Donnell Nathan

Having taken Shakespeare at his word on Hamlet (i.e., not cutting a single syllable out of a very long play), Kenneth Branagh selects a more radical approach with Love's Labour's Lost. Here the prolific director-star weeds out much of the play's dialogue and adds songs and dances of a decidedly modern bent. The King of Navarre (Alessandro Nivola, Nicolas Cage's wacko brother in Face/Off) and his three comrades (Branagh, Matthew Lillard, Adrian Lester) take a vow: no womanly distractions while they pursue their studies. Ah, but at that very moment, floating down a magical studio-built river, is the queen of France (Alicia Silverstone), accompanied by three ladies-in-waiting. You do the math. Branagh has set the tale on the eve of the Second World War, which allows for the inclusion of vintage pop songs, including "Cheek to Cheek," "The Way You Look Tonight," and a rousing chorus of "There's No Business Like Show Business," led by--who else?--Nathan Lane. The fact that most of the cast members are not accomplished song-and-dance folk is clearly meant to charm, but the results are spotty at best. Perhaps the most dynamic performer is Natascha McElhone (memorable from Ronin), whose aristocratic bearing and bottomless eyes lend a gravity to the material that is otherwise absent from Branagh's twinkly staging. The play contains some of Shakespeare's loveliest paeans to the language of love, yet Branagh seems to be in a hurry to juice everything up lest the audience lose interest. The labor shows. --Robert Horton

Ben Franklin's reporters, Sarah and James, learn that Thomas Jefferson has arrived in Philadelphia to put the final touches on the Declaratoin of Independence. On July 4th, 1776, they sneak into Independence Hall and watch as the 2nd Continental Congress declares America's Independence from England. They then head to New York, where George Washington adn his troops are fighting one of the most difficult battles of the Revolutionary War. James falls into enemy hands, where he meets a fellow prisoner, the great patriot, Nathan Lane. when Hale is told he will be executed, he bravely declares, "I regret that I have but one life to lose for my country." The fight for liberty has begun, and there is no turning back!

Having taken Shakespeare at his word on Hamlet (i.e., not cutting a single syllable out of a very long play), Kenneth Branagh selects a more radical approach with Love's Labour's Lost. Here the prolific director-star weeds out much of the play's dialogue and adds songs and dances of a decidedly modern bent. The King of Navarre (Alessandro Nivola, Nicolas Cage's wacko brother in Face/Off) and his three comrades (Branagh, Matthew Lillard, Adrian Lester) take a vow: no womanly distractions while they pursue their studies. Ah, but at that very moment, floating down a magical studio-built river, is the queen of France (Alicia Silverstone), accompanied by three ladies-in-waiting. You do the math. Branagh has set the tale on the eve of the Second World War, which allows for the inclusion of vintage pop songs, including "Cheek to Cheek," "The Way You Look Tonight," and a rousing chorus of "There's No Business Like Show Business," led by--who else?--Nathan Lane. The fact that most of the cast members are not accomplished song-and-dance folk is clearly meant to charm, but the results are spotty at best. Perhaps the most dynamic performer is Natascha McElhone (memorable from Ronin), whose aristocratic bearing and bottomless eyes lend a gravity to the material that is otherwise absent from Branagh's twinkly staging. The play contains some of Shakespeare's loveliest paeans to the language of love, yet Branagh seems to be in a hurry to juice everything up lest the audience lose interest. The labor shows. --Robert Horton

With Kenneth Branagh (WILD WILD WEST, CELEBRITY), Alicia Silverstone (BLAST FROM THE PAST), and Nathan Lane (AT FIRST SIGHT, MOUSE HUNT) leading a stellar ensemble cast, Stanley Donen and Martin Scorsese present a sexy, glamorous, and fun 1930's-style musical that's earned terrific critical acclaim! The King of Navare (Alessandro Nivola -- MANSFIELD PARK, FACE/OFF) and his three best friends think that they've sworn off love in the pursuit of intellectual enlightenment. But when the Princess of France (Silverstone) and her beautiful attendants arrive for a diplomatic visit, their high-minded plans are turned completely upside down! Then, as war rages and secret passions burn, loyalty and devotion are tested like never before! Also featuring hilarious Matthew Lillard (SHE'S ALL THAT, SCREAM) and the classic songs of Cole Porter, Irving Berlin, and more -- go back in time and allow yourself to be swept away by this wonderfully entertaining motion picture treat!

A chilling factually-based story of 3 road-trippers in remote australia who are plunged into dagner when they accept help from a friendly local. Studio: Genius Products Inc Release Date: 08/22/2006 Starring: John Jarret Andy Mcphee Run time: 102 minutes Rating: Ur

Wolf Creek, written and directed by Greg McClean, is the Blair Witch Project of the Australian outback. Capitalizing on the human fear of becoming lost in the wilderness, in this case a desert crater called Wolf Creek National Park, this graphic horror film exploits the handheld camera to capture the grotesque actions of Mick Taylor (John Janatt), a sadistic serial killer. When a hip twenty-something guy, Ben Mitchell (Nathan Phillips), and two hippie-ish girls, Cassandra (Liz Hunter) and Kristy (Kestie Morassi), take a road trip and their car breaks down, they have no choice but to accept help from Mick, an eccentric rural Aussie, who, like a spider, tows them into his nightmarish lair. Mick hunts kangaroos and hates tourists, translating his fetish for knives, shotguns, and other torture devices into a need to kill humans as if they're vermin infesting his majestic landscape. Ample blood and gore leave the viewer feeling nearly as sick as the girls who are forced to watch each other die. Like Hannibal Lecter in The Silence of the Lambs, Mick Taylor is a savvy, calculating killer, despicable but psychologically fascinating. --Trinie Dalton

LOVE'S LABOUR'S LOST - DVD Movie

Having taken Shakespeare at his word on Hamlet (i.e., not cutting a single syllable out of a very long play), Kenneth Branagh selects a more radical approach with Love's Labour's Lost. Here the prolific director-star weeds out much of the play's dialogue and adds songs and dances of a decidedly modern bent. The King of Navarre (Alessandro Nivola, Nicolas Cage's wacko brother in Face/Off) and his three comrades (Branagh, Matthew Lillard, Adrian Lester) take a vow: no womanly distractions while they pursue their studies. Ah, but at that very moment, floating down a magical studio-built river, is the queen of France (Alicia Silverstone), accompanied by three ladies-in-waiting. You do the math. Branagh has set the tale on the eve of the Second World War, which allows for the inclusion of vintage pop songs, including "Cheek to Cheek," "The Way You Look Tonight," and a rousing chorus of "There's No Business Like Show Business," led by--who else?--Nathan Lane. The fact that most of the cast members are not accomplished song-and-dance folk is clearly meant to charm, but the results are spotty at best. Perhaps the most dynamic performer is Natascha McElhone (memorable from Ronin), whose aristocratic bearing and bottomless eyes lend a gravity to the material that is otherwise absent from Branagh's twinkly staging. The play contains some of Shakespeare's loveliest paeans to the language of love, yet Branagh seems to be in a hurry to juice everything up lest the audience lose interest. The labor shows. --Robert Horton

Wolf Creek, written and directed by Greg McClean, is the Blair Witch Project of the Australian outback. Capitalizing on the human fear of becoming lost in the wilderness, in this case a desert crater called Wolf Creek National Park, this graphic horror film exploits the handheld camera to capture the grotesque actions of Mick Taylor (John Janatt), a sadistic serial killer. When a hip twenty-something guy, Ben Mitchell (Nathan Phillips), and two hippie-ish girls, Cassandra (Liz Hunter) and Kristy (Kestie Morassi), take a road trip and their car breaks down, they have no choice but to accept help from Mick, an eccentric rural Aussie, who, like a spider, tows them into his nightmarish lair. Mick hunts kangaroos and hates tourists, translating his fetish for knives, shotguns, and other torture devices into a need to kill humans as if they're vermin infesting his majestic landscape. Ample blood and gore leave the viewer feeling nearly as sick as the girls who are forced to watch each other die. Like Hannibal Lecter in The Silence of the Lambs, Mick Taylor is a savvy, calculating killer, despicable but psychologically fascinating. --Trinie Dalton

Welcome to Wolf Creek, where the suspense of The Blair Witch Project meets the horror of The Texas Chainsaw Massacre. Inspired by Australia's "Backpacker Killer" who murdered seven backpackers in the `90s, Wolf Creek won wide acclaim from critics, filmmakers and audience members alike at the Sundance Film Festival. Three unsuspecting hikers take off for a drive across Australia. When the trio returns from a four-hour hike to Wolf Creek National Park, they find their car is dead. Help comes in the form of big, back-slapping bushman Mick (John Jarratt). Since Mick appears to be more Crocodile Dundee than Freddy Krueger, the trio trusts him…which proves to be a grave mistake. Quentin Tarantino said, "Jarratt delivers a performance that's destined to go down as one of the greatest film heavies of the last 25 years. "Not since the original Texas Chainsaw Massacre has terror felt so real." Ken Fox, TV Guide

The platoon included four pairs of best friends. Each of the four would lose a best friend forever.Five months after being deployed to Iraq, Lima Company’s 1st Platoon found itself in Fallujah, embroiled in some of the most intense house-to-house, hand-to-hand combat since World War II. Civilians were used as human shields or as bait to lure soldiers into buildings rigged with explosives; suicide bombers approached from every corner hoping to die and take Americans with them; radical insurgents, high on adrenaline, fought to the death. The Marines of the 1st Platoon (part of 3rd Battalion, 1st Marine Regiment) were among the first to fight in Fallujah, and they bore the brunt of this epic battle. When it was over, the platoon had suffered thirty-five casualties, including four dead.This is their story.Award-winning author and historian Patrick O’Donnell stood shoulder-to-shoulder with this modern band of brothers as they marched and fought through the streets of Fallujah, and he stayed with them as the casualties mounted. O’Donnell captures not only the sights, sounds, and smells of the gritty street combat, but also the human drama of young men in a close-knit platoon fighting for their lives-and the lives of their buddies. We Were One chronicles the 1st Platoon’s story, from its formation at Camp Pendleton in California to its near destruction in the smoldering ruins of Fallujah.We Were One is an unforgettable portrait of the new “Greatest Generation.”With 16 pages of extraordinary photographs from the front lines of the Battle for Fallujah.

The Making of Modern Law: U.S. Supreme Court Records and Briefs, 1832-1978 contains the world's most comprehensive collection of records and briefs brought before the nation's highest court by leading legal practitioners - many who later became judges and associates of the court. It includes transcripts, applications for review, motions, petitions, supplements and other official papers of the most-studied and talked-about cases, including many that resulted in landmark decisions. This collection serves the needs of students and researchers in American legal history, politics, society and government, as well as practicing attorneys. This book contains copies of all known US Supreme Court filings related to this case including any transcripts of record, briefs, petitions, motions, jurisdictional statements, and memorandum filed. This book does not contain the Court's opinion. The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping ensure edition identification:Lawrence Albert Razete, Petitioner, v. United States of America.Petition / RAY J O'DONNELL / 1952 / 437 / 344 U.S. 904 / 73 S.Ct. 284 / 97 L.Ed. 698 / 11-5-1952Lawrence Albert Razete, Petitioner, v. United States of America.Brief in Opposition (P) / U.S. Supreme Court / 1952 / 437 / 344 U.S. 904 / 73 S.Ct. 284 / 97 L.Ed. 698 / 12-5-1952Lawrence Albert Razete, Petitioner, v. United States of America.Reply Brief (P) / NATHAN SOLINGER / 1952 / 437 / 344 U.S. 904 / 73 S.Ct. 284 / 97 L.Ed. 698 / 12-11-1952