All Is Lost For Mac

Jun 17, 2013 - To locate a lost Mac, you'll need to log in to iCloud. You've just lost. Find My iPhone will display a map with the locations of all of your devices. This is the British English definition of all is not lost. View American English definition of all is not lost. Change your default dictionary to American English. All Is Lost is a 2013 survival drama film written and directed by J. The film stars Robert Redford as a man lost at sea. Redford is the only cast member, and the film has very few spoken words. All Is Lost is Chandor's second feature film, following his 2011 debut Margin Call.

1. All Is Lost For Mac Download

. Command-X: Cut the selected item and copy it to the Clipboard. Command-C: Copy the selected item to the Clipboard. This also works for files in the Finder. Command-V: Paste the contents of the Clipboard into the current document or app.

This also works for files in the Finder. Command-Z: Undo the previous command. You can then press Shift-Command-Z to Redo, reversing the undo command. In some apps, you can undo and redo multiple commands.

Command-A: Select All items. Command-F: Find items in a document or open a Find window. Command-G: Find Again: Find the next occurrence of the item previously found.

To find the previous occurrence, press Shift-Command-G. Command-H: Hide the windows of the front app.

To view the front app but hide all other apps, press Option-Command-H. Command-M: Minimize the front window to the Dock. To minimize all windows of the front app, press Option-Command-M. Command-O: Open the selected item, or open a dialog to select a file to open. Command-P: Print the current document.

Command-S: Save the current document. Command-T: Open a new tab. Command-W: Close the front window. To close all windows of the app, press Option-Command-W. Option-Command-Esc: an app.

Command–Space bar: Show or hide the search field. To perform a Spotlight search from a Finder window, press Command–Option–Space bar.

(If you to type in different languages, these shortcuts change input sources instead of showing Spotlight. Learn how to.). Control–Command–Space bar: Show the Character Viewer, from which you can choose. Control-Command-F: Use the app in full screen, if supported by the app. Space bar: Use to preview the selected item.

Command-Tab: Switch to the next most recently used app among your open apps. Shift-Command-5: In, take a screenshot or make a screen recording. In earlier macOS versions, use Shift-Command-3 or Shift-Command-4 for screenshots.

Shift-Command-N: Create a new folder in the Finder. Command-Comma (,): Open preferences for the front app. You might need to press and hold some of these shortcuts for slightly longer than other shortcuts. This helps you to avoid using them unintentionally. Power button: Press to turn on your Mac or wake it from sleep. Press and hold for 1.5 seconds to put your Mac to sleep.

Continue holding to. Option–Command–Power button. or Option–Command–Media Eject: Put your Mac to sleep. Control–Shift–Power button. or Control–Shift–Media Eject: Put your displays to sleep. Control–Power button. or Control–Media Eject: Display a dialog asking whether you want to restart, sleep, or shut down.

Control–Command–Power button:. Force your Mac to restart, without prompting to save any open and unsaved documents. Control–Command–Media Eject: Quit all apps, then restart your Mac. If any open documents have unsaved changes, you will be asked whether you want to save them. Control–Option–Command–Power button.

or Control–Option–Command–Media Eject: Quit all apps, then shut down your Mac. If any open documents have unsaved changes, you will be asked whether you want to save them. Shift-Command-Q: Log out of your macOS user account. You will be asked to confirm. To log out immediately without confirming, press Option-Shift-Command-Q. Does not apply to the. Command-D: Duplicate the selected files.

All Is Lost For Mac Download

Command-E: Eject the selected disk or volume. Command-F: Start a Spotlight search in the Finder window.

Command-I: Show the Get Info window for a selected file. Command-R: (1) When an alias is selected the Finder: show the original file for the selected alias. (2) In some apps, such as Calendar or Safari, refresh or reload the page. (3) In, check for software updates again. Shift-Command-C: Open the Computer window. Shift-Command-D: Open the desktop folder. Shift-Command-F: Open the Recents window, showing all of the files you viewed or changed recently.

Shift-Command-G: Open a Go to Folder window. Shift-Command-H: Open the Home folder of the current macOS user account.

Shift-Command-I: Open iCloud Drive. Shift-Command-K: Open the Network window. Option-Command-L: Open the Downloads folder. Shift-Command-N: Create a new folder. Shift-Command-O: Open the Documents folder.

Shift-Command-P: Show or hide the Preview pane in Finder windows. Shift-Command-R: Open the AirDrop window. Shift-Command-T: Show or hide the tab bar in Finder windows.

Control-Shift-Command-T: Add selected Finder item to the Dock (OS X Mavericks or later). Shift-Command-U: Open the Utilities folder. Option-Command-D: Show or hide the Dock. Control-Command-T: Add the selected item to the sidebar (OS X Mavericks or later).

Option-Command-P: Hide or show the path bar in Finder windows. Option-Command-S: Hide or show the Sidebar in Finder windows. Command–Slash (/): Hide or show the status bar in Finder windows. Command-J: Show View Options. Command-K: Open the Connect to Server window. Command-L: Make an alias of the selected item.

Command-N: Open a new Finder window. Option-Command-N: Create a new Smart Folder.

Command-T: Show or hide the tab bar when a single tab is open in the current Finder window. Option-Command-T: Show or hide the toolbar when a single tab is open in the current Finder window. Option-Command-V: Move: Move the files in the Clipboard from their original location to the current location. Command-Y: Use Quick Look to preview the selected files. Option-Command-Y: View a Quick Look slideshow of the selected files. Command-1: View the items in the Finder window as icons.

Command-2: View the items in a Finder window as a list. Command-3: View the items in a Finder window in columns. Command-4: View the items in a Finder window with Cover Flow. Command–Left Bracket : Go to the previous folder. Command–Right Bracket : Go to the next folder. Command–Up Arrow: Open the folder that contains the current folder.

Command–Control–Up Arrow: Open the folder that contains the current folder in a new window. Command–Down Arrow: Open the selected item.

Right Arrow: Open the selected folder. This works only when in list view. Left Arrow: Close the selected folder. This works only when in list view.

Command-Delete: Move the selected item to the Trash. Shift-Command-Delete: Empty the Trash. Option-Shift-Command-Delete: Empty the Trash without confirmation dialog.

Command–Brightness Up: Turn on or off. Command–Brightness Down: Turn on or off when your Mac is connected to more than one display. Option–Brightness Up: Open Displays preferences. This works with either Brightness key.

Control–Brightness Up or Control–Brightness Down: Change the brightness of your external display, if supported by your display. Option–Shift–Brightness Up or Option–Shift–Brightness Down: Adjust the display brightness in smaller steps. Add the Control key to this shortcut to make the adjustment on your external display, if supported by your display. Option–Mission Control: Open Mission Control preferences. Command–Mission Control: Show the desktop. Control–Down Arrow: Show all windows of the front app. Option–Volume Up: Open Sound preferences.

This works with any of the volume keys. Option–Shift–Volume Up or Option–Shift–Volume Down: Adjust the sound volume in smaller steps. Option–Keyboard Brightness Up: Open Keyboard preferences. This works with either Keyboard Brightness key. Option–Shift–Keyboard Brightness Up or Option–Shift–Keyboard Brightness Down: Adjust the keyboard brightness in smaller steps. Option key while double-clicking: Open the item in a separate window, then close the original window.

Command key while double-clicking: Open a folder in a separate tab or window. Command key while dragging to another volume: Move the dragged item to the other volume, instead of copying it. Option key while dragging: Copy the dragged item. The pointer changes while you drag the item. Option-Command while dragging: Make an alias of the dragged item. The pointer changes while you drag the item.

Option-click a disclosure triangle: Open all folders within the selected folder. This works only when in list view. Command-click a window title: See the folders that contain the current folder.

Click the Go menu in the Finder menu bar to see shortcuts for opening many commonly used folders, such as Applications, Documents, Downloads, Utilities, and iCloud Drive.

By Adam Nayman Robert Redford dies at the end of All Is Lost. This is not, strictly speaking, a spoiler, as the climax of J.C. Chandor’s sophomore feature is calculatedly ambiguous—an existential Choose Your Own Adventure, if you will. The final image of Redford’s unnamed seaman reaching out to grasp the outstretched hand of an unseen rescuer is equally readable as a deus ex machina or a death dream; the faintly surreal quality of the visuals could indicate either genuine disorientation or a merciful, fatal hallucination. If I happen to come down on the side of the latter, it has less to do with the staging of the money shot than the way that it gets there in the first place. Of all the recent extreme-survival narratives in American cinema—from 127 Hours (2010) to Life of Pi (2012) to this year’s Gravity, Captain Phillips, and 12 Years a Slave— All Is Lost has the most powerful sense of inexorability. It also happens to be the most accomplished piece of filmmaking on that list by a nautical mile.

Though Chandor’s decent 2011 debut Margin Call featured lots of good actors crammed together in board rooms, it felt more artistically constrained than authentically claustrophobic: if the film’s long day’s journey into financial nightmare suggested an especially topical off-Broadway play, the glossy, HBO-ready cinematography kept it lodged in the realm of the comfortably glib. Where Chandor truly excelled was in his ability to perk up such oft-somnolent performers as Kevin Spacey and Jeremy Irons and rein in show-offs like Stanley Tucci, while his clever deployment of co-producer Zachary Quinto as an investment-firm Chicken Little (arching those Vulcanized eyebrows in alarm rather than aloofness) suggested that he was as much attuned to individual actors as ensemble dynamics—a rare inheritor of the Sidney Lumet tradition at a time when so many indie kids are strenuously seeking to evoke Terrence Malick. There are a few lyrical moments in All Is Lost, but for the most part the film is an admirable case of form following function: the camera is always where it needs to be instead of where an overweening director might think to place it. And although the film’s almost total lack of dialogue is clearly a screenwriter’s conceit, the director’s choices are genuinely judicious. Starting with the opening voice-over, Chandor lets a very little bit of poetry go a long way: Redford’s reading comes over a shot of a massive, floating metallic object (we’ll later come to recognize it as the shipping container that crashes into the protagonist’s yacht, irreparably denting its hull), the obliqueness of the composition belying the plangency of the words, which eventually coalesce into an apology of sorts—an admission of failure tinged with guilt. While this tactic of beginning at or near the endpoint of a story and then circling back to the kickoff often undermines any sense of narrative drive, it works here because it establishes a meditative tone just long enough for it to be brutally punctured.

The first thing we see in the movie proper is water seeping into the protagonist’s sleeping quarters, and while it’s not difficult to connect the dots between this little trickle and the water-logged visual of the prologue, the foreknowledge that things will not end well clarifies the film’s theme—which, simply put, is the inevitability of death. Not that Redford’s character goes down without a fight. In the early stages, he’s surprisingly levelheaded about the fact that his boat has had its side smashed in, acting quickly but methodically to dislodge the container and try to repair the leak. These early passages are rich in thick, tactile details (e.g., the brown solvent that he uses to treat the hole before patching over it), but there’s a hovering sense of unease that has less to do with the approaching storm than some carefully repressed interior reckoning. Adrift and alone, all Redford’s solo voyager can do is to focus intensely on the state of his vessel, which gradually comes to seem like an extension of his body; he has to maintain the former in order to secure the safety of the latter.

That the vessel betrays its fragility well before its passenger suggests that old maxim about spirit and flesh, and the unfortunate reality that the one will always be subordinate to the other. Using a harrowing physical scenario to access grander metaphysical themes is a tried-and-true tactic, and Chandor’s film acquits itself far more honourably within this tradition than others of its contemporaries. Where Life of Pi’s concluding twist—that its whole believe-it-or-not adventure story was an allegory all along—is a self-saluting gesture passed off as narrative sleight-of-hand, the minimalist spaciousness of All Is Lost invites deeper interpretation in real time instead of saving it up for a big finish. And while Gravity briefly hits pause on its video-game storytelling to shove in some quick-hit sociopolitical commentary, as Sandra Bullock’s flailing astronaut makes her way from a stalled American spacecraft to a functioning Chinese one, complete with smiling Buddha figurine on the dashboard, All Is Lost sees and raises that ready-made resonance in a late shot of Redford trying and failing to flag down an internationally branded freighter: the literal and proverbial little guy bobbing helplessly in capitalism’s unheeding wake. And when it comes to vertiginous perspectives, Chandor tops Ang and Alfonso both: none of Pi or Gravity’s CGI-assisted swoops through sea, sky or space is as harrowing as a dangling camera capturing the sight of a 77-year-old man’s legs wrapped around a 60-foot beam, a breathless shot that offers a genuine three-for-one sense of peril—for cameraman, character and actor—all at once.

That contrast between the physical vulnerability of the aged man onscreen and the aura of invincibility surrounding the aged man who plays him is, of course, the great central tension of All Is Lost. Rather than writing yet another encomium to Redford’s award-worthy under-acting in this movie (not that one isn’t entirely deserved), I’ll just say that it was an especially smart move for Chandor to use one of the truly Teflon American movie stars in a part that pretty quickly strips away that untouchable surface. No less than Warren Beatty and more consistently than his old pal Paul Newman, Redford always seemed to have bigger fish to fry than being a star. When he and Beatty won directing Oscars in succession for Ordinary People (1980) and Reds (1981), it seemed less like consolation prizes for being overlooked at their day jobs than recognition of their true ambitions. Where the equally effortlessly glamorous Newman could wear that famous face and still disappear into roles, Redford always seemed to be playing some version of himself: an affable (if sometimes strenuously intense) genetic front-runner whose beauty was his birthright. The WASP-without-a-stinger quality that made him perfect for The Candidate (1972) and The Way We Were (1973) also rendered him somewhat unfit for duty in the decade’s true keynote works; even in his signature role as Bob Woodward in All the President’s Men (1975), he’s more the handsome blonde front-man to Dustin Hoffman’s hard-driving Carl Bernstein. But then Hoffman could never have done All Is Lost, and neither could Al Pacino or Robert De Niro, and not only because they’ve all lately (over)exposed themselves as comedy-cameo clowns.

(Newman could have done it, of course). Redford’s relative reticence to appear on screen in the years that he spent building the Sundance brand has made of him a quiet mentor figure rather than another embarrassing New Hollywood hangover. Chandor is one of Redford’s many Sundance Kids, and he’s a prodigious son, a smart operator who isn’t above using his father figure to give his old-man-and-the-sea yarn some extra-textual ballast. Like David Lynch’s sublime The Straight Story (1999), Chandor’s film is an earned sentimental journey, no matter that it substitutes Redford’s twilight handsomeness for Richard Farnsworth’s considerably more homespun mug. Offering up the grim spectacle of an icon being broken down piece by piece, All Is Lost collapses the gulf between audience and movie star more effectively and affectingly than any film I can remember.