Vastralaya

Connor Harris

Evan Shively (Perseus271)

Edgar Colt

Vitor Miguel

Prisma Soulstorm

Serena

Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Long acknowledged as a master of nightmarish vision, H.P. Lovecraft established the genuineness and dignity of his own pioneering fiction in 1931 with his quintessential work of supernatural horror, At the Mountains of Madness. The deliberately told and increasingly chilling recollection of an Antarctic expedition's uncanny discoveries --and their encounter with an untold menace in the ruins of a lost civilization--is a milestone of macabre literature.

The Outsiders is about two weeks in the life of a 14-year-old boy. The novel tells the story of Ponyboy Curtis and his struggles with right and wrong in a society in which he believes that he is an outsider. According to Ponyboy, there are two kinds of people in the world: greasers and socs. A soc (short for "social") has money, can get away with just about anything, and has an attitude longer than a limousine. A greaser, on the other hand, always lives on the outside and needs to watch his back. Ponyboy is a greaser, and he's always been proud of it, even willing to rumble against a gang of socs for the sake of his fellow greasers--until one terrible night when his friend Johnny kills a soc. The murder gets under Ponyboy's skin, causing his bifurcated world to crumble and teaching him that pain feels the same whether a soc or a greaser.Librarian note: This record is for one of the three editions published with different covers and with ISBN 0-140-38572-X / 978-0-14-038572-4. The records are for the 1988 cover (this record), the 1995 cover, and the 2008 cover which is also the current in-print cover.

Now available in a handsome paperback box set for the first time, these four paperback chapter books of "The Lion, the Witch and the Wardrobe" each have unique movie covers from the blockbuster Walt Disney Pictures and Walden Media film and black-and-white interior movie photographs. Each book tells the movie story of "The Lion, the Witch and the Wardrobe" from the perspective of one of the four Pevensie heroes: Peter, Susan, Edmund, and Lucy.

At the dawn of the next world war, a plane crashes on an uncharted island, stranding a group of schoolboys. At first, with no adult supervision, their freedom is something to celebrate; this far from civilization the boys can do anything they want. Anything. They attempt to forge their own society, failing, however, in the face of terror, sin and evil. And as order collapses, as strange howls echo in the night, as terror begins its reign, the hope of adventure seems as far from reality as the hope of being rescued. Labeled a parable, an allegory, a myth, a morality tale, a parody, a political treatise, even a vision of the apocalypse, Lord of the Flies is perhaps our most memorable novel about “the end of innocence, the darkness of man’s heart.”

"Once there was a tree...and she loved a little boy."So begins a story of unforgettable perception, beautifully written and illustrated by the gifted and versatile Shel Silverstein.Every day the boy would come to the tree to eat her apples, swing from her branches, or slide down her trunk...and the tree was happy. But as the boy grew older he began to want more from the tree, and the tree gave and gave and gave.This is a tender story, touched with sadness, aglow with consolation. Shel Silverstein has created a moving parable for readers of all ages that offers an affecting interpretation of the gift of giving and a serene acceptance of another's capacity to love in return.

The unforgettable novel of a childhood in a sleepy Southern town and the crisis of conscience that rocked it, To Kill A Mockingbird became both an instant bestseller and a critical success when it was first published in 1960. It went on to win the Pulitzer Prize in 1961 and was later made into an Academy Award-winning film, also a classic.Compassionate, dramatic, and deeply moving, To Kill A Mockingbird takes readers to the roots of human behavior - to innocence and experience, kindness and cruelty, love and hatred, humor and pathos. Now with over 18 million copies in print and translated into forty languages, this regional story by a young Alabama woman claims universal appeal. Harper Lee always considered her book to be a simple love story. Today it is regarded as a masterpiece of American literature.

The day after they moved in, Coraline went exploring....In Coraline's family's new flat are twenty-one windows and fourteen doors. Thirteen of the doors open and close. The fourteenth is locked, and on the other side is only a brick wall, until the day Coraline unlocks the door to find a passage to another flat in another house just like her own. Only it's different. At first, things seem marvelous in the other flat. The food is better. The toy box is filled with wind-up angels that flutter around the bedroom, books whose pictures writhe and crawl and shimmer, little dinosaur skulls that chatter their teeth. But there's another mother, and another father, and they want Coraline to stay with them and be their little girl. They want to change her and never let her go. Other children are trapped there as well, lost souls behind the mirrors. Coraline is their only hope of rescue. She will have to fight with all her wits and all the tools she can find if she is to save the lost children, her ordinary life, and herself. Critically acclaimed and award-winning author Neil Gaiman will delight readers with his first novel for all ages.

Lowry's book is a piece of nationalist propaganda, using oversimplification, emotional appeals, and dualistic morality to shut down her readers' minds. More troubling is that it is aimed at children, who don't yet have the critical faculties to defend themselves from such underhanded methods.Unsurprisingly, Lowry adopts the structure of the monomyth, equating a spiritual journey with a moral one. Her Christ-figure uses literal magic powers to rebel against his society. This rebellion and the morality behind it are presented as 'natural', to contrast with the 'abnormal morality' around him.Lowry doesn't seem to understand that we get our morality from our culture, it isn't something in-born that we 'lose'. This is the first hint of Lowry's misunderstanding of the human mind. She assumes her own morality is correct, and then builds her story to fit it.She also makes the character act and think like a modern person would, despite never adequately explaining how he came up with such unusual notions. It's the same trick many historical fiction authors use, leaving us scratching our heads as to why a Fourteenth Century French peasant speaks like a second-wave feminist. I'd suggest that Lowry falls to this fault for the same reason they do: she has no talent for imagining how others might think differently.Lowry's book ends with the standard nonspecific transgressive spiritual event that marks any overblown monomyth. Since the book is not a progressive presentation of ideas, it does not suggest any conclusion. Instead, the climax is a symbolic faux-death event (symbolic of what, none can say). Confusingly, Lowry later redacts the ending in the sequels, undermining the pseudo-spiritual journey she created.Though some call this book 'Dystopian', it's closer to the truth to say Lowry borrows elements from the Dystopian authors, attempting to combine the spiritual uplift of the monomyth with the political and social deconstruction of the Dystopia. What she doesn't recognize is that the faith of the one conflicts with the cynicism of the other. She draws on ideas and images from many other authors: Bradbury, Huxley, Orwell, Burgess, but doesn't improve upon them.These authors created novels that reflected the world around them. They based them on the political events of the times, presented with realism and careful psychology. Though they presented the struggle between the individual and the society, they portrayed morality as grey, and suffering as the result of individual human faults, not political systems. Lowry doesn't realize that the best way to critique Fascism or Communism is not to present it as 'evil', but to simply present it as it was.But Lowry's world is not based in reality, it is symbolic and hyperbolic. Instead of writing about how poverty makes the world seem small and dull, she has the characters magically unable to experience life. Instead of an impersonal government, she presents a sort of evil hippy commune. The only political system it resembles is a school, which is a neat little trick to get the kids interested. The idea that 'school=unfeeling totalitarian hell' is not an uncommon one, but it's one I'm surprised teachers would support. The book also suggests a creche, but lacking similarity to any real-world system, it doesn't work as a political criticism.Lowry creates this artificial world to suit her purposes, but it is not a symbolic exercise like 'Animal Farm'. We understand that the pigs of animal farm are symbolic, because there are no talking pigs. Lowry's world is more insidious, since its oversimplification is hidden. She builds an artificial world to support the dualist morality that she's pushing. She presents the same knee-jerk fears about euthanasia and abortion that people use against Women's Rights or Health Care.Worse than these Straw Man arguments is the fact that she never deals with the economic causes of totalitarianism. Tyrants don't just rise up and take control by their own force of will, they come into power because of the socioeconomic situations that surround them. Lean times produce strong, fascist leaders while profitable times produce permissive, liberal societies.Strong, centralized leadership simply doesn't self-propagate in cultures where everyone is clothed, fed, and housed. The Holocaust was socially about some ideal of 'change' and 'purity', but it was economically about the transmission of wealth from Jews, Poles, and Catholics to Germans (and more specifically, to those Germans who had elected the new ruling party).The atrocities of war are, for the most part, committed by normal people on other normal people. By presenting the power structure as 'amoral' and 'inhuman', Lowry ignores the fact that people will willingly cause others to suffer. Painting the enemy as 'evil' and 'alien' is just an unsophisticated propagandist method.She contrasts her 'evil' with the idealized 'goodness' of emotion, beauty, and freedom. This is nothing more than the American dream of 'specialness' that Mr. Rogers was pushing for so many years. We are all special, we are all good, we all deserve love and happiness. Sure, it sounds good, but what does it mean?Where does this 'specialness' come from? If it is just the 'sanctity of human life', then it's not really special, because it's all-encompassing. If all of us are special, then none of us are. There's nothing wrong with valuing life, but when Lowry presents one mode of life as valuable and another as reprehensible, she ceases to actually value humanity as a whole. Instead, she values a small, idealized chunk of humanity. 'People are good, except the ones I don't like' is not a moral basis, nor is it a good message to send to kids.If the specialness is only based on fitting in with a certain moral and social guideline, then Lowry isn't praising individuality, she's praising herd behavior. The protagonist is only 'special' because he has magic powers. His specialness is not a part of his character, it is an emotional appeal.The idea of being a special individual is another piece of propaganda, and its one kids are especially prone to, because kids aren't special: they are carefully controlled and powerless. Giving a character special powers and abilities and then using that character to feed a party line to children is not merely disingenuous, it's disturbing.There is also a darker side to universal specialness: giving a child a sense of importance without anything to back it up creates egotism and instability. Adults noticed that children with skills and friends had high self-esteems, but instead of teaching their children social skills and knowledge, they misunderstood the causal relationship and tried to give them self-worth first.Unfortunately, the moment unsupported self-worth is challenged, the child finds they have nothing to fall back on. Their entitlement didn't come from their skills or experiences, and so they have nothing to bolster that sense of worth. Instead, any doubt sends them down a spiral of emotional instability.A single book like this wouldn't be the cause of such a state in a child, but it does act as part of the social structure built to give a sense of worth without a solid base for that worth. People like to believe they are special, kids especially so, but being a remarkable person is not a result of belief but of actions. If the book had informed them, then it would leave them better off, but giving them a conclusion based on emotional appeals does nothing to build confidence or character.Many people have told me this book is good because it appeals to children, but children often fall for propaganda. Children develop deep relationships with pop stars, breakfast cereals, and Japanese monsters. This does not make them good role models for children.Feeding 'specialness' to kids along with a political message is no better than the fascist youth programs Lowry intends to criticize. The obsession with individuality is just another form of elitism. It's ironic that people in America most often describe themselves as individuals when pointing out the things they do to align themselves with groups.But banding together in a community is not a bad thing. For Lowry and other 'Red Scare' children, any mention of 'communal' can turn into a witch hunt, but we all give up some personal rights and some individuality in order to live in relatively safe, structured societies. There are benefits to governmental social controls and there are drawbacks, and it's up to us to walk the line between the two. Anarchy and Totalitarianism never actually exist for long: we are social animals.It's not difficult to understand why Lowry is so popular, especially amongst educators. The message she gives aligns perfectly with what they were taught as kids, from Red Scare reactionism to the hippy-dippy 'unique snowflake' mantra. These ideas aren't entirely misguided, either. It's good to recognize the benefits of difference and the dangers of allowing other to control our lives.If a reader believes that fascism and socialism are inherently wrong and that their own individuality is their greatest asset, they will likely sympathize with Lowry's work. However, this doesn't make the book honest, nor beneficial. One of the hardest things we can do as readers is disagree with the methods of authors we agree with ideologically.It makes us feel good to find authors who agree with us, but this is when we should be at our most skeptical. Searching the world for self-justification is not a worthwhile goal, it simply turns you into another short-sighted, argumentative know-it-all. 'Yes men' never progress.Lowry is toeing the party line. She does not base her book around difficult questions, like the Dystopian authors, but around easy answers. She doesn't force the reader to decide for themselves what is best, she makes it clear what she wants us to think. Her book is didactic, which means that it instructs the reader what to believe.Even if her conclusions about Individuality vs. Community are correct, she doesn't present arguments, she only presents conclusions. Like rote memorization or indoctrination, she teaches nothing about the politics, social order, economics, or psychology of totalitarianism or individuality. The reader is not left with an understanding, just an opinion.The baseless 'individuality' of the book lets the reader imagine that they are rebels--that they are bucking the system even as they fall into lock-step. By letting the reader think they are already free-thinking, Lowry tricks them into forgetting their skepticism.She is happy to paint a simple world of black and white, and this is likely the world she sees. I doubt she is purposefully creating an insidious text, she just can't see past her own opinions. She writes this book with a point to make, and makes it using emotional appeals and symbolism. She doesn't back it up with arguments because she doesn't seem to have developed her opinions from cogent arguments.In the end, she doesn't show us that the structure of this society is wrong, she says nothing poignant about individuality vs. community; instead, she relies on threats to the life of an innocent infant. Yet nowhere does she provide an argument for why communal living or the sacrifice of freedoms for safety must necessarily lead to infanticide.In politics, making extreme claims about the opposing side is called mud-slinging, it is an underhanded and dishonest tactic. It works. Arguing intelligently is difficult, accusing is easy, so that's what Lowry does.She is another child of WWII and the Cold War who hasn't learned her lesson. She quickly condemns the flaws of others while failing to search out her own. Even after the Holocaust, there are many racist, nationalist, violent Jews; conflict rarely breeds a new understanding.America condemned the faceless communal life of the Second World, and yet America created The Projects. We critiqued strong governmental controls, but we still have the bank bailout, socialized medicine, socialized schooling, and socialized charity. America condemned the Gulags and Work Camps, and yet we imprison one out of every hundred citizens; far more than Stalin ever did. Some are killed, all are dehumanized.As a little sci fi adventure, the book isn't terrible. It's really the pretension that goes along with it. Lowry cobbles together religious symbolism and Dystopic tropes and then tries to present it as something as complex and thoughtful as the authors she copied. Copying isn't a crime, but copying poorly is.Like Dan Brown or Michael Crichton, she creates a political pamphlet of her own ideals, slaps a pretense of authority on it, and then waits for the money and awards to roll in--and they did. Many people I've discussed this book with have pointed to those awards as the surest sign of this book's eminent worth.Award committees are bureaucratic organizations. Their decisions are based on political machinations. This book is a little piece of Nationalism, and so it was lauded by the political machine that Lowry supports. The left hand helps the right. If awards are the surest sign of worth, then Titanic is a better movie than Citizen Kane.What surprises me is how many of those who brought up the award as their argument were teachers. If a politically-charged administrative committee is the best way to teach children, then why do you take umbrage when the principal tells you that bigger class sizes (and fewer benefits) are fine? Listen to him: doesn't he have award plaques?The other argument is usually that 'kids like it'. I usually respond that kids also like candy, so why not teach that? Some people also get angry at me for analyzing a book written for children:"Of course it's not a great book, it's for kids! If you want a good book, go read Ulysses!"I prefer to give children good books rather than pieces of political propaganda (even if they agreed with me). Children can be as skeptical, quick-witted, and thoughtful as adults if you give them the chance, so I see no excuse for feeding them anything less. Kids aren't stupid, they just lack knowledge, and that's a fine distinction. It's easy for adults to take advantage of their naivete, their emotionality, and their sense of worth. Just because it's easier for the teacher doesn't mean it's better for the child.When we show children something that is over-simplified, presenting an idealized, crudely moralizing world, we aren't preparing them for the actual world. If you give a child a meaningless answer to repeat, he will repeat it, but he won't understand why. Why not give the child a book that presents many complex ideas, but no rote answers, and let them make up their own minds? If they don't learn how to separate the wheat from the chaff and form their own opinions early, in a safe, nurturing environment, what chance will they have on their own as adults?In all the discussions and research regarding this book, I have come across very little analysis. It's especially surprising for a book with such a strong following, but there aren't many explanations of why the book is supposed to be useful or important.This lack of argument makes sense from a political standpoint, since there is no reason to analyze the worth of propaganda: its worth is that it agrees with society and indoctrinates readers. Analyzing it would defeat the purpose; political diatribes do not stand up to thoughtful attention.Perhaps someday someone will create a thoughtful, textual analysis of this book that will point out its merits, its structure and its complexity. I've gradually come to doubt it. I never expected when I wrote my original review of this book that it would garner this much attention.I still welcome comments and thoughts, but if your comment looks roughly like this: "You should read this book again, but this time, like it more. You think you're smart but you aren't. You're mean. Lowry is great. This book won awards and kids like it. It's meant for kids anyways, why would you analyze what its about? I bet you never even read the sequels. Go read 'Moby Dick' because you are full of yourself."I've heard that one before. If you do want to comment though, you might check out this article; I find it helps me with presenting my ideas.

Alternate Cover Edition ISBN: 0743273567 (ISBN13: 9780743273565)The Great Gatsby, F. Scott Fitzgerald's third book, stands as the supreme achievement of his career. This exemplary novel of the Jazz Age has been acclaimed by generations of readers. The story is of the fabulously wealthy Jay Gatsby and his new love for the beautiful Daisy Buchanan, of lavish parties on Long Island at a time when The New York Times noted "gin was the national drink and sex the national obsession," it is an exquisitely crafted tale of America in the 1920s.The Great Gatsby is one of the great classics of twentieth-century literature.(back cover)

Days before his release from prison, Shadow's wife, Laura, dies in a mysterious car crash. Numbly, he makes his way back home. On the plane, he encounters the enigmatic Mr Wednesday, who claims to be a refugee from a distant war, a former god and the king of America. Together they embark on a profoundly strange journey across the heart of the USA, whilst all around them a storm of preternatural and epic proportions threatens to break.Scary, gripping and deeply unsettling, American Gods takes a long, hard look into the soul of America. You'll be surprised by what - and who - it finds there...This is the author's preferred text, never before published in the UK, and is about 12,000 words longer than the previous UK edition.

Thrown in prison for a crime he has not committed, Edmond Dantes is confined to the grim fortress of If. There he learns of a great hoard of treasure hidden on the Isle of Monte Cristo and he becomes determined not only to escape, but also to unearth the treasure and use it to plot the destruction of the three men responsible for his incarceration. Dumas’ epic tale of suffering and retribution, inspired by a real-life case of wrongful imprisonment, was a huge popular success when it was first serialized in the 1840s.Robin Buss’s lively English translation is complete and unabridged, and remains faithful to the style of Dumas’s original. This edition includes an introduction, explanatory notes and suggestions for further reading.

I feel more conflicted about this book than any of the other Narnia books. On the plus side, the story is stronger and CS Lewis manages to keep his blatant editorializing to a minimum (maybe because none of the characters are transplants from wartime London). But holy crap, the modern reader will find his racist descriptions pretty hard to swallow. He reintroduces his devious, smelly, turban-clad race, the Calormen. A lost white boy is raised among them and he is sad until he is finally reunited with the beautiful white people of Narnia.I've read an argument that Lewis isn't *really* racist because he portrays one Calormene character in a positive light. But that's like Sarah Palin gushing about her gay friends to prove she's not homophobic. Inviting a lesbian coworker to your annual moose BBQ is not enough to overcome an active campaign against gay rights. For Lewis, commenting that one Calormene lady is a good storyteller is not enough to over come the contempt he feels towards his own Arab stand-ins.

The Dawn Treader will take you places you never dreamed existed. NARNIA... the world of wicked dragons and magic spells, where the very best is brought out of even the worst people, where anything can happen (and most often does)... and where the adventure begins.The Dawn Treader is the first ship Narnia has seen in centuries. King Caspian has built it for his voyage to find the seven lords, good men whom his evil uncle Miraz banished when he usurped the throne. The journey takes Edmund, Lucy, and their cousin Eustace to the Eastern Islands, beyond the Silver Sea, toward Aslan's country at the End of the World.

I think this is the first book I've ever hated. And that list is pretty short. As a child, it really distressed me - I didn't understand much of it, and it confused me why its tone was so very different from the other Narnia books. Then, when I reread it a few years ago, it just pissed me off. The message about religious pluralism is refreshing, sure, but the book just plain reads wrong, and I will probably never get over Lewis's treatment of Susan. I guess if you don't believe in God, you deserve to lose your entire family in a train crash. Awesome.I suppose there is some hope in that Susan did not die - maybe her family's gruesome deaths will help her find God, and then a train will kill her too, and she'll join Peter, Edmund, and Lucy in Aslan's country! Bleargh.

The four Pevensies help Caspian battle Miraz and ascend his rightful throneNARNIA... the land between the lamp-post and the castle of Cair Paravel, where animals talk, where magical things happen... and where the adventure begins.Peter, Susan, Edmund, and Lucy are returning to boarding school when they are summoned from the dreary train station (by Susan's own magic horn) to return to the land of Narnia—the land where they had ruled as kings and queens and where their help is desperately needed.

The secret passage to the house next door leads to a fascinating adventureNARNIA...where the woods are thick and cold, where Talking Beasts are called to life...a new world where the adventure begins.Digory and Polly meet and become friends one cold, wet summer in London. Their lives burst into adventure when Digory's Uncle Andrew, who thinks he is a magician, sends them hurtling to...somewhere else. They find their way to Narnia, newborn from the Lion's song, and encounter the evil sorceress Jadis before they finally return home.

Dear Mr. Lovecraft,I, Joseph Curwen, necromancer supreme, have rather a bone to pick (forgive my little joke). I have noticed many problems with your narrative The Case of Charles Dexter Ward. First of all: that title. Surely you realize that I am the protagonist of the tale - not the fey amateur Charles Dexter Ward? I do not think it is too much to ask that the title of your document correctly identify its leading personage. Second: I have noticed a strong bias against scholars of the so-called "dark" arts in your work - a bias that clearly and unfairly slants your narrative in favor of such laughable nonentities as that impressionable youth, his hysterical parents, his meddling doctor, etc, as well as towards questionable groups such as the unimaginative bourgeoisie and the overly imaginative lower classes, and various small-minded institutions including the Church and the Mental Ward. Your insufferable bias against such studies - indeed, against all those who would bravely dig up graves, retrieve bodies, revive those bodies, and proceed to imprison, interrogate, and torture those revived bodies until certain ancient bits of knowledge are at last shared - is not just regrettable and close-minded, but genuinely insulting on a personal and professional level. For shame, sir, for shame! Your prejudices do you no credit. Third: I find your general attitude towards a humble wizard such as myself, as well as towards my peers, we who only wish to remain immortal, even if it means possessing and discarding otherwise useless youths (like Charles Dexter Ward for example), so that we may come to learn ancient knowledge and thus reshape the world and all of mankind, for the better good no doubt, well... I just have to say that your entire attitude towards my lifestyle choice is appallingly narrow-minded and shockingly judgmental. Very unbecoming behavior for a writer of 'horror' fiction!I will admit that there are many good things within your story. You have been accused of indulging in intensely theatrical purple prose; personally, I find your style of writing to be highly atmospheric, thrilling, and surprisingly enjoyable overall. The narrative itself is involving and even rather intricate. You have also been accused of tellnotshow-itis. I did see some of that in your lengthy flashback to my own story (the tragic tale of an unjustly accused and persecuted investigator of the supernatural - a former pillar of the community! oh how the small-minded love to tear down their betters!)... but that was merely a story within a story, told secondhand, and so I forgave it. Conversely, the last third of the novella - where the insufferable Dr. Willett finds my secret underground cavern and its attendant labs, cells, sacrificial altar, and deep well-cages for the unruly undead - is written in an exciting and tense you are there style that I much appreciated. I was quite pleased with your descriptive powers and I cheered frequently at every gasp of horror uttered by the unimaginative and mulish Dr. Willett. And last but certainly not least, regarding the public accusations that detail your racism: as a necromancer who does not discriminate based on race when choosing my various living, dead, and undead victims, I was specifically on the look-out for any race-based judgments. I am happy to note that I saw no example of that sort of foolishness. Well, save for the black cat unfortunately named "Nig". That made me quite uncomfortable.But back to my grievances! Most repugnant of all: the ending. You seek to reduce me, sir, to conquer me as I have conquered death! I laugh in the face of that. Ha! Ha! Ha! From tiny particles of dust I shall rise again. And when I do, know that even your currently deceased state shall offer you no refuge.\
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A mother and her two sons move to a small coast town in California. The town is plagued by bikers and some mysterious deaths. The younger boy makes friends with two other boys who claim to be vampire hunters while the older boy is drawn into the gang of bikers by a beautiful girl. The older boy starts sleeping days and staying out all night while the younger boy starts getting into trouble because of his friends' obsession.

1987 film by Joel Schumacher, Richard Donner

McMurphy has a criminal past and has once again gotten himself into trouble and is sentenced by the court. To escape labor duties in prison, McMurphy pleads insanity and is sent to a ward for the mentally unstable. Once here, McMurphy both endures and stands witness to the abuse and degradation of the oppressive Nurse Ratched, who gains superiority and power through the flaws of the other inmates. McMurphy and the other inmates band together to make a rebellious stance against the atrocious Nurse.

Jumanji, one of the most unique--and dangerous--board games ever, falls into the hands of the curious teen, Alan Parrish, in 1969. Mysterious and magical, the game strands the unsuspecting boy in the lush, savage forests of a mythical realm. Nearly three decades later, the game releases him before the awed eyes of the young orphaned siblings, Judy and Peter Shepherd. Now, the wild and incessant beat of the jungle's tribal drums is calling for the now-adult Alan and the other hesitant players, as the one who rolls the dice must never leave undone what the roll has started. Has anyone ever escaped from the game and Jumanji's formidable foes?

After receiving the healing powers from a magical flower, the baby Princess Rapunzel is kidnapped from the palace in the middle of the night by Mother Gothel. Mother Gothel knows that the flower's magical powers are now growing within the golden hair of Rapunzel, and to stay young, she must lock Rapunzel in her hidden tower. Rapunzel is now a teenager and her hair has grown to a length of 70-feet. The beautiful Rapunzel has been in the tower her entire life, and she is curious of the outside world. One day, the bandit Flynn Ryder scales the tower and is taken captive by Rapunzel. Rapunzel strikes a deal with the charming thief to act as her guide to travel to the place where the floating lights come from that she has seen every year on her birthday. Rapunzel is about to have the most exciting and magnificent journey of her life.

Fletcher Reede, a fast talking attorney, habitual liar, and divorced father is an incredibly successful lawyer who has built his career by lying. He has a habit of giving precedence to his job and always breaking promises to be with his young son Max, but Fletcher lets Max down once too often, for missing his own son's birthday party. But until then at 8:15 Max has decided to make an honest man out of him as he wishes for one whole day his dad couldn't tell a lie. When the wish comes true all Fletcher can do is tell the truth and cannot tell one lie. Uh-oh for Fletcher Reede.

Protagonist Alex DeLarge is an "ultraviolent" youth in futuristic Britain. As with all luck, his eventually runs out and he's arrested and convicted of murder. While in prison, Alex learns of an experimental program in which convicts are programmed to detest violence. If he goes through the program, his sentence will be reduced and he will be back on the streets sooner than expected. But Alex's ordeals are far from over once he hits the streets of Britain..

While exploring uncharted wilderness in 1823, legendary frontiersman Hugh Glass sustains injuries from a brutal bear attack. When his hunting team leaves him for dead, Glass must utilize his survival skills to find a way back home while avoiding natives on their own hunt. Grief-stricken and fueled by vengeance, Glass treks through the wintry terrain to track down John Fitzgerald, the former confidant who betrayed and abandoned him.

2015 film directed by Alejandro González Iñárritu

Walt Kowalski (Clint Eastwood) is a widower who holds onto his prejudices despite the changes in his Michigan neighborhood and the world around him. Kowalski is a grumpy, tough-minded, unhappy old man who can't get along with either his kids or his neighbors. He is a Korean War veteran whose prize possession is a 1972 Gran Torino he keeps in mint condition. When his neighbor Thao Lor (Bee Vang), a young Hmong teenager under pressure from his gang member cousin, tries to steal his Gran Torino, Kowalski sets out to reform the youth. Drawn against his will into the life of Thao's family, Kowalski is soon taking steps to protect them from the gangs that infest their neighborhood.

Johnny Blaze, a man who made a deal with the Devil who called himself Mephistopheles at the time (now Roarke), is on the run trying to make sure no-one is harmed by his alter ego, The Ghost Rider. He is approached by a Monk named Moreau who tells him that he can help be him free of the Rider, but first, he needs Johnny's help to protect a boy, whom Roarke has plans for, to help him take human form.

2012 film directed by Mark Neveldine and Brian Taylor

Three guys, all their lives, have been living in the shadow of bullies and are determined not to take it anymore. Now they must train with the help of Mel to take on the most offensive and meanest youth baseball teams.

The daughter of the last Russian Czar, Nicolas II (Rick Jones), Anastasia (Meg Ryan) is found by two Russian con men, Dimitri (John Cusack) and Vladimir (Kelsey Grammer), who seek the reward that her grandmother, the Dowager Empress Marie Feodorovna (Dame Angela Lansbury), promised to the ones who'll find her. But the evil mystic of the Czar family, Grigori Rasputin (Christopher Lloyd), still wants the Romanov family to be destroyed forever.

1997 American animated musical drama film by Don Bluth and Gary Goldman

Teenager Sarah is forced by her father and her stepmother to babysit her baby brother Toby while they are outside home. Toby does not stop crying and Sarah wishes that her stepbrother be taken by the Goblin King Jareth. Out of the blue, Toby stops crying and when Sarah looks for him in the cradle, she learns that her wish was granted and the Goblin King Jareth has taken him to his castle in the Goblin City in the middle of a labyrinth. Sarah repents and asks Jareth to give Toby back; but the Goblin King tells her that she has to rescue her brother before midnight. Soon Sarah teams up with some allies. Will they rescue Toby in time?

On July 2nd, communications systems worldwide are sent into chaos by a strange atmospheric interference. It is soon learned by the military that a number of enormous objects are on a collision course with Earth. At first thought to be meteors, they are later revealed to be gigantic spacecraft, piloted by a mysterious alien species. After attempts to communicate with the aliens go nowhere, David Levinson, an ex-scientist turned cable technician, discovers that the aliens are going to attack major points around the globe in less than a day. On July 3rd, the aliens all but obliterate New York, Los Angeles and Washington, as well as Paris, London, Houston and Moscow. The survivors set out in convoys towards Area 51, a strange government testing ground where it is rumored the military has a captured alien spacecraft of their own. The survivors devise a plan to fight back against the enslaving aliens, and July 4th becomes the day humanity will fight for its freedom. July 4th is their Independence Day...

Matilda Wormwood is an exquisite and intelligent little girl. Unfortunately, Matilda is misunderstood by her family because she is very different from their ways of life. As time passes, Matilda finally starts school that has a kindly teacher, loyal friends and a sadistic principal. As she gets fed up with the constant cruelty, Matilda begins to realize that she has a gift of telekinetic powers. After some days of practice, Matilda suddenly turns the tables to stand up to her parents and outwit the principal.

Nicolas is a boy living on a remote island set in the future, or another planet - or is it a dream? His village consists of white-painted houses located above the sea with a volcanic rock and black sand coastline, populated by young women and boys all of a similar age to Nicolas. Whilst swimming, Nicolas makes a discovery in the ocean, which is shrugged off by his mother, who, like all the women in the town has tied-back hair, is pale and wears a simple thin beige dress. Nicolas is curious, thinks that he is being lied to and starts to explore his environment, witnessing some unsettling scenes. He then finds himself taken to a hospital-like building where he, along with the others, undergoes a series of medical procedures by the women, dressed as nurses. He is befriended by one nurse, who becomes instrumental in the film's denouement. The film is not easy to categorise; it is not only enigmatic but beautifully filmed with deeply poetic imagery. It reflects the fear of the unknown, experienced by a boy on the cusp of adolescence.

2015 film directed by Lucile Hadžihalilović

Jacob Mills Productions Timeline on the Years February 10, 2004 November 21, 2019 August 27, 2021 June 19, 2032 October 27, 2036 March 21, 2038 April 27, 2041 November 26, 2045 August 11, 2049 April 24, 2051 October 22, 2053 November 29, 2057 August 24, 2060 September 24, 2073 August 28, 2077 May 30, 2083 April 29, 2090 June 23, 2096 November 29, 2098 November 24, 2099 March 25, 2131 April 26, 2132 October 24, 2135 April 26, 2137 February 10, 2138 June 19, 2138 August 27, 2138 November 21, 2138 October 26, 2139 November 29, 2140 Timeline on the Years

Against the backdrop of a gloomy San Francisco, the nearly two-century-old vampire, Louis de Pointe du Lac, recounts the unbelievable story of his eternal transformation and a life worse than death to the sceptic reporter, Daniel Molloy. Spanning two hundred years of cruel betrayals, extreme solitude, and unquenched thirst, Louis' grimly fascinating tale pivots around his perpetually regrettable decision to embrace the dictatorship of blood, and, above all, his maker: the seductive blonde aristocrat of death, Lestat de Lioncourt. Is Louis' mystical epic of bloodshed genuine? Is this, indeed, an interview with a vampire?

Two lovable hillbillies are headed to their "fixer-upper" vacation cabin to drink some beer, do some fishin', and have a good time. But when they run into a group of preppy college kids who assume from their looks that they must be in-bred, chainsaw-wielding killers, Tucker & Dale's vacation takes a bloody and hilarious turn for the worse.

American rapper, producer, visual artist, and fashion designer from California

The FBI teams up with a formerly-institutionalized scientist - who was performing experiments on the fringe of real science - and his son to investigate weird crimes that are seemingly part of a larger pattern, and may be connected with a global company called Massive Dynamic.

American science fiction television series

The character-driven cartoon chronicles the nautical and often nonsensical adventures of SpongeBob, an incurably optimistic and earnest sea sponge, and his underwater friends. Dwelling a few fathoms beneath the tropical isle of Bikini Atoll in the sub-surface city of Bikini Bottom, SpongeBob lives in a two-story pineapple. Instead of taking the logical approach to everyday challenges, SpongeBob approaches life in a wayward and unconventional way. Whether searching for the ultimate spatula to perfect his burger flipping technique at the Krusty Krab or just hanging out with his best friend Patrick (an amiable starfish), SpongeBob's good intentions and overzealous approach to life usually create chaos in his underwater world.

A modern take on the cases of Sherlock Holmes, with the detective now living in New York City.

"In every generation there is a chosen one... she alone will stand against the vampires, the demons and the forces of darkness. She is the slayer." Buffy Summers knows this tale by heart, and no matter how hard she tries to be just a "normal girl", she can not escape from her destiny... Thankfully, she is not alone in her quest to save the world, as she has the help of her friends, the hilarious (and surprisingly quite effective) evil-fighting team called "The Scooby Gang". Together, Buffy & co. will slay their demons, survive one apocalypse after another, attend high school and college... and above all, understand that growing up can truly be Hell sometimes... literally.

1997 American supernatural drama TV series

The body of a young girl (Laura Palmer) is washed up on a beach near the small Washington state town of Twin Peaks. FBI Special Agent Dale Cooper is called in to investigate her strange demise only to uncover a web of mystery that ultimately leads him deep into the heart of the surrounding woodland and his very own soul.

American drama television series from 1990–1991

The offbeat adventures of Courage, a cowardly dog who must overcome his own fears to heroically defend his unknowing farmer owners from all kinds of dangers, paranormal events and menaces that appear around their land.

American horror animated television series

Lucifer Morningstar, bored from his sulking life in hell, comes to live in Los Angeles. While there, he helps humanity with its miseries through his experience and telepathic abilities to bring people's deepest desires and thoughts out of them. While meeting with a Detective in his nightclub (Lux), a shootout involving him and the Detective leads him to become an LAPD consultant who tries to punish people for their crimes through law and justice.

With the Ancients' city of Atlantis discovered in the Pegasus Galaxy by Stargate Command, Dr. Elizabeth Weir and Major Sheppard lead a scientific expedition to the ancient abandoned city. Once there, the team not only find themselves unable to contact Earth, but their explorations unexpectedly reawaken the Ancients' deadly enemies, The Wraith, who hunger for this new prey. Now with the help of newfound local allies like Teyla Emmagan, the Atlantis Team sets about to uncover their new home's secrets even as their war of survival against the Wraith begins.

Bugs Bunny, the famous, Oscar-winning cartoon rabbit, hosts his first weekly television series, along with all his fellow Warner Brothers cartoon stars, including Daffy Duck, Porky Pig, Elmer Fudd, Yosemite Sam, the Tasmanian Devil, Tweety Bird, Sylvester Cat, the Road Runner, Wile E. Coyote, Pepe Le Pew, Foghorn Leghorn, and Speedy Gonzales. Each episode features three theatrical cartoons introduced by Bugs and/or the other characters, and often with a unifying idea, or theme. Many episodes feature Bugs as a lecturer on such subjects as cats, dogs, birds, and humans, and offering classic Warner Brothers cartoon footage to comically illustrate his points.

Follows James Isaac "Jimmy" Neutron (Debi Derryberry), his faithful robotic dog, Goddard (Frank Welker), and his eclectic friends and family as they experience life in Retroville. Jimmy is a typical kid, who just happens to be a genius. He creates gadgets to improve his everyday life, but his inventions go awry more often then not, and hilarious trouble ensues.

American computer-animated television series

After an intelligent yet cynical high school student begins to cleanse the world from evil with the help of a magical notebook that can kill anyone whose name is written on it, international authorities call upon a mysterious detective known as "L" to thwart his efforts.

Archie Bunker, was a bigoted working-class family man who held his views of the world. His viewpoints clash with nearly everyone he comes into contact with especially his son-in-law Mike Stivic (or, as Archie delights in calling him, "Meathead").

In a post-apocalyptic future where humans live in domed cities surrounded by wasteland, wolves are assumed to be two hundred years extinct. Yet wolves do walk among them, disguising themselves as humans in order to survive in the human world. Now four young wolves will follow the scent of Lunar Flowers on a dangerous quest to find that which legend promises them: Paradise.

It's "Mr. Wizard" for a different decade.

American science education television program

After his sister went missing, Traffic is offered to join "Blacklist," a group of students who work together to stop the crimes and injustices in their school.

Set nearly a decade after the finale of the original series, this revival follows Lorelai, Rory and Emily Gilmore through four seasons of change.

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