Sherlock Holmes is the world's most famous detective and students will love this modern adaptation of Conan Doyle's much-loved story. Based on the award-winning TV series 'Sherlock'.

    

    The story of two white-collar managers, Chad and Howard, who maliciously plot to jointly romance the lonely, deaf, beautiful office temp Christine before simultaneously dumping her, is cool and compelling in its depiction of the worst sorts of emotional abuse. What begins as a cat-and-mouse game of one-upmanship quickly escalates into full-scale psychological warfare. Only too late does this 'frat boy' prank reveal itself as deadly serious, with a struggle between the two men at the heart of the battle. The woman is only a means to an end, a pawn easily captured and tossed aside in a dark, wicked duel for corporate ascension.

    With his country on the brink of war and in desperate need of a leader, his wife, Elizabeth (Helena Bonham Carter), the future Queen Mother, arranges for her husband to see an eccentric speech therapist, Lionel Logue (Geoffrey Rush). After a rough start, the two delve into an unorthodox course of treatment and eventually form an unbreakable bond. With the support of Logue, his family, his government and Winston Churchill (Timothy Spall), the King will overcome his stammer and deliver a radio-address that inspires his people and unites them in battle.As David Seidler writes in his introduction, "The King's Speech is about a great deal more than a speech impediment. It is about friendship. I'm talking about mentoring and support and a great deal of humor. We lose these deep, meaningful friendships at our peril."The Newmarket Press Book includes:A fascinating introduction by screenwriter David Seidler about how and why an idea that came to him almost thirty years ago evolved into the award-winning screenplayComplete Shooting ScriptComplete cast and crew credits

    Its lyrical scenes still etch a portrait of Cyrano as a man of uncompromising bravery except in matters of the heart. They come off beautifully in the intimate off-Broadway-size Roundabout Theater. To the open minded, Langella's work will hardly seem felonious and it may be a breakthrough!" --David Patrick Stearns, U S A Today"Frank Langella has abridged the text and given the play a bare-bones production shorn of extravagance. CYRANO is compelling enough in its characterizations, dialogue and situations to withstand minimalism." --Frank Scheck, Hollywood Reporter"Frank Langella's adaptation is relatively short, fast and intimate. The speed of the shortened version allows the ideas behind the play to emerge with great force and clarity. The result is a terrifically enjoyable and surprising thought-provoking piece of theater." --Fintan O'Toole, Daily News, New York

    

    This 1960's French farce adapted for the English-speaking stage features self-styled Parisian lothario Bernard, who has Italian, German, and American fiancees, each beautiful airline hostesses with frequent "layovers." He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.

    Bounty hunter John Ruth and his fugitive captive Daisy Domergue race toward the town of Red Rock, where Ruth will bring Domergue to justice. Along the road, they encounter Major Marquis Warren, a former Union soldier turned infamous bounty hunter; and Chris Mannix, a renegade who claims to be the town's new sheriff. Lost in a blizzard, Ruth, Domergue, Warren, and Mannix seek refuge at Minnie's Haberdashery, a stagecoach stopover. When they arrive, they are greeted by four unfamiliar faces: Bob, who takes care of Minnie's in the owner's absence; Oswaldo Mobray, the hangman of Red Rock; cow-puncher Joe Gage; and Confederate general Sanford Smithers. As the storm overtakes the mountainside, our eight travelers come to learn they may not make it to Red Rock after all ...THE HATEFUL EIGHT is a Tarantino master class in tension-filled atmosphere, singular characters, and razor-sharp dialogue.

    

    Cold Mountain Penitentiary houses convicted killers awaiting their turn to walk the Green Mile to the electric chair. But there's never been anyone like John Coffey, with the body of a giant and the mind of a child.

    An unthinkable crime that somebody has attempted to cover up. Tasked with investigating, he soon finds himself immersed in a world of deception, police corruption and organised crime. O’Bryan has his own dark secrets too. In a place where he has no alliances and is viewed with suspicion, it is only a matter of time before he is found out. For so many years the dramatic and rugged coastline of Cornwall had been the scene to smuggling, deception and murder. Now, O’Bryan will find out how little has changed.

    

    Dalloway -- a postmodern masterpiece whose minimal action takes place on a single June day in postwar London. The Hours progresses in fuguelike fashion: First we meet Clarissa Vaughan, a New York book editor dubbed "Mrs Dalloway" by her longtime friend and former lover Richard. Next, Cunningham presents Woolf herself, beginning work in 1923 on what is to become Mrs. Dalloway. And finally we are introduced to Laura Brown, a California housewife who is avidly reading Woolf's novel. Scenes from these three narratives are presented in recurrent identical succession: "Mrs. Dalloway," Mrs. Woolf, Mrs. Brown -- all bristling with connections and startling parallels. The "Mrs. Dalloway" strand is particularly rich, filled as it is with one-to-one correspondences to Woolf's novel. But the deepest and most important thing that The Hours shares with Mrs. Dalloway is "the feeling," as Woolf called it, "that it was very, very dangerous to live even one day." Cunningham's three women proceed through the day, through the hours, trying to keep themselves psychologically intact, like someone carrying a glass of water filled to the brim through a crowd and endeavoring not to spill it. They hesitate before plunging into the day because they know how hard it is to live in the world and remain identical with oneself. And they puzzle over a universal dilemma: how to bring the self into the world without its getting broken in the process. In The Hours, Michael Cunningham has explored this dilemma with an impressive and moving subtlety worthy of his great precursor. Benjamin Kunkel

    10 Things I Hate About You is a 1999 American romantic comedy film. It is directed by Gil Junger and stars Heath Ledger, Julia Stiles, Joseph Gordon-Levitt, Larisa Oleynik, David Krumholtz, and Larry Miller. A loose adaptation of Shakespeare's The Taming of the Shrew set in a modern American high school, the screenplay was written by Karen McCullah Lutz and Kirsten Smith. The film's title is a reference to a poem written by the film's female lead to describe her bittersweet romance with the male lead. The film was released March 31, 1999, and it was a breakout success for stars Stiles and Ledger. The film marks the directing debut of Junger.

    His consolation is that he gets to romance an elegant female spy, but he soon learns that the game of international intrigue is played for high stakes. Ernest Lehman provides an introduction to this souvenir volume, published to coincide with the centenary of Hitchcock's birth, in which he describes the course of his cherishable collaboration with the master of suspense.