworld of Meshes of the Afternoon? 1943 USA Directed by Maya Deren, Alexander Hackenschmied Late Spring =62 The first of Yasujirō Ozu’s great cycle of dramas that place the joys and sadnesses of family life in the context of a Japan disrupted by modernity. 1949 Japan Directed by Yasujirō Ozu Eraserhead =53   1976 USA Directed by David Lynch Fanny and Alexander =53 The grand summation of Ingmar Bergman’s career, this epic family drama drew on the director’s own childhood experiences in early 20th century Sweden. 1982 Sweden, France, Federal Republic of Germany Directed by Ingmar Bergman Cléo from 5 to 7 =53 In real time, Cléo becomes more real, more subject than object. She discards her whipped-cream wig and polka dots for a simple black shift. She performs less and feels more. 1962 France, Italy Directed by Agnès Varda Viridiana =53 In Luis Buñuel’s controversial masterpiece, a novice nun gets more than she bargains for when she turns her dead uncle’s estate into a home for beggars. 1961 Spain, Mexico Directed by Luis Buñuel Fear Eats the Soul =53 Rainer Werner Fassbinder’s heart-on-sleeve melodrama of a doomed romance across racial and age divides probes social hypocrisy with feeling. 1974 Federal Republic of Germany Directed by Rainer Werner Fassbinder The Piano =53 This virtuoso drama of a mute woman’s and her daughter’s silent defiance of patriarchy in 19th-century New Zealand still has searing emotional heft. 1992 Australia, France Directed by Jane Campion La notte =53 Michelangelo Antonioni's masterpiece stars Marcello Mastroianni and Jeanne Moreau as a couple re-examining their emotional bonds. 1961 Italy, France Directed by Michelangelo Antonioni Singin' in the Rain =53 Hollywood’s troubled transition from silent to talking pictures at the end of the 1920s provided the inspiration for perhaps the greatest of movie musicals. 1951 USA Directed by Gene Kelly, Stanley Donen La Maman et la Putain =53   1973 France Directed by Jean Eustache Don't Look Now =46 Set in off-season Venice, British director Nicolas Roeg’s tragedy combines an acute study of grief with a supernaturally charged thriller plot, to beautiful and devastating effect. 1973 United Kingdom, Italy Directed by Nicolas Roeg Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb =46 Peter Sellers plays three separate roles in Stanley Kubrick’s mordant Cold War comedy in which insanity and political manoeuvrings lead to nuclear meltdown. 1963 United Kingdom, USA Directed by Stanley Kubrick Psycho =46 Alfred Hitchcock’s unsparing wrong-motel shocker starring Janet Leigh is a watershed for mainstream horror and still seminal in its suspense games. 1960 USA Directed by Alfred Hitchcock L'Atalante =46 Jean Vigo’s headily poetic portrait of young newlyweds on – and off – Michel Simon’s barge on the Seine. 1934 France Directed by Jean Vigo City Lights =46 A purely beautiful outing from the Tramp, this delightful urban romance features one of cinema’s most heartbreaking smiles. 1931 USA Directed by Charles Chaplin Once upon a Time in the West =46 Sergio Leone’s operatic widescreen elegy to the old American West, with the forces of corporate capitalism coming down the railroad. 1968 Italy, USA Directed by Sergio Leone Le Mépris =46 Disillusion in love and cinema in Jean-Luc Godard’s most opulent and emotive production, with lovers and film legends at loggerheads in Capri. 1963 France, Italy Directed by Jean-Luc Godard Come and See =41   1985 USSR Directed by Elem Klimov Vagabond =41   1985 France, United Kingdom Directed by Agnès Varda A Man Escaped =41 This prison-break study is Robert Bresson at his most starkly essential: a man, four walls, his ingenuity and the mysterious inflections of fate. 1956 France Directed by Robert Bresson The Night of the Hunter =41 Actor Charles Laughton’s only film as director, starring Robert Mitchum as an implacable child-hunting preacher, still leaves an indelible mark. 1955 USA Directed by Charles Laughton Playtime =41 Jacques Tati’s most painstaking accomplishment blends deft slapstick, endless visual ingenuity and sonic comedy in a stupendous modern satire. 1967 France Directed by Jacques Tati L'avventura =38 Michelangelo Antonioni’s high-modernist breakthrough sends Monica Vitti in search less of her disappeared friend than her own self, via images to get lost in. 1960 Italy, France Directed by Michelangelo Antonioni La Règle du jeu =38 Huge-spirited and sharp-eyed, Jean Renoir’s French-society fresco gathers high classes and low for a weekend of country-house fallout. 1939 France Directed by Jean Renoir La strada =38 A brutish travelling strongman (Anthony Quinn) acquires a waif-like young assistant (Giulietta Masina) before taking to the road in Federico Fellini’s acclaimed neo-realist fable. 1954 Italy Directed by Federico Fellini Au hasard Balthazar 37 Robert Bresson gave us a typically stark vision of humanity as experienced by a put-upon, maltreated beast of burden that passes from owner to owner. 1966 France, Sweden Directed by Robert Bresson La dolce vita =34 Federico Fellini’s ode to Rome presents a lush, vibrant exterior to the swinging city, before revealing its rotting moral core. 1960 Italy, France Directed by Federico Fellini La Jetée =34 The rare short film in this list, Marker’s dazzling photo montage ruminates on memory from beyond the apocalypse. 1962 France Directed by Chris Marker The 400 Blows =34 François Truffaut’s free-wheeling debut, with Jean-Pierre Léaud as his rebel-schoolboy surrogate, is still a banner film for nouvelle vague lyric realism. 1959 France Directed by François Truffaut Sunrise: A Song of Two Humans 33 The first American film by one of German expressionism’s leading exponents, this lush, atmospheric silent drama is replete with groundbreaking cinematography. 1927 USA Directed by F.W. Murnau Man with a Movie Camera =30 Bottomless invention and frenetic, dizzying montage make this city symphony one of cinema’s sharpest, most exciting experiences nearly a century after its release. 1929 USSR Directed by Dziga Vertov The Passion of Joan of Arc =30 Carl Theodor Dreyer’s rapturous silent masterpiece, with soulful close-ups of Renée Jeanne “Maria” Falconetti’s tremulous martyr, transcending tyranny and temporality. 1927 France Directed by Carl Th. Dreyer Ordet =30 An austere parable on the power of faith, Carl Theodor Dreyer’s penultimate film culminates in a transcendent resurrection scene. 1955 Denmark Directed by Carl Th. Dreyer Do the Right Thing 29 Racial tensions reach boiling point in Spike Lee’s incandescent portrait of a Brooklyn neighbourhood on the hottest day of the year. 1989 USA Directed by Spike Lee GoodFellas 28 The dizzying story of wiseguy Henry Hill, from his seduction into a life of crime to his paranoid, cocaine-fuelled departure. 1990 USA Directed by Martin Scorsese The Godfather Part II =26 The expansive second part of Francis Ford Coppola’s Mafia saga continues the Corleone family story, charting in parallel young Vito’s earlier rise to prominence. 1974 USA Directed by Francis Ford Coppola Andrei Rublev =26 Andrei Tarkovsky’s epic portrait of a medieval artist may be the most wrenching depiction of belief, creativity and the search for meaning ever filmed. 1966 USSR Directed by Andrei Tarkovsky Raging Bull =22 Starring Robert De Niro as the middleweight boxer Jake La Motta, Scorsese’s biopic is widely acknowledged as one of the greatest films of the 1980s. 1980 USA Directed by Martin Scorsese Pather Panchali =22 All the mischief, discoveries, joys and tragedies of life are given endlessly lyrical expression in Satyajit Ray’s debut, the first entry in ‘The Apu Trilogy’. 1955 India Directed by Satyajit Ray Mulholland Dr. =22 Hollywood is dark and dangerous, yet alluring, in David Lynch’s acclaimed thriller. 2001 France, USA Directed by David Lynch The Battle of Algiers =22 A window on Algeria’s wider liberation war, recreating a violent phase of guerrilla struggle and suppression in powerful free-documentary style. 1966 Italy, Algeria Directed by Gillo Pontecorvo Bicycle Thieves =20 The film that topped our inaugural poll in 1952, Vittorio De Sica’s indelible neorealist parable offers a sharp-eyed portrait of Italy ’s post-war privations. 1948 Italy Directed by Vittorio De Sica Rashomon =20 The film that brought Japanese cinema to the world, this 88-minute firecracker proved a seminal assault on the notion of objectivity. 1950 Japan Directed by Akira Kurosawa A Woman under the Influence 19   1974 USA Directed by John Cassavetes Apocalypse Now 18 Francis Ford Coppola’s Vietnam War blowout, a hell-trip through the smoke and dazzle of imperial America’s most grandstanding rogue show. 1979 USA Directed by Francis Ford Coppola Stalker =14 Two men recruit a guide to take them into ‘the Zone’, a mysterious realm where one’s innermost wishes come true, in this metaphysical sci-fi epic. 1979 USSR Directed by Andrei Tarkovsky À bout de souffle =14 Jean-Luc Godard’s cock-of-the-walk calling card, mixing pulp pastiche and upstart rebellion with Jean-Paul Belmondo’s footloose Parisian delinquent. 1960 France Directed by Jean-Luc Godard Seven Samurai =14 Akira Kurosawa’s monumental, scintillating tale of hired samurai protecting a peasant village: period thriller and moral/political fable in one. 1954 Japan Directed by Akira Kurosawa Beau travail =14 Claire Denis’s great gift is to evoke emotion with gesture and juxtaposition. In the desert, water shimmers and ripples, naked shoulders perspire, black mosquito nets recall sheer lingerie. 1998 France Directed by Claire Denis Barry Lyndon =12 Stanley Kubrick’s meticulously designed epic recounts the picaresque exploits of an 18th-century Irish adventurer. 1975 USA, United Kingdom Directed by Stanley Kubrick Taxi Driver =12 Martin Scorsese and Paul Schrader’s high-art vigilante movie for fallen times, with a coiled Robert De Niro as psycho-saviour of an infernal NYC. 1976 USA Directed by Martin Scorsese Close-up =9 The more ‘information’ we’re offered about the case, the more we come to realise that there are no easy answers to any of the questions being raised. 1989 Iran Directed by Abbas Kiarostami In the Mood for Love =9 Wong Kar Wai’s masterpiece is a heartbreaking story of illicit love that pulses with the ache of repressed desire. 2000 Hong Kong, France Directed by Wong Kar Wai Persona =9 Any sense of a conventional psychodrama is constantly disrupted by the experimental, improvisatory filmmaking. 1966 Sweden Directed by Ingmar Bergman Mirror 8 Cinema scaled new heights of visual poetry in this deeply personal, elliptical film by the master of ‘sculpting in time’. 1975 USSR Directed by Andrei Tarkovsky 8½ =6 Federico Fellini’s portrait of the film director as harried ringmaster and unreliable dreamer, spinning gold from his memories and fantasies. 1963 Italy, France Directed by Federico Fellini Vertigo =6 A former detective with a fear of heights is hired to follow a woman apparently possessed by the past, in Alfred Hitchcock’s timeless thriller about obsession. 1958 USA Directed by Alfred Hitchcock Jeanne Dielman 23, quai du Commerce, 1080 Bruxelles =4 A magnificent epic of experimental cinema offering a feminist perspective on recurrent events of everyday life. 1975 Belgium, France Directed by Chantal Akerman Tokyo Story =4 Told in Yasujirō Ozu’s simple and elegant style, this story of intergenerational discord is heartbreaking and deeply human. 1953 Japan Directed by Yasujirō Ozu The Godfather 3 The first of Francis Ford Coppola’s epic trilogy about the Corleone crime family is the disturbing story of a son drawn inexorably into his father’s Mafia affairs. 1972 USA Directed by Francis Ford Coppola Citizen Kane 2 Famously sitting at the top of the Sight and Sound poll from 1962 to 2002, Orson Welles’s masterful debut, about newspaper magnate Charles Foster Kane, remains an enduring classic. 1941 USA Directed by Orson Welles 2001: A Space Odyssey 1 Stanley Kubrick’s grand vision of mankind’s journey from its hominid beginnings to its star-child evolution is a towering achievement of science-fiction cinema. 1968 USA, United Kingdom Directed by Stanley Kubrick   ‐------------------------------------- --------------------------------------   Die Ergebnisse der Kritiker findet ihr unter folgendem Link: https://www.bfi.org.uk/sight-and-sound/greatest-films-all-time     Und nun seid ihr an der Reihe! Wenn ihr die 10 wichtigsten Filme wählen müsstet, die ihr als die wertvollsten erachtet, die jeder Mensch einmal sehen sollte, die am besten das Filmmedium repräsentieren, was würdet IHR wählen? Postet eure eigene Sight&Sound Top 10 in den Kommentaren!
    • Wobei man prinzipiell seit den 90ern schon diverse System haben musste, wenn man wirklich alle Knaller spielen wollte und einen breiten Geschmack für Videospiele hat. Für mich war das jede Gen ein Thema. Diese Gen bietet sich mir lustigerweise durch den PC die Chance, theoretisch mit einem System alle Must Haves abzuräumen. Wird wohl im nächsten Jahr gegönnt.
    • wie ein bummerang, komm Ich immer wieder an dich ran   Oder anders ausgedrückt: Stalking LOL          
    • Na ja wenn man Fußball Fan und Shooter mag kommt man an beiden Spielen nicht vorbei. Sieht man ja an den Verkaufszahlen und welche Spiele am meisten gespielt werden. Da finde ich deinen Spruch mit "ohne Anspruch" nicht passend. Aber ist ja deine Meinung die ich akzeptiere aber nicht teile. Und wir sind im falschen Thread für diese Gespräche. 👍
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