Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

Auriel W

Blake Molmen

Dani Shahar

Luis Javier Campos nieto

Written in his distinctively dazzling manner, Oscar Wilde’s story of a fashionable young man who sells his soul for eternal youth and beauty is the author’s most popular work. The tale of Dorian Gray’s moral disintegration caused a scandal when it ﬁrst appeared in 1890, but though Wilde was attacked for the novel’s corrupting inﬂuence, he responded that there is, in fact, “a terrible moral in Dorian Gray.” Just a few years later, the book and the aesthetic/moral dilemma it presented became issues in the trials occasioned by Wilde’s homosexual liaisons, which resulted in his imprisonment. Of Dorian Gray’s relationship to autobiography, Wilde noted in a letter, “Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be—in other ages, perhaps.

Scottish-born American naturalist and author (1838-1914)

Substance D is not known as Death for nothing. It is the most toxic drug ever to find its way on to the streets of LA. It destroys the links between the brain's two hemispheres, causing, first, disorientation and then complete and irreversible brain damage.The undercover narcotics agent who calls himself Bob Arctor is desperate to discover the ultimate source of supply. But to find any kind of lead he has to pose as a user and, inevitably, without realising what is happening, Arctor is soon as addicted as the junkies he works among...

Herman Hesse's classic novel has delighted, inspired, and influenced generations of readers, writers, and thinkers. In this story of a wealthy Indian Brahmin who casts off a life of privilege to seek spiritual fulfillment. Hesse synthesizes disparate philosophies--Eastern religions, Jungian archetypes, Western individualism--into a unique vision of life as expressed through one man's search for true meaning.

The Earth's leaders have drawn a line in the interstellar sand—despite the fact that the fierce alien enemy that they would oppose is inscrutable, unconquerable, and very far away. A reluctant conscript drafted into an elite Military unit, Private William Mandella has been propelled through space and time to fight in the distant thousand-year conflict; to perform his duties without rancor and even rise up through military ranks. Pvt. Mandella is willing to do whatever it takes to survive the ordeal and return home. But "home" may be even more terrifying than battle, because, thanks to the time dilation caused by space travel, Mandella is aging months while the Earth he left behind is aging centuries.

"A low crime-rate doctor," she told him amiably, "is a sure sign of social deprivation."Anthony Royal built the Titanic of skyscrapers.  \
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A state of the art, megalithic structure suitable for 2,000 tenants. It is a self-contained environment with everything a tenant would need such as shopping or exercise or even schools for their kids. The people the building attracts are white collar, well educated, professionals. The apartments sell out quickly and as everyone start to settle into their new lives glitches start to occur. Despite the developing problems entire floor parties are standard weekend entertainment. A bottle drops from a higher floor and shatters on Dr. Robert Laing's balcony and it is equivalent to the first canon fired on Fort Sumter. As the week continues more bottles are dropped and other assorted trash begins to fall from the sky. A rich jeweler plummets from his upper level apartment onto the roof of a car. Resentment is building between levels. The perceived richest people, where Anthony Royal resides, are on the upper levels. The middle level people, where Dr. Robert Laing reside, are resentful of the upper levels, but also becoming more disdainful of the lower levels. Richard Wilder, a man working on a documentary about human behavior, lives in the lower levels. The trash is accumulating on the ground floor, the trash chutes become jammed and more and more trash is being hoisted over the side of the building creating an intolerable situation for the lower tenants. Electricity winks out leaving entire floors without power for days at a time. "Five floors were without electricity. At night the dark bands stretched across the face of the high-rise like dead strata in a fading brain."The air condition goes out and when it does come back on it only trickles out for a few minutes before failing again. The lower levels bear the worst of the malfunctions with the upper levels remaining relatively unaffected. Resentments build and as tenants become more and more irritated the civilized structure of the building starts to erode. This is the point of the novel when J.G. Ballard asks the reader to suspend belief. Yes, he is creepy; and yes, he has a pink beach ball; and yes, he wants to play with your mind. \
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The three levels of the building go to war with each other. People are beaten. Women are raped. Graffiti is sprayed on the walls. The building breaks down into tribal units with lower levels trying to conquer and take over higher levels of the building. "Not for the fist time Laing reflected that he and his neighbors were eager for trouble as the most effective means of enlarging their sex lives.The problem I have is that the outside world is perfectly normal. Civilization is existing just fine. There is no cataclysmic event that has ruptured the natural order of things. To return to the world of order is as simple as leaving the building. These are highly educated people who have benefited greatly from living in a society that allows them to make money using their brains. I found it hard to believe that these people would so easily transition to a tribal warfare society. "They discussed the latest ruses for obtaining food and women, for defending the upper floors against marauders, their plans for alliance and betrayal. Now the new order had emerged, in which all life within the high-rise revolved around three obsessions-security, food and sex."This is the adults gone wild version of Lord of the Flies. I didn't like Lord of the Flies so maybe I just don't like books about mob culture. Ballard didn't sell me on this concept, not that I don't believe that intelligent, well educated people are incapable of marinating in the swamp juices of the lizard brain, but I didn't feel it would happen under the circumstances that Ballard presented. I am still curious to explore more in Ballard's world and I look forward to reading more of his work. I'll leave you with some parting thoughts from Doctor Laing."Would he soon be the last person alive in the high-rise? He thought of himself in this enormous building, free to roam its floors and concrete galleries, to climb its silent elevator shafts, to sit by himself in turn on every one of its thousand balconies. This dream, longed for since his arrival at the high-rise, suddenly unnerved him, almost as if, at last alone here, he had heard footsteps in the next room and come face to face with himself."If you wish to see more of my most recent book and movie reviews, visit http://www.jeffreykeeten.comI also have a Facebook blogger page at:https://www.facebook.com/JeffreyKeeten

Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth—musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies—the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children.Now, for the first time, this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and newly added second and third appendices.The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside.Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story—of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.

When Kris Kelvin arrives at the planet Solaris to study the ocean that covers its surface he is forced to confront a painful, hitherto unconscious memory embodied in the physical likeness of a long-dead lover. Others suffer from the same affliction and speculation rises among scientists that the Solaris ocean may be a massive brain that creates incarnate memories, but its purpose in doing so remains a mystery . . .Solaris raises a question that has been at the heart of human experience and literature for centuries: can we truly understand the universe around us without first understanding what lies within?

In reality, Hiro Protagonist delivers pizza for Uncle Enzo's CosoNostra Pizza Inc., but in the Metaverse he's a warrior prince. Plunging headlong into the enigma of a new computer virus that's striking down hackers everywhere, he races along the neon-lit streets on a search-and-destroy mission for the shadowy virtual villain threatening to bring about infocalypse. Snow Crash is a mind-altering romp through a future America so bizarre, so outrageous… you'll recognize it immediately.

I could say that I love Dick, but that would be weird. I do very much enjoy Philip K. Dick's writing and though this is not one of his best, the "Pizza and Sex Rule" applies to him; ie. just as even bad pizza and / or sex is still pretty good, bad PKD is as well. And this is not bad at all. The first mistake that a new reader would make is to watch Blade Runner and expect a novelization of that film; it was LOOSELY based upon the book. I'm a big fan of the Ridley Scott film starring Harrison Ford and Rutger Hauer, but the movie diverged from Phillip K. Dick's literature early on. The book is far more bleak than the film, if you can believe that, and much more intricate and complicated. Blade Runner benefits from a simplified storyline. The author was far ahead of his time both in the complexity of his story and the perspective from which he writes. There are elements of Brave New World, I, Robot, and Dune; but the author has a unique voice and the story is an original. It is not an excellent work, as there are gaps and inconsistencies and many loose ends that are never tied in, but the concept and provocation are superb.One element of the book that was completely left out of the film was a sub-plot involving a Christ-like messiah and a faith system based upon what could have been a hoax. First published in 1968, this was one of his more theological based novels, and a trend that would continue steadily becoming more frequent and invasive until the end of his writing.A MUST read for PKD fans as well as SF/F fans period.

Glen Runciter is dead. Or is everybody else? Someone died in an explosion orchestrated by Runciter's business competitors. And, indeed, it's the kingly Runciter whose funeral is scheduled in Des Moines. But in the meantime, his mourning employees are receiving bewildering — and sometimes scatological — messages from their boss. And the world around them is warping in ways that suggest that their own time is running out. Or already has.Philip K. Dick's searing metaphysical comedy of death and salvation (the latter available in a convenient aerosol spray) is a tour de force of paranoiac menace and unfettered slapstick, in which the departed give business advice, shop for their next incarnation, and run the continual risk of dying yet again.

I have completed my journey with Henri. I was a little sad to lose him. Of course technically he died over 100 years ago and I could just start over at the beginning...maybe someday I will. It is not an easy read and it took me a long time to get through it but I feel my life a little enriched because I was able to get to know this sad but insightful man through his journals. As all of my facebook friends know, as Henri and I traveled together on the El everyday, I sometimes found his quotes so moving that I just had to share; Pithy tidbits as relevant now as they were then.There are some challenges. He does have quite a few critiques of his contemporary writers (mostly Genevese, French and German) and most of whom I have never heard of and obviously have not read. I skimmed those entries. And Henri and I do not always see eye to eye about everything, but he is a thoughtful and gentle philosopher so his antiquated ideas about women and democracy, I shrugged them off. He did die in 1881. Finally he likes to discuss his faith and religion quite a bit and although I am not a believer he continues even on this topic to be a philosopher so I wasn't put off by the expression of his feelings about how he believed how religion and faith improved his life and lives of others.I imagined a movie with me on the El reading and then cutting to Henri (played by Sir Anthony Hopkins) writing like Julie and Julia... Okay... it would be a really boring movie. But a good book. Let yourself read it really slowly and and you will enjoy it.

William Stoner is born at the end of the nineteenth century into a dirt-poor Missouri farming family. Sent to the state university to study agronomy, he instead falls in love with English literature and embraces a scholar’s life, so different from the hardscrabble existence he has known. And yet as the years pass, Stoner encounters a succession of disappointments: marriage into a “proper” family estranges him from his parents; his career is stymied; his wife and daughter turn coldly away from him; a transforming experience of new love ends under threat of scandal. Driven ever deeper within himself, Stoner rediscovers the stoic silence of his forebears and confronts an essential solitude.John Williams’s luminous and deeply moving novel is a work of quiet perfection. William Stoner emerges from it not only as an archetypal American, but as an unlikely existential hero, standing, like a figure in a painting by Edward Hopper, in stark relief against an unforgiving world.

The novel evolved and expanded from an 1849 short story or sketch entitled "Oblomov's Dream". The novel focuses on the midlife crisis of the main character, Ilya Ilyich Oblomov, an upper middle class son of a member of Russia's nineteenth century landed gentry. Oblomov's distinguishing characteristic is his slothful attitude towards life. While a common negative characteristic, Oblomov raises this trait to an art form, conducting his little daily business apathetically from his bed. While clearly comedic, the novel also seriously examines many critical issues that faced Russian society in the nineteenth century. Some of these problems included the uselessness of landowners and gentry in a feudal society that did not encourage innovation or reform, the complex relations between members of different classes of society such as Oblomov's relationship with his servant Zakhar, and courtship and matrimony by the elite.

One of the most well-read men I’ve ever known died a few years ago at the age of 104. His name was Daniel Aaron. He was a cofounder of the Library of America and taught literature first at Smith, then at Harvard where he kept an office long after retirement. In fact, to the day of his passing, you’d find him behind his desk, editing his commonplace books [abridged and published by Wafer Press].When a centenarian—whose years overlapped twenty-six presidential terms, who witnessed some of the most devastating wars and economic depressions, and whose joie de vivre, nevertheless, was reading—when someone like that tells you that the last book he wants to reread is [fill in the blank], you listen. I remember seeing on his desk the monstrous second volume of Robert Musil’s The Man without Qualities tattered from page-turning and opened roughly halfway, so that the thousand pages that heaped to either side of the story’s middle distributed evenly what surely must have been a gravitational disturbance in the room.The Man without Qualities was DA’s final literary indulgence. He said to me, “This is one you must read slowly and carefully.” And so I did. Over a three-year period, in fact—starting, stopping, starting over, and starting over once more. It was an emotional moment, reading the final pages of this unfinished lifework by Musil—not because of the story itself, which is more of a strain on the mind than it is on the heart, but because it felt like a promise kept. It felt like finishing something, not just for myself, but for DA and for Musil both.In The Man without Qualities, Musil attempts the kind of thing Jorge Luis Borges so often wrote about: a book of books. Musil’s experiment (to make a slight distinction) was to contain all that was, is, or will be for someone in Austria, 1913. You have to imagine that “all that was” before the first world war has disappeared like breath on glass. And you have to understand that what “will be” may not be. So that, in the end, what “is” is a universe in medias res, without comprehensible beginning, without a discernable conclusion.Our antihero, Ulrich, is our quintessential man “without qualities.” In the first volume, he’s taking a sabbatical. It’s to be a year of serious thought and self-inquiry. He considers human nature, the boundaries of reason, the foundation of ethics—in short, the “qualities” on which we once felt we had a secure grip. But it’s a new age, a new era. Populations are growing, nations and industries are growing. And growing too is the overall anxiety about what happens next. Things are moving fast, faster than they’ve ever moved. The West needs something to settle its nerves, something to regulate its ambitions. It needs an Idea. Enter Diotima, Ulrich’s cousin, a lady of some social standing and the wife of Section Chief Tuzzi. Diotima dreams of an Austrian utopia, and in service to that dream, she organizes what comes to be known as The Parallel Campaign. Think of Ralph Nader’s utopian novel, Only the Super Rich Can Save Us—one of those secret societies where the world’s elite (read: rich, privileged, etc.) pool their resources to meet a global crisis. Of course, what that crisis is becomes a matter of such interminable debate that not one thing ever gets done. That’s Musil’s genius at work. A “parallel” campaign is one that, by definition, never touches its adjacent concerns. There will be no bridge—not in this volume anyway—between the Idea and the Problem. The first book dwells on beautiful absurdities. It’s full of humor and sitcom, especially in the Parallel Campaign meetings where politicians, high society gadabouts, entrepreneurs, and snooping army officials gossip themselves into conspiratorial fervor. All want a piece of the utopian pie that, whether they know it or not, is full of blackbirds. The first volume ends with the death of Ulrich’s father, which, in a way, signifies the death of everything comfortably reliable before the first world war: the idea of a fatherland, the idea of familiar hierarchy embodied by the state, the idea of a filial deference to that state or culture or economy, and so on. “Fundamental idea: War. All lines lead to war,” writes Musil in his outline for the novel. No matter the intention, no matter the conviction, no matter the appeal to love and reason: war. Therefore, in volume two, the Parallel Campaign abandons ideas for action, as tempers and suspicions escalate. In the process, charity and good will fall apart. At the end of the previous volume, Ulrich had been reunited with his twin sister, Agathe. In volume two, Ulrich and Agathe abandon the sinking ship of social reform and consider the implications of a new century, a century devoid of moral guidance. What now is morality? Where do we go to find it? If morality condescends to the empirical and the concrete, what hope is there for the good, the beautiful, the just? Freud caught the gist of the modern era with the notion of the “double.” And Musil’s second volume is a treatise on the matter. Ulrich and Agathe, time and again, refer to themselves as one person, but a person divided by the rational and the emotional. Ulrich dives deep into the abyss of relative reasoning, where nihilism swims in endless pursuit of its own tail. And Agathe’s impulsive behavior toward the men in her life pushes her to the edge of society’s mores. It’s an ancient dichotomy: enlightenment and romanticism. Both have their advantages and disadvantages. Both can give meaning to a person’s or society’s existence. But Musil seems to ask, Can they ever join themselves into some nobler morality? It’s a wonderful move on Musil’s part, voicing this dilemma through twins, since to consummate these two philosophies has been taboo historically. Ulrich and Agathe acknowledge, both to themselves and to each other, that together (as in, really really together) they would transcend the problems their species has inherited, morally and intellectually. But success would ostracize them too. And no one would understand. And no one would accept. And no one else would get better. So where does that leave them? Where does that leave everyone? The story ends without resolution, not that Musil could have resolved it anyway. The additional chapters he sketched have a kind of pick-your-own-adventure quality. They could go in any number of directions. He had in mind something radically experimental, and that’s saying a lot, given Joyce, Woolf, Faulkner and the rest of Musil’s gifted and inventive contemporaries. But the best thing about the inclusion of Musil’s posthumous papers is that he spends a great deal of time thinking through his own motivations on the page. So in some ways, we don’t have to guess what was on his mind. I’ll end by copying out a couple passages from his own outline for the novel. But I do want to add a word or two in terms of recommendation, since The Man without Qualities was highly recommended to me. Volume one has intrigue (a serial killer named Moosbrugger who denies responsibility); tension (Clarisse, a man trapped in a woman’s body, and Walter, her husband and a musician of squandered genius); humor (the irony and satire of the campaign and of Austrian society in the lead-up to the war); and plot (the traction and momentum of each character as his/her motives and secrets are revealed). Volume one works and works well. Read the first paragraph and you’ll get a sense of Musil’s astute but amusing take on the times. It opens with barometric pressure, isotherms, relative humidity, and phases of the moon, only to say, “even if it is a bit old-fashioned: It was a find day in August 1913.”Volume two lacks almost everything I’ve just described. It wallows, with no apologies to the reader, in its own naval-gazing. For pages and pages . . . and pages, Ulrich discourses on the nature of morality in the driest academic manner. No butter on that toast—and burn it! It’s all there: philosophy, economics, aesthetics, psychology, politics. But no poetry, no irony, no strangeness, and no plot. It’s a goldmine for intellectual historians, because Musil does capture the confusion felt at all levels of Austrian society at the crossroads of the twentieth century. For philosophy-enthusiasts too, there’s a great deal to admire in Musil’s assimilation of intellectual trends. And for literary masochists like myself, there’s always that jolt of dopamine you get from defeating another behemoth! (Next, War and Peace?)But I honestly don’t think it’s worth the casual reader’s time. And probably not worth the time for more-than-casual readers either. Read The Confusions of Young Törless instead. You’ll get Musil at the height of his powers, but unlike The Man without Qualities, Törless renders the fascist insanity of the time in more visceral, more violent detail. Think: Lord of the Flies. A pristine cruelty. Here is Musil on the unfinished masterwork that is The Man without Qualities:“When I think of the reviews of Volume One, I note again and again as something they have in common the question as to what will or might happen in the second volume. The answer to this is simple: nothing or the beginning of the World War. Note the title of the major portion of the first volume: Pseudoreality Prevails. This means that in general today the personal givens of events are definite and delineated, but that what is general about them, or their significance, is indefinite, faded, and equivocal, and repeats itself unintelligibly. The person awakened to awareness of the current situation has the feeling that the same things are happening to him over and over again, without there being a light to guide him out of this disorderly circle. I believe that this characterizes a major idea of the first volume, around which large parts of the material could be ordered. Above all, there is a continuity in that volume that permits the present period to be already grasped in the past one, and even the technical problem of the book could be characterized as the attempt to make a story at all possible in the first place.”“I add that what I have just referred to in other terms as the unequivocal nature of the event (of life) is by no means a philosophical demand but one that in an animal would already be satisfied, while in a person it can apparently be lost.”“This makes comprehensible that the major problem of the second volume is the search for what is definitely signified or, to use another expression, the search for the ethically complete action or, as I might call it ironically, the search for 100 percent being and acting.”“The more general investigations of the first volume permit me to concentrate here more on the moral problems or, according to an old expression, on the question of the right life. I attempt to show what I call ‘the hole in European morality’ (as in billiards, where sooner or later the ball gets stuck in such a hole), because it interferes with right action: it is, in a word, the false treatment that the mystic experience has been subjected to.”“But here I would like to stop burdening your desire for information with the impossible problem of philosophical window dressing and conclude: Ulrich, who has traveled to his father’s funeral, encounters in the house cleared out by death his almost unknown and unremembered sister. They fall in love, not so much with each other as with the idea of being siblings. I greatly regret that this problem has a certain higher banality, but on the other hand, this proves that it is the expression of broad currents. My representation is aimed at the needs leading to this expression. I contrast the two theses, one can love only one’s Siamese-twin sister, and man is good. This means (the relation of brother and sister to each other is at first purely spiritual) Ulrich returns after a period filled with their being together in intense intimacy; his sister follows him, and they begin a provisional living together according to principles revealed to them, but they are disturbed by the attention of society, which is deeply touched by this act of brotherly and sisterly devotion” (1745-1746).You get the picture. Is this the book I’d have open on my desk at 104 years old? No. Definitely not. But I can see why it would be such a fascinating read for someone born into that historical and distorted milieu. I can understand why one would spend a lifetime rereading Musil’s book for clues about the great big HOW of it all. And I can certainly imagine that reader being rewarded with profound insights each and every read.

Jacobsen's immediate importance was his status as the 'writer of his generation.' With the novel Niels Lyhne (1880) he voiced the disoriented and confused rejection of the old values, Romanticism's dream and religion. . . . Like the single volume of short stories Jacobsen published in 1882, three years before he died of tuberculosis, both novels are unique in an age of realism on account of their highly charged, atmospheric prose and almost lyrical style."

It was to correct common misconceptions about his thought that Jean-Paul Sartre, the most dominent European intellectual of the post-World War II decades, accepted an invitation to speak on October 29, 1945, at the Club Maintenant in Paris. The unstated objective of his lecture (“Existentialism Is a Humanism”) was to expound his philosophy as a form of “existentialism,” a term much bandied about at the time. Sartre asserted that existentialism was essentially a doctrine for philosophers, though, ironically, he was about to make it accessible to a general audience. The published text of his lecture quickly became one of the bibles of existentialism and made Sartre an international celebrity.The idea of freedom occupies the center of Sartre’s doctrine. Man, born into an empty, godless universe, is nothing to begin with. He creates his essence—his self, his being—through the choices he freely makes (“existence precedes essence”). Were it not for the contingency of his death, he would never end. Choosing to be this or that is to affirm the value of what we choose. In choosing, therefore, we commit not only ourselves but all of mankind.This book presents a new English translation of Sartre’s 1945 lecture and his analysis of Camus’s The Stranger, along with a discussion of these works by acclaimed Sartre biographer Annie Cohen-Solal. This edition is a translation of the 1996 French edition, which includes Arlette Elkaïm-Sartre’s introduction and a Q&amp;A with Sartre about his lecture.

Written in 1914 but not published until 1925, a year after Kafka’s death, The Trial is the terrifying tale of Josef K., a respectable bank officer who is suddenly and inexplicably arrested and must defend himself against a charge about which he can get no information. Whether read as an existential tale, a parable, or a prophecy of the excesses of modern bureaucracy wedded to the madness of totalitarianism, The Trial has resonated with chilling truth for generations of readers.

A gripping tale of human unrelieved horror, of survival and resilience, and of the ways in which humankind confronts death, The Plague is at once a masterfully crafted novel, eloquently understated and epic in scope, and a parable of ageless moral resonance, profoundly relevant to our times. In Oran, a coastal town in North Africa, the plague begins as a series of portents, unheeded by the people. It gradually becomes an omnipresent reality, obliterating all traces of the past and driving its victims to almost unearthly extremes of suffering, madness, and compassion.

Initially conceived as a floating symbol of American ideals at a time when the United States was emerging as a world power, Columbia is sent to distant shores w...

It’s a co-op survival horror game. Up to 6 players in online co-op mode, or just you, on your own, playing the Solo mode. The aim - cleanse each area of zombi...

Prepare yourself for the ultimate 3D Slugfest. Murderous aliens have landed in futuristic Los Angeles, and the humans suddenly find themselves atop the endanger...

Like System Shock 1, there will be persistent levels (i.e., drop an item on one level, and you could go back later to retrieve it), gameplay elements like logs,...

Human Revolution you play Adam Jensen, a security specialist, handpicked to oversee the defense of one of America's most experimental biotechnology...

Valve has taken a large selection of the maps from Counter-Strike 1.6 - Office, Havana, Italy, Aztec, Chateau, Cobble, Piranesi and of course eternal favourites...

Set approximately 10 years after the events of the original BioShock, the halls of Rapture once again echo with sins of the past. Along the Atlantic coastline,...

In a desperate attempt to keep a conquering alien race called the Covenant from finding Earth, you--a cybernteically enhanced soldier representing the peak of h...

Mass Effect is a science fiction action-RPG created by BioWare Corp., the commercially and critically acclaimed RPG developer of "Jade Empire," and "Star Wars:...

Approach each assassination with your own unique style. Use shadow and sound to your advantage to traverse silently through levels unseen by enemies, or attack...

the United States, China, or the newly formed Middle East Coalition. Armed...

The seminal first-person shooter Quake brings fragging to mobile devices....

F.E.A.R. (First Encounter Assault and Recon), is an intense first person close-quarters combat experience with rich atmosphere and an engaging storyline. The st...

From the legendary game developers at id Software, comes an explosive journey into the nightmare world of DOOM&trade;. Embark on a harrowing mission to rid of M...

The original Half-Life 2 - The player again picks up the crowbar of research scientist Gordon Freeman, who finds h...

Episode Two is the second in a trilogy of new games created by Valve that extends the award-winning and best-selling Half-Life adventure. As Dr. Go...

Going beyond "run and gun corridors," "monster-closet AIs" and static worlds, BioShock creates a living, unique and unpredictable FPS experience. After your pla...

Set in the zombie apocalypse, Left 4 Dead 2 (L4D2) is the highly anticipated sequel to the award-winning Left 4 Dead. This co-operative action horror FPS takes...

In Carrion you’ll assume the role of an amorphous creature of unknown origin. Players will stalk and consume those that have imprisoned it to spread fear and...

Team Fortress 2 (TF2) is the sequel to the game that put class-based, multiplayer team warfare on the map. TF2 delivers new gametypes, a signature art style pow...

During a secretive business trip away, Mark learns that his wife Anna is growing restless in what he believed was their happy marriage. Upon his return home, he learns from her that she wants a divorce. They both go through a series of different emotions related to their situation, Mark's which is generally obsessive about learning why Anna, who he still loves, wants the divorce, and Anna's which is generally increasingly histrionic in getting away from Mark. Caught in the middle is their infant son Bob, who Mark uses as a gage to Anna's mental state. Anna states that her want for the divorce is not because of another man, but Mark finds out that Anna has a lover named Heinrich. In the meantime, Mark also meets Bob's teacher Helen, who looks exactly like Anna, but is her polar opposite in temperament. Starting a relationship with Helen lessens his obsession with Anna. But as Mark and Anna's encounters together reach more emotional and violent levels, Mark, with help of a private investigative firm, learns that Anna's love life is not all that it appears. Anna's true obsession has a somewhat gruesome process and nothing will stop her from reaching her end goal.

French film (dir. Andrzej Żuławski; 1981)

USA in the 1970s. We follow the highly intelligent Jack over a span of 12 years and are introduced to the murders that define Jack's development as a serial killer. We experience the story from Jack's point of view, while he postulates each murder is an artwork in itself. As the inevitable police intervention is drawing nearer, he is taking greater and greater risks in his attempt to create the ultimate artwork. Along the way we experience Jack's descriptions of his personal condition, problems and thoughts through a recurring conversation with the unknown Verge - a grotesque mixture of sophistry mixed with an almost childlike self-pity and psychopathic explanations. The House That Jack Built is a dark and sinister story, yet presented through a philosophical and occasional humorous tale.

In the dystopian world of 2027 London, humans have been incapable of reproducing for 18 year for an unknown reason, meaning the imminent extinction of the species. Britain is the one remaining civilized society on the planet, which has resulted in people wanting to migrate there, so it has become a police state to handle the immigrants, who are placed into refugee camps. Lowly government bureaucrat Theo Faron, once an activist, is approached by the Fishes, deemed a terrorist group, led by his ex-wife Julian Taylor, whom he hasn't seen in almost 20 years, since their marriage disintegrated after their infant son Dylan's death during the 2008 flu pandemic. Although the Fishes did use terrorist means in their on-going revolution against the state in the fight for immigrant rights, Julian vows that they now garner support solely by speaking to the people, and she wants Theo to use his connections to get transit papers for a young immigrant woman named Kee who needs to get to the coast. Although initially reluctant to do it because of the difficulty, Theo is able to grant Julian this favor, however with the change that he now needs to accompany Kee on her journey. As Theo and Kee progress on that journey, Theo learns more and more about what's going on, including the reason that Kee needs to get to the coast, the fact that no one in the group knows if their end destination even exists, and that his and Kee's lives are in greater danger than he believed when they started the journey. But Theo's sole mission becomes to help Kee at any cost for the survival of the species.

Six different people, each from a very different walk of life, awaken to find themselves inside a giant cube with thousands of possible rooms. Each has a skill that becomes clear when they must band together to get out: a cop, a math whiz, a building designer, a doctor, an escape master, and a disabled man. Each plays a part in their thrilling quest to find answers as to why they've been imprisoned.

Takes place beyond the solar system in a future that seems like the present. About a group of criminals who accept a mission in space to become the subjects of a human reproduction experiment. They find themselves in the most unimaginable situation after a storm of cosmic rays hit the ship.

Paris, spring 1968. While most students take the lead in the May 'revolution', a French poet's twin son Theo and daughter Isabelle enjoy the good life in his grand Paris home. As film buffs they meet and 'adopt' modest, conservatively educated Californian student Matthew. With their parents away for a month, they drag him into an orgy of indulgence of all senses, losing all of his and the last of their innocence. A sexual threesome shakes their rapport, yet only the outside reality will break it up.

CALL ME BY YOUR NAME, the new film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman. It's the summer of 1983 in the north of Italy, and Elio Perlman (Timothée Chalamet), a precocious 17-year-old young man, spends his days in his family's 17th-century villa transcribing and playing classical music, reading, and flirting with his friend Marzia (Esther Garrel). Elio enjoys a close relationship with his father (Michael Stuhlbarg), an eminent professor specializing in Greco-Roman culture, and his mother Annella (Amira Casar), a translator, who favor him with the fruits of high culture in a setting that overflows with natural delights. While Elio's sophistication and intellectual gifts suggest he is already a fully-fledged adult, there is much that yet remains innocent and unformed about him, particularly about matters of the heart. One day, Oliver (Armie Hammer), a 24-year-old American college graduate student working on his doctorate, arrives as the annual summer intern tasked with helping Elio's father. Amid the sun-drenched splendor of the setting, Elio and Oliver discover the heady beauty of awakening desire over the course of a summer that will alter their lives forever.

A European family who plan on escaping to Australia, seem caught up in their daily routine, only troubled by minor incidents. However, behind their apparent calm and repetitive existence, they are actually planning something sinister.

After his wife, Alice, tells him about her sexual fantasies, William Harford sets out for a night of sexual adventure. After several less than successful encounters, he meets an old friend, Nick Nightingale--now a musician--who tells him of strange sex parties where he is required to play the piano blindfolded. All the men at the party are costumed and wear masks while the women are all young and beautiful. Harford manages to find an appropriate costume and heads out to the party. Once there, however, he is warned by someone who recognizes him, despite the mask, that he is in great danger. He manages to extricate himself, but the threats prove to be quite real and sinister.

Following the death of his father from cancer, Stéphane - Mexican on his father's side, French on his mother's side - agrees, despite his less than proficient use of the French language, on his mother's request to move back to France from Mexico, she not only letting him live in her apartment in his old bedroom in the building she owns while she stays with her current boyfriend Gérard, a magician, but she having found him a job using his graphic art skills at a calendar shop. The job ends up not being quite as she had made it out to be - it more a dead end menial job - but Stéphane is still able to eke out a friendship of sorts with his new coworkers, especially Guy, the senior employee, a bully of a man-child who obsesses about sex and who becomes Stéphane's confidante. Concurrently, Stéphane strikes a friendship with his neighbor, Stéphanie, and her friend, Zoé, Stéphane and their friendship stemming out of some mistruths, including the two artistically inclined women not divulging they, like him, lead dead end nine-to-five jobs, and Stéphane also not divulging that he is actually Stéphanie's neighbor and the son of her landlady which allows him to spy on Stéphanie's apartment without notice. While Stéphane is romantically interested in Zoé, he believes Stéphanie in turn is interested in him. Regardless, Stéphane forms a special bond with Stéphanie, their similar names only one of the many factors which may indicate that the cosmos meant for them to have this bond. Despite what Stéphanie may feel for Stéphane in return, their friendship/relationship will be affected by Stéphane often not being able to differentiate between reality and what are, to him, his very vivid dreams.

In New York's Brooklyn Bridge park, eleven year old Zachary strikes his eleven year old classmate Ethan. The boy's parents learn of the fight and meet to deal with the incident. Although the meeting starts civilized, it quickly degenerates after an unfortunate incident, and soon, their meeting is not only about their boys' fight, but also the couple's fitness as parents,

Paul is young, just demobbed from national service in the French Army, and disillusioned with civilian life. As his girlfriend builds herself a career as a pop singer, Paul becomes more isolated from his friends and peers ('the children of Marx and Coca Cola', as the credits announce) and their social and emotional politics.

A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. When they are about to leave the island, they find that Anna has gone missing. Anna's boyfriend Sandro and friend Claudia try unsuccessfully to find her. While they are searching, Claudia and Sandro develop an attraction for each other. When they get back to land, they continue the search with no success. Sandro and Claudia proceed to become lovers and all but forget about the missing Anna.

1960 film directed by Michelangelo Antonioni

Brandon and Philip are two young men who share a New York City apartment. They consider themselves intellectually superior to their friend David Kentley, and as a consequence, decide to murder him. Together they strangle David with a rope and placing the body in an old chest, they proceed to hold a small party. The guests include David's father, his fiancée Janet, and their old schoolteacher Rupert, from whom they mistakenly took their ideas. As Brandon becomes increasingly more daring, Rupert begins to suspect.

Set against the romantic desolation of Detroit and Tangiers, an underground musician, deeply depressed by the direction of human activities, reunites with his resilient and enigmatic lover. Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister. Can these wise but fragile outsiders continue to survive as the modern world collapses around them?

In 1959/1960 Rome, Marcello Rubini (Marcello Mastroianni) is a writer and journalist, the worst kind of journalist--a tabloid journalist. His job is to try to catch celebrities in compromising or embarrassing situations. He tends to get quite close to his subjects--especially when they're beautiful women. Two such subjects are local heiress Maddalena (Anouk Aimee), and Swedish superstar-actress Sylvia (Anita Ekberg), with both of whom he has affairs despite being engaged to Emma (Yvonne Furneaux), a clingy, insecure, nagging, melodramatic woman. Despite his extravagant, pleasure-filled lifestyle, he is wondering if maybe a simpler life wouldn't be better.

Nina (Portman) is a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her obsessive former ballerina mother Erica (Hershey) who exerts a suffocating control over her. When artistic director Thomas Leroy (Cassel) decides to replace prima ballerina Beth MacIntyre (Ryder) for the opening production of their new season, Swan Lake, Nina is his first choice. But Nina has competition: a new dancer, Lily (Kunis), who impresses Leroy as well. Swan Lake requires a dancer who can play both the White Swan with innocence and grace, and the Black Swan, who represents guile and sensuality. Nina fits the White Swan role perfectly but Lily is the personification of the Black Swan. As the two young dancers expand their rivalry into a twisted friendship, Nina begins to get more in touch with her dark side - a recklessness that threatens to destroy her.

Mark Lewis, works as a focus puller in a British film studio. On his off hours, he supplies a local porno shop with cheesecake photos and also dabbles in filmmaking. A lonely, unfriendly, sexually repressed fellow, Mark is obsessed with the effects of fear and how they are registered on the face and behavior of the frightened. This obsession dates from the time when, as a child, he served as the subject of some cold-blooded experiments in terror conducted by his own scientist father. As a grown man, Mark becomes a compulsive murderer who kills women and records their contorted features and dying gasps on film. His ongoing project is a documentary on fear. With 16mm camera in hand, he accompanies a prostitute to her room and stabs her with a blade concealed in his tripod, all the while photographing her contorted face in the throes of terror and death. Alone in his room, he surrounds himself with the sights and sounds of terror: taped screams, black-and-white "home movies" of convulsed faces. At his house, he meets Helen Stephens, a young woman who lives with her blind mother in a downstairs flat. She visits his flat, where he shows her black-and-white films that were taken of him when he was a child. She is horrified to see that his father used him as a guinea pig in various experiments, taking movies of his reactions of fear.

College student Jeffrey Beaumont returns to his idyllic hometown of Lumberton to manage his father's hardware store while his father is hospitalized. Walking though a grassy meadow near the family home, Jeffrey finds a severed human ear. After an initial investigation, lead police Detective John Williams advises Jeffrey not to speak to anyone about the case as they investigate further. Detective Williams also tells Jeffrey that he cannot divulge any information about what the police know. Detective Williams' high school aged daughter, Sandy Williams, tells Jeffrey what she knows about the case from overhearing her father's private conversations on the matter: that it has to do with a nightclub singer named Dorothy Vallens, who lives in an older apartment building near the Beaumont home. His curiosity getting the better of him, Jeffrey, with Sandy's help, decides to find out more about the woman at the center of the case by breaking into Dorothy's apartment while he knows she's at work. What Jeffrey finds is a world unfamiliar to him, one that he doesn't truly understand but one that he is unable to deny the lure of despite the inherent dangers of being associated with a possible murder. Still, he is torn between this world and the prospect of a relationship with Sandy, the two who are falling for each other, despite Sandy already being in a relationship with Mike, the school's star football player.

Set in a world only minutes from our own, "Black Mirror", a UK and USA non-hosted anthology series; unveils how modern technologies can backfire and be used against their makers, every episode set in a slightly different reality with different characters combating different types of technologies. The series ran from 2011 until 2019.

Jerry Seinfeld stars in this television comedy series as himself, a comedian. The premise of this sitcom is Jerry and his friends going through everyday life, discussing various quirky situations, to which we can all relate (especially if we live in New York City). The eccentric personalities of the offbeat characters who make up Jerry's social circle contribute to the fun.

Louie is a stand-up comedian and divorced father of two girls. This series follows him through his everyday life, as he meets various characters, struggles with his love life and pursues humor.

The gang, 5 raging alcoholic, narcissists run a failing dive bar in south philly. The gang make up some scheme for sex, money, fame or for any other terrible reason you could think of. It always goes south however, as the gang (sometimes literally) have their plans blow up in their face.

The professional and personal lives of those who work in advertising on Madison Avenue - self-coined "mad men" - in the 1960s are presented. The stories focus on those at one of the avenue's smaller firms, Sterling Cooper, and its various incarnations over the decade. At the heart of these stories is Donald Draper, the creative genius of the company. That professional creative brilliance belies the fact of a troubled childhood, one that he would rather forget and not let anyone know about except for a select few, but one that shaped who he is as an adult and as an ad man in the need not only to sell products but sell himself to the outside world. His outward confidence also masks many insecurities as evidenced through his many vices, such as excessive smoking, drinking and womanizing - the latter despite being a family man - and how he deals with the aftermath of some of the negative aspects of his life.

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Kurt Dodrill

Sarah Morton is a famous British mystery author. Tired of London and seeking inspiration for her new novel, she accepts an offer from her publisher John Bosload to stay at his home in Luberon, in the South of France. It is the off-season, and Sarah finds that the beautiful country locale and unhurried pace is just the tonic for her--until late one night, when John's indolent and insouciant French daughter Julie unexpectedly arrives. Sarah's prim and steely English reserve is jarred by Julie's reckless, sexually charged lifestyle. Their interactions set off an increasingly unsettling series of events, as Sarah's creative process and a possible real-life murder begin to blend dangerously together.

Still living under the same roof, the Moscow couple of Boris and Zhenya is in the terrible final stages of a bitter divorce. Under those circumstances, as both have already found new partners, the insults pour down like rain in this toxic familial battle zone, always pivoting around the irresolvable and urgent matter of Alyosha's custody, their 12-year-old only son. Unheard, unloved, and above all, unwanted, the introverted and unhappy boy feels that he is an intolerable burden, however, what his parents don't know is that he can hear every single word. As a result, when Boris and Zhenya finally realize that Alyosha has been missing for nearly two days, it is already too late. But is this a simple case of a runaway teenager?

French teenager Isabelle is spending her summer holiday with her middle-class family in the south of France and decides to lose her virginity with German teenager Felix. Then she returns to Paris with her mother Sylvie, her stepfather Patrick and her younger brother Victor. Then Isabelle works as a call girl using the nickname Lea, meeting old men. She feels affection for her client Georges that is married with a daughter. When Georges dies from a heart attack while having sex with Isabelle in a hotel, she flees but the police investigate and identify her. The detectives in charge of the investigation disclose to Sylvie, who is devastated.

Early summer. In a village in northern Turkey, Lale and her four sisters are walking home from school, playing innocently with some boys. The immorality of their play sets off a scandal that has unexpected consequences. The family home is progressively transformed into a prison; instruction in homemaking replaces school and marriages start being arranged. The five sisters who share a common passion for freedom, find ways of getting around the constraints imposed on them.

2015 film directed by Deniz Gamze Ergüven

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